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Back in the early 1970s, the BBC needed a physically unobtrusive, nearfield monitor loudspeaker for use in outside-broadcast trucks. Accordingly, they instructed their design department, which at that time featured such luminaries as Dudley Harwood (the "father" of the polypropylene cone, who went on to found Harbeth) and the late Spencer Hughes (the "father" of the Bextrene cone, who went on to found Spendor), to produce such a model. Thus, not only was what was then probably the finest collection of British speaker-design talent involved in its development, there were no commercial constraints placed on the design. The only limitations were intended to be those arising from the necessarily small enclosure and the absence of the need for a wide dynamic range under close monitoring conditions.

Ever since the 1960s, when I built a pair of Altec A7 clones, I've had a preference for relatively big speakers. Yes, I was seduced by the Stax F-81 electrostatics because of their incredibly low coloration, but inevitably I felt the need to return to something that would move more air. Regardless of the type of music (I do like the big stuff) or the sound levels, unless the sound has solidity and size, I can't easily suspend disbelief.

"Are your windows open?" sales manager Laura LoVecchio asked today.