Archive for category LoudSpeakers
Klipsch has divided the RP-8000F horn into two sections by the copper ring embedded into the horn. The inner section is a conical plastic piece which serves as the throat of the horn, and the outer section, the mouth of the horn, is a softer silicone piece that takes on a more orthogonal shape. The softer silicone material of the mouth is used to avoid bell resonances in the horn. The throat of the horn is a round conical shape in order to reduce early diffractions as the soundwave leaves the tweeter diaphragm. The squarish mouth shape governs its dispersion pattern. A 1” titanium dome tweeter is used to load the horn, and it uses what Klipsch calls the ‘Linear Travel Suspension’ system which is a carefully designed suspension that allows for larger excursions of the moving assembly before the suspension thwarts linear motion thereby incurring distortion. Titanium seems like a natural choice for the diaphragm material since the horn-loading and lower crossover point might be more than softer dome types such as fabric could withstand. The rear chamber of the tweeter is vented to allow backwave energy to better dissipate instead of being reflected back into the diaphragm which would also increase distortion.”
The AS-61s’ sound impressed me immediately. With good source material their top end was neutral—neither rounded off nor overcooked. Sibilants were clearly defined but unexaggerated (or at least as natural as close-miked vocalists can be). Lightly brushed cymbals, delicate finger sounds on guitars, the sheen of stringed instruments, and a singer’s preparatory breath intake at the beginning of a vocal track were all beautifully captured. The imaging was solid, and the sense of depth (when present in the recording) was satisfying.
The Adantes excelled on voices, both male and female, pop, and classical. Leo Kottke’s album My Father’s Face has long been one of my favorite reference discs for how clearly it shows off Kottke’s crisp guitar playing and distinctive voice. The latter isn’t his strong suit, but I’d be surprised to ever hear it sound better than it did on the AS-61s. The balance there, and with other vocalists including Nils Lofgren, Holly Cole, The King’s Singers, Sinne Eeg (if you like great jazz vocals, check out this Danish star’s recordings), Jose Carreras, and Leontyne Price, was superb
o push the speakers harder at a more constant level like would be seen in rock or pop music recordings, I threw in an oldie but goodie (for me, at least), “21rst Century Jesus” by Messiah, a techno/rock act by the British duo Mark Davies and Ali Ghani. This music is much more consistently loud than Sarah McLachlan or The Choir of King’s College performance of St. Matthew Passion. It has a lot more bass and a lot more treble than McLachlan’s ballads or an orchestral choir, and here is where the shortcomings of the MP65RT became more apparent.”
“Magnepan’s 30.7 is in my view a landmark design—one that does all things well and some things (textural and transient nuances, three-dimensionality, and realistic image scale) extraordinarily well. While $30,000 is a lot to pay for any pair of loudspeakers, the fact is that the 30.7s deliver sound quality competitive with (and in some respects superior to) loudspeakers ranging from two to nearly ten times their price. This means the 30.7 is at once an expensive product that also offers exceptional value for money! If you have the chance, I urge you to hear Magnepan’s 30.7, if only to experience what a world-class $30,000 loudspeaker system can really do.”
Naturally, we expected to hear supremely big bass from these speakers and, in this regard, the K-BĀS lived up to the hype. Spinning up Esa-Pekka Salonen and the L.A. Philharmonic’s CD of the Rite of Spring, the Monoprice Monolith K-BĀS packed a portentously powerful wallop on the opening movement’s thunderous tympani rolls. We’ve heard more than a few pricey floorstanding speakers struggle to get this right, but the K-BĀS breezed through this torture test with relative ease.”