Sidebar 3: Measurements
My estimate of the Aerial Acoustics Model 7T's B-weighted sensitivity on its tweeter axis was 86.6dB/2.83V/m—significantly lower than the specified 89dB. The electrical impedance remains between 4 and 8 ohms over much of the audioband (fig.1), but drops to 3.5 ohms in the upper bass and low treble, and to 3 ohms in the low bass. Although the electrical phase angle remains low at almost all frequencies, this speaker will work best with a good amplifier rated at 4 ohms.
Fig.1 Aerial Acoustics Model 7T, electrical impedance (solid) and phase (… The Amati Futura is the third Sonus Faber loudspeaker to be called an Amati. The first, named simply the Amati and priced at $20,000/pair, was reviewed for Stereophile by Michael Fremer in June 1999. I reviewed the second, the Amati Homage Anniversario ($27,500/pair), in May 2006.
The form factor has remained unchanged since 1999: a slim, tall, three-way tower speaker with immaculately finished and veneered side panels of wood, horizontal strips of black ebony inset under the lacquer, a leather-covered front baffle, and a lute-profiled enclosure constructed from horizontal layers of maple…
The Sonus Fabers' time in my room overlapped that of the TAD Compact Reference CR1s, which I reviewed in the January 2012 issue. These are two very different-sounding loudspeakers. Listening to "Don't Give Up," from Peter Gabriel's New Blood (Apple Lossless file ripped from CD, Real World 84108 00038), the image of Gabriel's voice was smaller and set back farther in the soundstage through the Italian speakers. In absolute terms, the Sonus Fabers' stereo imaging was not quite as precisely defined as it was with time slicers like the TADs, but it seemed more solid, more palpable, without…
Sidebar 1: Specifications
Description: Three-and-a-half-way, reflex-loaded, floorstanding loudspeaker. Drive-units: 1.1" (29mm) soft-dome tweeter, 7" (179mm) cellulose-fiber midrange cone, two 8.75" (220mm) aluminum-magnesium–alloy cone woofers. Crossover frequencies: 80Hz, 220Hz, 3.3kHz. Frequency range: 25Hz–30kHz. Sensitivity: 90dB/2.83V/m. Nominal impedance: 4 ohms. Rated input power: 30–300W without clipping.
Dimensions: 45.7" (1160mm) H by 16" (405mm) W by 25" (635mm) D. Weight: 122 lbs (55.5kg) net each; 319 lbs (145kg)/pair shipping.
Finish: High-gloss lacquered wood…
Sidebar 2: Associated Equipment
Digital Sources: Ayre Acoustics C-5xeMP & DX-5 universal players; Apple G4 Mac mini running OS10.5.8, iTunes 10, Pure Music 1.83; Shuttle PC with Lynx AES16 soundcard & dual-core AMD Athlon processor running Windows 7, Foobar 2000, Adobe Audition 3.0; dCS Debussy, Logitech Transporter, Bricasti M1, Weiss DAC202 D/A converters; Halide S/PDIF Bridge, Empirical Audio Off-Ramp4 USB-S/PDIF converters.
Preamplifier: Ayre Acoustics K-5xeMP.
Power Amplifiers: Classé CT-M600, MBL Reference 9007 (both monoblocks).
Loudspeakers: BBC LS3/5a, TAD…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Sonus Faber Amati Futura's frequency response in the farfield, and an Earthworks QTC-40 for the nearfield and spatially averaged room responses. As Sumiko's John Hunter had taken great pains to optimize the speakers' backtilt when he set them up in my room, I measured a single Amati Futura on the exact axis at which his setup had placed my ears. This was 2" below the tweeter at my standard 50" microphone distance. My estimate of the Amati Futura's voltage sensitivity on this axis was…
With the sound of Jacoby Symphony Hall virtually hyped to life by the glowing accolades on its website and the praises of AXPONA's Steve Davis, I had to hear it for myself. Besides, I'd never heard either An-Lun Huang's Saibei Dance or John Corigliano's Oboe Concerto. I do recall, however, hearing Beethoven Symphony No.7 in A major at least once in my increasingly lengthy lifetime. (I'm being facetious, folks).
My seat was near-center in Orchestra row T. It's a very interesting position. In Davies Symphony Hall, home of the San Francisco Symphony Orchestra, the sound in row T is so…
When I arrived on the second floor the first day of AXPONA, the large open landing that had served as a reception area for exhibitors the night before had been transformed into a mellow entryway to sonic heaven. Paving the way on the keys was John Yurick, who was playing John Lennon's "Imagine" as I snapped his picture. Facing him were May Audio's CD display on the left, and Transcendental Meditation on the right. Note that the TM folks do not simply chant themselves to bliss in mantra land, they are also very connected on a cellular level.
To the left of the May Audio exhibit…
It's always a good sign when the first room you enter at an audio show makes you happy that you're there. Better yet when the room is on the lobby level, and acts as a good feng shui portal to the 27 other rooms to follow.
Larry Diaz of Miami's High End Palace had put together a fine system whose sound was solid and a bit sweet. I don't know what guitar track was playing when I entered, but the combination of Reference Playback Computer Systems' Nirvana Model 8200 ($8500), Krell S-275 amplifier ($4480), Tact 2.2 XP digital preamplifier ($6800), EgglestonWorks Fountain Signature…
Jacksonville's very own House of Stereo, run by Bill Gibson, gave me my third opportunity to hear KEF's relatively new Blade loudspeaker ($30,000/pair). Coupled with Ayre electronics—Ayre MX-R monoblocks ($19,000/pair), Ayre KX-R preamp ($19,000), Ayre DX5 universal player ($10,000), and Ayre phono preamp ($2500)—an Oracle Mk.VI turntable with SME arm and Oracle cartridge ($13,000), and an assortment of Audience Au24 cabling and line conditioners, the system had a laid back and non-fatiguing presentation that just made you want to take off your shoes, lie back and chill. This was an…
