Atmos is an immersive-audio format that uses object-based audio to create 3D soundscapes. The technology isn’t limited to any particular number of speakers—in movie theaters, Atmos-based systems use dozens of speakers to generate a sense of immersion.

Less than a year ago, Dolby rolled out Atmos for home theater. With Atmos for the home, listeners can experience the same sense of audio immersion found in Atmos-equipped movie theaters. Additionally, a feature called Dolby Surround upmixes 2-channel and 5.1 or 7.1 content into 3D immersive sound.

You need two things to add Dolby Atmos to your home: speakers and a surround processor. As part of its first foray into Atmos, Pioneer introduced a speaker system designed by Andrew Jones—its first new Elite speakers in a decade. The new designs take the reflected-sound approach to Atmos, with upfiring drivers on top of the floorstanding and bookshelf speakers.

Pioneer’s new Elite speakers offer almost no hint of their immersive-audio capabilities. The only clue that they are Atmos-enabled is a cloth grill on top of the floorstanding and bookshelf models. Under that grill lies a new driver that forms the foundation of this innovative speaker system.

The upfiring concentric driver is the key component that makes these speakers Atmos-enabled.

The new speaker line includes the SP-EFS73 floorstander ($700 each), SP-EBS73-LR bookshelf ($750/pair), SP-EC73 center channel ($400), and SW-E10 10″ sealed subwoofer ($600). For this review, I used a 5.1.4 system that included one pair of floorstanders and one pair of the bookshelf speakers along with an SP-EC73 and SW-E10.

Features

Pioneer’s new Elite floorstanding, bookshelf, and center channel speakers all feature the same 2-way concentric driver: a 4″ aluminum-cone midrange surrounding a 1″ soft-dome tweeter. The concentric driver also appears on the top side of the Atmos-enabled floorstanding and bookshelf models. That driver is a proprietary design, created by Andrew Jones specifically for this series of speakers.

The SP-EFS73 floorstanding speaker is a 3-way design. The conventional, forward facing part of the speaker uses three 5.25″ aluminum woofers for bass and the 2-way concentric driver for midrange and highs. It’s a bass-reflex (ported) design with a frequency response from 38 Hz to 20 kHz. Pioneer rates the sensitivity at 86 dB/W/m and maximum power handling at 140 watts.

On top of the tower, you’ll find an additional concentric driver that points upward. It has its own internal chamber and separate binding posts, operating independently from the forward-facing speaker even though it is mounted in the same cabinet. It is a completely separate system, designed specifically for use with Dolby Atmos.

The SP-EBS73-LR bookshelf speaker has specs that come remarkably close to the tower’s. It is a 3-way design that combines a 5.25″ aluminum woofer with the 2-way concentric driver. It uses a bass-reflex design that results in a frequency response from 50 Hz to 20 kHz. Rated sensitivity is 85 dB/W/m, and maximum power handling is 140 watts. As with the tower, there is a concentric driver on top of the bookshelf model that handles Dolby Atmos duties.

The 3-way SP-EC73 center-channel speaker features a passive radiator in its design—a ported cabinet would interfere with placement options. It pairs a 5.25″ aluminum woofer with a 5.25″ passive radiator and the 2-way concentric driver. Pioneer lists the frequency response from 45 Hz to 20 kHz with a sensitivity of 85 dB/W/m. Maximum power handling is 140 watts, like the rest of the speakers in the new Elite line.

The SP-EC73 does not include an up-firing driver. However, it shares the same concentric driver as the floorstanding and bookshelf speakers, and all three also share the same crossover points: 260 Hz and 2.6 kHz.

Pioneer’s Elite SP-EC73 center-channel speaker.

The speakers have black cloth grills a black wood-grain finish. On the rear, there are two sets of binding posts: one for the main speaker and one for the Atmos component. These large and easily accessible binding posts support banana plugs, which I appreciate. All speakers in the series have 4-ohm impedance ratings, and Pioneer’s Elite Atmos-compatible AVRs—including the SC-85 used in this review—are rated to drive 4-ohm speakers.

The SW-E10 subwoofer is a sealed design with a 300-watt RMS (600-watt peak) onboard power amp. It uses a 10-inch long-throw woofer to achieve a frequency response from 30 to 150 Hz. The enclosure is compact, measuring 13.2″ x 15.4″ x 13.4″, and the sub accepts either mono or stereo signals through a pair of RCA jacks. Continuously variable controls include phase, crossover, and output level, and a toggle switch lets you turn auto-standby on or off.

Setup

One of the most outstanding features of the new Elite speakers is the ease with which you can add Dolby Atmos to your home. Instead of installing in-ceiling speakers, you can place these speakers in a classic 5.1 configuration. The system will work in most rooms that have a flat, acoustically reflective ceiling.

I used Pioneer’s Elite SC-85 AVR to power the speakers—you can read that review here.The 5.1.4 system consisted of a pair of towers for the front left and right channels, a center channel, a pair of the bookshelf speakers for the surrounds, and one subwoofer.

I connected each speaker to the appropriate outputs on the SC-85 using 12-gauge Monoprice speaker cables terminated with banana plugs. That included running a second cable to each of the four Atmos-enabled speakers. Next, I set up the SC-85’s calibration microphone and selected the appropriate speaker configuration option in the AVR’s menu: 5.1.4 with Atmos-enabled speakers. Finally, I started the MCACC auto-calibration routine.

When the automatic calibration finished, I reviewed the settings to make sure there were no anomalies. I used a UMIK-1 measurement mic along with Room EQ Wizard to re-measure the speaker levels at my main listening position. I was happy to see that the SC-85’s readings were within +/- 0.5 dB of the UMIK-1’s readings. The only adjustment I made was to increase the subwoofer’s output by 3 dB—I like a bit more oomph on the low end than what MCACC prescribed.

During the setup process, I talked to Andrew Jones, the man who designed the speakers. He told me a lot about the thinking that went into the system’s design, especially his decision to use concentric 2-way driver in all the speakers. He said the key to a good immersive audio experience is precise imaging. The new driver offered the performance he was looking for in terms of phase coherence, dispersion, low distortion, and consistency of timbre.

I asked Andrew why he chose to go with a 10-inch sealed sub instead of a ported design or a sealed sub with a larger driver. He said the size of the enclosure played an important role in that decision—large subwoofers are unwieldy and thus less likely to find a place in a home surround-sound system. He also strongly recommended using more than onesubwoofer in order to tame room modes.

The Elite SW-E10 10-inch sealed subwoofer.

Unfortunately, I only had one SW-E10 subwoofer on hand for this review. As a result, at times I supplemented the Elite sub with a GoldenEar ForceField 5. However, I also listened to the Elite sub working on its own, optimized for the “sweet spot” in my system.

Performance

The new Elite speakers are tailor-made for the new Pioneer Elite AVR. For one thing, they are 4-ohm speakers. The Elite SC-85 outputs 220 watts per channel into a 4-ohm load, so there’s plenty of headroom in terms of amplification.

It’s worth noting that you don’t have to use these speakers in an Atmos system. Andrew Jones designed them to be high-quality, high-performance speakers—even when used in a 2-channel or 5.1 configuration. Andrew said he made sure these new speakers excel at reproducing music, and he urged me to pay close attention to the quality and capability of the bookshelf model when used in a 2.1 configuration. I’ll save that experience for a separate review.

I spent most of my time listening to the system in full 5.1.4 mode. A few Blu-rays offered native Atmos soundtracks, but for everything else, I used the Dolby Surround upmixing function. I found that it consistently offered a rewarding and immersive listening experience, even with stereo music recordings.

Thanks to the concentric driver shared by all the speakers, imaging was precise and cohesive in three dimensions. The system produced the requisite “dome of sound” that is the hallmark of Atmos and other immersive audio formats.

One of the best experiences I had with a genuine Atmos soundtrack was watching The Expendables 3, which I wrote about here. The movie sounded better played in 5.1.4 Atmos than it did when I listened to it with a 7.1 speaker configuration. That was also the case with the other Atmos movies I watched—Transformers: Age of Extinction, Teenage Mutant Ninja Turtles, and Step Up: All In.

Most of the time, I listen to stereo music upmixed to surround sound on my system. In the past, I used the DTS Neo:X Music setting on my SC-55, but Dolby Surround changed that. In addition, with the Elite speaker system, I found that using the new upmixer made the entire system disappear from my room—and often the Atmos effect would make the room itself disappear.

Even without Atmos processing, the new Elite speakers create a great-sounding 5.1 system, and the towers put on a good show when used for 2.0 or 2.1 playback. I listened to a lot of music through the Pioneers; they have a reserved, refined, and precise character that happens to make the Beatles sound exceptionally good. I also thought the system handled classical music very well.

I’ll post a separate review that concentrates on the 2-channel capabilities of the tower and bookshelf models. When used as a stereo pair, the SP-EFS73 towers reminded me of high-quality audiophile speakers—they are polite, yet they possess an uncanny ability to reproduce difficult musical passages.

When used in a surround system, the Elite towers don’t possess the brash tactile immediacy of some high-efficiency home-theater speakers. Instead, the sound of the Elite system is smooth and civilized. These speakers offer a balanced, refined sound that can easily cross into the realm of the sublime. Clarity and precision are their calling cards, especially when it comes to creating a convincing immersive soundfield.

The center channel benefits greatly from the use of the concentric driver. Many 2-way center-channel designs suffer from combing artifacts because they use a pair of midrange drivers flanking a tweeter. The Elite center speaker’s design avoids the problem altogether thanks to its 3-way design with a single concentric driver that handles frequencies above 260 Hz. The result is a pinpoint-precise and clear rendering of center-channel audio, which is crucial to enjoying a surround system since so much content plays through that speaker.

The subwoofer is the only part of the system that left me wanting. I had little confidence that a single sealed 10″ sub would suffice. Andrew Jones confirmed that when I talked to him. However, even a pair of sealed 10-inchers can only take you so far—I’m coming from a 2000-watt four-sub DIY system that went down to 14 Hz. (It sits in my basement these days.)

Speaking of deep bass, when I added the GoldenEar ForceField 5 to the system, the speakers really shined. Since this is a speaker system aimed at home-theater enthusiasts, it’s wise to pair them with a sub that can get down to 20 Hz or so—many modern movies feature sounds that go that deep.

The GoldenEar plays much deeper and is considerably more powerful than the Elite sub, yet the two got along very well. The Elite sub never distorted, but it simply can’t handle the sort of brutal bass you find in modern movie soundtracks. I also noticed that the SW-E10 had a habit of “walking” whenever intense bass played for an extended time—I prefer subwoofers that stay put.

If you don’t push the SW-E10 too hard, it sounds tight and clean. It’s a great sub for most music genres. However, it’s not ideal for organ music, hip hop, or some electronic music where bass frequencies go much lower than what the Elite sub is designed to reproduce.

Conclusion

All of the speakers in the Elite system have near-identical sensitivity and power handling—in that sense, there’s no weak link, every channel can reach roughly the same output level. The vast majority of consumers will not need more quality or capability than what this system offers. The only caveat pertains to the subwoofer—one SW-E10 is not enough; the system needs dual subs to sound its best. Please keep in mind that the “two subs are better than one” rule applies to almost any speaker system.

Speaking of subs, if you do use one or more of them in your system, there’s almost no performance penalty for choosing the SP-EBS73-LR bookshelf speakers over the towers. If you must skip the sub, the towers have a decent amount of bass extension, but they are not as capable as some other floorstanding speakers in the same price range. On the other hand, those other speakers do not have built-in Atmos compatibility, so the comparison is not apples-to-apples.

Pioneer’s Elite Atmos-enabled speaker system succeeds because it provides a well-balanced blend of price, performance, aesthetics, and ease of use. It supplies a complete immersive-sound experience in the same footprint as a traditional 5.1 system. Andrew Jones and Pioneer clearly took a holistic approach to the system’s design, and the result is impressive.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes
Panasonic DMP-BDT460 Blu-ray Player
Oppo BDP-103 Universal Disc Player

Amplification

Pioneer Elite SC-85 AV Receiver

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cable

The post Pioneer Elite 5.1.4 Atmos-Enabled Speaker System Review appeared first on AVSForum.com.

I’ve become a fan of SVS Sound’s Prime line of speakers. I’ve spent the last couple of months listening to a number of the company’s speakers, and I recently reviewed a pair of its Prime Towers. I found the Towers to be dynamic; imaging was precise, and I enjoyed listening to them.

A pair of Prime Towers costs $1000 (S1200 in Piano Black). For the same amount of money, SVS sells a 5.1 surround system based on five Prime Satellites. The speakers, combined with an SB-1000 subwoofer, make a complete system that’s suitable for cinephiles as well as fans of multichannel music. And if you need more channels—for a 7.1 or 9.1 system—you can add additional Prime Satellites to a package for $200 per pair ($230 for Piano Black).

Features

The Prime Satellite is a compact 2-way design that uses the same aluminum-dome tweeter as the rest of the Prime line. It features the same 4.5-inch Peerless driver used as a midrange on the Prime Towers, but on the Satellites, it handles both midrange and bass.

Each Prime Satellite weighs 6.5 pounds and measures 8.85″ x 4.9″ x 6.3″ (including the cloth grill and rubber feet). There’s a choice of finish, either Black Ash or Piano Black.

The cabinets feature a diffraction-busting chamfered front baffle and grill. The back of each speaker has a 5-way binding post and a 1-inch flared bass port.

Here’s a peek at the back of the SVS Prime Satellite

SVS rates the Prime Satellite’s frequency response from 69 Hz to 25 kHz (+/-3 dB) and power handling at 150 Watts with an 8-ohm load. The speaker’s sensitivity rating is 85 dB/W/m.

The SVS SB–1000 subwoofer sports a 12-inch driver and 300 watts of power (720 watts peak). It’s a sealed subwoofer, making it rather compact. Overall dimensions are 13.5″ x 13″ x 14.6″ (with grill). It weighs 35 pounds and comes in three finishes: Black Ash, Piano White, and Piano Black.

SVS rates the sub’s bass response from 24 to 260 Hz +/- 3 dB (quasi-anechoic). The sub has a variable phase control as well as a variable (and defeatable) lowpass filter. In terms of inputs, it features 5-way binding posts as well as line-levelRCA inputs. It even includes a 12V trigger.

Setup

I connected the speakers and sub to a Crestron Procise PSPHD pre/pro and ProAmp 7×250 (250 W/channel into 8 ohms) amplifier combo that currently serves as my reference system. I used a classic 5.1 layout with side surrounds.

I placed the subwoofer in the front of the room. I set the front left and right speakers on 24-inch stands and positioned them approximately two feet from each side wall and three feet from the back wall—they sat seven feet apart.

The center channel was on a shorter (12-inch) stand and sat beneath a Samsung PN64F8500 plasma. The left and right surrounds sat atop 36-inch speaker stands.

I used an Audyssey MultEQ Pro calibration kit to set speaker levels and distances. For actual listening, I disabled Audyssey’s EQ feature, but I kept its level and distance adjustments. Also, I set the crossover for all the Satellites to 100 Hz.

Performance

The SVS Prime Satellites rocked the house. They are some of the best-sounding affordable small speakers I’ve heard. In fact, I found myself preferring their precision to the sound coming from considerably pricier tower speakers.

When I first played these speakers, I listened to the front left-right stereo pair with the subwoofer taking care of the bass. What I heard was almost shocking—there was little to no difference between their sound and what I heard coming from the much larger Prime Towers.

Without a subwoofer, the Prime Satellites don’t sound all that impressive. These are physically small speakers, incapable of producing deep bass. Unless you pair them with subs, their actual capability remains hidden. But if you add a sub or two, they blossom into beautiful conveyors of audio excellence. In fact, imaging was superior to what I heard from the Prime Towers, likely due to the smaller front baffle.

I quickly realized that I had underestimated the Prime Satellites because of their small size and low price. They sounded so good, I found myself choosing to listen to them instead of the numerous full-sized towers that I have in my studio.

Even in a 2.1-channel configuration, the Prime Satellites sounded tremendous. There was a cognitive dissonance between their diminutive size and the soundfield they created. Make no mistake—these are serious speakers for serious listeners.

Since I do most of my listening in surround as opposed to 2-channel stereo, I switched to the full 5.1 configuration. I tested the system with a variety of music and movies, and I used DTS Neo:6 to upmix stereo music to surround.

I spent several weeks with the Prime Satellites as my primary speaker system. It was surprising how often I forgot that I was listening to satellites as opposed to full-sized towers. Track after track sounded as if it was playing through far more expensive speakers. In fact, as I put the system through its paces, I quickly realized that the main limitation of the system was the subwoofer.

Simply put, the Prime Satellites performed spectacularly well when relieved of bass duties. My listening space measures 11′ x 19′ x 9′, and the five Prime Satellites filled it with sound—without breaking a sweat. I noticed that most of the time, the amp was cruising along at about 1W of output.

When I turned the system up to levels that typically draw complaints from my neighbors, the speakers drew 10 or 15W of power, and cone movement remained relatively minimal. When I pushed the system, I noticed the SB-1000 would run out of dynamic headroom well before the Satellites did.

Thanks the use of DSP control, the SB-1000 maintains its composure at normal listening levels. It won’t bottom out or distort, but there are definite limits to its capabilities. For example, it can’t reach 20 Hz, nor does SVS make any such claim. The SB-1000 starts to make bass right around 24 Hz—I found its specs accurately reflected what it delivered in my studio. However, due to its limited displacement and modest power rating, there’s only so much bass you can get out of the sub.

On a separate note, I’m always quick to recommend two or more subwoofers for any system. It’s not all about more bass; it’s about better bass. Multiple subs fill in the peaks and dips that result from room interactions. Also, smoother bass makes it easier to integrate the main speakers with the subs.

A number of modern action movies feature sound effects that will test any speaker system’s mettle. I recently started using an extended fight scene from Teenage Mutant Ninja Turtles as a reference for cinematic surround sound. It starts at 1:07:46, which is chapter 14 on the Blu-ray.

The sounds and textures in that sequence include a lot of growling engine sounds, whizzing bullets, deep thuds, and a bass sweep at 1:12:00 that pushes most subwoofers to their limit. It’s an extended scene with continuous action for over seven minutes—it doesn’t let up until 1:15:10. I’ve heard that scene play in numerous high-end home theaters with much more expensive speaker systems, but the base 5.1 Prime Satellite package handled everything but deep bass with impressive fidelity.

This is the moment in Teenage Mutant Ninja Turtles that tests your subwoofer’s mettle.

During the most intense moments of the scene, sound levels at my main listening position hit 100 dBC or higher. I glanced at the power meters on the Procise PSHP and saw that the center-channel power draw peaked around 50 watts, and the Satellite serving as the center channel did not struggle with the task. I’ve heard many dedicated center-channel designs that did not perform as well as the diminutive Prime Satellite.

When I compared the deep bass output of a single SB-1000 to my current reference subs—a pair of JL Audio e112subwoofers—it was clear that better bass improved the overall audio experience provided by the system. Since the Prime Satellites worked so well with the JL subs, I figured it was worth trying the two higher-end SVS subs I had on hand: an SB-2000 ($700) and a PC-2000 ($800). Swapping the SB-1000 for either one resulted in a significantly more satisfying audio experience. The most notable difference was tactile—a single SB-1000 can’t rattle your bones the way either of the 2000 series subs can.

Between the three SVS subs that I tried in the system, the PC-2000 was the winner. That ported cylindrical sub—which I will review in the near future—had sufficient range (16-260 Hz +/- 3 dB) and raw output to transform a big-budget movie on Blu-ray into a visceral experience. Revisiting the scene from Teenage Mutant Ninja Turtles confirmed what I suspected—you need bass extension down to 16 Hz to get the most out that movie.

When I used the PC-2000 with a pair of Prime Satellites for 2-channel listening, I heard a system that can handle every note used in musical compositions, right on down to the 16 Hz organ note, not to mention the bass you find in modern electronic music.

Deep, visceral bass is fun, but this review is primarily about the $1000 Prime Satellite package. So I reconnected the SB-1000 and put the 5.1 system through one of the toughest musical tests I know of—playing the soundtrack from Tron: Legacy. The recording incorporates near-continuous deep bass tones and drones—as well as symphonic arrangements—that combine to truly tax subwoofers, speakers, and their amplifiers.

