Avantgarde solo speakersOn 22.10.2020 by Tojat
These attenuators are accessed by small screwdriver.
Finally, the Model 3 sits on four felt-padded feet. This review page is supported in part by the sponsor whose ad is displayed above. Almost in the center of the German Republic lies the community of Lautertal in the state of Hesse.
Here in a hilly forested area with select stone quarries are located the headquarters of Avantgarde Acoustic. Led by Holger Fromme, the company is famous for its high-sensitivity spherical hornspeakers. Their electronics too are accorded the necessary attention to meet the high-quality specifications of the loudspeakers. Highly sensitive speakers mercilessly expose shortcomings of connected electronics. Any flaw in design or build will be magnified and thrown into sharp relief.
Some five years ago, Avantgarde presented their Model 5, an integrated 1. As technologies and ideas evolved, the Avantgarde team under designer Matthias Ruff thought it time to update that model.
With Matthias one of those restless souls where audio designs are concerned, his latest notions and insights were suited better for a clean-slate approach than a reissue of an upgraded iteration. After many trials and errors, listening sessions and refinements, the new Model 3 was birthed. With its larger footprint, it has more room for circuit layout and the final quality of the Model 3 turned out such that the team decided to discontinue the Model 5 in favor of a complete replacement rather than retaining the predecessor as an alternate choice.
The Model Three has also morphed into a true preamplifier whereas the Model 5 simply used a voltage divider tapped from the high-level signal preceding its XLR output. Matthias then added a cascode circuit to the output stage. Why would you add a cascode circuit to a power buffer when audiophiles have made less is more the sanctified path to audio paradise? This adds an extra transistor to the signal path. Cascoding is more typical for preamplifiers.
However, two cascoded transistors may also benefit a power amp's output stage by reducing the so-called Miller effect. Way back in the late '30s of the previous century, this circuit topography was first implemented by cascoding two triodes, the first one with a common cathode and the second with a common grid. This produced higher gain and expanded bandwidth, the latter eliminating high-frequency phase shifts and associated harshness.
With transistor emitter followers, the Miller effect becomes a form a capacitance that loads the output devices. Without this charge, the signal will pass the amplifying stage far quicker. With less voltage on the current amplifier transistordissipation losses diminish. Increased speed compensates for any back EMF from the speakers faster and more efficiently.
Thus more can become more. Adding extra bits to the circuit can improve the process the circuit was designed to assist and thus, sound quality goes up. However, nothing ever comes free.
Avantgarde lavished costly parts on their circuit. Wherever sensible, capacitors are by Black Gate.When a horn speaker is good, there is nothing else that can beat it for dynamic speed and impact, low-level resolution, lifelike midrange presence, and sheer acoustical output.
This superior impedance matching allows that diaphragm to generate very high sound pressures from very small excursions. In sum, a horn-loaded driver is in many ways the ideal acoustical-energy delivery system, typically producing ten times more acoustic output than a cone speaker would from the same amplifier power via an ultra-lightweight driver that, because of its greatly reduced inertia, is capable of astonishing speed and resolution.
These reflections and any high-Q resonances in the drivers themselves will add a characteristic turbulence to the signal, which ends up being amplified along with the music. Nowhere is this incoherence more pronounced than in the bass, which in many contemporary horn systems is often handled by a cone subwoofer.
Seamlessly matching a cone sub to an ultra-fast, ultra-clean, ultra-high-sensitivity horn via conventional means is about as tough a task as you can set for yourself in high-end audio. Even the best direct-radiating cone subs will seem slightly sluggish off the line compared to the super-charged engine of the horn-loaded drivers. When it comes to horns, I know whereof I speak, because about two decades ago I spent several years trying to live with an elaborate horn-loaded system—the original Avantgarde Acoustic Trio-G2—before finally, and not without serious misgivings, giving up on it.
Both speakers now disappeared as sound sources almost to the extent that well-designed cones or planars do.Obsessed by perfect sound, we engineer and produce prime quality horn loudspeakers and amplifiers, shipped from our picturesque Odenwald region to enthusiasts all over the world.
Made for people who esteem a truly unique and pure sound experience, often hard to put into words. Awarded world wide for excellence in sound and design. Made in Germany, since Become a member today and benefit: - get exclusive information - communicate with like-minded people - get invited to exclusive events and promotions.
