RECENT AUDIO NOTES

This new section contains ALL the newest material before it is posted to the dedicated files. It will remain here for around six months. In this way, readers can find the latest observations, news, opinions and thoughts in the fastest time.

Caveat 1- Readers should always keep in mind that the material which is most recently posted is also, generally speaking, the least reliable. It is usually, though not always, my (or our) "first impressions". Sometimes it will be an "update", which of course is usually more reliable. In any event, I may further edit, quite liberally and without any notice or warning, anything you may read here.

Caveat 2- A good number of the posts below are by Anonymous Readers of this website. They are separated from my own posts (*******), and should never be considered my own personal evaluation, belief or recommendation. In many cases, I will add a "Personal Reply" to the reader's letter. If so, my contribution will be the only editorial part of that post that I take personal responsibility for.

I have made these letters public because I feel they could be interesting and informative to some readers. I also like an exchange of observations, evaluations and ideas, even when I disagree with some of them. However, readers must always consider the extent of the previous experiences of the anonymous writer. Serious thought should also be focused on the writer's actual objectivity and their sonic priorities. All of this background and perspective is obviously relevant and critical, and can be extremely difficult to evaluate within a short anecdotal observation. A continual scepticism in our audio world is a perspective that is difficult to argue with.

My web host "changed platforms" recently, and most of the e-mails sent to this website from the last week of November until December 12th are currently "lost" (which is why there are no "readers letters" this month). The initial problem appears to have been solved now, but those lost e-mails have still not been recovered. If a letter was sent here during that period, and still hasn't received a reply, it may have to be sent again. I haven't given up yet on the lost e-mails, and I will make another post when I know the final answer, one way or the other.

COINCIDENT PURE REFERENCE- The Pure Reference (PR) is the finest speaker I have ever heard overall. It has finally replaced my 10+ year "reference", the Ars Acoustica System Max. These two speakers are very similar in basic design philosophy, though their execution is quite different, mainly due to a decade's worth of improvements in (dynamic) driver technology. The PR is also unusually "practical": It is "flexible" in the choice of both amplifiers and listening rooms.

Since I obviously don't change my references very often, I feel it is necessary to discuss my basic philosophy on speakers. This will include the long-term history, and evolution, of my personal speaker references, plus the specific and detailed reasons why the Coincident Pure Reference has achieved its current status.

I've personally owned (let alone my former store) countless speakers in the last 35 years. However, most came and went quickly, and it is only the speakers below that were my true primary speakers (or references). The dates are as good as my memory can provide:

1972 to 1974- Original Quad ESL-57 Electrostatics (stock)

1974 to 1977- KLH Nine Electrostatics (Two speakers per channel-side by side in a "V" shape)

1977 to 1982- Quads (Modified) with RTR ESR-15 Electrostatic Tweeters, and later with various subwoofers

1982 to 1985- Strathearn Ribbons (3 stacked as a line source) with various (sub)woofers

1986 to 1989- Martin-Logan Original CLS (Modified) with Entec subwoofers

1989 to 1996- Wilson WATT (Modified) with (stacked) Entec and (later) Tympani (sub)woofers

1997 to Present- Ars Acoustica System Max (with their own subwoofers)

Details and Explanations:
1. I went back to the Quads in 1977 because the (otherwise superior) KLH Nines had buzzing frames and unreliable transformers.
2. The Quad's front and back protective grilles were removed, the speaker raised 18" and the crossover capacitor was replaced.
3. The CLS had a 9" taller frame, shorter internal wiring and improved passive parts.
4. The WATT's two drivers and internal crossover were all replaced.
5. The years 1985/6 and 1996/7 were "transitional", with no direct exchange of references.

At a quick glance, these six speakers appear to be very different from each other, but there is a basic design philosophy with two critical commonalties.

1. Since 1979, the use of subwoofers (to get the last octave and to also bi-amp and clean up the midrange).
2. The subwoofers withstanding, all of the speakers were either one or two ways.

In practice then, my reference speakers were all, at least in design theory, relatively "full-range" and "cohesive".
When using more common terms, the goals of my two design priorities were simple:
1. I wanted to hear all of the music, and
2. I did not want to hear two different "sources" (midrange drivers) at the same time.

Accordingly, it is now easy to understand why I have avoided, and even ignored, so many different speakers, from so many different companies (including earlier Coincident models), no matter how excited other audiophiles felt about them. From my perspective, if the speakers didn't conform to my two basic design requirements, they were effectively irrelevant, because I knew, from decades of direct experience, that they could never satisfy me, no matter what their other sonic strengths were.

Of course, these six reference speakers also share actual performance attributes, especially compared to their many competitors:

1. They are all fast and detailed, particularly the electrostatics and ribbons in the midrange.
2. They are all clean, with low distortion, particularly at low and medium volumes.
3. They are all relatively neutral, particularly the Quad, Wilson and Ars, though all of them have some colorations.
4. They all have a low "sound-floor", with the Ars being the best in this area.
5. They all have a "live" and "immediate" sound.

They also have some noticeable problems, many of them which are shared:
1. None of them can play "really loud", and the Quad is particularly limited in this area.
2. The "imaging" capabilities are mixed, with only the Strathearn, Wilson and Ars being really good in this area.
3. Related to #1, they all compress the loudest dynamic swings, especially compared to the better horns.
4. The subwoofers were difficult to integrate, especially with the dipoles, but I was (very) successful with the Wilson and Ars.

Still, looking back over more than 35 years, I feel I made the right choices at the time, considering what was available. I heard and tried out so many speakers; in my homes, in my store, at audio shows, in other audiophiles' homes, and I even had "hybrids" that I configured myself, but none of these innumerable speakers could satisfy me in the long-term as well as my references.

When assessing my personal "Evolution", the most recent (dynamic) speakers had fewer "noticeable" problems; In general, while they retained almost all of the strengths of the earlier references; They were a little more neutral; with a lower sound-floor; with a larger soundstage along with superior image focus; had better subwoofer integration; and the ARS finally had the (important and critical) capability of being amplified with the finest, low-power SET models. In practical terms; they drew less attention to themselves.

So now the Coincident Pure Reference joins this ultra-tiny group, and these are the reasons why...

The PR is a simple two-way speaker, with a (built-in) subwoofer. It is the most highly evolved example I've heard of this very specific genre of speakers.

Why and how: The PR's "parts", and its execution, elevate its performance to "outstanding". This is in stark contrast to the numerous other speakers which also share its basic design, and yet mainly remain "mediocre", with the usual exceptions of "better or worse".

As for the details, "Part One" will focus on the two basic design fundamentals discussed above. First will be "cohesiveness", which is, by far, the more difficult of the two to achieve.

The PR's single midrange driver obviously eliminates the main problem of "hearing two different sources". However, there are still other (potentially serious) design problems to avoid, and most speakers fail at solving them. These design challenges are:
1. The midrange to tweeter transition,
2. The midrange to (sub)woofer transition,
3. The more subtle problems of various, audible changes within the midrange itself (to be discussed later in Part 2).

I spent many hours, particularly in Toronto, listening specifically for transitional problems. I used every musical (LP) test and hurdle I could think of (strings, voices, woodwinds, piano, organ etc.). I eventually came to the conclusion, later verified by what I heard in my own system, that the Pure Reference is equal to the finest speakers I've heard at each of these two transitions.

The three best speakers I've heard at handling the critical midrange/tweeter transition are the original Quad (for its time), the Morrison(s) and the Avantgarde Duo. Meanwhile, the Coincident Total Victory II (TVII) and the Ars Acoustica System Max are the two best I've heard with the midrange to subwoofer transition (which is one of the reasons why the Ars was my reference for so many years). The Pure Reference equals each of these five speakers in their respective transitional strength. This accomplishment, excelling in both (or all) transitions, is unprecedented in my experience. To be more specific...

The PR noticeably beat out the Ars in the critical midrange/tweeter transition. This superiority was most noticeable with violins and sopranos. While the Ars is still "excellent" at this transition, the PR is as close to a "single-driver" as any two-way I've heard. The TVII, for its part, has two transitions in the midrange, which automatically disqualifies it.

Next, both the Quad* and the (stock) Duo have serious problems* with their midrange/(sub)woofer transition, the Morrison less so. The Duo may work well with their Basshorns, but this solution entails both a huge monetary expenditure and highly unusual room requirements. As for the Quad, I know of no one who has successfully mated a subwoofer with it, including myself, and I spent years at it. The Morrison goes pretty deep, and it's also "fast", but it's also dynamically limited, presenting a unique matching challenge. (*As do all the other "dipole/dynamic woofer combinations" I've heard.)

In short then, the PR sounds more like a full-range one-way speaker ("The Ideal") than any full-range two-way dynamic speaker I've ever heard, at any price (with the Morrison coming in a close second.)

In fact, the only speakers that have any advantages in "transitions" are a few dipoles with no transitions. Examples are the largest Sound Labs and Acoustats, or custom "hybrids", such as the Martin-Logan CLS*/Tympani woofer combination. However, as far as I know, none of these speakers is truly "full-range", in the traditional, flat to 20 Hz sense of that term. Worse, virtually none of them are flat to 20 Khz either. (*The Quad can also work with the Tympani, but there are severe dynamic discontinuites.)

The second design "fundamental" is being "full-range". This has not been a serious design challenge for many years, actually decades now. It's mainly a matter of cost and proper execution, particularly for achieving the bass part of the equation (20 Hz). To again be specific:

The Pure Reference goes as deep as any speaker I've heard (the quality of the PR's bass will be discussed later). The only speaker I'm aware of (but haven't heard) that can go truly and noticeably lower is the Eminent Technology Model 17 Subwoofer, which can not transition to a midrange driver. This makes it of academic interest only within this context.

As for the high frequencies, the Pure Reference is flat to beyond 20 Khz, and it sounds like it. It takes a true "super tweeter" (usually the finest ribbons), or the Acapella Ion Tweeter, to "sound" even more extended. Unfortunately, I have not heard any speaker using any of those advanced tweeters that did not have noticeable transition problems. To summarize the above then, and by strict definition;
The Pure Reference is the most cohesive of the truly full-range (20 Hz to 20 KHz) speakers that I've heard.

And now it's time to discuss all the standard and familiar performance requirements, and their related engineering challenges. They must be met, and overcome, before a speaker can be honestly described as "an outstanding reproducer".

Important Perspective- I may have given a misleading impression of my audio priorities, which must be dispelled:

Despite my intense focus on "Cohesiveness" and "Full-Range" in both "My Personal Speaker References" and "Part One" above, these two parameters were not what I listened for when I first heard the Pure References in Toronto in October. Before I get into the actual performance details, I must explain exactly what happened that first evening...

When arriving at Israel Blume's home, I thought I would be listening to the Total Reference, his new "flagship", which I had never heard. To my great surprise, I saw a different speaker, which Blume had never told me about (or even hinted at). So, for the next 6 hours or so, I listened to this "mystery speaker". Blume played CDs for the first 30 minutes as the system warmed up. After that, he only played records, many of which were at my specific request. At that time, "transitions" never entered my mind. Instead, as I always do at first, I focused on "the basics": Neutrality, sound-floor, dynamics, immediacy, purity, image size and overall (gut) naturalness etc.

