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PSI Audio stellt auf der NAMM 2019 Dreiwege-Lautsprecher A23-M vor. Das gesamte Lautsprecherdesign des PSI Audio A23-M ist neu, die. Acoustic guitars or even choirs for a price not normally associated with this degree of precision. The PSI Audio A23-M will be available from May 2019. The MSRP for the three-way speaker will be around 4,000.00 USD per piece.
- Hardware >Monitors
Do monitors now deserve a place alongside chocolate, watches and army knives on Switzerland’s list of exemplary exports? We think so!
There is no shortage of small active monitors in the marketplace, and I’m sure everyone reading this could name a half a dozen different high-quality monitor speaker manufacturers without breaking into too much of a sweat! However, one company who don’t seem to get the recognition they rightly deserve are Swiss manufacturers PSI Audio.
![A23-m A23-m](/uploads/1/2/5/5/125522010/500759650.jpg)
For the uninitiated, PSI Audio were previously known under the Relec brand in the late ‘70s, and the company’s professional monitor speakers are all designed and assembled in Yverdon, on the shores of lake Neuch tel. Good engineering is very high on the priority list, and the PSI factory boasts a 150 cubic-metre anechoic chamber to enable comprehensive testing of every finished monitor, each model being shipped with its own QC measurement chart. Very few other monitor manufacturers can claim to be so thoroughly objective.
I’ve already had the pleasure of reviewing two of the company’s two-way models — the A17-M and A21-M (July 2011) — while my colleague Phil Ward reviewed their larger three-way mid-field sibling, the A25-M (November 2013). Reassuringly, we were both similarly impressed by the level of engineering and overall quality, as well as a revealing, detailed, neutral, and consistent familial character — all vital elements for a true monitor speaker, to my mind!
The smallest monitor in the PSI Audio range has been, for some time, the A14-M Broadcast monitor. To put it in context, this is the Swiss equivalent of the venerable BBC LS3/5A monitor, and the design features a modest 147mm (5.5-inch) bass unit partnered with a 25mm (1-inch) tweeter in a ported cabinet measuring 163 x 243 x 170mm (WHD). Despite its diminutive size, though, the A14-M employs exactly the same technology as the other two-way PSI Audio monitors.
To survive the rigours of broadcast life, the bass unit in the A14-M Broadcast is protected by a raised metal grille; the tweeter is recessed in a profiled waveguide, and thus already reasonably protected. For ease of installation the cabinet also incorporates a U-shaped mounting bracket and a volume control on the front baffle. However, it seems these features, though essential conveniences in a broadcast setting, lend the model an ‘industrial’ appearance, reducing its appeal within the music project studio market. Consequently, PSI Audio decided to give it something of a makeover, with the result being christened the A14-M Studio — and that’s what I’m reviewing here.
All of the core elements are exactly the same as in the highly regarded Broadcast version, which remains in production, but the new version has lost the mounting bracket and the metal grille over the bass driver, and the volume control has been moved around to the rear panel. The result is a very conventional-looking compact nearfield monitor — conventional if you can ignore the distinctive burgundy-red paint finish, anyway!
Technology
Like its larger siblings, the A14-M Studio invokes a bewildering set of technological acronyms, starting with AOI or Adaptive Output Impedance. This feature refers to the power amplifiers monitoring the current flowing to or from the speaker driver, and automatically adjusting the amp’s output impedance appropriately to provide the best possible moving-coil/diaphragm acceleration, helping to create the most accurate signal transient possible. The inevitable problem is then to stop the diaphragm’s movement again, and the AOI system handles that by using the amp as an active brake, minimising diaphragm overshoot. PSI Audio claim that this technology is “almost capable of reproducing a square wave” — the ‘Holy Grail’ of speaker design, and extremely hard to achieve with traditional moving-coil speaker technology!
Controlling the bass-mid driver in the A14-M is a 70W amplifier, while the tweeter receives 30W from its own amplifier, with both being Class-G designs, in common with all other PSI monitors. Class-G is basically a small traditional Class-A/B amplifier supplemented by extra switchable output devices operating on higher power rails. The idea retains the inherent linearity of a Class-A/B amplifier, while improving significantly upon its power efficiency, because the low-power Class-A/B amplifier does most of the work most of the time, operating on relatively low power-rail voltages to minimise power consumption. However, when the required output signal amplitude exceeds the voltage range of this low-power stage, additional output devices operating on much higher rail voltages are switched on briefly to deliver the required high-voltage signal peaks.
