Description: Floorstanding, three-way, reflex-loaded loudspeaker. Drive-units: three 1" ring-radiator tweeters, two 10" pulp-cone woofers. Frequency range: 30Hz–30kHz. Impedance: 8 ohms (average). Sensitivity: 96.5dB/W/m. Power handling: 400W.
Dimensions: 48" (1230mm) H by 11.625" (300mm) W by 15.125" (390mm) D. Weight: 72 lbs (32.7kg).
Finishes: Black, Red, White, Gray (all Satin). Custom paints available at extra cost.
Serial numbers of units reviewed: None found.
Price: $2100/pair; grilles and capacitor upgrades available at extra cost.…
search
Sidebar 1: Specifications
Sidebar 2: Associated Equipment
Analog Sources: Rega Research 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 stage, Audio Valve Eklipse line stage..
Power Amplifier: Audio Research Reference 75.
Integrated Amplifier: Creek Destiny.
Loudspeakers: Audioengine 2, Pioneer SP-BS22-LR.
Cables: Interconnects (all MIT): Magnum M3, MI-350 CVTwin Terminator, MI-330SG Terminator. Speaker…
Sidebar 2: Associated Equipment
Analog Sources: Pioneer PLX-1000, Technics SL-1200MK2, Thorens TD-124 turntables; SME 3009 II tonearm; Soundsmith Carmen, Grado Labs Mono, Ortofon 2M Black, Zu Audio DL-103 cartridges.
Digital Sources: Puresound A-8000 CD player, Line Magnetic LM 502CA DAC.
Preamplification: Soundsmith MMP3, Schiit Mani, Sentec EQ11 MM, April Sound BB1 phono stages; Intact Audio step-up transformer & passive autoformer preamplifier.
Integrated Amplifiers: Simaudio Moon Evolution 340i, Line Magnetic LM518 IA, Rogue Audio Sphinx, Roksan Kandy K2 BT, Antique…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Emotiva Pro Airmotiv 4s's frequency response in the farfield, and an Earthworks QTC-40, with its small, ¼"-diameter capsule, for the nearfield responses. As the Pro Airmotiv 4s is a powered speaker, I can't publish a conventional sensitivity measurement. However, presenting 330mV of pink noise to the speaker's input and setting its level control to "50" gave an SPL on the tweeter axis of 84dB(B) at 1 meter.
The Airmotiv's small enclosure was impressively rigid, with just a…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Tekton Enzo XL's frequency response in the farfield; and an Earthworks QTC-40, with its small, ¼"-diameter capsule, for the nearfield responses.
The Enxzo XL's specified sensitivity is an extraordinary 96.5dB/W/m; my estimated value was 90.6dB(B)/2.83V/m, which is much lower but still significantly and usefully higher than the average of all the speakers I have measured, which is between 87 and 88dB(B). Other than a small region in the mid-treble, the Tekton speaker's…
On Saturday March 28, from 11–6pm, Virginia dealer Command Performance AV (115 Park Avenue, Suite #2, Falls Church) will be hosting Zanden Audio's North American distributor, Eric Pheils. Eric will demonstrate Zanden's Model 120 phono stage, Model 3100 preamplifier, and Model 8120 stereo amplifier. Not only will audiophiles be able to hear a state-of-the-art audio system, but they will also experience what Zanden feels is "the profound effect of proper equalization" of stereo LP records.
Please RSVP to info@commandav.com or call (703) 532-7239.
Friday and Saturday, March 27 and 28, 4pm–Midnight (or later!): Filtronique (9343 Rue Lajeunesse, Montreal) will host two special parties, featuring guests and products from AudioQuest, dCS, Kronos, Magico, Simaudio, Tidal, and Wilson Audio Specialties.
The event marks Wilson Audio's debut at Filtronique, and, to celebrate the occasion, Wilson's Peter McGrath will be on hand to demonstrate the Sasha Series-2 and Alexia loudspeakers (bottom).
On Saturday, AudioQuest's Kathleen Thomas, Frederic Pinsonneault, and Steve Silberman will present their company's NightHawk headphones (…
A few years ago, Ryan Truesdell, a jazz composer and arranger, gained access to a treasure trove of Gil Evans' handwritten scores from the 1940s to the '80s—some of them recorded, many not—and set out to form a big band to play them. Lines of Color (Blue Note/Artists Share) is the second album to come out of what he calls the Gil Evans Project (the first, Centennial, was released in 2012), and it's something to savor.
These sorts of tribute bands are risky, especially with someone like Evans, who recruited some of the top sidemen of the day and who recorded for labels (Verve and Impulse…
So there I was, taking the subway in Toronto to Union Station, where I would be taking the train to Montreal, and this coming weekend’s Salon Son & Image (SSI), when I spotted this sign, advertising the availability of grants for education related to the love of music. Is that fitting, or what? The list of occupations related to music was extensive, and included, in addition to some obvious ones like audio technician, sound mixer, and electrical engineer, some that I would not have thought of, like intellectual property lawyer and accountant. But I was happy to see “magazine editor” on…
Few audio shows are more consistently pleasing than Montreal's well-loved Salon Son et Image, which is now in its second year of management by the Chester Group. Even this morning's snow showers—a bit of a come-down, given the spring-like temperatures I left behind in upstate New York—couldn't dampen my spirits. Another plus: Even though the show began at 11:00am today, it wasn't until well after 1:00pm that I first heard an exhibitor demonstrate a system with Stevie Ray Vaughan's "Tin Pan Alley." Two hours without that well-worn chestnut may be something of a record: Montreal, I salute you…