Ψήφισα ΜπεΟ!

[deleted user 10898]

φυσικα αν ειχα χρηματα θα πηγαινα με κλειστα ματια σε αυτα...

RL 933K


The Studio Monitor Speaker RL 933K is an active three-way monitor with cardioids characteristic within the frequency range from 35 Hz through 100 Hz. It can universally be applied as the main monitoring speaker for sound and video studios. By this radiating characteristic the reflections on the back walls of listening rooms can be minimized. The loudspeaker RL 933K1 is another variant of the RL 933K. RL 933K1 contains a stand-alone amplifier and is of smaller height of the box so that it is superior suited for the insertion in video walls and outside-broadcasting vans.

ο τροπος "ακτινοβολιας" χαμηλων που εχουν επιτυχει αξιζει να σας προβληματισει...

 

[Kotsidis John]

χμμμ συνεχισε, περιμενουμε με κομμενη την ανασα...

 

[deleted user 10898]

Τι ειναι ομως αυτο που πρεπει να μας καθοδηγει σε τετοιες αποφασεις?
Τα εχουμε πει και γραψει τοσες φορες, ας παμε κατευθειαν να συμβουλευτουμε ΜΟΝΟ αυτον που ΞΕΡΕΙ.
(μπορειτε και να ρωτησετε τον μπατζανακη του φιλου σας που ειναι high endας, η καποιον στο φορουμ με μεγαλη "εμπειρια".... ελπιζω να μην το κανετε...)

My interest is in speakers for use in typical size domestic rooms, not for ballrooms, discos or sound reinforcement. So there is immediately a question about speaker size. "Bigger is better" does not necessarily apply, but "lower distortion is better" becomes the overriding rule. How is that achieved? It depends upon the platform used, the individual drivers and upon their integration in order to achieve an acoustic output free of resonances, and non-linear distortion, and with optimum polar frequency response

1 - The platform
A full-range speaker needs to be at least 3-way. The typical 2-way speaker can be easily equalized for flat response down to 20 Hz, but it cannot produce sufficient low distortion acoustic output in the frequency range where the ear has low sensitivity. A 4-way speaker should have no such problem, but the design complexity increases dramatically for optimum performance in other parts of its frequency range. The ORION is 3-way.
Then there is the cabinet. Should it be a closed box, vented box, open baffle, or a combination of those? If the low frequencies are reproduced from some form of a box, then the polar response will be uniform or omni-directional up to several hundred Hz. This uniformity in polar response needs to be carried up in frequency and leads to speakers such as those from MBL or the new Beolab 5. In contrast, the vast majority of loudspeakers today are boxes and exhibit increasing forward directivity with increasing frequency. Their power response rolls off at least 10 dB with frequency. Box speakers suffer from strong excitation of listening room resonances in the frequency range below 200 Hz and uneven bass response unless absorptive room treatment is applied. The Beolab 5 uses a clever woofer equalization scheme which seems to work well. It had, for example, no problem reproducing the very low frequency drum note at the beginning of the 'Temple Caves' track from the Planet Drum CD, when several over $40,000 speaker setups had failed the test.
The open baffle, or dipole, loudspeaker is the least room resonance sensitive platform, though in planar form it suffers from insufficient output at low frequencies. At higher frequencies the planar radiator becomes acoustically too large in size with consequently irregular polar pattern. The ORION, instead, employs acoustically small cone drivers with large excursion capability in an open baffle arrangement and is capable of high volume bass output down to very low frequencies and wide dispersion at high frequencies.

 

[deleted user 10898]

Τι λεει ο κυριος καθηγητης λοιπον ωρε παιδια?
θελουμε ηχειο τριων δρομων αν θελουμε φουλ ρειντζ! ωραια, γνωστο αυτο
Κατω απο τα 200 που εχουμε τα προβληματα του χωρου καλο ειναι να εχουμε καποιου ειδους eq.
και αυτο το εχουμε ψιλιαστει... ποσες μπασοπαγιδες να ανεχθει η συζηγος?
το ποιο σημαντικο ομως που λεει ο Linkwitz και με προβληματισε ιδιαιτερα ειναι αυτο...

