Ridge Street Audio Sason Ltd. Loudspeaker

In a recent search on the discussion forums page, I stumbled across a few bits written on the RSA Sason Ltd. Loudspeaker. I admittedly have always been partial to the simplicity of a two way design. I was intrigued, however was unfamiliar with the product, so I went to RSA’s website to investigate further. I really wasn’t prepared for the aesthetic appeal these two ways possess (they’re visually stunning). I was also pleasantly surprised to find that RSA is a two hour drive from my home.
I called Robert at RSA and had a lengthy conversation about the Sason, and became interested enough to arrange an audition. BTW, Robert and Steve at RSA are probably two of the nicest fellows and are very accommodating.
Upon arriving, I can confidently say that any photograph of the Sason’s does not even remotely do these speakers justice. They are aesthetically first rate with an exhaustive attention to detail.
The RSA listening room is 19x12x7.5. The Sason’s are placed approx. 11 feet from the wall behind them, and 3 feet from the side walls. This near field position puts your ear about 6 to 7 feet from the speaker. Once I had seen the Sason’s and listened to Robert describe some of the design philosophies, I expected a lot from this speaker, however I was not prepared for what occurred over the next 13 hours. Yes, 13 hours - did I mention that Robert and Steve are really accommodating? The first couple of hours I used RSA’s system for evaluation, which included a highly modified, moderately priced Marantz cdp running direct into a pair of Pass Aleph 30 stereo amps that were vertically bi-amping the Sason’s. The Majority of cabling was RSA’s own Alethias with one pair of Poiema!!! Signature I/C’s linking the cdp and Pass amps. I really wasn’t familiar with the sonic traits of any of these components. I did take my McCormack DNA-2 w/ SMC rev. A amplifier which I used in the system later in the day. The room had some home made acoustic treatments consisting of egg crates surrounded by a wooden frame. These were placed at first reflection points and other strategic places. The room also had a few small tapestries hanging on the walls.
Although I don’t get into detail about each cd and the tracks used for comparison, here is a list of the cd’s I used for evaluation.

Jesse Cook-Vertigo
Cowboy Junkies-The Caution Horses
Diana Krall- Live in Paris
Stanley Clarke- East River Drive
George Skaroulis- Generations
Kotaro Oshio-Starting Point
Chris Spheeris- Eros
Isreal Kamakawiwo ‘ole- Facing Future
Tracy Chapman- New Beginning

In the first few moments of listening I was amazed by the Sason’s ability to completely disappear. I can only recall one other instance where another loudspeaker disappeared to this degree, which was the Avalon Eidolon a few years back. I have to believe a lot of this is attributed to the use of the granite cabinet, which seems to remove all cabinet colorations, leaving the drivers to do their thing. While we’re on the subject of drivers, I would like to point out that the Sason’s are fast……..lightening fast. Now that I have spent some time with the Sason’s, I better understand the Free Energy concept, which is outlined on the RSA website.
The second thing I noticed about the Sason’s is their incredible ability to render the timbral accuracy of instruments. The Sason’s truly conveyed the rich, woody character of a cello. They also managed to capture the size, authoritative nature, and beauty of a grand piano. I have always thought the piano was one of the most difficult instruments to recreate, but the Sason’s get the overhang and decay of notes just right. The Sason’s also reproduce the leading attack of notes correctly, whether it be the piano, acoustic guitar, or upright bass. The rendition of female vocals was astounding and life like. The Sason’s manage to give you that realistic “in the room” interaction with the performers. When listening thru the Pass amps, I got the sense that the sidewalls of the narrow room were a minor issue, however after switching to my DNA-2 the sidewalls seemed to disappear. I did get the impression that the Sason’s could easily fill a much larger room.
The Sason’s are very balanced across the audio spectrum. The highs were some of the smoothest I’ve heard. The upper registers were incredibly detailed, articulate, sweet and so convincing. The integration between the two drivers is superlative, and the notes seemed to hang in a three dimensional space. The midrange was superb, transparent and free from colorations, and had the ability to preserve the organic elements of instruments, which made it easy to be drawn into the presentation. The bass was tuneful, tight, fast and when called upon, visceral. I was taken back by not only the quality of bass, but the quantity of deep bass the Sason’s reproduced. They are indeed full range. I was also surprised at how dynamic these speakers are for a medium sized two way monitor.
One of my priorities has always been imaging. The Sason’s imaging capabilities are nothing short of magic. The soundstage was wide and tall, but not exaggerated. The Sason’s produced a generous amount of air and space around individual instruments, while still preserving the performance as a whole. The depth of soundstage was one of the most impressive I’ve heard. If your looking for an upfront in your face perspective, the Sason’s are probably not for you, however they don’t put you in the cheap seats either. I think they strike a nice balance between the two. These speakers seem to connect the listener in an emotional way to the performance unlike any I’ve heard. The ease and flow of music from the Sason’s allows the listener to forget about the equipment and be enveloped in musicality.
Late in the afternoon I had the opportunity to spend several hours talking with Steve Rothermel, the primary designer of the Sason. Steve was a wealth of information, and in great detail, described his design philosophies and all the technical features of his creation. Steve is very specific as to the design applications. There are no afterthoughts or band aids with his designs. As I mentioned before, there was an exhaustive attention to detail that went into designing the Sason’s.
In the past twenty years I’ve been very fortunate to have spent many listening hours with alot of great speakers. I’ve owned the Sonus Faber Amati Homage, Avalon Eclipse, Avalon Eclipse Classics, Vandersteen 3A’s, Martin Logan Quest Z’s, and currently use Magnepan 3.6r’s. I have extensively listened to Kharma’s, Genesis, Proac, Aerial Acoustics, B&W, and many other brands. There are traits I admire about all these speakers, however I can honestly say I don’t remember the last time I was so impressed with the overall sound of a speaker. If you can live without a handful of hz at the deepest bottom end, then IMHO I believe the Sason offers the complete sonic package, at least to my ears. I certainly give consideration to the fact that all listening was in an unfamiliar room with primarily unfamiliar equipment. I am looking forward to auditioning the Sason’s at my home with familiar surroundings and electronics. If last weeks experience with the Sason’s is a true indication of performance, I will more than likely be purchasing a pair as soon as my finances allow. I know I have somewhat glossed over some of the details regarding this speaker, however I am trying to keep this to a manageable length. I will do my best at trying to respond to any questions regarding my experience with the Sason’s. Happy Listening.
Hello Rhythmace (Darrin/Darrilton) and A'goNers.