Tracks 17 and 18 from Tron: Legacy are among my favorites. On the right system, “Disc Wars” can make it feel like the walls in my studio are about to collapse. With the SB-1000 on bass, the effect was far more subtle. According to the Procise pre/pro, the Satellites only consumed 1 watt of power while the sub itself ran close to its performance limits. It didn’t sound bad, but the shortcoming of the single compact sub were readily apparent—the Satellites had a lot more oomph left in them but the SB-1000 could not quite keep up.

“C.L.U.” takes the bass onslaught of “Disc Wars” and ups the ante with a grandiose denouement in which Daft Punk and the London Symphony Orchestra conjure a monolith of sound that overwhelms lesser systems. Once again, the SB-1000provided a somewhat restrained performance. A switch to the SB-2000 and then the PC-2000 again confirmed that the Satellites could keep up with a more robust sub.

Conclusion

Swapping the SB-1000 for a larger, more powerful subwoofer elevates the overall performance of the Satellites. The little Primes reward subwoofer upgrades, and in my opinion, they rival the sound of $1000+/pair tower speakers.

There are many ways you can improve upon the $1000 5.1 Prime Satellite system—for a price. On its own, the package presents a tremendous value for the performance you get. Even so, ever-greater sound quality is just one sub upgrade away.

I have not touched on what happens when you use the Satellites in conjunction with some of the larger speakers found in the Prime lineup. I’ll save those details for my next SVS review, which will feature a 5.1.4 Atmos-capable speaker layout, several 7.1 surround-sound configurations, and every model of speaker in the Prime line.

Right now—as I write this—the five Prime Satellites remain in my system. I felt no need to swap the Satellites out for something better, and that is the ultimate testament to how good they are.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes
Oppo BDP-103 Universal Disc Player

Amplification and Processing

Crestron Procise PSPHD pre/pro
Crestron Procise ProAmp 7×250

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cable

Additional Components

SVS SB-2000 subwoofer
SVS PC-2000 subwoofer
Two JL Audio e112 subwoofers
Samsung PN64F8500 HDTV

The post SVS Prime Satellite 5.1 System Official AVS Forum Review appeared first on AVSForum.com.

In my review of the SVS Prime Satellite 5.1 system, I promised a follow-up review of a Prime-based 5.1.4 Atmos-compatible system using every speaker within the line. That review is in the queue, but I want to hear more about DTS:X before I delve into it.

For now, I put together a compelling 5.1 all-Prime configuration based on the Bookshelf and Center models—I wanted to see how much of an upgrade it represents versus the Satellite-based setup.

SVS sells the Bookshelf 5.1 package for $1050. It’s up to the buyer to choose a subwoofer to go with it; for this review, I used an SB-2000 12″ sealed sub ($700). The rated frequency response of the entire system is 19 Hz to 25 kHz +/-3dB, which makes it truly full range.

Features

The Prime Bookshelf ($250 each) is a handsome 2-way design that employs the same 1″ aluminum-dome tweeter found in the rest of the Prime lineup. Sporting a 6.5″ woofer and a second-order crossover centered at 2300 Hz, it is an 8-ohm speaker with a rated sensitivity of 87 dB/W/m. The Bookshelf handles up to 150 watts of power.

Each Prime Bookshelf weighs 15.5 pounds and measures 13.3″ x 8″ x 10.3″ (including grill and feet). Like the rest of the Prime lineup, it’s available in two finishes: Black Ash or Piano Black.

The Prime Center ($350) is a 3-way design with a vertically aligned 1″ dome tweeter and 3.5″ midrange flanked by a pair of 5.5″ woofers. It is the most expensive speaker in the Prime Bookshelf 5.1 system, but its sophisticated design merits the premium.

The Prime Center is a 3-way design.

Each woofer in the Center operates in a discrete vented chamber. Meanwhile, the midrange driver handles frequencies between 300 Hz and 2400 Hz. The result is a speaker that avoids the lobing issues in 2-way MTM (midwoofer-tweeter-midwoofer) designs. The Center measures 7.7″ x 18.6″ x 9.2″ (including grill and feet).

Prime Satellites sport a compact 2-way design with the same 4.5″ Peerless driver used as a midrange in the Prime Towers. Prime Satellites weigh 6.5 pounds and measure 8.85″ x 4.9″ x 6.3″ (including grill and feet).

Cabinets on all Prime speakers feature a diffraction-reducing chamfered front baffle. Additionally, they all use ports that vent to the rear.

The SB-2000 is a compact sealed 12″ subwoofer with a built-in power amp rated at 500 watts (RMS)/1100 watts (peak). It weighs 34.8 pounds and measures 14.6″ x 14.2″ x 17.1″ (with grill), and its rated frequency response is 19 Hz to 220 Hz +/- 3dB. According to measurements published by SVS, it plays flat down to (about) 30 Hz, and the company says the sub’s roll-off slope is “optimized to take maximum advantage of available room gain.”

Here is the SB-2000 frequency response graph provided by SVS

On the rear of the SB-2000, SVS provides stereo line-level inputs and outputs, a variable-phase control, an adjustablecrossover, and a volume control. In addition, there’s a switch to toggle between automatic standby and always-on.

Setup

For this review, I used the same speaker placement as with the Satellite 5.1 system—a classic 5.1 layout with side surrounds just behind the main listening position. I connected the speakers and sub to a Crestron ProAmp 7×250 amplifier (250 W/channel into 8 ohms).

I placed the pair of Bookshelf speakers on 24-inch stands and positioned them approximately two feet from each side wall and three feet from the back wall, with seven feet between them. The Center sat on a shorter (12-inch) stand beneath aSamsung PN64F8500 plasma. The left and right surround Satellites were perched atop 36-inch speaker stands, placed near the walls and flanking my couch. I positioned the subwoofer in the front of the room. With most speakers, I get excellent results in both stereo and multichannel modes with that arrangement.

I used the same speaker layout when I wrote the Satellite 5.1 review; therefore, I did not have to adjust the delay (distance) settings for the speakers. Levels are a different story—both the Prime Center and Bookshelf speakers are more efficient than the Satellites, so I used Room EQ Wizard and a UMIK-1 to make minor adjustments.

The Bookshelf and Center play lower than the Satellites, so I set them to a relatively lower crossover point using theCrestron Procise PSPHD pre/pro. I used 80 Hz for the three front channels, and 100 Hz for the surrounds.

Performance

Compared to the Prime Satellite 5.1 system, the Bookshelf-based 5.1 kit kicks serious butt. It shares the same fundamental qualities with the smaller system—great imaging and a powerful sound that belies its size and price. However, the 5.1 Bookshelf system offers better performance in terms of dynamic range and frequency response.

The Center’s higher power handling and greater efficiency result in a 2 dB boost in output versus the Satellite, and over a wider frequency range. Having good bass extension is important if you use a subwoofer crossover of 80Hz or lower. This speaker is well equipped to handle the task.

SVS Prime Bookshelf speakers are destined to become classics—that’s how good they are. Pairing a 1″ dome tweeter and a 6.5″ woofer in a vented cabinet is a common approach for bookshelf-style speakers; doing it well results in acoustic excellence.

I was afraid that the Bookshelf model would not image as precisely as the Satellites, but that fear proved to be unfounded. Instead, I found myself in awe of how transparent these speakers sounded. I also thought the SB-2000 blended very well at 80 Hz; it was not localizable.

For movies, the system performed admirably during intense scenes. Deep movie bass takes a lot of power to reproduce properly, and the SB-2000 did a great job for a subwoofer of its size. Mind you, there’s no such thing in my book as too many subs or too much bass extension, but the SB-2000 is likely to satisfy most listeners.

Surround sound is my default listening mode, even for music. When I listened to upmixed music, I used the same settings as for movies: an 80 Hz crossover for the front channels and 100 Hz for the surrounds. When I ran a frequency sweep and measured it from my listening position, I found that all the SVS speakers in the system met their specification.

For grins, I pushed the system to its limits to see what would happen. As a stress test, I blasted Die Antwoord’s “Never Le Nkemise II” from their album Ten$ion. I clocked 150 watts for the Center on the Procise PSPHD while using Dolby PLIIx inMusic mode. The average level at my listening position was 101.7 dBC—significantly above what I find comfortable. The speakers did not falter, even when pushed that hard.

I pushed the Prime system hard, to see how it performed near its power handling limit.

The Center worked especially hard during loud passages on a variety of tracks. I checked out some dubstep tracks like Bassnectar’s “The Future” and “Don’t Hate the 808” from the album Noise vs. Beauty—I could see its woofers pumping away. It was clear that a single Satellite could not match the Center’s overall output and bass performance.

On a mellower note, Boards of Canada’s album Tomorrow’s Harvest showed off the system’s capacity to paint complex aural collages, featuring soundscapes that seem to expand beyond the boundaries of the room. I love hearing the nuances of intricate, layered ambient music—the Bookshelf 5.1 system helped me experience all the little details that make attentive listening a gratifying experience.

When it comes to movie soundtracks, the Bookshelf 5.1 system delivered the goods—it’s definitely suitable for home-theater use. The landing scene in Interstellar starting at 1:06:13 is a very chaotic and intense sequence that envelops you in audio chaos. It’s full of shaking and groaning, with a near-continuous deep bass throb that lasts for two suspenseful minutes. The Prime system rendered it with precision and poise, even when the going got rough.

Conclusion

The Prime Bookshelf and Center sound excellent, with the same sonic character as the Satellites, but with greater overall capability. When I fed them enough power to experience their full potential, I heard a very capable set of speakers. The only catch is they are not very efficient, so you need ample power if you plan to play them loud.

I’ve been to enough audio shows to know a good bargain when I hear one, and the SVS Prime Bookshelf 5.1 package with an SB-2000 is just such a system. For less than two grand, you get full-range sound along with enough dynamic headroom to make watching movies a visceral experience. At the same time, the Primes have the finesse needed to reward the music listener, whether it’s 2-channel or multichannel.

Finally, the SB-2000 is a solid sub. It’s not the last word for bass addicts, but remember that you can choose the sub you buy with the Bookshelf 5.1 system. I think twin SB-2000s with the Bookshelf package would make a great system. Moreover, if you have room for larger subs, you can’t go wrong with either the PB-2000 or PC-2000.

The SVS Prime Bookshelf 5.1 system is a great choice you want a compact, capable set of speakers that looks and sounds stunning. It offers a level of performance that is outstanding for the price.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes
Oppo BDP-103 Universal Disc Player

Amplification and Processing

Crestron Procise PSPHD pre/pro
Crestron Procise ProAmp 7×250

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cable

Additional Components

Samsung PN64F8500 HDTV

The post SVS Prime Bookshelf 5.1 System Official AVS Forum Review appeared first on AVSForum.com.

Audiophiles know the Thiel brand thanks to the instantly recognizable designs of the company’s late founder, Jim Thiel. Over the company’s nearly four decades of operation, it has earned a loyal following pursuing designs that use a coaxial/coincident driver and a first-order crossover.

If you follow the brand, you know that Thiel underwent major changes recently. It emerged from a revitalization effort with a new line of speakers, the Third Avenue Collection. At CES 2015, the company unveiled the TT1, a $6000/pair, 3-way tower that represents a fairly radical departure from the company’s past products.

I dove into this TT1 review with fresh ears and no preconceived notions of how a Thiel speaker should sound or perform. I have no nostalgia for the company’s legacy speaker designs, which I’ve heard only a few times at high-end audio shows.

The TT1 eschews two defining features of its prior speaker designs, namely the use of a first-order crossover and a time-aligned driver layout. Thiel’s stated design goals for the TT1 are: achieve flat on-axis frequency response, assure a uniform response within the listening window, minimize distortion (intermodulation and harmonic), achieve a good balance between efficiency and bass extension, and keep the output linear—even at high volume levels. Let’s see if it achieved these goals.

Features

The TT1 employs a 1″ custom SEAS titanium-dome tweeter paired with a Scanspeak 4.25″ fiberglass midrange. Twin Scanspeak 6.5″ aluminum woofers handle bass duties. Thiel rates power handling at 2-250 watts, and nominal impedance at 8 ohms.

The titanium dome is mounted in a CNC-machined aluminum trim ring that acts as a waveguide. It’s very shallow, and there’s no horn loading involved; the purpose of the waveguide is to reduce in-room reflections and in this way reduce image smearing.

The tweeter and midrange are mounted in CNC-machined aluminium trim that acts as a waveguide.

Notably, the tweeter does not use a first-order crossover. Consequently, it can handle quite a bit of power without fear that midrange frequencies will overtax it.

After extensive computer modeling and prototype testing, Thiel chose fiberglass for the cone of its Scanspeak 4.25″ midrange driver. According to the company, simulations and measurements showed that aluminum cones used as a midrange suffer from cone breakup, resulting in intermodulation distortion at higher amplitudes.

The two 6.5″ Scanspeak woofers use aluminum cones. Each woofer resides in a discrete rear-vented chamber and features a motor customized specifically for the TT1.

Here’s a close-up view of one of the rear venting ports on the TT1.

A complex, customized crossover is at the heart of the new speaker’s design. According to Thiel, the passive crossover offers a blend of multi-order filters, equalization, and impedance compensation. The result is a smooth blending of the drivers to produce a flat frequency response.

The cabinet is curvaceous and attractive as a function of its design. Eliminating diffraction and resonance is the name of the game, and to that end, the enclosure avoids parallel surfaces to reduce internal standing waves. Furthermore, the curved exterior helps mitigate baffle edge-diffraction artifacts.

The TT1 cabinet features generous internal bracing. An informal knuckle-rap test reveals that its enclosure is substantially more inert than many other less-expensive tower-speaker cabinets. I happen to have a number of speakers in the $1000-2000/pair price range on-hand, and the difference between the Thiel and the less-expensive speakers is like knocking on a marble countertop versus a wooden door.

Each TT1 supports bi-amplification, although the manual notes that a single amplifier of sufficient power and quality works just as well as bi-amping. The binding posts are finely machined and easily accessible.

The Thiel TT1’s easily-accessible binding posts support bi-amplification.

An aluminum grill attaches to the TT1’s front baffle with neodymium magnets. The low-profile grill uses a hexagonal perforation pattern that the company says is acoustically inaudible.

Depending on your floor type, you can choose between spikes, spikes with pucks, and rubber feet.

The pair of TT1s I reviewed came in Piano Gloss Black. The finish was impeccable and complimented the modern, minimalist, sculpted TT1 cabinet.

Setup

The TT1 towers arrived in mint condition, each in its own double-boxed package. Inside the boxes, I found the speakers wrapped in velvet bags. It’s a decidedly fancy presentation, but the bags do protect the speakers’ mirror-like glossy finish.

The only required assembly involved installing the rubber feet or spikes. I opted for the rubber feet since I place speakers on a hardwood floor. Screwing in the feet took but a minute.

A box contains the manual as well as white gloves (how fancy), rubber feet, spikes, and spike pucks. I installed rubberfeet, seen here are the spikes and pucks.

I placed the towers four feet from the back wall and two feet from the side walls, in a classic equilateral-triangle configuration. I wired them to my reference amp, a Crestron Procise ProAmp 7×250. A Procise PSPHD pre/pro handled digital decoding and bass management. My primary audio source was a PC running Tidal lossless streaming and iTunes.

I tested the TT1s with and without subwoofers. When running a 2.2 system, I used a pair of JL Audio e112 subwoofers. Each sub was located between the speaker and the side wall. I configured the Crestron PSPHD to use a 50 Hz crossoverand ran the subs in stereo mode.

I paired the TT1s with twin JL Audio E-sub e112s for true 2.2-channel playback.

I decided not to use EQ with the TT1s. My studio is not acoustically perfect—no room is—but it does not require the use of EQ, either. If a speaker’s response is relatively flat, it will sound balanced.

Performance

The Thiel TT1 towers’ sound is smooth yet highly detailed, and they maintain those qualities as the volume goes up. Indeed, I noticed an absence of dynamic compression and distortion—the TT1s get out of the way, leaving you with nothing but music.

Quick near-field measurements confirmed that the TT1 offers excellent performance. When it comes to treble, my UMIK-1is rated at 20-20,000 Hz (+/- 1 dB), it recorded flat output past 20,000 Hz.

I measured the frequency-response linearity of several less-expensive speakers; the TT1 outperformed them handily. Although I do not have an ideal space for making measurements, the superior linearity of the TT1 was self-evident.

Even though my room is not the ideal place to perform measurements, you can see the TT1 is flatter and more linear than a (well regarded) $1500/pair speaker.

Thanks to room gain, the TT1 easily met its bass-response spec of 39 Hz and exceeded the rated low-frequency limit of 27 Hz (-10 dB). In fact, I found the TT1’s bass output was more than usable down to 25 Hz or so. Below that frequency, I could start to hear a bit of distortion creep in when playing a sine wave. From 25 Hz on up, output was clean, even when pushing the drivers hard. Furthermore, the TT1’s mid- and upper-bass response was tight, impactful, and linear.

I’m a big fan of using subwoofers to augment the bass response of most speakers. For my listening sessions, I paired the TT1s with twin JL Audio e112 subs using a 50 Hz crossover. The subs and speakers blended perfectly, creating a sublime full-range 2.2-channel system. Once relieved of deep-bass duties, the TT1 is ready and willing to test the limits of your amplification—without worrying about overdriving its twin woofers.

Treble-wise, I typically enjoy the qualities of horn-loaded compression driver tweeters and AMT (air-motion transformer) ribbon tweeters. Nevertheless, the TT1 showed how smooth and detailed a well-designed dome can be—it is resolute yet offers no hint of graininess or sibilance. The tweeter maintains its composure at any sane volume level, and it—along with the TT1’s midrange—managed to tease an extra bit of nuance out of many of my favorite recordings.

Listening

While audiophiles tend to gravitate to jazz and classical music, my taste in tunes tilts toward dub, hip-hop, electronic, rock, pop, and other genres that typically don’t appear on audiophile-show playlists. Indeed, here on AVS, I’ve received more requests to include death metal in my review-music queue than jazz, classical, and opera combined.

I’m not going to change my listening habits just because a speaker costs a lot, so I delved right into the TT1 listening sessions with some of my favorite hip-hop tracks. It’s important to note that a lot of the music I listen to contains bass that dips below what the TT1s can handle.

The Roots always sound excellent, thanks in part to the fact that their music comes from real instruments instead of a DJ. The potent combo of “Double Trouble” and “Act Two (The Love of My Life)” from Things Fall Apart are among my favorite Roots tracks, and the TT1s helped me find new appreciation for Questlove’s drumming. And Black Thought’s lyrics came through with perfect clarity.

I listened to the tracks twice, once in 2.0 mode and again in 2.2 mode. Adding the twin subs made a significant difference. To the TT1s’ credit, the 2.0 presentation was very satisfying—you don’t need a sub to enjoy them. However, with the inclusion of subs, the system truly shined.

Nas sounded better than ever on “NY State of Mind” from the 20th-anniversary edition of Illmatic. It’s a recording that often sounds sibilant on cheaper speakers, but the TT1s acted as neutral arbiters, doling out precisely the right amount of sizzle. It helps that the Thiels measure as flat as they do; you can trust in the verisimilitude of a TT1’s output because it performs a lot like a high-end studio monitor.

Squarepusher’s brand-new album, Damogen Furies, tested the TT1’s capacity to handle highly textured IDM-flavored drum-and-bass. In what became a familiar theme, the Thiels handled the album with a gratifying combination of precision and smoothness. I quickly forgot that I was not listening to a surround-sound system because the mix evoked 3D space. That illusion—of image depth as well as width—is a crucial trait of every great-sounding speaker I’ve auditioned.

The synthesizer wash that opens “Exjag Nives,” the fifth track on Damogen Furies, lead straight into a buzzy, glitchy drum-and-bass anthem that invites critical listening. The reward? A greater appreciation of how resolute stereo systemshave become these days. At 50 seconds into the track, the glitch dubstep kicks in and forces the TT1s to get gritty. It takes a stout speaker to handle the track’s cacophonous complexity, and once again the TT1s delivered. However, there was no question that the subs helped complete the experience—listening in 2.2 was a fair bit more gratifying than 2.0.

