Bob Carver Amazing Line Sorce & matching Sub Latest Top Spks & Sub !

 Amazing Line Source Speakers demo & matching 100% new SubRosa Sub and SubRosa 2700 Power Amplifier !

                           

Please note: These are one of the most Natural and REAL & NATURAL sounding speakers I've ever heard  and we were the biggest Bob Carver Amazing Dealer in the USA.

Also they load a room better than almost any speaker made and are as good on ALL TYPES OF MUSIC without any music type limitations...
HIGHLY RECOMMENDED for ROCK, Classical, Opera, Jazz & Blues ! ! !
Also capable of the HIGHEST Sound pressure and can load a large room and/or an average or even smaller room.

Comes with two external ADJUSTABLE Crossovers, Carvers Jumpers from the Speakers to the Crossovers & are ready for your enjoyment and can be demoed here at Weinhart Design in our World Class Showroom.

 Details:

 Height: 89” (minimum ceiling height
of 93" required for setup and assembly)

Cabinet: Extruded Aluminum

Extrusion Profile:

4.625” x 6.875”

Weight: 108 lbs. per column, base
attached

Color: Anthracite Gloss Black

Footprint: 4.625” x 6.875” less
base

Column footprint, base attached: 18"
x 18"

Forward firing ribbon drivers: 13

Lateral firing, high excursion drivers:
18

Spatial ribbon drivers: 1

Impedance: 6 ohms

Rated Power: 1,000 watts

Minimum Power:

15 watts, tube (30 watts, solid-state)

SPL: 120 dB @ 700 watts

Sensitivity: 90dB for most rooms,
92dB max

ALS Column Frequency Response: 75Hz-45kHz
(-3dB)

SubRosa Column Frequency Response: 18Hz-120kHz
(-3dB) with active variable crossover control to mate with columns.

Country of Origin:

United States of America

Warranty: 10 years 

The Amazing Line Source is supplied with
one Sunfire® SubRosa Flat Panel Subwoofer (SRS-210R SYS), including its
matching Amplifier (SRA-2700EQ).



Though one of our subwoofers can effortlessly pressurize a
3,000 square foot room and provide even bass coverage throughout, a second
SubRosa subwoofer/amplifier may be added if desired for stereo subwoofer
reproduction.  An additional SubRosa/amplifier may be purchased for $3,000
USD.

Specifications subject to change without
notice.

=====================================

Do your self a favor and READ the RAVE Review by: Robert E. Greene @:

http://www.theabsolutesound.com/articles/carver-als-line-source-loudspeaker-system/

 In part Robert E. Greene in his RAVE REVIEW wrote:

The Listening Experience:
First
of all, one overwhelmingly obvious and compelling attribute is how pure
and resolved the sound is, without being top-end aggressive. Then there
is the ALS’s full bandwidth, all the way from subterranean lows on out
to forever in the highs. There is unlimited dynamic capacity, for all
practical purposes. And the distortion does not rise as the level goes
up. The speaker just soars like an orchestra or a big band. Loud, but
without any stress at all. (Really loud—the ALS is supposed to be able
to produce 120dB+ levels cleanly, though I did not even begin to explore
this.)

Another striking aspect about its overall purity is the
lack of perceived intermodulation (and I imagine, measured
intermodulation as well, though I did not actually measure this).
Speaker manufacturers and testers tend to quote THD figures, but even
more crucial is intermodulation in the extended sense. Does action in
the trombone modulate the trumpet line? Does the cello section interfere
with the violas? Do complex things turn to mush? With all too many
speakers one has to answer yes to these questions. But here, not a bit.
Everything stays clear and effortless and resolved in the true sense.

I
think the speakers are very close to unique in this regard. I doubt
that this effect can be maintained from the lowest to the very highest
levels by any speaker except a large line source, and few of those will
do it as well as this one. (I do not say that none can because there are
the aforementioned Steinway Lyngdorf LS Concerts, for example. In fact
everything I am aware of that is comparable in these aspects costs more.
But the Eminent Technology 8Bs, which are quite inexpensive, also have
very low perceived distortion, within a somewhat smaller dynamic range.)

The first thing I listened to seriously was a recording on which I play in the orchestra, Music from the Left Coast. The first piece here, Wayolo Lamoni
by Christopher Tin, is a complex mix of orchestra, vocal solo, and
choir (the famous Soweto Gospel Choir). Naturally I’m more than familiar
with this recording. I was there playing and listening as it was made
(to the playbacks as well as to the playing itself). The ALSes presented
this piece in a startlingly realistic way, like a photograph with
higher resolution but without any edginess, and the voices were
dazzlingly beautiful. Carver himself, who had come to set up the
speakers, seemed quite overpowered, and so was I. I had heard this
recording a great many times, but never like this.

