The Most/Recent Articles

Showing posts with label Floorstanding Loudspeaker. Show all posts
Showing posts with label Floorstanding Loudspeaker. Show all posts

Stenheim Alumine Three loudspeaker

Stenheim Alumine Three loudspeaker

Stenheim Alumine Three loudspeaker

Description

The Alumine Three ( citation 1) is a slender, floorstanding speaker measuring41.3" high,9.8"wide, and just 13" deep. Because it contains four sturdy motorists bolted to a thick, nethermost-ported aluminum press, it weighs 154 lb each. Importer- dealer Walter Swanbon dragged them in on a hand truck with fancy curvaceous tires and set them on my bottom in the exact spots I refocused to. He said,"Herb, I promise you will like these speakers. They are a serious, top- end design. With paper cones. Voices sound mortal. Instruments sound natural. They're designed to contend with speakers like Magico and Wilson, but they're easier to drive. You can use all your low-powered amps."He added,"And they fit in nicely in regular people's living apartments. They are not as fat as the wide Harbeths or as altitudinous as the altitudinous Wilsons."As Walter pitched the Stenheims, I kept seesawing and repeating,"Wow, that is cool." I was skeptical. I seriously misdoubted they'd play well with 25 watts. I was still surprised and impressed by how tastefully acclimatized Euro-svelte the Alumine Threes looked in my room. Not swank or candescent. During my former interrogations (in audio show apartments and dealer showrooms), Stenheim speakers always did their obligatory Swiss- perfection thing, but their natural, nonmetallic tone kept the music and the humans making it at center stage.


Stenheim Alumine Three loudspeaker

As soon as Walter left, I connected the Alumine Threes to my 25Wpc Pass Labs XA25 stereo amplifier and played Cheikh Lô's Balbalou (24/96 FLAC, Chapter Two Records/ Qobuz) — and darn me if I did not suppose, yep, sure enough, these speakers do sound precious. (Expensive is a sound descriptor I have noway used ahead. Then, it means"exquisitely formed.") And Walter didn't lie about how easy they're to drive. At my normal, average 75 – 85dB listening situations (C- ladened at 2m), the Stenheims performed painlessly with 25 watts. The first thing I noticed about the Alumine Three's introductory sound character was how surprisingly smooth (frequency-wise) and well- articulated ( flash anddetail-wise) they were. Throughout my interrogations, the Alumine Three's most egregious and charming particularity was its well-structured, unevenly concentrated clarity. After a many arbitrary tracks, the Imp of the Perverse (aka Herb's shoulder demon, my constant companion) began prattling in my observance, averring I try the 10W into 8 ohms RAAL-needful HSA-1b speaker and headphone amp I am writing about in this month's Gramophone Dreams. The 3" altitudinous demon cried," Pass Labs prevaricated! The XA25 puts out further than 25 watts." (Which is true. John Atkinson's measures showed that the XA25 can deliver 80W into 8 ohms and 130W into 4 ohms.) The Imp was sure the$ Stenheims would suffocate trying to breathe with only 10 watts. When, as usual, I did what the Imp told me to do, the Alumine Three sounded relatively comfortable with 10 watts. Laying the RAAL amp would crop, the Imp kept chivying me to turn the volume up, but indeed at advanced-than-normal listening situations, the Alumine Threes breathed fluently, playing Evelyn Glennie's watt- stinking Concertos for Mallet Instruments (24/96 FLAC Naxos/ Qobuz) at 85dB with short, putatively undistorted 99dB peaks. The Imp lumbered indistinctly.
Tall, handsome, and sensitive

.The pdf folder on the Stenheim website specifies the Alumine Three's perceptivity as"93dB, half- space."I honored that" half- space" expression from buying raw speaker motorists, but I wondered why Stenheim was stating it that way in its specifications. When I asked Walter Swanbon to clarify, he connected me with Jean-Pascal Panchard, Stenheim's proprietor, CEO, and principal developer."For this dimension, our loudspeakers are placed directly on the bottom, one boundary, and thus a half- space,"Panchard told me in an dispatch."The ceiling (and) hinder and lateral walls can have different impacts on the frequence-dependent perceptivity grounded on the loudspeaker position and the wall accoutrements ( spongy and/ or vibrant). The half- space value is also the minimal perceptivity a stoner can get in a well- damped monitoring room."Stenheim specifies the nominal impedance as 8 ohms with a minimum of 3 ohms. The Alumine Three's motorist lineup consists of two 8"woofers and a 5"midrange, all made of a" personalmulti-layer cone material"that Jean-Pascal describes as a" high- strength cellulose fiber saturated and carpetedon both sides with damped resins."Midrange and bass motorists are made by PHL Audio. Above the midrange cone is a 1"silk- pate tweeter with a neodymium attraction, from Overlook- Speak.

