Loudspeakers

Epic performer The new Epic 5 looks more than a little like Epos models of old and as Ed Selley discovers, it’s a return to form for the much-admired brand Back in the early 1990’s Epos did rather well out of its ES range of loudspeakers. Well thought out and well designed, the ES models were distinctively finished with a wood cabinet and black front panel. Nearly twenty years later the Epic 5, tested here, has more than a little of the ES models in its aesthetic. Like other examples of the current trend for revisiting past designs, the Epic 5 is very much of the moment, internally.

Join the Revolution This brand new member of the Revolution series looks like much better value than its Signature equivalent says Paul Messenger The Revolution DC6T is an impressive newcomer dual-concentric full- range driver, with a 150mm bass-only unit (similar in specs to its sister product, the Signature DC6T, that we reviewed in HFC 314). All this is contained within a compact 30-litre, rear-ported enclosure and the detailing throughout is excellent. The enclosure is tapered so that the back is significantly narrower than the front, helping to spread and distribute internal reflections and standing waves. All this is elegantly wrapped in an attractive dark ‘espresso’ real wood veneer and the overall stability of this model is substantially enhanced by the provision of a black plinth, which significantly increases the footprint.

Bronze Age High-performance speakers needn’t cost the earth – Ed Selley listens in on the latest evolution of the popular Monitor Audio Bronze Series Monitor Audio has been producing the Bronze series, its entry-level full-size speaker range, for some years now. And the latest update takes the line-up from BR to BX status and features a full choice of standmounts, floorstanders and supporting multichannel equipment. Design refinements include single- bolt driver fixings and HiVE reflex ports borrowed from the more expensive ranges. The £500 BX5 tested here, however, is the smaller of two floorstanding models.

Cabasse Bora This substantial model is a genuine three-way, due to its special proprietary co-axial driver France’s oldest hi-fi speaker brand, Cabasse is now owned by Japanese multi-national Canon, though its Britanny heritage remains strong, with members of the Cabasse family still involved. A major technology plank is its particular proprietary approach to co-axial driver design. Cabasse’s BC13 co-axial drive unit is very much at the heart of this £2,200 per pair Bora, as well as the main reason why it’s the only three-way design amongst our standmounts. This driver uses an annulus or ring-shaped midrange diaphragm, surrounding the tweeter proper and nominally operates from 800Hz to 4.

Monitor Audio Platinum 100 This baby model in Monitor Audio’s gorgeous Platinum ‘flagship’ range features a ribbon tweeter Founded in 1972, Monitor Audio now qualifies as one of Britain’s longest established speaker brands, especially amongst those still in UK ownership. Although it’s best known for successful ‘mainstream’ models like the Bronze and Silver series, the company took a significant step towards the high end in 2007, with the introduction of Platinum models like this £2,500 per pair Platinum 100 two-way standmount. A ribbon tweeter is the hallmark of all the Platinums and here it’s combined with a 165mm bass/mid driver in an exceptionally solid and beautifully finished enclosure with a decidedly complex shape. The back and sides are formed as a continuous curve, with mildly convex sides, a slightly concave back and quite gently curved edges.

Spendor SP2/3R2 This speaker might look old-fashioned, but that’s really the whole point of Spendor’s Classic range Spendor arrived on the scene at the beginning of the 1970s, bringing a strong BBC heritage along with a number of interesting innovations that its competitors arguably didn’t fully appreciate. One of the most significant among these was a radical approach to enclosure design. The theory goes as follows: building an exceptionally stiff structure might serve to reduce the amplitude (ie relative loudness) of cabinet vibrations, but it also increases the frequency at which they occur, so that the enclosure coloration tends to occur in the midband where human hearing is most sensitive. The alternative Spendor approach, originally inspired by the BBC’s desire for accurate speech monitoring, is the ‘thin wall’ cabinet approach, backed by heavy damping pads, which pushes the cabinet wall vibrations down into the bass region where they’re considered less intrusive.