I’ve long marveled at the production value of Coil’s album, Love’s Secret Domain. “Further Back and Faster” uses phase-shifting trickery to project sounds throughout the listening space, and even beyond the walls. Coil used very little dynamic compression in its tracks, so you have to turn up the volume to experience the full impact of the recording.

The reward for attentively listening to Coil is hearing through all the layers of the composition. “Further Back and Faster” is a track I’ve played countless times—on every single speaker system I’ve ever owned or reviewed. I rely on deep familiarity with content when performing a subjective performance analysis of a speaker system, and in my opinion, the TT1s pass the Coil test.

Death-metal fans may be disappointed to hear that I am not going to add that genre to my collection. However, I do have a few industrial albums, and Skinny Puppy’s Last Rights contains a lot of intense passages. “Knowhere” combines beastly drums, epic organ, and nearly indecipherable screaming/singing to achieve a decidedly gothic effect. Lesser speakers choke on the complexity of the mix, but the TT1s dug right through the mess, revealing hidden textures within.

“Rivers End” is the seventh track on Last Rights, and it is my favorite. It’s an instrumental track with an attitude, and it puts the grand in grandiosity! The only catch is that Skinny Puppy’s tracks feature bass that demands the power and bass extension of high-quality subwoofers, and the 2.2 renditions had more impact than playing them in 2.0.

On the smoother side of the music spectrum, I enjoyed DJ Krush’s “Kuon/Far and Away” for its crisp and funky jazz vibe. At it’s best, DJ Krush’s music sounds effervescent, and the TT1’s transparency highlighted that quality. It was the audio equivalent of expensive champagne.

A musician friend of mine stopped by during a listening session and convinced me to audition some audiophile-friendly music on the new Thiel towers. He suggested “Here and Heaven” from The Goat Rodeo Sessions, featuring Yo-Yo Ma on cello and Aoife O’Donovan on vocals. While it’s not necessarily my style of music, I appreciate the way the TT1s handled the female vocals as well as the banjo.

“Here and Heaven” sounded fantastic; there was no sense that the speakers were re-interpreting the recording. Yo-Yo Ma provided the bass with his cello, and the overall effect was akin to being at a live concert. Notably, there was little difference between listening in 2.0 and 2.2 mode since the instruments used in the recording do not dip below the TT1’s rated bass response.

The Beatles‘ “I Am the Walrus” is a timeless track with a fascinating stereo mix that veers into the realm of the strange after the two-minute mark. A good system will make the most of the phase-shifted soundfield and the thick montage of high-pitched sounds and voice samples that close out the track. I found the TT1 rendition to be very revealing without sounding at all harsh. There’s no need for a sub when listening to the Beatles; the TT1s do quite well on their own.

“Come Together” from Abbey Road provided another opportunity for the TT1s to strut their stuff without a sub. When I play the track through a great pair of speakers, the illusion of having the Beatles playing in your living room is the prize—all you have to do is turn up the volume.

Conclusion

I listened to a lot more music through the TT1 towers than what I’ve discussed in this review. Not once did I find the TT1 speakers unable to provide a deeply satisfying rendition of whatever track I threw at them. These are great speakers, and I want to get as much out of them as I can during the relatively brief time I have a pair to play.

The TT1 is a thoroughly modern speaker—no surprise given its CES 2015 debut. Thiel’s approach to speaker design is meticulous, and the result is measurably and audibly superior performance.

I expect existing fans of the Thiel brand will look at these speakers with skepticism. Thiel acknowledges it is veering into the luxury segment of the audio market, and away from catering to pure audiophile sensibilities. In addition, the Third Avenue Collection includes a center-channel speaker, the TC1. If you combine a pair or two of Thiel’s TM3 bookshelf with some TT1s and the TC1 center, you have a full-fledged surround system—audiophile heresy in its purest form!

If you plant yourself in the sweet spot and listen carefully, the TT1s will deliver a high-end 2-channel experience. If you have some friends over and start a party, you can simply turn the TT1s up and rock the house without worrying about frying a tweeter when playing some dubstep. Furthermore, the aesthetics of the TT1s are very decor-friendly, despite the fact that form followed function. The TT1’s sexy curves help it stand out from the boxy tower-speaker crowd, both visually and aurally.

I’m going to hold on to the TT1s for a few more weeks. Thiel offered to send me a pair of the CS1.7 towers that the TT1 replaces, and I’m seriously considering taking the company up on the offer. Please leave a note in the comments if you are interested in reading about a direct comparison between old-school and new-school Thiels. If there’s enough interest, I’ll set the wheels in motion to make it happen.

The ultimate question is whether the TT1s are worth $6000/pair. With so many great speakers available at a fraction of the price, it’s hard to answer. However, I found the TT1s level of refinement seductive—they outperform most speakers I’ve heard, regardless of price. I found them to be a reference-quality speaker system.

On their own, the TT1s are impressive—albeit not full-range. They are a manageable size and look fantastic, but adding twin subs that reach below 20 Hz—such as the JL e112s—elevates the whole system’s performance to a rarefied territory often occupied by speakers that cost as much as luxury cars or even a house! When you consider the refined full-range performance achieved by adding a pair of good subs to the TT1s, they suddenly look and sound like a (relative) bargain when compared to audiophile-oriented full-range passive speaker systems. If the TT1s fit into your budget, they are sure to please a wide variety of audio enthusiasts as well as casual listeners.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes

Amplification and Processing

Crestron Procise PSPHD pre/pro
Crestron Procise ProAmp 7×250

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cable

Additional Components

Two JL Audio e112 12″ subwoofers

The post Thiel TT1 Tower Speakers Official AVS Forum Review appeared first on AVSForum.com.

Klipsch is one of the best-known speaker brands in the US and is virtually synonymous with horn-loaded designs intended for home use. The company’s signature Klipschorn speaker has been in continuous production for 69 years, a world record. Klipsch is also a major player in the commercial-cinema arena.

The Reference Premiere series of ten different speakers replaces Klipsch’s Reference II series, with performance-enhancing improvements in design and materials. The new series is the top of the Reference lineup and the core of the company’s business.

This review is about the flagship RP-280F tower speaker ($675/each) used in a 2-channel system, with and without the addition of subwoofers. I will follow up with a 7.1 system review examining surround-sound music and home-theater applications. For now, the focus is on 2-channel music playback.

Features

The RP-280F is a 2-way tower speaker featuring a horn-loaded 1″ titanium-dome tweeter and dual 8″ aluminum-cone woofers. A large, ported, internally braced cabinet holds all the drivers. Each speaker weighs 62.5 pounds and measures 10.5″ (W) by 43″ (H) and 18.3″ deep.

The MDF cabinets of the review samples came in an ebony finish; Klipsch also offers a cherry option. According to the company, the chamfered front baffle helps reduce diffraction effects. A magnetic grill attaches with ease, but these speakers look particularly great with the grills off, thanks to the spun-copper finish of the woofers.

Klipsch claims a frequency response from 32 Hz to 25 kHz (+/- 3 dB) for the RP-280F. Rated sensitivity is 98 dB/2.83V/m, and each speaker can handle up to 150 watts of continuous power (600 watts peak) with 8 ohms nominal impedance. The crossover frequency is 1750 Hz, and the speaker supports bi-amping as well as bi-wiring. A tuned Tractrix port vents to the rear.

Here’s a view of the rear-mounted Tractrix port

The 1″ titanium-dome tweeter sits in a newly developed Tractrix horn made out of compressed, molded rubber. The new material is designed to dampen the resonances that sometimes make horn-loaded tweeters sound harsh or colored.

The horn on the RP-280F is made of molded rubber.

Setup

The RP-280F towers arrived in perfect condition, protectively packed in massive boxes. Unpacking was quick and easy. There was no assembly required aside from the installation of spikes or rubber feet—I went with rubber feet.

A Crestron Procise PSPHD decoded the digital audio for all of my 2-channel listening. Amplification came courtesy of a Crestron ProAmp 7×250, and I used a miniDSP DDRC-88A with Dirac Live for room correction and EQ.

I connected the towers using a pair of 12-gauge speaker cables. My source was a DIY Windows PC running iTunes and Tidal, connected to the PSPHD via HDMI. The RP-280F offers the option to bi-amp, but the Crestron ProAmp produces more than enough power to negate the need for that approach.

In order to accommodate the rear-mounted Tractrix ports, I allowed two feet of space between the backs of the speakers and the front wall. The centers of the drivers were 28″ from the side walls and 70″ apart from each other, in a symmetrical arrangement. Measured from the main listening position (MLP), my head was approximately 76″ away from each speaker.

Twin Klipsch R-115SW subwoofers (which I reviewed here) provided low-end reinforcement and extension for 2.1-channel listening. I placed the subs in the front left and right corners of the room and relied on Dirac Live room correction in the DDRC-88A to deal with the inevitable peaks and dips in frequency response.

Performance

The RP-280Fs are gentle giants. From the moment I plugged them in, they impressed me with their smoothness, detailed imaging, and capacity to render fine detail. Sure, they play loud and have dynamic impact—everyone expects that fromKlipsch. Even so, the speakers’ finesse was what dominated my first impressions.

Using nearfield frequency-response measurements, I estimated that the RP-280F’s port-tuning frequency is approximately 36 Hz.

With a rated sensitivity of 98 dB/2.83V/m, the RP-280F is an easy speaker to power. Furthermore, it offers a sufficiently wide frequency response that a subwoofer is not a necessity—once EQ’d with Dirac Live, I enjoyed nearly flat bass response down to 24 Hz. The RP-280Fs are quite competent when it comes to bass reproduction—not only do they dig deep, but they have plenty of headroom when playing loud.

Between the ProAmp’s 250 watt/channel output and the efficiency of the Klipsch towers, I had no problem getting the volume up to party levels and even live-concert levels. Yet, I did not have to blast music to appreciate the power of the RP-280Fs—even at modest volume levels, I could feel the music.

After profiling the RS-280Fs, I played a 24 Hz sine wave measuring 96 dB from the MLP; there was no sign of strain and no audible distortion. All I heard was deep and powerful bass.

The RP-280 does a great job with the midrange and treble as well. Midrange frequencies came through with precision and clarity, even though the speaker is a 2-way design. The tweeter was smooth and precise, with no sign of the “honkiness” that sometimes afflicts horns.

When I added a pair of R-115SW subs to the system, the combination really shook things up at higher volume levels. With the addition of subs and Dirac Live room correction, the system’s bass response extended down to 18 Hz. In my 1800-cubic-foot studio, it was trivially easy to achieve an SPL of 100+ dB when using the subs—even at 18 Hz.

I used a 50-Hz crossover to eliminate any possibility of localizing the subs. This freed up the RP-280F woofers from having to deal with the deepest bass—after all, the subs have a lot more headroom at low frequencies than the speakers do.

Listening

The RP-280F towers make you want to listen to more music, which is the most crucial quality for a speaker to possess. All the characteristics of a great speaker are present in abundance, including precise imaging, wide dynamic range, crystal clarity, and transparent neutrality.

During critical listening, I sat precisely centered in the MLP. I played each track at least twice, once with the speakers running full-range and once with the twin R-115SW subs. I used the DDRC-88A with Dirac Live processing during all of my listening sessions.

Bill Laswell’s “Thomupa” from the album Sacred System Chapter Two provided the Klipsch towers an opportunity to show off their speed. Tabla and sitar open the track but give way to jazz drums, a trumpet, and Laswell on electric bass. The lush and expansive recording has a captivating groove and possesses exceptional fidelity. Deep layering and attention to production detail results in a very precisely delineated soundfield where every instrument is clear and distinct—the RP-280Fs did a great job painting a clear aural picture.

Comparing the track with and without the subs, the difference in bass response was minimal at best. Laswell’s bass lines had a tiny bit more heft during the lowest notes with the subs, but it verged on statistically insignificant. Much to my surprise, the RP-280Fs had enough gusto to handle the track on their own.

Snoop Dogg’s new album Bush—produced by Pharrell Williams—is a funky disco-tinged rap romp that often sounds sublime. The first track, “California Roll,” features Stevie Wonder in a laid-back groove that begs to be turned up. The recording is full of energy and very resolute. While the RP-280Fs sounded good on their own, adding subs provided a significant boost to the bass in this case—let’s face it, Snoop and subwoofers are always a good combo.

I needed a couple of tracks to show off how the speakers handle fast, thick, aggressive rock. I chose Ministry’s “Just One Fix” and “TV II” for the task. I’ve heard Ministry play live—one of the great things about the band is that it sounds just about the same on stage as it does in the studio. With a good system playing loud and clear, listening to Ministry is a lot like being at a live show. The RP-280Fs kept the sounds separated, delivering the authentic Ministry experience—for a moment I felt nostalgic about mosh pits and crowd surfing.

“TV II” is fast, minimalist, brutal, and ugly. It’s also an example of virtuoso drumming and incorporates ominous, cavernous feedback along with blisteringly fast guitar work by Mike Scaccia. The Klipsch towers are just about the perfect speakers for reproducing fast, complex, aggressive music.

I could not sense any discernible difference between playing Ministry with and without subs—the RP-280Fs had all the bass response needed to play back Ministry properly.

“Inertia Creeps” by Massive Attack—off the album Mezzanine—is a fine example of the band’s impeccable production style. I’m at a loss to describe exactly how the mix comes across, but if you have any doubts about the capacity of the RP-280Fs to handle well-recorded and complex music, then you should play this track on ’em.

Notably, “Inertia Creeps” benefitted quite a bit from the addition of subs—there’s a physicality to 2.1 playback that’s missing from the 2.0 rendition. Even at lower volumes, the subs shook things up a bit.

The Beastie Boys’ album The In Sound from Way Out is full of funky instrumental gems. “Ricky’s Theme” is a blast to blast on the Klipsch towers. Thanks to liberal use of reverb, big drums, and bigger bass lines, it has an all-consuming effect—the band is in your face. The production is top-notch, and speakers’ imaging delivered the sense of three-dimensionality that comes through when you are playing the track on a great speaker system.

The only catch with the RP-280Fs’ rendition of “Ricky’s Theme” was the clear improvement offered by the addition of the subs. The bass became thicker and fatter—in an entirely good way—and the drums had more impact. It’s curious to me that some tracks benefitted a lot more from the addition of subs than others.

I’m not sure how many audiophiles buy Klipsch speakers to listen to classical music, but if they do, they won’t be disappointed.

The 1975 Deutsche Grammophon recording of Beethoven’s Symphony No. 5, conducted by Carlos Kleiber and performed by the Vienna Philharmonic, is considered an all-time classic. I’ve heard quite a few speakers struggle to reproduce it with both finesse and gusto, but the RP-280Fs survived the challenge. There’s a lot to be said for the extra headroom the speakers’ high sensitivity brings to the table.

To my ears, there was zero difference between using subs and running the speakers full-range. Notably, the subs did not detract from the overall sound quality. Woodwinds, brass, strings, and percussion all came through the mix in proper proportions. All the instruments in the orchestra came through with proper timbre and dynamic impact, while the soundstage was cohesive and appropriate in scale.

Most importantly, the Klipsch towers have the dynamic headroom to handle classical playback, which tends to be demanding because of the wide range between the quietest and loudest passages. Have I heard better renditions of the recording from other speakers? Sure. Just not from tower speakers that cost less than the RP-280Fs.

Turning toward jazz and funk, I queued up Herbie Hancock’s album Head Hunters. From the first bass lick on “Chameleon” to the last drum hit on “Vein Melter,” the album had me bobbing my head and tapping my toes thanks to the tight, solid, and faithful rendition of the tracks by the towers.

Interestingly, using subwoofers did nothing to improve the bass on Head Hunters, even at very high volume levels. The real surprise was how well the horn-loaded tweeters handled the sharp sounds from Herbie’s keyboard. The biting, cutting quality of the synthesized sounds came through, but without excessive sibilance that would make it unlistenable.

Recoiled is an unofficial remix EP containing five Nine Inch Nails tracks remixed by industrial-music legends Coil. “Closer (Unrecalled)” is equal parts NIN and Coil, mingling melodies, squeaky sound effects, drums, atonal drones, and Trent Reznor’s voice in a deeply layered psychedelic audio stew. The mix is thick yet precise with bass deep enough to demand the use of the dual subs. As is typical with Coil’s mixes, sounds seemed to expand beyond the speakers, creating a tangibly three-dimensional soundfield. The speakers totally disappeared.

Conclusion

Klipsch’s RP-280F is an excellent tower speaker that’s a great choice for 2-channel audiophile-style listening, as well as for pumping up the volume at a house party. It is a refined-sounding speaker system that can also rock like a PA.

The RP-280Fs are a viable choice for a standalone 2-channel system. The primary caveat is that such large speakers might produce too much bass if used full-range in a small room and without EQ. Unless you have a near-perfect listening room, I recommend using a bit of EQ to get the most out of any speaker system.

When paired with one or more competent subs such as the R-115SW, the RP-280Fs offered an abundance of dynamic headroom, without suffering cone-excursion limitations in the deepest bass notes. Thanks to 8-ohm impedance, they are a good match for almost any amplifier, AV receiver, or integrated amp.

By using rubber for its latest Tractrix cone tweeter, Klipsch appears to have eliminated any resonances that would give it away. I heard no coloration; the treble from the RP-280Fs is as clear and smooth as anything I’ve experienced from a tower in its price range. Anyone who thinks Klipsch means harsh highs is in for a big surprise when they hear the new horn on the Reference Premiere towers.

This review tells only half the RP-280F story. I’ll have a full 7.1 system review that adds the RP-450C center-channel speaker, RP-160M bookshelf/monitors, and RP-250S surround speakers to the mix. I don’t think it’s much of a spoiler to suggest that the towers are a good choice for home cinema as well as 2-channel audio.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes

Amplification and Processing

Crestron Procise PSPHD pre/pro
Crestron Procise ProAmp 7×250
MiniDSP DDRC-88A Dirac Live processor

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cable

Subwoofers

Klipsch R-115SW subwoofers (2)

The post Klipsch RP-280F Tower Speakers Official AVS Forum Review appeared first on AVSForum.com.

Surround sound comes in many flavors, from 5.1 channels up to 32 speakers for immersive 3D audio. The key to great results is placement.

1. Surround-sound speaker systems typically contain five or more speakers and one or more subwoofers. Currently, most movies come with a 5.1 or 7.1 soundtrack; any additional channels are fed with derived signals from the AVR or preamp/processor. (This is not true with immersive soundtracks and speaker systems; all speakers are fed native signals in that case.)

2. The tweeters of the front speakers should be at seated-ear height; use stands with bookshelf-style speakers to place them at the correct height. Make sure you measure carefully when installing in-wall or on-wall speakers.

3. Place standard surround speakers two feet above ear level. For a 5.1 setup, the surrounds should go on the side walls, slightly behind the listening position. In a 7.1 system, the rear surrounds go on the back wall.

4. For flat-panel TVs and acoustically opaque projection screens, place the front left and right speakers within a foot or two of the sides of the screen. The center speaker goes directly above or below the screen—it should go above the screen if you have more than one row of seats.

5. With an acoustically transparent (AT) screen, place the left, center, and right speakers behind the screen, with the left and right as close to the edges of the screen as possible and the center in the middle. If you use a perforated AT screen (as opposed to woven), you also need have enough room to place the speakers about 12 inches behind the screen.

6. Subwoofer placement is tricky. Putting a sub in a corner increases overall levels but may sound boomy. Placing it at the half or quarter point along a wall often results in tighter and more even bass.

7. Using more than one subwoofer can help even out bass response from one seat to the next. This also offers more output compared with using a single sub.

8. Immersive-sound formats such as Dolby Atmos, Auro 3D, and DTS:X create a 3D soundfield using height channels, which requires additional speakers. For example, Trinnov’s Altitude32 processor supports 32 speakers, but most current AVRs with immersive capabilities max out at 9 or 11 speakers.

9. DTS:X and Auro 3D recommend placing the height speakers above the main speakers at an elevation of roughly 45° and 30°, respectively. Dolby Atmos suggests placing the height speakers in the ceiling or using special Atmos-enabled speakers.

10. Dolby Atmos-enabled speakers and modules reflect sound from the ceiling to create a sense of height and immersion. However, they require a flat and acoustically reflective ceiling—no higher than 14 feet—for the effect to work well.

