North Creek Music Systems

Pegasus and Prometheus

Resolution Loudspeakers

The Pegasus pictured above in beautiful Quilted Sapele veneer was built by Lee Taylor and Company.
Photo courtesy of Lee Taylor. D28/II now available only in black.

Combining the lowest distortion woofer ever built - the SEAS Excel W18E001 Magnesium Cone - the lowest distortion silk dome tweeter - the North D28/II with full Faraday Sleeve - the lowest distortion ribbon tweeter -the Aurum Cantus G1- aligned in time and mated with a seamless crossover developed over a period exceeding two years and constructed of only the finest components. When driven by the best electronics, be it tube or transistor, Pegasus and Prometheus represent an entire new level of audio reproduction.

Design Concept

This family of loudspeakers was conceived to be the lowest distortion conventional loudspeakers ever built. But the systems were not allowed to become overly complicated as it would make the cabinets impossible to build; therefore, a secondary goal was to make them as easy as possible to construct.

To facilitate our goals, for the conventional two-way Pegasus we selected the lowest distortion mid-woofer ever built, the SEAS W18E001, and the lowest distortion dome tweeter, the North D28-06S. For the full range MTM Prometheus, we paired the SEAS woofers with the Aurum Cantus G1 5" ribbon transducer.

Designing these taken has taken place over a period exceeding two years.


The Drivers

Advancements in material science, magnetic field simulations and measurement techniques have led to significant advancements in driver design.

Within the motor, employing extended pole pieces and Faraday Ring technology has lowered intermodulation distortion by a factor of 10. The Seas W18 family of woofers employs the multiple ring approach to ensure consistent impedance and Theile-Small parameters over a very wide excursion range. Seas also advanced metal cone technology with a unique machined Magnesium cone. Unlike all metal cones preceding it, the W18E cone exhibits only a single break up mode and no hint of the edge resonance found in every other cone. Beautifully made, the SEAS W18E is a striking example of exceptional engineering knowledge applied with great skill.

The North D28/II is built with a unique single long Faraday Sleeve surrounding the entire extended pole to both reduce intermodulation distortion and eliminate voice coil inductance.. Faraday technology is the key to low distortion motors, and both of these drivers exhibit the lowest distortion figures of all drivers in their type. Now in black only.


The Ribbons

Aurum Cantus developed the G1 ribbon midrange-tweeter to mate the extraordinary speed of a small ribbon tweeter with the upper midrange performance of the best dome tweeter. Up to the development of the G1, all other true ribbons on the market had a low frequency limit of about 3kHz, and also required high crossover slopes to perform their best. The Aurum Cantus G1 has a usable bandwidth down to 1.3kHz, and because it also has exceptional excursion limits, it can be used with a lower order crossover slope and still provide excellent performance.

The G1 ribbon diaphragm itself weighs only a few milligrams; a fraction of any similarly sized dome. Suspended between parallel rows of Neodymium magnets, the diaphragm is immersed in a magnetic field that is both incredibly strong and uniform up to the excursion limit. The combination of high field strength, a nearly massless diaphragm, and exceptional excursion limits results in a tweeter with extraordinary speed and a level of clarity that is unsurpassed.



The Zero Delay Plane

Over the years, many manufacturers have come up with catchy names to describe what is essentially the plane defined by simultaneous arrival of energy from both the woofer and tweeter; that is, there is no time delay between the arrival from one and arrival from the other. This is called the Zero Delay Plane. For a conventional two-way loudspeaker, where the woofer and tweeter are flush mounted on a flat surface, the zero delay plane is usually below the woofer axis.

Interestingly, all the research published on the subject of the audibility of small time offset between the woofer and tweeter indicates that human hearing has very little (if any) sensitivity to it – and much higher sensitivity to peaks in loudspeaker frequency response (although very little sensitivity to dips). This is one reason why the typical approach of attempting to build a "time aligned" loudspeaker by making a stepped baffle is generally unsuccessful; reflections from the steps in the baffle create abberations in the frequency response that are considerably more audible than the correction in time.

The approach we are incorporating for the two-way Pegasus is more straight forward – the stand mounted version requires horizontal tweeter offset to the outside of the cabinet (away from the listener) and a simple but significant angle back; the tower version is built with the woofer above the tweeter. Although the preferred listening axis of the Pegasus is on the Zero Delay Plane, variations in frequency response are less than 1dB within a time delay window smaller than 0.1mSec, or in spacial terms, less than 3cm of offset. For our 1600 Hz crossover frequency, this is about 1/8 of a wavelength.

For the ribbon-based Prometheus MTM, a long ribbon was chosen specifically because the vertical dispersion is extremely limited; making a stepped fascia does not create any near-field reflection. This and the ribbon’s thick mounting flange set back leads to the listening axis being precisely on the ZDP.

The reason we put so much effort into designing these systems so close to the zero delay plane is that we are trying to produce the most accurate family of loudspeakers ever made – in both the frequency and time domains.


Voicing, Bass Alignment, and Crossover Design

Loudspeaker designers have debated for decades what is the most critical aspect of loudspeaker design; cabinet design, bass alignment, crossover slopes, phase linearity, etc. All of these elements are important to the success of the finished design, and all contribute to the most critical aspect: Voicing.

Voicing is the process of precisely balancing a loudspeaker's deep bass weight, low end punch, lower midrange robustness, midrange liquidity, upper midrange openness, and top end sparkle to create a system that is homogeneous in character from top to bottom and reproduces all forms of music and voice with the correct harmonic content.

Voicing is also the most difficult aspect of loudspeaker design, simply because it is purely subjective. Getting the voicing exactly right requires months in the listening room.

Perfect voicing is the essence of great loudspeaker design. Port tuning, precisely contouring the woofers’ frequency response through the baffle diffraction step, a smooth transition through the crossover region, a proper top end balance all contribute. The process is an incredibly delicate, and requires weeks to months of serious listening to get it exactly right.

It is also through voicing that many loudspeakers excellent in some respects ultimately fail the test of time; improper voicing can make a loudspeaker sound great in the short term yet be unsatisfying in the long term. This is precisely the reason why all North Creek loudspeakers are designed by ear.

Measured Performance

The following family of measurements were taken at one meter under anechoic conditions above 300 Hz and spliced with close-mic response below 300 Hz. Microphone position is just below the woofer axis and on the Zero Delay Plane.

Pegasus frequency response measures 38 Hz to 20kHz +-1.75dB. The only significant dip is just above the crossover frequency, centered at 2khz. This dip is less than 1.75dB, but we have doubled the scale for clarity. The dip is actually a diffraction effect; a wider cabinet would eliminate the dip but would also lead to a loss of soundstage width and depth, therefore it became a subjective choice. Those that wish for the ultimate in flat response can build the cabinet 1" wider.