I soon had an extra reason for doing so: A strong sense that I was hearing a speaker which had a combination of sonics strengths I had never experienced before. I had to know, ASAP, whether my gut feeling was correct or not, which is why I was almost manic that evening in my musical requests. By the end of the night, I had satisfied myself that I had indeed heard something truly "special". Then, in the following days, along with "confirmation", I made an intense focus (30 hours) on what most people would consider "subtleties", but experienced audiophiles know that it's those important details (like obscure legal details in contracts) that will make (or kill) the final deal.

So, after reversing my traditional order of focus within this essay, I want to finally concentrate on "The Audio Basics", and methodically compare the Pure Reference's performance to the best speakers I've ever heard, category by category. (And please keep in mind that my speakers are still breaking-in, so I may change something down the road.) First up isn't much of a surprise...

Neutrality of Character- The Pure Reference is as neutral as any speaker I've ever heard. Is it "the most neutral"? Maybe, but I honestly can't say that without hearing all the other most neutral speakers at the same time. For perspective, these are "the other most neutral speakers" I've ever heard (all of them now discontinued!): The KLH-9, (Original) Quad, the Ars Acoustica System Max, the Eminent Technology LFT-3, Coincident Victory II and Total Victory II. Plus, there are invariably other speakers just as neutral that I can't think of at this time. (Such as the Original Apogee, but the amplification is ultra-critical.)

What all these speakers have in common, is that they have a "character" which is difficult to describe, especially in words, because it is relatively subtle. Most attempts are useless or even ludicrous ("chocolate"). Accordingly, I will not attempt to do so. Further...

I believe "neutrality" is somewhat different than other sonic attributes, not only due to its vital importance, but because the issue of "relativity" is less relevant here. By this I mean that when a component is described as "neutral", it's more "absolute" than simply saying that it's "detailed". This is because we don't know how much detail is actually potentially available to reproduce. However, "neutral is neutral", and once a component honestly achieves that distinction, it's inconsistent to challenge this later, even if higher performance levels are eventually attained. The proof is that even some vintage components, originally described as "neutral", are usually still considered the same way today.

Finally, I "sense" (and only sense) that the PR may have fewer "mini deviations", from perfect neutrality, than the other speakers. This is different than the broad variations usually associated with this term, which are also much easier to hear. It will take time and/or measurements to find some real proof of this sense, one way or the other.

Immediacy- The Pure Reference is the most immediate dynamic speaker I've heard. Just as important, and rare in my experience, the PR is equally immediate throughout the entire frequency range. However, the most immediate speakers I've ever heard, with no qualifiers, are the Martin Logan CLS, the (1990s) Audiostatics and the Avantgarde Duo. I don't have any of these speakers available for a direct comparison, but I've heard the first two extensively, and based on my memory of them, the PR is not as immediate as either electrostatic, but it does come pretty close to matching the (horn) Duo, and I'm not sure I can make a confident distinction between them.

While the gap is "noticeable" between the PR and the two electrostatics, it is not "dramatic". This is because I believe the gut reaction of most audiophiles, hearing the PR for the first time, will be the same as mine: "This speaker is immediate". In fact, the PR comes closer to sounding like a good electrostastic (in their strengths) than any dynamic speaker I've ever heard. So, while the PR may be, or is, at the highest level of immediacy within its dynamic speaker group, and it should obviously be considered a "strong suit", I feel it still does not quite match the best of the entire speaker universe.

Further- One of my associates has owned the CLS for years now, and he even recently replaced the panels. He visited me for a couple of days in mid-February 2008, on his annual visit. I played some records he specifically requested, which he had recently heard on his own speakers. The "big question" to him: How close is the Pure Reference to the CLS in the areas of "Immediacy and Speed"? His answer: "Very, very close."

Cleanness and Purity- The results here are similar to "Immediacy" above, though not quite the same. The Pure Reference is very clean and pure. It is equal, or superior, to any dynamic speaker I've ever heard. Still, I don't think it matches the best electrostatics at low to medium volume levels. However, the PR is superior to these electrostatics at higher volume levels and in the deep bass. This also means its "sense of purity" doesn't (noticeably) change as the volume or frequency changes. So I give the edge in overall purity to the PR when compared to the electrostatics. This doesn't complete the purity picture though...

When you compare the Pure Reference to the Avantgarde Duo (stock), the Duo will have a slight edge at extremely high (and even dangerous) volume levels (and maybe lower levels), but the PR will have an even more noticeable advantage in the entire bass range (below 200 Hz), and at all volume levels. So I once again give the overall edge to the PR. Still, there are a few even more imposing "challengers"...

There are the large dipoles, mentioned earlier, the big Acoustats and Sound Labs, plus the (rare) Original Apogees. They are not quite as ultra-pure as the CLS or Audiostatic at low to medium volumes, but they are cleaner at higher volume levels, and also in the mid and deep bass. I would say they have an edge over their two smaller rivals, but are they the equal of the Pure Reference? I would say it's too close to call without direct comparisons, because all of these speakers have basically the same important strengths across the board, and virtually no noticeable weaknesses, in this area.

In short, the Pure Reference is as clean and pure as any speaker I've heard, when all volume levels and all audio frequencies are taken into consideration .

Speed and Outer Details- Once again, this parameter is similar to "Immediacy" and "Purity", with the same two names as my "References"; The Martin-Logan CLS and the Audiostatics (now you know why these two speakers are among the very few in my Reference File). As above, the Pure Reference comes close, but does not quite match their performance in these areas. The PR is fast alright, faster overall than any dynamic speaker I've heard, and even "feels" like an electrostatic in its lack of obvious slurring, but these two fastest electrostatics still have a sense of instantaneous reaction that I've never heard equalled. This "starting" and "stopping" advantage also allows them to maximize the reproduction of outer detail. In practical terms, it is this ability that enables the speaker to be "intelligible", which, in turn, allows the listener to hear each individual note (or word) without an artificial smear. The PR is superb here for sure, but it's not "the best".

High Frequency Reproduction- The finest tweeter I've ever heard is the Acapella Ion TW 1S, but it can only go down to 5K, and even then only under certain circumstances. Still, from around 10K and above, it is "the best", and approaching "perfection". For the more traditional (and practical) frequencies, 3K and above, the best tweeters I've heard are all ribbons. One example is the outstanding ribbon tweeter in the Coincident (Total) Victory (II).

So what about the Pure Reference's tweeter? It's the best dome tweeter I've ever heard. It's superb in every area; speed, purity, smoothness, extension, lack of homogenization and (vitally important to me) it has an ultra-low sound-floor. However, it obviously doesn't match the Acapella within their shared frequency range.

The remaining question I have is when comparing the PR's tweeter to the finest ribbons I've heard. The PR is not broken-in yet, so this judgement may change, but I feel at this time that the ribbon in the Victory II has a slight advantage over it. I will make a direct comparison between them in mid-February, when one of my associates arrives for his annual visit. Still, this tweeter "shootout" can never be anything more than an "academic exercise", because no matter what the results of this comparison are, it is very important to keep this perspective...

At this highest level of performance, matching the tweeter to the midrange (and vice-versa) is usually even more important to the final sonic results (and much more difficult to achieve) than the isolated and independent reproduction of the two drivers themselves. In other words, if a superior ribbon tweeter replaced the dome tweeter currently in the PR, the overall results would most likely be a disappointment (See Part 1). Why? There would be a discontinuity between the two drivers that would be even more noticeable than the slight deterioration in the high frequencies.

This is why simply designing a speaker with the best available woofer, midrange and tweeter (if that's even technically possible) would not automatically create the best overall performer.* Further, evaluating a speaker by only focusing on the "lows, mids and highs", independently of each other, is also dangerously incomplete and usually highly misleading.

*For an analogy, imagine a relay race with one team having the four fastest runners, but one of them almost always drops the baton. I would instead place my bet on another team, which will not be as fast individually, but will practice perfecting the handoffs, so none of them ever drops the baton.

Low Frequency Reproduction- Even though we are only focusing on the (3 octave) frequencies between 20 Hz to around 160 Hz (deep, mid and upper bass), there's still no one speaker I've heard that is unqualifiedly "the best". (And if we consider the ultra-deep bass, below 20 Hz, only one speaker, the Eminent Technology Rotary subwoofer, is even viable.) These are my bass references (prior to the arrival of the Pure Reference):

Mid-bass and Upper-bass (40 to 160 Hz)- The Original Apogee (with the Tympani IV bass panel receiving a well deserved "Honorable Mention")

Deep Bass (20 to 40 Hz)- Concentric Speaker Technology Super Sub

Complete Bass Range (20 to 160 Hz)- Ars Acoustica Gravitas Subwoofer (By default, since the other two speakers can not reproduce the entire bass range)

Explanations:
1. The Apogee would be "the best", without qualifications, except that it doesn't reach into the the low/mid 20's. The Tympani IV "dies" even earlier, at around 30 Hz. They are both outstanding in the same areas; Impact, definition, immediacy, control and linearity.
2. The Concentric has superb weight, detail, control and power, but the quality deteriorates above 50 Hz.
3. The Gravitas has all-around excellence. It can't play "real loud", and it doesn't have the definition or impact of the two big dipoles, but it's still excellent in those two areas.

Both the Apogee and Tympani have the same problems, with the Tympani's being more obvious. Because they require a lot of power/current (which means complex/inferior amps) and they also don't go "real low", there have a certain "dry quality", which doesn't allow the size, scale and decays of the recording space to be heard or sensed (especially at low volumes). This weakness will be inconsequential to many listeners, but to lovers of acoustical music (such as myself), this may be a serious problem. I prefer the Ars, overall, because its problems are more "relative", and not as noticeable in the long-run. Now, what about the Pure Reference's bass...

It is still "breaking-in" as this is written, but it is already very similar in quality to the Ars Acoustica. In fact, I think it is even slightly better at this point. However, the PR has more weight, impact and scale, and it even goes down a touch lower. This means, in effect, it is as at least as good, or better, than the Ars in every bass parameter. Accordingly, the PR is now my new "reference" for low frequencies, even though it is not "the best" in every way (but don't forget that it's still getting better). So while I don't think the PR will ever match the Apogee in its greatest strengths, it will come closer than any other dynamic woofer system I've heard, and at any price.

Also, please remember the perspective I provided earlier for the "High Frequencies": The cohesiveness of the bass to the midrange is still more important than the bass frequency performance in isolation. It is the same case here, though not nearly as difficult to achieve.

Finally, I have one highly subjective (and extremely difficult) test that has never failed me in evaluating the bass reproduction of speakers.
The Test: Can the speaker's bass "Frighten Me"*?
If it can, that means the speaker is not only going truly deep, but also with power and with control. It takes all three qualities to pass this test.
The results: The Pure Reference passes this test.

*Examples-
STRUNZ&FARAH-MISTERIO-BURABAMPO (SIDE TWO)-WATER LILY WLA-CS-08
OREGON-ECM 1258 (SIDE ONE)

Separation of Instruments (and Lack of Homogenization)- This area is directly related to "speed and outer detail" previously discussed above. Further, it is also seriously effected by two other performance parameters; "imaging" (coming later) and "volume changes". So "excellence" in this one area thus requires excellence in all three areas at the same time. It should be no surprise then why I consider this parameter to be so important in evaluating overall performance and also why it's so difficult to master.

