Coincident total victory ii speakers
If you are not familiar with Coincident Speaker Technology or the Total Victory II in particular please see the manufacturer's website for its great info page, and see GOOGLE for many glowing reviews on this model from nearly all of the major audio zines. The natural cherry veneer is top quality and has a nice patina. This pair is in excellent condition with shipping cartons. Don't hesitate to contact me for more info, etc.
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The Room Reports
These two speakers are very similar in basic design philosophy, though their execution is quite different, mainly due to a decade's worth of improvements in dynamic driver technology. The PR is also unusually practical: It is flexible in the choice of both amplifiers and listening rooms.
Since I obviously don't change my personal references very often, I feel it is necessary to discuss my basic philosophy on speakers. This will include the long-term history, and evolution, of my personal speaker references, plus the specific and detailed reasons why the Coincident Pure Reference has achieved its current status.
Important Note- The first nine Parts of the below review were about the "original" Pure Reference, which came out in late The "Extreme" version came out in late Part Ten. It subsequently became my new "Reference". In spring , I "doubled up" the Extremes, and this became, and still is, my current "Reference" Part Eleven. I've personally owned let alone my former store countless speakers in the last 36 years. However, most came and went quickly, and it is only the speakers below that were my true primary speakers or "References".
The dates are as good as my memory can provide:. Details and Explanations: 1. I went back to the Quads in because the otherwise superior KLH Nines had buzzing wood frames and unreliable transformers. The Quad's front and back protective grilles were removed, the speaker raised 18" and the crossover capacitor was replaced. The CLS had a 9" taller frame, shorter internal wiring and improved passive parts. The WATT's two drivers and internal crossover were all replaced. At a quick glance, these six speakers appear to be very different from each other, but there is a basic design philosophy with two critical commonalties.
Since , the use of subwoofers to get the last octave and to also bi-amp and clean up the midrange. The subwoofers withstanding, all of the speakers were either one or two ways.
In practice then, my reference speakers were all, at least in design theory, relatively full-range and cohesive. When using more common terms, the goals of my two design priorities were very simple: 1. I wanted to hear all full-range of the music, and 2. Accordingly, it is now easy to understand why I have avoided, and even ignored, so many different speakers, from so many different companies including earlier Coincident models , no matter how excited other audiophiles felt about them. From my perspective, if the speakers didn't conform to my two basic design requirements, they were effectively irrelevant, because I knew, from decades of direct experience, that they could never satisfy me, no matter what other sonic strengths they possessed.
Of course, these six reference speakers also share actual performance attributes, especially compared to their many competitors: 1. They are all fast and detailed, particularly the electrostatics and ribbons in the midrange. They are all clean, with low distortion, particularly at low and medium volume levels. They are all relatively neutral, particularly the Quad, Wilson and Ars, though all of them have some colorations. They all have a low "sound-floor", with the Ars being the best of the bunch in this area.
They all have a "live" and "immediate" sound. They also have some noticeable problems, many of them which are shared: 1. None of them can play "really loud" or "blasting" , and the Quad is particularly limited in this area. The imaging capabilities are mixed, with only the Strathearn, Wilson and Ars being really good in this area.
Related to 1, they all compress the loudest dynamic swings, especially compared to the better horns. The subwoofers were difficult to integrate, especially with the dipoles, but I was very successful with the Wilson and Ars. Still, looking back over more than 35 years, I feel I made the right choices at the time, considering what was available.
I heard and tried out so many speakers; in my homes, in my store, at audio shows and in other audiophiles homes. I even had "hybrids" that I configured myself, but none of these innumerable speakers could satisfy me, in the long-term, as well as my above "references".
When assessing my personal "Evolution" , the most recent dynamic speakers had fewer noticeable problems; In general, while they retained almost all of the strengths of the earlier references; They were a little more neutral; with a lower sound-floor; with a larger soundstage along with superior image focus; had better subwoofer integration; and the ARS finally had the important and critical capability of being amplified with the finest, low-power SET models.
In practical terms; they drew less attention to themselves. So now the Coincident Pure Reference joins this ultra-tiny group, and these are the reasons why The PR is a simple two-way speaker, with a built-in subwoofer.
