Let's see... where to begin without this post evolving into a novel. During my college years there happened to be a premier high end two channel audio store right across from campus... While it was one of THE go to places for high end two channel audio when I resided in the area in the 1990s I believe it closed around 2013. Here is a link with some photos of some of their rooms, ads, gear, etc.:
Progressive Audio Memories
With the ability to start a system out of college with entry level NAD gear and then upgrade component by component allowed for proper indoctrination and a step onto the merry-go-round...
The memories of post college years and the 90s aren't the sharpest focus anymore... I can recall starting with NAD components with entry level Wharfedale speakers moving to Bryston amps and Theta digital then Thiel speakers, B&W, then Martin Logan... the late 90s through the early 2000s was a revolving door for equipment and upgrades. I will save the space and your eyes the dozens of manufacturers and components owned throughout the years. Like most afflicted audiophiles the system just needed that one last upgrade...
In the early 2000s I was traveling a lot. A conversation with an audiophile buddy inquired why so many different speakers cycled through my system in the past year or two. The conversation delved into much detail. In a nutshell, what I discovered that the "exciting" feature of a speaker during an audition was usually hiding a potential shortfall of the speaker. Example; Martin Logan, whether the SL3's in the 90's or the Summit's more recently; the clean, quick midrange on vocals and guitar especially when paired with tubes is beguiling. However once living with them, there is a lack of dynamics in the mid bass. While Martin Logan does a great job sonically pairing a conventional woofer with the panel, the panel is unable to convey dynamics in the mid bass and upper mid bass that conventional drivers can. Once you realize something is "missing" from the sonic landscape it is very simple for it to become an area of fixation... then replacement. Another example: Thiel. Yes, they are extremely exacting, detailed and can image incredibly well. However, paired with the incorrect equipment and not having the proper associated cabling they can be so bright and harsh you will find yourself with a headache after an hour of listening.
The examples above are personal experiences. Yes, both manufacturers paired with proper equipment can achieve very good sound. This is being mentioned as during my travels, I was able to hear the Meadowlark Audio Blue Heron 2's. They sounded great. Balanced, neutral, musical, lifelike timbre, a chameleon of sorts with whatever the material being fed them allowed. I walked out impressed. Later that evening stuck in a hotel, I started thinking about hearing older Meadowlark speakers... the Shearwater Hotrod always sounded musical to me. Same with the original Meadowlark Audio Nightingales. Although those would require a room and amplification MUCH larger than I had or could possess at the time. Thinking back on several exposures to Meadowlark Audio models, at various showrooms I always walked away thinking they were musical. The piano sounded stellar. The vocals were not only spot on, they were believable. The bass was not only delineated and tuneful, but tight. (especially the Blue Heron 2's)...
The personal epiphany occurred late one night at a hotel... trying to fall asleep it was bothering me that "nothing stood out" when listening to the Meadowlarks. Then the realization hit. Just about every speaker that I have purchased with a quality that "stood out" often masked a shortcoming of the said speaker. What if I purchased a speaker that just sounded right? No certain area seemed to be "spotlit." Just musical. What if... The paradigm shift of my thought process had me determined to try Meadowlark in my system.
A pair of Osprey's were ordered. I think back in 2003 or so. We were a couple years into marriage with a new home and my previous system had been sold to help with the home purchase. The Osprey's were initially paired with a Unison Research Unico hybrid, a modified Jolida JD100 cd player along with a BPT power conditioner and some over priced Synergistic Research cabling. If I can figure out how to attach a picture I will. The Osprey's had a Honduran Mahogany baffle with a walnut stringer down the middle of the baffle, with Pommele Sapele sides and rear.
I recall the break in process seemingly taking forever with the transmission line system. Once the hours were put on the speakers they opened up with incredible midrange and bass that truly extended beyond what was believable for the size combined with a smooth top end. What the speaker may not have been able to accomplish sonically was by omission. For example, this speaker is not going to shake the filing in your tooth loose.
The Osprey's started my journey.
Progressive Audio Memories
With the ability to start a system out of college with entry level NAD gear and then upgrade component by component allowed for proper indoctrination and a step onto the merry-go-round...
The memories of post college years and the 90s aren't the sharpest focus anymore... I can recall starting with NAD components with entry level Wharfedale speakers moving to Bryston amps and Theta digital then Thiel speakers, B&W, then Martin Logan... the late 90s through the early 2000s was a revolving door for equipment and upgrades. I will save the space and your eyes the dozens of manufacturers and components owned throughout the years. Like most afflicted audiophiles the system just needed that one last upgrade...
In the early 2000s I was traveling a lot. A conversation with an audiophile buddy inquired why so many different speakers cycled through my system in the past year or two. The conversation delved into much detail. In a nutshell, what I discovered that the "exciting" feature of a speaker during an audition was usually hiding a potential shortfall of the speaker. Example; Martin Logan, whether the SL3's in the 90's or the Summit's more recently; the clean, quick midrange on vocals and guitar especially when paired with tubes is beguiling. However once living with them, there is a lack of dynamics in the mid bass. While Martin Logan does a great job sonically pairing a conventional woofer with the panel, the panel is unable to convey dynamics in the mid bass and upper mid bass that conventional drivers can. Once you realize something is "missing" from the sonic landscape it is very simple for it to become an area of fixation... then replacement. Another example: Thiel. Yes, they are extremely exacting, detailed and can image incredibly well. However, paired with the incorrect equipment and not having the proper associated cabling they can be so bright and harsh you will find yourself with a headache after an hour of listening.
The examples above are personal experiences. Yes, both manufacturers paired with proper equipment can achieve very good sound. This is being mentioned as during my travels, I was able to hear the Meadowlark Audio Blue Heron 2's. They sounded great. Balanced, neutral, musical, lifelike timbre, a chameleon of sorts with whatever the material being fed them allowed. I walked out impressed. Later that evening stuck in a hotel, I started thinking about hearing older Meadowlark speakers... the Shearwater Hotrod always sounded musical to me. Same with the original Meadowlark Audio Nightingales. Although those would require a room and amplification MUCH larger than I had or could possess at the time. Thinking back on several exposures to Meadowlark Audio models, at various showrooms I always walked away thinking they were musical. The piano sounded stellar. The vocals were not only spot on, they were believable. The bass was not only delineated and tuneful, but tight. (especially the Blue Heron 2's)...
The personal epiphany occurred late one night at a hotel... trying to fall asleep it was bothering me that "nothing stood out" when listening to the Meadowlarks. Then the realization hit. Just about every speaker that I have purchased with a quality that "stood out" often masked a shortcoming of the said speaker. What if I purchased a speaker that just sounded right? No certain area seemed to be "spotlit." Just musical. What if... The paradigm shift of my thought process had me determined to try Meadowlark in my system.
A pair of Osprey's were ordered. I think back in 2003 or so. We were a couple years into marriage with a new home and my previous system had been sold to help with the home purchase. The Osprey's were initially paired with a Unison Research Unico hybrid, a modified Jolida JD100 cd player along with a BPT power conditioner and some over priced Synergistic Research cabling. If I can figure out how to attach a picture I will. The Osprey's had a Honduran Mahogany baffle with a walnut stringer down the middle of the baffle, with Pommele Sapele sides and rear.
I recall the break in process seemingly taking forever with the transmission line system. Once the hours were put on the speakers they opened up with incredible midrange and bass that truly extended beyond what was believable for the size combined with a smooth top end. What the speaker may not have been able to accomplish sonically was by omission. For example, this speaker is not going to shake the filing in your tooth loose.
The Osprey's started my journey.
