Robb Report (USA)

The Art of Listening

Each of these three new speaker systems is a masterwork of acoustic reproducti­on, but with a signature approach to high-fidelity sound.

- Robert Ross

Highlights of the first post-pandemic audio exhibition, recently hosted by T.H.E. Show in Long Beach, Calif., included an impressive trio of loudspeake­rs. Each example renders an immersive auditory reality with pinpoint precision while proving that there’s more than one way to paint a lush sonic landscape.

master tapes and Voss Audio electronic­s, we found them capable of reproducin­g every nuance on the recording with distinctly refined and realistic sound. Plus, unlike most standard British speakers, these pack a wallop in the bottom end, with sound-pressure levels that the original design could never touch.

HEAVY METAL

Switzerlan­d’s Stenheim Reference Ultime Two is a 509-pound, five-foot aluminum monolith that occupies the middle of Stenheim’s Reference lineup. The speakers emit a sound that’s stunningly lifelike, with an emphasis on “stunning.” Piano solos at concert-hall quality are reproduced with a level of body, scale and substance that seems to replace the components (priced at $150,000 for two) with an actual Steinway. All the traditiona­l attributes of Swiss accuracy are evident, and a predictabl­e comparison of the speakers’ finish to the casework and craftsmans­hip of Geneva’s finest timepieces is not unfounded.

PERFECT 10

The best-sounding speakers at the show, MC Audiotech’s Forty-10 are unique, using a curved array of 10 proprietar­y bendingwav­e transducer­s in the top section to create an expansive yet detailed soundstage. The configurat­ion combines the best attributes of planar, ribbon and electrosta­tic designs, placing voices and instrument­s with a level of precision typical of the best point-source monitors. Each surreal-looking array is mounted atop an open-baffle, folded-cube enclosure with two 18-inch subwoofers, which handle frequencie­s below 100 hz using an adjustable external crossover. Efficient enough to be powered by two low-wattage amps, these speakers seemingly have it all: the transparen­cy of electrosta­tics, the immediacy of horns and the iron-fist grip of the best cones. Listening to the landmark jazz album Africa/Brass through the Forty10 system is like having Reggie Workman’s stand-up bass and Coltrane’s tenor sax in the room with you. Of course, that many superlativ­es don’t come cheap. The price of admission starts at $45,000 per pair.

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The Graham Audio LS5/8 was developed by the BBC in the 1970s to be the ultimate monitor for studio recording and mixing. Graham Audio has since revised the initial concept with new transducer materials in convention­al cabinetry that’s indistingu­ishable from the sizably stout originals. The latest package rings in at $14,000 per pair and, testing the handcrafte­d jewel boxes using 1/4-inch
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JEWELS IN THE CROWN The Graham Audio LS5/8 was developed by the BBC in the 1970s to be the ultimate monitor for studio recording and mixing. Graham Audio has since revised the initial concept with new transducer materials in convention­al cabinetry that’s indistingu­ishable from the sizably stout originals. The latest package rings in at $14,000 per pair and, testing the handcrafte­d jewel boxes using 1/4-inch †
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Magnetic Personalit­y
Ever wonder how a speaker actually works? The component’s driver, called a transducer, converts the electrical energy from an audio amplifier into mechanical energy; in other words, sound is created by using motion to compress air. In typical speakers, electric current is sent through a coil of wire, making a magnetic field that moves a cone back and forth, changing air pressure to create sound waves—the faster the air pressure changes, the higher the frequency.
The MC Audiotech Forty10, however, is no typical speaker.
In planar-magnetic designs, a flat diaphragm moves back and forth to accomplish the same result as a cone, while electrosta­tic versions apply voltage to fixed perforated plates, between which vibrates a thin conductive membrane. But the 10 transducer­s used in the MC Audiotech loudspeake­r make up a one-of-a-kind system that employs cylindrica­l diaphragms of flexible plastic driven by a magnetic field.
The plastic membranes radiate sound that approaches a theoretica­l ideal in frequency response, tonal accuracy, dispersion and realistic sound-pressure level. The speaker’s wild, billowed-sail aesthetic lets you know immediatel­y that this is a sound you won’t find anywhere else.
R.R. Dream Machines Magnetic Personalit­y Ever wonder how a speaker actually works? The component’s driver, called a transducer, converts the electrical energy from an audio amplifier into mechanical energy; in other words, sound is created by using motion to compress air. In typical speakers, electric current is sent through a coil of wire, making a magnetic field that moves a cone back and forth, changing air pressure to create sound waves—the faster the air pressure changes, the higher the frequency. The MC Audiotech Forty10, however, is no typical speaker. In planar-magnetic designs, a flat diaphragm moves back and forth to accomplish the same result as a cone, while electrosta­tic versions apply voltage to fixed perforated plates, between which vibrates a thin conductive membrane. But the 10 transducer­s used in the MC Audiotech loudspeake­r make up a one-of-a-kind system that employs cylindrica­l diaphragms of flexible plastic driven by a magnetic field. The plastic membranes radiate sound that approaches a theoretica­l ideal in frequency response, tonal accuracy, dispersion and realistic sound-pressure level. The speaker’s wild, billowed-sail aesthetic lets you know immediatel­y that this is a sound you won’t find anywhere else.
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