Darrin, Thanks for making the trip over and I'm glad it was worth your time. Hope you get to make it again and, with your lovely Wife next time. (Note to Wife: Your Husband is very grateful for you!) Always enjoy when folks come visit.

Steve and I are still as excited about the Sason project as when we first intro'd it. It really is a world class transducer.

Perhaps a couple of points of interest:

The amps we use a lot of the time here are Pass Aleph 3 which are pretty tricked out. Not the Aleph 30. We use two of these - one for each speaker. Simple circuit, Class A single Ended throughout it's output - great little amp. The Sasons don't need a lot of power to do their magic, just good power. Steve's (McCormack) DNA-2 w/ SMC rev.A is a special amp and the Sasons did beautifully revealing that. Thanks for bringing that along Darrin.

The Sason Ltd. is not only made here in the USA, they're also made in our humble facility here. On top of that, no one touches these except Steve or I. We personally build every set. Wouldn't have it any other way. Which brings up this that I think is worth noting: As with virtually all dynamic loudspeakers, there's no real new "breakthrough" technology in the Sasons. We've simply re-analyzed ALL the engineering required to design a great loudspeaker and, by thinking outside the box so to speak, we've refined and optimized everything about it. (Where Steve provides the science or engineerical (What!?) prowess, I provide the side that makes loudspeaker design an art. Together, some would say we're scary.) This requires some pretty specialized attention for parts selection and during build. We have our own little tricks we do that no one else is doing. That's why we don't foresee jobbing these out or even hiring someone in house to build these. I suppose if there's a down side to this, it would be that we'll never sell 25 - 50 sets of these a month. The up side I think is that those folks who own and enjoy the Sason Ltd can be confident that their speakers are not another "highly regarded" "me too" offering.

Our music room here: It's almost too small for the Sason. That is to say, as well as they impress in our room here, they will perform even better in a room where they have more room to breath. There is one Gent who has a pair in a dedicated environment that's way bigger than I would imagine the Sasons to work in but, they perform all the better. Great story behind that. If requested, I'll post it here. And, though he has a sub he could use, he doesn't.

On the other hand, I can think of another Gent that has a pair in a smaller room than ours and is thrilled with how they're performing. In that room, the Sason replaced a well regarded five figure pair of monitor speakers. If I understand correctly, he also changed his amps to some low powered tube SETs.

Finally, Thank You Darrin for taking the time and effort to post your impressions. I think commentary like this is worth more for the true music enthusiast than all the slick ad campaigns a company might come up with...that somebody pays for (That'd be the consumer.). I would personally like ya'll to know too that Darrin is a well seasoned audio enthusiast and musician who's not given to writing a commentary unless it's well earned (good musicians are hard to impress) - a feather in our cap I suppose but still good for you to know...

