What you are about to read is a review by not one or even two, but FOUR different reviewers!

It is our goal to publish the most comprehensive reviews such as this in as many future reviews as possible.

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James L. Darby - Publisher




Number One


 Ken Yuan





            Kens's Reference System:










The Strata Mini is well built for its asking price – and beyond.  For example, the cabinet edges are nicely rounded without any hint of roughness in the finish.  Subjectively speaking, these speakers are aesthetically pleasing.


I set the speakers 8 feet apart, center-to-center while the listening position was approximately 10 feet away from the front plane (ear-to-speaker). Room dimensions are 23 feet by 15 feet by 8.5 feet (LxWxH).





John Mayer's Continuum was the first spin.  I went right to my favorite track, "I'm Gonna Find Another You."  Mayer's voice in this bluesy song was clear and had a strong sense of presence.  To me, the Mini's midrange is clearly one of its strengths.  Immediately apparent to me during the first listening session was the sound stage presented by the Mini - it is quite expansive, with very reasonable imaging.



The Mini's ability to portray good imaging was further confirmed by track #10, "Eric's Song," from Vienna Teng's Waking Hour.  Ms Teng's voice was clearly center-stage, with her piano located just to my right.  This portrayal is similar to that of my personal system.

Although the Mini is quite capable of producing a convincing midrange, to me, the higher frequencies did not seem quite as extended.  Ms Teng's voice in "Gravity" sounded a bit subdued; this was evident during the phrasing of "hey love I am a constant satellite of your blazing suns my love."





After a bit of break, I decided to move to a different genre.  I threw in one of my favorite orchestral pieces, Rimsky-Korsakov's Scheherazade with Jose Serebrier and LPO.  The intro of the first movement, "The Sea and Sinbad's Ship," immediately showed the Mini's ability to produce palpable bass, which is undoubtedly delivered by the powered, built-in subwoofers.  Unfortunately, the Mini's inability to produce an extend high was once again confirmed by the violin around the 1:23 mark of the same song.  Nonetheless, the combination of throwing a wide soundstage and producing a nice mid came to fore during the inter-play of violins and brass around the 6:45 mark.



The Mini's powered subwoofers definitely displayed their capability in the fourth movement of Scheherazade.  They weighed in mightily around the 7:25 mark, when the percussive instruments joined the ensemble; however, again, the cymbals could have been a bit more shimmering.  Irrespective of the cymbals, the overall sound was quite nice, indeed.  Throughout my listening of the Scheherazade piece, the Mini's ability to deliver an expansive, and a reasonably deep, soundstage was clearly in abundance.






After a few days off, I returned for more listening.  I thought some break from the Mini would give me a fresher perspective.  Using the piano as the centerpiece of a presentation has always been a personal favorite, especially when Sergei Rachmaninoff composes the work.  The Mini's performed admirably at holding those piano notes and delivering the resonance.  Once again, a bit more extension on the high end would have brought those notes more desired shimmering.  This was definitely noticeable around the 2:25 mark in the second movement, Adagio Sostenuto, when the piano is playing a virtual solo.


The speakers' ability to resolve a relatively complex movement was also good.  In the “Rhapsody on a Theme of Paganini,” the Mini's had no problem keeping the pace.  Scheherazade’s 4th movement further confirmed this again.





The Mini's planar magnetic drivers provide ample detail.  As an owner of a pair of Ambience 1800 SuperSlims (Australian made 6-ft tall hybrids), I have always been a fan of planar drivers' ability to reproduce nuances within the music, and the Mini’s certainly deliver in that regard.


Notwithstanding their perceived inability to provide an extended high, in my opinion, the sound of violin from Scheherazade certainly provided a very palpable feel.  The violin reproduction gave a good sense of "body."  Perhaps, the smooth sounding natures of planar drivers just don’t quite yield that dynamic feel on the high frequency.  In this case, I think it really is a "toss-up" choice to the listener.


The integration of Mini's built-in subwoofers is very good.  The subwoofer controls gave me plenty of adjustment combinations to tune-out most of any meaningful room resonance.  And, they gave the Minis very dynamic mid and low capabilities.  This was definitely evident in the fourth movement of Scheherazade.





Overall, I thought the Mini's tone was pretty accurate.  The percussive instruments from John Mayer’s “Waiting On The World To Change” were impressive, but not overpowering.  Again, this is where Mini's subwoofers really shined.


