Archive for category Home Theater Audio System
The R3 stand-mounted speaker ($2,000 per pair) is a 3-way, rear-ported design that combines the new 12th-generation Uni-Q with a 6-inch bass driver. The R Series also includes three floor-standing speakers, starting with the R5 ($2,800 per pair). This slim tower uses the same Uni-Q, but replaces the single 6-inch bass driver with a pair of 5.25-inch drivers in a D’Appolito configuration. The larger R7 floor-stander ($3,800 per pair) is similar, but with twin 6-inch woofers. The flagship R11 speaker ($5,000 per pair) contains four 6-inch woofers, two above and two below the central Uni-Q driver. The new R Series offers just one center-channel speaker, the R2c ($1,200 each), which places a Uni-Q between a pair of 5.25-inch woofers. Lastly, the R8a ($1,400 per pair) is designed to play two roles. Mounted to a rear or side wall, the R8a performs rear-channel duties for surround sound. But it can also be placed on top of other R Series speakers, becoming an upward-firing Atmos speaker. Unlike the previous R Series, the new lineup doesn’t include a dipole surround speaker, nor is there a new R Series subwoofer. The previous R Series also included a second (larger) center-channel option, and a small two-way bookshelf speaker. Despite these omissions, the new R Series certainly looks appealing, and will almost certainly deliver excellent performance.”
“The system maintains its clear and cohesive presentation with things like Sky’s deranged (but weirdly watchable) Britannia; is a satisfying listen late at night with the volume dropped low; and turns in a decent presentation with music too. That well-judged handover between satellites and woofer ensures an impressively fulsome delivery of Kraftwerk’s Aero Dynamik (FLAC, 3-D The Catalogue), with its bassline rolling along nicely with no sense of overhang or delay, nor any obvious feeling of there being three speakers rather than two.
With the more considered and relaxed Losing to You by Stars, the DX-2 delivers the vocal centre of the song with surprising scale and genuine realism, given the dinky nature of the satellites. As with film use, you can push the speakers to run out of headroom, but the sub remains as unburstable as ever.
This 2.1 performance naturally isn’t as refined or largescale as that of a pair of floorstanding speakers, but it is achieved while taking up an awful lot less space in the room. And it’s more than good enough to balance some stereo listening along with multichannel.”
Audiophiles for decades have argued about the relative merits of ported versus sealed subwoofers, with ported subs typically delivering lots of output, and sealed models trading some of that efficiency for tighter, more extended bass. The Brisance 12 is neither of these; it uses what Tekton refers to as a Tesla valve to vent the enclosure. Alexander describes this patent pending design as a set of restricted flow vents, which he feels combines the benefits of both sealed and conventional ported designs. Three relatively small rectangular openings can be found on the Brisance 12’s back, but instead of a port tube extending into the enclosure, there’s what appears to be a sculpted form made from rigid high-density foam located inside the openings.”
Midrange detail was quite good as well, but a slightly constricted or pinched tonality to the lower midrange required further investigation. I heard it on the same track, where Coolidge’s inimitably husky contralto lost a degree of its resonant chest-tone body, and confirmed it in direct comparisons with my everyday monitors on other voices as well. (These are long-discontinued Energy 2.3 standmount three-ways, which, were they still available, would cost at least twice as much as the entire Jamo system.) For example, I heard the shift to a thinner/more astringent midrange fairly notably on a track by bluegrass alto Noah Wall (from an HDtracks sampler) singing the traditional “Down by the Riverside.” He sounded almost like a different, more sharply nasal singer.”