I wasn’t sure where to post (first), but since it includes an RL-3 question...
To begin, I'm now the proud owner of a pair of used Decware RL-3’s! I was also provided the opportunity to audition some of Decware’s products (thanks to Paul).
Here’s a rundown - if I get the ‘terminology’ wrong, chalk it up to ignorance. If the ‘audio component combination’, then to memory.
Aside from 4 speakers auditioned, various component combo's were used - including source media (standard CD, SACD, vinyl, and 180-200g vinyl), both Analog (a Teres turntable) and Digital players (Decware modified Sony); a cryo’d Zen Torii MKII amp (full up), 2 Decware mono blocks (model #?, full up) and a CSP2 (1/4 way up for digital, and 1/3 to 1/2 up for analog with the Torii); power conditioning; room treatments; and very-expensive-looking-bulky-silver-beeswax-cotton-based-connects.
The first speakers connected were the HDT MKII (mod)… very beautiful with the same ribbon on the Decware site (but with an aluminum housing). Most system combo's were sweet, very defined, having very good definition at all frequencies. Actually, this system was outright ballsy with the SPL around 107dB across most of the audible range. In the ‘sweet spot’ it was hard to converse, but the music didn’t seem loud. Both D & A sources were used; everything was detectably richer and more ‘open’ on the analog side. All in all, a real ear opener, so to speak.
The next set were standard HDT’s in MDF with DFR-8's: okay, somewhat ugly but amazing. The same A & D sources (and levels) were used. With the Torii in line I finally learned what holographic imaging means (with a track from Roger Water’s “Amused to Death”) – sound ‘moving to the side’ is something I’ve heard before, but behind me something entirely new. This caught me by surprise; and from only two active drivers. Who would have imagined? These speakers taught me how crappy sound can be with some sources… e.g. St. Germain’s ‘Tourist’ CD. All in all, bass was to my liking, the highs never-ending. These speakers made me wonder if I had made the wrong choice with the RL-3’s – but, reassuringly, they also told me that I’m probably not in the financial realm to feed them what they lust for – top end everything. Still… I must admit: very inviting.
Next, the HDT/DFR-8’s with mono's. Ok, I can finally see what the draw is towards low powered SETs. Everything was there, just not as much volume at the low end. After getting used to the ‘punch’ of the Torii, the music seemed a bit lacking (perhaps I should have started out with the SETs?). One recording that sounded great, was Narada's “Masters of Acoustic Guitar”. Waters’s stuff was impressive as well, but again - not as much so (as with the Torii). I think I'd love this combo when I want to listen to some favorite music late at night, not too loud.
RL-3’s… well, the RL-3’s were as I expected (based on reviews). Rich, melodic, and somewhat like my B&W 302’s, but with a hell of a lot more soundstage! Both A and D sources sounded great, though I’m sure crappy recordings would sound just that (but less than with the previous). These are a charm to listen to, though placement seemed important with imaging primarily affected. The same Water’s recording never did get ‘behind me’, though it extended off axis quite a ways (we didn’t have the time to correctly set these up though). What really stood out over either of the HDT’s was the transparency. The music just existed; something that did not occur with either HDT version. With those, I knew exactly where the sound originated. As well, I heard things with the RL-3’s that I hadn’t in the past, such as the drummer laying down his sticks at the end of one of the tracks in Deadman’s ‘Paramour’. Perhaps a coincidence with that track, but it was impressive. I did get a bit nervous when I heard some very HF distortion, but then realized it was the recording. We didn’t have time to hook these up to the Torii so my analysis on bass is lacking somewhat. Time will tell if they image as well as the previous – but that’ll have to wait; now they’re wrapped in plastic awaiting a suitable amp and a construction of a room to reside in.
The final audition was (I’m told) a ‘prototype upgrade of the RL-3’s’ – for dealers only. Taller, these sounded great as well and possibly a bit better than the RL-3’s (like apples and oranges since the Torii was used with them); just as transparent but with the same note on imaging – maybe setup is quite important with radials in general (though I haven’t heard the 1.5’s). Another impression is that they would do best in larger listening rooms, though, admittedly, I only have a limited listening experience.
Okay, my question: which set of terminals is the cap installed in? On my pair, the 0.47uF Kimbercap’s are in the upper right terminals – whereas the RL-3 owner’s manual have them in the left. Perhaps a prototype?
In any case, my hat’s off to Paul, who, over 9+ hours intro'd me to some of the terms in in the art of audio and Decware products. To his credit, it took about two days to ‘recover’ from the sheer volume of data and subsequent assimilation (my present system sounded like crap for 2-3 days as well). I’m sure we only scratched the surface. I’d also like to complement Steve and Bob for designing the most of the fine gear listened to (I’m told I now have some of Bob's old room treatments).
Next purchase - an amp for the radials