Although a Class-G amplifier is far from trivial to design, not least because of the potential of introducing distortion at the switching points, it works extremely well and approaches Class-D technology for power efficiency, while retaining the familiar sound quality of traditional Class-A/B amplifiers.
Another featured acronym is CPR, or Compensated Phase Response, a system which compensates for the inherent phase shifts (or group delay) introduced by both the active crossover circuitry and the drive units themselves. Again, precise phase alignment is critical in achieving an accurate impulse response, and the CPR system uses bespoke all-pass filter stages to provide the required correction. A third acronym is ALG, or Acoustic Load Guide, and this relates to the waveguide profile surrounding the tweeter. This is designed to optimise and control the directivity at high frequencies — dispersion is 100 degrees, both horizontally and vertically — but also extends the bandwidth and maximises the sound pressure level. In fact, the maximum SPL on normal programme material is quoted as 112dB (for a pair of speakers at 1m distance), which is quite impressive for such a compact monitor.
For completeness, I should also mention PSC or Phantom Standby Control. This doesn’t relate to the performance of the speaker as such, but describes an unusual system to switch the speaker on/off remotely. If a common-mode voltage of between 5 and 25 Volts DC is applied to both sides of the balanced audio input (hence ‘phantom’), the speaker is put into a standby condition. Although potentially useful in some applications, this approach obviously requires the signal source to be suitably protected from the switching DC supply.
The Box
Like all the other PSI Audio monitors I’ve reviewed, the A14-M monitors are available either in the company’s distinctive burgundy red paint finish or a black paint as standard, although I’m told any desired Pantone colour can be provided on request. Each cabinet weighs a reassuringly heavy 5.5kg, and the cabinet port is configured in the same way as other models, in the form of a wide but slim horizontal slot immediately below the bass/mid driver. The MDF cabinet is well damped and easily passes the ‘knock test’, sounding completely inert and having no obvious resonances at all.The plain rear panel belies the complexity of the electronics within.
The balanced input connection is via an XLR socket on the rear panel, and an associated input sensitivity control is marked as an attenuator ranging from 0 to -20 dB. With an input signal of 0dBu and the control at 0dB, the speaker generates 100dB SPL (measured at one metre). Depending on the signal source level, some may find the control range insufficient, and I think a greater degree of attenuation might be useful given this monitor’s nearfield applications and the associated lower overall monitoring levels. Input overload occurs at +20.7dBu and a green power-on LED on the front baffle turns red if the electronic overload protection limiter is triggered or if excess heat is detected. It also turns red if the unit is put into standby mode via the PSC function.
Also on the rear panel, which serves as a heatsink for the amplifiers, is a mains on/off rocker switch, an IEC mains inlet (with integrated 230/115V AC voltage selector and fuse holder), and a second rotary control which adjusts a high-pass filter. This is intended to provide room-placement equalisation and is marked with a range of 0 to -10 dB. The filter slope starts at about 300Hz and the manual recommends a setting of -4dB for half-space placement (near a wall) or -7dB for quarter-space (near a corner).
The A14-M’s overall frequency response is given as 56Hz to 22kHz (-6dB points), with a tolerance of ±2.5dB, and the crossover is at 3.5kHz. Few speaker manufacturers quote a THD figure, but PSI Audio’s specs give less than 1.8 percent (between 95Hz and 18kHz). This may seem appalling in comparison to, say, a mixing console or a power amp (which might typically specify 0.001 percent, for example), but it’s actually an extremely good figure for a moving-coil loudspeaker!
Listening
I set up the A14-Ms on top of a pair of Neumann KH310s on the production desk I use when mastering and assessing most review gear. They were sited well away from walls and about 1.5 metres from the listening position. The bass control was set flat and the level control turned down nearly to minimum to match the output level of the Neumann monitors. Both were controlled from selectable speaker outputs on my Crookwood mastering console, and I used a wide variety of commercial pre-recorded music to assess the quality, as well as some of my own recordings and mixes.
Immediately on switching to the PSIs, I was impressed with the obviously high standard of sound reproduction. This monitor has an obvious ‘rightness’ and an understated accuracy about its sound presentation. The overall tonal balance is pretty much perfect to my ears; nothing is hyped or overblown, as it so often is in small speakers, using ‘tizz and boom’ to sound bigger and more impressive than they really are. There’s none of that exaggeration with the PSIs, everything just sounds natural, balanced and detailed. It’s the aural equivalent of looking out of the window instead of at an HD TV screen!
