Sonus Faber Cremona 5.1 Speaker in full Surround speaker system Cremona mains & Auditor surrounds in Maple with matching Cremona Center & Cremona M Sub in light wood grain Grey (see attached pictures) :

Stunning looking Italian system with factory stands for the Auditors and center channel speakers.

One owner in good pre owned condition. 

See pictures of center side some scratches and some light wear.

We do not even want to think of BOXING & shipping them and after some time will consider breaking up the matching set and looking for a Local Buyer or we can arrange a California Delivery as we have a specialist which only makes California deliveries ...

PLEASE CALL IF YOU HAVE QUESTIONS...
Call or text David in Los Angeles any time seven days a week at 310-927-2260

            

Sound & Vision rave review by Thomas J. Norton:

https://www.soundandvision.com/content/sonus-faber-cremona-surround-speaker-system...

Visit the Sonus Faber website and you're given the softest of soft
sells. The home page has birds flying lazily overhead while wheat sways
gently in the breeze. Quiet classical music hums in the background.
Click in the right place and you might find a few words about products,
but you won't learn that Sonus Faber is the best-known Italian speaker
manufacturer west of . . . Cremona.

Since its founding in 1980, Sonus Faber has won consistent accolades for
its products. True to the sort of craftsmanship we expect from Italy,
the company's speakers invariably feature over-the-top cabinetwork using
solid woods, high-quality synthetic leather on the front baffles, and
finishes polished to a high luster. Their models also have
musical-sounding names: Guarneri Homage, Lineo Concerto, Amati Homage,
and so on.

If all this sounds expensive, it is. The Cremona is Sonus Faber's latest
floorstander, and if I call it a "bargain," the men in white coats will
soon be coming to take me away. But for Sonus Faber, $7495/pair is
something of a price breakthrough for a floorstanding design of this
complexity. In appearance, the Cremona is almost a dead ringer for the
Amati Homage, a Sonus Faber design dating from 1998. The Cremona is
smaller, with a slightly less elaborate cabinet (a mixture of veneers
and solid woods), and it uses different though no less advanced drivers.
The Amati Homage is still available and sells for $22,000. A pair.

Sonus Faber has followed a different strategy with the Cremona, making
sure from the get-go that the speaker is home-theater-friendly. The
small stand-mounted Cremona Auditor serves nicely in a surround
capacity. While the drivers in the Auditors are different from those
used for the Cremona midrange and tweeter, they look the same, and more
importantly, are a good acoustic match for the larger speaker over the
operating range.

The surprise entry here is the 3-way Cremona Center. If you must use a
horizontal center-channel speaker (and the market seems to demand them),
the best design is a 3-way system with the drivers that cover most of
the frequency range—the midrange and tweeter—mounted one above the
other. That's how it's done here.

I've been following loudspeaker driver design as long as I've been using
and reviewing speakers, and it would be a safe wager that the woofers
and midranges here are from ScanSpeak, and the tweeter is from Vifa—both
well-known and respected Danish driver manufacturers, now under common
ownership. The woofers and mids employ paper cones with radial slits to
minimize distortion and breakup. The tweeter is a ring-radiator model
that resembles a tiny donut with a phase plug sticking out of its
center. This new design—which Vifa and ScanSpeak seem to be making
exclusively, at least for now—is showing up in speakers from a number of
manufacturers. Exactly what benefits this design is supposed to provide
are unclear from the driver manufacturers' and Sonus Faber's websites,
but the latter avoids technobabble like the plague. We'll just have to
let the tweeter speak—or sing—for itself.

The tall, deep, but narrow Cremona has a sculpted, lute-shaped cross
section. This is not only for appearance, but to enhance rigidity and
minimize standing waves inside the enclosure. It also comes with
crossbraces that attach to the bottom of the narrow cabinet for added
stability. The speaker is designed to be angled back slightly, and since
that tilt can have a subtle but important effect on the sound,
particularly with the first-order crossover filters the manufacturer
uses, the adjustable spiked feet that fit into the braces are longer in
front than in back. The spikes are rounded enough to make them safe to
use, with care, on wood or tile floors, but they aren't sharp enough to
penetrate carpets and thus firmly anchor the speaker to the surface
beneath.

Each speaker in the Cremona system has a single set of high-quality
binding posts—no biwiring here. Each also has Sonus Faber's signature
grille design, consisting of dozens of black elastic strings stretched
vertically. The strings provide a see-through appearance and resemble
the strings of a violin—which I suspect was their inspiration. It's a
unique and very attractive look.

