Ease acoustic morsel
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But that's a very small problem, and the only serious criticism I have of this model. As Jack said about the Epos, at this price I have a bit of a problem with the SP's lack of true deep bass: its bottom octave was more implied than present. I'll buy that.Īlso, as was mentioned in Jack English's review of the Epos ES 25 loudspeaker (also in February '96), there's a lot of competition in the SP's price range. He replied that the slight noise from the port would detract from the SP's musicality. With that in mind, I asked Peter Noerbaek why he hadn't ported the speaker in the front rather than the rear such an arrangement would have allowed it to be placed closer to the rear wall. When you do, the bass response smooths out.
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#EASE ACOUSTIC MORSEL FULL#
In smaller spaces, without a lot of work and room treatment, you won't begin to exploit its full potential unless you can pull it out from the rear wall the way the designer intended. It needs a minimum of 300 square feet of open-floor area. This speaker is probably not the best choice for a small room, and shouldn't be shoehorned into one. The floorstanding model may offer better bass, but in a small room the bass may be bloated, boomy, and overwhelming, as the SPs' bass initially was in mine.Īlthough I eventually succeeded, I had trouble integrating the Montana SP into my small, admittedly unorthodox listening space. (None of PBN's loudspeakers are at all power-hungry: while I was visiting his showroom, Peter drove his big XPs with a single-ended Cary Audio 300SEI.) In fact, I think the warmth of a tube amp might be the perfect complement to the SP's slightly cool tonal characteristic.Īs John Atkinson pointed out in his reviews of the Totem Acoustic Mani-2 and Joseph Audio RM7si (February 1996), a full-range floorstanding loudspeaker may not image as well as a small minimonitor, even though it occupies the same floor space. My little 20Wpc NAD receiver was more than adequate: tube-lovers will find the SPs quite compatible with their favorite moderately powered amps.
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It proved to be an easily driven, amplifier-friendly loudspeaker. Incidentally, the SP's high sensitivity means it can play at a satisfying level with a low-powered amplifier. There wasn't any kind of music these speakers didn't like, and there wasn't any I didn't like through them. The power of the flamboyant Virgil Fox's rollicking interpretation of Bach's Toccata and Fugue in d, on Virgil Fox (LaserLight 15 313-the same performance originally appeared on a limited-edition, direct-to-disc Crystal Clear disc) stood in stark contrast to Anne Queffélec's meditative take on Eric Satie's Six Gnossiennes, from Eric Satie/Anne Queffélec/Piano (Virgin Classics VC 7 90754 2). I don't remember Viktoria Mullova's passionate treatment of Vivaldi's The Four Seasons (Philips 420 216-2) ever sounding so immediate or intense. Hard to believe she was only 16 when this was recorded. The SPs comported themselves admirably on more traditional fare as well: Sarah Chang's stunning performance of Paganini's Violin Concerto 1 (EMI CDC 5 55026 2)-one of the few recordings I have bought instantly upon hearing it. If you think "good rap" is an oxymoron, KMD's best effort might make you reconsider.
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Now a bit long in the tooth, "Knowledge is King" is perhaps the best-ever rap song-an uplifting, enlightening, empowering message forcefully delivered, with bass and drum dynamics that will challenge even the most robust audio system. They also excelled at conveying the proper sense of threat, an essential ingredient in so much current music: The Cranberries' droning guitars in "Zombie" on No Need to Argue (Island 314-525 050-2), Radiohead's delightfully disturbing "Creep" on Pablo Honey (Capitol CDP 7 81409 2), "The Unforgiven" from Metallica's self-titled "black album" (Elektra 61113-2), and the title cut from Kool Moe Dee's Knowledge is King (Jive JS-1182-2-J).