| ENSEMBLE Figura loudspeaker by Constantine Soo April 25, 2005 |
| MSRP $9,899/pair |
| Manufacturer: Ensemble AG Bahnhofstrasse 34, PO Box 215 CH-4147 Aesch Switzerland website: www.ensembleaudio.com email: ensemble-ag@bluewin.ch tel. (+41) 61 461 9191 fax. (+41) 61 461 9325 U.S. Distributor: Lombardi Sales, Simi Valley, CA website: www.rayofsound.com email: ray@rayofsound.com tel. (805) 522-0989 cell. (805) 444-6130 |
THE ENSEMBLE
Urs Wagner, Ph.D, of Switzerland is a man of modest temperament. His soft
but firm tone of voice communicates the depth of his intellect and the extent of
his ideology. And once a conversation with him flows, you’ll be even more
surprised at his subtle but passionate enumeration of passions and principles
in business and life.
Dr. Wagner and his wife had barely a minute’s peace at Alexis Park’s
checkout counter at the end of CES 2004, when I recognized the Ensemble
boxes he was reeling and introduced myself to him. He and I exchanged
greetings and we began conversing on the state of the high-end immediately.
The Ensemble president’s passion in audio extends extensively to an
overwhelmingly broad spectrum of thoroughness, from the properties and
sonic effects of nuts and bolts in musical reproduction to the culmination of a
self-sufficient, all-Ensemble system. The Ensemble digital front ends,
amplifications, speaker system and cables are but members of a vastly
ambitious and inclusive cooperative in minimizing oftentimes unwarranted
variables that a similar co-op of equipment of varying makes cannot be rid of.
Dr. Wagner’s vision for Ensemble is so encompassing, the company markets
no less than 2 power cords, 1 power distribution unit, two isolation
transformers-equipped power supplies, 1 speaker cable, 1 interconnect, 1
digital cable, 5 speaker terminals, 4 cable connectors and 2 tube sockets.
For music, Ensemble has its own 70-minute-long Highlights Collection
Volume 1 – Sounds in Natural Perspective (ECL 20031).
This CD is neither modest in its content nor its origin. Dr. Wagner sourced the
music materials from the vault of a classical record label, the Norwegian
Simax Classics, which recorded, edited and mastered the original materials
in 24-bit, and Dr. Wagner remastered them for his CD using an Ensemble
power distribution unit and his power and signal cables.
Prized composers featured in this CD included Giacinto Scelsi (Italian, 1905-
1988), J. S. Bach (German, 1685-1750), Benjamin Britten (English, 1913-
1976), Bohuslav Martinu (Czech, 1890-1959), Edvard Grieg (Norwegian,
1843-1907), Halfdan Kjerulf (Norwegian, 1815-1868), and Ernest Bloch
(Swiss, 1880-1959). Performances chronicled in this CD included that by a
baritone with piano accompaniment, a cathedral organ, a string quartet, a
violin/piano/cello trio, a piano/cello duo, a flute/guitar duo, a triple percussions
with triple synthesizers group, a choir with harp accompaniment, various
symphony orchestras, several piano solos and double bass solos.
For the avid music admirers and adventurous music enthusiasts, this
Ensemble CD is a gem worth investing into, and reflects the focal point in Dr.
Wagner’s activities.
THE MAKING OF A REFERENCE
Dr. Urs Wagner intended his company’s reference loudspeaker to produce
“mental images that take on bodily shape, become three-dimensional.” He
thus named the first Ensemble loudspeaker Figura.
Figura is meant to be a statement in “total energy control in all directions and
on all levels”, with “harmonized” construction of cabinet and internal damping
protocol for “maximum control of parasitical energy”. In devising this reference
loudspeaker, Dr. Wagner employed extensive applications in electrical and
mechanical engineering.
The Figura features metallic construction for the entire cabinet except for the
front baffle, reclines backwards in a parallelogram configuration to effectuate
a time-aligned driver dispersion behavior.
The Figura’s cabinet features what Ensemble coins as “true sandwich
construction”, which is created utilizing special diamond tooling to machine
two layers of 1 mm-thick, brushed and anodized aluminum sheets to sandwich
a center layer of black, high density fiberboard. The front baffle, on the other
hand, is constructed utilizing a process dubbed “proprietary harmonizing
construction”, culminating in a 30mm-thick wood composite material finished
in lacquered metallic.
