fbpx

Tag Archives: Speakers

Perlisten Interview

The following is an interview of Perlisten CEO and Co-founder Dan Roemer.

I see on the website the brief bios for Dan and Lars. Are there others deserving particular mention in association with the success of Perlisten?

Erik Wiederholtz, Stephen Mascenik and Peter Yang also are partners of Perlisten

The company timeline mentions a “high end manufacturing group.” Which manufacturing group is making Perlisten speakers?

Perlisten has its own manufacturing group near Dongguan City, China. Including transducers, crossovers, amplifiers, cabinets, painting, veneers, final assembly, and quality assurance.

When and how did Perlisten begin and what is the significance of the term perceptual in the name? What does that denote? What was the event that led to the formation of the company?

Perlisten = Perceptual Listening Experience. After all of the research hours, engineering, and manufacturing, what ultimately matters is enjoying the experience. The emotional connection to the art. We always want to keep this in perspective.

Please describe the target customer for Perlisten products.

I often describe audio reproduction as peeling layers back. Each layer reveals another level of performance and realism. This is our pursuit, and I see our customers as those who are very interested in seeking the highest levels of performance and enjoyment.

In regard to designing, what is Cosmol acoustic modeling? Please explain its advantages.

The technologies that Perlisten has developed are rather complex and, in fact, simply could not be realized just a few years ago. This is where the multi-physics modeling becomes an essential part of the development chain. We are able to consider new ideas and test them first in our models, then refine them to the point we are confident we can begin development. This is how we developed the DPC array incorporating multiple radiating surfaces in a complex 3D geometry. The benefit we achieved was a very unique way to control the wavefront. So the benefits are two-fold: 1) pursuing new ideas and 2) development time.

There is no description of the crossovers used inside Perlisten products. Please discuss the nature and parts caliber of Perlisten crossovers. Please use the S7 as an example.

The crossovers are a critical part of the whole speaker ‘array.’ Perlisten’s philosophy is to start with establishing the desired family of curves to deliver the sensitivity, bandwidth, power response, on- and off-axis directivity, etc., that we want —we’ve spent many years creating and establishing these targets. This requires the crossover to be used in somewhat of a non-traditional sense —overlapping bandwidths and varying slopes among other things. The result is a rather complex crossover, but very consistent and desirable results. We dictate 1% tolerance on the inductors and 2% on the remainder. We then pair match speakers to within 0.5dB. Air core inductors are used throughout the S7t. Metallized polypropylene film capacitors are used exclusively on the mid and tweeter networks, with metallized polyester on the woofers. Aluminum encased, non-inductive resistors are used throughout.

S7t woofer PCBA

S7t Mid/Tweeter Crossover PCBA

I believe that Dan Roemer said the software for the subwoofers is proprietary. Please discuss the development of the software for the subwoofers and what makes it more advantageous than a typical sub with standard controls.

Correct, the software was written by Stephen Mascenik. Because the amplifier and software are both developed by Perlisten, this allows us to control things unlike any other company that I am aware of. It all starts by developing intelligence into the amp —many, many criteria are monitored by the onboard processor (ARM Cortex-M3) and then we have spent years developing algorithms for how to handle this and adapt in real time. Some examples of this include signal input vs output, limiters, ac line voltage, amp temperature, etc.

The Datasheet for the D212s includes “multiple aluminum shorting rings” and “lightweight aluminum voice coil wire.” I am surprised to see aluminum used as a voice coil wire. Please explain how that can be in a premium subwoofer.

Every driver design is unique and designed from the ground up, but similar to the speakers it is the end goal of in-room performance where we start. Specifically, for the D212s a rather large +/-30mm linear excursion is required along with our target of very low moving mass and low inductance. This, as well as using 3 kilowatts. Managing all of this can be quite difficult —for example, simply increasing the voice coil windings will achieve large linear excursion, but the trade-off would be a very heavy mass and large inductance and possibly not meeting our power handling requirements. So in the end, utilizing aluminum wire (~1/3 the density of copper) allowed for higher linear travel and higher power handling (larger diameter wire for same resistance). Inductance is mitigated by the use of shorting rings. Then of course we optimize the motor – Bl(x), Le(x), Le(i), etc. to ensure linearity, stability and low distortion.

In Layman’s terms please explain what Klippel measurements are and their contribution to the design.

Klippel measurements are used to refine designs — both individual components and complete woofer/enclosure systems. The laser measurement system provides insight into various distortion mechanisms. As one example, at the engineering level this allows you to dial in the position of the voice coil for best performance (low distortion). The same can be said for the suspension components. Consider the design flow:

Initial designàFEA models àprototype samples àmeasurements (including Klippel) àrefine design and samples àverification measurements

By adding tools like Klippel and other measurements we are able to refine the design more and more (peeling the layers back).

The S7t has an open bottom with two generous ports. Explain Perlisten’s philosophy in regard to determining whether the ports should be left open or plugged.

Leaving the ports open will allow the S7t to play the lowest of frequencies.This is the desirable configuration for 2-channel full range without subwoofers. However, when using a sub(s) there maybe occasions where adding the plugs will be beneficial. The plugs create sealed box response and somewhat limit extreme LF output from the S7t. This may aid in blending a subwoofer to the mains.

Which company makes the carbon fiber woofers and mid/tweeters for Perlisten?

Our development partner was Textreme (now Composite Sound) located in Sweden but manufactured near Chicago, IL. We bring the formed diaphragms to our factory where the surrounds are attached and the final transducer assembly is made.

Composite Sound – Engineered Speaker Cones and Diaphragms – Composite Sound (composite-sound.com)???

Were grills placed on the midrange/tweeter drivers in order to protect them? Is there a reason related to sound quality why they are used? Can they be removed optionally?

The 28mm mids flanking the central tweeter dome are a part of the DPC array, which uses three transducers superimposed on a waveguide. In this case the grilles and their perforations are part of the waveguide geometry. This was a research project within the research project. In short, if the grilles are removed, the waveguide geometry is compromised.

The subwoofers use an unusual configuration of being in 90-degree opposition to each other. Please explain the reason that was chosen and the benefits.

The D212s uses a push-pull configuration where one driver is ‘flipped’ relative to the other. This creates a natural cancellation of asymmetries within the drivers (even after all the work to optimize the driver). In the case of the D212s we measured up to 10dB additional reduction of even-order harmonic distortion!

Please describe the DPC-Array. Evidently it is not the carbon fiber drivers, as the R Series also utilizes DPC-Array.

The DPC array is the combination of various transducers superimposed on a waveguide. This allows for specific horizontal and vertical dispersion control, higher power handling, lower distortion and wider useable bandwidth. This technology is patent pending. Our R-series speakers use the same technology with different transducers and geometry.

Is there an atypical sharing/overlap of the frequency spectrum by the mid/bass drivers and the mid-treble drivers? Is this extended from what would be expected of traditional driver integration, that is, does the operational band of these drivers overlap more than would be expected of more traditional designs?

Correct. This offers insight into how we control vertical dispersion to lower frequencies.

Is Textreme a brand name? What is its significance to the thin ply carbon fiber drivers?