Stenheim Alumine Three loudspeaker


The bottom woofer employs a" high- excursion half-roll HBR rubber compass."The upper 8"woofer has a pleated cloth compass. According to Jean-Pascal,"the transducer with the rubber compass is used to achieve bass- extension, and the woofer with the fabric compass is for better flash reduplication." According to Panchard, the two bass transducers are tuned to partake the same low- frequence quadrangle volume, but the two motorists have different low-pass development points. Both motorists' reverse swells exit through a narrow niche- type harborage positioned along the front of the press's bottom. The Alumine Three's crossover uses Mundorf factors and is divided into two corridor the bass section ( mounted in the bass cube) with development points at 145Hz and 300Hz, and themid-tweeter part ( mounted in an upper cube) with a2.4 kHz crossover frequence. The Alumine Three's sheltered, internally armed press is erected from CNC-machined aluminum panels of consistence that varies between0.5"and 1". Setup The Stenheims will drop right in."Which they did, within elevation of where I refocused. After Walter left, I moved them a many elevation closer together and experimented by varying the distance from the frontal wall. As I moved them about, their tone character and concentrate changed slightly at all. Their" harkening window" sounded broad in the vertical aeroplane. What sounded to count utmost was toe- heft. I ended up with the Threes 6' piecemeal, with 33"between their frontal faces and the wall behind them. Image focus and high- frequence tone sounded stylish with the Stenheims toed in so that they crossed just behind my head.

Technical Specifications

3-way floor standing speaker with 4 high efficiency transducers 2 x 8-inch woofers, 1 x 5 1/4-inch neodymium medium drivers, 1 x neodymium tweeter Massive aluminum cabinet with 3 independents chambers, 2 closed /medium and tweeter) and 1 with laminar flow front port Passive 3 ways crossover, using audiophile high grade components Frequency response : 32 to 35 kHz Power handling : 150 W RMS, 300 W peak Minimum recommended amplifier: 10W Sensitivity : 93 dB Nominal impedance : 8 Ohms Dim : H 1050mm x W 250mm x D 330 mm (H 41,3in x W 9,8in x D 13in) Weight : approx. 70 kg (including adjustable feet) Warranty : 5 years

Estelon Forza loudspeaker

Estelon Forza loudspeaker





Estelon Forza loudspeaker

Description


The Forza is the rearmost speaker in the company's"flagship" line, priced below the Extreme. Prices for the Forza, depending upon finish, start at$/ brace and go up to$/ brace for"Ocean Riddle" blue. As delivered, in Dark Silver Liquid Gloss, the cost is$/ brace.

According to the Forza primer, electroacoustics mastermind Alfred Vassilkov innovated Estelon in 2010, having spent the former 25 times or so designing loudspeakers, during which time he's said to have entered multitudinous unidentified patents and awards. He began exploration for the Estelon brand four times before its founding, assaying accoutrements and technologies to be used to produce streamlined cabinetry that would produce superior sonic performance and assimilate well into home innards, esthetically and sonically.

The homemade describes Estelon's parent company, Alfred & Partners, which is grounded in Estonia's graphic capital megacity Tallinn, as a" design plant, suppose-tank"; colorful commercial biographies place it in the"Audio and Video Equipment Manufacturing Industry."The company wasco-founded byMr.

