KEN MICALLEF'S SYSTEM LOUDSPEAKERS ELECTRONICS SOURCES CABLES ACCESSORIES | You are reading the olderHTML site Positive Feedback ISSUE 75 devore fidelity Orangutan O/93 Loudspeakers as reviewed by Ken Micallef
As I learned at the recent 2104 New YorkAudio Show, there is no lack of absurd loudspeaker designs executed withall sorts of wacky and expensive materials. While this year's blessedevent was not as off-the-charts as prior shows in regard to loudspeakersthat look like they were built by aliens with auditory requirementsmadly different from our own, there were contenders that made me winceboth visually and especially, aurally. You know what I'm talking about, that schoolof supposedly high-tech loudspeaker design incorporating berylliumtweeters, ceramic woofers, titanium speaker finishes, heck, titaniumtweeters! "Drivers precisely machined out of massive slabs ofaircraft-grade aluminum," boasted one manufacturer's site. Or, speakersfinished in "Lamborghini Orange, a $2500 custom order option," notedanother. There's more: "A multi driver quasi-point source array,"literally 12 "planar ribbon drivers" suspended on an aluminum rod like atotem pole. Or if we're going low-tech but equally wrongheaded,IKYAudio's Red Lobestar Audio Speakers machined from industrial gradePVC pipe. Or Mannequin Speakers which drop a pair of 3" drivers into aheadless mannequin's breasts, with your iPod plugging into the jackburied in her plastic vagina. The Sound of Music You know where I'm going and it's not ahappy/friendly place. To my ears most of these extreme, complex,luxury-aimed designs don't sound like music; they sound like Ka-Ching!Of course, there were exceptions at the show, including the Focal GrandeUtopias ($269,000), Verity Audio Monsalvats ($325,000), and the MBLRadialstrahler 101E Mk. II 101s ($70,500). But except for the MBLs,those speaker's designs aren't that crazy. As I've wandered audio show hotel hallways,stepping into exhibitor's rooms manned by men in dark suits playing badlounge/jazz or even worse white man blues, it's obvious that segments ofour hobby center around greedy manufacturers designing Rube Goldbergs torope in a chump with too much money and not enough experience listeningto/enjoying music. These complex designs made from pricey materials aredoomed to fail, and help to to doom our hobby. Joe Average alreadythinks we're crazy.
Hurry back, Jimmy Mack But there are good signs afoot. Vinyl isback. (Rega sold more turntables in the past two years than in theprevious 20.) Tubes and SETs are waaaaaaay back. And John DeVore ofDeVore Fidelity, Brooklyn, New York City, is winning awards andcustomers. When I speak of blessed events one of themore sacrosanct for high-end audio lovers in the New York City area isJohn DeVore's all too infrequent Monkeyhaus parties. I know,they've attained the status of myth. A place where rare records spin ona 50-year-old turntable playing through equally rare amplifiers andchoice DeVore Fidelity loudspeakers. Where you drink, smoke cigars, talkshop, drink some more, and talk some more. A place where you listen. Andlisten closely. While enjoying the camaraderie of fellow music lovers.Cats roam free. Sometimes children. Sometimes wives. The only admissionto Monkeyhaus is good humor and a good vinyl LP. I've gratefully attended a few Monkeyhausevents. And way back when (early 2000's?) they wet my whistle quick for apair of DeVore Fidelity loudspeakers I could call my own. Consequently,I may have owned more variations of John's Gibbon speakers than any soulnorth of the Mississippi. I began with DeVore Fidelity Gibbon 8s, thenthe Super 8s, then The Nines (before that, Audio Physic, ProAc, Spendor,and B&W boxes filled my small space). In between ownership(s) I reviewedthe exceptionally sweet DeVore Fidelity 3XLs, the Super 8s, The Nines,and even a short-lived home theater speaker reviewed as a pair, theGibbon 7.1s. Does this mean I'm biased when reviewing DeVore Fidelity'sOrangutan O/93 loudspeakers? It means I well understand the DeVoreFidelity sound, and John's adherence to principles like naturalness,transparency, and dynamics, equaling to me, faithfulness to the musicheard in only a few loudspeakers. As DeVore's designs evolve we aretruly "getting closer to the music" to paraphrase his company's motto. Backtrack: I don't mean to imply with mycomplexity-bashing intro to this review that John DeVore's speakers arethe opposite: simpletons-on-steroids. I don't have the level oftechnical knowledge to say whether John's designs are more or lesscomplex. And he ain't giving away his crossover configuration. I do knowthat the Gibbons I have owned and reviewed were ported two-way affairs(well, The Nines had side-firing woofers), using treated paper conewoofers and silk dome tweeters. Tried, tested and true elements ofspeaker design. Step up to the flagship Silverbacks and you simply getmore DeVore Fidelity to enjoy.