Yes. TPCD allows the model response of the diaphragm to be optimized for each design (control of breakup modes). Additionally, Textreme typically is lighter than traditional carbon fiber diaphragms.

The website discusses a “timbre matching technique.” What is that timbre matching technique? What is involved in the timbre matching technique beyond construction of the drivers with Textreme and the waveguide?

Perlisten’s philosophy on timbre matching goes beyond simply using the same drivers. We look at the whole family of curves on axis and off. Vertical vs horizontal as well. Then once the desired result was achieved and confirmed by listening tests, we rolled this ‘sonic signature’ into the various sibling models. The first model was the S7t, then came the S5m, S4b, S5t, etc. The differences then between models are more related to sensitivity and LF extension.

Are the midrange carbon fiber drivers compression drivers? Wave guides are critical for compression drivers. Is that why they are placed into the waveguide?

Horn and waveguide essentially are describing the same thing —controlling the wavefront. The S7t combines multiple transducers with a waveguide without using compression. A compression driver/transducer is a completely separate category and comes with its own set of trade-offs.

When you were here for setup, I recall being told that HDF (High Density Fiberboard) is used for the cabinet. What else is done to the cabinet to dampen vibrations?

Yes, HDF throughout. We do several braces vertically and horizontally as well as adding layers of bitumen damping material to the interior surfaces in several locations.

Please explain the advantages of the combination of the midrange’s lower frequency crossover point as well as small size. One might think that the smaller size might produce more noticeable beaming, or the use of two drivers might cause comb effect. How do the twin midranges work without conflicting?

In fact, all 3x 28mm domes play together from approximately 1.1kHz (-10dB) where the wavelengths are large enough.The advantages are higher sensitivity, power handling, reduced thermal compression, and of course this allows for directivity control and beamforming. The beamforming is created by these drivers’ relative positioning as well as the amplitude and phase handled by the crossovers.

 

Copy editor: Dan Rubin

The post Perlisten Interview appeared first on Dagogo.

Perlisten S7t tower speakers and D212s subwoofers Review

From the author: In a bid to lessen the inordinate amount of time spent on development of reviews, I have determined to alter their format. For the past 14 years I have typically conducted technically inclined interviews and woven into the articles the information gleaned. Now, in order to save keystrokes and allow you to hear directly from the manufacturer, I will have less of that information infused into the article and attach the Interview. Thorough readers will gain a similar amount of insight as with my prior style of article. You will notice that in my Interview some questions are not answered, typically because the company feels the information is proprietary.

 

Perfect listening is what the audiophile wants. Perceptual listening is what Perlisten offers. There is a gap between them, but that gap has been closed to a great degree over the decades. Companies vary in their ability to reach listening perfection. Considering the variables and constraints placed upon manufacturing high-end two-channel audio systems, the conceptualization and execution of speakers and subwoofers by Perlisten are extraordinary.

 

Aesthetics and quality are important to high end listeners, and so is a good deal

I have always been able to find products that perform well and look good doing so. I have fond memories of the Pathos Classic One MkIII, the Vapor Audio Nimbus White, and the Kingsound King III electrostatic speakers, which I am currently enjoying. I prefer to have both killer sound and killer looks. The Perlisten products have that very high end appearance that smacks of big money and premium sound. Thankfully, they do not disappoint in either respect.

Back when I was a Chintziphile, I thought I could get extreme sound on the cheap. I couldn’t, and you can’t. It’s a fool’s game to pile up budget gear in the wish that it will yield exceptional performance. Audio performance is on a spectrum and companies gain a reputation as typically offering a certain level of value to performance. The Chintziphile dismisses anything that is deemed expensive as having diminishing returns. If that applies to you, then you may as well stop reading because you likely will not appreciate what Perlisten Audio offers. Those who understand that a certain level of money expenditure is necessary to achieve superior sound, I adjure that Perlisten is giving exceptional value while seemingly cutting no corners in terms of quality. The experience of reviewing Perlisten products has the feel of handling premium wares versus ones that are merely good values.

The cabinet construction, selection of veneer, and detail work, such as the quality of the stands, fit, and finish are all first rate. This company is not a scheme to get rich by peddling pricey items with questionable engineering or build quality. Evidently, there has been a lot of time and some big money put into development of these products and, like Apple products, manufacturer costs have been reduced by building in China. If you hate that, buy holistically North American products. Given the novelty of the DPC-Array and the unique features of the D212s subwoofer, you will find that the average speakers will not have the technology discussed in this review. I am interested in high end performance; I support companies globally that bring it, and I do not engage in political proselytizing in reviews. Seemingly ever-escalating brinksmanship is one reason I ceased participation in online forums.

Regarding the S7t, I appreciate the HDF (High Density Fiberboard) and well-braced cabinets, as well as the high gloss finish. Also notable are the robust, long binding posts, which seem easier to torque than most. As to overall appearance, the grills — I hate grills of all sorts when it comes to sound quality, but see the interview responses — combined with the diminutive midrange complement make the speaker more visually appealing. I suspect many sets of Perlisten speakers will enter homes with partners picky about décor. The D212s subwoofer is uncommonly svelte, with an understated matte black finish, contoured edges, and racing vents. Actually, they are not racing vents, as they allow for air flow for the push-pull action of the 12” drivers.

 

Personal delivery

As Perlisten’s headquarters is located close enough to my home, following a favorable listening impression at AXPONA 2022 and discussion with Dan Roemer (CEO and Co-Founder) and Erik Weiderholtz, who is also a partner, these two delivered the first pair of S7t Speakers made and a pair of D212s to my home.

Dan and Erik wrestled with the oversized containers but found some relief due to the slider-footers built into the subwoofer boxes to ease moving the beautiful monsters. The partners unable to be in attendance are Lars Johansen (CSO) who brought his subwoofer development experience from M&K, Stephen Mascenik, who wrote the software for these very active subwoofers, and Peter Yang.

With their excellent build quality, excepting long-term assessment of operation, which is not possible in a short-term review, I put these Perlisten products further along the value to performance spectrum than the bulk of competitively priced products. At about $30K for the set, this is not budget audio, but is atypically upscale in every respect. This is a premium product and at a price point I would not expect for the result. I place the sonic signature, the quality and character, closer to the Magico and YG Acoustics, and Gamut speakers of the world, not Salk, Daedalus, or Audio Note speakers, as nice as they are.

The Perlisten experience brings a very tidy high-tech package with no muss, no fuss. That “no muss” applies to the sound as well. I was able to gauge the degree to which the D212s settings enhanced the blending of the subs by conveniently controlling them from my chair through the Perlisten software app. Switching between engaging and defeating the PEQ settings, more about them in the Interview answers, I was informed as to the contouring being done in addressing integration with the S7t and the room. The joining of the S7t and the D212s became more thorough as the PEQ settings were employed.

