We listened to a double DSD recording of Bill Evan’s “Waltz for Debbie” down-sampled to 96k. “Really kind of spectacular,” my notes read. The sound staging was excellent, the drivers perfectly integrated. I wasn’t even sure if the boxes on the floor were subwoofers until I examined them more closely. Although these speakers fit my own personal definition of “small” (which is to say, they would not be mistaken for refrigerators or large evil robots) they fill the room effortlessly.
I was sufficiently intrigued to return later with a test track, a live recording of Sarah Vaughn performing “Like Someone in Love.” It’s an imperfect recording with quite a bit of tape hiss, but one I’m intimately familiar with. Vaughn’s voice sounded warm and dynamic, and the upright bass was beautifully textured. I suspect one reason I enjoyed these so thoroughly lies in their origins as studio monitors — the giant Altec 604s in my living room notwithstanding, I have a tendency to like my speakers relatively uncolored and transparent, and these are determinedly revealing.