The post 10 Things You Need to Know About Speaker Configuration and Placement appeared first on AVSForum.com.

Klipsch is among the best-known American speaker brands, specializing in high-sensitivity horn-loaded designs. TheReference Premiere series replaces Klipsch’s Reference II series and features performance-enhancing improvements, including a newly designed horn made of molded rubber. The series—introduced at CES 2015—is the top of the Reference lineup. In fact, the company says Reference Premiere speakers are the core of its business.

In a pair of recent reviews, I covered the capabilities of the Klipsch RP-280F tower speakers and the R-115SW subwoofer. Those components were just a part of a complete 7.2-channel surround system Klipsch sent me. This review is about the whole 380-pound package.

When the speaker system arrived at my studio, its sheer size presented a challenge. I work out of a Philadelphia row house, and the AV studio is on the third floor. The subs in particular weigh 75 pounds each, so I called a friend to help lug them up the stairs.

When I first set up the system, I had to chuckle because it barely fit in my 11-foot-wide room. I had just a few inches to spare after placing the subs, towers, and center channel up front. Aesthetically, it’s garnered the most compliments of any system my friends have seen—the copper-colored aluminum woofers look stylish when exposed. This a system you’ll want to keep the magnetic grills off.

Features

The complete 7.2 Reference Premiere system used in this review consists of four different speaker models plus twin 15″subwoofers. One of the unifying elements of the main speakers is the use of a Tractrix horn-loaded titanium-dome tweeter and aluminum woofers. The new tweeter design combines a round throat with a square mouth, which is supposed to improve imaging. Klipsch says the rubber used to make the horn reduces resonances that can result in a harsh sound.

Here’s a close look at Klipsch’s new tweeter.

The review samples’ MDF cabinets came in an ebony wood finish; there also is a cherry option. Chamfered front baffles help reduce diffraction effects and provide a nice aesthetic touch when the grills are off. Magnetic grills—used on all the speakers—attach and detach easily.

The system features RP-280F towers for the front left and right channels. This 2-way speaker features a Tractrix horn-loaded 1″ titanium-dome tweeter and two 8″ aluminum-cone woofers. Each one weighs 62.5 pounds and measures 10.5″ (W) by 43″ (H) and 18.3″ deep.

Klipsch lists a frequency response from 32 Hz to 25 kHz (+/-3 dB) for the RP-280F. Rated sensitivity is 98 dB/W/m, and each speaker can handle up to 150 watts of continuous power (600 watts peak) with 8 ohms nominal impedance. The crossover frequency is 1750 Hz, and the speaker supports bi-amping as well as bi-wiring. The tuned Tractrix port vents to the rear.

The RP-450C center channel is a 2.5-way ported speaker. It sports a Tractrix horn-loaded 1″ titanium-dome tweeter and four 5.25″ woofers. Two of the woofers—the one directly to the left of the tweeter and the one on the far right—handle midrange duties between 500 Hz and 1500 Hz. The other two woofers cut off at 500 Hz, and arrangement meant to reduce lobing artifacts. The center weighs 35.7 pounds and measures 31.13″ (W) by 6.81″ (H) and 14.51″ deep.

The RP-450F center has four woofers, two cut off at 500 Hz and two play up to 1500 Hz.

The frequency-response spec for the center is 58 Hz to 25 kHz (+/-3 dB). Rated sensitivity is 97 dB/W/m, and each speaker can handle up to 150 watts of continuous power (600 watts peak) with 8 ohms nominal impedance. The crossover frequencies are 500 Hz and 1500 Hz. Again, the tuned Tractrix port vents to the rear.

A pair of RP-250S surround speakers handled the side-surround duties. These speakers are markedly different from the rest of the Reference Premiere line in terms of design. They are sealed, and they feature two identical sets of drivers in each speaker. Two sets of 1″ titanium-dome tweeters and 5.25″ aluminum-cone woofers are mounted at a 90-degree angle from each other. The result is 180-degree horizontal coverage, which in many cases is perfect for surround-sound envelopment.

The front and rear of the RP-250S.

Klipsch rates the RP-250S’s frequency response from 58 Hz to 24 kHz (+/-3 dB). Rated sensitivity is 95 dB/W/m, and each speaker can handle up to 100 watts of continuous power (400 watts peak) with 8 ohms nominal impedance. The crossover frequency is set at 1500 Hz.

For rear surrounds, I used the RP-160M monitors, a bookshelf-style speaker more in line with the rest of the ReferencePremiere design. It’s a 2-way ported design that relies on a Tractrix horn-loaded 1″ titanium-dome tweeter paired with a 6.5″ aluminum woofer. A RP-160M weighs 19.9 pounds and measures 8.81″ (W) by 16.67″ (H) and 12.86″ deep.

Here’s a look at the front and back of the RP-160M. You can see the Tractrix horn and the Tractrix port.

The frequency response of the RP-160M is specified from 45 Hz to 25 kHz (+/-3 dB). Sensitivity is 96 dB/W/m, and it can handle up to 100 watts of continuous power (400 watts peak) with 8 ohms nominal impedance. The crossover frequency is 1500 Hz, and the tuned Tractrix port vents to the rear.

The R-115SW sub is a 75-pound bass-making beast, and for this review, I used two. Each sub boasts a 15″ aluminum driver and 400 watts of power (800 watts peak). It’s a vented design with a front-facing slot-style tuned port. The rated frequency response extends from 18 Hz to 125 kHz (+/-3 dB), and Klipsch claims a peak output of 122 dB. It measures 19.5″ (W) by 21.5″ (H) and 22.3″ deep.

Setup

I used the system as my primary surround system for almost two months. I positioned the speakers as I normally do—the front left and right speakers were placed so the front baffle was 30″ from the side walls and 40″ from the front wall, while the subs went in the front left and right corners.

The center channel rested on a 14-inch-tall TV stand with the TV on top of that. The side surrounds were wall-mounted on each side of my sofa; the tweeters were 42 inches from the floor, and each surround was 5’6″ away from the sweet spot. The rear surrounds were 5 feet away from the sweet spot and located behind the couch. Each rear speaker rested on a 32-inch stand, putting it at approximately the same height as the side surrounds. The rears were 3 feet away from the wall, and 5 feet away from each other.

I used a Pioneer Elite SC-85 AVR as a pre-pro for the whole review, and a Crestron Procise ProAmp 7×250 7-channel amplifier provided power. I had miniDSP’s DDRC-88A Dirac Live processor handle room correction for a 7.1 speaker configuration. (I used a simple passive splitter to feed both subs.) My sources included an Oppo BDP-103 Blu-ray player, aRoku 3 streaming box, and a DIY PC running Windows 8.1.

After placing the speakers, my next task was to create a profile using Dirac Live. You can read more about that process in my review of the miniDSP DDRC-88A DL processor here. One of the great things about Dirac Live is that it lets you choose how much of the audio spectrum gets processed. I used the feature to create two separate room correction presets for the review.

The first preset was optimized to apply a traditional house curve, with a slight downward tilt from bass to treble. The second profile restricted room correction to 180 Hz and under. I chose that frequency because I calculated it to be the point below which my room’s standing waves dominate frequency response at the listening position. This point is known as the Schroeder frequency, and it normally occurs between 100 and 200 Hz, depending on the room’s reverberant characteristics.

When I restricted room correction to below the Schroeder frequency, the “character” of the speakers was more evident. That character is partly a function of the speaker’s dispersion and distortion characteristics interacting with the room—the space within which a speaker operates always affects the way it sounds. Using room correction and EQ throughout the entire audible frequency range helped remove the effect of the room. I expect many home-theater surround systems implement room correction, which is why I performed a significant amount of my listening with Dirac Live processing the entire signal, not just the bass.

One final setup note: I prefer room correction and symmetrical arrangements with subs up front regardless of whether or not I am reviewing a system. It saves space and looks good, and it practically eliminates any risk of localizing a sub when using a high crossover such as 100 Hz or 150 Hz. However, that arrangement only works if you have a processor that is effective at dealing with dips and humps in the bass-response curve as measured from the listening area.

Performance

This is a kick-ass home-theater surround system. I already covered the capabilities of the towers and the subs in prior reviews. When incorporated into the full 7.2 system, those components performed extremely well and provided the brute strength needed to give movie soundtracks physical heft. The rest of the speakers in the system exhibited a similar level of smooth, dynamic, precise, clear sound I heard coming from the towers.

The most notable characteristic of the Reference Premiere system is the quality of the treble. Whatever Klipsch did in redesigning its tweeter, the result is silky smooth highs without any loss of detail.

Thanks in part to the horn-loaded tweeters, Klipsch’s Reference Premiere speakers feature high sensitivity for a consumer-oriented speaker. A mere 3 dB increase in sensitivity translates to needing only half as much amplification to get to the same output level. That means you can use a modestly powered AVR to drive the system and still achieve impressive output levels. Most speakers with regular dome tweeters require heftier external amplification to reach the same output levels the Klipsch achieve. For multi-channel home theaters based on an AVR, that’s a good thing because you’ll have more headroom during intense scenes, especially when there are many surround effects.

Because of the high sensitivity and high output capability of the Klipsch system—especially the RP-280Fs—I was able to run it with the Pioneer Elite SC-85’s built-in amps, and in my room (which measures 11′ x 20′ x 9′), I had all the power I needed to get up to reference levels. However, the SC-85’s built-in MCACC Pro room correction does not come close to Dirac Live in terms of sound quality or customizability. So I connected the MiniDSP DDRC-88A and profiled the speaker system using Dirac. You can read more about that process in the DDRC-88A review.

Dirac Live processing requires external amplification, and I used the Crestron ProAmp 7×250 for that purpose. Unlike the SC-85, it easily exceeds the power requirements of all the speakers in the system—even with all channels driven simultaneously.

Using the Dirac preset that restricts processing to 180 Hz and under, I cranked up the system for a stress test—reproducing the deep bumping and thumping sounds in the movie Gravity. During its more intense action scenes, Gravity’s mix uses every speaker to its maximum capacity. I have the Atmos version of the Blu-ray, which the SC-85 decoded into an excellent 7.1 presentation.

Aside from the RP-280F towers, the RP-450C center is the star of the show. I’m not a huge fan of center-channel speakers because they are typically not able to keep up with high-quality left and right main speakers. In addition, a horizontal array of woofers often results in lobing issues. Nevertheless, the Klipsch center, with its 2.5-way configuration, not only sounded clear and precise, it managed to keep up with the powerful towers. As far as center speakers go, it’s quite large. It’s the only center channel I’ve reviewed that allowed me to literally rest the TV on top of it. But the size seems to pay off because it’s performance is notably good.

In movies with good mixes, the soundfield generated by the Reference Premiere speakers was always enveloping. Furthermore, it was capable of rendering objects in precise locations. While watching Gravity, I was able to track each sound effect precisely as Sandra Bullock struggled with her predicament. The key is that all the speakers managed to disappear—even without using room correction. That’s a major benefit of speakers with controlled directivity; the treble doesn’t interact with the room as much. The only exception was the center speaker. Because of its lower height, it would draw my attention on occasion.

As nice as the soundfield was with Dirac Live processing only the bass region, using room correction for entire audible spectrum took the speaker system to a higher level of transparency. Crucially, it eliminated the apparent offset of the center channel. The character of the speakers didn’t change much—it sounded quite neutral without EQ—but with full Dirac processing, all the speakers completely disappeared, leaving an even more holographic soundstage.

When it comes to movies, I covered a wide range of genres in the two months I used the system. I especially love space movies and sci-fi in general. Jupiter Ascending, Interstellar, Gravity, Chappie, Star Wars: A New Hope, Guardians of the Galaxy—all of them absolutely rocked.

The system also handled upmixed music well. I use the AVR’s Dolby Surround feature when I listen to electronic music, and it really complimented albums from artists like Bassnectar, The Orb, Air, Dub Syndicate, Renegade Soundwave, Waterjuice, and Boards of Canada. Moreover, when I listened to acoustic recordings, be it jazz, classical, or folk, there was a tangible sense of a front stage with musicians on it and room ambience coming from the surrounds.

So far, I’ve heaped nothing but praise on this system. You might be wondering, what are its weaknesses? I’m not willing to say that sound quality is one of them. Frankly, Klipsch delivers exactly what I’d expect if I plunked down five grand for such a system: power, precision, nuance—it’s all there. Yes, I’ve heard more refined speakers, but the Klipsches serve up sound with more gusto and still have enough refinement to put a smile on a skeptical audiophile’s face.

I can criticize the binding posts. The nuts are made with plastic, as are the binding-post backplates, and they feel a bit cheap compared to metal binding posts I’ve seen on other speakers at the Reference Premiere line’s price points. Granted, you never see them, and I’m sure it does not affect the speaker’s performance one iota.

I can’t say I have any other issues with fit or finish worth mentioning, at least not relative to the cost of the speakers. Yes, pricier speakers often come with fancier real-wood veneers or glossy paint jobs, but they often don’t sound better than these do. The new tweeters are that good! There is a real sense of value to the system, thanks to the quality of the sound it creates.

As for the subs, I already covered their performance in my review. Still, it’s worth noting that they did offer enough headroom to handle everything I threw at them. They are big subs with genuine room-shaking output that drops right into the infrasonic realm. I found that with Dirac Live processing, the bass in the system was extremely tight and crisp. More importantly, Dirac worked with the subs to reduce the effect of standing waves, and the reward was very even bass throughout the listening area.

Conclusion

Frankly, I never thought I’d be this enthusiastic about a mainstream Klipsch speaker system. Overall, Klipsch’s system pulled off a performance that left my jaw on the floor more than a few times. Did you read the Thiel TT1 review I wrote a few months back? Those $6000/pair speakers were great performers. However, I could not wait to get those out of my system and put the Klipsch Reference Premiere RP-280Fs in—I enjoyed listening to the Klipsch towers quite a bit more. Whereas the Thiels never provoked goose bumps, the Klipsch system had my arm’s hairs standing on end several times the first day I set them up.

In terms of performance, I think the Klipsch towers have as much or more to offer home-theater aficionados and music lovers alike, and at about one quarter the price. Make no mistake; the towers anchor the system with their prodigious output. Fortunately, the rest of the speakers keep up with them, making the system a very compelling offering. Indeed, it’s probably the most dynamic and impactful surround system I’ve auditioned thus far—it can definitely shake your booty.

I should note that the Klipsch RP-160Ms are extremely good speakers in their own right. If you shrink the system down to 5.1 with just one sub and put the RP-160Ms up front, the result is still a killer system. Whereas the full 7.2 rig runs $5300, the aforementioned 5.1 system would run $3050. However, it’s definitely a few notches below the 7.2 configuration I tested in terms of ultimate capability. I know money does not grow on trees, but the combo of big gun RP-280Fs and dual R-115SW subs really make the system something special.

For 2-channel music fans, it’s worth noting that the RP-280Fs are extremely good at that task. This 7.2 system can easily perform double-duty as a pure 2-channel rig, or a 2.2-channel system if your AVR or pre/pro supports it. The towers are fantastic speakers, but the RP-160M bookshelf-style speakers are also great—I appreciated the opportunity to use them in a 2-channel configuration. Don’t discount Klipsch for critical music listening; these speakers deliver a proper 2-channel experience.

The RP-450C center channel easily keeps up with its powerful peers. Furthermore, the wide-dispersion RP-250S surrounds really did their job with great competence—when I used the system in 5.1 mode, without the RP-160 rear channels, they provided a great sense of envelopment and kept up with the mighty front stage when things got loud.

There’s a good reason it took me two months to get through this review—it’s that I did not want to disassemble the system when I was done. I’m confident many of you can relate to what it’s like to get your surround speakers dialed in just right. You don’t want to give it up! Alas, with these words my time with the Klipsch Reference Premiere system ends. For movies, it’s the most competent 7.2 surround system I’ve had the pleasure of testing to date. It made the Pioneer Elite 5.1.4 Atmos-compatible system I reviewed back in February seem like a toy. Indeed, if I had to choose between the two systems, I’d give up Atmos in a heartbeat for the superior overall audio performance of the Klipsch system.

While the Reference Premiere system genuinely blew me away, it has some very stiff competition coming up in the review queue. Because of advances in computer simulation and modeling as well as materials, today’s speakers truly are better than ever. For Klipsch, incorporating those improvements puts it in the elite ranks of companies that make speakers capable of playing at reference levels without causing listener fatigue. This system can do precisely that, and a whole lot more, which is why it earns my highest recommendation.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal, Spotify, and iTunes
Oppo BDP-103 Blu-ray player

Amplification and Processing

Crestron Procise ProAmp 7×250
Pioneer Elite SC-85 receiver
MiniDSP DDRC-88A Dirac Live processor

Speakers and Subwoofers

Klipsch RP-280F towers
Klipsch RP-450C center
Klipsch RP-160M bookshelf speakers
Klipsch RP-250S surround speakers
Klipsch R-115SW subwoofers (2)

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series subwoofer cable
Mediabridge Ultra Series HDMI cables
Monoprice Premiere Series XLR cables

TV

Samsung PN64F8500 64″ plasma TV

The post Klipsch Reference Premiere 7.2 System Official AVS Forum Review appeared first on AVSForum.com.

I’m a sucker for a great tower speaker. If a design hits the right balance between power and precision, the result is a gratifying musical experience.

A lot of the groundbreaking work that led to understanding what makes a speaker sound good has been conducted at the National Research Council, Canada’s research facilities in Ottawa, Ontario, over the last four decades. Crucially, Paul Barton—PSB’s founder—was there from the start.

I talked with Paul for over an hour about the thinking that went into these speakers. It turns out there’s nothing arbitrary about them—right down to the small logo in front of the dome tweeter that serves as a phase plug. The entire Imagine X line is about bringing high-end performance home at an affordable price point. Paul went into granular detail about what it takes to make a great yet affordable speaker.

This review is about the performance of the Imagine X2T when used in a music-centric 2-channel system. It sits at the top of the Imagine X line, so let’s see how these towers sound.

Features

The Imagine X2T ($1300/pair) is a 3-way tower speaker featuring a 1″ titanium-dome tweeter, a 5.25″ polypropylene midrange—mounted above the tweeter—and dual 6.5″ polypropylene woofers.

Here’s an interesting tidbit: During driver fabrication, the polypropylene is turned into long strings—like spaghetti—and covered in ceramic-clay slurry before it’s injected into the cone mold. The result is a driver with a high Young’s modulus, which is a measure of stiffness versus mass. Paul noted that you have to work with polypropylene to get the properties you want out of it. As a point of reference, a rubber band has a very low Young’s modulus, while carbon fiber is very high on the scale.

A large, rectangular, ported, internally braced MDF cabinet holds all four drivers. Each speaker weighs 52 pounds and measures 9″ (W) by 40.1″ (H) and 17.6″ (D). The cabinets are available only in a Black Ash finish.

Small legs that slightly protrude from the cabinet offer a stable platform. The speakers come with screw-in rubber feet as well as spikes. The rear of the speaker contains nothing but the connection terminals; the ports are located on the front of the cabinet. The X2T supports bi-amping and bi-wiring.

In this image you can see one woofer, one of the tuned ports, and the legs that keep the speaker stable—which accept either spikes or rubber feet.

PSB specifies a frequency response from 30 Hz to 23 kHz (+/-3 dB) for the Imagine X2T. The company goes further than most by also including on-axis and off-axis response specs to within +/-1.5 dB—it’s 40 Hz to 20 kHz on axis and 45 Hz to 10 kHz off axis (30°). The -10 dB point for bass response is 28 Hz.

Rated sensitivity is 90 dB/W/m in a listening room, and 88 bB/W/m in an anechoic chamber, and each speaker can handle up to 200 watts of continuous power with 8 ohms nominal impedance and 4 ohms minimum impedance. The crossover frequencies are 500 Hz for the woofers-to-midrange transition and 2200 Hz from the midrange to the tweeter. Each 6.5″ woofer gets a discrete chamber within the cabinet as well as its own front-firing tuned port.

Another innovation is how sound-damping material is applied within the speaker: It’s in the center of the cabinet. According to Paul, this arrangement is better at reducing standing waves when compared to putting padding on the cabinet’s walls.

