And here's a real beauty from the Tar Heel State --
The text accompanying this image as it appeared in my mailbox says, "These Feastrex D9nf (black yoke) drivers are wonderful in the Hedlund cabinets -- much better bass than I expected and detail is WOW ! They do so many things better than the Lowthers that it isnt funny! I had DX4 drivers previously and compared with the Feastrex drivers they sounded like they were broke. I love these drivers."
An externally hosted image should be here but it was not working when we last tested it.
The text accompanying this image as it appeared in my mailbox says, "These Feastrex D9nf (black yoke) drivers are wonderful in the Hedlund cabinets -- much better bass than I expected and detail is WOW ! They do so many things better than the Lowthers that it isnt funny! I had DX4 drivers previously and compared with the Feastrex drivers they sounded like they were broke. I love these drivers."
Chris.
Which D5e are shown with the WE205D amps - are those the Type 1 or type II or dare I say type III?. Is the box the 50l version that Teramoto is now recommending? Soemhow they seem bigger than 50L
Which D5e are shown with the WE205D amps - are those the Type 1 or type II or dare I say type III?. Is the box the 50l version that Teramoto is now recommending? Soemhow they seem bigger than 50L
BINGO! Very observant, ddriveman. That box IS larger than 50 liters. It is about 57 liters, as the depth has been increased by 3cm. Also the port is a bit larger and it has been moved down slightly lower. And Mr. Teramoto is thinking about making the box even a bit larger . . .
That field coil driver is a funky "one-off" cobbled together from various parts that where on hand. Grade-wise, it probably falls short of the Type I in terms of performance, but it is still a very fine driver.
-- Chris
P.S. Was the sound of that CD as you remembered the concert?
That field coil driver is a funky "one-off" cobbled together from various parts that where on hand. Grade-wise, it probably falls short of the Type I in terms of performance, but it is still a very fine driver.
-- Chris
P.S. Was the sound of that CD as you remembered the concert?
Chris,
Do you know the power output of the WE205D amps - <1Watt? Wonder if they could drive the D5e? Are they using 16ohm OPT?
I am now using a 71A SET amp (using EF86 pentode as drivers) to drive my D9e and they sound wonderful. The 71A is a nice tube but only 1 watt. But I am finding that I can play >90% of my music to very loud levels as compared to my 300B SET amps. Only the large scale orchestral works causes the amp to run out of steam at the loudest passages. Which seems to suggest to me that the D9e subjectively is > 98dB efficiency.
The Orchestra Libera CD was good and reminded me very well of the concert. However, it doesn't quite capture the magnificent ambience of the concert hall (at least in my CD system).
Do you know the power output of the WE205D amps - <1Watt? Wonder if they could drive the D5e? Are they using 16ohm OPT?
I am now using a 71A SET amp (using EF86 pentode as drivers) to drive my D9e and they sound wonderful. The 71A is a nice tube but only 1 watt. But I am finding that I can play >90% of my music to very loud levels as compared to my 300B SET amps. Only the large scale orchestral works causes the amp to run out of steam at the loudest passages. Which seems to suggest to me that the D9e subjectively is > 98dB efficiency.
The Orchestra Libera CD was good and reminded me very well of the concert. However, it doesn't quite capture the magnificent ambience of the concert hall (at least in my CD system).
You can get a PDF datasheet from Western Electric's website for the 205D here:
http://www.westernelectric.com/spec_sheets/205D.pdf
Depending on plate voltage, load impedance and idle current, power output shows as high 1400mw (1.4 watts). Overall specs are quite healthy and I would suspect you could get over 2-watts from it. But as the WE205D is very rare (hence amazingly expensive), you may want to think twice about this route. Having to find a replacement down the road could be even more difficult.
By contrast the 45 tube is still a great price/performer and will give you a solid 3dB additional headroom over the 71A. I'm using 45 amps with my D5NF drivers... but I'd like more power for higher SPLs. I suspect you could build a nice 45 (or 2A3) amp for less than a NOS pair of 205Ds. Just my $0.02.
Regards, KM
http://www.westernelectric.com/spec_sheets/205D.pdf
Depending on plate voltage, load impedance and idle current, power output shows as high 1400mw (1.4 watts). Overall specs are quite healthy and I would suspect you could get over 2-watts from it. But as the WE205D is very rare (hence amazingly expensive), you may want to think twice about this route. Having to find a replacement down the road could be even more difficult.