Sounding Out Soul I hear a house sound in John's speakers,which are as a group natural-sounding, non-fatiguing, with warmth,transparency, and exceptional dynamic range. John's a drummer,and he knows how to boogie. His speakers boogie down below, and producegreat finesse and transparency throughout the frequency range. The slightly smaller brother of the $12kOrangutan O/96, the $8400 Orangutan O/93 (referring to the loudspeaker's93dB sensitivity) features a new version of DeVore's 10-inch paper conewoofer with phase plug (designed to John's specs) and the samehorn-loaded 1-inch silk dome tweeter, "retaining much of the clarity andtonality of the O/96 at a lower sensitivity in a lower priced speaker,"states the DeVore Fidelity website. From the informative O/93 manual: "Theexquisite cabinetry incorporates matched exotic wood veneers, handrubbed lacquers and carefully selected materials to give the speakersystem as a whole its intended voice. Under the skin the materials arejust as impressive, from the solid machined copper binding posts, silverwire and exotic oil-filled capacitors, to the hand built, hardwiredDeF-SVDX crossover and matched custom-built drivers." The O/93's frequency bandwidth is 28Hz -31kHz (that's seriously low, kids!), sensitivity: 93dB/W/M, impedance:10-12Ohms (that dips to 8 Ohms as needed), with dimensions of 10"D x 15"W x35.5"H, weight of 45 pounds each. Two smallish parallel ports adorn thespeakers' lower backside. Four small wooden nubs act as footers (thoughthe speaker looks like it's sitting directly on the floor). My reviewsample came in the O/93's standard finish: gorgeous Fiddleback Mahoganyfronts and Mink (stained) Maple sides and rear. Lovely.
10 Questions with the Tallest Guy in theRoom To learn more about the O/93's design Iemailed the taller than 6'5" big bad John a few questions. PF: What speaker most influenced the designof the O/93? I've read reviews citing its similarity to certain AudioNote or Snell boxes (I own the Snell J/II series). John DeVore: There aren't many 10" 2-wayspeakers out there, an old Boston Acoustics model here, a Dynaco there,though both of those are well over 30 years old. Original Snells were aninfluence too, but all these were fairly inexpensive, compromiseddesigns. They did do one thing though; the Bostons in particular,suggested to me what potential there might be in a 10" 2-way speakerwith a 1" dome tweeter. I sold the Bostons when I started in retail, andit was clear to me that the 10" 2-way was far better than the moreexpensive model in the line that added a midrange driver. Moreinfluential though were the larger designs from Altec and the like.Explosive dynamics, rich tonal colors, high sensitivity and highimpedance. The goal of the Orangutan series was to provide a largemeasure of those qualities, without the drawbacks, in a domesticallyacceptable (even desirable) package. PF: What qualities and literal elements weretaken from previous DeVore Fidelity loudspeakers? John DeVore: Literally only me, I suppose.Everything I learned designing the Gibbons and Silverbacks led me towhere I could tackle the Orangutans. My taste is apparent in the soundand appearance of every product that bears my name, so they do sharequite a lot in that sense. PF: What does the shallowness of the O/93box achieve? John DeVore: Ha—well, that question is offby 90 degrees. The shallowness achieves width. For a given volume ofspace there's a depth, width and height. Make the box wider and iteither gets shorter or shallower. Or both. The baffle width accommodatesthe larger driver and pushes the step response frequency lower,increasing the efficiency of the system in the room. Simplistically,more of the acoustic output is thrown forward into the room towards thelistener and less "wraps around" the sides of the speaker and away fromthe listener. PF: And this is one of the shallowerspeakers out there, right? And "more acoustic output thrown forward,"does that account for the immediacy and quickness of the speaker? Do yougive up any depth of soundstage with a wide baffle compared to a thinnerbaffle? Soundstage is hard to gain in my small room. John DeVore: If by shallower you mean it hasa higher ratio of width-to-depth, it might well be one of the shallowestout there. Immediacy and quickness are subjective terms that are notclearly defined. Technically, the baffle width only effects thediffraction, and related to that, the tonality. Those effects combinedwith other things going on in the design add up to the final acousticpackage, but as far as a direct relation of one-to-the-other it's notthat simple.