Glassy to the touch, the Figura’s aluminum body is attached to the precision-
machined aluminum footplate via rubber feet for added measures in vibration
absorption. Final coupling to the floor is provided by another set of rubber feet
beneath the footplate.
In creating his first Ensemble loudspeaker system, Dr. Urs Wagner adopted
the quintessential 2-way approach, employing custom built, 1-inch soft dome
tweeter fitted with a surrounding 2-inch-wide velvet ring tapered to the cabinet,
that claims to have an extended, “smooth, transparent treble performance” on
the top-end, with an optimized low-end for coupling to the 6.5-inch mid-bass
driver.
Among the smallest in diameter in full-range speakers I’ve auditioned, the
Figura mid-bass driver is said to be “a long-throw design, capable of precise
low frequency extension as well as excellent mid frequency resolution.” It is
further augmented by a forward flare port, the airflow of which Ensemble
claims to be highly controlled.
In securing the drivers, Dr. Wagner uses non-magnetic, steel machined
screws with a 1.1 mm ultra-flat heads that usually cost 20 times more than
normal screws, and for long-term security and vibration absorption in driver
mounting, proprietary cork rings are chosen over foam materials.
Extraordinary details are given in the arrangement of Figura’s crossover.
Embedded in a “vibration-absorbing medium”, the thick-copper layered and
zoned crossover is consisted of custom-made, thick foil polypropylene
PROCAP™ capacitors, as well as proprietary air-core coils with zero
dielectric loss insulation, for a “linear electrical behavior up to 100kHz.
Furthermore, the PROCAP™ capacitor-based internal crossover is claimed
to have low phasic shift and group delay, having only to attain a 6dB
performance characteristic as accorded by a 12dB design.
Then, the speaker is internally wired with Dr. Wagner’s own triple shielding
Megaflux™ from the binding posts to the crossover, and Megalink™ cables
for driver connection.
Most unusual among the Figura’s features is the company’s own spring-
loaded, Synergia™ 5-way terminals, which are designed for use with the
company’s upcoming speaker cable that sports an industry-first, 100-ampere-
enabled 6mm banana termination. Made of copper with 3 times higher
conductivity than standard copper, the Synergia™ are 1.5um thick in direct
gold-plating, equivalent to 10 times the thickness of standard flash gold over
nickel.
The 62 lbs, 3-foot-4 Figura was slightly shorter and slimmer than the
comparably priced Genesis VI; and the 2-way Swiss speaker’s aluminum,
silvery construction conveyed quite an elegant visual statement. My wife
likened the Figura’s and ELAC’s CL330JET minimonitors’ finish
affectionately to “the Mercedes silver”.
SET UP & AUDITIONING
At the helm were the $26.8k 47 Laboratory 4704 PiTracer CD transport, and
the $32k Audio Note DAC 5 Special. Audio Note’s Sogon silver digital cable
linked up the transport to the DAC, while the Sogon interconnects connected
the DAC to an integrated amplifier. In the concurrent involvement of
preamplifier and power amplifier, the Sogon connected the DAC and preamp,
while AN’s own AN-Vx served the preamp and the power amp.
The Ensemble Figura’s 87dB/6 Ohm sensitivity negated use of the $22k, 7
Wpc Combak Harmonix Reimyo PAT-777, as well as the $15k, 9 Wpc Loth X
JI300, 300B amplifiers that I reviewed respectively in January 2005 and May
2003, as both conceded considerably in dynamics.
Dynamic competence commenced with Audion’s $7,500, 18 Wpc, volume
control-equipped Silver Night Parallel Single-Ended Mk II 300B monoblocks,
and progressed in 47 Lab’s $7,100, dual-Power-Humpty, 50 Wpc Gaincard
S, custom-fitted with DACT24 attenuators and Cardas posts. Then, GamuT’s
$6k D3 preamplifier and $6.5k D200 Mk III power amplifier solid-state offering
contrasted yet another level of sonic replay – a Figura levy as affirmed in yet
another ensemble of powerhouses, the $10k Audio Note M5 tube preamplifier
and the $9k Linn Klimax Twin solid-state power amplifier.
