Alta Audio Alyssa loudspeaker Jim Austin December 2020

Jim Austin reviewed the Alta Audio Alyssa in December 2020 (Vol.43 No.12):

At first look, our November 2020 review of the standmount loudspeaker ($5000/pair) from Alta Audio appeared to be a thorough vindication of the Stereophile method of reviewing, combining measurements with a subjective listening journal. John Atkinson's measurements were generally fine, but he uncovered "strong discontinuities in the impedance traces at 174Hz and 291Hz [that] imply the presence of resonances." (See fig.1 below). They could only be internal airspace resonances, since he found the Alyssa's cabinet to be admirably inert.

Fig.1 Alta Alyssa with port open, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.).

Nearfield measurements of the port and woofer showed response peaks close to those same frequencies. The sonic and musical effects of such resonances would at worst be modest, but they could be audible; in fact, John predicted that they would be. "I would expect this behavior to color the sound of male vocals," John concluded.

Independently—Stereophile reviewers don't see measurements until after their review is submitted—Herb Reichert reported "a vexing lack of focus in the lower midrange and upper bass." It was especially noticeable in male vocals, including two tracks he auditioned from Ry Cooder's album Jazz.

Herb wondered, "Was it the speakers I was hearing or their interactions with the room and my amplifiers?" Because of his room's modest dimensions, Herb avoids speakers he thinks might overload it. He reviews almost exclusively standmounts, smaller floorstanders, plus the odd smaller Magnepan. The Alyssas are standmounts, but they go deeper than is usual for standmounts of their size and weight. "In a larger space, with lower levels of reflected bass energies, the Alyssas would, perhaps, present themselves with a more balanced tone and sharper lower-midrange focus. Perhaps another Stereophile reviewer can audition these speakers in a larger room." I decided to try to answer Herb's conjecture.

My room isn't perfect (footnote 1), but it's big, and I've rarely had any serious problems with room interactions—just the usual bass modes, and here they're reasonably tame and well-spaced.

Based on conversations we've had, I would describe Mike Levy, Alta Audio's CEO and chief speaker guy, as an intuitive designer who prioritizes what he hears over design orthodoxy. An example: He doesn't believe in stuffing his speakers with lots of sound-absorbing foam, which can lower the Q and hence the level of internal resonances but only, he believes, at the cost of musical realism.

The conventional wisdom about low bass, here at Stereophile at least, is that it's nice but not essential. Levy disagrees. To him, low bass is a necessary foundation for music. So, when he set out to design a small standmount loudspeaker, producing low bass was a necessary design goal. His solution was to combine two ideas that usually are employed separately: bass reflex and transmission line, putting a longish, skinnyish port tube at the end of a folded pathway. Conventionally, transmission lines are stuffed to soak up resonances—but as I already wrote, Levy doesn't like stuffing. The result is what you might expect: John's measurements found both an unusually low port-tuning frequency for a speaker of this volume—32Hz—and the aforementioned internal resonances. That's a fine tradeoff if the resonances are inaudible or sonically unimportant. But in that case, what was Herb, who has an exceptional ear for reproduced music, hearing? My job was to evaluate the audibility of those upper-bass/lower-midrange airspace resonances and figure out what was causing the lack of focus Herb heard (footnote 2).

Here, I must interrupt this narrative with an odd, ironic twist. After the original Alyssa review had gone to press, Levy discovered that the stuffing had been left out of the Altas' ports. He delivered the Alyssas to me, for this follow-up review, with the ports stuffed. Indeed, they arrived here stuffed quite tightly—tightly enough that the Alyssa was essentially a sealed-box speaker with, it seemed to me, significantly reduced low-frequency extension (see fig.2). I'll come back to this point at the end of this followup review.

Fig.2 Alta Alyssa with port blocked, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.).

