Bayz Audio, Anybody heard this speaker in person yet?

JayDog

https://www.youtube.com/watch?v=wJi_GaErBPM

BAYZ Audio, The Counterpoint Reference Loudspeaker
WOW! I can hear how good it is making wind instruments & horns sound on this You-Tube video, I would love to have one of these Babies in my home. I think 175K is a little to much
Did Anybody get to hear this at any of the 2019 shows? thoughts?

https://www.monoandstereo.com/2019/12/bayz-audo-counterpoint-v20-speakers.html

Clipdat

Yes, I got to hear them at Axpona '19, and took this photo:



Amazing sound, absolutely incredible. Great bass response and everything else, just perfect. This is what an endgame speaker sounds like.

marvda1

I've heard them. Very good sounding speakers.

JayDog

Coming from Marvd1a & Clipdat they must be legit speakers. You both know what your hearing I am sure.

Zolton Bay sounds like a engineering superstar.
He comes from long line of physicists and has invented all kinds of different audio devices and holds several patents in a number of different fields.

The BRS tweeter technology sounds like a game changer!
I would like to hear Bayz's separates audio system or his fullrange electrostatic loudspeaker along with these counterpoints.

Members lets hope Zoltan Bay gets with some solid investors and they figure out a way to bring some of his technology to market for a realistic price tag, so we can all enjoy some of this technology.


http://www.bayz-audio.eu/2018/05/04/an-interview-with-zoltan-bay-creator-of-the-bay-radial-speaker-by-shannon-backer/

pitdogg2

Axpona 2019

JayDog

I hope Bayz has a room at this years Chi-town Axpona, I am ready to hear this speaker in person!

Clipdat

I agree, I hope they bring them back and that they put them in a bigger room. They deserved a bigger space than the one they were in.

I remember how amazing classical music sounded on them. I was sitting in the sweet spot, and it actually felt like I was in the front row of a symphony performance. It sounded real. Simply spectacular.

JayDog

Clipdat wrote: »

I agree, I hope they bring them back and that they put them in a bigger room. They deserved a bigger space than the one they were in.

I remember how amazing classical music sounded on them. I was sitting in the sweet spot, and it actually felt like I was in the front row of a symphony performance. It sounded real. Simply spectacular.

I was wondering what the hell a 175k speaker was doing slammed up against the wall and in the corner like that? End Game speaker or not, this has to destroy its performance in every way!
You are making this addiction of mine worst with descriptive terms like that Clipdat..

mhardy6647

JayDog wrote: »

Clipdat wrote: »

I agree, I hope they bring them back and that they put them in a bigger room. They deserved a bigger space than the one they were in.

I remember how amazing classical music sounded on them. I was sitting in the sweet spot, and it actually felt like I was in the front row of a symphony performance. It sounded real. Simply spectacular.

I was wondering what the hell a 175k speaker was doing slammed up against the wall and in the corner like that? End Game speaker or not, this has to destroy its performance in every way!
You are making this addiction of mine worst with descriptive terms like that Clipdat..

Dunno -- it may be different enough in concept & execution as to obey different rules than the usual monkey coffin.
And, no, I am not - for a change - being facetious.

Recall, e.g., the (very nice, and rather heretical -- or at least atypical) original series of Allison loudspeakers from AR stalwart (and, by all accounts, all around good guy), the late Roy Allison.


http://www.classicspeakerpages.net/library/allison/allison_one_series/allison_one_series_brochure_2/allison_one_series_brochure_2/

JayDog

mhardy6647 wrote: »

JayDog wrote: »

Clipdat wrote: »

I agree, I hope they bring them back and that they put them in a bigger room. They deserved a bigger space than the one they were in.

I remember how amazing classical music sounded on them. I was sitting in the sweet spot, and it actually felt like I was in the front row of a symphony performance. It sounded real. Simply spectacular.

I was wondering what the hell a 175k speaker was doing slammed up against the wall and in the corner like that? End Game speaker or not, this has to destroy its performance in every way!
You are making this addiction of mine worst with descriptive terms like that Clipdat..

