Era Acoustics Design 4 loudspeaker & SUB10 subwoofer Page 2
The Design 4's lower midrange sounded a little reticent and lacking in ultimate definition. This was particularly noticeable on Duke Ellington's "The Mooche," from the Jerome Harris Quintet's Rendezvous (CD, Stereophile STPH013-2). I had balanced Harris' acoustic bass guitar quite low in the mix. Had I monitored with the Eras when I mastered this album, I would have brought the bass-guitar level up a tad. The low and midbass were missing in action, of course, the half-step–spaced tonebursts on Editor's Choice sounding audibly threadbare below 80Hz. However, there was a degree of upper-bass bloom that sounded not unpleasant. This also contributed to the illusion that the Design 4 was producing more bass than it actually was, and also subjectively balanced its slight excess of mid-treble energy.
With a woofer having a radiating diameter of just 3", the Design 4 necessarily had a limited dynamic range. At levels approaching 90dB, the upper midrange started to sound rather thickened. The men's voices on Peter Schickele's "Jonah's Song," from There Lies the Home, sounded a little "intermoddy" when they changed from singing in octaves to parallel fifths.
With the Sub 10
For the remainder of my listening sessions, I set up the two Era SUB10 subwoofers about a fifth of the way into the room from the wall behind the speakers (Signal Path recommends a third of the way, which wasn't possible in my room), with one each against the left and right walls. I continued to run the Design 4s full-range, driven by the Halcro dm38 stereo amplifier, but took a second set of interconnects from the Mark Levinson No.326S preamp's unbalanced outputs to the SUB10s' RCA inputs.
The SUB10 ($1000 each) is a hefty sealed unit weighing 65 lbs and standing almost 19" high on its spiked feet, by 14.2" wide and 12.5" deep. Finished in the same choice of real-wood veneers as the Design 4, it is a fine piece of furniture in its own right, though the blue LEDs on its front and back faces when it comes out of standby are a mite garish. It uses a 300W amplifier to drive a downward-firing, 10" mineral-loaded polymer-cone woofer. Left and right High (speaker) and Low (line) level inputs are provided, along with passthrough outputs. Both low-pass filter frequency and level are adjustable with continuous rotary controls, and a polarity switch allows selection of 0° or 180° for optimal matching to the satellites. The low-pass filter can be bypassed to allow an A/V receiver's crossover to be used instead, and boundary EQ can be switched into circuit to optimize the SUB10's performance when used on its side—in, for example, a custom-install setup.
After some experimentation, I ended up with the SUB10s' low-pass filters set to 100Hz and the polarity to 180°. I set their level by ear, and, as you can see from the "Measurements" sidebar, I was a bit generous. The effect of adding the SUB10s was to turn the Design 4s into genuine full-range speakers. I had resisted the urge to play classical orchestral recordings through the Design 4s alone, but with the lower octaves fleshed out by the SUB10s, such large-scale favorites as Sir Adrian Boult's 1969 performance with the London Philharmonic of Elgar's oratorio The Kingdom (CD, EMI CMS 7 64209 2) were reproduced with impressive sweep, though the ultimate dynamics were still rather restricted.
As is usual with satellite-subwoofer systems, the Design 4s and SUB10s never achieved the sense of leading-edge definition you get from a true full-range loudspeaker like the Revel Studio, the Eras' low bass always lagging slightly behind the musical pulse and sounding a bit "woofy." This wasn't much of an issue with the Elgar. But with well-recorded rock, such as No Quarter: Unledded, the DVD-V of Jimmy Page's and Robert Plant's 1994 MTV performance (Warner Video R2 970324), I got the weight of the kick drum and bass guitar but not the timing. Nevertheless, provided I didn't play the music too loud, the effect was agreeable, and not even close to the "one-note bass" too often heard from satellite-subwoofer systems. And Robert Silverman's Steinway on Variations sounded simply real!
Literally days before I finished writing this review, I recorded Attention Screen, the "collaborative jazz" quartet led by keyboardist and Stereophile writer Bob Reina, live at Otto's Shrunken Head Club on Manhattan's East 14th Street. Because of the very limited time for setup and load-out, I used a single ORTF pair of DPA cardioid mikes feeding a Metric Halo ULN-2 two-channel preamp and A/D converter. The 24-bit/88.2kHz-sampled data were stored on my laptop's hard drive, connected to the ULN-2 via FireWire. Back home, I burned the stereo AIF files for the group's five collective improvisations to a DVD-A, using Minnetonka's DiscWelder Bronze program. Playing the DVD-A on the Classé player with the 88.2kHz AES/EBU data decoded by the Levinson No.30.6 DAC, I was struck again by the Design 4s' abilities to both completely delocalize the sounds from the speaker positions and maximally present the image depth captured by the purist recording technique.
Drummer Mark Flynn's cymbals, in particular, were reproduced with their top-octave delicacy intact, while his kick drum had the necessary weight and impact. This Era system may cost just $2600 including the stereo subwoofers, but it's capable of true high-end sound quality.
Yes, you need to add one or two $1000 SUB10s to get full-range response, but even without the subwoofers, the Era Design 4s offered much better sound quality than you have a right to expect for just $600/pair. Their extraordinary stereo imaging, grain-free treble, and clean, detailed midrange deserve to be heard by those wanting to spend more than this on a pair of floorstanders. No, this is not a speaker that will blow people out of a room with party-level sound, but for the audiophile with a small room, or who is setting up a high-quality desktop system, the Design 4 is definitely a speaker to check out.