Finally finally, (like, for real) whether you're in the market for better speakers (or cabling) or not, Steve and I would love to have any of you visit. Bring your music, your gear, or both. The new Alethias cabling is in the rig and the Sasons are singing. It would be fun.

Cheers to all of you and Happy Thanksgiving! Much to be grateful for, No?

Robert, is the Pure Connect Direct™ speaker connection your own design? I'd love to see a picture of it.
Hello Drubin.

Don't really have a picture of it that shows what's going on so I'll try to explain it without giving away exactly what we do.

The platform for this arrangement uses Cardas Patented Binding Posts that we modify for our purposes. The modification allows the leads from the X-over to come out of the cab. and connect directly to spade ends on speaker cables. The Sason Ltd uses two sets of these per speaker for bi-wiring option.

One can't use speaker cables with banana connectors with this arrangement which, by our standards, I'm not particularly fond of anyway.

The Sason uses a custom built Poiema!!! Signature wire harness. Aside from the performance benefits, this harness works beautifully for what we wanted to achieve with the Pure Direct Connect design. Other cabling or simple hook up wire would compromise the design objective of the Pure Direct Connect arrangement.

While any speaker cable with spades will work as intended with the Pure Direct Connect, our MSE Gen II, Poiema series and Alethias speaker cables compliment this particularly well since the spades on the cables are not terminations but are milled into the ends of the speaker cable's conductors.

Not actually seeing the Pure Direct Connect arrangement, I can imagine one concern that might arise. That being good intimate contact pressure between the speaker cable spades to the X-over leads. No need for concern here. The X-over leads have enough surface area to fully accommodate the "footprint" of any spade up to a half inch wide. Most binding posts don't have that kind of flat surface area for spades to tighten against.

Another issue less obvious is that virtually all binding posts, whether the cheaper brass alloy, or better copper or silver posts, are not best for audio purposes. While the better posts are massively impressive and instill confidence when installing speaker cables, they are too massy for audio and are actually a bottleneck in that they introduce too much signal reflection because of their mass. We're not trying to weld here, just get the music from point A to point B as efficiently as possible. The Pure Direct Connect design instills installation confidence by making as intimate and tight contact pressure as anyone could possible want and is appropriately low mass well suited for audio.

So, there you have it. That's it.

On a personal recommendation for what it's worth, (and I have no vested interest in making this recommendation) my favorite 5 way binding post is the Eichmann Cable Pod. I've installed these on our amps and like them very much compared to other highly regarded posts.


Drubin wrote:
"...is the Pure Connect Direct™ speaker connection your own design?"
Ooops, see how I go. I get all wrapped up in an explanation and forget to answer your simple question.

Yes. It's exclusive to RSAD.


Thank you for that thorough explanation and also for the Eichmann recommendation.

There are some very serious weaknesses in audiophiledome, one of which is the interface between cables and components. What you are doing makes so much sense, why aren't all speaker manufacturers doing it?

My pet peeve in this area is the component to power cord interface. We spend so much money on these power cords and half the time they are pulling away from the back of the component, not to mention whatever compromises have been made in the IEC connector and attached wiring inside the component. I wonder if a good-quality dedicated power cord might deliver some significant sonic benefits by virtue of overcoming shortcomings that even the very best detachable can not.
Hello Robert,
"The Majority of cabling was RSA’s own Alethias with one pair of Poiema!!!"
What is the Alethias Cabling, and how does it compare to the Poiema !!!?
Thanks and have a great Thanksgiving!
Drubin wrote:
"...There are some very serious weaknesses in audiophiledome"

Amen Brother! Man, some of the ideas I have that I hope I get to do before I kick the bucket. Time's short!

I think what happens many times is that well intentioned engineers come up with adequate solutions (i.e. read "convenient") to problems and then the big outfits buy into these solutions and they become the excepted standard. The unsuspecting audio/music enthusiast doesn't know better from worse and it simply becomes the norm. Then, not wanting to pour more money into a better solution, bigger "call the shots" companies devise clever little twists on the same half-assed mouse trap and come up with clever ways to say their mouse trap is the best bestest and on it goes. Big companies have to chase the dollar to maintain themselves so, like I said, a lot of this stuff is more a matter of function follows form rather than form follows function. Much easier and faster to slap on a set of binding posts on the back of a speaker than what we're doing for example.

