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| LOTH X BS1 2-WAY BOOKSHELF SPEAKERS by Constantine Soo August 23, 2002 |
| Specifications Type: 2-way, bass reflex (Single-Wiring only) Tweeter: 1-inch cloth with magnetic fluid (for ambience only) Main driver: 6-inch Loth-X paper cone and cloth surround with shielding Frequency Range: 55 Hz - 20k Hz Efficiency: 94 dB/2.83 V/m Impedance: 8 Ohm Dimensions: 200 mm W × 295 mm D × 400 mm H Weight: 10 kg each Price: $599 a pair Finishes: Cherry Warranty: 5 years Address: Loth-X America PO Box 4550 Austin, TX 78765 Telephone: 512-467-0323 Website: www.lothxonline.com |
Minimonitors have become significant products nowadays, beginning back
with the advent of the Rogers LS3/5A. Although they possess space-saving,
non-intrusive appeal to both the audiophile and his/her aesthetically driven
spouse, these advantages are quite often offset unfortunately by an equally
uncompromising need for individualized system matching to exploit the
speaker's full potential.
The subject of this review, the $599 Loth-X BS1, is the smallest among eight
models of progressively larger, crossover-less, single-driver, high efficiency
loudspeakers from Loth-X, named after Mr. Lothar Sanders, its managing
director, culminating in the $20,000 a pair, back horn loaded monolithic
BARD. Whereas the floor standing models employ the proprietary Stamm Full
Range Drive Unit created by designer Mr. Stefan Stamm, the bookshelf BS1
and its two upper models are equipped with the Ion-series, specially
impregnated paper cones to maintain lightness and stiffness. The 6-inch
paper/cloth main driver for the BS1 is magnetically shielded and extends
upward to around 45 kHz, at which point an 1-inch ferro-fluid cooled, cloth
tweeter picks up the higher band via a single capacitor which is not linked to
the main driver.
With dimensions similar to those of the Celestion SL700, the Loth-X BS1 is a
little deeper and is made entirely of wood with the large, core section
sandwiched between two side panels. Construction is sturdy and the wood is
sanded into a fine polish. Bass augmentation is provided via a front-loaded
rectangular port.
Putting the BS1 on my Celestion SL700's original 24-inch Aerolam speaker
stands resulted in the achievement of a parallel height of the ambience
tweeter to my ear. With the main driver situated far below the horizontal axis
from my listening level, I reused the same arrangement for listening to my
Celestion SL700, in which the stands were raised by bricks by another
3-inches. This elevated the BS1's main driver to near my ear-level, with the
tweeter firing just slightly above my ears. The BS1's performed well whether in
a nearfield or conventional, domestic listening environment. While its
dispersion patterns were not overly excessive, an optimum between
maximization of soundstaging and minimization of reflections for the listening
position 9 feet away was reached by placing the BS1's 5 feet away from the
back wall, 3 feet away from side walls, and 52 inches apart from each other.
Finally, the speakers were toed-in two-thirds towards me.
Amplifications was the $6,500 50 Wpc integrated solid-state 47 Laboratory
Gaincard S. The following power amplifiers were also used for comparisons:
the $2,800 185 Wpc solid-state McCormack Power Drive DNA-1 Deluxe and
the $3,450 125 Wpc tube Music Reference RM9 II. The $6,000 Audio Note
M3 was the preamp when either the McCormack or the Music Reference was
in use. Although the BS1's 94dB 8-Ohm sensitivity hardly requires muscular
amplifiers, Decware's 5 Wpc stereo SE84C was inadequate as constant and
severe dynamic compressions persisted. Cardas Quadlink 5C speaker
cables and Granite Audio #470 interconnects were used throughout.
AUDITION
Where the recording quality was high, the BS1's sonic presentation was big
and immediate, inducing a full-bodied sound to voices and instruments.
Evgeny Kissin's Chopin - 24 Preludes, Sonata NO. 2, Polonaise, Op. 53"
[RCA Victor 09026-63535-2] possesses sonics worthy of an audiophile's
choosing and did not sound diminished or small-scaled. To my surprise, the
BS1 gave a tonally accurate rendition of the piano's overtone, accompanied
by undaunted dynamics befitting a horn speaker. Driven by the 50 Wpc
Gaincard, the BS1 was capable of such unexpected loudness that I actually
had to adjust the volume downward twice during the fist listening. With the
Loth-X's bottom-end deficiency, I was surprised at how well it portrayed piano
timbres.