I started my investigations with the Alyssas still in their boxes by listening to some test tracks on my main system, which currently (for a few more weeks) features the full-range Magico M2 loudspeakers, which were just named Stereophile's 2020 Loudspeaker of the Year. I also listened, several times, to the two Ry Cooder tracks that Herb used to audition the Alyssas. I wanted to commit to memory how those tracks and that music sounded in my room with speakers I was used to.

I took one of the Alyssas out of its box, left the port stuffed, installed the spikes, and put it on a stand in the middle of the room—a trivial task because the Alyssas are blessedly small and light.

Let's return briefly to JA's measurements. Those previously mentioned nearfield measurements found a sharp dip around 170Hz, a sharp peak just below 200Hz, and a sharp dip and peak together right at 300Hz. Musically, all those frequencies fall between musical notes. Being sharp and narrow and between the notes should make them musically less important.

Not long ago, I found, on Tidal, an album I often listen to while partying down on Friday nights: Ellen Johnson's The Vocal Warm Up CD/Male High and Low Voice (Vocal Visions, Cat. # unknown). Of course I'm kidding about Friday nights and partying down, but this recording is useful in situations like this. I played the "Chromatic Scale" track, on which a male voice and piano sing and play, together and separately, all the half-steps from the C below middle-C (130.81Hz) up through middle-C (261.63Hz)—the range where all but the highest of those nearfield-measurement features occur. I listened both from my listening chair and from directly in front of the Alyssa's mid/woofer, being careful to keep my head still. I heard no noticeable changes in volume and no audible artifacts. Which means that music will likely not be affected by those volume changes, as long as the musicians sing and play in tune.

Next, I loaded up a signal-generator app on my MacBook Pro (AudioTest v2.2, Katsura Shareware) and created a 20-second sinewave frequency sweep from 100Hz to 350Hz. I planted myself directly in front of the mid/woofer, so that I could be sure that whatever I heard would be characteristic mainly of that driver (as employed in the Alyssa) and not of the room. I played the sweep several times, loud, again keeping my head still. I heard some easily audible volume changes over quite small frequency steps, which could well correspond to those details in this range in JA's quasi-anechoic measurements—but, again, I could hear none of this in that chromatic scale. I also heard no distortions or extraneous sounds that might correspond to what John's measurements showed or be responsible for what Herb heard. (It must be remembered, however, that the Alyssas I auditioned had been modified with the addition of those port plugs.)

So far, the Alyssas were acquitting themselves well, but most real music is more complex than either sinewave tones or a male vocalist and piano singing and playing chromatic scales. I pulled out the second Alta Alyssa, installed its spikes, and placed it on its stand. I moved the heavy Magico M2s out of the room so as to avoid intra-loudspeaker interactions.

I listened to those generator tones again with the second speaker—no issues—and then put on those two Ry Cooder tracks—one at a time of course.

Herb had been "instantly impressed by the tone, dense, bas-relief textures, and vibrant life of the upper midrange and highs. Ry Cooder's familiar voice was enjoyably natural in tone." But "there was some blurring and loss of intelligibility at the lower end of his vocal range," Herb continued. "In my room, with this Rogue tube amp and this recording, the Alyssas exhibited a vexing lack of focus in the lower midrange and upper bass."

I concur with Herb's comments about the upper midrange and highs: The guitar, for example, on "Nobody," sounded great. In the upper bass and lower treble, I heard, well, not much—nothing specific that would obscure clarity or cause a loss of focus. However, it did seem to me that the Alyssa's particular tuning emphasized higher sounds, like those of the guitar, which seemed articulate and oh, so present, while Cooder's vocal, though fully there, was less distinct, pushed back in the mix a little. I noticed something similar on other sounds and notes from, let's say, about middle-C on down. This, the Alyssas' particular tuning, lent the music a fine sense of openness and space.

The Alyssas imaged very well, the soundstage extending well beyond the loudspeakers themselves, with good depth, and didn't collapse when I moved off-center. That frequency balance accentuates the physical sense of space produced by this imaging, making the soundstage seem open and airy. (If Levy speakers have a signature character, it's in the way those upper-mid frequencies seem to map out the sonic space in fine detail.)

