Wilson Benesch Endeavour

Loudspeakersby Roy Gregory, February 16, 2015

© www.theaudiobeat.com

rickle-downisperhapsoneofthemost interestingyetmisunderstoodaspectsofaudio design.Thejustificationofferedforflagshipcomponentsateye-wateringpricesissooften,“Ofcourse,thetechnology/experience/performancewilltrickledowntotherestoftherange,”generallydeliveredwiththatsmug,just-dodged-a-bulletairofself-satisfaction.Itallfitssoneatlyintotheaccepted,apologeticapproachtothepriceschargedbytheaudioindustry--thesamelogicthatconstantlywheelsoutthelawofdiminishingreturnsasanexcuseforpoorperformance.

Well,justincaseyouguyssellingthisstuffhaven’theardthealarmbellsringing,thatsortofBSdoesn’tactuallywashanymore.Ifyoumakeaflagshipproduct,thenthesedaysitsperformanceandmaterialcontenthadbetterjustifyitspricetag.ThebestrecentexampleofthisthathascomemywayisWilsonBenesch’sCardinal.Thisisaspeakerthatdeliversremarkable

performancefromapackagethatincludesanimposingcabinetbuiltentirelyfromhigh-techcompositesandextrudedaluminum,stainlesssteelhardwareandsixdifferentdrivers,witheverylastbitofitbuiltin-house,yetpricedinthedistinctlynon-flagship,mid-five-figurerange.It’sapackageandperformancethatliterallyshamemuchofthesix-figurecompetition.

Butit’snotjusttheperformanceandengineeringthatareimpressive;it’sthethinkingtoo.Whichbringsusbacktotheconceptoftrickle-down.Ifyouwantdevelopmentsatthetopofyourrangetobeapplicableatlowerpricepoints,you’dbetterbesureofboththeintegrityofyourdesignandtheintegrityofyourthinking.That’sbecausetherearetwowaystotrickledownthebenefitsofaflagshipproduct.Youcantaketheoverallconceptandexecuteitwithmoreaffordableengineering(theWilsonBeneschSquareFiveisaperfectexampleofthis,aCardinalwrit

1

T

REPRODUCEDFROM

theaudiobeat.co

m

small)oryoucanmaintainthestandardofengineeringandreducethesize(andbandwidth)--whichbringsustotheEndeavour,aspeakerthatmightplayTyriontotheCardinal’sTywin,butwhichshouldn’tbemistakenforaTVdetective.

SeetheEndeavourinthefleshandthere’snomistakingitsclosephysicalandtechnologicalrelationshiptotheCardinal,fromthedriversandsurfacefinishtothe“aero”capandcharacteristicconcavesculptingofthespine.ButwhereastheCardinalandSquareFiveareconceptualtwins,theEndeavourisnotsimplyaCardinalthat’sbeencutoffattheknees.Itmightusethesametechnologyandsharemanyofthesamecabinetelements,butthesmallerenclosureandreducednumberofdriveunitspresentsadifferentsetofchallengesandmandatesadifferentconceptualmodel.Infact,forthosefamiliarwiththeWilsonBeneschrange,itmightbetemptingtoassumethattheEndeavourrepresentsmoreofanupdatedDiscoveryratherthanadown-sizedCardinal--temptingbutwrong.

Aswe’lldiscover,noteverythingabouttheEndeavourisquiteasitseems,norasitsounds--makingassumptionsadangerousbusiness.WhentheDiscoveryfirstappeared15yearsago,itdebutedanovellayout.Atwo-and-a-halfwaystand-mountwiththeforward-firingbass/middriver

placedabovethetweeterandaugmentedbyapairofdownward-firing,isobaricallycoupledbassunits,itwasacomplexyetremarkablysuccessful

responsetothechallengeofextractinguseablebandwidthfromacompactenclosure,onethatwentontoconsiderablecriticalandcommercialsuccess.Soperhapsit’snotsurprisingthatWilsonBeneschhaverevisitedtheformatfortheEndeavour,whichsharestheintegralstand,two-and-a-halfwaytopologyanddifferentialreflexloadingoftheDiscovery.Italsoflanksthetweeterwiththemid-bassdriveraboveanddownward-firingisobaricallyloadedbassdriversbelow,soperhapstheassumptionthattheEndeavorrepresentsanupdateoftheearlierdesignisunderstandable--butthatiswherethesimilarities

stop.Thingshavecomealong,longwayintheinterveningdecadeandahalf.

ThedriversusedintheEndeavorarethesameSemispheretweeteremployedintheflagshipspeaker,alongwithTacticIIunitsspecificallybuiltforthisspeaker,sorelatedbutnotidenticaltotheonesusedintheCardinal.Thecabinet

2

REPRODUCEDFROM

theaudiobeat.co

m

REPRODUCEDFROM

theaudiobeat.co

m

usesthesamecombinationofheavilymachinedaluminumbaffleandsidecheekscombinedwithcarboncompositeACTsidepanelsandthemassiveextruded-aluminumspineinheritedfromtheflagshipspeaker.Infact,thesubstantialuprightfortheEndeavour’sstandisbuiltfromtwoCardinalspinesattachedfacetoface--ofwhichmorelater.Theinternalspacehasevolvedsignificantly,withthebass/middrivernowenjoyingitsown,dedicatedandseparatelyloadedenclosurevolume,whilethedownward-firingreflexportsarehelicallywoundcarbontubesthatcomecompletewithscrew-inDelrinplugsshouldyouwanttosealthem--adefinitestepforwardovertheeffectivebutlessthanelegantalternativeofsocks!

Inall,theEndeavouremploysfourdifferentformsofcarbonfiber,eachchosenspecificallyforpurpose.ButifyoureallywanttounderstandthedifferencesbetweentheDiscoveryandEndeavor,looknofurtherthanweightsandmeasures.TheDiscoveryis43”tall,witha15-litercabinetthatoffersa-2dBpointat45Hzandweighsinat57pounds.TheEndeavourstandsoverafoottallerat58”,reachesdowntoa-2dBpointof38Hz,hasa22-literinternalvolumeandtogetherwithitsstanditweighsinat220pounds.Sothenewerspeakeris50%biggerandfourtimesasheavy,goesdeeper(andlouder)andofferstechnologythat’sthreeorevenfourgenerationsmoreadvanced.IftheEndeavourisagrown-upDiscovery,thenit’sbustingoutallover.Or,toputitanotherway,theEndeavourrepresentsanF22RaptortotheDiscovery’sF4Phantom:Theyweredesignedtodothesamejob,look(sortof)thesame,buttherethesimilarityends.Whichisjustaswell,asthepricecomparisonworkstoo.At$49,500(£25,500)perpair,theEndeavourisn’tjustwaymorecapablethantheDiscovery,it’swaymoreexpensivetoo.Compareittotheuniversalbenchmarkforhigh-endspeakerpricing(thatwouldbeWilsonAudio)andintheUKitsitsrightbetweentheSashaW/P2andtheAlexia.That’ssomeprettyheavycompetition.Howdoesthenotionofastand-mount

stackupagainstthesefloorstandingalternatives--especiallyastandmountthat’sjustasphysicallyandvisuallyimposingasthosefloorstanders?