A change for something even better, there was dimensionality and immediacy
from female jazz vocalist, Ayako Hosokawa's lamenting in "Bridge Over
Troubled Water" from "The Famous Sound of three blind mice," [JVC XRCD
TBM-XR-9001], and the vividness of Ms Hosokawa's voice intertwined with
the supple smoothness of the double bass. Injecting a keen sense of delicacy
and intimacy, these aspects of this small-scale, audiophile jazz presentation
validated the BS1 again, especially in light of its affordability.
Likewise in "Summertime," a live session produced by Keith Johnson for the
Sheffield/XLO Test & Burn-in CD [Sheffield Lab 10041-2-T], which has
excellent soundstage definition and tonal realism, the BS1 captured the
lyricism of the French Horn with adequate sheen. Though indisputably in need
of more precision, dimensionality and microdynamics, the BS1 was
nevertheless able to retain clarity in instrument separation and tonality, with a
dynamic ease representative of drivers with no crossover.
Retrospectively, more than any musical tracks, the overlapping voices of
Sheffield Lab's Doug Sax and Roger Skoff in track 5, "Walkaround", was less
resolute and the test track represented an uncalled-for infinitesimal
examination of the Loth-X's microdynamics and imaging limits. Putting a $599
pair of speakers through this test also represented a shot of wishful thinking
on my part, which was not totally unfounded considering the somewhat inflated
optimism generated from my earlier sessions.
On bottom-end performance, the BS1 showed an expected lightness of
double bass from both CDs, and hence led to less-defined renditions of that
instrument therefore. In addition, the perceived bass output sounded rather
light in comparison to the speaker's specified 55 Hz, and I thought the small
cabinet was the limiting factor in preventing the BS1 from rolling out more
information in the low frequency region. Reproduction of the lowest octave of
instruments may be augmented by putting the speakers closer to corners, or
by integrating them into a smaller room.
Choice of speaker cable also played a decisive role on certain CDs. The
BS1's midranges had such dynamic ease that excessive energy could be
released, blemishing a listening session. A trusted cable for all my existing
speakers, my Cardas Quadlink 5C enhanced the upper midrange from the
BS1 that was rather sibilant to my ears. Soprano Dame Montserrat Caballe's
vocal line "Ah, fors'e lui: Sempre libera" from Verdi's "La Traviata," on
Opera's Greatest Love Songs [RCA Victor Red Seal 09026-61886-2] carried
a glorious radiance albeit intermittently audible midrange artifacts.
The Cardas also induced spectral imbalance and ringing from the BS1 on
less optimized piano recordings such as a 1965 rendition of Beethoven's
Sonatas on The Originals, Ludwig Van Beethoven, Sonaten No. 8
"Pathetique", No. 14 "Moonlight", No. 21 "Waldstein", No. 23 "Appassionata"
[Deutsche Grammophon 447 404-2]. Wilhelm Kempf, the legendary German
classical pianist's otherwise consistently insightful reading via my other
speakers, was not only plagued by high note sibilance and midrange
muddling via the Loth-X, but was also afflicted by resonance-induced
distortions. While my reference minimonitor, Celestion SL700, was able to
hold its composure during the same passages with aplomb and still proceed
to deliver a fulfilling performance, the BS1's presentation had an unmistakable
congestion, negating the crucial open sound. Having heard the BS1 under
much better terms, I believe it wasn't a major resolution issue but rather one of
refinement.
This is an irony existing only at both ends of the equipment quality spectrum.
With the SL700 belonging to the vast category of medium-priced, core
audiophile products, and the BS1 of the budget-priced category, readers can
expect the refinement from the exotic product to reveal all in balanced details,
while the limitations of such ability in many budget products can parch the
simple listening pleasure.
Changing speaker cable to the less expensive and less sensitive Tara Labs
Phase II TFA Return alleviated the symptom considerably. Although it did not
match the Cardas's dimensionality and textural refinement, neither did the
Tara Labs hinder the BS1's dynamic ease and background information
conveyance, sounding just a little reserved in tonality, thus serving the BS1
very well.
