Anybody ever try a product from totem acoustics called "beaks"? You place them on top of your speakers for improved SQ.
http://www.totemacoustic.com/products/accessories/
We placed the Beaks as shown in the photo below, which is the way Totem recommends.
The test piece was Dorothy from Amanda McBroom's West of Oz (Sheffield LAB-15), also used in our evaluation of phono preamplifiers in this issue. The song is complex, with interweaving of choral voices, harmonica and percussion before McBroom's voice enters. We listened through with the Beaks in place, as they had been throughout the test. The song sounded wonderful, which was no surprise. We removed the Beaks and listened again.
Yes, there was an unmistakable difference, but what was it? We knew we preferred the speakers with the Beaks in place, but we weren't certain what we were hearing. We went back and forth a few times, and gradually all became clear.
It was the clarity that suffered when we removed the Beaks. The lower midrange became a little muddy, and the choral voices blended together a little more, adding a touch of confusion. The instruments were less natural, more electronic, and the Totem's vaunted image was somewhat flatter. Putting the Beaks back brought the sound closer to us. The sibilance in Amanda McBroom's voice was emphasized a little, but so was the warmth.
By the way, Totem emphasizes that the Beaks are not meant only for Totem speakers, and that in fact they may make even more difference to speakers that have lower performance to start with. Perhaps... though we think the Beaks would be hard put to add focus to speakers that don't have any, or improve the lows of a cabinet that booms on every note.
http://www.totemacoustic.com/products/accessories/
We placed the Beaks as shown in the photo below, which is the way Totem recommends.
The test piece was Dorothy from Amanda McBroom's West of Oz (Sheffield LAB-15), also used in our evaluation of phono preamplifiers in this issue. The song is complex, with interweaving of choral voices, harmonica and percussion before McBroom's voice enters. We listened through with the Beaks in place, as they had been throughout the test. The song sounded wonderful, which was no surprise. We removed the Beaks and listened again.
Yes, there was an unmistakable difference, but what was it? We knew we preferred the speakers with the Beaks in place, but we weren't certain what we were hearing. We went back and forth a few times, and gradually all became clear.
It was the clarity that suffered when we removed the Beaks. The lower midrange became a little muddy, and the choral voices blended together a little more, adding a touch of confusion. The instruments were less natural, more electronic, and the Totem's vaunted image was somewhat flatter. Putting the Beaks back brought the sound closer to us. The sibilance in Amanda McBroom's voice was emphasized a little, but so was the warmth.
By the way, Totem emphasizes that the Beaks are not meant only for Totem speakers, and that in fact they may make even more difference to speakers that have lower performance to start with. Perhaps... though we think the Beaks would be hard put to add focus to speakers that don't have any, or improve the lows of a cabinet that booms on every note.