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.
In October 2005's "The Fifth Element." I said of the Harbeth HL-3P-ES2, a descendant of the BBC LS3/5A, "Gloriosky, these little speakers are just great to listen to!" Later, in April 2007, John Atkinson endorsed that remark.
In my reviewing career, except for fleeting listening sessions at the occasional audio show, I've had little contact with products from the Italian loudspeaker maker Chario. When asked if I'd be interested in reviewing an affordable bookshelf speaker from them, I did some research and discovered that Chario is distributed in the US by Koetsu USA. Well, with that kind of pedigreeI'm a loyal owner of two Koetsu Urushi cartridgesI thought I'd better give the Premium 1000 ($1015/pair) a careful listen. A few months later, I was tucking in to a pair of review samples.
One of the great divides in high-end audio concerns the question of how much bass is enough bass? The decision facing a speaker designer about how much low-frequency extension is appropriate is a fundamental one, so to speak: every extra 5Hz of bass will dramatically increase the retail price, as the speaker must be correspondingly bigger. Furthermore, the larger the speaker, the larger its problems, which in turn requires throwing more money at the design to solve those problems.
Every engineer has known for years that, while beryllium has excellent physical qualities for use as a speaker radiatorlight weight, rigidity, and a remarkable degree of internal dampingit is not usable as such because it cannot be stamped out like most other materials. It will not stretch, and any attempt to shape it simply causes it to split.