With the Tara Labs Phase II TFA Return, getting down with the latest
compilation of disco-queen Donna Summer's Greatest Hits [Mercury 314 558
795-2] complimented the BS1's potentials. The 45-rpm single version of "Hot
Stuff" sounded coherent and lively, albeit with intermittent depletions of
microdynamics. Via the BS1, while the recording was not of the same caliber
in vocal resolution as the JVC XRCD, the Loth-X was always depicting Donna
Summer at center stage unwaveringly and reproduced the up's and down's of
Summer's very powerful singing aptly.
Playing Richard Strauss' chamber music, "Sonata No. 1" from Richard
Strauss Sonatinen for 16 woodwinds [DG BMG D112472], the BS1 sounded
sophisticated and zealous. The woodwinds sounded lively and swift, with
good image and textural definition. The musical presentation consisted of
woodwind instruments with mild dynamic demands, allowing this chamber
music to represent a most rewarding coupling of music to the Loth-X.
In reproducing complex, large-scale orchestral performances, like
"Shostakovich Symphony No. 10" from Karajan Gold [DG 439 036-2 or BMG
D118283], medium volume settings enabled the Loth-X to sound large with
expeditious transients and punchy dynamics. However, my attempt at
squeezing more wholesome dynamics and tonalities from the BS1 with an
increase of the volume affected a uniform aggressiveness, which I believe
was an indication that it was buckling under my demand to have it behave like
my other, larger speakers within the same space.
SUMMARY
Progressively, we are setting our expectations from minimonitors higher and
higher. Their ability to play loud without strain becomes absolutely essential.
In reality, minimonitors will work to an exceeding excellence if certain
conditions are present to facilitate a full exploitation of their potentials. These
conditions include appropriate room dimensions, proper listening height,
meticulous positioning and compatible amplification. Optimized, a
reference-class minimonitor in a proper setup could exert tidal dynamics,
captivating dimensionalities and sonorous tonalities. My Celestion SL700,
which is renowned for refinements in dimensionality and tonality, and its
tenacious appetite for substantial amplification, is able to perform
breathtakingly in an average-sized room. Some minimonitors, however,
regardless of dynamic capabilities, must be pampered in smaller rooms. In
my opinion, the Loth-X BS1 is such a speaker.
I also exerted additional expectations on the modest BS1 by using
amplification well beyond its league, as the BS1's abilities in conveying what
is upstream of it became supremely important. Had similarly priced budget
gear been available to me, I might have imposed fairer expectations.
Nonetheless, the BS1 was exploited under uncommon circumstances, and
having considered its limitations, its fortés are sweepingly exciting for just
$599.
For example, the 47 Laboratory Gaincard S induced in the Loth-X mild
dynamics, refined top-end and a detailed but relatively soft midrange. On the
other hand, the all-tube amplification of M3 and the 125 Wpc EL34-based
Music Reference RM9 II power amp charged the BS1 in producing
dimensionality, lively dynamics and a host of complex tonalities. Alternatively,
the 185 Wpc McCormack DNA-1 Deluxe offered a bland and less detailed
midrange and slightly recessed top-end, though it did induced the most
defined bottom-end of the four amplifiers used. In addition, my 6-month
experience in using the 300B Audio Note Quest monoblocks might have
overly realigned my sonic priorities to the favor of a prominent midrange.
Therefore, matching the BS1 to amplifiers with moderate outputs, such as the
Gaincard S, was more befitting of the speaker's comfortable operating zones
than either the overly powerful Music Reference or McCormack ever
contributed.
In spite of my $3,200 Celestion SL700's wholesale superiority over the Loth-X
BS1's, the Loth X's $599 MSRP houses a high degree of cost advantage for
its efficiency, fundamentally sound dynamics and full-fledged tonalities.
Incapable of supporting double-bass conveyance and the soundstage
specificity of the Celestion, a dampened BS1 nevertheless sounded confident
and mature, making prolonged listening sessions highly enjoyable. Adding a
powered subwoofer will compliment the BS1 undoubtedly, an option well worth
any audiophiles' considerations.
