I have an entire 7.2 HT system with bipolar LCR and surrounds, with
omnidirectional rear surrounds. The L-R speakers are Mirage M5si
floorstanders with identical woofers, tweeters, and ports firing both front and
rear. I originally used them for a couple years as a stereo pair and expanded it
into a surround system. I love these speakers either way. What I really like
them about bipolars and omnis in a surround system is that it provides a 360
deg. seamless soundfield. You never hear channels handing off from one
speaker to another. It's continuous like real life.
My living room 2-channel system is anchored by a pair of Mirage OMD-15s,
which are more omnidirectional, but with a 60/40 tilt towards the listener. It
won't create the etched 3D sonic hologram of mini-monitors, they create a
realistic sounding--and acting--soundstage that remains stable when you
move around the room, just as it would in a live concert. The speakers scale
very well too. Solo guitar or voice centers between the speakers with a
realistic size image. Similarly, when you play big band or full scale orchestra,
the soundstage expands accordingly. The lack of suckouts and hot spots help
create an even power response. Personally I find the timbre-correctness and
realistic soundstage make it easier to losse myself in the music than if the
primary strength is an imaging precision beyond what I can hear in most live
concerts.
Read reviews of Ohms, Mirage, MBL, and dipoles such as Magnepa, Martin
Logan, and Quad. You'll seldom see a criticism that the speakers smear the
sound or sound artificially large. Quite the contrary; most reviewers find the
soundstages thrown by omnis, bipoles and dipoles to be more involving. One
difference; the bipolars and omnis tend to be more placement friendly,
whereas the side-canceling nature of dipoles makes them more placement
sensitive. However, although the bipoles/omnis are more placement friendly,
their presentation improves considerably with thoughtful placement.
omnidirectional rear surrounds. The L-R speakers are Mirage M5si
floorstanders with identical woofers, tweeters, and ports firing both front and
rear. I originally used them for a couple years as a stereo pair and expanded it
into a surround system. I love these speakers either way. What I really like
them about bipolars and omnis in a surround system is that it provides a 360
deg. seamless soundfield. You never hear channels handing off from one
speaker to another. It's continuous like real life.
My living room 2-channel system is anchored by a pair of Mirage OMD-15s,
which are more omnidirectional, but with a 60/40 tilt towards the listener. It
won't create the etched 3D sonic hologram of mini-monitors, they create a
realistic sounding--and acting--soundstage that remains stable when you
move around the room, just as it would in a live concert. The speakers scale
very well too. Solo guitar or voice centers between the speakers with a
realistic size image. Similarly, when you play big band or full scale orchestra,
the soundstage expands accordingly. The lack of suckouts and hot spots help
create an even power response. Personally I find the timbre-correctness and
realistic soundstage make it easier to losse myself in the music than if the
primary strength is an imaging precision beyond what I can hear in most live
concerts.
Read reviews of Ohms, Mirage, MBL, and dipoles such as Magnepa, Martin
Logan, and Quad. You'll seldom see a criticism that the speakers smear the
sound or sound artificially large. Quite the contrary; most reviewers find the
soundstages thrown by omnis, bipoles and dipoles to be more involving. One
difference; the bipolars and omnis tend to be more placement friendly,
whereas the side-canceling nature of dipoles makes them more placement
sensitive. However, although the bipoles/omnis are more placement friendly,
their presentation improves considerably with thoughtful placement.