By contrast the 45 tube is still a great price/performer and will give you a solid 3dB additional headroom over the 71A. I'm using 45 amps with my D5NF drivers... but I'd like more power for higher SPLs. I suspect you could build a nice 45 (or 2A3) amp for less than a NOS pair of 205Ds. Just my $0.02.
Regards, KM
Here are some comments from my friend about his WE205D amplifier:
"The transformer is the Noguchi FM-6WS "Finemet" (nanocrystalline) core, primary 5k ohms and secondary 8/16 ohms. Output is 1% THD at 1 watt and clipping starts at 1.5W. The tubes are WE409A/WE717, WE205D; the rectifier is WE422/Others. The WE205D's operation is Ep=370V�AIp=25mA.
"In the past a very large quantity of WE205D tubes were imported to Japan from the USA; however, now the Chinese and Koreans are coming to Japan and buying them up."
"The transformer is the Noguchi FM-6WS "Finemet" (nanocrystalline) core, primary 5k ohms and secondary 8/16 ohms. Output is 1% THD at 1 watt and clipping starts at 1.5W. The tubes are WE409A/WE717, WE205D; the rectifier is WE422/Others. The WE205D's operation is Ep=370V�AIp=25mA.
"In the past a very large quantity of WE205D tubes were imported to Japan from the USA; however, now the Chinese and Koreans are coming to Japan and buying them up."
tj full music 205D
TJ FULL MUSIC is making reissue of 205D tubes.
You can buy a pair for around 250$.
TJ FULL MUSIC tube are handmade and of high quality.
So this could be an alternative to GE 205 D ... Although I never had a chance to hear TJ FULL MUSIC 205D....
Btw what about the sound of those GE 205D ? Is this different that 2A3 or 45 ?
TJ FULL MUSIC is making reissue of 205D tubes.
You can buy a pair for around 250$.
TJ FULL MUSIC tube are handmade and of high quality.
So this could be an alternative to GE 205 D ... Although I never had a chance to hear TJ FULL MUSIC 205D....
Btw what about the sound of those GE 205D ? Is this different that 2A3 or 45 ?
I've not had any experience with the TJ tubes but picked up a pair of Czech EML45 solid plates last year. They are expensive, well made, exceptionally large and butt-ugly overall. They do spec well, are provided in close matched pairs and nicely packaged.
The down side for was:
1- You really need to run them hotter than a standard 45 to get them sounding well
2- hum balance was great on tube, not so great on it's match
3- amazingly sensitive to any mechanical noise that's near them (even music)
4- sonically, they simply don't deliver like good NOS ST-glass 45s
As much as I tried to like them, I kept going back to my NOS stash of 45s, hands down they always won. While I could probably deal with most of the above, the sensitivity to mechanical noise was too much... a simple handclap would set them off, as would a gentle tap with your fingernail on the chassis. They also resonanted severely at certain frequencies, even whistling would do it.
As a result, I'm hesitant to buy any new production tubes... I lived with early disasters on chinese-made KT88s in the late 80's... literally had more than 80% rejects as new, had most of the 20% fail within 100 hours and abandoned them completely. I'm sure it's gotten better but I don't see real tube quality ever coming back to what we took for granted 4-5 decades ago.
Regards, KM
The down side for was:
1- You really need to run them hotter than a standard 45 to get them sounding well
2- hum balance was great on tube, not so great on it's match
3- amazingly sensitive to any mechanical noise that's near them (even music)
4- sonically, they simply don't deliver like good NOS ST-glass 45s
As much as I tried to like them, I kept going back to my NOS stash of 45s, hands down they always won. While I could probably deal with most of the above, the sensitivity to mechanical noise was too much... a simple handclap would set them off, as would a gentle tap with your fingernail on the chassis. They also resonanted severely at certain frequencies, even whistling would do it.
As a result, I'm hesitant to buy any new production tubes... I lived with early disasters on chinese-made KT88s in the late 80's... literally had more than 80% rejects as new, had most of the 20% fail within 100 hours and abandoned them completely. I'm sure it's gotten better but I don't see real tube quality ever coming back to what we took for granted 4-5 decades ago.
Regards, KM
I added a bit more about my friends WE205D amplifier over here:
http://www.diyaudio.com/forums/showthread.php?postid=1467634#post1467634
-- Chris
http://www.diyaudio.com/forums/showthread.php?postid=1467634#post1467634
-- Chris
cdwitmer said:Here are some comments from my friend about his WE205D amplifier:
"The transformer is the Noguchi FM-6WS "Finemet" (nanocrystalline) core, primary 5k ohms and secondary 8/16 ohms. Output is 1% THD at 1 watt and clipping starts at 1.5W. The tubes are WE409A/WE717, WE205D; the rectifier is WE422/Others. The WE205D's operation is Ep=370V�AIp=25mA.