It's time to return to the question of the stuffing in the ports, which was missing when Herb auditioned the speakers and when John measured them, but which had been added before they were delivered to me.

I found the bass in the speakers as delivered to be reasonably satisfying; the Alyssas followed the bass line well and avoided one-note bass, and the depth and quantity of bass was fine. Then I went to the kitchen, found a pair of tongs, and pulled the stuffing out. I experimented with the amount of stuffing: half as much as delivered, then a quarter, then no stuffing at all.

I found the low-bass reach and the quantity and quality of the low frequencies superior without any stuffing. Even a quarter as much as they were delivered with reduced their bass impact considerably—I'm tempted to say dramatically. (I corroborated this with pink-noise measurements.) Also, with the wool in place, the Alyssas' bass sounded, well, woolier.

In my judgment, the Alyssas are better speakers with no wool in the ports, which is how they were auditioned and tested.

I approached this follow-up analytically, aiming to determine whether those airspace resonances are audible. My conclusion: They aren't, or anyway, I can't hear them, except as modest volume changes in a slow frequency sweep.

I didn't go into this follow-up review asking myself how the music sounds via the Alyssas. But before I was done, I found myself enjoying the music. The Alyssas imaged very well and created a fine, detailed sense of space. With the stuffing removed from the ports, the bass was excellent for a speaker this size—although, ironically, given their designer's tastes and their impressive (wool-free) bass extension, they are at their best with female voices and higher instruments.

In the end, I couldn't put my finger on what Herb heard as a lack of focus in the upper bass and lower mids, unless it was what I heard as the relative accentuation of higher mids and treble. Or perhaps it was his room after all. In any case, when used in a room larger than Herb's, the Alyssas are a speaker with a sound—a point of view—which is something to respect in an era of generic prowess.—Jim Austin

Footnote 1: For some thoughts on rooms and perfectionism, see here.

Footnote 2: I found Herb's other suggestion, that he was hearing the effects of an interaction between the speakers and the amplifier, less likely.

Alta Audio
139 Southdown Rd.
Huntington, NY 11743
(631) 424-5958

dcolak's picture

present your measurements and the method you used to measure them?

Thank you!

Best regards,

thatguy's picture

I vote that they send Herb into space just so I can read him describing what it is actually like to be there.

AbsolutesoundReader's picture

Great article. I've noticed a fairly consistent pattern with reviews using Rogue Audio gear where the reviews are often times not that favorable in the same ways. Lack of focus, fuzzy, not as clear as ... and disappointed. I understand that it was in your home to use like the Pass Labs INT, but they are very different beasts with very different quality levels. Even a modest Parasound Halo series A21+ would have yielded a much more favorable review session because it's a far better amp than the Rogue piece. Again, great article, but almost inherently doomed for mediocre results due to Rogue. Perhaps a second review using the same music and system but with better amps would be justified since the speakers only play what they're fed.

Glotz's picture

Herb has recited the transparent performance of the Rogue Stereo 100. He kept the unit as well. There are many references in his writing that speak to his continued usage.

Herb has also used examples of where the Benchmark AHB2 amp performed poorly for him, but many, many other reviewers in this and other magazines have found that amp to be superlative in many (but not all) areas.

The same example holds true for JVS' review of the ARC Ref 6 SE. The Benchmark LA4 was compared poorly to much more expensive gear, but again, there may be more at play here due to impedance mismatches (input and output imp requirements of the amp in use per JA in his measurements section).

He uses many examples as comparisons in specific applications / amps. Not every amp is a great fit for a preamp, passive or dac/pre.

The Pass is almost double the cost of the Rogue as well.

No, I don't own Rogue, but I have heard them over the past 2 decades and your comments are unfounded, and application-specific, most likely.