To form the cast enclosures, Vassilkov developed a personal persecuted-marble compound that he claims has"excellent stiffness andanti-resonant attributes"while allowing the creation of moldered closets. Other press features include" expansive use ofsub-structural stiffening spars that break up resonance bumps," motorists mounted in separate internal enclosures," state of the art"resonance control, and an unidentified" top quality" damping material. The two 11"woofers mount into a single, sealed chamber in which utmost of the walls are twisted and none are resemblant. The midwoofer is housed in its own also constructed chamber, as is the tweeter. All are separated to reduce the transmission of climate from motorist to motorist via the press and the airspace. The phased shape eliminates corner- cocoon reflections, and Vassilkov avers that the narrow top, from which the high frequentness radiate, produces"0 degrees phase ( shift) at the listening position, while the press's larger compasses produce controlled directivity of the propagating soundwaves."In other words, the lack of sharp edges and the press's soft angles exclude press diffraction. Estelon claims this results in wide directivity and livery frequence response indeed as you move out- axis, as well as basically true time- sphere geste, all of which expands the ideal listening position beyond a central" sweet spot." The press widens at the bottom, both so it will not cock over ( good thing!) and to allow effective low- frequence reduplication. Every Estelon speaker throughout the line is hand- erected. The press face is hand- filed also sealed in a multilayer process followed by multiple fleeces of lacquer and a final polishing. Estelon offers the Forza in colorful colors, in liquid buff, matte, and voluntary decoration homestretches. Each speaker is tuned, tested, and auditioned before being packed out to the dealer or client.

Estelon Forza loudspeaker

Forza particulars


66" altitudinous, 24"wide, 27"deep, and importing 330 lb, the Forza is a large speaker that looks lower than it's incompletely because of how little side real estate it consumes as it tapers to the top. It's a four- way, sealed box design that uses" top-shelf"Accuton motorists manufactured to Estelon's specifications, including a brace of 11", long- excursion, stiff membrane CELL ( citation 2) aluminum sandwich woofers with voice-coils nearly the same periphery as the membrane, mounted near to the cocoon bottom and angled roughly 45 ° to one another. The 8"aluminum sandwich midwoofer ( also from Accuton's" CELL" line) employs neodymium attractions, as does the 7" CELL ceramic-membrane midrange motorist. The tweeter is Accuton's 1", chemical-vapor – deposited inverted-diamond membrane tweeter. These three motorists are placed in a tight, perpendicular array with the smallest frequence motorist near the cocoon top and the tweeter in the smallest position, at observance height. The three upper motorists are deposited on the slightly hollow cocoon face to produce distances from the listening position that are nearly identical. (One specific of the CELL series of motorists is that they all have the same auricular center.) Audiophiles critical of companies that do not manufacture their own motorists might as well disparage machine companies that do not produce their own tires, which is all of them. It's a silly distinction. You can argue for or against a company producing its own motorists or having a specialist like Accuton (parent company Thiel & Partner) or Overlook- Speak, for case, manufacture them to its specifications, but overall, I suppose it's a fatuous distinction ( citation 3). Estelon doesn't give the four- way design's crossover frequentness, nor does it discover the factors used; what they do say is that the woofer networks are third- order while alternate- Crossover factors, the instructions say," have been chosen from among the absolute stylish available" also premeasured and sorted to tight forbearance, after which they're connected together point-to- point and hand-soldered. Kubala-Sosna provides the internal line. The crossover networks live in their own isolated chambers to reduce microphonic goods. Perceptivity is specified as 88dB/2.83 V/ m, the nominal impedance 3 ohms with 2-ohm minima at 42 and 110Hz A important, high-current solid state amplifier will drive the Forzas stylish. The rated frequence range is 25Hz – 60kHz, which makes it a full- range speaker with a top end that"ought to please any end club"as the Flanders and Swann"Song of Reproduction"says.

Estelon Forza loudspeaker

Unpacking and setup

The Forzas boat in large, rolling flight cases. Unboxing is a two-person job, but it is not delicate. The speakers are also on bus, and they fluently roll out of the cases once they're flipped upright. I moved the Forzas around using the instruction suggestions and heeded to pink noise, other test tones, and familiar music. I settled on locales near to where every speaker sounds stylish in this room. I had a friend cock and support the speakers as I removed the casters and fitted the four insulation bases, two per side, into which harpoons were placed. For use on hard shells, Estelon provides essence bases that go into the insulation bases.


Estelon Forza loudspeaker


Specification

Type. 4-way passive loudspeaker, sealed box. Drivers. Woofer: 2 x 250 mm (11 inches) CELL Aluminium Sandwich Accuton (custom design) ... Frequency response. 25 - 60 000 Hz. Power rating. 400 W. Nominal impedance. 3 Ohm (min 2,0 Ohm at 42 and 110 Hz) Sensitivity. 90 dB/2.83 V. Minimal Amplifier Power. 20 W. Material.