PF: Explain to the ignorant (me) what adifference an impedance of 10 ohms makes. John DeVore: It's part of the load theamplifier sees. An amp makes specific power into a specific load, and asthat load varies, so does the power and bandwidth of the amp. For tubeamps, generally, the higher the speaker impedance, the less work theoutput transformer has to do, and the better the amp will sound. This isnot always the case, as some tube amps are optimized for more typicallow-impedance speakers, but it usually is. PF: What are the ideal amplifiers to drivethe O/93s? John DeVore: Tons of different amps, tube,transistor, low-powered, high-powered. They are very unfussy. (I canattest to this. DeVore has many different amps at Monkeyhaus) PF: Same treated paper cone woofer as inO/96? How different? John DeVore: Same un-treated papercone and surround. Very different motor system (coil, magnet, gap andpole). The motor on the O/93 woofer is a simplified, scaled-down versionof the O/96 woofer. PF: What's the origin and basic design ofthe tweeter? John DeVore: Again, if we go back 30-40years to a time when dome tweeters had already begun replacingcompression drivers, but sensitivity was still something speakerdesigners were striving for, a great many dome tweeters werehorn-loaded. Gradually, as big solid-state amps became High-End andspeakers started getting correspondingly difficult to drive thesetweeters were phased out to where they are now essentially extinct. Boththe non-horn-loaded gibbon tweeter and the horn-loaded Orangutan tweeterare loosely based on some of my favorite tweeters from that period—ofcourse with a good dose of modern technology added. PF: So a higher impedance speaker and hornloaded tweeters, both older technologies that were right in the firstplace? Then disused starting in the 60s and beyond? John DeVore: Certainly "right" for someamps. Remember, speaker sensitivity declined along with the rise ofJapanese mega-receivers and early American High-End solid-state amps. Inthat sense the speakers of the time remained "right" for those certainamps of the time. In fact I've found that some higher-powered High-Endamps that can sound good into a difficult speaker load can sound prettybland into a higher sensitivity, higher impedance speaker load. On theright amplifier though, swapping a "normal" speaker for one with a loadlike the Orangutans is a revelation.
At my "Haus" Once the O/93s were delivered, John came byto oversee setup. I assumed the O/93s would drop neatly in the samelocation as my Nines, but oh no. After much fiddling and moving, thenapplication of blue tape on the floor to lock down location and variousfolded-up playing cards placed under the speaker's footers to eliminatewobble, the O/93s sat closer than The Nines had, with less of a toed-inpitch. After John left and further listening ensued I moved theloudspeakers even closer to my listening position, resting at about 5.5feet. Too far back and the speaker's plentiful bass overwhelmed my smallroom, too close and I lost soundstage. Not quite near-field, but closerthan you'd expect. Though The Nines have side-firing woofers(one per speaker) the O/93's single 10" woofer produced better defined,resolute and weightier bass notes in my space. Where The Nines cast alarger soundstage with good depth, the O/93s were more direct andfleshed out, with more realistic images, and greater immediacy but lessdepth; something hard to achieve in my small room. John may think"immediacy" is an ill-defined term, but the O/93s "let go of the notes"faster and with more weight (FAT!), greater definition and muchoprecision than The Nines, and with consistent warmth. The O/93s are warmand generous of nature, but not at the expense of resolution and upperfrequency extension and SLAM. Extremely coherent top to bottom,the O/93s revealed the fine details of my LPs better than I thought waspossible. I would go so far as to say that when everything was dialedin, my system (Kuzma turntable, Shindo electronics) with the O/93screated a better overall sound than I have heard at any audio show, andfrequently at Monkeyhaus. I may have experienced more jump factor or adifferent dimension or larger perspective at those events, but neverwith greater intimacy, dynamics and soul-stirring musicality than righthere in my humble listening space. The O/93s produced rock solid andhumanly scaled images, whether playing my hard bop or electronic LPs,classical or rock. Feed the O/93s some modern electronica and the roofcame off the mutha. Grace them with EMI classical LPs (from mycollection) and they produced extreme degrees of subtlety, refinement,and tremendous dynamics. Rock, like the latest Led Zeppelin reissues,charged out of the O/93s with a dynamic force I have never heard beforein my listening space. Stick with the walking bass