Pictorial dimensionality emerged in my listening room when the Figura’s were
toed-in directly towards me, and positioned at about 78 inches apart from
each other, 5 feet away from front wall, 23 inches from each side wall and 10
feet to the listening position.
At moderate volumes, the Figura’s dynamics would remain contained and
was not as uninhibited as from several full-range speakers in my household,
such as Audio Note’s new, $40k AN-E SEC Signature, Tannoy’s $20k
Churchill Wideband, as well as Genesis’ discontinued, $9.5k model VI and
Tannoy’s smaller, $8k TD10. Rather, resembling the 82db/8 Ohm classic
minimonitor that was the Celestion SL700, the Figura blossomed at once with
sustained dynamics when driven by powerful amplification at above medium-
volume presentations.
In compromising between preserving the dimensionality of the Figura’s
presentation and circumventing an accentuation of upper bass from increased
playback volumes, I toed-out the Figura’s to the point where the two speakers’
on-axis, vertical dispersions would no longer intersect directly at me, but at a
point around two feet behind my ears.
Inducing some of the liveliest transients from the Ensemble Figura, GamuT’s
$12.5k solid-state D3/D200 Mk III amplification, by virtue of GamuT’s unique
single MOSFET technology in the D200 Mk III with a 200 Wpc output,
delivered unrelenting dynamics from the commensurate current and wattage,
thus catapulting the Swiss speakers to consummating performances.
On the other hand, the 300B-based Audion Silver Night PSE induced from the
Figura a presence in the speaker’s midrange that endowed piano solo’s with
remarkable tonal luster and character magnetism, a sound that was at once
involving and relaxing.
Contrasting the Audion methodology was the GamuT amplification’s fleetingly
lukewarm mid- to upper midrange that accorded the Ensemble loudspeaker
an exceptionally resolving quality. In addition, the Figura exhibited a top-end
with an unusual civility so refined in its perseverance that sounds of flute and
piano alike were reproduced with considerable composure and not a trace of
indulgence. Also noteworthy is the GamuT’s considerable quelling of a
moderate upper bass accentuation from the Figura that emerged intermittently
in the presence of the 300B amplification.
Fostering superior dynamics and spectral coherency over all amplifications,
Linn’s $9k Klimax Twin power amplifier and Audio Note’s $10k M5
preamplifier effectuated a yet more stately display of dynamics and tonal
vibrancy from the Ensemble loudspeakers, only this time even more assertive
of a well-formed musical foundation, endowing lower octaves with resounding
dynamic sustenance and pitch definition. Via this system, the Figura’s mid- to
top-end emerged with more articulate dynamic transients, imparting
instruments with a more focused presence and timbre.
Compared to the AN/Linn’s tube/solid-state coupling, the less expensive
GamuT D3 and D200 Mk III system germinated a level of upper bass and
lower treble resolution that differed in a less evocative midrange and a tonally
less flamboyant bottom-end that was dynamically expressive and invigorating
nonetheless. Texturing-wise, the D3/D200 Mk III/Figura system attained
liquidity, and induced exemplary top-end polish that may stir waves in the tube
camp.
As the $19k system of Audio Note M5 preamplifier and Linn Klimax Twin
power amplifier surpassed all amplifications in vanquishing the Ensemble
Figura, 47 Laboratory’s Gaincard S represented the most affordable
alternative in quenching my thirst for dynamics from the speakers.
In driving the Swiss speaker, the Gaincard S satisfied my craving for dynamic
agility and tonal shading, an impressive feat in the presence of the GamuT
and AN/Linn powerhouses. Possible outcries from scrutinizing DAGOGO
readers wanting more affirming performances than what a 50 Wpc solid-state
amplifier can muster from the Ensemble notwithstanding, the 50 Wpc 47 Lab
Gaincard S possessed a sonic disposition most communal in counterbalance
to the Figura’s characteristics per my overbearing subjectivity. For its MSRP,
the Gaincard S should be given first crack at the Swiss speakers in a
DAGOGO reader’s system.