SpeakerScott's picture

....I'm not sure I've seen enclosure resonant modes come through the woofer that strongly.

The impedance curve looks like an undamped transmission line, which is rarely something one would want to listen to for long periods due to impressive ability for coloration.

Given the manufacturers comments about these issues being magnified because of the nearfield measurements (they clearly aren't, not when they are present so strongly in the impedance) It might be instructive to do some ground plane measurements at 2 or 4 meters with high frequency resolution long gating windows.

I suspect the issues will demonstrate themselves quite readily under these circumstances. I have used this technique to find the true audibility of pipe organ resonances on many occasions.

Scott Hinson

Anton's picture

Don't laugh.

Jim Austin's picture

The impedance curve looks like an undamped transmission line ...

Well, the speaker does include something very like to a transmission line, and Levy does say he doesn't like to use damping materials.

I've prepared a follow-up review, which will appear in the December issue.

Jim Austin, Editor

John Atkinson's picture
Jim Austin wrote:
Levy does say he doesn't like to use damping materials.

To support Jim's statement, when I measured the Alyssa speakers the ports were free from damping material. When I looked into the port I could see the rear of the tweeter.

John Atkinson
Technical Editor, Stereophile

teched58's picture

Hi Jim-

Are the measurements presented here ok to rely on or should we wait for the follow up review? (This is a nice way of asking the obvious question, which is, what is the need/reason for a follow up? I.e., is there something erroneous or in question with this review that requires a second look and if so what?

Thank you very much.

Jim Austin's picture
... is to assess the audibility of the resonances JA's measurements revealed and attempt to explain the lack of clarity Herb noticed in a similar frequency region. Jim Austin, Editor Stereophile
Michael Levy's picture

The question becomes if Herb's room did not work with the speakers, or if he was hearing the effects of the resonances that JA measured. I will let Jim's follow up enlighten us with his experience with the speakers. I just want to add that measurements should not be our goal, they should guide us in our goal for great sound. Damping has long been used in transmission lines. I have found that it helps the measurements while harming the dynamics and depth of the bass and makes a speaker less musical.

Glotz's picture

And it is part and parcel to the extended bass response.

Not saying it's perfect, and there are tradeoffs.

beave's picture

Which resonance do you believe to be intentional? There are several from the port and one higher in frequency from the midwoofer.

Glotz's picture

It is the inevitable result of woofer loading in this enclosure.

The bass extension is very impressive for its size. It is the result of the unique chambering in the cabinet.

It is up to individual listeners to determine whether they are (collectively) deal-breakers or deal-makers.

beave's picture

Surely you don't include the midwoofer cone resonance when you say "all of them?" It has little or nothing to do with the bass extension.

That impressive bass extension comes with other tradeoffs too. The (voltage) sensitivity is quite low, and the impedance isn't all that high. That makes them a demanding load IMO.

What's more, we don't get any measurements for THD or for how loudly the bass will play before compression, excessive distortion, or woofer bottoming occurs.

So the bass extension needs to be put into context, as it always does with any speaker.

Glotz's picture

I agree. But with the bass extension, there is a good chance that output will mask those resonances. It could also be somewhat room-dependent.

Undamped transmission-line can be a boon, even with the worse load. Again, I would rather take advantage of its difficult load with more power (parts-capable, of course) and get that additional 10 or more Hz and work with room nodes to reduce whatever additional resonances are excited in-room. I would also think a larger room be an important factor to bliss here as well. Lastly, underdamped bass is not a reason to kill oneself nor the speakers!

I own several pairs of newer Magneplanars and getting the room to work with both speakers is utterly important, in completely different ways than these types of speaker.

We would all need to hear the speakers in our systems before rushing to judgment. I do not believe Mr. Levy would rush to market with a speaker that isn't ready. Perhaps it could use a revision, but I have Not Heard the speaker and cannot to speak to that speculation.

Even in theory, to do that is dangerous. Listening is believing.. (Lol!)