I did find similar tightness, or superior blending, of the D212s occurring with other speaker systems. As well as the S7t, I also used the Wharfedale Opus 2-M2 monitors, the Kingsound King III electrostatic speakers, the Legacy Audio Whisper DSW Clarity Edition speakers, and the PureAudioProject Trio15 10” Coaxial Speakers. In every instance, considering the Whisper being used in passive crossover mode, not with the full Wavelet system, these passive speakers mated more tightly, seamlessly, than with the Legacy Audio XTREME XD. The configurability of the D212s allowed me to address each speaker’s idiosyncrasies via this subwoofer’s suite of controls, bringing a new best result with each speaker.

For that reason, I hold the D212s to be my favorite of these two products. That in no way shows lack of love for the S7t! It’s terrific and out competes all of these in terms of a pristine or crystalline presentation. It may be surprising to some, but among the others used in comparison, the speaker that is most like the S7t is the PureAudioProject Trio15 10” Coaxial! Before PureAudioProject fans become too excited, I have some moderating news. They won’t typically get the same effect as the S7t. That is because the design of the DPC-Array is similar to my Landscape Orientation setup but even more fantastically refined. In keeping with my propensity to explore, I have lofted the PAP Trio15 10” Coaxial speakers onto custom Sound Anchor stands to orient them horizontally, as I have with several other speakers. Even though the 10” is a coaxial driver, by orienting the bass drivers horizontally, they fill in the soundstage in that fashion. Users of the PAP Trio15 or Quintet15 Horn1 will capture a soundstage more akin to the S7t, however, these speakers do not have the information retrieval capabilities, the sheer cleanness with super-high resolution, that the S7t carries.

That is one of the secrets of the Perlisten experience that became evident to me early on. It’s essentially a Landscape Orientation speaker system. Some industry members laughed at me when I described or showed them how I was experimenting with Landscape Orientation, taking speakers like the Daedalus Ulysses, Magnepan .6, or various iterations of the PAP line, and lofting and rotating them to achieve the stretched soundstage. However, most were authentically interested or encouraging. Now look: Perlisten is using a waveguide to emphasize the horizontal dispersion — Landscape. It works extremely well and has a unique appeal. It successfully yields the properties of a Landscape Orientation system, but retains the appearance of a Portrait speaker system, and so will not offend the status quo or aesthetic sensibilities of family members.

 

Technical discussion

A Representative System:

Small Green Computer sonicTransporter and SONORE Signature Rendu SE with systemOptique (see also Update)

Clarity Cable Supernatural USB 1m

(In various configurations) COS Engineering D1 DAC + Pre-Amplifier; Exogal Comet with PLUS Power Supply; Eastern Electric Minimax Tube DAC Supreme

Legacy Audio i.V4 Ultra Amplifier (in various configurations from 2 channels bi-wired through to six channels)

All cabling Iconoclast Cables and all power cords Iconoclast BAV Power Cords

Speakers vary as discussed in article

In assessment of the S7t and D212s I built in excess of one dozen systems with four other speakers in comparison. I would sprinkle technical discussion of review products throughout the article under the old format, but with my format change henceforth I will confine exploration of most of them to this section.

Perlisten is all about arrays as the S7t sports two distinctly different arrays. The technical aspects of the DPC-Array and its relationship to the crossovers are covered with more detail in the separate interview article.

Perhaps the three 28mm drivers should be referred to individually as a tweeter and a pair of tweeter/mid drivers. Perlisten has kept such things as crossover points and slopes close to the vest, but I presume the operating range of the diminutive tweeter-sized flanking drivers is severely restricted in low output. Given the S7t’s frequency response starts falling off quickly at 80Hz, I wonder if its 7″ drivers rise higher up than normal into the upper midrange to facilitate coupling with the tiny tweet/mids. Extending the crossover region, or as Dan says, “overlapping bandwidths and varying slopes,” seemingly over larger ranges does not seem to harm the resolution and does seem to address weak points in crossovers between drivers. By that I’m referring to idiosyncrasies associated with steeper slopes.

Wouldn’t classic speaker design consider such things heresy, to result in a mess? I’ve never been shackled to convention in terms of speakers, so the novelty of odd-sized midrange drivers and extended crossover ranges does not particularly bother me, especially when I hear what it does. It sounds better overall than most conventionally designed speakers I have used. Score a point for Perlisten with their extended design and measurements to make such a system work!

With the exception of what I hear from the novel DPC-Array, the older I get the less I like line arrays and arrays in general. I’m starting to get quite sensitive to the multiplicity of wave launches from grouping identical drivers. I can see why some audiophiles are coherence diehards, being willing to accept shallower bass for a tighter wave launch. Thankfully, the DPC-Array displays very low evidence of the use of multiple drivers. The DPC-Array is tight enough and uses the same sized drivers such that driver coherence is a nonissue in their range.

As for the grouped 7” bass drivers, which appear conventional in terms of placement, when using the S7t alone one hears the multiplicity of drivers, which cannot be avoided given the design. In terms of bass extension and output Perlisten seeks to obtain the best anechoic response whereas many towers with larger woofers couple with the room more to produce an additional several dB in the lowest frequencies when measured as in-room response. Perlisten’s towers are not designed to emphasize that room-coupled, reinforced bass. Often such reinforced bass is not all that pretty and can mask much of the midrange and treble performance. That is not a danger with the S7t when used in a reasonable sized room. My room is 13’x23’x7.5’ and the speakers sat respectively at a point centered at 6’ 8” from the front wall and 37” from the side walls. The distance between them was 78”, and they were 8’3” from the listening seat. The speakers were toed in to be aligned a bit wide of the ears. This is one of several configurations I use with various speakers. I do not have only one setup and positioning for speakers, but move them about liberally with varying systems, sometimes moving them as much as 2’ from their original position. In the case of the S7t I did not move them about as they were optimized with the subwoofers at this location.

Typically, a company will advertise their bass performance with specs showing the lowest frequency at a standard measurement. An example would be the Salk Audio SS 9.5 Speakers, which measure on the low end 25Hz +/-3dB. That is a very good specification, and it is a very good speaker. It differs from the Perlisten in that it is not specifically designed to be integrated with smart subs as is the case with the S7t.

In the design of the S7t Perlisten does not seek to impress chiefly with the output of the bass as much as with the accuracy of the bass. A speaker such as the Salk SS 9.5 will have more output in the 25Hz region than the S7t. The bass reflex or acoustic suspension variants of the S7t’s setup allow for this specification: Bass Reflex 22-37Hz -10dB and Acoustic Suspension 32-37Hz -10dB. The speaker achieves a very flat frequency curve, but with lessening output in the bass as the frequency falls. This is not a failing but a fact of the use of smaller bass drivers. I suspect if the measurement was represented more traditionally the bottom bass specification might be close to 35Hz +/-3dB.

The real-world application of this distinction is that one will not get the identical output in the lower frequencies from the S7t that would be expected with a speaker that measured 25Hz +/-3dB. The S7t will yield exceptionally flat, clean sound even into the bass region, but it will not give the presence, the output of a speaker that measures tighter in the lower frequencies. Dan succinctly describes the effect as tuneful with extension, but without the added blossom due to room interaction. Think of it as akin to the bass of a panel speaker, which is acclaimed for accuracy more than deep frequency response and output. The quality of the bass, as opposed to overwhelming output, is the priority.