Despite the diminutive cabinet, bass extension is quite generous, but still tight and well-controlled, and the timing and pitching of bass instruments and drums is revealed very accurately and informatively. The monitor has the headroom to portray pretty realistic dynamics and transients — at least to the level that you’d want in a nearfield situation — and without any hint of compression or feebleness! Compared directly to the larger three-way Neumann monitor, the A14-M exhibited a remarkably similar, neutral, tonal character, and I could detect no suggestion of forwardness, nor any suck-outs across the mid range.
Stereo imaging was absolutely tack-sharp and stable, too — one of the inherent benefits of a very small cabinet — with a great sense of spaciousness and depth on appropriate material, and a narrow, rock-solid central image when switched to mono. Auditioning well-recorded voices, which is always a very challenging test for any loudspeaker, revealed the A14-M to be remarkably transparent and uncoloured, again with a very neutral tonal balance that was virtually indistinguishable from the Neumann KH310. It’s a sound character I’d describe as typical of the school of classic British monitors. Initially, it might give the impression of sounding dull and uninteresting, but the more you listen and work with it, the more you realise just how much information it is providing and in such a natural manner. There is absolutely no sense of hyped detail to give a false impression of ‘resolution’. What the A14-M delivers is the real deal: this is a genuine professional monitor in every sense, albeit one with a slightly curtailed bass extension and maximum SPL due to its diminutive size!
Not surprisingly, I had no problems with extended listening, and found I could really hear inside any mix to assess and adjust signal processing quickly and accurately — another classic sign of a true monitor speaker. Low-frequency distortion, even at high listening levels, is minimal, and the mid range remains clear and informative at all times, free from the harmonic masking that besets many lesser small monitors when working hard.
Perhaps the most impressive area of performance, though, is the bottom end, which sounds much more like it’s coming from a sealed monitor than a ported one. Clearly, the cabinet is very well designed, with perfectly optimised damping, and the amplifiers’ AOI system must help in exerting near-perfect control of the bass driver. Whatever the technology, bass notes and drum hits start and stop with wonderful precision, remaining separate and clearly identifiable even in busy mixes. Although the bass delivery couldn’t maintain the power or extension of the KH310s (not surprisingly), the character and the ability to hear what was going on in the lower octaves is actually quite similar. So while the A14-Ms might not be the ideal option for serious drum & bass or EDM production duties, they are without doubt extremely competent monitors and would serve well for a very wide range of musical genres, as well as for spoken word (and there aren’t many monitors that I’d be happy to use for that category!).
I must admit to having become something of a fan of PSI Audio’s monitors. They are one of Switzerland’s hidden gems, and the new A14-M Studio retains the impressive qualities of its larger siblings, but in a very practical, compact package, giving away only a modest amount of low-end power and extension. There are precious few compact two-way monitors that match the level of performance PSI Audio have achieved here, and of course such quality naturally comes at a cost. Nevertheless, auditioning is definitely recommended for anyone seeking a serious high-end monitor in a small package.
Alternatives
Comparable two-way active monitors of similar size and quality are rare, but might include the Neumann KH120, Focal Solo 6, Quested SR6 or SR7 at a lower price, and the Geithain RL906 or PMC TwoTwo 5 at a higher price.
About The Author: Phil Ward’s loudspeaker career began in 1982 when he joined UK hi-fi company Mordaunt-Short in a junior design role. After leaving Mordaunt-Short in 1987 for a spell in audio PR, Phil joined Canon as Design Manager for the Japanese multinational’s range of consumer and custom install speakers, and then Naim Audio as speaker design and project manager. Since 2001 Phil has worked as a freelance consultant and writer across both the pro and consumer audio sectors. Phil plays electric and double bass and has recorded, produced and mixed numerous bands and artists. Phil's blog can be found at http://musicandmiscellany.com
Pros
- Genuine ‘monitor’ performance and quality.
- Excellent engineering.
- Precise LF timing and good extension.
- Extremely compact, with first-rate stereo imaging.
- Tonality consistent with other PSI models.