Glotz's picture

He explicitly found each of those 3 frequency resonances to be benign and insignificant to music programs played in Jim's larger room. The room also allowed the transmission line to load the room more properly with less discontinuities between the two drivers.

For an different example, Magnepans are similar but again very different in how they load large and small rooms, not to mention their point-source radiation form. Their resonances change based on the connection to the floor their supported by, and the frame becomes the cabinet, when viewed as a 'tuning-fork' / vibration perspective. Carpet-piercing spikes become essential in tuning the speakers with groundness and impact. Other forms of 'connection' become critical on hardwoods.

The speaker tuning and a different design perspective gives this speaker its own unique sound. He also states that unique sound is significant to the music it produces, and something he really values.

Listening really is the only way to determine what one thinks about a given component, and yet that does not still tell us what the complete truth is regarding that one component. It takes more rooms and more systems before a full picture develops.

We should keep in mind that the first time Herb heard these speakers there were no obvious caveats, but rather he uncovered them during his extended auditioning in his room. 2 different rooms of large and small dimensions.

More than we see and hear is always at play, and in this case Herb's room dimensions, which require a different approach. Not wrong or lacking, just different. It may prevent a sub or sub-bass system (lol) operating under 30hz. We simply don't know. Only Herb does.

CJThiel's picture

Herb's description reminds me of my time with the Thiel 3.6, which imaged like monitors with impossible bass.

partain's picture

You REALLY thought stuff would stay on top of this speaker ?

Anton's picture


(That's a joke, not animosity. I forgot for a moment I was posting on an audiophile website. So, once again, joke.)

remlab's picture


Ortofan's picture

... having spent most of his life without deep bass.

While bass extension is one aspect of speaker performance, how loud can that 6" mid-woofer in the Alyssa play and with what levels of distortion and/or compression?

In that same $5-6K/pr price range as the Alyssa, I wonder if HR would prefer the sound quality of a three-way speaker such as the Revel Performa3 F208?

Or, perhaps, the KEF R11, the Dynaudio Evoke 50, the Focal Aria 936 or the B&W 702 S2 - not to mention the speaker du jour, the Polk Audio Legend L800.

If he's ever in a horn-y sort of mood, not unlike SG, then there's the Klipsch Cornwall IV or possibly the JBL HDI-3800.

AaronGarrett's picture

Highly dynamic and deep bass is to me as important as a transparent midrange, in particular for orchestral and electronic music and piano but for most all music -- maybe not Joni Mitchell's Blue (which is a masterpiece, of course). Now that I know what it's like on a great system I could never go back.

PeterG's picture

Great review. But as a lover of stand mounts, I can never quite understand why one would have them without a good subwoofer. Similarly, I don't think it's quite informative enough to review them without a good sub. Or maybe a with and without sub comparison?

Jack L's picture



Yes, I always go for stand speakers for their being acoutically OPEN, airly & precise imaging due to mininum soundwave difffraction at the driver units frame edges & at the cabinet corners. Small physical size will allow the music soundwaves to circulate around the cabinet FREELY with minimum obstruction = distortion.

That said, just like any so called 'full range' loudspeakers, large floorstanding to compact bookselfing, NEED active subwoofers to ENHANCE their 'shy' deep bass performance.

Physiclly, bookshelvers got small woofers which limit deep bass response.

We got to realize the aural perception of our ear/brain is extremely non-linear, causing uneven subjective sound level: LOUDNESS at different frequencies.

The most sensive loudness frequnecy range: 2-4KHZ (mid-range), but bass response, say 20Hz is far far deep down the spectrum valley.
So taking 4KHz@+2dB, the loudness to our ear/brain at 20Hz is -78dB !!! 80dB difference = 100x 1 million power level difference !!

This explains why we alway find we miss deep bass from our sound system. Too bad - this is human nature.