But if you remove or reinstall the grilles, be very careful. It's easy
to do, but a fair amount of stretching is involved, and if one end comes
loose while you're pulling on the other, you could take a nasty whack. I
recommend that you or someone else make certain that one end is held
securely in place while the other is being maneuvered into position.

The Stadium III subwoofer from British subwoofer specialist REL is a
heavy but not overly large, ported box containing a single heavy-duty
10-inch driver and 200W MOSFET amplifier. It has both high-level
(speaker) and low- or line-level (balanced and unbalanced) inputs. The
high- and low-level inputs have their own individual level controls, and
both inputs can be used simultaneously. Phase settings of 0 and 180 are
provided. The lowpass filter can be set to one of 24 discrete rolloff
settings or defeated entirely, which is what you want to do when using
the filter in your pre-pro or A/V receiver.

Setup


I set up the Cremonas in the positions I normally use for home theater
speakers: the left and right fronts just beyond the edges of my
80-inch-wide Stewart projection screen and toed-in toward the listening
position, the center located mid-screen and just below it. The top of
the Center is just under 25 inches high on its dedicated stand; I had to
raise my screen slightly to accommodate it. The surrounds were
positioned at the rear of the room, with the REL subwoofer at the front,
either in a corner or several feet out from it, along the front wall.

A Little Night Music

I did much more than a little music listening through the system,
primarily in 2-channel, using only the left and right Cremonas and the
subwoofer. My first reaction was that the Sonus Fabers were
exceptionally clean and sweet, but a little lacking in high-frequency
air. The Sumiko crew who set up the system in my house had positioned
the speakers a foot or so farther back from the locations I normally use
for the L/R front channels. Moving the Cremonas about a foot closer
helped considerably. So did removing the string grilles—as attractive as
they are, they don't seem to be as acoustically transparent as no
grille at all (surprise). For the rest of my listening, 2-channel and
surround, the speakers were auditioned au naturel.

Sumiko had also sent along a set of OCOS speaker cables for the front
channels. These added a noticeable sparkle to the sound, but with the
other changes I made, I was not convinced that this additional
high-frequency energy was a plus. I did most of my listening with my
resident Monster cables.

With these tweaks, and extended listening, the Cremonas began to shine,
though they didn't wow me right out of the gate with sparkling highs and
an explosive dynamic range. Coming on the heels of the Revel Performa
F50 system I'd just finished reviewing, the Sonus Fabers sounded
distinctly more polite, and more forgiving of less than the best program
material.

But "forgiving" doesn't mean "dull." The more I listened, the more I
enjoyed the detail the Cremonas uncovered. I began to appreciate again
the subtly different ways a percussionist can brush a cymbal, a
violinist can attack a string, or the way the ambience of the recording
venue can alter one's reaction to a piece of music. Much of this was due
to the quality of the tweeter. At the end of the day, I might have
preferred just a trace more air at the very top end, but the Cremona's
honest resolution and freedom from smear or edginess were more than
enough to compensate.

The midrange was also outstanding: a little forward, but only enough to
give the sound a natural immediacy and presence. Instrumental attack was
lively, and voices were simply there. And there was no identifiable
coloration to distract—no chestiness, nasality, or boxiness. No speaker
is completely uncolored, but in several weeks of listening I never heard
anything from the Cremonas that pulled me out of the music—or the
film—to remind me that what I was listening to was merely a simulation
of the real thing.

The imaging produced by a pair of subwoofered Cremonas was also hard to
criticize. Centered vocalists and instruments were anchored firmly
enough to produce that "Is the center speaker on?" sensation. Depth was
just what was called for by the program material. The overall soundstage
ranged from small and intimate to enveloping—again, determined by the
program material, not the speakers.

The Lowdown


The proper blending of a subwoofer and main speakers can be tricky. The
room is just as important as the speakers in determining how well a
combination of sub and mains will work—a room peak at or near the
crossover point will defeat even the best efforts. While they might not
deserve all the credit, the Cremonas blended well with three different
subwoofers in my room: the REL, the MartinLogan Descent, and the B&W
ASW 675.

Crossed over at either 60 or 80Hz by the filters in my pre-pro, the REL
Stadium III subwoofer provided solid low-end support for the Cremonas.
It shook the floor when required (mostly on films—more on that shortly),
calling attention to itself only when needed. I suspect that its solo
10-inch driver would not be well suited for very large rooms (like the
7000-cubic-foot space in my previous house, a real sub-killer), but I
was rarely able to stress the REL in my 3200-cubic-foot home theater at
high (but not insane) listening levels. In fact, the REL audibly
complained on only one selection I tried. Curiously, it was music: a
passage with a strong 19Hz fundamental (underpinning a higher frequency,
but average level, melodic line) on a Hindemith piece for pipe organ
(Hindemith Organ Works, Argo 417 159-2, 4:45 into track 5). Here the REL
substituted a gravelly, higher-pitched rumble for the fundamental. The
comparably priced MartinLogan Descent reproduced the same
extreme-low-frequency note without complaint. On most material this
difference was irrelevant, but I did hear it on a few of my most
difficult bass references.

