Analog source: Linn Sondek LP12/Lingo turntable, Linn Ittok tonearm, Spectral moving-coil cartridge.
Digital sources: Krell KRC-28 CD transport, Sony SCD-C555ES multichannel SACD player.
FM tuners: Day-Sequerra FM Reference Classic, Rotel RH-10, Fanfare FT-1A, Magnum Dynalab MD-102, with Model 205 Sleuth RF amplifier.
Preamplification: Krell KCT, Sony TA-P9000ES, Mark Levinson ML-7A with L-2 phono section, Conrad-Johnson Premier 18LS, Margulis phono preamplifier, Duntech MX 10 moving-coil amplifier.
Power amplifiers: Mark Levinson No.334, Krell…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
I looked first at the InnerSound Eros Mk.III's electronic crossover, but was initially stymied by my inability to get any signal from its low-pass (woofer) outputs. I consulted the manual, which was no help, and it was only several days later, with the loan of a second sample from Brooklyn-based photographer Wes Bender, that I realized what I was doing wrong. Other than the Level control, the crossover's controls—marked Bass and Midrange—both affect only the woofer. As I had the Midrange control set to "0," the woofer was effectively turned off.
Fig.1…
The panel's output appears to tilt down throughout its passband. As I've explained before, this will be due, at least in part, to the "proximity effect": with a speaker having a physically large radiating area, it is difficult to get the microphone far enough away that it will be in the actual farfield. As a result, a distance-dependent amount of low-frequency boost will affect the measured response. Apart from that, the panel's response is smooth, with just a couple of notches apparent at the bottom of its passband, and a small peak evident at 20kHz.
The high-pass rolloff features a…
John Atkinson followed up his measurements in May 2003 (Vol.26 No.5):
My plan to thoroughly audition the InnerSound Eros Mk.III was thwarted when one of the pair had to be returned to InnerSound to investigate why it was buzzing on some bass notes (see April 2003, p.127). However, I did perform a full set of measurements on the survivor, including the same spatially averaged room response as I had done on the Quad ESL-989. (As each speaker is measured separately, I could use the same Eros sample for both left and right positions.)
The Eros's electrostatic panel was driven by a…
Manufacturer's Comment
Editor: While there will always be strong opinions about certain approaches to audio design, the laws of physics cannot be circumvented. Accordingly, only a speaker that minimizes room interaction can produce accurate transient response, three dimensional holographic imaging, and flat frequency response when you consider it within the context of its own interaction with the room. We are pleased that LG recognized the Eros Mk.III's unique ability to offer these outstanding qualities and are confident that serious audiophiles will recognize them too.
On the…
JOHN COLTRANE: Lush Life
DCC GZS-1108 (CD). 1997. Bob Weinstock, prod.; Rudy Van Gelder, eng.; Steve Hoffman, reissue prod. AAD? TT: 36:39
Performance ****
Sonics *****
DCC GZS-1108 (CD). 1997. Bob Weinstock, prod.; Rudy Van Gelder, eng.; Steve Hoffman, reissue prod. AAD? TT: 36:39
Performance ****
Sonics *****
JOHN COLTRANE: Blue Train
Blue Note CDP 8 53428 0 (CD). 1997. Alfred Lion, prod.; Rudy Van Gelder, eng.; Michael Cuscuna, reissue prod.; Philip Coady, enhanced CD prod. AAD? TT: 59:20
Performance ****½
Sonics *****
JOHN COLTRANE: Black Pearls
JVC JVCXR-0017-2 (CD). 1997. Bob Weinstock, prod.; Rudy Van Gelder, eng.; Akira Taguchi, reissue prod. AAD? TT: 38:59
Performance ****
…
Street buzz is a force to reckon with. When an audiophile whispers to me that a piece of new equipment sounds unusually good, I'm interested. When two manufacturers of other equipment independently tell me "You've got to listen to this speaker," I get excited.
I first heard about Lipinski Sound's L-707 loudspeaker in late December, from an engineer of solid-state equipment. Later, at the 2005 Consumer Electronics Show, a producer of high-quality SACD remasterings of classic recordings spontaneously took me by the arm and marched me over to the Lipinski Sound Corp. exhibit at the Alexis…
Sidebar 1: Specifications
Description: Two-way, magnetically shielded, sealed-box loudspeaker. Drive-units in D'Appolito configuration: 1" Vifa ring-radiator tweeter with neodymium magnet, two 7" glass-fiber–cone woofers. Crossover frequency: 2kHz. Frequency response: 56Hz–20kHz, ±1dB, 31Hz–40kHz, ±3dB. Voltage sensitivity: 90dB/2.83V/m. Nominal impedance: 4 ohms. Recommended amplification: 50–250W continuous, 300W peak.
Dimensions: 23.6" (600mm) H by 9.4" (240mm) W by 12.4" (325mm) D. Weight: 41 lbs (18.5kg).
Finishes: Black anodized aluminum, black or mahogany base.
Serial…
Sidebar 2: Associated Equipment
Analog source: Linn Sondek-Lingo turntable, Linn Ittok tonearm, Spectral moving-coil cartridge; Day-Sequerra FM Reference Signature FM tuner.
Digital Sources: Krell KRC-28 CD player, Sony SCD-C555ES multichannel SACD/CD player.
Preamplification: Margulis phono section, Duntech MX-10 head amplifier, Krell KCT preamplifier.
Power Amplifiers: Mark Levinson ML-2 monoblocks, Mark Levinson No.334, Krell FPB 600c.
Loudspeakers: Quad ESL-989, Revel Ultima Salon; Velodyne DD-18, REL Studio III subwoofers.
Cables: Interconnect: Red Rose Silver One,…
Sidebar 3: Measurements
I estimated the Lipinski L-707's voltage sensitivity at a high 90.3dB(B)/2.83V/m, which is to specification. However, the speaker drops below 4 ohms in the lower midrange and upper treble, reaching a minimum value of 3.35 ohms at 180Hz (fig.1). There is also a relatively tricky combination of 5.2 ohms and –40° at 87Hz, a frequency where music in general has considerable energy. A good amplifier rated into 4 ohms will be needed to drive these speakers to high levels, therefore.
Fig.1 Lipinski L-707, electrical impedance (solid) and phase (dashed…