The Music Reference ESLs achieve much better dispersion without sacrificing speed. While some designed curved panels to improve dispersion, there were other sonic trade offs involved. It's why Roger Sanders stuck with a flat panel.
Roger Modjeski learned a thing or two from Harold Beveridge. I took the panels out of my Acoustat Model 2's and had Roger modify them to mimic his panels dispersion. The difference is not subtle. One doesn't have to sit in the sweet spot with their head in a vice to enjoy the sonic pleasures of what an ESL should provide. Not to mention the mid-range in Roger's design is the closest I have ever heard to an ESL-57.
One of the major disadvantages of an ESL is the transformer. I never used the Acoustat interfaces as I run mine with direct drive amps and before that ran them with the same electronics and transformer Roger designed for his ESLs, powering the speakers with a Music Reference RM-200. Based on my experience I can easily say direct drive is the way to go.
Roger Modjeski learned a thing or two from Harold Beveridge. I took the panels out of my Acoustat Model 2's and had Roger modify them to mimic his panels dispersion. The difference is not subtle. One doesn't have to sit in the sweet spot with their head in a vice to enjoy the sonic pleasures of what an ESL should provide. Not to mention the mid-range in Roger's design is the closest I have ever heard to an ESL-57.
One of the major disadvantages of an ESL is the transformer. I never used the Acoustat interfaces as I run mine with direct drive amps and before that ran them with the same electronics and transformer Roger designed for his ESLs, powering the speakers with a Music Reference RM-200. Based on my experience I can easily say direct drive is the way to go.