The managing directors of Avantgarde Acoustic inform in an open letter about far-reaching measures in the wake of the Corona crisis. But also about our willingness to work up the courage for overcoming the crisis.
And last but not least about the confidence that drives us, and allows us to faithfully make investments into the future even in these difficult times Read more … a message from the board of directors. Are You a proud owner of an avantgarde acoustic product and would You like to share it with others? Are you interested in an avantgarde product and are You looking for inspiration? Then join the Avantgarde Acoustic customer gallery!
To the Galleries. More than years ago, Emil Berliner was the first to present his gramophone to the public. The horn funnel reinforced the mechanical vibrations of the needle in the record groove, making it audible for the human ear.
More about horn technology. UNO XD. DUO XD. SUB XD. XA INT. XA PRE. Avantgarde Acoustic is the German High-End manufacture. For owners. For fans. For friends of the brand. Welcome to the CLUB! Enter CLUB section.
News a message from the board of directors The managing directors of Avantgarde Acoustic inform in an open letter about far-reaching measures in the wake of the Corona crisis. Customer Galleries Are You a proud owner of an avantgarde acoustic product and would You like to share it with others?Search form Search. Show Munich More Reports. Floor Loudspeaker Reviews. A compact horn loudspeaker.
Our Hornloudspeaker and Amplifiers
Isn't that an oxymoron, like jumbo shrimp, or military intelligence? From such venerable speakers as the half century-old Altec Voice of the Theater and the Klipschorn, as well as more modern examples like the Avantgarde Acoustic Trio, horns have always been big.
The original Avantgarde Uno was the smallest speaker in Avantgarde's line, but it was still visually imposing, with a big horn midrange on top, a horn tweeter below that, and a powered sealed-box subwoofer at the bottom.
I reviewed the Uno 2. The Uno and its siblings, the Duo and Trio, are perhaps the antithesis of the in-wall loudspeakers beloved by interior designers. Could the Uno be made smaller and still retain its high sensitivity, unrestrained dynamics, and the sonic attributes that create the sense of "aliveness" that characterizes this speaker? This was the daunting task that Avantgarde designer Matthias Ruff and his associates set for themselves.
What's new? The most immediately obvious changes from the Uno are the smaller midrange horn Uno, The Nano is 50" tall vs the Uno's 58", and The structural changes are only the beginning. The Nano's midrange horn is smaller than the Uno's, but its M1-N midrange driver is larger 5. The crossover from midrange to tweeter is achieved with a small chamber between the throat of the horn and the driver diaphragm, providing a kind of mechanical crossover, and allowing the midrange driver to be driven directly by the amplifier without any passive electrical components.
The H1-N tweeter, derived from the same basic design as the Uno's, has been further refined; its specified sensitivity has increased from to dB, with higher power handling.
As with the midrange horn, the Nano's 5. The cabinet has the same The amplifier has both a speaker-level input which Avantgarde recommends, and which I usedas well as an XLR line-level input.
This involves opening the woofer enclosure by removing six screws. Not the most user-friendly method, I'd say. Fortunately, I had no ground-loop problem, so I didn't have to tackle this task. The woofer module has a set of crossover controls that allow the user to optimize the blend of the outputs of the sub and the midrange horn, and adjust the woofer volume to match the room acoustics and personal taste. In addition to a switchable filter that limits the sub's LF extension to 20, 30, or 40Hz I used 20Hzthe amplifier module is also equipped with what Avantgarde calls Intelligent Subsonic Filter Circuitry.
This monitors the woofer output and automatically shifts the high-pass filter to as high as 80Hz, depending on the volume and low-frequency content, enhancing dynamic headroom and protecting the SUBN from being overdriven. When I first heard about the Nano, I assumed that, because it was smaller than the Uno, its sensitivity would be lower: after all, in most lines of box speakers, the smaller the speaker, the lower the sensitivity. John Atkinson's measurement of the Uno's sensitivity in August showed that it was actually I have long felt that Audiovector are very much underrated as a brand and they should be more actively banging their own drum to tell the world that their speakers are imbued with both technical excellence, attention to details and fueled by their ceaseless passion to build very fine loudspeakers.
There is also an active variant available. I hear tell there has also been a limited edition variant with an outer concrete liner, but the built by Audiovector have all found owners. If ever there was a good looking and truly handsome speaker, then the SR3 is it. The craftsmanship and build quality is stunning with the review pair finished in beautiful real Cherry veneer with a deep gloss finish.