Thisiswhereweshedthesecondsetofassumptions--theonesthatgowithso-called“minimonitors”.There’snothing“mini”abouttheEndeavour.Onceyouactuallystartlookingalittlecloser,yourealizethatthisspeakerisactuallyquiteabitlargerthanitappears.Let’sstartwiththequestionofinternalvolume.There’sahugedifferencebetweenthevisual(external)sizeofaspeakerenclosureanditsacoustic(internal)size--andthatdifferenceconsistsofthecabinetwalls.Consideraconventionalbox,rectangularinshapeandbuiltfrom30mmmaterialwithadoublethicknessbaffle.TomatchtheEndeavour’s22-literinternalvolumeand9.5”bafflewidth,thestandardcabinetwouldneedtobearound15.5”deepand19”tall--actuallynotfaroffofthedimensionsoftheEndeavouritself:exceptthatassoonasyoustarttoshapeortaperthatcabinetforacousticadvantage,thosedimensionsstarttogrowalarmingly.MimictheEndeavour’salmosttriangularfootprintandthecabinetgainsaroundsixinchesinheight.Andsoitgoes:Eachmodificationyoumakeintermsofslopingthefrontbaffleorintroducingnon-parallelsides,internalbracesordividerseatsawayatthatinternalvolume,makingthecabinetphysicallyandvisuallylarger.Buildawell-braced,acousticallyoptimizedandmechanicallycontrolledcabinetwithagenuine22-litreinternalvolumeoutofflatpanelsandseehowlargeitendsup.

HowcometheEndeavorissolargeontheinsidebutsosmallontheoutside?It’smainlydowntotheminimalthicknessofthecarbonsandwichsidepanels,aluminumbaffleandsidecheeks,elementsthataddverylittle

physicalvolume.Butit’salsodowntothecomplex

curvesthatthesematerials

3

REPRODUCEDFROM

theaudiobeat.co

m

allow,whichoffersignificantstructuralstiffnessaswellasnon-parallelwallsthatrequirenostiffening(andvolume-consuming)braces.Thatstiffnessisfurtherenhancedbythebeefyextrudedtriangularspinethatrisesfromthestandallthewaytothetopofthecabinet,doubledupbelowthecabinetitselfwithasecondsectionofspinethatlocksintoandcouplesthemachinedaluminumbafflefortheisobaricbassunitsdirectlytothestand’smassivetriangulatedbaseplate,againsimilartobutinthiscasealittlesmallerthantheoneontheCardinal,althoughitstillsportsthesamestainless-steelcouplinglegsandcups,withthehugeadjustingwheelsintherearcorners.

Bynowyou’llhavegatheredthatstiffnessandmechanicalbehaviorloomlargeinthethinkingbehindtheEndeavour.Thisisn’tjustaboutmakingaspeakerthat’ssmaller,cuteroreasiertoaccommodate.It’sallaboutmakingCardinalquality,technology,constructionandmaterialsavailableatalowerpricepoint--andthatmakestheequationeasy.Youwanttodroptheprice,usefewerpartsandlessoftheparts.ButWilsonBenesch’slogicisthatifthat’sthecase,whynotturnthosethingstoyouradvantage?So,don’tjustmakealesserorcurtailedCardinal;makeaspeakerthatisinitsownwayandonitsowntermsbetterthantheCardinal.Ifthecabinetisgoingtobephysicallysmaller,itcanalsobestifferandbetterbehaved,fewerdriversmeansthattheacousticcenterofthedesigncanbemoretightlyfocusedandthereducedsizealsoallowsyoutogetitawayfromtheintrusiveeffectsofroomboundariesandbassreinforcement,whileawell-designedstandmeansthatyoudon’thavetosacrificemechanicalgrounding.

Let’stakethosepointsinorder,butlet’sstartwiththedriversthemselves.TheTacticII7”unitandSemisphere1”soft-dometweeter

featurerightacrossWilsonBenesch’sGeometryseries.Withtheplethoraofexotictweeter

diaphragmslitteringhigh-endaudiothesedays,theuseofa1”soft-domemightnotseemallthatexotic,butaswithallthingsaudio,it’snotwhatyouusebuthowyouuseitthatmatters.Thelatestsoft-domedesignshavealottooffer.Buildingtheunitin-househasallowedWilsonBeneschtotailorthetweeter’slow-frequencyroll-offtosuittheirpreferredfirst-ordercrossovertopology,eschewingferrofluiddampinginfavorofaclosedandcarefullyoptimizedrearchamber.

Dispersion(helpedbythemachinedconcavewaveguideinthefaceplate)andextensionarebothexceptionalforasoft-dome,thecarbon-bracedsilkdomedeliveringa-2dBfigureat30kHz.

AlthoughallTacticIIdriverssharethesameelegantlysculptedbasketandmotorassembly,theisotacticpolypropyleneconesusedineachdifferentdesignareindividuallywoventooptimizeeachdriver’smechanicalbehaviorandacousticoutputforpurpose.Atthelastcount,thecompany

producedover25differentdrivers,allbuiltonthesamecarefullysculpted,minimalistchassis,withitsgorgeouslyslim,low-reflection,low-turbulencelegs.Themid-bassandbassdriversintheEndeavourareeachpurpose-built,addinganothertwodistinctunitstothestocklist.Theforwardfacingmidrangeunitisrunwideopen,relyingentirelyonmechanicalroll-offtoblendittothedriversaboveandbelowitintherange.Boththetweeterandthebassunitsareintegratedusinggentlefirst-orderslopestoattenuatetheiroutputabove500Hzandbelow5kHz.