SUMMARY
Physically, the Ensemble Figura was a product of solid engineering, reflective
of the extraordinary measures taken in creating a precision scientific
instrument, while the manifested sonics served as convincing testimony to that
of a musical instrument. It had a well-executed spectral continuity between its
tweeter and woofer, and its mid- to top-end was among the most refined in
sheer texturing without the smallest extent of careless indulgence,
representing a civility unusual among speakers.
But perhaps just as insistent of any great instruments, the Swiss loudspeaker
was idiosyncratic in a small but most inconvenient appointment of the spring-
loaded, Synergia™ speaker terminal that proved wanting in its way of
securing cables.
Although solid-state power amplification was generally preferred for the
Figura due to its sensitivity, the mild transition of characteristics from solid-
state preamplification to that of a tube, as in the Audio Note/Linn coupling,
suggested a sub-$10k sonic disposition that could hold possibilities for
audiophiles that prefer a mainstream approach capable of reawakening their
mental taste buds.
Most importantly, in the Ensemble family reside the Fuoco and Evivo, the
former a $6.5k, 100 Wpc hybrid integrated amplifier utilizing dual-triode tube
input gain stage and a bipolar power transistor output stage, while the Evivo is
the power amplifier version of the Fuoco. In exploiting the Figura’s potentials
further, either Ensemble amplifiers may just be the most ideal candidate as
intended by Dr. Wagner.
Urs Wagner, Ph.D, of Switzerland is a man of modest temperament. His soft
but firm tone of voice communicates the depth of his intellect and the extent of
his ideology. And once a conversation with him flows, you’ll be even more
surprised at his subtle but passionate enumeration of passions and principles
in business and life.
Dr. Wagner and his wife had barely a minute’s peace at Alexis Park’s
checkout counter at the end of CES 2004, when I recognized the Ensemble
boxes he was reeling and introduced myself to him. He and I exchanged
greetings and we began conversing on the state of the high-end immediately.
The Ensemble president’s passion in audio extends extensively to an
overwhelmingly broad spectrum of thoroughness, from the properties and
sonic effects of nuts and bolts in musical reproduction to the culmination of a
self-sufficient, all-Ensemble system. The Ensemble digital front ends,
amplifications, speaker system and cables are but members of a vastly
ambitious and inclusive cooperative in minimizing oftentimes unwarranted
variables that a similar co-op of equipment of varying makes cannot be rid of.
Dr. Wagner’s vision for Ensemble is so encompassing, the company markets
no less than 2 power cords, 1 power distribution unit, two isolation
transformers-equipped power supplies, 1 speaker cable, 1 interconnect, 1
digital cable, 5 speaker terminals, 4 cable connectors and 2 tube sockets.
For music, Ensemble has its own 70-minute-long Highlights Collection
Volume 1 – Sounds in Natural Perspective (ECL 20031).
This CD is neither modest in its content nor its origin. Dr. Wagner sourced the
music materials from the vault of a classical record label, the Norwegian
Simax Classics, which recorded, edited and mastered the original materials
in 24-bit, and Dr. Wagner remastered them for his CD using an Ensemble
power distribution unit and his power and signal cables.
Prized composers featured in this CD included Giacinto Scelsi (Italian, 1905-
1988), J. S. Bach (German, 1685-1750), Benjamin Britten (English, 1913-
1976), Bohuslav Martinu (Czech, 1890-1959), Edvard Grieg (Norwegian,
1843-1907), Halfdan Kjerulf (Norwegian, 1815-1868), and Ernest Bloch
(Swiss, 1880-1959). Performances chronicled in this CD included that by a
baritone with piano accompaniment, a cathedral organ, a string quartet, a
violin/piano/cello trio, a piano/cello duo, a flute/guitar duo, a triple percussions
with triple synthesizers group, a choir with harp accompaniment, various
symphony orchestras, several piano solos and double bass solos.
For the avid music admirers and adventurous music enthusiasts, this
Ensemble CD is a gem worth investing into, and reflects the focal point in Dr.
Wagner’s activities.
THE MAKING OF A REFERENCE
Dr. Urs Wagner intended his company’s reference loudspeaker to produce
“mental images that take on bodily shape, become three-dimensional.” He
thus named the first Ensemble loudspeaker Figura.
Figura is meant to be a statement in “total energy control in all directions and
on all levels”, with “harmonized” construction of cabinet and internal damping
protocol for “maximum control of parasitical energy”. In devising this reference
loudspeaker, Dr. Wagner employed extensive applications in electrical and
mechanical engineering.
