Wilson Benesch Endeavour Loudspeakers is where we shed the second set of assumptions -- the ones...
Transcript of Wilson Benesch Endeavour Loudspeakers is where we shed the second set of assumptions -- the ones...
Wilson Benesch Endeavour
Loudspeakersby Roy Gregory, February 16, 2015
© www.theaudiobeat.com
rickle-downisperhapsoneofthemost interestingyetmisunderstoodaspectsofaudio design.Thejustificationofferedforflagshipcomponentsateye-wateringpricesissooften,“Ofcourse,thetechnology/experience/performancewilltrickledowntotherestoftherange,”generallydeliveredwiththatsmug,just-dodged-a-bulletairofself-satisfaction.Itallfitssoneatlyintotheaccepted,apologeticapproachtothepriceschargedbytheaudioindustry--thesamelogicthatconstantlywheelsoutthelawofdiminishingreturnsasanexcuseforpoorperformance.
Well,justincaseyouguyssellingthisstuffhaven’theardthealarmbellsringing,thatsortofBSdoesn’tactuallywashanymore.Ifyoumakeaflagshipproduct,thenthesedaysitsperformanceandmaterialcontenthadbetterjustifyitspricetag.ThebestrecentexampleofthisthathascomemywayisWilsonBenesch’sCardinal.Thisisaspeakerthatdeliversremarkable
performancefromapackagethatincludesanimposingcabinetbuiltentirelyfromhigh-techcompositesandextrudedaluminum,stainlesssteelhardwareandsixdifferentdrivers,witheverylastbitofitbuiltin-house,yetpricedinthedistinctlynon-flagship,mid-five-figurerange.It’sapackageandperformancethatliterallyshamemuchofthesix-figurecompetition.
Butit’snotjusttheperformanceandengineeringthatareimpressive;it’sthethinkingtoo.Whichbringsusbacktotheconceptoftrickle-down.Ifyouwantdevelopmentsatthetopofyourrangetobeapplicableatlowerpricepoints,you’dbetterbesureofboththeintegrityofyourdesignandtheintegrityofyourthinking.That’sbecausetherearetwowaystotrickledownthebenefitsofaflagshipproduct.Youcantaketheoverallconceptandexecuteitwithmoreaffordableengineering(theWilsonBeneschSquareFiveisaperfectexampleofthis,aCardinalwrit
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small)oryoucanmaintainthestandardofengineeringandreducethesize(andbandwidth)--whichbringsustotheEndeavour,aspeakerthatmightplayTyriontotheCardinal’sTywin,butwhichshouldn’tbemistakenforaTVdetective.
SeetheEndeavourinthefleshandthere’snomistakingitsclosephysicalandtechnologicalrelationshiptotheCardinal,fromthedriversandsurfacefinishtothe“aero”capandcharacteristicconcavesculptingofthespine.ButwhereastheCardinalandSquareFiveareconceptualtwins,theEndeavourisnotsimplyaCardinalthat’sbeencutoffattheknees.Itmightusethesametechnologyandsharemanyofthesamecabinetelements,butthesmallerenclosureandreducednumberofdriveunitspresentsadifferentsetofchallengesandmandatesadifferentconceptualmodel.Infact,forthosefamiliarwiththeWilsonBeneschrange,itmightbetemptingtoassumethattheEndeavourrepresentsmoreofanupdatedDiscoveryratherthanadown-sizedCardinal--temptingbutwrong.
Aswe’lldiscover,noteverythingabouttheEndeavourisquiteasitseems,norasitsounds--makingassumptionsadangerousbusiness.WhentheDiscoveryfirstappeared15yearsago,itdebutedanovellayout.Atwo-and-a-halfwaystand-mountwiththeforward-firingbass/middriver
placedabovethetweeterandaugmentedbyapairofdownward-firing,isobaricallycoupledbassunits,itwasacomplexyetremarkablysuccessful
responsetothechallengeofextractinguseablebandwidthfromacompactenclosure,onethatwentontoconsiderablecriticalandcommercialsuccess.Soperhapsit’snotsurprisingthatWilsonBeneschhaverevisitedtheformatfortheEndeavour,whichsharestheintegralstand,two-and-a-halfwaytopologyanddifferentialreflexloadingoftheDiscovery.Italsoflanksthetweeterwiththemid-bassdriveraboveanddownward-firingisobaricallyloadedbassdriversbelow,soperhapstheassumptionthattheEndeavorrepresentsanupdateoftheearlierdesignisunderstandable--butthatiswherethesimilarities
stop.Thingshavecomealong,longwayintheinterveningdecadeandahalf.
ThedriversusedintheEndeavorarethesameSemispheretweeteremployedintheflagshipspeaker,alongwithTacticIIunitsspecificallybuiltforthisspeaker,sorelatedbutnotidenticaltotheonesusedintheCardinal.Thecabinet
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usesthesamecombinationofheavilymachinedaluminumbaffleandsidecheekscombinedwithcarboncompositeACTsidepanelsandthemassiveextruded-aluminumspineinheritedfromtheflagshipspeaker.Infact,thesubstantialuprightfortheEndeavour’sstandisbuiltfromtwoCardinalspinesattachedfacetoface--ofwhichmorelater.Theinternalspacehasevolvedsignificantly,withthebass/middrivernowenjoyingitsown,dedicatedandseparatelyloadedenclosurevolume,whilethedownward-firingreflexportsarehelicallywoundcarbontubesthatcomecompletewithscrew-inDelrinplugsshouldyouwanttosealthem--adefinitestepforwardovertheeffectivebutlessthanelegantalternativeofsocks!