The 1″ titanium-dome tweeter is the same one used in PSB’s high-end speakers. Paul noted that by engineering a tweeter for a flagship speaker but producing it in mainstream quantities, you can bring the cost per unit way down while still enjoying superior performance.

The tweeter sits within a molded waveguide. It looks like a design touch, but it is entirely functional. As I mentioned earlier, the tweeter has a phase plug that doubles as a PSB logo. It sits just in front of the tweeter to improve phase response. Furthermore, a small pocket of air between the plug and the center of the dome acts to diminish breakup modes. In other words, the logo makes the speaker sound better—that’s awesome!

Here you can see the midrange driver and the tweeter including the phase plug with the PSB logo on it.

Of course, the midrange is also special. It is a 5.25″ polypropylene driver with a surround that incorporates damping to counter the edge-hole effect, which occurs when energy from the surround reflects back into the driver and causes cancellation. Paul noted that the design is evolutionary; it’s the result of generational improvement. The midrange sits right above the tweeter, an alignment that—when combined with a 4th-order Linkwitz crossover—avoids lobing artifacts. The placement of the midrange above the tweeter is an approach Paul pioneered in 1978.

Setup

The Imagine X2T towers arrived in flawless condition, and unpacking them was simple and easy. There was no assembly required aside from screwing in spikes or rubber feet—I went with rubber feet. As usual, I chose not to use the speaker grills—I like the looks of the X2Ts.

This review took place in my new 2-channel listening room. A Pioneer Elite SC-55 receiver served as the pre/pro and DAC—I used it in Pure Direct mode—while a Rotel RB-1590 stereo amplifier provided more than enough power—380 watts per channel into 8 ohms—to drive the X2Ts to their limit.

Here’s the Rotel RB-1590 and Pioneer Elite SC-55 combo that brought the PSB Imagine X2T towers to life.

I connected the towers using a pair of 12-gauge Monoprice speaker cables. My source was a Sony Vaio Windows 8 laptoprunning iTunes and Tidal, connected to the SC-55 via HDMI. I used no EQ or processing of any kind with the Imagine X2Ts—I’ll save that for the 5.2 surround-system review.

For all my 2-channel listening, I placed the speakers 20 inches from the front wall, which meant the front baffle was three feet from that wall. The speakers were spaced six feet apart, so each one was three feet from a side wall. I sat between six and seven feet away from the speakers in the center sweet spot.

I appreciate the simplicity of setting up a two-speaker, zero-subwoofer system.

Performance

My first thought upon hearing the Imagine X2Ts was that they sounded slightly subdued. However, it quickly dawned on me that it’s the sound of an accurate, well-designed speaker. Nothing was missing detail-wise, they just sounded smoother than a lot of other speakers.

Interestingly, the X2Ts are the second least-expensive tower speakers I’ve reviewed this year. However, in terms of refinement, they punch above their price class. While they lack the high sensitivity of the Klipsch RP-280Fs I recently reviewed, if you sacrifice a few decibels of peak output, the X2T provides similar dynamic thrills while offering imaging that is more precise—with a deeper 3D soundfield—than the Klipsch could manage.

When I measured the frequency response at the listening position, I was surprised by how close the graphs came to an ideal room-response curve. The 8-10 dB spread between peak bass output and the lowest treble measurement is textbook perfection. Furthermore, in the midrange and treble regions, the speakers’ measurements were impressively linear. Indeed, the tighter +/-1.5 dB on- and off-axis frequency-response specs for the X2Ts appear to bear fruit in real-life measurements, as you can see in the following graph.

While a bit of EQ could have eliminated the dip in the bass response, it was so minor I decided to skip DSP processing altogether.

The in-room measurements of the X2Ts were so encouraging, I decided to completely eschew EQ and room correction for this review. It could be that I just got lucky, and the speakers happened to work with my room, but I suspect good design has a lot to do with the impressive performance of the PSBs. The X2Ts work with my room, not against it—it’ll be interesting to see if I get similar results when I measure the X2Ts in my home-theater studio for the 5.2-channel review.

In terms of bass, I was especially impressed with the depths it plumbed; its dual 6.5″ ported woofers play down to 30 Hz at respectable output levels. Unless you listen to electronic music or pipe-organ recordings, these speakers probably don’t need a subwoofer’s help to provide completely satisfying bass.

With a rated sensitivity of 90 dB/W/m (in-room), the Imagine X2T requires a fair amount of amplifier power to get it going full steam. The SC-55 handled amp duties without complaining, but I found that the extra watts provided by the Rotel RB-1590 allowed the X2Ts to shine when I turned the volume up. If you’ve got power to spare, these speakers will turn those extra electrons into bracing, impactful music.

Thanks to the Rotel’s 380 watts/channel output, I had no problem rocking the house. The X2Ts did not reach the sameoutput levels as the Klipsch RP-280Fs, which have 8 dB greater sensitivity. Nevertheless, while listening to music at moderate to high volume levels, I experienced a great deal of aural satisfaction with the PSBs. There is something smooth, silky, and almost liquid about the X2T’s sound that made music eminently listenable.

Listening

For all my critical listening, I sat precisely centered in the MLP to get the best imaging. These speakers merit—indeed, they encourage—an attentive approach to listening. When you find the exact spot where the sound arrives at your ears with true symmetry in timing, a full-on holographic 3D soundfield emerges, one that can place sounds anywhere around you as adeptly as a multichannel system. There’s a certain thrill to hearing immersive sound when you know there are only two speakers in the room.

Some producers manipulate phase and timing to take the 2-channel surround effect to the extreme. DJ Shadow’s “Monosylabik, Pts 1 & 2” is one of my favorite such songs; near the end of the track, it’s almost like being in an Atmos theater. Within the swirling mass of sound, there’s still a very distinct and detailed front stage. While the effect only works for one listener at a time, it achieves what is essentially the audiophile holy grail: total transparency and immersion with dynamic impact and a sense of ease, even when pushed hard. I clocked 100 dB (and higher) with a C-weighted measurement taken while I was listening to the track. Even with the deep, gripping bass found in the track, the X2Ts didn’t falter; instead they stunned, surprised, and excited me.

A screen grab of the SPL meter during a listening session. Behind it are frequency response measurements from various locations in the listening area.

A highlight among recent album releases is Bill Laswell’s In Dub. It features the prolific and talented bassist doing his thing on a tremendously well-recorded album. Laswell is also a producer; his predilection for using reverb and echo effects results in a spacious ambiance that is his signature sound.

From beginning to end, In Dub showed how well the X2Ts handle dynamic, well-recorded music. I certainly was not thinking about how I wish I had a subwoofer, or how sometimes tower speakers sacrifice a bit of imaging for the sake of a wider frequency response and higher output.

I’m still digging Snoop Dogg’s new album Bush, which was produced by Pharrell Williams. The sublime production and chill groove has become the soundtrack to my summer. The first track, “California Roll,” has entered my reference rotation, meaning I plan to use it in every review. The song features Stevie Wonder and Pharrell in a laid-back groove that I find supremely funky. The X2Ts rendered the track sublimely, with the exact amount of bass the groove needs without being overwhelming. Unless I were participating in a thread about how flat you can get your room response using EQ, I wouldn’t change a thing about the total balance—it was spot-on.

When it comes to recordings with acoustic instruments, the X2Ts revealed the subtle nuances appreciated by fans of jazz, classical, folk, blues, opera, and other genres where the voices and instruments are the focus. If you crave a speaker that can offer a clear view into a recording, these PSBs will do it without breaking the bank.

To test the Imagine X2T’s prowess at reproducing delicate, complicated orchestral and choral music, I selected a 1991 recording of Carl Orff’s Carmina Burana featuring the San Francisco Symphony and Chorus. It’s my favorite version of the seminal work, which features the well-known “O Fortuna.” The album is one of the first CDs I ever bought, back in 1992. I’ve listened to it on every stereo I’ve owned and gained a deep familiarity with the album. That’s why I can unequivocally say that the Imagine X2Ts are the real deal for classical music lovers.

Jazz fans will rejoice at how the PSBs manage to have a dynamic impact yet remain smooth and composed. With the excellent imaging and a good recording, you can genuinely imagine a band on a stage. Duke Ellington sounded great when I played Duke’s Big 4. AVS member JWhip can take credit for introducing me to that masterful jazz recording. If a pair of speakers gets the drums right—which the PSBs did—those speakers get a thumbs up from me. Make that two thumbs up for the Imagine X2Ts!

Conclusion

The Imagine X2T towers strike me as music-first speakers. Yes, they arrived as part of a surround system. However, all signs point to Paul Barton’s long career designing speakers for music listening as the primary influence in how they are voiced. We’re talking about virtuoso 2-channel performance in a $1300/pair tower. The only concession is that it lags behind some pricier speakers in terms of peak output and low-frequency extension.

These tower speakers are a superb choice for a 2-channel system. They offer a balance of qualities that ought to appeal to the audio aficionado who wants to hear precise, holographic stereo sound that never fatigues.

Unlike some other speakers I’ve tested, the Imagine X2Ts worked perfectly in my listening room without the need for EQ or room correction. That’s just incredible. Furthermore, I didn’t miss having a subwoofer—that alone is quite an accomplishment. What it lacked at the very bottom—which only becomes apparent on some tracks—it made up for with bass that stayed tight and behaved well in my room.

Of course, there’s more to discuss regarding the Imagine X2T—namely, what happens when you put a pair in a surround system with twin PSB SubSeries 300 subwoofers, an Imagine XC center, and a pair of Imagine XB bookshelf speakers. I’ll post a full review of that system in a few weeks.

For now, I’m going to leave the Imagine X2Ts hooked up to the 2-channel rig. They’ll be in the same configuration featured in this review for at least another week, and I’m taking requests! Suggest tracks that are available on either Tidal Hi-Fi (preferred) or Apple Music and I’ll give some of them a listen. Plus, I’ll comment on some of them before I move these excellent speakers into the surround system.

Anyhow, I’ve almost run out of ways to say these are great speakers. The specs and Paul Barton’s decades of experience offered a strong hint that the Imagine X2Ts would outperform their price point, and they did. If you love music, you should definitely give them a listen.

REVIEW SYSTEM

Sources

DIY PC (Windows 8) running Tidal and iTunes

Amplification and Processing

Pioneer Elite SC-85 AVR
Rotel RB-1590 stereo amplifier

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series HDMI cable
Mediabridge Ultra Series RCA cables

The post PSB Imagine X2T Tower Speakers Official AVS Forum Review appeared first on AVSForum.com.

The search for great-sounding speakers is one of the joys of being an audio enthusiast, and upgrading the speakers is one of the most effective ways to improve the performance of a sound system. There are hundreds upon hundreds of companies making speakers, so finding the best performers—and the best bargains—can be quite an adventure.

When I explored the halls of CEDIA and CES over the past couple of years, there were more speakers than any one person could properly audition in the few days of the shows. Also, many of the speakers being demonstrated are extremely pricey, costing as much as a new car or even a nice house. As fun as it is to check out the audio bling, I mainly use these two shows to search for speakers that offer exemplary performance at approachable prices.

Before I request equipment for review, I want to know that it performs at a high level; I’m always searching for systems that I would be happy to own. Consequently, one of the first things I do when I walk into a room at CEDIA or CES is inquire about the price of the gear on display.

Ultimately, I strive to select speaker systems that are worth hauling up two flights of stairs in my Philly row house and dialing in for optimum performance. It’s not something I want to do for speakers that don’t offer exceptional performance, even in a difficult show environment. Because I am selective in this manner, the gear that does come through the door of my studio typically performs quite well.

One of the brands that has consistently impressed me at both CEDIA and CES is GoldenEar Technology, a speaker company founded by Sandy Gross, co-founder of Polk Audio and Definitive Technology. From the first moment I heard the Triton One towers at CES 2014, I was hooked on GoldenEar. Those speakers possessed all the qualities I look for in towerspeakers, especially when it came to clarity, precise imaging, and bass response.

Between CES and CEDIA 2014, Dolby introduced Atmos for home. CEDIA that year featured a lot of Atmos, including over a dozen different demos. GoldenEar’s Atmos demo was the best small-room system I heard at the show.

After the excellent experience in the GoldenEar room—featuring the best bass and the deepest sense of immersion—I resolved to acquire a similar system from GoldenEar to review. I wanted to experience equally compelling immersive Atmos audio in my own studio.

At CES 2015, GoldenEar unveiled two new products: The Triton Five tower speaker ($2000/pair) and the SuperSub XXLsubwoofer ($2000). The Triton Five is the company’s second passive tower speaker (following the Triton Seven) and the fifth overall entry in the Triton lineup. The other three Triton models—the One, Two, and Three—each include powered-subwoofer sections integrated into the towers.

Based on what I heard in Las Vegas, I determined to get my hands on a pair of Triton Fives. Despite being a passive design, the bass I heard coming from them was deep and had tangible, physical impact. I put in a request for a pair to review on the spot, and I’m glad I did, because the listening experience at home was even better than what I heard at the show.

It was tempting to add subwoofers to the 2-channel mix—I have a pair of SuperSub XXLs on hand—but I’m saving that for an upcoming review. For now, let’s look at the performance of the passive Triton Fives when running full-range in a subwoofer-free stereo system.

Features

The Triton Five is a 2-way tower speaker featuring a folded-ribbon tweeter and dual 6″ woofers arranged in a D’Appolito array. The tall, sleek tower looks thoroughly modern and almost mysterious wrapped in matte-black cloth. GoldenEar’s aesthetic is perfect for home-theater applications; in a dark room, the Tritons simply disappear. In a brightly lit room, the speakers easily blend in and look stylishly modern. As long as you are not looking for a wood finish, GoldenEar Triton Fives will fit into almost any décor.

A look at the Triton Fives’s drivers arranged in a D’Appolito array.

None of GoldenEar’s Triton speakers, including the Fives, feature traditional speaker grills. If you look behind the cloth—which is easy to remove and replace—you will see a baffle that’s specially designed to reduce diffraction. I usually review speakers with the grills off, but with the Tritons, I kept the cloth sock in place since that’s how the speakers are designed to be used.

GoldenEar specifies a frequency response from 25 Hz to 35 kHz for the Triton Five, with a rated sensitivity of 90 dB/W/m. Each speaker can handle up to 400 watts worth of amplification, and the crossover point is set at 3000 Hz. Four passive radiators—two on each side of the cabinet—enhance bass performance. The rated nominal impedance is 8 ohms, and each one weighs 40 pounds. The cabinet’s dimensions are 6.625˝ (front W) by 8.125˝ (rear W) by 12.375˝ (D) and 44.25˝ (H).

One of the most important features of GoldenEar speakers is the design process itself. The company develops its speakers using an anechoic chamber that is a duplicate of the National Research Council of Canada’s facility. The NRC’s anechoic chamber is the birthplace of modern, science-based speaker design. Having such a facility at its disposal means GoldenEar can aim for perfection, allowing the engineering team to build on Sandy Gross’s decades of experience designing speakers.

Here’s a picture of the Triton Five in GoldenEar’s anechoic chamber.

There is a detachable black-gloss cap on the top of the cabinet as well as a detachable black-gloss base on the bottom. On the back, you’ll find gold-plated binding posts of all-metal construction. For what it’s worth, I like the look of the Tritons with exposed drivers, and I’ve used the speakers that way with great success.

A close-up view of the binding posts.

An interesting technical feature of the Triton Five is the use of a balanced crossover—the circuitry is mirrored on the positive and negative inputs. According to GoldenEar’s engineers, this design reduces stray capacitance in the magnetic gap, which results in improved detail rendition.

Great imaging combined with neutrality is a GoldenEar specialty; it’s the quality that originally drew me to the company’s speakers. Part of the reason they exhibit such precise imaging is the HVFR (High-Velocity Folded Ribbon) tweeter, a feature all GoldenEar speakers have in common. Another name for tweeters of that type is AMT (Air Motion Transformer), but whatever you call it, the defining characteristic of this type of transducer is the accordion shape of the ribbon.

The large surface area of the folded ribbon allows it to reproduce audio with minimal physical movement, while its low mass lets it respond to an audio signal nearly instantaneously. The result is a tweeter capable of rendering very fine details.

For midrange and bass, the Triton Fives rely on dual 6″ woofers as well as four 8″ passive radiators. Both my ears and my microphone confirmed the excellent bass extension this combination produced.

Setup

The Triton Fives arrived fully assembled and in pristine condition. Since this is a 2-channel speaker review, setup was relatively minimal.

My primary music source was a Lenovo Yoga 3 Pro laptop—with Windows 10—running iTunes, Google Play, and Tidal HiFi. A Pioneer SC-55 AVR served as the pre/pro, with a miniDSP nanoAVR DL handling room correction and EQ. I limited Dirac Live processing to frequencies of 300 Hz and below, which is the range where room modes dominate frequency response.

I connected the speakers to a Rotel RB-1590 350 watt/channel stereo amplifier ($3000) using a pair of ten-foot, 12-gauge speaker cables. I followed GoldenEar’s instructions on placement—the manual recommends forming an equilateral triangle between the two speakers and the listener.

I wound up placing the speakers seven feet apart. The instructions also suggest positioning the speakers at least eight inches away from the wall behind the speakers, and as far from the side walls as possible. In my set up, the speakers were 15 inches away from the wall behind them and 30 inches from the side walls. Furthermore, I followed the manual’s suggestion to toe in the speakers so they were pointing at a spot just behind me.

A couple of quick measurements using Room EQ Wizard confirmed that Dirac Live had a positive effect on in-room response. Midrange and treble were well-behaved, so I saw no need to apply any EQ in that range. When I toggled Dirac Live on and off while listening to music, the primary difference was notably tighter, more even bass. However, the overall character of the speakers did not change. This is the configuration I used for all my listening.

Performance

I was pleasantly surprised when I measured the in-room response of the Tritons Fives. Bass extension was as deep as GoldenEar’s specs claim it to be—25 Hz—which is excellent for a pair of towers of their size. GoldenEar’s engineers clearly made the most of the compact enclosure using the four passive radiators.

With its 90 dB/W/m rated sensitivity, the Triton Five will reward you for providing ample power. As long as your amplification is up to the task, it offers a deep-enough bass response that a subwoofer is not needed—once EQ’d with Dirac Live, I measured flat response down to 24 Hz.

The compact size of the Triton Fives hides the fact that they can belt out tunes at impressive levels without distorting or suffering dynamic compression. The Klipsch RP-280Fs I reviewed a while back could play louder than the Triton Fives, but the RP-280Fs are much larger speakers, and they lack that last little bit of finesse in the treble—mind you, I’m splitting hairs here—that make the GoldenEars so good at extracting fine detail from music.

Listening

I did a lot of listening with the Triton Fives, and I found it remarkably easy to get lost in the music thanks to the transparent way they project a soundstage. The audiophile cliché of speakers disappearing and leaving you with nothing but the music holds 100% true for these Tritons. When a track was playing, I never thought about the speakers—I only thought about the music. I also wound up appreciating how the minimalist aesthetic and hidden drivers enhanced the perception that the speakers were simply not there.

A lot of the music I listen to includes synthesized sound, so there’s a lot of deep bass that dips into what’s traditionally considered subwoofer territory. Daft Punk’s “Disc Wars” from the Tron: Legacy soundtrack is a great test of any system’s bass balls; I’ve overheated amps and shut down AVRs by playing it at reference level. With the beefy Rotel amp pushing out almost as many watts as the Triton Fives can handle, the speakers performed admirably. I can only marvel at how much high-quality deep bass GoldenEar managed to tease out of two 6″ woofers mounted in a speaker that compact.

I use “The Hawk Talks” and “Cotton Tail” from the album Duke’s Big 4 by Duke Ellington as a universal reference. The tracks are always appreciated at audio shows, and I’ve played them on dozens of stereos in the last year alone. Both tracks feature drum solos that sound utterly and convincingly real when rendered on great stereo systems. The performance delivered by the Triton Fives rivaled what I’ve heard coming from systems that cost far more. In fact, the system in this review presents a serious challenge to much of the gear I hear at high-end audio shows—gear that can easily cost five or ten times as much as these Tritons paired with the Rotel amp and Pioneer AVR.