Summary
A compact two-way active monitor with superb neutrality, resolution and stereo imaging, supplemented with precise bass control and timing more akin to a sealed cabinet than a reflex design.
information
£1867.20 per pair including VAT.eMerging UK +44 (0)118 402 5090
$1998 per pair.ZenPro Audio +1 803 937 6012
- Hardware >Monitors
Swiss company PSI combine traditional and modern design practices to deliver a monitor that is both powerful and extremely revealing.
Swiss monitor manufacturers PSI have made one previous appearance in the pages of Sound On Sound, back in July 2011. On that occasion, Hugh Robjohns was highly impressed by their A17M and A21M active nearfield monitors, so when the opportunity arose to try the company's most ambitious design, the three-way A25M, I didn't need asking twice. Having said that, I will admit to a moment's regret when I helped the delivery driver carry the two boxes down into my basement, because the first thing that's apparent about the A25Ms is their weight. They are not only very heavy, at 28.4kg each, but have the kind of proportions that make a one-person lift of such a weight risky, and a two-person lift, well, just a little intimate. I'm always warm and welcoming to delivery drivers, but there are limits.
The size and weight of the A25Ms mean they will probably not be considered for nearfield duties by the majority of potential users. At 590mm x 320mm x 380mm, they are too large and too heavy to stand on any meterbridge I've ever seen, and while wall-mounting with brackets might be an option, I'd want the brackets installed by somebody who truly knew what they were doing. And if the wall is not of the solid, brick-outhouse variety, forget it. Realistically, then, the A25Ms fall into the mid-field category — somewhere between main monitors and nearfields — and will, I suspect, most often be found perched on top of speaker stands away from any walls, which is how I used them in my room. However, before I jump the gun and start to describe how the A25Ms perform, there's a fair bit to write about their design, which is an intriguing mix of the traditional and the unusual.
Tried & Tested
First, the traditional. In speaker design you can hardly express more tradition than by employing a rectilinear MDF enclosure and fitting conventional drive units, arranged in size order, on one face — and that's what you get with the A25Ms. Granted, the enclosure (painted an, um, interesting maroon colour for which I don't believe a name has yet been coined) has its edges softened to reduce diffraction (a little), and the reflex port is created by an internal shelf and open slot, but these details can't disguise the fact that, in enclosure terms, the A25Ms might have been designed a few decades ago. And it's not just the enclosure that looks as if it might have been conceived back in the day. The drivers comprise a 210mm plastic-cone bass unit, a 100mm plastic-cone mid-range unit and a 25mm soft-dome tweeter, none of which suggest cutting-edge electro-acoustics. The tradition continues with the rear-panel-mounted amplifier module, which carries a mains socket, a single balanced signal input, and a couple of adjustment knobs for input sensitivity and low-frequency EQ.
In describing the A25Ms' traditional elements I don't intend to be disparaging, because actually I'm a big fan of traditional electro-acoustics. Sometimes I find myself worrying that, in the headlong rush for digital sophistication in active speakers, some of the good, solid electro-acoustic principles developed in the second half of the 20th Century are being forgotten (yes, I'm sad enough to worry about speaker design). But I don't believe that's the case with the A25M's design. Its traditional nature partly reflects the fact that there's good, solid electro-acoustic engineering at its heart.
That, however, is enough about tradition, because the A25M design is by no means a simple throwback to less complex times. There's much more to it than that. For example, one potentially useful feature of the A25Ms that certainly doesn't figure much in the hallowed history of speaker design is that the sub-panel carrying the mid-range driver and tweeter can be removed and rotated 90 degrees (cue somebody finding an obscure 1960s speaker that incorporated such a feature). Rotating the mid and tweeter array in this way enables the mid/high-frequency dispersion characteristics to be oriented for either portrait or landscape monitor installations (see the 'Geometry Lesson' box for an explanation of speaker dispersion and driver layout). Bearing in mind the physical size of the A25Ms, I can see some users preferring landscape orientation.
Power Trip
Another non-traditional feature of the A25Ms, and one that I definitely applaud, is a compliantly decoupled amplifier module. Push a little on the rear panel and you can feel the whole module move against some form of suspension arrangement. There's little argument that electronic systems can be microphonic, and it's always struck me that, from this the point of view, the electronics of most active speakers could hardly find themselves in a worse place: bolted hard to the back of the cabinet and incessantly shaken by their very close drive-unit neighbours. Mounting the amplifier module compliantly on the A25Ms provides a degree of mechanical filtering, and keeps the electronics isolated from the worst of the vibration. It can only be a good thing.