Inall,theEndeavouremploysfourdifferentformsofcarbonfiber,eachchosenspecificallyforpurpose.ButifyoureallywanttounderstandthedifferencesbetweentheDiscoveryandEndeavor,looknofurtherthanweightsandmeasures.TheDiscoveryis43”tall,witha15-litercabinetthatoffersa-2dBpointat45Hzandweighsinat57pounds.TheEndeavourstandsoverafoottallerat58”,reachesdowntoa-2dBpointof38Hz,hasa22-literinternalvolumeandtogetherwithitsstanditweighsinat220pounds.Sothenewerspeakeris50%biggerandfourtimesasheavy,goesdeeper(andlouder)andofferstechnologythat’sthreeorevenfourgenerationsmoreadvanced.IftheEndeavourisagrown-upDiscovery,thenit’sbustingoutallover.Or,toputitanotherway,theEndeavourrepresentsanF22RaptortotheDiscovery’sF4Phantom:Theyweredesignedtodothesamejob,look(sortof)thesame,buttherethesimilarityends.Whichisjustaswell,asthepricecomparisonworkstoo.At$49,500(£25,500)perpair,theEndeavourisn’tjustwaymorecapablethantheDiscovery,it’swaymoreexpensivetoo.Compareittotheuniversalbenchmarkforhigh-endspeakerpricing(thatwouldbeWilsonAudio)andintheUKitsitsrightbetweentheSashaW/P2andtheAlexia.That’ssomeprettyheavycompetition.Howdoesthenotionofastand-mount
stackupagainstthesefloorstandingalternatives--especiallyastandmountthat’sjustasphysicallyandvisuallyimposingasthosefloorstanders?
Thisiswhereweshedthesecondsetofassumptions--theonesthatgowithso-called“minimonitors”.There’snothing“mini”abouttheEndeavour.Onceyouactuallystartlookingalittlecloser,yourealizethatthisspeakerisactuallyquiteabitlargerthanitappears.Let’sstartwiththequestionofinternalvolume.There’sahugedifferencebetweenthevisual(external)sizeofaspeakerenclosureanditsacoustic(internal)size--andthatdifferenceconsistsofthecabinetwalls.Consideraconventionalbox,rectangularinshapeandbuiltfrom30mmmaterialwithadoublethicknessbaffle.TomatchtheEndeavour’s22-literinternalvolumeand9.5”bafflewidth,thestandardcabinetwouldneedtobearound15.5”deepand19”tall--actuallynotfaroffofthedimensionsoftheEndeavouritself:exceptthatassoonasyoustarttoshapeortaperthatcabinetforacousticadvantage,thosedimensionsstarttogrowalarmingly.MimictheEndeavour’salmosttriangularfootprintandthecabinetgainsaroundsixinchesinheight.Andsoitgoes:Eachmodificationyoumakeintermsofslopingthefrontbaffleorintroducingnon-parallelsides,internalbracesordividerseatsawayatthatinternalvolume,makingthecabinetphysicallyandvisuallylarger.Buildawell-braced,acousticallyoptimizedandmechanicallycontrolledcabinetwithagenuine22-litreinternalvolumeoutofflatpanelsandseehowlargeitendsup.
HowcometheEndeavorissolargeontheinsidebutsosmallontheoutside?It’smainlydowntotheminimalthicknessofthecarbonsandwichsidepanels,aluminumbaffleandsidecheeks,elementsthataddverylittle
physicalvolume.Butit’salsodowntothecomplex
curvesthatthesematerials
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allow,whichoffersignificantstructuralstiffnessaswellasnon-parallelwallsthatrequirenostiffening(andvolume-consuming)braces.Thatstiffnessisfurtherenhancedbythebeefyextrudedtriangularspinethatrisesfromthestandallthewaytothetopofthecabinet,doubledupbelowthecabinetitselfwithasecondsectionofspinethatlocksintoandcouplesthemachinedaluminumbafflefortheisobaricbassunitsdirectlytothestand’smassivetriangulatedbaseplate,againsimilartobutinthiscasealittlesmallerthantheoneontheCardinal,althoughitstillsportsthesamestainless-steelcouplinglegsandcups,withthehugeadjustingwheelsintherearcorners.
Bynowyou’llhavegatheredthatstiffnessandmechanicalbehaviorloomlargeinthethinkingbehindtheEndeavour.Thisisn’tjustaboutmakingaspeakerthat’ssmaller,cuteroreasiertoaccommodate.It’sallaboutmakingCardinalquality,technology,constructionandmaterialsavailableatalowerpricepoint--andthatmakestheequationeasy.Youwanttodroptheprice,usefewerpartsandlessoftheparts.ButWilsonBenesch’slogicisthatifthat’sthecase,whynotturnthosethingstoyouradvantage?So,don’tjustmakealesserorcurtailedCardinal;makeaspeakerthatisinitsownwayandonitsowntermsbetterthantheCardinal.Ifthecabinetisgoingtobephysicallysmaller,itcanalsobestifferandbetterbehaved,fewerdriversmeansthattheacousticcenterofthedesigncanbemoretightlyfocusedandthereducedsizealsoallowsyoutogetitawayfromtheintrusiveeffectsofroomboundariesandbassreinforcement,whileawell-designedstandmeansthatyoudon’thavetosacrificemechanicalgrounding.
Let’stakethosepointsinorder,butlet’sstartwiththedriversthemselves.TheTacticII7”unitandSemisphere1”soft-dometweeter
featurerightacrossWilsonBenesch’sGeometryseries.Withtheplethoraofexotictweeter
diaphragmslitteringhigh-endaudiothesedays,theuseofa1”soft-domemightnotseemallthatexotic,butaswithallthingsaudio,it’snotwhatyouusebuthowyouuseitthatmatters.Thelatestsoft-domedesignshavealottooffer.Buildingtheunitin-househasallowedWilsonBeneschtotailorthetweeter’slow-frequencyroll-offtosuittheirpreferredfirst-ordercrossovertopology,eschewingferrofluiddampinginfavorofaclosedandcarefullyoptimizedrearchamber.
Dispersion(helpedbythemachinedconcavewaveguideinthefaceplate)andextensionarebothexceptionalforasoft-dome,thecarbon-bracedsilkdomedeliveringa-2dBfigureat30kHz.
AlthoughallTacticIIdriverssharethesameelegantlysculptedbasketandmotorassembly,theisotacticpolypropyleneconesusedineachdifferentdesignareindividuallywoventooptimizeeachdriver’smechanicalbehaviorandacousticoutputforpurpose.Atthelastcount,thecompany
producedover25differentdrivers,allbuiltonthesamecarefullysculpted,minimalistchassis,withitsgorgeouslyslim,low-reflection,low-turbulencelegs.Themid-bassandbassdriversintheEndeavourareeachpurpose-built,addinganothertwodistinctunitstothestocklist.Theforwardfacingmidrangeunitisrunwideopen,relyingentirelyonmechanicalroll-offtoblendittothedriversaboveandbelowitintherange.Boththetweeterandthebassunitsareintegratedusinggentlefirst-orderslopestoattenuatetheiroutputabove500Hzandbelow5kHz.