Given the sound radiation pattern of planar drivers, speaker placement is relatively important; however, as Mini’s design is not of a true dipole, the speaker placement is not likely to be as sensitive.  In my set-up, I had approximately 6 feet from the speaker baffle to the front wall; this breathing room ensured the speaker’s mid/lows are not over emphasized.  In most rooms, I think a minimum front-wall-to-speaker of 3 feet would be preferred.







In short, the Mini is a very nice speaker.  Notwithstanding the less-than-ideal high extension, the speakers provided a very smooth presentation.  Again, the stage width and depth were impressive.


The Strata Mini has no meaningful or apparent shortfalls in this reviewer’s opinion.  The overall sound characteristics are wonderful. And, combined with the reasonable price point, the Mini gives the audio world a pair of wonderful speakers at a tremendous value.  Considering the sound quality with the built quality, and then factoring its asking price, I think the Mini is a winner.


Review Number Two




Chris Henderson



The AV123 corporation recently released the interestingly designed Mini Strata loudspeaker.  Its introductory cost is $1995 in a regular finish or $2295 for the High Gloss Piano Rosewood or Piano Black finish. - Piano finishes are limited production models, available only as long as supply lasts - publisher


The Mini Strata loudspeakers are shipped in two separate double-boxed enclosures.  A very soft white cotton sock that encases speakers while it is being transported further protects them.  White cotton gloves are also included to help move the speakers without getting hand prints on the finish.  Very nice touch! Brass spikes are provided that can be used for carpeted surfaces, but you’d be wise to screw them in after you’ve found the proper placement in your room to ease moving these rather tall, heavy beasts.


Each Mini Strata  measures 47 inches high by 11.5 inches wide by 17.5 half inches deep and weighs 94 pounds.  I was able to lift and move each of the speakers without undue difficulty.  Just make sure to watch for the sharp fins on the plate amplifier located on the back of the unit.


 The Mini Strata has a plate amplifier built into each loudspeaker you ask?  Yes it does, to power the 8 inch woofer.  “Power” is the right word, too, as each amp supplies the woofer, which resides in its own sealed enclosure, with 350 watts of class A/B juice. Yes, with each pair comes 700 watts of stereo amplification. Price a 700 watt stereo amp by itself and see what you come up with!


The driver complement in this 4 way design includes a 1 inch ring ribbon tweeter, an 8 inch long rectangular planar magnetic midrange, a 5 and one quarter inch mid-bass, and the aforementioned 8 inch powered woofer.  The woofer is located beneath the plate amplifier on the back of the loudspeaker.  The other three drivers are located on the front baffle of the speaker in a vertical configuration with the ribbon tweeter near the top of the speaker, the planar magnetic driver located underneath the tweeter, and the mid-bass driver underneath the other two.


The Mini Strata has a somewhat unique profile in that the lower portion of the speaker looks like a regular speaker, but about halfway up towards the top of the speaker the side profile narrows from the initial 17.5 inches deep to about 2.5 - 3 inches deep creating a more slender looking upper speaker half.  The front portion of the speaker remains 11.5 inches wide to maintain speaker continuity when viewed from the front of the loudspeaker.  The side profile helps to make the Mini Strata more lithe in appearance.  Enough of the technical details, how does it sound? 




Before you power on the loudspeakers, be sure to read the included manual so that you wire the speaker to fit your sound needs.  One of the greatest strengths of the Mini Strata lies in its versatility.  Too much bass in your room and Bass Traps aren’t an option?  Run the woofer without the plate amp turned on.  Need a little bit of bass?  Adjust the crossover point and gain on the powered on plate amplifier to suit your room and your tastes.  Want to use the loudspeakers to play at party levels?  Move the signal gain upward and jam away with sub-level bass that will be the envy or annoyance of your neighbors. Perhaps even another block!


