Guide to Surround Sound Speaker Systems

GUIDE TO SURROUND SOUND SPEAKER SYSTEMS

2 THE PERFECT VISION GUIDE TO SURROUND SOUND SPEakER SySTEmS www.avguide.com

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surround sound speaker systemscontents

Introduction: Why Surround Sound Matters

Surround Speaker Systems On the Horizon

The Six Rules of Loudspeaker Placement

How to Position and Set Up a Subwoofer

FLaT-PaneL-FRIendLy SURROUnd SySTeMSDALI Motif LCR system with Basis 100 subwooferDefinitive Technology SSA-50 single-enclosure system with ProSub800 subwooferKEF 5005.2 system Mirage OS3 system with MM8 subwoofer Soundmatters SLIMstage40 single-enclosure system with SUBstage 100 subwoofer Yamaha YSP-4000 single-enclosure system with YST-FSW150 subwoofer

SUb-$2k SURROUnd SySTeMSDefinitive Technology ProCinema 1000 systemEpos AVS 5.1 systemKlipsch RF52 systemKlipsch Synergy F1 systemMonitor Audio Bronze Reference AV systemNHT Verve Large Theater systemParadigm Cinema 330 systemParadigm Atom Monitor systemPSB Alpha Studio Theater systemQuad L-ITE surround speaker system

SURROUnd SPeakeR SySTeMS OveR $2kAnthony Gallo Reference Strada systemBG Radia Z-92/Z-62 systemDefinitive Mythos ST systemMonitor Audio Silver RX8 systemParadigm Studio 60 v.5 systemParadigm Special Edition SE3 systemPSB Synchrony 2 systemPSB Imagine systemPSB Image T6 systemSunfire Cinema Ribbon Mini system

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EDITORIAL PUBLISHER Jim Hannon

EDITOR-IN-CHIEF Chris Martens

SENIOR EDITORS David Birch-Jones, Video Chris Martens, Audio

CONTRIBUTING WRITERS Gary Altunian, Steve Guttenberg, Arnie Williams

SPECIaL GUEST CONTRIBUTOR Robert Harley, Speaker and Subwoofer Setup Guides

GUIDE TO SURROUND SOUND SPEAKER SYSTEMS

cREATIvE CREaTIVE DIRECTOR Torquil DewaraRT DIRECTOR Shelley Lai PRODUCTION maNaGER Aaron ChamberlainDESIGNER mikki Bullock

cORpORATE OffIcE NEXTSCREEN, LLC, INC. CHaIRmaN & CEO Tom Martin

VP/GROUP PUBLISHER Jim Hannon

ADvERTIsIng aDVERTISING REPS Cheryl Smith(512)-891-7775

Marvin LewisMTM Sales(718)-225-8803

Scott Constantine(609)-275-9594

To sign up for Buyer’s Guides alerts, click here

Address letters to the Editor: The Perfect Vision, 4544 S. Lamar #G-300, Austin, TX 78745 or [email protected]©2010 NextScreen, LLC

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Why Surround Sound MattersDid you realize that most high-quality flat panel TVs are sold for use without any kind of sound system support at all (other than by the speakers in the TVs)? Think about that for a moment: people enjoy near state-of-the-art picture quality, but with sound that’s mediocre at best. Unbelievably, they are deliberately “throwing away” about half the high definition information (the sound half) that makes HD movies so compelling. Surround sound matters because it is the only way to enjoy the full benefit of HD content you’ve paid for.

But there’s more. Did you realize that the overwhelming majority of home theater systems are, for their owners, not just theater or “movie” systems, but also the primary music listening systems in the home? I believe, as do many of my colleagues at our sister magazine The Absolute Sound, that music poses a far tougher challenge for speaker systems than movie soundtracks typically do. High-quality surround sound matters because, for most of us, systems have two important jobs to do: first, getting the impact of movie soundtracks right, and second, bringing the power and subtlety of music alive.

About This GuideThe front end of this Guide provides this “Introduction,” two key articles contributed by Robert Harley, editor of The Absolute Sound, one on “The Six Rules of Loudspeaker Placement” and the second entitled “How to Position and Set Up a Subwoofer,” and a “Surround Speaker Systems On the Horizon” piece where twenty-nine manufacturers

talk about recently developed or soon-to-arrive surround systems you’ll want to know about.

Then, the Guide provides three blocks of representative surround speaker system reviews for you to consider: Flat-Panel-Friendly Surround Systems, Surround Speaker Systems under $2k, and Surround Speaker Systems over $2k. By design, we have limited our coverage to speaker systems priced in the mid-$8000 range and below (most, far below). In this way, we hope to focus on affordable solutions that will fit many middle-class budgets.

While our Guide offers careful assessments of surround speaker systems for you to consider, it is no substitute for going to hear and evaluate systems on your own. If you learn just one thing from this Guide, let it be this: the more listening you do, the better the choices you will make. Our hope is that your own listening tests, supported by good advice from our side, will lead you to a sound system you’ll enjoy for years to come.

Chris Martens, Editor, AVguide.com, Playback/ The Perfect Vision

Welcome to The Perfect Vision Guide to

Surround Sound Speaker Systems and thank

you for downloading it. Let me supply some

background that will help you make the most of this guide.

INTRODUCTION: WHY SURROUND SOUND MATTERS

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surround speaker systems on the horizonChris Martens

Atlantic Technology atlantictechnology.comatlantic Technology FS-7.0 Surround bar and Sb-800 Subwoofer SystemThe FS-7.0 Surround bar ($800) is the first single-enclosure loudspeaker capable of reproducing all seven channels without internal processing. It has three 1-inch soft dome LCR tweeters. Two 4x6-inch dual-voice-coil left/right woofers also reproduce half the center channel. End-mounted triple-voice-coil 3¼-inch drivers reproduce the side and rear surround channels and partial LR channels. The companion 100-watt SB-800 subwoofer ($300) has a long-throw 8-inch woofer.

B&W bowers-wilkins.com bowers & Wilkins 800 Series Surround SystemsFive generations of Bowers & Wilkins 800 Series loudspeakers have offered an unbeatable combination of outstanding performance, advanced audio technologies and stunning aesthetic design. The 800 Series Diamond family builds on that legacy, for the first time incorporating diamond dome tweeters in every speaker in the range.

The lineup comprises four floorstanders—800 Diamond ($24,000/pair), 802 Diamond ($15,000/pair), 803 Diamond ($10,000/pair), and 804 Diamond ($7500/pair)—the 805 Diamond stand-mount monitor ($5000/pair), and two center-channels—HTM2 Diamond ($5000) and HTM4 Diamond ($2500). Five-channel systems range from $12,500 to $60,000, depending on configuration. Available April/May 2010.

Below TPV provides a sneak peak at recently

released (or in some cases, soon to be

released) surround speaker systems to fit

almost every budget and prospective application.

Here, manufacturers tell you in their own words

about speaker systems they believe are worthy

of your attention, and why. Enjoy.

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http://www.bowers-wilkins.com



surround speaker systems on the horizon

Cambridge Audio cambridgeaudio.comaudioplusservices.com Cambridge audio Sirocco Surround SystemFrom Cambridge Audio, a leading high performance home entertainment brand for more than 40 years, comes the Sirocco range of loudspeakers. Optimized for use with affordable electronics such as Cambridge Audio’s own Fusion and Sonata components, Sirocco sets a new standard for outstanding value.

The Sirocco family comprises the S20 and S30 stand-mount monitors, the S60 center channel, the elegant S70 floorstander and the powerful S90 subwoofer. These models are interchangeable making the selection of a 5.1 Sirocco speaker system both simple and flexible. Complete 5.1-channel Sirocco systems start at under $1000 (MSRP).

DALI dali.dk soundorg.com daLI Fazon Sat/Lektor Sub SystemThe recently introduced Fazon Sat is a two-way design including a 4½-inch mid/woofer with wood-fiber cone and an oversized 1.1-inch soft dome tweeter with a powerful neodymium magnet system. The drivers share the same technology platform as those developed for the acclaimed Mentor and Ikon Series. Equipped with a pivoting wall bracket that doubles as a tabletop stand, Fazon Sat is flexible and innovative. Excellent for home theater, the Fazon Sat speakers sell for $450 each. Choose the DALI Lektor sub ($950) to complete the package for a fantastic 5.1 system: $3200 (MSRP).

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www.soundorg.com




Definitive Technology definitivetech.com definitive Technology Mythos XTR-50 Ultra-Thin Speaker PackageThis system is based around the revolutionary Mythos XTR-50 wallspeaker—a new premium-performance speaker that has the high definition detail and dynamic range of large speakers yet is a mere 1.5 inches deep. The XTR comes with everything you need to mount it on the wall or place it on a shelf. No other speaker complements ultra-slim televisions with more style, versatility and sheer performance. The system includes three XTR-50s for the LCR front stage, a pair of Mythos Gem surrounds, and the ProSub 1000 subwoofer (MSRP $2097). Available April/May 2010.

Dynaudio dynaudio.com/us dynaudio dM 2/6 & SUb 250 MC Surround SystemThe DM 2/6 monitor ($800/pair) makes a perfect entry point to the world of Dynaudio loudspeaker technology and performance. It delivers a powerful, detailed and balanced sound, and reproduces remarkable bass even at high volumes. The 2/6 features core Dynaudio technologies such as specially coated soft dome tweeters, MSP mid/bass drivers, ultra-light aluminum voice coils, and first-order crossovers.

By matching five DM 2/6’s with Dynaudio’s entry-level SUB250 MC subwoofer, ($650/each), users can create a compact yet big-sounding audiophile-grade 5.1-channel system—one that offers low distortion, incredible dynamics and exceptional value at $2650 (MSRP).

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Focal focal-fr.com audioplusservices.com Focal dome 5.1 SystemFrom Focal, one of the world’s leading loudspeaker companies, the Dome 5.1 is a satellite-subwoofer system that delivers excellent sound performance, takes up little space and offers multiple placement options.

The award-winning system consists of five spherically shaped die-cast aluminum-alloy satellite speakers accompanied by a sleek-looking dome-shaped subwoofer. The compact, voguish satellites can be installed on a stand or table, or mounted on a wall or ceiling.

Available in 2.0, 2.1 or 5.1 channel configurations with black, white or brilliant red high-gloss lacquer finishes, the system virtually disappears in a wide variety of decors: $2595 (MSRP).

KEF kefamerica.com keF 3005 Surround SystemKEF’s 3005 audio system combines elegant design with renowned audio performance to create a system that looks every bit as good as it sounds.

Each of the 3000 Series satellite and center-channel speakers features KEF’s signature Uni-Q driver array. To match a variety of home interiors, KEF offers the 3005 in silver or in an elegant new high-gloss black finish.

The system, comprising four satellites, one center channel, and one subwoofer, will retail at $1750 (MSRP), or $2100 with an upgrade to the award-winning HTB2SE-W wireless sub. Optional satellite stands are available at $150.

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www.kefamerica.com




Magnepan magnepan.com Magnepan 1.7/CCR/MMC2 Surround SystemMagnepan loudspeakers are famous for their natural sound, made possible by their “boxless” dipolar designs and lightning-fast quasi-ribbon and ribbon-type drive panels. Magnepan’s newest model, the 1.7, created a high-end audio sensation when it debuted in January 2010.

Maggie’s proposed surround system includes two 1.7 main speakers ($1995-$2150/pair), a CCR center channel ($3000) and a pair of wall-mounted, motorized MMC2 surrounds ($1995/pair). The MMC2’s swing-out design lets it send rear-firing sound waves around the back of the room for incredibly convincing surround effects.

Maggies neither look nor sound like ordinary speakers, offering unprecedented resolution and realism.

MartinLogan martinlogan.com Martin Logan Motion Series SystemsMartinLogan Motion Series speakers are surprisingly affordable hybrid designs incorporating piston-type mid/bass drivers and exquisite Folded Motion (Heil-type) tweeters. The Motion Series comprises two floorstanders (Motion 10 and 12), two ultra-compact center channels (Motion 6 and 8), and two bookshelf models (Motion 2 and 4).

Speakers can be mixed-and-matched to create stunning solutions for any application—from spectacular high-performance 2-channel music systems to exhilarating multi-channel home theater systems. Created for audiophiles, yet priced for everyone, Motion Series 5.1 systems start at under $1600 (MSRP), making them one of today’s greatest audio values. Available February 2010.

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Meridian meridian-audio.com Meridian digital active dSP Surround SystemsOver 19 years ago Meridian invented the Digital Active DSP Loudspeaker, proven as one of the most dynamically accurate and effective ways to approach sound reproduction.

For those seeking very high performance, Meridian recommends Active DSP surround systems based on either its large DSP7200 floorstander or its smaller DSP5200 (a compact floorstander that outperforms anything else its size), with matching DSP-controlled center channels and active subwoofers.

Meridian’s Digital Active DSP range includes two floorstanders—DSP7200 ($34,995/pair) and DSP 5200 ($14,995/pair)—and two center channels—DSP7200HC and the DSP5200HC ($4495/each).

Monitor Audio monitoraudiousa.com Monitor audio apex a/v 5.1 System Apex is our “flagship” compact satellite/subwoofer system, drawing upon the advanced technologies and high-precision manufacturing techniques used in our superlative “Platinum,” “Gold GS” and “Silver RX” speakers.

The elegant Apex speaker enclosures are made of ultra-rigid die-cast aluminum and finished in sumptuous black or pearl-white lacquer to complement the best in contemporary interior design.

The Apex A/V 5.1 system includes four A10 5¼-inch 2-way satellites (with optional A10 floor stands), an A40 dual-5¼-inch 2-way center channel, and a AW12 500 watt, 12-inch powered subwoofer: $4000 (MSRP). Available May 2010.

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Mordaunt-Short mordauntshort.com audioplusservices.com Mordaunt-Short aviano Surround SystemFrom Mordaunt-Short, one of the most prestigious British loudspeaker brands in audio history, comes Aviano: a seven-model range of curved front-baffle loudspeakers sure to appeal to music and movie lovers alike.

The Aviano family consists of two bookshelf and two floorstanding models plus a center channel and two subwoofers. Designed for the quality-conscious listener who appreciates value, Aviano offers exceptional performance and unmistakable musicality.

For a lasting impression, the cabinet is available in a choice of three high-quality finishes: Dark Walnut, Rosewood or Black. Complete Aviano 5.1 systems are available for as little as $2150 (MSRP).

NHT nhthifi.com nHT verve 5.1 Surround SystemNHT’s Verve speakers are for audio fans who have thin TVs and no desire for big, boxy speakers, just the sound they can get out of them. Verve is a series of drop-dead-gorgeous, low-profile speakers, bathed in 7 coats of high-gloss black lacquer, that offers flexible wall or table placement and can be positioned vertically or horizontally. Completing the system is a slim, 200-watt Verve subwoofer (measuring just 6 inches in depth), with dual 10-inch woofers.

The Verve 5.1 system is small, sleek and powerful enough to deliver a true high-end experience. (Reviewed in this Guide)

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Paradigm paradigm.com Paradigm Special edition System Paradigm’s Special Edition (SE) Series loudspeakers represent a unique addition to the Paradigm collection, combining soft edges, clean lines, compact dimensions, real wood veneer cabinets, plus state-of-the-art SuperDrive technology—all at surprisingly accessible prices.

The SE Series consists of the SE 1 bookshelf monitors, the SE 3 floorstanders, the SE Center and SE Subwoofer. Priced just under $4000 (MSRP) the SE system brings a new level of affordable elegance to the company’s offerings and represents a stepping-stone to the world of high-end audio for budget-conscious consumers. The SE Series began shipping in October 2009. (Reviewed in this Guide)

Polk Audio polkaudio.com Polk RM95 High Performance Satellite Surround SystemBig sound and small speakers add up to professional-grade home theater. Made up of four high-performance RM8 speakers and the hard-working RM8 center channel speaker, the RM95 package needs only the addition of a floor-shaking subwoofer to become the ultimate in compact home theater speaker systems. The five-piece RM95 system sells for $599.95 (MSRP).

To complete the RM95 system, Polk recommends its 150-watt, 8-inch PSW111 subwoofer, $299.95 (MSRP), or its 1200-watt, 8-inch (with 8-inch x 8-inch quadrilateral passive radiator) DSW MicroPRO 1000 subwoofer, $899.95 (MSRP).

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PSB psbspeakers.com PSb Command Performance Image Home Theater System PSB’s Command Performance Image Home Theater System is based on its dramatic new Image Series speakers. The system comprises one pair of full-range Image T6 Towers, one two-way Image C5 center-channel speaker, one pair of bipole Image S5 surround speakers and one SubSeries 6i subwoofer.

The system benefits from PSB’s obsessive dedication to performance, quality and value, plus top-level technology from its highly acclaimed Synchrony and Imagine Series speakers. This includes long-excursion, very high-output woofers resulting in compact designs with high output capabilities. Available now in cherry or black ash: $3122 (MSRP).

Quad quad-hifi.co.uk Quad L2 Surround Speaker SystemsThough Quad’s electrostats are legendary, its conventional L Series speakers have also earned a reputation for exceptional clarity and transparency. Now, L2 models improve upon the original L Series with new tweeters and integral dispersion plates that improve high-frequency “micro-dynamics” for more realistic rendering of subtle treble nuances and details. Further improvements include new crossovers, and upgraded cabinets, plinths, carpet spikes and binding posts.

The L2 range includes two floorstanders (21L2 and 22L2), three bookshelf monitors (9L2, 11L2 and 12L2), a center channel (L2-Centre), and a sub (L2 Subwoofer). 5.1-channel L2 systems start under $4500 (MSRP).

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http://www.quad-hifi.co.uk




Revel revelspeakers.com Revel Concerta On-Wall SystemRevel’s Concerta On-wall System consists of two M10 main loudspeakers, a C10 center channel, two M5 surrounds, and a powerful B120 subwoofer with parametric EQ and optional wireless operation: $2994 (MSRP). The system offers sleek good looks, but the real story is about performance.

Unlike most “on-wall” loudspeakers, which are merely conventional speakers supplied with on-wall brackets, the Concerta on-wall loudspeakers were designed solely for use on-wall, or on stands near a wall. Together, their Micro Ceramic Composite woofers, tweeters with advanced waveguides and high-order crossover networks yield true high-fidelity sound from an on-wall system.

Sonance sonance.com Sonance Cinema Series In-Wall Surround SystemSonance Cinema Series LCR1/SUR1 system is a very high-performance in-wall speaker system intended for use in theater spaces up to 3000 cubic feet in volume.

The system consists of three Cinema LCR1 front-channel speakers ($1000/each, MSRP) and two (or more) Cinema SUR1 surround speakers ($1000/each, MSRP).

The LCR1 is a 3-way, five-driver symmetrical array, complete with a full MDF enclosure, designed so that it can be positioned either vertically or horizontally for front-channel applications. The matching SUR1 3-way, five-driver surround, in turn, is designed for placement in the theater’s side or back walls.

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Sonus faber sonusfaber.comsumikoaudio.net Sonus faber Liuto Surround SystemThe Sonus faber Liuto Surround system comprises a pair of Liuto floorstanders, a pair of Liuto Monitor surround speakers, and a Liuto Smart center channel: $11,492 (MSRP).

Inspired by the legendary Cremona M, the shielded, full-range, 3-way Liuto Wood floorstander is capable of exceptional openness, extension and dynamics—all at a reduced cost relative to its costlier counterpart.

The Liuto Monitor Wood is a near full-range, 2-way, rear-ported monitor housed within a shielded, lute-shaped enclosure.

Liuto Smart is a shielded, rear-ported, 2-way LCR speaker voiced to mate with the Liuto and Liuto Monitor in surround-sound systems.

Thiel Loudspeakers thielaudio.com Thiel’s SCS4 bookshelf speakers ($990 each) and PowerPoint 1.2 on-wall speakers ($1450 each) use very similar internal technologies to deliver superb accuracy, detail and staging, but with vastly different form factors. These flexible loudspeakers can be mixed and matched interchangeably in a surround system.

To complete the system, add Thiel’s USS Universal SmartSub ($1990, available in Fall 2010) plus a PX05 passive crossover ($500 each, only one required per 5.1 system). The Universal SmartSub incorporates a robust 500-watt amplifier driving a 10-inch aluminum woofer, and includes boundary compensation and thermal compression compensation circuitry.

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www.thielaudio.com




Usher Audio usheraudiousa.com Usher audio 520 Surround PackageUsher’s 520 Surround Package, offered in gloss black only, consists of two pairs of S-520 Mini Monitors, a pair of SW-520 Bass Stands, and an S-525 Center Channel.

Usher’s new SW-520 bass stands transform the world-class S-520 mini monitors into full-range floorstanding speakers with excellent bass down to 38Hz. Frequencies above 200Hz are filtered through the Bass Stands and routed to the front S-520s, which provide pristine midrange and treble response. Add Usher’s sonically matched S-525 center-channel speaker and you’ve got a superbly finished, high-output surround sound system for just $1920 (MSRP).

Vienna Acoustics viennaacoustics.at sumikoaudio.net vienna acoustics Mozart Grand Surround SystemVienna’s Mozart Grand surround system consists of two Mozart Grand floorstanders, two Waltz Grand surrounds, and a Maestro Grand center channel: $5880 (MSRP) in standard finishes.

The Mozart Grand is an elegantly proportioned 2½-way design that is ideal for use as a main speaker, providing amazing performance at an affordable price.

The versatile Waltz Grand surrounds are full-range, wall-mount speakers that produce an unusually wide, panoramic stage.

Finally, the Maestro Grand Center Channel handles dialog and effects with realistic image scale and sufficient resolution to compliment the Mozart Grand and Waltz Grand.

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Waterfall Audio waterfallaudio.com Waterfall audio Serio 5.1 SystemWaterfall’s Serio is a compact speaker for audio or home theater installations offering three mounting options: on-wall, tabletop, or stand-mounting (via optional stands). Serio speaker cabinets (in black, white, or silver) feature glass frames and aluminum bodies.

Waterfall has incorporated its patented Heatstream technology, which couples the proprietary Atohm bass/midrange directly to the Serio’s aluminum enclosure for increased power handling and ruggedness.

For home theater applications Waterfall Audio recommends integrating Serio satellite speakers with its matching HighForce HF1 powered subwoofer, available in black or white. MSRP for the Serio System 5.1 is $2549.95.

Wharfedale wharfedale.co.uk Wharfedale diamond 10 Series 5.1 System Wharfedale’s Diamond 10 Series 5.1 system, $2950 (MSRP), consists of two Diamond 10.7 floorstanders (mains), two Diamond 10.4 compact floorstanders (surrounds), a Diamond 10.CM center channel, and a Diamond 10.GX powered subwoofer.

Highlights: Diamond 10 speakers feature matched tweeters with metal diffusion grids that provide protection and iron out high-frequency perturbations. Kevlar drive units include large mounting flanges that improve stability, plus molded diamond-pattern surrounds that reduce and dampen standing waves. Together, a new composite front baffle and four-layer side panel construction reduce cabinet vibration and standing waves, creating a stable driver platform.

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Wisdom Audio wisdomaudio.com Wisdom audio behind-the-Screen Surround SystemsWisdom’s L100i (in-wall), L100m (on-wall), C150i (in-wall) and C150m (on-wall) Sage Series models feature the same line-source planar-magnetic technology found in the Sage Series L75 and L150, but measure 50 inches in height to fit behind acoustically transparent projections screens. They incorporate a 50-inch tall planar-magnetic line source for mid and high frequencies, accompanied by woofer arrays containing eight (L100) or sixteen (C150) proprietary high-operating-pressure woofers.

Available now, complete surround systems based on these models begin at a suggested retail price of $73,000 including the SC-1 crossover and low frequency amplifiers for all speakers.

Yamaha yamaha.com/yec yamaha Soavo Surround SystemYamaha’s flagship Soavo Series of Natural Sound Speakers sets a new standard in sound excellence, delivering impressive power and dynamic range, a wide stereo image and deep bass output. Crafted with the same meticulous attention to detail Yamaha has developed over the last century to build its fine organs and pianos, the series comprises the Soavo-1 three-way bass-reflex front channel speaker, $1799/each (MSRP), the Soavo-900C two-way bass-reflex center-channel speaker, $999/each (MSRP), the Soavo-900M two-way bass-reflex rear-channel speaker $999/each (MSRP), as well as the Soavo-900SW 10-inch, front-firing, 600W subwoofer, $1299 (MSRP).

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surround systems on the horizon

Zu Audio zuaudio.com Zu audio druid 5.1 Surround SystemZu Audio’s Druid 5.1 system, $6400 (MSRP), offers unique technology, passion for tone and compelling fidelity, and, like all Zu products, it is dynamic, realistic and architecturally interesting.

The system consists of Druid towers as mains, a Druid Center and two Druid EFX speakers (a tabletop/stand-mount/wall-mount design) as surrounds. The soul of all five speakers is Zu’s 10-inch full-range driver, augmented by a high-output super-tweeter. Because all speakers share the same driver complement, their tone and expressiveness are completely consistent.

Since Zu makes nearly everything in house, color and finish options are limitless.

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Correctly positioning your loudspeakers is the single most important thing you can do to

improve your system’s sound. It’s free, and can make the difference between mediocre and spectacular sound. Before spending money on upgrading components, be sure you’ve realized your system’s potential with correct loudspeaker placement.

To hear the full magic of a high-quality audio system, you’ll need to arrange your listening room in a way that allows the system to perform at its best. Otherwise, the effort and investment you’ve put into your system could potentially be wasted. Begin by positioning the speakers so that they, along with your favorite listening chair or seat, form a rough triangle as viewed from above (see Fig. 1). This will get you in the right ballpark and give you a chance to fine-tune your system for optimum performance later on.

Loudspeaker placement affects tonal balance, the quantity and quality of bass, soundstage width and depth, midrange clarity, articulation, and imaging. In a multichannel system, correct placement immerses you in a three-dimensional soundfield, making your living room “disappear” and transporting you into the film’s action. As you make large

changes in loudspeaker placement, then fine-tune placement with smaller and smaller adjustments, you’ll hear a newfound musical rightness and seamless harmonic integration to the sound. When you get it right, your system will come alive. Best of all, it costs no more than your time.

Here are six fundamental rules for loudspeaker’s placement.

Rule #1: The listener and loudspeakers should form a triangle; without this basic setup, you’ll never hear good soundstaging and imaging.The listener should sit exactly between the two loudspeakers, at a distance away from each loudspeaker slightly greater than the distance between the loudspeakers themselves. Though this last point is not a hard-and-fast rule, you should certainly sit exactly between the loudspeakers; that is, the same distance from each one. If you don’t have this fundamental relationship, you’ll never hear good soundstaging from your system. If you want good sound, haphazard speaker placement just won’t cut it.

Fig. 1 shows how your loudspeaker and listening positions should be arranged. The listening position—equidistant from the speakers, and slightly farther from each speaker than the speakers are from each

other—is called the “sweet spot.” This is the approximate listening position where the music will snap into focus and sound the best.

The ideal speaker separation should produce a strong center image and a wide soundstage. There will likely be a position where the center image (of a vocalist in the center of the stage, for example) snaps into focus, appearing at a stable, pinpoint location exactly between the loudspeakers. A musical selection with a singer and sparse accompaniment is ideal for setting loudspeaker spacing and ensuring a

Robert Harley

THE sIX RULEs OF LOUDSPEAKER PLACEMENT

Sweet Spot

fIg. 1

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strong center image. With the loudspeakers fairly close together, listen for a tightly focused image exactly between the two loudspeakers. Move the loudspeakers a little farther apart and listen again. Repeat this move/listen procedure until the central image starts to become diffuse or less focused, indicating that you’ve moved the speakers slightly too far apart for optimum sound. Then, just push the speakers slightly closer together again until focus is restored.

A center-channel speaker in a multichannel system makes this left-right speaker placement less critical, but only when watching movies or listening to multichannel music. The center speaker helps deliver a solid soundfield across a wider listening area, allowing everyone to hear the precise placement of sounds, not just the person sitting in the middle.

Rule #2: The nearer the loudspeakers are to walls and corners, the louder the bass.Loudspeakers placed close to walls will always exhibit some degree of bass reinforcement (called “room gain”), making the musical presentation sound weightier. The closer to the corners the loudspeakers are placed, the more bass you’ll hear. A simple fix for boomy bass is to move the speakers out into the room and farther from the rear and side walls.

Rule #3: The loudspeaker and listener positions in the room affect the audibility of room resonant modes.

Room resonant modes are reinforcements and cancellations at certain frequencies that create peaks and dips in the frequency response, which can add an unnatural boominess to the sound. It’s a good idea to place speakers to minimize the effects of room resonant modes so that bass is better defined and midrange clarity increases.

A well-known rule of thumb states that, for the best bass response, the distance between the loudspeakers and the rear wall should be one-third of the length of the room (Fig. 2). If this is impractical, try one-fifth of the room length. Both positions will help the loudspeaker integrate with the room. Starting with these basic configurations, move the loudspeakers and the listening chair in small increments while playing music rich in low frequencies. Listen for

smoothness, extension, and how well the bass integrates with the rest of the spectrum. When you find a position where the bass is smoothest, you should also hear an increase in midrange clarity and definition.

Rule #4: The farther out into the room the loudspeakers are, the better the soundstaging will be—particularly depth.Generally, the farther away from the rear wall the loudspeakers are, the deeper the soundstage—that feeling of hearing objects (musical instruments) existing in three-dimensional space in front of you. A deep, expansive soundstage is rarely developed with the loudspeakers near the rear wall. Pulling the loudspeakers out a few feet can make all the difference between poor and spectacular soundstaging.

Rule #5: listening height affects tonal balance.Most loudspeakers exhibit changes in frequency response with changes in listening height. These changes affect the midrange and treble, not the bass balance. Typically, the loudspeaker will be brightest (i.e., have the most treble) when tweeters are at ear level and aimed straight at the listener. Most tweeters are positioned between 32 inches and 40 inches from the floor to coincide with typical listening heights.

THE sIX RULEs OF LOUDSPEAKER PLACEMENT

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THE SIX RULES OF LOUDSPEAKER PLACEMENT

Rule #6: Toe-in (angling the loudspeakers toward the listener) affects tonal balance, soundstage width, and image focus.Toe-in is pointing the loudspeakers inward toward the listener rather than facing them straight ahead (see Fig. 3). There are no rules for toe-in; the optimum amount varies greatly with the loudspeaker and the listening room. Some loudspeakers need toe-in; others work best firing straight ahead. Toe-in affects many aspects of the musical presentation, including mid- and high-frequency balance, soundstage focus, sense of spaciousness, and immediacy.

Most loudspeakers sound the brightest directly on-axis (from directly in front of the loudspeaker). Toe-in therefore increases the amount of treble heard at the listening seat. An overly bright loudspeaker can often be tamed by reducing toe-in, so the loudspeaker does not point straight at the listener. Some models, designed for listening without toe-in, sound far too bright when heard on-axis. Experiment with toe-in until you hear just the right amount of treble. (Hint: Identical toe-in of both speakers is crucial).

MulTichannel SpeakeR SySTeM placeMenTThe six rules for loudspeaker placement for a left/right stereo speaker pair apply equally well to a multichannel speaker array. When

positioning a center and surround speakers, you should start with a solid foundation of correct placement for stereo reproduction.

Starting with the center speaker, its tweeter should be no more than 2 feet higher or lower than the main left and right speakers. It’s not always possible to adjust the center-speaker height, which is often dictated by the height of your television. Ideally, the tweeters from the front three speakers should be at the same height.

Here’s a simple yet amazingly effective trick to increase the dialogue intelligibility from your center-channel speaker: if the speaker is placed atop a television or shelf, align the center-channel speaker’s front baffle (the surface on which the drivers are mounted)

flush with the television or shelf edge. This placement reduces unwanted acoustic reflections off the TV or shelf, resulting in a smoother frequency response and improved dialogue articulation.

For the same reason, the left and right speakers should be pulled forward of the television, with their front baffles in front of the TV.

Placement of the surround speakers is less critical than placement of the front three speakers. Start by positioning surround speakers at 110 degrees from the front of the room, as shown in Fig.4. This placement helps create a greater sense of immersion in the sound field. Ideally, you want to hear surround speakers without being able to pinpoint their exact locations (otherwise, they would too distracting). If this optimum placement isn’t possible (if your listening couch is against the rear wall, for example), place the surround speakers to the sides of your couch and experiment with toe-in until you find a position where the speakers are audible but not distracting (again, you don’t want to be able to pinpoint the locations of the speakers).

If you have a 7.1-channel loudspeaker array, position the four surround speakers according to the diagram in Fig.5.

The Final TouchAfter you’ve found the best loudspeaker placement, install the carpet-piercing spikes (if any) supplied by the manufacturer and

adjust the spikes so that the loudspeakers (or speaker stands) don’t rock. If you have wood floors, remember to place protective metal discs beneath the spikes.

Loudspeaker positioning is a powerful tool for achieving the best sound in your listening room, and it doesn’t cost a cent. Take advantage of it.

Excerpted and adapted from Robert Harley’s book,

Introductory Guide to High-Performance Audio Systems.

© 2007 by Robert Harley. Reprinted with permission.

hifibooks.com

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Positioning and setting up a subwoofer for home theater is virtually the same as for adding a subwoofer to a two-

channel stereo system. In both cases, it’s relatively easy to put a subwoofer into your system and hear more bass.

What’s difficult is making the subwoofer’s bass integrate with the sound of your main speakers. Low bass as

reproduced by a subwoofer’s big cone can sound different from the bass reproduced by the smaller cones in the left and right

speakers. A well-integrated subwoofer produces a seamless sound, no boomy thump, and natural reproduction of music. A

poorly integrated subwoofer will sound thick, heavy, boomy, and unnatural, calling attention to the fact that you have smaller

speakers reproducing the frequency spectrum from the midrange up, and a big subwoofer putting out low bass.

HOW tO Position and set UP a sUbwoofer

Integrating a subwoofer into your system is challenging because the main speakers may have small cones, and the subwoofer has a large and heavy cone. Moreover, the subwoofer is optimized for putting out lots of low bass, not for reproducing detail. The main speakers’ upper bass is quick, clean, and articulate. The subwoofer’s bass is often slow and heavy.

Achieving good integration between small speakers and a subwoofer is easier if you buy a complete system made by one manufacturer. Such systems are engineered to work together to provide a smooth transition between the subwoofer and the main speakers. Specifically, the crossover network removes bass from the left and right speakers, and removes midrange and treble frequencies from the signal driving the subwoofer. If all these details are handled by the same designer, you’re much more likely to get a smooth transition than if the subwoofer is an add-on component from a different manufacturer.

