I figured I'd post this here, as these speakers are a match made in Heaven with Decware amps.

I'm torn about selling these, because I love them so much. However, my audiophile curiosity has brought me to a new set of speakers, and I don't want to start a collection. So, here we are.

The front panels and rear stands are made of select solid cherry wood, and are cut with extreme precision. The aesthetic design tends to be divisive -- personally, I find them strikingly beautiful. I've taken the utmost care of these, always handing them with a 'velvet glove', so to speak. I've also always covered them in sheets (as pictured) when not in use. I got into this habit with every piece of gear I own. They've been in my studio, which is like a sanctuary -- pet free, smoke free, child free, low dust, very clean. I rated them an 8 due to age only.

The sound... I've never heard anything do what these do. In particular, they present a *very* deep and holographic image, with some sounds seemingly hundreds of feet in the distance, and others just a few feet from your face. They excelled at this beyond other single driver speakers I've heard, including Omega's own designs (Omega makes the drivers). This is a result of the properties of a well done tractrix horn, with ~9 feet of travel distance before exiting the rear of the speaker. It also presents a seemingly impossible lower frequency reach, along with bass nimbleness, tonal nuance, and seamless integration into the higher frequencies. This naturalness is hard to execute with multiple drivers, due to the complexity of crossover design and driver placement. The overlapping frequencies interfere and create comb filtering. Additionally, time coherency between the drivers will never be as aligned as with a single driver.

If you're a fan of simplicity, minimalism, 'less is more', and value extremely careful design instead of throwing more 'stuff' into the mix, these may be for you. In this spirit, they also do not have binding posts -- rather, they are designed to just have a direct connection to the amplifier, further eliminating variables and bottlenecks in the signal chain (jumps between different wiring, and multiple terminations and binding posts of differing metals).

On that point, I will include an 8 foot pair of Duelund DCA 12GA wire at my asking price, which are already soldered to the terminals. I will also include a pair of supertweeters, which I tried experimentally and decided they weren't necessary with this design. Lastly, I'll include a pair of Cardas CPBP binding posts (one of the best designs, in my opinion), in case you want to attach them somewhere on the speaker and have a more traditional binding post design.

These are very sensitive -- high 90s to low 100s dB; not only is there no crossover to add resistance, but there is also a rear loaded horn that further amplifies the signal, passively. With this in mind, the Charneys pair particularly well with low power tube amps, like a good single ended triode design using 45s, 2A3s, or 300Bs.

Due to the size of these, and the beautiful Cherry faces and intricate internal cabinetry, they are available for local pickup only. They're located in my studio about 20 miles above Syracuse, NY. I will, however, drive within a 100 mile radius of Syracuse to deliver them, or to help minimize someone's travel time.

$2500











plus size images free

Thanks! Ya, I'm rather attached to these -- not sure if I'll regret selling them in the future. Surprisingly, I think the aesthetics may be the main reason they aren't selling faster; there really is a strong love / hate split of opinions about the design. Then there is the added factor of the effort needed for a local pick-up...

@4krow - I'm deeply complimented. Thank you for writing this!

I preferred to run these without my subs, which is really saying something for a single pair of 6.5" drivers. The bass is fast and coherent, punchy, and well balanced with the rest of the spectrum. It requires a bit of speaker position tweaking, but when dialed in, these can reach into the low 30s / high 20s Hz.

My subs are Rythmiks, so no slouch there. I found that when they were on, I could get that deeper chest-thumping impact of the sub-sonic frequencies, say at 10Hz for example... However, there was too steep of a trade-off, especially when these frequencies are somewhat rare as a purposeful part of most recordings. With the subs, I could hear that there was interference in the 30-200Hz range, causing peaks and lulls, and taking away from that purity and top-to-bottom coherence of the Charneys when run on their own.