Dunno -- it may be different enough in concept & execution as to obey different rules than the usual monkey coffin.
And, no, I am not - for a change - being facetious.

Recall, e.g., the (very nice, and rather heretical -- or at least atypical) original series of Allison loudspeakers from AR stalwart (and, by all accounts, all around good guy), the late Roy Allison.


http://www.classicspeakerpages.net/library/allison/allison_one_series/allison_one_series_brochure_2/allison_one_series_brochure_2/

Yes, I remember the original Klipsch Horns were built to be put in a corner about 25yrs ago, Yes I am that old...
After reading through all the info about the Counterpoint speaker, this isn't the case, I assure you! Counterpoint needs room like most Electrostatics, open baffle, monkey coffins etc.
It is probably more in the way of Bayz Audio trying to save some cash maybe, until they do hopefully get some investors.
If i had to guess.. but I understand why you would say this mHardy

mhardy6647

So -- I just stumbled across this looking for something else entirely in Holger Barske's incredible collection of photos @ Flikr. I guess these loudspeakers are a thing.

hdl18_05 by Holger Barske, on Flickr
(photo taken 12 May 2018)


PS Please don't compare the K-horn (which, all in all, actually ain't a bad loudspeaker) with Allison's loudspeakers. About as different conceptually and sonically as two designs for the same basic class of product could be.

JayDog

PS Please don't compare the K-horn (which, all in all, actually ain't a bad loudspeaker) with Allison's loudspeakers. About as different conceptually and sonically as two designs for the same basic class of product could be.

mhardy6647... your right! that is like comparing a 4x4 truck compared to a Italian race car...

It is funny how loudspeakers, like cars take on there own identity over time!

JayDog

Larsen speakers was the brand i was trying to think that also are designed to be put in a corner or up against a wall, but Klipsch horns was all I could think of at the time I was posting that, Mhardy!

mhardy6647

JayDog wrote: »

Larsen speakers was the brand i was trying to think that also are designed to be put in a corner or up against a wall, but Klipsch horns was all I could think of at the time I was posting that, Mhardy!

Well, the Klipsch -- ahem -- Cornwall was likewise intended for Corner or Wall placement.

Screechy rascals either place -- although the bass output of 'em is OK is a bit wooly.

Rcornieoly by Mark Hardy, on Flickr

Larsen, off the top of my head -- I don't remember.

JayDog

Larsen are kinda like the Ohm walsh speaker nothing special imo.

I loved the Cornwall & La Scala speakers.. I have some great memories with those speakers.. Journey, Led Zep or Aerosmith album with the Lady's back in the day! Good Times with low watts and plenty loud, distortion and all.. I still loved it!

mhardy6647

I liked the Cornies quite a bit & used them for a full decade -- 'til I acquired a pair of Valencias. They were gone pretty quickly once I heard the Valencias in the same room & with the same electronics (and, as you may have noticed, I don't get rid of much). Just too shouty and harsh for me compared to the Altec sound, although I will readily admit that the bass extension was much better from the Cornwalls than the Valencias.

JayDog

Well mhardy, you don't have to replace gear very often when you buy that level quality & high fidelity, I don't have much personal experience listening to Altec's, We were more a Klipsch & 4x4 trucks family.

Altec's are the movie theater speaker from when I was a kid and I always wanted a pair.
Altec is still several peoples end game speaker to this day! As long as you still enjoy them and you have room for them.. some of the theater models I do not remember the name of Altecs but they were absolutely huge speakers.

Good for you Sir, I hope you stay happy with your System another decade or more! I am suffering from the dreaded upgrade-idis disease!

mhardy6647

They're mine ("endgame" that is) -- well, they're partly Altecs at this point.
Just listenin' to 'em tonight, in fact.

DSC_0144 (2) by Mark Hardy, on Flickr
DSC_0938 (3) by Mark Hardy, on Flickr

JayDog

mhardy6647 wrote: »

They're mine ("endgame" that is) -- well, they're partly Altecs at this point.
Just listenin' to 'em tonight, in fact.