I used a wide variety of music to judge vocal reproduction on the Triton Fives, including Enya, Queen, Michael Jackson, Cocteau Twins, Christina Aguilera, Nas, Air, The Beatles, Bjork, and more. Vocals served to highlight the Triton Five’s capacity to extract the finest, faintest nuance while remaining easy to listen to and utterly non-fatiguing—even at higher levels.

Conclusion

I’m going to go out on a limb and say that the Triton Fives are the best-sounding tower speakers I’ve reviewed this year. They are not the loudest; that honor goes to the also-excellent Klipsch RP-280F towers. Nor are the Triton Fives the priciest speakers I reviewed—that was Thiel’s TT1 towers. The bang-for-the-buck prize belongs to the SVS Prime Tower, and PSB’s Imagine X2Ts were notable for doing many things right. Nevertheless, the GoldenEar Triton Fives somehow managed to sound more magical more of the time.

Listening to music on the Triton Fives is a true pleasure, regardless of the genre. Given how well they perform without a sub, they are an exceptionally great choice for 2-channel listening. These speakers deliver the high-end experience for what you’d pay in sales tax for some other high-end systems—that don’t necessarily sound any better.

The excellent 2-channel performance of the Triton Fives offers a clear hint they can also handle home-theater duty as part of a surround system. That review is coming soon, and it will include the SuperSub XXLs as well as Dolby Atmos height channels using Invisia HTR7000 in-ceiling speakers. It’s a system inspired by GoldenEar’s 2014 CEDIA demo.

Triton Fives have earned a spot on my A-list of affordable, high-performance tower speakers. To my ears, it is about as honest and engaging as any speaker system designed for residential use that I’ve heard. Sure, JBL’s M2 is better, but at the Triton Five’s price point, I’m hard-pressed to think of another speaker I’d rather own for 2-channel use.

REVIEW SYSTEM

Source

Lenovo Yoga 3 Pro (Windows 10) running Tidal HiFi, Google Play, and iTunes

Amplification and Processing

Pioneer Elite SC-55 AVR
miniDSP nanoAVR DL with Dirac Live
Rotel RB-1590 stereo amplifier

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series HDMI cable
KabelDirekt 3-foot RCA interconnects

The post GoldenEar Triton Five Tower Speakers Review appeared first on AVSForum.com.

SVS Prime speakers are a surefire way to get high performance for your speaker-buying dollar. I know this because each time I review a Prime-based system, I have to remind myself that many speakers from other companies—sometimes costing twice as much or more for equivalent models—don’t offer the looks or performance of the Primes. When writing reviews of Prime-based systems, I’ve consistently found myself involved in engaging—and sometimes outright awesome—listening experiences.

The process of evaluating multiple Prime-based systems has resulted in the right speakers being in the right place at the right time to put together a killer 5.1.4 Atmos-capable system. While I already knew the individual Prime components perform at a very high level, I thought it would be a shame to send all those speakers back to SVS without testing an Atmos configuration.

Here’s a look at the front channels of the system including one of the Atmos height channels.

I called SVS and asked how I might go about creating an Atmos setup using the Prime Satellites as height speakers. Tech support suggested wall mounting the Satellites as high as I could, just below the ceiling. I took the advice, even though it’s technically not an “official” Atmos speaker configuration. Notably, I have attended DTS:X demos that used the same speaker layout. Regardless, what matters is whether the configuration actually worked. Did it? Read on to find out…

Features

The Prime series is the more affordable to the two speaker lines offered by SVS Sound, the other being the Ultra series. It consists of four different models, the Tower, Center, Bookshelf, and Satellite.

The Prime Tower ($600 each) served as the front left and right speaker for this review. It features a 3.5-way design, which assigns a different crossover point to each woofer to suppress lobing. The speaker utilizes the 1″ aluminum-dome tweeter that’s used throughout the Prime lineup, a 4.5″ polypropylene midrange driver, and a pair of 6.5″ woofers with a long-stroke suspension. Each woofer operates in a separate vented chamber, isolating it from the other drivers.

The Tower tips the scales at 40 pounds and measures 36.6″ x 8″ x 11.6″. SVS lists a frequency response of 30-25,000 Hz (+/-3 dB), and rated sensitivity is 87 dB/W/m. Each speaker can handle up to 250 watts of amplification and exhibits 8-ohm nominal impedance. There is no provision for bi-amping or bi-wiring, but the binding posts are easily accessible and accommodate banana plugs.

The Prime Bookshelf ($300 each) is a handsome 2-way design that employs the ubiquitous 1″ aluminum-dome tweeter. I used it for the surround speakers in this system. It sports a 6.5″ woofer and a second-order crossover centered at 2300 Hz. It is an 8-ohm speaker with a rated sensitivity of 87 dB/W/m.

The Bookshelf can handle up to 150 watts of amplification and weighs 15.5 pounds while measuring 13.3″ x 8″ x 10.3″. The cabinet includes a rear-venting tuned port.

The Prime Center ($450) features a sophisticated 3-way design with a vertically aligned 1″ dome tweeter and 3.5″ midrange flanked by a pair of 5.5″ woofers. Each woofer in the Center operates in a discrete vented chamber. The midrange driver handles frequencies between 300 Hz and 2400 Hz. The result is a center-channel speaker that avoids the lobing issues in 2-way MTM (midwoofer-tweeter-midwoofer) designs. The Center measures 7.7″ x 18.6″ x 9.2″.

The Prime Satellite ($175 each in Piano Gloss Black) is a compact 2-way design that uses the same aluminum-dome tweeter as the rest of the Prime line. I used four Satellites as Atmos height channels. This small but gutsy speaker features the same 4.5-inch Peerless driver used as a midrange on the Prime Towers. However, with the Satellites, it handles both midrange and bass.

SVS rates the Prime Satellite’s frequency response from 69 Hz to 25 kHz (+/-3 dB) and power handling at 150 Watts with an 8-ohm load. The speaker’s sensitivity rating is 85 dB/W/m. Each Prime Satellite weighs 6.5 pounds and measures 8.85″ x 4.9″ x 6.3″ (including the cloth grill and rubber feet), and the cabinet includes a rear-venting tuned port.

The sealed SB-2000 ($800) is a very competent and comparatively compact sub. The enclosure measures 14.6″ (H) x 14.2″ (W) x 15.4″ (D), and it weighs 34.8 pounds. SVS rates the frequency response from 19 Hz to 220 Hz (+/-3 dB) and the company rightly notes that room gain may result in some additional low-frequency extension.

A 500-watt amplifier (1100W peak) powers a 2000-series 12″ aluminum-cone driver. The amp offers a set of stereo line-level RCA inputs and outputs, while the right-channel input doubles as an LFE input.

The cabinets on all my demo units—including the sub—feature a Piano Gloss Black finish, and the listed prices reflect that. A Black Ash finish is also available at a lower cost.

Setup

I placed the front channels and surrounds in a 5.1 configuration, with the center of my couch serving as the main listening position. Then, I mounted the four Satellites eight feet up on the walls—as close to the ceiling as possible. Additionally, I pointed the front height channels toward the primary listening position. I tucked the SB-2000 subwoofer into the front-left corner of the room.

The front left, center, and right speakers were each located eight feet away from the sweet spot. The left and right speakers were situated 7’6″ apart from each other, with the center directly between them. The surround speakers were located to the sides and just behind the couch. Each surround was about six feet away from the sweet spot.

I used my Pioneer Elite SC-85 AVR to perform all audio processing and room correction. The Elite AVR handled amplification for the height channels, while a Crestron Procise ProAmp 7X250 provided amplification for the other five channels. I chose an 80 Hz crossover for the subwoofer, and set all the speakers sizes to “small.”

Pioneer’s MCACC Pro room correction did a great job of setting speaker distances and levels as well as a good job of taming the peaks in bass response that result from room modes. After running the automated setup, I performed a few measurements using Room EQ Wizard (REW) to confirm its effectiveness. Ultimately, I felt satisfied that the system did not require readjustment.

A Samsung BD-H6600 Blu-ray player served as the source for Atmos content. My formal evaluation used the January 2015 Dolby Atmos demo Blu-ray, which includes several Atmos trailers as well as clips from Transformers: Age of Extinction, Where the Trail Ends, and On Any Sunday: The Next Chapter. The disc also contains Enrique Iglesias’ “Bailando” video with the music mixed in Atmos. Additionally, I watched the final chase sequence in Mad Max: Fury Road multiple times. Ralph Potts’ recent review of the Fury Road Blu-ray says it possesses the best Atmos mix to date, so I’ve added it to my review rotation.

Performance

Let’s go straight to the point: This system sounded excellent reproducing immersive audio. As far as Atmos 5.1.4 systems go, it offers an extremely high performance/price ratio. None of this came as a huge surprise to me, since I’ve already reviewed all the speakers contained in the system, except for the SB-2000 sub.

The Prime Tower, Center, and Bookshelf speakers put on a great show. All are capable of clear, loud, dynamic, and precise audio reproduction, and they look good doing it. Indeed, one of the best things about the Prime system is that you do not sacrifice build quality or aesthetics for such a low price.

The power of the Towers takes this system to another level. During action movies, there was a lot of adrenaline rush thanks to the crisp delivery of sound effects and soundtracks. Plus, the Center was no slouch when it came to pumping out great cinema sound. The Center kept up with the Towers in terms of output; thanks to its 3-way design that reduces lobing, movie and TV dialog was very clear.

The Prime Satellites turned out to be an excellent choice for use as Atmos height speakers. The suggestion SVS offered—to mount them on the walls, just underneath the ceiling—worked like a charm. The demos on the Dolby Atmos disc offered immediate gratification in the form of an immersive 3D soundfield. I perceived a superior sense of height—with greater precision in terms of object tracking and an enhanced sense of space from ambient sounds—than what I heard from the Pioneer Elite Atmos speaker system I reviewed earlier this year (((link))). I suspect the superior performance is the result of using speakers mounted at ceiling height—instead of reflected sound—for the height channels.

The biggest surprise in terms of performance is how well the single SB-2000 subwoofer handled its bass duties. I must admit, I underestimated the potency of that subwoofer based on its compact size and affordable price; its performance was quite impressive. In-room measurements and ears-on scrutiny from the main listening position revealed audible output down to 16 Hz, useful output down to 18 Hz, and strong output from about 22 Hz on up.

The subwoofer does have its limits; when you push it hard and approach reference levels with content that digs down to 20 Hz or below, you run into the inherent limits of what a single, sealed 12-inch subwoofer can do. As long as your room isn’t of palatial dimensions, and you are not watching War of the Worlds nightly at reference levels, the SB-2000 is more than enough sub to reproduce music and movies at very satisfying volume levels. Moreover, you can always double up if you want more (and smoother) bass—the SB-2000 is certainly of sufficient fidelity that investing in multiple units would be very rewarding.

Listening

The main thing I listen for in an Atmos speaker system is whether or not it can provide a complete sense of immersion. An ideal system is one that nails the reproduction of both ambience and discrete sounds, without ever drawing your attention to the speakers. The good news is the SVS system was quite effective at rendering a realistic dome of sound.

The Dolby Atmos demo Blu-ray serves as a very useful reference for subjective comparisons. I’ve heard the trailers from that disc on over 20 different Atmos-capable systems. Overall, I thought the SVS rig was very successful at creating a complete sense of audio envelopment. The Enrique Iglesias “Bailando” video possessed the same snappy sound and immersive effect that made it a crowd favorite at CEDIA 2014. The catch is the SVS Prime system costs less than any 5.1.4 speaker system I heard at that show.

Perhaps the most outstanding quality of the Prime rig was how it handled playback at low to moderate volume levels. Not only did it preserve crucial details—movie dialog remained clear—but I could also feel the impact of blasts, gunshots, door slams, and other sound effects that have a tactile element to them—even at what I’d consider late-night levels. You don’t have to crank the volume to hear deep into the mix. Nevertheless, with this system, there is sufficient headroom to satisfy people who enjoy playing music and movies loud.

In order to get a good sense of how much intensity the system could handle, I played the final chase sequence in Mad Max: Fury Road multiple times, at various volume levels, with and without Atmos activated. Despite my statements in the previous paragraph, there’s no question about it—while the Prime 5.1.4 system is notably good at modest volume levels, the greatest satisfaction came from cranking it up and letting it flex its muscles.

The verisimilitude achieved by the Prime 5.1.4 system when watching Mad Max: Fury Road at roughly reference levels triggered an acute case of dropped-jaw syndrome. It also provoked several outbreaks of goose bumps—always a good sign. Ultimately, it was the resolution of the speakers that most impressed me. There are many discrete sounds to keep track of in the midst of the furious Mad Max action; the Primes parsed it all out, which helped amplify the already extreme intensity of the film.

Another Atmos scene that I found quite compelling is the opening scene of The Expendables 3. It features an elaborate chase sequence that includes a train and a helicopter. The helicopter is of greatest interest, providing plenty of opportunity for pronounced overhead panning effects. It’s also the sort of scene you watch with the volume turned up to 11! I’m happy to report that the SVS system managed to make the most of the macho mayhem and rendered that helicopter perfectly.

Last but not least, I’m a big fan of using the Dolby Surround Atmos upmixer with music. This SVS prime system managed to make the most of the effect, rendering an accurate front stage while performing excellent ambience extraction. When listening to good recordings, I was transported to various venues, from small clubs to concert halls. The system rendered the ambience with great fidelity, and the Satellites were never localizable. The ability to perfectly emulate jazz clubs in live recordings was one of the Prime system’s most beguiling qualities.

Conclusion

SVS has achieved a great balance of price, performance, aesthetics, and physical size with its Prime-series speakers. The company also has a reputation for building great subwoofers, and nothing I’ve heard coming from it contradicts that.

When I put this system together, I was already optimistic about its performance potential thanks to my prior Prime series speaker reviews. Still, it was my first time using standard satellite speakers in the Dolby Atmos configuration. I wasn’t sure what to expect, but I quickly discovered that it was as effective as any approach to Atmos immersion I’ve heard before.

I highly recommend SVS Prime speakers for surround applications, including Atmos. It’s fairly amazing that Prime is the least expensive line of speakers I’ve reviewed this year. When I look at them and listen to them, I tend to forget how affordable they are. There’s simply no sign of any cut corners; SVS Prime speakers exude nothing but pure competence with style to match. It is an Atmos-compatible speaker system that I am going to miss listening to.

Check out my other reviews of SVS Prime speakers:

SVS Prime Tower Speakers Review
SVS Prime Bookshelf 5.1 System Review
SVS Prime Satellite 5.1 System Review

REVIEW SYSTEM

Source

Samsung BD-H6600 Blu-ray player

Amplification and Processing

Pioneer Elite SC-85 AVR
Crestron Procise ProAmp 7X250 Amplifier

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series HDMI cable
Monoprice RCA-to-XLR interconnects

The post SVS Prime 5.1.4 Atmos Speaker System Review appeared first on AVSForum.com.

Of all the Dolby Atmos speaker systems I’ve heard over the past year, the most interesting and unorthodox one came from GoldenEar Technologies, a company that specializes in building high-performance speakers and subwoofers. I attended a dozen Atmos demos at CEDIA 2014, and GoldenEar’s Atmos demo was among the most impressive there—topped only by a pair of six-figure super systems from JBL and Steinway Lyngdorf. It managed to conjure a grander sense of immersion than any comparably priced speaker systems at the show. One of the most notable qualities of that demo was the realism achieved by the in-ceiling speakers, which consisted of four Invisa HTR-7000s.

GoldenEar’s CEDIA demo was strikingly immersive, so I immediately asked for a system to review. Founder and chief designer Sandy Gross agreed to provide it, but there was one sizeable obstacle to overcome: I rent, so I can’t cut four big holes in my ceiling, especially since there’s no wiring up there to begin with. I knew I needed to hang speaker enclosures from the ceiling, but I was not enthused by the prospect of building the boxes that the HTR-7000s would require.

Sandy’s solution to the enclosure problem was simple enough; he suggested I borrow the same sealed boxes used in the 2014 CEDIA demo. The enclosures are designed to take the place of tiles in a standard drop ceiling, but if I could figure out how to hang them, I was welcome to borrow the boxes—which I did. Soon enough, I had a fully functional 5.1.4 Atmos system.

Here’s the proto-installation of Sandy’s concept for a Invisa HTR-7000 in-ceiling system.

I’ve used the four ceiling-mounted HTR-7000s in various Atmos systems over the past year—with great success—and I had planned to review a 5.1.4 all-GoldenEar system containing Triton Five and Seven towers, a SuperCenter XL, and twin ForceField 5 subs.

Right around the same time I received the Triton Fives, Sandy called me and asked if I was willing to hang three more boxes from my ceiling in order to try something new. He went on to describe the GoldenEar Ultimate Invisa Lifestyle Atmos, which immediately got my attention because it was literally outside the box.

The radical notion here is that in addition to the Atmos in-ceiling speakers, the front left, center, and right channels can be ceiling-mounted. In the configuration I used, only the surround channels were wall-mounted. Depending on a room’s size and shape, it’s possible to have an Invisa-based Atmos system comprised entirely of in-ceiling speakers (HTR 7000s), including the surrounds.

At first, the all in-ceiling speaker concept sounded implausible. However, Sandy assured me it would work because the ability to serve as front LCR channels is an integral part of the design of the HTR-7000s, which can project a soundstage that appears to be in front of the listener, despite coming from ceiling speakers. Sandy is an audio-industry legend—he’s been in the business for many years and is a co-founder of both Polk Audio and Definitive Technologies—so I brushed aside my doubts and agreed to give the all-Invisa in-ceiling Atmos system a shot.

Features

GoldenEar states that the Invisa HTR-7000’s are designed for use as front LCR speakers and that they can “achieve open, boxless, three-dimensional imaging that appears to come from across the front wall rather than the ceiling.” That’s a crucial capability; without it, an in-ceiling Atmos system simply could not work. The concept requires the illusion of a front stage that appears to be near ear level, like what you hear with tower speakers or bookshelf speakers on stands.

The Invisa HTR-7000s combine a 7″ woofer and a folded-ribbon tweeter in a package that handles up to 250 watts of power with 90 dB/W/m sensitivity and 8-ohm impedance. Frequency response is spec’d from 25 Hz to 35 kHz, and it requires a 9″ cutout for in-ceiling installations.

A close-up of the Invisa HTR-7000.

The surrounds in this system were a pair of Invisa MPX speakers, which feature dual 4.5″ woofers and a folded-ribbon tweeter. The performance specs of the MPX are identical to the HTR-7000, aside from requiring a 12-3/4″ H x 6-1/4″ W cutout instead of a 9″ circle. Crucially, the MPX’s drivers fire straight forward, instead of at an angle like the HTR-7000s. That makes the MPX a great choice for an in-wall surround speaker.

Sandy had a surprise for me in the form of new subs for the Ultimate Invisa Lifestyle Atmos System: twin SuperSub XXLs ($2000 each). These subs—which debuted at CES 2015 and will ship this month—feature dual-opposed, high-excursion 12″ woofers and dual-opposed passive radiators.

Check out this image of the active and passive drivers in the SuperSub XXL.

Each SuperSub XXL has a 1600-watt class-D amplifier (originally developed for the Triton One) controlled by a low-latency 56-bit DSP with a 192 kHz sample rate. Quite literally, each SuperSub XXL is equivalent to two ForceField 5 subs in terms of capability, so the effect of the upgrade was quite noticeable—especially when I cranked the system way up. Look for my review of the SuperSub XXL, which is coming soon.

Setup

I hung all the boxes from the 9-foot ceiling in my studio using a layout that conformed to Atmos specifications for height-channel placement. The only limiting factor was the position of the studs—I didn’t want the suspended boxes falling on my head, so I had to constrain myself to anchor points with studs behind them. It’s worth noting that Invisa speakers do not require back boxes, and their design is optimized for use without them.

One of the enclosures I used to hang the Invisa HTR-7000s.

Using Dolby’s Atmos guidelines, I positioned the front heights about three feet in front of my couch, and the rear heights were about two feet behind the couch. I hung the front LCR (left, center, right) speakers near the front of the room, directly above where I’d typically place tower speakers and a center channel, which is about two feet away from the front and side walls (for the left and right channels), with the center directly between the two.

