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Chane L Series Interest Thread and List

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  • I figured it was worth asking. Thanks for the clarification.


    • Unless it saves a lot on shipping, I wouldn't say no to an L6 if it were to be available before the L7's.


      • Originally posted by Spidacat View Post
        Unless it saves a lot on shipping, I wouldn't say no to an L6 if it were to be available before the L7's.
        They cost too much to ship alone by common parcel. You'll want them in a pallet with the L7. (And at the foolishly low current price, so do we.)


        • I figured as much as well. Didn't hurt to ask though. Thanks Jon.


          • Sounds like they are getting closer!


            • Happy Friday everyone. There's a new L Series thread starting here.

              L6 and L7 continue to hold in pattern behind component shortages. The knock-on effect from last year's crisis continues, and in some cases, worsens. That said, we've made some progress and eagerly await what we need to finally at long last release these two top models. And yes they are top models, the sound of which here in our space being what we aimed for and more: A bona fide contender with approachable cost of ownership.

              Now, if they'd just finish the last leg.


              • Thanks Jon
                Still waiting and hoping. Are the outriggers sourced in china or the US. Are the outriggers the last piece needed? I know some good machine shops who could make them but would add a few dollars to the price but most of us would not care if we could get the speakers :)


                • Originally posted by 1st Time Caller View Post
                  Are the outriggers sourced in china or the US. Are the outriggers the last piece needed? I know some good machine shops who could make them but would add a few dollars to the price but most of us would not care if we could get the speakers :)
                  Drivers and machined parts. The latter can't be made at local job shop rates or the cost goes up exponentially. We need them from our usual sources - who are swamped - and in 500 unit quantity. The cost of 500 locally could top $100,000 and completely upset downstream costing.

                  Drivers are a different matter. For a supplier with a chronic pattern of this, you have to wait it out. 20/21 only made it worse, and so we join innumerable makers out of stock on one thing or another.

                  Fortunately, it's not a question of if but when. We just don't have the answer.


                  • Good morning folks. In posting the message above - relating to the upcoming models L1c, L2, and l2c - I reread a portion of one of the linked reviews. It put me in mind of what I've always felt matters: Getting out of the way of the music.

                    That sounds like rhetoric. The problem with writing about sound - despite there being some very good writers in the field, of which I'm not one - is that words cannot capture the actual experience of a successful playback of a recorded event any more than they can convey the event itself. Still, there are writers whose prose puts us in touch with the emotion and feeling of either, and that may give us a meaningful insight.

                    A friend of Chanes makes very high grade turntables and has spent years setting them up with top tone arms and cartridges. He writes beautifully, digging through the mechanical aspects to put his readers into touch with what they're like in use, and as such, how each combination or how each technological manifestation connects the user to that visceral, physical acoustical event recreated in the home.

                    It's that narrative about that connection that interests me this morning. What moves us to dial in and reconnect in such a way that our shared, almost primal sensation is triggered such that we can, for a time, suspend disbelief and watch the recorded event play out in sufficient realism to put us a little out of time or space.

                    Obviously various technologies and the collection of tech called the component do this in various ways; some not at all. But get enough right - get over that threshold - and we displace ourselves into that frame of mind, whether it's looking through to a musical performance from forty years ago or finally capturing what we somehow knew instinctively was on that multichannel soundtrack we've been trying to drill down through.

                    It's that sensation that I know I've heard just enough times through the years that I think should be passed forward. It's that intangible, what-the-heck-was-that reaction we want. It's the willing loss of technical perspective and the presence of enough organic realism that we can ignore the boxes and finally see and feel the original event.

                    Whether or not Chane delivers that I leave for our users and customers. I don't review our stuff (and I shudder to think of ever reviewing a competitor's, even though I've actually seen a few of those through the years). But given that the physiological reaction to good realism is so universal, it's been immensely gratifying to see it enough times since Chane began to confirm that something good just might be happening in our little end of the audio world.

                    Examples appear all around the Chane user base and I think it's fascinating how similar the language is - there's a pattern emerging that as with many other top reproducers of sonic realism, speak together about a common experience. Here's an example from one the of the links above.

                    Rereading it drove it home:
                    I played Chocolate Chip Trip and immediately started tripping, literally. I had to go back and make sure I was in stereo mode. To be sure I wasn't hearing things, I had the wife come in and give it a listen. She gave a lot of "ooohs" and "aaahs" and only afterwards did I tell her that the sound was only coming from 2 speakers. She didn't believe me, it's that enveloping. Every sound was placed precisely in the room.

                    Every sound they play is perfectly audible and clear, but not "sterile". They just sound expensive.

                    And from another review:
                    In some recordings I've played the realism was startling. Listening to the song "So And So" from Holly Cole's "Don't Smoke In Bed" on the Analog Productions SACD, there is finger snapping in the song and it was so real it was like Holly was in the room with me. Another example of the realism was while listening to Bob Dylan's "John Wesley Harding" on SACD. Again, the realism was such that I could close my eyes and picture Bob playing his harmonica right there in my room, no BS. Those a just a couple examples of many I could list.

                    One more:
                    I gained a taste for Ludovico Einaudi with the [Chane] 752’s, but these have pulled me into stuff like Caroline Shaw’s Attaca Quartet. They play IN MY ROOM, directly to me, with the L3c’s. I’ve heard these instruments played live many times (usually by friends). I’m here telling you that these songs occurred in my room with the L3c’s. Throw in my tube amp and I swear I could tell the mood of the players as they used their bows and fingers.

                    It's on that premise that I have a lot of faith in the three small new L models we hope to push across the threshold later this year. While it always, perpetually takes too long to launch, eventually even this silly "pandemic" can't stop the production of another neutral, insightful model and with it, hopefully, the faithful reproduction of so many favorite musical or film passages.

                    And yes the big L7 is breaking my heart. It should have preceded the other five L models and it should, with its companion the L6, have preceded both 700 Series models, but the fates said it'd be delayed and sure enough it is. And the thing that gets to me the most is that it does all this stuff better than anything. In fact, in the ways I think are important it's the best I've heard in my space ever, at least up to the class of rare super speakers that are so different in tech and size than even an L7.

                    (We're actually working on that class now, by the way, in two special models, and as the culmination of a 20 year dream, might just be able to produce before very long. Fingers crossed, because if they happen then we've been able to reach forward into a new paradigm while reaching backwards to the wonderful world of a truly transcendent intersection of technology, history, and fine music. Not conventional and not cheap, but at that level what is.)

                    At any rate, even the smallest models of a line using such good tech deliver the insight to relax us and it's my hope the next L's do this even as you've found the current ones can.

                    I rarely do this but that's the Sunday morning blog for 9 May. Who knows where we go next...