This also means we need active subwoofers, which are readily available in the marketplace, to retrieve the missing bass music of the original music recordings & to boost it up to balance out the mid & high frequency loudness level, irrespective of huge or compact size of the loudspeakers.

So I've installed, in stages to make sure, 3 active subwoofers: connected direct to my tube phono-preamp: L, R & L+R channels a few years back. I swear I started to realize I missed so so so much (mid-deep bass) music of the original music recordings (LP, CD, DVD-audio, Blu-ray DVD, DAC streaming, tapes etc) without the these subs.

WOW !!!!!!!! Here come back ALIVE big bigtime the floor shaking effect of church pipe organs & synthetic guitar bass notes ! I never heard so livelike performances before the subs were intalled.

So why 3 subs so many? Well, if you observe properly, most, if not all, concert halls/auditoriums got 3 mics, if not more, hung over & above the performance platform to cover the ENTIRE performances on the stage. The purpose is to ensure to pick up the music performance+the acoustical ambience of the hall. The function of active subs is to reproduce ambience frequency 5Hz-100Hz picked up by the mics & hence recorded in the music.

Any home sound system NEED active subs. This is physics.

Any cheap sound systens will perform better by adding active sub(s)!

Listening is believing

Jack L

Ortofan's picture

... full-range, large, floor-standing speaker that does not need active subwoofers to enhance its deep bass performance.

About this speaker RH said "bass reproduction was easily the deepest, most effortless, and enjoyable I have heard through any system." The speaker "present[s] low frequencies with power and impact only hinted at by other speakers." "At no time did the woofers run out of excursion, as may be expected of even the best transducer." He concluded his review by stating that the speaker "is stunning in its ability to present the weight, depth, and impact of the bottom octaves."

Jack L's picture

......speaker that does not need active subwoofers to enhance its deep bass performance."quoted Ortofan

What model is it?

Jack L

Ortofan's picture

... the December 1989 issue of Stereophile?

Jack L's picture subwoofers to enhance its deep bass performance." quoted Ortofan.

So what make/model is it?

FYI, Wilson, besides build/supplies "full range" loudspeakers tagged up to half a million greenbacks, also supply a full range of active subs to enhance the bass of its loudspeakers.

Its flagship model sub, an award winner for past few years, "arguably the best sub in the world", is tagged for 25,000 buck. It is reportedly
recommended to match its top model loudspeakers.


Jack L

dc_bruce's picture

All speaker designs seem to be tradeoffs (at least it is for those that cost less than six figures); and this is especially the case with standmounts. With them, the question is always: How much bass do you want, and are you willing to overlook the negative effects of squeezing a lot of low bass out of small speakers? This review is a dramatic illustration of that phenomenon. Ultimately, it comes down to a matter of taste, not measurement, I believe. My tradeoffs may be different than yours.

In my opinion bass is something that you don't know you're missing until you hear it -- either in a live performance or from capable, large loudspeakers, properly driven. Then, if you're like I am, you want it.

Digital room correction systems have largely tamed the problem of bass reproduction in home-sized rooms -- the fundamental room resonance which occurs between 40 and 50 Hz which unnaturally emphasizes bass fundamentals in that frequency range. This argues for a subwoofer, driven by such a correction system.

That said, using a subwoofer in conjunction with a speaker under review introduces so many new variables, I think, that it would be hard to produce a review that is fair to the speaker.

Glotz's picture

It's not. And I find Ortofan's comments insulting to HR.

Ortofan's picture

I find it quite sad to hear that HR spent most of his life without deep bass.

Glotz's picture

You're coming off a bit presumptuous about his need for a sub in his space. He has had a pair of Magnepan DWMs as sub support before, and he may prefer not to, based on his NYC room limitations. Keep in mind that Herb has been pursuing high performance audio much of his adult life. I am sure he understands the value of stereo subs, let alone mono ones.

Secondly, it is Stereophile policy to limit a speaker review to exactly that speaker under review, and to add more variables will introduce unknown variables and be unfair to the designer (as posters' have mentioned above).