and dancing drums ofsuch hard bop heroes as Hank Mobley, Wayne Shorter, or Freddie Hubbardand you may never want for another loudspeaker. Allying warmthwith excellent dynamics, punch with purity, and a refined upperfrequency delivery with a transparent (and warm) midrange andtremendous, soul-enriching low end and you have a loudspeaker for musiclovers. Jazz vinyl lovers, digital rock roustabouts, classicalconnoisseurs, and dance music BBoys will want for nothing once the O/93spass their portal. Through its Paces I brought out a few of my favorite recordsto evaluate the O/93s, including Pat Metheny's What's It All About(Nonesuch), Eddie "Lockjaw" Davis' various Prestige CookBook LPs(as well as his terrific Trane Whistle Big Band LP), AphexTwin's Syro (Warp), FKA Twigs' EP (Young Turks), TheSoulful Moods of Gene Ammons (Moodsville),Francois Hardy Sings About Love(Marble Arch), Radiohead's In Rainbows and Fennesz's Becs (Editions Mego). Referring to my notes (ahem): The dynamicsof Lockjaw's Cookbook Vol 1. are registered full-on, with uprightbass and drums chugging madly, deeply, and pushing the beat hard. AsLockjaw shouts and squawks Shirley Scott's Hammond B3 organ purrs,blasting the air all around, practically a 3D experience. On openingtrack "Skillet," bass notes are even deeper. Pure thrill. When drummerArthur Edgehill switches ride cymbals you can feel it. Your eyes move tofollow. Flipping records to Lockjaw's Jaws, the differentrecording environment is heard in the extreme. One of the O/93's greatqualities is their ability to get out of the way, creating atransparent, emotional connection to the music and the musicians.Through the O/93s each LP is heard in its unique recording studioenvironment, to a degree that is almost spooky. Time travel. Flipping again to Lockjaw's Trane Whistle LP, you hear what a large soundstage the O/93s can cast evenin a smaller room. Here is unity of sound, even with a big band wailingin a superbly layered mono recording. Lockjaw exulting above it all, andgreat brass shouts behind. Here is soul. Sticking with the 50s/60s soul-jazz itch, Idrop Gene Ammons' Soulful Moods on the Kuzma Stogi/Stabiand become drenched in the wet soul sauce. Ammons' rich, lush saxophonemellows out my mood. Snare drum brush work swoops along under theswinging bass work. Sublime. Francois Hardy's French pop is pleasantenough, but I need more thrills. FKA Twigs, one Tahliah Debrett Barnett,is an English singer-songwriter, producer and dancer originally fromGloucestershire and currently based in London. FKA Twigs' recentlyreleased LP1 followed the four-track EP I own, but the message isthe same: rich, rounded bass underpinning sensual soul-electronica,absolutely dripping in hot sex atmospherics. Singing like a womenstarved then savaged, the music of FKA Twigs' LP1 is deepcavernous electronica with spacey sci-fi tones and a floorboard-splittinglow end. So low I had to sprint to turn it down in fear that mydownstairs neighbors would lose consciousness before calling the police.Here, the O/93s delivered some serious deep space bass tranquility. To agraphic extreme.
The throbbing bass and web of weird sciencesounds of Fennesz's Becs recalls a nightmare vision of pipeorgan, strings and electronic bass tones battling for supremacy. PatMetheny's What's It All About is theopposite, one elaborate guitar creating a humid world of giant,elongated bass notes and upper frequency string exoticism. Playing LindaManzer's 42-string Pikasso guitar, Metheny recreates songs made famousby The Carpenters, Jobim, Carly Simon, The Beatles and others into areharmonized macabre dance. Metheny recites these classics' familiarmelody, and then takes them on an otherworldly journey. Through theO/93s Metheny's music filled the room with strings and sound. I closed my O/93s listening session withRadiohead's In Rainbows and Aphex Twin's recent return tocommercial recording, the 3-LP Syro. The Radiohead disc soundedhorrible, muddy, compressed, without any definition. I was surprised,but hadn't listened in years. Here's one case where the CD is definitelythe way to go. Syro, on the other hand, was fantastic. Itssweltering low end gave the O/93's ten-inchers a workout, producing manyvariations of bass bombs, farts, thrusts, and lift-offs. To thissubsonic stew Aphex Twin dials in amusing keyboard melodies consistingof childlike chords and single-note doodles. I can't name the exact Syro song I used, but it's on the LP side that has what looks like apeanut butter sandwich with an eyeball peaking out of one corner on thelabel. Syro is a sonic and musical delight, Aphex Twin (RichardJames) having lost none of his talent for electronic absurdity andmusical merriment. The O/93s delivered Syro just as it did theother LPs: uniquely, transparently, with slam, spot-on tonality andtimbre.