While there is the widely accepted wisdom of allocating more funds on
speakers over anything, an initial investment of more than $599 for a pair of
bookshelf speakers in a budget system may no longer be necessary. Although
I believe no audiophile can resist the temptation of progressing onwards with
more exotic loudspeakers, for the purpose of music replay, the BS1 is a good
starting point.
While the Loth-X was of modest disposition, I believe audiophiles will be
amazed at its potential when fed from competent upstream components. This
is particularly indicative of the potentials of BS1's bigger brothers. I wouldn't
be surprised to see readers taking it into their main audio system after
hearing what it is capable of in their dormitory or secondary system.
The $599 Loth-X BS1 is a cost effective execution of a proven technology.
While many audiophiles will understandably seek out more complex,
mainstream and costlier products, experienced listeners will appreciate and
recognize instantly the feats this affordable speaker achieves. While it is
unlikely any reader would choose a $6,500 amplifier (47 Lab Gaincard S) or
$9,450 system (Audio Note M3 + Music Reference RM9 II) to drive the $599
Loth-X as I did, the BS1's ability at conveying the distinct characteristics of
varying amplification speaks volume of its potentials. The BS1 may just as
well bring you a fresh and revelatory experience and open up a whole slew of
options for you.
Associated Equipment:
Digital Front End
47 Laboratory 4713 Flatfish CD Transport/4705 Progression DAC
Audio Note DAC One 1.1x Signature
CEC TL1 CD transport
Linn Ikemi CD player
Sony SCD-777ES SACD/CD player
Amplification
47 Laboratory 4706 Gaincard with two 4700 Power Humpties S
Audio Note M3 preamplifier
Decware SE84C
Loth-X JI300
McCormack DNA-1 Deluxe
Music Reference RM9 II
Reference Line Preeminence One Signature amplifier
Z-systems RDP-1 Reference Digital Preamplifier
Loudspeakers
Apogee Duetta Signature
Audio Note AN/E SEC Silver
Celestion SL700
ELAC 518
Genesis VI
Klipschorn
Cabling
Audio Note AN-La (8 feet, bi-wired)
Audio Note AN-SPx (8 feet, bi-wired)
Audio Note AN-V silver cables (RCA 1m, 2 pairs)
Aural Symphonics AS-One (RCA 1m pair, 0.5m pair)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains
Illuminations Orchid (1.5m, AES/EBU XLR)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Van den Hul MCD-352 (8feet)
Virtual Dynamics Nite Series complete cable system
Accessories
Salamander Synergy 20 (2)
ASC Tube Traps, Flat Traps
with the advent of the Rogers LS3/5A. Although they possess space-saving,
non-intrusive appeal to both the audiophile and his/her aesthetically driven
spouse, these advantages are quite often offset unfortunately by an equally
uncompromising need for individualized system matching to exploit the
speaker's full potential.
The subject of this review, the $599 Loth-X BS1, is the smallest among eight
models of progressively larger, crossover-less, single-driver, high efficiency
loudspeakers from Loth-X, named after Mr. Lothar Sanders, its managing
director, culminating in the $20,000 a pair, back horn loaded monolithic
BARD. Whereas the floor standing models employ the proprietary Stamm Full
Range Drive Unit created by designer Mr. Stefan Stamm, the bookshelf BS1
and its two upper models are equipped with the Ion-series, specially
impregnated paper cones to maintain lightness and stiffness. The 6-inch
paper/cloth main driver for the BS1 is magnetically shielded and extends
upward to around 45 kHz, at which point an 1-inch ferro-fluid cooled, cloth
tweeter picks up the higher band via a single capacitor which is not linked to
the main driver.
With dimensions similar to those of the Celestion SL700, the Loth-X BS1 is a
little deeper and is made entirely of wood with the large, core section
sandwiched between two side panels. Construction is sturdy and the wood is
sanded into a fine polish. Bass augmentation is provided via a front-loaded
rectangular port.
