mirage omni series

[argi]

Και καπου εκει στο 2002 η τοτε καναδεζικη μιραζ σαρωνε καθε τι με το μοναδικο διαχυτη που ειχε τοποθετησει στα ηχεια της σειρας ομνι.Εκεινη την χρονια αλλαζε χερια στην ελλαδα, και δεν θα ηταν η πρωτη φορα.Πλεον η εταιρια ζει στην σκια του κλιπς γκρουπ αργοπεθαινοντας.Θυμαμαι το διαφημιστικο της ελεγε:Ακουστε καθε σαμπ και μετα βαλτε το χερι σας πανω του , τρεμει ε ? .Τωρα καντε το και στο δικο μας σαμπ.Δεν τρεμει ε ?! .Μπορει το σαμπ της να μην ηταν το πιο δυνατο αλλα ειχε τρελλη ατακα.
Και να ηταν μονο αυτο, μοναδες με τιτανιο , και τοσα αλλα.Που ανακαιρους περασαν σε αλλες εταιριες.
Εζησα με αυτα τα ηχεια μεχρι το 2007 ( με την τριαδα) (τα πλαινα εφυγαν πιο νωρις).Το 2003 εχιτζα το πρωτο μου 7,1 σετ με αυτα.

 

[argi]

Απάντηση: mirage omni series

Until the introduction of the Mirage M-1 a decade or so ago, all audiophiles knew what dipolar radiation meant. It was an inherent characteristic of flat, planar, enclosure-free speakers in which the rear radiation was 180° out of phase with the front, producing a null at the sides. This null made the spacing from the sidewalls less critical. Beyond this, open-baffle dipole designs attracted a strong following for their unique spatial characteristics and a sound free of cabinet colorations.

The radiation pattern of dipoles also got the attention of the folks at THX, who embraced it as a useful way of designing surround speakers that produced an enveloping sound but were difficult to locate—both desirable characteristics for film surround channels. However, dipole surrounds are typically designed around conventional enclosures with multiple drive units configured to simulate the radiation pattern of a planar dipole.
But boxless, flat-panel dipole speakers can have limited low-end response due to cancellation of the long-wavelength bass frequencies radiating out of phase toward the front and back. Clever design helps get around this shortcoming, but either limited bass extension, limited power handling in the bass, or both, still constrain many dipole designs.
Mirage took a different route beginning with the now-classic M-1. In the decade or so since that time, most upscale, multidirectional Mirage speakers have emulated the M-1's so-called bipolar design. With conventional (and often identical) drivers radiating in phase from the front and back of a conventional enclosure, these speakers produced spatial characteristics similar to those of a dipole, but without as pronounced a null at the sides or the bass cancellation.
Sound All Around
Mirage has now gone a step further down the multidirectional path with their new Omni series. Instead of radiating fore and aft with multiple drivers, the design feature in the new line is something Mirage calls the Omniguide. This consists of an upward-facing midrange driver (or, in the smaller models, a combined midrange/woofer) with a device mounted directly above it that looks suspiciously like a souvenir from a Roswell gift shop, but is actually an upward-facing tweeter. The structure enclosing the back of the tweeter is rounded to provide a diffuser for the midrange/woofer mounted just below it, directing most of that driver's sound to the sides in all directions. A smaller diffuser above the tweeter serves the same function for the high frequencies. The baffle on which this apparatus sits is angled slightly toward the front or, in the case of the Omni FX surround speaker, downward.
There are six models in the Omni line; we used four of them in various applications. The Omni 250 is a ported, floorstanding design with a single Omniguide on top and an additional 5.5-inch woofer firing directly toward the front. The Omni CC center-channel speaker uses a smaller midrange and two woofers. The Omni FX aims its Omniguide downward when you mount it high on a wall, spreading its radiation pattern out to the sides for good diffusion. And the Omni 60 is the largest of the line's two bookshelf models, usable for any channel. My original intent was to use the 60s as surrounds, alternating with the Omni FXes. Instead, I ended up pressing one Omni 60 into service as an alternative to the dedicated center-channel Omni CC. More on that a bit further on.
All of the Omni speakers use similar technology: woofers and midranges with Polypropylene Titanium Deposit Hybrid (PTDH) cones, Pure Titanium Hybrid (PTH) dome tweeters, magnetic shielding all around, and high-quality binding posts. Apart from the high-quality drivers and Omniguide feature, the Omnis look similar in build quality to other good speakers in their price range, with solid cabinets that are not obsessively heavy or big-boned, finished in vinyl veneer. Even the Omni 250 tower, at 45 pounds, can be easily carried by a person of average strength. But the 250 is a little narrow and top-heavy. To improve its stability, a set of wide feet are included, plus spikes.
Most of the Omni speakers come with two-piece grilles (one-piece for the FX). The cabinets are much more attractive with the grilles in place (that Omniguide does look peculiar), but the convoluted framework required to support the grille material is no sonic plus. It's a little trickier to remove and replace the grilles on the Omnis than on conventional speakers, but for serious listening, you should take the grilles off. A word to the wise: While the top of the grille is curved, that probably won't prevent the life of the party from setting a drink on it. And you don't want liquids spilled on these speakers.
Mirage's OM-200 subwoofer consists of two 8-inch drivers on opposing sides of its cabinet and operating in phase, an arrangement said to minimize vibrations. When operated at high levels, the OM-200 did seem "quieter" to the touch than most subs. Both low- and high-level inputs are provided. As with most subs, there are controls for level and crossover frequency; a switch lets the user bypass the onboard crossover when using the unit with a pre-pro's or A/V receiver's bass management. Unlike on most subs, these controls are conveniently located at the top front of the enclosure, along with a continuously variable (–180° to +180°) phase control.
I did experience a quality-control problem with one of the Omni 250s: a rattle somewhere in or around the Omniguide. This problem occurred only on the occasional low-frequency note, and 99% of the time it did not appear to affect the performance of the speaker in any way, so we didn't request another sample.
Setup
Mirage's instruction manual provides only the most rudimentary instructions for using the speakers, in several languages (including Russian!), but setup wasn't particularly complicated. I positioned the Omni 250s about 8 feet apart, to the left and right of my projection screen, with the center speaker located on a stand directly below it. The OM-200 sub was placed in the right front corner of the room where numerous other subs have performed well, and the Omni FX surrounds were located several feet behind the seating area. Because the surrounds were only about 4 feet off the floor, and on a shelf rather than on the wall, I positioned them upside down, with the Omniguides firing up toward the ceiling rather than down toward the floor. Listening: Music
I did most of my music listening to CDs in 2-channel mode, with the left- and right-channel Omni 250s operating down to 80Hz and the OM-200 subwoofer taking over below that point