4

REPRODUCEDFROM

theaudiobeat.co

m

Butthecrossovertopology(althoughnominallyatwo-way,first-orderelectricalbuttwo-and-a-half-wayacousticalfilter,itisactuallymuchclosertoathree-waysysteminpractice)isn’ttheonlythingthat’sunusualaboutthewaytheEndeavour’sdriversworktogether.Havingaseparateinternalenclosureforthemidrangeunitisfarfromunique,butinthiscasetheexecutionisdefinitelydifferent.Therearwaveofthemidrangeunitisenclosedandrear-reflex-loadedbyacriticallyshaped,bell-likeenclosurebuiltfromcarbonfiberreinforcedwithnanoparticle-impregnatedresin--orCarbon-NanotechinWB-speak.Thislatestdevelopmentincarbon-fibertechnologytakesstiffness-to-weightratiostoanewhighaswellasdeliveringsuperbself-damping.WidelyusedatcriticalpointsonFormula1carsandmoresparinglyintop-flight(andseriouslyexpensive)bicycleframes,thisisthefirsttimeI’vecomeacrossitinaloudspeaker.Hereitperformsthreefunctions:thelimitedvolumerollingoffthelow-frequencyoutputfromthedriver,controllinganddissipatingtheenergyinitsrearwave,whilstalsoisolatingitfrominterferencebythelow-frequencydrivers(aswellasmaximizingtheavailablevolumeforthebassenclosure).ThisoptimizedrearchamberaddsconsiderablemidbandclaritytotheEndeavour’sperformance,helpingpreventunwantedenergyescapingthroughthedriverdiaphragmbutalsothroughthecabinetwalls.Oneoftheleast-understoodaspectsofloudspeakerdesignisthedamagedonebyunintendedleakageofenergythatescapesfromthecabinetthat’ssupposedtotrapit.Inthiscase,anysuchenergyhastocrossnotjustonecarbon-fiberboundary,buttwo--theCarbon-NanotechmidrangechamberandthenthesandwichstructureoftheACTcarbon-compositeouterenclosure.This

freedomfromacousticintermodulationdistortioniskeytotheEndeavour’sclarityandtactilecommunicativequality--butI’m

gettingaheadofmyself.

Placingthemidrangedriverabovethetweeterwiththebassdriverspositionedbelowputsthehigh-frequencydriverattheacousticcenterofthedesign,whileachievingaremarkablytight10”spacingthatspanstheacousticcentersofallfourdrivers.IftheDiscoverywaslaudedforitsseamlessintegration,theEndeavourtakesthataspectofperformancetoawholenewlevel--helpednodoubtbytheseparationofbassandmidrangeenclosuresandthelackofstructuralresonanceinthestifferreflexports.Butalsoaddingtothatlackofmuddle,congestionandmusicaldiscontinuityisthedirectgroundpathestablishedbythecabinetandstand.Thedriversareallbolteddirectlytoaluminumcabinetelements,withadirectpathconnectingthemtothespeaker’sspine.Eventhemidbandenclosureisbracedbetweenthefrontbaffle(anddirectlycoupledto)therearspine,providingadirectgroundpathfortheenergyitcontains.Meanwhile,theenclosureitselfisconstructedfromanACTsandwichsectionandthemolded“aero”cap,bothincrediblylight,rigidelementswithverylowstoragecharacteristics.

Thus,spuriousenergyisactivelyencouragedtoleavethecabinet,ledawaybythereadilyavailableground

pathofferedbythesubstantialandfirmlymated,interlockingalloyparts--thefrontandbassbaffles,thetwo-piecespineandthetriangularbase.Thethreestainless-steelpostsonwhichthewholeassemblystandarethefinalpieceofthejigsaw,theirincreasedcoercivityandrigidcouplingtothelarge-diametercups

5

REPRODUCEDFROM

theaudiobeat.co

m

theysitonactivelyinvitinganyremainingenergynotdissipatedinthestructureondowntomechanicalground.Overallit’saclevercomplexanddemonstrablyeffectivesolutiontoriddingthecabinetofunwantedmechanicalenergyandallowingthedriversanacousticallyunpollutedenvironmentinwhichtowork.

Theotherbigdecisionfacinganyloudspeakerdesigneristhebalancebetweenbandwidth,cabinetvolumeandsystemsensitivity.Thesmallertheoverallvolumeofthespeaker,themoreconstrainedtheoptionsbecome,placingevergreaterpressureoneitheravailablebassextensionorefficiency.Balancingthesetwoaspectsofcompactspeakerdesignissooftenthemake-or-breakdecisioninanysmallspeakerproject.You’vegottoextractenoughbasstobemusicallyconvincingbutdosowithoutcreatingamonsterthatneedsmassiveampsjusttoraiseasmile.Theworldofaudioisfullofcompactspeakersthatcangrabholdofmonstermonoblocksandsuckthemdry--allwithoutbreakingsweatorintotheirmusicalstride.Theymaynotbebigbutthey’renotclevereither.ThisisanotherareainwhichtheEndeavour’sthin-wallcabinetscores.ItsTardis-likeinternaldimensions(andifyoudon’tknowwhataTardisis,thenyouneedtocheckoutDr. Who)allowwhatisremarkablebassextensionforitsapparentsize,whileretainingreasonableefficiencyandgenuinelyaccommodatingdrivecharacteristics.IachievedthebestresultsfromtheEndeavorwiththeEngstrom&EngstromTheLarsIIandtheBerningQuadratureZmonoblocks,oneemployingapairof300BEXSoutputtubespersideandtheotheranOTL!Ofcourse,theeasyimpedancecharacteristicsassociatedwithfirst-orderslopesareafactorhere,butevenmorecrucialisthedirectlyconnectedmidbassdriver.Althoughthesystemisratedat89dB(itselfaremarkablefiguregiventhe-2dBpointat38Hz

6

REPRODUCEDFROM

theaudiobeat.co

m

combinedwiththecompactdimensionsofthecabinetitself)itseemsmoreefficientthanthat,duetothelackofanysubtractivecrossover

acrossthebroadmidrange.ButthesuccessIenjoyedwiththeseampsisnoaccident,andas

muchasittellsyouabouttheEndeavour’seasydrivecharacteristic,italsorevealsalotaboutitsspecific,veryappealingmusicalstrengths.

