The high-pass rolloff features a…
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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.
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…
One of the differences between mass-market and high-end audio is in product model longevity. By this I don't mean that high-end products necessarily last longer—although I think they generally do—but that models remain in a manufacturer's product line longer, perhaps being refined in an evolutionary manner. This helps products retain their value, and, when new models are introduced, these involve more than a cosmetic upgrade and some additional bells'n'whistles.
Take, for example, the products from the Jeff Rowland Design Group. The Consonance and Consummate preamplifiers were…
At the risk of being considered an audiophile of less than truest blue, I'm going to argue that convenience can, in fact, influence performance. I believe this is the case when it comes to convenient setting of the optimal volume level. For every recording there is a volume where the soundstage snaps into place and the perceived distance from the performers seems realistic, and a dB or two on either side is too loud or too soft (footnote 1). To tweak volume, a fully continuous volume control would be ideal, but the half-dB steps of the Synergy are subjectively small enough to allow dialing-…