If you do choose a subwoofer made by a different

manufacturer, several controls found on most subwoofers help you integrate the sub into your system. One control lets you adjust the crossover frequency. This sets the frequency at which the transition between the subwoofer and the main speakers takes place. Frequencies below the crossover frequency are reproduced by the subwoofer; frequencies above the crossover frequency are reproduced by the main speakers. If you have small speakers that don’t go very low in the bass and you set the crossover frequency too low, you’ll get a “hole” in the frequency response. That is, there will be a narrow band of frequencies that aren’t reproduced by the woofer or the main speakers.

Setting the subwoofer’s crossover frequency too high also results in poor integration, but for a different reason. The big cone of a subwoofer is specially designed to reproduce low bass. When it is asked to also reproduce upper-bass frequencies, those upper-bass frequencies are less clear

and distinct than if they were reproduced by the smaller main speakers. Finding just the right crossover frequency is the first step in achieving good integration. Most subwoofer owner’s manuals include instructions for setting the crossover frequency. As a rule of thumb, the lower the subwoofer’s crossover is set, the better.

Subwoofers in home-theater systems are typically driven by the SUBWOOFER OUT jack on an AV receiver or controller. This signal is a monophonic mix of the Low-Frequency Effects (LFE) channel (the “.1” channel in 5.1- or 7.1-channel sound) plus bass from any of the speakers you have designated as “small” in the set-up menu. By identifying a speaker as small, the receiver filters bass from the signal driving that speaker and directs it to the subwoofer out jack. In this typical set up, the crossover duties are performed in the AV receiver, not in the subwoofer. You should therefore be sure that the subwoofer’s crossover is either disengaged (with a switch on the sub), or

Robert Harley

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if there’s no switch, by turning the crossover frequency up as high as it will go.

Some subwoofers also provide a knob or switch marked PHASE. To understand a subwoofer’s phase control, visualize a sound wave being launched from your subwoofer and from your main speakers at the same time. Unless the main speakers and subwoofer are identical distances from your ears, those two sound waves will reach your ears at different times, or have a phase difference between them. In addition, the electronics inside a subwoofer can create a phase difference in the signal. The phase control lets you delay the wave generated by the subwoofer so that it lines up in time with the wave from the main speaker. When the sound waves are in-phase, you hear a more coherent and better-integrated sound.

One way of setting the phase control is to sit in the listening position with music playing through the system. Have a friend rotate the phase control (or flip the phase switch) until the bass sounds the smoothest.

But there’s a much more precise way of setting the phase control that guarantees perfect phase alignment between the subwoofer and main speakers. First, reverse the connections on your main loudspeakers so that the black speaker wire goes to the speaker’s red terminal, and the red speaker wire goes to the speaker’s black terminal. Do this with both speakers. Now, from a test CD that includes pure test tones, select the

track whose frequency is the same as the subwoofer’s crossover frequency. Sit in the listening position and have a friend rotate the subwoofer’s phase control until you hear the least amount of bass. The subwoofer’s phase control is now set perfectly. Return your speaker connections to their previous (correct) positions: red to red, black to black.

Here’s what’s happening when you follow this procedure. By reversing the polarity of the main speakers, you’re putting them out of phase with the subwoofer. When you play a test signal whose frequency is the same as the subwoofer’s crossover point, both the sub and the main speakers will be reproducing that frequency. You’ll hear minimum bass when the waves from the main speakers and subwoofers are maximally out of phase. That is, when the main speaker’s cone is moving in, the subwoofer’s cone is moving out. The two out-of-phase waves cancel each other, producing very little bass. Now, when you return your loudspeakers to their proper connection (putting them back in-phase with the subwoofer), they will be maximally in-phase with the subwoofer. This is the most accurate method of setting a subwoofer’s phase control. Unless you move the subwoofer or main speakers, you need to perform this exercise only once.

The best integration comes from adding two (or more) subwoofers to your system. Two subwoofers drive the air in the room more uniformly, with fewer extremes of

standing waves. The result is smoother bass throughout the room and better integration with the main speakers.

You can also get more dynamic impact and clarity from your subwoofer by placing it close to the listening position. Sitting near the subwoofer causes you to hear more of the sub’s direct sound and less of the sound after it has been reflected around the room. You hear—and feel—more of the low-frequency wave launch, which adds to the visceral impact of owning a subwoofer. Bass impact is more startling, powerful, and dynamic when the subwoofer is placed near the listening position.

Subwoofer placement also has a large effect on how much bass you hear and how well the sub integrates with your main speakers. When a subwoofer is correctly positioned, the bass will be clean, tight, quick, and punchy. A well-located subwoofer will also produce a seamless sound between the sub and the front speakers; you won’t hear the subwoofer as a separate speaker. A poorly positioned subwoofer will sound boomy, excessively heavy, thick, lacking detail, slow, and have little dynamic impact. In addition, you’ll hear exactly where the front speakers leave off and the subwoofer takes over.

The simplest, most effective way of positioning a subwoofer is to put it near the listening position. Raise the subwoofer off the floor, if possible, so that it’s close to where the listeners’ ears would normally be. Play a piece of music with an ascending and

descending bass line, such as a “walking” bass in straight-ahead jazz. Crawl around the floor on your hands and knees (make sure the neighbors aren’t watching) until you find the spot where the bass sounds the smoothest, and where each bass note has about the same volume and clarity. Avoid positions where some notes “hang” longer, and/or sound slower or thicker, than others. When you’ve determined where the bass sounds best, put the subwoofer there. Now, when you’re back in the listening seat, the bass should sound smooth and natural.

Some general guidelines for subwoofer placement: As with full-range speakers, avoid putting the subwoofer the same distance from two walls. For example, if you have a 20’-wide room, don’t put the subwoofer 10’ from each wall. Similarly, don’t put the subwoofer near a corner and equidistant from the side and rear walls. Instead, stagger the distances to each wall. Staggering the subwoofer’s distance from each wall smoothes the bass because the frequencies being reinforced by the wall are randomized rather than coincident. The rules of loudspeaker placement described elsewhere in this Buyer’s Guide apply equally well to subwoofers as to your main loudspeakers.

Excerpted from The Complete Guide to High-End

Audio, third edition. © by Robert Harley. hifibooks.com

HOW tO Position and set UP a sUbwoofer

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flAT- PANEl-fRiENDlYSURROUND SYSTEMS

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The DALI Motif LCR speaker’s Danish modern, distinctly elegant demeanor is a brilliant alternative to the overtly plastic,

mass-market models crowding the big box store shelves. The Basis 100, finished in black vinyl wrap is a more humdrum design but an excellent sonic match to the Motif LCR.

FeaTuReSThe Motif LCR sports a pair of 4.5-inch mid/bass drivers and a 1-inch dome tweeter; DALI claims the drivers are similar to the ones used in the brand’s higher-end Ikon and Mentor speakers.

The Motif LCR’s curvy, die-cast aluminum cabinet is available in gloss black or white lacquer finishes. Unpacking the speaker, I was impressed with its build quality and exquisite finish. Attention to detail was way above par, and I loved the hint of gleaming chrome trim, discreetly peeking out from around the edge of the grille.

Each Motif LCR is packed with a patent-pending, Click’n’Connect wall bracket, which itself is an impressive piece of industrial design. The cast metal bracket locks onto a re-ceptacle with gold-plated pins on the speak-er’s rear-end, which allows the speaker to be mounted in a vertical or horizontal orientation. The bracket can be mounted directly to a wall, DALI floor or table stand.

I used DALI’s folded metal “L” shape table stands; they’re fine, but lack any provisions for swiveling or tilting the Motif LCR. The same goes for the wall bracket. The speakers will only fire straight ahead.

You can orient the grille’s logo for horizontal

or vertical placement, but in the case of the Mo-tif LCR, the DALI badge locks in place. A small detail, but I like that it won’t ever go askew.

I have to admit I spent way too much time looking for the speaker’s wire connectors. Why’s that? The Motif LCR doesn’t have bind-ing posts or jacks—no, just a set of tiny posts mounted on the rear of the Click’n’Connect bracket. To hook up the speaker wire you “back out” the Philips head screw a little, insert stripped bare wire into the tiny hole on the post, and tighten the screw. Yes, it makes a secure connection, but the teensy connector limits the speaker wire choices to the thinnest “hook-up” wire you can buy at a hardware store. Audiophile it ain’t.

overviewConsider this system if: You’re a fan of European design and plan on listening to as much music as watching movies. Give this system a careful listen if you prefer smooth, non-fatiguing sound over sizzle and zing.Look further if: You prefer the long, sleek speakers that mirror the large display aesthetic. Also consider alternatives if you watch a lot of wham-bam, special effects driven movies that require the services of a high impact subwoofer. Note: The Motif LCR speaker will not readily accommodate bulky, heavy-gauge “audiophile” speaker cables.

DALI MOTIF LCR/BASIS 100 SUBWOOFERSteve Guttenberg

flat-panel-friendly surround systemsgo to: sub-$2k surround systems | surround speaker systems over $2k

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The Basis 100 is one of DALI’s smallest sub-woofers, but it uses a front mounted 10-inch long-throw woofer and a 100-watt amplifier. The amplifier has stereo inputs as well as an LFE input. The cabinet is made of medium density fiberboard (MDF), so the sub is no-where as sexy as the Motif LCR, but it gets the job done.

For my review system I used five Motif LCRs and the Basis 100 sub.

Sonic chaRacTeRDALI’s higher-end speakers incorporate ribbon tweeters for crystal clear treble response, but, alas, the Motif LCR relies on a dome tweeter. Even so, its undeniable poise added a lot to the overall impression of the DALI system’s suave sound. Its somewhat laid back tonal balance is easy on the ears. Movies sounded warm and natural, thanks in part to the Basis 100/Motif LCR synergy, but the sub lacks the oomph to make special effects movies come alive.

MoVie anD MuSic eXaMpleSMy favorite psycho thriller of the moment, The Secret, in Blu-ray format, sounded big, dialog effortlessly natural, and the score’s orchestral strings had just the right balance of richness and resolution.

Full throttle dynamic assaults, however, like the horrific car crash early in the film revealed the limitations of the Motif LCR and Basis 100 sub. The crash scene didn’t have anywhere near the dynamic punch I was hoping for.

The White Stripes glorious Under Blackpool Lights concert DVD [Third Man Records] gave the DALI system a full body workout. First

off, the advantages of having five identical satellites were evident when I played “Joline,” as the crowd that sings along demonstrated the five Motif LCRs spatial coherence. Can you say holographic?

Oh, and Meg White’s beating the bejesus out of her floor toms and bass drum came through like gangbusters, though lacking in the definition department. Meg’s “primitive,” thundering beat works even better on these live gigs than it does on their studio efforts. Better yet, Jack White’s fierce guitar antics and vocals weren’t the least bit reigned in by the Motif LCR’s lifestyle-agreeable dimensions. What’s more, the DALIs’ sound held together at low, medium and fairly loud listening levels.

Willie Nelson and Wynton Marsalis’s Two Men With The Blues live in concert CD [EMI] developed a big ‘n’ juicy sound--immediate to be sure, but with a nice sense of depth. Dynamics, especially on Wynton’s trumpet were exceedingly natural. “Ain’t Nobody’s Business” was a highpoint for me, especially when Marsalis sings a few lines with Nelson.

BoTToM line: The Motif LCR has the poise and refinement you’d expect from a two-channel oriented brand, and yet the system handles home theater duties with aplomb. True, the Basis 100 may not be the most potent subwoofer in its class, but it blended beautifully with the Motif LCRs. Pb


specs/pricingMotif LCR (LCR speakers)driver complement: 1.1” dome tweeter, 4.5” mid-bass driverFrequency response: 78H–25 kHzSensitivity: 89dBImpedance: 6 ohmsdimensions (HxWxd): 15.2” x 6.2” x 3.9”Weight: 8.8 lb. each

basis 100 powered subwooferdriver complement: 10” long-throw wooferIntegrated amplifier power: 100 wattsdimensions (HxWxd): 13.4” x 12.6” x 14.6”Weight: 30.9 lb.

Total System Price: $3745

The Sound Organization(972) 234 0182soundorg.com

highs mids bass soundstage/imaging dynamic versatility value

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RaTingS (relative to comparably-priced surround systems)

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The single-box surround speaker category is really hot, with new manufacturers trotting out new models on an almost

monthly basis, each vying for a piece of the action. It seems like most manufacturers are busily cramming more and more features into ever skinnier and skinnier surround systems. That’s all well and good, but sound quality too often gets short shrift, so I was pleased to note that Definitive Technology went the other way and built a gizmo-free design that’s intended for use with a decent quality A/V receiver. The SSA-50 Mythos Solo Surround Array is that speaker.

FeaTuReSThe SSA-50 features five 4.5-inch mid/bass drivers, three of which are axially aligned with 1-inch tweeters. Yikes! Bona-fide tweeters are pretty rare in single-box surround speakers, and these tweeters are placed directly in front of their respective channel’s mid/bass drivers in order to produce sharper image focus and detail.

The surround channels are handled by four 3.25-inch mid/bass drivers. While the SSA-50 can be used on its own without a subwoofer, I

relied on a Definitive Technology ProSub 800 sub for most of my listening tests.

The SSA-50 doesn’t have on-board amplifiers or surround-sound processing—it uses passive SSA technology (Spatial Array) to create a large soundfield. The technology doesn’t bounce sound off walls to create surround effects.

The SSA-50 must be used with an A/V receiver, but Definitive recommends against using the receiver’s auto setup or calibration with the SSA-50. Even so, setup is super easy—you just select the “small” size for all five channels (left, center, right, surround left, and surround right). Adjust the front left, center, and right speaker levels to “OdB” and the surround channel to plus 5-7dB. Next, turn off all of the speaker delays (usually referred to as “speaker distance,” and set them to 0 feet). I used a 120Hz crossover setting with our Onkyo TX-SR805 receiver’s bass management. I had the SSA-50 and ProSub 800 up and running in under 10 minutes.

But since the SSA-50 doesn’t have its own electronics, you can add actual surround speakers if you have a 7.1-channel receiver. Turn virtual surround into the real thing.

DEFINITIVE TECHNOLOGY SSA-50/PROSUB800 SUBWOOFERSteve Guttenberg


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The SSA-50’s curvy cabinet, fabricated from aircraft-grade extruded aluminum, is available in gloss black or brushed aluminum finishes. The SSA-50’s all-metal, gold-plated binding posts accept bare wire ends, spades, or banana plugs.

Sonic chaRacTeRJudged purely on the basis of sound quality, the SSA-50 gets closer to sounding like a good

set of separate L/C/R and surround speakers than any single-box surround system I’ve yet heard, though it’s not in the top rank when it comes to creating the illusion of surround sound. Combined with Definitive’s ProSub 800 subwoofer, the SSA-50’s sound is dynamic and seriously punchy.

MoVie anD MuSic eXaMpleSThe SSA-50 strutted its stuff with The Thin Red Line DVD’s World War II battle sequences, and no matter what, the sound remained highly detailed and clear. Dialog was exceptionally clean, even in the midst of the worst mayhem. The ProSub 800 never called attention to itself; the bass always seemed to come from the SSA-50. During the quieter scenes set in the jungle, I noted the surround effects stretched out a few feet wider than the speaker’s dimensions, but didn’t really project forward into the room to wrap around to the sides of my listening position. Off-axis listeners were out of luck; you have to sit centered to get any surround effects at all.

Most single-box surround speakers can’t take the heat, but the SSA-50’s kept its composure during my maximum-volume bouts with the R.E.M. Live concert DVD [Warner]. Dynamic impact was strong, even when the band totally rocked out.

Listening to My Morning Jacket’s Evil Urges CD [Ato Records] in stereo proved the SSA-50/ProSub 800 was no less adept with music. Again, that’s a rare feat for single-box surround systems, which tend to sound overly processed when playing CDs. Not this time. Jim James’s soaring vocals weren’t the least


specs/pricingSSa-50: Single-box surround speakerDriver complement: 4.5” mid/bass drivers with 1” aluminum dome tweeters (3); 4.5” mid/bass drivers (2); 3.25” mid/bass drivers (4)Sensitivity: 90dBImpedance: 8 ohmsRecommended amplifier power: 20–200 watts per channeldimensions (HxWxd): 5.3” x 46.25” x 4.25”Weight: 31 lb.Price: $1099

ProSub 800: Powered subwooferdriver complement: 8” woofer, 8” passive radiatorPower rating: 300 wattsdimensions (HxWxd): 12.8” x 10.6” x 12.8”Weight: 28.5 lb.Price: $399

DEFINITIVE TECHNOLOGY (800) 228-7148definitivetech.com treble

midrange bass surround dynamic value

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RaTingS (relative to other single-box surround speakers and matching subwoofers)

bit reigned in by the SSA-50. Treble detail was state of the art as single-box systems go, since the SSA-50 has something most competitors don’t: tweeters!

BoTToM line: Definitive Technology has managed to make a single-box surround system that doesn’t sound like one—the SSA-50/ProSub 800’s sound is on a par with Definitive’s ProCinema sat/sub systems. Still, today’s best single-box rigs can create more spatially convincing soundfields than the SSA-50, so if believable, wraparound surround effects are what you seek, the Definitive may not be the system for you. Pb

laST woRD: • One of the few “surround bars”

with real tweeters!• Sounds so good it doesn’t seem

like a single-box rig.• Impressive build quality.

• You need an A/V receiver to use with the SSA-50.

• Not much in the way of surround envelopment.

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KEF 5005.2Steve Guttenberg


As British speaker manufacturers go, KEF is in a class by itself. The brand fields a range of strong contenders, from the

stratospheric leagues with its Muon $140,000 statement-class high-end audiophile speakers on down to the “lifestyle” segment with the subject of this review, the 5005.2 satellite/subwoofer system. It’s so sleek and beautiful I had a hard time believing the 5005.2 could deliver the goods when the going got rough, but KEF’s engineers are a clever bunch. The 5005.2 is a force to be reckoned with.

FeaTuReSKEF’s industrial designers hit the mark with the 5005.2. The satellite’s cast-aluminum cabinets have sharply tapered ends and form-fitting cloth grilles. The look is simple, yet elegant—too bad I couldn’t remove the grilles to examine KEF’s Uni-Q (aka coaxial) driver array that features a 0.6-inch metal dome tweeter mounted in the acoustic center of a 3-inch mid-bass driver and there’s a pair of 3-inch woofers flanking the Uni-Q driver. The Uni-Q array is said to deliver more precise imaging than traditional, non-coaxial designs.

KEF’s engineers specified audiophile-grade wiring and used internal components fitted to the internal curvature of the cabinets.

The satellites come pre-mounted on table stands, and metal wall brackets are included. Or if you prefer floor-mount speaker stands, pick up the KHT 5005 Stands ($450/pair) that follow the contour of the speakers. The center speaker can be wall-mounted or placed on a TV or shelf.

The HTB2 subwoofer’s acoustically inert enclosure was shaped to eliminate internal

standing waves. It can be used in either a vertical or horizontal orientation, resting on three spiked or rubber feet. The sub is powered by a 250-watt onboard digital amplifier and sports a front-firing 10-inch woofer and rear-firing 10-inch passive radiator. By design both the woofer and passive radiator are left exposed in this design, and in case you’re wondering, sorry, KEF doesn’t supply grille covers. The HTB2 is an extremely handsome design.

I was a little surprised to discover the HTB2 doesn’t have volume or crossover controls— those functions are handled by your A/V receiver’s bass management system. Nestled into the sub’s base you will find a three-position switch that controls deep bass boost and a separate phase control.

Connectivity is limited to one RCA input. To hook up the HTB2, I had to turn it upside down to gain access to the controls and make power

overviewConsider this system if: Style is as important to you as sound quality, or if you’re intrigued by advanced engineering solutions. You’ll find this system satisfying if “musical” bass and home theater muscle are what you’re after.Look further if: You want beautiful wood-veneered speakers, or if you like to listen at “head banger” volume levels.

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and signal connections.The entire 5005.2 ensemble is finished in

high-gloss silver or black paint.

Sonic chaRacTeRThe 5005.2’s satellites and subwoofer are nimble performers. The Uni-Q drivers really do make an audible difference—imaging is pinpoint precise. But it was the HTB2 sub-woofer that made the biggest impression. It was powerful, reaching deep into the lowest octaves and still managing to sound quick and taut in ways compact subs rarely do.

MoVie anD MuSic eXaMpleSThe Sin City DVD [Dimension] instantly showed me what the 5005.2 system could do. The noir-jazz score’s low-down throbbing pulse proved the subwoofer’s moxie, and every

punch and gun blast was communicated with pants-flapping gusto. And when the punches connected, the impact filled my entire home theater. There’s no sense the bass was com-ing from the sub—the skinny speakers seemed remarkably well endowed, but in fact I had set their bass cutoff at 120Hz. The entire system, not just the sub, seemed powerful.

Duly impressed, I next cued up “Dazed and Confused” from the Royal Albert Hall 1970 shows on the Led Zeppelin DVD [Atlantic]. I loved the way Jimmy Page’s opening guitar licks floated from speaker to speaker. Wafting through the air, they were really rather graceful, even with John Bonham’s drums pounding away, and Plant’s vocals swooping above the fray. Things sounded even better during the barely controlled chaos of “How Many More Times,” so I nudged the volume way up and the skinny KEF sats rolled with the punches.

CD sound was just as spectacular, at least that was the word I used as I listened to David Grisman and Martin Taylor’s Tone Poems II CD [Acoustic Disc]. On “Swanee,” Taylor was playing a 1918 Gibson Style U Harp guitar and Grisman was on a 1920 Gibson A-3 mandolin. The recording is exceptionally pure and un-hyped as can be; the 5005.2 let me hear the plucked transients and the bodies of the instruments. I felt like I was in the presence of two masterful players. “Lifestyle” systems never sound this good!

BoTToM line: With the 5005.2 system, KEF raised the bar. The system is equally accomplished with home theater and two-channel music. It has the purity

audiophiles crave and can still wow home theater mavens. As good as it is, it’s no threat to full-size towers, hunky center speakers, and macho subwoofers. But for its size and price class, the 5005.2 is as good as it gets. Pb



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RaTingS(relative to comparably-priced surround systems)

specs/pricingHTS5001.2 (satellite speaker)driver complement: 3” coaxial driver with .6” dome tweeter, 3” mid-bass driver (2)Frequency response: 95Hz–30kHzSensitivity: 87dBImpedance: 8 ohmsdimensions (HxWxd): 16.5” x 3.5” x 5”Weight: 4.4 lb. each

HTC5001.2 (center speaker)driver complement: 3” coaxial driver with .6” dome tweeter, 3” mid-bass driver (2)Frequency response: 95Hz–30kHzSensitivity: 87dBImpedance: 8 ohmsdimensions (HxWxd): 3.5” x 16.5” x 5”Weight: 4.4 lb. each

HTb2 powered subwooferdriver complement: 10” woofer, 10” pas-sive radiatorIntegrated amplifier power: 250 wattsdimensions (HxWxd): 15.4” x 17.3” x 7.7”Weight: 24.9 lb.


KEF(732) 683 2356kef.com

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www.kef.com



MIRAGE OS3-SAT/OS3-CC/MM-8Steve Guttenberg


Mirage—what a great name for a speaker company! The name really does conjure up a perfect one-word

description of the company’s speakers’ sound. Not a maker of conventional box designs, the Canadian company’s specialty is omni-directional speakers that project sound in a 360-degree radiation pattern. For this review we’re looking at the new third-generation Omnisat Series speakers, specifically the OS3-SAT satellite and OS3-CC center speaker. Low-end support was handled by Mirage’s ultra-compact MM-8 subwoofer.

FeaTuReSThe OS3-SAT and OS3-CC center speaker feature Mirage’s latest Omniguide deflectors, which create the speakers’ omni-directional sound. One deflector is positioned directly above the tweeter, and the tweeter is housed atop the mid-woofer’s deflector. The speakers project sound directly towards the listener as well as reflect it off walls, ceilings and other surfaces.

A little over 8-inches tall, the pod-shaped OS3-SAT can serve as a front, center or surround speaker. It employs a 1-inch pure titanium hybrid tweeter and a 4.5-inch polypropylene titanium deposit hybrid woofer with an aluminum phase plug and Ribbed Elliptical Surround technology. The OS3-SAT comes with a wall/ceiling mount bracket that allows the speaker to be rotated. For surround channels the speaker can be mounted upside down (when it’s mounted more than six feet off the floor). The OS3-SAT comes in high-gloss black or white with matching grilles.

The three-way OS3-CC center channel speaker looks a little more conventional and employs a 0.75-inch pure titanium hybrid tweeter, a 3-inch poly titanium deposit hybrid midrange driver and two 4.5-inch poly titanium deposit hybrid woofers with neodymium motor structures and aluminum phase plugs.

The center speaker comes with an integral table stand and a metal wall-mount bracket. The speaker is only available in a high-gloss black finish; its magnetically attached grille is covered in black cloth.

If the center speaker’s fiendishly recessed speaker wire connectors are a test of manual dexterity, I flunked. It must have taken me five minutes to thread the + and - wires through the push-to-open connectors. The OS3-SAT five-way binding posts are also recessed (into the speaker’s bottom) but presented no problem for me.

The 300-watt MM-8 subwoofer is a 9-inch

overviewConsider this system if: You’re intrigued by the prospect of a system that breaks free of the boxed-in sound of conventional speakers. Also consider this system if you’re looking for the smallest possible subwoofer. Look further if: You want a “normal,” very direct sound, or if you require a subwoofer big enough to energize a relatively large home theater.

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cube, with a front-mounted 8-inch concave black-anodized aluminum woofer and a matching 8-inch passive radiator on each side. The woofer is covered by a black cloth grille, but the passive radiators are naked to the world. Gawd, the MM-8 is a tiny thing, but the black gloss finish and overall build quality is high.

For my review system, I used four OS3-SATs, one OS3-CC center, and one MM-8 sub.

Sonic chaRacTeRMirage’s Omnipolar dispersion projects a deep, wide, and high soundstage. It’s really very dif-ferent from what you’ll hear with box speakers, sounding more like a dipole panel speaker. The

tonal balance is essentially neutral and never undernourished. The MM-8 subwoofer’s dy-namic sock is beyond what you’d expect from a 9-inch cube.

MoVie anD MuSic eXaMpleSI used the Cloverfield monster/horror DVD to flex the Mirage system’s home theater muscles. The film’s story of a monster attacking New York City unfolds before you from the point of view of a single video camera, and the sense of immersion with the terrifying events was total. The Mirage Omnipolar designs did their thing, so the sounds of the panicked crowds’ screams, the low rumbling tremors of the approaching monster, and the Statue of Liberty’s head bouncing down the streets of New York were all in the room with me. Wow! The sense of being in the midst of the action really added to the excitement of the film.

True, the MM-8 didn’t reach as low as a larger sub would, but it supplied the monster’s booming thunder like a champ.

I didn’t realize it when I bought the Rufus! Rufus! Rufus! Does Judy! Judy! Judy! Live From the London Palladium concert DVD [Geffen] that it was stereo only. No 5.1 Dolby Digital sound, but that didn’t faze the OS3-SATs one bit. The stereo soundstage was huge, Rufus Wainwright’s big voice emerged from the phantom center channel with startling presence, and the orchestra’s spread was magnificent. I also listened to the DVD in Dolby Pro Logic II, but it really didn’t add enough to matter; the front two OS3-SATs summoned a big, wide and deep soundstage, thank you

very much!Actor Terrence Trent Howard’s Shine

Through It CD [Columbia] is an ambitious effort. Howard’s gutsy vocal on “War,” backed by a funkafied jazz band totally tears it up. With just the stereo OS3-SATs going, the soundstage was huge, spreading way beyond the actual positions of the speakers. The MM-8’s contributions were superbly integrated, but definition was a tad flabby for my tastes.

BoTToM line: Mirage’s latest rethink of its Omnipolar design strategy is a winner. The OS3-SAT and OS3-CC speakers project large scale soundstages beyond what you’d have any right to expect from comparably sized and priced box speakers. Pb



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RaTingS(relative to comparably-priced surround systems)

specs/pricingOS3-SaT (satellite speaker)driver complement: 1” titanium hybrid tweeter, 4.5” polypropylene titanium deposit hybrid mid-bass driverFrequency response: 70Hz–20kHzSensitivity: 89dBImpedance: 8 ohmsdimensions (HxWxd): 8.25” x 5.25” x 6.1”Weight: 4.8 lb. each

OS3-CC (center speaker)driver complement: .75” titanium hybrid tweeter, 3” poly titanium deposit hybrid mid-range, 4.5” polypropylene titanium deposit hybrid woofers (2)Frequency response: 70Hz–20kHzSensitivity: 91dBImpedance: 8 ohmsdimensions (HxWxd): 5.2”x 17.8” x 4.6”Weight: 5.6 lb. each

MM-8 powered subwooferdriver complement: 8” woofer, 8” passive radiators (2)Integrated amplifier power: 300 watts, RMS, 12000 watts (dynamic)dimensions (HxWxd): 9” x 9” x 9”Weight: 16.7 lb.


MIRAGE(866) 428 2122miragespeakers.com/na-en/

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http://www.miragespeakers.com/na-en/



When it comes to single-box surround speakers, thin is in. Yes, most manufacturers offer models that

visually complement the popular 42- and 50-inch screen widths, but the girth of some is, shall we say, more substantial than others. Measuring a mere 3.7-inch deep, Soundmatters’ SLIMstage 40 is thinner than most. The handsome speaker cabinet is covered with a black perforated metal grille, and the low-slung, 4-inch-high SUBstage 100

subwoofer has a curved grille covering its top surface. Build quality of both pieces is solid.

FeaTuReSThe self-powered SLIMstage 40 has a total of 13 drivers deployed across its front and bottom panels. In addition to Dolby and DTS surround processing, the SLIMstage 40 uses proprietary Euphony HD to produce surround sound from a single speaker. Better yet, it doesn’t need to bounce sound off side walls to

SOUNDMATTERS SLIMSTAGE 40/SUBSTAGE 100Steve Guttenberg


create an immersive soundfield.The SLIMstage 40 has such a vast range

of EQ (equalization) features I was confused as to which was which. There’s Room EQ Parameters, EQ Remote, and Input EQ. Each EQ offers 10 frequency bands, from 31Hz to 16kHz. Thing is, there’s no measuring microphone, so you’re on your own to figure out how to use the EQ to improve the sound. Or do what we did and think of the various EQ controls as remarkably flexible tone controls.

A wall-mount bracket is included, and for shelf mounting, there’s a set of adjustable-angle “EZ-Tilt” feet.

The speaker’s front baffle features a large display, control buttons, an input for iPod (or similar device), and virtual surround output jack for headphones.

Connectivity is adequate, but since the SLIMstage 40 lacks video switching, you’ll have to change inputs on your TV whenever you change from, say, your cable box to DVD player.

Possible future software upgrades may be implemented via the SLIMstage 40’s RS-232 port. Speaking of upgrades, Soundmatters will happily sell you a second SLIMstage speaker for use as a separate rear-channel speaker.

The remote’s button layout is good, but it’s not backlit and the volume ramp up/down is oh-so slow. The remote offers direct access to speaker + sub bass level, pre set EQ, and surround modes. You can also easily adjust the degree of surround effect, from barely noticeable to oh boy!

The SUBstage 100 subwoofer is skinny enough to fit under a couch or to wedge

between a cabinet and wall.

Sonic chaRacTeRThe SLIMstage 40 was a hard one to pin down. Some DVDs and Blu-rays sounded fine, with good tonal balance and a generously proportioned soundstage. But I was always fussing with the bass/subwoofer levels when I changed discs. Often the bass seemed either overly heavy or much too lightweight, making it hard to find a just-right level.

MoVie anD MuSic eXaMpleSThe Mad Men: Season One Blu-ray three disc set shined, dialog was clear, and the sumptuous score was nicely handled by the SLIMstage 40. It sounded so good I didn’t think about it.

Next up, the Saw DVD, one of the scariest, creepiest movies in my demo arsenal relies on a very active surround mix to keep the tension up, and the SLIMstage 40 didn’t miss a beat. Disturbing noises and groans seemed to come from way out to the sides of my home theater. The SUBstage 100 is powerful for its size, but definition is merely acceptable.

I briefly listened with the sub turned off, and while there was less bass, I was impressed with the amount of bass the SLIMstage 40 made on its own. I noted, however, that the speaker’s down-firing woofers excited buzzes and rattles in my open TV stand. Ninety percent of SLIMstage 40s are sold without a sub.

With the sub switched back on for more intense workouts like the plane crash scene from The Flight of the Phoenix DVD, the

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inherent limitations of the SLIMstage 40 were revealed. As the soundtrack became more vigorous, dynamics were noticeably flattened, bass grew muddy, and dialog clarity suffered. Soundmatters aims to correct this problem with a “variable dynamic compression” circuit for the woofers, which will be included in units shipped after October (with free software upgrades for earlier units).

I finished with Larry Coryell, Victor Bailey, and Lenny White’s Traffic SACD [Chesky]. The fusion-jazz sound was anemic. While adding more bass and subwoofer volume helped, I still wasn’t happy with the speaker/sub integration.

Treble detail was somewhat harsh. Other CDs confirmed the Soundmatters system was better suited to movies than music.

Bottom Line: The Soundmatters SLIMstage 40 and SUBstage 100’s compact dimensions make them especially easy to place in small rooms. I couldn’t help but feel that size constraints took their toll on sound quality. That said, the system did its best work with straight dramas and comedies. The SLIMstage 40 and SUBstage 100 bundled together go for a discounted price of $1199. PB


specs/pricingSLIMstage 40: Self-powered single-box surround speakerDriver complement: 2” Linear Magnetic Drive Neo-sandwich Drivers (4); 3” Extreme Energy LMD Woofers (3); 3” passive bass radiators (6)Audio connectivity: Inputs, analog (3), digital (3); headphone jack (1), subwoofer outputs (1 RCA, 1 Mini); RS-232 and RJ-11Power: 170 wattsDimensions (HxWxD): 3.5” x 39” x 3.7”Weight: 19 lb.Price: $899

SUBstage 100: Powered subwooferDriver complement: 6.25” woofer, 5.75” by 6.75” passive radiators (2)Power rating: 100 wattsDimensions (WxHxD): 4.05” x 16.7” x 7.9”Weight: 14 lb.Price: $349

SOUNDMATTERS(800) 698-7662soundmatters.com

treble midrange bass surround dynamic value

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Ratings(relative to other single-box surround speakers and matching subwoofers)

Last woRd: • Sleek design.• Ultra low profile subwoofer.• Eliminates the need for an A/V

receiver.