earfamiliarmusicontheEndeavour andonceagainyouareindangerof fallingpreytofirstimpressions--andtheirassociatedassumptions.Thefirstthingthatstrikesmeaboutthisspeakeristhelean,unclutteredneutralityofitssound.Thesecondistheharmonicwarmth,colorandpresenceitbringstoinstrumentsandvoices.Byallmeansreadthosetwosentencesagain,because,

yes,theymightwell(probablydo)seemcontradictory.Afterall,speakersthataregenerallydescribedaswarmaredefinitelynotneutral,thatwarmthcomingfromathickening,cabinet-generatedcolorationintheirmidbass.ButasthedescriptionoftheEndeavour’sstructureandmaterialsshouldmakeclear,thisisalow-colorationcabinetparexcellence.Sowheredoesthatwarmthcomefrom?It’srootedinthebeautifullycontrolledbehaviorofthedriverdiaphragms,thewovenisotacticpolypropylenebass

andmidunitsandthecriticallybracedsilkdomeofthetweeter.Theirinherentself-dampingandlackofresonantpeaksallowsthemtodevelopafullrangeofharmonicsfromeachimpulse,withoutemphasisorexaggeration.Theresultingbodyanddimensionalitytheybringtoinstrumentsisremarkablynaturalandconvincing,andit’sthisthatinveststhesoundwith

H

7

REPRODUCEDFROM

theaudiobeat.co

m

itsconvincingpresence,whilethelackofspuriousenergyclogging,congestingandslowingthemidbassiswhatdeliverstheclarityandimmediacy.

Oops--thereIgoagain,usingconfusingandcontradictoryterms.Imean,whousesthewordimmediacytodescribetheperformanceofapolypropylenecone?TheanswertothatisanybodywhohasheardtheCardinal--oranybodywhohasheardtheEndeavour.Sitdown,closeyoureyesandlisten,andthat’sjustwhatyou’llhear--soundwithanalmostreach-out-and-touchpresenceandimmediacy.IwasfortunateenoughtohearMaximVengerovplaytheotherday--anexperiencethathasleftalastingimpressionandasignificantcontributiontotheCDcollection.OneofthosediscsisanApexlabeledTeldecrecording[Apex256467300-5]oftheSibeliusandNielsenviolinconcertos,withBarenboimandtheChicagoSymphonyOrchestra.PutitonandthefragileopeningoftheSibeliussoundsquitedistant,withatypicallymidhallbalance.Now,startitagain,butthistime,sitandlisten,eyesclosedandconcentratingandsuddenlythemusic,theinstruments,theperformersarerightthere.ThephysicaldistancetoVengerov’ssoloviolinisutterlyconsistentwithmyrow-Fseatattheconcert--closerthanmanypeoplefeelcomfortable.Sowhythediscontinuitybetweenhearingandactuallylistening?

Havinglivedwiththesespeakersforagoodwhilenow,usedthemwithalotofdifferentsystemsandplayedthemforalotofdifferentlisteners,thereactioniscompletelyuniversal.Walkintotheroomwiththespeakersplayingandpeopleneverremarkonthesound--untiltheyactuallysitsdownandreallylisten.Thenthey’reimpressed--andalittleconfused.Thereasonliesinourexpectations--thewayweexpectaudiosystemstowork.It’ssomethingyoumightwellhavenoticedthefirsttimeyoulistenedtoadiamondtweeter.Itprobablysoundedalmostdullandabitflat,but

whatyouwerehearingwasthelackofedgeorexaggerationinthehighfrequencies--theaddedsparkleandetchingthatarethe

resonantsignatureofless-well-behaveddrivers.Onceyourearsadjustedtheystartedtoappreciate

justhowunforcedandnaturalthosehighswere,howcleananddevoidofglareorhardness.TheEndeavourpresentsuswiththesamechallenge,onlyhereitinvolvestheentirerange,notjustthehighfrequencies.

Firstimpressionssuggestthatthisspeakerhasaclassicmidhallbalance,fulsomeandwarm--sowenaturallyassumeitwillpresentamidhallperspective,rightuptothepointwhereweactuallystopandaskthequestion.AsI’vealreadysaid,actuallylistentothisspeakerandyousoonrealizethatthatwarmthisgeneratedbyitsnaturalinstrumentalharmonicsandtonality,nottheaddedreverbofthehallinwhichthoseinstrumentsareplaying.Wearesousedtoassociatingdynamicdefinitionandtheresolutionofdetailwiththepared-away,etched,fauxtransparencythatpassesforhigh-endsoundthatwhenweheartherealthingcomingfromasystemwealmostdon’trecognizeit.Theassumptionisthatifit’swarm,thenitmustalsobesoftanddistant--yettheconcertexperiencetellsyouthatisn’ttrue.Yes,aliveorchestracanshockandevenhurt,butitdoesitwithlevelanddynamics,notedgeorglare.

8

REPRODUCEDFROM

theaudiobeat.co

m

AwhileagoIscandalizedsomereaderswiththesuggestionthatagoodsystemcouldoutperformaliveorchestraonabadday.Itwasaconclusiondrawnasaresultofdirectexperience.Incontrast,Vengerov(ablyassistedbyYuriTemirkanovandtheSt.Petersberg)ablydemonstratedjusthowfarwehavetogointryingtomatchagreatliveperformance.ThesystemthatpromptedthefirstpiecewasbuiltaroundtheCardinal.ThespeakersthathavehadtosurviveintheshadowofVengerovet alaretheEndeavours--andthey’vedonearemarkablejob.TimetorevisitthatSibeliusViolinconcerto.

TheseWilsonBeneschspeakersthrowabroadanddeepsoundstage--anotherreasonwhyit’sworthshuttingyoureyeswhenyoulisten,toescapethevisualdiscontinuityofanythingsoexpansive(andpowerful)emanatingfromsomethingsoslender.Thequaveringdimuendoviolinsthatpresagethesoloentryarebeautifullyfragileanddelicate,aperfectfoilfortheconcentratedenergyofthesoloinstrument.Theyspreadfarleft,eachadditionalvoiceaddingthespaceoccupiedbythewoodwinds,violasandlargerstringstotheorchestralsoundscape.Thegradualstepsbuildsonaturallyandeffortlesslythatthesuddengruntofthoseearlybassunderpinningswillsurpriseyou,whilethefirstshort,sharpcrescendoarriveswithashockingweight,authorityandvigor--justasitdoesplayedlive.Evenwithyoureyesopen,there’snosenseofthesoundbeinggeneratedbythecabinets,notelltaleaberrationstodisturbthefabricoftheacousticspaceorcatchyourear.Insteadtheperformancehasaholisticcoherenceandpresence,anaturalperspectiveandscalethatstandtestimonytotheseamlessintegrationofthevariousdrivers,theircommontonalityandlackofdestructivesignature.Howhasthisspeakergottenitsorightwhensomanygetitsowrong?