The Wrap Up I toss around a lot of adjectives in tryingto adequately describe my listening experience with the DeVore FidelityO/93s. A special speaker, one with richness, punch, finesse and clarity(there I go again); the O/93s ultimately produced a singular sound, anatural sense of wholeness that defies single words or strings ofdescriptors. A beautiful speaker, the O/93s get so many things right,qualities that add up to a final very satisfying whole. The idea ofdissecting its qualities into tightly defined boxes cheats the speaker,slicing up its splendor into dry single words and phrases. Just as youdon't listen to music analyzing it bar by bar, neither should you tallya speaker's ultimate performance focusing on its singular traits, asheavenly or sublime as those traits may be. I was ultimately delightedto hear what the O/93s could do with each record, what they wouldreveal, and how that would make me feel. And they always made me feelhappy, hopping around the room with bebop, moving my head withelectronic beats, or simply dropping back and getting lost in the swayof the music. While my 25 WPC Shindo Haut Brion easilydrove the DeVores, making the most of their inherently rich characterand warm tonality, I bet they would provide a feast with lower poweredSETs. And while I stuck exclusively with vinyl for my evaluation of theO/93s, my recent review of the Line Magnetic DAC proved the DeVores tobe ample purveyors of the 1s and 0s. I suggest you get your mind right,get your ears in gear and hear these speakers, pronto. Simply put, theymake glorious music. Ken Micallef DeVore Fidelity Orangutan O/93s DeVore Fidelity POSITIVE FEEDBACK ONLINE © 2014 - HOME |
FAQs
How much do DeVore Fidelity speakers cost? ›
The speaker designs by DeVore Fidelity range from the $3,900/pair 3XL bookshelf speakers, all the way up to their new O-Reference that sell for $88,000.
How much are DeVore orangutan speakers? ›They are $5,600 without stands. You can use them with any 12-inch stands, or you can get solid oaks stands from DeVore Fidelity, that is a mix of Japanese and mid-century modern. While these are expensive at $1,000, when combined with the speakers, they make for a very eye-popping look.
What is the difference between DeVore O 93 and O 96? ›Another difference is that the bigger O/96s are stand-mounted and the O/93 is floor standing. One more difference I'll mention is that while they both use the same 10-inch paper cone for the woofer, the O/96 uses a more powerful motor, and more expensive crossovers and cabinets.
How much is orangutan 0 93? ›The slightly smaller brother of the $12k Orangutan O/96, the $8400 Orangutan O/93 (referring to the loudspeaker's 93dB sensitivity) features a new version of DeVore's 10-inch paper cone woofer with phase plug (designed to John's specs) and the same horn-loaded 1-inch silk dome tweeter, "retaining much of the clarity ...
Why are vintage speakers so expensive? ›Vintage audio equipment is expensive partly because of rarity (a lot of vintage gear has been discontinued) and partly due to the inherent quality and design required for its longevity. A vintage piece of gear must be of the highest quality to perform at the highest level decades after manufacture.
How much is a DeVore orangutan 96? ›Industry stalwarts Spendor and Harbeth have kept classic wide-baffle designs in their own lines. And now, America's own DeVore Fidelity has brought to market their Orangutan O/96 ($12,000/pair), a wide-baffle, high-sensitivity, full-range dynamic loudspeaker aimed squarely at the SET set.
Where are DeVore speakers made? ›Founded in 2000, DeVORE Fidelity has become one of the most acclaimed High End Audio Companies in the world, and still builds every one of its speakers by hand in Brooklyn, New York.