It's critical importance for appreciating music is a "no brainer". It's obvious that hearing all the musicians, and all the notes, all the time, no matter what else is happening, must be one of the highest priorities for audiophiles and music lovers. Contrast this ideal to the alternative, unfortunately the norm, of a musical "soup", where all the musicians, and all their unique relationships, are compromised.

There are plenty of speakers that can achieve one or even two scores of "excellence" (look above for examples), but it's very rare to find a speaker excelling in all three. The Ars Acoustica System Max is one of them, though only barely, because it is marginal in both "speed" and "volume changes". Another successful speaker is the MBL 101. I don't like the MBL for other reasons, but this important area is its "strong suit", probably the best I've heard, and the main reason for many audiophiles' admiration of the design. Some of the Wilson speakers are also contenders, similar to the Ars. So, why aren't there more speakers who score the "Separation Trifecta"?

The problem is combining speed and imaging (phase accuracy), which are relatively easy to achieve at lower volumes, with the almost directly contradictory achievement of clean (and unchanging) high loudness capability. The same drivers that excel at low volumes almost always become strained at high volumes, with the result being a noticeable homogenization. To experience this phenomena, just listen to a well recorded orchestral work with both varying soft and loud passages. Most speakers begin to homogenize at a certain volume point. Still, what about all those (usually large and expensive) speakers that use multiple drivers, and can play really loud?

It's true that most of these speakers don't change for the worse with higher volume levels, but this "advantage" usually comes with a highly ironic price: Their INability to adequately separate the instruments (and notes) at lower (normal) volume levels. So the fact that they don't noticeably change with volume is ultimately irrelevant, since they were "failures" at separation (and detail retrieval) before the loudness test even began. (This is the cost of complex designs.)

So now we must evaluate how the Pure Reference performs in this almost impossible to master parameter.

I'm happy to report that the Pure Reference excels in "Separation", and at both low and high volume levels. It's very similar to the Ars, but it's even more detailed and it changes even less at higher volumes. In fact, I haven't heard any deterioration at high volumes, either in Toronto or in my room in Florida. I play pretty loud at times, though I always try to keep it "realistic". When the PR is compared to the MBL, it's a mixed bag. The MBL is equivalent in detail and loudness capability to the PR, but has more potential for "imaging" if it can be set-up correctly. The problem is that "if", because the MBL is only at "its best" in certain large rooms. Otherwise it's no better that the PR, and could be even worse.

In short, both speakers are outstanding, but there can be no clear-cut winner because the MBL's performance is room dependent. Bottom Line- While the MBL can achieve the highest possible score, the PR will score as high, or higher, in most rooms.

Image Size and Focus- My standard for this category has been the same for more than 30 years; The Morrison Speaker (originally the Hegeman). It is a two-way omni-directional, with a large, yet totally natural, image size, and with amazing focus. The image size has since been matched by a number of other speakers (such as the Ars Acoustica and some line sources), but while the Morrison's focus has been approached over the years, it has never been equalled in my experience. I haven't heard any of the contemporary versions of this speaker for something like 15 years now, but I am very familiar with the 1980's versions, because I was a Morrison dealer for a number of years (He sells direct now).

I heard the Morrisons in every listening room of my store and apartment, plus in numerous customers homes. They weren't easy to set-up, and they imaged at their very best only in a large room, which created a dilemma, because they couldn't really play that loud. Still, they are my reference, and I would say the closest I've heard any speakers matching them, overall, are the (second place) MBL and the above mentioned Ars Acoustica. So how does the Pure Reference fit in to this picture?

The PR, at a minimum, equals the Morrison, and every other speaker I've heard, in image size. In fact, it may even have a unique advantage in this regard. Not because it is bigger than the others "at its best", but because it is truly big even in a medium size room with a low ceiling. When I heard the Pure Reference in Toronto, the room had a lower than average ceiling height. Despite this, I still heard a "huge sound", something I've never experienced before in a room with a low ceiling, and I've heard hundreds of good systems in rooms with a similar disadvantage. Compared to the Ars Acoustica, in my own present room, the image size is very similar, but I believe the "sense of scale" (meaning image height in this instance) favors the PR. In short, image size is as good as it gets with the Pure Reference. What about focus?

Unfortunately, the Pure Reference does not equal the Morrisons in focus. Actually, I don't even think it is possible for any speaker to equal the Morrisons, unless its design is basically replicated. In short, I believe a properly designed omni-directional will have an advantage in focus compared to every other type of speaker design, no matter how well it is executed. Because of this, it is understandable that, for some audiophiles, an omni will be the only type of speaker they can live with, regardless of any other considerations.

Now, what about the PR versus the Ars, which is also a virtual "point source"? Here they are very similar once again. At this time, the PR is still breaking-in and slightly improving in this area. So, while I'll have to make a direct comparison later for confirmation, I think the Ars has a very slight advantage at this time. I know the PR is definitely not better than the Ars. Further, I also haven't had the opportunity to totally optimize the placement of the PR. In short, the situation is still fluid. The Pure Reference then is definitely "excellent" in image focus, but it's not yet being heard at its very best, which will require both total break-in and room placement optimization. If forced to make an educated guess, I think the PR will eventually equal the Ars (and other excellent point sources) in focus, but never the Morrison.

Tonal Consistency- This is a new category for me, which I don't think I've ever discussed in the past, and I may have difficulty in trying to describe it. In fact, it took the Pure Reference's unique capabilities in this category for me to even think about it, and later coin the term*. Tonal Consistency is more than just being "smooth" (meaning having a linear frequency response) or "neutral". I believe TC is a combination of being both linear and harmonically complete (without distortion) at the same time, and, even more, all of the time.

TC is more than the different notes sounding like they're all being treated "equally", so no single note is emphasized or de-emphasized. "Tonal Consistency" only exists when the notes are coming from the exact same (and unique) instrument, with the same exact harmonic signature, no matter which note, and no matter how loud that note is played. It's a "consistency" of dynamic emphasis and the unique harmonic structure of a particular musical instrument. Accordingly, it is highly difficult to accomplish, particularly for a speaker. Though, when it's accomplished, the speaker sounds disarmingly, and effortlessly, "natural".

Since this is a new category, I'm not absolutely certain what my "references" are, but I would say that, once again, the Ars Acoustica System Max is most likely the best I've heard in the past, with maybe the Original Apogee -if optimized- an "Honorable Mention". (Another good reason why the Ars was my personal speaker for more than a decade.) The Pure Reference appears to already match the Ars in this category, and may even be superior, though that judgement will require a direct comparison. I write "superior" because I sense that the PR is even more revealing of the time/tonal distortions which are noticeable with (the numerous) records that are not exactly center pressed. I realize this isn't a purely objective (measurable) test, but when a component reveals more about a recording, for better or worse*, I believe that aspect of its performance is relevant. Bottom Line- The Pure Reference is at least as good as any speaker I've heard in this critically important category, if not superior, and it's still improving.

*Upon hearing the frequency modulation problems of LPs more clearly with the PR, I naturally became curious about why this was so. Eventually, the concept of "Tonal Consistency" came to me. It has always been there, just not as obvious.

Further- I will have more to write about this category, because of its vital importance to the reproduction of music. I'm still in the process of thinking my way through this subject.

Naturalness- In effect, I've already discussed this category within "Tonal Consistency". However, its musical importance, and its ubiquitous (and historical) presence within all serious audio evaluations, impels me to discuss it on its own. First the (or my) definition of "naturalness"; A combination of neutrality (linearity) and harmonic completeness. Either one of them, on their own, will not reach the final goal.
(Examples: If the sound is simply "neutral", missing some of the natural harmonics, the component will sound "analytical" and/or "lean". Alternatively, if you have only the harmonics, without the neutrality, you will get a "colored" sound, with an almost infinite choice of "colors". The former is true of many transistor designs, while the latter is true of many tube designs.)

My references will be no surprise; The Ars Acoustica System Max, Original Quad, Coincident Victory II and Total Victory II. The KLH-9 and Eminent Technology, discussed above, are also exceptional, but their amplifier requirements somewhat compromise the "harmonic completeness" part of the equation. This is a category where a lot of good speakers come close, but it's difficult to get an excellent score in both requirements. So what about the Pure Reference? Based on its "Tonal Consistency" performance, the answer is also predictable:

The Pure Reference is as natural as any speaker I've ever heard, and maybe even more so. This is because it is natural in an unusually wide frequency range, 20 Hz to 30 KHz, and at both soft and loud volumes. This accomplishment is easily noticeable when you hear the PR, and may even be the first (disarming) attribute I heard during my initial audition with them.

Inner Detail- Since I've already discussed "Outer Detail" above, it is obvious that I am making an important distinction between outer and inner detail. This is because there is no guarantee that accomplishing the former will automatically grant you the latter. Outer detail is mainly related to "speed", and, in particular, the ability of the component (in this case a speaker) to stop as quickly as the signal itself stops. The component's ability to "stop" the first note from extending on (artificially), allows the second (or subsequent) note(s) to be heard independently, and without interference. It should be no surprise then that speakers such as the Martin-Logan CLS or Audiostatic, both electrostatics with ultra-light diaphragms, enabling them to start and stop on a proverbial dime, excel in reproducing outer detail. However, inner detail requires another attribute. This is the (even rarer) ability to reproduce low-level information, because inner detail is, by nature, relatively soft in volume.

So while both the CLS and Audiostatic are still "very good" at reproducing inner detail, they are not "outstanding". What is? My long-time reference for inner detail is the Ars Acoustica System Max, which has the advantage of an ultra-low sound-floor, along with very good speed. To make a visual analogy, the Ars fills in "the coloring book" noticeably better than the fore mentioned speakers, though the "outlines" are not quite as precise. For another analogy, think of a piece of clothing, the outer boundaries (the edges) are the "outer detail", while the texture of the actual cloth is the "inner detail".

This brings us the Pure Reference, which is still breaking-in, but even now I can state that its sound-floor is competitive with the Ars, while it has superior speed. Accordingly, the PR is my new "champion" when it comes to reproducing inner detail, and it may get even better.

Transparency- This is an audio attribute that was initially observed by (Stereophile founder) J. Gordon Holt in the 1960's. Later, around 20 years ago now, Harry Pearson became almost obsessed with it (see TAS Issues 35/36). For some reason, it is not discussed as much today, being partially displaced by an assortment of worthless, "feel good" and highly ambiguous "magic words", such as "musicality" and "involving". This is too bad, because the existence of transparency, while much easier to accomplish now than in the past, is still highly important if the listener wants to fully appreciate the music.

I define transparency, in music reproduction, the same as I do in its most common visual context; being able to hear (or "see") into the performance. In the most simple and practical terms then, this means the listener is able to hear what's going on all the way to the far back of the recording studio (or the concert hall). Until 20 years ago or so, this was a rather unusual experience, and highly difficult to achieve, especially for speakers. However, superior drivers, components, crossovers and cabinets, plus better time alignment, has made this accomplishment much more common. In fact, the true test these days is not simply hearing "all the way back" (that's considered too easy now), but "what (how much) can you hear back there"?

So what are my speaker transparency "standards"? No surprise here, the Morrison and the Ars Acoustica once again. Now there are, without question, a pretty good number of other speakers (such as the Quad, Audiostatic and CLS) that will equal them in accomplishing "normal" transparency (defined above), but these two speakers give you an added "bonus"; they also allow you to hear the relatively subtle details of what's going on "back there". Of these two, I prefer the Ars overall, because while it is not quite as focused as the Morrison (nothing else I've heard is either), its ultra low sound-floor picks up more musical information and original space of the recording. As for the Pure Reference...

