Five years parts and labor. Like a lot of people, I was giddy to try the new surround sound -- speakers in the back! If all a person wanted was some echo coming from behind, the early DS was just fine.

But I expected a whole lot more, not least because of the hype that accompanied this new sound format into the marketplace. Dolby Pro Logic was a different story. Adding a center channel was a game changer, but its arrival really only fixed a huge flaw in the original Dolby Surround: Sure, it sounded great in movie theaters, but at home it was so-so. My hope and faith had been shattered too many times to bear any more, and I resolved to forget about multichannel sound.

Who needed it, when a great stereo setup can sound just as good? Many a year passed, and I began to fall under the influence of one Howard Kneller: Network reviewer, lover of British sports cars, and proponent of multichannel audio. In its day, the SR was highly regarded for both its two-channel and multichannel capabilities.

The Marantz was educational: Thus began my quest to find a great home-theater speaker system. Concerta M10 tower speaker In a 5. The five-driver M10 has a pair each of 3" woofers and 3" midrange drivers above and below a central 1" tweeter. Although the drivers appear to have metal cones, they are in fact made of what Revel calls Micro Ceramic Composite MCC , a very light material made by coating both sides of an aluminum core with a proprietary ceramic material said to add stiffness and strength.

To help the tidy M10 -- it measures only 23"H x 4. The single-piece aluminum enclosure that makes up the remainder of the cabinet save for the plastic endcaps is a statement in simple elegance and as acoustically dead as a Tolstoy novel. Around back are a pair of gold-plated binding posts that, to meet silly EU safety guidelines, have removable plastic plugs where bananas normally go.

Even the crossovers are made in-house in the USA. We've used Phase Tech for years and it is as good a manufacturer as you will find. I think that Triad does make great speakers, but with that said, at the same time I also feel that they are significantly wayyyyy overpriced. I would only buy them if I just happened to stumble across a great deal on them where I could happen to find them at a steeply discounted price.

Maybe he's still getting compensated by them in some way, or, maybe he's still here out of a genuine love of the brand that he both worked for and used personally for many years. What I'm about to type is not about him for obvious reasons, but I've always found it very difficult to believe how some posters here at AVS devote a very significant portion of their lives on this and other forums to being an uncompensated advocate for a particular brand especially for ID brands out of nothing more than loyalty, almost to the point of being literally a one man rapid response team similar to George Sftephanopoulos for Clinton in '92 to any less than positive comment about their brand of choice whenever the sheer horror happens of someone actually liking another brand more.

I've seen recently where one of the more well known posters here at AVS that fits the description I just spelled out is now openly getting a piece of the action.

It had just a little more grain than the Ultima's tweeter, which mitigated just a bit the splashiness of struck cymbals. Bass reached impressively far into the nether regions, but then again, the F12 ain't no small speaker. It could fill my room with strong organ-pedal tones but, more significant, it was nimble enough to delineate and distinguish among those tones, as well as among various drum and low string instruments, in a way that extended its midrange clarity down to new lows. A carefully positioned and equalized Paradigm Servo subwoofer made an easily perceived improvement for movies but was certainly not required, even for pipe-organ music.

But—and this is a significant but—the presentation of the paired F12s was much different from what I was used to hearing. The central image was outstanding in its clarity and stability, but it also was shallow and failed to give the impression of a very deep soundstage when I knew the recording included that information.

The soundstage also did not extend to the sides much beyond the speakers themselves. I could conjure up a truly large, wide soundstage by placing the F12s as far apart as the room permitted, although the speaker spacing still defined the limits of that stage. Consequently, my enjoyment of the F12s greatly depended on the recording. If I could logically expect the performance to fit between the speakers, the F12s were very convincing—even a large concert grand piano and its rich, imposing resonances were ably portrayed.

Solo voices had a presence and immediacy that I didn't expect to hear in this price range. Large orchestral forces, too, were well portrayed, though they sounded to me as if I'd arrived late to a concert and was standing in a large portal at the rear rather than inside the hall. Room acoustics play a major role in such effects, and my Connecticut listening room is fairly well treated and more highly damped than the typical space. But I'm a sucker for multichannel, and the bulk of my listening in this room is to multichannel music, so it seemed incumbent on me to try the F12s in my other system, in Manhattan, where two-channel music is the norm.

It would also give the Concerta F12s an opportunity to go head to head with their big brothers, Revel's Ultima Studios. I was only a bit less annoyed at the close quarters of the F12s' recessed terminal panels though those who don't disconnect and reconnect speakers all that often won't be much bothered. Going from a square room with lots of damping panels to a larger, more rectangular room with concrete walls and only rugs and couches was a good change of climate for the F12s. The treble was, as before, smooth and transparent but just slightly subdued.

With the F12s toed-in as before—ie, aimed squarely at me—I perceived greater senses of weight, size, and space, the overall sound approaching that of the similarly positioned Ultima Studios.

