"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

"<A HREF="http://www.Stereophile.com//features/44/">Who Stole The Bass?</A>" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 <I>Stereophile</I> (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 <I>extremely</I> quietly, and thus of no use to anyone.

<B>P&#196;RT: <I>Fratres</I></B><BR> <I>Fratres</I> for strings & percussion; <I>Fratres</I> for violin, strings, & percussion; <I>Fratres</I> for wind octet & percussion; <I>Fratres</I> for eight cellos; <I>Fratres</I> for strings; <I>Fratres</I> for string quartet; <I>Fratres</I> for cello & piano. Plus: <I>Cantus in Memory of Benjamin Britten</I>, <I>Summa</I>, <I>Festina Lente</I><BR>Rudolf Werthen, I Fiamminghi (The Orchestra of Flanders)<BR> Telarc CD-80387 (CD only). James Mallinson, prod.; Jack Renner, Tony Faulkner, engs. DDD. TT: 79:00

"Pssst, Sam. I've got this great speaker for you."