The PR is closer in performance to the Ars Acoustica, but more extreme. I would say the PR gives up a little on focus to the Ars, but, in return, it gives you even more musical information, plus it has the added advantage of greater accuracy of the music that is reproduced. So, while there is no clear-cut "Transparency Winner", I feel that the Pure Reference is not only competitive to the finest speakers I've heard in this category, but preferable overall.

Dynamic Response (Soft and Loud)- A few years ago, I wrote (in My Audio Philosophy) that "the weakest element in audio was the inability to reproduce lifelike dynamics". I feel this is still true today. Any casual brush with live music, long enough to experience its intensity, will provide overwhelming evidence in support of this statement. Of course, much of the overall loss is already within the software, but amplifiers and speakers share a lot of the blame as well. We're focusing on speakers here, but I feel I should reiterate one general observation with amplifiers; Rated RMS power has virtually no relationship with reproducing dynamic swings, though it does have a correlation with peak volume levels, which is very different.

Unanimity in audio is very rare, but there is an exception: Horn speakers are the most realistic reproducers of lifelike dynamics. This is particularly true in the midrange. In the frequency extremes, especially the bass, horns are generally no better than the competition. Conversely, electrostatics are usually the worst speakers in this category (especially in the bass), which is the main reason why they are avoided by many audiophiles. I'm not a horn expert, or enthusiast (outside of the Avantgarde Duo), but I have heard plenty of them over the years. My two standards for dynamics are the Duo (mids and highs only) and the (legendary) Klipschorn (full-range). There are probably a few more I've heard that match them, but I'm not certain enough to mention them.

Further, there are also a few outstanding dynamic speakers that basically equal my horn standards at very low to moderate levels, such as the Ars Acoustica System Max. What elevates these horn references is that they have minimal dynamic compression at all volume levels. This (relatively) effortless quality is the main reason why people can go "crazy" over good horns. They can induce a strong feeling of exhilaration with the right music, which is as difficult to forget, or ignore, as any other peak emotional experience. For some, it may even become "addicting".

My personal dynamic test is whether a speaker can "startle" or simply "surprise" me (even subtlety). To do so requires the ability to instantly change the volume, softer or louder, before the listener's mind is ready for it. It is here that large speakers (and most large amplifiers) fail, because of their complexity, which causes a form of "dynamic inertia". Yes, they can play "really loud", but this loud volume level is "telegraphed", and like pro boxing, it's the punch you don't see coming that has the greatest effect (in this instance, on the listener). So where does the Pure Reference fit into this difficult category?

With the exception of the finest horns in the midrange, the Pure Reference is as uncompressed as any speaker I've ever heard. Just as important, it is uncompressed full-range*, and in this instance, that means all the way down to 20 Hz. This separates the PR from almost all horns, which tend to lose some dynamic strength in the lower frequencies. Compared to the Ars Acoustica, it matches the Ars' outstanding performance at low to medium volume levels, but the PR extends this dynamic capability to very loud volume levels (fff), and at both frequency extremes.

In short, the Pure Reference is competitive (if not superior) in dynamic response, full-range, and at all volume levels, with any speaker I've heard, and that includes the finest horns.

*This is something I have never experienced before. You can call it "Dynamic Consistency". I feel this is more important than simply having the best dynamics in a frequency range, even the vital midrange.

The Pure Reference now has around 300 hours on it, though less on the (sub)woofers. I can still hear it improving, but it's becoming subtle. At this rate, I figure 400 to 500 hours max will finish the process. I will report again when it is more definitive.

Sound-floor, "Completeness" and Low-level Information- Since the inception of this website, I've been emphasizing the critical importance of this performance category. This focus included detailed descriptions of how the performance in this area so critically effects the ultimate reproduction of music (see My Philosophy and Reference Components).

I would have discussed this category much earlier, but the sound-floor is usually one of the last performance areas where you will notice an improvement as the component is breaking-in, and this has proved to be the case here also. While I feel there may still be further improvement, I've heard enough already, and with verification by a recently visiting associate, that I can state this now:

The Pure Reference has the lowest sound-floor of any speaker I have yet heard. It is even superior to my previous and long-time sound-floor "champion", the Ars Acoustica System Max, though not by a "dramatic" margin. The fact that it is even "noticeable" is significant enough for me. For those readers who would like a definition of "sound-floor" (which many audiophiles refer to as "noise-floor"), I will repeat what I wrote in Reference Components. The sound-floor is:

The "lower limit" of an audio component's capability to reproduce (or pass) softer and softer sounds.

The softest sound that can be heard or sensed through that component (or system).

Any sound that is lower (or softer) than the "sound floor" Must be Inaudible.

Analogy- It is the audio component's (or system's) direct equivalent of the listener's ability to sense or hear "soft sounds".

It's the low sound-floor of a component (and complete system of course) that allows you to hear the natural harmonics, body, decays, space, ambience and subtle dynamic shifts of the original recording. It also reduces the tendency for musical homogenization. Another benefit is that the component, in this case a speaker, doesn't change (by "dying") when the music becomes softer in volume. This weakness, so common in speakers, forces the listener to play extra (unnaturally) loud if he wants the music to always sound "alive". Listening at a natural volume even enhances the dynamic excitement of the music, because of the extra contrast when going from truly soft to truly loud. Playing "loud" and then "extra loud" is a poor and unsatisfying substitute for natural contrasts.

The Pure Reference, by virtue of its outstandingly low sound-floor, reproduces more low-level musical information than any speaker I've heard, while also allowing a natural volume level to be used, without any compromise of the recorded dynamic contrasts.

We've now reached the end. I've saved this for last because I feel it is the single most important category, and it's also the Pure Reference's "Trump Card". The Final Category...

Individuation!- As I've grown older and more experienced, it is my increasing conviction that a component's ability to Individualize each instrument (including voices), and the recording space, is its most difficult, musically rewarding and ultimate challenge. If the ultimate goal of listening to (recorded) music is a human-to-human, emotional, intellectual, spiritual and artistic "connection", I don't see how anything can be more important than individualizing each musician as a unique and distinct artist, along with their own "space". Further, by definition and simple logic, the unavoidable rule is that every weakness of a component (and system), either of omission or commission, will compromise that desired individuality. Some examples...

Every coloration masks some of the inherent sound (aesthetic) of, and adds an artificial quality to, a unique instrument. Every dynamic compression, no matter how subtle, diminishes some of the musician's original emotion. Every subtraction of the natural harmonics and decays makes the musician and space sound more "generic". Any loss of transparency removes at least part of the complete musical picture (performance). Accordingly, when a component lacks the capability of individuation, what the listener will experience is inevitable...

The musician(s) will lose (some of) their one-of-a-kind individuality which makes them "special". In effect, the musicians are "seen" (heard) in the same manner that a person of prejudice sees people of a certain (ethnic/racial/religious etc.) group; as basically all the same, and absent the individual characteristics which would identify them as unique human beings. Instead, they are seen as "generic" ("All the violins sound exactly the same to me!"), existing only in the limited, cookie-cutter version of that person's mind-world.

The inferior component, then, lacks the ability to adequately differentiate the instruments (or voices) that are similar. For another analogy: An ordinary person may not be able to distinguish a piece of pure, shining glass from a real diamond. However, a true jewelry expert (like an outstanding component) can look at a diamond, and not only confirm that it's real and give you its exact value, but can even tell you where it was mined.

The Pure Reference absolutely excels in the ability to individualize musicians and their recording space. It is, without a doubt, the best I've heard in this all encompassing category. It is also the main reason why I feel it is the finest speaker I've ever heard. The finest I heard before the PR was the Ars Acoustica System Max, and I've heard numerous speakers since I purchased them more than 10 years ago, a rare few of them excellent in this category. The Pure Reference is both a qualitative and quantitative improvement over the Ars, reproducing a little more of the unique character of the musicians, and retaining more of that enhanced quality at higher volume levels and at the frequency extremes.

Every other speaker I've heard either compresses, colors, distorts, veils, rolls-off and/or subtracts more noticeably than both the Ars and PR. In fact, in most instances, the other speakers I've heard, even the finest, compromise the level of individuation in multiple ways, so the performance gap between them is pronounced. Most audiophiles, and especially mainstream "reviewers", don't dwell/focus on this serious problem. This is probably because most audiophiles have never had the experience of hearing a system where this problem is mainly "overcome" (in only the relative sense of that word of course, because this is audio).

Someday, inevitably, some speaker, of unknown origin, will further improve on the Pure Reference's unprecedented "Individuation" capability. Maybe this speaker already exists as this is written, but I know I haven't heard it myself.

Further- The next part of this extended essay on the Pure Reference, Amplifier and Listening Room Requirements, can be found in February 2008.

CAVEAT-Please be advised that the readers’ letters posted on this site are solely the opinion of that reader and may not necessarily represent or reflect the opinions of Arthur Salvatore or High-End Audio. These letters furthermore, are not to be taken as being endorsed by Arthur Salvatore or High-End Audio. They are posted because they may be edifying, thought provoking or entertaining.

Further- Almost all of the Readers Letters that are removed from this file, after the standard 6 Month posting (such as the June 2007 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.

I receive a letter like this on a regular basis, so I feel it is time to make a better explanation of my (highly) particular situation. From a reader, with slight editing:

"I'm curious if you are going to run your new Pure Reference (speakers) full-range... or are you still going to bi-amp?"

Actually, I can play the Pure Reference (or any speaker) "full-range", but only on CD sources (or a tuner or tape). However, playing records is a very different matter! The reason why I can not play any speaker (or amplifier for that matter) "full-range" with my turntable/phono source is simple...

My (Jadis JP-80) tube phono stage does not have a cathode follower, so it attenuates the bass. (The JP-80's cathode follower was removed, by me, in 1992, along with the entire line-stage.) I must then use an electronic crossover, and bi-amplify, when playing records on my present system.

Now, why did I ever remove the cathode follower in the first place, creating this unusual "problem"?

It was initially only an "experiment". However, because of the serious sonic improvements I subsequently heard in the midrange and high frequencies, I soon realized that I could never go back. As for the bass "problems", I didn't even know about them until I later used the JP-80 in another system, that did not have a crossover/buffer like mine. For me, having no cathode follower has never been an "inconvenience", because I have long preferred bi-amping and using subwoofers anyway.

Finally, I don't think that an amplifier (or speaker) comparison using digital sources only is useful, so it's unlikely that I'll make any direct comparisons using my CD player.

A reader, who only recently became aware of this website, has gracefully responded to a specific question I asked after reading his first e-mail to me: "How do the Canary Reference One amps compare to the CA-339 amps?". Below is his response. There's only minor editing and the bold is mine.

"I have been involved with audio for about 40 years, having owned a real variety of equipment and speakers. My first pair of speakers were Altec Valencias and my second pair were Klipsch Cornerhorns with a La Scala center speaker, since then there have been several B&W's, JMLab Utopias, Wilsons and so on.

