This is an interesting comment. I currently have the tower in a low-ceiling space and they fit well, but if I move to a larger room, I suspect your point may be the one which comes to my mind. May I ask what standmounts you moved to?
One reason I posted here was because there have been reviews and discussion of Ascend products before. For that reason alone, I thought my review might contain something of value to someone. My impression of ASR was that, whatever its predilections, there is an inclination for open discussion with people who take time to contribute.
Thank you! It was a chance discovery for me. I'm more traditionalist in my listening, but some tunes really stretch my speakers.
I agree. Even numbers are processed, interpreted, related, used.
This is fine, as long as it is really listening that is being done, and not looking. Sighted biasing is a huge effect (see videos on the McGurk effect for a startling example). And there are plenty of people at Agon (and many other places) who claim to hear effects in situations where that is simply physically impossible (e.g., from different power cords). I prefer not to con myself, either with sighted biasing or with measurements that are irrelevant (super-high SINAD being a prime example).
I expect I'll explore more stuff by them and their other collaborators. Music is endless, isn't it?Actually chances are that this takes quite some time. The shock is so strong that people don't feel pain. The reason behind this is based on our evolution. If a predator bites you the shut down of the pain by the brain keeps you active so you are still able to fight or run. The pain comes later when you're out of danger.
When you read stories of mountaineers who survived a fall they all report that the reaized that their body hit rocks but they did not feel pain. The pain comes when they are on the ground and no longer falling, and it comes with a delay. Been there, done that
Of course you experience it in this situation, but it is a subjective experience. People have different sensitivities and pain levels.
The processing (or filtering) is fast, it happens in the unconscious part of the brain. That's why we don't realize that it happens at all, which is the major problem in listening tests.
It was equipment evaluated here, no not speakers. I build my own speakers. And, don't care to share more since the mfg offered a refund. They did their part, and nothing else to share. Point was - specs and measurements can be helpful, sure. However it's not all of it for some of us who care about the music too. Best of luck.
So you're saying that I must not care about music? I'd say that's more likely your issue with all the fussiness with hardware. So what was the unit you found so lacking in "musicality" (I dislike that term to describe hardware).
Klipsch RP600M II,KEF R3's,Philharmonic BMR's twice,CSS Criton 1TD-X's and 2TD-X towers,Arendal 1723 S monitors and 1961 towers,and Ascend Sierra LX's.
Whadya like between the bmr and sierra lx... I've heard the bmr, they're the best I've heard but the lx measures so well that it has to sound pretty great....
It was a really tough choice between those two. I felt like the LX was more cohesive and focused in its presentation,and more dynamic. The BMR excelled with some genre's,like acoustic guitar and string instruments.The LX performed better with rock and studio recordings. I feel like the LX was the better speaker overall but the BMR is right behind it. It's really a matter of preference. The BMR dispersion is a little too wide for my taste,but depending on your room and taste in music it may not matter. The BMR also looks much better than the LX in my opinion,for those who value aesthetics. The LX isn't ugly at all,it just looks a little more basic in design.
