Description: Two-way, sealed-box, stand-mounted loudspeaker. Drive-units: 0.9" (22mm) wide-surround, fluid-cooled, soft-dome tweeter; 5.5" (140mm) ep39-cone woofer. Crossover frequency: 4.2kHz. Frequency response: 75Hz–20kHz, ±3dB, anechoic. Frequency range: –6dB at 60Hz in-room, typical. Sensitivity: 85dB/W/m. Impedance: 8 ohms nominal, 6.2 ohms minimum.
Dimensions: 11.9" (305mm) H by 6.4" (165mm) W by 7.4" (190mm) D. Weight: 10.1 lbs (4.6kg).
Finishes: Black Ash, Cherry, Light Oak, Dark Walnut.
Serial numbers of units reviewed: 206B08317/8.
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Sidebar 1: Specifications
Sidebar 2: Associated Equipment
Analog Sources: Rega Planar 3, VPI TNT IV turntables; Immedia, Syrinx PU-3 tonearms; Clearaudio Virtuoso Wood, Koetsu Urushi cartridges.
Digital Sources: Creek Destiny, Lector CDP-7T CD players.
Preamplification: Creek Destiny, Vendetta Research SCP-2D phono stages; Audio Valve Eclipse line stage.
Power Amplifier: Audio Research Reference 110.
Integrated Amplifier: Creek Destiny.
Loudspeakers: Dynaudio Excite X12, Epos M16i, Monitor Audio RX6 Silver.
Cables: Interconnect (all MIT): Magnum M3, MI-350 CVTwin Terminator, MI-330SG…
Sidebar 3: Measurements
I measured the Spendor S3/5R2 loudspeaker with DRA Labs' MLSSA system, using a calibrated DPA 4006 microphone to measure the speaker's frequency response in the farfield, and an Earthworks QTC-40 mike for the nearfield responses. The S3/5R2 is very similar in size and basic topology to the S3/5se, which Art Dudley reviewed for Stereophile in July 2003. You can find my measurements of the earlier speaker here.
The S3/5R2's voltage sensitivity is specified as 84dB/W/m, but my estimate was just 81.7dB(B)/2.83V/m, which is essentially the same as the 2003…
Greeting Showgoers at the Chicago Axpona was this steampunk-style MP.III speaker from Mancave Metal. With its glowing red LEDs around the tweeter and cut and welded steel construction, the MP.III is unlike any other speaker I've encountered. How did it sound? No idea, as it was on passive display.
Axpona runs today and tomorrow at the Doubletree by Hilton Hotel in Chicago suburb Rosemont (5460 North River Road) near O'Hare Airport.
You may wonder why this report of AXPONA Chicago lacks the usual exterior shot of the show venue. The answer is simple: It was too cold in Rosemont, where the Doubletree was located near Chicago O'Hare airport, for anyone from the "season-less" Bay Area to want to stand outside. Knowing that I would discover up to 9" of new snow on the ground and face sub-freezing temperatures at night, I went shopping before my trip for a hat tailor-made for Nanook of the North. What do you think Nanook would have thought of the "Made in China" label? Of course, John Atkinson, who's from a colder and wetter…
The night before AXPONA's official opening, people mobbed the reception for press and exhibitors. As audiophiles chattered, drank, and ate away—the food was a major notch above the oft-mediocre, and the bartenders quite busy—Chicago's Deep Blue Organ Trio turned up the heat. With Bobby Broom on guitar, Chris Foreman on organ and Greg Rockingham on drums, the heat was certainly welcome, given the freezing temperatures outside.
Given that I've never been one for shouting over amplification, and do my best to protect my ears, I replaced critical listening with uncritical chatting in the…
At the opening reception, AXPONA organizer Steve A Davis occasionally played double duty, retrieving drinks for folks as his wife Carmen dispensed drink tickets along with press and exhibitor badges. At one point, he even managed to hush the well-lubricated crowd long enough to pay homage to his late business partner, Andrew Spaulding, to whom he dedicated Chicago's first consumer audio show in 14 years.
Davis also had his hands full on the second day of the show, when the fire alarm lights started to flash in the early afternoon. As was the case at the Rocky Mountain Audio Fest a few…
The following morning, Friday March 8, the line of Showgoers formed at the will-call booth at least an hour before the official 1pm start of AXPONA. More than 2000 tickets had been presold and the exhibit rooms were full until the end on Sunday March 10.
My first visit at AXPONA was to the large ground-floor room where AIX Records' Mark Waldrep (pictured) was playing back some of his superb-sounding multichannel recordings from Blu-ray, complete with hi-def video.
Mark had assembled an impressive system, comprising four Bowers & Wilkins Diamond 802 speakers and a Bowers & Wilkins Diamond center-channel speaker, each driven by Bryston 7B-SST monoblock amplifiers and connected with DH Labs cables. Source was an Oppo BDP-95 player connected with HDMI to a Bryston SP-3 preamplifier/processor and video was sourced from a JVC projector…
Roger DuNaier of KingSound had plenty of reason to smile. His King III full-range electrostatic loudspeakers ($12,000/pair) were sounding the best I've ever heard them. That means the music they produced sounded exceptionally smooth, warm, relaxed and inviting. How Roger managed this on the Mezzanine of the Doubletree, where rooms had a 10' air space above the ceiling that sucked the life of most active systems on the floor, is no mean feat.
Of course, you can bet that the associated components—Purity Audio Design Reference Series II linestage preamplifier ($11,495), Bob Carver Black…