Having used the S7t independently of the subs, the cleanness and tautness of its bass is captivating. One does not miss the additional output in the lowest frequencies unless accustomed to much larger speakers that measure more tightly at lower frequencies. In terms of the experience of hearing the S7t’s bass, I believe an accurate assessment would be that it splits the difference between a larger dynamic speaker with larger bass drivers, such as 10” or 12” woofers on the one hand, and a monitor with perhaps a 5” woofer on the other hand.

That brings us to the intent of Perlisten to couple the S7t with Perlisten subwoofers. The S7t is an immensely gratifying speaker on its own, and those with space limitations especially would find it an exceptional performer. As it will not excite the room boundaries or create the bass reinforcement associated typically with speakers having higher output in the lower frequencies, it will sound exceptionally clean in a smaller space but with more output and presence than the bulk of bookshelf speakers. It is capable of being played quite loud without a sense of strain, but the real solution to a grander experience is to mate it with Perlisten subs. If you can, you need to get the subs. The S7t is gratifying, but the truly glorious experience with Perlisten is the combination of DPC-Array and the subwoofer(s). As I describe in relation to other speakers, the D212s transformed the S7t into a truly formidable speaker system.

When I was young, I spent time flying Estes model rockets. A smallish rocket with an A engine was impressive — that is until I discovered what a rocket with a B engine could do. If I recall correctly, the sizes of engines reached the E designation, which powered the largest of the standard kit rockets. Consider adding a pair of the D212s to be like moving the speaker system from a C engine to an E engine. It will blast off and previous performance of the S7t sans subs will seem only remotely powerful both in extension and output. If you want the ultimate Perlisten performance, you do not neglect the subwoofer.

The post Perlisten S7t tower speakers and D212s subwoofers Review appeared first on Dagogo.

Simaudio releases Moon Voice 22 bookshelf speakers

The following is a press release by Simaudio.

MOON is delighted to announce VOICE 22, the first loudspeaker in Simaudio’s history. The Canadian high-end audio product manufacturer has used its more-than-forty years of audio design experience to create these exceptional speakers. Featuring premium materials and industry-leading technologies, for the very first time they give the MOON name its own voice.

The Voice 22 delivers the renowned rich and natural signature MOON sound with a precise clarity that will delight any music lover. The wide soundstage gives plenty of space to allow every small detail to flourish and for the deep, clean bass to expand. The Voice 22 is the perfect partner for a MOON amplifier, and the loudspeaker’s clarity and resolution brings out the best in other audio manufacturers’ systems.

The Voice 22 can be placed on any solid surface with its unique integrated Hover Base or on its bespoke stand. The Hover Base is designed to provide stability and reduce vibration, in addition to giving the speaker an elegant ‘floating’ appearance. The stand provides a secure base and adds a striking visual dynamic. Whether placed on its stand or Hover Base, the MOON Voice 22 will complement any décor and deliver room-filling sound.

 

MUSICAL PRECISION

The premium enclosure design has a modern feel with a classic twist that recalls Simaudio’s 1980 genesis. The class-leading drivers feature sleek baffles and beautifully machined bezels for a graceful appearance. The Voice 22 is available in a choice of two contemporary finishes with matching magnetic cloth-covered grilles.

Dominique Poupart, MOON’s Product Manager, commented, “We are thrilled that one can now own a complete MOON system, one that wouldn’t depend on other manufacturers’ loudspeakers. As with our other products, we created our own designs and technologies, aiming for transparency and realism, and to preserve the scale and dynamics of real-life musical instruments.”

•Tweeter: 29mm soft dome with waveguide
•Woofer: 155mm mineral-filled polypropylene cone
•Sensitivity: 89dB/2.83V/1m
•Nominal Impedance: 6Ω
•Recommended: Powe: 50W – 150W
•Frequency Response (±3dB): 55Hz – 24kHz
•Frequency Range (-6dB): 45Hz – 30kHz
•Crossover: 1.5kHz
•Dimensions (W x H x D): 20cm x 35cm x 29cm
•Weight: 10.5kg

PRICE: CAD$3,800 / US$3,000 / €3,000 / £2,650

The bespoke Voice 22 stands are crafted from powder-coated stainless steel and have a matt black finish that perfectly complements the loudspeakers. Each fits simply and securely onto its stand, and a choice of spikes or rubber feet guarantee stability and perfect balance.

STAND PRICES: CA$500, US$400, €480, £495

The post Simaudio releases Moon Voice 22 bookshelf speakers appeared first on Dagogo.

PureAudioProject Trio15 Coax10 open-baffle speakers Review

The hopeless truth (or fascinating reality)

They say wisdom is recognizing how little you know, that the more you learn, the more you realize how little you know. With each high-end audio system I assembled, and there have been hundreds, the feeling grows in me that I know less and less of the absolute extent of the HiFi performance spectrum. It’s not for lack of trying or of hearing good systems. I estimate the number of systems I’ve heard at residences, dealerships and shows at perhaps more than a thousand. This uneasy feeling that I do not have a handle on the enormity of the spectrum of sound is not for lack of experience but a growing humility that is reinforced by the uniqueness of each system. Perhaps the humility is similar to that experienced by astronomers who have learned that stars appear to be forming ten times faster than previously thought, or that there are ten times more galaxies than previously known. If you wish to learn more, search for articles about the Five-hundred-meter Aperture Spherical radio Telescope.

Audiophiles with scant experience like to categorize HiFi systems penultimately and speakers ultimately as if they are types of vehicles, but with little nuance as regards the particular characteristics of sound that are sought, the equivalent of inferring all roadworthy vehicles serve the same purpose. As people favor pickup trucks, sport sedans, or motorcycles, certain audio systems or speakers are said to be the best, as though they would be the best for every listener. High efficiency and horns are the best. No, says another, panels and heavy class A or A/B amps yield the best. Music Lovers (aka analog fans, who are typically mediaphiles) intone systems with the favored source, namely turntables, are the best. Wrong, wrong, wrong. These perspectives are too simplistic to accommodate the available experiences. The truth is that audio systems are nearly as myriad and unique as individuals.

The proper way to see HiFi is to consider it as personality of a system, not merely as a set of data points resulting in a ranking as the best. I used to do a lot of poring over the data in an effort to get the best result, the best system for a price point. Building hundreds of systems blows a Grand Canyon-sized hole in that philosophy. Audio systems are as distinctive as people, and their unique sonic structures are not cookie cutter but are as unique as a person’s personality. Here’s the truth: the manufacturer, dealer or reviewer cannot tell you, the readership, with any certainty what will result when you get your aggregate equipment home and hook it up to a random speaker. The best we can do is guess, just like you. Oh, there are specifications and measurements that get us into the ballpark, but the idiosyncrasies, the nuances of personality, are unquantifiable. Like a new acquaintance, you meet a system for the first time when you have not heard the precise assemblage.