If this is going to change, it's going to come from companies that follow a passion instead of the dollar. Unfortunately we're typically the small guys that have little influence. I do believe us smaller companies do what we can within our product lines which are more specialized to alleviate what I perceive as dumb. We're following a passion. Companies like Rockport Technologies, Peak Consult, Purist Audio, Virtual Dynamics, Prana Wire and Eichmann as well as a few others are companies I personally admire for their passionate efforts.

Obviously this isn't a condemnation on other well regarded audio products. There's certainly great stuff out there even if I disagree with certain things about those products.

Gees, I probably didn't make any friends here. Maybe I'm all screwy. Maybe another manufacture will chime in here and agree or present another view.

Regardless, I think most of us have much to enjoy about our music playback and, however slow or not, I believe it will continue to get better on some of the levels you bring up Drubin, as some of us obsess more, No?

Anyway, Cheers!

Hello Rhythmace,

I saw this post and just had to comment. Your impressions and comments regarding the Sason's and RSAD are exactly as mine. I too visited RSAD (last May) and wasn't completely prepared for what I heard. I had just sold a pair of Sound Lab Electrostatics and loved the fast intimacy of them but longed for more weight and body. Not only did the Sason's surprise me with their speed and accuracy, but the sound stage was equal to the large planars - it was rather unbelievable to me. The inter-detail of music through the Sason's is unsurpassed by anything I've heard in my 30 years in this hobby. I'm a fan of the human voice and of the piano. The tone and decay of the piano was so "correct" I questioned if the Sason's were specifically voiced that way but I've later realized that tonality is amazing across the entire instrument range.

Well, needless to say I purchased a pair. Break-in time was lengthy but Steve was very helpful through the entire process and always encouraged my comments. I have owned speakers several times more expensive and some of the best "brands" available but I have never been so emotionally involved with the music as I have been these last few months. For the first time ever, I can listen to music all day - all weekend, week after week and never tire.

I have a pair of older large Rowland monoblocks I needed for my last pair of speakers. I was planning to sell these after the Sason's were in place and move to smaller tube amps. I have to say the Sason's seem to like the power and control these Rowland's have. It looks a little odd that the amps are almost as big as the Sason's but music is so "right" I'm hesitant to change anything.

I believe many people purchase audio components based on reviews or other people’s opinions - afraid to believe their own ears. You can't beat the 45 day trial period but as you know, if people would just visit RSAD and listen!

Good luck to you with your speaker pursuit. If you decide to purchase the Sason's, I know Steve and Robert (and the Sason's of course) won't let you down.
Hey Larry! My personal best wishes for a great Holiday Season to you. You're a deserving Gent of nothing less.

The Alethias is our new top drawer cabling. If I may say so, it's awesome stuff and our most ambitious effort. Currently, there is the Alethias S/Cs and AC Power Delivery Cords. The I/Cs are still on the board. I haven't completely figured out the materials application yet to make the I/Cs practical. As it is, they won't bend and, maybe it's just me but, I'm thinking this isn't good. My goal is to come up with a solution that doesn't compromise the design premise. Not a problem with the S/Cs or P/Cs and those designs are done and available.

There's some of the Alethias out in the field already and those folks are very pleased. This taken from one of our feedbacks here on A'goN regarding the S/Cs: "The speaker cables are outstanding. I have had lots cables including Valhalla, Nirvana, and others. To date the Alethias are the best that I have had. Robert is a bright, innovative guy, that is out to please". Thanks Ron.

I'm probably most excited about the Alethias power cords. Mainly 'cause one doesn't typically expect as much from a "stupid" power cord as you would from signal carrying cables. I understand it intellectually but music impacts the emotion, not so much the intellect. So, upon evaluation of the cord, I was simply left shaking my head for the emotional connection to the music....because of a "stupid" power cord.

Sonic wise, in a nut shell without going into a whole bunch of tired but I suppose applicable audioclichés, more expansive but not out of proportion, ability to hear way deeper into the recording venue, expressively nuanced, better extension at the extremes without being exaggerated, and....floaty. I really don't know what that means but maybe it will become a new audio term. There ya go, LOL!

Maybe this gives some insight: Aside from busier music like Big Band stuff (right now I have Big Phat Band, XXL playing recommended to me by Tvad - great stuff), I particularly enjoy music with lots of space in it. The space on a good recording is very instructive when evaluating stuff. MA Recordings "Further Attempts" by Todd Garfinkle and Water Lily Acoustics "Saudades" (hard to find) are excellent in this regard and, it's great music to boot. With the Alethias doing transmission duties, there are places where you get the sense a musician is preparing for the next measures. Darrin knows what I'm saying. That's what I mean by being able to hear much deeper into the recording venue for example. Floaty - I don't know. Maybe Andreas Vollenweider's "Down To The Moon, Dancing With the Lion Behind the Gardens-Behind the Wall-Under the Tree, Caverna Magica" CD.