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Butthecrossovertopology(althoughnominallyatwo-way,first-orderelectricalbuttwo-and-a-half-wayacousticalfilter,itisactuallymuchclosertoathree-waysysteminpractice)isn’ttheonlythingthat’sunusualaboutthewaytheEndeavour’sdriversworktogether.Havingaseparateinternalenclosureforthemidrangeunitisfarfromunique,butinthiscasetheexecutionisdefinitelydifferent.Therearwaveofthemidrangeunitisenclosedandrear-reflex-loadedbyacriticallyshaped,bell-likeenclosurebuiltfromcarbonfiberreinforcedwithnanoparticle-impregnatedresin--orCarbon-NanotechinWB-speak.Thislatestdevelopmentincarbon-fibertechnologytakesstiffness-to-weightratiostoanewhighaswellasdeliveringsuperbself-damping.WidelyusedatcriticalpointsonFormula1carsandmoresparinglyintop-flight(andseriouslyexpensive)bicycleframes,thisisthefirsttimeI’vecomeacrossitinaloudspeaker.Hereitperformsthreefunctions:thelimitedvolumerollingoffthelow-frequencyoutputfromthedriver,controllinganddissipatingtheenergyinitsrearwave,whilstalsoisolatingitfrominterferencebythelow-frequencydrivers(aswellasmaximizingtheavailablevolumeforthebassenclosure).ThisoptimizedrearchamberaddsconsiderablemidbandclaritytotheEndeavour’sperformance,helpingpreventunwantedenergyescapingthroughthedriverdiaphragmbutalsothroughthecabinetwalls.Oneoftheleast-understoodaspectsofloudspeakerdesignisthedamagedonebyunintendedleakageofenergythatescapesfromthecabinetthat’ssupposedtotrapit.Inthiscase,anysuchenergyhastocrossnotjustonecarbon-fiberboundary,buttwo--theCarbon-NanotechmidrangechamberandthenthesandwichstructureoftheACTcarbon-compositeouterenclosure.This
freedomfromacousticintermodulationdistortioniskeytotheEndeavour’sclarityandtactilecommunicativequality--butI’m
gettingaheadofmyself.
Placingthemidrangedriverabovethetweeterwiththebassdriverspositionedbelowputsthehigh-frequencydriverattheacousticcenterofthedesign,whileachievingaremarkablytight10”spacingthatspanstheacousticcentersofallfourdrivers.IftheDiscoverywaslaudedforitsseamlessintegration,theEndeavourtakesthataspectofperformancetoawholenewlevel--helpednodoubtbytheseparationofbassandmidrangeenclosuresandthelackofstructuralresonanceinthestifferreflexports.Butalsoaddingtothatlackofmuddle,congestionandmusicaldiscontinuityisthedirectgroundpathestablishedbythecabinetandstand.Thedriversareallbolteddirectlytoaluminumcabinetelements,withadirectpathconnectingthemtothespeaker’sspine.Eventhemidbandenclosureisbracedbetweenthefrontbaffle(anddirectlycoupledto)therearspine,providingadirectgroundpathfortheenergyitcontains.Meanwhile,theenclosureitselfisconstructedfromanACTsandwichsectionandthemolded“aero”cap,bothincrediblylight,rigidelementswithverylowstoragecharacteristics.
Thus,spuriousenergyisactivelyencouragedtoleavethecabinet,ledawaybythereadilyavailableground
pathofferedbythesubstantialandfirmlymated,interlockingalloyparts--thefrontandbassbaffles,thetwo-piecespineandthetriangularbase.Thethreestainless-steelpostsonwhichthewholeassemblystandarethefinalpieceofthejigsaw,theirincreasedcoercivityandrigidcouplingtothelarge-diametercups
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theysitonactivelyinvitinganyremainingenergynotdissipatedinthestructureondowntomechanicalground.Overallit’saclevercomplexanddemonstrablyeffectivesolutiontoriddingthecabinetofunwantedmechanicalenergyandallowingthedriversanacousticallyunpollutedenvironmentinwhichtowork.
Theotherbigdecisionfacinganyloudspeakerdesigneristhebalancebetweenbandwidth,cabinetvolumeandsystemsensitivity.Thesmallertheoverallvolumeofthespeaker,themoreconstrainedtheoptionsbecome,placingevergreaterpressureoneitheravailablebassextensionorefficiency.Balancingthesetwoaspectsofcompactspeakerdesignissooftenthemake-or-breakdecisioninanysmallspeakerproject.You’vegottoextractenoughbasstobemusicallyconvincingbutdosowithoutcreatingamonsterthatneedsmassiveampsjusttoraiseasmile.Theworldofaudioisfullofcompactspeakersthatcangrabholdofmonstermonoblocksandsuckthemdry--allwithoutbreakingsweatorintotheirmusicalstride.Theymaynotbebigbutthey’renotclevereither.ThisisanotherareainwhichtheEndeavour’sthin-wallcabinetscores.ItsTardis-likeinternaldimensions(andifyoudon’tknowwhataTardisis,thenyouneedtocheckoutDr. Who)allowwhatisremarkablebassextensionforitsapparentsize,whileretainingreasonableefficiencyandgenuinelyaccommodatingdrivecharacteristics.IachievedthebestresultsfromtheEndeavorwiththeEngstrom&EngstromTheLarsIIandtheBerningQuadratureZmonoblocks,oneemployingapairof300BEXSoutputtubespersideandtheotheranOTL!Ofcourse,theeasyimpedancecharacteristicsassociatedwithfirst-orderslopesareafactorhere,butevenmorecrucialisthedirectlyconnectedmidbassdriver.Althoughthesystemisratedat89dB(itselfaremarkablefiguregiventhe-2dBpointat38Hz
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combinedwiththecompactdimensionsofthecabinetitself)itseemsmoreefficientthanthat,duetothelackofanysubtractivecrossover
acrossthebroadmidrange.ButthesuccessIenjoyedwiththeseampsisnoaccident,andas
muchasittellsyouabouttheEndeavour’seasydrivecharacteristic,italsorevealsalotaboutitsspecific,veryappealingmusicalstrengths.