Monitor Audio Silver 500 7G loudspeaker


Monitor Audio Silver 500 7G loudspeaker



 When I learned that I was to review the new seventh generation of Monitor Audio's Silver 500 loudspeaker ($3200/pair), descendants of the original Silver-series products launched in 1999, I thought back on what I knew about the company and then refreshed my memory. Monitor Audio was founded, in 1972, in Teversham, England, a town bordered by farmland located some three miles from the epicenter of its more famous neighbor, Cambridge. The founder was businessman/sound engineer Mo Iqbal; Iqbal was assisted by Martin Colloms (before that venerable critic turned to writing about hi-fi) and Michael Bean. In 1997, Mo sold the company to a group of audiophiles, one of whom—Andrew Flatt—stays on today as the company's sole owner.

In 1976, Monitor Audio moved its operations to Essex, home to Rega Research. Not long after that, they relocated again to larger digs in nearby Rayleigh (also in Essex). Today, Monitor Audio employs 100 people at that location, keeping the business running and designing and developing new products. The manufacture of Monitor Audio speakers was moved to China over a period of several years; Silver-series manufacture was moved to China in 2004—about which, more later.


I remembered reading a couple of favorable Stereophile reviews of Monitor Audio speakers, written by Kal Rubinson. I looked them up: Kal reviewed the $2000/pair Silver 8 in 2014 and the similarly priced Silver 300 in 2018 (footnote 1).




Monitor Audio Silver 500 7G loudspeaker


In 2018, Monitor Audio bought Roksan, the British company behind 1985's legendary Xerxes turntable; I'd lost track of the company rather quickly after. I mention this not because it's directly relevant to this review but because I remember it fondly. Monitor + Roksan seemed like an auspicious marriage. It felt earthy, rootsy, principled.


"Phenomenal audio is more than the sum of its parts." These words greet visitors to the "About" page on the Monitor Audio website. "Yes, it's about the finest metals and craftsmanship, but it's also about the warmth: the flesh and blood of the listener. The connection. That's why, at Monitor Audio, our mission is to make audio human."


Nuts and bolts and other parts

Over the course of this review, I had several exchanges with Charles Minett, Monitor Audio's product design director, and Michael Hedges, the company's technical director. Both insist that the best cones are made of metal and metal composite—that such drivers have the greatest potential for lifelike sound. When I asked if Monitor Audio ever considered using paper or plastic as a substitute, the idea was dismissed out of hand (footnote 2).

"There are generally two types of cones," Hedges said. "Soft, well-damped ones and hard, less well-damped ones. The design aim for a soft well-damped one is to accept that the material will ripple and cause distortion in the passband and work with that. In the case of a harder material, like metal, the idea is to create a cone rigid enough so that the audible effects of cone-rippling occur outside the passband so that the frequency response sounds very smooth. We've become very good at achieving this."

Monitor Audio uses Multiphysics simulation software—Hedges wrote a conference paper on the software a dozen years ago—to perform complex simulations that start at the electrical input and end at its acoustical output, allowing the company to test in silico a multitude of crossover/cabinet/driver scenarios. The most promising virtual designs are pursued outside ex silico, in real life. "The simulator gets us in the vicinity of very good sound, but listening tests are still critical when it comes to fine-tuning a design to sound its best," Hedges said.

The three-way, four-driver, bass-reflex Silver 500 7G is top dog in the company's Silver series. Like its smaller siblings, the 500 incorporates proprietary features in its cones, most notably the C-CAM (ceramic-coated aluminum/magnesium) material, said by the company to be "extremely rigid, yet light enough to yield high overall efficiency," and Rigid Surface Technology (RST), now in version II, which refers to the cones' shape and the dimpled hex pattern across the surface, said to "allow the radiating surface to resist mechanical bending forces, which can twist the shape of conventional driver cones to produce distorted sound. The RST patterns also help to displace standing waves that can collect on the cone's surface."