Anyway, both Steve and I are very pleased with the Alethias cabling.

One of these days I'll get all the support materials (URLs, images, sorely needed website update) done so it can be formally introduced. Owners Manuals are done - this is good.

Does that help a bit Larry?

My Best to you.
Thanks Robert, your explanation helps a lot! I had checked your website and thought that perhaps I missed something.
As always, thank you!
I wanted to expound a bit on Robert's earlier mention of the musician preparing for the next note, and even measures. The Sason's conveyed the uncanny ability to express the space between notes. This space and what is contained therein is critical to the presentation as a whole. I believe there are alot speakers out there that miss this critical part of a performance. Once you've experienced this, it is quite addictive. The set up at RSA conveyed this in spades, and alot of this had to be attributed to the transparency and tremendous detail brought to the table by the Alethias cabling. I am looking forward to trying all the Alethias offerings in my system very soon. Happy Listening
I want to chime in here for only a few comments. I am in the 3ist day of the 45 day trial with the RSAD Sason's. I have two major pieces of data:
1) These speakers are unbelievably susceptible to the break-in process, unlike anything I've ever encountered. They sounded quite below average for the first 100 hours, and only average for the next. Currently they are state-of-the-art transducers, missing only the lowest 20 hz of music so far, and likely only positioned in a 85-90% optimal spot. Which is my reason for..
2) These speakers will illuminate everything and anything in your room, signal path and grey matter. For instance, Steve's personal installation of these speakers was both problematic and revealing. My room has several idiosyncrasies, not the least fo which are the 8 foot wall to 10 foot ceiling slanted areas, the long walls covered in a dozen ASC tube traps. Steve worked tirelessly for 8+ hours to find the best spot in my room, and ultimately made soom drastic changes to my status quo. After living with these changes for only a few days i began to hear the speakers transform, and rearranged the room into a more standard setup...albeit with speaker postions much different than I would have imagined. The last three weeks have been revelatory. These things are truth-mongers..they are completely and utterly invisible....so get ready!!!

Oh.....I'm keeping them!!!!! :>) I may sell my amp (oscode 401HR soon on its way for a 30 day eval), a source or two, and a few cables here and there....but I'll be a better man for it!

Full review to follow; I'm typing this from hotel room during family Thaksgiving trip to inlaws...:>(

Net/net, Steve and Robert are first class, very knowledgeable, and break the mold when it comes to customer support and satisfaction. I only wish they could build my center (another Sason) and surrounds (custom Sason cousins) so they'll be available when I get home to hear Beatles Love in 5.1 like no one on earth.
Fuuny how that top-drawer keeps geeting higher and higher until the bureau itself is out of one's reach! I've resoled to keep my keys, cuff links, and collar tabs on a lower shelf lest I lose access to them. ;-)

After our email exchange a while back, I'm happy you went forward with the Sason purchase and have found them to be as involving as I have. I've had no desire to add a sub but since you're putting together a 5.1 system, I'd be interested in how things work out in that regard. Congrats and happy listening. - David T.
Thanks for your supportive comments throughout. As far as subwoofer integration I've even tried, fairly successfully, to integrate my Paradigm Servo 15 into the 2 channel Sason soundfield. Thanks to the wondrous Velodyne SMS-1, the integration works very well......rumor has it that Steve and Robert have a sub up their sleeves, though.

4yanx, your comments confuse me in this thread. The Sason's are but a fraction of the price of most hi-end revelatory speakers discussed on A-gon. This top shelf is a lowboy.
Dat1 and Ted, thank you for sharing your positive impressions about the Sason's. Robert and Steve are currently working on plans for a sub, however I really don't know at what stage they are in. Ted, I agree with you 100% about the cost of the Sason's. I believe they are well worth the asking price. The performance of the Sason's far exceed what you would expect out of a $7900 speaker. I know personally I've listened to quite a few of speakers in the 7K-10K range, and found them to be good,but I have to admit I didn't think the performance justified the price tag. This certainly doesn't apppear to be the case with the Sason's. Just my 2 cents. Happy Listening.
I think 4yanx was talking about RSAD's new top-drawer cable, not the speaker.