earfamiliarmusicontheEndeavour andonceagainyouareindangerof fallingpreytofirstimpressions--andtheirassociatedassumptions.Thefirstthingthatstrikesmeaboutthisspeakeristhelean,unclutteredneutralityofitssound.Thesecondistheharmonicwarmth,colorandpresenceitbringstoinstrumentsandvoices.Byallmeansreadthosetwosentencesagain,because,
yes,theymightwell(probablydo)seemcontradictory.Afterall,speakersthataregenerallydescribedaswarmaredefinitelynotneutral,thatwarmthcomingfromathickening,cabinet-generatedcolorationintheirmidbass.ButasthedescriptionoftheEndeavour’sstructureandmaterialsshouldmakeclear,thisisalow-colorationcabinetparexcellence.Sowheredoesthatwarmthcomefrom?It’srootedinthebeautifullycontrolledbehaviorofthedriverdiaphragms,thewovenisotacticpolypropylenebass
andmidunitsandthecriticallybracedsilkdomeofthetweeter.Theirinherentself-dampingandlackofresonantpeaksallowsthemtodevelopafullrangeofharmonicsfromeachimpulse,withoutemphasisorexaggeration.Theresultingbodyanddimensionalitytheybringtoinstrumentsisremarkablynaturalandconvincing,andit’sthisthatinveststhesoundwith
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itsconvincingpresence,whilethelackofspuriousenergyclogging,congestingandslowingthemidbassiswhatdeliverstheclarityandimmediacy.
Oops--thereIgoagain,usingconfusingandcontradictoryterms.Imean,whousesthewordimmediacytodescribetheperformanceofapolypropylenecone?TheanswertothatisanybodywhohasheardtheCardinal--oranybodywhohasheardtheEndeavour.Sitdown,closeyoureyesandlisten,andthat’sjustwhatyou’llhear--soundwithanalmostreach-out-and-touchpresenceandimmediacy.IwasfortunateenoughtohearMaximVengerovplaytheotherday--anexperiencethathasleftalastingimpressionandasignificantcontributiontotheCDcollection.OneofthosediscsisanApexlabeledTeldecrecording[Apex256467300-5]oftheSibeliusandNielsenviolinconcertos,withBarenboimandtheChicagoSymphonyOrchestra.PutitonandthefragileopeningoftheSibeliussoundsquitedistant,withatypicallymidhallbalance.Now,startitagain,butthistime,sitandlisten,eyesclosedandconcentratingandsuddenlythemusic,theinstruments,theperformersarerightthere.ThephysicaldistancetoVengerov’ssoloviolinisutterlyconsistentwithmyrow-Fseatattheconcert--closerthanmanypeoplefeelcomfortable.Sowhythediscontinuitybetweenhearingandactuallylistening?
Havinglivedwiththesespeakersforagoodwhilenow,usedthemwithalotofdifferentsystemsandplayedthemforalotofdifferentlisteners,thereactioniscompletelyuniversal.Walkintotheroomwiththespeakersplayingandpeopleneverremarkonthesound--untiltheyactuallysitsdownandreallylisten.Thenthey’reimpressed--andalittleconfused.Thereasonliesinourexpectations--thewayweexpectaudiosystemstowork.It’ssomethingyoumightwellhavenoticedthefirsttimeyoulistenedtoadiamondtweeter.Itprobablysoundedalmostdullandabitflat,but
whatyouwerehearingwasthelackofedgeorexaggerationinthehighfrequencies--theaddedsparkleandetchingthatarethe
resonantsignatureofless-well-behaveddrivers.Onceyourearsadjustedtheystartedtoappreciate
justhowunforcedandnaturalthosehighswere,howcleananddevoidofglareorhardness.TheEndeavourpresentsuswiththesamechallenge,onlyhereitinvolvestheentirerange,notjustthehighfrequencies.
Firstimpressionssuggestthatthisspeakerhasaclassicmidhallbalance,fulsomeandwarm--sowenaturallyassumeitwillpresentamidhallperspective,rightuptothepointwhereweactuallystopandaskthequestion.AsI’vealreadysaid,actuallylistentothisspeakerandyousoonrealizethatthatwarmthisgeneratedbyitsnaturalinstrumentalharmonicsandtonality,nottheaddedreverbofthehallinwhichthoseinstrumentsareplaying.Wearesousedtoassociatingdynamicdefinitionandtheresolutionofdetailwiththepared-away,etched,fauxtransparencythatpassesforhigh-endsoundthatwhenweheartherealthingcomingfromasystemwealmostdon’trecognizeit.Theassumptionisthatifit’swarm,thenitmustalsobesoftanddistant--yettheconcertexperiencetellsyouthatisn’ttrue.Yes,aliveorchestracanshockandevenhurt,butitdoesitwithlevelanddynamics,notedgeorglare.
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AwhileagoIscandalizedsomereaderswiththesuggestionthatagoodsystemcouldoutperformaliveorchestraonabadday.Itwasaconclusiondrawnasaresultofdirectexperience.Incontrast,Vengerov(ablyassistedbyYuriTemirkanovandtheSt.Petersberg)ablydemonstratedjusthowfarwehavetogointryingtomatchagreatliveperformance.ThesystemthatpromptedthefirstpiecewasbuiltaroundtheCardinal.ThespeakersthathavehadtosurviveintheshadowofVengerovet alaretheEndeavours--andthey’vedonearemarkablejob.TimetorevisitthatSibeliusViolinconcerto.
TheseWilsonBeneschspeakersthrowabroadanddeepsoundstage--anotherreasonwhyit’sworthshuttingyoureyeswhenyoulisten,toescapethevisualdiscontinuityofanythingsoexpansive(andpowerful)emanatingfromsomethingsoslender.Thequaveringdimuendoviolinsthatpresagethesoloentryarebeautifullyfragileanddelicate,aperfectfoilfortheconcentratedenergyofthesoloinstrument.Theyspreadfarleft,eachadditionalvoiceaddingthespaceoccupiedbythewoodwinds,violasandlargerstringstotheorchestralsoundscape.Thegradualstepsbuildsonaturallyandeffortlesslythatthesuddengruntofthoseearlybassunderpinningswillsurpriseyou,whilethefirstshort,sharpcrescendoarriveswithashockingweight,authorityandvigor--justasitdoesplayedlive.Evenwithyoureyesopen,there’snosenseofthesoundbeinggeneratedbythecabinets,notelltaleaberrationstodisturbthefabricoftheacousticspaceorcatchyourear.Insteadtheperformancehasaholisticcoherenceandpresence,anaturalperspectiveandscalethatstandtestimonytotheseamlessintegrationofthevariousdrivers,theircommontonalityandlackofdestructivesignature.Howhasthisspeakergottenitsorightwhensomanygetitsowrong?