ThemoretimeIspendwiththeEndeavourthemoreI’mconvincedthatthewayit’sbuiltandthewayitsoundsareinextricablylinked.

That’sactuallytrueofallproducts,butherethereseemstobeanalmostintuitivelinkagethat

connectsthethinkingdirectlytotheperformance.Let’sstartwiththemidrange,wheresomuchofwhatismusicallyimportanthappens.There’snoescapingthefactthat,forallthebenefitsofcontrollableself-dampingthatcomewiththeuseofisotactic

polypropylenecones,they’reheavierthanmanyofthealternatives.Toreapthosepotentialbenefits,youaregoingtohavetoworkhardtoovercomethathurdle--whichisexactlywhatWilsonBeneschhavedone.Inrunningthedriverwideopen(thuseliminatinganysubtractivecrossover)andworkinghardtomaximizetheefficiencyofitsmotor,byusingalarge7”diametersweptareaandgivingthedirectlycoupledamplifiertheeasiestpossiblejobacrosstherestofthebandwidth,theyscrew

everylastounceofadvantagetheycanfromtheirmaterialof

choice,displayingthebenefits,amelioratingtheweaknesses.It’san

objectlessoninsoundengineering.Theresultisamidbandthatistonally

naturalandrhythmicallyanddynamicallyarticulate.It’sunforcedandexpressive.No,itdoesn’thavethealmostsurrealquicknessofsomeceramicdrivers--ortheirleading-edgeemphasisandtruncatedharmonics.Nordoesitdeliverthepart-your-hairdynamicsofahorn--butthensofewhornscanachieveanylevelofneutrality.I’mconvincedthattheoptimizedrearchamberalsoplaysitspart,intermsofitssuperiorshapeandstructure,factorsthatdealmoreeffectivelywiththemidbassdriver’srearwave,butalsobecauseofthenestednatureofthecabineteliminatingspuriousenergyfromthemusicalpictureanditsactioninrolling

9

REPRODUCEDFROM

theaudiobeat.co

m

offthedriver’sbottomend.Itsclean,clearandunclutteredpresentationiskeytotheEndeavour’smusicallyconvincingperformance--anditisfoundedinthatmidrangedriverandadesignthatmakesthemostofitsattributes.

ChiefamongstthosestrengthsistheuncannilynaturaltonalityandbodytheEndeavorbringstovoicesandinstruments.JustasitinvestsVengerov’sfiddlewithanutterlyconvincing(andcaptivating)senseofpresenceandpower,familiarvoicesarealmostspookily

natural.JacksonBrowne’shuskysingingisinstantlyrecognizable(Love Is Strange [InsideRecordingsINR5111-0])asaretherangeand

sheervarietyofDavidLindley’svocalfireworks.Thecomplementarycharacterandintimacyinthe

performanceisclear,theeasygiveandtakebetweentwosingerswhoarealsofriends.Butinitsownway,theEndeavour’sabilitytoseparate,tonallyandinspace,thevariousacousticguitarsthatfeatureonthisrecordingisequallyimpressive.Withanythinguptosixdifferentinstrumentsinplayatanyonetime,

Boring But Useful

WhenitcomestohandlingandhookinguptheEndeavours,thereareafewthingsthatcanmakeyourlifeconsiderablyeasier.Thefirstthingisthatalthoughthesearenominallystand-mounts,thespeakerisasingle,verysolidconstruction.Thatmeansitcomesinasurprisinglylargecrateandisalsoheavierthanyoumightexpect(becauseofallthataluminum).Youwilldefinitelyneedtwopeopletounpackandpositionthese.Eventhen,it’snotquiteasstraightforwardasitmightbe.

Forstarters,thetri-wirableterminalsareontheundersideofthestand.Theseacceptspadesorbananaplugsandcomewithsolid-silverwirebridgingtheconnections.Attachingcablesisdefinitelybestdonewiththespeakeronitsside;makesurethatyouhaveasoftsurfacetogounderthestandandsomethingpaddedtorestthehigh-glossfinishofthetop“cap”on.Spadesarethebestoptionwhenitcomestoconnectingthecablesandmakesurethatyouareconnectiontherightcablestotherightsockets--thelayoutislistedinthemanualbutnotunderthespeaker,whilethepositiveandnegativeconnectionsarenotcolor-codedbutannotatedusingengravedsymbolsthatarenotexactlyhigh-vis.ThisisoneofthoseinstanceswhereitpaystoRTFBandalsohaveasmall,brighttorch--asseenonCSI--tohand.Ifyoubiwireorbiampthespeakers(andI’dhighlyrecommendthelatter),thenyou’llprobablyneedtoretainthesilver-wirejumpersbetweenatleasttwosetsofterminals.Ifso,makesurethatyousupporttheterminalevenlybywrappingasinglelayerofwirerightthewayarounditscircumference.ThemechanicaladvantagedeliveredbythelargenutsthatWilsonBeneschuseontheirterminalsmakesforreallytightconnections,butissufficienttosnap

aterminalifitisleftunsupportedononesidesothatitcantiltasyoutightenit.Learnfrommymistakeandsaveyourselfembarrassmentandinconvenience.

Onceyouhavethespeakershookedupandthecablesdressed,youcanstandthespeakersuprightandthinkaboutpositioningthem.Thisiswhereyoudiscoverthattheonlyhorizontalsurfaceonthespeakeristhetopfaceofthestand,andallthesidesarecurved.Levelingiseasyenough,becauseyoucanplacethebubblerightbetweentheadjusters,buttoe-inrequiresareferenceofsomesort.Iusedastripoftapetomarkthecenterlineofthestand,betweenthefrontpostandthespeaker’sspine,againstwhichIplacedthelaser.Whenitcomestoplacement,theEndeavoursareseriouslycriticalofpositioning.Tooclosetotherearwallandtheygetmuddledandcongested,toofarawayandtheylackbassweight.Thisisonespeakerwhereitreallypaystoworkwiththenodes--specifichumpsanddipsintheroom’sacousticmap--inyourroom.Iendedupwithfourdifferentsetups,each8”apart,beforeIwassurethatI’dgottenthespeakersintherightplace.It’snotjusttherightplacewithinthenode,buttherightnodethatyouarelookingfor.It’saprocessthatistime-consumingandawkward,becauseyouneedtohavethespeakerstoodonitsfloorcouplers/protectorsinordertogetthebassjustright,butonceonthemit’salmostimpossibletomove.