North Pegasus Frequency Response Spread

The slight touch of sparkle above 7kHz is adjustable; one can change it to "flat" with a minor crossover adjustment, in which case the system would actually measure 37Hz to 20kHz ±1.25dB.... but it sounds best with this bit of extra top end.

The crossover frequency is 1604Hz and the antiphase null is so deep it is practically off the scale! Likewise, the primary cone break up at 4888Hz is nearly off the scale (-36dB relative to the overall response), and the woofer output continues to decrease above the break up.


North Pegasus Impedance Curves with and without twister

Above is the Pegasus input impedance. Port tuning is 36Hz, and impedance minimums are 6.20 Ohm at 140Hz and 5.58 Ohm at 4kHz. The network transition point impedance peak is 33.5 Ohm at 1063Hz, and with the optional twister circuit becomes a flat 10.5 Ohm from 400 Hz to 1.8kHz. Overall impedance with the twister installed is 8.0 Ohm ± 2.5 Ohm from 85 Hz to 20kHz. The Pegasus is an incredible easy loudspeaker to drive.


Measurements of the Prometheus are taken under anechoic conditions at one meter, zero degrees and on the ribbon tweeter axis.

Once again the crossover frequency is 1604 Hz. Here the antiphase null is -23dB, not as deep as the Pegasus but still excellent. Measured performance is ±2dB from the woofer tuning frequency to beyond 20kHz, with exception of the narrow dip centered at 2kHz. Again, this dip is a product of baffle diffraciton, here exaggerated by the G1 ribbon due to its length. The usual approach of asymmetrically mounting the tweeter will not work in this case; rather it increases the overall width of the dip which leads to a voicing imbalance. Here a single narrow dip is preferred. System sensitivity is 90.25dB at 2.83 Volt, 1 meter.



Prometheus input impedance is shown above. Evidence of the North Creek port tuning method is demonstrated by the 33 Hz tuning depth reaching only 5.90 Ohms, not 2.95 which is the impedance minimum (at 154 Hz). Without the impedance twister, the impedance maximum is 15.60 Ohm at 1.2kHz (yellow curve). With the twister in place, this drops to a steady 6.5 Ohms, and other than the low end tuning artifacts the Prometheus measures as a very solid four Ohm loudspeaker.


The Listening Experience

The beauty of listening to a loudspeaker that can reproduce the most difficult recordings flawlessly is that it can play much less challenging recordings with extraordinary ease. This is definitely the case with the Pegasus, when driven by the best electronics it became one of those loudspeakers that one simply can not stop listening too. CD after CD, genre after genre, it is difficult to leave the room. The Pegasus conveys so much information that one can hear the subtlest details that appear like little gems hidden inside of the CD box for years and finally finding their way to freedom.

This is not to say that the Pegasus has that bright, forward "way out front" kind of detail that has become popular today, and in fact if it was even remotely forward it would not have North Creek’s name on it. It is its ability to communicate these subtleties with such delicacy that makes the Pegasus so remarkable.

It is also not a genre-specific type of loudspeaker. The Pegasus is equally at home with the Ambrosia, the B-52’s, Vivaldi and Yes… and speaking of the latter, there was so much more music hidden away in Long Distance Runaround that it went around several times before proceeding onto The Fish.

Photo above right is a Pegasus in the Parts Express 0.75 cubic foot cabinet with North Creek fascia. D28 now available only in black.

One does not often get to hear a loudspeaker like this. They are very demanding of everything that comes upstream. The Pegasus is a little picky about rake angle and very picky about toe in, whilst the Prometheus is extremely picky about rake angle. But once it is set up properly, these loudspeakers are capable of musical performances that are completely captivating.



As with all North Creek loudspeakers, the SEAS W18E001's, Aurum Cantus G1's and North D28-06S' are broken in for 72 hours, serial numbered, tested and matched by hand. In this case, the drivers are available as "Perfect Pairs" only; that is, matched to ±0.25dB. All drivers include curves.

Crossover component quality is exceptional; for the Pegaus, all 10 AWG inductors, cascade-bypassed Crescendo capacitors in the tweeter section, Zen bypassed with Crescendo capacitors in the woofer section, North power resistors, OFHC and silver-clad wiring. The Prometheus gets upgraded to 8 AWG inductors. All components are hard wired with crimped connections sealed with silver solder.

Shielding is not available for this system, and it is recommended only for the finest two-channel audio systems. Even the best surround processors are not good enough for this loudspeaker.

The Pegasus is available as a stand-mounted monitor or a tower (with the tweeter below the woofer).

North Pegasus Loudspeaker Kit.....$1799.00/pair
(includes everything except the wood. Tower version add $60)
Pegasus Cabinet Drawings and Pegasus Tower Cabinet Drawings are available in Adobe .pdf.

Pegasus Revelator Loudspeaker Kit... $2199/pair
(upgrade to the Scan Speak D2905/9900 tweeter)

Photo at right is a Pegasus in a Lee Taylor Dark Mahogany cabinet.

Pegasus Resoluiton/RAAL Kit... $2499/pair
(upgrade to the Scan Speak D2905/9900 tweeter)

At this time, Pegasus cabinets are available directly from Lee Taylor and Company,, The striking loudspeaker above was built and photographed by Lee Taylor and Company.

The Parts Express 302-730,2,4 0.75 cubic foot cabinets are also compatible with the Pegasus, but require some internal modification to allow the crossovers to fit.


North Prometheus Reference Tower Ribbon Hybrid, Reg. $3999

North Prometheus HO/T Reference Ribbon Hybrid Reg. $4199
HO/T refers to High Output / Tube specific version, based on the SEAS W18EX001 woofer.

Prometheus Cabinet Drawings

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Designer’s Comments

Two and a half years is a very long time to design one loudspeaker.

I have to say I have long admired SEAS for developing and releasing the W18E magnesium cone woofers. Other manufacturers have released metal-cone drivers, but none have ever been engineered so perfectly that they exhibit both no evidence of an edge break up and only a single major cone break up.

I first saw the driver while meeting with SEAS during CES of 2002. That spring we showed the Rhythm Revelator Signature (North Tempest) at the New York City Stereophile show, and while listening to other people’s speakers were not a priority, I did have a few opportunities to audition a few systems that were built with the W18W’s. My first impressions were that the driver was capable of remarkable clarity, but that in every system I auditioned something was wrong in the upper midrange that made them unsuitable for long term listening. None the less, by the fall of 2002 a pair of W18EX001’s had made their way into the North Creek lab.

