As the previous thread “Pocket Martin Logans?†was originally intended as a three-part series for relaying my encounters with the Mirage Omnisat and Gallo’s Due’, it (due to some wonderful contributions from others) outgrew its title! Ergo, it was suggested that the title undergo a change (which can’t be properly done to my knowledge) or (thanks to “Createâ€) start a new thread. Therefore, folks looking for info. on the Omnisat and the rest of Mirage’s true omni-polar line, would have a place to exchange insight that is reflected in the name of the thread.
Given what I learned in the third installment of the aforementioned series, it is my hope that (um) MANY will get to hear any (at least) pair of the new Omni’s even remotely setup right; because what I heard of the ‘50’s fresh-outta-the-box (compared with ML Aerius’) has made ‘em my new budget-standard-for-the-masses, as well as the cost conscience yet discriminating! Further listening is in order but nonetheless, if this and the costlier models get noticeably better from there, then the good folks at Mirage have done a good deal of their sonics-on-the-cheap homework! Now if only I could get ‘em to put similar zeal into refining the line’s appearance (oh say, something like the Omnisat shape albeit elongated and slightly modified - in wood, topped with its “cage†or cloth over a domed endoskeleton), then A/V penny pinchers everywhere will have the better of many combined worlds across the line, to wit (based on what I heard of the ’50, projecting how it may break-in, and what I’m starting to read of others in the line):
· Good instrumental timber reproduction
· Good detail retrieval
· Good octave-to-octave balance and “naturalness†until around 12K and above
· Surprisingly good dynamics
· Very deep soundstage
· An extremely wide listening area
· Highly enveloping sound field
· Contemporary-cum-slightly esoteric looks
· Satisfaction in that one’s hard-earned money was well-spent for a given hobby/love/obsession/etc.
All of this at a fraction of what this type of combined sound/appearance still costs today, hinting greatly at the performance of their more expensive brethren. Matter-o-fact, if the ‘50’s break-in (and the rest of the line sounds) the way I hope, then I’ll recommend to my constituents that they DON’T buy a center channel for an A/V setup if their electronics will allow. Meaning, experiments that I’ve done on my rig (AVM-20, Sunfire amp., Martin Logan’s, etc.) and similar that I’ve conducted on those of a few of my friend’s, point to a more natural experience if there isn’t a center channel. Without it, dialog is captured in the F L/R, so when actors or animated objects move across the screen, so (if mixed accordingly) then does the sound – “panning†with the motion. This certainly is more preferable to me than having activity anchored to a central position, and with the Omni’s great dispersion characteristics, it makes them a natural candidate for just this kind of A/V phfun phfest, not to mention saving money that would’ve been spent on a center channel.
As Martin Logans have excellent center-fill (in a currently intimate viewing area), my audio needs are met in the current HT. But when I finish the design and implementation of the new HT (seating for 12 in a 24’ x 20.25’ x 9.5’ dedicated room), then a preference for wider and more evenly distributed sound than the ‘Logans, along with finding speakers coming very close to or bettering their performance (for hopefully not as much), is an ancillary research benefit for having started this thread!
Given the above, your input on the Omni’s (that I have or haven’t heard) is very important therefore; please take time to elicit what you experienced in your auditions and list them in this thread, I know many will obviously benefit! When you do, please include:
· The source material used
· What electronics, interconnects, and cables were in the system
· How many hours of use were on each component – imparting an idea of where each was in their respective break-in curve
· System setup
· Speaker placement
· Remarks on room acoustics
· Comparisons to other speakers of your acquaintance (preferably in the same room and system)
· Roughly how much time you spent listening
· Impressions of what you heard (2 channel stereo, and multi-channel) concerning detail, dynamics, timber, extension, balance, soundstage, imaging, etc.
· Notes on their reproduction of live un-amplified music when possible
Warm regards,
AirCeej
Given what I learned in the third installment of the aforementioned series, it is my hope that (um) MANY will get to hear any (at least) pair of the new Omni’s even remotely setup right; because what I heard of the ‘50’s fresh-outta-the-box (compared with ML Aerius’) has made ‘em my new budget-standard-for-the-masses, as well as the cost conscience yet discriminating! Further listening is in order but nonetheless, if this and the costlier models get noticeably better from there, then the good folks at Mirage have done a good deal of their sonics-on-the-cheap homework! Now if only I could get ‘em to put similar zeal into refining the line’s appearance (oh say, something like the Omnisat shape albeit elongated and slightly modified - in wood, topped with its “cage†or cloth over a domed endoskeleton), then A/V penny pinchers everywhere will have the better of many combined worlds across the line, to wit (based on what I heard of the ’50, projecting how it may break-in, and what I’m starting to read of others in the line):
· Good instrumental timber reproduction
· Good detail retrieval
· Good octave-to-octave balance and “naturalness†until around 12K and above
· Surprisingly good dynamics
· Very deep soundstage
· An extremely wide listening area
· Highly enveloping sound field
· Contemporary-cum-slightly esoteric looks
· Satisfaction in that one’s hard-earned money was well-spent for a given hobby/love/obsession/etc.
All of this at a fraction of what this type of combined sound/appearance still costs today, hinting greatly at the performance of their more expensive brethren. Matter-o-fact, if the ‘50’s break-in (and the rest of the line sounds) the way I hope, then I’ll recommend to my constituents that they DON’T buy a center channel for an A/V setup if their electronics will allow. Meaning, experiments that I’ve done on my rig (AVM-20, Sunfire amp., Martin Logan’s, etc.) and similar that I’ve conducted on those of a few of my friend’s, point to a more natural experience if there isn’t a center channel. Without it, dialog is captured in the F L/R, so when actors or animated objects move across the screen, so (if mixed accordingly) then does the sound – “panning†with the motion. This certainly is more preferable to me than having activity anchored to a central position, and with the Omni’s great dispersion characteristics, it makes them a natural candidate for just this kind of A/V phfun phfest, not to mention saving money that would’ve been spent on a center channel.
As Martin Logans have excellent center-fill (in a currently intimate viewing area), my audio needs are met in the current HT. But when I finish the design and implementation of the new HT (seating for 12 in a 24’ x 20.25’ x 9.5’ dedicated room), then a preference for wider and more evenly distributed sound than the ‘Logans, along with finding speakers coming very close to or bettering their performance (for hopefully not as much), is an ancillary research benefit for having started this thread!
Given the above, your input on the Omni’s (that I have or haven’t heard) is very important therefore; please take time to elicit what you experienced in your auditions and list them in this thread, I know many will obviously benefit! When you do, please include:
· The source material used
· What electronics, interconnects, and cables were in the system
· How many hours of use were on each component – imparting an idea of where each was in their respective break-in curve
· System setup
· Speaker placement
· Remarks on room acoustics
· Comparisons to other speakers of your acquaintance (preferably in the same room and system)
· Roughly how much time you spent listening
· Impressions of what you heard (2 channel stereo, and multi-channel) concerning detail, dynamics, timber, extension, balance, soundstage, imaging, etc.
· Notes on their reproduction of live un-amplified music when possible
Warm regards,
AirCeej