"In the past a very large quantity of WE205D tubes were imported to Japan from the USA; however, now the Chinese and Koreans are coming to Japan and buying them up."
Chris,
Very well executed. I like the socket adaptors to try different pentode drivers.
How about a schematic?
Regards,
-- josé k.
Jose, where abouts are you in south florida? I'm in Boynton...
and agreed... he did a nice job on the 205D amp, nice transformers... the power is almost identical in construction/shielding to the Hashimotos I use.
Regards, KM
and agreed... he did a nice job on the 205D amp, nice transformers... the power is almost identical in construction/shielding to the Hashimotos I use.
Regards, KM
Everything Matters
I am a firm believer in "everything matters" when it comes to audio. Having Feastrex drivers in your system means that everything matters that much more, as they can deliver anything that is put before them. That is especially so with the D5e Type II, and that lesson was brought home firmly and unequivocally to me this evening when I substituted the stock power cable provided with the D5e's power supply with one of my own design. This is a 10 gauge copper twisted pair design with some new noise absorbing material that I am trying out.
To say that I am bowled over would be an understatement. Probably everything I say about the D5e is an understatement. With the new power connection in place, the D5e redefines clarity, delicacy and power. The difference is as big as going to a new model driver, which simply means that the D5e is better than I could have imagined.
Somebody, pick me up off the floor!
You are all welcome to come hear this phenomenon.
Joe C.
I am a firm believer in "everything matters" when it comes to audio. Having Feastrex drivers in your system means that everything matters that much more, as they can deliver anything that is put before them. That is especially so with the D5e Type II, and that lesson was brought home firmly and unequivocally to me this evening when I substituted the stock power cable provided with the D5e's power supply with one of my own design. This is a 10 gauge copper twisted pair design with some new noise absorbing material that I am trying out.
An externally hosted image should be here but it was not working when we last tested it.
To say that I am bowled over would be an understatement. Probably everything I say about the D5e is an understatement. With the new power connection in place, the D5e redefines clarity, delicacy and power. The difference is as big as going to a new model driver, which simply means that the D5e is better than I could have imagined.
An externally hosted image should be here but it was not working when we last tested it.
Somebody, pick me up off the floor!
You are all welcome to come hear this phenomenon.
Joe C.
I'm not surprised to discover that there are a lot of surprises in store with the Feastrex field coil drivers. Amazing things happen . . . for example, try increasing the voltage past the 17-something volts that you're likely inputting now . . . they have been doing experiments with voltage as high as 24V. The gauss meter doesn't show any more change, but the sound continues to change. Don't ask me why . . . there are still some very interesting things hidden in those field coil drivers.
Okay, here is my translation of a local Japanese user's "first impressions" of his Dimension 5nf loudspeakers . . .
The other day I purchased a pair of Feastrex Dimension 5nf loudspeakers (the version using the 30-liter 3-port enclosure) and after a week of use they seem to have settled down somewhat, so I thought I'd share my impressions.
My very first impression was that the sound is quite a bit different from what you might expect from their appearance. Up until now all the double cone fullranges in my experience had tended to suffer from sonic quirkiness due to their whizzer cones. However, these drivers' whizzer cones suffered from no such problem.
In online discussions I had frequently read people conjecturing that the sound was likely similar to that of Lowther, due to the generally similar appearance. However, the sound of the two brands is totally different. In the past I used the Lowther PM-6 for about one year, and although it is really outstanding in conveying the dynamics of instruments with steep transients, like the piano or drums, the sound has a dry, raspy aspect that handicaps it in giving full expression to instruments such as the saxophone or the human voice. As a result I eventually divested the Lowthers. In contrast to my parched old Lowthers, the sound from my Dimension 5nf loudspeakers is moist and lush, and saxophone and vocals sound very pleasing through them. And their high efficiency also makes them very good at reproducing highly percussive instruments with steep transients. Whereas Lowthers seem almost to make a point of drawing attention to their raw speed, the Feastrex drivers seem to be more natural in their presentation.