ThemoretimeIspendwiththeEndeavourthemoreI’mconvincedthatthewayit’sbuiltandthewayitsoundsareinextricablylinked.
That’sactuallytrueofallproducts,butherethereseemstobeanalmostintuitivelinkagethat
connectsthethinkingdirectlytotheperformance.Let’sstartwiththemidrange,wheresomuchofwhatismusicallyimportanthappens.There’snoescapingthefactthat,forallthebenefitsofcontrollableself-dampingthatcomewiththeuseofisotactic
polypropylenecones,they’reheavierthanmanyofthealternatives.Toreapthosepotentialbenefits,youaregoingtohavetoworkhardtoovercomethathurdle--whichisexactlywhatWilsonBeneschhavedone.Inrunningthedriverwideopen(thuseliminatinganysubtractivecrossover)andworkinghardtomaximizetheefficiencyofitsmotor,byusingalarge7”diametersweptareaandgivingthedirectlycoupledamplifiertheeasiestpossiblejobacrosstherestofthebandwidth,theyscrew
everylastounceofadvantagetheycanfromtheirmaterialof
choice,displayingthebenefits,amelioratingtheweaknesses.It’san
objectlessoninsoundengineering.Theresultisamidbandthatistonally
naturalandrhythmicallyanddynamicallyarticulate.It’sunforcedandexpressive.No,itdoesn’thavethealmostsurrealquicknessofsomeceramicdrivers--ortheirleading-edgeemphasisandtruncatedharmonics.Nordoesitdeliverthepart-your-hairdynamicsofahorn--butthensofewhornscanachieveanylevelofneutrality.I’mconvincedthattheoptimizedrearchamberalsoplaysitspart,intermsofitssuperiorshapeandstructure,factorsthatdealmoreeffectivelywiththemidbassdriver’srearwave,butalsobecauseofthenestednatureofthecabineteliminatingspuriousenergyfromthemusicalpictureanditsactioninrolling
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offthedriver’sbottomend.Itsclean,clearandunclutteredpresentationiskeytotheEndeavour’smusicallyconvincingperformance--anditisfoundedinthatmidrangedriverandadesignthatmakesthemostofitsattributes.
ChiefamongstthosestrengthsistheuncannilynaturaltonalityandbodytheEndeavorbringstovoicesandinstruments.JustasitinvestsVengerov’sfiddlewithanutterlyconvincing(andcaptivating)senseofpresenceandpower,familiarvoicesarealmostspookily
natural.JacksonBrowne’shuskysingingisinstantlyrecognizable(Love Is Strange [InsideRecordingsINR5111-0])asaretherangeand
sheervarietyofDavidLindley’svocalfireworks.Thecomplementarycharacterandintimacyinthe
performanceisclear,theeasygiveandtakebetweentwosingerswhoarealsofriends.Butinitsownway,theEndeavour’sabilitytoseparate,tonallyandinspace,thevariousacousticguitarsthatfeatureonthisrecordingisequallyimpressive.Withanythinguptosixdifferentinstrumentsinplayatanyonetime,
Boring But Useful
WhenitcomestohandlingandhookinguptheEndeavours,thereareafewthingsthatcanmakeyourlifeconsiderablyeasier.Thefirstthingisthatalthoughthesearenominallystand-mounts,thespeakerisasingle,verysolidconstruction.Thatmeansitcomesinasurprisinglylargecrateandisalsoheavierthanyoumightexpect(becauseofallthataluminum).Youwilldefinitelyneedtwopeopletounpackandpositionthese.Eventhen,it’snotquiteasstraightforwardasitmightbe.
Forstarters,thetri-wirableterminalsareontheundersideofthestand.Theseacceptspadesorbananaplugsandcomewithsolid-silverwirebridgingtheconnections.Attachingcablesisdefinitelybestdonewiththespeakeronitsside;makesurethatyouhaveasoftsurfacetogounderthestandandsomethingpaddedtorestthehigh-glossfinishofthetop“cap”on.Spadesarethebestoptionwhenitcomestoconnectingthecablesandmakesurethatyouareconnectiontherightcablestotherightsockets--thelayoutislistedinthemanualbutnotunderthespeaker,whilethepositiveandnegativeconnectionsarenotcolor-codedbutannotatedusingengravedsymbolsthatarenotexactlyhigh-vis.ThisisoneofthoseinstanceswhereitpaystoRTFBandalsohaveasmall,brighttorch--asseenonCSI--tohand.Ifyoubiwireorbiampthespeakers(andI’dhighlyrecommendthelatter),thenyou’llprobablyneedtoretainthesilver-wirejumpersbetweenatleasttwosetsofterminals.Ifso,makesurethatyousupporttheterminalevenlybywrappingasinglelayerofwirerightthewayarounditscircumference.ThemechanicaladvantagedeliveredbythelargenutsthatWilsonBeneschuseontheirterminalsmakesforreallytightconnections,butissufficienttosnap
aterminalifitisleftunsupportedononesidesothatitcantiltasyoutightenit.Learnfrommymistakeandsaveyourselfembarrassmentandinconvenience.
Onceyouhavethespeakershookedupandthecablesdressed,youcanstandthespeakersuprightandthinkaboutpositioningthem.Thisiswhereyoudiscoverthattheonlyhorizontalsurfaceonthespeakeristhetopfaceofthestand,andallthesidesarecurved.Levelingiseasyenough,becauseyoucanplacethebubblerightbetweentheadjusters,buttoe-inrequiresareferenceofsomesort.Iusedastripoftapetomarkthecenterlineofthestand,betweenthefrontpostandthespeaker’sspine,againstwhichIplacedthelaser.Whenitcomestoplacement,theEndeavoursareseriouslycriticalofpositioning.Tooclosetotherearwallandtheygetmuddledandcongested,toofarawayandtheylackbassweight.Thisisonespeakerwhereitreallypaystoworkwiththenodes--specifichumpsanddipsintheroom’sacousticmap--inyourroom.Iendedupwithfourdifferentsetups,each8”apart,beforeIwassurethatI’dgottenthespeakersintherightplace.It’snotjusttherightplacewithinthenode,buttherightnodethatyouarelookingfor.It’saprocessthatistime-consumingandawkward,becauseyouneedtohavethespeakerstoodonitsfloorcouplers/protectorsinordertogetthebassjustright,butonceonthemit’salmostimpossibletomove.
