Best floorstanding speakers12/3/2023 There is nothing else quite like an ESL-63 descendant, and there are those for whom nothing else will do. But if the balance of the 2812 pleases or is adjusted by EQ to suit, the result is a speaker of almost unique virtues when it comes to low perceived midrange coloration, low distortion, smoothness of radiation pattern, and coherent sound. The balance of the speaker has been somewhat altered in the direction of more brightness compared to its immediate predecessor the Quad 2805, which is flatter and more nearly neutral in both audible and measured terms. With the same ingenious arrangement-concentric rings in which the outer ones are activated with a time delay compared to those closer to the center-the 2812s have the same coherence of radiation pattern as always and an impressive sense of speaking with a single voice. This latest version of the venerable Quad ESL-63, which first appeared in the early 1980s, is the most physically robust embodiment of the basic design yet, and its sound has a greater solidity in the lower frequencies than did earlier versions. Soundstage width and depth are excellent although the Kanta doesn’t throw razor-sharp image outlines. A stout solid-state amplifier is recommended to realize the Kanta No2’s bass extension and dynamics. The tonal balance is a bit on the brighter side of neutral, but not to the point of egregiously altering instrumental or vocal signatures. This tweeter sounds superb, with very clean textures. The Kanta No2’s 6.5″ midrange and dual 6.5″ woofers feature this driver design, while the tweeter is the latest version of Focal’s acclaimed IAL (Infinite Acoustic Loading) beryllium tweeter. All Kanta models feature a new “F-sandwich” driver construction that surrounds a flax core with glass fiber diaphragms. The new Kanta line from the esteemed French manufacturer is right in the middle of the range, with the Chorus and Aria series below it, and the Sopra and Utopia lines above it. The tonal balance here, however, replaces the Montis’ lovely ying-like personality with an altogether more yang-like, even aggressive forwardness thus listening before buying is highly recommended. As with the Montis, and other MartinLogan hybrids, the integration of dynamic bass drivers with electrostatic arrays is managed with essentially perfect coherence, and all the other familiar ML virtues are in evidence, including life-sized scaling, broad and deep soundstaging, wider than usual dispersion for a paneled array owing to the company’s unique “curvilinear” electrostatic elements, and very low apparent distortion. A novel sliding-phase network allows for suppression of the backwave. The main advancement in the new model is the incorporation of Anthem DSP signal processing in the bass, which makes it possible to achieve exceptionally clean, clear, and powerful low end. The 11A is the third from the top in MartinLogan’s Masterpiece series, replacing the Montis, enthusiastically reviewed by PS. Audiophiles might shrink from active loudspeakers, but the SCM19-AT makes the case for them, emphatically. Though this ATC may seem pricey at first glance, considering the amp-packs and precision electronics bundled in each speaker and the studio-grade performance, the SCM19-AT’s true value becomes more and more evident with every recording. Also, the 19A has a little fuller midbass than you might expect from a two-way (piano aficionados should take note). Its comforting warmth in the lower mids and upper bass further adds to the impression of musical scale and substance. It has superior bass extension, although its greatly improved low-end control and pitch definition are what truly engage the listener. The active, two-way, tower version of ATM’s compact, passive SCM19, the 19-AT equals or betters the stand-mounted version across virtually all sonic criteria.
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