My current system is all Canary tubes; CA-903 four box preamps (separate left and right preamps with separate power supplies), CA-400 (two box phono section with preamp and power supply separate), CD-200 and the Reference One monoblocks. Two months ago I got a new Transrotor turntable and installed a Graham Phantom arm with a Dynavector XV-1s cartridge (and yes, it does sound and track better at your recommended 2.7 grams* then the factories 2.2 grams). The wiring is all Analysis Plus gold interconnects (RCA) and speaker wire with AP power cords, except on the amps; they are Guerrilla's. The speakers are B&W Matrix 800s (93 db). My audio room is 40 feet by 38 feet by 9 feet tall.

The Reference Ones are large; 29" long, 16" wide and 10" tall, and weigh 150 pounds each. Each monoblock has the following tube compliment; eight 300B power tubes, three 6SN7s and one 6SL7. I am using the Western Electric 300B tubes and the 6SN7s and 6SL7s are GE NOS. The monoblocks are sold without the power tubes.

Your comments about the Canary CA-339 prompted me to write and give you my comments on the CA-339 and the Reference Ones. Several months ago, I responded to an ad in Audiogon for a pair of B&W Matrix 800s that were for sale. I was considering using them with my current pair for the rear speakers in a home theater system. The short version is that Terry, the B&W speaker owner, having heard me comment on how fantastic the Canarys sounded on the B&Ws, decided to keep his speakers and bought a pair of Canary CA-339s. He was pleased with them, but did not feel they provided the depth of sound he had heard me describe with the Reference Ones. Terry lives in Chicago and I live a short 328 miles away in the Detroit suburbs, so Terry drove out with his CA-339s to compare them to my Reference Ones on the same B&W speakers.

We hooked up the CA-339s first, to give Terry a baseline, and me as well, since I had never heard a pair before. I was pleased to hear a few 'similarities' between the siblings, but similarity was all that it was. I should make a quick comment here; the CA-339s, like the Reference Ones, are delivered without power tubes, leaving the new owner with the decision as to what to buy. Terry bought Electro Harminex 300B tubes, which were not a good choice. Switching my Western Electrics 300Bs into the CA-339s made a very solid improvement, but candidly nothing like what the Reference Ones could do with the same 300Bs.

Hooking up the Reference Ones and playing the same music drew a huge reaction from Terry. The CA-339s are rated at 50 watts per channel and the Reference Ones are rated at 80 watts per channel. The difference in sound seemed more like 800 then 80. My B&Ws are 12 feet apart and do not see a side wall for a little over 13 feet. Terry's first comment was on the huge holographic soundstage that was providing detail and clarity he had never heard before. He also commented on what he meant by the soundstage being holographic; he was explaining how the speakers, all 6' 2" of them, disappeared, while the sound and source were seamless.

The Reference Ones catch the very essence of a piano note, the upper detail and edge, without going into bright or edgy, which also applies to the female voice or violins. This is one pair of amps that can truly make the claim that they sound like you are there live. I can write word after word, but, candidly, unless they just happen to be the perfect match for the B&W Matrix 800s, they reproduce music like I have never heard before. Terry left that day and sold his CA-339s, and bought the Reference Ones and front end identical to mine. I have had several of the local high end store salesmen over, including the local B&W dealer, who has commented he has never heard anything as clean, detailed and musical as this. Today, I would not buy any of the new B&W speakers as they sound slow, muddy and not too musical.

I should make a comment on the Reference Ones, being tube amps and their bass response; It is huge, fast and extremely well controlled. They humble the Krells. I have been looking for a speaker for several years to replace the B&Ws, and have listened to Avalon Isis, JMLab BE Grand Utopias and several well heeled others. However, I will make a brief comment on a recent (6 months ago) listen to a pair of Wilson Maxx 2s. I listened to them with the ultimate full Krell front end, and found them lacking in detail, warmth and any form of making the music 'musical' or exciting. After only ten minutes of listening, I thanked the dealer and, when I was leaving, he asked me what I thought. I told him that I had fully expected the Maxx 2s to have a lot more depth of presentation then what I heard. After a few minutes of discussion and learning that I had a tube system, he suggested that I try the Maxx 2s on the Canarys. In short, I agreed to bring my whole Canary front end down one night to see what the Canarys would do, or not do, for the Maxx 2s.

Five of us listened to the Maxx 2s on the Krell system for about ten minutes, then switched over to the Canarys. The difference was unreal; a really wonderful and musical presentation was coming from the Maxx 2s. After about two hours of listening, it was obvious that the Canarys, now fully warmed up, were leagues above the Krells in any part of the musical presentation you cared to listen to. My immediate reaction when I got home that night was to hook up my system, and compare how the B&Ws sounded against the Maxx 2s. To my and several of my attending audio friends, we were all in agreement that the 800s were every bit as good and maybe slightly better in a few areas then the Maxx 2s.

I have not used all of the usual audio hype words that the magazines are full in trying to describe why the product they are reviewing is the latest and greatest. I can tell you that nothing, including my previous VTLs, Jadis and Convergent Audio Technologies tubes has ever presented the music in the same concise, clear and seamless sound that the Reference Ones do. Tubes or not, the Reference Ones will put out bass that is as controlled, fast and in your face as any transistor amp I have ever heard and will do it with a warmth and musicality of the mid-range and treble that a transistor will not match. Canary has recently upgraded a few circuits and added larger transformers that have enhanced their sound even more, which is in the current amps I have now.

I have admittedly not used all of the buzz words because I can just state that you will not find anything better in an amplifier then this one. I am sure there are several speakers out there would not be an ideal match for the Reference Ones, but for the other 95% of the speakers out there, you need to hear these amps. I believe that only 26 pairs of these amps have been made, most going to Europe or Asia, but anyone interested in hearing these on my old, but clearly still fantastic B&Ws, they are welcome anytime they make it to Detroit.

...If the CA-339s are a 88% on a scale of 100 being perfect, then the Reference Ones are clearly a 94% to 95%, and I would like to hear anything above that myself."

Personal Notes- I'm not surprised by any of the comparative results and/or the observations of this (highly experienced) reader and his fellow audiophiles, especially when they directly compared the Canary to the Krell electronics. In fact, Krell has lost every single "shootout" I can remember conducting with them. However...

*I am surprised that the Dynavector XV-1s cartridge requires 2.7 grams VTF on the Graham Phantom tonearm. In the past, I always assumed (and posted) that only the VPI Memorial tonearms required this heavier force for optimization. Now I'm proved wrong, so I guess these two basic designs share some particular similarity.

This is a reminder that, more than 6 months ago, I removed all of the References within the Interconnect Files, both Line-level and Phono. I no longer have the required experience with current models to make any reference designations that are actually relevant. I should have done this a few years ago. I have no plans to change this policy, due to both my lack of available time, and my total lack of interest in interconnect cables. I'm presently committed to audition the Coincident Extreme cable, which I've now had here for more than a year, but there will not be a "Reference" designationat the end, one way or the other. That will be the last interconnect cable I audition for a long time, unless something extraordinary happens.

I am still working on the extended essay on the performance of the Coincident Pure Reference Speaker. This can be found in December 2007 above, with additions being posted every few days. This will be my highest priority until it is finished, probably at around mid-February, when an associate is scheduled to make his annual visit.

Further- Almost all of the Readers Letters that are removed from this file, after the standard 6 Month posting (such as the July 2007 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.

This letter from a reader came in early this year. It further confirms the enthusiasm of the reader whose letter was posted in October 2007. The letter has minor editing, and my bold.

"I just wanted to let you know I got one of the Jasmine Audio LP2.0SE phono stages, and compared to my Lehmann Audio Black Cube SE, it's like a Porsche racing a Kia, except, in this case, the German's aren't going to win. I have used it with an Empire MC5 and a Grado Blue MM. It excels over the Lehmann in every respect, especially the true drum sound, and the bass is so good I'm hearing notes I never heard before. I've heard the Lehmann is better than the EAR 834P, if that means anything, and it retails for $895US, while in total the Jasmine was $530CDN.

Oddly, the gap between the Lehmann and the Jasmine is much larger on a Cambridge Audio Azur 540A than my Dussun DS99 amp, which is a far better amp, so this didn't make much sense to me, unless there is some sort of synergy between the Cambridge and Jasmine, or between the Dussun and Lehmann, or oppositely a lack of. Either way, the Jasmine is an amazing phono, and my system never sounded so good. By the way, as far as I know, the Dussun is the OEM amp for Mark Levison's Red Rose Music Passion, which he sells for $3000 (cost me $450 used).

I also suspect whatever you heard about the Empire MC5 is probably true, because I always get the feeling my system is not making the most of it. When I first heard it I was shocked. The difference between the MC5 and my Grado Red were even more dramatic than when I first compared vinyl to CD. I think with the Lehmann I could have benfited from an MC step up, but with the Jasmine I don't feel the need."

Personal Note- This is potentially great news, but I would still appreciate even more confirmation of these readers' observations.

This reader, a former customer of mine from "the old days" in Toronto, sent me some useful information about his tube rolling experiments with CD-88E CD player. Minor editing and my bold:

"I have the MHZS CD-88E and found out that the regulator tube, OB2, has quite a profound effect on the bass response. I went with a Sylvania Gold Brand OB2WA and I love the bass, as it became 'real', faster and cleaner. My finishing touch was a pair of Tung Sol ECC803S, which really took the player to the next level."

It didn't take long for someone to answer my recent request (above) for further confirmation about the Jasmine. This reader may be even more enthusiastic, if that's possible. Minor editing and my bold:

"Just dropping a quick note to tell you that I bought the now infamous "Jasmine phono stage" from China, and I have been blown away at the quality, dynamics, soundstage and low noise of this low cost phono stage. It has replaced my Dynavector P75. It is incredible for the price point. It definitely should be priced higher*, because it can compete with almost everything out there for at least twice that amount. I was using it with my old VPI Scout - Dynavector 17D2 combo, and now with my new Nottingham Space 294 - 17D2 combo, and it has carried extraordinarily well with the upgrade. I was so impressed, that I bought two of them, the other for my father as a gift, and he sold his old phono stage as well..."

*I hope not. Consider this "wish" as the reader's innocent "audio enthusiasm". There's too much artificial audio price inflation as it is.

The same reader who sent some earlier letters in December about the Canary Reference One, sent me this e-mail about his experiments with optimizing the Vertical Tracking Force on the above combination. Minor editing:

"Last night I thought I would re-evaluate the tracking force on the Dynavector XV1-S and Graham Phantom arm. I confirmed it was at 2.66 grams and then listened to a few specific cuts. I adjusted the tracking to 2.2 grams and listened again. No question that the detail and clarity of the mid-range and treble dropped off with the soundstage losing some of its normal seamless presentation. I moved the tracking back to 2.66 grams and it all came back. I then moved the tracking to 2.76 grams and found a very slight improvement and left it there."

A reader sent me this modification. It looks highly promising and inexpensive, but don't do it unless you are certain you know what you are doing.

"...The Lukaschek sounded good unmodified, but then I started tinkering. I substituted a heavy duty torroidal transformer for the little puny brick that came with the unit. As a result, the bass was deeper, smoother and better defined; the midrange sounded more lush with better definition; the highs were better defined; overall the sound was more lively and dynamic with better definition across the spectrun. These sonic enhancements were clearly noticeable, but not dramatic. However, the next change to the Lukaschek was definitely dramatic.