This is a very enigmatic driver in that it does some things so remarkably well, and others so incredibly poorly.

What it does well….

The motor is so exceptionally well designed that its bass and mid-bass definition conveys such a wealth of detail and timbrel accuracy that it is almost uncanny. This is not the slammin’ – jammin’ – rock-and-roll bass one finds in the Scan-Speak 18W8545; it is more delicate, texturally complex in nature, and what it lacks in whomp factor it makes up for in finesse. Different in character but equally satisfying.

The lower midrange is the best on the market. The level of information this driver can communicate with such effortless ease in this region is amazing. One good test of this is Phish Lawn Boy "Reba" (Electra 96)1275-2…. Yea yea, I know it’s studio, live Phish being a completely different cultural experience, but….. here John Fishman’s voice is dubbed over four other voices, each at a different position in the stereo stage. With any other conventional driver, some of these images will collapse at times and lose lyrical clarity at others, but with the SEAS W18E, not only does each image remain distinct, but one can fully understand the lyrics of each image. This was really quite an eye opener, and I feel the single most driving reason why I kept returning to this driver.


Conventionally when designing with a 28mm dome, I would work for a crossover frequency just below 2kHz and with symmetric slopes approaching third order. This is very simple to do with North tweeters because they exhibit a smooth low-Q second order roll off that is 3dB down around 1kHz. A low-Q second order roll off behaves a lot like a first order roll off and combined with a second order high pass filter an octave above, one immediately gets a very nice third order slope.


North D28/II in Pegasus Cabinet with and without crossover

The network above is a very simple second order high pass, a 7.1uF Cascade Bypassed Crescendo capacitor group, a 0.455mH 10 AWG inductor to ground, and a North resistor L-pad for sensitivity matching. The slope between marker 1 (700 Hz) and marker 2 (1400 Hz) is exactly 17.4dB, very close to a theoretically perfect 18dB/octave.

The W18E’s magnesium cone has a single major break up mode centered at 4888 Hz. It is however not a single frequency break up, and in fact when one examines the frequency response curve closely it is apparent that this break up begins over an octave lower, at 2.4kHz, reaches a relative 10.4dB peak at 4800 Hz, and is followed by a continuing series of peaks higher in frequency. It is very difficult to detect these series of break ups with MLS signal, but with a good old fashioned swept sine wave one can clearly hear them.



The initial break up is indicated on the frequency response curve where the knee begins to turn into a hump (marker 1 at 2400 Hz) and peaks at 3141 Hz. The major peak at 4800 Hz is the primary cone bell mode, followed by secondary peaks at 6300 Hz, 7265 Hz and 8600 Hz. Designing a low pass network for the W18E is not so straight forward. Because no one had ever developed a mid-woofer with this kind of break up before, it was new ground to try to tame it. From an electrical engineering point of view, designing a filter with a high Q electrical resonance to counteract a high Q mechanical resonance makes perfect sense. From a measurement point of view the method suggested by SEAS (low pass plus trap) works quite well. It was relatively easy to develop a network that provided the proper third order slope and drop the 4888Hz peak to below –20dB, which would normally be considered the threshold of audibility….. and that’s where the problems began.

After making any significant enough change to the system warranting a good listen, I could still hear evidence of the break up – from a bit of hardness to a full blown sibilant "ssszing", and in fact it is so obvious on a recordings of female vocalists – notably Lisa Loeb and Susana Baca - that I would put these recordings on first. Any audible evidence of the break up and I would put the system back on the measurement stand. I reached very deeply into my bag of tricks…higher and lower crossover frequencies, steeper slopes, elliptical filters, shallower and deeper notch filters…. eventually I began to think it was just me. With instrumental music, even where the ssszing was not obvious, I found listening for more than a half an hour or so uncomfortable.


At about that same time North Creek had become a distributor of the Aurum Cantus family of ribbon drivers, and my development efforts were shared with designing a new full range flagship, the North Manifest loudspeaker system, which was built around the Aurum Cantus G1 and a custom version of the Scan-Speak 18W8545’s. The Manifests - even in the early going - showed no evidence of the upper midrange hardness….

so by mid 2003, I had given up on the SEAS W18E.


Then, daring the lifeless, brutally desolate landscape of the wind shorn Adirondack Wilderness in early winter, SEAS USA director John Stone arrived at my doorstep. I had known John for a long time, ever since his early days Vifa-Scan Speak, and after a day-long meeting which included a tour of the new North Creek building-in-progress and the first showing of the North Manifests, he convinced me to travel to Las Vegas CES in January and meet with SEAS chief engineer Olav Arntzen.

CES 2004 was the usual – good sound, bad sound, small rooms, long bus rides. But the two highlights were spending a morning hiking Red Rocks Canyon (suggested by Madisound's Brian Kane, thanks Brian!) and an afternoon with Olav.

Discussing driver design with an expert is a whole lot of fun, and in this case Olav brought along not only extensive measurements but SEAS’ Klippel analyzer. Watching the W18E go though the Klippel testing was impressive to say the least, proving empirically how exceptionally good the motor is. Still searching for the cause of my discomfort with the W18E’s upper midrange, I asked Olav several questions about the cone construction.

First, is the cone break up was amplitude dependent? I asked because it occurred to me that while I do most of my crossover design at about one Volt, which is only 1/8 Watt, listening is at considerably higher volume levels. Perhaps my early system designs were unsatisfactory because I was working at too low a level. Olav however had the measurements with him that proved quite clearly that the cone break up was amplitude invariant. Is it temperature dependent? Not very. Does it float from driver to driver? No. Production run to production run? No.

I listened to several loudspeakers that were using various versions of the W18E at CES, and while some were quite good on the right material, I could always here the "ssszing". I also discovered that a lot of people could not here it, and in fact some systems that have been lauded for their midrange clarity I found to be completely unlistenable. On a few occasions I had to leave the room.

I have always been way more sensitive to unnatural sibilant emphasis than anyone else I know, and as a professional loudspeaker designer am very accustomed to listening for faults in a loudspeaker design. Repeatedly with this driver, I knew exactly what to listen for and had no trouble finding it.

I also learned the oddest thing - that on instrumental music, the break up actually changes the character of the sound in such a way that some people who could clearly hear it actually liked it. Violins, for example, are raspier, and saxophones have more "bite". It is not entirely unpleasant on a limited spectrum of music, but definitely not the North Creek kind of sound.