• Lo-fi sound on CD.• No video switching.• Limited dynamic clout.

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www.soundmatters.com



http://redir.nextscreen.com/c72a21a73b919b2d6aaba2719bb3251e



Over the years I’ve racked up a lot of experience listening to Yamaha Sound Projectors. They’ve steadily improved

and this new flagship model, the YSP-4000, is easily the best sounding and most full featured of the breed. The speaker can be used on its own, but since I was interested in maximizing its home theater performance, I teamed it up with Yamaha’s new matching subwoofer, the YST-FSW150. It’s one of those low-profile, 6.6-inch high subs that hugs the floor. It immediately proved itself to be a synergistic mate to the YSP-4000.

FeaTuReSThe YSP-4000’s features complement is an embarrassment of riches. First, it’s a self-powered speaker, so it doesn’t need to be hooked up to an A/V receiver. The YSP-4000 boasts two 1080p HDMI inputs and analog video to HDMI digital video up-conversion for your old VCR. You can buy a matching Yamaha iPod dock and the YSP-4000 is XM HD satellite radio compatible. There’s also a built-in FM tuner.

Impressive as those features may be, the YSP-4000’s 40 1.5-inch “beam” drivers are the

YAMAHA YSP-4000/YST-FSW150Steve Guttenberg


real stars of the show. Yamaha’s Digital Sound Projection Technology works by reflecting the 40 drivers’ sound off walls, so bare side and rear walls work best, and objects in the room such as chairs, drapes, or furniture may affect the quality of the surround sound. In addition to the 40 micro drivers, there’s a pair of 4.25-inch woofers to supply bass. Total power is rated at 120 watts.

The YSP-4000’s surround processing modes include Dolby Digital, Dolby Pro Logic II, DTS, DTS Neo:6, Neural Surround, and Yamaha’s proprietary Cinema DSP technology.

The IntelliBeam auto setup and calibration system couldn’t be easier to use. Just bring up the on-screen menu (available over the HDMI connection), plug in the supplied microphone, and the completely automated calibration circuitry takes over. A few minutes later the YSP-4000 is ready to roll.

Oh, but perhaps I’m getting a little ahead of myself, since prospective owners will want to know the speaker can be wall mounted with the optional SPM-K30 bracket ($80) or positioned on a shelf under or over your TV. It is one of the bulkier single-box surround rigs on the market.

So it’s worth pointing out that the YST-FSW150 subwoofer’s low and wide shape is significantly less imposing than your average cube sub (and it can be vertically mounted). The black vinyl finish and just-the-basics features set contrasts with the YSP-4000’s wowie-zowie technological extravaganza. But don’t get the wrong idea; the YST-FSW150 was a superb sonic match to the speaker.

Sonic chaRacTeRThe YSP-4000’s room-filling surround is so convincing you won’t miss not having actual surround speakers. Sound quality is well above average overall, and mostly free of digital processing artifacts. The YST-FSW150 sub is a nuanced performer, and provides just the right balance of oomph and definition.

MoVie anD MuSic eXaMpleSVanilla Sky’s opening sequence, where Tom Cruise drives his Ferrari through deserted Manhattan streets and arrives in the middle of Times Square, was truly eerie. The throaty rumble of the V-12 echoing through the canyons, accompanied by world-psychedelic music totally sucked me in. Dialog was natural, without a hint of processing nasties that you sometimes get with DSP-controlled surround systems.

Celine Dion’s Live in Las Vegas: A New Day Blu-ray sounded fabulous. The lush orchestrations were sweet and Dion’s big voice was clear and clean. Audience and ambiance in the surround channels were sharply focused in space. We did detect a slight phasey/swishy character to the audience’s claps and cheers. Ah, but Dion’s duet with a virtual Frank Sinatra on “All the Way” was truly magical.

Surround channels were projected a remarkable eight feet outward from the YSP-4000, well out to the sides of my listening position. I’ve heard Yamaha YSP speakers in other rooms project sound behind the listening position, but my room’s shape, furnishings, and size conspired against that. Still the YSP-4000 did create the best, most precise

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surround effects I’ve ever heard at home from a single-box surround system.

The YSP-4000 took on the Rolling Stones’ Shine A Light Blu-ray like a champ. True, dynamics were a tad restrained and maximum volume probably wouldn’t satisfy headbangers. But when set for more moderate volumes the YSP-4000 actually rocked out pretty well.

Bassists Stanley Clarke, Marcus Miller, and Victor Wooten’s aptly named Thunder CD (Telarc) quickly demonstrated that the Yamaha speaker/subwoofer pairing was spot on. The three bass masters delve deep into the funk, and their workouts remained taut and potent. If you’re into jazz, this disc is a must, and definitely one that’ll reveal speaker/sub matching problems in a hurry. This Yamaha pair made superb music together.

Trumpeter Jon Hassell’s atmospheric

Fascinoma CD [Water Lily] unleashed a vast soundstage. Accompanied by a small group of percussionists, guitars, and piano, Hassell’s horn floated above it all. Treble detailing was good, but not as pure as I would have liked. The YSP-4000’s tone controls tamed the glare but reduced the overall sense of clarity.

BoTToM line: Yamaha’s flagship Sound Projector is shockingly good at what it does well: namely, producing surround sound from one speaker enclosure. It’s somewhat more accomplished with movies than music, but when you stop and consider the YSP-4000’s abundant features lineup and the synergistic support of that nifty YST-FSW150 subwoofer, the Yamaha duo is hard to beat. Pb


specs/pricingySP-4000: Self-powered, single-box surround speakerdriver complement: 1.5” micro drivers (40) 4.5” mid/bass drivers (2)video connectivity: HDMI inputs (2), outputs (1); Component inputs (2), outputs (1); Composite inputs (2), outputs (1) audio connectivity: Inputs, stereo analog (3), digital (4); headphone jack (1), subwoofer outputs (1); RS-232, iPod dock, IR in, calibration mic inputPower: 120 wattsdimensions (HxWxd): 7.6” x 40.5” x 5.6”Weight: 31 lb.Price: $1800

yST-FSW150: Powered subwoofedriver complement: 6.5” wooferPower rating: 75 wattsdimensions (HxWxd): 5.9” x 17.1” x 13.75”Weight: 20.75 lb.Price: $280yamaha.com/yec

treble midrange bass surround dynamic value

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RaTingS(relative to other single-box surround speakers and matching subwoofers)

laST woRD: • The best virtual surround you can

buy.• Connectivity on par with budget

A/V receivers.• Excellent speaker/subwoofer

matching.

• It’s expensive.• As good as it is, it still sounds

best for centrally positioned listeners.

• As single-box surround rigs go, it’s big and bulky.

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www.yamaha.com/yec



SUb-$2KSURROUND SYSTEMS

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innoVaTiVe TechnologieS ThaT Really woRkDefinitive Technology enjoys a hard-won reputation for offering innovative loudspeakers that deliver high-end performance at modest prices, and historically some of the firm’s most special products have come in small packages. One great example would be the firm’s new $1649 ProCinema 1000 5.1-channel speaker system.

The deluxe version of the ProCinema 1000 system consists of four ProMonitor 1000 mini-monitors, a ProCenter 2000 center channel speaker, and a ProSub 1000 subwoofer. At first glance, the ProCinema speakers look like truncated, jet-black versions of Definitive’s Mythos speakers, though the designs are different from a technical standpoint.

Because Definitive’s product styling has been widely (and shamelessly) imitated by other manufacturers, the lovely ProCinema components look well finished but not especially distinctive. From the outside, the ProCinena system looks much like any number of other good “generic” sat/sub systems on the market. But appearances are deceiving because once you hear the ProCinema system you’ll know in an instant there is nothing generic about its sound.

Big DynaMicSThis compact system plays big—very big. We trotted out our favorite cinematic blockbusters—the “Echo Game” scene from House of Flying Daggers, the “Sky” scene from Hero, “The Flying Boat” scene from Aviator,

DEFINITIVE TECHNOLOGY PROCINEMA 1000 5.1-CHANNEL SPEAKER SYSTEM Chris Martens

sub-$2k surround systemsgo to: flat-panel-friendly surround systems | surround speaker systems over $2k

and the “Under Attack” scene from Master and Commander—and came away impressed with the way the system handled the abrupt and sometime brutal dynamic demands imposed by this material. Many small systems can

play fairly loudly, but few do so gracefully. But the ProCinema system almost always kept its composure, taking large-scale dynamics swells in stride, even in our relatively large audio lab. Only at loony volume levels—not

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recommended for this or any system—did the ProCinema rig show some traces of hardness and compression.

innoVaTionS ThaT woRkWe attribute the system’s fine dynamics to two design innovations. First, its speakers introduce spectacular new mid/bass drivers whose diaphragms are supported both by outer and inner suspension rings (traditional diaphragms are supported at their outer rims only), with cylindrical waveguides in the center. I think this mid/bass driver might be the finest that Definitive has ever produced; it delivers terrific dynamic punch with very low distortion. Second, the ProCinema speakers incorporate small passive radiators mounted in the tops (or

ends) of their cabinets; these give the speakers a more full-bodied sound and better mid and upper bass (areas where other small monitors can sound “thin”).

killeR MiDRangeThe ProCinema system serves up clean, clear highs and midrange that is shockingly detailed and nuanced. In fact, sophisticated midrange sound is this system’s crowning achievement. On one audiophile disc after another, these speakers revealed small instrumental and vocal textures and details that many small systems simply cannot reproduce. For example, the ProCinema system caught the eerie ping and shimmer of percussion instruments in the Reiner/Chicago recording of Bartok’s Music for Strings, Percussion and Celeste [RCA Living Stereo, SACD], and the almost subliminal upper range inflections of Valerie Joyce’s voice on New York Blue [Chesky]. Lower in the audio spectrum, the speakers nailed the plucked string sounds and earthy growl of Charlie Haden’s acoustic bass in Nocturnes [Verve]. The point is that the ProCinema system offers rich midrange details that pull you deep inside your favorite music and films.

The only small criticism I would offer is that Definitive’s aluminum dome tweeters, though very good, are not as good as the low-distortion ProCinema mid/bass drivers mentioned above. While the two drivers generally integrate well, the tweeter periodically shows a slightly bright, hard-edged quality that’s out of keeping with the speaker’s otherwise smooth, open sound. But let’s keep things in perspective: The ProCinema tweeter

is arguably as good if not better than those used in most other systems this price.

BaSS wallop, TooCompleting the system is the 300-watt ProSub 1000, which draws much of its technology from Definitive’s award-winning SuperCube subwoofers. Not surprisingly, then, the ProSub goes very low, and produces energetic bass, with dynamic capabilities that are well matched to the rest of the system. Pitch definition is good, though not quite as good as the best I’ve heard from other subs in this price range (for example, Quad’s LITE sub). But that said, I think the ProSub 1000 offers considerably greater bass wallop than most competitors, building a rock-solid mid-bass foundation that supports music and low frequency effects alike.

BoTToM line: The ProCinema 1000 system is a bargain, pure and simple. For well under $2000, the system looks small, plays big, and gives you a quite substantial taste of the revealing midrange qualities you’d expect to find only in higher-end systems.


specs/pricingdefinitive Technology ProMonitor 1000 2-way satellite speakerdriver complement: One 5.2” mid/bass driver, one 5.2” passive radiator, one 1” aluminum dome tweeterFrequency response: 47Hz–30kHzSensitivity: 90dB (1W/1m)Impedance: 4–8 ohmsRecommended amplifier power: 10–200 Wpc dimensions: 10.9” x 6.5” x 6.2”Weight: 7 lb.

definitive Technology ProCenter 2000 2-way center-channel speakerdriver complement: Two 5.2” mid/bass drivers, two 5.2” passive radiators, one 1” aluminum dome tweeterFrequency response: 42Hz–30kHzSensitivity: 91dB (1W/1m)Impedance: 4–8 ohmsRecommended amplifier power: 10–250 Wpcdimensions: 6.5” x 6.5” x 17”Weight: 12 lb.

definitive Technology ProSub 1000 powered subwooferdriver complement: One 10” polymer cone woofer, one 10” infrasonic (passive) radiatorIntegrated amplifier power: 300 wattsdimensions: 12” x 17.9” x 14.4”Weight: Not specified

System Price: $1649 DEFINITIVE TECHNOLOGY(800) 663-9352definitivetech.com

laST woRD: • Clear highs, potent bass.• Midrange with true high-end

sophistication.• Big dynamics from small

enclosures.• Value with a capitol “V.”

• Could use a smoother tweeter.• You’ll need great electronics to

get this system’s full measure.

transparency and focus imaging and soundstaging tonal balance dynamics bass extension bass pitch definition bass dynamics value

0 1 2 3 4 5 6 7 8 9 10

RaTingS(compared with other $2k surround systems)

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Epos is a well-regarded English loudspeaker manufacturer that was founded in 1983 by Robin Marshall,

who was largely responsible for building Epos’s reputation for delivering speakers that offer high performance and high value in equal measure. Later, in 1999, Epos was acquired by another significant figure from the British audio industry—Michael Creek, of Creek Electronics fame—who now serves as managing director of the company. If you’ve ever met Mr. Creek or have had the opportunity to hear his amplifiers in action, then you know that he, too, is passionate about sound quality and value, meaning that the Creek-Epos connection is a serendipitous one. Frankly, neither company seems interested in becoming a big, flashy, mass-market brand; instead both focus on products that appeal to discerning music lovers—listeners who deeply appreciate the subtler, more soulful, and refinement-oriented aspects of music and movie soundtracks. I can relate to those values, can’t you?

Some years ago, I had the opportunity to review Epos’s excellent and affordable ELS 3 mini-monitor for our sister magazine, The


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overviewConsider this speaker system if: You favor a compact surround system that’s long on sonic subtlety and refinement and that offers upscale good looks. While the AVS 5.1 Home Cinema system doesn’t offer especially strong dynamic capabilities (especially in the bass region), it is a charmer in many other respects. Look further if: You require a system that has powerful bass capabilities or that has sufficient clout to play action film soundtracks with gusto in larger living rooms. Realistically, deep, powerful bass and relatively high output levels aren’t on the menu with this system, though it offers other offsetting virtues.

EPOS AVS 5.1 HOME CINEMA SYSTEMChris Martens

Absolute Sound (known to its friends and readers simply as TAS). The ELS 3 impressed me and many other listeners to such a degree that it went on to win TAS’s coveted Budget Product of Year award. Later on, Epos

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expanded the ELS range to offer a complete ELS Surround package, which I also reviewed favorably in AVguide Monthly (the forerunner to Playback). I thought then (and still do) that the ELS Surround system offered a remarkable level of sonic sophistication for its price.

At this year’s CES event, however, I discovered the ELS Surround system was soon to be supplanted by a new Epos surround package called the AVS 5.1 Home Cinema System, priced at $1,795. Naturally, I requested a review sample for Playback. Besides, I couldn’t help but be curious about a system whose user manual contains nuggets of common sense audio wisdom like this one: “Remember, if it sounds right, it is right.”

FeaTuReS • System consists of four identical 2-way, mini-

monitor satellites, a 2 ½-way center channel (featuring the same drivers as the satellites), and a 100-watt subwoofer.

• High frequency drivers: 1-inch aluminum/magnesium alloy dome tweeters with neodymium magnets.

• Mid-bass drivers: 4.5-inch woven Kevlar cone.

• Bass driver: 8-inch stiff paper pulp cone.• Satellite and center channel enclosures:

bass-reflex enclosures with dual forward-firing ports, which allow the speakers to be placed close to wall. Cabinets feature .5-inch thick MDF sidewalls with internal bracing, and are finished in gloss black.

• Subwoofer enclosure: bass reflex enclosure with downward-firing port with 2-inch round-tipped floor spikes that ensure adequate floor

clearance for the port: gloss black finish to match satellites and center channel.

• Subwoofer features 100-watt amp, low-pass filter control (160Hz–40Hz), phase control (continuously variable from 0–180 degrees), off/auto-on/on switch, and a remote control (with volume control buttons and a power/standby switch).

Sonic chaRacTeROver much of the audio spectrum, the AVS 5.1 system offers smooth, evenly balanced and

neutral voicing, meaning that it is—as it should be—something of a sonic chameleon. In other words, it takes on (or reveals) the sonic colors of whatever material you happen to play. The AVS 5.1 subwoofer integrates very well with its companion satellite and center channel speakers, so that the sat/sub transition region is for the most part seamless. But that said, I should also point out that the sub gives the system a somewhat lightly balanced character, especially in the mid-bass region and at lower frequencies. As a result, instruments (and also


specs/pricingepos avS 5.1 Home Cinema System 2-way satellite speakerdriver complement: One 1” aluminum/magnesium dome tweeter with neodymium magnets, one 4.5” woven Kevlar cone mid-bass driverFrequency response: 70Hz–19kHzSensitivity: 86dBImpedance: 4 ohms dimensions (HxWxd): 9.25” x 5.12” x 7.36”Weight: 5.9 lb./eachWarranty: Five years, parts and labor

epos avS 5.1 Home Cinema System 2 ½-way center channel speaker driver complement: One 1” tweeter, one 4.5” mid-bass drivers, as in satellites, aboveFrequency response: 65Hz–19kHzSensitivity: 84dBImpedance: 4 ohms

dimensions (HxWxd): 5.12” x15.2” x 6.57”Weight: 10.5 lb./eachWarranty: Five years, parts and labor

epos avS 5.1 Home Cinema System powered subwooferdriver complement: One 8” stiff paper pulp cone wooferIntegrated amplifier power: 100W rmsdimensions (HxWxd): 15” (with spikes) x 11.8” x 14.2”Weight: 35.4 lb./eachWarranty: Two years, parts and laborSystem Price: $1795

EPOS LTD.epos-acoustics.com

U.S. DISTRIBUTORMUSIC HALL(516) 487-3663musichallaudio.com

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45 THE PERFECT VISION GUIDE TO SURROUND SOUND SPEakER SySTEmS

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soundtrack effects) that should normally have lots of mid-bass power come across through the AVS 5.1 system as having strong, clear upper range voices, but not quite enough low-end body, weight, or punch.

Although the Epos’s new aluminum/magnesium alloy dome tweeters claim slightly less treble extension than the aluminum tweeters used in the original ELS 3 (19kHz for the new units vs. 20kHz for the originals), I think they have a slightly smoother, sweeter character overall. Presumably one reason Epos went with the new alloy is to combine the lightness, stiffness, and responsiveness of aluminum with the inherent resonance-fighting properties of magnesium, which is a light but relatively soft metal; it’s a best-of-both-worlds design approach many tweeter makers have used of late.

Imaging and soundstaging are strong points of the AVS 5.1 combo, as you might expect from a system based on small, well-designed, mini-monitor type satellites. An office mate entered the Playback lab one day during testing, listened for a few moments to take in the scope of the soundstage, then looked down at the Epos satellites, and quickly did a double-take. “Whoa, that’s a big sound from some pretty small boxes,” he observed and he was right, provided the system is kept within its dynamic range “comfort zone.” However, if you crank up the volume, imaging can begin to deteriorate because the satellites and center channel, when pushed hard, eventually start to exhibit slight (and then more pronounced) signs of “hardness,” or “edginess” on midrange and treble transients. The point: with

the AVS 5.1 system, you’ll want to go easy with the volume control to enjoy the smoothest, most three-dimensional sound possible.

MoVie peRFoRMance Some of the key strengths of the AVS 5.1 system are shown to particularly good effect in the scene from Harry Potter and the Order of the Phoenix, where Harry is forced to stand trial before the Wizengamot (the magical world’s equivalent of the Supreme Court) on charges of underage use of magic. Even before the scene opens, we hear the ominous sound of interrogator Cornelius Fudge banging his gavel three times to call the court to order. The AVS 5.1 system emphasizes Harry’s relative powerlessness by letting us hear the swirling reverberations of the gavel echoing against the stone walls of the hall, and by letting us hear the hush that falls over the witches and wizards present as Fudge solemnly begins reading the charges against the young wizard. The Epos system lets us not only hear but also feel how small and isolated Harry is as he faces the full might of the Wizengamot. But just when the situation appears most dire, the Epos rig reveals the arrival of a champion who will fight for Harry, as we hear Professor Dumbledore’s voice—initially from far off-screen—intoning these reassuring words, “Witness for the defense: Albus … Percival … Wolfrick … Brian … Dumbledore.” Through the AV 5.1 system Dumbledore’s voice sounds so clear, so powerful, and so reassuring that we grasp in an instant that Harry has a good chance to prevail despite the odds against him.

But later in the same film the final magician’s duel between Dumbledore and Lord Voldemort exposes some of the Epos system’s limitations. Ordinarily, the duel scene should crackle with sonic energy and large scale dynamic swings as spells collide with spells, a fiery magic snake is summoned to do battle, and a magic torrent of water is summoned to counter it, while the entry hall of the Ministry of Magic shakes so violently that ceramic tiles pop off the walls and shatter on the floor. The AVS 5.1 system does a good job with many of the smaller details in this scene, yet misses the some of the soundtrack’s deeper, darker power. The problem is that the system cannot fully deliver the loud transient sounds and powerful surges of low-frequency energy that the scene demands. The scene remains compelling thanks to the Epos system’s mastery of small details, yet it is not all that it should be.

MuSic peRFoRMance On the whole, I felt the AVS 5.1 system was a more accomplished performer on music than on movies, in part because music seems to benefit particularly from the system’s overall delicacy and refinement. For a good example of these characteristics in action, try listening to John Gorka’s haunting ballad “Let Them In” from The Gypsy Life [AIX Records, multichannel DVD-Audio]. The protagonist in the song is imploring St. Peter to welcome newly killed young soldiers into heaven and to care for them tenderly, and to express that sentiment of tenderness, the song uses very simple, almost sparse instrumentation: a

piano, a fretless electric bass (played with the utmost taste and restraint by master bassist Michael Manring), and a heartbreakingly beautiful mandolin (played with perfectly pitched touches of pathos and melancholy by Russ Rentler). The sounds of these instruments seem to break free from the speakers and float in the air, both in front of and to the sides of the listener (the recording is essentially a “stage mix” of an intimate, private performance, so it’s natural for the performers to sound like they surround you). Rentler’s mandolin, in particular, sounds highly realistic through the Epos rig—the instrument’s lilting voice finds that knife’s edge balance point between sweetness and sorrow, sadness and hope. When the material is up to the task,


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the AVS 5.1 system can convey an awful lot of the emotional content that makes music worthwhile.

On music as in movies, the AVS 5.1 sounds somewhat too lightly balanced when reproducing bass instruments. You can address this problem to a degree by turning up the output levels of the sub, but in doing so you run the risk of disrupting the delicate balance between the subwoofer and the satellite speakers. The satellites require a fairly high (100–110Hz) crossover point, so level adjustments made in order to correct deficiencies down low can potentially cause audible imbalances higher up. In the end, I concluded it was better to have smooth sat/sub integration and to make peace with the Epos system’s tight but lightweight low bass.

BoTToM lineThe Epos AVS 5.1Home Cinema system does a good job of reproducing subtle textural and transient details as well as soundstaging and imaging cues. On well-recorded soundtracks and multichannel music, the system can deliver an unusually big, three-dimensional sound, provided you take care to not to push the sys-tem beyond its dynamic “comfort zone.” Bass is tight and clear, but could use more weight and body. Though this system is very good, I think there are others in its class that can do can do even more things well, and for essen-tially the same price. Pb

sub-$2k surround systemsgo to: flat-panel-friendly | surround speakers over $2k

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Horns of PlentyEver since audio legend Paul W. Klipsch began manufacturing loudspeakers in the 1940s, the name Klipsch has been associated with horn-type drivers and it easy to understand why. Horns are inherently efficient, and as one modern-day Klipsch positioning paper points out, “Efficiency is inversely proportional to distortion.” Today, Klipsch Reference Series speakers maintain the tradition using 1-inch titanium compression tweeters to drive square Tractrix horns (the term “Tractrix” describes a specific shape for the bell of the horn). In turn, the bass and midrange are handled by one or more Cerametallic drivers whose distinctive copper color has become a Klipsch hallmark.

Klipsch offers a number of Reference Series speaker bundles, ranging in price from $1349 to $6394. For this review, we chose the comparatively inexpensive RF-52 system, which sells for $1844. The system includes two RF-52 floorstanding speakers, an RC-52 center channel, a pair of RF-42 surround speakers, and a 260-watt RW-10d powered

subwoofer. All of the speakers (except for the subwoofer and center speaker) are two-way designs.

A quick glance at the specifications panel reveals two important points. First, unlike most systems in this price range, the RF-52 bundle includes full-range front L/R speakers that play down to 34Hz. Second, all three of the front speakers (L/R plus center) boast sensitivity ratings of 96dB, which is much higher than the norm. Together, these factors add up to a system that’s easier to drive than most, and whose main speakers shoulder a significant share of the overall bass workload. As impressive as these details are, the most important question is: How does the RF-52 system sound?

Details tHat MatterLet me come right out and say it: The Klipsch RF-52 system sounds wonderful—challenging, in some respects, the sound of good systems in the $3000 to $4000 price class. How so? Well, the first characteristic that caught my ear

KLIPSCH RF-52 5.1-CHANNEL SPEAKER SYSTEM Chris Martens


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was the system’s ability to resolve fine sonic details. Small textural and transient details that get lost or smoothed over in other systems were captured cleanly and effortlessly by the Klipsch speakers. During the finale of the Oue/Minnesota recording of Respighi’s Pines of Rome [Reference Recordings, 30th Anniversary Sampler], I could hear each instrumental nuance unfold as the piece grew in complexity and dynamic intensity. Yet at the same time the Klipsch system revealed subliminal high-frequency details that made it easy to picture the size of the recording space as well as the

positions of the orchestra sections on stage. In short, the RF-52 rig served up the sort of sophisticated realism I normally expect only from costly high-end speaker systems.

Bringing sounDs to lifeI was also struck by how vibrant and full of life instruments and voices sounded. In contrast to competing systems, the Klipsch speakers never sounded forced or strained—not even when pushed to very high volumes. Instead, they got out of the way and let music and soundtracks simply flow. The RF-52 system also performed beautifully on effects-heavy, soundtracks, such as the gut-wrenching battle scenes near the conclusion of Saving Private Ryan. But it also shone in sequences where small details make all the difference—like the scene in V for Vendetta where Dr. Stanton whispers her deathbed apology. In short, you can trust the Klipsch system to handle both delicate and bombastic passages with equal grace.

Many of the horn-loaded speakers I’ve heard exhibit obvious, megaphone-like colorations—colorations that impose a nasal, “honking” sound—but the Klipsch speakers did not. Their horn-loaded tweeters sounded quite natural, and integrated smoothly with the mid-bass drivers. The only drawback is that the horn-loaded tweeters do tend to expose any roughness or stridency present in music or soundtracks. When this happens, they produce a sharp, biting sound that tugs at your ears and disrupts imaging and soundstaging. But this an acceptable tradeoff given the terrific detail and nuance these horn tweeters bring to the party.

specs/pricingRF-52 floorstanding speakerDriver complement: One 1” horn-loaded tweeter, two 5.25” mid-bass driversFrequency response: 34Hz–23kHzSensitivity: 96dB (1W/1m)Impedance: 8 ohmsRecommended amplifier power: 100–400 Wpc Dimensions: 37.6” x 6.75” x 14.25”Weight: 38 lb.

RC-52 center-channel speakerAs for RF-52, above, except for the following:Frequency response: 67Hz–23kHzRecommended amplifier power: 125–500 Wpc Dimensions: 6.75” x 20.5” x 10.5”Weight: 22 lb.

RS-42 surround speakerDriver complement: Two 1” horn-loaded tweeters, two 4” mid-bass driver

Frequency response: 52Hz–23kHzSensitivity: 93dB (1W/1m)Impedance: 8 ohmsRecommended amplifier power: 75–300 WpcDimensions: 10” x 10.75” x 7.75”Weight: 10 lb.

Klipsch RW-10d powered subwooferDriver complement: One 10” wooferAmplifier power: 260 wattsDimensions: 17.8” x 12.5” x 19” Weight: 39 lbs.

System Price: $1844 KLIPSCH AUDIO TECHNOLOGIES(800) KLIPSCHklipsch.com

Insider Tips: Face it: Klipsch’s

Reference-series speakers look and sound better with

their grilles removed.

Try placing the RW-10d subwoofer against the back wall of your room, several feet out from the corners.


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The RW-10d subwoofer was a strong performer, particularly when placed near a reinforcing back wall. The sub played lower than most in its class and delivered serious dynamic grunt, though it was no doubt helped by the RF-52 mains, which kick out plenty of bass on their own. Interestingly, the RW-10d features an easy-to-use, top-mounted control panel (complete with multiple EQ presets)—a welcome touch I wish more subwoofers provided.

BottoM line: The Klipsch RF-52 ensemble easily qualifies as one of the best sub-$2k surround speaker systems I’ve heard, and for many listeners it may mark the happy conclusion of a quest for great sound. Few affordable systems offer a more compelling blend of detail, finesse, and dynamic clout plus an almost magically vibrant quality that brings music and movies alive. Bravo, Klipsch.

last worD: • Vibrant, engaging sound.• Excellent resolution and detail.• Potent dynamics.• Powerful, easy-to-use sub.• Terrific value for money.

• L/R floorstanders too large for some rooms.

• Horn tweeters expose roughness, stridency.


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Klipsch press packets assert that the firm’s speakers always aim to convey “Power, Detail, and Emotion,” and

the Synergy F-1 Home Theater system represents an attempt to deliver those virtues in a full-scale surround rig that sells for just $1360. By “full-scale” I mean that there is nothing compact or “downsized” about the F-1 system; unlike many competing systems which feature smallish stand-mount satellite speakers, the F-1 is based on a pair of two-way, full-range Synergy F-1 floorstanding main speakers with horn-loaded tweeters (a signature feature of nearly all Klipsch designs). Complementing the F-1 are a pair of two-way/three-driver Synergy S-1 surrounds speakers, a two-way/three driver Synergy C-1 center channel, and a 420 watt Sub-10 powered subwoofer.

At first glance the Synergy models seem visually similar to Klipsch’s Reference-series speakers (see my review of the Reference RF-

52 system from The Perfect Vision issue 75), but they achieve significant cost reductions by using somewhat less sophisticated drive units, substituting aluminum tweeters for the Reference titanium units, and injection molded graphite mid-bass drivers in place of the more costly Reference “cerametallic” drivers. Synergy systems also tend to feature speakers whose cabinets are more lightly built than their Reference counterparts, and subwoofer designs that are simpler and offer a bit less control flexibility. But as a result of these cost-trimming measures, Synergy systems are priced considerably lower than equivalent Reference packages, and are therefore affordable enough to be sold in certain big box retail chains.

SONIC CHARACTERThe defining characteristic of the Synergy F-1 Home Theater system is a big, bold, highly dynamic sound that does not back down either

klipsch sYNERGY F-1 homE ThEaTER sYsTEmchris martens


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from cinematic or musical challenges. When the going gets rough, the F-1 system simply clears its throat and fills the room (even quite large rooms, such as our Audio Lab) with sound, taking even demanding action film soundtracks in stride. The speakers are also, as advertised, reasonably well-detailed, with tonal balance that—absent room/speaker EQ correction—shades slightly to the warmer, mellower side of neutral (not a bad thing, given that inexpensive A/V receivers tend, as a rule, to sound overly bright).

Upper midrange and treble response, though quite good for this price point, fall short of the exemplary performance of Klipsch’s Reference models, exhibit traces of textural coarseness and edginess at times. Like the Reference models, the Synergy speakers have a pure, open-voiced quality when reproducing solo instruments (trumpets or saxophones,

for example), but unlike the References, the Synergy speakers can begin to sound a little congested or “confused” on more complicated material (for example, multi-layered movie soundtracks or densely orchestrated musical passages). Finally, the Synergy system’s bass is powerful and ample, though perhaps too loosely damped, so that—on some passages—the low end takes on a subtly exaggerated, overblown quality.

EXAMPLESThe Synergy system is at its best on passages that require dynamic swagger and a certain exuberant, sonic joie de vivre. A classic example would be the opening racetrack sequence from Cars [Disney, Blu-ray], which depends upon a convincing rendition of powerful stock car racing noises, as well as punchy reproduction of the upbeat rock’n’roll soundtrack. The F-1 Home Theater system belts this one out of the ballpark with dynamic muscle few other sub-$1500 systems can match, making the visceral roar of Lightning McQueen’s V-8 engine sound appropriately throaty, powerful, and oh-so-right.

On material that demands absolute clarity and finesse the F-1 system also fares well, though with a few rough edges that I noted. On the stunningly recorded track “Kicho” from Blue Chamber Quartet’s First Impressions [Stockfisch, SACD] there comes a passage where acoustic bass, piano, vibraphone and harp all intersect, and at that moment the F-1 system tends to let the voices of the instruments blur and merge, rather than remaining distinct as they should. Similarly, on

drummer Bobby Paris’s sure, propulsive ride cymbal pulse heard at the beginning of Long John Hunter’s “Let’s Set the Time” [Untapped Blues Festival 2004 Live, Bluestopia], the F-1 system got the overall cymbal sound right, or nearly so, but added a subtle (and uncharacteristic) touch of treble coarseness that should not have been there. Finally, on powerful yet complex bass passages, such as Victor Wooten’s electric bass solos on “Song for My Father” [Palmystery, Heads Up], the F-1’s bass was appropriately potent and

weighty, but just a little too loose to capture the finer nuance’s of Wooten’s performance.