 

[argi]

Απάντηση: mirage omni series

The sound of the Omni 250 (and of the other Omni speakers I used) was not free of coloration—though both of the colorations I heard are the sort that might well be aggravated by the room as excited by the speaker's multi-directional radiation pattern. The first was a subtle ambience added to the sound—an effect I've heard from other multidirectional speakers in other rooms. It was least conspicuous on recordings that already contained a significant amount of room sound—the sound of the recording space. But with more intimate, drier-sounding recordings that had less inherent ambience of their own, I didn't have to listen hard to hear a subtle reverb. Its characteristics were similar from recording to recording, suggesting that it was a part of the room/ speaker sound, not the program material. While it didn't appear to be something the recording engineers had captured, it didn't sound at all unpleasant or unnatural. You might even like it.

The second coloration was less benign and probably less room-dependent: a small but noticeable boxiness. I heard it more often on vocals than on instrumental pieces, and it wasn't obvious on all recordings. Its audibility seemed to depend on the timbre of the program material itself; if the material had a significant amount of energy in the same (probably small) frequency band where the problem was concentrated, I heard it. If it didn't, the problem didn't surface. Toward the end of the review period, I found I was hearing it less; this may have been due to break-in of the speakers or simply to listener adaptation. It never went away completely, however, and it is something you'll want to listen for when you audition these speakers to determine if it bothers you or not.
Aside from those issues, however, the Omni system had a lot to recommend it. Omnidirectional speakers have a reputation for producing a big, expansive soundstage, and the Omni 250s were no exception. But that big soundstage did not result in bloated voices and instruments. Solo singers were fixed firmly in the soundstage, and though the imaging was not as pinpoint as from a good pair of front-radiating speakers, it always sounded as firmly defined as it needed to be.
The depth produced by a stereo pair of Omni 250s was also impressive. The soundstage on King and Moore's Potato Radio (Justice JR0802-2) was slightly laid-back and nicely detached from the actual locations of the speakers, the vocals and instruments spread out in an open, airy space. And the soundtrack album from Casper (MCA MCAD-11240) left no doubt of recording engineer Shawn Murphy's genius at capturing the full dimensionality and color of a symphony orchestra. (Is it just me, or have James Horner's film scores become a lot less effective since 1998, when he began using a different recording engineer?)
In my experience, Mirage tweeters have always been among the best, and the tweeter used in the Omni line was no exception. The top end of the Omni 250 had a silky, spacious quality, fine detail, and no spit or sizzle. Vocal sibilants sounded clear and natural. Instrumental overtones extended out as far as they needed to (there's no 40kHz extension to add more to the price than to the audible performance), and the response was as good off-axis as on-, thanks to the Omniguide. The only time the top end called attention to itself was at unusually high levels, when it could turn a little hard and congested. But at the levels at which I normally listen (hardly tame—ask my neighbors), that was not a problem.
And when I tell you that the Omni 250's midrange was generally good apart from the problems noted earlier, I'm not offering faint praise. Much of the time I noticed nothing at all amiss, even on male vocals. Stephen Sondheim's Assassins (BMG Classics 60737-2-RC) may have been a bizarre show that apparently went nowhere, but its original-cast recording has some interesting characteristics. Among them is track 8, "November 22, 1963," which is largely male dialog located not only in the space between the speakers but also steered hard left and right. It sounded clear and natural.
Omnidirectional speakers have another quality that distinguishes them from direct-radiators. They not only sound more consistent at the far left and right of the seating area, as you might expect, but they also change level and timbre less dramatically as you move closer or farther away from them. Apart from the bass region—where room modes predominate—this makes the listening position far less critical in most rooms. I noticed that the general timbre of the midrange-treble sound from the Mirages changed very little as I moved around the room.