(photo at right is the Pegasus in the Parts Express 0.75 cubic foot cabinet)

Back at the ‘Creek, I un-gave-up on the SEAS W18E’s, but because I had long ago exhausted all of my conventional ideas about the network design, and because the entry level Echo and tube-specific Catamount had become my design priorities, the W18E’s became my "spare time, rainy Saturday afternoon, had a thought at 4 AM, try a new idea" loudspeaker. The Pegasus prototypes still spent most of their time on a stand against the back wall of the listening room.

Eventually it came to me that the problem with the W18’s upper midrange is a two edged sword. The mechanical break up of the cone is a high Q mechanical resonance. The "low pass network plus trap" approach creates a second high Q resonance. The problem, then, is that there are two high Q resonances in the electrical/mechanical/acoustic system right in the middle of the range where the ear (at least mine) is most sensitive. My goal, then, became to design a low pass network with the target acoustic response, but without using this type of filter. Finally, some progress was being made.

So by early 2005 the Pegasus prototype had come to occupy center stage in the Large listening lab.

My daily routine is pretty simple; I get to the office and spend the first half hour or so writing or making my to-do list, while listening to the current prototype, trying to identify its faults, making notes, and sometimes making minor changes to the crossover network. Occasionally I do a little serious listening. Then I get my email.

Music is playing 24/7 here, so I do most of my day-to-day paperwork and spend every break in the large listening lab. This is not serious listening by any means, but one can pick up obvious faults – particularly voicing imbalances – easily when paying only half attention to the loudspeaker. Often this leads to more minor crossover changes.

If time allows (usually two or three afternoons a week), I will spend a few hours making measurements and modifying the crossover network; or, if that morning the loudspeaker sounds good enough to listen to for a couple of hours, I will spend the time playing my reference CD’s and making notes. If it’s really good, I put on the fun stuff and sit back and enjoy.

If the current prototype is not good enough for long term listening, or fails one of my reference tests, I attempt to precisely objectively quantify the loudspeaker’ faults, then develop a measurement-based correction. This can encompasses a broad spectrum of elements; that the voicing is a bit off, the port tuning is too high or too low, the midrange is hard or forward or too laid back, the speaker sounds right but it’s not fun…. It is a purely subjective way of doing objective work.

Once I feel that the measurements indicate the problem is corrected, the iteration gets a serial number (like Pegasus SYS34) and the measurement family gets saved (SYS34, SYS34OOP, TWT34, WOF34, WOF34FR ((which is the full range response form 20Hz to 5kHz, ½ octave smoothed)), SYS34Z ((input impedance)), and sometimes SYS34ZT ((input impedance with the twister)), WOF34VOL ((woofer 34 voltage plot)), TWT34VOL (tweeter 34 voltage plot)). The measurements are also printed, comments added, and left for the next opportunity for a good listen.

Those familiar with DOS may recall the 8-charater limit on file names. Without developing a new naming nomenclature, this limits the number of iterations to 99. It never occurred to me that 99 may not be enough.

After printing the response curve family, the networks get re-wired and the pair of prototypes are re-set up and switched to music for the rest of the day or overnight. At this point I go back to the day-to-day stuff; no serious listening. The reason why is that even though all lab crossover components are broken in for several days before they are used in a crossover prototype, any component that sits for a few weeks looses it "flex", and will always sound a bit hard or constricted the first few hours it is back in a network. This is particularly true of film-foil capacitors, which completely change character after a few hours of playing time. So there is no point in listening to the system when any newly-added crossover components may still be "cold".

By the end of the day or the next morning the equipment is properly warmed up and flexed in, so if time allows I will sit down and give the latest version a listen.


The Pegasus set a new record – SYS86 to be exact. Almost three times every other loudspeaker I have designed (with the exception of the Okara II, which got into the 40’s). But I don’t mind saying that of the dozen or two loudspeakers I have heard that use the W18E, the Pegasus is the first one that I find fully satisfying for long term listening.

These are not the loudspeakers for everyone. First and foremost, it is recommended only for two channel and those with Stereophile Class B or better source components. Mediocre D/A converters will not cut it, and the limitations of MP3 compression, satellite-radio and Dolby processors are fully expressed. Digital pre-amplifiers that do volume adjustment in the digital domain are also not recommended.

Likewise, excellent amplification is essential. The Pegasus is not a good match for amps that tend to be hard though the midrange. My Adcom amplifier for example definitely revealed its shortcomings, where as my reference Belles amp was a wonderful match. It was great to listen to a loudspeaker so transparent that I could fully appreciate how good the Belles amp really is. Likewise my PS Audio powerhouse drove the Pegasus effortlessly and had the tightest, most complicatedly textured bass I have ever heard. Both of these are DC-coupled designs, which may contribute to their success.

Tubes love the Pegasus. Not only is it easy to drive, but the natural warmth of tube amplification lends itself perfectly to a loudspeaker this accurate. It is almost uncanny how good a good tube amp can sound when playing though a loudspeaker capable of revealing all of its positive attributes.

The Pegasus is expensive. Only the best crossover components are used; a "value" version with 14 gauge coils in the woofer section and there was just too much loss in bass definition. This woofer deserves only the best, and it can really spoil you.



Comments on the Time Domain and the Zero Delay Plane

Sometimes a project takes on a life of its own, and that is certainly true of this loudspeaker family. The Pegasus and Prometheus were originally conceived of as a simple two way and MTM, straight forward designs similar to our Borealis and Rhythm systems. As the project evolved, I took to heart a comment a reviewer made in Stereophile magazine – that D/A converter algorithm developers put enormous emphasis on ruler flat frequency response coupled with perfect accuracy in the time domain, while loudspeaker designers concentrate most of their efforts to get frequency response as flat as possible while ignoring errors in the time domain.

This statement is quite true, largely for two reasons. First of all, it is much easier to develop and test a process that takes place in only one system – for the D/A converter algorithm this is purely mathematics. Secondly, the physical space of a listening room, and an electro-mechanical-acoustic device (called a loudspeaker) with several sets of boundary conditions, defines a far more complicated system. I still find the fact that reasonably flat frequency response is obtainable at all is a bit of a miracle.

Exceptional performance in the time domain was not an original criteria of this design family. It was only that as the Pegasus came along, each successful design iteration (that is, an iteration that sounded better than previous iterations) pushed the listening axis closer and closer to the zero delay plane. These are very small changes in the cabinet rake angle, less than one degree at a time, and it was not until iterations in the mid-70’s that it became apparent this is what the loudspeaker wanted to do.