RSAD is in Indiana, right? How far from Chicago?
Drubin, RSA is located in Laporte, Indiana. It is about a half hour NE of Valporaiso. It is not far from Chicago at all.
Hi Drubin.

We're about an hour East of Chicago, maybe an hour and a half if one is comming from O'Hare Airport which is a little N/W of Chicago.

Whether one comes from the East or West, it's a pretty easy shot here when taking I-80/90. We're not far from that toll road at all.

Further, there's a guest room here so we're happy to house and host anyone who comes from further out for a weekend.


Further, there's a guest room here so we're happy to house and host anyone who comes from further out for a weekend.

Also, the weekend deal includes complimentary dances & drinks at the local, aspiring actresses joint. The sound's not so great, though...

Thanks, Drubin, you are correct! :-)
These speakers ARE the REAL DEAL in my humble opinion. I was very fortunate to purchase the very first pair of Sasons ever offered to the audiophile public. I had them
in house and was auditioning them for a friend with no intention of purchasing them at that time. (I wasn't even looking for another set of "super speakers" since I already own both Epiphiany 20/21's and a set of modified Legacy Whispers.) The Sasons are so incredible that I am currently trying to get both the Magico mini and the Kharmas for a side by side comparision showdown. I already know that the Sasons will beat either of those speakers in both bass and dynamics and strongly suspect they will come close the imaging and midrange purity attributes of those two very exceptional speakers! If anyone lives in the Michigan area and has access to either the Magicos or the Kharmas please drop me a line.
I owe you a call. Thanks for the voicemail. I was out of town during the Thxgiving holiday, but we need to get together whenever you're back in the area.

Thought I’d add my comments here, rather than write a new review. This past Saturday, Darrin (thread initiator, Rhythmace4218) and I drove to Laporte, IN to hear The Ridgestreet Audio Sason LTD.

Darrin and I have been good friends for the last 9 years and have both been chasing “audio nirvana” for some 20 years. Our taste in music is somewhat different, but I believe both of us have “matured” similarly in what we expect/strive for from a music system. I’ve even grown to appreciate his music tastes and he mine, though he still seems to be unable to get past Dylan’s voice (such a shame)…he’s not alone…my wife is similarly repulsed, though willingly joined me in 2006 to attend a Dylan concert (in the rain)…a fine woman and great wife if I may say so!

The Sason’s, sourced from a modified $500 Marantz CD Player direct into two stereo 30w/ch Pass Aleph 3’s, vertically biamped, are the best speakers I’ve ever listened to!! I’ve owned or listened to several SOTA level systems in the past 20 years and have never had music so convincingly communicated to me through a stereo system. Try as I might, I find it difficult to describe this experience. Language seems inadequate. I’m an engineer and in my left-brained dominated mind I fumble the words and phrases necessary to communicate this experience. I’m sure a student of literature, poetry or art would fare much better.

It’s become cliché to suggest a music system is capable of “transporting one to the live or studio event”. The Sason’s did this more convincingly than any other music system I’ve heard. And while the gap between being at a concert and hearing a concert on a system, even as extraordinary as this one, is still large, the gap between the Sason’s and the next best system I’ve listened to is almost as great. FYI…I’ve heard the US government is beta testing a true “transporter” in Roswell as I type (wouldn’t that be fun to demonstrate to your audio friends…press play and poof you’re standing in the Greenmill listening to Patricia Barber play “If this isn’t Jazz” J Until the US Government releases the technology for commercial development, the Sason’s will do me just fine!

What I experienced from Robert’s system, of which the Sason’s are certainly the centerpiece, is having the emotion of a fine performance clearly communicated to me while being mostly unaware that I was listening to this performance through a stereo system. Sure, I was aware of the space in which the recordings were made, position of performers on a 3D stage, differences in mic’ing, and screw ups in mixing and mastering to a degree I’ve never experienced before, but also, and much more importantly, the subtle phrasings and intonations that allowed me to believe I was “feeling” the artists’ state of mind too. Even though I was there to evaluate/critique the speaker (the fun, but also not so fun part of this hobby), after 10-30 seconds or so into a track, I would completely let my guard down and allow myself to be bathed in the performance. I’m not that “easy” even in my own listening room!

As you may have discerned, listening to the Sason’s was a bit revelatory for me. It was one of those experiences that make you realize that the path you are on just won’t get you to your destination. In the past, I’ve been down similar paths of incrementalism…a better amp here, more resolving source there, etc, each making significant improvements in the bass, treble, transients, micro dynamics or macro dynamics, etc, but ultimately falling short of bringing me closer to the emotional and/or artistic content of the music. It’s also why I’ve chosen not to use the typical audiophile vocabulary in my report here. Those above have done so very eloquently and I would completely agree with Darrin (Rhytmace4218), Dat1, Tedmbrady, and Ehider on most of the “audiophile particulars”. I was just plain “moved” by this experience and chose to focus on this instead. For a left brained person, an experience that lets you connect deeply with your right brain IS revelatory!