If there can be four distinct personalities in speakers from one brand such as PureAudioProject, each one unique, what of the plethora of speakers available from all brands? Add in the bewildering variety of technologies and products that come to you as components, and you have a mystery only slightly less appealing to me than the question of Origins. I get to know a little about each product, from whence it comes, but whither it goes is a ripe unknown until I turn it on and hit PLAY. It’s the same with you. We know so little of the actual performance spectrum, we are like children arguing over whose Hot Wheels car is the coolest.

 

The sixth round

Given the above, it takes great care to provide a guide in terms of selection of components and speakers. One of the reasons I build several systems when I review a component is to chip away at the vast variables of how a component or speaker will perform given the pool of potential systems. It’s a miniscule sample, but at least it’s better than putting up one system, or perhaps two, and pretending to know how the product is expected to perform universally. Heaven knows I have written plenty of articles that, if not outright suggesting such, at least hint at it. I’ll try not to do that here, while still giving some general guidance for those interested in a really nice, affordable speaker system. Here goes…

This is my fourth round of working with a PureAudioProject speaker, namely the Trio15, and my second round working with the Quintet15. What can I say? PAP must conclude that I can tease out some understanding of the personality of their speakers, as they keep sending me new primary drivers. I have heard distinct differences between them and in order to not rehash the extensive discussion in regard to the general design of the speakers and the PureAudioProject (PAP) philosophy of speaker design, I direct interested parties to the following Dagogo.com reviews:

Trio15 Tang Band

Trio15 Voxativ (AC-1.6 driver)

Trio15 Horn1

PAP-C1 active analogue crossover (for active bi-amping)

Quintet15 Horn1

 

Perusing both the Trio15 and Quintet15 speakers with the 10” coaxial primary driver is the next pair of articles. I am learning not only the PAP way but the ways of each of these speakers fairly well. Sincerely, I wish to help you as an audiophile, but consider that I am seeking to avoid dozens of eager questions from enthusiasts around the world asking particular questions about their systems and one of these iterations of the speakers. Almost universally my answer is, “I don’t know. I can only reinforce what has been said in the article.” I cannot tell you if you would like your source, pre, amp, integrated, cables, etc. with any given PAP iteration more than another. Until now.

The post PureAudioProject Trio15 Coax10 open-baffle speakers Review appeared first on Dagogo.

Deciding On Which Loudspeaker To Use In An Audio System

An audio system is, at the lowest common dominator, merely nothing more than a collection of parts. Specialized parts to be sure, but regardless, a total systemic approach is needed to complete the intended task – play music. 

What remains as the most difficult in the decision-making process is deciding on how to go about assembling the various components, speakers, cables and storage solutions required to sit in a chair and enjoy a song. Needless to say, there are many opinions, disagreements, and confusion surrounding which component to choose, how best to partner that choice with something else, and well, just about everything. One of the more difficult choices are speakers – the only part of an audio system that converts an electrical signal into music. 

When we look at the width and breadth of available choices in selecting speaker systems, how anyone ever decides on anything seems incongruous with the actual decision making process. With so many choices, options and sonic presentations, actually saying “I want that one” belies the difficulty in reaching any measured conclusion. 

Overwhelmingly, dynamic speakers are the most popular type of speaker system. They offer relatively easy set up and excel in a cost to performance ratio. Most dynamic speakers will perform very well in a wide variety of component variations – such as pairing them with tubes, solid state, low wattage, high wattage and so on. 

However, forgiving though they may be, dynamic speakers are often not correct for the room in which they are housed. Most commonly, small stand mount speakers are put in a room whose dimensions are too large for the speaker’s capabilities. This may easily result in poor performance and the always dreaded blown driver. 

This is the opposite of another condition – placing a large set of floor standing speakers in a room decidedly too small for an adequately employed set up methodology. Large, floor standing speakers prefer large rooms. It is always a wise suggestion to pair the speakers to both the system and the room as well. 

There will be those who will eschew dynamic speakers in favor of another popular type – ribbon type speakers better known as planar transducers. 

Rather than using the cone and magnet type construction used in dynamic speakers, ribbon speakers use two strips of a material, normally thin aluminum, suspended between the north and south poles of different magnets. When the signal electrifies the magnets, the aluminum strips vibrate, thus moving air and producing sound. 

Because of much lower mass, ribbon type speakers are normally capable of producing exceedingly clean, low distortion, less congested, and accurate musical presentations. They are not, however, without their faults. 

Because of low mass, ribbon type speakers normally require significant amplifier power. Because they are di-pole designs, or they radiate sound from the front and back of the cabinet, planar speakers are very often difficult to position in a room. Additionally, to sound their best, ribbon speakers like to be placed well into a large room.

If the listeners available space is a small great room requiring the speakers being placed close to, or against the front wall, getting the most from a ribbon speaker may be difficult. Proponents of ribbon speakers will always side with the amazing clarity they are capable of producing and find little fault with their shortcomings. 

Somewhat closely related is the electrostatic speaker. Rather than using thin aluminum ribbons, electrostatic speakers typically use strips of a plastic material such as Mylar® stretched between two stators. The membrane is charged with high voltage, relative to the stators, and when a musical signal is applied to the stators, an electrostatic field results. These electrostatic fields cause the membranes to vibrate thus moving air and producing sound. 

Like planar speakers, electrostatic speakers can be amazingly clear and accurate. Proponents of both planar and electrostatics very likely appreciate this fact the most. 

On the downside, because electrostatic speakers do require voltage to energize the plastic strips, they must be plugged into an AC wall outlet. Like planar speakers, electrostatic speakers are bi-pole and are typically more difficult to optimize in the room for the best sound. 

Also like planar, their low sensitivity generally requires high wattage amps and they too like to be placed in large rooms. Lastly, bass response is very often compromised because the plastic strips and stators simply cannot generate low, powerful bass. As such, it is very common that electrostatic speakers augment low bass with a subwoofer. Very often the sub is housed in the bottom of the cabinet. 

There are numerous other types of speakers. Horn speakers, for instance, are very efficient and can play obscenely LOUDLY. There are dynamic speakers with both ported and sealed enclosures. Plasma drivers and all different types of hybrid designs. 

In short, all speaker systems do certain things extremely well. Some are easy to use, others are amazingly clear. Some are an absolute nightmare to correctly position, others still are far simpler. 

Another fact is when a speaker system, regardless of the design, creates an “oh wow” moment, the higher degree to which that is accomplished usually means one thing – increased cost. 

Choosing a speaker system is best done in an all-encompassing manner. Everything must be considered – attributes and shortcomings as well. If a very clean, superior transient response speaker is desired, understand what is required to make that happen. If a more user friendly, one size fits all speaker best fits the bill, know that some sacrifices may be expected. 

Speakers are the most personal part of the audio system. They are the most visible and very often the first part of the system seen when entering the listening space. Having the right speakers based on the type of sonics produced, complemented by an appropriately sized room and speakers large or small enough to optimally fit will greatly enhance the listening experience. 

We all have our own preferences. Whether dynamic, planar, electrostatic, horn, whatever the choice may be, all audiophiles should welcome the wide availability of speaker designs. While an absolutely perfect speaker does not exist, the wonderful part of the audiophile hobby is there is something to please almost everyone. 

