Only above 12kHz does the 2.6 start to beam, due to the tweeter's waveguide acoustic environment. As a result, in all but small, live rooms the Intermezzo might sound slightly softened in the extreme highs, as MF indeed found to be the case. A similar plot in the vertical plane (fig.6) reveals that the Infinity speaker is best auditioned on or slightly under the tweeter axis. Sit too high and a large suckout appears in the crossover region.

Fig.6 Infinity Intermezzo 2.6, vertical response family at 50", from back to front: differences in response 45 degrees-5 degrees above tweeter axis, reference response, differences in response 5 degrees-45 degrees below tweeter axis.

In the time domain, the Intermezzo's step response (fig.7) indicates that both of its drive-units are connected with positive acoustic polarity but that, as is almost always the case, the design is not time-coherent. The associated cumulative spectral-decay plot (fig.8) is one of the best I have ever seen in any speaker at any price! A smooth, grain-free presentation should be the result.

Fig.7 Infinity Intermezzo 2.6, step response on tweeter axis at 50" (5ms time window, 30kHz bandwidth).

Fig.8 Infinity Intermezzo 2.6, cumulative spectral-decay plot at 50" (0.15ms risetime).

This is yet another in a series of superbly engineered, high-quality loudspeaker designs emanating from Harman's Northridge plant. It is a tribute to its designers, and to the research and testing facility set up there by Floyd Toole.—John Atkinson