In fairness to the REL, however, other otherwise impeccable subwoofers
have hiccupped in the Hindemith test—including the Aerial Acoustics
SW12. And, arguably, hooking up the Stadium III the way I did, and
forcing it to reproduce an octave or so above the 40Hz upper limit
recommended by REL may have somehow placed its deep bass response at a
disadvantage, though I'm not certain exactly how. REL may wish to
discuss this point in a manufacturer's comment.

Onscreen


I listened to all or parts of dozens of movies through the Cremona
system with the REL subwoofer. The system's strengths were clear: a big,
expansive soundstage, an immediate but not pushy sound, a superbly
clear midrange, and a deep, powerful low end.

The positive traits of the Cremona L/R fronts described earlier were
also evident in full surround mode. But with films, the Cremona Center
made its own case. It was as good as any center-channel I have yet
auditioned, equaled only by the best center speakers from the likes of
Revel and, perhaps, ATC (though I haven't heard ATCs in my own listening
room).

The Cremona Center's strength was its ease and unobtrusiveness: It was
simply there, and didn't muscle its way into the sound in any obvious
way. Over the weeks I lived with it, I appreciated its naturalness with
everything I threw at it. While it handled even the most aggressive
soundtracks without complaint, its way with dialog impressed me most. If
it had a fault, it was a slight warmth in the midbass. But the Cremona
Center was superbly uncolored through the midrange.

The soundtracks I played through the Center spoke for themselves. I have
noticed in the past that there's a wide range of coloration in
soundtrack dialog, largely due, I believe, to post-production dialog
replacement (aka looping) and the processing it requires. With the
Cremona Center, those variations were less intrusive than they often
are. Was this, in itself, a coloration? I don't think so, but if it is,
it's a coloration that kept me absorbed in the film rather than
constantly reminding me of the manipulation and processing that
soundtrack production requires.

More often than not, I never noticed the contributions of the individual
speakers in the Cremona system, so well-integrated was the soundstage
they created. The drivers in the Cremona Center are slightly different
from those in the Cremona L/Rs (conventional dome tweeter and smaller
midrange, both likely chosen to limit the height of the cabinet). But
the balance across the front soundstage was superbly uniform: as close
as is likely possible, except with identical speakers—and even then,
slight variations due to location will work against perfect uniformity.
The surround-sound ideal of a huge, uniformly balanced "bubble of sound"
had never been more obvious in my listening room.

As a surround, the Cremona Auditor may be a little pricey, but it worked
extremely well with this system. In fact, to check out the Auditor's
consistency, I briefly substituted our pair for the Cremonas as the
front L/R speakers. They came as close as one could hope for in
duplicating the Cremonas' front soundstage and overall sound. The only
difference I noted was a slightly less uniform balance with steered
dialog. I also tried using the Auditor as a center speaker. It worked
very well, though the Center sounded slightly clearer in the upper
midrange (probably due to the smaller midrange driver) and a little
sweeter in the treble. Both differences were very subtle; I suspect that
a system composed of five to seven Auditors, plus sub, would make a
fine, less expensive alternative to the system reviewed here.

I listened to soundtracks as diverse as Holes (with its superb dialog and nicely balanced music track), Finding Nemo, Solaris, and Final Fantasy. Finding Nemo
sounded sweet yet detailed. Steered dialog is used often in this film,
and it sounded consistent across the soundstage (though, as noted above,
less so when the Auditors were used in front). The balance was neither
bright nor dull. Nothing was slighted or exaggerated, from subtle sounds
like bubbles or the footsteps of crabs on an underwater pipe, to the
explosive sequence of sharks, mines, and submarine.

Steven Soderbergh's recent remake of Andrei Tarkovsky's Solaris
has no really explosive moments. Its strength is in the ambience it
creates—a combination of music and discreetly chosen sounds designed to
envelop the listener. The superbly coherent way that the Cremonas
reproduced this ambience almost made this simultaneously absorbing and
frustrating film itself coherent—no mean feat.