After wiring the speakers, I first began by listening to music using my Kinergetics Research C-200 amplifier (105 wpc), Dodd Audio entry level tube preamp, California Audio Labs Delta transport, and a GR-Research modified LiteOn DAC 72.  During my initial listening session I deliberately left the plate amps in the off position to gain an initial impression of the speaker without the extra bass reinforcement that the amps provided.  I began with the Sarah McLaughlin CD, Surfacing, and the Nancy Griffith CD, Other Voices Other Rooms


At first, I did not care for the sound of the Mini Strata very much.  I found the ribbon tweeter glaring and the overall sound muddled.  So, I let the speakers break in for 11 hours a day for eight days while I was at work.  Then the Mini Strata sounded much, much better.  Where there was glare, it was replaced by a clarity that I have rarely heard on a loudspeaker at this price point.  The muddled sound gave way to an ease of presentation that was hard to ignore.


 I listened again with the plate amps off and found the Mini Stratas to have good vocal presentation with a rather good top end.  I raised the rear spikes on the speakers to remove some of the rearward slant of the cabinets, which improved the sound to my ears.  Overall, the speakers produced a rather cohesive sound that I found to be a more “unified whole” of music reproduction than most of the 4 way speakers I have heard.  Sarah McLaughlin had a nice sparkle to her voice and her piano also showed the same trait.  About a minute and a half into “Sweet Surrender” listen for a high-pitched drone in the recording that I had never noticed reproduced before in any loudspeaker to which I have listened. 


Nancy Griffith’s Other Voices Other Rooms is an acoustic album featuring Griffith singing Folk songs with appearances by eight other legendary Folk singers such as John Prine, Emmylou Harrison and Odetta on eight of the tracks.  Griffith’s voice had a wonderful plaintive quality and was reproduced very well by the Mini Stratas.  I found the vocals to be slightly quieter or recessed than I am accustomed to hearing through other speakers (mainly with women’s singing voices) with a tiny drop of the extreme high end output .  Then came the fun part.


I turned on the plate amps.  Now we’re cooking with gasoline (my apologies to those not from the Southeastern United States)!  I dialed in the plate amps by listening to AC/DC’s Hells Bells, which has a large church or school bell sounding with a fade that presents unmistakable harmonics that can be heard after the initial strike begins to fade.  Also, the track has a very good kick drum with solid thumps. 


So, do the Strata Minis rock? Well, “Hell’s Bells”  yes!


Once I had the settings on the plate amps set to my satisfaction, I put away the hard went back to the Sarah McLaughlin CD, this time with the 700 watts of power dialed in. I now noticed that the entire musical presentation had a deeper soundstage.  The width of the soundstage did not expand much more than the non-amped listening.  For some reason, probably having something to do with psycho-acoustics, after the Mini Strata’s amps were on, the treble sounded even better than after the break-in period.  Vocals were still slightly recessed, but were easier to follow as was the extreme top end of the sound range.  Nancy Griffith’s acoustic guitar now had more body to it, making her songs sound more like a performance than a recording.



I also listened to the Statler Brothers’ The Definitive Collection CD and thoroughly enjoyed the presentation of the quartet, at least their older, less polished sounding works.  Their newer recordings seem to have a little too much sound booth or mastering enhancements, which makes the sound slicker and more sterile.  The banjo of “Flowers on the Wall” shown through in the beginning of the song and was easy to keep follow during the rest of the song. 


Dipping back into the hard rock pool, I listened to The Cult’s High Octane (a greatest hits collection of their work) and found the sound of “Wild Flower” to have almost all of the right moves.  Ian Astbury’s vocals sounded, well, like Ian Astbury.  All of the instruments sounded spot on.  The only problem I noticed was the hardening of the top end sound when the ribbon tweeter was asked to play high intensity crash cymbals.  This occurred only when noise levels were in the party mode.  This was not a problem when the Mini Stratas were played at more sane levels.  I also listened to Miles Davis’ Kind Of Blue which also had a rather convincing sound reproduction through the Mini Stratas.  The other musical genres to which I listened  were all reproduced well.






I found the Mini Stratas  to be handsome and pleasingly designed.  The fit, finish, and packaging all were excellent and showed the extra care that you get when purchasing the Mini Stratas from AV123.  The sound reproduction was accurate with a slight recess in the vocal region for women’s voices and the high end of the human sound spectrum.  The tweeter would harden and show some glare when pushed to loud sound pressure levels.


 If you do not listen to hard rock or heavy metal at loud levels with a lot of crash cymbals, these speakers would be a very good choice.  The Mini Stratas would be an excellent choice at their price point.  If you don’t have young ones in your house, I would definitely recommend the Piano finishes even considering their extra cost if you can get them. The piano finishes are very limited production and at press time their status is uncertain, but they tell me that if enough people want them, it might influence whether they produce more or not. I am not a photographer but perhaps a lot of completely indirect lighting might allow for a realistic picture to be taken so that you might not have to take a reviewer‘s word.  A very nice loudspeaker to review and enjoy.