Monitor Audio Silver 500 7G loudspeaker


I asked Hedges to name the biggest differences between the 6G and 7G versions. "These are hard questions to answer," he cautioned, "because we design a speaker as a system, so it's less about a better tweeter or midrange and more about how changes in these areas bring greater improvements in other areas. I would say though that the biggest changes are in the all-new tweeter and its waveguide, and the midrange driver, which is now smaller"—it's 3"—"and uses a neodymium magnet. These changes allowed us to build a better crossover, which is really where we got the biggest benefit, specifically when it comes to the 7G's tonal balance."

Changes were also brought to the cabinet design and its finishes, mostly wood veneer. Two new finishes were added; the speakers I received were in the new Black Oak. The 500s are said to be ideal for midsize to large rooms, in stereo or home theater setups.

The 500's frequency response is specified as 27Hz–35kHz, –6dB, with crossovers at 800Hz and 2.7kHz. The specified sensitivity is 90.5dB/2.83V/m. The nominal impedance is 8 ohms, with a dip at 150Hz to a minimum of 4.1 ohms. That should make the Silver 500 a fairly easy load for an amplifier, although Monitor Audio recommends an amplifier that outputs 80Wpc or more.


Listening

The owner's manual, which is included in the box (yes!), recommends placing the speakers 6'–10' (1.8m–3m) apart, with front-wall proximity set by listener preference. The manual is adamant, though, that the speakers should be a minimum of 3' (91cm) from the sidewalls—not a problem in my basement listening room.


I hooked the speakers up to the Grandinote Shinai integrated amplifier, which was fed by the Cambridge EVO 150 streaming integrated amplifier via its line-level outputs. The manual says to allow 50–70 hours for the speakers to loosen up and start sounding their best. With the Cambridge's volume low, I pressed play to start the run-in process, fully prepared to leave the room and go about my daily business for a few days as the speakers settled in.

"Sit your butt down and listen," the Silver 500s said to me. I did. And what these speakers said was spoken with a clarity and expressive ease that slid out to me as if from a backyard water slide—as if their sound had flown past the cones, independent of them. Dynamic and transient-fast, it sounded almost hornlike.

Which made me wonder if I wasn't imagining things: With their shiny, dust-cap–free surfaces, these cones did sort of look like horns. A little, in the right light; was this the power of suggestion? I stopped the music, stood up, and paced while trying to wash out my mind with thoughts unrelated to audio. (Should I prune the pole beans today?) Then I sat back down in a Samurai state. No, it wasn't my imagination; there really was a sense of clarity and ease to the sound—a pristine effect that seemed to originate some distance from the cones. And yes, it reminded me of horns.

Was this, as Monitor Audio's website says, the result of metal that's been molded until it's "capable of extraordinary things"? Maybe. I was getting ahead of myself. It was too early to tell anything. I got off my dilapidated orange couch and returned to my family.

Ten days later, I adjusted the 500s' placement with the aid of the Stereophile Test CD 2 (CD, STPH 004-2, no longer available), particularly the pink noise track, #15, and the "Music Articulation Test Tone" one, #19, the latter intended to help evaluate listening room/speaker interactions but that also happens to be a fun subterranean romp that rises from the gurgling depths through the floor like a spaceship beam into the heavens.

With my Simaudio Moon CD transport plugged into the Cambridge Audio's S/PDIF digital input, I started my review listening with "Utopic Cities" by Solis Lacus, off one of my favorite jazz releases of 2021, the compilation Utopic Cities: Progressive Jazz in Belgium 1968–1979 (CD, Sdban SDBANCD15). Through the 500s, this live-in-Brussels concert sounded sophisticated—clarion-clear, elaborately alive, with tones finely layered above and below the primary one. Richard Rousselet's trumpet solos flared out with real-world élan and bite then shifted away and broke off into shards—all clear as a bell. Synthesizer notes rolled fast and free, loping and scrambling. Every parcel of the bigger picture that my stimulated mind landed on was laid bare, but then it left just as soon, running off to somewhere else. I'd never heard sound travel so fast across longer distances. It was like hearing light.

Fyne Audio F500SP loudspeaker



Fyne Audio F500SP loudspeaker

 In my April 2020 review of Fyne Audio's inexpensive F301 standmount loudspeakers, I wrote, "The Fyne F301s impressed with their exceptional rendering of soundstage width and depth, reasonably wide dynamic range, extended low end (for their size), and exuberant, I-can't-stop-spinning-records presentation. The Fynes presented a finely layered, spatially convincing soundstage with images that were solid, if small."