I opened the unit up and removed the tiny, little, puny diodes on the circuit board and replaced them with high quality HEXFREDs. I could hardly believe my ears when I turned on the Lukaschek and played a few records. The sonic enhancements I described above with the transformer upgrade apply, but this time in a dramatic way; the Lukaschek sounded like a different phono amplifier; I was hearing things on my records that I never heard before. These changes are highly recommended to anyone who owns a Benz Lukaschek phono amp. The changes I just described are unlikely to make the Benz Lukaschek phono amp a class A or B phono stage, but they sure make it much more revealing and dynanic and therefore more enjoyable to listen to."

Here's some useful information from a reader about tube replacements for this reference step-up.

"...I have been using/loving one for about a year now and thought you should know that the tubes (4 x 6CW4 Nuvistors or 6SD4) are very readily available NOS on ebay even today, and they are fairly cheap too, $10-$20 a piece. I am using 4 RCAs and the analog sound is really great, much better than any of the solid state stepup units or transformers I have tried (Naim, PS Audio, Denon etc). Another nice thing about the Premier 6 is the cartridge loading can be set internally with plug in resistors anywhere from 2K ohms to about 10 ohms. And yes, you were correct, the main circuit board floats via rubber bands to eliminate any possibility of tube microphonics messing up the sound....."

I received this letter from veteran modifier and long-time contributor, Bill Baker of Response Audio, who has more expertise with the Hurricane(s) than anyone I know. Here's some potentially useful information about the new MKII from Bill (minor editing):

"I do have some information on the initial earlier batch of MKII units (early 2007) that your readers may be interested in. With the new vertical chassis, the MK II obviously uses two sections now. The lower base contains the complete power supply and bias circuits while the upper section contains the main circuitry. For those who may be experiencing problems with severe bias drift with the early MKII, there are a series of green connectors (male/female) that provide the "link" for all the wiring between the upper and lower sections. I have confirmed that there was a potential problem with these connectors. The very first pair of MKII Hurricanes I modified in January 2007 developed a severe bias drift problem within a few months. The customer just got around to sending them back to me to look at. Upon opening them up, I found one of these connectors was burned out. I have not yet replaced these connectors, but I am confident that this will resolve the issue."

A reader informed me about these caps, which have been available since last Fall. I don't know yet how they compare to the two Teflon caps I've highly recommended in the recent past; V-Cap and Solen. I also don't know the respective values, voltages and prices, but all Teflon caps must be relatively pricey, due to the material costs. A link to the Audience website is below.

I've now finished the essays on my former personal speaker references and the performance of the Coincident Pure Reference Speaker. This can be found in December 2007 above. The rest of the extended essay about the Pure Reference is below. Eventually, the entire essay, when completed, will be contained in one dedicated file.

As I mentioned at the beginning of this extended essay, the Pure Reference is "unusually flexible" when it comes to both amplifier and listening room requirements. If anything, I've come to believe that this was an understatement.

I've now listened to the Pure Reference for 3 months in my own system. During this time I've heard it mainly bi-amped, using the Coincident Frankenstein amplifier on the midrange/tweeter, and the Dragon amplifier on the subwoofers. However, I've also heard the Frankenstein drive the PR full-range, but only on a digital source (MHZS CD66-Modified).

Previous to this, when I initially auditioned the Pure Reference in Toronto, I heard them full-range with the VAIC/KR VV52B amplifiers, for over 40 hours, both on a phono (VPI HR-X "Special Edition"/Dynavector XV-1S) and a digital source (Oracle 2500 MKII). These are the only amplifiers I've heard with the Pure Reference, and I've yet to hear the Dragon playing the PR full-range.

I've also had one other important and surprising observation. For some unknown reason, the Pure Reference plays louder (around 2dB) than the Total Victory II, or the Victory II, when everything is exactly the same (including the volume control's position), despite the fact the the PR is 3dB less efficient on paper.

Israel Blume, of Coincident, has also experienced this same phenomena in his own system, which I confirmed during my Toronto trip, but he still has no technical explanation for it. I thought, at the time, that this was some sort of fluke response confined to Blume's system, but the PR is also more efficient than the Victory II in my own system. Whatever the reason, this is good news, because it means that the (94dB) PR is even easier to drive than the (97dB) Victory series.

Based on all these experiences, I feel that the Pure Reference can be driven, full-range, by virtually any (SET) amplifier. The only possible exceptions are a true "flea power" (less power than a 300B or 50 output tube); like an amplifier using a 45 output tube. Amplifiers using 2A3 tubes should be viable, but they are probably right at the "tipping point", so a definitive answer will require an actual audition. Of course, I'm assuming that the listening room isn't "gigantic" and the loudness levels are "natural". As for transistor models, I can't think of even one of them that won't drive the PR, and with ease.

Now, to put things in clear perspective, I want to elaborate on "driven full-range". By this I mean that the amplifier(s) will have no problems with virtually any music, with the only exceptions being those (far less than 1% of) recordings that are simply ultra-demanding. These recordings will usually have both sustained (organ) and percussive bass playing simultaneously. Other than that, there shouldn't be any noticeable problems, and I can even provide a specific reason for this confidence, which I experienced myself in Toronto.

Near the end of my multiple listening sessions, I made a request to hear a Mobile Fidelity LP (510): Holst's The Planets, and specifically the first movement on Side Two- "Saturn". This cut starts off very softly, then slowly becomes very loud and finally ends with ("killer") sustained organ notes. These particular organ notes have proven to be the "Achilles' Heal" of many otherwise excellent subwoofers, including the largest (and most powerful ever) Entec subwoofers. Years ago...

During the early 1990's, I had two pairs of the Entec SW-2s, which were stacked on top of cement blocks (an 8' tower!). This means there were two amplifiers, and 6 woofers per channel. Even this all-out combination couldn't handle those organ note(s). Not even close. The Entecs distorted to such a scary degree, that I thought they were going to be damaged. And now we were going to hear the Vaic VV52B SET driving the Pure Reference on the exact same cut. The results...

The Vaic handled the organ notes with no problems. It went deep, and with both power and control. I wouldn't say this was "the best" I've ever heard with this section, but it was still excellent. Needless to say, at no other time did I ever hear the Vaic amplifier have any problem with the Pure Reference, no matter what LP or CD was played, and many of them were very demanding. According to Blume, it takes the Reference Recording (RR-11) of Symphony Fantastique (Side 3/4), or a Japanese Kodo Drum CD, for the Vaic (or the Frankenstein) to demonstrate any type of stress.

In my own system, the results have been the same. While I don't have very many CDs in my collection, I do have a number of large orchestral and soundtrack (synthesizer) recordings, and the Frankenstein, full-range, has handled all of them with relative ease. It has even shaken my walls at times. So...

Considering that my room is pretty large (27L X 19W X 10H), and Blume's room is also good sized (at least in width), I feel it is fair to say that virtually any good SET amplifier should be more than sufficient for most audiophiles, in most rooms, including those listeners with diverse musical demands. For those audiophiles who require absolute assurance, and no possible compromises, then biamping, or using a push-pull amplifier full-range, will be necessary.

Finally, I feel it should be emphasized, because of its importance, that all of these amplifiers, including the transistor models, will usually be heard "at their best" with the PR. This is because of the ultra-easy load of the Pure Reference, and not just its high efficiency. This is an ideal situation where all that matters is the quality of the amplifier, because the quantity (in watts and/or current) is basically irrelevant.

I've heard the Pure Reference in two rooms, my own in Florida, which is pretty large (see above), and in Toronto, where the room was around "average" in length, slightly below average in height, and far above average in width. The PR sounded outstanding in both rooms, though what particularly impressed me was the size and scale of the soundstage in the Toronto room, despite its relatively low ceiling height.

Over the years, I've been in countless rooms with low ceilings (less than 8 feet), usually in basements, but this was the first (and only) time I experienced a large and spacious soundstage in one of them. The sense of height amazed me, as though the ceiling had almost disappeared. Hearing side and back walls "disappear" is a routine occurrence with good systems, but not the ceiling in my experience.

When performing my normal setup in my own listening room, and also when I was in Toronto, I listened to the PRs at varying distances. I needed to know what happens up close and far away, and everything in between. This was mainly to optimize my own setup (which I will discuss in Part Four), but I also wanted to know if there was a problem someone else couldn't avoid, because they lacked my flexibility in speaker placement. Bottom Line- I couldn't find any distance that was "problematic", short of being literally on top of the speakers.

Based on these experiences, I would say that the Pure Reference will work well in virtually any room imaginable. The only exception would be something just too small, say less than around 150 sq. ft., where the subwoofers would most likely simply overpower the room. To hear the PR at "its best", would require, I believe, a room of around 300 sq. ft. or larger (20 X 15). Of course, "taste" has a place here, because some listeners enjoy a more intimate sonic presentation, which is easier to achieve in a relatively small room.

I must stress that when the Pure Reference isn't in "the ideal room", which few people actually have, its superior performance will not only still be evident, but it's likely that its sonic advantages will be even more noticeable. This is because most speakers are even more compromised when they're not totally optimized. This is exactly what I meant by the Pure Reference's "unusual flexibility": It suffers less compromise than any speaker I've heard when the listening room is not fully optimized, and I believe this rule also applies to amplifiers.

Because the Pure Reference is able to retain its "sonic integrity" at lower-than-life volume levels, this means it may be played in both close proximities and/or at unusual times, that could otherwise cause problems with sensitive family members and/or intolerant neighbors.

The most difficult part of positioning the Pure Reference is handling its 190 lb weight. Since the speakers in my listening room are on a thick carpet, I was able to slide them into the optimized position (and then later install the "Extender Feet").

I found the most critical aspect was the "toe-in", or how the PR is "aimed" at the listener. The last two speakers I owned, the Wilson WATT and the Ars Acoustica, were both aimed at my outer shoulders (as was the Victory II) for optimization. In other words, the tweeter, if it was the barrel of a rifle, would be aimed at the outer part of my shoulder; right tweeter to right shoulder etc. So, I naturally thought that after 3 successive optimizations using the same formula, I had discovered some sort of set-up "rule". Well, I didn't.

To my surprise and annoyance, the Pure Reference was too "intense" or just too bright when it was positioned exactly where the Ars Acoustica was, including the same toe-in. Moving it back helped a little, but it was still "wrong". I could have contacted Coincident, but I consider that "cheating" as long as there are other options, and it can also create a form of lazy bias as well. So I tried something else;

I moved my head back and forth a foot or so, which mimicked the effect of changing the toe-in. Based on what I heard, I realized that my toe-in "Rule" was false, so I started changing the angle. I ended up with the "Inside" panel of the PR aimed at the outside of my shoulder*. The tonal balance of the speaker dramatically changed for the better, and so did the size of the soundstage. Everything now sounded "natural", and while the exact center listening position provided the best possible sound, which is always the case, sitting outside of the center still gave very satisfactory results. Satisfied, I called Israel Blume of Coincident, and discovered his speakers were angled-in exactly the same as mine!

*Stand behind the PR and align your eye to the inside of the cabinet. It should be aiming at the tip of your (friend's) outer shoulder, or a marker where your own shoulder would normally be.

Next, it was now a matter of positioning the PR the correct distance from the back wall, while always keeping the "aim" exactly the same.