This uniformity in polar response needs to be carried up in frequency...

This uniformity in polar response needs to be carried up in frequency and leads to speakers such as those from MBL or the new Beolab 5. In contrast, the vast majority of loudspeakers today are boxes and exhibit increasing forward directivity with increasing frequency. Their power response rolls off at least 10 dB with frequency.

τι ειναι αυτο παλι?
εγω δεν ειμαι ο ΚostasΕar η ο Bhutias.
δεν εχω τις τεχνικες γνωσεις για να το εξηγησω αλλα καταλαβαινω οτι ειναι σημαντικο.
Ετσι συνηθως οταν τα βρισκω σκουρα αρχιζω να διαβαζω και να ρωταω...

 

[deleted user 10898]

Ωπ.....για δες.... μεγαλες εταιριες μαλλον το θεωρουν σημαντικο....

The biggest external difference concerns the tweeter. Or tweeters. The 'AR2 had a conventional if high-quality, 1" silk-dome tweeter with a motor that featured a circular array of six neodymium magnets that left the rear of its diaphragm unobstructed. The 'NA2ES also uses a 1" silk-dome tweeter sourced from Scan-Speak, but mounts it vertically between two 0.75" fabric-dome "assist" tweeters. All three tweeters share the same faceplate and cover the same frequency range. I asked Sony's designer, Yoshiyuki Kaku, what he was trying to achieve with this three-tweeter array, which Sony calls the I-Array.

Mr. Kaku explained that he'd been listening to a Sony "lifestyle" speaker, the Sountina, that had been developed by another group within the company. The Sountina had an unusual cylindrical tweeter with a 360° radiation pattern. Though the Sountina was not a "hi-fi" design, the sound of its tweeter was remarkably lifelike, and very different from that offered by normal directional dome tweeters. That experience set Kaku thinking about how he might get the same result from a conventional speaker, to widen its radiation pattern at high frequencies to better match that in the midrange and bass. The target was therefore to design a tweeter with a directivity similar to that of the midrange driver and woofers. Simply making the tweeter's dome smaller would increase the top-octave dispersion but compromise power handling. The solution turned out to be a vertical array of a single 1" tweeter flanked by two smaller-diameter tweeters, these having wider dispersion above 10kHz but slightly lower sensitivity. The benefit would be more top-octave energy in-room without affecting the flatness of the on-axis response.

 

[deleted user 10898]

και ποιο μικρες μοδατες εταιριες...

http://www.grimmaudio.com/site/assets/files/1088/speakers.pdf

Regardless of the room, speakers give themselves away by having a response significantly deviating from flat or by producing excessive amounts of non-linear distortion. A speaker that is good on these two counts already sounds great in an anechoic room. Placed in a real room a speaker betrays its presence by its off-axis radiation. Too wide dispersion causes the “omnidirectional brass section” effect while strongly frequency-dependent dispersion makes the direct/indirect balance frequency dependent as well.

The LS1 is designed as a transportable compact system. Dipole or cardioid cabinets are therefore out of the question. Accepting that the LS1 will be omnidirectional at low frequencies, we can not make high-frequency directivity too strong. What we can do is decide where to put the baffle-step frequency. Psychoacoustics tells us that below about 300Hz the ear will no longer clearly discern direct sound, first reflections or reverberant sound. Pre- sumably the evolutionary background of this is that the vocal range starts here. Anyhow, we can live with a transition to omni below 300Hz. If we can get reasonable, constant directivity above that, we have a design spec!

 

[deleted user 10898]

Γιατι ομως τοση καουρα με την ομοιομορφη διασπορα?

Ας δουμε τι λεει με πολυ απλα λόγια και αριστο τροπο ο χαμενος στην θεσσ/νικη moderator μας...