Lastly, that fact that you find it 'quite sad' for a well-heeled audiophile not to be without 'deep bass' sounds less than genuine. I personally reserve such heartfelt emotion for truly tragic events and circumstances, and most would see your comments as 'a bit much' in light of the arguments you usually posit (no disrespect).

That being said, I do agree with your assertion that great subs do elevate the overall sonic landscape. Stereo REL T5i's do wonders for transparency as well as extending the soundstage back and out to the sides (placement-dependent), let alone addressing the response from the midbass down. Equally important, they also limit response past 30Hz in the T series, and is an ideal solution for apartment dwellers who need to keep it civil for others.

Jack L's picture

........ let alone mono ones." quoted Glotz


For the sake of yr argument, how are you so "sure"?

FYI. I got a very affordable audiophile friend who spent USD125,000 for an Audio Note Japan turntable/stand/SME arm+cartridge, & a 17W+17W single-ended Class A tube power amp of same Japan make & for the same price.

Such low power amp surely needs an active sub to boost up its bass. Yet this rich guy never got any sub yet, simply because where he spent a quarter million dollars, no subs there for demo. So he does not know a sub is so useful to his expensive amp. Surely dollar for dollar these are "high performance audio", right? So?!

From the picture of Herb's "smallish" listening room as shown in his review above, I already figured out the acoustic 'problems' there.
Unfinished bare brick wall, & a reflective hard coffee table placed right in front of Herb's couch 'sweet spot'. Reflective from hi to low frequencies & resonance waveform peaks go without saying.

A piece sound advice: NEVER ever place any objects between the front loudspeakers & the listening sweet spot, e.g. coffer table. Also nothing should be placed in between the front L & R loudspeakers. The idea is to provide free transmission of the music soundwaves from the loudspeakers to the listener's ears with minimum deflective obstruction.

The coffee table should never be there as it ruins the music. Throw it out!

Also don't neglect the couch we sit for music listening. No hard surface furnitures, being too reflective. Ideally, it should get all SOFT surfaces made of natural fabric, e.g. cotton. Even genuine leather seats are not good enough acoustically.

BTW, Maggie DWMs are bipolar magnetic WOOFERS (40-200Hz), used to boost up the ever bass-shy Maggie panels. Not subwoofers being discussed here at all!

Listening is believing

Jack L

Glotz's picture

You're being really presumptuous about things here man. You're admonishing my post with non-sequiturs and off-topic deflections about Herb's room.

What are you going on about if you're not keeping the discussion to subs?

I don't recall asking for 'sound advice' (though I do agree with it - in this instance of the room.) I have no coffee table in front of my stereo. I know why. Many audiophiles do too.

I also brought up REL's while mentioning the DWM's and they are not subwoofers either. They are "Sub-bass Systems". Let's agree not to be pedantic.

You just said your millionaire friend doesn't use subs.. So? You used an example that makes no sense at all, by rather presuming that Herb is like your 'affordable audiophile friend'? To sub or not to sub, depends on what Herb's ears dictate, not yours or mine.

You assume Herb hasn't made up his mind about the viability of a sub in his room. It could be that it's too loud in an old building with sprung floors, or many other room interaction issues.

You as well, from a photo no less, 'figured out' Herb's room for him? How nice of you! And most tellingly, you have never been there, actually in Herb's room. (I can only hope... you may be hiding under Herb's couch... right now... Run Herb! lol. I am kidding.)

But what is obvious, is that you are still looking to argue with me at every opportunity, with most old posts. That's trolling.

Jack, I have no problems arguing audio with you. Just please keep to topic and make a point you stick to.

Jack L's picture


If you consider my reply to you is "to argue" & "strolling", I only mirrored the argument & "strolling" you did to Ortofan above: "Reasons are pretty obvious".