DSC_0144 (2) by Mark Hardy, on Flickr
DSC_0938 (3) by Mark Hardy, on Flickr

Very Nice!
I gotta ask you, what is your 3 crossover points? that is a Awesome true Horn..I love speaker ****...

mhardy6647

heh-heh-heh -- ca. 600 Hz and 20 kHz; first order (which is why the "supertweeter" can be so high!).

The EMILAR EH500-2 is a very sweet sounding horn; dollar for dollar, I am not sure one will find a better one nowadays. They're a little hard to find, unfortunately, 'cause the secret is out (and has been for quite a while).

JayDog

20k wow, that is high even for a super tweeter, I bet that horn sounds incredible & she covers that much ground, Very Nice brother!

mhardy6647

It's not as crazy as it sounds. First order at 20 kHz puts the output down 6 dB at 10 kHz -- the B&C horn has plenty of output at 10 kHz, so, the tweeter kind of just rolls off into the treble horn (which was the desired effect).
I do have variable L-pads on the treble driver (JBL 2440) and the B&C DE35 "supertweeter", as well -- even though the Altec 515B drivers are very sensitive, they can't quite keep up with the compression drivers!

http://www.lansingheritage.org/html/jbl/specs/pro-comp/2440.htm
https://www.parts-express.com/B-C-DE35-Neodymium-Mylar-Bullet-Tweeter-294-580?quantity=1

JayDog

mhardy6647 wrote: »

It's not as crazy as it sounds. First order at 20 kHz puts the output down 6 dB at 10 kHz -- the B&C horn has plenty of output at 10 kHz, so, the tweeter kind of just rolls off into the treble horn (which was the desired effect).

That makes more sense out of it, OK, That is a special horn.

I could never get super tweeters to blend right or sound right.
I have tried several over the years and mine always had poor integration no matter what cross over point I started at 8k or 15k, I gave up on the whole super tweeter concept!

marvda1

That sounds too low for a super tweeter crossover. My rosso volterra super tweeter starts at 40k and goes to 100k.
I guess it depends on the extension of your tweeter.

JayDog

marvda1 wrote: »

That sounds too low for a super tweeter crossover. My rosso volterra super tweeter starts at 40k and goes to 100k.
I guess it depends on the extension of your tweeter.

Its funny you commented on this Marvda1, Zero fidelity is a known Hi-Fi reviewer and I asked him a couple years back, what his favorite highs were out of all the speakers he has reviewed? Shawn choose your exact speaker "Rosso Volterra" He bought a pair or just kept the review pair for a long time because of how much he loved the highs, I have heard this from a couple golden eared friends, Shawns opinion is legit in my book. I have to hear this speaker in person soon, it sounds like a real treat, you made a excellent choice!

marvda1

the Fiesole also has the same tweeter and super tweeter.
https://forum.polkaudio.com/discussion/193129/my-new-rosso-fiesole-s/p1

mhardy6647

I put "supertweeter" in quotation marks for a reason.
While drivers like the 2440 are used in two-way applications, the horn-driver combination, due to fundamental physical constraints, has limited output above 12 kHz or so. I usually refer to these as "treble" drivers, which I think is more accurate and evocative of what they bring to the table than "tweeter". Crossing in a "tweeter" to fill in the octave above 10 kHz (i.e., to 20 kHz), and/or above, helps (IMO) to bring the sparkle, shimmer, and air that we expect from domestic "hifi". To my way of thinking, any "tweeter" with a crossover over 10 kHz or so is doing a different job than a hifi tweeter as we usually consider them (again, in domestic hifi), thus do I call 'em "supertweeters".

The B&C DE35 is absolutely and irrevocably not as extended as a "real" supertweeter (e.g., the venerable Radio Shack/Fostex "bullet horn" 40-1310, which has well documented ultrasonic output up to ca. 30 kHz) or the Pioneer "HPM" ("high polymer molecular film") transducers of the 1970s and '80s.