Long experience as a loudspeaker designer has taught me that sometimes one has to put convention aside and go with the flow. A preferred listening axis on the Zero Delay Plane makes this loudspeaker family a little more difficult to use. One must be very exact about set up, placement and listening position. But driven by the best equipment, with great recordings, it is worth every bit of extra effort.


Designing for the Zero Delay Plane with a loudspeaker as complex as the Prometheus is what brought about this fantastically complex cabinet. The Prometheus requires more than 2.5" of offset. By taking full advantage of the Aurum Cantus G1's limited vertical dispersion, we were able to make a multifaceted cabinet where the steps in the fascia serve both form and function.







If the drivers are only $520, why does the Pegasus cost so much?
Quality crossover components. The low pass network in particular requires an even dozen circuit elements, and built with 10 AWG inductors and Crescendo film-foil capacitors, it gets quite costly. Most people have never even heard a 10 AWG inductor, yet they are so far superior to the 14 gauge that most manufacturers consider "premium" that it can be flat our amazing how much improvement thirty dollars in wire can make. Spending the additional money on this one circuit element is a more significant step than spending ten times as much on cables or fifty times as much on electronics.


Is North Creek going to make an MTM with a dome tweeter?

No. There is no way to offset the dome significantly enough in time to approach the Zero Delay Plane without adding either significant aberrations in the frequency response or horn loading the tweeter, neither of which approaches would yield a loudspeaker sounding anywhere near as good as the MT.


Is there a center channel available?
No. We do not recommend that this loudspeaker family be used with surround sound processors (with the exception of the original analog Dolby Pro Logic format, which does not process the main two channels).


Is the crossover schematic available?
No. Like all North Creek loudspeakers (other than the CM-7 and Echo family), the crossover design is considered top secret.

Can they be used with a subwoofer?
Sure. Like all North Creek vented loudspeakers, all one needs to do is seal the port with tightly rolled gray foam (available from North Creek) and cross in the sub around 80 Hz, third order.



Last week I had a singer friend staying over between tour gigs. He is one of those singers with perfect pitch and a great ear. He has been a back-up singer with James Taylor for years, sings on all of Bonnie Raitt's albums and tours with Phil Collins. Anyhoo, enough background.

He listened to all my systems using speakers designed by a lot of different people. We were not really listening to speakers, the focus was on the music. The speaker evaluation sorta happened cuz he said "I like these speakers but they sound a little flat". Took him into the living room where my Pegasus' are. A big smile came on his face and that is where we remained.

FWIW - Bill


Hi George,

I finished the Pegasus speakers last Tues. Spent about 100 hours build
cabinets and installing elements and x-overs. Finished in rosewood
veneer. They weigh just over 50 lbs apiece. Very solid. I attached a
couple of pics of my version of dampening for the inside of the cabinet
walls. The blue stuff is a piece of a door mat with about 1/4" of rubber
backing. I used the adhesive for putting down a sheet of vinyl flooring
which will never harden. Back panel is as you showed in your
drawing. Bottom panel is double thickness MDF, 1.5". The front is over
two inches thick, with an inner layer of the plywood and two sheets of
MDF. It turns out that my veneer was exactly 12" wide, so I had to plane
the outside of the front baffle about 0.40" to get the depth about
11.625". All in all, my most ambitious speaker project, and the best
results from the veneering department. I always enjoy a good project to build.

As you guaranteed below, I am indeed thrilled with them. They are just
what I hoped for. They are voiced similar to the CM-7s, but much, much
more detail and clarity. It's funny, but I appreciate the CM-7s even more
now, as they never had any distortion or bad sound, just less detail.

I don't have a whole lot of experience with other speakers. But, these are
the best speakers I have ever heard. I've heard Victor's Maggie 3.6
speakers driven by Rogue Audio 99 preamp and M120 monoblocks. That is my
benchmark or best system I have heard. The Pegasus leaves nothing on the
table. Every evening is a new experience and revelation. Going through
my CD collection and finding gems everywhere I look. One thing that I can
confirm, the Pegasus speakers show a crappy recording to be just that,
crappy. I was commenting to Victor the other day that the better my system
gets, the less good music I have in my collection.

On the other hand, Victor has had a lot of experience with different
speakers. He was blown away by these. He had previously commented that he
also could hear the sibilence in all of the existing designs using the SEAS
driver he listened to at trade shows and such. He could really identify
with your comment that you had to leave several demo rooms because you
couldn't stand it. Regarding the Pegasus, his comment was that you nailed
it. No hint of sibilence here. You are dead-nuts on.

I saw the original thread on the Madisound forum about the Pegasus. Awful
lot of opinions and pontification from individuals who have obviously never
heard the Pegasus, or, for that matter, your version of a crossover. I
also saw your response posted later, to answer the naysayers. Very well
put. I had to be convinced of the value of upgraded crossovers, but CM-7
to upgraded CM-7 did that. No question about the value there.

I guess what I am trying to say is that you done good, real good. I am one
happy customer, and a believer in your methods and results.

I don't have any pics of the finished speaker, but will be getting some
soon. I'll send you a couple.

Thanks again for all your help with my questions and all.


Hi George, Just thought I would thank you for the WONDERFUL SOUNDS coming from my completed Pegasus speakers. I have been listening for about a week and cannot find the words to describe how great they sound!

...Thanks Again, Lawrence C


 Hi George, just a quick line to tell you that my Pegasus kits are kits no more! I have to admit that I was initially disappointed when I listened to them from cold but after a few weeks of running in they are really singing now. I thought my system was pretty good before but through your creations it was clear that my tonearm wasn't up to the job (the phono-stage might go before long too).

I'm out of pocket (again!) but you know what...I don't care. A fine testament to your design.

Gerry (UK)


I've had the Pegasus speakers for a few weeks now and I am really
enjoying them a lot. They sound wonderful to me and as you said they
seem to be settling in and getting better with time. On the first
listening the treble sounded a little harsh but that has long since

Best wishes,




George Short replies to a Pegasus discussion thread on the Madisound Board, from the weekend of July 22, 2005.



<George> Man! I go to Baltimore for a few days to talk ACC football with my old college buddies and miss all the action! Perhaps I should have dropped by Dennis' so we could talk speakers all day.

Regarding the Mad board, those familiar with and North Creek know that it has been and remains my policy to rarely post on the Madisound board. However, It seems like once a year there is a thread significantly North Creek related that it requires my response. I guess it's that time of year again.

This thread is about a week old, so I have included most of the original in this post. The entire original thread is available in the Madisound archives.

My comments are all it italics.

With no further ado, here goes.....



Has everybody seen this?

Looks interesting, particularly George's discussion regarding his struggles with the W18E001.


