Got this earlier this week from a surprisingly perceptive young bloke in the UK that I would like to share:
"Well, I've enjoyed getting to know these wooly wonders a lot. I think my earlier observations are more or less right, but on-off comparisons have been interesting.
I feel the effect of these additions as opposed to playing the same music with them off is more profound than even speaker placement, though I'm sure everyones experience will be unique and peculiarly their own. I am using small standmounts as you can see, in a room with heavily compromised acoustics and setup possibilities; my bass drivers are also odd, I dont really know much about this design (any info will be greeted with interest)*.
I mentioned earlier in a discussion about different passive pre amps that I like listening mostly at lower volumes, and only ever really up to medium. I had found the bass (although clean and defined) to be weaker at low volume: It is now in proportion, strong when required, soft when appropriate. This, coupled with the quite delicious mid range produced by Richards finest makes for an utterly involving, even captivating experience which defies me to not pay attention or to even try walking past when it is singing.
Ive just been on - offing to Ray Lamontagne's 'empty' from his 'Until the Sun Turns Black' album, and the contrasts were greater than I imagined they were, even being quite stark. Notably the cello timbre was warmer with the 'wonders' on, I enjoyed hearing the wood resonate, the air inside really moving about which was sucked into the mic in all its glory. With the 'wonders' off, it was harder, two dimensional and distant again, although I previously had no issue with it. It also became harder to distinguish between the 'attack' of strummed acoustic guitar strings and more delicate drumming work (he may have used nylon tipped sticks which would have contributed to this). When they went back on, everything seperated out again in terms of definition and timbre: Guitars were warm, even lush, drumming intricate, loose (his style really, but it was almost lost in the mix before) and Ray's vocals warm, powerful, and about six feet in front of me. I have also noticed the gorgeous singing tone of a decent ride cymbal that is well mic'd (yes I was a drummer, once).
Things have become so real, life like. The emotions the artist tries to convey are so much more readily apparent because of the detail now here.
Detail - that is not to refer to digital detail or harshness of any sort. These make music so easy to listen to, involving not because each detail is in stark seperation/relief but because it isnt. Yet you can still follow the detail if you want, but what is being accomplished here allows each detail of each musicians playing to contribute to the layers, the whole. Well done Jim.
Perhaps his new slogan should be: Try it. What's the worst that could happen? Oh wait , that one is already taken, but nontheless I urge everyone to have a go. They work out about £28 now through paypal - chicken feed! You wouldn't think twice if they were interconnects or isolation pads now, would you?
You may be more suprised than I was. Thanks Jim."
He's welcome. I'm very happy for him