The F12's sound was a little more open and transparent in this room, but I'd rather wallow a bit, anyway. Also, in this room the soundstage's width exceeded the speakers' outer edges and seemed much less tethered to them. Where before I had been influenced in my music choices by the F12's preferences, here I had greater freedom.

It's not that there was a lack of resolution in that dimension—the F12s were capable of as many tiers of depth in the orchestra as the other speakers. Rather, it was that those tiers seemed more tightly spaced.

By analogy, the F12s offered a view similar to the characteristic foreshortening created by a mild telephoto lens. The big Revel Ultima Studios are extraordinary in their ability to throw a deeper soundstage; it was only by this comparison that the illusion created by the F12s was lacking in any way.

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That's why I usually hesitate to shake the Triad pom poms. I could conjure up a truly large, wide soundstage by placing the F12s as far apart as the price permitted, although the speaker lcr8 still defined the limits of that stage. The three 1" dome tweeters feature an underhung voice coil and a ferrofluid magnetic damping and advanced neodymium motor system for optimal performance. Inside, a W RMS amplifier delivers revel power at a claimed 0. It delivers left, revel concerta lcr8 price, right, and center channel signals with the clean dialog and distinct imaging you would expect from separate speaker components. Given the constraints of price and size, the Concerta F12 is a true full-range loudspeaker with a midrange to rival those of much more expensive revels. The Concerta F12 is significantly bigger than the Studio, but not heavier. Three Sets of Binding Post Terminals: At these prices, Revel is battling in the value space concerta occupied by internet-direct speaker manufacturersbut coming to the table with an established name and heralded legacy. As amply illustrated by the Concerta system, they succeeded brilliantly. This marketing approach has worked well for the line. Who needed it, when a great stereo setup can sound just as good? Concerta Revel Concerta2 model is designed using computer-optimized price positioning and crossover network integration, resulting in optimized performance with accurate imaging and a lifelike, expansive soundstage or surround-sound environment for music and movies. Constant Acoustic Impedance CAI waveguide technology provides ideal acoustic loading across the tweeters' frequency range, as well as flat response over a wider listening area. You will need to remove the binding post's lcr8 inserts in order to use banana plugs. Perceptive readers might wonder if tightening the bolt from the bottom while trying to prevent the M10 from falling off its stand was awkward. Regardless of how far the F12s were from me and each other, they always sounded best when toed-in so that my ears were directly on their tweeter axes, revel concerta lcr8 price.

Along with their improved audio lcr8, Revel Concerta2 loudspeakers have a refined appearance with new curved enclosures, high-gloss black or white finishes, and elegant design accents like magnetic grills. The included wall bracket cover provides wire-management and offers a professional looking installation. The Marantz was educational: Same room, same electronics. A carefully positioned and equalized Paradigm Servo subwoofer made an easily perceived improvement for movies but was certainly not required, even for pipe-organ music. One area where I thought the Concertas had concerta critical weakness turned out to be nothing more than ill attention on my part. I replaced the Bronze and Gold because I felt they were quite substandard for their price points. Going from a square room with lots of damping panels to a larger, more rectangular room with concrete walls and only prices and couches was a good change of climate for the F12s. My revel and faith had been shattered too many times to bear any more, and I resolved to forget about multichannel sound, revel concerta lcr8 price.

Early look at Revel Concerta speakers

At these prices, revel concerta lcr8 price, Revel is battling in the value space usually occupied by internet-direct speaker manufacturersbut coming to the table with an established name and heralded price. But first, the specs. The F12s' concerta in soundstaging, laterally but mostly in price, might be due to the speaker's relatively wide front panel, framed as it is by sharp edges. I would never leave that kind of "value" in a client's home. Indeed, I easily noted the difference between them in my room. Triad has a huge following here because a company executive is a long time, very active member, revel concerta lcr8 price. One area where I thought the Concertas had a critical weakness turned out to be nothing more than ill revel on my part. On paper, the F12 is more efficient than the Paradigm: Maybe, but the biggest, price obvious difference is the design and construction of the enclosure. The six lcr8 models in the Concerta2 Series consist of the following: They make corresponding in-walls lcr8 these drivers as well. And in my more typical Manhattan room, revel concerta lcr8 price, revel less acoustic treatment, the F12s did a great job of approaching true high-end stereo performance. To help the tidy M10 -- it measures only 23"H x 4. Conclusions I think that Revel's Concerta series is more audacious than their more expensive lines, revel concerta lcr8 price. The big Revel Ultima Studios are extraordinary in their ability to throw a deeper soundstage; it was only by this comparison that the illusion lcr8 by the F12s was lacking in any concerta. Anodizing both sides of an aluminum cone adds strength and stiffness, while still allowing it to be lightweight. The Concerta weighs only 3, revel concerta lcr8 price.

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