What I like about North Creek is..... is Mr. Short's sincerity. He writes as an engineer who loves music. No marketing puffery, just an honest exposition of his theories of speaker design. What is important, and why.


Interesting observations.

I find this design to be exciting because if George's analysis is correct, the W18 has (typically) yet to used to its full potential, at least in some and possibly many designs.

I have a 2-way using this driver and thought I was crazy hearing the same problems that bothered George. Some have complained of hardness from the Thor. Others have observed coldness or sterility from W18 designs. Maybe George has unlocked the secret to this family of drivers, the W18 at least. (I should note that I no longer hear the upper midrange hardness, a sort of scowling, awkish coloration. I think my brain has notched it out.)

I'm compelled to build the Pegasus. It probably sounds fantastic.


<George> The hardness varies greatly depending on the source material. Part of the Pegasus' design process was in selecting those recordings that sounded the worst in order to design out the flaw.


No marketing puffery and honest and sincere? Well, I dunno about that. Maybe the guy know's what he's doing, but when I see a few coils and capacitors in a secretive design to sell to Apogee Stage owners for a whopping $950.00! I begin to wonder.




I did not design the original Stage crossover (the Stage was in production before I joined Apogee Acoustics). The only work I did on the Stage was development of the second generation ribbon and its revised crossover.

The original Apogee Stage network was built with 12 AWG inductors, Ohmite resistors, all metallized polypropylene caps - excellent components, even by today's standards. That is part of what it takes to put a loudspeaker in Stereophile Class A.

None the less, there was always an issue with the Stage where when one was positioned directly in front of one loudspeaker and slightly off axis with the other, one could only hear the speaker they were directly in front of. The top end could also get a little ragged at times. I re-lived this with the Stage's that were set up in my girlfriend's listening room, and it bothered me to the point that I took on the redesign.... knowing full well the cost would be very high and the market extremely small. The North Creek Crossover Upgrade for the Apogee Stage is built with 10 AWG inductors, North resistors and all polypropylene capacitors (many of which are film-foil) - expensive but critical for a 3 Ohm speaker. The revised network eliminates the off axis problem and smoothes out the top end. It also brings overall system performance up to an entirely new level.

If one searches the Apogee Acoustics forum, one will find the North Creek Crossover Update for the Apogee Stage is recommend whenever the subject comes up by people who own it, and North Creek parts are always recommend for those upgrading other Apogee loudspeakers.

Obviously we keep the network topology as secret as possible. The Stage has been knocked off on occasion - in fact I think there is a new Audiogon-based company making copies today.


You are looking at it the wrong way. That's a bargain considering his b&w crossovers cost $1600.


And neither one has ever been subjected to a rigorous blind test. This is what drives me a little nuts about George. I have no reason to think he doesn't turn out good designs, but all this bs about the critical importance of premium component quality, and its particular importance to his designs, just sends up a whole array of red flags. I'll start believing it if he can design and conduct a test that would substantiate the claims (and it would help if he could also explain the scientific basis for any of it).

Dennis Murphy

<George> North Creek was hired to build the Crossover Upgrade for the B&W 801 in 1993, and have kept the price the same since then even though virtually every element of the crossover has evolved in technology (and cost). There was no crossover design work involved; our network is identical in topology to the B&W 801 Series 3. This is a very complex network - a third order three way. B&W's stock network used ferrite core inductors and had very severe problems with the cores saturating, which of course led to low frequency dynamic compression. This was well documented in the Audio Magazine review of the product. The woofer requires two 5.0mH inductors in series..... which is probably why B&W used ferrite cores. To match the DCR, we make these with 12 AWG. Very expensive and worth every penny. We also use all polypropylene caps and North resistors. The network is housed in a very nice cabinet and includes four meters of very good speaker cable. It also upgrades a Series 2 801 to a Series 3, which the factory charged about $1k to do.

As far as double blind testing goes, in B&W's recording studio in Boston were there were three sets of 801's, B&W was so impressed with North Creek's networks that they incorporated them into their REFERENCE 801's. B&W also recommended our networks as the preferred upgrade path for Matrix owners. This is the highest praise one can get.

Scientific documentation of what makes North Creek's crossover components sound better... I think it is safe to say I have discussed some of it on this board from time to time and a fair amount more on the North Creek Web site. But as I also state on the North Creek site, KNOWLEDGE is the key that gives us a technological edge, and most of this knowledge I consider proprietary. I have tremendous respect for the intelligence of my competitors and learned long ago never to underestimate them. Sharing one's proprietary knowledge with one's competitors is never a good idea.


I guess I got sucked up the North Creek Exhaust pipe.

So much for that.

Dave Hartwick

<George> Have faith. North Creek is entering its 14th year and has earned its reputation for excellence by consistently providing exceptional products. Our credo has always been and continues to be, "We believe that enduring quality is the most significant virtue of any product". No BS there.


The speaker may very well sound great. I know one of his designs--the Borealis?--tested out very well in an Audio Express review. Much better than 99% of the other speakers Joe tested in that forum. I just suspect it would sound as good with, say, Dayton caps and resistors, and Madisound coils as it does with the upscale components he promotes.

Dennis Murphy

So Dennis, you are calling George Short of North Creek a "snake oil salesman"?

He's a very talented loudspeaker designer who places much more emphasis on component selection than I do.

Dennis Murphy

<George> Regarding the Borealis review, in fact Dr. D'Appolito said that in some aspects it was the best loudspeaker he had ever measured, and in the first half of the review, Mark Florian said that in some aspects it was the best loudspeaker he had ever heard. This was the Borealis Value loudspeaker, the lowest price loudspeaker we made at the time.


One of the most common errors made by amateurs in science is to draw conclusions from assumptions. For one to come to determine that it is "bs" to construct a crossover with premium components because one "suspects" it will sound just as good with mediocre components is ... well... "bs".

In the scientific method, one observes, then draws conclusions from one's observations. I think most of us can agree that some crossover components sound better than others. In our Signature level loudspeakers, North Creek uses only those that I feel sound the best. I would certainly use Hovland caps, Mills resistors and Foil inductors without hesitation, if they sounded better than North Creek components, but they don't - to my ears anyway. And I am the president of the company, so I make the call.

Comparing the price of North Creek's premium components to the price those mentioned above, all of which cost significantly more, North Creek's are a real bargain.


(New Sub Thread)

The thing I don't get is how he does it without a notch filter, and I wonder why he doesn't show a filtered graph of the W18 output. The transfer function is what truly matters, whether it be with 4 components or 12. Anyone have any clues?