The trick is simple, deciding which one. 

Salk Sound SongTower speakers Review

I first heard a pair of Salk Sound speakers at the California Audio Show a number of years ago and I was impressed with the presentation. The Salk Sound website indicates that several of their models utilize transmission line designs, an approach that can give extended bass of high quality. I have an old pair of ESS Translinear speakers from the 1970s also using a transmission line design, which I refurbished and still occasionally use. The best part of those ESS speakers is their Kef B-139 woofers and the ability of those woofers to take advantage of the extended bass. The worst part is the speakers are very big and very heavy. They also sound dated when you compare them to more modern designs. Sadly, you don’t see this design much anymore due to the high cost to manufacture.

Salk Sound owner and chief designer Jim Salk keeps its speakers affordable by selling them factory direct. The company offers a very large selection of speaker models. My Dagogo colleague, Doug Schroeder, recently reviewed the Salk SS9.5 ($10,595 in standard finish) from Salk’s SS Series. The Salk Song Series of models, of which there are many, range in price from $1,495 to $5,995 per pair (in standard finish). About half of the Song Series models feature transmission-line designs. The SongTower model, the subject of this review, is from that series and comes in at $2,295 per pair in standard finish.

I became interested in the Salk Sound speakers featuring the transmission line design at the same time Doug was contacting Jim for his review project. Jim suggested the SongTower floorstanding speakers, which would be compatible with a variety of components in different rooms in my house. I felt this would work out nicely.

The very first thing I noticed upon unboxing the SongTowers was their beautiful gloss white finish, which blended into my family room like no other pair of speakers. These had that modern art deco look that I think would enhance the decor of any room, even if you like your speakers placed all the way into the room. I normally do not factor the look of speakers in my purchase decisions, but the design of these speakers is stunning, and they are available in a very wide range of finishes and colors. These definitely look like a pair of handcrafted custom made speakers. Now I understand why they take so long to build: they don’t come off an assembly line.

Salk Sound includes great instructions to make setup fairly easy. You even get a speaker birth certificate signed by everyone involved. Since we just put in brand new hardwood flooring in our home, I did not use the spikes that are included. Also, since the previous wall to wall carpet is gone, the room is now much more lively and perhaps not as ideal as a listening room. After experimenting with placement, the Salks ended up about 80” apart and about 24” inches away from the front wall. I angled the speakers slightly towards me. The SongTowers come as a matched left-right pair, and I placed them with the tweeters on the inside.

After my recent review of the Rotel A14MKII integrated amplifier, I kept the unit so that I could hear it with the SongTower speakers. I felt that this would be the perfect amplifier for the Salks because it worked so well with all of my other speakers. The turntable used is the outstanding Thorens TD-147 combined with the Nagaoka MP-110 phono cartridge. This and the AR “The AR Turntable” are my favorite turntables.

I was curious to hear a more updated transmission line design compared to my ESS Translinear speakers. I particularly wanted to hear if it could approach the deep extended bass that I get with the Translinears. I first played various jazz albums, including some that I played in other reviews. This included Hiroshima, Gerry Mulligan, and the Gerald Wilson Orchestra. I also played some classical albums, starting with my favorite composer, Aaron Copland, in addition to a variety of other classical music, such as Borodin, Handel and Mozart. A number of my fellow audiophiles love rock music, so I also played some General Public, Police, and Steely Dan. The first thing I noticed was that the SongTowers had precise imaging and a very large soundstage that made the music sound very natural. The SongTowers had a much more refined midrange and more extended highs compared to my 50–year-old ESS Translinear speakers. I found it interesting that the SongTowers with their smaller woofers went as deep as my Translinears and the bass was much more refined. It could be that the SongTowers removed some of the bloated bass of the Translinears. This may also be the outstanding engineering with this Salk transmission line design.

Jim Salk included a CD sampler, which I used to start my CD listening session. I was listening to Jazz Kaleidoscope Sampler (Reference Recordings RR-910) and  I noticed the front to back layering of sound that separates a well-made pair of speakers from a mass market pair of speakers. The SongTowers are so refined and natural sounding, no matter what genre of music. The SongTowers and the Rotel A14MKII were such a great combination, that I was not motivated to try any other components. I just wanted to sit and listen to the music. When I closed my eyes, I felt the speakers disappearing and I was transported to a live concert.

The post Salk Sound SongTower speakers Review appeared first on Dagogo.

Bowers & Wilkins 603 S2 Anniversary Loudspeakers | REVIEW

I’ve had the Bowers & Wilkins 603 S2 Anniversary Edition (website) speakers in my possession since April of this year (2021), and since day one in my affordable review system, I’ve been itching with ideas […]

Ohm Acoustics F5 speaker Review

What does an audiophile do with a speaker that tosses sound everywhere? How is the perfectionist to approach a soundstage that is bulbous, what I term the mushroom cloud soundstage? It is so obviously different that it raises many questions about its characteristics and operation in a HiFi system. A distinct subset of enthusiasts claim it is the only correct genre of speaker among the several available. I have no intent on attempting to answer these questions definitively, nor to write a history of the omnidirectional speaker. I endeavor to explore the unique aspects of this omnidirectional speaker. Along the way I will revisit an earlier model from the Ohm Acoustics, the Walsh Model F, in a fit of comparative curiosity to see how it sounds alongside the current flagship, the Beta F-5015 (At the time of publishing, the company has renamed the speaker F5 officially –pub.).

A true omnidirectional speaker is noted not so much for its timbral and dynamic characteristics, which, like any other dynamic speaker, may be exemplary or anemic depending upon the brand, but for its bulbous, amorphous soundstage. Listening to Shelby Lynn’s unnaturally outsized vocals reminded me of the time my sons and I went to the Blue Man Group show at Universal Studio’s theme park and experienced a rather unusual display. At one point the Blue men went into the audience with handheld, wireless mini cameras and unexpectedly coaxed a show goer to put his head back and open his mouth. In went the camera; the close-up images of his throat and uvula on the screen were uproarious, the audience grossed out and laughed hysterically. It is best to expect larger than life-sized imaging if you are considering an omni speaker!

As an owner of an omni speaker, the Kingsound King Tower, which I picked up from the Kingsound U.S. distributor following its appearance in two shows at RMAF, I have appreciation of the enveloping character of the omnidirectional speaker, it’s greatest attribute among fans. One does truly feel immersed in the musical event, as opposed to hearing it approach. Having an appreciation for the breadth of design in the speaker industry, when listening to an omnidirectional speaker, I readily accept the inflated scale and settle in to hear from within the performance, not outside of it. The omni does give a sense of being with the band as opposed to being segregated from it. The effect is not absolute, but much more convincing than typical speaker setups except, perhaps, nearfield listening and, as might be expected, headphones.