It is the most highly evolved example I've heard of this very specific genre of speakers. Why and how: The PR's parts, and its execution, elevate its performance to "outstanding".
This is in stark contrast to the numerous other speakers which also share its basic design, and yet mainly remain "mediocre", with the usual exceptions of "better or worse".
As for the details, I will begin by focusing on the two basic design fundamentals discussed above. First will be "Cohesiveness", which is, by far, the more difficult of the two to achieve. The PR's single midrange driver obviously eliminates the main problem of "hearing two different sources". However, there are still other potentially serious design problems to avoid, and most speakers fail at solving them.
These design challenges are: 1. The midrange to tweeter transition , 2. The midrange to sub woofer transition , 3. The more subtle problems of various, audible changes within the midrange itself to be discussed later in Part 2.
I spent many hours, particularly in Toronto, listening specifically for transitional problems. I used every musical LP test and hurdle I could think of strings, voices, woodwinds, piano, organ etc.
I eventually came to the conclusion, later verified by what I heard in my own system, that the Pure Reference is superior or equal to the finest speakers I've heard at each of these two transitions.
The Pure Reference equals each of these five speakers in their respective transitional strength. This accomplishment, excelling in both or all transitions, is unprecedented in my experience.
To be more specific This superiority was most noticeable with violins and sopranos. While the Ars is still excellent at this transition, the PR is as close to a single-driver as any two-way I've heard. The TVII, for its part, has two transitions in the midrange, which automatically disqualifies it. The Duo may work well with their Basshorns , but this solution entails both a huge monetary expenditure and highly unusual room requirements.
As for the Quad, I know of no one who has successfully mated a subwoofer with it, including myself, and I spent years at it. The Morrison goes pretty deep, and it's also fast, but it's also dynamically limited, presenting a unique matching challenge. Ironically, the better the performance of a particular speaker in the midrange especially in "speed" , the greater the challenge it is to match that same quality in the bass which will then help "hide" the transition.
That is why some speakers, like the Quad, are so fiendishly difficult to optimally transition with a subwoofer. In short then, the PR sounds more like a full-range one-way speaker "The Ideal" than any full-range two-way dynamic speaker I've ever heard, at any price with the Morrison coming in second.
In fact, the only speakers that have any advantages in "transitions" are a few dipoles with no transitions. However, as far as I know, none of these speakers is truly full-range, in the traditional, flat to 20 Hz sense of that term. Worse, virtually none of them are flat to 20 Khz either. The second design fundamental is being "full-range". This has not been a serious design challenge for many years, actually decades now.
It's mainly a matter of cost and proper execution, particularly for achieving the bass part of the equation 20 Hz. To again be specific: The Pure Reference goes as deep as any speaker I've heard the quality of the PR's bass will be discussed later.
The only speaker I'm aware of but haven't heard that can go truly and noticeably lower is the Eminent Technology Model 17 Subwoofer , which can not transition to a midrange driver. This makes it of academic interest only within this context.
As for the high frequencies, the Pure Reference is flat to beyond 20 Khz , and it sounds like it. It takes a true super-tweeter usually the finest ribbons , or the Acapella Ion Tweeter , to sound even more extended. Unfortunately, I have not heard any speaker using any of those advanced tweeters that did not have noticeable transition problems.
To summarize the above then, and by strict definition; The Pure Reference is the most cohesive of the truly full-range 20 Hz to 20 KHz speakers that I've heard. And now it's time to discuss all the standard and familiar performance requirements, and their related engineering challenges. They must be met, and overcome, before a speaker can be honestly described as "an outstanding reproducer".
Important Perspective- I may have given a misleading impression of my audio priorities, which must be dispelled:. Despite my intense focus on "Cohesiveness" and "Full-Range" in both "My Personal Speaker References" and the discussion above, these two parameters were not what I listened for when I first heard the Pure References in Toronto in October Before I get into the actual performance details, I must explain exactly what happened that first evening When arriving at Israel Blume's home, I thought I would be listening to the Total Reference , his new "flagship", which I had never heard.
To my great surprise, I saw a different speaker, which Blume had never told me about or even hinted at. So, for the next 6 hours or so, I listened to this "mystery speaker". Blume played CDs for the first 30 minutes as the system warmed up.