Chris, you are absolutely correct that the Minis need a substantial break-in period and sound pretty rough right out of the box. In fact, the 88 hours you employed means that they will still get better, especially in the areas that concerned you. And they definitely DO rock! – publisher








Nolan Shaw


Equipment used in the evaluation of the Mini’s:  Onix H6550 Tube Integrated, XCD-99 used as transport, Perpetual Technology’s P-3A w/Modwright level II (DAC), Panamax 5300 power center, Onix SP-300 speaker cable, Onix interconnects. Emotiva MPS-1/DMC-1.


Music used in the Mini’s evaluation included the “Carousel” cut from the Off Broadway show Jacques Brel, “Way Down Deep” cuts from “The Hunter” by Jennifer Warne’s, “The Long Day Is Over” cut from “Come Away With Me” by Norah Jones, and “A Living Prayer” cut from “Lonely Runs Both Ways” by Alison Krauss and Union Station, various cuts from Broadway’s show “Miss Saigon” and the movie “The Matrix”.





One of the attributes that the Mini’s possess is the ability to resolve complex pieces of music without them sounding congested.  An example is from the cut “Carousel” from the Off Broadway show “Jacques Brel”.  Toward the later part of the song the tempo and volume picks up along with multiple voices and instruments.  Every speaker I have heard at anywhere near this price range has been difficult to listen to on this song due to the congestion and I typically skip over this track as a result. 


The Mini’s resolved this piece music with ease.  Every voice and instrument was reproduced with no significant congestion or merging of the sounds. 


The resolution of the Mini’s also came through clearly in the soundtrack from Broadway’s “Miss Saigon”.  Orchestral and vocals were distinctly separate with plenty of air and black background.  The soundstage was excellent.  The strings hung in the air to the left of center, the brass emanated behind the strings, the vocals moved to specific points on the stage where they are supposed to be located.  Very impressive! 


To evaluate the low frequency response of the speakers, I listened to “Way Down Deep” from Jennifer Warne’s “The Hunter”.  The song begins with a very LF beat that shakes my windows noticeably when I utilize my subwoofers.  I wasn’t expecting to hear or should I say feel the magnitude of the bass resonating through the room - so much so that it was overpowering and distracting.  With the Mini’s, the problem was an easy fix as a result of a control center mounted on the rear of each of the speakers, complete with amplitude adjustment controls.  Once adjusted (took me several corrections to get it just right), the bass blended seamlessly into the rest of the presentation.  


One of the first artists I chose to listen to on the Mini’s was Norah Jones.  I found “The Long Day Is Over” track off of “Come Away With Me” interesting in that I could hear Norah’s nasal tone as I hadn’t heard on my previous speakers.  I could actually hear her voice cut in and out very slightly at times.  She sounded like she was sitting 10’ in front of me. The soundstage was wide and deep and her voice floated like a feather in at the front of the soundstage. At one point I lost track of the evaluation and got lost in the music.  


I also listened to the cut “A Living Prayer” from Alison Krauss and Union Station’s “Lonely Runs Both Ways” for signs of sibilance.  Alison’s voice is strong and quite forward in several places in the song.  Her voice sounded natural through all the high notes and never felt overpowering or uncomfortable to the ears.  These speakers have a way of sneaking up and seducing you with their sound before you realize it.  Silky smooth and balanced would be the two words that come to my mind when I listen to them. 

 The Mini’s excel with music and at their current price point I don’t think that there is another speaker around today that can touch them. 






Number 4



James Darby




Mark Shifter, the force behind AV123.com, gave us the honor of the very first pair of these for review.  I spent about 200 hours with them, half of which were spent breaking them in, the rest listening to every kind of music I could throw at them.




There is truly nothing “mini” about the Strata Mini. At four feet in height, it is a rather tall floorstander.