The Figura features metallic construction for the entire cabinet except for the
front baffle, reclines backwards in a parallelogram configuration to effectuate
a time-aligned driver dispersion behavior.
The Figura’s cabinet features what Ensemble coins as “true sandwich
construction”, which is created utilizing special diamond tooling to machine
two layers of 1 mm-thick, brushed and anodized aluminum sheets to sandwich
a center layer of black, high density fiberboard. The front baffle, on the other
hand, is constructed utilizing a process dubbed “proprietary harmonizing
construction”, culminating in a 30mm-thick wood composite material finished
in lacquered metallic.
Glassy to the touch, the Figura’s aluminum body is attached to the precision-
machined aluminum footplate via rubber feet for added measures in vibration
absorption. Final coupling to the floor is provided by another set of rubber feet
beneath the footplate.
In creating his first Ensemble loudspeaker system, Dr. Urs Wagner adopted
the quintessential 2-way approach, employing custom built, 1-inch soft dome
tweeter fitted with a surrounding 2-inch-wide velvet ring tapered to the cabinet,
that claims to have an extended, “smooth, transparent treble performance” on
the top-end, with an optimized low-end for coupling to the 6.5-inch mid-bass
driver.
Among the smallest in diameter in full-range speakers I’ve auditioned, the
Figura mid-bass driver is said to be “a long-throw design, capable of precise
low frequency extension as well as excellent mid frequency resolution.” It is
further augmented by a forward flare port, the airflow of which Ensemble
claims to be highly controlled.
In securing the drivers, Dr. Wagner uses non-magnetic, steel machined
screws with a 1.1 mm ultra-flat heads that usually cost 20 times more than
normal screws, and for long-term security and vibration absorption in driver
mounting, proprietary cork rings are chosen over foam materials.
Extraordinary details are given in the arrangement of Figura’s crossover.
Embedded in a “vibration-absorbing medium”, the thick-copper layered and
zoned crossover is consisted of custom-made, thick foil polypropylene
PROCAP™ capacitors, as well as proprietary air-core coils with zero
dielectric loss insulation, for a “linear electrical behavior up to 100kHz.
Furthermore, the PROCAP™ capacitor-based internal crossover is claimed
to have low phasic shift and group delay, having only to attain a 6dB
performance characteristic as accorded by a 12dB design.
Then, the speaker is internally wired with Dr. Wagner’s own triple shielding
Megaflux™ from the binding posts to the crossover, and Megalink™ cables
for driver connection.
Most unusual among the Figura’s features is the company’s own spring-
loaded, Synergia™ 5-way terminals, which are designed for use with the
company’s upcoming speaker cable that sports an industry-first, 100-ampere-
enabled 6mm banana termination. Made of copper with 3 times higher
conductivity than standard copper, the Synergia™ are 1.5um thick in direct
gold-plating, equivalent to 10 times the thickness of standard flash gold over
nickel.
The 62 lbs, 3-foot-4 Figura was slightly shorter and slimmer than the
comparably priced Genesis VI; and the 2-way Swiss speaker’s aluminum,
silvery construction conveyed quite an elegant visual statement. My wife
likened the Figura’s and ELAC’s CL330JET minimonitors’ finish
affectionately to “the Mercedes silver”.
SET UP & AUDITIONING
At the helm were the $26.8k 47 Laboratory 4704 PiTracer CD transport, and
the $32k Audio Note DAC 5 Special. Audio Note’s Sogon silver digital cable
linked up the transport to the DAC, while the Sogon interconnects connected
the DAC to an integrated amplifier. In the concurrent involvement of
preamplifier and power amplifier, the Sogon connected the DAC and preamp,
while AN’s own AN-Vx served the preamp and the power amp.
The Ensemble Figura’s 87dB/6 Ohm sensitivity negated use of the $22k, 7
Wpc Combak Harmonix Reimyo PAT-777, as well as the $15k, 9 Wpc Loth X
JI300, 300B amplifiers that I reviewed respectively in January 2005 and May
2003, as both conceded considerably in dynamics.