After that, he only played records, many of which were at my specific request. At that time, transitions never entered my mind. Instead, as I always do at first, I focused on "the basics": Neutrality, sound-floor, dynamics, immediacy, purity, image size and overall gut naturalness etc. I soon had an extra reason for doing so: A strong sense that I was hearing a speaker which had a combination of sonics strengths I had never experienced before.
I had to know, ASAP, whether my gut feeling was correct or not, which is why I was almost manic that evening in my musical requests. By the end of the night, I had satisfied myself that I had indeed heard something truly "special". Then, in the following days, along with confirmation, I made an intense focus 30 hours on what most people would consider subtleties, but experienced audiophiles know that it's those important details like obscure legal details in contracts that will make or kill the final deal.
So, after reversing my traditional order of focus within this essay, I want to finally concentrate on "The Audio Basics", and methodically compare the Pure Reference's performance to the best speakers I've ever heard, category by category. First up isn't much of a surprise
Coincident speakers
Forum Rules. Hello, My apologies I was checking it on a friends computer at the time--yes my mistake there is no Options. Anyway I'm happy all sorted. Tango music time Welcome to the AudioShark Forums.
University College Cork
We use cookies to help give you the best experience on our website. By continuing without changing your cookie settings, we assume you agree to this. Please read our cookie policy to find out more. A socialist republic is the application to agriculture, and industry; to the farm, the field, the workshop, of the democratic principle of the republican ideal. I first met James Connolly in the year on one of his visits to Belfast to engage in Socialist propaganda, soon after his return from America. I was at that time a member of the Independent Labour Party, which had many branches in the city of Belfast, and was actively engaged in Socialist propaganda work. I knew little of James Connolly and his work at this stage, as we were nurtured on the British brand of Socialist propaganda, and all the literature we read, as well as all our speakers were imported from Great Britain.
Coincident Speaker Technology Total Victory IV Floorstanding Speakers Review
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Coincident Technology Total Victory II
English Pages [] Year The sounds of music and the German language have played a significant role in the developing symbolism of the German nat. This book provides a true A to Z of recorded sound, from its inception to the present day, outlining how technologies, t. Born in Yorkshire, Delius resided i. Sound Reproduction 1.
Coincident Speaker Technology
LOG IN. Category: Speakers I will get right to the chase and proclaim the Coincident Total Victory as the best all around loudspeaker I have had the pleasure to seriously audition. What makes the speaker unique is: 1. Most good audio components excel in only one of the above noted areas. They either do the dynamics convincingly but fail with regards to the subtleties or they manage to capture the micro details but either do not have the bass capabilities nor the dynamic range necessary to accurately reproduce large scale music.
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Discussion in ' Audio Hardware ' started by motorcitydave , Jun 7, Log in or Sign up. Steve Hoffman Music Forums. Coincident speakers Discussion in ' Audio Hardware ' started by motorcitydave , Jun 7,
My listening room is definitely looking a lot like a high-end audio store these days, especially with the present speaker lineup I have in there. Talk about throwing a bunch of Alpha Dogs in the same dog run…. It uses a planar, isodynamic ribbon tweeter with a radiating surface three times as large as the ribbon used in the TV II. This is the same tweeter used in the discontinued Total Reference. These are the same woofers that are now used in the Pure Reference.
Although music and the emotion it conveys unfold over time, little is known about how listeners respond to shifts in musical emotions. A special technique in heavy metal music utilizes dramatic shifts between loud and soft passages. Loud passages are penetrated by distorted sounds conveying aggression, whereas soft passages are often characterized by a clean, calm singing voice and light accompaniment. The high-frequency power of heart rate variability HF-HRV was used to assess cardiac parasympathetic activity. The results showed that the soft passages of heavy metal songs and soft sea sounds expressed lower arousal and induced significantly higher HF-HRVs than the loud passages of heavy metal songs. Compared with soft sea sounds, the loud music passage led to greater deceleration of the heart rate at the beginning of the following soft music passage. The sea sounds delayed the heart rate acceleration evoked by the following loud music passage.
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It is the good idea.