As you can see, our pair came in a beautiful rosewood veneer with a curved front. Other finishes, including piano lacquers, are available in very limited numbers. The three visible drivers are a tweeter up top, a planar midrange and a 5 ¼” lower mid cone which is enclosed in its own specially damped chamber. A planar magnetic mid, used in costlier speakers for enhanced midrange, is very rare at the Mini’s astonishing price of only $1,995 per pair. Yes, per pair!  If the Mini were to stop there, it would still be a killer deal, but it goes way beyond that. In back, you will notice a large black enclosure that houses the real surprise – an 8” subwoofer with an integrated 350 watt-per-channel dedicated amp!


Those two subs take the bass response all the way down to 27Hz. Think about that a moment. How much would it cost you to buy a single, good 350-watt powered subwoofer? $800 maybe? Here you get not one, but TWO of them - $1,600 right there. So the rest of the pair is thrown in for $400?




They certainly do not look like $1,995 per pair. Linda, much experienced in assessing prices, thought they probably retailed for closer to $10k, just by appearance. She thought they looked “sexy”. There is a black grill that covers the three front drivers in case you need them, but the gently tilted back fascias are very attractive without them. Four spikes are included for the bottoms that make them very stable on carpets.


A full compliment of adjustments for crossover point, phase and volume of the sub grace the back as pictured. The package includes a very robust jumper cable (the blue one) to interface the sub with the rest of the drivers. High quality WBT style connectors accept any type cable. I used Ray Kimber’s outstanding Select for mine.


The crossover network, custom designed by our own guru Technical Editor, Danny Richie, includes air core inductors, polypropylene capacitors and non-inductive wire wound resistors. 4th order acoustic slopes on the upper end and 2nd order slopes on the bottom end.







The Minis take a good 100 hours of break-in. They sounded pretty rough right out of the large wooden crates, so don’t be alarmed. Drivers and amps are being conditioned simultaneously, so that is to be expected. Several amps were employed during the preview: the Halcro MC-20 400 wpc power amp (review pending) driven by its pre-amp mate and also the Triode tube pre, the marvelously massive LSA Reference MKIII 150 wpc tube hybrid integrated, the Triode TRV-35SE tube integrated and even an Onix 60 wpc solid-state. Because the powered subs take much of the most power hungry low freqs, all of the amps had no problem driving the Minis to 100 dB+ peaks.

Speaking of peaks, the Minis are very dynamic. I actually spent time listening to them without the subs in play to isolate the critical mids and uppers. Snare drums snapped and popped appropriately and guitar plucks were accurately rendered. Fast. The planars imparted a sense of speed on leading edges and transients that were exciting and involving, yet gave vocals the smoothness and liquidity that only a planar can render. Danny did a superlative job with the difficult task of seamlessly crossing the flat panels over to the cones and domes. Cascading test tones, always a joy to endure – especially by our resident Shelties – revealed no detrimental gaps, dips or change in tonality as the frequencies were handed off from one driver to the other. Very coherent for a hybrid configuration of this type and price.


While still impressive, the high end might have been the least imposing feature. It took some jockeying around, mostly moving back, of room placement because the tweeter seemed to be firing a bit too high. Standing up a little brought the highs and imagining into proper perspective. A phone call to Danny revealed that the cause may be a slight polarity problem in very early samples that was quickly fixed in production models.


AV123, for good reason, has a very strong following. In fact, several hundred pairs of the Minis were sold before the first one was ever built. Buyers forked over their cash based completely on the Mini’s on-paper description and their experience with many other products from the brilliant mind of president Mark Schifter. (If that name sounds familiar, Mark was also the founder of Audio Alchemy, which earlier set the audio world ablaze with bargain priced, quality DACs and other components. He is still at with AV123) The interim fix was easy though. I simply tilted the speakers forward about an inch and viola, a very nice high end.


A four foot tall speaker is not easy to make disappear, but dematerialize they did. The soundstage was nicely deep and wide with individual instruments firmly ensconced where the recordings placed them originally. CDs, run through the Halcro’s state-of-the-art DAC, were vivid. Vinyl, as rendered by the equally astonishing TW Acustic Raven One with a Dynavector DV-XX2MkII cartridge (exclusive review upcoming), was glorious. Transparency, while not the equal of more expensive competitors and even some restricted range monitors under $2k, was very satisfying.


At this point in the listening tests, I would have to say the AV123 Stata Mini is a remarkable achievement.


Then I turned on the subwoofers.


