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> Classifieds > > OUTLET50% REFERENCE sound system by MBL

FOR SALE: OUTLET50% REFERENCE sound system by MBL

Item #649162261
Info: OUTLET50% REFERENCE sound system by MBL

Asking Price:
EUR99000.00
Retail Price: EUR €259700.00
Payment method: Cash, Mastercard
Shipping weight: 525.00 (kg) Calculate Shipping
Condition: 11 - New (?)
Date Posted: May 25, 18 6:06 (PST)
Edited: May 25, 18 6:06
About Seller: AudiophileSpain
Madrid,
Spain
[other classified ads]
Days in System:26
Views:137
Avg. Views/Day:5.71

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Description

Sponsored post - log in to remove this ad.

For sale MBL REFERENCE SOUND SYSTEM in new condition!, (with list price US $259.700).

Luxury finish black piano/24 Karat gold , long lasting performance.

Superbly constructed, this is ultra highend audio MADE in Germany!



Fully omnidirectional sound system,
360° 3D holographic sound!

1 x PAIR OF MBL 101E MK1 REFERENCE LOUDSPEAKERS
2 x MBL 9011 REFERENCE POWER AMPLIFIER
1 x MBL 6010D REFERENCE PREAMPLIFIER
1 x MBL 1611 REFERENCE D/A CONVERTER
1 x MBL 1621 REFERENCE CD TRANSPORT

This is one of the best TOP REFERENCE sound systems money can buy!.


The MBL Reference was showing at the New York Audio Show with a retail price of 259000 US $.






* Copied from THE ABSOLUTE SOUND magazine:

"What the 101Es MK1 are capable of, is astonishing. At the right SPLs, the Radialstrahlers have the best (which is to say deepest-reaching, most naturally full and rounded, sensationally dynamic and extraordinarily lifelike) low end I’ve heard from any loudspeaker, with or without a sub. On cuts with truly subterranean bass— like Nine Inch Nails’ “The Perfect Drug” from Trent Reznor’s soundtrack to Lost Highway [Nothing/ Interscope] or David Bowie’s “Little Wonder” from Earthling [Columbia] on CD, or the Montsalvatge Piano Concerto [Concertos from Spain, London] or Schoenberg 5 Stücke [AMER/ Mercury] on LP—these things move so much air that they don’t just make your pants legs flap, they make the cushions on the couch you sit on flex in and out. And on drumkits…well, this is as close as I have come to recreating the physical presence— the sheer size and room-shaking power—of a drum set since I listened to four barrel-sized Nearfield Acoustics Pipedream subwoofers (each one equipped with twin 18" drivers). It almost seems like a magic trick to hear a speaker of the 101E’s modest dimensions produce such astonishing bass-range slam and through-the-floor extensse.
Though not as SPL-dependent, the 101E’s treble is every bit as remarkable as its bottom end. On cymbals, bells, or top-octave piano and winds, the 101Es sound so dynamically and harmonically complete and three-dimensional that, at first, you may think that there’s too much “there” there... the Radialstrahlers’ omni tweeters simply reproduce more of the instrument, the air that surrounds it, and the way its voice shimmers and hangs in that air than you’re used to hearing from a loudspeaker, and they do this without adding the usual sting or smear of treblerange transducers. As with the Radialstrahlers’ bass, on the right recordings the effect is magically realistic... If you’re expecting a letdown in the MBL’s midrange (and given what I’ve just said about its magic act in the bass and treble, you may be), you’re in for a surprise. Although we don’t talk about this much anymore, it used to be that loudspeakers—from big expensive planars like Maggie 1- Us or stacked KLH 9s, to moderately priced dipoles like the Quad 57s, to cheap bookshelf dynamics like stacked Ad-vents—could “fool” you into thinking that a recorded vocalist or soloist was there in the room. I don’t know what’s happened to speaker technology in the past thirty years— whether or not the gains that have been made in imaging specificity and soundstaging breadth and depth and flat extended frequency response have been traded off against that magical sense of “presence”— but it is not often, anymore, that a loudspeaker tricks me into thinking that, say, Joan Baez or Artur Rubinstein or the Juilliard Quartet is “there” in the room. The MBL 101Es are exceptions... they throw images that are larger, less razor-cut, and more “bloomy,” dynamically alive, and threedimensional— these things can fool ya into thinking that you are in the presence of real musicians or vocalists... with the right disc—try Cisco’s reissue of Doc Watson’s Southbound or what my colleague Mark Lehman calls Bartók’s seventh quartet, Jerome Rosen’s String Quartet No. 1 [Epic]—at the right level, the 101Es pull the ultimate magic trick: They make you momentarily forget you’re listening to speakers.