At first hearing, the speakers had a bit of a "papery" sound to them, but after one week that is entirely gone. I'm constantly switching back and forth between the Feastrex loudspeakers and the bookshelf speakers that I have been using up until now, so I don't think it is simply a case of my having grown accustomed to the idiosyncrasies of a new loudspeaker.
I would describe the tonal character as lithesome and bright, without anything that grates on the ears. They convey a lot of detail, and you seem to be getting more of the "atmosphere" that floats around the music, and the reflected afterglow of each note, so the entire performance becomes richer and livelier. Listening is simply more fun. The sound of the piano is "fat" and has presence, and is free from any hard emphasis. The pleasant tones of relaxed, unconstrained horns and wind instruments easily penetrate through to the listener's heart.
Because of their bright character, it perhaps comes as no surprise but I found these speakers less adept at expressing the darkness and muddiness that some music calls for.
These speakers have a huge soundstage -- you'd never think this much sound could come out of 12cm drivers -- and thanks to the small size of the drivers, the sound image localization is superb. This is something that no multi-way loudspeaker using large drivers can imitate.
At the same time, I think there are also limitations on what one can expect of 12cm drivers. Both the extreme low end and the extreme high end seem to be slightly lacking in sheer energy. However, what they do have in those extreme regions is of very pleasing quality. The bass is not massive, but it does seem to reach quite low. I suppose that one could have designed the loudspeaker to pack more punch in the upper bass region, thus creating the false impression (as many bookshelf speakers do) that they have a lot of bass, but what Feastrex has created with this loudspeaker is more honest, balanced, and of better quality.
It should also be pointed out that I'm using a digital amplifier plus impedance matching transformers (chosen on account of the 16-ohm impedance of the Feastrex drivers) but it occurs to me that perhaps this enclosure was developed with a tube amplifier that has a lower damping factor than that of my amplifier. I am seriously considering dusting off my tube amplifier, tuning it up and trying it with these loudspeakers.
My feeling about the highest frequencies corresponds to what I have written about the lowest; perhaps a bit lacking in energy but silky smooth and very delicate. I'm a big jazz fan and I might like more of a metallic sound in my high treble, but I'm considering the possibility of trying the optional bronze phase plugs to see if that makes a difference.
At first I thought of using a subwoofer or tweeter together with these drivers, but it seems a shame to give up either the fine quality of either their bass or their treble, and I suspect that judicious use of a graphic equalizer might scratch where I itch in just the right way.
I listen mostly to jazz but I did listen to some classical chamber music (wind quartet) and found the sound of the flute and the bassoon to be extremely pleasing. I still have not gotten around to listening to large orchestral works.
After getting used to the higher efficiency of these speakers, it is hard to go back to my previous lower efficiency bookshelf speakers. The bookshelf speakers sound compressed, flat, and two-dimensional in comparison.
In conclusion, these speakers make listening to music more fun. They are not large loudspeakers by any means, but the sound they produce has a very large scale, far beyond what you would expect from their size.
Those are my first impressions, and it should be kept in mind that only a week has passed since I started using them.
[Chris' observations: 1) The reviewer's 30-liter 3-port Feastrex enclosure is quite nice but the more recently developed MLTL type enclosure of about 50 liters (or larger) is probably easier to use -- although I don't mean to imply that their MLTL enclosure is the "ultimate": it is entirely possible that even nicer enclosure designs might be possible. 2) The reviewer reports that his drivers seem to have settled down after about a week of use, but little does he realize that their sound will continue to improve for a very long time to come. This is especially true for the highest frequencies. I think over time he will come to feel that his units deliver plenty of energy in the highest frequencies.]
The other day I purchased a pair of Feastrex Dimension 5nf loudspeakers (the version using the 30-liter 3-port enclosure) and after a week of use they seem to have settled down somewhat, so I thought I'd share my impressions.
My very first impression was that the sound is quite a bit different from what you might expect from their appearance. Up until now all the double cone fullranges in my experience had tended to suffer from sonic quirkiness due to their whizzer cones. However, these drivers' whizzer cones suffered from no such problem.
In online discussions I had frequently read people conjecturing that the sound was likely similar to that of Lowther, due to the generally similar appearance. However, the sound of the two brands is totally different. In the past I used the Lowther PM-6 for about one year, and although it is really outstanding in conveying the dynamics of instruments with steep transients, like the piano or drums, the sound has a dry, raspy aspect that handicaps it in giving full expression to instruments such as the saxophone or the human voice. As a result I eventually divested the Lowthers. In contrast to my parched old Lowthers, the sound from my Dimension 5nf loudspeakers is moist and lush, and saxophone and vocals sound very pleasing through them. And their high efficiency also makes them very good at reproducing highly percussive instruments with steep transients. Whereas Lowthers seem almost to make a point of drawing attention to their raw speed, the Feastrex drivers seem to be more natural in their presentation.