Laboriousitmightbe,butitisalsoessentialifyouaregoingtoextractthefullperformancefromthesespeakers--inmusicalandsonicterms.Don’tbetemptedtocutcornersanddon’tthinkthatcloseenoughisgoodenough--itisn’t.Butonceyoudogetitright,theEndeavourswillbothloveandrewardyoufortakingthetimeandtrouble.
-Roy Gregory
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theeasewithwhichyoucanlocateeachandidentifybothitscontributionandthestyleofitsplayerisparticularlyimpressive.Butperhapsmostimpressiveofallisthewaythespeakerhandlesaudiencenoise,applauseandtheinnerdetailsofthesoundstage.Notonlydoesisprojecttheapplauseandthemultiplesing-alongvoicesforwardofthestageandaroundthelistener,butLindley’sHawaiianguitarisclearlybeingplayedflatonhislap,afactcaptureddespitetheindividualmicsusedoneachinstrument.
AtthesametimethisgreatliverecordingrevealsthattheEndeavourcomesupjustshortoftheCardinalintermsofabsoluteimmediacy,leading-edgeattackandbite.Althoughit’sonlyratedasasingledBlowerinefficiency,thesmallerspeaker,withitsnarrowerbandwidthandmorelimitedsweptareacan’tmatchtheattackanddynamicauthorityofitsbiggerbrother--orofcompetitorsliketheWilsonSashaW/P2orFocalScalaUtopiaV2.It’sanotherpartofthecontradictoryauraljigsawpuzzlethatistheEndeavour,contributingtothatinitialimpressionofmidhallsoftness.Eventhoughinpracticeit’sthesubtlestofeffects,it’scompoundedbythetotalabsenceofartificialhardnessoredgeinthespeaker--whichiswhyyoustartbythinkingthatit’ssoft,onlytodiscoverthatit’snot.Howisitfelt?Inasubtlesmoothingofinstrumentaltexture,orinthecaseofLove Is Strange,aslightlossofthesheervigorandintensitythatcharacterizestheperformance.Puttingthatinperspective,it’ssomethingthatvarieswithamplifier(farmorenoticeablewiththeQuadratureZthantheLars,forinstance)andwhichisreallyonlyapparentwhencompareddirectlytosomeofthebestandmostexpensivesystemsaround.Butitisthere,anditdoeshelpexplaintheEndeavour’salmostschizoidpresentationalpersona.
Doesn’tthatflyinthefaceofmyearlierdescriptionofthespeakeras“immediate”?Perhaps,inthegeneralsenseoftheterm,it
does.Ifyoutakeittosuggestsuddenimpactandinstantdynamicresponse,thenclearlythe
Endeavourisjustoffthatpace.ButI’mthinkinginslightlydifferentterms.WhenIdescribedVengerov’sviolinas“rightthere,”Iwasn’tkidding.Lackofgrainandalownoisefloorareattributesthatarenormallyattachedtoelectronics,buttheEndeavourhastheminspades.
Itssoundstagehasacalmclaritysimplybecausethespeakerbanishestheclutter,thelow-levelnoiseandtheblurringthatcomefromacousticintermodulation--thesameasitsharmonicsarenaturallyscaledanddistinctduetotheabsenceofmechanicalintermodulation.Theendresultisthesenseofinstrumentslockedinspaceandtime,withareach-out-and-touchstability,nothingcloggingthespacearoundandbetweenthem,nothing
betweenyouandthem.Inthiscasethat’swhatImeanbyimmediacy:
theEndeavoursucceedsinincludingyouinthesame,seamlessacousticspaceas
themusicians--puttingyou,andthem,rightthere.Inonesenseyouaretradingthecrispdynamicimpactofmoreefficientspeakersforthe
WilsonBenesch’sinclusivecommunicationandunobtrusiveneutrality.Therealquestionis,isitapriceworthpaying?Whatvaluedoyouplaceonthespeaker’sunobtrusivemusicalcoherence,itsexceptionalneutralityandremarkablemusicalversatility?That’soneonlyyoucananswer,butthelongeryoulistentotheEndeavorthebetterthecaseitmakes,themoreyounoticetheintrusiveaberrationsthatbedevilthecompetition.
Whichisasgoodaplaceasanytoconsiderthepowerandimpactofthisspeaker’sbottomend.Considerforasecondthat22litersdonotexactlyequalalarge
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cabinetandthatessentially,whenitcomestomovingair,you’regoingtobedoingitwithasingle7”driver(withabitofhelpthroughthemidbassfromtheforward-firingunit).Whatshouldyourealisticallyexpectandwhatdoyouactuallyget?Well,theanswertothefirstisprobablybassthat’sclean,quick,articulatebutlackingweight.Theanswertothesecondiscleaner,quickerandwaymorearticulatethanyouexpected,deeperandwaymorepowerfultoo.Thetrickliesingettingthespeakerpositionedjustrightsothatthespeaker’stight,quick,clearbottomendisallowedtoreachdownasfaraspossible,whilegettingallthehelpfromtheroomthat’savailable.Theheightofthestandkeepsthingscleanandmaintainstheunclutteredqualityofthemidband,theseparationofthebassandmiddrivers’acousticenclosurespreventsthesmudgingthatmightotherwiseemanatefromsuchasmallenclosure,whiletheisobaricdrivermaintainsleading-edgeattackanddynamicrange.Onceyou’vegottentheEndeavoursinjusttherightspot(seesidebar),theydeliverbassthatbreathes,withrealpower,scale,impact,pitchandtone.Onagoodorchestralrecording(theVengerovagain,orthePhilharmonia’sMahlersymphonieswithMaazel[SignumSIGCD360])thebassfloatsconvincingly,ratherthanrumblingacrossthefloor,anacoustictrickthatisnormallythepreserveofmuchlarger,genuinelyfull-rangesystems.
OftheEndeavour’spricepeers,onlytheKEFBlade(anotherspeakerthatperchesitsbassdriversonhigh)matchesthisperformance.ThegruntingbassarpeggiosthatmarktheopeningofMahler’sSecondSymphonybelchforth,fulloftensionandpurpose,roughtextureandbustlinginsistencethatbodeswellforthemassivescaleevokedinthelatermovements--andyouwon’tbedisappointed.It’sthisabilitytomarrytheairanddelicacy,thelyricalsweetnessofMahler’smelodieswiththedarkforebodingofhissubtextandtheexplosivereliefofhisredemption,thetransparencyandclarityofasmallspeakerwiththescale,weight,dynamicandmusicalauthorityofamuchbiggerspeakerthatmakestheEndeavourreallyquitespecial.It’saneattrickonanylevel,buttodoitsoconsistentlyandapparentlyeffortlesslyfromacabinetthiscompactisborderlinemagical.
