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Orb Audio Mod2 Speaker System Print E-mail
Sunday, 01 January 2006
Article Index
Orb Audio Mod2 Speaker System
Page 2
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The Music
In 1996, Chick Corea gathered a group of young contemporary jazz musicians, along with legendary drummer Roy Haynes, to pay tribute to bop piano jazz great Bud Power. The result was a two-channel CD, Chick Corea & Friends, Remembering Bud Powell (Stretch Records, 1997). Bud Powell helped redefine bebop jazz piano in the 1940s and 1950s and was a clear inspiration to Corea. Only a few seconds into the opening track, “Bouncin’ with Bud,” I was struck by the clarity and cleanness of the horns, the presence of the rider cymbal and smoothness of Corea’s piano. I was easily wowed by the remarkable detail and instrument separation these small and inexpensive satellites were capable of reproducing. The soundstage was surprisingly broad and I experimented with the position of the front two speakers, gently toeing them in and out, to locate the exact point where they imaged their best. While the Mod2 system lacks some of the depth and musicality one experiences from a larger, more costly bookshelf system, I was struck by the fantastic integration between the satellites and the Super Eight subwoofer, which produced deep, taut bass that you can hear and feel. Even at high volume, the clarity of the Mod2 satellites did not falter and the subwoofer did not roll off much, if at all. On “Willow Grover,” a song featuring a high tempo bass performance by McBride, the bass and kick drum were surprisingly weighty.

“Tempus Fugit” best demonstrated the abilities of the Super Eight subwoofer on Remembering Bud Powell. Here the bass and drums carry the up-tempo pace of the track. Instrument separation was excellent in the mids and highs and even the most subtle details of the performance were rendered as well as on any system costing 50 percent more. At this point, the Orb Mod2 System had piqued my interest quite well and I was ready to up the ante with some rock and roll.

I reached for the Deluxe Edition SACD of The Who’s Tommy (Geffen Records, 2003) and immediately cued up “1921.” John Entwistle’s bass was well pronounced and deep and I quickly noted that the Super Eight subwoofer is definitely a core strength of the Orb People’s Choice System for music, reproducing the lower frequencies of drums and bass with delight. The layered vocal tracks in the chorus in the front and rear channels were extremely well balanced. I found the vocals even tastier on the short tune “Tommy Can You Hear Me?”, where the Orb’s exhibited greater smoothness than with my Chick Corea CD. This was particularly true in the midrange on Townshend’s signature layered rhythm acoustic guitars. Throughout Tommy, the lower-frequency reproduction of the individual Orb satellites was seamlessly tied in with the subwoofer. This was nowhere more evident than on the introduction to “I’m Free,” where the guitar rhythms were well supported by the subwoofer, which put forth a full and richly textured tapestry of sound. In addition, while Roger Daltrey’s vocals emanate predominately from the center channel, they are cleverly supported by background vocals from both the front and rear. This lent a three-dimensional quality to the soundstage, which I found highly enjoyable. I concluded my music listening at a higher volume with “We’re Not Gonna Take It.” I was impressed by the Orb’s ability to handle Keith Moon’s hard-hitting percussion while delivering on the more delicate vocal track through the chorus. The mix is aggressive on this track, with vocals and instruments emanating from all the speakers, and the music never sounded muddy or harsh. In this regard, I give the Orb satellites high marks.

The Movies
My evaluation of the Orb system with movies began with the Special Collector’s Widescreen Edition of “The Hunt for Red October” (Paramount Home Entertainment, 1989). Starring Sean Connery and Alec Baldwin, “The Hunt for Red October” is based on Tom Clancy’s best-selling novel about the intense search for a defecting high-tech, nuclear Russian submarine. The DTS 5.1 soundtrack is dynamic and contains deep bass from effects such as submarine propulsion systems and torpedo explosions. Surely the soundtrack would prove a great challenge for this small satellite speaker package .

In Scene 12, “Battle Stations,” the scream of the approaching torpedo toward the Red October packed quite a punch from the little Orbs, significantly startling me in my center listening position. Furthermore, the ricochet of bullets during the gunfight in the Red October’s missile room emanated from all the channels with a realism that I thoroughly enjoyed and which made me feel part of the scene. In Scene 8, “Crazy Ivan,” the takeoff of fighter jets and the helicopter propeller produced an admirable rumble from the Super Eight that I was able to hear as well as feel. There is no question that the Super Eight established itself here as a most capable product for deep bass, especially for its price.

I give high marks to the Orb’s ability to consistently articulate realistic-sounding and highly audible vocals, which cut right through the soundtrack. This is incredibly important, as the delivery of vocals is the most important aspect of a first-rate movie-watching experience in my view. In Scene 4, “Ryan’s Briefing,” the meeting between Ryan (Baldwin) and the Joint Chiefs was easy to follow, even when I moved to an off-axis position. If movies are incredibly important to you and you are considering a Mod1 system, definitely spend a few more dollars and upgrade the center channel to a Mod2 configuration, a move that in my opinion will put a serious premium on your set-up.

In concluding my evaluation, I reached for Steven Spielberg’s “War of the Worlds” (DreamWorks Home Entertainment, 2005). Based on the famous H.G. Wells classic science fiction novel, “War of the Worlds” is the story of Ray Ferrier, played by Tom Cruise, and his attempt to lead his family to safety during an attack on Earth. Although, in my view, “War of the Worlds” is one of Spielberg’s more mediocre movies, the 5.1 DTS soundtrack is topnotch, filled with tantalizing special effects and a bone-crushing LFE channel that can easily challenge the limits of virtually any home theater.

Scene 4, “In the Storm,” begins with Ray in his backyard amongst the sounds of gusting wind, rustling leaves and the flapping of the clothes on the clothesline. All these sounds were highly detailed and afforded an eerie realism to the moment. I was impressed by the Orb’s ability to handle the continuous, violent crashing of thunder. The Super Eight subwoofer performed its best here. After the conclusion of Scene 4, I realized that I was sitting on my couch with clenched fists and tensed shoulders. Such a reaction would not have surprised me if I were listening to “War of the Worlds” on my high-end Revel speaker system, but to have a $999 speaker system solicit this type of physical reaction is a testament to its abilities.

In Scene 13, “Hudson Ferry,” the fast-paced horns and drums in the suspenseful musical score by John Williams raised the tension of this already exciting scene. There is a lot in the soundtrack at this point, including the music, the screaming of a panicking and hysterical crowd, the splashing of water and the movements of the attacking machines. At no point during this scene was the soundtrack muddy or confusing and I felt the Orbs rendered the mix exactly as Spielberg’s sound engineers probably intended.

The “War of the Worlds” soundtrack is extraordinarily dynamic, but listening to a movie during its quietest scenes can also help distinguish between an average and great-sounding speaker system. It is not just explosions that are important. During Scene 15, “Harlan Ogilvy,” when Ray softly sings in a whisper to his daughter before she attempts to sleep, the Orbs were able to effectively communicate the intimacy of the moment with a most delicate touch. I was able to easily appreciate the smallest nuances, such as the sounds of swallowing and subtle breaths between their whispers. There is no question that the Orbs were fantastic on “War of the Worlds” and, in any small apartment, they could easily wow you and your friends.


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