While I'm on the subject of the A25M amplifier module, its amplifier topology itself is far from traditional. It employs high-technology 'rail-switching' techniques (often know as Class G) to improve overall efficiency and reduce heatsink requirements. The low, mid and high-frequency amplifier sections are rated at 170W, 80W and 50W, respectively. The A25Ms are not short of amplifier power.
The A25Ms' unconventionality doesn't extend only to the rotating driver module and decoupled amplifier, however. Buried inside the amplifier module are two proprietary PSI technologies that are perhaps far more significant. First up is PSI's CPR, which stands for Compensated Phase Response (maybe I've been watching too much Casualty on TV, but CPR means life-saving chest compression to me). CPR comprises frequency-dependent delay, tailored to the phase characteristics of each driver and its crossover filters. It ensures the overall system phase response varies far less with frequency than would otherwise be the case. The term 'phase' is of course another way of expressing time, and ensuring that the speaker's phase response is constant with frequency means that signals across the audio bandwidth all reach the listener's ears at the same time. This too can only be a good thing.
There are a couple of caveats about CPR, however. First, the simultaneous arrival of signals across the bandwidth will only occur at a very narrow range of listening positions — where the distance between the listener's ears and all three drivers is the same. If the listener moves so that, say, the tweeter becomes closer than the mid-range driver, no amount of electronic processing within the speaker can help. PSI publish an image in their brochure of a 500Hz square-wave signal reproduced by a CPR-equipped speaker. Now, multi-way speakers are traditionally pretty poor at reproducing square waves, partly thanks to their non-linear phase response, but CPR-equipped speaker appears to do an unusually impressive job. I'd wager, however, that if the measurement microphone were to be moved to a position where the distance to the bass and mid-range drivers was significantly different, the square wave response wouldn't look so good. CPR is an interesting technology, but it can't compensate for the fundamental geometry of a conventional multi-way speaker.
The second CPR caveat is that the A25Ms' phase response is constant only down to around 200Hz. From 200Hz to 20Hz the delay (phase response expressed as time), illustrated in PSI's published data, rises significantly, just as it does with almost any moving-coil speaker. What I find intriguing about this is that, having put the effort into minimising phase change using CPR, PSI then chose to employ a ported low-frequency system, with its inherently fast change of phase, over a closed-box system with its much slower change of phase. Go figure.
Rear-panel controls are limited to input-sensitivity and LF trim knobs. The whole amplifier pack is suspended within the cabinet, reducing its susceptibility to cabinet vibrations.
Positive Feedback
Second in PSI's acronym-fest of technologies is AOI: Adaptive Output Impedance. AOI describes the use of driver-diaphragm feedback in combination with dynamic adjustment of amplifier output impedance, to impose an extra level of control on the way the diaphragms move in response to the amplifier outputs. Now I've always been fascinated by the idea of feedback-control systems in speakers (it was first done commercially, I believe, by Philips in an innovative range of active hi-fi speakers in the 1970s), and I think the idea has great potential. Apart from the occasional hi-fi subwoofer design flirting with feedback control, however, it's an idea that has mostly been left on the speaker designer's shelf. I have nothing but enthusiasm for PSI raiding the shelf and rehabilitating the concept.
In Use
So, at long last, how does the A25Ms' amalgam of old and new, tradition and high-tech, actually sound? If, like me, you listen mostly to compact nearfield monitors — which, by their very nature have relatively limited low-frequency bandwidth — the first thing that will strike you about the A25Ms is the sense of scale and power that big speakers with extended low-frequency bandwidth (-6dB at 32Hz) can provide. The second thing that might then strike you is a realisation that your room acoustics aren't best suited to speakers that can generate significant acoustic power below 50Hz. This is especially relevant because, with the A25Ms being mid-field monitors and thus likely to be positioned rather further from the listening position than nearfield monitors, the room acoustics will have more influence on what you hear. So, a quick health warning: if you are considering a move to mid-field monitoring, you'll probably want to think about room acoustics at the same time. In my room, which is relatively large and generally pretty well behaved, the A25Ms' low end seemed a touch overcooked, and I used the rear-panel LF EQ control to shelve it down a little for much of my listening. That seemed to help the speakers integrate with the room more consistently. In any other room, of course, things could be completely different.
