Ohm Walsh Micro Talls: who's actually heard 'em?

Everybody,

I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)

I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...

Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more powerful, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the base much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear the notes are coming from a stringed instrument which is being plucked. It's wonderful!

I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes are on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at lease perceptually, how deep the day seems to go, but that these little tower speakers are really capable of "moving some air."

The other thing I noticed

Everybody,

I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)

I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...

Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more powerful, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the base much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear the notes are coming from a stringed instrument which is being plucked. It's wonderful!

I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes are on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at lease perceptually, how deep the day seems to go, but that these little tower speakers are really capable of "moving some air."

The other thing I noticed is how amazing the speakers are at imparting a sense of depth and presence when presenting well recorded live recordings.

For example, I was listening to a fairly new, James Taylor live CD called "One-Man Band." It was recorded in an old, historic theater somewhere in the Berkshires of Massachusetts.

It's really difficult to describe just how thrillingly these little speakers reproduce the sense that you are sitting in that theater, the performers arrayed in front of you on a stage. Yes, James Taylor's voice does sound miked, but far from being offensive, is actually pretty stunning, because it sounds the way a concert public address system would sound if you were sitting somewhere out in the audience. Furthermore, on one gorgeous performance, "My Traveling Star," Taylor is accompanied by a large choral group, singing harmonies. The sense, again, the members of the chorus standing mid-stage, with "air" and proper acoustic space surrounding them

Everybody,

I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)

I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...

Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more robust, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the bass much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear that the notes are coming from a stringed instrument which is being plucked. It's wonderful!

I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at least perceptually, how deep the bass seems to go, but that these little tower speakers are really capable of "moving some air."

The other thing I noticed is how amazing the speakers are at imparting a sense of depth and presence when presenting well recorded live recordings.

For example, I was listening to a fairly new, James Taylor live CD called "One-Man Band." It was recorded in an old, historic theater somewhere in the Berkshires of Massachusetts.

It's really difficult to describe just how thrillingly these little speakers reproduce the sense that you are sitting in that theater, the performers arrayed in front of you on a stage. Yes, James Taylor's voice does sound miked, but far from being offensive, is actually pretty stunning, because it sounds the way a concert public address system would sound if you were sitting somewhere out in the audience. Furthermore, on one gorgeous performance, "My Traveling Star," Taylor is accompanied by a large choral group, singing harmonies. The sense, again, of the members of the chorus standing mid-stage, with "air" and proper acoustic space surrounding them, is... well, it's "thrilling..." I just can't think of a better way to describe it.

I know this sounds rather trite, but the speakers make me want to take out all my old digital and final sources and "rediscover" them.

So far, in any case, I am a very happy camper.

I will continue to log my impressions as I have more time to listen.

Uh-oh, having some Web browser problems here. Sorry for the multiple versions of the post.

Yay, I'm not whacked (nuts), or if I am I'm not alone!

I'm thrilled that you are thrilled so far.