I started off around 4.5' from the back wall (measured from the rear of the PR, which is 2' deep). I went back almost two feet, and then started moving the PR forward again. I was trying to optimize the "Image Size" (especially the depth of field and "layering"), while also retaining the PR's sense of "Immediacy"*, simultaneously. I found that around 3.5' from the back wall was the best choice (so the front of the PR is 5.5' into the room), but a few inches either way didn't make much of a difference. My room is around 27' deep, and in Toronto, where the room was 15' deep, the PR was 2' from the back wall.

*The deep bass is almost always the third parameter in the speaker positioning equation. Totally optimizing both deep bass and soundstage size and depth is virtually impossible, because the former normally requires close proximity to room boundaries (corners), while the latter requires just the opposite. In this instance, the PR's ultra-tight bass tuning ensured that the deep bass didn't change along with the position. Thus, this was not a factor during this process.

The Pure Reference has mirror-imaged subwoofers, so the speakers had to be switched to find the position where the room's standing waves were the least noticeable. In my case, I was very fortunate, both positions, woofers inside or outside, sounded virtually the same, so I kept the woofers to the outside. I did so because they wouldn't face directly at the tube amplifiers. According to Blume, when both positions sound the same, which doesn't happen too often, that means the room has only very minor standing wave problems (to avoid).

Finally, after everything is completed as described, the (supplied) Extender Feet are attached to the speakers (4 per cabinet). This is an absolute requirement* if the speakers are to be heard at their best. The PR is so much more cleaner and focused, and the bass is so much tighter and controlled, that I had to actually change the (low pass) frequency of my subwoofer crossover after they were installed.

Very Important- You must not install the Extender Feet until the very end, because the speakers can no longer be moved after they're installed without lifting (or "walking") them. I've "walked" them on my own, but even then you're risking serious back problems if you are momentarily careless with their 190 lb weight. Also, unless you are in really good shape, installing the Extender Feet is a two-person job, because the speakers must be first placed on the floor (gently), and then lifted back up and placed back into the correct position.

*The Extender Feet also greatly reduce the chance of the PR ever being tipped over, which could obviously have catastrophic consequences.

I've already made dozens of sonic comparisons above, but they were all focused on individual performance categories. Now it's time to compare the "overall" performance of the Pure Reference with its closest competitors. Unfortunately, as soon as the "overall" perspective comes into play, virtually every speaker I've ever heard is immediately eliminated from contention, because whatever strengths they possess, their weakness are simply too noticeable to qualify. (An Analogy- This is also why so few athletes can seriously compete in the Olympic Decathlon, no matter how talented they are otherwise.)

Of all the speakers I've heard, "at their best", and with no qualifiers, I would have to say that the Ars Acoustica System Max and the Coincident Total Victory II (TVII)* (both discontinued) are the closest overall performers to the Pure Reference. Other speakers will be discussed also, but they will have various qualifiers and caveats, some of them very serious. (*Or the Coincident Victory II with a proper subwoofer.)

PR VS. ARS- The PR is very similar to the Ars in basic design philosophy. Both are essentially two-ways (like a Mini-Monitor) with their own subwoofer. The Ars, like the earlier designed Wilson WATT/Puppy, has separate cabinets for the satellite and the subs, while the PR is an all in one box, though it has separate internal enclosures to avoid sonic interference. The Ars uses dense polymers, which are even stronger than those used in the WATT, while the PR uses about as heavy a MDF cabinet as is theoretically possible, which is why it is 190 lbs. I give a slight advantage to the Ars in the cabinet(s) department, because, ultimately, it feels even "deader" than the PR. However, everything else is in the PR's favor, the drivers in particular, and the sonic results demonstrate this superiority.

Fundamentally, the Pure Reference is an enhanced version of the Ars; being more extended, cleaner, faster, more cohesive in the mids/highs, more dynamic, more immediate and transparent, with greater volume capability and even easier to drive (especially full-range with one amplifier). They're both very neutral and have an ultra-low sound-floor, which makes them very similar in their "basic sound" or (lack of) character. If the Ars has any sonic advantage, I would have to say it is still slightly better in image focus, but I haven't totally dialed in the PR yet, so that may change.

PR VS. TVII- I find the comparison of the PR to the TVII to be even more interesting. They share no drivers in common, though the cabinets are quite similar, with the PR being a little larger. The PR has 4 drivers per channel, while the TVII uses 9, and that epitomizes the differences between them. The TVII is slightly more extended on the top, while the PR is slightly more extended at the bottom, but the PR's advantage here is more noticeable (and important). However, the serious differences between them are:

1. The PR has only two drivers between 150 Hz and 20K, while the TVII uses 5 and, just as important...
2. The PR's two drivers are as similar in design and material as is currently possible, while the TVII's drivers consist of 3 very different types.

Basically, most of the differences between the PR and TVII are relatively minor (and much less noticeable than the ARS), especially when it comes to speed and purity etc. They are uncannily similar at times. However, the PR not only improves on the TVII's "weak suit" of multiple midrange sources, as does the ARS or any excellent two-way, but it goes further, much further. The Pure Reference's superior (and unprecedented) midrange/tweeter "transition" and uniform (lack of) character are the closest to a true (and ideal) one-way that I've ever heard. So, the PR not only has a large superiority over the (inherently disadvantaged 3-way) TVII, it also has a noticeable superiority over the best 2-ways as well. This, alone, makes the PR truly "special".

In short, even if you combined the best qualities of the Ars and TVII into one "super" speaker, which is how one could superficially describe the PR, the Pure Reference would still be noticeably superior to that theoretical speaker. So the performance gap between the PR, and these two (otherwise outstanding) speakers, is actually large enough to allow other speakers to fit in between them.

Now, what about other speakers, those with outstanding qualities, but also with the "caveats" and "qualifiers". These will now be discussed, and it must be emphasized that, at this point, cost is not a qualifier. We will be focusing on performance (even when it's purely speculative), and it will be broad enough to even include speakers that are "theoretical" (meaning that I'm not sure they even exist!).

First, when using the qualified with the least amount of speculation and risk, I would say of all the speakers I've yet heard, the closest sonic competitor to the PR would have to be the Avantgarde Duo with Basshorns (BH). Assuming you had the proper room, I would choose them as an "alternative" to the Pure Reference. The "qualifier" here is that I haven't heard the BH myself, but I feel enough veteran and highly critical audiophiles (including some readers) have been impressed enough with them that I would take the sonic leap of faith.

The Duo has a slight advantage in dynamic force (its greatest strength), and maybe even purity. (For many, this unique horn projection will alone prove decisive.) Both speakers are very immediate. However, I (would) still prefer the PR overall, because I feel it is more neutral, disappears better, goes lower in the bass and is even more cohesive. Further, the fact that the BH has its own built-in transistor amplifier is also a downside for me. I strongly believe that tube amplification is a requirement at this (highest) level of music reproduction.

The Duo's advantage in sensitivity is real, but it's irrelevant in most cases, because the PR is highly sensitive itself, already plays much louder than I (and most audiophiles) require, and there's no ultra-low power amplifier, that I currently know of, which is superior to the finest (300B based) amplifiers I've heard.

The PR has another important practical advantage over the Duo, and that is in Listening Room Flexibility. I have a truly large room. At most, only 2% of the listening rooms I've seen are as large (or larger). Still, I am unable to use the Duo/BH combination, unless I want to go through windows to access my bedrooms, den and bathrooms. My former listening room in Toronto, similar in size to my Florida room, would have been ideal with the Duo/BH. What's the difference? The Toronto room was totally dedicated to audio, and had corners without entrances. In practical terms then, to hear the Duo/BH at "its best", will require a room that maybe only 1 out of 100 audiophiles have available to them.

Next come the "theoretical" speakers. First up is another horn "design", which is really an all-out DIY project. It is only for the most serious, patient and experienced audiophiles. I'm referring here to the horn projects discussed at Romy "The Cat's" website (www.goodsoundclub.com.). These DIY projects include dedicated, custom built amplifiers for each frequency range. This is as "avantgarde" and extreme as you can take audio. I would get involved myself if I was younger (and richer) and had more space. This is only for people who really love and appreciate what horn speakers can uniquely do, and are prepared to optimize them at any cost; in time and money.

Finally, there is the "dream speaker" I've mentioned in the past, but have never seen (even in pictures), let alone actually heard. Maybe it's just a rumor, but I want to be as complete as possible in this essay, so it must be mentioned. I'm referring to the new Apogee, "built" in Australia, and based on the Original Apogee (the 1980's speaker with so much potential, and yet so frustrating, because of its almost impossible load). However, this new company has claimed that they have totally solved the loading problem. In fact, they even claim their new version has 100 dB sensitivity! This is obviously the most extreme change imaginable; going from being almost impossible to drive, to even a SET amplifier being able to drive it. Is it real?

I don't know. Frankly, "it sounds too good to be true", but if it is, and everything else about the new version is the same (or better) than the Original Apogee, than I can't think of another speaker that could equal its performance, including the PR. It would possess, in theory, a combination of speed, purity, cohesiveness, neutrality, impact, immediacy, dynamic range, extension, image size and completeness that would be unprecedented. Unfortunately, this ("Super") Apogee is supposed to cost $ 100,000 a pair, but even then, for the first time in my life, I would finally agree that a component costing that much was actually worth it. For now though, the Pure Reference is the closest equivalent I know to this theoretical "super speaker", including the easy drive capability.

So that's every relevant comparison I can think of, even in my imagination, literally. There are, of course, many other speakers I could have brought up which are excellent performers. Some of them are mentioned above (Quad, CLS, MBL, Morrison, Sound Labs etc.), but their sonic problems are even more noticeable than those I chose to discuss, so it would be only an academic exercise.

I almost always make some form of relevant price comparisons, especially if any of the closest competitors are either considerably less, or more, expensive. In this instance, I'm going to be far more encompassing, because this is the only the second time, in the history of this website, that I've made a reference of any (currently available) component which has a "list price" of $ 20,000 (or more).

This obviously raises the issue of "value" to the discussion, which always has at least some elements of "relativity" and personal impression to it. However, for the perspective of this essay, I'm removing (and ignoring) the subjective element of "value" (which is impossible to calculate and much too easy to abuse). Here, we are only going to focus on the ratio of the best estimated manufacturing cost to the actual retail price. This is a purely objective approach to "value", which is almost always avoided by mainstream audio reviewers, despite its critic relevance to their readers and potential purchasers.

I'm going to break the comparisons down into two separate groups. The first group consists of four speakers, three from a single manufacturer, all using midrange drivers that are very similar to that used in the Pure Reference, though they're not exactly the same. These critical drivers all come from the same manufacturer (Accuton).

The second group, consisting of three speakers, doesn't use any drivers that are similar to those in the Pure Reference. These speakers are still included because they're either "famous", or (currently) "Hot", and are generally well-known and "respected" by many serious audiophiles. All of these speakers are still available new as this is written, and they have also been recently reviewed by one, or more, magazines of the mainstream audio press. (Predictably, all the "reviews" were "raves".)