Once I'd got my head around the A25Ms' low-frequency performance (I'm a bass player, so I spent a while enjoying actually hearing the fundamentals below 'A' for a change), I began to investigate the speakers by playing a few very familiar pieces, both from CD and from my Pro Tools rig. This became quite an addictive experience, because the A25Ms are genuinely revealing monitors that can provide great insight into the components of a mix and how they fit together, or not. Their overall tonal balance is, to my ears, a little prominent in the upper-mid band, and this sometimes adds a slight edge to some mix elements (voices and acoustic guitars, for example). However, once I was aware of that characteristic, the ability of the A25Ms to communicate very clearly the architecture of a mix came to the fore. I've no idea if it's the CPR or AOI (or both) that are responsible for the abilities of the A25Ms, or if it was simply good, traditional electro-acoustic engineering that I was hearing, but it seems to me the the number one priority of any monitor design is that it enables us to hear what's what in a mix, and to help us make the appropriate creative decisions. The A25Ms really excel in that regard.
Alternatives
In terms of similarly priced three-way powered speakers, the nearest competitors come in the form of ATC's SCM25As, the Unity Audio Boulders and the Focal SM9s.
Geometry Lesson
All speaker systems that use multiple drivers physically spaced apart have an inherent problem with time and geometry. Imagine, if you will, a three-way design such as the A25M with its drivers arranged one above the other. A listener positioned directly in front of the speaker will hear the output of each driver at much the same time because the distance between each driver and the listener's ears is very nearly the same. So, in the frequency bands over which the outputs of the drivers significantly overlap (typically an octave or so either side of each crossover frequency), all is well because the overlapping audio, arriving at the ears all but simultaneously, simply adds together. If, however, the listener moves a bit (maybe he or she stands up to listen), the distances between each driver and the ears change, meaning the discrete outputs no longer arrive simultaneously.
Now, without wishing to overdo the imaginings, imagine that the A25M is playing a 3.1kHz sine wave (don't imagine this for too long or you'll have the imaginary listener complaining). At 3.1kHz, which on the A25M is the mid/HF crossover frequency, the signal will be reproduced equally by both the mid-range driver and the tweeter, and thanks to the skill of the PSI engineers, it will leave on its journey from the individual drivers to the listener's ears at the same time and in phase. But, of course, as soon as the listener stands, his or her ears will be closer to the tweeter and further from the mid-range driver, so the two 3.1kHz signals will arrive at the ears at different times, and to some degree out of phase. This will effectively result in a notch in the speaker's frequency response at that listening position. Typically, multi-way speakers that have their drivers arrayed vertically all suffer from vertical-dispersion frequency-response anomalies caused by destructive interference around the mid/HF crossover frequency.
Having explained vertical dispersion anomalies, perhaps you're one step ahead of me in realising that if our imaginary listener sits down again and moves horizontally (scooting along stylishly on an imaginary designer chair), things aren't quite so bad, because the relative distances to the ears of the mid driver and tweeter don't much change. So it can be pretty useful, if you wish to mount speakers with vertically arrayed drivers in landscape format, to be able to change the orientation of the mid driver and tweeter.
But why just the mid driver and tweeter? What about the orientation of the bass driver and mid driver? It's all about wavelength, you see. At the A25M mid/HF crossover frequency, the wavelength is around 11cm, so for the output of the mid driver and tweeter to be 180 degrees out of phase, the relative distance between the two and the listener's ears needs to change only by 5.5cm — not very much. At the 550Hz bass/mid crossover frequency, however, the wavelength is around 0.63m, so the listener has to move a long way off-axis for the relative distances to change significantly (actually, the relative distance change can never exceed the physical distance between the drivers — around 0.25m on the A25M). At low/mid frequencies, the outputs of the bass and mid drivers never really get far out of phase when the listener moves, so their horizontal or vertical orientation doesn't really matter. Here endeth the lesson.
Pros
- Revealing and insightful.
- Powerful.
- Wide bandwidth.
Cons
- Slight mid-range emphasis.
- Enclosure colour is an acquired taste.
Summary
A mix of traditional speaker engineering and innovative electronics results in a genuinely high-performance and rewarding mid-field monitor. Definitely worth investigating.
information
£7382.40 per pair including VAT.eMerging UK +44 (0)20 8941 6547.
$8650 per pair.Simplifi Audio +1 858 414 3900.
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