It looks like I'll soon be a proud owner of some new speakers, after a few weeks of listening to various models to potentially succeed my beloved Sonus faber Concerto Grand Piano.
For me these were big shoes to fill, as it were, the Sf having delighted me for almost twenty years. They still do, but I simply felt like a change, and was interested to see what I could get at what price in today's market. If you don't want all the guff, my decision is at the end. Otherwise, here's the story...
I'd briefly contemplated the rather marvellous KEF LS50 wireless, but as I have multiple legacy sources they weren't really suited, though were I beginning from scratch they'd be a serious option.
I listened to demos of the following, all floorstanders:-
1 and 2. Quad Z-3 and Z-4, their new ribbon tweeter models.
3. ProAc D20R, also with a ribbon.
4. Martin Logan Electromotion ELS
(You might be noticing a trend away from dome tweeters!)
5. Sonus faber Venere 2.5
6. ATC SCM 40
Not included in this demo, but based on various previous encounters, I'd listened to various PMC twenty and twenty5 series, KEF Reference 1s, but for no particular reason not any B&W or Monitor Audio, to mention two popular and prominent brands. This mini shortlist were those that seemed closest to what I was after, with a budget of up to £3-4k.
For a benchmark aside from live concerts, relatively 'state of the art' models that I've been lucky enough to hear over the last year or so include:-
GamuT RS5i, about £28k (Stone Audio). Stunning, but needed very expensive amps and cables!
Wilson Audio Sabrina, now about £20k. Great sound. (Guildford HiFi)
Dynaudio Evidence Platinum, about £55k, on a Naim Statement (Ceritech Audio). Very powerful, but too enormous to take seriously. Great for live rock records.
So, a few notes on what I heard recently:-
When I arrived the dealer happened to have the Quad Z-4 already set up, and they had had a good review in HIFi News. Very nice finish, except the speaker surrounds looked a bit plasticy. Modern appearance though. It was very clear and detailed, but quite bass-shy, surprising for such a big box, several inches taller than my Sonus fabers. Good height and depth to the sound. I think they ideally needed to be backed rather nearer the wall, as their marked spot was probably 2'6" out or more.
That location suited the Venere 2.5 well which sounded very nice, but almost muffled after the ribboned Quad, which later I realised I'd listened to a bit too loud, as it's over 90dB efficiency. I suspect the lack of warmth was why. So, Sonus faber very liveable with, but not amazing. Could have benefited from more alignment (toe-in). Very stylish, but not so immaculate as the Italian made models. Not much different in sound to mine, I felt, but easy to like. By the way, they were using the ATC integrated amp, SIA2 150, closest to my Primare I32 and my old Krell being 150wpc, with the very easy to use Roksan Caspian M2 CD player, much quicker to read discs than my Marantz. Cables were QED for speakers and van den hul interconnects.
Next up were the Martin Logan, which I'd been keen to hear. I wasn't disappointed either, and ended up listening to about 8 different CDs. Beautiful and clear, but not excessive anywhere. Good underpinning of bass too. I'd always been fascinated by electrostatic speakers, and these were no exception - but I've never owned any.
Last of this session was the ATC which I'd not been too bothered to hear, but the dealer himself was keen to play me. A big heavy tower, needing two to move them. Crumbs, they were staggering! Miles away the best on jazz - I had the recording of Alison Krauss live in Paris - with absolute clarity, precision and punch. Superbly controlled bass. How I had missed infinite baffle bass! Fabulous build quality, reeking of top engineering. And made near where we used to live in the Cotswolds. But, they'd just gone up to £3,750 and were a shade less comfortable with the scrawnier recordings I'd also brought. So the ML ELS seemed almost as good at their best, especially on orchestral music, and were maybe a bit easier to listen to. At £3,200 it would be a close call.
Over the following weekend (Easter), I realised the same dealer had a 6-month old pair of the ML on eBay for £1499. I waited until ten minutes was left and made my bid, but without any rivals they were mine. What a bargain! They have a spec of 91dB but in practice it sounded less sensitive, maybe because they didn't get nasty at higher volumes. But not hard to drive, apart from the capacitor effect of all panels. My Primare amp was tested at 160w / 345w at 8 and 4 ohms continuous, so shouldn't sweat at these! The ATC by contrast are the least sensitive at 85dB which would've been rather harder work. Plus the ATC weigh in at about 31 kg each, almost twice the weight, so I was wary if I could handle them safely. The ML look less intrusive because you can see through them! My wife even liked the appearance, much to my surprise.