Flipping two little switches turned the Minis into Maxes and immediately transformed them into audio giants. The 350-watt class AB amps took hold of the 8” paper cones with an iron grip and good bass became “Good-god-amighty ” bass. Things got even mightier as I dialed in the proper phase, crossover and gain. Clean and tight as the heads of the timpani that now thundered in Copland’s “Fanfare for the Common Man”, it became clear why an 8” woofer was used as initial fundamentals as well as percussive transients were launched at speed equal to the planars.

I pulled out Munch’s “Living Stereo” Saint Saens Third, the “Organ Symphony”, both my first-stamper vinyl version and the SACD.

 It was all there. Dean Peer, Stanley Clarke and other subterranean recordings followed. Nothing boomed or bloomed, just a muscular, natural sense of weight and authority appeared that is not often heard under $5,000 and never at $2,000. And, since CES took place while I had these, I tried to find something there among the hundreds of speakers that might compare.



If you want to know if I would recommend these speakers, well, I already have. Friends of 20 years asked Linda and me over last night. They are looking for new speakers and asked for my advice. Guess what I told them.

Update; the gentleman did buy them. I helped him set them up in his very large, lively room. He and his wife love them. They even bought a turntable on which to play their nice collection of original Motown vinyl. They are driving the Mini’s with a 30 wpc Linn Majik integrated. They report that they have been spending nights just listening to music - for the first time ever.- publisher


One thing to bear in mind is that you DO have to plug both of them them in to an AC outlet in order to supply current to the internal amps.. They come with their own generic but replaceable power chords as well as the jumper cables necessary to interface with the powered woofers.

Incidentally, while Stereomojo does not “do” surround sound or home theater, if you or someone you know is contemplating a movie system, consider these. They would do music and special effects equally well without the need of separate subs.



AV123 offers a 30-day in home trial, but trust me, if you let these jewels in your room, they will never leave.

Warranty is a generous 3 years.



Danny Richie

GR Research







The frequency response was taken on tweeter axis and at 1 meter with a 1 watt input signal. A 4ms gated time window was used.

This close range measurement and limited time window will not accurately measure ranges below 200Hz so it is not included in the graph.


This sample pair sent for review measured to with +/-2.3db from end to end.


Previous measurements of the rear-firing sub showed a tuning frequency of 28Hz.

With its own built in plate amps and the flexibility that this offers, the speakers should easily hit -3db down points in the 28Hz range without room gain.

In some rooms they could easily cover mid 20's.







The horizontal off axis responses were also taken at one meter.

Red is again the on axis response with each additional measurement made by moving 10 degrees off axis. This speaker has a very even off axis response in the horizontal range with the highs dropping out very smoothly and consistently.








The vertical off axis responses were also measured with 1 watt at 1 meter with the Red line being the on axis response.


Each additional measurement was made by moving the microphone up 4" per measurement going from Orange to Yellow to Green.


The Green line shows the response at 12" above the tweeter axis. The measured responses confirm the very even response in the vertical plane.


These speakers were designed in such a way that the drivers are kept acoustically in phase over a wide vertical range.

 This allows the off axis response in the vertical range to be very close to the on axis response. So whether you are seated or standing these speakers should sound very much the same.

However if one's listening position is such that the listener is below the tweeter axis then it might benefit the listener to tilt the speaker forward slightly using the adjustable floor spikes to maintain the neutral response.










The cumulative spectral decay measures how fast the speaker dissipates stored energy and inertia.

In this regard the Mini Strata really excels. The speed of the planar magnetic drivers are really tough to beat as the decay rate is very fast.







The impedance response shows an average low in the 8 ohm range. This will allow them to be easily driven by any amplifier.

The rise in the bottom end is from a 6db high pass filter that pulls the lowest ranges away from the small, front firing, Atohm woofer.


At $1,995, the AV123 Strata Mini is an extraordinary buy in a full-range speaker. It can be driven by modestly powered amplifiers and still deliver quality low bass in the 20Hz region rarely seen at this price point. Positioned correctly (you may need to tilt them forward a little from their default tilted back posture), the Mini's will reproduce music of all genres with a high degree of listener satisfaction.

Featuring literally "outside the box" thinking and design, the Strata Mini is as handsome as it is musical. Recommended only for medium to large rooms of at least 16'.

AV123 also excels in customer service. We ar as confident in the company as we are the product.


For its outstanding value and performance, we award the






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