Despite occasional sonic shortcomings, however, the F-1 system’s generally pleasing tonal balance, overall clarity, and dynamic oomph make it a very expressive speaker system—especially when price is taken into consideration.




specs/pricingSynergy F-1 floorstanderDriver complement: 1’’ horn-loaded, aluminum-dome tweeter; 6.5’’ IMG mid-bass driverFrequency response: 38Hz–23kHzSensitivity: 93dBImpedance: 8 ohms Dimensions: (HxWxD) 36’’ x 8’’ x13.5’’Weight: 40 lb. each

Synergy C-1 center channelDriver complement: .75’’ horn-loaded, aluminum-dome tweeter, two 4” IMG mid-bass driversFrequency response: 100Hz–23kHzSensitivity: 93.5dBImpedance: 8 ohmsDimensions: (HxWxD) 6’’ x 16’’ x 5.25’’Weight: 8 lb. each

Synergy S-1 surround speakersDriver complement: Two .75’’ horn- loaded, aluminum-dome tweeters, one 4’’ IMG mid-bass driverFrequency response: 95Hz–23kHzSensitivity: 88.5dBImpedance: 8 ohmsDimensions: (HxWxD) 5.6’’ x 11.8’’ x 4.6’’ Weight: 5 lb. each

Synergy Sub-10Driver Complement: 10’’ downward-firing wooferIntegrated amplifier power: 420 wattsDimensions: (HxWxD) 17’’ x 14’’ x 18.9’’Weight: 37 lb.


KLIPSCH(800) 554-7724klipsch.com

highs mids bass imaging and soundstaging dynamics versatility value

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laST woRD: • Big, bold, explosively dynamic

sound. • Smooth, slightly warmer-than-

neutral tonal balance = a good compromise.

• Sensitive, and very easy to drive.• A lot of speaker system for the

money.

• Highs occasionally sound rough, coarse.

• Sound can become congested on really complex passages.

• Bass slightly overblown.

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How do you define the value of a speaker system? We define it by comparing sound quality against

price, and using this formula, it’s obvious that Monitor Audio’s Bronze series BR5 floorstanders ($599/pair) are a great value. The reason: they deliver the kind of transparency, uniform tonal balance, and tight yet smooth bass you’d expect from more expensive speakers. But an even sweeter deal might be Monitor’s BR5-based, Bronze Reference AV 5.1-channel system—a $1745 system that captures the voicing of the BR5s in a surround sound package and includes a fine powered sub as well. In fact, Monitor Audio’s Bronze Reference AV package has redefined my expectations of what entry-level surround systems can do.

FeaTuReSThe BR5 main speakers are 2-1/2 way mini-towers, with two 5.5-inch MMP II (metal matrix polymer) drivers, one each for bass and midrange, and a 1-inch tweeter. The MMP II drivers use polypropylene infused with metal particles for a rigid, lightweight cone structure and are used in all models. The tweeter diaphragm is a lightweight alloy dubbed C-CAM (ceramic-coated aluminum/magnesium). Each driver is isolated in a separate chamber and the enclosures are internally braced. The BR5s are bass reflex speakers with dual front and rear ports.

The BR-LCR center speaker features two 5.5-inch MMP II drivers with the C-CAM tweeter and can be used as a standalone left-center-right channel speaker.

MONITOR AUDIO BRONzE REFERENCE 5.1-CHANNEL SPEAKER SYSTEMGary Altunian


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The BR-FX surround speakers utilize one 5.5-inch MMP II driver and two 1-inch C-CAM tweeters on angled baffles. The BR-FX speakers are switchable between bi-polar and di-polar operation.

The BRW-10 subwoofer incorporates a 10-inch MMP II driver with a 150-watt amplifier.

PERFORMANCEInitially the sound quality of the BR5 speakers created a visual disconnect of sorts, in that the speakers’ short stature and small footprints in no way prepared me for their big, bold sound. Several characteristics were quickly apparent: the Bronze Reference BR5s had excellent tonal balance, outstanding midrange clarity and warm, yet articulate bass response. The upright bass in “Get Out of Town” from The Holly Cole Trio [Don’t Smoke In Bed, Blue Note Records] sounded tight and punchy, very articulate. The bass was full, yet each note was distinct from the next, a nice combination of warmth and definition. Holly Cole’s voice had excellent in-room clarity and transparency with good center imaging. The BR5s easily handled the wide dynamic range of Cole’s voice and of Aaron Davis’s piano, on which the BR5s displayed appropriately quick, percussive transient response. Vocal details were also evident in Diana Krall’s “How Insensitive” [From This Moment On, Verve Records], where her sultry and breathy voice sounded wonderfully transparent and the backing French horns had a very natural timbre. Overall, the BR5s are well balanced and musical—easy to listen to for extended periods of time.

All speakers in the Bronze Reference system

use identical woofers and tweeters meaning that the speakers exhibit similar timbres and tonal qualities, which becomes very apparent when listening to multichannel music and movies. On the remastered, multichannel reissue of Donald Fagen’s The Nightfly [Warner Bros.], the well-matched voices of the center and surround speakers presented a coherent, enveloping sound field.

Given the system’s strong performance on music, it came as no surprise that the Bronze Reference speakers also performed well on film material. The apprehension and tension in the action-suspense film Firewall was made even more intense, partly because the music in the sound track was reproduced so cleanly, but also because gunshots and plot twists were underscored with deep, enveloping,




specs/pricingBR5 Main SpeakerDriver Complement: 5.5” MMP II woofer, 5.5” MMP II midrange, 1” C-CAM tweeterFrequency Response: 36Hz–30kHzSensitivity: 90dBImpedance: 6 ohmsDimensions (HxWxD): 33-1/2” x 6-1/2” x 9-1/4”

BR-LCR Center Channel SpeakerDriver Complement: Two 5.5” MMP II bass/midrange drivers, 1” C-CAM tweeterFrequency Response: 60Hz–30kHzSensitivity: 90dBImpedance: 6 ohmsDimensions (HWD): 6-1/2” x 18” x 6-1/2”

BR-FX Surround SpeakersDriver Complement: 5.5” MMP II bass/midrange driver, two 1” C-CAM tweetersFrequency Response: 65Hz–30kHzSensitivity: 88dB

Impedance: 6 ohmsDimensions (HWD): 11-1/2” x 11-1/4” x 5-1/4”

BRW-10 SubwooferDriver Complement: 10” MMP II long throw wooferIntegrated amplifier power: 150 wattsDimensions (HWD): 13-3/8” x 13-3/8” x 14-1/2”Weight: 35 lb.

Total System Weight: 137 lb.

System Price: $1746

MONITOR AUDIOmonitoraudiousa.com

DISTRIBUTORKevro International, Inc.(905) 428-2800


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fear-inducing bass. In fact, gunshots were reproduced with such wide dynamic range that they caused me to jump more than once.

On a more critical note, I should mention that the BR5s are bass reflex speakers with dual front and rear ports whose output can couple with wall surfaces to produce potentially overwhelming bass (this makes speaker placement an important factor). Fortunately, Monitor Audio supplies port “bungs” or plugs that can help reduce port output somewhat. I installed the foam plugs in the rear ports to tame the somewhat aggressive mid-bass response in my room. For best results, plan on experimenting with speaker placement and the port plugs to optimize system bass performance.

BoTToM lineWhen I listen to a speaker system I know pretty quickly if I like it, and then I listen more carefully and attempt to articulate my opinions about the sound. This was an easy and pleasant task with this review, because the Monitor Audio Bronze Reference system performs like systems cost-ing much more. Monitor Audio has set what I regard as a new benchmark for entry-level speaker system performance. I cannot think of a more affordable and musically pleasing speaker system I could recommend as highly for home theater newcomers or critical music listeners.



laST woRD: • Excellent tonal balance and

clarity. • Very musical speaker system

with all genres of music and film soundtracks.

• One of the best entry-level priced speaker systems I’ve heard.

• Dual ports make accurate placement more difficult in some rooms.

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NHT (Now Hear This) is known for building value-oriented, high-performance speaker systems that

feature innovative designs and construction techniques. A good example would be NHT’s versatile Verve Large Theater system, which can serve as a tabletop or wall-mounted system and is intended to be a perfect complement to today’s popular flat panel TVs—especially to models that, like the Verve system, are finished in gloss black.

Astute readers will note that the Verve system was reviewed in the final issue of The Perfect Vision, but that—at the time—its suggested retail price was $2300. We’re revisiting the system here for two reasons. First, NHT’s new owners have dropped the price of the system to $1500. Second, despite NHT’s recommendation that owners “not use any automated speaker setup functions,” we wanted to try the Verve system with and without a good room EQ system to see if we could tap additional performance potential.

The Verve Large Theater system consists of a trio of three-way/four-driver Verve Large satellites (used as L/C/R speakers), a pair of three-way/three-driver Verve Small satellites

(used as surrounds), and a 200-watt Verve V Woofer. The satellites sport innovative technology in the form of enclosures formed from a dense, acoustically inert material called bulk-molding compound (or BMC); the speaker cabinets feature curved sidewalls that help prevent unwanted internal reflections.

NHT says the Verve satellites are voiced to sound best when placed within about 1.5-feet of walls, making this system perfect for settings where the speakers will be placed alongside stand- or wall-mounted flat panel TVs. Accordingly, Verve satellites come fitted with tabletop stands that can position the speakers vertically for L/R use or horizontally as center channels, though users can remove the stands if they want to use the built-in keyhole slots to hang the speakers directly on the wall. The V Woofer, in turn, is a slim, slab-like subwoofer also designed for placement against walls (or beside a couch). Because the V Woofer is intended solely for use with the Verve satellites, it provides minimal controls: a bottom-mounted power switch and front-mounted volume control. Unlike most subwoofers in its class, the V Woofer features a non-vented acoustic suspension enclosure

NHT VERVE LARGE THEATER SYSTEMChris Martens


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said to foster tighter bass and better transient response.

Tip: The Verve system opens up and develops a more full-bodied sound as you give it playing time.

SONIC CHARACTERWhen used without room EQ, the voicing of the Verve system falls somewhat to the warmer and darker side of neutrality, though not to an excessive degree. Your results might vary from ours, however, depending upon where you place the speakers relative to the back wall. The system also produced firm and robust bass, though not super deeply extended bass. Those familiar with the sound of typical vented woofers might find the V Woofer’s bass initially seems somewhat more lightly balanced, but the offsetting benefit is that the NHT’s bass also tends to sound tighter, punchier, and better-defined (different strokes for different folks). The system’s surround sound imaging is a notable strength, especially in terms of filling in information coming from the sides of the soundstage

Once we tried the Verve system with room EQ engaged, our eyes and ears were opened. Where we would have called the system’s tonal balance good (but not great) without EQ, it became very good to excellent with EQ in play. Overall openness, detail, and resolution improved as well, leading us to think that—despite NHT’s precautions—a good room EQ system can help lift this system to a different and better level of performance. At its best, the system is a very good imager, makes pleasingly taut bass, and offers resolution that

falls slightly (but only slightly) behind the best in this class.

Because the Verve satellites are slightly less sensitive than some in our survey you’ll need a bit more power to achieve equivalent volume levels. But when cranking up the volume, be aware that the V Woofer has less dynamic headroom than the satellites do. If you accidentally push the sub beyond its limits, as happened to us when playing the “Under Attack” battle scene from Master and Commander at exuberant volumes, the V Woofer may shut itself down (the woofer’s power light remains lit, but bass output just goes away). If shutdown occurs, simply toggle the power switch to reset the woofer.

EXAMPLESPerhaps because both the Verve satellites and V Woofer are non-vented, acoustic




specs/pricingNHT Verve Large Theater System

NHT Verve Large satellites (L/C/R speakers)Driver complement: 1’’ Mylar tweeter, 3’’ paper midrange driver, two 4.5’’ mid-bass drivers Frequency response: 100Hz–20kHzSensitivity: 86dBImpedance: 8 ohms Dimensions (HxWxD): 15.5’’ x 5.5’’ x 6.5’’Weight: 13 lb. each

NHT Verve Small satellites (surround speakers)Driver complement: As for Verve Large, but only one mid-bass driver Frequency response: 100Hz– 20kHzSensitivity: 84dBImpedance: 8 ohmsDimensions (HxWxD): 10.75’’ x 5.5’’ x 6.25’’Weight: 9 lb. each

NHT V Woofer powered subwooferDriver Complement: Two 10” anodized aluminum woofersIntegrated amplifier power: 200 wattsDimensions (HxWxD): 16.9’’ x 23.5’’ x 6’’Weight: 36.5 lb.


Manufacturer NHT(800) NHT-9993nhthifi.com


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laST woRD: • Versatile, flat-panel TV-friendly

design. • Fresh, contemporary styling and

beautiful fit and finish.• Excellent surround sound

imaging, taut bass, good resolution.

• Love the new system price.

• Needs a good room EQ system to sound its best.

• Woofer goes into auto-shutdown if pushed too hard (and power/reset switch is on bottom of the cabinet).

suspension designs, the whole system has a refreshingly taut, well-controlled sound that keeps its composure even on material where there are plenty of dynamic challenges to handle and complex sonic textures to master. A good example would be the “XF-11” crash sequence from The Aviator, where action shifts from a smooth test flight, complete with Howard Hughes’ (Leonardo DiCaprio) steady voice making routine radio reports, to a cataclysmic mechanical failure and ensuing plane crash. Even as the XF-1l plummets earthward, the Verve system keeps all the small details straight, such as the off-kilter propeller sounds and strained exhaust note from the failed engine. Then, as the crash unfolds in semi-slow motion, the Verve rig lets us hear the crunch and crackle of the plane ripping through tile-roofed homes in Beverly Hills before finally coming to rest in a ghastly ball of flame. The system has enough dynamic oomph to give the scene real power, and sufficient detail and control to make its multilayered sound design feel frighteningly realistic.

On well-recorded musical material, such as the superb live recording of Long John Hunter performing “Let’s Set the Time” [Untapped Blues Festival 2004, Bluestopia], the Verve system simultaneously captures subtle textural details plus the raw-edged energy of a fine blues band at full throttle. For instance, the Verve Large system catches the sweet, almost delicate “ping” of Bobby Paris’s propulsive cymbal toward the beginning of the track yet has enough dynamic grunt to capture the almost guttural snarl of Hunter’s tube-powered

guitar amp as it erupts into overdrive later in the song. While the Verve system does not offer quite the levels of openness and transparency of the best systems in this class, it does not miss the mark by much at all, while its bass is some of the cleanest to be had at this price point.

The Verve Large Theater system is an attractive, well-made, and very good sounding package that could well become your flat panel TV’s new best friend.


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PARADIGM CINEMA 330 SYSTEM 5.1-CHANNEL LOUDSPEAKER SYSTEM Arnie Williams


paRaDigM-ShiFTing on a BuDgeTIn its quest for continuous quality improvement a couple of decades ago, the U.S. business community fell in love with a cobbled together phrase known as “paradigm shifting.” The terms come from Thomas Kuhn’s book The Structure of Scientific Revolutions and describes how a sea change can force us to rearrange the way in which we view the world. An example would be moving from Ptolemy’s notion that all planets revolve around the earth to the modern view, credited to Copernicus, that all of the planets in our solar system revolve around the sun. In a parallel notion applied to the home theater universe, when it comes to budget-friendly and admirably-performing surround sound speakers, the aptly named Paradigm Electronics has shifted the paradigm of what to expect when you have only a couple thousand dollars to spend on a set of speakers.

A look under the grille of the Cinema 330 speakers, which we chose for the front left, center, and right positions, makes you want to break out the calculator and try to figure out how Paradigm can give you all this for such a small amount of money ($1925). These versatile speakers can be mounted on the wall or placed on a stand or shelf. You get five drivers. That’s right, the 330’s mineral-filled polymer enclosure houses five magnetically shielded drivers. The smaller Cinema ADP surround speakers, which occupy the rear surround positions, boast four drivers apiece: a dome tweeter and cone driver grace each side of the cabinet in an effort to create a diffuse sound field. Rounding out this system is the impressive UltraCube 10 subwoofer, replete with its own 650-watt class-D amplifier. Whew. Just describing all of the Cinema 330 components makes a bloke winded.

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pRooF in The peRFoRManceAs impressive as the collection of drivers appears to be, the question remains: how does the Cinema 330 system sound? But that’s not a question that remains for long. This is one of the most natural sounding surround speaker systems in this sub-$2k roundup. In the “Echo Game” chapter of the DVD House of Flying Daggers, the Paradigms picked up many

of the subtle sounds—such as the rippling of silk dresses or the tinkling of beaded curtains—that other speakers miss. And during the climax of the scene in which the garrison officer scatters a bowl of beans in all directions to strike multiple circular-arrayed drums, the echoes of the beans hitting the stone floor and the reverberation of the drum heads sounded completely natural, continuing much longer than on most of the affordable systems we’ve tested.

That special ability to capture both the attack and decay of sounds in full detail was also quite noticeable in the Kodály String Quartet’s rendition of Schubert’s “Death and the Maiden” [Naxos], especially in the cello’s magnificent runs beneath the haunting harmonies played by the violins and viola. Exquisite and expensive string instruments, such as those owned by the Kodály Quartet, have a characteristic that becomes apparent when you hear the instruments live. The aged bodies of the instruments cause sounds to resonate with rich harmonics that decay slowly, giving the instruments a cathedral-like voicing. Few speaker systems in this price range have the sensitivity to capture this quality, resulting in an unnaturally fast decay of the sound. The Paradigms, however, did an excellent job conveying this ringing tone and had us once again double-checking that we were indeed evaluating a system that costs less than $2000. We were likewise impressed by the speakers’ extended frequency response—from the highest notes of the first violin to the lowest register of the cello with nary a bump.

To offset the highbrow demands of the

Kodáy Quartet, we also listened to several cuts from Neil Young’s delightful Prairie Wind CD [Reprise]. On the album’s title track, Young’s signature voice is accompanied by a light and lyrical guitar on a deep soundstage that resembles a live hall. The Paradigm speakers faithfully conveyed the acoustics of the recording space. In Damien Rice’s eerie “Cold Water” from O [Vector Recordings], which brings to mind the heartbreaking scene from the Titanic when the two lovers part hands, Rice’s voice had an aching clarity that intensified the poignancy of the song’s lyrics. And the submerged choir voices possessed a moving melancholy that would cause even the most stoic among us to become misty-eyed.

Insider Tip: Paradigm makes stands for the

330s and ADPs that fit like a glove and position the speakers at just

the right listening height.

Factoid: Paradigm has won best value/

performance awards for 17 years straight from a respected

industry magazine.


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specs/pricingCinema 330 L/C/R speakerdriver complement: One 1” tweeter, two 4.5” midrange drivers, two 4.5” woofersFrequency response: 110Hz–20kHzSensitivity: 94dBImpedance: 8 ohmsRecommended amplifier power: 100 wattsdimensions: 24.5” x 6.3” x 4.1”Weight: 6.3 lb.

Cinema adP surround speakerdriver complement: Two 1” tweeters, two 3.5” mid-bass drivers Frequency response: 150Hz–20kHzSensitivity: 90dBImpedance: 8 ohmsRecommended amplifier power: 15–100 wattsdimensions: 7.5” x 4.75” x 5.25”Weight: 3.6 lbs.

Paradigm Ultracube 10 powered subwooferdriver(s): One 10” mineral-filled polypropyl-ene cone, two 9” passive radiatorsamplifier power: 650–1500 watts (built-in Class D amp)dimensions: 12.9” x 11.5” x 11.5”

System Price: $1925 AUDIOSTREAM (DISTRIBUTOR)(905) 632-0180paradigm.com


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Bottom Line: If you’re in the market for a surround sound speaker system and have two grand to invest wisely, run, don’t walk, to the nearest Paradigm dealer and buy the Cinema 330 system. It will satisfy your most challenging DVD needs and double as a music system that you can be proud of. You could spend as much as $20k on a higher-end Paradigm system if the spirit so moved you, but this system is living proof that you don’t need to dig that deeply into your savings to have first-rate speakers for all around home theater and music listening pleasure.


Last word: • Natural presence.• Broad, deep soundstage.• Full-range frequency extension.

• Surrounds sometimes sound overly diffuse (can be a good thing).

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When Robert Harley, editor of our sister magazine The Absolute Sound, reviewed an early version

of Paradigm’s Atom Monitor surround system back in 2001 (The Perfect Vision, issue 38), he came away impressed by the system’s performance, not just because it was good “for the money,” but because it was good in a broader sense. Fast forward to 2008 and to the fourth-generation version of the Atom Monitor system, and history repeats itself. Now as in 2001, the Atom Monitor rig stands as one of the best-sounding and most well rounded surround systems in its class—a system that in many ways performs “beyond its pay grade.”

The $1474 system consists of a pair of two-way Atom Monitor bookshelf main speakers, a three-way/four-driver CC-190 center channel (one of the few three-way center-channel speakers in our survey), a set of two-way/four-driver ADP-190 dipole surround speakers, and a 100-watt PDR-8 subwoofer.

What sets the “v.4” version of the Atom Monitor system apart from its predecessors is its advanced, high-technology drive units. The system features drivers whose cones and domes are made of specialized (low mass, high stiffness, low resonance) materials, and

larger drivers are fitted with ultra-rigid frames (or “baskets”) made of cast composites. Paradigm is famous for finding clever ways to apply what were once exotic and expensive technologies in budget-minded products—technology “trickle down” that pays big sonic dividends in the case of the Atom Monitor package.

Sonic chaRacTeRIf you spend much time evaluating speaker systems, you may wind up drawing, as I sometimes do, distinctions between systems that are good (even very good) performers vs. those that go beyond basic “goodness” to achieve a touch of sonic “magic.” Paradigm’s Atom Monitor system combines several key performance characteristics in order to make magic. First, the system offers one of the most essential of ingredients of greatness—smooth, neutral tonal balance. Then, it augments and leverages that core strength by adding heaping helpings of three-dimensionality, resolution, and transparency. Put these qualities together and you get a whole that is greater than the sum of the parts—in other words, a sub-$1500 system that can go toe-to-toe with systems costing $2000 or more.

PARADIGM ATOM MONITOR SYSTEMChris Martens


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Credit goes, in part, to the Atom Monitors, which are good enough to serve as fine standalone mini-monitors, but also to the extremely capable CC-190 center channel speaker. The CC-190, as I mentioned above, is a three-way design whose dedicated midrange driver gives the speaker exceptional resolving power and the ability to reproduce nuances that other center speakers miss. The only catch is that the CC-190 may be too large to fit in some A/V racks. Finally, the ADP-190 surround speakers offer a dipolar design I found ideal for their intended application; the speakers make you aware of surround channel information but without drawing undue attention to themselves.

The PDR-8 sub is a good bass performer, long on transient speed and textural nuance but whose dynamic limits are a little lower than other elements of the system. But except

on the very loudest low-frequency effects in action sequences (for example, the cannon fire in Master and Commander, which can cause the woofer to “bottom out” momentarily), you aren’t likely to notice this.

EXAMPLESOne of the nicest things about the Atom Monitor system is its ability to convey power, tension, and subtleties in movie soundtracks, all at the same time. To appreciate what I mean, watch the “Warrior’s Death” sequence from Apocalypto, where Jaguar Paw is transformed from the role of the hunted victim back into that of a fierce and crafty hunter setting an ambush for his pursuers. As Jaguar Paw prepares his weapon (a blowgun made of a rolled-up leaf with homemade poison darts) and sets his trap, the musical score becomes more and more complex and urgent as layers of jungle noises are added to heighten tension. Then, once Jaguar Paw has fired his darts, the music suddenly stops, so that we’re left to focus on the sounds of the terrified victim’s labored breathing and the crackle of underbrush as he collapses on the ground. The Atom Monitor system waded into this thicket of complicated sounds and handled them all with levels of power, detail, and finesse that frankly would have done justice to a much more costly system.

But if the Atom Monitor system is good for movie playback (and it is), then it is even more in its element when playing music. More so than most systems in our survey, this Paradigm system conveys much of the vibe or “feel” I typically associate with listening to

costly, high-end two-channel systems. It’s a matter of the system getting all (or nearly all) of the basics right, and then adding heightened levels of purity and refinement that take the listening experience to a higher level. On the Carl Saunders Sextet’s performance of “Calming Notion” [Blueport Jazz Sampler/Blueport-NuForce], for example, the system sounded just spooky good, partly because it so perfectly captured the voices of Saunders’

flugelhorn, Jerry Pinter’s tenor sax, and Santo Savino’s suave cymbal work, but also because it just nailed the ambience of the Union Square recording venue in San Francisco. The result was one of those rare and beautiful moments where the walls of your listening space seem to melt, and you find yourself transported to a musical event where performers appear before you with a kind of reach-out-and-touch-them realism. Not many sub-$1500 system can pull




specs/pricingParadigm Atom Monitor System

Paradigm Atom Monitor (L/R main speakers)Driver complement: 1’’ ferrofluid-cooled titanium dome tweeter, 5.5’’ injection molded co-polymer mid-bass driver Frequency response: 90H–20kHzSensitivity: 87dBImpedance: 8 ohms Dimensions (HxWxD): 10.875’’ x 6.5’’ x 10.19’’Weight: 11.5 lb. each

Paradigm CC-190 center channelDriver complement: 1’’ ferrofluid-cooled titanium dome tweeter, 3.5’’ injection molded co-polymer midrange driver, two 5.5’’ carbon-infused polypropylene bass drivers Frequency response: 90Hz–20kHzSensitivity: 90dBImpedance: 8 ohmsDimensions (HxWxD): 6.94’’ x 22.19’’ x 10.19’’Weight: 20.5 lb. each

Paradigm ADP-190 (surrounds)Driver complement: Two 1’’ ferrofluid-cooled aluminum dome tweeter, two 5’’ injection molded co-polymer mid-bass driversFrequency response: 110Hz–20kHzSensitivity: 87dBImpedance: 8 ohmsDimensions (HxWxD): 10.25’’ x 7.375’’ x 6.31’’Weight: 8 lb. each

Paradigm PDR-8 powered subwooferDriver Complement: 8’’ reinforced polymer composite wooferIntegrated amplifier power: 100 wattsDimensions (HxWxD): 14’’ x 12’’ x 14.25’’Weight: 24 lb.

Total System Price: $1474 PARADIGM ELECTRONICS INC.(905) 632-0180paradigm.com


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off that trick.Though priced close to the $1500 upper limit

we set for systems in this survey, Paradigm’s Atom Monitor system is worth every red cent and then some. On movies and music, this system gives a deceptively big taste of what true high-end sound is all about, but at an Everyman price.


laST woRD: • Excellent on movies; even better

on music.• Clean, accurate bass, and

detailed, evocative midrange and highs.

• Smooth, neutral tonal balance.• Superb main speakers and a

great center channel.• Stunning value: easily competes

with systems in the $2k class.

• Center channel speaker might be too big to fit in some A/V racks.

• Subwoofer sounds fine 99 percent of the time, but can be overdriven by very high-intensity low-frequency effects.


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When my colleague Neil Gader reviewed PSB’s award-winning Alpha B1 mini-monitor in The Absolute

Sound Issue 70, he called the speaker “an achievement that borders on the surreal,” and he’s absolutely right. So it should come as no surprise that PSB’s Alpha Studio Theater system, a 5.1-channel system that is based on the Alpha B1, is likewise a sonic overachiever of the first rank, and a screamin’ good deal to boot.

Here’s what you get in the Alpha Studio Theater package: a pair of two-way Alpha B1 monitors (used as L/R main speakers), a two-way/three-driver Alpha C1 center channel speaker, a pair of two-way Alpha LR1 monitors (used as surrounds), and a big, beefy SubSeries 5i subwoofer (the same sub PSB uses in some of its more expensive surround packages). And the price? A more than fair $1256 (assuming the U.S. dollar doesn’t sink further relative to its Canadian counterpart).

As you’ll see in a moment, the Studio Theater system is more of a brilliant all-rounder than it is a killer performer in any one area. But what impressed me from the start—and even more

PSB ALPHA STUDIO THEATER SYSTEMChris Martens


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after prolonged listening sessions—is how amazingly competent this system is across all performance areas, and for so little money.

SONIC CHARACTERIf you asked me to supply a one-word review of PSB’s Alpha Studio Theater system, that word would be “balanced,” with a capital “B.” More so than most systems in this class, the Studio Theater rig exhibits well-balanced, neutral tonal response, a balanced combination of extended frequency response with strong dynamic capabilities from top to bottom, and a fine balance between detail and nuance on the one hand, and smoothness and freedom from edginess on the other. Are you getting the picture? This system rarely bowls you over with any one performance characteristic, but the longer you listen the more you may come to feel—as I did—that it simply “sounds right,” rarely if ever putting a sonic foot wrong.

I attribute the system’s many strengths to three things: first, the fundamental goodness of the Alpha B1 monitors, second, the expansive capabilities of the Alpha C1 center channel (which is surely one of the most capable center speakers in our survey), and third the proven power and punch of the SubSeries 5i subwoofer (which is hands down one of the best subs I’ve ever heard in a system this price). Interestingly, both the B1 and C1 speakers can go quite low on their own, and with real authority, which means the SubSeries 5i carries less of the overall workload than subs in some other systems do.

EXAMPLESPut on almost any demanding movie soundtrack, such as the one that accompanies the famous car chase scene from Swordfish [Blu-ray], and you’ll immediately notice three things. First, the Alpha Studio Theater system manages to sound clear and unruffled, even when the action gets hot and heavy and the multilayered soundtrack becomes complex. For example, you can always hear the distinctive engine note of the TVR sports car, even as all manner of mayhem cuts loose around it. Second, you’ll notice that whopping big dynamic moments don’t faze this system at all. Even in large rooms, explosions, car crashes, gunshots, and the like are clearly and confidently reproduced—performance I attribute in part to the terrific C1 center channel. Third, the SubSeries 5i exhibits real grace under

pressure, making many subwoofers in this price class sound a little flabby and/or overtaxed by comparison.

On music, the system is a fine performer too, serving up full-bodied midrange and hearty but never loose or exaggerated bass. Highs are clear as well, although arguably a bit dry-sounding, so that the system just misses that elusive, Nth degree of treble airiness and openness that higher priced systems—as well as some in this class—can sometimes achieve. Even so, the PSB system affords a

certain full-bodied richness and tonal rightness that works beautifully for a broad range of records. On Bettye LaVette’s “The Last Time” from The Scene of the Crime [Anti-Records], for example, the PSB system captures the raw, biting edge in LaVette’s voice, but also its underlying warmth, humor, and quintessential feistiness. And on the same track, the system does a great job with the dark, rich, swamp-inflected vibe of the backing instrumentals provided by the Drive-By Truckers. Though the PSB system can perhaps be outperformed




specs/pricingPSB Alpha B1 Monitor (L/R main speakers)Driver complement: .75’’ ferrofluid-cooled aluminum dome tweeter, 5.25’’ metalized polypropylene mid-bass driver Frequency response: 65Hz – 21kHzSensitivity: 89dBImpedance: 6 ohms Dimensions (HxWxD): 11.875’’ x 7.062’’ x 9.5’’Weight: 8.8 lb. each

PSB Alpha C1 center channelDriver complement: .75’’ ferrofluid-cooled aluminum dome tweeter, two 5.25’’ metalized polypropylene mid-bass drivers Frequency response: 62Hz – 21kHzSensitivity: 90dBImpedance: 8 ohmsDimensions (HxWxD): 7.062’’ x 17.875’’ x 9.5’’Weight: 15.9 lb. each

PSB Alpha LR1 Monitors (surrounds)Driver complement: .75’’ ferrofluid-cooled aluminum dome tweeter, 3.5’’ metalized polypropylene mid-bass driversFrequency response: 100Hz – 21kHzSensitivity: 85dBImpedance: 6 ohmsDimensions (HxWxD): 6.75’’ x 4.25’’ x 6.25’’Weight: 3.3 lb. each

PSB SubSeries 5i powered subwooferDriver Complement: 10’’ polypropylene wooferIntegrated amplifier power: 150 wattsDimensions (HxWxD): 16.5’’ x 12.375’’ x 14.875’’Weight: 34.7 lb.


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on some material by its most transparent-sounding competitors, few do as solid and consistent a job across all material, all the time. Without ever sounding artificially spectacular or self-aggrandizing, the PSB rig consistently puts meat on the bones of almost every type of music.

PSB’s Alpha Studio Theater is a beautifully balanced all-rounder, serving music and movie lovers at a level I wouldn’t have though possible at this price. Needless to say, the system is a stone cold bargain.



last word: • Brilliantly balanced in almost

every respect.• Smooth, full-bodied midrange

and hearty, appropriately weighted bass.

• Neutral tonal balance.• One of the best subs in its class.• A bargain, pure and simple.

• Highs can sound a bit dry, lacking the Nth degree of openness, airiness.

• Sounds slightly(but only slightly) less transparent than some competitors.

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QUAD LITE 5.1-CHANNEL SPEAKER SYSTEMChris Martens


Rule, BRiTanniaThe British firm Quad has been revered among speaker aficionados ever since the legendary ELS 57 electrostatic loudspeaker came out in 1957. That groundbreaking design offered levels of clarity and sonic purity that were, and still are, mind-boggling. Because Quad has long been associated with exotic electrostats, it came as a surprise when the firm introduced its affordable and relatively conventional-looking L-series speakers. Nowadays you can buy a complete Quad LITE surround-sound speaker system for $1999—far less than even one modern-day Quad electrostat would cost. Can such an affordable system possibly deliver sound quality worthy of the Quad name? It can, and does.

Quad’s LITE system consists of four small two-way satellite speakers, a slightly larger two-way/three-driver center channel speaker, and a stout, substantial subwoofer. The satellites and center speaker are voice-matched, bass-reflex (i.e., ported-cabinet) designs that use the same high-quality 1-inch fabric dome tweeters and 4-inch carbon fiber woofers. Voice matching ensures tonal consistency throughout the system so sounds panning from speaker to speaker don’t abruptly change character.

Weighing in at more than 60 pounds, the sub features a built-in 300-watt amp to drive

its 10-inch woofer and a handy remote control that lets you fine-tune the bass without leaving the couch. Besides controls for volume, phase, and crossover frequency (adjustable in 10Hz increments), you can create up to four presets—one for music, one for movies, and so on.

LITE speaker and subwoofer cabinets are offered in four piano lacquer finishes: rosewood, cherry, black, and silver. Build quality is exceptional.

Speaking wiTh auThoRiTyI’ve reviewed many $2000 surround systems over the past year, a handful of which were exceptional, and let me tell you straight up that the Quad LITE system belongs in the exceptional group—possibly up near the top. Despite the diminutive size of its speakers, the LITE ensemble sounded remarkably clear, energetic, sure-footed, and downright authoritative.