Laboriousitmightbe,butitisalsoessentialifyouaregoingtoextractthefullperformancefromthesespeakers--inmusicalandsonicterms.Don’tbetemptedtocutcornersanddon’tthinkthatcloseenoughisgoodenough--itisn’t.Butonceyoudogetitright,theEndeavourswillbothloveandrewardyoufortakingthetimeandtrouble.

-Roy Gregory

10

REPRODUCEDFROM

theaudiobeat.co

m

theeasewithwhichyoucanlocateeachandidentifybothitscontributionandthestyleofitsplayerisparticularlyimpressive.Butperhapsmostimpressiveofallisthewaythespeakerhandlesaudiencenoise,applauseandtheinnerdetailsofthesoundstage.Notonlydoesisprojecttheapplauseandthemultiplesing-alongvoicesforwardofthestageandaroundthelistener,butLindley’sHawaiianguitarisclearlybeingplayedflatonhislap,afactcaptureddespitetheindividualmicsusedoneachinstrument.

AtthesametimethisgreatliverecordingrevealsthattheEndeavourcomesupjustshortoftheCardinalintermsofabsoluteimmediacy,leading-edgeattackandbite.Althoughit’sonlyratedasasingledBlowerinefficiency,thesmallerspeaker,withitsnarrowerbandwidthandmorelimitedsweptareacan’tmatchtheattackanddynamicauthorityofitsbiggerbrother--orofcompetitorsliketheWilsonSashaW/P2orFocalScalaUtopiaV2.It’sanotherpartofthecontradictoryauraljigsawpuzzlethatistheEndeavour,contributingtothatinitialimpressionofmidhallsoftness.Eventhoughinpracticeit’sthesubtlestofeffects,it’scompoundedbythetotalabsenceofartificialhardnessoredgeinthespeaker--whichiswhyyoustartbythinkingthatit’ssoft,onlytodiscoverthatit’snot.Howisitfelt?Inasubtlesmoothingofinstrumentaltexture,orinthecaseofLove Is Strange,aslightlossofthesheervigorandintensitythatcharacterizestheperformance.Puttingthatinperspective,it’ssomethingthatvarieswithamplifier(farmorenoticeablewiththeQuadratureZthantheLars,forinstance)andwhichisreallyonlyapparentwhencompareddirectlytosomeofthebestandmostexpensivesystemsaround.Butitisthere,anditdoeshelpexplaintheEndeavour’salmostschizoidpresentationalpersona.

Doesn’tthatflyinthefaceofmyearlierdescriptionofthespeakeras“immediate”?Perhaps,inthegeneralsenseoftheterm,it

does.Ifyoutakeittosuggestsuddenimpactandinstantdynamicresponse,thenclearlythe

Endeavourisjustoffthatpace.ButI’mthinkinginslightlydifferentterms.WhenIdescribedVengerov’sviolinas“rightthere,”Iwasn’tkidding.Lackofgrainandalownoisefloorareattributesthatarenormallyattachedtoelectronics,buttheEndeavourhastheminspades.

Itssoundstagehasacalmclaritysimplybecausethespeakerbanishestheclutter,thelow-levelnoiseandtheblurringthatcomefromacousticintermodulation--thesameasitsharmonicsarenaturallyscaledanddistinctduetotheabsenceofmechanicalintermodulation.Theendresultisthesenseofinstrumentslockedinspaceandtime,withareach-out-and-touchstability,nothingcloggingthespacearoundandbetweenthem,nothing

betweenyouandthem.Inthiscasethat’swhatImeanbyimmediacy:

theEndeavoursucceedsinincludingyouinthesame,seamlessacousticspaceas

themusicians--puttingyou,andthem,rightthere.Inonesenseyouaretradingthecrispdynamicimpactofmoreefficientspeakersforthe

WilsonBenesch’sinclusivecommunicationandunobtrusiveneutrality.Therealquestionis,isitapriceworthpaying?Whatvaluedoyouplaceonthespeaker’sunobtrusivemusicalcoherence,itsexceptionalneutralityandremarkablemusicalversatility?That’soneonlyyoucananswer,butthelongeryoulistentotheEndeavorthebetterthecaseitmakes,themoreyounoticetheintrusiveaberrationsthatbedevilthecompetition.

Whichisasgoodaplaceasanytoconsiderthepowerandimpactofthisspeaker’sbottomend.Considerforasecondthat22litersdonotexactlyequalalarge

11

REPRODUCEDFROM

theaudiobeat.co

m

cabinetandthatessentially,whenitcomestomovingair,you’regoingtobedoingitwithasingle7”driver(withabitofhelpthroughthemidbassfromtheforward-firingunit).Whatshouldyourealisticallyexpectandwhatdoyouactuallyget?Well,theanswertothefirstisprobablybassthat’sclean,quick,articulatebutlackingweight.Theanswertothesecondiscleaner,quickerandwaymorearticulatethanyouexpected,deeperandwaymorepowerfultoo.Thetrickliesingettingthespeakerpositionedjustrightsothatthespeaker’stight,quick,clearbottomendisallowedtoreachdownasfaraspossible,whilegettingallthehelpfromtheroomthat’savailable.Theheightofthestandkeepsthingscleanandmaintainstheunclutteredqualityofthemidband,theseparationofthebassandmiddrivers’acousticenclosurespreventsthesmudgingthatmightotherwiseemanatefromsuchasmallenclosure,whiletheisobaricdrivermaintainsleading-edgeattackanddynamicrange.Onceyou’vegottentheEndeavoursinjusttherightspot(seesidebar),theydeliverbassthatbreathes,withrealpower,scale,impact,pitchandtone.Onagoodorchestralrecording(theVengerovagain,orthePhilharmonia’sMahlersymphonieswithMaazel[SignumSIGCD360])thebassfloatsconvincingly,ratherthanrumblingacrossthefloor,anacoustictrickthatisnormallythepreserveofmuchlarger,genuinelyfull-rangesystems.

OftheEndeavour’spricepeers,onlytheKEFBlade(anotherspeakerthatperchesitsbassdriversonhigh)matchesthisperformance.ThegruntingbassarpeggiosthatmarktheopeningofMahler’sSecondSymphonybelchforth,fulloftensionandpurpose,roughtextureandbustlinginsistencethatbodeswellforthemassivescaleevokedinthelatermovements--andyouwon’tbedisappointed.It’sthisabilitytomarrytheairanddelicacy,thelyricalsweetnessofMahler’smelodieswiththedarkforebodingofhissubtextandtheexplosivereliefofhisredemption,thetransparencyandclarityofasmallspeakerwiththescale,weight,dynamicandmusicalauthorityofamuchbiggerspeakerthatmakestheEndeavourreallyquitespecial.It’saneattrickonanylevel,buttodoitsoconsistentlyandapparentlyeffortlesslyfromacabinetthiscompactisborderlinemagical.