"Συνολικά κοιτάζοντας το θέμα, είναι πραγματικά απλό να κατανοήσουμε πως ακούμε το χώρο κι όχι το ηχείο. Σε αυτό δε νομίζω να διαφωνεί κανείς, ιδίως αν γνωρίζει τα βασικά. Ο ρόλος του ηχείου είναι να δονήσει, να "ερεθίσει" και να "διεγείρει" το χώρο ακρόασης. Γι'αυτό θέλουμε ηχείο ανάλογο του χώρου ακρόασης, ώστε να είναι ικανό να "δονήσει" το χώρο. Πχ ένα πολύ μικρό ηχείο σε ένα πολύ μεγάλο χώρο, αδυνατεί να τον διεγείρει στο ακουστό φάσμα και γι'αυτό το λόγο δεν ακούγεται μουσική, απλά ένα ηχείο εδώ κι ένα εκεί που βογγάνε και δε καταφέρνουν τίποτα. Αν τα ηχεία "τον έχουν" το χώρο, τότε όλα καλά, ερχόμαστε με τη σειρά μας εμείς να κάτσουμε στον καναπέ μας και να ακούσουμε τι μας λέει ο χώρος που δονείται από το ηχείο. Αυτή είναι όλη η ιστορία.

Αν λοιπόν στις χρήσιμες πρώτες αντανακλάσεις βάλουμε την τέλεια απορρόφηση, που θα καταπιεί όλη αυτή την ακουστική ενέργεια, τότε καταφέρνουμε μια τρύπα στο νερό, διότι ζορίζουμε ακόμα περισσότερο το κακόμοιρο το ηχειάκι μας στην προσπάθειά του να διεγείρει το χώρο ακρόασης. Εκεί χρειάζεται να βάλουμε διάχυση, ώστε να εκμεταλλευτούμε και την τελευταία ρανίδα ενέργειας του ηχείου μας ώστε αυτή η ενέργεια να "κατακλύσει" ομοιόμορφα το χώρο ακρόασης, να τον διεγείρει στο σύνολό του και εμείς να ακούσουμε το χώρο να δονείται στους ρυθμούς της μουσικής μας.

Εφόσον όλη η αρχική ενέργεια αντανάκλασης μοιραστεί σε άπειρες μικρής ενέργειας ηχητικές δέσμες προς όλες τις κατευθύνσεις, τότε γίνεται εφικτό η ενέργεια της κάθε μικροδέσμης ήχου να μην είναι συγκρίσιμη ενεργειακά με την απευθείας ενέργεια που μας έρχεται από το ηχείο, με αποτέλεσμα να είναι άψογα εφικτή η στερεοφωνία, να είναι σαφέστατη η τοποθέτηση των οργάνων της μουσικής σκηνής, να είναι ξεκάθαρος ο εστιασμός. Όλα τα παραπάνω, χάνονται όταν η πρώτη αντανάκλαση είναι κατευθυντική, τύπου καθρέπτη.

Το όλο πρόβλημα ξεκινάει από τον λοβό ακτινοβολίας του κάθε ηχείου, ο οποίος δε μπορεί να είναι σφαιρικός, προς όλες τις κατευθύνσεις, όπως πχ όταν έρχεται ένα βιολί ή ένα τύμπανο και παίζει στο χώρο μας. Το ηχείο παίζει προς μια κατεύθυνση, με συγκεκριμένα χαρακτηριστικά διασποράς, συγκεκριμένη γωνία και με αλλαγές στην απόκρισή του σε κάθε γωνία. Αυτό λοιπόν προσπαθούμε να "προσομοιάσουμε" με την διάχυση, ώστε να γίνει περίπου σα να παίζει ένα πραγματικό βιολί στο χώρο μας, όπου είναι προφανές πως ακούς ακριβώς το ίδιο όπου κι αν βάλεις το αυτί σου μέσα στο χώρο ακρόασης, ακόμα και δίπλα στο ταβάνι πίσω από το βιολί."

φυσικα, για οποιον πραγματικα εχει ορεξη, το ευαγγελιο του Bhutia...
http://www.avsite.gr/forum/threads/Ανατομία-Ακουστικής-Χώρων-remastered.79626/

 

[vlasis]

βλεπω δυναμικη προσεγγιση στο θεμα Νικολακη μας......μπηκες δυνατα σημερις.......