Before we begin, let's refresh ourselves as to what drivers are used in the Pure Reference. The PR uses two (very expensive) ceramic drivers from Accuton; a 6.5" midrange and a 1.2" dome tweeter. Neither one of them is "stock". The major, and most important, differences are that these "custom" drivers are much more sensitive (94 dB) and also have a "totally flat" impedance. There are also two very expensive, and heavy duty, 12" woofers, which I've held in my own hands. Each woofer costs almost as much as the ceramic midrange. The cabinet is also extremely well-made and braced (190 lbs). The internal wiring, and crossover parts, are all as good as it gets. (I would go the Coincident website for the actual details and verification of this brief, paraphrased summary.) The Pure Reference's "List Price" is $ 22,000 (a pair).

Since the primary sonic contribution of the PR comes from the Accuton ceramic midrange driver, I chose the Kharma speaker company to mainly represent the first group of 4 speakers, since they use a very similar driver in a number of varying designs. Here are the details:

Kharma Ceramique 3.2
Two Way using Focal Tweeter and Accuton ceramic 6.5" mid/woofer.
Price : $21,000
70 lbs.

Comparison- This speaker is the closest in price to the Pure Reference. It also has a very similar version of the Accuton midrange driver. Other than that, they could hardly be more different. The 3.2 uses a Focal tweeter, while the PR uses the matching Accuton tweeter, which is far more expensive. Most importantly, the 3.2 uses its Accuton driver as both its midrange and its "woofer", while the PR's has two separate 12" woofers. Finally, the Ceramique cabinet is much smaller and, at 70 lbs, is 120 lbs lighter.

Here's the relevant part of what TAS (Harley/Valin) wrote about the 3.2: "Best Sound at Home Entertainment 2002 Show" (Issue 137, Aug/Sept 2002, Pages 33-34)

"...First place, however, goes to the Kharma Ceramique 3.2... This... stereo system had the most realistic sound of any at the show. Dynamic, detailed, superbly transparent, incomparably rich in color, gorgeous in the treble and midband... its only weakness... was a slight roll in the very deep bass (sub-40Hz), which, nevertheless, didn't keep the Kharmas from roaring like an orchestra in full voice on the last movement of the Rachmaninoff Third Piano Concerto..."

Personal Notes- I wasn't there, but I know, with a certainty which can only come from the laws of physics, that one observation by TAS is total nonsense; "its only weakness...was a slight roll in the very deep bass...". Reality- The single 6.5" Accuton driver has basically no "deep bass". In fact, it "drops like a stone" below 70 Hz, its resonance point, which means that even the 3.2's mid-bass is severely rolled-off. Actual frequency measurements confirm this, and nothing TAS says can change that fact. (So, we've now actually reached the pathetic point where the mainstream reviewers can't even concede that a 6.5" driver has serious problems when it's futilely attempting to accurately reproduce deep bass.)

The Focal tweeter, while quite good if it's modified (such as in the Ars Acoustica System Max), has a number of its own problems. Then there's the transition between the two drivers. They can never be as seamless as the PR, where both drivers are made by the same manufacturer, using the same materials, and specifically designed to work as a matched pair.

Bottom Line- If someone is truly impressed with the Ceramique 3.2, think of how they will react to a speaker, at almost the same price, with:
1. The matching ceramic tweeter to go with the midrange,
2. Two very high quality 12" woofers, that extend the bass down to a real 20 Hz (and which also relieve the midrange driver from the bass modulations)
3. 120 lbs greater total mass
4. A load so benign that it can be even driven with low power SET amplifiers

Kharma Grand Ceramique Midi 1.0
Three way using Accuton ceramic midrange, Focal titanium tweeter and one 11" woofer.
Price: $40,800
170 lbs.

Comparison- This speaker is much closer in design to the Pure Reference. While it has the exact same Accuton midrange and Focal tweeter used by the 3.2, there is one major difference between them. The Midi also has a real woofer this time, which should extend the bass into the last octave. The Midi's weight is also pretty close to the PR, being only around 20 lbs lighter. (Since the approximate weight of the PR's extra woofer is also around 20 lbs, this is a non-issue.) It was reviewed a few years ago by Michael Fremer (still available on the Stereophile website for free). Needless to say, it was another "rave".

I heard this speaker a few years back, with Tenor (hybrid) amplifiers in a good sized room, and the sound was impressive (for "audio show sound"). It was relatively natural, clean, fast and there was a large, focused soundstage. The most noticeable problem was the severe roll-off in the deep bass, in spite of the 11" woofer, tremendous available power and a much larger cabinet. (This is more direct evidence why the TAS write-up on the Ceramique 3.2 is total rubbish. If the Midi can't reproduce truly low bass, how can their model without the 11" woofer do so?) The Midi has relatively high sensitivity, but the impedance varies and it's even low at times. This makes it an easier than average load overall, but it's still not suitable for any SET amplifiers.

So what do you get for the Midi's extra $ 18,800 cost (the price difference between the Midi and the PR)? You get one less woofer, an inferior tweeter, a more difficult load, which means you will lose the option of using a SET amplifier, and a highly noticeable roll-off in the deep bass. The Midi does have a more beautiful looking cabinet though. I found it stunning myself.

Bottom Line- The Midi is almost twice the price of the Pure Reference. I wouldn't be able to explain how any serious audiophile could ever prefer it to the PR, unless what he sees is even more important than what he hears, which actually isn't that unusual these days.

Kharma Grand Ceramique 1.0
Three way using Accuton ceramic midrange, Focal titanium tweeter and two 11" woofers.
Price: $56,500
240 lbs

Comparison- This is the Kharma speaker which is the most similar to the Pure Reference in design. In fact, they're almost design clones of each other. The ceramic midrange and Focal tweeter are exactly the same as those used in the Midi (and 3.2) above. The only serious differences between this and the Midi is now there are two woofers (just like the PR), and of course the cabinet is a little larger. In fact, this speaker weighs even (50 lbs) more than the Pure Reference. The sensitivity and load are almost exactly the same as the Midi. Once again though, the cabinet is beautifully finished. As for reviews...

Positive Feedback (David Robinson) gave it a rave review (Issue 13- available on-line), plus it received a "Brutus Award". Robinson wasn't shy about his complete admiration for this speaker: "This was simply the very finest sound that I've ever heard in 15 years in my listening room. No exceptions...Of no other loudspeaker have I ever been able to offer such unqualified praise in all my years of reviewing."

One can only imagine Robinson's reaction to a similar speaker with an even better tweeter, made from the same material as the midrange (and with greater extension). Then add even better woofers, with deeper extension in the bass (the two frequency extreme rolloffs were the only faults Robinson could find). Then there's the PR's greater sensitivity and easier load on the amplifier. And all of this for 60% less than the price of the Grand Ceramique.

Bottom Line- Outside of slightly deeper bass and greater power handling capability, this speaker is an exact duplicate of the Midi. However, there is now a $ 34,500 price difference between it and the Pure Reference. So, what do you get for this extra investment? Inferior drivers and a more difficult load, with the offset of a heavier and more impressive looking cabinet.

Further- Is there a speaker which is even closer in design to the Pure Reference than the above Kharmas? Yes actually, the Avalon Acoustics Isis, which has almost the same midrange driver, along with somewhat similar (Eton) woofers, but it uses the (ultra expensive) Accuton diamond tweeter. The Isis costs $ 62,000 (almost 3 times the price of the PR). Still, I feel the Isis is a much better (relative) value than the Grand Ceramique 1.0 above. (Probably due to the Kharma line being imported from Europe.)

The Isis costs exactly $ 40,000 more than the PR. For this you get the diamond tweeter and a more attractive and slightly heavier cabinet. However, you lose a little low frequency extension. Most importantly, you also lose the ability to drive the speaker with a SET amplifier, since the Isis has a considerably more difficult load than the PR (or even any of the above Kharmas). For those familiar with the unique performance capabilities of the finest SET amplifiers, this constitutes a major disadvantage.

The second group of three speakers come from three different manufacturers. Two of them should be well-known to everyone. The other one is a relative newcomer, but all of them have recently received a lot of hype in the mainstream audio press (Stereophile & TAS). First up is, by far, the most famous and established of them all:

Wilson WATT/Puppy 8 (WP8)
Three way using Focal tweeter, 7" Dynaudio midrange and two 8" Dynaudio woofers
Price: $27,900
170 lbs

I owned an earlier version of this speaker (WATT only), and heavily modified it. It was my "Reference" for almost 10 years (see "My References" above). However, I used various subwoofers with the WATT. (The Puppy, which has a severe roll-off below 40 Hz, has never been even remotely close to being a true subwoofer.) The WP combination has received countless raves over the years. Check out the June 2007, Stereophile (Wes Phillips) review, which is on their website. It's a rave of course: "While acknowledging that it's not perfect*...it captures the excitement of live music as do few loudspeakers I've heard."

*Phillips also reviewed the WP5 in November 1995, again gratuitously using the word "perfect". He also refused to mention even one specific criticism of the WP5. (See Reviewing the Reviewers for the details.) In the WP8 review, he finally describes all the problems he heard with the WP5 back in 1995. Maybe Phillips feels this will now change the historical record, but it won't. Phillips was apparently too terrified to mention these criticisms when they actually mattered, to both his trusting readers and to Wilson Audio. Instead, until now, they only existed in his fantasy world, where he is still the fearless audio critic and communicator. If Phillips is betting that no one would remember his past, he lost.

Comparison- I would give the WATT/Puppy 8 a slight edge over the PR when it comes to the cabinets. While they are considerably smaller, somewhat lighter, and far less complex internally, I still feel they have an advantage because of the very expensive meta polymers being used. (The WP8 cabinets are still not as dead as the Ars Acoustica System Max, which are entirely molded.) Other than the cabinets though, there is no comparison between the two speakers.

The WATT uses the Focal tweeter (which they modify), also used by the Kharma speakers above. It can be excellent, but it's far less expensive than the Accuton ceramic tweeter in the PR. The WATT's Dynaudio midrange, while also of good quality and relatively expensive, is still a fraction of the cost of the Accuton ceramic midrange. Ditto the Puppy's two Dynaudio 8" woofers. They're good for sure, and not cheap, but they cost only a fraction of the price of the heavy-duty 12" woofers used in the PR. Further, the internal wiring and the crossover parts used in the Pure Reference also appear to be higher quality and more expensive.

Bottom Line- The WATT/Puppy 8 costs $ 5,900 more than the Pure Reference. What do you get for this extra money? You get a somewhat more expensive (and shiny) cabinet, but you also get four dynamic drivers, internal wiring and crossover parts that, in total, cost far less than those used inside the PR.

Finally, despite the ridiculous suggestion by Phillips that a 2 watt amplifier can actually drive the WP8, the truth is exactly the opposite. It takes considerable power and current to adequately drive the WP8 (or the earlier versions). This is because the impedance looks like a mountain range, and even goes down "to 2.2 ohms at 77 Hz". This is another serious disadvantage for the WP8.

Magico Mini MK II (with stand)
Two way using Scanspeak Ring Radiator ("Revelator") tweeter and 7" titanium composite mid/woofer.
Price: $29,900
80 lbs (Stand 120 lbs)

This is the speaker that TAS (Jonathan Valin in particular) is really "pushing" these days (I used that word deliberately). In fact, I've never seen TAS, in their entire 35 year history, gush over any components like the Magico Mini line. (I wonder what Harry Pearson's reaction could be to this development.) The original review came out in November 2006 (Issue 163), and there's since been another review on the MK. II (Issue 179). The price of the Magico Mini has gone from $ 22,000 up to almost $ 30,000, which includes the m