Dynamic competence commenced with Audion’s $7,500, 18 Wpc, volume
control-equipped Silver Night Parallel Single-Ended Mk II 300B monoblocks,
and progressed in 47 Lab’s $7,100, dual-Power-Humpty, 50 Wpc Gaincard
S, custom-fitted with DACT24 attenuators and Cardas posts. Then, GamuT’s
$6k D3 preamplifier and $6.5k D200 Mk III power amplifier solid-state offering
contrasted yet another level of sonic replay – a Figura levy as affirmed in yet
another ensemble of powerhouses, the $10k Audio Note M5 tube preamplifier
and the $9k Linn Klimax Twin solid-state power amplifier.
Pictorial dimensionality emerged in my listening room when the Figura’s were
toed-in directly towards me, and positioned at about 78 inches apart from
each other, 5 feet away from front wall, 23 inches from each side wall and 10
feet to the listening position.
At moderate volumes, the Figura’s dynamics would remain contained and
was not as uninhibited as from several full-range speakers in my household,
such as Audio Note’s new, $40k AN-E SEC Signature, Tannoy’s $20k
Churchill Wideband, as well as Genesis’ discontinued, $9.5k model VI and
Tannoy’s smaller, $8k TD10. Rather, resembling the 82db/8 Ohm classic
minimonitor that was the Celestion SL700, the Figura blossomed at once with
sustained dynamics when driven by powerful amplification at above medium-
volume presentations.
In compromising between preserving the dimensionality of the Figura’s
presentation and circumventing an accentuation of upper bass from increased
playback volumes, I toed-out the Figura’s to the point where the two speakers’
on-axis, vertical dispersions would no longer intersect directly at me, but at a
point around two feet behind my ears.
Inducing some of the liveliest transients from the Ensemble Figura, GamuT’s
$12.5k solid-state D3/D200 Mk III amplification, by virtue of GamuT’s unique
single MOSFET technology in the D200 Mk III with a 200 Wpc output,
delivered unrelenting dynamics from the commensurate current and wattage,
thus catapulting the Swiss speakers to consummating performances.
On the other hand, the 300B-based Audion Silver Night PSE induced from the
Figura a presence in the speaker’s midrange that endowed piano solo’s with
remarkable tonal luster and character magnetism, a sound that was at once
involving and relaxing.
Contrasting the Audion methodology was the GamuT amplification’s fleetingly
lukewarm mid- to upper midrange that accorded the Ensemble loudspeaker
an exceptionally resolving quality. In addition, the Figura exhibited a top-end
with an unusual civility so refined in its perseverance that sounds of flute and
piano alike were reproduced with considerable composure and not a trace of
indulgence. Also noteworthy is the GamuT’s considerable quelling of a
moderate upper bass accentuation from the Figura that emerged intermittently
in the presence of the 300B amplification.
Fostering superior dynamics and spectral coherency over all amplifications,
Linn’s $9k Klimax Twin power amplifier and Audio Note’s $10k M5
preamplifier effectuated a yet more stately display of dynamics and tonal
vibrancy from the Ensemble loudspeakers, only this time even more assertive
of a well-formed musical foundation, endowing lower octaves with resounding
dynamic sustenance and pitch definition. Via this system, the Figura’s mid- to
top-end emerged with more articulate dynamic transients, imparting
instruments with a more focused presence and timbre.
Compared to the AN/Linn’s tube/solid-state coupling, the less expensive
GamuT D3 and D200 Mk III system germinated a level of upper bass and
lower treble resolution that differed in a less evocative midrange and a tonally
less flamboyant bottom-end that was dynamically expressive and invigorating
nonetheless. Texturing-wise, the D3/D200 Mk III/Figura system attained
liquidity, and induced exemplary top-end polish that may stir waves in the tube
camp.
As the $19k system of Audio Note M5 preamplifier and Linn Klimax Twin
power amplifier surpassed all amplifications in vanquishing the Ensemble
Figura, 47 Laboratory’s Gaincard S represented the most affordable
alternative in quenching my thirst for dynamics from the speakers.