DRaMaTic iMpacT FoR MoVieSThere’s a scene in The Prestige where the magician Robert Angier visits Nikola Tesla’s lab to see a supposed teleportation machine in action. When Tesla fired up his contraption, gleaming bolts of static electricity appeared onscreen, at which point the Quad system filled my room with swirling, sizzling, three-dimensional electrical noises that crackled

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with energy and intensity. At the same time, the biggest surges of energy were punctuated by deep, clear, very low-pitched sound effects that shook the room, making Tesla’s machine seem even more ominous and frightening. Few small surround systems can handle such densely layered effects well but the Quads delivered them with clarity and gusto. Part of the credit goes to the LITE satellites and center channel speakers, which are surprisingly smooth and detailed, and offer greater bass reach than they have any right to given their compact dimensions. But much of the credit also goes to the system’s subwoofer, which offers a compelling combination of power, clarity, bass pitch definition, and extension. The LITE sub is one of the best I’ve heard in any $2k surround-sound system.

Refinement foR musicTurning to music, the LITE system reproduced instruments and voices with natural clarity and vibrant, lifelike textures. And like great Quad speakers from the past, the speakers had an uncanny ability to reveal subtle details—subtle vocal inflections and delicate fingering noises on stringed instruments—without overemphasizing them. There is a certain refinement about the LITE system, especially in the tricky transition region between the upper midrange and treble range, so that the LITE satellites demonstrate very good resolving power without overwrought transient edges or glare.

I developed a deeper appreciation for these qualities as I listened to the song “Wrap My Head Around That” from Lucinda Williams’

West [Lost Highway]. Through many systems the sound of Williams’ voice can be a bit of a double-edged sword, at once expressive and full of rich textures, yet at the same time almost painfully gritty and raw. But the Quad rig lets you hear the emotion and beauty underlying the rough edges in the singer’s voice, and without subjecting you to any of the piercing, shards-of-broken-glass sounds you might encounter in other small sat/sub systems. The Quads also let you hear how Williams and her co-producer Hal Willner combine multi-layered vocal tracks and selective touches of reverb in order to give the song its hypnotic, otherworldly vibe.

Dynamic clout is perhaps the one area where I felt the LITE system was not quite the equal of the best $2k systems I have heard. Because the LITE satellites and center channel have better-than-expected bass capabilities, it’s tempting to use a relatively low 80Hz sat-to-sub crossover frequency—a decision that works out beautifully from a texture and timbre standpoint. The tradeoff, however, is that low crossover frequencies also force the system’s 4-inch mid/bass drivers to carry a bigger share of the bass workload than is ideal. So, when inherently loud passages such as the gunfight in Open Range are turned way up, the system can reach a point where its sounds slightly compressed and—if pushed further—even a bit rough and ragged. But avoid playing the system at crazy-loud volumes and I think you’ll enjoy its otherwise clear, expressive sound.

Bottom Line: The Quad LITE speaker system is one of the

four best $2k surround rigs I’ve ever heard (the others are in this survey). Its clear, natural sound is incredibly engaging and compelling—enough so that my first two guest listeners asked if the manufacturer might be willing to sell them the review samples (a reaction few other test systems have garnered). The system

will be a fine performer in small to midsize living rooms, and can even work well in larger rooms if you keep its dynamic constraints in mind.




specs/pricingQuad LITE SatelliteDriver complement: 1” fabric-dome tweeter, 4” carbon-fiber woofer Frequency response: 70Hz–24kHzSensitivity: 86dBImpedance: 6 ohmsDimensions: 8.9” x 5.3” x 6.3”

Quad LITE Center SpeakerSpecifications as for Satellite except for the followingDriver complement: As for Satellite but with two woofersFrequency response: 80Hz–24kHzSensitivity: 87dBDimensions: 5.3” x 13.4” x 6.3”

Quad LITE SubwooferDriver complement: 10” Tri-lam wooferIntegrated amplifier power: 300 wattsDimensions: 19” x 11.3” x 17” Weight: 63 lb.

Total System Weight: 101 lb.System Price: $1999 QUAD ELECTROACOUSTICS LTD.quad-hifi.co.uk

TAIGA, LLC (DISTRIBUTER)(781) 341-1234


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Ratings(compared with other $2k surround systems)

Last woRd: • Pure, natural sound. • Clearer, more expressive than

competing systems.• Class-leading subwoofer.• Truly beautiful woodwork.

• Dynamics: Not quite best-in-class.

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http://www.quad-hifi.co.uk



SURROUND SpEakER SYSTEMSOvER $2K

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From the very beginning, Anthony Gallo’s loudspeakers have had a certain futuristic and almost otherworldly

look—with design motifs that suggest a cross between science fiction and fantasy, touched with just a hint of whimsy. Perhaps for this reason, though, some enthusiasts tend to mistake Gallo’s designs for trendy “toys,” which they assuredly are not. As those who’ve had the opportunity to get to know Anthony Gallo can attest, his speaker designs are never “different” for arbitrary reasons. Instead, even the smallest details—no matter how odd they might look at first—have been carefully thought through and set in place with one goal in mind: achieving superior sound quality at a reasonable price. A perfect case in point would be the new Gallo Reference Strada system, which is the subject of this review.

The Reference Strada system consists of five Reference Strada satellites ($999/each)—four

GALLO ACOUSTICS REFERENCE STRADA 5.1-CHANNEL SYSTEM Chris Martens

surround speaker systems over $2kgo to: flat-panel-friendly surround systems | sub-$2k surround systems

overviewConsider this system if: You want a visually compact surround speaker system that in every practical way behaves like a much larger system—in terms of producing a big, dynamically expressive, full-bodied sound. Consider this system, too, if you’re drawn to the sound of high-end surround systems with five-figure price tags, but need or want to stay at a lower (just slightly sub-$7k) price point. Most importantly, choose this system for the sheer quality of its sound, which is smooth and neutral yet richly detailed and deeply involving.Look further if: You can’t make peace with Gallo’s industrial design motifs; some will embrace the look (and obviously high build quality) of the Reference Strada system, while others will find it a bit too futuristic for their tastes. Also, be aware that while the system can be driven satisfactorily by pretty modest electronics, it really needs (and we think deserves) very high quality (and fairly high-powered) amplification in order to give of its best.

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Reference Sides and a Reference Center, plus a pair of self-powered TR-3 subwoofers ($984.50/each), for a total system price that falls just a tick below $7000. The closer you look at any of the system elements, the more obvious it becomes that each of them fairly bristles with advanced technologies (and that’s not even counting some of the finer-point details hidden on the insides of the speaker enclosures).

Any notion that the small Reference Strada satellites are “toys” is quickly dispelled the first time you try to pick one up and realize that the speaker’s main chassis is made of solid die-cast aluminum. Into this chassis, which serves as the backbone of the Strada, are fitted two semi-spherical mid-bass driver enclosures made of spun stainless steel, and that house very high-quality, long-throw, carbon-fiber- diaphragm-equipped mid-bass drivers. Those drivers, in turn, flank Gallo’s distinctive, centrally positioned, semi-cylindrical CDT 3 (“Cylindrical Diaphragm Transducer”) tweeter, which—get this—requires no crossover network at all and offers an amazing 180 degrees of horizontal dispersion from 3kHz to 20kHz. In Strada Center models, the cylindrical tweeter is rotated 90 degrees, so that the center channel speaker can be placed on its side.

In an effort to give the Reference Strada a more open, immediate and transparent sound than achieved by any of his previous Reference-series designs, Gallo worked to perfect what he terms the OPT (Optimized Pulse Technology) system. In a conversation about the Strada, Gallo explained that OPT

involves the combination of his new third-generation CDT tweeter, a revised “mouth flange” for the mid-bass driver, which gives the speaker somewhat more tightly focused dispersion characteristics at midrange frequencies, and some clever internal changes, which Gallo prefers to hold as trade secrets at this time. But the cumulative effect of the OPT system is a net improvement in resolution of low level sonic details, more effortless and explosive dynamics and significantly reduced break-in time for the speaker. (Previous Gallo designs required many, many hours of break-in before optimal sound was achieved.).

anThony gallo acouSTicS TR-3 poweReD SuBwooFeRRounding out the Reference Strada system is a pair of Gallo’s latest TR-3 powered subwoofers, which feature 10-inch, long-throw, “ceramic-enhanced aluminum” woofers (the same woofers that will be used in Gallo’s upcoming Reference 3.5 floorstanding speaker) housed in a cylindrical steel enclosure that looks—appropriately enough—like a submarine depth charge. Each TR-3 provides a 300-watt, Class A/B high-current amplifier augmented by a sophisticated set of bass EQ and filter controls.

The individual elements of the Reference Strada system look deceptively small, but as you’ll learn in a moment, their sound is huge. Once again, this is by design. All of Gallo’s speakers use a very unusual proprietary damping material that Gallo simply calls “S2”. One of the distinctive properties of S2 material is that it alters the spring constant of

the air contained inside Gallo’s sealed speaker enclosures, effectively increasing the apparent volume of those enclosures. The result, in simple terms, is a small speaker that behaves like a much bigger one.

(Note that CDT 3 tweeter is rotated 90 degrees, allowing the Center to be placed on its side.)

FeaTuReS I’ve discussed at least some of the key features of the Reference Strada system above, but let me provide a brief bullet-point summary, below:Reference Strada highlights:• Solid die-cast aluminum chassis are

extremely sturdy.• Spun stainless steel, semi-spherical mid-

bass driver housings are exceptionally rigid and help foster effortless imaging and 3D soundstaging.

• Stradas are offered in two-tone black/stainless steel or all matte black finishes.

• High-quality carbon-fiber-diaphragm-equipped mid-bass drivers presented in a D’Appolito-type array with Gallo’s CDT3 tweeter. The mid-bass drivers are allowed to operate full range, and thus require no crossover components.

• CDT 3 is a third-generation design that sounds more open and transparent than ever before. As in previous Gallo designs, the CDT-type tweeter offers remarkably broad, 180-degree horizontal dispersion.

• Interestingly, the CDT 3 driver surface is made out of a semi-cylindrically-shaped sheet of a piezoelectric material called Kynar


specs/pricinganthony Gallo acoustics Reference Strada Side and Strada Centerdriver complement: One CDT 3 semi-cylindrical Kynar piezoelectric tweeter, two 4” carbon-fiber-diaphragm-equipped mid-bass driversFrequency response: 45Hz–20kHz, ± 3dB (speakers placed within 1 foot of walls)Sensitivity: 87dBImpedance: 8 ohms dimensions (HxWxd): 13.5” x 5” x 7.5”Weight: 11.4 lbs./eachWarranty: 5 years (if product registered within 60 days of purchase)Price: $999/each Tabletop Stands & Wall-Mount brackets for Reference Strada Side & Center speakers: $125/eachFloor Stands for Reference Strada Sides: $450/pair anthony Gallo acoustics TR-3 powered subwooferdriver complement: One 10” long-throw woofer with ceramic-enhanced aluminum diaphragmIntegrated amplifier power: 300W, Class A/Bdimensions (HxWxd): 12” x 10.75” x13.5”Weight: 36 lbs./eachWarranty: 1 year (2 years if product registered within 60 days of purchase) Price: $984.50/each System Price: $6964 as tested ANTHONY GALLO ACOUSTICS roundsound.com

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that not only expands and contracts when driven by an audio signal, but that—take note—also allows the tweeter to serve as its own crossover network.

• No external crossover components are needed or used in the Reference Strada.

• Enclosures are loaded with Gallo’s proprietary S2 damping materials, which have the effect of making the speakers’ compact cabinets perform as if they were larger than, in fact, they really are.

• Gallo’s OPT systems is said to give the Reference Stradas a significantly more open, transparent and high-impact sound than previous Reference-series designs.

• Reference Strada promises in-room frequency response of 45Hz – 20kHz +/- 3dB if speakers are placed within 1 foot of an adjacent wall surface (but offers somewhat less bass extension if pulled further out into the room).

• Gallo offers both tabletop and floor stands, plus available wall-mount brackets, for the Reference Strada system. The metal stands are extremely well made and highly recommended.

TR-3 highlights:• Uses the same 10-inch, long-throw, ceramic-

enhanced aluminum woofer that will be used in Gallo’s upcoming Reference 3.5 floorstanding loudspeaker.

• Uses the same beefy, all-metal cylindrical woofer enclosure pioneered in Gallo’s earlier TR-1 subwoofers.

• 300-watt high-current Class A/B amplifier.• Extensive bass filter and EQ controls.

• Offered in matte black or platinum gray finishes.

• Promises solid output down to 22Hz.

Sonic chaRacTeRThe Reference Strada system offers a beautifully balanced combination of four qualities that, in my experience, don’t always mesh as harmoniously as they do here. The four qualities are openness/transparency, high resolution/definition, expressive (and at times explosive) dynamics, and smooth/neutrally balanced voicing. Let’s take a closer look at each of these qualities in turn.

One of the main reasons to consider buying, say, a $7000 surround system as opposed to a system half that price is the quest for sonic openness and transparency—that sense of peeling away electronic layers of noise, distortion and even minor forms of grunge so that you are left, quite simply, face to face with whatever sounds the record producer or movie soundtrack designer meant for you to hear. Gallo’s Reference-series speakers, such as the Reference 3 and Reference 3.1, have traditionally done a good job in this area, but the Reference Strada system has taken this important quality to a new and much higher level. The effect is not unlike the sonic equivalent of shifting from looking through an ever so slightly smudged window to looking through a freshly cleaned, crystal-clear pane of glass. Suddenly, everything seems to snap into sharper focus, while contrasts—even very subtle ones—become more readily apparent. And, to borrow the old expression, you can’t help but notice that there is “more there

there”—even in records and soundtracks you might have thought you knew well.

Another reason to step up to high-performance surround speaker system is the desire to experience and savor all the subtle, low-level textural and transient details in recordings that, for whatever reason, are often overlooked or otherwise fail to be captured by lesser systems. Here again, the Reference Strada system pushes the envelope harder than most systems its price, and reaches a higher level of performance than its earlier-generation Reference-series predecessors—which is saying a mouthful. From the listener’s perspective, the experience is a bit like going on an archeological expedition and finding that, just beneath what you thought was the

surface of the ground, there are whole new worlds of information waiting to be discovered. And for obvious reasons, once the Reference Strada system reveals those new layers of sonic details, you won’t want to be without them.

Because the components of the Reference Strada system are relatively small and compact, it’s only human to assume the system’s sound will be small and a bit constrained, as well, but this turns out not to be the case. While the Reference Strada satellites are not terribly sensitive (rated sensitivity is a low-ish 87dB/1watt/1meter), they appear to be a relatively benign load to drive and can handle a substantial amount of power. Just remember that you may need


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to use significantly higher gain settings than you would with other speaker systems. With gain turned up to appropriate levels, the Strada satellites, along with their companion TR-3 subwoofers, produce an unexpectedly big, dynamically expressive, full-bodied sound. What is more, they do so with almost none of the latent edginess or glare to which some higher-efficiency speaker systems are sometimes prone.

It often happens that high performance speaker systems that deliver the virtues I’ve mentioned above entail certain implicit tradeoffs—often in the form of sounding slightly brash, sterile, or edgy when asked to play less than ideal material. But the Reference Strada system really isn’t like that at all. Instead, it offers unusually smooth, neutral tonal balance and a welcome degree of freedom from cabinet-induced noises and artifacts. Some listeners felt there was a subtle dip in the Strada’s upper midrange response—roughly in the region where output from the mid-bass drivers transitions to output from the CDT tweeter—but this is not particularly noticeable and, if anything, contributes to the perceived smoothness of the system’s sound. Not surprisingly, then, the Reference Strada system’s imaging and soundstaging are exceptional, and not just at the system’s price point, but in an absolute sense. This means the Reference Strada system is that rare audio beast that is at once highly revealing, yet rarely if ever punishing—a sweet combination.

Are there caveats to note? There are a few, though I consider them relatively minor ones. First, as mentioned above, the Reference

Strada system is relatively low in sensitivity and therefore requires both ample power and higher than normal gain settings. I tried the Strada system with several different AVRs and found, not surprisingly, that it worked best when driven by the most powerful (and also the highest quality) receiver I had on hand. That said, I would say that the Stradas can still perform at a pretty high level when used with modestly priced but well designed receivers such as Onkyo’s excellent $600 TX-SR607. It’s just that the Stradas will also show you in no uncertain terms why more powerful, higher-end components might be a good investment.

Second, be aware that the Strada’s wide-dispersion CDT 3 tweeter can be something of a double-edged sword. Wide dispersion of upper midrange and treble frequencies can be—and often is—a beautiful thing, but it can also mean that the Stradas sometimes pick up unwanted sonic reflections from nearby pieces of furniture or from the sidewalls of the listening room. The solution to this problem, should it occur, is to angle the Stradas inward toward the listening area.

Finally, note that the speaker’s highly revealing nature can, in a sense, be a mixed blessing. Unlike earlier Reference-series Gallos, which tended on the whole to be pretty forgiving speakers, the Reference Stradas are sufficiently revealing that they can and do expose the sonic effects of almost any change you make in your system—often for the better, but sometimes not. The Stradas, for instance, can easily delineate differences between competing receivers, EQ systems, DACs, source components, audio cables,

and power conditioners, and they will let you hear the effects of even quite subtle variations in system setup technique. My point is that while it is easy to get the Strada system up to a “very good” level of performance, it can take a fair amount of additional fine-tuning and experimentation to help the system realize its full potential.

I found this particularly true in the areas of imaging and soundstaging (potentially two of the Stradas most compelling strengths). At first, I just could not seem to get the Stradas to deliver the stunningly three-dimensional sound I had come to expect from Gallo models I’ve reviewed in the past. But, after consulting with Anthony Gallo and trying several setup experiments he suggested, I eventually got the Strada system tweaked to a point where its imaging not only equaled but in fact surpassed that of the earlier models. Patience is key.

Some prospective customers are bound to ask if the Strada system benefits from automated room EQ systems. My answer is that that the Strada system is quite well balanced to begin with, so help from a good auto EQ system (such as the Audyssey MultEQ system or Pioneer’s Advanced MCACC system) is not so much a necessity, but rather a matter of sonically “gilding the lily.” But, that said, the gilding can potentially be worthwhile. I got good results when using an Audyssey system with the Strada and even more impressive results with Pioneer’s Advanced MCACC system, which pushed the transparency and focus of the Stradas a notch or two higher up the performance ladder.

MoVie peRFoRMance The beauty of a system as good as the Reference Strada rig is that it can make even familiar soundtracks seem fresh and new all over again, or at least that was what I found



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RaTingS(relative to comparably-priced surround speaker systems)

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when watching the film U-571 with the Gallo system in play. Two scenes—one subtle and the other rather more bombastic—showed off the Reference Stradas’ broad spectrum of strengths.

As the “Trojan horse” U.S. submarine S-33 cruises toward its targeted rendezvous with the crippled German U-boat, U-571, we see the officers of the S-33 at dinner as they near their objective. Seas are rough and, to conserve electrical power, the S-33 is cruising on the surface. The camera turns to give us a view of the officer’s mess table as the boat rolls and pitches in the waves. We see dinnerware and utensils slide from one side of the table to the other as the boat rolls, with—at one point—the sound of some silverware sliding off the table and clattering to the floor. Through the Reference Strada system, the soundtrack

for this scene sounds eerily vivid, focused, and intensely three-dimensional so that listeners become aware of the smallest of details: the closeness of the curved inner walls of the sub’s hull, the nervous sounds of non-mariners at the table trying to cope with their gliding soup bowls, the sounds of crewmen passing in the corridor outside the mess room, and soft whoosh of dishes sliding on the table surface. It’s one of those rare cinematic moments where, if your sound system is equal to the task, it’s easy to be drawn out of your chair and to feel really present in the setting of the scene onscreen. This is why owning a first-rate surround system can be so rewarding.

Much later, after the Allied crew has taken U-571 by force, the rag-tag crew finds itself in a desperate underwater duel with a second German sub that has appeared on the

scene. Torpedo shots are exchanged and the encounter concludes with the one of the Allied torpedoes striking the enemy U-boat and detonating underwater. The Gallo system not only handled but seemed to thrive on the multi-faceted concussive force of that explosion—an explosion that, for the Allied crew, not only represents survival but a measure of retribution for Allied lives lost earlier on when the intruding U-boat first attacked. Two things struck me about the Reference Strada system’s performance. First, I was moved—both in a literal and figurative sense—by the system’s unexpected dynamic clout. It was a good thing that I conducted this listening test after normal office hours, since if I attempted the test during the daytime other office members would surely have thought some catastrophe had just befallen our building! Second, I was impressed by the system’s surefootedness and composure as it reproduced the complex medley of sounds that together represented the torpedo’s detonation. Though the sequence was very loud and forceful, there were no signs of distress, compression, or distortion. Talk about maintaining, “grace under fire.”

MuSic peRFoRMance More so than most surround sound speaker systems, the Reference Strada system could fairly be called an “audiophile’s” speaker system. By this I mean that the Reference Strada rig is at least as much at home playing high-resolution stereo and multichannel music material as it is negotiating the rigors of movie soundtracks. Ordinarily hardcore audiophiles

tend to gravitate toward traditional stereo systems, but the Reference Strada is so good at what it does that it builds a very strong case for stepping into the surround world.

Want proof? Just try putting on the SACD version of the classic RCA Living Stereo recording of the Jascha Heifetz/Charles Munch/Boston Symphony Orchestra performance of Prokofiev’s Violin Concerto No. 2 in G Minor. This extraordinary recording was made in 1959, but it sounds so fresh, so vital, and so full of spectacular inner details that it could have been made yesterday (if, that is, we could still find record producers as skilled and sensitive as John Pfeiffer was when he made this record roughly fifty years ago). Interestingly, the original 1959 recording featured three channels (left, center, and right) and thus qualifies as one of the earliest true multichannel recordings around.

What floored me about the Gallo system’s performance on the Prokofiev piece was, first of all, the richly detailed and yet never, ever edgy way in which it captured the energy, articulation and underlying sweetness of Heifetz’s violin sound. Masterful violin playing, I think, represents a real high-wire act where, on the one hand, the violinist works to make each note count and to give each note its own clearly delineated beginning and end, yet on the other hand works to tie notes together so they form a cohesive, organic whole. Err in one direction and the sound becomes overly sharp-edged and brittle, but err in the other and the sound loses definition and inner clarity of purpose. What the Stradas effortlessly revealed is the way Heifetz found that elusive


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middle path, playing with power and clarity, yet with a touch of warmth that tied the whole concerto together. Few speaker systems of any configuration or price could handle this material more sensitively than the Reference Strada system did.

Another impressive element of the Stradas’ performance involved the way Gallos captured the lively yet well-controlled and very well balanced sound of the Boston Symphony Orchestra. Orchestral music is, in many respects, an acid test of loudspeaker performance because it forces systems to reproduce multiple timbres (and dynamic envelopes) at once. On the Prokofiev piece the Stradas beautifully delineated orchestral sections—and, where appropriate, even individual instrumental voices—with real grace and fluidity, giving a convincing sensation of hearing a real orchestra at play in a plausible, real-world acoustic space (replete with hall ambience and reverberations).

As good as the Reference Strada system proved to be on orchestral music some readers will no doubt want to ask, “yes, but can the Stradas rock?” My unequivocal answer (provided your amplifier or receiver is up to the job) is that they most certainly can. To put the question to the test, I put on the spectacular track “Lil’ Victa” from SMV’s Thunder [Heads Up]. SMV, as some of you may know, represents a collaborative effort between the master bass guitarists Stanley Clarke, Marcus Miller, and Victor Wooten, and “Lil’Victa” is a showcase piece that features signature solos from all three. Even those who are not bass guitar aficionados can appreciate the way the

track captures the distinctive instrumental voices, variations in playing techniques, and sheer punchy exuberance each player brings to the party. On lesser systems these distinctions can be (and often are) blurred and blunted, so that the differences between the players are obscured, but through the Stradas each player’s signature sound stood out in sharp relief from the others. When heard live this sort of music is almost always performed at vigorous though not ear-splitting volume levels—levels that most systems struggle to reproduce in a realistic way. But not so the Stradas; they just waded right in and made themselves at home with the material, reproducing it with the power, punch, and clarity it ought to have.

BoTToM line: Despite its comparatively diminutive size and unorthodox looks, Gallo’s Reference Strada system is a terrifically refined and robust performer that is equally at home when playing high-powered movie soundtracks or the most delicate of musical recordings. At a price nearing $7000 the Reference Strada system is certainly not cheap, but it is worth every red cent of its asking price as it can, quite seriously, stand tall in comparison to systems twice its price. Very enthusiastically recommended.


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Carson City, NV-based BG Radia Corporation has staked its reputation on building loudspeakers that leverage

the strengths of planar ribbon drivers. As listeners familiar with those technologies might tell you, well-designed planar ribbon drivers can, at their best, offer effortless and uncanny clarity, delivering sound so lucid and transparent that it almost defies description. The only catch, really, is that it’s not easy to manufacture ribbon drivers that can reproduce lower midrange/bass frequencies at high volume levels, which has led BG Radia to offer hybrid speakers that use conventional piston-type drivers for lower frequencies and planar ribbon drivers for higher frequencies.

BG Radia’s most affordable and conventional looking hybrid models are collectively known as Z-series speakers—a product family that’s been around for quite a while. About four years ago I reviewed a surround system based on BG’s first Z-series speakers and found it to be very good, though with the minor caveat that you could sometimes hear discontinuities in transient speed and resolution between the speakers’ blazingly fast planar ribbon tweeters and audibly slower conventional woofers. What

BG RADIA z-92/z-62SURROUND SPEAKER SYSTEMChris Martens


overviewConsider this speaker system if: You’re passionate about sound quality and want a movie and music-worthy speaker system that delivers blockbuster dynamics, effortless clarity, detail, and levels of sonic finesse rarely (if ever) heard in commercial theaters. But note: You’ll need good electronics for optimal sound.Look elsewhere if: You are pressed for space or would find the ~$7000 system too pricey. The Z-92s and Z-62s are lovely, but can visually dominate smaller rooms. Also, look further if you favor speakers with a soft, diffuse, “romantic” sound; the Z-models invariably give you clarity and detail—in spades.

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would have helped, I thought at the time, was a planar ribbon midrange driver to bridge the gap in the middle. And as it turns out a planar ribbon midrange driver is precisely what BG Radia provides in its newest Z-series models—the Z-92 and Z-62. In theory, these speakers should offer greater clarity from top to bottom and a more seamless blend between drivers, and to test that theory I decided to review a surround rig of two Z-92 floorstanders (used as L/R main speakers), three Z-62 L/C/R speakers (used in the center channel and L/R surround positions), plus one of BG Radia’s 210i subwoofers. How does the complete package sound? Read on.

FeaTuReS • Both the Z-92 and Z-62 are three-way, four-

driver, bass reflex (i.e., ported) speakers, each featuring dual 6.5-inch mid-bass drivers, a 10-inch x 5-inch Neo10 planar ribbon midrange panel, and a 2.5x3.5-inch Neo3PDR planar ribbon tweeter coaxially mounted in front of the Neo10 panel.

• The Z-92 is a full-range floorstander, while the Z-62 is a somewhat smaller, near-full-range, stand-mount monitor/center channel speaker.

• Relative to the original Z-models (which remain in production), the Z-92/Z-62 get improved 6.5-inch mid-bass drivers featuring anodized aluminum cones driven by “double-gap” motors with Neodymium magnets.

• The Z-92 and Z-62 offer gorgeous, real wood veneers with options for light maple or black ash finishes.

• The Z-92 and Z-62 both offer—get this—a lifetime parts and labor warranty.

• 500-watt 210i subwoofer provides dual 10-inch Kevlar woofers arranged in a horizontally opposed, “reactance cancelling” configuration (the woofers face in opposite directions and move outward and inward in unison so that vibration forces exactly cancel out).

Sonic chaRacTeRThe Z-92 and Z-62 speakers take big steps forward from the original Z-models in several key areas. First, their new midrange drivers give middle frequencies the same fast, transparent, wide-open sound that made BG Radia’s planar ribbon tweeter famous. This means that transient sounds—drumsticks striking cymbals, guitar picks passing over strings, etc.—burst into life with compelling, realistic immediacy.

Second, the speed and resolution gap I previously heard between the woofer and


specs/pricingbG Radia Z-92 three-way floorstanding speakerdriver complement: One 2.5” x 3.5” Neo3PDR planar ribbon tweeter, one 10” x 5” Neo 10 planar magnetic midrange panel, two 6.5” aluminum mid-bass drivers with double-gap motors and Neodymium magnetsFrequency response: 32Hz–25kHzSensitivity: 91dBImpedance: 4 ohms dimensions (HxWxd): 44.25” x 7.7” x 14”Weight: 70 lb./eachWarranty: Lifetime parts and laborPrice: $2500/pair

bG Radia Z-62 three-way stand-mount monitor/center channel speakerdriver complement: As for Z-92Frequency response: 55Hz–23kHzSensitivity: 91dBImpedance: 4 ohms

dimensions (HxWxd): 7.7” x 26.8” x 11.5”Weight: 40 lb./eachWarranty: Lifetime parts and laborPrice: $1000/each bG Radia 210i powered subwooferdriver complement: Two 10” long-throw Kevlar woofers arranged in a horizontally opposed “reactance cancelling” configuration.Integrated amplifier power: 500Wdimensions (HxWxd): 14.69” x 16.25” x 17.5”Weight: 62 lb./eachWarranty: Five yearsPrice: $1499/each

SySTeM PRICe: $6999

BG RADIA CORPORATION: (888) 875-2627bgcorp.com

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tweeter in the original Z-models has now mostly been bridged. This is partly because the new midrange panel fills that gap, but also because the Z-92/Z-62 woofers, which have significantly improved motors, have also gotten better, delivering a more refined, nuanced

sound. The result is a speaker where driver voices blend more smoothly than before—with better integration than in many other hybrid speakers I’ve heard.

While the Z-92/Z-62 speakers sound somewhat bright straight out of the carton, they smooth out nicely after about 50 hours of playing time. Once broken in, they exhibit generally neutral tonal balance, though with faint, occasional hints of upper midrange/lower treble emphasis—characteristics some listeners think enhances clarity, but that tug at your ears to disrupt 3D imaging just a bit.

But the best part of these speakers, by far, is their midrange, which is smooth, evenly balanced, and full of detail and nuance. Bass is rich and very well weighted, but perhaps just a bit under-damped so that low notes—the deep throb and growl of a vigorously plucked acoustic bass, for example—exhibit more bloom than is, strictly speaking, realistic. This partly has to do with the bass performance of the Z-92/Z-62 speakers themselves, but also with the sound of the 210i sub. The 210i goes low and is powerful, but for its price, I wish it delivered a more taut and defined sound (which BG Radia’s flagship BGX-4850 in-wall sub does, by the way).

Dynamic prowess is a major strength of the entire BG Radia system—one that differentiates it from many others in its class. There’s an old adage that says you can get sonic subtlety or robust dynamics in a speaker system, but probably not both at once. But with this BG Radia rig, you can. The Z-92/Z-62/210i combo sails happily through large-scale sound effects and musical crescendos at

volume levels that would make many systems beg for mercy—a quality that I and that many guest listeners found thoroughly thrilling.

An important hint: The Z-92/Z-62 system sounds very good without any EQ at all, but if you want to hear this system taken to the next level, try using it with electronics that feature the Audyssey MultEQ room/speaker equalization system; the synergy is breathtaking. Because the Z-92/Z-62 speakers are quite good to begin with, the changes you’ll hear might at first seem small, but their overall effect is not. With Audyssey EQ in play, the speakers’ slight upper midrange forwardness goes away and the bass tightens up and becomes better defined—all without losing any transparency or dynamic clout. The net result is that this already very good speaker system becomes even better, with smoother sound overall and surround imaging that’s more pefectly seamless.

MoVie peRFoRMance One film whose soundtrack shows off a plethora of the system’s strengths is Clint Eastwood’s brilliant Letters from Iwo Jima. Few films offer more striking contrasts between heartbreakingly quiet, soul-searching moments and gargantuan battle scenes—a spectrum the BG Radia system handles with authority and poise. In the conversation where Saigo argues with Shimizu that the Emperor is better served by soldiers who live to fight rather than by those who commit suicide, for example, the BGs let you hear and feel the desperate, persuasive edge in Saigo’s voice. Yet in larger scale scenes, such as the one where a

machine gun emplacement takes a direct hit, the system can reproduce shock waves so violent that they smack listeners in the chest, pinning them to their seats.

Finally, the BG Radia systems ads power and impact to the scene where we see Japanese soldiers hunkered down in caves, cringing as American artillery shells fall closer and closer to their position. What makes the scene so powerful is that we hear explosions that seem to encircle us, first from afar and then from close range—an effect the system renders with superb surround imaging. Tension builds almost to the breaking point as shells land close enough for the soldiers ( and for us) to hear the fierce, metallic “crack” of detonations almost directly overhead. It’s a



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scene to make one’s blood run cold, made even more powerful by the BG Radia rig’s ability to remain clear and composed at higher volumes.

MUSIC PERFORMANCE It takes just one great jazz recording—namely, The Jimmy Cobb Quartet’s Cobb’s Corner [Chesky, Multichannel SACD]—for you to realize that there is more to this system than monster dynamics or the sturm und drang of battle scenes. Try listening to “My Foolish Heart,” and you’ll be struck by the way the Z-92s captures the sweet yet incisive bite of Roy Hargrove’s solo trumpet, which sounds very realistic both in size and timbre. The speakers convey the sense of notes forming within the horn’s interior and then bursting forth through its brass bell; it’s a captivating sound. Off to the right side of the stage, you’ll hear Cobb’s deft, sure brushstrokes on drums and cymbals. The system does a great job of capturing their delicate, filigreed sound and of expressing the quiet, masterful intensity of Cobb’s playing. In short, the system retrieves deep layers of musical information that other speakers might underplay or simply leave behind.

BOTTOM LINE: BG Radia’s Z-92/Z-62 surround system may not be the slam-dunk “best product” product in its class, but it can certainly compete with the strongest systems I’ve heard in the sub-$7K price bracket, which is saying a mouthful. The system brings distinctive strengths to the table, including superb treble and midrange detailing, a highly nuanced sound, good top-to-bottom driver integration, and the ability to serve up killer dynamics on demand. Dropping close to seven grand on a speaker system might initially seem like an over-the-top luxury, but once you live with the BG Radia system for a few weeks the idea will make perfect sense.

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About a year ago Definitive Technology President Sandy Gross called me, sounding excited. “I wanted to tell you

we’re working on a new kind of Super Tower speaker that will use a variation on those mid-bass drivers you liked so much in our ProCinema 1000 system. We’re going to call it the Mythos ST.”

The $1649 ProCinema 1000 rig, which I reviewed in The Absolute Sound Issue 168, featured mid-bass drivers so sophisticated they would not have seemed out of place in costly high-end stereo speakers. I had often wondered what would happen if Definitive applied those drivers in a more ambitious speaker.