Theseamlessintegrationofthelow-frequenciesgivesbroadbandinstrumentslikecelloandpianoawelcomesenseofconfidenceandstability.
Combinedwiththeinstrumentalbodyandmusicalpurposethatcharacterizesitentireaudiblerange,thisbringsmusiclikebig-band
Basievividlytolife,theeasyswinganddensetuttisthrivingonthesure-footedrhythmicflow
andunimpededdynamicresponseoftheEndeavour.Evenwiththismanyinstrumentsplayingthisloud,thesoundretainsitsclean,unforcedsenseofpatternandorganization.Butifyouwantanobjectlessoninwhat’sbeingplayedandwhy,looknofurtherthanJohannaMartzy’sfabulousperformanceoftheBeethovenKreutzerSonatadrawnfromtheCoupd’ArchetMartzyradiorecordingsbox[Coupd’ArchetCOUP003],aliving,breathingexpositiononnotjustMs.Martzy’smasteryofherinstrument,butheramazingrapportwithlong-termaccompanistJeanAntonietti.Thevividdynamiccontrasts,rapidlyshiftingtempi,pausesandswitchesintheaccentanddirectionofthemusicallinearedeliveredwithanaturalweightandauthoritythatbrooksnoargument.Asaperformanceit’smonumental--bothfromtheartistsandthespeakers.
Whenitcomestolong-termlisteningsatisfaction,balanceisoftenanunderestimatedattribute.OneofthethingsthatmaketheEndeavorgrowonyou--andgoongrowingonyou--isthenaturalnessofitstop-to-bottomweighting.Oneoftherealadvantagesofbuildingyourowndriversistheabilitytoreallybalanceandshapetheirresponse,somethingthatbecomesabundantlyclearonceyou’velivedwiththisspeaker.Onceagain,integrationplaysitspart,helpedalongbythecarefullycontrolleddispersionoftheSemispheretweeter,butit’sthetonalityandsoniccontinuitythatreallyhithome,thepresence,body,rangeoftonalcolorsandthatuncannynaturalness,bornoftheabsenceofedgeorexaggeration.FewspeakerscarrydynamicintentthroughtheirupperregistersthewaytheEndeavordoes,notjustacaseofspeedandattack,butsubstancetoo.YouhearitinthesheerpresenceofVengerov’sinstrumentandinthevitalityofMartzy’sperformance.YouhearitinthebrasstuttisofbothBasieandMahler,andyouhearitinthevocaldexterityandcloseharmoniesofDollyVarden,thenaturalpresenceofvoices,theshimmerofacymbalorthecrystalclarityofthesleighbellsonShawnColvin’s“ShotgunDownTheAvalanche”(Steady On[CBS466142-1]).WilsonBenesch’sbracedsoft-domemaynotgoashighassome,butitdovetailsperfectlywiththeirotherdrivers,investingtheirspeakerswithasatisfyingsenseof
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seamlesscontinuityandanattractivesenseofpresence.It’sabalancethatseemstostrikeanewhighintheEndeavour,andthatliftsthespeaker’soverallperformanceanothernotch.
Whichbringsusfullcircle,backtothemiddleofthemids.Historyislitteredwithspeakerdesignsthatexhibitedfantasticneutralityand/orseparation--oftentothecompleteexclusionoftherhythmicarticulationanddynamicsensitivitiesthatbindmusicintoasinglewholeandcarryitsexpressivepower.It’salmostasifthecontrastingcapabilitiesaremutuallyexclusive:themoreneutralthespeaker,thelessarticulate--andthelessinterestingitwillbetolistento.TheEndeavourmightwellbetheexceptionthatprovestherule.Thanksinnosmallparttoitsdiminutivecabinetandmassivestructure,itexceedstheCardinalintermsofsheerclarityandneutrality,butrhythmicallyitssavinggraceliesintheinsistenceonaminimalistcrossover,andinparticularthatdirectlyconnectedmidbassdriver.Whenitcomestophrasingandshiftsintempo,theshapeofasongoroverlappingrhythms,pausesinapieceorameasuredpace,thatsolidconnectionbetweenoutputstageanddriveunitcomesintoitsown,theamplifierabletoimposeatemporalauthorityonmusicalproceedingsthat’sresponsibleforleavingthelistenerinnodoubtastowhatishappeningandwhen.It’swhyanamplifierwiththemodestoutputoftheLars2candeliversuchacommandingperformance,whythe
quicksilverdynamicsandtransparencyoftheBerningQuadratureZ’sissoeffective.It’snotaforcedorhectoringquality,justanabilityto
betterreflectthechoicesmadebytheplayers,theirpatternandplacementofnotes.Youhearitin
thedrumpatternsbehind“LittleTriggers”(ElvisCostello,This Year’s Model[RadarRAD3])andCostello’stellingvocalhesitations,youhearitintheshapethatNarciscoYepesputsonhisplayingintheRodrigoConcierto De Aranjuez[DeccaSXL2091].It’swheresomuchoftheemotionalpowerofmusicresides.
ButperhapsyouhearitmostimpressivelyofallinthegraduallyunfoldingmajestyoftheGorecki’sThirdSymphony[PolskieRadioPRSACD2].Theslow
openingandoverlappingphrasesofthesplitstringsectionsareneverponderousandneverlag.Thebeautyinthepitch-perfectmelodiclinesandslowlyevolvingharmoniesgrowswiththebreadthandscaleofthepiece,eachlineheldseparateanddistinctastheybindandswellintothatfirstmassiveclimax.Itisacaptivatingandcompellingperformanceoneverylevel,andagaintheperformanceoftheorchestraismatchedbytheperformanceofthespeaker.Forwhatisnominallyacompactdesign,toachievesuchapowerfulanddramaticmusicalimpactisremarkable,speakingvolumesaboutnotjustthequalityandclarityofitslowfrequencies,buttheireffectivenesstoo.
