Loudspeakers

A handsome design with some likeable characteristics If you ask me, the bow-fronted Aviano 8 succeeds in looking modern while retaining a certain British reserve. Certainly it’s a notable contrast to the rather garish Teufel, and not just in the looks department. A four-driver two-and-a-half-way, the Aviano 8 has three 6. 5in drivers featuring M-S’s dished CPC (Continuous Profile Cone) aluminium diaphragms and a 25mm aluminium dome tweeter, nestled behind a protective grille.

Innovative technology helps the Quadral stand out from the field A mere glance at the Platinum M4 is sufficient to identify it as a Quadral, the bass drivers recessed behind aluminium slats being a clear visual cue, whether the speaker carries the Quadral name or that of its prestige Aurum brand. It isn’t just a cosmetic feature but a part of Quadral’s enhanced form of reflex loading – there’s a large port at the rear of the cabinet – which really does perform differently if the relatively flat impedance curve is anything to judge by. A four-driver three-way, the Platinum M4 matches its twin metal-coned bass drivers to a similar metal-coned midrange unit, above which is not the ‘ribbon’ (actually leaf) tweeter we’re used to seeing in Aurum models but Quadral’s RiCom-M ring tweeter, which is unusual for its annular diaphragm being of titanium. Quadral claims that it produces character-free treble output with broad dispersion.

Following the success of its keenly-priced Studio 1 models, JBL ups the ante with a no less distinctive Studio 5 range The company’s marketing philosophy is pretty simple: if you’ve got it, flaunt it, ‘it’ being JBL’s long and distinguished history in professional audio. Think PA speakers and you’ll probably envisage direct radiating bass drivers coupled with hornloaded midrange and treble units – exactly the image JBL wishes you to have and echoes in many of its domestic speakers which, fl ying in the face of fashion, continue to feature horns. Cue the new Studio 580, middle of the company’s new Studio 5 range which looks to build on the reception accorded JBL’s lesser Studio 1 series, which included bagging the recent EISA European Loudspeaker 2011-2012 Award for the high-value Studio 190 [see HFN Oct ’11, page 11]. Compared to the 190 [HFN May ’11] the costlier 580 might appear to be a retrograde step.

This slimline floorstander features some unusual unusual driver materials Awarded EISA Loudspeaker of 2010-11 [see HFN, ’Oct 10], the latest version of Dali’s Ikon 6 may be relatively easy on the wallet, but you wouldn’t believe it to look at it. OK, it has a vinyl finish (this comes in a choice of black, light walnut or white) rather than a proper wood veneer. But most customers will surely consider that to be a fair exchange for what is a large cabinet at 1028mm tall, equipped with twin 6. 5in reflex-loaded bass-mid drivers – the lower of which is rolled off gently above 700Hz – and Dali’s trademark twin-tweeter module.

The Q3 employs superb engineering to great effect There’s no magical mystery about Magico’s Q3. It simply represents a rootand- branch engineering re-think of the ‘art’ of loudspeaker design, from the bolts that hold the cabinet together to the bespoke ‘Nano-Tec’ drivers and beryllium dome tweeter. But it’s not some daft ‘concept speaker’, where form overrides function. Nor is there anything especially touchy-feely about the huge black slabs of aluminium that clad the outside of the layered cabinet or the 287 steel bolts that bind this composite and its internal alloy matrix together.

The Aurum range arrives in the UK packed with bespoke technology This floorstander is no larger or more extravagantly equipped than many in this area of the market, but it is notably more substantial than the norm, at 31kg, and better finished too. Moreover, for a premium, there are numerous alternative finishes. Twin 170mm aluminium/ titanium/magnesium coned bass units work in parallel up to a specified 330Hz crossover and are reflex loaded by a single large rearfiring port. The distinctive slats we saw in the Titan VII are echoed in an array of vertical rubber cords that adorn the cut-out through which the recessed bass units radiate – in fact these appear to be part of the reflex/pressure chamber bass loading principle.