First off, are you the owner of Stereophile Magazine as the way you post
here read so "authoritative" over & above whoever here. Otherwise, who has authorized you to set the rules of posting here that cross topics are not permiitted in the same post ????

So Herb has given you his power of attorney to represent him to post on his behalf ????

Any posts here are being read by readers worldwide. So whatever I posted back to you is for whoever read it, NOT specific for your eyes only. Otherwise, I would have stated in the caption of my posts to YOU:
"For your eyes only!"

IMO, "reasons are pretty obvious" for your behavior here.

Jack L

PS: I've posting in audio journals for decades, including Absolute Sound. Sorry, your behaviour here is one-of-a-kind.

Glotz's picture

Once again, you have not addressed the claims I made, nor the topics. It's trolling, not 'strolling'. But you know that, and I find your response disingenuous, as usual.

You did reply directly to my post. If want to make statement not directed at me, fine... do so, but reply to the topic post, and not as a direct reply to me. Otherwise, I will continue to respond in tow.

Moreover, Ortofan responded directly to me, not you. You had nothing to do with this thread, until you trolled me many days later.

Your behavior is not one of kind. You were just reprimanded again by Jim just yesterday in another post to Tony, where you tried insulting by calling him 'slobby, again completely unwarranted.

Jack L's picture do with this thread, "quoted Glotz


Ortofan has not responded directly to your insulting post to him: "Reasons are pretty obvious" 2 days ago.

YOU have not answered the serious questions in my above post to you either, regarding yr dictating the posting policy here.

Again, you just dictate us another posting rule per above caption: no cross reference allowed.

FYI, I commented yesterday to Herb R's review of Sunvalley 'all purpose phono-equalizer'. Today, another poster: CG commented to it. For the sake of all other readers here, I am happy to receive his cross reference to my post to Herb.

So his 'break-in' to my post to Herb has breached the rule you just imposed on us here.

So again, who has authorized you to impose such posting rule on us ?????

Take it easy. Don't make yr life so miserable! Pal.

Jack L

Glotz's picture

Look up further, there are four total posts.. either you're blatantly lying or you can't see well.

And I did respond directly to Ortofan, as well as you. It is Presumptuous to assume that he (and you by your own assertions) that any reviewer needs a sub.

Ortofan's language was also insulting and condescending- "deepest condolences".

Moreover, I never made any assertions, rather the opposite. I used words like Perhaps.

You on the other hand, stated "How am I sure??" I never made any statements to the effect I was sure. You, on the other hand, made claims by looking at a picture of Herb's room, and to then give him 'sound advice'.

What are you talking about in regards to imposing rule upon you?

Are there other multiple, substantive questions anywhere from you? I don't see it. Restate them please.

Moreover, I'm not the one using all caps to get my point across... you should take your own advice

Jack L's picture

Get a happy life !

Jack L

PS: Let me reply to CG who incidentally did "break-in" my post to Herb re: "Sunnyvalley all purpose equalizer". His comment was so technically thoughtful that deserves my technical response ASAP.
I wish Stereophile would start up a technical forum for engineering oriented readers like Audio Asylum, which has hosted technical forums since decade back. I would be more than eager to post in.

Glotz's picture

Again, you deflected and should directly reply to CG..

Y'know where he could actually read the response... lol.

You didn't bring up any part of the last post...

Once again this is trolling.

Jack L's picture

... to go extremely deep, was swamping my smallish room."quoted H Reichert

Question which may related to yr above statement: is this is where you carry out your auditions?

Is there is a coffee table or alike seated right in front of your 'sweet spot ?

Jack L

John Atkinson's picture
Jack L wrote:
"Unfortunately, the Alyssas' bass energy, which appeared to go extremely deep, was swamping my smallish room." quoted H Reichert . . . Is there is a coffee table or alike seated right in front of your 'sweet spot?

Apologies for the belated reply. No, Herb doesn't have a coffee table or any other reflective surface between his listening position and the loudspeakers.

John Atkinson
Technical Editor, Stereophile