At first hearing, the speakers had a bit of a "papery" sound to them, but after one week that is entirely gone. I'm constantly switching back and forth between the Feastrex loudspeakers and the bookshelf speakers that I have been using up until now, so I don't think it is simply a case of my having grown accustomed to the idiosyncrasies of a new loudspeaker.
I would describe the tonal character as lithesome and bright, without anything that grates on the ears. They convey a lot of detail, and you seem to be getting more of the "atmosphere" that floats around the music, and the reflected afterglow of each note, so the entire performance becomes richer and livelier. Listening is simply more fun. The sound of the piano is "fat" and has presence, and is free from any hard emphasis. The pleasant tones of relaxed, unconstrained horns and wind instruments easily penetrate through to the listener's heart.
Because of their bright character, it perhaps comes as no surprise but I found these speakers less adept at expressing the darkness and muddiness that some music calls for.
These speakers have a huge soundstage -- you'd never think this much sound could come out of 12cm drivers -- and thanks to the small size of the drivers, the sound image localization is superb. This is something that no multi-way loudspeaker using large drivers can imitate.
At the same time, I think there are also limitations on what one can expect of 12cm drivers. Both the extreme low end and the extreme high end seem to be slightly lacking in sheer energy. However, what they do have in those extreme regions is of very pleasing quality. The bass is not massive, but it does seem to reach quite low. I suppose that one could have designed the loudspeaker to pack more punch in the upper bass region, thus creating the false impression (as many bookshelf speakers do) that they have a lot of bass, but what Feastrex has created with this loudspeaker is more honest, balanced, and of better quality.
It should also be pointed out that I'm using a digital amplifier plus impedance matching transformers (chosen on account of the 16-ohm impedance of the Feastrex drivers) but it occurs to me that perhaps this enclosure was developed with a tube amplifier that has a lower damping factor than that of my amplifier. I am seriously considering dusting off my tube amplifier, tuning it up and trying it with these loudspeakers.
My feeling about the highest frequencies corresponds to what I have written about the lowest; perhaps a bit lacking in energy but silky smooth and very delicate. I'm a big jazz fan and I might like more of a metallic sound in my high treble, but I'm considering the possibility of trying the optional bronze phase plugs to see if that makes a difference.
At first I thought of using a subwoofer or tweeter together with these drivers, but it seems a shame to give up either the fine quality of either their bass or their treble, and I suspect that judicious use of a graphic equalizer might scratch where I itch in just the right way.
I listen mostly to jazz but I did listen to some classical chamber music (wind quartet) and found the sound of the flute and the bassoon to be extremely pleasing. I still have not gotten around to listening to large orchestral works.
After getting used to the higher efficiency of these speakers, it is hard to go back to my previous lower efficiency bookshelf speakers. The bookshelf speakers sound compressed, flat, and two-dimensional in comparison.
In conclusion, these speakers make listening to music more fun. They are not large loudspeakers by any means, but the sound they produce has a very large scale, far beyond what you would expect from their size.
Those are my first impressions, and it should be kept in mind that only a week has passed since I started using them.
[Chris' observations: 1) The reviewer's 30-liter 3-port Feastrex enclosure is quite nice but the more recently developed MLTL type enclosure of about 50 liters (or larger) is probably easier to use -- although I don't mean to imply that their MLTL enclosure is the "ultimate": it is entirely possible that even nicer enclosure designs might be possible. 2) The reviewer reports that his drivers seem to have settled down after about a week of use, but little does he realize that their sound will continue to improve for a very long time to come. This is especially true for the highest frequencies. I think over time he will come to feel that his units deliver plenty of energy in the highest frequencies.]
>Because of their bright character,
>it perhaps comes as no surprise
>but I found these speakers less
>adept at expressing the darkness
>and muddiness that some music calls for.
Ya Mon ! 🙂
>it perhaps comes as no surprise
>but I found these speakers less
>adept at expressing the darkness
>and muddiness that some music calls for.