In driving the Swiss speaker, the Gaincard S satisfied my craving for dynamic
agility and tonal shading, an impressive feat in the presence of the GamuT
and AN/Linn powerhouses. Possible outcries from scrutinizing DAGOGO
readers wanting more affirming performances than what a 50 Wpc solid-state
amplifier can muster from the Ensemble notwithstanding, the 50 Wpc 47 Lab
Gaincard S possessed a sonic disposition most communal in counterbalance
to the Figura’s characteristics per my overbearing subjectivity. For its MSRP,
the Gaincard S should be given first crack at the Swiss speakers in a
DAGOGO reader’s system.
SUMMARY
Physically, the Ensemble Figura was a product of solid engineering, reflective
of the extraordinary measures taken in creating a precision scientific
instrument, while the manifested sonics served as convincing testimony to that
of a musical instrument. It had a well-executed spectral continuity between its
tweeter and woofer, and its mid- to top-end was among the most refined in
sheer texturing without the smallest extent of careless indulgence,
representing a civility unusual among speakers.
But perhaps just as insistent of any great instruments, the Swiss loudspeaker
was idiosyncratic in a small but most inconvenient appointment of the spring-
loaded, Synergia™ speaker terminal that proved wanting in its way of
securing cables.
Although solid-state power amplification was generally preferred for the
Figura due to its sensitivity, the mild transition of characteristics from solid-
state preamplification to that of a tube, as in the Audio Note/Linn coupling,
suggested a sub-$10k sonic disposition that could hold possibilities for
audiophiles that prefer a mainstream approach capable of reawakening their
mental taste buds.
Most importantly, in the Ensemble family reside the Fuoco and Evivo, the
former a $6.5k, 100 Wpc hybrid integrated amplifier utilizing dual-triode tube
input gain stage and a bipolar power transistor output stage, while the Evivo is
the power amplifier version of the Fuoco. In exploiting the Figura’s potentials
further, either Ensemble amplifiers may just be the most ideal candidate as
intended by Dr. Wagner.
| Associated Equipment: Digital Front End 47 Laboratory 4704 PiTracer CD transport Audio Note DAC One 1.1x Signature Audio Note DAC 5 Special Amplification 47 Laboratory 4706 dual mono Gaincard S with DACT24 & Cardas posts Audion Silver Night PSE 300B monoblocks DK Design VS-1 Mk II Integrated Decware SE84C GamuT Audio D3 preamplifier GamuT Audio D200 Mk III Harmonix Reimyo PAT-777 300B stereo amplifier Linn Klimax Twin Loth X JI300 integrated amplifier Monarchy Audio SM-70Pro monoblocks Reference Line Preeminence Two passive preamplifier Reference Line Preeminence One Signature power amplifier Speakers 47 Laboraotory 4722 Lens minimonitors 47 Laboratory Essence Apogee Duetta Signature Audio Note AN-E SEC Signature Audio Note AN-E SEC Silver Celestion SL700 Ensemble Figura ELAC CL330JET Genesis VI Loth-X BS1 Tannoy Churchill Wideband Tannoy Dimension TD10 Tannoy ST-200 SuperTweeter Cabling Audio Note Sogon digital cable (1m, RCA) Audio Note Sogon interconnect (2m pair, RCA) Audio Note AN-Vx interconnect (1.5m, RCA) Audio Note AN-V silver interconnect (RCA 1m, 2 pairs) Audio Note Sogon LX speaker cable (5 feet, spade/banana, bi-wired) Audio Note AN-SPx speaker cable (2m, bananas, bi-wired) Audio Note AN-La copper speaker cable (8 feet, bi-wired) Boelen Digital-Precise digital cable (1.5m, RCA) Canare L-5CFB 75-ohm digital cable (RCA, 1.5m) Canare D206 110 ohm digital cable (AES/EBU, 1.5m) Cardas Quadlink 5C (8 feet) Ensemble Magaflux Granite Audio #470 silver cables (RCA 1m, 2 pairs) Granite Audio #560 AC Mains (2) Harmonix Reimyo Studio Master AC cord (2) Illuminations D-60 75 Ohm digital cable (1.5m, RCA) Loth X Van den Hul MCD-352 (8 feet) Accessories Harmonix Reimyo ALS-777 line conditioner Salamander Synergy 20 (2), Twin 30 and Amp Stand, ASC Tube Traps and Flat Traps |
| REVIEWS OF OTHER EQUIPMENT MENTIONED: |
