The M5i, basically a two-way bookshelf version of the 21½-way M16i, has the same tweeter, woofer, and footprint as the larger model, less its larger cabinet and second mid/woofer, and incorporates all of the i-series updates included in the M16i. The speakers look very similar; like the M16i, the M5i is available in gorgeous cherry veneer or basic black. The price ($899/pair) is $249/pair higher than the original M5. I placed the M5is on Epos's dedicated stands.
Cyrus is the name given to the higher-priced line of loudspeakers made by England's Mission Electronics. The entire Mission loudspeaker line includes six products under the Mission label and three under Cyrus. Mission also manufactures a wide range of electronics and CD players. The company has a long history of audio innovations, both in loudspeaker and electronic design. Among Mission's claimed "firsts" are the first polypropylene-cone drive-unit used in a product (1978), first widespread use of MDF loudspeaker enclosures (1981), and first CD player from a specialist manufacturer. Interestingly, Mission also makes IBM-compatible personal computers.
The $900/pair Cyrus 782 is a two-way design employing dual 7" (175mm) polypropylene-cone woofers and a single ¾" (19mm) fabric-dome tweeter. The drivers are arranged in a D'Appolito configuration to simulate point-source radiation characteristics. Both woofer and tweeter were designed from scratch by Mission. The polypropylene woofer cones include a "mineral loading" that reportedly increases cone rigidity, thus decreasing cone breakup. Additional woofer design features include a shaped pole piece to increase linearity during high cone excursions, rigid steel chassis to reduce driver resonances, and a tight tolerance between the voice-coil and magnet to increase sensitivity.
The loudspeaker coming under the microscope this month emanates from north of the border. The Canadian loudspeaker industry has benefited enormously in the last few years from having the measurement, testing, and listening facilities of Canada's National Research Council in Ottawa made available to it on a commercial basis. Unlike the US or even the UK, where a new speaker designer has pretty much to rely on his own resources, having to invent his own test procedure as well as design the product, the Canadian equivalent can have his loudspeaker tested under standard conditions, quickly indicating whether he is on the right track or not. (He still, of course, has to rely on his own talent to get on the right track in the first place or to get back on it if it appears that something is amiss.)
Vivid speakers change the game. But first a great piano recording: Tributaries: Reflections on Tommy Flanagan (CD, IPO IPOC1004), from the late Sir Roland Hanna (his title was an honorary knighthood granted by Liberia). I missed this wonderfully crafted solo-piano recording when it first came out in 2003, and still would not have known about it today except that a publicist sent me an e-mail saying that he was cleaning out his shelves of leftover promotional copies. I quickly sent back a request, in large part because one of my Desert Island recordings is Jim Hall's Concierto, originally released in 1975 on the CTI label, and on which Hanna had played. Concierto has since been reissued in digital form many times, most successfully, as far as I can tell, by Mobile Fidelity Sound Lab on an SACD (UDSACD 2012) that includes new tracks, as well as alternate takes of tunes on the original release.
Everyone wants something different from a loudspeaker. Some people value midrange neutrality above all, while others will sacrifice some of that accuracy to get extended lows or a speaker that will play immensely loud with only a few watts of power. Some want stereo imaging that is sufficiently delicate, stable, and accurate that the speakers open a transparent window on the recording's original performing space. Some will sacrifice all of the above to get a speaker whose "jump factor" can jerk zombies out of their stupor. And there are those who are prepared to lose just a little bit of everything in order to have a speaker that may not excel in any of these areas, but communicates what they want from their music in the most effective overall manner.
Leben Hi-Fi Stereo Company is a very small company in Amagasaki City, Japan, that hand-builds an exquisite line of vacuum-tube audio electronics. I find it intriguing that Taku Hyodo, founder and main man of Leben, once worked for the comparatively huge Luxman firm. Years back, Luxman went through various corporate owners and spent some time wandering in the desert, before returning to its high-end audio heritage. Whether, as I suspect, Leben was founded during Luxman's years of ownership by car-stereo maker Alpine, or if Hyodo simply wanted to be the captain of his own destiny, I don't know.