Well, to keep this tale to a reasonable length, after ten days of trying every position for the ELS I could, they simply weren't doing it for me. There was, inexplicably, a slightly veiled effect, depressing cymbals' natural fizz, and making radio announcers sound like they had head colds! Almost in desperation I reinstated the old Sonus fabers, and with no setting up, just plugging in, back came the shine! Marvellous.
Trust me I had tried everything, including their ideal position per the manual (worth reading actually) 63 inches into the room from the front wall, which gave an extraordinary depth - but even well into the room the strong bass rather drowned out the electrostatic panel in our softly furnished room. All the adverts for ML showed ceramic tiled floors and big windows, which doubtless was what they needed to sound their best - plenty of reflection from the rear radiation. So, I returned them. Thank goodness for the 14 day return window, and being a decent dealer they didn't have a problem.
So, after almost calling it day, I went back a couple of days ago for a listen to the smaller Quad Z-3 which this time I played at the right volume, and actually preferred. Looked terrific in gloss white, and very easy to live with. Actually reminded me of my own speakers, so high praise, but equally pointless to swap.
Next up were the ProAc. Must admit the mahogany finish did them no favours, ditto the hard edged box design, but I was won over by the detail. Nicely timed bass too. But after the third disc, I identified a voice coloration that was disconcerting, and piano was a bit weedy, with insufficient body and character. They'd be great for non-orchestral music though, detailed and fast.
I knew what was coming by now. Back came the ATCs. Did I detect a slight look from my dealer, who surely knew what was coming? Plonk down, plug in - amazing! All the clutter and bluster of the others had gone. The oldest cliche in the book, a veil had been lifted! Tight, controlled, precise, with wonderfully supportive and detailed bass. More than I really wanted to spend, but I needed to heed my own advice - the best is often cheaper in the long run (just look at my old speakers).
I've got the demo models at home as I write. No faffing, just superb sound. A significant improvement in transparency and control, and not bad to look at, in a well-engineered sense, apart from the grilles which aren't too flattering (but at least they function to protect the drivers). So, the ATC SCM40 it is then.
Built to order, and should be ready in about three weeks, I'm told. Can't wait! The demonstrators are going back on Friday (tomorrow) if I can get them back in the car, at over 30 kg per box.
For me these were big shoes to fill, as it were, the Sf having delighted me for almost twenty years. They still do, but I simply felt like a change, and was interested to see what I could get at what price in today's market. If you don't want all the guff, my decision is at the end. Otherwise, here's the story...
I'd briefly contemplated the rather marvellous KEF LS50 wireless, but as I have multiple legacy sources they weren't really suited, though were I beginning from scratch they'd be a serious option.
I listened to demos of the following, all floorstanders:-
1 and 2. Quad Z-3 and Z-4, their new ribbon tweeter models.
3. ProAc D20R, also with a ribbon.
4. Martin Logan Electromotion ELS
(You might be noticing a trend away from dome tweeters!)
5. Sonus faber Venere 2.5
6. ATC SCM 40
Not included in this demo, but based on various previous encounters, I'd listened to various PMC twenty and twenty5 series, KEF Reference 1s, but for no particular reason not any B&W or Monitor Audio, to mention two popular and prominent brands. This mini shortlist were those that seemed closest to what I was after, with a budget of up to £3-4k.
For a benchmark aside from live concerts, relatively 'state of the art' models that I've been lucky enough to hear over the last year or so include:-
GamuT RS5i, about £28k (Stone Audio). Stunning, but needed very expensive amps and cables!
Wilson Audio Sabrina, now about £20k. Great sound. (Guildford HiFi)
Dynaudio Evidence Platinum, about £55k, on a Naim Statement (Ceritech Audio). Very powerful, but too enormous to take seriously. Great for live rock records.
So, a few notes on what I heard recently:-
When I arrived the dealer happened to have the Quad Z-4 already set up, and they had had a good review in HIFi News. Very nice finish, except the speaker surrounds looked a bit plasticy. Modern appearance though. It was very clear and detailed, but quite bass-shy, surprising for such a big box, several inches taller than my Sonus fabers. Good height and depth to the sound. I think they ideally needed to be backed rather nearer the wall, as their marked spot was probably 2'6" out or more.
