Fig.10 shows the percentage of THD+noise present in the Klimax Twin's output, plotted against frequency at a 2.83V output level. This is low…
search
I looked at the Linn's S/N ratio with the unbalanced inputs selected and shorted. (Because the balanced input offers 6dB lower gain, this should result in S/N ratios 6dB better.) Referenced to 1W into 8 ohms, S/N measured a good 95.4dB when A-weighted, worsening slightly to 93dB with an unweighted audioband measurement. Widening the bandwidth to 500kHz reduced the S/N ratio to 79.5dB, apparently due to the presence of some very-high-frequency noise.
In this age of $70,000-plus "flagship" designs, perhaps $25k is no longer an obscene amount to pay for a pair of loudspeakers. Still, it's mucho dinero. What makes a speaker worth this kind of bread? Does the product's intrinsic value really warrant such a lofty cost, or is it merely a matter of pricing at what the market will bear? The answers to these questions requires careful examination of not only the speaker, but also of the buyer's own soul, priorities, and pocketbook.
Signature SC-VI
The Signature SC-VI is probably the most "anti-tweak" flagship high-end speaker ever made.…
A time-coherent presentation is not merely a matter of putting all your drivers in the right place. Crossover design is critical. Designing a crossover that not only permits time-coherent speaker blending—mandating the use of first-order slopes—but also compensates for the inherent nonlinearities in amplitude and phase endemic to all drivers, is no easy task.
The first step in the Dunlavy crossover design process is to test raw drivers. Not only the frequency response, but the phase response, dispersion, impulse response, and step response are tested under anechoic conditions. The…
Like the AudioPhysic Virgo reviewed by Michael Fremer in September '95 (Vol.18 No.9), the Dunlavys perform best with a wider spacing and more radical toe-in than most stereo speakers. Rather than the usual equilateral triangle setup, with the listener and two speakers occupying each point, final setup in my room had the speakers 11½' apart, with 10' from each speaker to the central listening position. For optimal toe-in, you should see neither side of the speaker from your listening position. If my "large" room—see photo—were 1' smaller in length or width, the Dunlavys would have simply not…
Accuracy
It's snowing outside. Since I live in Colorado, this is not an unusual spring occurrence. A snow day. Perfect weather for kicking back and listening to music. But the Dunlavy Signature VI was not designed for such slothful pursuits as just kicking back and casually listening. This baby is a tool, not a toy. Accuracy and fidelity are its principal attributes.
It's snowing outside. Since I live in Colorado, this is not an unusual spring occurrence. A snow day. Perfect weather for kicking back and listening to music. But the Dunlavy Signature VI was not designed for such slothful pursuits as just kicking back and casually listening. This baby is a tool, not a toy. Accuracy and fidelity are its principal attributes.
Pardon me if I harp on this concept of an "accurate" loudspeaker. I believe the ultimate goal of true high-end design must be toward accuracy. Just sounding good—even wondrous, magical, musical, impressive, entrancing,…
While many audiophile speakers are purposely designed so the front edge of their soundstage begins well behind the speakers, the Signature VIs are not. Even with tube amps, the front of the Dunlavy soundstage started at the speakers' grilles and went back from there. Since the Dunlavys needed to be set up a good deal farther apart than most speakers, very little musical material seemed to be coming from beyond the outer boundaries of the speakers. A shortcoming? I don't think so. It just demonstrates that I have a fairly dead room without spurious side reflections, and the Signature VIs…
Accuracy redux
In his March 1996 review of the Jadis Eurythmie II horn speakers (Vol.19 No.3, p.109), Jonathan Scull devoted a great deal of space to the speaker's emotional appeal. Since I believe the music, rather than the equipment, should supply a listener's emotional jollies, I intentionally haven't gone on at length about the sound of my favorite music through the big Dunlavys. Also, the Dunlavy aesthetic is a rather left-brained affair, and such purple prose would be rather out of place.
In his March 1996 review of the Jadis Eurythmie II horn speakers (Vol.19 No.3, p.109), Jonathan Scull devoted a great deal of space to the speaker's emotional appeal. Since I believe the music, rather than the equipment, should supply a listener's emotional jollies, I intentionally haven't gone on at length about the sound of my favorite music through the big Dunlavys. Also, the Dunlavy aesthetic is a rather left-brained affair, and such purple prose would be rather out of place.
The Signature VI is not intended to make recorded music sound any better or more musical…
Sidebar 1: Specifications
Full-range, floorstanding loudspeaker. Drive-units: two 15" long-throw paper-cone woofers, two 8" long-throw paper-cone woofers, two 5.5" plastic-cone midrange units, and one 1" silk-dome tweeter. Frequency response: 25Hz-20kHz, ±0.5dB (approx. -3dB at 20Hz). Acoustic phase response: less than +1 degrees, -2 degrees, 100Hz-10kHz. Sensitivity: 91dB/W/m (2.83V RMS). Nominal impedance: 5 ohms. Minimum impedance: 3 ohms. Maximum impedance: 7.5 ohms (including bass resonance). Radiation pattern: symmetrical in both vertical and horizontal planes. Low-frequency…
Sidebar 2: System
The following equipment was used for this speaker review:
Analog sources were an upgraded VPI TNT Jr. turntable with outboard flywheel, sitting on a Bright Star base and a Townshend Seismic Sink. Tonearms mounted on the table were the Graham 1.5TC and Clearaudio/Souther TQ-1. Cartridges included the van den Hul MC-1 Super, Dynavector XX-II, AudioQuest MC-200, Fidelity Research/van den Hul FR-1, Denon DL103/vdH, and a Denon DL-SI. Digital front-ends were PS Audio Lambda CD Drive and C.E.C. TL 2 CD transports, and a Sony D-7 portable DAT recorder connected via…
Sidebar 3: JA Listens to the Dunlavy SC-VI
In my own auditioning of the big Dunlavy, performed with an Adcom 5800 amplifier in Dunlavy's own listening room when I drove up to Colorado Springs to measure the speaker, there was one aspect of its sound that struck me as almost unique. I used the opportunity to audition the test pressing of the Robert Silverman Liszt Sonata CD that we released in June (Sonata, STPH008-2). While visually the SC-VI is an enormous loudspeaker, I agree with SS that, if you shut your eyes, it doesn't sound "big." By this I mean that its imaging was so precisely…