Upon receiving Editor Jim Austin's assignment to review the Fyne F301's big brother, the F500SP, an upgraded version of the company's F500 model, I wondered if listening would reveal a house sound. Fyne's bookshelf speakers share a similar look, and similar parts and design. But, while the F301s cost just $425/pair and the base-model F500s, $849/pair, the F500SP will set you back $1995/pair in gloss black or white, $2295/pair in walnut. The F500SP's dedicated FS6 stands add $995/pair to the price.


Founded in 2017, Fyne Audio is the brainchild of several former Tannoy employees, including Dr. Paul Mills, the company's technical director, who was formerly the engineering director at Tannoy; and Max Maud, Fyne's sales and marketing director, who formerly served as Tannoy's sales manager. "SP" designates Fyne's "Special Production" speakers, which are made at Fyne's Glasgow factory by the company's "Special Projects" team, in contrast to the regular F300 and F500 lines, which are manufactured at Fyne Audio's Asia facility. The SP line adds features found in the more expensive 700 line to the 300 and 500 speakers.


There's a clear resemblance between some Fyne Audio speakers—including the F500SP—and some Tannoy speakers, the most obvious being the use of coaxial drivers, which Fyne Audio calls "IsoFlare." "Fyne Audio's IsoFlare driver is a point-source system whereby the bass/midrange driver shares a common center with the high frequency unit," Max Maud explained in an email. "[E] nergy is radiated isotropically with constant directivity following the flare of the driver cone. Sound is produced emanating from a single point." The F500SP utilizes a 6" version.



Fyne Audio F500SP loudspeaker


"Our IsoFlare point-source drivers are built around a custom-tooled, rigid, cast-aluminum chassis," Maud continued. The high-frequency unit's annular waveguide has "a computer-optimized expansion rate and geometry to provide flat frequency response and avoid internal reflections."


The Fyne website further elucidates the technology used in the 500SP: The 6" cone is "multi-fibre"; its bass reproduction is said to be enhanced by a "twin-magnet motor system"—an additional magnet positioned behind the main magnet system "focuses otherwise stray magnetic flux into the voice coil gap to improve low frequency performance"—and a composite-rubber surround, which Fyne calls "FyneFlute." This special surround is said to "reduce cone resonances at the driver termination."


The F500SP is a bass-reflex design with a port that opens onto Fyne's "BassTrax Tractrix diffuser system," which is mounted to the plinth to which the speaker is attached by four aluminum feet. The BassTrax Tractrix system "converts plain wave port energy to a spherical 360-degree wave front, integrating energy uniformly into the room."


At the center of the F500SP's coaxial driver is a "highly rigid," magnesium-diaphragm tweeter, which is energized by a neodymium high-frequency magnet. "The unique geometry of the high frequency unit's waveguide provides a flat frequency response and avoids internal reflections," Fyne says. That glossy waveguide is made of mild steel.


The tweeter's rear chamber "is vented through the magnet system," Maud explained. "This has foam damping to avoid reflections and lowers the resonant frequency for improved tweeter low-end performance." The IsoFlare driver is produced by "specialist subcontractors to our design," Maud said.


The F500SP's crossover utilizes "low-loss, laminated core inductors and audiophile-grade polypropylene capacitors." The F500SP provides two sets of inputs—it's biwirable—plus one unusual feature: a grounding terminal that allows you to ground the driver chassis to "eliminate amp or cable born[e] RF interference." The only other loudspeaker brand I'm aware of that offers anything like this is Audiovector.


The F500SP is a substantial-looking speaker, squat and hefty. The speaker's rear and front baffles are slightly rounded, which is said to improve the dispersion of the IsoFlare driver.


Max Maud told me the F500SP was voiced using a "CLIO measurement system and a wide range of partnering equipment in subjective evaluation."

Fyne Audio F500SP loudspeaker


Setup

Fyne Audio says that the BassTrax Tractrix diffuser ensures that the loudspeaker is "less critical of room positioning." Maybe so, but I found this speaker to be less forgiving than other small, ported speakers of near-wall placement. Siting them approximately 33" from the front wall, 59" apart, and 59" from my listening seat gave the most spatially appealing sound with a deep soundstage, open treble, clear mids, and strong bass. I didn't have the matching stands, so I placed the Fynes on a pair of 24"-high Sonus Audio speaker stands.