This brings me to the 101E’s chief virtue. With any music, at any reasonable level, the Radialstrahlers aren’t just world-beaters in dynamics or bass extension or treble clarity and purity or lifelike midrange presence; they are also and everywhere simply extraordinary with the duration of notes. Even with ’stats, I’ve never experienced anything like this. The MBLs simply don’t let go of the music, no matter how lowlevel it is. I’ve never heard any speaker reproduce “stopping transients”—the way a sustained piano note or guitar note or violin note mixes its changing colors with the colors of subsequently sounded notes before bending and gradually dying off into silence—better than the MBL 101Es. If you want to hear every bit of music that lives on the cusp between sound and silence, these speakers should be at the top of your short list... Unlike many other multiway speakers, at moderate to very loud levels the Radialstrahlers sound extraordinarily “of a piece” from top to bottom... The MBL 101Es (at least with the amplification I’ve so far used—for which, see below) are exceptionally natural in tone color from top to bottom... These Radialstrahlers never sound bright, thin, or spitty... All depends on the quality of the source you feed them, for these speakers are among the most transparent (as in “transparentto- the-source”) of any I’ve heard.
Speaking of sources…With an extremely low sensitivity of 82dB/W/m, the 101Es do require you to use powerful amps, and those amps must support bi-wiring, as the 101E’s bass drivers have to be fed separately (i.e., with their own set of speaker cables) from its midrange and tweeter. I am currently using MBL 9011 monoblocks—huge, 280-poundper- side, $66,800-per-pair, solid-state powerhouses, capable of delivering something like 5000W of peak power without blinking. A bit to this tube maven’s surprise (I reviewed an early version of these amps about ten years ago), the 9011s are superb amps—very deft and detailed, exceptionally dynamic and gorgeously rich in tone color, without any of the offputting coolness and dryness of their earlier iteration. There is no question in my mind that these monoblocks—in combination with MBL’s wunderbar 6010D preamp—play an indispensable part in the extraordinary low-level resolution, large-scale dynamic clout, and lifelike presence I’ve heard from the 101Es... the 101Es are in many respects the best loudspeakers I’ve ever heard"



THE CONNOISSEUR'S
RANKING LIST of floorstanding loudspeakers:


*(EXCEPTIONAL LEVEL, 10 ):
-MBL 101E MK1


*(REFERENCE LEVEL, 9'5-8'5 ):
-KEF Reference 207/2
-B&W 802D
-Tad Reference One
-Wilson Audio WA TT/Puppy 7
-Dynaudio Evidence Temptation
-Sony ES SS-M9ED
-Revel Ultima Studio
-B&W Signature 800
-MartinLogan Prodigy
-Avantgarde Acoustic Uno Series Two
-Dynaudio Evidence Master
-Paradigm Reference Studio/100 v.2
-PBN ' Montana EPS
-Sonus Faber Amatl Homage
-B&W Nautilus
-Dynaudlo Contour 3.0
-Dynaudio Contour 3.3
-KEF Reference Series Model Four
-B&W 801 Matrix Series II
-Sony ES SS-M9
-Sonus Faber "The Sonus Faber"
-B&W Nautilus 801
-Quad ESL 989
-Dali Epicon 6


Ship to worldwide.


Additional Information:

Nov 02, 16 4:57
New!, never used!



Includes:

Original sealed shipping/packing wood boxes, intruction manuals, remote, AC wires,






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