Theseamlessintegrationofthelow-frequenciesgivesbroadbandinstrumentslikecelloandpianoawelcomesenseofconfidenceandstability.

Combinedwiththeinstrumentalbodyandmusicalpurposethatcharacterizesitentireaudiblerange,thisbringsmusiclikebig-band

Basievividlytolife,theeasyswinganddensetuttisthrivingonthesure-footedrhythmicflow

andunimpededdynamicresponseoftheEndeavour.Evenwiththismanyinstrumentsplayingthisloud,thesoundretainsitsclean,unforcedsenseofpatternandorganization.Butifyouwantanobjectlessoninwhat’sbeingplayedandwhy,looknofurtherthanJohannaMartzy’sfabulousperformanceoftheBeethovenKreutzerSonatadrawnfromtheCoupd’ArchetMartzyradiorecordingsbox[Coupd’ArchetCOUP003],aliving,breathingexpositiononnotjustMs.Martzy’smasteryofherinstrument,butheramazingrapportwithlong-termaccompanistJeanAntonietti.Thevividdynamiccontrasts,rapidlyshiftingtempi,pausesandswitchesintheaccentanddirectionofthemusicallinearedeliveredwithanaturalweightandauthoritythatbrooksnoargument.Asaperformanceit’smonumental--bothfromtheartistsandthespeakers.

Whenitcomestolong-termlisteningsatisfaction,balanceisoftenanunderestimatedattribute.OneofthethingsthatmaketheEndeavorgrowonyou--andgoongrowingonyou--isthenaturalnessofitstop-to-bottomweighting.Oneoftherealadvantagesofbuildingyourowndriversistheabilitytoreallybalanceandshapetheirresponse,somethingthatbecomesabundantlyclearonceyou’velivedwiththisspeaker.Onceagain,integrationplaysitspart,helpedalongbythecarefullycontrolleddispersionoftheSemispheretweeter,butit’sthetonalityandsoniccontinuitythatreallyhithome,thepresence,body,rangeoftonalcolorsandthatuncannynaturalness,bornoftheabsenceofedgeorexaggeration.FewspeakerscarrydynamicintentthroughtheirupperregistersthewaytheEndeavordoes,notjustacaseofspeedandattack,butsubstancetoo.YouhearitinthesheerpresenceofVengerov’sinstrumentandinthevitalityofMartzy’sperformance.YouhearitinthebrasstuttisofbothBasieandMahler,andyouhearitinthevocaldexterityandcloseharmoniesofDollyVarden,thenaturalpresenceofvoices,theshimmerofacymbalorthecrystalclarityofthesleighbellsonShawnColvin’s“ShotgunDownTheAvalanche”(Steady On[CBS466142-1]).WilsonBenesch’sbracedsoft-domemaynotgoashighassome,butitdovetailsperfectlywiththeirotherdrivers,investingtheirspeakerswithasatisfyingsenseof

12

REPRODUCEDFROM

theaudiobeat.co

m

seamlesscontinuityandanattractivesenseofpresence.It’sabalancethatseemstostrikeanewhighintheEndeavour,andthatliftsthespeaker’soverallperformanceanothernotch.

Whichbringsusfullcircle,backtothemiddleofthemids.Historyislitteredwithspeakerdesignsthatexhibitedfantasticneutralityand/orseparation--oftentothecompleteexclusionoftherhythmicarticulationanddynamicsensitivitiesthatbindmusicintoasinglewholeandcarryitsexpressivepower.It’salmostasifthecontrastingcapabilitiesaremutuallyexclusive:themoreneutralthespeaker,thelessarticulate--andthelessinterestingitwillbetolistento.TheEndeavourmightwellbetheexceptionthatprovestherule.Thanksinnosmallparttoitsdiminutivecabinetandmassivestructure,itexceedstheCardinalintermsofsheerclarityandneutrality,butrhythmicallyitssavinggraceliesintheinsistenceonaminimalistcrossover,andinparticularthatdirectlyconnectedmidbassdriver.Whenitcomestophrasingandshiftsintempo,theshapeofasongoroverlappingrhythms,pausesinapieceorameasuredpace,thatsolidconnectionbetweenoutputstageanddriveunitcomesintoitsown,theamplifierabletoimposeatemporalauthorityonmusicalproceedingsthat’sresponsibleforleavingthelistenerinnodoubtastowhatishappeningandwhen.It’swhyanamplifierwiththemodestoutputoftheLars2candeliversuchacommandingperformance,whythe

quicksilverdynamicsandtransparencyoftheBerningQuadratureZ’sissoeffective.It’snotaforcedorhectoringquality,justanabilityto

betterreflectthechoicesmadebytheplayers,theirpatternandplacementofnotes.Youhearitin

thedrumpatternsbehind“LittleTriggers”(ElvisCostello,This Year’s Model[RadarRAD3])andCostello’stellingvocalhesitations,youhearitintheshapethatNarciscoYepesputsonhisplayingintheRodrigoConcierto De Aranjuez[DeccaSXL2091].It’swheresomuchoftheemotionalpowerofmusicresides.

ButperhapsyouhearitmostimpressivelyofallinthegraduallyunfoldingmajestyoftheGorecki’sThirdSymphony[PolskieRadioPRSACD2].Theslow

openingandoverlappingphrasesofthesplitstringsectionsareneverponderousandneverlag.Thebeautyinthepitch-perfectmelodiclinesandslowlyevolvingharmoniesgrowswiththebreadthandscaleofthepiece,eachlineheldseparateanddistinctastheybindandswellintothatfirstmassiveclimax.Itisacaptivatingandcompellingperformanceoneverylevel,andagaintheperformanceoftheorchestraismatchedbytheperformanceofthespeaker.Forwhatisnominallyacompactdesign,toachievesuchapowerfulanddramaticmusicalimpactisremarkable,speakingvolumesaboutnotjustthequalityandclarityofitslowfrequencies,buttheireffectivenesstoo.