For the surrounds, I used a pair of Invisa MPX speakers ($500 each). They are wide-dispersion in-wall speakers—perfect for surround-channel duty—plus they are a great match for the HTR-7000s in terms of price, frequency response, and sensitivity. I used a pair of tall, shallow enclosures that GoldenEar had built for its CEDIA demo to mount the MPXs; these enclosures serve as a false wall of sorts. Once it was set up, I had the actual system GoldenEar will show at CEDIA 2015 in my studio.

The front and the back of Invisa MPX speakers.

I placed the two SuperSub XXLs in the front of the room, one in each corner. They are handsome subwoofers and great performers, to boot. The SuperSub XXLs play clean, clear, tight, and loud—all the way down to the infrasonic realm. A 20 Hz tone—rendered with authority and without audible distortion—is a thing of beauty, and these subs had no problem pulling it off.

One of the mighty GoldenEar SuperSub XXL subwoofers.

I used a Pioneer Elite SC-85 AVR to provide Atmos processing for the rig, and I employed Dirac Live room correction—courtesy of a miniDSP DDRC-88A processor—to deal with room modes and provide EQ for the subs. The DDRC-88A is limited to eight channels of processing, so I used it on all channels except the surrounds, which I EQ’d manually using REW (Room EQ Wizard). I used a Crestron Procise ProAmp 7×250 to power the seven Dirac-processed channels, while the SC-85 took care of amplification for the two surrounds.

I achieved excellent frequency response with the Invisa+SuperSub system.

Listening

The amazing thing about the Ultimate Invisa Lifestyle Atmos System was how well it worked right off the bat. I did not have to fiddle with it. Indeed, it sounded so impressive that I quickly realized that writing about how good it sounded was going to be a bit contentious! After all, I felt incredulous at the notion that such a system could work as well as a system with the front channels located at ear level. Nevertheless, I’m certain that anybody who hears this Invisa system will observe the same thing: a front soundstage that creates an absolutely convincing illusion that there are speakers are located right in front of you, even though your eyes confirm that there’s nothing there but air.

As an experiment, I placed the Triton Fives on the floor beneath the front-LCR Invisas, and I experienced the uncanny illusion that they were responsible for what I was hearing. Meanwhile, the Atmos height speakers sound like they are above you, just as they should. The virtual front channels, combined with the MPX surrounds—which were physically located just above ear level—provided a sense of immersion that was seamless and enveloping.

At the risk of provoking incredulous responses in the comments, in my opinion, the Ultimate Invisa Lifestyle Atmos System sounded better than the vast majority of speaker systems I’ve heard to date. I don’t have any qualifiers to add to that claim—it’s that good. When playing music or movies, whether the volume was set down low, way up, or somewhere in between, the fidelity and overall effectiveness of the system repeatedly astounded me.

One of the most interesting things I noticed when experimenting with the Invisa speaker system was how Atmos significantly improved the illusion of an ear-level main front soundstage. When I turned off Atmos processing, the front soundstage seem to lift up a bit, as if I was listening to six-foot-tall speakers.

When Dolby Atmos was active, the front soundstage lowered down to ear level. To my ears, it was as good as any speaker system that relies on a center speaker positioned underneath or above a TV. With Atmos, the Invisa system provided the illusion of voices and sounds coming right out of the TV screen, just as you would experience with an acoustically transparent screen in a front-projection setup.

When I played some of Dolby’s Atmos demo clips, I could scarcely believe how clear and precise the system sounded. I heard properly rendered Atmos effects, featuring both ambience and object-based specificity. I could easily visualize where each and every discrete sound object was located within 3D space, and ambient sounds created the illusion of environments larger and smaller than the actual room. It was the very definition of immersive.

I used Mad Max: Fury Road as my reference for cinematic Atmos soundtracks. Ralph Potts says it’s the best immersive audio mix he’s heard in a movie, and I agree. The climatic chase scene near the end of the movie demands a resolute system that can handle complex layering while offering excellent dynamics with deep and powerful bass. Thanks to the twin SuperSub XXLs, there was no shortage of physical impact to the presentation. Additionally, no matter how high I turned up the volume knob, the sound coming out of the Invisas remained crisp, clear, and non-fatiguing.

Dolby demo clips and movies mixed in Atmos are great for testing immersive speaker systems, but I also enjoy using the Dolby Surround upmixer to listen to music. On album after album, I could scarcely believe what I heard—music sounded real. The most profound example was how realistic live jazz recordings sound when played through the system. I’m sure you’ve read speaker reviews that describe a sense of musicians being right there in the room with you. Well, with the Ultimate Invisa Lifestyle Atmos System, I experienced the illusion of being in the venue with the musicians, whether it was a jazz club or a concert hall. The system’s ability to re-create the ambience of other spaces is truly impressive.

Conclusion

I’m going through withdrawal. I’m not sure if I should thank Sandy Gross or blame him for spoiling my ears with his seemingly absurd concept for an Atmos speaker system. I only had my hands on the system for about two weeks, but that was long enough to make me miss it already. Needless to say, there’s a family and pet-friendly aspect to in-ceiling speaker systems that make them appealing to non-enthusiasts, but in this case, there’s nothing lost in going that route—such is the fidelity of the Invisa HTR-7000 and MPX speakers.

Based on what I heard during the time I had them, the Ultimate Invisa Lifestyle Atmos System ranks in the top tier of sound systems I’ve had in my studio. Certainly, any preconceived notion I held that an in-ceiling speaker system would not be able to perform as well as one based on tower speakers was shattered.

Ultimately, the GoldenEar Ultimate Invisa Lifestyle Atmos System turned out to be so awesome that I have a sneaking suspicion it’s going to amaze people who hear it at CEDIA 2015—which is now just two weeks away. If you are attending CEDIA, don’t miss the GoldenEar demo; you’ll likely be amazed by what you hear.

REVIEW SYSTEM

Source

Samsung BD-H6600 Blu-ray player

Amplification and Processing

Pioneer Elite SC-85 AVR
Crestron Procise ProAmp 7X250 Amplifier
miniDSP DDRC-88A Dirac Live processor

Cables

Monoprice 12-gauge OFC speaker cables
Mediabridge Ultra Series HDMI cable
Monoprice RCA-to-XLR interconnects

The post GoldenEar Ultimate Invisa Lifestyle Atmos System Review appeared first on AVSForum.com.

Danish speaker maker Dynaudio introduced its new EMIT series of 2-way passive speakers at CEDIA 2015 in Dallas. I’ve heard the company’s speakers in the past and have enjoyed the precision and delicacy of the sound they produce.

Dynaudio designs and manufactures its drivers in-house, in Denmark. The Emits have several outstanding design features. The Emits all feature a first-order crossover, magnesium silicate polymer mid/woofers, soft-dome tweeters, and aluminum voice coils.

Emit series speakers are marketed as optimal for both 2-channel listening and surround systems. The series consists of four speaker models: The M10 bookshelf, M20 bookshelf, M30 floorstander, and M15 C center channel.

Dynaudio’s Emit M10 is a 6-ohm speaker and uses a 5.5″ mid/woofer and costs $750 per pair. It offers a 50 Hz to 23 kHz (+/- 3dB) frequency response with 86 dB sensitivity and 150 watts power handling. The M20 is a larger bookshelf speaker with a 6.5″ mid/woofer and 4-ohm impedance and a $950 per pair price. It has the same frequency response plus power handling specs as the M10, but Dynaudio says if offers a step up in performance.

The Dynaudio Emit M30 is a 4-ohm floorstanding speaker that has dual 6.5″ mid/woofers and a frequency response of 40 Hz to 23 kHz (+/- 3dB) priced at $1900 per pair. Like the bookshelf models, it is rated at 86 dB sensitivity. The M30 can handle 200 watts of power. Finally, the M15 C center channel is a 4-6 ohm speaker (yes, that’s the listed spec) with a frequency response of 60 Hz to 23 kHz and 150 watts power handling that sells for $700 each.

I have yet to hear the Emits but plan to stop back at the Dynaudio booth today for a quick audition.

The post New Dynaudio Emit Speakers at CEDIA 2015 appeared first on AVSForum.com.

I’m always on the lookout for speakers that offer good performance at a reasonable price. Vanatoo’s Transparent One speaker system appeared to fit the bill when I heard a pair at the 2014 Capital Audio Fest. It’s a self-contained powered speaker system that costs between $500 and $584/pair, depending on the finish and whether you opt for a Bluetooth adapter.

Vanatoo was founded eight years ago and began selling the Transparent One speaker system (which I will refer to as T-One in this review) approximately three years ago. According to Gary Gesellchen and Rick Kernen, the guys behind the company, the design goal was to create a secondary speaker system that could fill a room with sound. What took them by surprise was the system’s popularity for critical nearfield listening—about half the company’s customers use the system that way.

Gary and Rick wanted the T-One to pack as much musical punch into a small enclosure as possible. In order to achieve their goal, they employed DSP EQ to flatten the system’s native response and to extend the bass response. Vanatoo specifies a frequency response from 48 Hz to 20,000 Hz, which is pretty darned decent for a speaker of this size. Furthermore, I confirmed the accuracy of the frequency-response specs using my own measurements.

Features

The T-One system consists of two compact, 2-way bookshelf speakers. Unlike quite a few active speaker systems, these contain passive crossovers. A stereo amplifier (60 watts/channel) is built into one of the speakers, while the other speaker is passive. Each T-One speaker sports a 1″ silk-dome tweeter, a 5.5″ woofer, and a 5.5″ rear-mounted passive radiator.

All connections and controls are on the back panel of the active speaker. It has digital optical, coaxial, and USB inputs, as well as a 3.5mm (mini) analog-stereo input. It offers bass and treble tone controls as well as a subwoofer output with a 125 Hz crossover.

A volume knob on the rear panel lets you adjust the T-One’s peak output level, but the system assumes you’ll control the volume at the source. If your source does not have a volume control, reaching behind the speaker to tweak the volume knob works, even if it’s not ideal.

The T-One system automatically selects whatever input receives a signal—there’s no manual source-selection switch. The review sample included a Bluetooth adapter, which plugs into an outlet on the back of the speaker. The adapter also connects to the analog input with a standard 3.5mm stereo cable, but I did not wind up using it.

Here’s the back of the active unit, I used a Google Chromecast Audio instead of the Bluetooth adapter.

Setup

It’s really easy to set up a pair of T-Ones, although care should be taken with speaker placement if you want to get the best results when listening to music. To set up the system, you need only connect the two speakers with the included speaker cable, plug the powered speaker into a wall outlet, choose whether the powered speaker is the left or right speaker (using a switch on the back), and connect one or more sources. You can also connect a subwoofer, which will automatically engage a 125 Hz crossover. I chose to use a PSB SubSeries 200 subwoofer ($650) for this review since it is both compact and capable.

My source for music listening was a Windows 10 laptop, which was connected to the Vanatoos via USB. I also used the speakers in conjunction with a Panasonic TC-60CX800U TV and its built-in streaming apps, using a digital optical cable to make that connection. Finally, I connected the new Chromecast Audio ($35) to the analog 3.5mm stereo input, instead of using the Bluetooth adapter Vanatoo provided.

For what it’s worth, the company founders are thrilled about the release of Chromecast Audio, which quickly and inexpensively gives the T-One system (and any device with an analog or optical digital input) multi-room streaming-audio capability with PC, smartphone, or tablet-based remote control.

During my listening sessions, the Vanatoos sat on top of 24-inch speaker stands that were positioned several feet out from the front wall and six feet apart from each other, with a slight toe-in. I sat between the two speakers, forming an audiophile-style equilateral triangle.

Performance

The Transparent Ones are fun to listen to, thanks to their lively presentation that includes satisfying bass without using a sub. They image well and reveal a surprising amount of musical detail. I found that you can push the Vanatoos right to the edge of their performance envelope, and they will continue to play without audible distortion or significant dynamic compression. I ran some full-range pink noise through the system, and the C-weighted SPL level reached 98 dB at my seating position (both speakers running) before the amp gracefully bowed out for a couple of seconds and then smoothly faded back in.

My music listening included a variety of tracks. I used Tidal HiFi to stream lossless 16-bit/44.1 kHz audio and found that the speakers could handle everything from jazz to classical to pop to rap with confidence.

Despite the seemingly modest 60 watts/channel rating, the T-One system had plenty of power on tap. The quantity and quality of bass they produced belied their size—at moderate (and even somewhat high) volume levels, bass-heavy hip-hop and electronic music tracks sounded surprisingly satisfying.

Adding a subwoofer took the T-One system’s performance to another level, freeing up the mid-woofer so it could concentrate on the crucial midrange. I could push the Vanatoos to considerably higher SPL levels when using a sub—loud enough to make me feel uncomfortable.

The T-One system took full advantage of the SubSeries 200’s significant bass-making capability; that system could easily rock a small party. Performance was akin to what you’d expect from a similarly priced system ($1200) consisting of tower speakers and a 2-channel integrated amp. At my seat, output measured 90-95 dB (C-weighted) when listening to music at something approaching maximum output.

Using the Chromecast Audio with the Vanatoos was liberating; it sounded great streaming music from my Google Play account. I streamed a variety of albums including Large Professor’s Re: Living, Teddybears’ Soft Machine, and Air’s 10,000 Hz Legend at top volume—the T-One system does not shy away from working hard for your money.

While soundbars are a popular solution for getting better sound out of a TV, I think the Vanatoos have a lot going for them when used in that application. Their overall clarity and punchy bass, along with their small size and classic good looks, make them a TV-friendly solution. Frankly, I have yet to hear a soundbar in the same price range that does any better at reproducing dialog and sound effects. Watching scenes from Terminator: Genisys, Jurassic World, Spy, and Mad Max: Fury Road—streaming through the TV’s Vudu app—had me smiling at how well a decent 2-channel speaker system can handle audio-for-video duties.

Conclusion

Vanatoo’s Transparent One system is compact and easy to set up, making it a very reasonable choice for audiophiles with limited space and funds. It’s also a good option for AV duty and video gamers, making the most of TV and movie sound—even without a sub. It’s super-simple to use, and with the addition of a Chromecast Audio, it can serve as part of a multi-room audio system.

The biggest surprise to me was how genuinely good the Transparent One system sounded when used as nearfield monitors. I’m glad I finally had a chance to review a pair, because they truly are an audiophile bargain.

REVIEW SYSTEM

Sources

Windows 10 PC with Tidal HiFi and Google Play Music
Chromecast Audio
Panasonic TX-60CX800U UHDTV

Subwoofer

PSB SubSeries 200

The post Vanatoo Transparent One Powered Speaker System Review appeared first on AVSForum.com.

This was the in-room frequency response after reducing the treble a couple of notches.

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One of life’s great pleasures is enjoying music or a movie at home while listening to a properly dialed-in surround system. Whether it’s an old-school 5.1 rig or a new-school 7.2.4 immersive audio setup, a key to getting goose bumps and achieving suspension of disbelief is to experience sound through a speaker system that’s capable of exceptional fidelity.

A lot of the crucial research that led to greater understanding of what makes for a nice-sounding speaker has been conducted at the National Research Council, Canada’s research facilities in Ottawa, Ontario. Paul Barton—PSB’s founder—was there from the beginning and practically had the place all to himself until 1982. For over four decades, Paul has worked to advance the art and science of speaker design, and his experience is reflected in the products that bear his initials.

I talked with Paul about the thinking that went into the Imagine X line. It turns out that form follows function—right down to the small logo in front of the dome tweeter that does double duty as a phase plug. The entire Imagine X line is about delivering high-end audio performance at an affordable price through proper design.

In July 2015, I published a review of the X2T towers, finding them to be top-notch speakers. Now, it’s time to examine how five Imagine X series speakers and a pair of SubSeries 200 subwoofers come together when used in a 5.1-channel surround system.

Features

The review system consisted of three different PSB Imagine X speaker models. X2T towers served as front left and right speakers, XB bookshelf speakers took on surround duty, and an XC center channel did what its name indicates. A pair of SubSeries 200 subwoofers took care of the low end.

The Imagine X2T ($1300/pair) is a 3-way tower speaker featuring a 1″ titanium-dome tweeter, a 5.25″ polypropylene midrange—mounted above the tweeter—and dual 6.5″ polypropylene woofers. A large, rectangular, ported, internally braced MDF cabinet holds all four drivers and comes in a Black Ash finish.

PSB specifies a frequency response from 30 Hz to 23 kHz (+/-3 dB) for the Imagine X2T. The company goes further than most by including on-axis and off-axis response specs to within +/-1.5 dB—it’s 40 Hz to 20 kHz on axis and 45 Hz to 10 kHz off axis (30°). The -10 dB point for bass response is 28 Hz.

Rated sensitivity for the X2T is 90 dB/W/m in a listening room and 88 dB/W/m in an anechoic chamber, and each tower can handle up to 200 watts of continuous power with 8Ω nominal impedance and 4Ω minimum impedance. The crossover frequencies are 500 Hz for the woofers-to-midrange transition and 2200 Hz from the midrange to the tweeter. Each 6.5″ woofer has its own a discrete chamber within the cabinet as well as its own front-firing tuned port. The speaker weighs 52 pounds and measures 9″ (W) by 40.1″ (H) and 17.6″ (D).

A PSB Imagine X2T tower speaker.

The Imagine XB ($500/pair) is a 2-way bookshelf speaker that features a 1″ titanium-dome tweeter and a 5.25″ polypropylene mid/woofer. A compact, rectangular, rear-ported MDF cabinet holds the two drivers and comes in a Black Ash finish. Frequency response for the Imagine XB is 55 Hz to 23 kHz (+/-3 dB) and the -10 dB point for bass response is 50 Hz.

The XB’s rated sensitivity is 89 dB/W/m in a listening room and 87 dB/W/m in an anechoic chamber, and each speaker can handle up to 150 watts of power. Nominal impedance is 8Ω, with 4Ω minimum impedance. The crossover frequency of the Imagine XB is 1800Hz. Each speaker weighs 12.3 pounds and measures 6.75″ (W) by 12″ (H) and 10.75″ (D).

One pair of PSB Imagine XB bookshelf speakers.

An Imagine XC ($400) served as the center-channel speaker for the system. It’s a 2-way speaker that uses the same 1″ titanium-dome tweeter as the X2T and XB models with dual 5.25″ mid/woofers. A compact, rectangular, rear-ported MDF cabinet holds the three drivers, and like the other speakers, it comes in a Black Ash finish.

Frequency response for the Imagine XC is 50 Hz to 23 kHz (+/-3 dB) and the -10 dB point for bass response is 45 Hz. The rated sensitivity is 90 dB/W/m in a listening room and 88 dB/W/m in an anechoic chamber. This speaker handles up to 150 watts of continuous power and nominal impedance is spec’d at 8Ω with 4Ω minimum impedance. The crossover frequency of the Imagine XC is 1800Hz. The speaker weighs 19.8 pounds and measures 19.125″ (W) by 6.75″ (H) and 11.125″ (D).

The PSB Imagine XC center channel speaker.

Dual SubSeries 200 subwoofers ($650 each) took care of deep bass in this system. Each SubSeries 200 features a 10″ driver powered by 200 watts of amplification (560 watts dynamic peak). Frequency response is specified as 28-150 Hz (+/- 3dB) with a -10 dB point at 25 Hz.

A PSB SubSeries 200 10″ subwoofer

The SubSeries 200 features a variable lowpass filter (50-150 Hz), a phase switch, and an auto on/off function. Notably, the volume and crossover controls are mounted on the front of the unit and, as a consequence, are easy to adjust. The ported cabinet measures 13.375″ (W) x 17.5″ (H) x 15.5″ (D), weighs 34 pounds, and is available in either Black Ash or Dark Cherry finish.

Setup

I chose to review the Imagine X system using a Classé Sigma SSP pre/pro and AMP5 amplifier that I borrowed for use as a reference rig. The Classé eschews automated room correction, so I employed a miniDSP DDRC-88A Dirac Live processor to take care of that. On the video end, my trusty Samsung PN64F8500 plasma served as the display.

I positioned the front left and right speakers to flank the TV. In order to achieve maximum fidelity, I brought the X2Ts out into the room a bit; the front baffles of the speakers were four feet away from the front wall. Each speaker was 30″ from the closest side wall, with six feet of space between them.