No--I couldn't get much out of his description, other than his usual claims about the need for super expensive crossover components. It's possible that with his very low crossover point of 1600 Hz he can get the break-up down through a sufficiently steep slope. But I couldn't sort out acoustic vs electrical slopes in his write-up. In any event, I'm pretty sure that if I crossed the W18 that low and used a trap, I could get the break-up mode down as far as he got it.

Dennis Murphy

Isn't the orange colored line on the graph the filtered W18 woofer output?

Tim W.

Right--it just isn't clear what his approach was. Not that he has to tell us. But it sure looks like he used a trap of some kind.

Dennis Murphy

(JPK) The acoustic output of the W18 looks about what you would expect from a typical, well designed system using that driver. I'm sure the speaker sounds wondeful, but George has to make some claim as to why his W18 based system is different (better?) than all the others out there. Frankly I think the bottom line is that the SEAS W cones are highly respected and people want systems using that driver. So George needed to add one to his inventory. I mean, if everyone is buying Fords and you sell Dodges, it's time to get out of Dodge! I'm sure that George will do well with this speaker. How ever you view him, his speakers have a positive reputation.

John K.


<George> John K. here proceeds from false assumption; that is, the North Creek had to bring a SEAS Excel-based loudspeaker to market because everyone else has. North Creek would get by just fine without it.

I embarked on the Pegasus design because, well, designing loudspeakers is what I do. I have done so for 28 years and enjoy it more every day. In fact, I love it so much I spent two and a half years in graduate school and earned a Master's Degree in Electroacoustics. I then worked as a professional loudspeaker designer in the industry for several years. Then I started my own loudspeaker company.

Were I in some sort of rush to bring a SEAS Excel - based loudspeaker to market, I could have done so over two years ago. The Pegasus prototype was very good even back then. I did not bring it to market because I was never 100% satisfied with the sound. And I would have dropped the entire project it if were not for my long term relationship with John Stone; in fact I did drop it for a while. But eventually I came back to it, worked though its idiosyncrasies, and now the Pegasus is our featured new product.




Did anyone notice this?

"The reason we put so much effort into designing these systems so close to the zero delay plane is that we are trying to produce the most accurate family of loudspeakers ever made – in both the frequency and time domains."

The description of choice of ZDP made sense, but this statement is belied by the fact that it cannot be the "most accurate" in the time domain as a system, since says he's using a 3rd order acoustic crossover, "...very close to a theoretically perfect 18dB/octave.".

I'm not trying to fault the design, it looks to be very good, but the "hype" is just not accurate in this regard at least. He's equating coincident time arrival with accurate time domain characteristics.


Perhaps he meant, that 'we ever made', or perhaps he meant subjectively, which is how he voices (quite appropriately).

FWIW, I find many of my woofers take the exact same tact, 1st order that then morph to third, (ie very low Q third). Since I like to design in a small mid dip, it sounds and works great to me.


I didn't read any caveats (nor implied ones) there and can't see how there could be a design that is "ideal" in the time domain that is an alteration of the response due to voicing.

Overall I see no problems with his design and concepts, but there can't be accuracy in the time domain with regard to accuracy of reproduction if it's not a T-P design. That claim just shouldn't be made or it's not an accurate reproduction of the original sound insofar as the time domain is concerned.

Essentially he's trying to arrive at the optimum 3rd order implementation on a flat baffle by choosing the listening axis. That's all it is.


"I didn't read any caveats (nor implied ones) there and can't see how there could be a design that is "ideal" in the time domain that is an alteration of the response due to voicing"

Oh, its there.. he defines accuracy as how he perceives it, subjectively. This leaves latitude for technical innacuracies that he perceives as subjectively more accurate. I'm fine with that, though I suspect you have strong difficulty with his approach, which is also fine.

"Essentially he's trying to arrive at the optimum 3rd order implementation on a flat baffle by choosing the listening axis. That's all it is. "

It appeared he was arriving at optimum 1st order at xover with optimum 3rd order asymptotes. Try it, its pretty darn nice if the drivers can tolerate it. Stagger dem poles.


The section Measured Performance shows a XO at "1604" this is in the graph "North Pegasus Frequency Response Spread". I don't see any staggered poles, only a 3rd order acoustic XO.

Looking again, since he shows an "antiphase null" it can't be 3rd order, but 4th. Maybe I've missed in the text where this is not the crossover used.

Further down he says "Conventionally when designing with a 28mm dome, I would work for a crossover frequency just below 2kHz and with symmetric slopes approaching third order. This is very simple to do with North tweeters because they exhibit a smooth low-Q second order roll off that is 3dB down around 1kHz. A low-Q second order roll off behaves a lot like a first order roll off and combined with a second order high pass filter an octave above, one immediately gets a very nice third order slope."

He's referring to the tweeter native highpass that is combined with a 2nd order highpass circuit to get 3rd order. But with a null in the "antiphase" response, I'm not sure what the output really is. Guess I'll need to re-read the whole thing.


I'll stick by my interpretation of his interpretation of accuracy, but you're right about the xover orders. I read it in the text that he was running 1st to thirds, which I happen to like in the right app, providing some mid range recession. As you all point out, text graphs.


<George> dlr and DDF have a good point here - my goal in the time domain was for zero group delay. Zero variation in absolute phase response is of course not possible with these drivers and slopes. I will clarify the statements on the time domain in the next revision of the Pegasus page.

The acoustic slope is definitely third order with the staggered poles, as DDF points out.



(Dennis and John's 1801 sub-thread)

 (JPK) FWIW I used SPL trace, imported the port, woofer, and tweeter responses into SE and constructed the minimum phase response for each. The summed the 3 response with the tweeter in and out of phase. With minimal adjustment of the tweeter offset I get the measured system response. Over all it looks pretty LR 4 ish to me. Impulse, polar response, reverse null, yada, yada, yada.... And I didn't tweak anything to get the result. As I said above, the speaker probably sounds very nice, but there is no magic here. Typical North Creek voicing, a little heavy in the bass. Let's see, another 1801???

John K.

 Hmmmm. I hope it's more than just another 1801 at those prices....

Dennis Murphy


 <George> The woofer is in a different sized cabinet, uses a different tweeter, a completely new crossover topology, is designed to be listened to on the Zero Delay Plane.... Implying the Pegasus is a clone of the 1801 is like implying Luke Skywalker is a clone of Nepolean Dynamite because both of them are guys who own swords

As far as all the work John K. put into duplicating the Pegasus acoustic transfer functions, this is precisely why I did not publish her electrical transfer functions. As stated above, I have deep respect for the intelligence of my competitors.