“So the new speaker is going to be a Super Tower and a Mythos model at the same time?”

“Yes,” Sandy replied. “It will be a slender floorstander with an aluminum enclosure, taller and deeper than past Mythos models, but styled to have the traditional Mythos look. Each ST will have a forward-firing, D’Appolito array on top, and a powered subwoofer on the bottom. And each one will have the same bass

output as one of our SuperCube subwoofers.”“How will SuperCube drivers fit inside a

Mythos enclosure?”“Oh, they won’t,” said Sandy. “The ST

cabinet is too narrow for traditional round woofers. Instead, we’ve designed ‘racetrack’-shaped woofers and passive radiators just for this speaker, and we’ll drive them with built-in 300-watt amps.”

“Are you doing a new tweeter, too?” I asked the question because Definitive’s past aluminum-dome tweeters, though good, were not in the same league as its superb mid-bass drivers.

“Sort of,” Sandy said. “We’ve revamped our tweeter, tweaking lots of design elements to cut non-linear distortions in half. I think the new ones sound much better, but you can judge for yourself when you hear them.”

I first heard the Mythos ST ($3798/pair) at CES 2007 and three things impressed me from the outset. First, the speaker offered terrific amounts of low-level detail and high frequency “air” coupled with an underlying quality of

DEFINITIVE MYTHOS ST SURROUND SOUND SPEAKER SYSTEMChris Martens


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treble smoothness. Second, it reproduced depth and imaging cues in an effortless way, so that palpable images broke free from the speaker cabinets in a convincing way. Third, it delivered bass that was powerful, tightly controlled and fast. In short, the Mythos ST struck me as being hands down the best-sounding speaker Definitive has yet made—and one that arguably establishes performance benchmarks in its price class. I considered doing an immediate review of the speaker, but decided to wait unit the companion Mythos Ten center channel came out, so that I could test a complete Mythos ST surround sound system. And now that I’ve heard that system, I can confidently say its performance puts many higher priced rigs to shame.

The ReST oF The SySTeMThe Mythos Ten essentially takes the D’Appolito array section of the ST, flips it on its side, then stretches the chassis just enough to fit in a pair of oblong passive radiators similar to, but smaller than, those used in the ST. The Ten’s bass won’t go as low as the STs’ does, but in all other respects its voicing is identical to its bigger brother. This means you’ll hear seamless speaker-to-speaker transitions as sound effects pan across the front channels

Completing the system are a pair of compact Mythos Gem XL surround-speakers, also based on two-way D’Appolito arrays. Because the XLs are an earlier generation design, their drivers aren’t quite as sophisticated as those in the STs and the Ten. Even so, the Gem XLs would qualify as main speakers in most systems, meaning they’re more than adequate for surround applications.

peRFoRManceThe Mythos ST surround system draws together three essential sonic qualities—resolution, dynamics, and 3D imaging—that add up to a fourth: a touch of pure magic. Let me explain what that comment means in practical terms.

On film soundtracks, the ST system produces an articulate, neutrally-voiced and decidedly muscular sound that absolutely takes command of most listening rooms. In the initial chase scene from Terminator III: Rise of the Machines, a deadly robotic Terminatrix (Kristanna Loken) drives a motorized crane, pursuing John Connor (Nick Stahl) and his spouse-to-be (Claire Danes) through crowded

city streets. The ST system reproduced the ensuing mayhem of the crane ripping through phone poles, cars, and even buildings with terrific vigor and dynamic impact. Yet even through the thickest action-film soundtracks the ST system never loses sight of two essential qualities: overarching clarity and low-level detail.

At one point in the chase, for example, the evil Terminator (Loken) attempts to dispose of the good-guy Terminator (Schwarzenegger) by dragging him through the cab of an oncoming fire truck. Through many speaker systems the resulting collision produces nothing more than a generic loud noise, but the ST system—thanks to its superb detail and pitch definition—lets you hear the unmistakably metallic “claaAANK” of the heavy-metal Schwarz-inator plowing into the nose of the truck.

Similarly, in the final shootout scene from Open Range, the ST system displays raw power (delivering the ear-splitting “craaccKK” of individual gunshots) as well as impressive textural subtlety. You can, for instance, hear the ratcheting “clicks” of Colt revolvers being cocked, the sharp “whirr” of shards of wood sizzling through the air as shots go astray, or the gently modulated moan of the prairie wind in the background. The point is that the Definitive system weaves together small, seemingly inconsequential details to create a fabric of sheer realism.

But superb though the Mythos ST system is in home theater contexts, it is really at its best when reproducing music—and the higher the resolution the better. In fact, the


specs/pricingMythos ST main speakers ($3798/pair)driver complement: One 1” aluminum-dome tweeter, two 5.25” mid-bass drivers, one 6” x 10” “racetrack-shaped” woofer, two 6” x 10” passive radiatorsFrequency response: 14Hz–30kHzbuilt-in subwoofer amp: 300 wattsSensitivity: 93dBImpedance: 4–8 ohms dimensions (HxWxd): 6.75” x 51.5” x 9.5”Weight: 70 lb./ea.

Mythos Ten center speaker ($899/each)driver complement: Same tweeter and mid-bass drivers as ST, but with two 5” x 8” passive radiatorsFrequency response: 31Hz–30 kHzSensitivity: 92dBImpedance: 4–8 ohmsdimensions (HxWxd): 34.5” x 6” x 4.375”Weight: 16.7 lb./ea.

Mythos Gem XL surround speakers ($698/pair)driver complement: One 1” aluminum dome tweeter, two 4.5” mid/bass driversFrequency response: 50Hz–30kHzSensitivity: 89dBImpedance: 4–8 ohmsdimensions (HxWxd): 4.5” x 12.625” x 5.5” Weight: 7.25 lb./ea.

System Price: $5395

DEFINITIVE TECHNOLOGY(410) 363-7148definitivetech.com


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biggest “problem” you might encounter with the Mythos ST system could be finding electronics, source components, or recordings good enough to tap its full potential.

Let’s start with the basics. The ST system is sensitive and easy to drive, in part because its built-in powered subwoofers shoulder the lion’s share of the bass workload—you don’t need to use high-powered amplifiers unless you want to. (Definitive’s Sandy Gross, for example, drives his personal pair of Mythos STs with a modest, 17Wpc tube amplifier). Further, the ST system offers smooth, neutral tonal balance; delicate and extended highs; deep, powerful, and lightning-fast bass response; and the ability to resolve very fine levels of sonic detail. And therein lies the genius, but also the only potential drawback, of this system.

The good news is that the ST system resolves subtle textural and dynamic details more effectively than other systems its price. For instance, the ST shows how subliminal outdoor sounds—birds and insects chirping or the rustle of a soft passing breeze—contribute tremendously to the pastoral vibe of “The Park” from Feist’s The Reminder [Cherrytree/Interscope]. But the not-always-good news is that the Definitive rig sometimes exposes shortcomings in associated equipment or recordings. For example, the ST system shows how Feist’s vocals vary in sound quality from track to track, ranging from dreamy smoothness on “How My Heart Behaves” to a raw, hard-edged sound on the closing chorus of “The Park.” For better or worse, the ST system faithfully reports whatever it “hears.”

When recording quality is spot-on, as

on Sara Hickman’s luminous vocals on “In the Fields” from Shortstop [Elektra], the ST system becomes downright holographic, its rich details and overall sense of “air” bringing vocals, instruments and even the recording space to life in a vivid way. And thanks to Definitive’s revamped tweeters, treble details always remain smooth (a step forward from past Definitive tweeters, which occasionally became a bit rough or coarse). Bass textures and transients likewise exhibit clarity, punch and speed. Listen to a recording that showcases acoustic bass, such as the Blue Chamber Quartet’s arrangement of the Astor Piazzolla composition “Kicho” [First Impressions, Stockfisch SACD], and you’ll be floored to hear how this system captures the size, weight, and tightly-focused growl of the instrument. The STs simply don’t do bass boominess, and the longer you listen the more you’ll appreciate their lithe, accurate bass.

The system exhibits few performance drawbacks, and those that arise almost always result from excessive volume settings (a serious temptation, given how gracefully the system plays at loud levels). On loud, prolonged pipe organ passages and the like, the subwoofer can be overdriven, resulting in momentary, atonal “chuffing” sounds. Similarly, at very high levels the mid-bass drivers can exhibit hints of upper midrange forwardness that bespeak strain. But at sane volumes, the system rarely breaks a sweat.

Let me also offer two small performance tips. First, check periodically to make sure the speakers’ metal floor spikes remain firmly tightened into the granite floorplates; you’ll


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hear some “buzzing” if the spikes happen to work loose. Second, in home theater systems, run speaker cables to the STs as you normally would, but also route line-level subwoofer signals to the speakers’ dedicated LFE inputs. This easy-to-overlook setup touch will give the system fuller, better balanced bass on movie soundtracks.

BoTToM line: Definitive’s Mythos ST system is one of the rare few that sounds great on movies, but even better for music playback. Exceptionally revealing, the ST package will show you how your system components and favorite movies or music really sound. Don’t be surprised to hear the STs expose rich new layers of sounds you’ve never experienced before—even on material you think you know well. In simple terms, the Mythos ST system places you in the performance ballpark of speaker systems carrying five-figure pricetags, but for about half the cost.

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laST woRD: • Refined and remarkably detailed

sound. • Deep, powerful, lightning-fast

bass.• Very easy to drive.• Incredible value.

• STs can and do expose shortcomings in recordings and other system components.

• You’ll need top-flight gear (and records) to hear this system at its best.

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MONITOR AUDIO SILVER RX 5.1-CHANNEL SURROUND SPEAKER SYSTEM

The British loudspeaker maker Monitor Audio enjoys a reputation for being one of the first and most ardent pioneers in

the development of drivers whose diaphragms (or cones) are made of metal (in order to exploit the light, stiff, responsive characteristics they afford). But perhaps more importantly, Monitor is also known for its unshakeable commitment to value, its determination to build products that, in terms of look, feel, and sound, leave prospective buyers thinking, “Wow, that’s a lot of speaker for the money.” Now more than ever, Monitor’s determination to offer audio

products that deliver high-tech engineering at a fair price is especially welcome, and there is no better example of this than the firm’s newly released Silver RX series of loudspeakers, which are our review subjects here.

Monitor has, by tradition, named most of its speaker families after precious metals, starting with the Bronze range and progressing upwards through the Silver, Gold, and Platinum ranges. But of these four families it would be fair to say that the Silver range is Monitor’s “bread and butter” product line—a line sophisticated enough to offer many of

Chris Martens


overviewConsider this system if: You want a sub-$4500 speaker system whose sound is competitive with that of far more costly systems (we’re talking serious value here). Look at this system, in particular, if you like the idea of mid-priced speakers that probe the limits of sonic resolution and detail in ways that will remind you of much higher-end speakers. Expect an accurate, lively, dynamic, and well-defined sound and you’ve got the general idea. Finally, consider the Silver RX system for its sensible size and overall build quality; the Silver RX speakers are compact enough not to dominate a room, yet they’ll treat you to lovely woodwork and drivers too beautiful to hide behind grilles (unless you must, to keep children’s fingers from poking at them).

Look further if: You favor a sound that is slightly warmer, richer, or darker than is strictly accurate—the Silver RX system is very neutral in its tonal balance, but some listeners might interpret its sound as being slightly bright and lean. Be aware, too, that the Silver system is very revealing (conveying what some might consider “too much information,” so that you’ll need and want to use good associated equipment for best results. Frankly, the system can and does expose the sonic “warts” of good but not great source components, electronics, and program material. In short, this absolutely is not one of those warm, cuddly, forgiving British speaker systems you may have read about.

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the firm’s more advanced technologies, yet affordable enough to be accessible to a broad range of customers. Having reviewed some of the earlier-generation Silver models, I can attest to the fact that they showed real flashes of promise, offering lively dynamics, near full-range frequency response, and a generally clean and expressive sound. But that said, I would also say that they exhibited a certain “so close and yet so far” quality, meaning that despite acknowledged strengths the old Silver models occasionally allowed some unwanted sonic rough edges to mar their overall sound.

Well aware of this problem, Monitor’s engineering team, led by Technical Director Dean Hartley, began work on the Silver RX range with the thought that, this time around, they would raise the Silver line’s performance bar in substantial and not merely incremental ways. To this end, the engineering team spent a full two years refining and reworking its FEA (finite element analysis) design tools in order to develop computer models that could more accurately and precisely predict real-world speaker performance. In a CEDIA conversation, Hartley told me that Monitor’s old FEA tools, though instructive in some respects, were not very useful in terms of creating full-fledged speaker designs that worked as intended. The revised FEA tools, Hartley said, are an entirely different story; they allow Monitor to create speaker prototypes that behave much the way the computer models say they will. But in the case of the Silver RX line the new tools allowed Hartley and team to do something even more radical than that, which is, figuratively speaking, to

turn sonic Silver into Gold.Playback’s Monitor Audio review system

consists of two Silver RX8 3-way, four-driver floorstanders ($1750/pair), a Silver RX-Centre 2 ½-way, three-driver center channel speaker ($675), two Silver RX-FX 2-way, three-driver, bipole/dipole surround speakers ($750), and a Silver RXW-12 500-watt subwoofer ($1300). I will describe technical highlights of these models under the “Features” section, below. Is this system capable of sonic alchemy? The short answer is, “yes” as I’ll explain in more detail in this review.

FeaTuReS Silver RX speaker system technical highlights:• All models share 1-inch C-CAM gold metal

dome tweeters that are virtually identical to the tweeters used in Monitor’s more costly Gold-series speakers. Note: according to Monitor Audio, C-CAM is “an alloy of aluminum and magnesium on which a thin coating fo ceramic is deposited.”

• All models share 6-inch aluminum RST bass or mid-bass drivers. The RST feature creates a distinctive, computer-modeled, “dimpled” cone surface said to “reduce cone break up and provide purer, more natural mid-range clarity.”

• Bass and mid-bass drivers feature vented, rigid, non-magnetic cast chassis said to “keep the driver cool as well as reduce internal pressure, resulting in the ability to play louder and cleaner.”

• Ported models feature the turbulence-reducing HiVe II port system, said to reduce

port noise and “chuffing” sounds in the presence of high-amplitude bass transients.

• As a means of providing both an extremely stable driver mounting platform and of improving cabinet rigidity, Silver RX drivers

are fastened in place by beefy tension rods that pass all the way through to the back sides of the speaker cabinets to reduce “excessive vibration from the driver and cabinet together, giving lower colouration


specs/pricingMonitor audio Silver RX8 3-way, four-driver, bass reflex floorstanding speakerdriver complement: One 1” C-CAM gold dome tweeter, one 6” RST mid/bass driver, two 6” RST bass driversFrequency response: 32Hz – 35kHzSensitivity: 90 dBImpedance: 4 ohms dimensions (HxWxd): 35.44” x 7.31” x 13” (main speaker), 1” x 10.44” x 15.25” (plinth)Weight: 47.88 lbs. eachWarranty: 5 years, parts and laborPrice: $1750/pair Monitor audio Silver RX-Centre 2 1/2-way, three-driver, center-channel speakerdriver complement: One 1” C-CAM gold dome tweeter, one 6” RST mid/bass driver, one 6” RST bass driverFrequency response: 45Hz – 35 kHzSensitivity: 90dBImpedance: 6 ohms dimensions (HxWxd): 7.31” x 19.69” x 7.87”Weight: 21.13 lbs. eachWarranty: 5 years, parts and labor Price: $675 each Monitor audio Silver RX-FX 2-way, three-driver, bipole/dipole surround speakerdriver complement: Two 1” C-CAM gold dome tweeters, one 6” RST mid/bass driver

Frequency response: 60Hz – 35kHzSensitivity: 89dBImpedance: 6 ohms dimensions (HxWxd): 11.81” x 9.81” x 4.75”Weight: 10.38 lbs. eachWarranty: 5 years, parts and laborPrice: $750/pair Monitor audio Silver RXW-12 powered subwooferdriver complement: One 12” C-CAM woofer with 3” long-throw voice coilIntegrated amplifier power: 500W RMS (1000W peak), Class Ddimensions (HxWxd): 13.37” x 13.37” x 16.12”Weight: Not specifiedWarranty: 5 years (on main woofer, 2 years on subwoofer amplifier), parts and labor Price: $1300/each System Price: $4475 as tested U.S. DistributorKEVRO INTERNATIONAL(905) 428-2800kevro.com MONITOR AUDIO LTD.monitoraudio.co.uk

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across the entire frequency spectrum.”• Floorstanding models feature strong and

handsome floor plinths with beautifully made floor spike/floor pad hardware that makes the speakers a joy to install.

• The Silver RX-FX surround speaker can be wall-mounted and features switch selectable bipole/dipole modes of operation.

MoniToR auDio SilVeR RXw-12 Silver RXW-12 technical highlights:• Features a 12-inch C-CAM subwoofer driver

with “triple suspension and 3-inch long throw voice coil.”

• 1-inch (25mm) thick MDF cabinet walls with heavy internal bracing.

• 500-watt Class D amplifier.• Offers two pushbutton-selectable EQ curves.

The EQ1 curve is optimized for maximally flat frequency response and “the best overall transient response and power output.” With the EQ1 curve selected, frequency rolloff “starts at 27 Hz.” The EQ2 curve provides what many manufacturers would call a “Movie” mode that provides “an additional boost of 4dB … at 21 Hz to give impact essential for action movies.”

Sonic chaRacTeRMore so than most mid-priced speaker systems I’ve sampled, Monitor Audio’s Silver RX system is capable of sounding like a much higher-end (and higher-priced) system than it really is.

Part of the system’s inherent goodness revolves around its exceedingly accurate and neutral tonal balance. As is often the case with

genuinely neutral transducers, I could see how some listeners might interpret the Silver RX system as sounding slightly bright and lean, but this is an illusion. It’s just that the Monitor Audios are among those “what’s on the recording is what you get” speakers that refuse to inject any artificial warmth or colorations of their own. Interestingly, should you happen to try an automated room/speaker EQ system with the Silver RX system, you may discover—as I did—that there really isn’t much work for the EQ system to do (except way down in the low bass region where most speaker systems’ in-room response curves exhibit a few peaks or troughs that judicious touches of EQ can help smooth out).

But accurate tonal balance is only part of the story, because the Silver RX also offers excellent transient speed and astonishingly high levels of resolution and detail. Put these factors together and you’ve got a system that can really dig down deep into good recordings to retrieve layer upon layer of musical or cinematic detail that most systems at this price would either soften or miss altogether. To be perfectly frank, though, this highly revealing quality can sometimes represent a double-edged sword. When fed great material and driven by high-quality source components and electronics the Silver RX system can sound breathtakingly good. But, when fed so-so program material or driven by mediocre components, the system will dutifully report whatever sonic quirks and foibles it encounters—sometimes to its own detriment. This is a roundabout way of saying that while the Silver RX system is extremely revealing, it

is also not terribly forgiving—a point to bear in mind for those of you who, down deep, might not enjoy a speaker system that’s capable, in a literal sense, of conveying “too much information.”

The Silver RX system handles both large and small-scale dynamic contrasts in a very lively and expressive way—something you’ll appreciate when, say, a movie soundtrack presents whispered, low-level dialog and then abruptly transitions to introduce louder sounds (such as explosions or gunfire). While the Silver RX system cannot play at ridiculously loud levels the way certain big-bucks blockbuster surround systems can, it more than holds its own versus competitors within (or near) its own price class. In contrast to systems that have a subdued, comfortable, “polite” sound, the Silver RX system instead comes across as offering high levels of refinement and detail served up with a real spirit of energy

and gusto—a complementary combination of virtues indeed.

I identified only three small sonic caveats with this system. First, because even the tallest models in the Silver RX series (the RX8 floorstanders tested here) are comparatively short in stature, the system tends to cast sonic images and soundstages that fall slightly below ear-level. Second, the accuracy and transient speed of Monitor’s metal dome tweeter comes at a price; namely, a tendency for the tweeter to sound just slightly hard-edged or “pingy” on high-energy, high-frequency transients (though this may be a case where the tweeter is simply reporting flaws already present in recordings or upstream electronics). Either way, these occasional (and thankfully, infrequent) treble discontinuities can distract the listener, leading to a momentary disruption in the Silver RX’s ordinarily excellent imaging. Finally, the bass output of the Silver RX system can, at


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times, sound ever so slightly under-damped. To address this issue, however, Monitor thoughtfully provides sets of foam rubber port plugs (for the RX8s) so that users can fine-tune the speakers’ bass characteristics where necessary.

MoVie peRFoRMance Earlier on, I mentioned how well the Silver RX system could handle sudden dynamic shifts in movie soundtracks and the specific example I had in mind was drawn from Quentin Tarantino’s Inglourious Basterds. The film, set in occupied France during WWII, begins when French dairy farmer Perrier LaPadite receives a surprise visit from the notorious SS Col. Hans Landa. In the stillness of LaPadite’s farmhouse kitchen, Landa (known to the French as the “Jew Hunter”) quietly—and with a certain believable and yet snake-like malevolent charm—questions LaPadite about his former Jewish neighbors. Then, at the penultimate moment, when LaPadite thinks he might just get away with the “crime” of hiding Jews beneath his floorboards, Landa springs the question he has come to ask all along: “You are harboring enemies of the state, aren’t you?” Realizing that Landa’s men are about to search his home for the fugitives, LaPadite’s eyes well up with tears as he softly, haltingly replies, “Yes.”

What makes this scene click, and underscores Landa’s deceptive and purely evil nature, is the pristine clarity with which the Silver RX system reproduces the subtlest nuances of the conversation between the two men, while also capturing the innocent

quietude of the humble kitchen. The scene seems so peaceful and the conversation so civil (even genteel), yet it is full of latent peril—peril that you can hear and feel as Landa weaves a conversational noose, as it were, and then abruptly pulls it tight around LaPadite’s neck. The true nature of the exchange, however, is revealed as Landa asks LaPadite—in English, so that the Jews hiding below the floor won’t understand what is happening—to point out exactly where his neighbors are hiding beneath the kitchen. As soon as Landa has his answer, a loud, angular, and distressed string passage unfolds in the soundtrack. Then, the peace of the kitchen is shattered as Landa guides his men to unleash an ear-splittingly loud volley of machine gun fire through the indicated locations on the floorboards. As the massacre proceeds, a huge, menacing orchestral theme swells in the background.

The scene is incredibly disturbing, and shocking to both our minds and emotions. And part of its power is made possible by the prowess of the Silver RX system—driven by the system’s remarkable ability to shift gears from subtlety and nuance to explosive dynamic power in the blink of an eye. We want to believe the oily charm in Landa’s voice—as does LaPadite—but we cannot, and perhaps for this reason are even more scandalized and offended when the true sound of his cold, destructive power erupts and assaults our ears. A fine speaker system can take the inherent emotional power of such a scene and amplify it, which is precisely what the Silver RX system did in this case.

MuSic peRFoRMance When you get right down to it, musical realism (the kind where you temporarily suspend disbelief and allow yourself to imagine that you are in the presence of real instruments) is what we all want from good speaker systems, though it is perhaps a “holy grail” we can rarely if ever achieve. But one recording in particular, the Silver RX system came about as close as any mid-priced rig I have ever heard to achieving true, you-are-there-grade realism. The recording is Christopher Roberts’ hauntingly beautiful and stunningly well-recorded Last Cicada Singing [Cold Blue], which features Roberts performing his own compositions for a fretless Chinese string instrument called the Qin. I’ve only heard a real Qin in live performances a handful of times, but after each performance I found the instrument’s harmonically complex, evocative sound—which can entail both soaring treble lines and plunging bass lines of almost ethereal delicacy—really stuck with me.

Imagine my surprise, then, when I put on the Roberts’ recording and heard through the Silver RX system what sounded very much like a real live, no jive Qin performing right there in the midst of the Playback listening room. What made the experience feel very nearly real was not just the system’s ability to get the sound of the Qin itself right, but also its ability to capture the sense of the acoustics of the room in which the recording was made, while recreating the often elusive feel of the “air” surrounding the instrument. Granted, the sonic presentation might have had a subtly larger-than-life quality, but even so I found the overall level of realism

the Silver RX system achieved to be pretty mind blowing. Let’s put it this way: I’ve heard of more costly systems that could not do as well as this one did.

Another great example of the Silver RX system’s musical capabilities came through listening the DTS-HD Master Audio soundtrack of the Blu-ray version of Return to Forever Returns—Live at Montreux 2008. Featuring the all-star lineup of Chick Corea on keyboards, Stanley Clarke on bass, Al DiMeola on guitars, and Lenny White on drums, this concert film represents a tour de force effort in the realm of fusion-oriented jazz.

Over the course of the concert, Al DiMeola switches from a black Gibson Les Paul electric



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guitar (an instrument often heard on DiMeola’s earlier recordings) to a set of gorgeous Paul Reed Smith electrics—instruments whose sounds might at first seem similar, yet that each have subtle and distinct sonic personalities. What impressed me was the way the Silver RX system faithfully captured (and delineated) the characteristic timbres and voicings of the guitars, doing an especially realistic job with the unmistakably warm, round, “fat” tone of the Gibson.

Stanley Clarke, in turn, performs much of the concert on his signature Alembic 4-string electric bass—an instrument whose unusually fine onboard electronics give it a particularly deep, clear, penetrating basso profundo voice. Having played a few Alembics in my day, I’m sensitive to (and appreciative of) the voicing of the instrument, and sure enough, the Silver RX system did a fine job of reproducing the characteristic Alembic sound—including the over-the-top dynamics that result from Clarke’s sure-handed slap’n’pop playing techniques.

But maybe the biggest surprise of all came in listening to Lenny White play a swooping and elaborate fill on his drum kit, punctuating the fill with hard, sharp shot to his snare drum and a big floor-mounted tom-tom. The Silver RX system simply nailed the sound tight “skin” sounds of the snare drum head and the deep “pop” and bounce of the floor tom. I don’t think I’ve ever heard a mid-priced surround system do a more realistic rendition of the sound of live drums in action.

What my comments are meant to convey is the fact that the Silver RX system is really an exceptional performer at its price—a system

that, above all, gives a surprisingly honest and accurate rendition of the timbres and dynamic qualities of real instruments.

BoTToM line: Monitor Audio’s Silver RX system is one of finest mid-priced surround speaker systems I’ve heard, offering neutral tonal balance, potent dynamics, and more detail and resolution than one would expect for the price. I would say that it is not just a little but rather a lot better than the Silver RS system it replaces—a system that really turns sonic silver into gold.


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It’s been said that almost anyone could build a great loudspeaker system, if given an unlimited budget. A much tougher

task, however, is figuring out how to build speaker systems that combine genuinely high performance, classy aesthetics and high value, and that are backed with the kind of widespread distribution and quality dealer support necessary in order to make the systems accessible to a broad audience. This admittedly tall order defines in a nutshell the specialty of the Canadian speaker maker Paradigm; in fact, you could say those guys have turned manufacturing of high-end/high-value speakers into an art form. Want proof? Look no further than the firm’s new Studio Series v.5 speakers, which were formally announced a few months ago, at CES 2009.

What makes the Studio models special? One answer is that they occupy the number two slot in Paradigm’s product pecking order, just

below the ambitious, expensive and critically acclaimed Signature range. The significance of this positioning is that Studio models often inherit recently developed technologies and construction techniques originally created for the Signature line, but that become more affordable once they trickle down to the Studio level. Can you say “sweet speaker technologies at bargain prices?” Sure you can.

For this review, we chose a surround system based on the very recently released Studio 60 v.5 floorstanders, a Studio CC-490 v.5 center

PARADIGM STUDIO 60 V.5 SURROUND SPEAKER SYSTEM Chris Martens


overviewConsider this speaker system if: You seek the sound of a fine $10K+ surround rig at a mid-$6k price. This is a refined, well-rounded system with few weaknesses and all the essential sonic “goodies”: high levels of resolution and detail, razor sharp transient response, neutral tonal balance, good dynamics, and powerful, richly textured bass.Look elsewhere if: You like your surround sound softly focused and diffuse (in contrast, the Studio system has an open, explicit, and tightly focused sound). Also look further if you crave over-the-top dynamics; you can find systems that play louder at this price—if you’re willing to trade off a lot of refinement for greater punch and clout.

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channel, two Studio ADP-590 v.5 surround speakers, and one of the firm’s just-announced SUB 12 subwoofers. We then used Paradigm’s new PBK-1 (Perfect Bass Kit) subwoofer/room EQ system to fine-tune the performance of the SUB 12. Total system price is $6194 without the PBK-1 package, or $6493 with the kit. Our mission? To find out if the new Studio v.5 range carries on in the grand tradition of providing near-Signature levels of performance at accessible prices.

FeaTuReS • Studio v.5 models share common drive unit

technologies, as described below. • High frequency drivers: G-PAL (gold

anodized pure aluminum) dome tweeters, ferrofluid cooled/damped, die-cast heatsink chassis, proprietary IMS/Shock-Mount system.

• Midrange/mid-bass drivers: S-PAL (satin anodized pure aluminum) cone drivers, high-linearity elliptical Santoprene rubber suspensions, die-cast heatsink chassis, proprietary IMS/Shock-Mount system.

• Bass drivers: Mineral-filled polypropylene cone drivers, high-linearity elliptical Santoprene rubber suspensions, die-cast heatsink chassis, proprietary IMS/Shock-Mount system.

• Enclosures: Curved-wall enclosures on all models except the ADP surround, with critically placed internal braces, “high-tech” internal damping materials, and real wood veneers (cherry, rosenut, and black, presented under seven coats of hand-sanded lacquer).

• Studio ADP surrounds are designed for stand-mount, tabletop or on-wall mounting, with enclosures finished in a muted matte black or white to minimize visual distractions.

• SUB 12 subwoofer features a rigid sealed enclosure, a patented 1700-watt “Ultra-Class-D” amplifier, and a high-excursion woofer using a 12-inch mineral-filled co-polymer polypropylene cone. A built-in USB port enables connections to a PC running Paradigm’s PBK-1 (Perfect Bass Kit) software.

• Distinctive PBK-1 (Perfect Bass Kit) subwoofer/room EQ kit features a calibrated USB mic complete with stand, PBK software for use on a laptop PC, and two USB cables (one for connecting the mic to the


specs/pricingParadigm Studio 60 v.5 Surround Speaker System

Paradigm Studio 60 v.5 3-way/four-driver floorstanding speakerdriver complement: One 1” ferrofluid-cooled G-PAL dome tweeter, one 5.5” S-PAL midrange driver, two 5.5” mineral-filled polypropylene bass driversFrequency response: 45Hz–22kHzSensitivity: 92dBImpedance: 8 ohms dimensions (HxWxd): 40.125” x 7.875” x 11.875”Weight: 70 lb./eachWarranty: Five years, parts and laborPrice: $1998/pair

Paradigm Studio CC-490 3-way/four-driver center channel speaker driver complement: One 1” ferrofluid-cooled G-PAL dome tweeter, one 3.5” S-PAL midrange driver, two 5.5” mineral-filled polypropylene bass driversFrequency response: 65Hz–20kHzSensitivity: 90dBImpedance: 8 ohmsdimensions (HxWxd): 8.375” x 19.25” x 11.375”Weight: 45 lb./eachWarranty: Five years, parts and laborPrice: $799/each

Paradigm Studio adP-590, 3-way/five-driver surround speakerdriver complement: Two 1” ferrofluid-cooled G-PAL dome tweeters, two 3.5” S-PAL midrange drivers, one 7” mineral-filled polypropylene bass driverFrequency response: 85Hz–20kHzSensitivity: 89dBImpedance: 8 ohms dimensions (HxWxd): 8.75” x 14.75” x 6.625”Weight: 17.5 lb./eachWarranty: Five years, parts and laborPrice: $1398/pair

Paradigm SUb 12 subwooferdriver complement: One 12” mineral-filled polypropylene wooferIntegrated amplifier power: 1700W rmsdimensions (HxWxd): 21.75” (with feet) x 16.37” x 21.25”Weight: 89 lb./eachWarranty: Three years, parts and laborPrice: $1999/each

(Optional) Paradigm Pbk-1 (Perfect bass kit) subwoofer eQ optimization kitPrice: $299

System Price: $6,194 without PBK-1, $6493 with PBK-1

PARADIGM ELECTRONICS INC.: (905) 564-1994paradigm.com


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PC, the other for connecting the subwoofer to the PC). The software guides users through a calibration process where bass measurements are taken from 5-10 listening locations, and a custom subwoofer/room EQ curve is calculated and then downloaded to the sub.

Sonic chaRacTeRIf I had to describe the Studio 60 v.5 system in just two words, the two I would choose are “balanced” and “focused.”

Balanced: The voicing of the Studio 60 system is extremely neutral, straight out of the box—so much so that, even if you choose to use a room/speaker EQ system such as the Audyssey MultEQ system or Paradigm/Anthem’s ARC system, you may find that you don’t hear much of a “before” vs. “after” difference at all. That’s a remarkable testimony to how smooth and evenly balanced the system’s frequency response is in the first place.

Focus: This system does a great job of resolving fine textural and transient sonic details, yet does so without making soundtracks or music recordings sound “glassy,” “hot” or overly bright. In particular, the system has a commanding way of handling sudden transient sounds thanks to its great combination of transient speed and dynamic snap. Surround sound imaging is tightly and precisely focused, too, so that sounds/voices often present themselves within the soundfield with startlingly vivid realism (more than once during my tests I unconsciously swiveled my head to look toward the apparent source of a

sound, only to realize the sound was “only in the soundtrack”—not real).

Finally, the SUB 12 is a truly potent subwoofer—one that impresses as much with its textural refinement as with its 1700-watt clout. As I listened to low frequency sounds or musical notes, I found that the SUB 12 revealed subtle variations in timbre and pitch that other subs tend to quash or to render as more of a monotone. Paradigm’s PBK-1 kit definitely makes a good thing better, cleaning up peaks and valleys in the subwoofer’s in-

room response curve and addressing the bass irregularities of “problem rooms.” In general, the kit helps the sub achieve a tighter, smoother, and better-defined sound—making the sub a more perfect match for the rest of the Studio v.5 system.

One hint: do pay attention to Paradigm’s advice about giving the Studio v.5 speakers a few hours of playing time before doing critical listening. Our set smoothed out and opened up nicely (almost like some fine wines do) after initial break-in.

