![]() ![]() The recording was made with minimalist microphone techniques and it's all too easy to write off any confusion in the replayed sound as a function of the unusually generous acoustic that results. ![]() Having high hopes for this loudspeaker we started it off with a demanding track, the opening of Mahler's fifth symphony on Water Lily Acoustics. Distant orchestral bass drum, for instance. And we do mean deep bass: a common demonstration trick is to play bass with rapid impact and rely on that to impress, but what's much harder is gentle, almost background, stuff at near-seismic frequencies. Still, some models do deliver deep bass convincingly. There are some things one just doesn't expect loudspeakers to do, and producing deep bass from small boxes is one of them. Incidentally, apart from the requirement for plenty of Watts, this is not a tricky load to drive. Twin terminals at the back allow for bi-wiring/ bi-amping if required. ATC recommends this be removed for ultimate performance, though we found it negligible in sonic effect. In appearance, the SCM11 is smart rather than beautiful, with wood veneer-effect finish and a removable grille cloth. ![]() Meanwhile, at the other frequency extreme, treble dispersion is aided by the 'waveguide' profile of the tweeter. This is very much the expensive way of going about things (a long coil in a short gap is cheaper and much more common) but has distinct advantages in terms of keeping distortion low when the cone is moving a long way, as it must in order to produce high levels of bass. The main drive unit features a short voice coil in a long magnet gap. ![]()
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