 

[VasilisM.]

Μπράβο Νικόλα, ωραίο που "απλώνεις" τις σκέψεις σου και το τι ήταν αυτό που σε οδήγησε στην επιλογή σου.
Αναμένουμε την όποια συνέχεια του θέματος!

Spoiler: Παραλειπόμενα....

Τι την ήθελες την άποψη της Sony σαν θέσφατο...
θα μου στεναχωρήσεις κάποιους εδώ μέσα....

 

[dapost]

Ωραία μας τα αναλύει ο vet μας. Άντε να διαβάσουμε και τίποτα ενδιαφέρον, έχει πεσει πολύ βαρεμάρα.

Quiz: Επειδή το συγκεκριμένο ηχείο είναι πολύ διαφορετικό από τα συνηθισμένα:

(Horizontal dispersion beolab 5)

και επειδή έχει περιορισμένη διασπορά στο κατακόρυφο επίπεδο, τι room treatment χρειάζεται στις μεσο-υψηλές και σε ποιά σημεία;

 

[dapost]

Δεύτερο quiz: Τι διαφέρει ως προς την αλληλεπίδραση των μεσο-υψηλών με το χώρο η σχεδίαση "acoustic lens" σε σχέση με ένα tweeter σαν το DXT της seas:

ή με ένα ribbon σαν αυτό:

 

[VasilisM.]

Κρίμα, έπεσε νέκρα εδώ μέσα.... θέλω να μάθω και άλλα... τα έχεις ακόμα τα ηχεία η τα έδωσες....?

 

[deleted user 10898]

τα ηχεια δεν το κουνανε...
αποτελουν πλεον σημειο αναφορας για εμενα.
Εχουν εξαιρετικη ομοιογενεια για τετραδρομα, απιστευτο δεσιμο...
Επισης, με συναρπαζει ιδιαιτερα η αρτιοτατη αναπαραγωγη σε πολλα σημεια ακροασης και οχι μονο σε μια θεση.
Θα ακολουθησει συνεχεια, μεινετε συντονισμενοι...

 

[dapost]

Ωραία μας τα αναλύει ο vet μας. Άντε να διαβάσουμε και τίποτα ενδιαφέρον, έχει πεσει πολύ βαρεμάρα.

Quiz: Επειδή το συγκεκριμένο ηχείο είναι πολύ διαφορετικό από τα συνηθισμένα:

(Horizontal dispersion beolab 5)

και επειδή έχει περιορισμένη διασπορά στο κατακόρυφο επίπεδο, τι room treatment χρειάζεται στις μεσο-υψηλές και σε ποιά σημεία;

Απάντηση: Απορρόφηση στα σημεία ανάκλασης από τους πλαινούς τοίχους (και όχι διάχυση). Τίποτα στο πάτωμα και οροφή.

 

[dapost]

Δεύτερο quiz: Τι διαφέρει ως προς την αλληλεπίδραση των μεσο-υψηλών με το χώρο η σχεδίαση "acoustic lens" σε σχέση με ένα tweeter σαν το DXT της seas ή με ένα ribbon;

Το DXT έχει controlled dispersion και στο κατακόρυφο επίπεδο, το "acoustic lens" μόνο στο οριζόντιο επίπεδο, όπως δηλ. και ένα ribbon.

 

[dapost]

Όλα αυτά βέβαια στη θεωρία. Στην πράξη, ο Νίκος θα μετρήσει και θα μας πει.

 

[VasilisM.]

Bang & Olufsen BeoLab 5

Bang & Olufsen America, Inc., 780 West Dundee Road, Arlington Heights, IL 60004. Voice: (847) 590-4900. Fax: (847) 255-9064. E-mail: [email protected]. Web: www.bang-olufsen.com. BeoLab 5 loudspeaker system, $16,000.00 the pair. Tested samples on loan from manufacturer.