MoVie peRFoRMance The Studio 60 v.5 system is a real treat on movie soundtracks, in part because it so effortlessly and gracefully shifts from playing “large” to playing “small.” Let me provide an illustration to explain what I mean.

In the “Depth-Charged” chapter of U-571, a German destroyer has pinpointed the location of one of its own captured U-boats and is raining deadly depth charges down on the sub from above. The system is called upon to reproduce the sound of multiple, violent underwater explosions, and then to capture the sounds of chaos from inside the U-boat. We hear the hull quake with each detonation, pipes bursting, instruments shattering, electrical fires breaking out, and the sounds of loose objects and crewmen being flung in every direction. That’s what I call playing “big,” because the system is forced to reproduce multiple cacophonous sounds at once, even as its dynamic limits are being probed. It’s a test the Studio 60 v.5 system passes with flying colors.

But later in the film, in the “200 Meters” chapter, extreme sonic subtlety is the order of the day. We watch and listen as the Allied crew pushes its captured U-boat far beyond its design limits—to the terrifying depth of 200 meters—in an effort to dive under the depth charge barrage. Desperate not to reveal their position to the German attackers overhead, the crew communicates only in whispers, while the sub’s hull pops and creaks under the enormous water pressure outside. You can hear palpable relief and grudging admiration in the Chief’s voice when, at the


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200 meter mark, he whispers, “Mary, Mother of God, those Krauts sure know to build a boat.” What’s impressive is that the Paradigm system handles low-level details so effectively that it conveys even more emotion through these whispered words and the hull’s soft but ominous groaning than through all the sturm und drang of the earlier “Depth Charged” chapter. When a system plays “small” as well as this one does, the impact can be huge.

MuSic peRFoRMance During my music tests, I put on an old surround sound favorite—the “Timeless” track from Larry Coryell, Badi Assad, and John Abercrombie’s 3 Guitars [Chesky, Multichannel SACD], and invited a young office colleague in to listen. My colleague had heard the track many times before, both on high-end stereo systems and on other surround rigs, but he sat absolutely transfixed as he listened to the Studio 60 v.5 system. Part of what’s so special about this recording is that it captures the three distinctive guitarists performing on stage in an intimate setting and from an up-close perspective; Coryell is playing on the left and Abercrombie on the right, with Assad in the very center of the stage. As the track came to a close, my colleague looked up and said, “Is it my imagination, or does this system do a way better job of placing those guitarists in exact positions on the stage—as if (he stopped to gesture) they’re right there in front of you?”

The answer is that the Studio v.5 system’s qualities of precision imaging and focus are palpable and real. One of the most intense illusions created by this track is that of Badi

Assad playing masterfully from the center of the stage. But here’s the kicker; Chesky’s multichannel recordings deliberately forego any center channel information (they are essentially four-channel recordings). This means the Studio 60 left and right main speakers were doing all the work necessary to create that hyper-vivid sonic image of Assad at center stage, which is downright amazing.

BoTToM line: Paradigm’s practice is to continually improve its various speaker product families, but I think the firm has really struck gold with its fifth-generation Studio models. The new Studios not only look better than their predecessors, but also sound a lot better—with a presentation reminiscent of the sound of

earlier-generation Signature models. True, it takes serious commitment to spend a mid-$6k sum on a fine surround speaker system in these troubled times, but for those who can afford the entry price, the Studio 60 v.5 system offers sumptuous sonic rewards. Highly recommended.


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PARADIGM SPECIAL EDITION SPEAKER SYSTEM


overviewConsider this system if: You want a roughly $3000 5.1-channel speaker system whose sound embodies many of the characteristics you’d expect of systems roughly priced $2000 - $3000 higher. Tonal balance is neutral, which I always regard as a good starting point, but the real glory of the Special Edition speakers involves their wonderfully lucid and richly nuanced midrange. This comes as no surprise once you understand that the Special Edition models draw on driver technologies borrowed directly from Paradigm’s upscale Reference Studio range. Another strength involves the Special Editions’ ability to produce very large soundstages and to create tightly focused sonic images within those stages—images that effortlessly break free from the speaker enclosures to fill the room with sound. In fact, in terms of three-dimensionality,

imaging and soundstaging, the Special Editions are one of Paradigm’s better efforts to date. Finally, the Special Editions are a great size, pleasingly compact and attractive on the outside, but capable of an astonishingly big sound.Look further if: You’re a connoisseur of treble detail and refinement and are therefore a fan of ultra-responsive and revealing tweeters. While the Special Edition’s titanium dome tweeter is very good, it can’t quite match the standards set by Paradigm’s higher-end Reference Studio and Signature-series tweeters. In practice, this means that the higher up the frequency spectrum you climb, the less sophisticated the Special Edition sounds, so that you’ll miss out on some of the very high frequency detail and the sense of “air” surrounding instruments that you would hear in Paradigm’s top-end models.

Chris Martens

The Canadian firm Paradigm has long been considered a go-to resource among home theater enthusiast and

music lovers seeking sonic excellence at fair prices. A wise colleague once observed that, given enough cubic dollars, almost any manufacturer might be able to develop a great loudspeaker, but that the harder task is figuring out how to build nearly great speakers that can be sold profitably at comfortable, real-world prices. This, in a nutshell, is the specific area of art and science where Paradigm excels. Building upon a solid (and ever-expanding, R&D-driven) base of speaker-

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making know-how, Paradigm has become adept at juggling complex variables, weighing tradeoffs and striking carefully calculated design compromises to yield whole families of loudspeakers that sound better than they have any right to for the money. And the newest of these families is the Special Edition series, announced at CEDIA 2009.

As many of you may know, Paradigm’s speaker products fall into two groups: the standard Paradigm range (comprising the Cinema, Monitor, and now Special Edition families), and the upscale, performance-minded Paradigm Reference range (comprising the Millennia, Studio and Signature families). What’s interesting is that the new Special Edition ranges is—by design—very much a bridge between the Paradigm and Paradigm Reference worlds. Here’s how that bridge works. First, the Special Edition speakers leverage basic cabinet designs originally developed for Paradigm’s popular and affordable Monitor-series speakers. Thus, the Special Edition SE 3 floorstander is roughly the size and shape of a Monitor 7 floorstander, the SE 1 bookshelf speaker is patterned after the Monitor-series Mini Monitor, and the SE Center loosely corresponds to the Monitor-series CC-190 center channel speaker. Rounding out the package is a 300-watt, 10-inch SE Subwoofer that provides onboard DSP functions that enable the sub to be tuned via Paradigm’s optional PBK-1 Perfect Bass Kit. Since the Special Edition family is positioned as a higher-end alternative to (and step up) from the Monitor family, the Special Edition cabinets are treated to real wood veneers with softly

rounded cabinet edges that convey an upscale look and feel.

The drivers and crossovers used in the Special Edition speakers are where a big part of the magic comes in, with Paradigm using driver frames similar to those used in its Monitor-series models (that is, frames made of die-cast aluminum and/or glass-reinforced injection-molded polymer), but fitted in most cases with sophisticated diaphragms and motors patterned after those used in the much more costly Studio-series speakers. Crossover networks, in turn, are said to use “Reference quality” parts throughout. The result is a desirable family of hybrid speakers that look like Monitor-family speakers all dressed up for a night on the town, but that sound much more like Studio models—and at about 3/5ths the price of a Studio system.

Our $3194 review system consists of two SE 3 floorstanders used as L/R mains, an SE Center center channel speaker, two SE 1 bookshelf monitors used as L/R surrounds, and an SE Subwoofer. As you’ll see in a moment, this system offers delightful sound quality at a very accessible price, while offering visually pleasing cabinetry that hits that “just right” size (as in, not too big, yet not too small) that should work well for many households.

FeaTuReS Special edition Se 3, Se 1, and Se Center speaker system highlights:• All models share 1-inch H-PTD (High-

Efficiency Pure Titanium Dome) tweeters with ferro-fluid damping and cooling, and with die-cast aluminum frames that double as

waveguides.• The SE 3 and SE 1 models share 5½-inch

S-PAL (Satin-Anodized Pure Aluminum) mid-bass drivers with solid, satin-anodized solid-aluminum phase plugs, and GRIP (Glass-Reinforced Injection-Molded Polymer)

frames. The SE Center uses a similarly constructed, but smaller diameter, 3½-inch S-PAL midrange driver with ferro-fluid damping and cooling.

• The SE-3 and SE-Center models use pairs of 5½-inch mineral-filled polypropylene bass


specs/pricingParadigm Special edition Se 3 2½-way, four-driver, bass reflex floorstanding speakerdriver complement: One 1” H-PTD titanium dome tweeter, one 5½” S-PAL mid/bass driver, two 5½” mineral-filled polypropylene bass driversFrequency response: 40Hz – 20 kHzSensitivity: 93 dBImpedance: 8 ohms dimensions (HxWxd): 34” x 6.5” x 10” Weight: 36.9 lbs. eachWarranty: 5 years, parts and laborPrice: $1498/pair

Paradigm Special edition Se Center 3-way four-driver, center-channel speakerdriver complement: One 1” H-PTD titanium dome tweeter, one 5½” S-PAL mid/bass driverFrequency response: 50Hz – 20 kHzSensitivity: 91 dBImpedance: 8 ohms dimensions (HxWxd): 7” x 17.5” x 9.5” Weight: 20.7 lbs. eachWarranty: 5 years, parts and laborPrice: $499/each

Paradigm Special edition Se 1 2-way, two-driver, bookshelf speakerdriver complement: Two 1” C-CAM gold dome tweeters, one 6” RST mid/bass driverFrequency response: 65Hz – 20 kHzSensitivity: 88 dBImpedance: 6 ohms dimensions (HxWxd): 11.5” x 6.5” x 8.5”Weight: 12.9 lbs. eachWarranty: 5 years, parts and laborPrice: $598/pair

Paradigm Special edition Se Subwoofer powered subwooferdriver complement: One 10” CAP carbon/aramid fiber polypropylene woofer with 2-inch voice coilIntegrated amplifier power: 300W RMS (900W peak), Class Ddimensions (HxWxd): 10” x 11” x 11”Weight: 14.1 lbs. eachWarranty: 3 year, parts and labor Price: $699/each

System Price: $3194 as tested

PARADIGM ELECTRONICS INC. (905) 564-1994paradigm.com

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drivers with 1-inch voice coils, Santoprene surrounds, and GRIP (Glass-Reinforced Injection-Molded Polymer) frames.

• All three Special Edition models feature bass reflex enclosures with “Reference quality” cabinets offered in three finishes: rosenut, black gloss, or white gloss.

Special edition Se Subwoofer highlights:• 10-inch woofer with CAP (Carbon/Aramid-

Fiber Polypropylene) driver cone.• 300-watt Class D amplifier.• Paradigm proprietary DSP circuit with USB

port for connectivity to Paradigm’s optional PBK-1 Perfect Bass Kit.

• Distinctive bass reflex enclosure “converts to down- or forward-firing driver orientation” via a clever set of repositionable legs. Cabinet finishes are the same as those offered for the SE 3, SE 1, and SE Center models.

Sonic chaRacTeRTo give you a useful “character sketch” of the Special Edition system, let me highly several of its most noteworthy sonic qualities.

neutral Tonal balance: Paradigm speaker systems have long been characterized by their natural, neutral tonal balance—the result of accurate and well-balanced frequency response, and the Special Edition system is no exception. When a system gets rid of obvious colorations, as the Special Edition does, it conveys a certain relaxed, ready-for-anything quality that invites you to listen to whatever content your heart desires (this in contrast to more colored systems that dictate terms vis-à-vis types of material they can or cannot handle

well).One point to note, however, is that the SE 3

floorstanders, while offering surprisingly good dynamic punch, are not the last word in bass extension, so that you will definitely want to buy this system with its matching subwoofer to help add weight and depth in the lowest two octaves of the audio spectrum.

Luxury Liner-Grade Midrange: As noted above, part of the “magic” of this system is that its midrange qualities sound like those of a far more expensive speaker system, which, in fact, is precisely the case. What you get, here, is midrange performance that comes surprisingly close to that of Paradigm’s roughly twice as expensive Reference Studio v.3 system (as reviewed in Playback 18). In practice, this means that midrange frequencies (which convey most of the sonic information in music and in movie soundtracks) sound—through the Special Edition system—open, effortless, and transparent, and are chockfull of dynamic and textural nuances. There’s a pleasingly natural and almost “organic” quality about the SEs’ mids, too, so that you never have that annoying sense of listening to movies or music through the sonic equivalent of an electron-scanning microscope.

excellent Soundstaging and Imaging: More so than many other surround sound systems I’ve reviewed, the Special Edition system does a very fine job of allowing sound to break free from the faces of the speaker enclosures to define wide, deep soundstages, and to place very precise and specific sonic images of instruments, vocalists, actors, or surround sound effects within those soundstages. This is

one area where the Special Edition system can, in fact, compete on a level footing with its more expensive siblings within the Paradigm line up. One good thing that does take some getting used to is the fact that the SEs can create soundstages well to the sides of the listener, with image height that belies the short stature of the SE 3 main speakers (which stand a petite 34 inches tall!).

Limitations: The SE system does have a handful of minor sonic limitations worth noting.

First, on a qualitative level, the SE tweeter (which is arguably the SE driver most like the ones used in standard Paradigm Monitor-series speakers) does not offer the same levels of sophistication as the terrific SE



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mid-bass drivers do. In practical terms, this means that as frequencies climb higher and higher there is a gradual roll-off in the level of sophistication and detail that you’ll hear. Specifically, treble details seem to loose some measure of speed, focus, and definition—not to an excessive degree, but enough so that you might notice that highs don’t have quite the effortless, natural clarity that the SEs’ mids do. In movie soundtracks this means dialog and high frequency sound effects can sound just a little less crisp and well defined than they should, while in music playback delicate treble textural and transient details can sound slightly compressed or, in some cases, just a little bit “splashy.” Please understand, though, that the SE tweeters are really very good; they fall short only in comparison to the high frequency drivers used in Paradigm’s far more costly Reference Studio models.

Second, note that the SE 3 floorstander, though dynamically alive over most of its operating range, has relatively limited bass extension, meaning that a fair chunk of the bass workload must be handed off to the SE Subwoofer. This is fine, up to a point, but it means that when playing movies with blockbuster soundtracks in larger rooms you can occasionally push the compact SE Subwoofer up to—and then beyond—the point of overload. Happily, the woofer handles bass abuse gracefully (it simply sound looser and a little bit ragged when it reaches its limits), but you may want to bear the woofer’s limits in mind if you plan to use the system in a large living space—or perhaps you might consider using two SE Subwoofers rather than just one.

MoVie peRFoRManceI mentioned above that he SE system is

capable of terrific midrange nuance and is also dynamically alive over most of its operating range. To appreciate these qualities in action, watch—or more accurately, listen to—the film Event Horizon, which is sort of a cross between a sci-fi thriller and a traditional horror film. Early in the film the character Dr. Weir (Sam Neil) is awakened from sleep in a hibernation chamber during a deep space flight to experience what turns out to be an incredibly vivid and ultimately horrific vision/hallucination. In the vision, Weir perceives himself to wake from hibernation, though the rest of the ship’s crew remains in hibernation, and so he begins to explore the quiet interior of the spacecraft, seeking to learn who (or what) has roused him from his deep sleep. Understandably, Weir is almost hyper-vigilant as he listens to and follows small, almost subliminal sounds and noises within interior of the ship, calling out

to see who is there. As Weir pads across the deck, still dressed in swimsuit-like garment he wore in the hibernation chamber, an airtight door suddenly and violent snaps open with a terrific “CLAAaaankKK” that nearly makes Weir almost jump out of his skin (an experience most audience members share with him). Behind the door is a corridor that leads to the ship’s bridge, where Weir experiences the at once eerily compelling and yet chilling vision of seeing his deceased wife seated at the ship’s controls.

The SE system did a wonderful job of precisely sketching the very low-level noises and sonic details at the start of this scene, which of course sets the stage for the adrenaline-inducing rush that Weir (and we) experience when—for no good reason at all—the door suddenly blasts open. The contrast between the soft sounds and the unexpected


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racket of the door is fabulous—capturing through sounds a kind of fear, surprise and shock that images alone could never have conveyed.

But the SE system does have its limits. One of my favorite test soundtracks is the one for Clint Eastwood’s classic war film Letters from Iwo Jima, where a particularly powerful scene is one where the Japanese soldiers are hunkered down in a cave and hoping to survive relentless shelling from American ships anchored offshore. The scene involves sounds of shells landing directly above and all around the Japanese bunker seen onscreen, and I felt that SE system did a very good job of capturing both the dynamics and surround-sound positioning of those shell blasts. However, one small detail that top-tier systems capture—but that the SE system only partially rendered—is the subtle, high frequency sound of tiny rock and dirt particles being jolted loose from the roof of the cave and falling to the floor below (sounds that suggest a roof collapse might be imminent). The SE system did not catch the frighteningly specific (and ominous) sounds of those falling particles as effectively as, say, the Paradigm Reference Studio system did.

MuSic peRFoRMance I listened to the SE system extensively on traditional CDs, high-resolution multichannel recordings (SACDs and DVD-Audio discs), and on Blu-ray concert films, and I was continually struck by how refined and expansive the sound of the compact SE system really is. If your reactions are anything like mine, you may find you instinctively want to compare the SE

rig to competitors that cost, say, one, two, or even three thousand dollars more. Let me supply two examples to illustrate what I mean by calling the SE system’s sound “refined” and “expansive.”

Many audiophiles revere RCA’s Living Stereo recordings from the mid-to-late 1950s, which were—perhaps somewhat ironically—originally captured in three-channel, not stereo, format. Happily, these recordings have been reissued in SACD format where the original three-channel presentation has been preserved, and one of my favorites is the Reiner/Chicago performance of Bartók’s Music for Strings, Percussion, and Celesta. I am particularly fond of the third, or Adagio, movement of the piece because it exposes the composer’s angular and at times dissonant musical ideas while letting you savor not only the voices of the various string and percussion instruments at play, but also the way sounds interact with and reverberate within the recording space.

Now frankly the Bartók recording works well on most systems, but it really comes alive on those that have the midrange moxie and nuance necessary to probe deeply into the inner details at hand, pressing closer and closer toward musical realism. The movement opens with an exposed percussion pattern, then is expanded by a distinctive tympani phrase, where notes bend and plunge way down low, and finally is stretched further still by a darkly evocative string passage. From the start the SE system was in its element, showing off levels of midrange subtlety few mid-priced systems could hope to equal. Several things stood out for me. First, I was struck by how

true the voices of the individual instruments sounded. The SE system serves up purity of timbre that is quite simply way beyond its pay grade. Next, I was impressed by the way the system let me hear the reverberations of sounds within the recording space, in a very real sense defining the size and shape of the space for the listener, and in the process upping the “realism quotient” quite a bit. Finally, I was struck by the way the SE system placed the instruments at specific locations onstage, so that there was less a sense of listening to a speaker system and more the sense of listening the music unfold in the context in which it was originally recorded.


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While the SE system may not be the last word in treble speed or detail, its midrange is shockingly good—a compelling factor that means this system consistently serves most of the music, most of the time. For a system at this price point, who could reasonably ask more than that?

BoTToM line: Paradigm’s Special Edition system fills an interesting gap in the home theater speaker system market, because it is pitched to appeal to enthusiasts who want more performance than entry-level (say, sub-$2000) systems can provide, yet are not ready to step all the way up to systems in the $4000, $5000, or $6000 range. At a bit over $3000, the Special Edition system hits that “just right” price point in the middle, yet offers sound quality that comes very close to equaling what the higher priced rigs can do. Whether you view the Special Edition system as a wonderful destination in its own right, or as a step up the performance ladder toward even bigger and better things in the future, there’s no denying that it offers killer value for money.

Many homeowners will also appreciate the fact that this system—unlike some of Paradigm’s higher-end offerings—is surprisingly compact, though that certainly doesn’t stop the Special Edition rig from delivering a very big, room-filling sound.


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Several months back the A/V rumor mill started churning as word got out that PSB was releasing a new top-tier family

of speakers called the Synchrony Series. PSB is known for packing loads of performance into its low- and mid-priced designs, so listeners were excited to see what company founder and chief designer Paul Barton could do when setting out to build speakers where performance took precedence over pricing. When I met with Barton at CEDIA 2007, he was reluctant to toot his own horn but did quietly allow himself to say that his new flagships produce less distortion than most other speakers, regardless of cost. Most of all, though, I think Barton takes real delight in blowing listeners’ minds with speakers that deliver unexpected levels of performance for the money. As you’ll see in a moment, the Synchrony line fits that profile.

FeaTuReSOur PSB Synchrony surround system consisted of two Synchrony Two floorstanders,

a Synchrony Two C center channel, a pair of Synchrony S surround speakers, and an HD10 powered subwoofer—collectively selling for $7799. Rather than giving a model-by-model run-down, let me simply summarize the key technologies in play throughout the line.

Synchrony models feature rigid and well-damped enclosures that incorporate front and rear panels made of double-walled aluminum, with curved 21mm-thick sidewalls made of laminated MDF. The objective is to have a structure that minimizes unwanted resonance and is stiff enough to let you hear the pure sound of PSB’s drivers without contributing bad vibes of its own. For example, each of the three mid-bass drivers in the Synchrony Two floorstanders has its own internally isolated, ducted mounting chamber.

Next, Synchrony speakers provide the finest drive units PSB has ever made. All models feature light, responsive, ferrofluid-cooled 1-inch titanium dome tweeters with mid/bass drivers whose cones are made of an usual laminate of fine-weave fiberglass and natural

PSB SYNCHRONY TWO HOME THEATER SPEAKER SYSTEM Chris Martens


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fiber—a combination said to offer an ideal mix of stiffness and internal damping.

Finally, the HD10 subwoofer combines a powerful 750-watt “class H” amplifier with a “severe duty” 10-inch woofer and dual opposing 10-inch passive radiators. PSB isn’t kidding with its “severe duty” moniker since the HD10 has been put through a brutal “15-hour test of being driven continuously to maximum output.” Do not attempt this at home (unless you want to scare the bejibbers out of your kids or neighbors).

Barton says the Synchrony designs are less revolutionary than evolutionary—the result of “refinement, refinement, and more refinement,” but if that is the case, then refinement certainly has a distinctive charm of its own.

MoVie peRFoRManceIf I had to sum up the PSB Synchrony system in just a few words, they would be purity, focus, dynamics and, most importantly, emotional content—qualities that play out beautifully in movies and music.

Perhaps a small example will illustrate my point. If you watch the opening minutes of Open Range on DVD, you’ll notice the film’s primary musical theme is introduced through

a sweet, melancholy trumpet solo, even as distant thunder is heard in the background. I’ve probably watched/heard that passage a zillion times, yet the Synchrony system made it sound fresh and new in ways that really snapped me to attention.

First, the PSBs simply nailed the soulful, burnished glow of the trumpet solo in a pure, natural, and lifelike way, making the opening theme sound breathtakingly beautiful. Much


specs/pricingPSb Synchrony Two Front Speakerdriver complement: One 1” titanium dome tweeter, three 5.25” fine-weave fiberglass/natural fiber mid-bass driversFrequency response: 36Hz–23kHzSensitivity: 90dBImpedance: 4 ohms dimensions (HxWxd): 7.5” x 39.5” x 10.75”Weight: 52 lb./eachPrice: $3000/pair

PSb Synchrony Two C Center Speakerdriver complement: As Synchrony Two, except two mid-bass driversFrequency response: 55Hz–23kHzSensitivity: 89dBImpedance: 4 ohmsdimensions (HxWxd): 18” x 7.5” x 10.75”Weight: 25 lb./eachPrice: $1300/each

PSb Synchrony S Surround Speakerdriver complement: Same as Synchrony Two, except two tweeters and two 6.5” mid-bass drivers

Frequency response: 75Hz–23kHzSensitivity: 90dBImpedance: 4 ohmsdimensions (HxWxd): 11” x 13.25” x 8” Weight: 40 lb/pairPrice: $2000/pair

PSb Hd10 Subwooferdriver complement: One 10” polypropylene woofer, two 10” passive radiatorsIntegrated amplifier power: 750Wdimensions (HxWxd): 12” x 12” x 12”Weight: 45lb./eachPrice: $1499/each

Total system price: $7799

PSB Speakers (888) 772-0000psbspeakers.com


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like one of those zoomed-in, micro-molecular scenes from CSI, the PSBs let you explore the interior richness of sounds so you can’t help but be fascinated by what you hear. Second, the PSBs made the deep, sharply focused crack and rumble of the opening peal of thunder sound so real, and so precisely positioned on a distant hillside, that for a split-second I wondered if a real storm was approaching. One of the Synchrony system’s greatest strengths is its ability to create the illusion that sounds are emanating from pinpoint locations within a 3D soundstage, and not from the speakers themselves.

Next, I cued up the Spider-Man 3 DVD, playing the terrifying scene in which the murderer Flint Marko gets atomized (and turned into the Sandman) through a high-energy particle physics experiment gone horribly wrong. As the “de-molecularizer” gets moving, it emits powerful, throbbing noises that the Synchrony system reproduced with the greatest of ease (though the sheetrock was taking a royal beating from all the bass energy turned loose in the room). At the same time, the arms of the de-molecularizer begin to swirl around Marko, sounding louder and louder as they pick up speed—an effect perfectly mimicked by the Synchrony rig. The scene is both visually and sonically unnerving; as Marko is gradually reduced to grains of sand, listeners have the eerie sense of heavy, pulsating mechanical arms whipping in a circle from the front of the room to sweep just behind their heads (a sound that makes even the most unflappable movie watchers flinch). The point is that the Synchrony system draws and

then holds your attention—especially on an emotional level—as few others can.

MuSic peRFoRManceMuch like the Definitive Mythos ST system I reviewed in Playback Issue 2, the PSB Synchrony system does a fine job with movie soundtracks, but really comes into its element when reproducing music. And, to an even greater degree than was true of the Definitives, the PSBs are dependent upon being used with appropriate, high-quality system components in order to sound their best.

My colleague Neil Gader from The Absolute Sound recently reviewed the Synchrony Two as a stereo speaker and, though finding it to

offer many positive attributes, reported it also had “a dark, voluptuous tonal balance,” a “very light subtraction of energy in the presence range,” and a tendency to miss “elusive micro-dynamics.” Frankly, my own findings were substantially different, which I think is an indication that the Synchrony system is a bit of a sonic chameleon that mirrors the sound of the components with which it is used.

Neil tested the PSBs using “purist” stereo electronics that provided no room-correction EQ functions, while I mostly listened to the PSBs through a good A/V receiver equipped with the superb Audyssey MultEQ XT automated speaker set-up/room EQ system. My conclusion is that a good room EQ system


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can help take the PSB system’s performance to the next level.

In my test system the PSBs conveyed a generally neutral tonal balance, with taut, punchy bass. Treble detailing, though perhaps not “state-of-the-art” in the strict sense of the term, was as good if not better than anything I’ve heard in this price range. In the Playback system the speaker tended, if anything, to show a very slight degree of forwardness in the presence range—a quality that effortlessly exposed even small sonic details and dynamic shifts in emphasis. In fact, if this system was any more detailed than it already is, I suspect it would be painfully finicky about associated source and amplification components. As things stand, however, the Synchrony system has hit a sweet spot of sorts, where it works well when driven by modest A/V receivers, yet still holds enough headroom in reserve to show the benefits of high-performance electronics.

But one point on which Neil and I are in complete agreement is that this system is an emotional charmer extraordinaire. This is not a system you can (or should) listen to in a casual way, because it will continually pull at your ears and heartstrings—almost forcing you to care about musical performances. I put on “Children’s Song” from Chick Corea and Return to Forever’s Light As A Feather [Verve/Polydor], and within seconds found myself savoring the otherworldly, chime-like sound of Corea’s electric piano, the taut, almost astringent commentary provided by Stanley Clarke’s acoustic bass, and the luxurious sound of Airto Moreira and Flora Purim’s delicate percussion highlights floating above

the ensemble. In short, the PSBs show you so much about how music is being made (again, letting you hear each note as if from within) that you can’t help but become emotionally involved; indifference is just not an option. And isn’t that the greatest musical gift that any speaker can give?

BoTToM line: At $7800 the PSB Synchrony system is undeniably expensive, yet its performance handsomely repays the owner for his investment, and with emotional dividends. I can think of only a small handful of surround systems that can outperform this one, and they all cost thousands more. The Synchrony system marks a satisfying point of diminishing returns—even for demanding listeners whose expectations run high.


laST woRD: • Pure, engaging tonal colors.• Plenty of detail on soundtracks

and music.• Focused 3D soundstages with

pinpoint placement of sound effects, actors and/or musicians.

• Authoritative dynamics.• Conveys emotional content like a

champ.

• A sonic chameleon that demands good source and amplification components for best results.

• May require a good room EQ system to sound its best.

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If you were to look up the phrase “modest to a fault” in an imaginary Almanac of Popular Expressions, I’m fairly certain

you’d find a photo of Paul Barton, founder of and chief designer for the Canadian firm PSB Speakers. It’s just not in Paul’s nature to brag, not even when showing off a family of speakers destined for critical acclaim. But over the years I’ve learned that he does sometimes show an heightened spark of enthusiasm when demonstrating a design he thinks is extra special. And so it was that Paul “telegraphed” the specialness of the Imagine speakers when he first revealed the pre-production prototypes at CES 2008. In fact, Paul positively beamed as he gave me a grin and said “Come on back to the demo room; I’ve got something I want to show you.”

What greeted my eyes and ears was an affordable speaker system that combined sophisticated good looks and refined sound. Many speaker systems in this performance class are quite large, but the Imagines are

surprisingly compact (even the Imagine T towers stand little more than 37-inches tall), meaning they can fit comfortably in smaller rooms while delivering a big, full-bodied sound that can easily fill larger spaces. Sporting sleek, curved-wall enclosures finished in beautiful “Cathedral-matched” wood veneers, the Imagines simply look and feel like far more expensive speakers (they’re likely to impress even the most jaded of Significant Others).

The only question in my mind, then, was whether the production versions of the Imagines would retain the qualities I found so appealing in the prototypes. To find out, I put together a surround system consisting of two Imagine T towers (used as main speakers), an Imagine C center channel, two Imagine S surround speakers and PSB’s tried-and-true SubSeries 6i subwoofer. The total price of this Imagine system is a very reasonable $4749, and as you’ll see in a moment it delivers impressive value for money.

PSB IMAGINE SURROUND SPEAKER SYSTEM Chris Martens


overviewConsider this speaker system if: You want a beautifully balanced system that’s well suited for music or movie playback. There’s real value here, too, because this system that can compete with many $7000 systems we’ve heard, but for roughly two-thirds the price. The Imagines will especially appeal to listeners who prize holographic, 3D soundstaging—one of the system’s strongest points. They look great, too.Look elsewhere if: You favor forward-sounding speakers that shine a “sonic spotlight” on small textural and transient details. Though very revealing, the Imagines always sound smooth, natural, and “organic”—never excessively flashy.

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FeaTuReS • To preserve common voicing throughout

the lineup, all Imagine models share a core set of drive units: specifically, a 5.25-inch polypropylene mid-bass driver and a 1-inch ferrofluid-cooled titanium tweeter (whose design, PSB says, is influenced by the tweeter used in the firm’s top-tier Synchrony speakers)

• The Imagine T is a 2½-way design featuring a dual-ported bass reflex enclosure, while the Imagine C is a 2-way, three-driver, single-ported reflex design.

• Both the T and C models come with soft

rubber port plugs that can, at the owner’s option, be used to block off reflex ports for a tighter though slightly less full bass sound (a welcome option when the speakers are installed in rooms that can add unwanted bass reinforcement).

• The ingenious Imagine S surround speaker incorporates two sets of tweeters and mid-bass drivers, and offers three user-selectable configurations, allowing bipolar, dipolar or dual-channel modes of operation.

• Imagine speaker enclosures feature a lovely industrial design developed by David Farrage, with sidewalls and (for most models) top surfaces that incorporate subtle, compound curves. To build these exotic-looking enclosures at sensible prices, PSB uses a special manufacturing process said to combine “the precision of computer-controlled machining with the irreplaceable touch of hand craftsmanship.”

• Imagine speaker enclosures are essentially seamless and feature beefy 1.5-inch thick front baffle plates with heavy internal bracing. Front surfaces are gently (and precisely) radiused to minimize diffraction and to control dispersion. Interestingly, there are no visible fasteners for drive units, port vents, or binding post plates.

• The SubSeries 6i provides a 225-watt BASH amplifier driving a 12-inch charcoal/polypropylene woofer, which is housed in a dual-ported bass-reflex enclosure. In a move we applaud, PSB puts the level and crossover frequency controls for the sub on the front of its enclosure.

Sonic chaRacTeRThe Imagine system bears strong sonic resemblance to PSB’s more costly Synchrony system, meaning that it offers well-balanced,

natural voicing and robust dynamics, and can retrieve generous amounts of musical and cinematic detail (the Synchronies are better than the Imagines in this department,


specs/pricingPSb Imagine Surround Speaker System

PSb Imagine T 2½-way floorstanding speakerdriver complement: One 1” ferrofluid-cooled titanium dome tweeter, two 5.25” polypropylene mid-bass driversFrequency response: 38Hz–23kHzSensitivity: 90dBImpedance: 4 ohms dimensions (HxWxd): 37.19” x 8.25” x 13.63”Weight: 40.6 lb./eachWarranty: Five years, parts and laborPrice: $2000/pair

PSb Imagine C 2-way, three-driver center channel speakerdriver complement: As for PSB Imagine T, aboveFrequency response: 55Hz–23kHzSensitivity: 89dBImpedance: 4 ohmsdimensions (HxWxd): 7.5” x 13” x 12”Weight: 17.2 lb./eachWarranty: Five years, parts and laborPrice: $800/each

PSb Image S 2-way, four-driver surround speaker driver complement: Two 1” ferrofluid-cooled titanium dome tweeters, two 5.25” polypropylene mid-bass driversFrequency response: 68Hz–20kHzSensitivity: 89dBImpedance: 4 ohms (bipole and dipole mode), 8 ohms (dual-channel mode)dimensions (HxWxd): 12.63” x10.75” x 6.87”Weight: 16.3 lb./eachWarranty: Five years, parts and laborPrice: $1200/pair

PSb SubSeries 6i powered subwooferdriver complement: One 12” charcoal/polypropylene wooferIntegrated amplifier power: 225Wdimensions (HxWxd): 21.75” (with feet) x 16.37” x 21.25”Weight: 41 lb./eachWarranty: Five years, parts and labor (enclosure and drivers); one year, parts and labor (integrated amplifier)Price: $749/each

SySTeM PRICe: $4749

PSB SPEAKERS INTERNATIONAL: (905) 831-6555psbspeakers.com

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in part because their treble response is more extended, though the performance gap is not as big as you might think). The Imagines are refreshingly free of upper midrange/treble edginess or glare, so that one overriding impression is that the speakers are unfailingly smooth. In fact, those accustomed to bright speakers that overemphasize low-level details might initially perceive the Imagines to sound subdued or reticent. And indeed the Imagines are somewhat more lightly balanced than the Synchrony-models are. But the longer you listen, the more the easygoing naturalness of the Imagine system will win you over.