The soundtrack of Final Fantasy, however, probably illuminated
the strengths of the Cremonas best of all. At very low levels, subtle
details were clear, sometimes in ways I hadn't heard before. The
speakers let me appreciate how good this soundtrack actually is, from
the sound effects—which are surprisingly natural and not over-the-top—to
the well-recorded music score. The soundstage was magnificent: a
continuous sweep from left to right, with excellent depth and
well-integrated surrounds. Everything held together at high levels, and
while the dynamics might have been a little compressed at the very
highest levels, nothing sounded edgy or harsh or—just as
important—squashed or dulled. The soundtrack sounded so listenable and
exciting that even audiophiles who dislike home theater might admit to
being impressed.

Hold the Butter


During my time with Sonus Faber's Cremona system, an analogy came to
mind that perfectly sums up their strengths. For many years, I've
avoided fatty meals (those old high-cholesterol blues). I rarely use
butter, or anything resembling it. It wasn't long before I noticed that I
could actually better appreciate the fine points of different breads
when they weren't slathered in grease. And while beef isn't often what's
for dinner chez Norton, the same would apply to a prime steak
smothered—or not—in ketchup.

Sound reproduction is a lot like that. With the Cremonas, I could
discover the sound of music and movies without butter (distortion) or
ketchup (coloration) getting in the way. I could hear what was on the
recording the way it was meant to be heard. It's an outstanding system.

Sonus Faber Cremona surround speaker system Specifications:

Cremona 4-driver, 3-way, vented-box speaker


Drivers: 1.25" ring-radiator dome tweeter, 5.25" sliced paper-cone midrange, two 6" sliced paper-cone woofers


Frequency response: 32Hz–40kHz


Nominal impedance: 4ohms


Recommended amplification: 50–300W without clipping


Sensitivity: 90dB/W/m


Finishes: maple, graphite


Dimensions: 42.9" x 8.9" x 18.1" (HxWxD)


Weight: 75 lbs


Price: $7495/pair

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

Cremona Center 4-driver, 3-way, vented-box center speaker


Drivers: 1.25" soft-dome tweeter, 4.5" sliced paper-cone midrange, two 6" sliced paper-cone woofers


Frequency response: 42Hz–40kHz


Nominal impedance: 4ohms


Recommended amplification: 50–300W without clipping


Sensitivity: 90dB/W/m


Finishes: maple, graphite


Dimensions: 30" x 8.9" x 17" (WxHxD).


Weight: 64 lbs


Price: $3995 each (stand, $450)

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

Cremona Auditor 2-driver, 2-way, vented-box surround speaker


Drivers: 1.25" ring-radiator dome tweeter, 5.25" sliced paper-cone woofer


Frequency response: 46Hz–40kHz


Nominal impedance: 4ohms


Recommended amplification: 50–250W without clipping


Sensitivity: 88dB/W/m


Finishes: maple, graphite


Dimensions: 13.8" x 7.5" x 12.6" (HxWxD)


Weight: 21 lbs


Price: $3595/pair (stands, $650/pair)

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

Sonus Faber Cremona M Mos-fet Bass System:

he Cremona Subwoofer M is an active subwoofer system designed for
the proper reproduction of the lowest frequency ranges in both
stereophonic and multichannel sound systems. It exhibits an exceptional
capacity for low frequency extension, impact punch and dynamic output.

- System: active subwoofer with two passive radiators.
-
Cabinet: hdf construction.
-
Woofers: 300 mm hard paper cone, magnetically shielded, 300 mm passive radiator.
- Preamplifier: selectable rca sockets or hi-power binding posts
inputs.
Low-pass linkwitz filter, 24 db per octave.
Switchable low-pass
filter from 50 to 80 hz - 6 positions.
High-pass filter 19 hz, soft
start.
Phase reverse switch. 3 stage limiter to avoid damages.
-
Amplifier: 400 watt into 4 ohm digital amplifier.
Overcurrent, low voltage, dc and thermal protections.
-
Power supply: 14.000 uf toroidal transformer. 115 v / 230 v internally selectable.
-
Finish: black piano mat.
-
Dimensions: 480 x 490 x 480 mm (hxwxd).
-
Weight: 35.5 kg - net weight / 41.5 kg - shipping weight.
- Weight: 35.5 kg -
net weight / 41.5 kg - shipping weight.

Price: $2995 ? ? ?

System prices: $19,180 with Center & Auditor stands, $18,080 without stands

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

It
is best to call David and visit: www.weinhartdesign.com with questions

in Los Angeles Showroom 310-472-8880 or on my cell after hours and

weekends 310-927-2260 any time from 10AM - 10PM.

Weinhart
Design has lots of other items new and used and if you're in Los

Angeles or visiting please accept my invitation to experience our World

Class Audio Showroom and please visit our web site @ 
www.weinhartdesign.com

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.

See more Items from this seller at

   

Visit our Weinhart Design The AV Experts E-STORE

 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