I have used the Audyssey app to EQ the Titans on the Marantz to try and mimic the top end of the Bostons as closely as I could, and I have left the Bostons natural on the Onkyo. You can see the results attached, first the EQ'd L & R of the Titan and then a refresher of what the natural Boston FR looked like.
The good news is that the Titans aren't dull anymore, this has given them a little more life and and some of the missing detail. The Bostons still have a clarity and airiness to them that isn't yet matched - perhaps more EQ and tweaks can get them even closer. Tonally though, the two sets of speakers are now pretty similar, enough so that I would think if one didn't have quick switching available, based on tonality, they could mistake the two speakers.
Now that there isn't such a gap in clarity and detail, the next thing you pick up on is the depth and width of the soundstage, with or without quick switching. When you listen to the Bostons, the width of sound extends beyond the outside edges of the speakers by a few feet, and the gap between the speakers is filled with sound as well. Within this width, let's call it 15', they can place specific sounds (instruments, vocals, whatever) almost anywhere they please. In terms of height, it's not as easily defined, as there isn't a lot of height panning in music, but to the best of my ability I would say the sound extends from a couple feet above the speaker and to about a foot above the ground. In terms of depth, they can layer sound from behind my screen to a few feet in front of the speakers - they do quite well in this. None of this is any "magic" so to speak, you can place sounds with your ears in the defined area pretty easily if you are listening carefully.
When you listen to the Titans (and perhaps this was by design), the bulk of the music sounds like it is coming from one of three places. Either a radius of sound around each speaker, or a wall approximately 3' centered in front of the speaker pair. I like to listen in the dark, but if you close your eyes with the lights on and point to where you think the left or right speaker is based on front soundstage width, and open your eyes, you will point right to the Titan every time. You will miss the Boston to the outside more often than not, they project w wider soundstage. Maybe this is the whole aim of the waveguides, to be a very direct point source, and maybe this is seen as a positive thing by some folks for movie watching. I still haven't gotten to movies yet, but I promise I will set that up tonight. For music, I do not interpret this as a positive, it takes away from the realism - the bigger the soundstage can be, the better. In terms of depth, some songs do well with the vocals being locked in 3' in front of the speakers, especially if it is a jazz number with a single vocalist. On other songs, this characteristic does not fare so well, especially when you switch speakers (quick switch or slow switch) and hear how the Bostons layer things. The best way to describe the effect of different layers is how when I said earlier the Bostons make certain songs more engaging, like they will make you want to move your feet or get up and clap to some of your favorites. Because the Titans keep things in one of those 3 spots, you lose that engagement. Again, maybe I completely missed the boat in terms of their design and this is how they are supposed to function. I knew waveguides focused the sound to reduce room interactions, but I did not interpret that to mean a more restricted soundstage width and depth.
I attached a picture that tries to show the relative soundstage sizes. Titans in blue, Bostons in red. The ovals in the middle represent the centered depth...an attempt at showing a Z axis bubble.
Last edited by SteveCallas; 04-28-2019 at 11:47 AM.