So I had the chance to spend a couple of hours listening to my favourite CDs on the Summits at my local dealer today...
The question that I had were very similar to the ones you (Aliveatfive) posted - can speakers worth $10K really be that much better than Ascents?...would I ever be crazy enough to want to spend that kind of dough on speakers? I mean, music is my passion (that and espresso), but $10k is almost stoopid crazy...
The ancillary equipment included a Krell integrated amp and the new Cary switchable tube-to-SS CD player. The dealer had set the speakers flat at 50Hz and -4Db at 25Hz, which I did not adjust during the session. No matter what I threw at the system, I could not find the weakness - vocals were truly stunning, string instruments sounded practically lifelike, piano was the best I have heard, choral music made me think I was at the event; for the first time, I couldn't point to any obvious flaw.
When I first heard the Aerius back in 1991, it was a revelation. When I upgraded from the Aerius to the Ascent-i, I thought the biggest difference between the two was that the Ascent had much more air in the sound and a lot more bass. Well, the Summits are another revelation.
I have never been bothered by the integration between the panel and the woofer on MLs, but the integration between the bass and panel with the Summit is in another league! The bass is so unbelievably open, fast, and natural that it set a whole new level of expectation from reproduced bass for me. The level of detail revealed by the Summits is almost distracting - you hear every page turn, mute change, and breath of the performers. There's no way the recording engineer or tonmeister heard the recording at the same level of detail that Summit owners will hear it. Which brings me to another point. All MLs show the weaknesses of your equipment and recordings, but the Summits are merciless. Every cut/join, dynamic range limiting, poorly placed microphone, and tonal flaw is exposed. Of course, the flip side is that good recordings sound amazing. I like to audition new equipment with a recording of the Berg quartet playing the Bartok string quartets. These quartets are to me the peak of complex music. When hearing this music live you can easily focus on different instruments at different times to help guide you through the complexity, so I depend on a good piece of equipment to help me do the same thing in a recording. When I pressed play, I was immediately transported into the recording, where it was practically as easy to follow any single instrument as it is when hearing it live. Air, space, and ambience are there like I have never heard before, which is what I think helped to draw me so quickly into the recording space.
Panel integration on MLs is most noticeable to me with 'cello or piano, and I must say that in the brief time I spent with the Summits, I was mighty impressed with both of those instruments, in that I was never aware of a tonal shift at the midbass.
And micro-dynamics! I was hearing a whole new level of dynamic shading in my most familiar recordings.
By the way, I heard these same speakers briefly a month ago when they were straight out of the box, and was left unimpressed. Knowing that MLs typically require some break-in, I waited a month before going back to listen to them seriously. They were transformed!
So can $10k speakers be that much better than Ascents (and I LOVE my Ascents)? Yes! Would I ever be crazy enough to want to spend $10k on speakers? Uh-huh, in a heart-beat. Aliveatfive and Roberto, you are two very lucky buggers.