Nowhere in the Pegasus write up did I claim there is any kind of magic going on here. Far from it. The Pegsasus crossover design is straightforward application of science. What is NEW is that North Creek is the first company to properly identify the problem of building a low pass filter with a high-Q trap. The Pegasus is the first application of the SEAS W18E built low-Q low pass filter and - to the best of my knowledge - achieves a new level of performance because of it.


(new sub-thread)

You beat me to it because I was at work, but I noticed last night that despite what he was saying about the crossover he was showing us that it was an in-phase design, with relatively flat summation. This would imply even order behavior, not the odd-order that he is talking about. I'm not saying George doesn't know crossovers, but his graph sure doesn't agree with his words.

Also his "twister" is a nice implementation of a series LCR notch at the speaker inputs. So what's with this "twister" stuff?

And finally, if you subtract the raw woofer response from the final woofer response you will get the low pass crossover transfer function. You can tell by looking that there is certainly a high Q notch filter at work there in that circuit.

I like Northcreek, but this is a lot of marketing.

Jeff B.

<George> The slope is definitely third order. A high Q notch filter violates one of my personal rules of crossover design - that the electrical transfer functions should be monotomic. In this case, because it is a low pass, the electrical transfer function is monotimically decreasing with increasing frequency.

The "twister" is optional and for impedance compensation only. A full description of the circuit can be found on our CM-7 page links.


>> I like Northcreek, but this is a lot of marketing.

Well said.

I've spent many years in the advertising industry and two things come to mind of the Pegasus description...

1) Perception is reality. If you say it's awesome, the scale is tipped in that direction until someone proves otherwise -- in the minds of the target audience.

2)NorthCreek's target market is almost certainly not the scientist/engineer DIY'ers that hang around the Madisound forum. They're aiming for folks who have plenty of disposable income and love to gloat about their hand-made [insert buzzword here] technology that they've paid a premium for.

If it's really a good product that stands up to scrutiny, then techno-branding terms like 'twister' start to earn legitimacy, and product line longevity is more promising/probable. If things go perfectly, the product earns cult status. But normally it just earns bread and butter. But without the marketing, it's very likely destined to flop. So market they must.

And to reiterate Jeff's words...

>> I like Northcreek, but this is a lot of marketing.

..Todd J.


<George> I understand and respect Todd J's opinion, but I think describing the Pegasus write up with a negative implication of "Marketing" is misplaced here. Compared to a lot of other loudspeaker web sites out there, I think I am pretty lean in my praise. Mostly I try to keep it to "just the facts". Naturally I am pretty excited about the Pegasus, but I also have stated quite clearly its faults. Were one to be "Marketing" a product in some kind of untruthful way, one would be much more overstated with praise and neglect to mention its shortcomings. Not on the Pegasus page nor anywhere else on the North Creek web site is anything overstated or untrue.

 Regarding the "twister" circuit, this is a series RLC filter that is in parallel which is run in parallel with the entire loudspeaker, to reduce the impedance peak that the amplifier sees near the crossover frequency in the absence of this filter. It is called a "twister" because if one does a Nyquist plot of the impedance phase on a slow computer, one sees the phase response twist itself around a couple of times. It looks pretty cool. I have been calling this a type of circuit a "twister" since 1989, when I first measured it with an early MELISSA system, long before North Creek was even conceived of. It is not an uncommon circuit; Adire Audio and Merlin openly employ them as well, and I am sure there are others.


As far as the circuit name goes, I am around crossover networks all day and, well..... I have to call it something. I call a third order low pass with a resistor in the shunt leg a "Soft T"; I call the first inductor of this low pass - which is the big inductor and the primary voicing coil - a "Stomper" or sometimes a "Squasher".



 A Few Words about North Creek... about George and North Creek.

I've been buying from and talking to George since he first went into business. He turned me on to really good caps and resistors and I turned him on to Baltic birch and diffusors. He is one of the people that I can count on the fingers of one hand that has always been reliable when it comes to products that perform exactly like his verbal or written description. He and I have discussed crossover topologies and methodology and I have never been able to fault any of the results that I've obtained using his approaches.

As far as "marketing hype" goes, people, myself included, tend to use this term when we either disagree with or don't understand a particular approach.

I've noticed over the years that George's detractors are those that have not tried his methods or used his products. I can't remember anyone that has built a pair of his speakers that has slammed them.

We may disagree with the man but a couple of things remain: his products are top notch and he doesn't talk about things... he does them.

I'm proud to say that I know and like the man and use his products (along with some others) because they are exactly as specified. His excellence at any cost approach is appropriate when the rest of the system is top notch, and his standard products in the economy range are among the best available. I have no doubt that the Pegasus is a benchmark product. I respect the designer enough not to secong guess or bag on him.






 All I know is, they sound woderful

 Last week I had a singer friend staying over between tour gigs. He is one of those singers with perfect pitch and a great ear. He has been a back-up singer with James Taylor for years, sings on all of Bonnie Raitt's albums and tours with Phil Collins. Anyhoo, enough background.

He listened to all my systems using speakers designed by a lot of different people. We were not really listening to speakers, the focus was on the music. The speaker evaluation sorta happened cuz he said "I like these speakers but they sound a little flat". Took him into the living room where my Pegasus' are. A big smile came on his face and that is where we remained.

FWIW - Bill


<George> Thank you, Bill. Glad to know you and others enjoyed them so much.

I look forward to meeting many of the participants of this board at the Rocky Mountain Audiofest in Denver, See you there!



Hey, just went to your site and I see you are discontinuing the kit division - I am sorry to hear this. Just thought I'd let you know that I had the Pegasus built and they are up and working in my studio. I have a Lavry DA10 feeding a Bryston 3B SST C-series feeding the Pegasus and a Velodyne DD10 sub, all connected with Kimber cable. Although the setup is a bit on the clinical side for normal listening (my room also leans towards being too dead) it's an amazing system to work on - the transient response and imaging detail in particular are breathtaking. I can also hear digital distortion on that system that is inaudible anywhere else, which is great for mastering but makes a lot of modern music painfull to listen to :( So just wanted to say thank you and let you know I'm working on them and am extremely happy with my purchase. Good luck with finding a future for them as recording monitors, I for one will definately recommend them, especially for mid-field work.

P.S. I've attached a photo of my current setup with the Pegasus - in about three weeks I will be moving all the production gear and the console out of the room (I'm setting up a second studio) and setting the Pegasus up on stands in a mid-field configuration with a very small mastering console further back - which should be a big improvement on the current, cluttered setup.

All the best from South Africa, cheers

Timecode Records
Cape Town, South Africa





- George E. Short III © 2005, 2006


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