Digital Photoframe. Surveillance Cameras. Gaming Chairs. Graphic cards. Input devices. Notebook Accessories. Optical drives. PC Speakers. Storage media. VR Headsets. CPU other. Computer Eyewear.
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Other inputs. Card readers. Memory Cards. Network Other. Powerline networking. Wireless NIC. Wireless Router. Notebook Cases. Computer Blu-Ray Burners. Computer Blu-Ray Players. Computer CD-Burners. Computer CD-Players.
Computer DVD-Burners. Computer DVD-Players. PDA accessories. Printing supplies. Handheld Software. Mac Software. Tablet accessories. Board Games. Console accessories. Gameboy Advance. Mac Games. Nintendo 2DS. Nintendo 3DS. Nintendo DS. Nintendo Switch. Other consoles. Playstation 2. Separate, removable grilles for each drive-unit are supplied; only the tweeter grille is permanently affixed. I would have described the Performance 6's appearance as individual and unique had it not been for the almost simultaneous arrival of the South African Vivid Audio B1 speakers.
I described and contrasted the two approaches in a September "Industry Update" report, and can't help feeling that each goes some way toward validating the other. The parallels between the Mordaunt-Short Performance 6 and the Vivid Audio B1—not only the molded enclosures but also the three-way metal diaphragm configurations—are too obvious to ignore, though happily there are also plenty of differences in details.
The Performance 6 is a full three-way design with four aluminum-diaphragm drive-units arrayed up the front above a flared reflex port. The twin 6. The bass and midrange drivers have inverted-dome diaphragms finished in matte silver and mounted beneath generous scalloped trim rings.
This arrangement conceals the fact that the drivers are not actually mounted to the front panel at all, but affixed to rods that poke forward from the much stronger rear spine of the speaker. Rubber gaskets separate the chassis from the front baffle, providing a measure of mechanical decoupling.
The bass-driver diaphragms are reinforced against flexure by a ring of little pressed ribs just in from the edge, and considerable attention has been paid to the edge termination, both in the diaphragm and the surround. A complex motor assembly is used to maximize magnetic flux linearity.
A major reason for using a 4" midrange driver from Hz to 3kHz is to help achieve consistent sound distribution right across the audioband. This driver uses most of the same techniques as the 6. Elaborate heatsinking is also incorporated to assist power handling. NEXT: Page 2 ». Log in or register to post comments. Related Latest Galleries Recommended. Perlisten S7t loudspeaker.
Wilson Audio Specialties Alexx V loudspeaker. PSB Synchrony T loudspeaker. Estelon Forza loudspeaker. Stenheim Alumine Three loudspeaker. Klipsch Forte IV loudspeaker. Canton Reference 7K loudspeaker.
Rauna Balder loudspeaker. Dynaudio Confidence 30 loudspeaker. Magico A5 loudspeaker. Marten Parker Trio Diamond Edition loudspeaker. Focal Aria K2 loudspeaker. The Mod Squad Tiptoes. Quicksilver MS power amplifier. The tweeter is arguably the most interesting driver of all, the whole assembly is roughly more than 20cms deep, featuring a complex fat metal rod behind the diaphragm that's drilled by a logarithmic spiral of thin, differentially tuned pipes.
The purpose is to create a flat acoustic impedance at the rear of the diaphragm, while also allowing through some non-coherent treble output to add extra air and spaciousness. A hefty baseplate is invisibly incorporated in the base of the enclosure, ensuring fine physical stability and secure spike accommodation. However, the spikes themselves put form ahead of function - they look stylish, but the lock-nuts can only be finger tightened.
Three matching pairs of terminals are mounted low down at the rear. The Performance 6 LE is clearly intended for free space siting, well clear of walls, as was amply confirmed in the far-field averaged in-room response traces. These showed an exceptionally good overall balance right across the audio band, from a -6dB point at 22Hz under in-room conditions.
The trend was unusually even throughout the bass region and also exceptionally smooth above Hz, though there's a touch of over-exuberance in the mid-treble, kHz. The measurements were very similar indeed to those made on the original Performance 6 under similar conditions some three years earlier, though there were a couple of minor differences.
The impedance traces were very similar indeed, but the LE shows slightly more low bass damping. Sensitivity came out at 88dB on our tests, a decent enough figure if a tad below the 89dB claimed , but the load the amplifier has to deal with is quite demanding through the bass region.
The top end is arguably a shade hot, but it's also delightfully sweet, open, well integrated and never sounds forced, while bass always sounds controlled, as well as satisfyingly deep and powerful.
Put on the Chemical Brothers, wind up the volume as high as you dare and then touch the sides of the enclosure. Hardly any vibration comes through, so it's obvious that the radical enclosure is doing a very fine job.
That's further emphasised by the lack of boxy effects and the airy-but-precise stereo imaging. One simply isn't conscious that the sound is emanating from two reasonably large enclosures - you simply hear the music, and the stereo mix, with fine focus and freedom from boxiness. Though most of the news is very positive, transparency and image depth did seem somewhat limited and dynamics sounded a little constrained. The bass end, in particular, sounds a trifle congested and lacking a little freedom of expression.
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