Please note this set is all black.
Pair of Mirage Omni 260s, an Omni CC and Omni FX rear channel speakers. EXCELLENT condition with boxes, manuals and all accessories. Truly amazing sounding system.
Omni 260 $850
Omni CC $325
Omni FX $325
All 5 for $1300.
The Mirage OMNI CC 3 way center channel is no less unique, utilizing a similar driver configuration to the 260s. With a one-inch PTH tweeter positioned over a three-inch polypropylene midrange driver, the OMNI CC is timbre-matched to blend with any of the Mirage line of loudspeakers, and is designed to mimic the radiating pattern of the 260. Flanking the tweeter and midrange assembly are dual five-and-a-half-inch polypropylene titanium deposit hybrid woofers with wide dispersion patterns. All drivers are located on a slope face towards the top of the speaker and are covered with a two-piece grille assembly. This three-way center channel creates a reported frequency response of 50Hz to 20kHz +/- 3dB. Similar to the 260, the OMNI CC is rated at a load impedance of eight ohms nominal (four ohms minimum). The OMNI CC is constructed of 5/8-inch MDF and is magnetically shielded to eliminate any potential interaction when placed above a tube television. With the dimensions of eight inches high by 21 inches wide by 10 inches high, and a weight of 25 pounds, the OMNI CC can be easily placed on top of most monitors. Offered in the same color options as the 260, the OMNI CC provides the same high quality binding post and ease of access as the OMNI 260.
Listening to the Mirage system was a unique experience -- acoustically, the speakers seemed to disappear. I did get a sense that sound was coming from the particular location where a speaker was situated, but even standing only inches away, I was unable to exactly pinpoint the source of the sound. This was revealed to me when watching the DVD Adaptation. Nicolas Cageís voice in the first chapter seemed removed from the speaker, floating at a location approximately where the Omni CC was placed. Because the Omni CC did not call attention to itself, I felt more immersed in the movie. The dialogue intelligibility was generally very good, too, with good clarity when played at appropriate levels.
Using similar OMNIGUIDE technology and driver configurations, the OMNI FX is an excellent choice as a matching surround speaker for any of the OMNI Series loudspeakers. The OMNI FX utilizes a one-inch PTH tweeter and one five-and-a-half-inch polypropylene woofer and is rated at eight ohms nominal impedance (four ohms minimum), with a frequency response of 80Hz to 20kHz +/- 3dB. Designed to be wall-mounted, the OMNI FX is virtually identical to the OMNI 260 and OMNI CC with the distinction of the drivers being rotated 90 degrees. This positions the tweeter facing forward, rather than the upward-firing configuration of the front three channels. Again, the module acts as a diffuser for the woofer, with the tweeter and an identical diffuser disc placed in front of the dome, creating a broad spherical dispersion pattern and minimizing localization of the surround speakers. Petite in size, the OMNI FX is a mere 11 inches high by eight inches wide by seven inches deep, each weighing 9 pounds. Mirage uses 5/8-inch MDF for the FX speaker enclosure and offers color options of black or white. The OMNI FX uses slightly different binding posts than the OMNI 260 and OMNI CC, but offers the same ease of access for cable connections.
The OMNI 260 is a two-and-a-half way design, with the front-radiating 6 1/2" woofer crossed over at 700Hz, while the upward-facing 6 1/2" driver (theyíre both identical units) is run up to 2kHz. At this point, it hands off to the (again) PTH (Pure Titanium Hybrid) dome tweeter. The OMNI 260 is rated as an 8-ohm load, with a minimum of 4 ohms, and its stated efficiency is 93dB.
The most obvious departure from the design of a standard front-firing dynamic loudspeaker is the OMNI 260's upward-firing bass/midrange driver and the flying-saucer-like OmniGuide above it. The tweeter is mounted on the top of the midrangeís OmniGuide, and thereís another spoon-shaped OmniGuide above the tweeter.
Both OmniGuides serve the same purpose: They reflect sound outward in an essentially omnidirectional pattern. Whatís not immediately obvious is that the OmniGuides arenít completely centered above their respective drivers. Instead, theyíre canted upward and backward a few degrees, which results in more sound being dispersed to the front of the speaker than to the sides and rear. The bias is specified as 70% reflected sound and 30% direct, which, Mirage claims, simulates the radiation pattern of live music in an acoustic environment.
The breadth and depth of the soundstage created by the OMNI 260s approximated that of a concert hall better than any speaker that Iíve had in my listening room since the Magnepan 1.5/QRs. The aural size of the room went back way beyond the actual position of the speakers, but not in the classic minimonitor spot image sense. Rather than having to close my eyes and trick myself into believing that the music was really contained in the small space between and behind the speakers, the OMNI 260s created an enveloping acoustic that filled the room with sound. The result was an eerily real perspective of the first row of the balcony.
Within this soundstage, the '260s presented solo instruments with precise and solid images. The acoustic of the hall was consistently real, and solo instruments were arrayed in their proper locations in space. I noticed the same soundstage depth, albeit on an appropriately smaller scale, on jazz recordings. The opening bars of Herbie Hancockís Maiden Voyage [Blue Note ST 46339] had a larger sense of the acoustic in which they were recorded than Iím used to, and I felt that I could describe the instrumentís positions in space on a horizontal plane in a defined and physically real sense. It got to the point that with certain recordings I could almost see where the musicians were located. It was sort of like looking at an edge-on photographic representation of the solar system, with the musicians placed somewhat like the planets.
Throughout the midrange, the '260s were clear, articulate and uncolored, with a good sense of dynamics and snap. Los Lobosí La Pistola Y El Corazon [Slash/Warner 92 57901] is a superb recording that showed off the midrange talents of the OMNI 260s. Although itís obviously recorded in a studio, this intimate, emotional, and playful album lends itself to flights of Mexican fancy. Whenever I listen to this recording, I imagine myself driving through the desert in a dusty red convertible shooting at cactuses with a pearl-handled .44. This is difficult, busy music, and the '260s tracked it with ease, providing a layered, realistic presentation without any sense of congestion. The male voices on "Las Amarillas" had a natural, open sound, and the strummed and picked guitars had superb attack and layered decay. The midrange on this track was agile and fluid, and it served the male voices especially well. The rapid-fire vocals seemed like they were coming directly from a real pair of lips suspended in space. The image size was correct, and this album in particular reinforced what the '260s do best -- present real musicians in a simulation of the environment in which they originally recorded.
he OMNI 260s have a lot to offer. Their ability to re-create the size and scale of a real acoustic event makes them an absolute bargain in this regard -- especially when you consider the clear, uncolored midrange and treble, which seem custom-made for strings and horns.