While the ALS
did very well on every type of material, the vocal reproduction, both
solo and choral, proved to be a particular strength, if one had to
choose a single genre from all that these speakers reproduce so well.
Reference Recordings’ A Gaelic Blessing (from the Rutter
Requiem CD) was a marvel. And the solo vocalist on another CD in which I
was playing was just gorgeous and truthful, too. My wife Paige’s
reaction was, “ I really like her voice.” Indeed, and very much the real
voice it was. This reaction was typical of people encountering the ALS
for the first time. They noticed how good the music sounded without
being distracted by how the speaker worked. To me, this seems to truly
define naturalness.

While Carver was here, I also did a
live-versus-canned comparison of my own playing recorded with a very
nearly neutral microphone, where I played alongside the speaker channel
where most of the violin is on that CD. This was really convincing, one
of those exciting moments when one realizes anew that yes, audio really
can work in terms of the convincing presence of a real instrument in
size, physical scale, and unconstrained dynamics.

Turning to my orchestral stand-bys (the Dallas/Mata/Rachmaninoff Symphonic Dances,
the Water Lily recordings), I found the recordings to be revealed in
startlingly realistic detail. The inner complexities of scores, who was
playing what, were laid bare in a way highly reminiscent of live
orchestral sound. In the live experience, even when everyone is playing
at once, one can still sort out all the sonics effortlessly and
automatically. The famous cartoon of the frantic audiophile with the
caption, “Crisis: the second oboe is too weak,” is a good joke. But in
fact, in real life, one can hear the second oboe in correct balance and
resolution. Many speakers jack up the top in an effort to get this sense
of resolution. But the ALS has it by nature, without flinging any extra
treble at you. Low intermodulation is the key, I think. In any case,
the effect is very real. But the tonal character of familiar recordings
was sometimes odd unless one had done some work to correct it.

Spatially,
things were larger than usual. And one was also more enveloped in the
sound, hearing more of the effect, so desired in concert hall design, of
being immersed in the soundfield. These effects are a deliberate goal
of the speaker design, as is having the image a little above ear level
(which also happens). Whether you want these effects depends on your
viewpoint. If you think of a stereo recording as an attempt to record
information about space that will turn into the perception of space upon
playback, then I think you’d have to count the ALS as enormously
successful. If you think of stereo as aspiring to the condition of more
or less anechoic playback with no time differentials introduced except
those directly on the recording, then I suppose you had better look
elsewhere. The ALS is different by design.

As
noted, the position of centered solo instruments and voices was well
focused. (Jim Smoak’s “Poor Man” from Arhoolie was very convincing, for
one.) The time-delayed reflections and time differentials from the
drivers on either side of the columns did not prevent the formation of
stable center images, though the focus was not quite so precise as with
more beamy speakers when you sit close to them. Whether this disturbs
you or not is up to you. Spatially different the ALSs are—again by
design.

Incidentally, during the rather long time I have had these
speakers, a considerable number of people came by who liked music but
were not audiophiles as such. Without exception, they really liked the
ALSs and thought they sounded unusually natural. Most of my friends have
heard a lot of stuff over the years coming by for visits. Audiophiles
they are not, but experienced listeners they definitely are. The ALSs
were a hit.

Reservations
Usually
at this point in my reviews, after describing all the good parts, I
always start into the “and yet, and yet” nitpicking. But the case of the
Carver ALS is different because this transducer seems to me to be an
almost entirely successful realization of the designer’s vision.
Moreover, they dodge completely many of the difficulties that arise in
other line-source speakers. For example, because the driver arrangement,
while unusual, is symmetric around the main (tweeter) axis, the problem
of having to listen at one particular axis where mids and tweeters are
correctly related does not arise. (This configuration problem is found
in many line sources with a columns of tweeters and a single column of
woofers.)

Still, there are some limitations that may also cause
reservations. One obvious limitation might be the need for sufficient
distance to each sidewall, an important factor because a great deal of
sound is aimed at the sidewalls. Though Carver himself declared
satisfaction with what he was hearing at my place, I wished that I had
another foot or two on either side. (The room I was using is fairly
large in total area, 27 feet long, but not wide, a little short of 14
feet.) This limited width almost certainly was behind the energy bulge
at around 300Hz and the dip above (both could be adjusted out); these
would have been much reduced or even nonexistent in a wider room. All
speakers, of course, have response that depends on placement, but on the
whole I think these speakers will give their absolute best in rooms at
least 14 feet wide, preferably even wider. (Carver tells me that in
future versions he intends to add a control to adjust the speaker for
different room dimensions.)