Ya Mon ! 🙂
Freddy & friends, now see what you've started --
The enclosure shown above that appears to be a BLH is not; it is a good deal closer in its conception to the Freddy than to a BLH. However, it appears that the chamber behind the driver is larger than that of Freddy, and, as you can see, where Freddy has a straight diagonal, this enclosure has a curved "scoop" shape coming down. I am pretty sure the slit is larger than Freddy’s, and in addition to that I believe another port or two has been opened on the bottom of the chamber. I have not heard this enclosure but apparently it makes "bass like you wouldn't believe." It is just one experiment . . .
I heard something interesting about how Feastrex's enclosure maker checks his enclosure designs, and I'm curious to know if anyone has done anything similar or knows of anyone doing anything similar. Apparently he pumps compressed air into the enclosure from where the driver will be mounted and he listens to the sound of the air coming out of the enclosure. Apparently this tells him a lot about how the enclosure is behaving. I’m sure I could do something like that and it would tell me nothing, because of my complete lack of experience. But apparently if you have a lot of experience and know what you are doing, it can be a useful step in building an enclosure! Does this ring any bells?
-- Chris
The enclosure shown above that appears to be a BLH is not; it is a good deal closer in its conception to the Freddy than to a BLH. However, it appears that the chamber behind the driver is larger than that of Freddy, and, as you can see, where Freddy has a straight diagonal, this enclosure has a curved "scoop" shape coming down. I am pretty sure the slit is larger than Freddy’s, and in addition to that I believe another port or two has been opened on the bottom of the chamber. I have not heard this enclosure but apparently it makes "bass like you wouldn't believe." It is just one experiment . . .
I heard something interesting about how Feastrex's enclosure maker checks his enclosure designs, and I'm curious to know if anyone has done anything similar or knows of anyone doing anything similar. Apparently he pumps compressed air into the enclosure from where the driver will be mounted and he listens to the sound of the air coming out of the enclosure. Apparently this tells him a lot about how the enclosure is behaving. I’m sure I could do something like that and it would tell me nothing, because of my complete lack of experience. But apparently if you have a lot of experience and know what you are doing, it can be a useful step in building an enclosure! Does this ring any bells?
-- Chris
Call 911
It isn't enough that a speaker gives you a simulation of an event. An illusion is insufficient. The image must have teeth. It must bite into you and take hold and let you know that it is no less real than "real".
One way to find out if your real is "real" is to throw something so complex, so demanding and overwhelming that the speaker is either going to loose it or it's going to give you more than you bargained for. One such recording is Karma Moffet's 'Golden Bowls'
I knew Karma Moffet casually in my Tibetan Buddhist days, and attended one or two of his concerts, but there is no better way to experience these bowls than through a great system.
Warning D5e rant starts here: This recording will throw off most loudspeakers in one way or another. The waves of overtones emanating from these bells, wash over one another with enormous complexity. At the same time the bass emanating from some of the bells is like a bass drum that doesn't stop. On the other end the clarity of the strike on the higher pitched bells is extremely vivid and precisely placed. I'd heard this recording on the D9e and thought it was stupendous. I did not expect the D5e to reproduce all of the bass that the 9 did (and more?). That's not possible, right? O.k., I'm going on memory here, but I am again flabbergasted. I don't know if this is good for my health. I may be loosing my mind. Mr. Teramoto has "poisoned" me, and there's no known antidote.
It isn't enough that a speaker gives you a simulation of an event. An illusion is insufficient. The image must have teeth. It must bite into you and take hold and let you know that it is no less real than "real".
One way to find out if your real is "real" is to throw something so complex, so demanding and overwhelming that the speaker is either going to loose it or it's going to give you more than you bargained for. One such recording is Karma Moffet's 'Golden Bowls'
An externally hosted image should be here but it was not working when we last tested it.
I knew Karma Moffet casually in my Tibetan Buddhist days, and attended one or two of his concerts, but there is no better way to experience these bowls than through a great system.
Warning D5e rant starts here: This recording will throw off most loudspeakers in one way or another. The waves of overtones emanating from these bells, wash over one another with enormous complexity. At the same time the bass emanating from some of the bells is like a bass drum that doesn't stop. On the other end the clarity of the strike on the higher pitched bells is extremely vivid and precisely placed. I'd heard this recording on the D9e and thought it was stupendous. I did not expect the D5e to reproduce all of the bass that the 9 did (and more?). That's not possible, right? O.k., I'm going on memory here, but I am again flabbergasted. I don't know if this is good for my health. I may be loosing my mind. Mr. Teramoto has "poisoned" me, and there's no known antidote.
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