Some reviews seem ill-fated from the get-go: samples break; systems go wrong; test equipment gives anomalous measurements; and at times the reviewer starts to doubt his or her ears when it seems impossible to get the component being reviewed to sound anywhere as good as reported by other writers. Such was the case with this review of the Celestion 3000. When Celestion's Barry Fox visited Santa Fe three days before Christmas 1989 with early samples of the speaker, we were dismayed to find that the ribbon of one of the pair was crinkled and immobile, apparently due to the extruded-aluminum magnet frame warping in transit. Fortunately, Barry had brought a spare tweeter with him, to show how it worked, so we replaced the broken one in order to do some listening.
Following my reports on 13 mainly inexpensive loudspeakers that have appeared in the last four issues of Stereophile, I thought I would give myself a treat this month by reviewing the latest incarnations of a model that has stood the test of time: the two-way Celestion SL600Si...This is a carefully tuned infinite-baffle design, sacrificing ultimate extension for upper-bass and lower-midrange quality. Its crossover is conventionally British in that it puts flatness of on-axis amplitude response ahead of time coherence, while everything about it, from drive-units to the cabinet itself, is flagrantly "high-tech."
"Who Stole The Bass?" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 Stereophile (Vol.10 No.3). And for the designer of a box loudspeaker, the fundamental design decision, at any price level, is how much bass extension to aim for. It will always be possible to design a speaker with extension down to 20Hz, but will the result be musically and commercially successful? Will the designer end up with a speaker hypertrophied in that one area at the expense of every other? Will, indeed, the result be feasible technically? For example, for a given cabinet volume, gains in low-frequency extension have to be balanced against corresponding drops in sensitivity, and it is quite possible that to go for 20Hz extension will result in a 60dB/W/m sensitivity, equating with a speaker that only plays extremely quietly, and thus of no use to anyone.
I first auditioned a pair of Chario Academy One minimonitors five years ago, but the review was aborted when the Italian Chario company lost its US distribution. When I reheard the Chario Academy Ones at the 1997 WCES, I found their elegant cabinetwork appealing and their sound listenable and involving. I therefore requested a pair for review from the new US importers.
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.
Coincident Speaker Technology was known until recently as Concentric Speaker Technology. Under that name they marketed a line of cylindrical speakers covered in leather. All of their previous offerings have been discontinued along with their former name; the Troubador ($1495/pair), a handsome two-way housed in an asymmetrical cabinet, is the first of their new line of speakers. A bass module/speaker support à la the Wilson Puppy is also offered. Coincident's speakers are designed by Israel Blume and are direct-marketed in the US. There's a 30-day money-back guarantee and a five-year warranty on parts and labor.
I thought I'd review the procedure I typically use to seek out affordable speakers for review as, in the case of the Denmark-designed DALI Zensor, made in the company's facility in China, there was a twist at the end.
In preparing to review affordable loudspeakers, I typically put together a list of potential candidates I've discovered at audio shows, or that have been recommended to me by other Stereophile writers. I add to that list products I've learned about from press promotions, usually from companies whose products have impressed me in the past. I boil this down to a short list, then run it by Stephen Mejias to make sure I'm not tripping over The Kid's own quest for budget sonic nirvana.
I was ready to have some fun with Dayton Audio's B652 loudspeakersthe ones with the outrageously high price of $39.80/pair.
Available from Parts Express (catalog #300-652), the Dayton B652 is a simple two-way, sealed-cabinet design with a 6.5" polypropylene mid/woofer and a ferrofluid-cooled, 5/8" polycarbonate tweeter. The cabinet is clad in black vinyl and has a removable grille of black cloth. The B652s sounded pretty much the same regardless of whether the grilles were in place, but I preferred their looks with the grilles off, so that's how I listened. Better looks often equal better soundat least in my home.
The Definitive Technology StudioMonitor 45 measures a very room- and back-friendly 11 11/16" (297mm) high by 6¾" (172mm) wide by 11 11/16" (297mm) deep, but these dimensions are attractive for reasons other than simple, efficient transport and placement. I noticed right away that something about the speaker just looked right. Paul DiComo, DefTech's senior vice president of marketing and product development, explained that while the number and size of drivers used in any DefTech design will largely dictate that speaker's height and width, the company nevertheless aims for Fibonacci, or golden-ratio, dimensions. According to DiComo, these efforts help minimize standing-wave and "organ-pipe" resonances inside the speaker's cabinet.
Recently, I thought about all the audio shows I've attended over the last 27 years, looking for any pattern that all of them might have shared. I came up with a handful of audio manufacturers that have earned at shows a reputation for getting, year after year, consistently good soundrooms in which I could reliably depend on being able to chill out and enjoy music in good, involving sound. Those companies include Audio Research, Music Hall (distributor of Creek and Epos), Vandersteen Audioand Definitive Technology. Since their founding, in 1990, Maryland-based DefTech has been a major presence at shows, displaying an increasingly wide range of high-value speakers for two-channel and surround-sound systems. But I'd never reviewed one of their models. I thought it was about time.
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.
Beauty is in the eye of the beholder—but all too often there is little of beauty to be found in high-end audio. In these aesthetic dark ages, we have been indoctrinated to forsake grace and elegance; we all know that every underlying penny should be spent only in the pursuit of superior sonic performance.
The SC-I ($995/pair) is the smallest model in the "Signature Collection" to come from Dunlavy Audio Labs, the company founded by John Dunlavy after he left Duntech. The largest model in this series used to be the $4995/pair SC-IV that Robert Deutsch so enthusiastically reviewed last April, and that this month was voted Stereophile's 1994 "Product of the Year." There is now also a huge SC-VI available.
Dynaudio's $2399/pair Contour 1.3 Mk.II follows on from the Mk.I, which grabbed Russ Novak's enthusiastic attention in November 1996 (Vol.19 No.11). Because a full description was included in the original review, I will only touch briefly on the differences between the original version and the sample reviewed this month. A Special Edition of the Contour 1.3 is also available for $3499/pair. Sam Tellig's comments on the sound of this loudspeaker appeared in the December 1999 Stereophile and are included at the end of this review.