ProAc's Response D Two is a stand-mounted, two-way, ported loudspeaker with a a proprietary 1" silk-dome tweeter and woofer using a proprietary 6.5" cone of glass-fiber with a copper phase plug. At 17" high by 8" wide by 10.25" deep, the cabinet is taller and narrower than usual, owing to the fact that the port is centered below its mid/woofer.
Readers frequently ask me how Stereophile's writers select equipment for review. More often than not, a writer comes up with a review candidate because he's heard it or heard about it, and then suggests it to editor John Atkinson for possible review. JA encourages this behaviora writer excited about reviewing a component is more likely to produce an article that's interesting and informative. That said, occasionally a review candidate surfaces at Stereophile HQ; in such cases, JA assigns it to one of us.
Nineteen days after J. Gordon Holt died, my daughter and I drove west on NY Route 20, passing lawn sale after lawn sale on our way to the supermarket in Richfield Springs. Each sale promised a pleasant waste of time on that hot afternoon, but only one caught my eye: There, among the Avon bottles and the 8-track tape cartridges, were two large bookshelf loudspeakers, dressed in walnut veneer and light-colored fabric grilles. AR 3s, I thought. Or maybe Large Advents. "They'll still be there when we come back this way," I said, stupidly.
Every audiophile is born sometime, somewhere. My audio birth happened on a family visit to my Uncle John's house, when he played Information Society's "What's On Your Mind (Pure Energy)" through his brand-new Klipsch Heresy IIs. Uncle John did three things at this listening session that turned 12-year-old me into the audiophile I am today: he played music I liked, he played it really loud, and afterward, he took the time to explain how his system worked and why it sounded so good. His Klipsches were powered by Nelson Passinfluenced Nakamichi gearI'd never before heard speakers play music with such ease or such startling dynamics. I was immediately hooked. In many ways, nothing I've heard since that day has impressed me as much, or been as revelatory of what home audio can do. That single experience set me on a path of caring about re-creating musical performances in my own home.
I miss the High End Shows. Not the annual Consumer Electronics Show in Las Vegasno thanks. I can do without the overpriced hotels, the 45-minute taxi lines, the frantic racing from venue to venue. No, it's the Stereophile shows I miss, with the centralized location, the rubbing shoulders with readers ("Hey, you're the cheap-speaker guy! Check out room 206!"), the listening to live music, and maybe even playing a little of it.
The companion loudspeaker to Denon's RCD-CX1 SACD/CD receiver is the SC-CX303 ($1200/pair). The SC-CX303 is a ported two-way with a 1" soft-dome tweeter and a 5" carbon-fibercone woofer. Denon claims a sensitivity of 86dB and an impedance of 6 ohms. Instead of a formal frequency response, Denon instead gives an unreferenced figure for frequency extension that, at 35Hz60kHz, is neither helpful nor credible.
The British speaker manufacturer PMC Ltd. has built a professional client list seemingly as extensive as its almost mind-numbingly broad line of speakers. The i series alone includes 12 models, one of which is the DB1i ($1929/pair).
Ah me, another year gone by. The rest of my holiday-gift suggestions are at the end of this column, but I wanted to kick off with a hearty recommendation of Aja, a book by Don Breithaupt. You may recall Breithaupt as a co-author (with his brother, Jeff) of the survey Precious and Few: Pop Music in the Early '70s, which cracked me up in my October column.
The venerable British company ATC Loudspeaker Technology was founded in 1974 by Billy Woodman, and is famous within the professional community for developing the first soft-dome midrange driver, and for their well-regarded line of active (powered) studio monitors, the user list of which is a veritable Who's Who of mastering engineers. ATC loudspeakers are all still made in the UK, and were a favorite of the late J. Gordon Holt.