The Imagines are particularly good at producing holographic, 3D images and soundstages. More so than many of their direct competitors, the Imagine speakers are able to set sound free from their own enclosures, meaning you’ll enjoy the pleasurable illusion that sounds aren’t emanating from the speakers, but rather from points in space where imaginary musicians or actors would stand. For multichannel music or movie soundtracks, this translates into surround sound imaging that is wonderfully convincing, so that you may at times feel as if you’re seated at the center of a hemispheric “dome” of sound that surrounds you on all sides, and that arches up and over you, too.

The Imagines are so well balanced that they sound fine without any EQ system in play. That said, however, I found that, when I tried the Imagines with Audyssey’s excellent MultEQ XT room/speaker EQ system, their sound became smoother still and “opened up” to a significant degree, to more faithfully

reproduce subtle textural and transient detail. My point is that you can tap an extra level of performance potential by pairing the Imagines with electronics that incorporate the Audyssey EQ system.

Finally, let me mention that the SubSeries 6i subwoofer is an affordable gem, offering excellent bass extension and weight, a good measure of textural detail, and plenty of output. While PSB’s compact HD-series subs perhaps offer a better visual match for the Imagine-series speakers, the SubSeries 6i gives you terrific bang for the buck and time-proven performance.

MoVie peRFoRManceTo appreciate how the Imagine system’s natural sound and rich details can bring movie soundtracks alive, may I invite you to scare the living daylights out of yourselves by playing the terror/horror film The Strangers through the Imagine system. Here’s the deal: by design The Strangers uses only a few actors and contains very little dialog so that the film’s action is often driven forward by an ultra-creepy soundtrack that, in essence, becomes a “character” in its own right (or at least it does through the Imagine system). Both tension and terror are expressed through the juxtaposition of natural household sounds (the chiming of a grandfather clock, the creak of planks as the victim-to-be walks across a hardwood floor, or the crackle of a fire in the fireplace) as compared with unnatural sounds (the loud, hyper-reverberant banging of a 4 a.m. knock on the front door, the sound of something—we’re not quite sure what—rattling ominously

against a glass windowpane, or the metallic sound of pipes or chains clanking and creaking in the yard outside. The Imagine system presents the differences between natural and unnatural sound so clearly and effortlessly that they immediately get under your skin. Add to this the film’s off-kilter, minor key musical score and you’ve got the recipe for a sonic stew that will positively make your hair stand on end! As a test, I turned off the soundtrack for a few seconds and discovered that—with the Imagine system temporarily silenced—the onscreen images suddenly seemed much less scary. Behold the power of a top-shelf surround sound system (when coupled with a well-crafted soundtrack, that is).



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MuSic peRFoRMancePart of the reason why people invest in systems like the Imagine rig reviewed here is to hear what favorite older recordings really sound like, and with this thought in mind I decided to test the system by playing the classic progressive/symphonic rock track “Roundabout” from the multichannel DVD-Audio version of Yes’s Fragile [Elektra/Rhino]. To my surprise, what the Imagines revealed was that the core sound quality of this early 1970’s record was—in many though not all respects—equal if not superior to most of the rock releases coming out today! In fact, hearing the track through the Imagines proved to be a trip in a sonic “time machine” of sorts.

The speaker system did a beautiful job of delineating the complex, interwoven elements that make up the track, capturing the opening, chime-like overtones of Steve Howe’s guitar, the vibrant, syncopated melody line carried by Chris Squire’s deep yet articulate-sounding Rickenbacker bass, and the light-speed arpeggios deftly performed by Rick Wakeman on keyboards. While the Imagines let me hear the flaws in the nearly 40-year-old recording (the fact that Bill Bruford’s cymbals sounded a bit compressed and therefore “splashy,” for example), they didn’t browbeat me with the shortcomings. Instead, they let the timbres of instruments (and of Jon Anderson’s voice) shine through with pure, natural warmth that’s all too rare these days. They also showed how expertly the spacious 2002 multichannel mix complemented the original feel and “vibe” of the material.

On great material old and new, the Imagine

system sounds very good on stereo recordings, but is even better when reproducing multichannel that lets the PSB’s surround sound imaging prowess come into play.

BoTToM line: The PSB Imagine system brings listeners many (though of course not all) of the virtues of the firm’s award-winning Synchrony system, but at a substantially lower price point. Like their more expensive siblings, the Imagines offer a smooth, natural sound, good dynamics, and the kinds of subtle—never ostentatious—details that register on an almost subconscious level as simply sounding “right.” Importantly, the Imagines offer holographic imaging—an area where this system excels. Because they are compact and “right-sized,” the Imagines will fit in spaces where larger speaker systems would not. Exquisite fit, finish and design give the Imagines a pleasingly upscale feel.


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When PSB founder Paul Barton released his flagship Synchrony series loudspeakers several years

back, they were almost immediately hailed as one of the performance benchmarks in their price class. More importantly, though, they came to represent one of high-end audio’s acknowledged “points of diminishing returns,” because they set the performance bar sufficiently high that—for most listeners, at any rate—it would have been prohibitively expensive to try and find something better. Not surprisingly, the Synchrony speakers became a target both for competitors’ products and for PSB’s own lower-cost speaker systems to aim at. But they also came to serve as a technology roadmap—one that set forth a development path for new generations of PSB speakers.

In the years since, Barton has been hard at work migrating technologies and design concepts drawn from the Synchrony range and applying them in lower cost PSB speaker lines. First came PSB’s mid-level Imagine speakers,

PSB IMAGE T6 5.1-CHANNEL SURROUND SYSTEM Chris Martens


overviewConsider this system if: you love natural, neutral, uncolored sound that gets out of the way and lets the music and/or movie soundtracks do the talking. While channeling more than a little bit of the overall feel and vibe of PSB’s much more expensive Synchrony and Imagine models, the Image system is a benchmark for value. I’ve not heard anything in its price range to equal it.Look further if: you crave those “Nth” degrees of transparency, detail, and dynamic expressive that only higher-end systems can deliver. But please don’t misunderstand; the Image system is very, very good in all three areas (better than it has any right to be for the money). It’s just that if you want to climb even further up the performance ladder you should be aware that there are other systems that can take you there—for a price.

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which were in a sense “Synchrony juniors” and now come the third-tier Image series speakers, which if anything show an even greater level of influence from the Synchrony wellspring. The result, it seems, is an ever-unfolding group of PSB speaker families whose performance per dollar just keeps getting better over time.

For this review, we decided to evaluate a 5.1-channel system based on the Image T6 floorstanders, which are the top models in the new Image range. The rest of the system consists of an Image C5 Centre speaker, a pair of Image S5 bipole surround speakers, and a SubSeries 5i subwoofer. The total price of the system is a very manageable $2922. At the risk of getting ahead of myself, let me tell you up front that I’ve never heard anything at this price point that could equal this new Image rig.

FeaTuReS PSb Image T6 Tower, Image C5 Centre, and Image S5 Surround highlights:• All models share 1-inch titanium dome

tweeters with ferro-fluid damping and cooling, and neodymium magnets. PSB says the tweeter design is “borrowed from the Synchrony design portfolio.”

• The Image T6 features a 5 ¼ clay/ceramic-filled polypropylene midrange driver in its own sealed chamber, augmented by two 6 ½-inch clay/ceramic-filled polypropylene woofers, with each woofer housed in its own individually ported chamber.

• The Image C5 and S5 models use pairs of 5 ¼-inch clay/ceramic-filled polypropylene mid/bass drivers.

• Mid/bass and bass drivers in all models

feature “magnetically neutral polycarbonate baskets and bullet-shaped phase-plugs (once again drawn from the Synchrony range) said to enhance “linearity at high frequencies.”

• Driver mounting flanges and bass reflex ports are fitted with smoothly contoured rubber “boots” that reduce diffraction and give the speakers a “no visible fasteners” look.

• All models feature 1 1/8-inch thick, rigid, contoured front baffle plates.

• All models feature gently curved cabinet edges, which creates the illusion that the cabinet sidewalls are curved (though in fact they are not).

• Image models are available in dark cherry

or black ash finishes, which—though done in vinyl—are nevertheless tasteful and well executed.

• Speaking about his Image T6 design, Paul

Barton says that, “dividing the cavity into two smaller cavities eliminates the ability of a standing wave to set up inside the enclosure. Also, putting woofers in multiple positions


specs/pricingPSb Image T6 3-way, five-driver, bass reflex floorstanding speaker with sealed midrange chamberdriver complement: One 1-inch titanium dome tweeter with ferrofluid damping and neodymium magnet, one 5 ¼-inch clay/ceramic-filled polypropylene midrange driver, two 6 ½-inch clay/ceramic-filled polypropylene bass driversFrequency response: 32Hz – 23 kHzSensitivity: 91dBImpedance: 6 ohmsdimensions: 40.625” x 9.125” x 15” Weight: 58.5 lbs. eachWarranty: 5 years, parts and laborPrice: $1199/pair

PSb Image C5 Centre 2-way three-driver, bass reflex center-channel speaker driver complement: One 1-inch titanium dome tweeter with ferrofluid damping and neodymium magnet, two 5 ¼-inch clay/ceramic-filled polypropylene mid/bass driversFrequency response: 50Hz – 23 kHzSensitivity: 90 dBImpedance: 6 ohms dimensions (HxWxd): 7.125” x 19.5” x 10.5” Weight: 21.7 lbs. eachWarranty: 5 years, parts and laborPrice: $375/each

PSb Image S5 Surround, 2-way, four-driver, seal bipole surround speakerdriver complement: Two 1-inch titanium dome tweeters with ferrofluid damping and neodymium magnet, two 5 ¼-inch clay/ceramic-filled polypropylene mid/bass drivers Frequency response: 68Hz – 20 kHzSensitivity: 89 dBImpedance: 6 ohms dimensions (HxWxd): 11.75” x 11.875” x 6.875”Weight: 13.3 lbs. eachWarranty: 5 years, parts and laborPrice: $799/pair

PSb SubSeries 5i powered subwooferdriver complement: One 10-inch polypropylene wooferIntegrated amplifier power: 150W RMS (450W peak), BASH Class Hdimensions (HxWxd): 17.375” x 12.375” x 15.625”Weight: 31.1 lbs. eachWarranty: Drivers, 5 years, parts and labor; Amplifier, 1 year, parts and labor Price: $549/each

System Price: $2922 as tested PSB SPEAKERS INTERNATIONAL(888) 772-0000psbspeakers.com


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reduces the first reflection phenomenon, minimizing the negative effects of the primary ‘floor bounce’ reflections, resulting in a much more accurate and tuneful bass performance in any setup.” Barton further observes that, “Not only are the orientation and arrangement on the front baffle similar to that of the Synchrony One, the arrangement helps the inphase lobe tilt up so that the speaker has a very similar voice whether the listener is sitting down or standing up.”

SubSeries 5i Subwoofer highlights:• 10-inch woofer with polypropylene driver

cone.• 150-watt BASH Class H amplifier.

Sonic chaRacTeRLet me list several of the key sonic qualities that define the Image T6 surround system.

neutral Tonal balance, both On- and Off-axis: The Image T6 system offers unusually smooth, accurate tonal balance—balance that holds up very well even when you listen from a position well to the left or right of the central “sweet spot.” In practical terms, the speaker’s well-balanced off-axis response enables it to produce wide, deep surround soundstages that work not just for one listener, but also for a group.

As systems in this general price class go, the Image models in general (and the T6 in particular) are very impressive in their neutrality—freed from apparent response dips or peaks or any kind of signature coloration. Interestingly, this makes the system a bit of a sonic chameleon, in the sense that it

seems to have no color of its own, but rather shifts its sonic persona to reflect whatever tonal characteristics the music or soundtrack happens to require.

Midrange seems exceptionally neutral and natural. When my colleague Dr. Robert E. Greene reviewed the Image T6 floorstanders for our sister magazine, The Absolute Sound, he commented that the speaker’s midrange (at about 1.5 kHz and 4kHz) seemed just a touch too forward, but I did not observe this at all. In The Perfect Vision listening room, the system’s middle frequencies seemed very clear and well balanced. Highs, too, were pleasingly extended and similarly smooth and if anything they were slightly less forward sounding than in some competing systems I’ve heard.

The T6 towers, C5 Centre, and S5 surrounds all make useful bass, though for obvious reasons the T6 towers offer the greatest extension—all the way down into the mid-30 Hz region. The T6’s bass is full and powerful, never anemic or constricted, though some might find it just slightly too loosely damped.

The SubSeries 5i adds a good measure

of low-end power and clout, though it doesn’t really add an awful lot of bass extension beyond what the T6 towers can already do. Thus, the subs main contribution lies in the area of added low-frequency dynamic headroom. One criticism I would offer, however, is that the SubSeries 5i is, in a textural sense, somewhat less taut sounding than the T6 is. For this reason, bass aficionados might want to step up to PSB’s slightly more expensive but also more capable SubSeries 6i subwoofer—a combination that PSB also recommends.

exceptionally Clean, Smooth Handling of Textures and details: One quality that impressed me from the outset about the sound of the Image T6 system was its uncannily clean, clear, smooth handling of low-level details. Some systems seem to “telegraph” sonic details by presenting them as if under a piercingly bright spotlight that draws your attention in an unnatural way. Happily, the Image system is not like that at all. On the contrary, it can at first seem almost disarmingly self-effacing, so that you might

initially wonder if the system is perhaps overly subdued or reticent in its presentation. But that concern will be dispelled the moment you first put on material that’s rich in well-recorded details. Then, you’ll find the Image system suddenly transforms into a vivid (though never unnaturally or garishly colorful) communicator of the first rank. In its own almost unassuming way, this system offers wonderfully natural and unforced clarity that is, to my way of thinking, one of its greatest strengths.

The Image T6 midrange driver is a thing of beauty, capable of excellent resolution and subtlety. Similarly, PSB’s titanium dome tweeter is very clean and extended, without the sometimes excessively “sparkling” or “harmonics overheated” sounds that certain aluminum dome tweeters seem to impose. While some might argue that the Image’s titanium dome tweeter is very subtly different in voicing from the clay/ceramic-filled polypropylene midrange driver, I would say those difference are in fact vanishingly small relative to the somewhat more coarse discontinuities some speakers in this price range exhibit. More so than any system I’ve heard at its price point, the Image T6 package does a good job of closing in on the ideal of sound that seems “cut from whole cloth.”

This system offers far better reproduction of delicate sonic details and textural nuances than most competitors in its price class. That said, though, be aware that if you’re willing to step up to the next higher price class (think in terms of spending $1000 to $1500 more for the entire system) you’ll be able to find systems that can handle subtleties even more


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effectively (one example would be PSB’s own Imagine system).

dynamic Scaling: Though it can be difficult to tell this from photographs alone, the Image T6 system is surprisingly large (or at least the main speakers and subwoofer are), and it produces quite a big sound to match—one that can take most dynamic swings in stride, even on action films played in fairly large rooms.

During my tests, especially on certain action films, I found that when push came to shove the first system element to show signs of distress was the SubSeries 5i subwoofer, where bass could start to sound loose and then a little ragged on vigorous, over-the-top action sequences. But in all fairness, let me add that these problems typically surfaced at listening levels that would have many systems begging for mercy.

There are, of course, size/performance tradeoffs to be reckoned with when considering the Image T6 system. Some prospective buyers will no doubt favor more compact systems (e.g., the Paradigm Special Edition system recently review in The Perfect Vision), following a “less can be more” mentality. But others will appreciate the generally larger, more expansive sound of the Image system, and will appreciate the fact that its tall tower-type main speakers cast sonic images that are more realistic in overall scale, particularly in terms of image height.

MoVie peRFoRManceFor a good indication of what the Image T6 system can do, try watching the third and fourth chapters of The Hurt Locker, where the central character Sergeant James (Jeremy Renner) goes on his first patrol with Sergeant Sanborn and Specialist Eldritch of Bravo Company. In this section, James dons his heavy bomb squad suit to check out and then disable a reported IED (improvised explosive device). In Iraq, we learn, almost nothing is ever straightforward and danger can come from anywhere and

at any time, so that street scenes can shift from almost eerie quietude to unimaginable violence in a split second. To dramatize this dichotomy, the soundtrack shifts back and forth between the almost unnatural stillness that James experiences within his suit to the sharply focused sounds of street noises and frantic military communications outside.

As James slowly walks toward the location of the suspected bomb, for example, we hear his breathing within the enclosed helmet and the raspy, crackling sounds of his comrades’ voices through his earpieces. But we also hear the hard, sharp bang of the smoke grenade that James detonates in order to conceal his movements from potential terrorist observers. Of course, the smoke grenade obscures his teammates’ visibility, too, so that we hear their increasingly frantic voices—both as heard in the open ear and through James’ headset—as they struggle to track his movements and to watch guard over him. What makes this segment work is the juxtaposition of sounds, which the Image system captures beautifully, where we experience both the otherworldly quiet of the bomb suit’s interior as set against the increasing sharp and frenetic noises outside.

After an altercation with a crazed Iraqi taxi driver ratchets tension higher still, the final third of the scene begins to unfold as James walks down a deserted street toward the bomb. Again, we hear James’ breathing from inside his helmet, the crunch of his footsteps on the gritty pavement, while from the outside we hear the soft, low moan of a gust of wind whistling down the street to emphasis how alone and exposed James truly is. The Image system made that gust of wind, which whirls from one end of the soundstage to the other, seem like the loneliest and most foreboding sound in the world.

Once James reaches the half-buried IED, the sound designer turns a veritable sonic microscope on the scene, letting us hear the sounds of James’ surgeon-like hands sweeping debris from the shell casing and ever so carefully removing its detonator, clipping the firing wires with a

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decisive “clink” of his Leatherman tool. Then we can hear James’ relief as he heaves a big sigh and says into his helmet mic, “We’re done.”

Only he isn’t done, because a few seconds later he unearths a wire that leads to a second and much more complex explosive device. In a split second, the scene shifts from one of relief to a life-and-death race between James, who struggles to “make haste slowly” as he works to disable the bomb, and the Iraqi terrorist/observer, who is attempting to work his way down from his balcony perch high above to the street level firing wire, where he hopes to detonate the bomb. To describe this race, which seems to take place in slow motion, the sound designer lets us hear James’ clipped breathing, the sound of his hands working to remove detonators and clip their lead wires, as set against the sound of the Iraqi’s footsteps slowly but surely coming down the stairs to the street below. The vividness and clarity of the Image system makes the inherent tension in this portion of the soundtrack an almost palpable thing, so that we feel intense release as we hear the “clink” of James’ cutters snipping the final lead wire just as the Iraqi emerges on the street. Triumphantly, James grins as he holds out the disabled detonator toward the terrorist, who freezes for an instant, then turns and makes good his escape in an alleyway—dropping the small battery with which he had hoped to explode the bomb, which lands on the stairs behind him with a hard, flat “clack.”

Part of the brilliance of The Hurt Locker lies in its ability to use sounds both as illustrative

and as symbolic devices at the same time—qualities that really come alive thanks to the effortless, natural clarity of the Image T6 system.

MuSic peRFoRMance I have always thought that music poses the toughest test of all for any sound system, and to give the Image system one of the most difficult challenges imaginable I put on the Michael Tilson Thomas/San Francisco performance of the Mahler Symphony No. 8 [San Francisco, multichannel SACD]. Part II of the symphony contains many unforgettable motifs, but two that have always fascinated me are the “Blicket auf” (“Look up”) section and the closing “Alles Vergängliche” (“All that is impermanent”) passage.

The “Blicket auf” section begins as Doctor Marianus sings those very words, only to be answered by the Chorus Mysticus singing, in response, “Komm” (“Come”). The passage tests any speaker system’s ability to capture solo voices and choruses in a natural way—a test the Image system passed quite successfully, though with perhaps just a hint of an edge on Doctor Marianus’ voice. Bt the passage also probes deeper, because it should have an overarching, almost transcendent quality, where you can both hear and feel the size of the orchestra, choirs, and the hall, and where the voices seem to ascend through the roof of the hall, heading heavenward. Now I would be misleading you if I said the Image system (or any other audio system I’ve ever heard) could capture this passage with absolute realism, but I will say that the system

did a very good job of placing vocalists and orchestra sections on a wide and deep stage, of conveying a sense of the hall, and of at least partially nailing down the transcendent and ascendant quality of the voices. The Image system didn’t sound “perfect” on this material (no hi-fi system ever does), but it certainly did its designer proud, getting more elements of this section right than it had any right to given its modest price

But the final “Alles Vergängliche” section poses even tougher challenges, partly because it vigorously calls into play the Chorus Mysticus as well as varied orchestra sections and even an organ in ways that can humble even the best audio systems. The passage opens with the Chorus Mysticus softly singing (indeed almost praying aloud) the following lines: “All that is impermanent/is merely a symbol/Here, the unattainable/becomes real” (the actual passage is sung in German, but I am quoting the Larry Roche translation to English, as supplied with the record). As the “Alles Vergängliche” theme unfolds, the chorus is joined by commentary from the string section, later augmented by a harp and the brass section. Later, the theme is repeated with substantially more vigor from the chorus, and with support from the organ, both high and low brass, and eventually the entire orchestra. It is, I think, one of the most powerful and densely orchestrated passages in orchestral music so that, as you can imagine, it can be difficult (if not impossible) for speaker systems to delineate the interlocking, multilayered musical lines. To my surprise, though, the Image system hung right in there with this

material as it nicely separated and clarified the individual musical threads that made up the larger tapestry, doing a particularly good job of keeping the complicated choral lines and the dynamically powerful brass themes straight. Again, full-on realism is too much to expect of this or any speaker system on Mahler’s largest-scale work, but even so the Image system did an unexpectedly good job of preserving a 3D sense of the chorus, orchestra and hall—even as the music reached its thunderous climax.

BoTToM line: PSB designer Paul Barton has always loved to build speakers that offer great value for money, but I think that with the new Image system he has really outdone himself. This system isn’t perfect, of course, but it does more things right—both with music and with movie soundtracks—than any other system I’ve heard in its price range.


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Sunfire is led by the iconoclastic inventor, physicist, and authentic audio legend Bob Carver, whose fertile imagination

has, since the 1970s, been producing groundbreaking, and often imitated, A/V component designs. Carver, for example, first whetted audiophiles’ appetites for truly big wattage with his mammoth 1970s-era Phase Linear 700 power amplifier, but later demonstrated high-powered amps could fit in very small packages. He’s a man who has developed numerous circuits (such as the aptly-named “Sonic Holography” circuit) that improve sound quality in unexpected ways and who started the movement toward small but potent cube-shaped subwoofers with his famous Sunfire True-series subs. But one of his most famous creations was the six-foot-tall Amazing Loudspeaker (yes, that was its actual name), which pushed the envelope of hybrid ribbon-type loudspeaker design. And when

it comes to invention and innovation, Carver shows no signs of letting up yet.

About a year and a half ago I met with Bob Carver to talk about an exciting product that, at the time, was still under development: namely, an extremely compact satellite/subwoofer speaker system that—Carver promised—would rival if not surpass the performance of his original Amazing Loudspeaker (a tall order for any speaker system to fill). The result is the Sunfire Cinema Ribbon speaker system reviewed here.

FeaTuReS Our Cinema Ribbon system came with a set of three tiny, two-way, three-driver CRM-2 satellites for use as L/C/R speakers, a CRM-2BIP bipolar surround speakers and an SRS-210R SubRosa subwoofer with its companion SubRosa 2700EQ outboard subwoofer amplifier.

SUNFIRE CINEMA RIBBON HOME THEATER SPEAKER SYSTEMChris Martens


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The diminutive, 8.25-inch-tall CRM-2s feature two side-firing 4.5-inch mid-bass drivers that handle all frequencies from the upper bass region up to about 1500Hz, plus a single, forward-firing, waveguide-loaded ribbon tweeter that handles output from 1500Hz on up. Interestingly, the side-firing drivers work together as an omnidirectional array (meaning sound radiates evenly in a 360-degree pattern), which Sunfire says helps “enlarge the sense of acoustic space, in all dimensions.” The ribbon

tweeter, in turn, is derived from the design of the almost 6-foot-long ribbon driver used in the original Amazing Loudspeaker but with the ribbon surface cleverly folded to fit within a housing that is only a few inches tall. Despite its small size, the CRM-2 carries a maximum output rating of—get this—115dB, which is extraordinary (frankly, if you tried to get 115dB of clean output from most satellites this size, you’d wind up with “loudspeakers flambé”).

The CRM-2BIPs, in turn, each feature two

ribbon-type tweeters angled to the sides as a bipolar array, with a single, forward firing 4.5-inch mid-bass driver. An easy-to-use, front-panel-mounted tweeter level control lets you adjust treble output of the speakers to match the acoustics of your room. The CRM-2BIPs are intended primarily for wall-mount applications, though I found they worked beautifully on stands, too.

Although I opted to use a regular CRM-2 satellite as the center speaker for our system, I should mention that Sunfire also offers a dedicated CRM-2C center channel speaker.

The CRM-2C uses the same drivers as the CRM-2, but with the ribbon tweeter flipped on its side and mounted in an acoustic lens said to help improve dispersion and with the two mid-bass drivers firing forward—not to the sides. In principle, the CRM-2C produces a slightly more focused sound on dialog, though its horizontal dispersion (especially of high frequencies) is not as broad as the CRM-2’s. In the end, I chose a CRM-2 for the center because I wanted the front speakers to have identical voicing, and because the CRM-2’s superior horizontal dispersion helps create


specs/pricingSunfire Cinema Ribbon Home Theater Speaker System

Sunfire CRM-2 Cinema Ribbon Loudspeaker (L/C/R)driver complement: Waveguide loaded neodymium ribbon tweeter, two 4.5” “high back-EMF” mid-bass driversFrequency response: 95Hz–40kHzSensitivity: 90dBImpedance: 8 ohms dimensions (HxWxd): 8.25’’ x 5.5’’ x 6’’Weight: 7.5 lb./eachPrice: $800 each

Sunfire CRM-2bIP Surround Speakerdriver complement: Two waveguide loaded neodymium ribbon tweeters, one 4.5” “high back-EMF” mid-bass driverFrequency response: 80Hz–40kHzSensitivity: 90dB

Impedance: 6 ohmsdimensions (HxWxd): 8.25’’ x 12.18’’ x 4.25’’ Weight: 8 lb./eachPrice: $1750/pair

Sunfire SRS-210R SubRosa Flat Panel Subwoofer with SubRosa 2700eQ amplifierdriver complement: Two 10” “long-throw” woofersOutboard amplifier power: 2700Wdimensions (HxWxd): 14.25’’ x 44.5’’ x 3.5’’ (SubRosa), 1.75’’ x 17’’ x 15’’ (amplifier)Weight: 59 lb./each (SubRosa), 18.4 lb./each (amplifier)Price: $4000/each

System Price: $8150

SUNFIRE CORPORATION (425) 335-4748sunfire.com

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more seamless surround soundstages. The good news is that Sunfire leaves the choice to you, so by all means hear both models and then pick the center speaker you feel will work best in your room.

Completing the package is Sunfire’s innovative SRS-210R SubRosa subwoofer/amplifier combo. The somewhat unorthodox SubRosa woofer enclosure resembles a thin, 44-inch-long “slab” that houses two extremely shallow long-throw 10-inch woofers. Because the slab is so thin (it’s only 3.5-inches thick), three distinct positioning options are supported. You can place the sub on its back (woofers facing up, with the cabinet beneath a

couch or coffee table), rest it on its long side using included feet

or prop it upright against a wall—using a pair of included clamping “cups” that cinch the enclosure to the wall. The outboard SubRosa 2700EQ amplifier fits on a shelf or equipment rack and puts out an enormous amount of power (2700 watts RMS). What is more, the amp also comes with a calibration mic and an automated, four-band room EQ system. To dial in the system, you simply plug in the mic and place it in your favorite listening position, then push the START button and watch as the amp/subwoofer combo automatically tests itself, then configures a custom-fitted EQ curve that addresses the acoustics of your home theater. Voilà: instant smooth bass response.

Sonic chaRacTeRThe Cinema Ribbon system has several defining characteristics that work synergistically both for music and—especially—movie playback. First, the CRM-2 satellites, and in particular their ribbon tweeters, do a very good job of reproducing fine, low-level sonic details that do so much to create sonic images, ambience, and mood. Second, the Cinema Ribbons offer smooth, evenly balanced tonal response that is blessed with a gentle, inviting and almost organic touch of natural warmth. Though quite revealing, these speakers never, ever sound cold or analytical, which is a good thing. Third, the system throws astonishingly deep and wide soundstages that break free from the surfaces of the speaker enclosures with ease—qualities I attribute to the omnidirectional mid-bass drivers used in the CRM-2 satellites and to the bipolar ribbon tweeters used in the surrounds.

Guest listeners regularly commented on how open and three-dimensional the system sounded, and some were struck by the fact that individual sounds did not seem to be coming from the speakers at all.” Fourth, the SubRosa subwoofer delivers terrific bass extension and punch, so that it seems to find an extra half octave or so of really low bass that other subs simply miss. Finally, the Sunfire sats, sub, and surround speaker have exceptional dynamic clout, not just “for their size,” but also in a broader sense. The only minor catch was that the system seemed to be somewhat power hungry in spite of its relatively high sensitivity rating. But if you’ve got the watts, the Sunfires will happily clear their little throats and rock the house.

Put all these qualities together and you’ve got a compact system that produces a truly enormous sound, yet one that is also quite refined—especially when it comes to the spatial aspects of music reproduction. More than most systems, the Cinema Ribbon rig transforms the apparent acoustics of your listening room to match the vision of the recording engineer or movie soundtrack designer.

I only noted two drawbacks, both of them minor. First, because the CRM-2 satellites combine omnidirectional mid-bass drivers with directional, forward-firing ribbon tweeters, they can—in a very subtle way—give the illusion of hearing two different (yet compatible) speakers playing in unison. I believe this has to do with the fact that the side-firing mid-bass drivers do the lion’s share of the work in terms of creating those giant soundstages mentioned

above, while the forward-facing ribbons supply the vital treble information that helps create focused images within those soundstages. The radiation patterns of those drivers are complementary, yet different. The net result is a very good compromise, but one that leaves the Cinema Ribbon system sounding perhaps slightly less coherent and tightly focused than the best forward-firing systems on the market. Second, I found that the SubRosa subwoofer, though capable of producing exceptionally deep and powerful bass, sounded a little less clear and nuanced than some of the best top-tier subs currently available (for example, the JL Audio Fathom f112 subwoofers that Playback uses as its low frequency references). But trust me on this point: these minor nits pale in



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RaTingS(compared with equivalently priced surround systems)

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comparison to the Sunfire system’s strengths.

MOVIE PERFORMANCELong term Playback readers know I am fond of using the uncompressed soundtrack of the Blu-ray version of Apocalypto as one of my speaker system tests, but though I’ve watched/heard that film dozens of times by now, nothing could have prepared me for how good it would sound through the Sunfire system. On the spectacular “Reborn of Mud and Earth” chapter, several qualities stood out. The textures of natural sound effects (jungle noises, sounds of underbrush snapping as the hero flees for his life, etc.) were vivid and gripping, yet never exaggerated or overblown. Next, the instruments carrying the soundtrack score, including some very low bass instruments, sounded impressively vibrant and alive. But what really jumped out of the mix were the eerie vocalizations that came to a head with the almost guttural utterance of the phrase “PAAaaaahhhhhh,” which the sound designer uses to signal moments where the hero Jaguar Paw successfully thwarts his murderous pursuers. Thanks to the power of the Sunfire rig, Jaguar Paw’s moment of triumph becomes deeply moving and brings an almost palpable, exultant sense of relief.

MUSIC PERFORMANCE Nothing reveals the strengths (or weaknesses) of a surround sound speaker system like a well-made multichannel music recording, and one of my favorites is Steve Strauss’s folk/jazz album Just Like Love [Stockfisch, multichannel SACD]. A particularly revealing

track is “Dead Man’s Handle,” where Strauss sings about working overly long hours in hopes of eventually making it home to see his loved one. Interestingly, the main verses and most of the chorus lines of the song have a wonderfully focused, 3D sound that is deliberately broken at the end of each chorus. The record’s producer Günther Pauler applies a spooky-sounding extra layer of reverb as Strauss closes each chorus by singing, “Lord, take me home/ To my baby.” The temporarily punched-up reverb on this line is often striking when heard through most good speaker systems, but it was particularly intense and dramatic on the Sunfire system. The effect was such that the size and the acoustics of the recording space seemed to shift dramatically—almost giving the sense of traveling through a sort of sonic “time warp”—and then just as suddenly snapped back to normal again. Surround sound just doesn’t get a lot more dramatic than this.

BOTTOM LINE: Only a designer of Bob Carver’s stature could get such a small system to produce such a big, dramatic, high-impact sound. Though the Sunfire Cinema Ribbon system’s omnidirectional presentation might appeal to some listeners more than others (it’s a very different sound from that of traditional forward-firing systems), it definitely works for me and is something I would encourage prospective buyers to sample—if only to see if omnidirectional sound “clicks” for them. If you like the idea of an ingenious and beautifully made, compact surround system that produces

huge, refined soundstages that seamlessly envelope the listener, then put this one on your “must hear” list.


LAST wORd: • Ribbon tweeters are rich in detail

and nuance, yet oh-so-smooooth!• Mid-bass drivers sound open,

warm, and smooth.• System produces exceptionally

wide, deep soundstages; can you say “stunning?”

• Muscular dynamics: despite its compact dimensions, this rig flat out cranks.

• Not the last word in focus or super-precise imaging.

• Sub, though powerful and well balanced, sounds slightly “thicker” and less well defined than the best in its class.

• System needs plenty of power to sound its best.

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Documents

Guide to Surround Sound Speaker Systems