The OM-200 subwoofer provided a solid bass foundation for the system. In my room, it didn't reach as solidly into the low bass below 30Hz as the best subs, most of which cost $2000 or more (with a few notable exceptions, such as those from subwoofer specialist Hsu Research). But this limitation restricted only the lowest notes of the pipe organ, the occasional synthesizer effect, and the extreme bottom end of a few film soundtracks. If you haven't heard recordings containing such subterranean extension on one of those super-subs, you won't think you're missing anything at all with the OM-200. Its bottom end was refined when needed, but kept enough in reserve to shake the floorboards when that was appropriate.
The OM-200 could turn a little soft and loose with some program material, but this is typically a room issue. I was able to improve the bass noticeably with the parametric equalization provided by the Subwoofer Optimizer System from Automated Controlled Environments (see review elsewhere in this issue). My first impression of the SOS'd OM-200 was of less impressive bass, but the result was actually a tighter and better-defined bottom end. (All comments about the system's bass that follow, however, refer to its performance without the SOS.) In most rooms, simply finding the best spot for the subwoofer will get you a good part of the way toward this result.
Lights, Camera, Movies
Crank up the entire Omni system reviewed here and you'll definitely be impressed by the big, open, rich sound it produces. But I preferred using an Omni 60—the largest of the Omni bookshelf models—for a center-channel in place of the dedicated Omni CC. Both speakers had some of the midrange coloration noted earlier, but this was less obvious, and I heard it less often, in the Omni 60. The difficulty here is that the Omni 60 is sold in pairs—you might have trouble buying only one. But you could use the extra one as a center surround in a 6.1 system, so perhaps this isn't such a drawback. (In the "Specifications" section, we've intentionally priced out the entire system in the most conservative way by including a pair of Omni 60s; if you don't need two 60s and are able to purchase only one, the system will cost you $300 less than the price shown. If you do go with the Omni CC, the total price will be $200 less). And while an Omni 60 won't look as svelte as an Omni CC when perched atop a big-screen TV (and even less so on a direct-view set), its superior sound should make any sacrifice in appearance worthwhile.
The music and effects in Chicago were spacious and silky-smooth through the Omni system, with a wide, deep soundstage. The bass was a little full, but not inappropriately so for the material. A trace of that midrange coloration was evident, but it wasn't obtrusive. On the other hand, I never heard it at all on the soundtrack from Nowhere in Africa, which has a large dose of native music and choral singing—it all sounded terrific through the Omnis, with superb depth and detail.
Monsters, Inc. was also impressive. The bass-heavy scenes—in Mike and Sulley's apartment, at the compactor machine, and particularly in the climactic door-coaster sequence—were solid, with nothing obviously wrong or missing. The rest of the sound was detailed and open, with the Omni FXes providing convincing surround support.
The system also got the job done in The Lord of the Rings: The Two Towers. I watched this DVD from beginning to end with the Mirage Omnis. While they didn't go quite as loud without slight congestion as some higher-end speaker systems, they went loud enough for me with no stress or strain. All I noticed was how exceptional the sound was; and if a few of the nits I picked above occasionally turned up, they didn't take me out of the film. From the bottom to the top of the range, and the left, right, front, and rear of the soundstage, I enjoyed it thoroughly. Conclusions
The Mirage Omni system may not be audible perfection—no speaker system is—but its omnidirectional radiation provides a unique perspective on the program material. It's very different from most direct-radiators—a little more laid-back, and notably more spacious than most. Because of those qualities, it can be a little less punchy, but at the same time more forgiving, than many conventional speakers. Listeners will react differently to its unique voice, but it's a voice that should be heard by anyone looking for something distinctly different in a surround speaker system.