Robert and Steve…thank you for your extreme hospitality! I still can’t believe that we were there for 14 hours! Time really does fly when you’re having fun!

To anyone within a reasonable drive of northwest Indiana, you owe it to yourself to visit Robert and Steve to hear what this speaker can do. Prior to hearing the Sason’s, I would have defined “reasonable” as a drive of 4 hours one way. Now, for me anyway, it would be time and money well-spent doubling that and paying for a hotel to leave enough time to really get to hear them. I’m buying a pair!!! And to echo what Darrin said in his original review…these speakers are drop-dead gorgeous!! I’m going with the Emerald Sea granite!!!

"...Changing hardcore LBD folk to Right Brained Dominated one at a time since 1782!"

Okay, so maybe that's not too good a slogan for RSAD.

Regardless, Steve and I want to say Thanks Jordan! for the kind words. We enjoyed your visit and I'm glad you did too.

I gotta say too that to have impacted you as you describe and you being an LBD type, this brings great satisfaction. Music certainly isn't an intellectual exercise even when we try and make it that sometimes. Since hearing one of Steve's early designs back in '88, I've come to expect more than excellent hi-fi from a playback system.

Also, being a musician, I trust I have a pretty good clue as to what it takes and what it is to connect with music on an emotional level and for me....hi-fi ain't it.

Both Steve and I are very satisfied that the Sason Ltd can set a new bar and change enthusiasts expectations of what is possible from a music system. For you and our other clients to affirm that lets us know that we're not as goofy as I wonder about us sometimes.


Just thought I would revive this thread to hear anyone's long-term impressions of the Sasons. I have not seen a used one offered at any time, so I would think that's a good sign.
And I have not seen any negative comments.
Thanks in advance.
Fantastic Speakers all around ..I'm off the Audio Merry Go round for good

My main focus now is expanding my music liabrary
I'm hoping there will be a pair of these to hear at RMAF. Robert?
I heard them at the AKFEST in Livonia, MI this year and they still temp me! They are not located too far from me and if their demo room was more accessible it is possible I would already own them and/or would go temp myself more.
I got a pair of Sason's & enjoy 'em immensely. I simply listen & smile... I suggest that you give them a listening to.

Robert & Steve are planning on bringing a pair to RMAF. You should probably email them directly to confirm: RidgeStreetAudio@comcast.net
Thanks for all the info everyone!
Hey Drubin.

Yes, well be showing the Sason Ltd along with RSAD's Alethias! and Poiema!!! R-v3 cabling at RMAF. We'll likely be partnering with either UltraFi and / or Atma-Sphere.

We're confident we'll have at least an exceptional room and we're looking forward to seeing many of you there!


Musicfile, just curious what you (or others) thought of the Sasons compared to any Hansens (although all the Hansens are far more expensive). Thanks.
Haven't heard the Hansens, but concur with Musicfile. I've had my Sasons for over a year now, and I'm done with speakers. I hear speakers in other systems as I look for upgrades to my CDP, but I've never heard anything that even makes me wonder if "speaker x" would beat my Sasons.

I've tried for 5 years to get out to RMAF, and darn it, this year it's going to happen!
Thanks again for the encouraging info. Yep, everyone I contacted loves their Sasons.
Robert (Ridge Street Audio),

All these people's glowing reviews are very encouraging, but the question remains, is the Deer Urine™ tweak thrown in at that price or an extra cost item?

You can answer privately if the other guys didn't get the tweak, "Say no more, know whatahmean, nudge nudge?"
is the Deer Urine™ tweak thrown in...
You ever tried throwing dear urine? It doesn't work.

We did try using a DU™ filled fogger (like you see at concerts) with a strobe light in our music room to create an enhanced listening experience. With the strobe and DU fog it was just freaky wrong. I had to get the heck out of the room.

Well, I tried this a while back and it got dumped so...

I'll try it again. This is private - moderator review is forbidden. ;)

DU™ Blog

BTW, a CD I'm really enjoying the heck out of: Vaghissimo Ritratto


How critical is placement for the Sasons?
Do they need to be far out from the wall behind them
to prevent bass overload or congestion?
Or can they be 2-3 feet from that wall?
Or, if they need to be placed
further from the wall, is that necessary just to improve depth or other aspects of staging?