The carcass is a side radiused design tapering rearwards, the rear panel is a full length wooden affair with two ports near the top which vent unwanted frequencies from the tweeter, while at the bottom is a large recessed plate housing three pairs of high quality connection terminals for tri-wiring, with all three sets linked by two metal strips for single wired use.
The terminals will accept bare wire, 4mm banana plugs or spade connectors. The base of the speaker is also wooden which cleverly hides the bottom facing bass reflex port and will accept M6 threaded spikes. Audiovector supply a complete set of spikes which are reversible to a small ball foot for those owners who do not have the requirement for carpet piercing spikes. These drivers have a Magnesium chassis, Titanium voice coil former components with a rigid three point screw fixing system, the mid driver also has a metal phase plug while the bass driver has a regular slightly inverted dust cap.
That litheness continues up the frequency spectrum into the mids and treble too, with the composite mid driver crossing over seamlessly to the tweeter taking the treble range right the way up to a maximum of 52kHz according to the specifications. This album for me contains a whole raft of benchmarks that whatever component I review has to meet and hopefully exceed. If I put my mind to it I could probably find equally good recordings to use as tests, but I know this album intimately and I know that some readers have also bought this same album to follow my results.
Next, the drummer plays a short series of cymbal strikes as the intro, shortly followed by an acoustic guitar then some more cymbal strikes, all of which flowed seamlessly and effortlessly from the speakers.
Track 12 commences with the audience clapping in time and cheering, with a few whoops and whistles thrown in, then a solo bass guitar riff where I carefully listen to the way that instrument is being played. Top stuff. Way into the background you hear intermittent whistles and cat calls from the audience too. Full of energy and excitement, I cannot think of another track that has so many clearly defined parameters that not only sounds good to me, but also has so many sonic benchmarks as an added bonus.
As ever though, I will play a whole raft of music of different genres to ensure that I am not just dealing with a one trick pony that sounds great with my reference recording but may fall by the wayside with anything else, so none of my reviews are based upon one single album but many different types with good and bad recordings thrown in there as well even some classical!
I transferred it to a recordable CD some years ago but it never sounds the same as the original disc. The quality is not far off my own efforts so it has been relegated to the poor-ish recording quality category although it does shine on one or two tracks so all is not lost.
This album was very competently handled by the Audiovector SR3s, in fact that was the very point I fell in love with these speakers for the crisp clean refreshing way this album was reproduced. I am no fan at all of classical music, in point of fact I have only one CD in the entire music collection of this particular genre.
My best use for playing it during an evaluation is it is a very reliable way of assessing imaging, instrument separation, width and depth of the sound-stage. Pleased to say that the Audiovector SR3s were excellent in all those attributes. I really am positive that classical and no doubt Opera fans will appreciate this level of performance. Now I thank you for your patience in reading this review thus far, but I am just about to add a twist that still defies any logic with and completely flies in the face of established thinking about speaker performance.
Then read on. As I mentioned earlier, the speakers are supplied with M6 floor spikes and they were used throughout the evaluation to penetrate a thick carpet and underlay in my listening room. While the Audiovector speakers were incumbent, I was sent a set of Solidair Audio magnetic suspension bridges for review and of course I tried them under the Audiovectors. Well it would be rude not to I say. It was a toy brought out many years ago that had a spherical base with a weight inside which made the character roll about back and forth, side to side.
Not connecting with that? Try visualising an intoxicated person unsteady on their feet while standing still then, with just a bit more tilting in any direction. Have we got there? So what effect overall did the supports make to the sound? It really was a classic case of bass tightening, yet losing none of the power. Treble and midrange seemed to leave the speaker cabinets entirely and just hung freely in space, so imaging was three dimensional and almost walk around realistic.
Now that really did shake me, as I was almost brainwashed into believing that speakers should be rigidly mounted on floor spikes to make the speakers more steady, especially on a carpeted floor and restrict cabinet movement during speaker cone excursions — like the recoil from firing a gun. The sound certainly moved up a notch or two and then some.Search form Search. Show Munich More Reports. Floor Loudspeaker Reviews. You've probably seen the ad in Stereophile : a very personal account by Avantgarde-USA president Jim Smith, describing how, during a year career in high-end audio, he had become increasingly disappointed with conventional loudspeakers' ability to communicate the emotional impact of live music, and how he found the answer with the Avantgarde horn loudspeakers.