ItispossiblythemostimpressiveexampleoftheEndeavour’sabilitytoreproducethestructurethatunderpinsmusic

--andtodosowithabsolutestability

andcoherence.Anycloggingorimprecision

13

REPRODUCEDFROM

theaudiobeat.co

m

inthebottom-endpitch,anyvaguenesswhenitcomestotheplacement,spacingorcenterofthoseelongatedandoverlappingbassnotesandthewholepiecewilldescendintoaturgid,shamblingmess.Theabilitytomaintainitsgriponthescale,thepaceandthepatternofGorecki’smassivemasterpiece--andtodoitfromtheconfinesofsuchasmallcabinetisalltheproofyouneedthatWilsonBeneschreallyhaveexploitedthepotentialbenefitsthatcomewithasmallerspeaker.Theemotionalimpact,thebeautyanddrama,thattheEndeavourrevealsinthisperformanceareallthereasonyouneedtotakethisspeakerveryseriouslyindeed.

heCardinalgoesheadtoheadwithsome ofthemostexpensiveandrespectedspeakers outthere,competeswiththemandundercutstheirpricesignificantly.Thatstunningcombinationofengineeringandmaterialcontenttogetherwithasurprisinglyapproachablepricetagguaranteetheirvalueandshouldguaranteetheirappeal.TheEndeavourfacesadifferentandmuchmorechallengingmarket.Itfindsitselfrightinthemiddleofthemosthotlycontestedhigh-endsector.Thisiswhereyoufindtheproductsfromallthosehigh-profilebrandsthatcustomersactuallybuy.WemightallwanttoownWilsonAlexandriaXLFsorFocalGrandeUtopias,butformostofus,SashasorScalasaremorepracticalandalmostaffordable.CantheEndeavourmatchtheappealofthoseestablishedproductsandsurviveinthelongshadowscastbytheirrespectiveflagships?Onlytimewilltell,butifpotentialpurchaserslistenwiththeirearsaswellastheireyes,they’lldiscoverthatthisisaspeakerthatisbothverydifferentfromthecompetitionandveryspecialinitsownright.Itsmaterialcontentandengineeringvaluearefranklyastonishing,especiallyatatimewhensomanycompaniesseemtobe

lookingbackwardsfortechnologicalanddesigninspiration.WilsonBeneschhasalwaysadoptedaresolutelyhigh-techapproachtotheproblem

ofreproducingmusicinthehome.AsI’vealreadyobserved(manytimes)it’snotwhatyouusebut

howyouuseitthatmatters.TheEndeavourdemonstratesthatWilsonBeneschismorethanjustclosetothetechnologicalcuttingedge:Theyknowhowtoexploitthosetechnologiestomaximumeffect--whichmeansmaximummusicalbenefit.

TheEndeavourisaspeakerthatchallengesassumptionsandthestatusquo.It’sdifferentinitsapproach,itsmaterialsandthewayitpresentsthemusicalperformance.Itturnsacceptednotionsoftheestablishedaudioswingsandroundaboutsontheirhead,surprisinganddelightinginequalmeasure.Butmostofallitsucceedsinachievingthatqualitysharedbyallreallygreatloudspeakers--theabilitytoputthemusicfirst.Self-effacingtoafault,thisisinmanywaysoneoftheleastobviouslyimpressiveloudspeakersI’veheard--thatisuntilyoustartlisteninginearnestandringingthechanges.Thewayanddegreetowhichitrespondstoinput,whetherthat’sthemusicalsignalorchangesinthedrivingsystem,underlinesjusthowlittleofitselfitinsertsintotheprocess.Itgivesperformersnotjustavoicebutanauthenticityinawaythatveryfewotherloudspeakerscanmatch.

Whichbringsusrightbacktothequestionofthecompetition.CastingtheEndeavourinthecontextoftheSashaW/P,latestiterationoftheiconicWATT/Puppy,theundisputedmostsuccessfulhigh-endspeakerofalltime,certainlyreflectsthecommercialrealityitfaces.Butthenitalsoreflectsitsstatusasapotentialfutureclassic.Itreallyisthatgood.

T

Price: $49,500perpairforstandardfinishes.Special-orderfinishesareanadditional$1795perpair.Standsareincluded.Warranty: Fiveyearspartsandlabor.

WilsonBeneschLtd.FalconHouseLimestoneCottageLaneSheffield,S61NJ+44(0)1142852656

Associated Equipment

Analog: VPIClassic4turntablewithSDS;VPIJMW12.7andTri-PlanarMkVIIUIItonearms;LyraEtna,Titani,Scala,DorianandDorianMonocartridges;ClearaudioGoldfingerStatementcartridge;AllnicPuritasandPuritasMonocartridges;NordostOdinandValhalla2tonearmlead;Connoisseur4.2PLEphonostage.

Digital: CECTL-3NCDtransport,WadiaS7iCDplayer,dCSPaganiniandVivalditransportsDACsanduClock,CHPrecisionD1CD/SACDplayer.

Preamps:Connoisseur4.2,CHPrecisionC1.

Power amp:BerningQuadratureZ,Engstrom&EngstromTheLarsIImonoblocksandVTLMB-185SignatureSeriesIIImonoblocks;JeffRowlandDesignGroupModel125stereoamp.

Integrated amp: JeffRowlandContinuum2.

Interconnects and speaker cables:CompleteloomsofNordostOdin,CrystalCableAbsoluteDreamorUltrafromACsockettospeakerterminals.PowerdistributionwasviaQuantumQRTQB8sorCrystalCablePowerStripDiamonds,withamixofQuantumQx2andQx4powerpurifiersandQv2ACharmonizers.

Supports: RacksareHutterRacktimeorQuadraspireSVTBamboo.TheseareusedwithNordostSortKoneequipmentcouplersthroughout.CablesareelevatedonAyremyrtle-woodblocksorHECCPandaFeet..NordostSortFütunitswereusedunderthespeakers.

Acoustic treatments: Aswellasthebroadbandabsorptionplacedbehindthelisteningseat,Iemployacombinationofmicroperforatedacousticdevices.

Accessories: EssentialaccessoriesincludetheFeickertprotractor,aUSBmicroscopeandAesthetixcartridgedemagnetizer,aprecisionspiritlevelandlaser,areallylongtapemeasureandplentyofmaskingtape.IalsomakeextensiveuseoftheFurutechanti-staticanddemagnetizingdevicesandtheVPITyphoonrecord-cleaningmachine.TheDr.FeikertPlatterSpeedapphastobethebestevercaseofdigitalaidinganalog.

14

REPRODUCEDFROM

theaudiobeat.co

m