KLANGFILM

By Bill Gaw (Enjoy the Music)


"Best Horn sound has to be, believe it or not from a pair of theater speakers made by Siemens, a photo of which can also be found in Steve's article. 1960's vintage and taking up the entire wall of a huge room, they came close to the best reproduction I have gotten from my system (but not quite.)"

"The best sounding, as mentioned previously, was a 6x10' baffled pair of Siemen's Theater Horns which were being used to demonstrate a new turntable, the name of which I've since forgotten. Driven by Lamm SET $29,000 amps, they sounded superb, giving the most lifelike reproduction of an orchestra that I've heard at a show. Unhappily they haven't been built since the 60's, so are obviously unavailable unless someone is tearing down an old theater in your area. This is not so far fetched as you might think. There are many recently closed old theaters in small towns, run out of business by the Megaplexes that may be happy to sell you for a pittance their old horn speakers and tube electronics. Look around and let me know."

By Clement Perry (The Stereo Times)


"Damoka's David Karmeli room featured what only can be described as a blast fr om the past. The enormous Siemens Bionor open baffled horn loudspeakers (circa 1960) which, by the way were in mint condition, measured an amazing 6 feet high and a staggering 8 feet wide. While they took up most of the listening wall, they literally disappeared once the lights were set low, the gawkers got seated and the music started. After spending time in Tokyo covering the 2000 Singapore Show, I saw plenty of rooms sporting this very same type setup with a sound that was nothing like I've heard repeated here in the US. Single ended triodes and large horn-loaded loudspeakers are as common over there as Corn Flakes are here.

This system's analogue front end consisted of The American Sound Turntable weighing in at over 440 lb., featuring two SME 3012 tonearms, one using the Shelter 901 cartridge while the other was equipped with the vintage Autofon SEU Mono. The phono stage featured the Lamm LP2 ($6,900) which digital was fronted by the CEC TL-0 ($17,900) for the first day, until it broke from shipping. It fed zeros and ones into the new highly touted Weiss Medea dac ($10,000). The preamp was the Lamm L2 ($13,690) while all amplification was the Lamm ML2's $29,900). All cabling was by Strerovox.


Needless to say, physically, the sound of this room was purposely designed for discerning audiophiles who would not contemplate such a grand setup for themselves, but musically, fully appreciate it. This is art at its zenith. The sound was at once liquid and fluid. As big as this setup, it reproduced violin as delicate and harmonically truthful, with proper size, as one could ask. Congratulations to David Karmeli for reminding all of us what this is all aboutВ…the music."



By Greg Weaver (The Stereo Times)


One of the most fascinating rooms at T.H.E. Show, without question, was the Damoka room, wh ere David Karmeli had assembled one of, if not the, most lifelike sounding rooms I've ever heard under any conditions.

Using a pair of Siemens Bionor Loudspeakers, with a born on-date of January 1960, these enormous classic horns were celebrating their 43rd birthday! Given their age, there is no way to place a price on these six-foot tall, eight-foot wide antiques. Sources in the room were the $9,800 Weiss Medea D/A Converter or the $45,000 The American Sound Turntable with multiple SME 3012R tonearms and various carts. The phono stage was Vladimir "changed his last name to Lamm" Shushurin's $6,900 Lamm LP2 connected the $12,900 Lamm L2 Reference Line Stage which in turn fed a pair of the $29,900 ML2 SET Monoblocks. Connectivity throughout was provided by the new Stereovox Analog cabling, roughly $30,000 worth.

These super-sized historic horns are without question the least aggressive and most coherent horn speakers I've ever run across. Though most horns may offer lifelike dynamics, many other negative attributes, such as their general aggressiveness and discontinuous and nonlinear frequency balance, have conspired to keep me from ever finding a horn that I felt was truly an all-encompassing speaker. Well, it seems all I needed was a time machine, because these relics were the real deal. While one would expect quite a bit from gear with this kind of sticker price, that alone is never a guarantee of such solid, all-inclusive and integrated performance. This system may possibly be the most lifelike sounding electro-mechanical sound reproduction system I've ever heard!



The hard part was getting a seat in this room. Once someone sat down in the dozen or 14 odd chairs at the south end of the room, they tended to stay. I noticed that both Clark Johnsen (author of The Wood Effect) and recording engineer Stan Ricker were among the many who were slow to give up their seats in that room. I know I went back Monday morning, after CES had closed down but Mike's T.H.E. Show was still going, to get some quality time in front of this rig.


On a musical note, it was in this room that I was introduced to a recording from one of the most accomplished soloists on the doublebass, equally matched by its sonic splendor. The lyrical prowess Gary Karr displays over his 1611 Amati doublebass on The Spirit of Koussevitzky [VQR Digital VQR 2031] is unparalleled in my years of listening. The proficiency of this artist, and the emotion he wrings from this period instrument, approach genius, while the sonics are nothing short of superb. Track 12, Reinhold GliГ©re's "Prelude, Op. 32, No. 1," really highlights the tonal weight and full, aged body the instrument. This is a spectacular recording, and this system really allowed it to be recognized as such!


...

The significance of the experiences I describe from the last two rooms has given me much to rethink. While the electron luv/Cain & Cain/PranaWire room would have benefited greatly from greater clarity and detail in the highs and much more bass support, and the Siemens/Lamm room tended to create a slightly larger than lifelike soundstage, those experiences represent the first times in over 3 decades of listening to music through these silly toys that I ever had such revelatory experiences with tube driven horn loaded drivers.

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