It's advertising copy in the best I-liked-it-so-much-I-bought-the-company tradition—with the exception that Smith did not actually buy Avantgarde Acoustic, but did become their North American distributor.
Stereophile 's policy is to have total separation a "Chinese wall," in publishing parlance between the advertising and editorial departments: a manufacturer's status as an advertiser does not determine whether its products are reviewed, and has no influence on a review's content.
Avantgarde Solo [Expired]
However, all advertising is intended to draw the reader's attention to the product, and, in this reader's case, the Avantgarde ad certainly fulfilled its function. I was intrigued. The ad reminded me that I had spent a fair amount of time listening to some Avantgarde speakers I'm not sure if they were the Unos or the Duos at HI-FI '97 in San Francisco, and had thought then that if I were ever to review a horn speaker—a product category for which I previously felt little affinity—it would have to be an Avantgarde.
Should I give an Avantgarde review more serious consideration now? Checking Avantgarde's website, I noted that the Uno and Duo had been revised within the past year, and that a new, higher-performance subwoofer was now standard with the Duo and optional with the Uno. It was looking more and more as if this might be a good time to review these speakers.
All that remained was the phone call to reviewmeister Jonathan Scull who promptly gave approval to the project and to decide whether to go for the Uno or the Duo. The Duo although not the latest version had already been reviewed by Martin Colloms in Vol. My adventure in the world of horns was about to begin. Description and Design As horn fans are wont to point out, the first loudspeaker Emile Berliner's was a horn, and horns have an inherent advantage over any other type of loudspeaker in their ability to produce the most sound with the least electrical input.
Horn critics counter that while efficiency was important when amplifier outputs were restricted to the W range, high efficiency is no longer required now that much more powerful amplifiers are available, and that horns' high efficiency comes at the price of colorations frequency-response and phase anomalies that detract from the accuracy of reproduction. Avantgarde's response to these criticisms is that, regardless of available power, horns' high efficiency confers benefits in dynamics and low distortion, and that careful design can reduce horn colorations to a negligible level.
The Avantgarde speakers feature a spherical horn construction, which is said to yield exceptional uniformity and integration of the response in the vertical and horizontal planes. The horn is made of ABS, a material chosen for its neutral resonance behavior, resistance to temperature- and humidity-induced changes, and because it can be manufactured to close tolerances—all factors that are critical to performance.
The only downside is that the manufacturing process is quite expensive. Log in or register to post comments. Related Latest Galleries Recommended. Vimberg Mino loudspeaker.
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JBL Stage A loudspeaker. Klipsch Klipschorn AK6 loudspeaker. Magnepan MG loudspeaker. Art Dudley, Rest in Peace. Wilson WATT loudspeaker. Gray Forecast or Silver Lining? Innuos Statement music server.Find results that contain All of my search term words Any of my search term words Find results in By proftournesolDecember 1, in Classifieds - Audio. BTW, Why mention your brand new speakers you upgraded to as a point of reference to your Solo's at around the same price??
Have you had a chance to hear the standard Duo or Omega upgrade, if so, what difference did you find in the Mezzo's? I haven't heard the Mezzo Dous but the Solos by virtue of it's concentric drivers certainly images even better than the original Duos. These speakers really are worth an audition if you are thinking about going active. They are amazingly good value for this price, you won't beat them.
They image well, have excellent detail, but also have the punch and slam of active horn speakers. If you have these much longer Michael they'll have vintage value as well! Actually though folks, these are seriously good loudspeakers and I'm very surprised they have not been sold I still wish I had the funds Prof.
Over how many years? Summary: High End AV at its best. Bass performance, dynamic and spl on an undisputable level. Top build quality. An emotional and fun machine of first grade.
Avantgarde Acoustics Trio/Basshorn Loudspeaker System
A speaker for gourmets. Harbor anti-horn notions? The doubts are ungrounded This baby is the hammer! Outer-space looks, requiring no amp, it simply sounds stellar: Resolved, dynamic, gentle, without typical horn colorations. A massive recommendation for everyone. Their outstanding intelligibility, wide ranging adjustability, built-in amps and equalization and small size could make them unbeatable for home theatre.
Kay, USA. With this presentation it is clear that our reference class has a new member.
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