ItispossiblythemostimpressiveexampleoftheEndeavour’sabilitytoreproducethestructurethatunderpinsmusic
--andtodosowithabsolutestability
andcoherence.Anycloggingorimprecision
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inthebottom-endpitch,anyvaguenesswhenitcomestotheplacement,spacingorcenterofthoseelongatedandoverlappingbassnotesandthewholepiecewilldescendintoaturgid,shamblingmess.Theabilitytomaintainitsgriponthescale,thepaceandthepatternofGorecki’smassivemasterpiece--andtodoitfromtheconfinesofsuchasmallcabinetisalltheproofyouneedthatWilsonBeneschreallyhaveexploitedthepotentialbenefitsthatcomewithasmallerspeaker.Theemotionalimpact,thebeautyanddrama,thattheEndeavourrevealsinthisperformanceareallthereasonyouneedtotakethisspeakerveryseriouslyindeed.
heCardinalgoesheadtoheadwithsome ofthemostexpensiveandrespectedspeakers outthere,competeswiththemandundercutstheirpricesignificantly.Thatstunningcombinationofengineeringandmaterialcontenttogetherwithasurprisinglyapproachablepricetagguaranteetheirvalueandshouldguaranteetheirappeal.TheEndeavourfacesadifferentandmuchmorechallengingmarket.Itfindsitselfrightinthemiddleofthemosthotlycontestedhigh-endsector.Thisiswhereyoufindtheproductsfromallthosehigh-profilebrandsthatcustomersactuallybuy.WemightallwanttoownWilsonAlexandriaXLFsorFocalGrandeUtopias,butformostofus,SashasorScalasaremorepracticalandalmostaffordable.CantheEndeavourmatchtheappealofthoseestablishedproductsandsurviveinthelongshadowscastbytheirrespectiveflagships?Onlytimewilltell,butifpotentialpurchaserslistenwiththeirearsaswellastheireyes,they’lldiscoverthatthisisaspeakerthatisbothverydifferentfromthecompetitionandveryspecialinitsownright.Itsmaterialcontentandengineeringvaluearefranklyastonishing,especiallyatatimewhensomanycompaniesseemtobe
lookingbackwardsfortechnologicalanddesigninspiration.WilsonBeneschhasalwaysadoptedaresolutelyhigh-techapproachtotheproblem
ofreproducingmusicinthehome.AsI’vealreadyobserved(manytimes)it’snotwhatyouusebut
howyouuseitthatmatters.TheEndeavourdemonstratesthatWilsonBeneschismorethanjustclosetothetechnologicalcuttingedge:Theyknowhowtoexploitthosetechnologiestomaximumeffect--whichmeansmaximummusicalbenefit.
TheEndeavourisaspeakerthatchallengesassumptionsandthestatusquo.It’sdifferentinitsapproach,itsmaterialsandthewayitpresentsthemusicalperformance.Itturnsacceptednotionsoftheestablishedaudioswingsandroundaboutsontheirhead,surprisinganddelightinginequalmeasure.Butmostofallitsucceedsinachievingthatqualitysharedbyallreallygreatloudspeakers--theabilitytoputthemusicfirst.Self-effacingtoafault,thisisinmanywaysoneoftheleastobviouslyimpressiveloudspeakersI’veheard--thatisuntilyoustartlisteninginearnestandringingthechanges.Thewayanddegreetowhichitrespondstoinput,whetherthat’sthemusicalsignalorchangesinthedrivingsystem,underlinesjusthowlittleofitselfitinsertsintotheprocess.Itgivesperformersnotjustavoicebutanauthenticityinawaythatveryfewotherloudspeakerscanmatch.
Whichbringsusrightbacktothequestionofthecompetition.CastingtheEndeavourinthecontextoftheSashaW/P,latestiterationoftheiconicWATT/Puppy,theundisputedmostsuccessfulhigh-endspeakerofalltime,certainlyreflectsthecommercialrealityitfaces.Butthenitalsoreflectsitsstatusasapotentialfutureclassic.Itreallyisthatgood.
T
Price: $49,500perpairforstandardfinishes.Special-orderfinishesareanadditional$1795perpair.Standsareincluded.Warranty: Fiveyearspartsandlabor.
WilsonBeneschLtd.FalconHouseLimestoneCottageLaneSheffield,S61NJ+44(0)1142852656
Associated Equipment
Analog: VPIClassic4turntablewithSDS;VPIJMW12.7andTri-PlanarMkVIIUIItonearms;LyraEtna,Titani,Scala,DorianandDorianMonocartridges;ClearaudioGoldfingerStatementcartridge;AllnicPuritasandPuritasMonocartridges;NordostOdinandValhalla2tonearmlead;Connoisseur4.2PLEphonostage.
Digital: CECTL-3NCDtransport,WadiaS7iCDplayer,dCSPaganiniandVivalditransportsDACsanduClock,CHPrecisionD1CD/SACDplayer.
Preamps:Connoisseur4.2,CHPrecisionC1.
Power amp:BerningQuadratureZ,Engstrom&EngstromTheLarsIImonoblocksandVTLMB-185SignatureSeriesIIImonoblocks;JeffRowlandDesignGroupModel125stereoamp.
Integrated amp: JeffRowlandContinuum2.
Interconnects and speaker cables:CompleteloomsofNordostOdin,CrystalCableAbsoluteDreamorUltrafromACsockettospeakerterminals.PowerdistributionwasviaQuantumQRTQB8sorCrystalCablePowerStripDiamonds,withamixofQuantumQx2andQx4powerpurifiersandQv2ACharmonizers.
Supports: RacksareHutterRacktimeorQuadraspireSVTBamboo.TheseareusedwithNordostSortKoneequipmentcouplersthroughout.CablesareelevatedonAyremyrtle-woodblocksorHECCPandaFeet..NordostSortFütunitswereusedunderthespeakers.
Acoustic treatments: Aswellasthebroadbandabsorptionplacedbehindthelisteningseat,Iemployacombinationofmicroperforatedacousticdevices.
Accessories: EssentialaccessoriesincludetheFeickertprotractor,aUSBmicroscopeandAesthetixcartridgedemagnetizer,aprecisionspiritlevelandlaser,areallylongtapemeasureandplentyofmaskingtape.IalsomakeextensiveuseoftheFurutechanti-staticanddemagnetizingdevicesandtheVPITyphoonrecord-cleaningmachine.TheDr.FeikertPlatterSpeedapphastobethebestevercaseofdigitalaidinganalog.
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