I'm privileged to be, after Rich, the first to hear these long, long time a-waiting MegaLith speakers. And … ?
First, some context.
I just don't like the sound of the open-baffle speakers I've heard, including the SuperVs - so I was prejudiced
against expecting much good from these speakers, though I encouraged Rich over the last 7 years simply because
of the audacity of his extensions to the simple line array idea.
First, the idea of a small amplifier controlling each, or each pair of drivers in a speaker with more drivers than
most could easily count was ludicrous and hard to believe at first. But this extreme idea began to lessen my prejudice.
Second, the control of the varying arrival time of elements in a tall vertical array using digital time delay seemed
like an obvious remedy for any failings and further lessened my prejudice. Why bother with a line array without
correcting for the slightly different arrival times?
Third, the use of a many-channel, active digital crossover seemed to me an optimal approach, especially given
that the problem of an impossibly unwieldy array of big amplifiers had already been solved with the use of the small
chip-amps. My prejudice had now lessened to the point that I was looking forward to a listen, even if a little
anxiously. I'm Rich's friend, but I'm also ruthless about audio matters.
Since we were scheduled to travel up the road on an unrelated matter, I only heard two tracks, both of which
I've heard many times. The first was a full orchestral piece (Polovtsian Dances?) I've heard so often as a test track,
I've lost certainty of its name. It was as if the music took full control of the room. Instruments were solidly positioned
here, there and everywhere about the room with what I would judge as exceptional clarity, solidity and an honest,
appropriate tonality for each. Now - the speakers are close up, almost in your face, with plenty of room in back of
them, so the depth should have been good, and, in fact, was all I could ask for. And, close as they were, the speakers
themselves seemed to vanish! This is a cliché more often written about than heard, but I was there and I heard it.
The second track I heard was one we've both heard many times, more because we plain like it, than because it's
a test track. This was 'The Gates of Istanbul' from Loreena McKennit's 'An Ancient Muse' collection. Featuring a wild
array of old and new instruments from east and west with Loreena's oddly keening, yet beautiful voice. A test track
for sure. Some of the oddball instruments sounded even purer than on my own system, which I am quite partial to.
Again, the spacing and tightness of the instruments came out admirably well. I would have liked a little more bass,
and Loreena's voice was somewhat spatially disintegrated depending on how high or low her pitch was. Rich
explained that this and other factors would be corrected when the final many, many-channel crossover arrives to refine
the driver coordination. Even so, this is looking like a speaker for the ages. All of them! My sincere congratulations to
Rich for his more than human persistence in getting this done. But then, he is HAL, after all.
I still don't like OB speakers, but this is a notable exception. Ask Rich for a listen.
Avoosl