The XC center was perched atop the plasma TV. Its front baffle was two feet from the front wall. Meanwhile, the XB bookshelf speakers sat upon 36″ speaker stands, which I placed along the side walls and just behind my seat, and I allowed about 6″ of space for the rear-firing ports. The subs were positioned along the two side walls about six feet away from the room’s front corners.

After setting a crossover point for each speaker—I went with 40 Hz for the X2T towers and 80 Hz for XB and XC speakers—I ran Dirac Live’s calibration routine.

For my listening and viewing sessions, I used a Roku 2, a Samsung BD-H6500 Blu-ray player, a Google Chromecast Audio, and a Windows 10 PC as sources. My music-to-movie ratio was 80/20, most of it with the Dolby PLII Music upmixer providing ambience extraction.

Although I did not use it to critically evaluate the system, I briefly ran the speakers with my Pioneer Elite SC-85 AVR, in order to test whether it had enough power to push the system to its full potential. I found there was plenty of power on tap to provide an impactful listening experience in my modest listening area. Nevertheless, I stuck with the Classé Sigma gear for the purpose of this review, primarily because it’s the better system spec-wise, and it offers more flexibility. For example, you can set independent crossover points for each speaker pair and the center—unlike with the Elite.

Performance

The speakers and subs in the Imagine X system turned out to be heavy-hitters at their respective price points. The XB bookshelf and XC center speakers proved to be excellent companions for the X2T towers, with matching timbre and very similar sensitivity. The speakers formed a cohesive system with no identifiable “weakest link” in terms of performance.

The Classé AMP5 had more than enough juice on tap to fully power the Imagine X speakers, and I thought the PSBs made great use of every watt they got. There was a clear and effortless nature to the system’s sound that transcended price points and specifications—all you have to do is sit back, listen, and enjoy the escape they provide. This is a speaker system that brings the science of good sound home at a price that makes the MSRP of many high-end tower speakers seem silly.

Unlike some highly resolving systems that can sound explicit and analytical, these Imagine X speakers sounded smooth and sophisticated. They had a knack for revealing detail without coming across as bright or fatiguing. Indeed, the most notable characteristic of this system was balance—when listening to a great recording, each instrument was represented in proper proportion without exaggeration.

Much of my music-listening repertoire intentionally avoids the genres favored by crusty audiophiles, such as classical, jazz, and organ music. Instead, I gravitate toward genres like hip-hop, reggae, and various forms of electronica. Nevertheless, rest assured that I covered a wide variety of genres over the many hours I spent listening to this system. From heavy metal to choir music, from hard-core rap to the most popular pop songs, with a healthy dose of live jazz and orchestral music thrown in for good measure, I can say without a doubt that it’s a great system for music lovers.

The SubSeries 200 subwoofers wound up surprising me with their ability to output gobs of tight, impactful bass. The subs performed properly when reproducing the sounds made by real instruments, which had me thinking PSB’s claim that it focuses on the “musicality” of its subwoofers is no joke. However, as far as I’m concerned, musicality alone is not enough—a great sub has to be able to scare you with sheer impact if need be. Fortunately, the twin 200s were up to the task of rocking the house to its foundation, and possibly causing some consternation among my immediate neighbors.

When I watched movies using this system, I found that the smooth yet powerful quality of its output allowed it to play at reference levels without causing listener fatigue. The clarity, impact, and precision of the speaker system rendered a soundfield that was enveloping and seamless. Did I miss Dolby Atmos? Sure! Even so, I can also say—without question—that the PSB Imagine X series could be a great foundation on which to build an Atmos-compatible system. All you need are some in-ceiling speakers or some Atmos-elevation modules.

Listening to music and movies is an essential part of any speaker-system evaluation, but measurements have their own story to tell. I took a look at the frequency-response plots created by Dirac Live during the setup process, and what I saw put a smile on my face. Overall, the speakers exhibited very good in-room response without any room correction, which meant that Dirac didn’t have to apply radical amounts of EQ to bring the response curve closer to the ideal. Toggling Dirac Live processing on and off revealed very little change in the sound’s character, and I was especially impressed by how the natural response of the towers closely followed the Dirac Live default curve from 50 Hz on up.

With the twin SubSeries 200 subwoofers, Dirac Live measured the -3 dB point at 21.5 Hz, thanks to the effect of room gain. I was genuinely surprised and pleased by the depth of the bass these subs could handle authoritatively.

Conclusion

The performance of PSB’s Imagine X speakers appealed to the music lover in me, rendering my favorite tunes in a lush yet uncolored manner. Meanwhile, movie sound came through with clarity and great impact—the system deftly handled whatever sound effects a blockbuster threw at it.

The Imagine X system offered a timely reminder that you can have a tremendously gratifying surround-sound experience with “only” 5.1 channels of audio, as long as each one of those channels is properly and faithfully reproduced. Indeed, the vast majority of movies available on Blu-ray and via streaming services feature a 5.1 mix. Even though Dolby Atmos for the home has been out for a year and a half, only a few dozen movies feature the format as of now.

Whether you are putting together a surround system from scratch, or you are in the process of upgrading an existing system’s speakers, PSB’s imagine X line is worth an audition. The fruits of Paul Barton’s four-plus decades of experience designing great-sounding speakers were clearly on display in this excellent 5.2 speaker surround system.

REVIEW SYSTEM

Sources

Windows 10 PC
Samsung BD-H6500 Blu-ray player

Processing and Amplification

Classé Sigma SSP 7.1-channel AV pre/pro
Classé Sigma AMP5 5-channel amplifier
miniDSP DDRC-88A 8-channel Dirac Live processor

Review by Mark Henninger

The post PSB Imagine X 5.2 Speaker System Review appeared first on AVSForum.com.

During a recent trip to Klipsch headquarters in Indianapolis, I had a chance to hear the WiSA-enabled surround system the company first announced at CES 2015. Unlike the brief demos I usually hear at shows, this audition was held in a dedicated, quiet room. Crucially, I had full control over the demo, including the volume. The experience left me more enthused about the potential of WiSA (Wireless Speaker and Audio Association) than ever.

I took a trip to Klipsch HQ in Indianapolis, this is the main entrance.

I first heard a WiSA-enabled surround system—from Bang & Olufsen—at CES 2014, and the impression left by the sound quality I experienced that day has stuck with me for two years. However, the cost of that system was steep—$25,000 for four speakers and a sub. At the time, I wished for a system that offered the precision and dynamics of the B&O rig, but at a price that was more approachable.

Fast forward to October 2015, when I had a chance to visit Klipsch and see the company’s R&D facilities. Based on what I heard there, Klipsch has brought the cost of a high-performance wireless surround system down to earth. There are five self-powered speakers in the new WiSA-enabled line, and all of them are priced under a grand.

The RP-440WF floorstanding speaker ($999 each) is a slim tower that features four 4.5″ woofers in a tapered array—the two woofers closest to the tweeter are crossed over at 1800 Hz, while the two lower woofers are crossed over at 200 Hz. The tweeter is a 1-inch titanium dome mounted in Klipsch’s signature Tractrix horn. Frequency response is rated from 45 Hz to 25,000 Hz, and the speaker is powered by 125 watts of amplification (250W peak).

Klipsch’s RP-440WC center-channel speaker ($799 each) has a low-profile cabinet—similar to a soundbar—and the same complement of drivers as the tower model. Indeed, the center also features precisely the same specs as the tower, so it’s a perfect match. It also uses a tapered driver array, crossing over the two outermost woofers at 200 Hz and the woofers closest to the tweeter at 1800 Hz. As with the tower, frequency response is rated from 45 Hz to 25,000 Hz, and the speaker is powered by 125 watts of amplification (250W peak).

Rounding out the speaker lineup is the RP-140WM monitor ($999/pair). This compact bookshelf-style speaker uses a two-way design that pairs the same Tractrix horn tweeter found on the towers and center with a single 4.5″ woofer. The rated frequency response extends from 60 Hz to 25,000 Hz, and it is powered by a 50-watt amp (100W peak).

No surround-speaker system would be complete without a subwoofer. Klipsch offers the wireless RP-110WSW sub ($799 each) that has a 10″ driver mounted in a ported cabinet. The specified frequency response is 27 Hz to 125 Hz, and power is rated at 200 watts (400W peak).

The brains behind this WiSA-enabled system is the RP-HUB1 Control Center ($499 each). It offers four HDMI inputs (one is HDMI 2.0 with HDCP 2.2), Bluetooth, digital optical and coaxial audio inputs, analog stereo RCA audio inputs, and surround-sound processing, and it creates its own 7.1-channel hi-res audio wireless network using WiSA technology. The system supports audio resolutions up to 24-bit/192 kHz for 2-channel and 6-channel content, and 24-bit/96 kHz for 8-channel content. You can use the Control Center in conjunction with a pre/pro or AVR, but it’s also capable of running a system on its own—all you need to add are source devices.

The Reference Premiere HD 7.1-channel system I heard featured the towers and the center up front, and four of the monitors acting as surrounds. It also featured dual subwoofers, which were placed up front against the wall. It’s worth noting that you can use multiple subwoofers with the WiSA system, but you are limited to a single distance (timing) adjustment.

The back of each speaker has a foolproof interface that lets you assign it to a channel. 

What I heard during that demo set a new standard for price versus performance in wireless audio—with a strong emphasis on performance. This is not just some lifestyle audio system, it’s a hard-hitting, home theater-worthy powerhouse that offers crisp, dynamic sound reproduction.

Freed of the usual constraints of the show floor at CES—where exceeding 85 dB during a demo can earn an exhibitor an infraction—I spent quality time at Klipsch’s facility blasting music through the system. It brought out the thrilling dynamics in tracks like “Drums Stop, No Good” from the album VTT2: Vital Tech Tones, Vol. 2. I also fed it Massive Attack, Adrian Sherwood, and Daft Punk (from the Tron: Legacy soundtrack).

Of course, I also checked out some multichannel Blu-ray content on the system. Make no mistake, this is proper home-theater sound—no soundbar or Sonos-like wireless system can do what this Klipsch WiSA system is capable of when it comes to fidelity and sheer output. Wireless or not, it is a powerful surround system that delivers a true home-theater experience to the listener.

Speaking of power and performance, one of the best things about self-powered speakers is that they don’t share a single power supply, unlike the amps in a multichannel AVR that can experience a drop in per-channel output when all channels are blaring, as in an action scene during a movie. Wireless speaker systems avoid this trap because each speaker features a discrete amplifier with its own power supply. That means you get full output from each speaker with all channels driven.

The slender towers are rather deceptive in that you hardly get a sense of how powerful they really are—AV fanatics who crave a high-performance system that looks good and sets up in 10 minutes are bound to be thrilled with this system’s spousal-acceptance factor. And yet, without question, one of the main selling points of this system is its raw power and fantastic fidelity. It really is the best of both worlds. The only thing missing at this point is an 11.2-channel Atmos-compatible variant; hopefully, such a system is in the cards for the future.

Typically, my home studio is a mess of wires because I’m constantly swapping out speakers and electronics for the sake of writing reviews. I literally can’t wait for the day when wireless, self-powered speakers are the norm, and passive wired speakers are considered an anachronism. Thanks to its attractive pricing and aggressive performance, this WiSA-enabled speaker system is a crucial step toward that goal.

The Klipsch Reference Premiere HD wireless speakers will be available at Magnolia stores starting this January. Way to go Klipsch, and way to go WiSA.

The post Klipsch Reference Premiere HD Wireless System with WiSA appeared first on AVSForum.com.

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Immersive audio formats like Dolby Atmos, DTS:X, and Auro 3D offer listeners a new dimension of surround sound thanks to elevation channels that add height to what you hear. This review is all about the PSB Imagine XA Dolby Atmos elevation module ($500/pair).

Atmos is the most popular immersive audio format thanks to the (comparatively) large selection of movies that are available. It’s also the only format of the three that offers a dedicated solution for easily adding height channels to a surround system—Dolby-enabled speakers.

There are two ways to get a height effect in a home environment: direct sound (i.e. speakers mounted up high) or reflected sound. For many consumers, the easiest way to add height channels to their system is to take the reflected-sound approach. In response, numerous manufacturers have released Dolby Atmos-enabled speakers and modules capable of creating a three-dimensional dome of sound in a typical residential room. The primary appeal of the Dolby-enabled speaker approach is you don’t have to cut holes in your ceiling and run cables through the walls.

Late last year, I reviewed an Imagine X 5.2 speaker system that performed very well, especially for the price. Post-review, I had boxed it up and was ready to ship it back to the company when I got word the release of the Imagine XA was imminent. As a result, I held on to that speaker system to use with the XAs. This review is about how that turned out.

Features

PSB Imagine XA modules are designed explicitly for use as height speakers in a Dolby Atmos surround system. However, they are also compatible with DTS:X (a competing immersive format) but not Auro 3D. The XA’s sealed 6.5” by 10.5” by 6.75” enclosure houses a 4” clay/ceramic-reinforced polypropylene cone mid/bass driver and a 1” titanium-dome tweeter. Size-wise, it’s a perfect fit when resting on top of an Imagine XB bookshelf speaker.

Performance specs for the XA include a frequency response of 100-23,000 Hz +/- 3 dB, 85 dB/W/m (anechoic) sensitivity, 8-ohm nominal impedance, and up to 80 watts of power handling. It turns out that is more than enough capability to deliver a robust Atmos experience.

The black-ash finish enclosure’s up-facing baffle is appropriately sloped to project sound at an angle as prescribed by Dolby’s specifications. As a rule, reflected-sound Atmos modules function well with flat, acoustically reflective ceilings. You can get it to works in a wide variety of rooms, but vaulted ceilings won’t work.

One of the more notable features of the XA module is the grill. It’s not there just for cosmetic purposes or to catch dust, as is the case with some other Atmos modules I’ve seen. Rather, it is lined with acoustically absorptive foam that controls dispersion so that listeners hear sound that’s reflected from the ceiling instead of coming directly from the speaker. I spoke to Paul Barton about the XA design. He was proud to not just have met Dolby’s specs for on and off-axis response, but to have beat them.

Setup

A Pioneer Elite SC-85 provided processing and power for the 5.2.4 Atmos speaker configuration. Up front, a pair of XAs sat atop Imagine X2T towers. Imagine XB bookshelf speakers served as surrounds and had the rear pair of XA modules resting on top of them.

The front left and right speakers were positioned seven feet apart, with a Samsung PN64F8500 TV plus an Imagine XC center channel positioned between them. The dual SubSeries 200 subs were positioned against the side walls, and I used a miniDSP DDRC-88A Dirac Live processor to handle room correction for those subs. My seat formed an equilateral triangle with the front towers and while the surrounds were situated four feet behind my seat and somewhat off to the sides, as per Dolby’s setup diagrams.

I used a Monoprice Monolith amplifier ($1500) to power the five ear-level speakers. This was not because I needed the extra power, rather it was so that I could shut the amp off and listen to just the Atmos-enabled speakers doing their thing. That being said, the Monolith provided 200 watts per channel of clean power to the speakers and allowed me to stretch the system to its limits.

The Auto MCACC setup routine on the SC-85 correctly calculated the distance of the Atmos modules as including the bounce off the ceiling, a sure sign that your ears will also hear the sound as coming from above. When the calibration routine ended, I used a miniDSP UMIK-1 and Room EQ Wizard (REW) to double-check the speaker levels chosen by the AVR and found it was accurate to within +/-0.5 dBs

I confirmed Atmos was working as it should by using clips from a Dolby demo disc. I was immediately rewarded with overhead sound effects that created a sense of 3D space.

Performance

Adding four Imagine XA modules to the Imagine X 5.2 system I reviewed transformed the listening experience it offered. Watching movies mixed in Atmos and upmixing both movies and music using Dolby Surround immediately showed the benefit height effects provide.

Unlike the elusive improvements offered by some upgrades—going from a 100-watt to a 130-watt per channel AVR might buy you an extra decibel of output—the effect of adding Atmos is unmistakable. With the right demo material, there’s no chance someone would not be able to hear the difference between 5.2 surround and 5.2.4 Atmos audio, even in a blind test.

There are three things I listen for in an 3D immersive speaker system, regardless of whether it uses reflected-sound or in-ceiling speakers. The first is object tracking, for example a fly or a helicopter buzzing around overhead. The second is how well the system can reproduce ambient sounds like wind, rain, sirens, thunder—any sound that should appear to come from above, but not be localizable. The third involves listening for dimensional cues such as echoes and reverb—can the system convincingly put you in a jazz club one minute, the confines of a car the next, and into a cathedral or cave right after that?

Atmos-enabled reflected-sound speakers are quite good at handling ambient effects, indeed they are arguably better at the task than in-ceiling speakers (which tend to be easier to localize). On the flip-side, in-ceiling speakers tend to be better at reproducing discrete sounds—the fly buzzing around over your head will appear to be in sharper focus.

To test how well the XA modules handle discrete height effects, I spent some time listening Dolby Atmos demo clips (Leaf, Amaze, Santeria), clips from movies (Mad Max: Fury Road, Terminator Genisys, Transformers: Age of Extinction), as well as gameplay in Star Wars: Battlefront. I spend a fair amount of time listening to the XA modules with all with the ear-level speakers disconnected. It’s a subjective judgement, but to my ears the height channels consistently sounded like they were coming from above, and not directly from the modules. More importantly, I was able to hear discrete sound objects as well as diffuse ambience.

While I was watching movie clips with Atmos sound, I was occasionally struck by how sparingly the overhead effects were used. Whole scenes would go by without a single sound coming out of the Atmos speakers. In Terminator Genysis, overhead effects were notably sparse and typically used like a gimmick, similar to when something jumps out of the screen in a 3D movie—that’s an awful lot of unfulfilled potential.

Even on Dolby’s own demo disc, the paucity of overhead effects used in movies was apparent. The Transformers clip on the Dolby demo disc contained a mere five Atmos sound effects—each lasting about a second. Among the movies I checked, Mad Max: Fury Road had the most sophisticated mix with height effects used to create a sense of space, discrete sound effects that matched up to the scene, and even the score was an integral part of the height effect mix.

Ultimately, the best test of the Imagine XA modules came from the PC edition of the Star Wars: Battlefront video game, which was the first gaming title to feature Atmos. Unlike the movies I demoed, the game was full of height effects including lots of discrete sounds like fighters flying around and the sound of blasters. Plus, because it’s a video game I was able to rotate the entire soundfield by simply moving the character. Until something better comes along, Star Wars: Battlefront is my gold standard for testing Atmos speaker systems.

One aspect of the system’s performance I highly appreciated was the seamless way the XA modules blended in with the other Imagine X speakers. There was no telltale difference in timbre, and the dome of sound the system created was seamless. Using the Dolby Surround upmixer to listen to music with lots of ambience in it—Boards of Canada’s Geogaddi and Cowboy Junkies’ The Trinity Session— I was struck by the enhanced sense of space Atmos added to the mix. Listening to 2-channel music upmixed with Dolby Surround is my favorite use for an Atmos-capable system.

Rudimentary measurements indicated the Imagine XAs meet or beat their published frequency response specs. For what it’s worth, in less than two weeks I am headed to the NRC facilities in Ottawa where I will learn about how to take more sophisticated measurements that may be used in reviews.

Conclusion

PSB’s Imagine XA modules work as advertised and then some. As long as you have the right kind of ceiling, you can add high-performance elevation channels to a surround system at a reasonable price and without the need for in-ceiling or ceiling-mounted speakers. Furthermore, they are more than capable of keeping up with a system that is playing at obscenely high levels without distorting.

PSB’s Atmos modules are a close timbre match to the Imagine X speakers they compliment. Additionally, they work well with speakers from other manufacturers that don’t offer Atmos enabled modules. When paired with an Imagine X speaker system, everything comes together seamlessly. To my ears, a pair of XAs represent a worthwhile upgrade for a 5.1 or 5.2-channel Imagine X surround system.

REVIEW SYSTEM

Processing and Amplification

Pioneer Elite SC-85 AVR
Monoprice Monolith 7-channel amplifier
miniDSP DDRC-88A Dirac Live processor

Sources

Windows 10 PC (DIY) with NVIDIA GTX980
Samsung UBD-K8500 Ultra HD Blu-ray player

The post PSB Imagine XA Dolby Atmos Elevation Speakers Review appeared first on AVSForum.com.