A new generation of Ohm speakers

By “new” generation, I am distinguishing between Lincoln Walsh’s 1970s era Model A, the later Walsh Model F spoken of earlier, and the current offerings from Ohm. My pair of Model F were about to be hauled to the dump, as they had obvious damage to one cabinet and to both speakers’ surrounds and spiders (the drivers are mounted vertically, and over time the spiders may sag from the weight of the cone). The owners recalled that I like audio, so they called to see if I had interest in the damaged speakers. They thought I might be offended, as the speakers were old and damaged. As I drove over to their home, knowing that Ohm also made some more traditional designs, I hoped that they would be omnidirectional speakers. They were surprised that I knew they were iconic, considered among the most innovative designs in HiFi speakers historically, and were thrilled that I showed interest in restoring them.

Both out of excitement to embark on an open-ended adventure in speakers, and to glean advice, I opened a thread on Audiogon wherein I discussed my options available, ranging from parts replacement to full restoration, covering a cost spectrum from less than $500 to more than $7,000! As I already owned omni speakers that were used lightly due to other fine transducers rotating through my home for reviews, I opted for the inexpensive revamp rather than a full-blown restoration. I drove two 12-hour round trips to drop off and then pick up the speakers rather than trust shippers. I was not going to chance damage to those drivers!

On the Audiogon thread one can see how enthusiasts were disappointed with my decision, but my priorities in system building are quite different from those of the average audiophile. While I cannot say the refurbishing of the speakers brought me precisely to the performance level of the original, I do believe it brought me close enough to gauge what their potential would be as fully restored vintage speakers. Thus, this discussion of comparison is between a refurbished, not perfectly restored, Walsh Model F and the current Ohm F5.

John Strohbeen, the current owner of Ohm Acoustics Corp., has written the highlights of the early company history in an article, “The Early Days of Ohm.” Link to it here:

https://ohmspeaker.com/news/the-early-days-of-ohm/  I also recommend curious parties look at the company page, “The History of Ohm Speaker”: https://ohmspeaker.com/about/#history  This will be of keen interest to some, but unexciting to others who simply want to know the performance characteristics and potential success of this speaker in my system. While I have a glancing familiarity with the history and models of speakers from Ohm, I am not an authority. I will not pretend that I am the “buck stops here” person for Ohm speakers. However, I do believe I can bring value added analysis to the F5, and when this article is finished, perhaps you will agree.

The post Ohm Acoustics F5 speaker Review appeared first on Dagogo.

PureAudioProject Quintet15 Horn1 open-baffle speaker system

I got my new Erector Set the other day! If you are old enough to remember Erector Set toys, which are still being produced by Meccano, then you are authentically heading over the hill. I played many hours with that plastic toolbox full of metal girders, bolts, nuts, a set of four wheels, and even a small DC motor. I had always loved taking things apart to see how they functioned mechanically, and it was nearly as much fun, though not nearly as easy, to put things together. That fascination in how things work spilled over into my adult life, wherein I spend inordinate amounts of time building audio systems, and most often issue a technical interview to manufacturers regarding the products I review.

PureAudioProject will forgive me this time as I did not issue a technical interview; the speaker being considered is a variant of the Trio15 Horn1 that I reviewed not long ago. The Quintet15, like an Erector Set, has parts that I literally pulled from the Trio15, along with supplemental parts, to populate it. Four of the drivers and the horn are the very ones scavenged from the former speaker. As might be expected, much of the design and performance of the Quintet15 Horn1 is mirrored in the Trio15, albeit on a smaller scale in the Trio15, so I direct those interested in the nuts and bolts of this design to my first article on that speaker.

The Quintet15 goes together not much differently from an oversized Erector Set. Bolts hold the several heavy gauge frame parts together; longer bolts with finger tightened nuts affix the drivers to the frame, while still others hold the crossover to the bass frame plate. The speaker comes in four separate boxes; the supplemental parts also came in four separate boxes containing additional baffles, drivers, hardware and crossovers. One of the lovely attributes of most models of the PAP line is the option to select the color of baffles: White, Black, Natural Bamboo and Caramel Bamboo (Bamboo adds $40/baffle), and they can be mixed! There is also an option for German Oak in four different shades, which is an upcharge of $60/baffle.

There is an assembly caution I would give a new owner of the Quintet15. When assembling the three upright pieces of the metal frames that hold the driver baffles, on the mid-section, insert the bolts tightened with the supplied Allen wrench on the front-facing side of the right-angle piece first, then the bolts for the side wings. Even when held in place, when I tried putting the side bolts on first and then the front bolts, one stripped. Altering my method, every other bolt on the frame went in perfectly with no concern except using a bit of muscle to hold the frame pieces in exact alignment when tightening and not letting go of it until the piece was tightened fully.

The speaker footers are composite, with a plastic collar over a metal post and pressure-coupled metal disc, and round felt stick on pads for the bottom. Again, this is probably sufficient for most who would position the speakers and let them be. As I moved the speaker around by walking it on thick Berber carpeting, one of the plastic shoes came loose, thus also ejecting the metal slug and compromising the precise height of the footer. While tipping the speaker forward with one arm, I pushed together the parts to re-form the footer with my opposite hand. If I had enough ambition to worry over the state of the footers, I would go to the hardware store and buy different screw-in feet more agreeable to me.

I would caution against the option of putting casters on these speakers as they are so tall. With its appropriate but not oversized base, I would still not feel comfortable rolling them around. To move them in or out of my listening room I used a piece of 2”x2” wood placed against the hand truck’s bottom plate to block up the metal base so that I could lift the speaker with a hand truck to maneuver it. I placed the hand truck against the front of the speaker, using a thicker hand towel to cushion the arc of the wooden horn as it rested against the hand truck. There is usually a way for an individual to move a large speaker, but it may take some creativity to figure out how.

 

Thrier crossover

There is also some assembly required when it comes to the crossover. It was a pleasure to build, a nice project for my son and me as we looked at the images online, which were clear and very well defined in terms of parts and location on the board. An owner should have no trouble, which is important as it is a critical assembly! The Thrier crossover is a three-functions-in-one crossover. It allows either two way first order crossover in Series Topology (Jumper on S), or more traditional Parallel Topology (Jumper on 2W). Secondly, it allows for the addition of a third channel for 2.5 or 3-way operation when a third driver, tweeter or super tweeter, is added. Finally, if there is a desire to further contour the tweeter output, an additional coil can be added and a setting using another jumper set to the “LM” position. In the normal use of the speaker as it comes stock, it does not include the additional coil, and the jumper position must be set to “HB” position. That is the position I used throughout the review, as I heard no reason in terms of the sound of the speaker to alter the treble performance.

 

The post PureAudioProject Quintet15 Horn1 open-baffle speaker system appeared first on Dagogo.

Rogers LS 5/9 Classic speakers Review

The LS3/5a is perhaps the most famous loudspeaker in the audio world with many versions made, past and present, by many companies. Various versions of the speakers have been reviewed at Dagogo, most recently a current Rogers offering, which was reviewed by Constantine Soo. Indeed, I had also requested a pair but when I saw that he was covering that model, I elected to request the considerably bigger brother from Rogers, the LS5/9.