I have a dream. I dream of the Ultimate Loudspeaker. It can only exist in my dream because in the real world no manufacturer would have the overarching vision and multifaceted expertise to incorporate each and every one of its ideal features in a single design. No way; it could never happen. It would of course have to be a powered loudspeaker because perfect matching of the amplifier channels to the drivers is possible that way and because separate, free-standing power amplifiers are hopelessly twentieth-century. It would have to be a 4-way loudspeaker because 3-way design always stretches the capabilities of the drivers to the limit. It would have high-order digital filters in the electronic crossover because they are linear-phase and just plain superior. The four power amplifiers would be extremely powerful yet small enough to be tucked unobtrusively inside the speaker enclosure, thanks to the most sophisticated switch-mode design. The various functions and protection modes of the speaker would be controlled by a powerful internal computer and DSP processor, which would also permit a single digital S/PDIF connection from a stereo signal source to produce music from the all-in-one amplifier/speaker system. One of the capabilities of the DSP would be to tune the bass response of the speaker to its specific location in the listening room. (I can dream, can’t I?) Also, the midrange and treble response of the speaker would be much wider in dispersion than the usual 60° or 90°, extending essentially to 180°, so that the location of the listener would become totally unimportant. (Asking for the moon? What are dreams for?)
Am I still dreaming? What are those two strange-looking monoliths in my listening room? Could they be loudspeakers? Introducing the Bang & Olufsen BeoLab 5, the speaker that makes my dream come true in every detail, bar none. I can hardly believe it. Amazing. Speakers will never be the same again.

The Design

Bang & Olufsen really did it this time. The Danish firm whose philosophy always seemed to be cosmetics (“Dansk design”) first, engineering second, has leapfrogged the whole speaker industry with an engineering design so advanced and so imaginative that it leaves everyone else in the dust. The BeoLab 5 is the most sophisticated piece of loudspeaker engineering in the world today, at least in the world known to me—and they didn’t neglect the cosmetics, either. Just look at it! It’s a tour de force both technically and visually. There is simply nothing else like it. For once, the high price tag (sixteen big ones) does not appear to be excessive when you “look under the hood.”

The drivers around which the BeoLab 5 is designed are a 15" subwoofer, a 6½" upper woofer, a 3" soft-dome midrange unit, and a ¾" soft-dome tweeter. The downward-facing subwoofer is in a 29-liter (just over 1 cubic foot) sealed enclosure, remarkably small for the high-level 18-Hz capability, and proof of both the elaborate electronic equalization and the large excursion range of the driver. The upper woofer is in a 5-liter (0.18 cubic foot) sealed enclosure, facing forward. The midrange driver and tweeter each face upward and fire into very special acoustic lenses, one larger and one smaller, licensed from Sausalito Audio Works. This Acoustic Lens Technology, invented by SAW president Manny LaCarrubba, permits 180° dispersion of each driver’s frequency band in the horizontal plane. Three circular disks—below, between, and above the lenses—are part of the dispersion system. (The SAW lens reminds me a little bit of the Karlson speaker enclosure of half a century ago—who is old enough to remember it?—which also had the driver firing forward through an aperture that narrowed to a point on top, but of course it was a much more primitive technology, designed for full-range drivers and with a two-dimensional aperture as against the three-dimensional cavity of a SAW lens.) The ultrawide dispersion of the upper midrange and treble is one of the features that distinguishes the BeoLab 5 from all other speakers.