That location suited the Venere 2.5 well which sounded very nice, but almost muffled after the ribboned Quad, which later I realised I'd listened to a bit too loud, as it's over 90dB efficiency. I suspect the lack of warmth was why. So, Sonus faber very liveable with, but not amazing. Could have benefited from more alignment (toe-in). Very stylish, but not so immaculate as the Italian made models. Not much different in sound to mine, I felt, but easy to like. By the way, they were using the ATC integrated amp, SIA2 150, closest to my Primare I32 and my old Krell being 150wpc, with the very easy to use Roksan Caspian M2 CD player, much quicker to read discs than my Marantz. Cables were QED for speakers and van den hul interconnects.
Next up were the Martin Logan, which I'd been keen to hear. I wasn't disappointed either, and ended up listening to about 8 different CDs. Beautiful and clear, but not excessive anywhere. Good underpinning of bass too. I'd always been fascinated by electrostatic speakers, and these were no exception - but I've never owned any.
Last of this session was the ATC which I'd not been too bothered to hear, but the dealer himself was keen to play me. A big heavy tower, needing two to move them. Crumbs, they were staggering! Miles away the best on jazz - I had the recording of Alison Krauss live in Paris - with absolute clarity, precision and punch. Superbly controlled bass. How I had missed infinite baffle bass! Fabulous build quality, reeking of top engineering. And made near where we used to live in the Cotswolds. But, they'd just gone up to £3,750 and were a shade less comfortable with the scrawnier recordings I'd also brought. So the ML ELS seemed almost as good at their best, especially on orchestral music, and were maybe a bit easier to listen to. At £3,200 it would be a close call.
Over the following weekend (Easter), I realised the same dealer had a 6-month old pair of the ML on eBay for £1499. I waited until ten minutes was left and made my bid, but without any rivals they were mine. What a bargain! They have a spec of 91dB but in practice it sounded less sensitive, maybe because they didn't get nasty at higher volumes. But not hard to drive, apart from the capacitor effect of all panels. My Primare amp was tested at 160w / 345w at 8 and 4 ohms continuous, so shouldn't sweat at these! The ATC by contrast are the least sensitive at 85dB which would've been rather harder work. Plus the ATC weigh in at about 31 kg each, almost twice the weight, so I was wary if I could handle them safely. The ML look less intrusive because you can see through them! My wife even liked the appearance, much to my surprise.
Well, to keep this tale to a reasonable length, after ten days of trying every position for the ELS I could, they simply weren't doing it for me. There was, inexplicably, a slightly veiled effect, depressing cymbals' natural fizz, and making radio announcers sound like they had head colds! Almost in desperation I reinstated the old Sonus fabers, and with no setting up, just plugging in, back came the shine! Marvellous.
Trust me I had tried everything, including their ideal position per the manual (worth reading actually) 63 inches into the room from the front wall, which gave an extraordinary depth - but even well into the room the strong bass rather drowned out the electrostatic panel in our softly furnished room. All the adverts for ML showed ceramic tiled floors and big windows, which doubtless was what they needed to sound their best - plenty of reflection from the rear radiation. So, I returned them. Thank goodness for the 14 day return window, and being a decent dealer they didn't have a problem.
So, after almost calling it day, I went back a couple of days ago for a listen to the smaller Quad Z-3 which this time I played at the right volume, and actually preferred. Looked terrific in gloss white, and very easy to live with. Actually reminded me of my own speakers, so high praise, but equally pointless to swap.
Next up were the ProAc. Must admit the mahogany finish did them no favours, ditto the hard edged box design, but I was won over by the detail. Nicely timed bass too. But after the third disc, I identified a voice coloration that was disconcerting, and piano was a bit weedy, with insufficient body and character. They'd be great for non-orchestral music though, detailed and fast.
I knew what was coming by now. Back came the ATCs. Did I detect a slight look from my dealer, who surely knew what was coming? Plonk down, plug in - amazing! All the clutter and bluster of the others had gone. The oldest cliche in the book, a veil had been lifted! Tight, controlled, precise, with wonderfully supportive and detailed bass. More than I really wanted to spend, but I needed to heed my own advice - the best is often cheaper in the long run (just look at my old speakers).
I've got the demo models at home as I write. No faffing, just superb sound. A significant improvement in transparency and control, and not bad to look at, in a well-engineered sense, apart from the grilles which aren't too flattering (but at least they function to protect the drivers). So, the ATC SCM40 it is then.
Built to order, and should be ready in about three weeks, I'm told. Can't wait! The demonstrators are going back on Friday (tomorrow) if I can get them back in the car, at over 30 kg per box.
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