Ohm Walsh Micro Talls: who's actually heard 'em?

I listen almost exclusively to "classical" music - chamber, piano, choral on up to large-scale works and organ (which to me is also large-scale). My 5000's sound fine on the first three. Really fine. On the large-scale, they leave much to be desired. Of course there are obvious limits to reproducing the sounds of 100+ instruments in one room in my house - or even the whole house for that matter. But I still wonder if there is anything I can do to get closer to a "bigger" sound.

Ohm 5000s, B&K EX442 (185wpc/8)

-Al

COot,

DEscribe your room size and any special considerations acoustically.

I have run my 5s off 120, 180 and 350 and 500 w/ch 2 channel amps in my 20X30 L shaped room with standard height drywall ceiling and carpet over concrete floor.

ALl these were "suitable" for low to moderate volume no doubt, the more power and current, the merrier, for the "biggest", fullest sound. All amps were limited in terms of biggest sound possible compared to my current 500w/ch BEl CAnto ref1000m Icepower monoblocks.

I would recommend 500 w/ch Class D or something similar for best results with the largest OHMs. Current delivery capability is as important to overall tonal balance as # watts is for distortion free higher SPLs often needed to reproduce large scale works at a realistic level in a larger room.

My smaller 100s make due nicely with "only" 180 w/ch in most any room in my modest size house I use them in, but current delivery is also critical. Your B&K might be the bottleneck to best large scale "big" performance possible. More watts and perhaps even more current as well to go along with that will surely take things to a higher level, assuming everything is in good working order.

Coot,

What would you identify as the issue with large scale orchestral works/organ music? Is it a lack of power in the lowest registers of pipe organ? Is it a lack of macro-dynamics on full orchestral swell? Both? Something else entirely?

It's hard to make a considered suggestion without a better understanding of the issue at hand.

Martykl
When a crescendo builds, the louder it becomes, the more constricted the sound. Cymbal crashes are less natural, although live cymbal crashes have always been mostly uncontrolled noise by nature. (Thinking back to high school band days here.). Yes, I would say that loud organ is lacking bass - i.e. St Saens 3 ending.

Mapman
Music "room" is a converted formal dining area 11x13 that is has wide archways opening to kitchen, great room and entryway on 3 sides. It's ceiling is 8ft but the ceiling of the great room and entry is 17'. What i'm saying is there is a lot of air space to be loaded - estimate approx. 13,000 cf. Listening sofa is 9' from spkrs which are 5.5' oc apart. Construction is suspended wood floor and drywall. Thick rug in front of spkrs. First reflection sides are covered.

Your suggestion of high-current/high-power class D amplification is one I am considering. Right now I'm waiting for some of the new technology/models said to be arriving this fall. Apparently lots happening in that arena.

Thank you both.

Coot,

I noticed a similar issue with my 100s. I added a pair of subwoofers to address the bottom octave and take some of the upper bass workload off the Ohms. I love the result, but I use Audyssey to integrate the woofers and I know that that's not everyone's cup of tea.

FWIW, I don't think that Ohm's greatest strength is macro-dynamics (tho I haven't heard the larger models so I can't comment on those). Conversely, the MBL 101 is great on that front, but hideously expensive, a bit flabby on bottom, and -to my ear - bottom heavy in medium sized rooms.

I haven't heard any other full range omnis, so there may be other ways to skin the cat. However, if you want to address the issue without replacing your speakers, adding subwoofers to your Ohms might be your best bet. Worked for me.