The four amplifiers feeding the four drivers are of a uniquely efficient switch-mode design by ICEpower, a Bang & Olufsen subsidiary. They are so small that they fit easily inside the speaker (along with all the associated electronics), yet they can deliver 1000/1000/250/250 watts, respectively, into the four drivers. Distortion and noise are as low as in the best conventional amps. (This is the technology of the future, not the Halcro kind of thing.) The electronic crossover that feeds the four power amps is part of the elaborate DSP module. Digital filters split the audio spectrum into four bands, without the phase nonlinearities that are inherent in high-order analog filters. Frequencies above 500 Hz are directed to the two acoustic lenses, below 500 Hz to the two cone drivers. (The two other crossover frequencies are not specified.) The DSP is of an advanced design, with 32-bit floating-point processing. S/PDIF outputs from any external source, with sampling rates up to 96 kHz and word depths up to 24 bits, can be fed directly to the speakers. All signals are up-sampled to 192-kHz/24-bit before being converted to analog for the power amps. All you need is some kind of digital player, without any other electronics, to hear music out of the BeoLab 5’s. The DSP also effects delay compensation for each driver, monitors voice coil temperatures and dynamically corrects output levels accordingly, and—most remarkable of all—manages the unique Adaptive Bass Control. A substantial handheld remote control commands all these functions—and more.

The Adaptive Bass Control works as follows. You press the center of the top circular disk on the speaker. A tiny microphone snakes out from underneath the subwoofer. A sequence of tone bursts begins. When it’s over, the microphone changes its position by a short distance. A second sequence of tone bursts follows. When it’s over, the microphone retracts. (Showmanship reinforcing technology!) From the two readings, the onboard computer calculates the low-frequency equalization required for flat room response at that particular location and applies the calculated curve. Flashing red and green pilot lights monitor the entire sequence. Then you repeat the same process with the other speaker. Thus, no matter where the speakers are located, you can have totally optimized in-room bass response. No additional instrumentation needed. The difference in low-frequency smoothness before and after the procedure has to be heard to be believed. Most rooms are terrible bass messer-uppers.

The foregoing is just a superficial summary of the BeoLab 5 design. There is a lot more to it. Go towww.bang-olufsen.com, where you can download various PDFs that will answer whatever question you are likely to have. Sausalito Audio Works’ web site, www.sawonline.com, also has some excellent technical information on the BeoLab 5.

The Measurements

Fig. 1: Frequency response (blue) and phase response (green) 2 meters on axis.

Fig. 2: Frequency response (blue) and phase response (green) 2 meters off axis (approx. 45 degrees).

 

[VasilisM.]

The most obvious difference between the measured response of the BeoLab 5 and that of any other speaker is the complete absence of high-frequency rolloff at any angle off axis horizontally. Compare Fig. 1 and Fig. 2. Those are my quasi-anechoic (MLS) curves from 300 Hz up, taken at 2 meters on axis and approximately 45° off axis, respectively. There is virtually no difference between the two curves, all the way up to the highest frequencies. Fig. 2 could actually have been taken at 85° off axis with little or no effect on the response—the speaker just doesn’t care! That’s unique to the Acoustic Lens Technology. There is, however, something slightly disturbing about the curves. They ought to be quite flat but show instead a shallow S-shaped bend, dipping in the upper midrange and peaking in the treble range. That vaguely S-shaped profile is evident at all output levels and no matter how close or far the measurement microphone is placed. It appears to be the signature of the BeoLab 5. I asked the design engineer at Bang & Olufsen whether this was deliberate “formatting,” perhaps based on listening-test preferences. He vehemently denied that and sent me B&O’s own frequency-response curves to prove that the speaker is flat. The funny thing is that the B&O curves also suggest the S-shaped profile in amplitude response but, on the other hand, indicate dead-flat power response above 1 kHz. Now, I don’t have the technology (or the patience) to do the large-scale reiterative solid-angle averaging required to derive an accurate power response, so I’ll have to give B&O the benefit of the doubt. I’m wondering, however, why the BeoLab 5 can’t have flat amplitude response—at least on axis and at moderate angles off axis—like some of the other top-notch speakers out there that also have excellent power response.

As far as vertical dispersion is concerned, it is severely limited by the three circular disks that constitute the tops and bottoms of the acoustic lenses. This is not just a byproduct of the design but an essential part of the design philosophy. B&O believes in preventing floor and ceiling reflections, in preference to the arguable sonic benefits of greater vertical dispersion. More about that below.