What are the dimensions of a Devore O 93? ›Dimensions: 35.5" (902mm) H by 15" (381mm) W by 10" (254mm) D. Finish: Veneered front baffle; high-gloss, piano-black lacquer, sides, back, and top.
What are the dimensions of a Devore O 96? ›Dimensions: 28.25" (725mm) H by 18" (460mm) W by 12" (310mm) D. With stands, 35.5" (910mm) H.
Why are orangutan numbers falling? ›Deforestation and Habitat Loss
Illegal logging inside protected areas and unsustainable logging in concessions where orangutans live remains a major threat to their survival. Today, more than 50% of orangutans are found outside protected areas in forests under management by timber, palm oil and mining companies.
What is the rarest orangutan? ›
The Critically Endangered Tapanuli orangutan (Pongo tapanuliensis) is the world's rarest great ape, with just over 700 individuals estimated to remain.
What is the average price of an orangutan? ›Orangutan - $45,000; Owl - $250 in India; Pangolin - $1,000; Pangolin - Meat - $300 per kilogram; . These babies pictured are ready for their new "Furever" homes. Sumatran orangutan can weigh from 99-200lbs. up to 200 pounds.
Are old speakers worth keeping? ›Some older speakers were designed so well that they still outperform a good portion of speakers from even today; while others were made from lesser materials which meant they didn't last very long. There was a wide variance in the durability of these speakers, even more so than today.
Do vintage speakers sound better? ›Older speakers also had more bass responses than today's models because the recording industry at the time used less bass-boosting technology. As a result, vintage speakers typically produce more powerful lows and allow listeners to hear the difference between upright bass and double bass.
Are old speakers as good as new speakers? ›Newer speaker systems feature much higher wattage, enabling them to be played at higher decibels without sacrificing quality. This deviates greatly from your old speaker set, which may start to shake or stutter when played at loud volumes. Speaker systems are now increasingly more efficient than ever before.
What is the best audio quality ever? ›The best audio formats for sound quality are uncompressed or lossless compression files—think WAV, FLAC, and M4A.
Who is the best speakers of all time? ›- J.F. Kennedy: ...
- Martin Luther King Jr: ...
- Winston Churchill: ...
- Nelson Mandela: ...
- Adolf Hitler: ...
- Mahatma Gandhi: ...
- Margaret Thatcher: ...
- Franklin Roosevelt:
"Good grief," thinks John DeVore. At 8.5" W x 14.5" D x 38" H, the Nine is only marginally bigger than the 8 and Super 8. It's 4 inches taller, less than half an inch wider and 2.5 inches deeper. It weighs a very manageable 58 lbs.
What is high-end speaker? ›High-end audio is a class of consumer home audio equipment marketed to audiophiles on the basis of high price or quality, and esoteric or novel sound reproduction technologies.
Which speaker is the loudest? ›What is the loudest Bluetooth speaker in 2023? The Soundboks (Gen. 3) is the loudest Bluetooth speaker out there right now. Not only is it a large, weighty speaker, but it packs a serious punch in the volume department too, thanks to two newly upgraded 10-inch 96dB woofers and a 104dB compression driver tweeter.
Who makes D&B speakers? ›
d&b audiotechnik is a German loudspeaker and amplifier manufacturer, founded in 1981, located in Backnang, north of Stuttgart. d&b is an international company with subsidiaries in Europe, America and Asia.
Where are Rockford Fosgate speakers made? ›Rockford Fosgate® is built for the future. We implement the most state-of-the-art technology in the audio world. Best of all, our entire line of products… amps, subwoofers, speakers, processors, and source units are designed and engineered in Tempe, AZ, USA!
Who makes Tannoy speakers? ›Tannoy is a British manufacturer of loudspeakers and public address systems. Founded by Guy Fountain in London in 1926 as the Tulsemere Manufacturing Company, today the company is part of the Music Tribe group of brands.
What are the dimensions of Dynaco? ›Each speaker is 20” x 11,5” x 10” and weighs about 20 pounds.
What is the difference between flanged and unflanged orangutans? ›There are 2 “types” of mature male #orangutans: flanged vs. unflanged. A flanged male has big cheekpads on his face & a large throat sac. An unflanged male has neither & usually has a smaller body.
