Sitting just below the Reference models in Acoustic Energy’s line-up, its Radiance Series is intended to offer a good proportion of their abilities at a lower price. The Radiance 2 occupies the centre of the three-strong range of stereo designs [a matching subwoofer and centre channel are also available] and utilises three drive units in a two-and-a-half-way configuration.
The two main drivers are 130mm in diameter and consist of a pressed alloy cone with matching conical dust cap, allied to a rubber surround. Voice-coils are wound with aluminium wire for lightness; each driver has its own enclosure with separate port tuning.
Here, B&W has launched a floorstander that extends the CM Series upwards and fits into the price slot vacated by the old 804S.
Like the 804, the CM10 uses a separate [but new] tweeter module. A standard 50µm-thick dome with most of the centre removed forms a stiffening ring and on the front of this is stuck a full dome only 35µm thick. This gives a higher first breakup frequency, said to be 38kHz, yet with a similar moving mass, compared to the standard 50µm dome.
These Estelons deftly bridge the gap between the radically bizarre and domestically acceptable. Simply put, they look wonderful. Made from a marble based composite, standard finishes include black or white gloss, or matt black for £22,000 per pair. The review pair was finished in ‘Red Rocket Liquid Gloss’ [+£3000].
The M’inenT range [one standmount and two floorstanders] is new from GamuT. The M5s have a tall and commanding presence yet somehow seem less bulky than their paper dimensions would suggest.
The cabinet is exceptionally well finished in a flawless real wood veneer and a wide range of finishes is available at extra cost. The three drive units are configured as a two-and-a-half way design, with crossover points at 500Hz and 2.
In 2012 Kudos introduced the £3500 Cardea Super 10 [HFN June ’12], a go-for-broke ‘supercharged’ version of the company’s 12 litre two-way standmount. Now the company has followed up with a ‘Super’ version of its Cardea C20 floorstander.
Kudos has worked extensively with SEAS in developing specific drivers for its various speaker models, the Super 20 employing the 29mm ‘Crescendo K2’ soft dome tweeter first introduced in the £13,000 Kudos Titan T88 flagship.
The bass/mid driver in the Super 20 is a newly-developed version of the SEAS 18cm unit with hand-treated paper cone.
Magico has wisely decided to ‘trickle down’ its Q series know-how into a new and mildly more affordable series: the S1 and S5 floorstanders. The latter is a good £11k shy of the similarly-proportioned Q3 [HFN Sep ’11] and yet it offers almost exactly the same sensitivity, an even flatter response but a measurably and palpably superior bass extension.
The S5’s body comprises three main sections – a thick alloy baffle plus two curved, 0. 5in-thick side extrusions that increase stiffness while minimising internal standing waves.
Peak Consult is a Danish boutique high-end loudspeaker manufacturer which can arguably be regarded as a Danish equivalent of Sonus faber. The engineering focus, lush aesthetics and fastidious attention to detail are certainly at one with the philosophies of the Italian speaker brand, and price points, from the entry-level Princess V to the six-figure Peak Consult Dragon, are up there too.
The Princess V is a compact yet extremely hefty speaker with superb woodwork and an all-Danish driver array. The tweeter is a custom Scan-Speak model with a 1in silk dome and the main driver a bespoke 5in AudioTechnology unit.
Customer and retailer reactions have suggested the need for a new Wilson speaker closer in performance to the universally-acclaimed Alexandria XLF [HFN Nov ’12], but one that swallowed no more real estate than a Sasha. With a footprint close to the Sasha’s, the Alexia hosts only a slight increase in height, due mainly to the necessarily larger woofer enclosure.
To provide a goodly portion of the XLF’s adaptability, precision and coherence, the smaller Alexia had to offer adjustability of the midrange and tweeter positioning with to-the-millimetre accuracy, according to room specifics and the location of the owner’s ‘hot seat’. That meant a head section with movable segments, but with a volume akin to that of the original WATT.
Campbell (26) fell in love with the sound of the piano as a child. Rather than training formally he decided to shut himself away with an instrument, playing and writing his own music. The 12 tracks selected for recording – some dating back to his teens – have titles, ‘Light on the River’, etc, which he says are not meant to be taken literally. But he sees Sketches as an integral work.
This debut album outing from California’s This Wild Life sees the duo Kevin Jordan and Anthony Del Grosso recording with Aaron Marsh of Florida-based indie rock band Copeland, performing a collection of heartfelt and melodic ‘acoustic punk-rock’ songs described as a melding of punk and folk. Indeed the band describes itself as being able to successfully perform softer music while touring with heavier bands that play the sort of hardcore punk and metal they spent the formative years exploring. The sound quality throughout is slightly hard-edged and in-your-face, the production ‘crowded’ and subjectively forward. Lacking air and space between instruments and voices, it soon becomes fatiguing.
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