Rogers dates back to 1947 and has been bought and sold several times over the years. Today, the speakers are being manufactured back in the UK under the direction of Andy Whittle who is one of the foremost experts on all things LS3/5a. Andy has worked for several companies over the years, including Audio Note UK, Celestion, Mordaunt-Short, and Exposure. He was responsible for designing my lovely Audio Note AX Two loudspeakers, which I have owned for the last 10 years. What I tend to say about the AX Two is that “you’ll have to pry them from my cold dead hands” as I have found them to be one of the great under-the-radar bargains in audio.

I must admit that I am more of a fan of larger and fuller-range stand mounts like the Rogers LS 5/9. To me, they serve up a larger, more complete presentation than their little LS 3/5a sibling. There are sometimes drawbacks to larger speakers, of course, because more bass tends to create more room-induced problems. Moreover, cohesiveness may become a problem often in the vocal band. Fortunately, these fears were unfounded in this case. The LS 5/9 gets the vocal band bang-on, and that’s why I requested the speaker for review. If I am going to spend months listening to a speaker it has to get the midrange right. It has to be all-day enjoyable.

Out of the box I was greeted to a top-notch Russian Birch finish (Rosewood) with nice Tygan grilles. Andy tells me the LS 5/9 should be used with the grills on. The speakers come in three standard finishes but you can special order them in other finishes at additional cost. As an aside, I am pleased that more manufacturers are offering more finish options so you can get it the way you want it.

Around the back, the speakers have a single pair of small terminals for connecting speaker wire with banana connectors. They are a perfect match for my Audio Note SPe silver cables. Under the speaker grilles, there are resistor jump links to adjust the treble.

The LS5/9, unlike the LS3/5a, is a ported cabinet. The port is in the front and affords a nice degree of positioning flexibility. I placed the speakers where my Audio Note AN-K/SPe speakers, a sealed cabinet design, were sitting and was pleasantly surprised at how well the Rogers did very close to my rear walls. My flat in Hong Kong is considered large with a living room of 13 by 18 feet with 9-foot ceilings. The solid concrete walls don’t sing along to the music like wood-framed housing. One of the reasons the LS speakers are so hugely popular in Asia, I suspect, is due to their positioning flexibility. You can place them away from room boundaries in a near-field listening set-up to get the soundstage and imaging to your preference.

The Rogers LS5/9 were the store’s demonstrator pair so they were already broken in when I received them. In the first hour of listening, it was clear that the speakers present the vocal band in a more upfront manner than my Audio Note K/SPe. The K/SPe, while being physically a little smaller than the LS5/9, delivers more bass and dynamic impact than the LS5/9. The LS5/9 sounded slightly washed out in comparison. However, the ear adjusts quickly and I began to appreciate the cohesiveness in the midrange and treble with the Rogers. Instruments and vocals had a high degree of realism and a tactile, reach-out-and-touch-you sensation that most speakers lack.

 

Male and female vocals are a strength of good two-way stand-mount speakers and the LS5/9 is definitely in the upper echelon in this area. Assuming the recording quality is good, I enjoyed everything I played — and I could play it all day. On Lizz Wright’s Grace, her relaxed vocals and emotive presence take center stage. This sense of truth was also there on Snowy White’s Released album, which highlighted the LS5/9’s ability to offer up a superb dose of articulation. Unlike many professional speakers, the LS 5/9 does not sacrifice music for keyhole audiophile talking points. You can enjoy the music at low volumes without over-analyzing aspects of the sound.

 

Blue Rodeo’s Five Days in July sounds sublime — vocals are clear and sound vital. A young Sarah McLachlan is ethereal on backing vocals on “What is this Love.” There is a weepy quality to the track that the LS 5/9 conveys without shout or bombast. A lot of speakers seem to have an edge, creating a sense of unease, and I appreciate a speaker that retains a balanced presentation. It’s not all vocals; acoustic instruments, such as piano and guitar, are always well rendered and toe-tapping.

With bigger full-range classical music, such as Bernstein’s live recording of Beethoven’s Ode to Freedom, the LS 5/9 were supremely coherent in the middle registers. Of course, they cannot generate the full range thunder of the album. This is to be expected from speakers this size. If you are looking to feel the bass, you will need to augment the LS 5/9 with subwoofers.

In the electronic music genre, Boards of Canada’s Tomorrow’s Harvest is atmospheric, melancholic, science-fiction-like music that reminds me of Blade Runner. The LS 5/9 does a wonderful job in allowing all of the layers to come through and the feeling of dread to fill the room.

Rated as 87dB sensitive and 8 ohms, the speakers gave my 8-watt Audio Note Empress Silver monoblocks no trouble on any music, though Rogers does recommend 30 watts. I found no power-related difference in terms of woofer control or distortion using my 250 watts per channel Wyred4Sound monoblocks. However, the added power will come in if one plays at much louder levels. I suspect if you are buying this sort of speaker, which is all about tone, accuracy, and coherency, your intent is not to shake the paint off your walls. The LS 5/9 is a superb low-volume listening speaker and I never felt the need to turn the volume up to make things out. This is something that is fairly rare in loudspeakers and important for those of us who wish to keep our hearing for the longterm.

Something I learned during the time I had the speakers for review is that Rogers has developed an upgraded version of the LS 5/9 called the SE, and Andy noted that:

“For the SE version, we have upgraded the baffle from plywood to Panzerholz. Panzerholz is a high-temperature resin impregnated plywood and is very good at damping any resonances. We also upgrade the ferrite cores to dust iron cores.

We also make a matching Panzerholz stand for the 5/9 and the LS 3/5A which is a good upgrade.”

Rogers LS 5/9 SE

With Andy’s background at Audio Note, and with the substantial improvements afforded to Audio Note speaker upgrade versions with the aid of superior parts, I anxiously await trying out the Rogers LS 5/9 SE version.

One of the great things I can conclude about the Rogers LS 5/9 is that while I was listening, I always felt that what I was hearing was true to the recording. A lot of speaker makers like to say their speakers are accurate, but I often find them to sound bright, which leads to fatigue. And there is often a lean quality to them. The Rogers LS 5/9 blends the sense of monitoring accuracy — such that you would certainly feel like they deserve to be in a recording or mastering studio — but also the sense that they belong at home, being the sort of speaker you can sit back and enjoy. I don’t get that with some other speakers, such as those from ATC or PMC, which lean more to the analytical side of the spectrum. The Rogers LS 5/9 strikes a seamless balance into both home and studio listening. No doubt this is the reason they have such a tremendous following in the audio community.

 

Review system:

Analog Source:

  • Audio Note TT3/PSU1 Turntable
  • Audio Note IQ3 Moving Magnet Cartridge
  • Audio Note Arm3(v.2) Tone arm

Digital Source:

  • Cambridge Audio CXC Transport
  • Audio Note 0.1x DAC

Amplification:

  • Audio Note M1 Phono Preamp
  • Audio Note M6 Phono Preamp
  • Audio Note Empress Silver Monoblock amplifiers
  • Wyred4Sound mAmp Monoblock amplifiers

Cables:

  • Audio Note SPe speaker cables
  • Audio Note V and Lx Interconnects
  • Audio Note ISIS modified power bar

 

Copy editor: Dan Rubin

 

The post Rogers LS 5/9 Classic speakers Review appeared first on Dagogo.

Select your currency