A 6' pair of Auditorium 23 speaker cables connected the Fynes to the Ayre EX-8 2.0 integrated amplifier, which, according to JA's measurements, should deliver a maximum of 107W into a nominal 8 ohm load. I also tried the Heed Audio Elixir, Parasound Hint 6 Halo, and Schiit Audio Ragnarok 2 integrated amplifiers.


For this review, I mostly listened to records with my Kuzma Stabi R turntable and Kuzma 4Point tonearm and the EMT TSD15 N Super Fineline moving coil cartridge. The output of that front-end was equalized and preamplified by a Tavish Audio Design Adagio phono preamp connected to those integrated amps via a 2m run of Triode Wire Labs Spirit II single-ended (RCA) cables



Revel F226Be Floorstanding Loudspeaker Review



Barely one year prior, Revel began transporting the main speaker from its PerformaBe line, the F228Be, which was generally welcomed and keeps on earning acclaim from proficient analysts, myself included, and fans the same. Appropriately, we have been expecting the arrival of extra speakers in the line, including the M126Be shelf speaker and C426Be focus channel. Notwithstanding these speakers in different organizations, Revel likewise planned two other floor standing speakers: the more modest F226Be evaluated here and the bigger F328Be, which as of late begun transporting.

However decent as the F228Be was and still may be, it is a genuinely enormous and outwardly forcing speaker. The F226Be, at 41.3 inches high by 9.8 inches wide and 13.7 inches down, is something like five inches more limited and four inches smaller than its greater sibling, however the visual contrast is huge. The F226Be seems a lot more modest and less forcing. This ought to give altogether greater situation choices when room feel factor into that choice grid. The F226Be, at $3,500 each, is additionally $1,500 more affordable than the F228Be. Indeed, $7,000 per pair is as yet a major load of cash, yet that $3,000 investment funds (or more assuming you're developing a total encompass sound framework) can go quite far towards the remainder of your framework




Revel F226Be Floorstanding Loudspeaker Reviewed


The F226Be imparts a lot of its plan to its greater kin, which I reference more in this survey than I typically would, however I think it merits bringing up both their likenesses just as their disparities. They are both three-way amplifiers in front-ported, bass-reflex nooks. The F226Be's walled in area looks very much like a scaled down rendition of its older sibling, with a level front board that has the four drivers flush mounted over a front-terminating port, which can all be covered with an attractively joined grille. My audit test F226Bes accompanied serious shine white cupboards, which gave them a perfect and current at this point intriguing look with the dark encompasses and white drivers. A couple of visitors said they appeared as though they had a place on an Imperial Star Cruiser from Star Wars. Assuming white isn't your thing, the F226Be can likewise be requested in your decision of Black, Walnut, or Metallic Silver.

Beryllium has, obviously, become the sweetheart material of speaker originators across the world for use in high recurrence transducers. The one-inch beryllium tweeter in the F226Be is an all-new plan for the PerformaBe line. While aluminum and titanium have been and keep on being famous materials for hard vault tweeter stomachs, "Beryllium offers about four and a half times the firmness and multiple times seriously damping, at just 50% of the weight" by examination, per Revel. Jewel is one more material that has been utilized as a stomach material in better quality speakers. While talking about the plan of the PerformaBe tweeters, Revel staff recognize that while jewel vault tweeters have a higher separation recurrence (this is something to be thankful for), Beryllium's separation recurrence is still past 40kHz. Notwithstanding solidness and damping characteristics, Beryllium's thickness and flexibility properties are additionally appropriate for use as a sound transducer


The one-inch Beryllium arch is joined into a tweeter framework that includes a thick engine get together with 85mm double clay magnets and Revel's fifth-age Acoustic Lens waveguide, intended to incorporate the tweeter's off-hub yield with that of the midrange driver. The 5.25-inch midrange driver and the two 6.5-inch woofers have Revel's Deep Ceramic Composite ("DCC") stomach, which is all new for the PerformaBe series. DCC is depicted by Revel as: "a plasma electrolytic oxidation process that utilizes a plasma release to make a coarse fired covering on the two sides of the aluminum center. The profound fired layers sandwiching the aluminum center give compelled layer damping that push cone separation modes outside of the passband, permitting the driver to keep up with ideal pistonic movement all through its reach."