Second,
some people are going to worry about the adjustments and about the
crossover boxes, but I think this concern is entirely unnecessary and
misguided. All speakers with more than one driver per channel do signal
processing and dividing. Just because you can see the devices doing it
on the ALS, you should remember that it is always happening. In a lot of
dynamic speakers, “the man behind the curtain” is inside the box. But
the crossover functions are still going on. Moreover, anyone who tells
you that some speaker will work perfectly in your room with no
adjustments at all is almost surely, well, if not lying, exaggerating.
Adjustments are a good thing! Really a good thing. That high-end audio
has to some extent forgotten this is one of its greatest errors and
weaknesses. (Recently, the tide seems to be turning with DSP
adjustments. But analog adjustments, as in the ALS, have been useful all
along. Don’t be like General Jack D. Ripper in Dr. Strangelove, obsessed with purity of essence, or in this case, purity of signal. He was, after all, crazy.)

Finally,
there is the question of exact tonal character. One has to do some
careful adjusting and perhaps some eq to get the ALS to match the tonal
character of neutral stand-mount monitors or floorstanders. If this is a
truly crucial point for you, then you might find a near-field monitor
speaker and a very close listening position a more direct approach to
addressing the issue. But you will lose the spatial scale and sense of
scope of the ALS, and I think you will miss them.

Overall
The
aforementioned points are really the only concerns involved in the way
the ALS’ unusual design generates space—or even reveals recorded space.
The differences among recordings remain; this is not some sort of
surround processor with reverb that makes everything sound like it’s
happening in a stadium. Far from it. The differences among recording
venues are actually presented more vividly than usual. In this sense,
space is not just being generated, but revealed. Still, the ALSs are
different. They are supposed to be different. I think Carver would have
been bitterly disappointed if at the end the ALSs sounded like ordinary
speakers.

There are people who treat audio like those ancient
religions where the same rituals are performed over and over in the
hopes that if they are made absolutely perfectly, the gods will be
appeased and the world will magically improve. I suppose that we all
want audio to be as nearly perfect as possible, but to tell the truth,
one can be skeptical about the idea that improving speakers in small and
subtle ways will lead to revolutionary changes. In any case, Carver
surely did not adopt that approach. The ALS is very well put together
and things that are optimized are things that matter, but the main point
is that this is not a microscopic improvement of things as they are,
but a truly new departure, a way of generating stereo sound in a room
that is qualitatively different from the forward-radiating,
floorstanding, dynamic-driver boxes that have become the primary kind of
speaker in audio.

The Carver ALS is a superb speaker on its own
terms, which are quite different from those to which people are
accustomed. Whether this is the speaker you want is not for me to say.
But if you are interested—and in my opinion you surely should be—in a
loudspeaker one of the most inventive and capable of all audio designers
came up with when he decided to rethink the whole idea of how a speaker
ought to work in a room to achieve the closest approach to actual
music, you owe it to yourself to listen to the ALS. And rather
surprisingly, for a speaker that is capable of not only such power and
scale, but also of the most delicate finesse, perhaps you can actually
afford to buy them.

As must be clear by now, I was startled and
intrigued by the ALS’ realism in reproducing music, from the solo voice
up to the largest orchestral recordings. Once everything was adjusted
ideally (as already described), then coming back to these speakers after
a full orchestral rehearsal or concert, I experienced surprisingly
minimal discontinuity vis-à-vis the live experience. The motto of The Absolute Sound—“the
sound of real music in real space”—was served very well, indeed, if in a
distinctive way. I think my old friend and our colleague, the late
Harry Pearson, would really have liked these speakers. I am certain he
would have found them fascinating. And I have an idea of how he would
have concluded a review of them had he had the chance to write one. In
words he used on other occasions for things he considered revolutionary:
“This must be heard by students of the audio arts.” I think so, too.

We are always
interested in purchasing quality Audio and Video items, LP collections and most

quality trades are welcomed.

All sales out of California are State Sales Tax exempt.

California State Sales Tax of 9.5% applies for items picked up or shipped to a California address.

We

accept payments by Bank Wire Transfers without fees and is the only

form of payment on all sales out of the U.S. and Canada. We prefer this

method of payment and also makes shipping to addresses other than

billing agreeable.

VISA, MC and Papal are gladly accepted within

the U.S. and Canada as long as the charge is approved and shipping to

the billing address on record and adds 3% to cover costs.

Please

call me directly in my world class showroom in Los Angeles weekdays @


310-472-8880 or any reasonable time on my cell including weekends @


310-927-2260 and I can answer your questions and help you with all of

your new and pre owned needs.

 Changing the Way You Listen,

    

    David  Weinhart 

Weinhart Design, Inc.

   President & CEO

[email protected]

www.weinhartdesign.com

 The Audio and Video Expert

2337 Roscomare Road, Studio #1

Los Angeles, California 90077

Showroom) 310-472-8880

      Cell) 310-927-2260