 

[argi]

Απάντηση: mirage omni series

Neither bipole nor dipole speakers are truly omnidirectional, though a bipole is arguably a closer approximation. The holy grail of omnidirectionality—and the only truly omnidirectional speaker—is the proverbial pulsating sphere (or, even better, an infinitely small, pulsating point source) generating a flat frequency response in every direction. No one has fully achieved this, and even were it possible, there is no universal agreement that this would constitute the perfect speaker. While most sound radiation in the real world is multidirectional, that doesn't necessarily mean that it's correct to reproduce sound omnidirectionally.
Almost everyone agrees that an ideal speaker shouldn't reproduce sound like a laser beam. It should, instead, produce a uniform response over a reasonably wide area, but whether that area should be a 30° forward angle, a 60° wedge, a fully omnidirectional pattern, or something entirely different remains an open question. And while everyone agrees that the wider a speaker's dispersion pattern, the more the room influences the sound above the bass region (in the bass, the room always strongly influences the sound), whether or not the benefits of ultrawide dispersion outweigh the disadvantages is still in dispute. At the moment, the linear-response-over-a-narrow-front-facing-wedge faction is winning. But attempts to produce the ideal omnidirectional speaker continue, and its adherents are often passionate.
Back in the Happy Days of "hi-fi," when a fledgling format called the stereo LP was generating all the buzz and "home theater" was the high school drama club rehearsing Our Town in your living room, audio pioneer Stu Hegeman was building speakers with tulip-shaped tweeters radiating in all directions. Infinity marketed speakers in the '70s using a related design, though Infinity's driver looked more like an ice cream cone.
Hegeman inspired others, including Richard Shahinian, who designed the classic Citation 13 for Harman/Kardon in the early '70s, then went on to found his own speaker company, Shahinian Acoustics, where he pushes the omnidirectional envelope to this day. Ohm, dbx, JVC, and Design Acoustics have also made notable omni- or multidirectional speakers, and mbl still does. A number of manufacturers also produce speakers with at least some rear radiation, particularly in the high frequencies. Last but not least is Amar Bose, whose 901, a "direct/reflecting" variation of the omnidirectional concept, launched the company that bears his name and has now been in continuous production, with periodic updates, for almost 35 years. What few will remember is that Dr. Bose first designed and marketed a speaker called the 2201: an eighth of a globe with 22 identical drivers and designed to sit in a corner where, reinforced by wall reflections, it would (it was hoped) simulate that elusive, pulsating sphere.—TJN

 

[Ntinos72]

Απάντηση: mirage omni series

ωρε κατι σεντονια...

 

[gstriftos]

Απάντηση: mirage omni series

Ρε συ δεν σου χώ πεί να βάζεις link;

 

[Ntinos72]

Απάντηση: mirage omni series

Ρε συ δεν σου χώ πεί να βάζεις link;

Ουπς, συγγνωμη

Λινκ


:143::135::143:

 

[gstriftos]

Απάντηση: mirage omni series

Ουπς, συγγνωμη

Λινκ


:143::135::143:

Εεεε :618:

 

[argi]

Απάντηση: mirage omni series

εφτασε
http://www.ultimateavmag.com/speakersystems/1203mirage/

υποψιν οτι αυτο ειναι το 250 με 5,5 σαρια γουφερ
εγω ειχα το 260 με 6,5 γουφερ

 

[gstriftos]

Απάντηση: mirage omni series

Πλάκα-πλάκα η συγκεκριμένη συνταγή ήταν εκπληκτική στο πόσο μεγάλη σκηνή έστηνε και πόσο καλή περιφεριακή αίσθηση δημιουργούσε..Υστερούσε όμως σε ακρίβεια με αποτέλεσμα τα εφέ να ακούγονται ναι μέν πλούσια αλλά με-αρκετά-μειωμένη αίσθηση κατεύθυνσης.
Ήταν όμως θαυμαστό το πώς σε περιέβαλε το ηχητικό πεδίο σε σκηνές με βρόχη πχ ή όταν καλούταν να αποδώσει περιβάλλον.

 

[argi]

Απάντηση: mirage omni series

και που να το ακουγες με γαργαλημενο κροςοβερ.
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