None of which, I fear, has anything to do with the titular "Bayz Audio" loudspeakers.

JayDog

Correct..This thread is all over the place, I get off subject easily talking audio, good point!

mhardy6647

JayDog wrote: »

Correct..This thread is all over the place, I get off subject easily talking audio, good point!

Through nobody's fault buy ours!

I wasn't the least bit interested in the titular loudspeakers until I saw a picture of them on Holger Barske's Flikr account. He is my kinda hifi observer/photographer -- so if he felt moved to snap a piccie of 'em, they must be doin' something right.

JayDog

The original Bayz Counterpoint, the big boy, was way out of everybody's price point so it was impressive, but the buzz the smaller 2.0 speaker was getting before Covid19 was crazy amongst respected Hi-Fi friends.

Now, that they released the smaller 97k version, I still cannot afford it, but the trickle down technology with there BRS-HR tweeter design is very interesting.

The original BRS tweeter used in the Courante and Counterpoint (V1.0) was already among the fastest transducers. This was their key advantage and the very reason for lifelike realism, immediacy and higher grade of believability.

Bay connects the introduction of the BRS-HR with the growing amount of high-resolution audio. BRS-HR extends beyond 50kHz which is an impressive achievement for the omnidirectional type of speakers.

BAYZ Audio had to improve the internal wiring to handle the increased high-frequency resolution. This result not only in far more accurate higher frequency delivery but also in a more compelling and lifelike mids. Micro and macro dynamics have also gained quite a noticeable boost, delivering even more convincing presentation.


The updates...

The BRS-HR has been integrated into the all-new Courante 2.0 and Counterpoint 2.0 along with a variety of mechanical and cosmetic improvements that includes:
Improved Internal Cables – allowing greater transparency and warmth while improving transient response and impulse response of the system.
Hardcover on the BRS-HR – a laser-cut aluminum cover provides increased protection for the BRS-HR driver.
Improved mechanical connections to the solid granite base for greater stability and ease of setup. Solid mahogany wood backplate for improved vibration dampening of the cabinet.


As with previous versions, the all-new BRS-HR tweeter is matched with two custom-made utterly fast 240mm (9½”) woofers that focused and powerful bass, fast transients, and ultra high-resolution. These woofers are designed by Frank Nielsen of SB Acoustics. Frank Nielsen (CEO of Danesian Audio ApS) is a designer of renowned Satori drivers, with more than thirty years of experience with designing high-end transducers for SB Acoustics, ScanSpeak, Vifa, Danish Sound Technologies, Tymphany, and others.

For the BAYZ Audio Frank and the Danesian Audio team have designed and refined a unique, ultra-fast Satori-like driver that matches the speed of the ultra-fast BRS HR tweeter. The Denesian Audio Engine Team also assembles and tests each of Bayz Audio speakers. This guarantees, that each loudspeaker is matched and passes stringent quality control.


As with the past production, the ultra-high-end BAYZ Audio Counterpoint patented speakers come with the exotic Hungarian hand-made cabinet, that is hand-assembled and rigorously tested in Denmark. Like the state above this ensures the impeccable quality and state of the art performance.

BAYZ Audio is continuing the collaboration with András Voloscsuk and his Engineering Team for the manufacturing of the Counterpoint's carbon fiber composite enclosure. This high strength-low weight (only 30kg without the 55 kg granite stand) advanced monocoque chassis is of true state-of-the-art attributes, letting the music freely de-attached from the speakers.

It's worth mentioning how András Voloscsuk and the Composite Project Team have decades of experience in developing and manufacturing the new carbon-fiber materials for F1 monocoques, race planes for Red Bull Air Race World Championships, and even carbon fiber pianos.

With this unique know-how, András has raised carbon fiber fabrication to an artistic level. The beauty and elegance of the Counterpoint would not be possible without this out-of-the-box partnering.

MEASUREMENTS

These are the latest official measurement with the all new BRS-HR driver. Yes, quite impressive to say at least...

JayDog

oh yeah measurements...