The nearfield low-frequency response of the speaker, before any adaptive in-room correction, is shown in Fig. 3. It is as good as it gets, flat down to an f3 of 18 Hz with only ½ dB ripples. That 15" subwoofer and its 1000-watt ICEpower amplifier are state-of-the-art. Distortion of a 40 Hz tone at a 1-meter SPL of 95 dB is shown as an FFT spectrum in Fig. 4. That’s a very loud level for such a low frequency—as loud as I’m willing to tolerate in my laboratory when I do my measurements—and the numbers are very good. The –41 dB second harmonic translates to 0.89%, the –48 dB third harmonic to 0.4%, the –60 dB fourth harmonic to 0.1%. You can’t get much lower than that, and even if you could the difference would be inaudible. I did not take any other distortion measurements because at higher frequencies the distortion is inevitably lower, typically approaching zero in the top three octaves of the audio band. This is clearly a very low-distortion loudspeaker.

Fig. 3: Nearfield small-signal response of woofer (adaptive bass-control calibration set to “neutral”).

Fig. 4: Nearfield spectrum of a 40 Hz tone at a 1-meter SPL of 95 dB.

The Sound

The ultimate purpose of world-class engineering in a loudspeaker is world-class sound, and the BeoLab 5 has got it. It was the immediate successor to my 1996-to-2003 reference standard, the Waveform Mach 17, in my main listening room, and after a very brief initial listening session I said, “Yes, this is better.” Now, the Waveform was gone by then, so I could not do an ABX double-blind listening comparison (which would have been invalid, in any event, because the size and vastly different launch geometries of the speakers would have precluded same-position substitution of any kind). The fact is that no side-by-side comparison was necessary. The Adaptive Bass Control alone, once activated, produced obviously superior results. The low-frequency response was utterly smooth, effortless, powerful, without the slightest lumpiness, and extending all the way down to dc—or so it seemed. Unbelievable bass. The wide horizontal dispersion of the frequencies above 500 Hz also resulted in a unique listening experience—you can sit anywhere in the room with these speakers, as long as they are somewhere in front of you. The aiming of the midrange and tweeter has become totally uncritical. That alone is worth the price of admission.

As for the slightly S-shaped frequency response curve—was it audible? I am not at all sure. Just the slightest suspicion of extra zing at the highest frequencies, of reduced brightness at around 3 kHz—maybe, maybe not. The fact is that the overall sound was superb, as transparent, defined, and alive as I have ever heard out of any speaker, and definitely less boxy than the remembered sound of the Waveform, which had been really minimally boxy to begin with. The BeoLab 5 is, on the whole, a masterpiece in sound, as well as in electroacoustic theory. About the only reservation I ended up with had to do with the height of the soundstage, which should have been taller, ideally. Those circular disks were doing their job—no floor or ceiling reflections, somewhat restricted height on the soundstage. It’s a tradeoff. In all other respects, the soundstage was extremely well-defined.

I must add that the BeoLab 5 does not have the unique 3-D soundstaging characteristics of the Linkwitz Lab “Orion”—no other speaker does. (See the Orion review.) On the other hand, the BeoLab 5 is a brilliant all-in-one engineering package unlike any other design in the world and also unique in sound, in its own way. If I could afford both, I would own both. I particularly appreciate the BeoLab 5’s total repudiation of the tweako audiophile worship of 200-pound amplifiers, the “sweet spot” for stereo listening, and strictly analog design. If an audiophilic orthopedic surgeon happened to be fortuitously persuaded to purchase a pair of BeoLab 5’s, he would be automatically spared every bit of idiotic propaganda about triode amplifiers, silver cables, biwiring, burn-in, spiked feet, etc., etc. Isn’t that wonderful? Bravo, B&O!
---Peter Aczel

Από εδώ.

 

[nima]

Κάνε μια περίληψη στα Ελληνικά,
2 καφέδες χρειάζομαι για να τα διαβάσω μεταφράζοντας τα.

 

[VasilisM.]

Κάντε λίγη υπομονή... θα σας τα πει όλα ο Νικόλας.... απλά το έβαλα (copy/paste) έτσι, για να μην "χαθεί"!