Likewise with the Beryllium tweeters, there is something else to the midrange configuration besides just using outlandish driver materials. The PerformaBE midrange and bass drivers have new engine structures intended for more prominent productivity, dynamic reach, and power taking care of, with decreased mutilation and pressure. As verified in our F228Be survey, the hybrids in the PerformaBe series are high-request hybrids, which use all film capacitors and air center inductors in the midrange and tweeter circuits. The hybrid point between the Beryllium tweeter and DCC midrange is 2.1kHz, with the midrange giving way to the woofers at 260 Hz. Given the likenesses between the F228Be and F226Be, one ought not be shocked to discover that they are both eight-ohm speakers with an evaluated responsiveness of 90 dB, albeit given the more modest size of the F226Be is by and large, its 6dB-down point is at 36Hz rather than 27Hz in the F228Be

The Hookup


Revel F226Be Floorstanding Loudspeaker Reviewed

The Hookup

I began with the F226Bes similarly situated I wound up utilizing with the F228Bes, with the front puzzle three feet from the front divider and around eight feet separated. Their last position wound up being around four inches nearer to the front divider. How much toe in wound up being something very similar - nothing unexpected given the common tweeter and midrange drivers- - highlighting a spot simply before my listening position.

I was sufficiently lucky to in any case have the phenomenal D'Agostino Progression Preamplifier and Stereo Amplifier in my two-channel listening framework for this audit. I additionally attempted my McIntosh C500 Preamplifier driving a couple of McIntosh MC-501 monoblocks. My PS Audio DirectStream DAC and Network Audio Player presented music from either sound records put away on my NAS or circles played on my Oppo BDP-95. I utilized a solitary pair of Kimber Select speaker links with Kimber Select jumpers all through.

I additionally attempted the F226Be's in a multichannel arrangement with a Marantz AV8805 AV Preamplifier and Krell TAS Amplifier driving the F226Bes, as they flanked a Revel Performa3 C208 focus channel. Meanwhile, since my audit of the F228Bes, Revel delivered a PerformaBe focus channel, yet I don't yet have one for assessment so you should delay until we take a gander at the F328Be. There is additionally a moderately little, stand-mounted speaker in the PerformaBe arrangement, the M106, which could be utilized as fundamental speakers in more modest regions or as encompass speakers in a multichannel framework to tone match your mains however much as could be expected.


Conclusion

I'll concede I had a few assumptions of what I would hear with the F226Bes. I expected to hear the F228Bes yet with less bass and a few limitations on powerful reach. Everything I can say is I'm happy I had the option to save those and pay attention to the F226Bes in their own particular manner, as there were a few amazements.

My listening began with a portion of similar tracks I utilized with the F228Be, as I needed to build up a benchmark prior to moving onto different pieces. As needs be, I began "Varieties" by Submotion Orchestra, from their collection Kites (Tidal Hi-Fi, Smo Recordings). My notes from the earlier audit referred to profound and tight bass, and the F226Bes likewise gave this, yet with maybe a touch more detail.

The F226Be amazed me with its capacity to project the pictures from the cupboards. The speakers vanished in the soundstage, passing on the vocals and every one of the instruments to drift in their own space, better characterized both horizontally across the soundstage and in separation from the audience.

The track "Mitigating" by Laura Marling from Semper Femina (Tidal Hi-Fi, Sony Music) likewise has extraordinary female vocals, however adds a guitar track that the F226Be reasonably imitates. The singular guitar notes were duplicated with a lot surface and detail, which aided form a strong, all around situated sonic picture.

Pete Belasco's electronica track "Further," off of the collection of a similar name (Tidal Hi-Fi, Nashville Catalog), has a profound, clear cut bass line that can exhibit a speaker's bass abilities or point out the weaknesses thereof. The multi-note bass line requires a speaker to both play profound and hold control to depict between the various notes or they obscure together in an ineffectively characterized thunder.

The track flaunted both the F226Be's low recurrence expansion and control. Numerous speakers with tight, distinct bass can be hard to drive, however the F226Bes kept up with control of this track with every one of the enhancers I attempted, albeit the D'Agostino intensifier practiced the best measure of control. Every one of the notes was unmistakable, albeit the general level of the least of the notes reduced at higher volumes, as it was just an excess of air for this humble measured speaker to move.