How many orangutan are there left? ›On average, 2,000 to 3,000 orangutans are killed every year. While exact orangutan population counts are always a challenge – estimates put current counts between 50,000-65,000 orangutans left in the wild. At this rate of loss, many experts believe orangutans could be extinct in the wild in less than 50 years.
Are orangutans aggressive? ›Orangutans are generally non-aggressive toward humans and each other. Many individuals reintroduced into the wild after having been in managed care are aggressive towards humans. Male-male competition for mates and territory has been observed between adults.
What was the smartest orangutan ever? ›Chantek (December 17, 1977 – August 7, 2017), born at the Yerkes National Primate Research Center in Atlanta, Georgia, was a male hybrid Sumatran/Bornean orangutan who acquired the use of a number of intellectual skills, including American Sign Language (ASL), taught by American anthropologists Lyn Miles and Ann ...
What is the rarest great ape on earth? ›But Raya lives on as the representative member of a new orangutan species, Pongo tapanuliensis, or the Tapanuli orangutan—the rarest great ape species on the planet.
Are orangutans 7 times stronger than humans? ›Although not as strong as a gorilla, an orangutan is about seven times stronger than a human. Since orangutans primarily move through the forest using their arms and shoulders as opposed to their legs and hips, their arms are longer than their legs and their shoulders are wider than their hips.
Is it legal to own an orangutan in the US? ›
Generally, it is illegal to import, possess, or sell apes for use as pets; but federally licensed exhibitors (like circuses, zoos, animal acts, and some wildlife sanctuaries), scientific research facilities, and disabled people can freely import, possess, buy, and sell those animals.
What is the maximum lifespan of an orangutan? ›Like all great apes, an orangutan has a long lifespan and can live to over 30 years in the wild—many live to 50.
How long do orangutans live? ›Price: $3700/pair; matching 26"-high stands cost $695/pair. Manufacturer: DeVore Fidelity, Brooklyn Navy Yard, 63 Flushing Ave., Unit 259, Building 280, Suite 510, Brooklyn, NY 11205. Tel: (718) 855-9999.
What is the best musical fidelity amplifier ever? ›The M6500i integrated amplifier is the best from Musical Fidelity we , have on offer. This is the product of over two decades of refinements, honing in on the best of amplifier design to create a super integrated amplifier that produces an exhilarating experience.
How much does a good pair of speakers cost? ›If you are in an average sized, untreated room and listening to music for entertainment, your best bet will be in the $300-$1,200 range. The higher you get within that range, you will generally find better results, but a higher price doesn't guarantee quality.
Where are DeVORE speakers made? ›Founded in 2000, DeVORE Fidelity has become one of the most acclaimed High End Audio Companies in the world, and still builds every one of its speakers by hand in Brooklyn, New York.
What are the most expensive speakers Focal? ›Behold the most expensive speakers in the world - Focal Grande Utopia EM Evo Floorstanding Speakers worth a whopping $590,000 a pair. The sound architecture of Utopia III has been preserved, to reduce harmonic distortion in the fragile mid-range register, which is so very crucial for revealing the artist's emotions.
Why do vintage amps sound better? ›Vintage amps produce a better sound because their internal circuitry is mostly hand-wired and has a higher level of attention to detail. Furthermore, tubes are responsible for providing even harmonic order to the sound, adding warmth to the output and making it more musical.
What is the most expensive audio amplifier in the world? ›#1. $2,200,000 – Pivetta Opera Only Sitting atop all others is the Bugatti of amplifiers, the Pivetta “Opera Only.” This beast of an amp pumps out an outrageous 120,000 watts of power broken out into six 20,000 watt class-A amplifier channels.
What amplifier did Metallica use? ›
What amps do Metallica use? Metallica are well known for using Mesa/ Boogie amplifiers such as the Mark IIC. James is also known to play the Roland JC-120 for his clean tones. Kirk also has a signature line of amps with Randall.
Are old speakers worth it? ›Some older speakers were designed so well that they still outperform a good portion of speakers from even today; while others were made from lesser materials which meant they didn't last very long. There was a wide variance in the durability of these speakers, even more so than today.
Do speakers sound better higher? ›Yes, it's true that the higher the power (watts), the louder and cleaner the speakers will play. Small differences in power, however, don't make much of an audible change. In order to perceptively hear a difference (a 3dB increase), the power would have to double.