Can the bass-port adjustment feature compensate for
bass anomalies from non-ideal placement?

Also, how easy is it to move them around (with the sliders in place) to adjust their position with the speakers on
the sand-filled stands?

Also, although I understand that they reflect upstream components, would they be characterized as bright or
etched or fatiguing to any degree
(assuming that they are driven by good
equipment that is not inherently bright or aggressive)?

Thanks to anyone out there who has any experience with the Sasons for taking the time to reply.
Hello Rgs92.
Thanks to anyone out there who has any experience with the Sasons for taking the time to reply.

I have some experience with the Sasons ;) so I hope it's appropriate for me to help.

As written in our Owner's Manual, the Sasons require a minimum of 18" form the back wall. We like to recommend 36" or more from the side walls but one can get away very nicely with less depending on the toe in. Whether close or out from the back wall, the Sasons will get out of the way and disappear with the image predominately behind the plane of the Sasons.

This is fairly subjective but, as with any speaker, the closer to the back wall the more "compressed" the front to back layering will be. Still, in comparison to other speakers, better than most - all that I've heard.
Can the bass-port adjustment feature compensate for
bass anomalies from non-ideal placement?
Yes and it can be quite dramatic but it will not thoroughly compensate for all the benefits good room treatment will provide for a room that needs room treatment - i.e. most if not all rooms. Again, by comparison, I think you'll find the Sason much more fixable with it's bass tuning feature given the constraints of many domestic listening environments.
...how easy is it to move them around (with the sliders in place) to adjust their position with the speakers on
the sand-filled stands?
Very easy! We play Curling with our set sometimes - loads of fun that gives the Sasons that unexpected extra value! Just kidding. Seriously, they can be moved with one hand for fine tune adjustments. To move greater distances they move very easily with both hands directing.
...I understand that they reflect upstream components, would they be characterized as bright or
etched or fatiguing to any degree
(assuming that they are driven by good
equipment that is not inherently bright or aggressive)?
In my experience, speakers that become fatiguing suffer from a lack of cohesiveness. They tend to highlight one area or another in one way or another. Lots of things that can contribute to this. Among the many hallmarks of the Sason is it's cohesive presentation. It has one voice - not a chorus. If you've spoken to some of our owners, they've probably mentioned this.

Hope that helps Rg. I think we've talked on the phone but if you'd like, post me an email and I'll post you the Owner's Manual for you to review.


Do Sason owners feel that the speaker is fairly stable
sitting on its stand? Can it be bumped off its stand
easily? Do the cone-feet into the stand's indentations keep it steady? Thanks.

I've asked the same question to the Ridge Street Camp. They are great guys to talk to. They mentioned that the granite that is used in the body of these speakers are so solid and of course heavy..that it would take a lot to move them off their stands. The density and weight along with the spikes make them very tough to move around. As anything on stands or even floor standers pending what part of the room you have them set up, are subject to teen kids or large dogs horsing around the house and knocking one over.
OK, thanks for that. I've never had stand-mounted speakers before so I was unsure about what it would take to topple it off its stand. (No, I don't have kids or dogs running around.) I did have Watt Puppies, but the Watt is trapezoidal,
wider at the bottom, so it is inherently stable.
Rgs92 the speakers ain't budging when they are placed on to the stands
I had a similar concern with my 3 yr old running around

No problem there ...
Thanks Musicfile--that's just what I needed to know.
Would anyone care to comment on how the Sasons change during break-in? Is it more tonality (or some part of tonality),
spaciousness, transparency, coherence, or something else?
With my Kharmas, there was a pronounced buzziness in vocals that eventually disappeared, but it took quite a long time.
Is this true with the Ridgestreets?
Thank you again.
For me it was everything, especially coherence and tonality. I've never experienced a speaker going from a 4.5 to 5 (fair to average) to a near 10 in those 45 days (running 24/7). Steve will say I'm insane, but i experienced it and documented it in reviews (on these forums and others). Net/net, patience pays off! :)
Thanks Ted!
I wasn't a big believer in break-in until (years back) I got a new Pass X350 amp that suddenly turned my old Aerial 10Ts into
bass-heavy monsters, like a subwoofer-filled truck. I had to play the Pass for weeks until it calmed down.
Did anyone happen to hear them at RMAF?
I was curious about the same question RGS92. I had to cancel my trip to RMAF this year at the last minute but if i had have gone, the Sasons would have been on the top of my list to have a listened.
I was there. I will post my experience with the upgraded Sason on anothread.