Putting the BS1 on my Celestion SL700's original 24-inch Aerolam speaker
stands resulted in the achievement of a parallel height of the ambience
tweeter to my ear. With the main driver situated far below the horizontal axis
from my listening level, I reused the same arrangement for listening to my
Celestion SL700, in which the stands were raised by bricks by another
3-inches. This elevated the BS1's main driver to near my ear-level, with the
tweeter firing just slightly above my ears. The BS1's performed well whether in
a nearfield or conventional, domestic listening environment. While its
dispersion patterns were not overly excessive, an optimum between
maximization of soundstaging and minimization of reflections for the listening
position 9 feet away was reached by placing the BS1's 5 feet away from the
back wall, 3 feet away from side walls, and 52 inches apart from each other.
Finally, the speakers were toed-in two-thirds towards me.
Amplifications was the $6,500 50 Wpc integrated solid-state 47 Laboratory
Gaincard S. The following power amplifiers were also used for comparisons:
the $2,800 185 Wpc solid-state McCormack Power Drive DNA-1 Deluxe and
the $3,450 125 Wpc tube Music Reference RM9 II. The $6,000 Audio Note
M3 was the preamp when either the McCormack or the Music Reference was
in use. Although the BS1's 94dB 8-Ohm sensitivity hardly requires muscular
amplifiers, Decware's 5 Wpc stereo SE84C was inadequate as constant and
severe dynamic compressions persisted. Cardas Quadlink 5C speaker
cables and Granite Audio #470 interconnects were used throughout.
AUDITION
Where the recording quality was high, the BS1's sonic presentation was big
and immediate, inducing a full-bodied sound to voices and instruments.
Evgeny Kissin's Chopin - 24 Preludes, Sonata NO. 2, Polonaise, Op. 53"
[RCA Victor 09026-63535-2] possesses sonics worthy of an audiophile's
choosing and did not sound diminished or small-scaled. To my surprise, the
BS1 gave a tonally accurate rendition of the piano's overtone, accompanied
by undaunted dynamics befitting a horn speaker. Driven by the 50 Wpc
Gaincard, the BS1 was capable of such unexpected loudness that I actually
had to adjust the volume downward twice during the fist listening. With the
Loth-X's bottom-end deficiency, I was surprised at how well it portrayed piano
timbres.
A change for something even better, there was dimensionality and immediacy
from female jazz vocalist, Ayako Hosokawa's lamenting in "Bridge Over
Troubled Water" from "The Famous Sound of three blind mice," [JVC XRCD
TBM-XR-9001], and the vividness of Ms Hosokawa's voice intertwined with
the supple smoothness of the double bass. Injecting a keen sense of delicacy
and intimacy, these aspects of this small-scale, audiophile jazz presentation
validated the BS1 again, especially in light of its affordability.
Likewise in "Summertime," a live session produced by Keith Johnson for the
Sheffield/XLO Test & Burn-in CD [Sheffield Lab 10041-2-T], which has
excellent soundstage definition and tonal realism, the BS1 captured the
lyricism of the French Horn with adequate sheen. Though indisputably in need
of more precision, dimensionality and microdynamics, the BS1 was
nevertheless able to retain clarity in instrument separation and tonality, with a
dynamic ease representative of drivers with no crossover.
Retrospectively, more than any musical tracks, the overlapping voices of
Sheffield Lab's Doug Sax and Roger Skoff in track 5, "Walkaround", was less
resolute and the test track represented an uncalled-for infinitesimal
examination of the Loth-X's microdynamics and imaging limits. Putting a $599
pair of speakers through this test also represented a shot of wishful thinking
on my part, which was not totally unfounded considering the somewhat inflated
optimism generated from my earlier sessions.
On bottom-end performance, the BS1 showed an expected lightness of
double bass from both CDs, and hence led to less-defined renditions of that
instrument therefore. In addition, the perceived bass output sounded rather
light in comparison to the speaker's specified 55 Hz, and I thought the small
cabinet was the limiting factor in preventing the BS1 from rolling out more
information in the low frequency region. Reproduction of the lowest octave of
instruments may be augmented by putting the speakers closer to corners, or
by integrating them into a smaller room.
Choice of speaker cable also played a decisive role on certain CDs. The
BS1's midranges had such dynamic ease that excessive energy could be
released, blemishing a listening session. A trusted cable for all my existing
speakers, my Cardas Quadlink 5C enhanced the upper midrange from the
BS1 that was rather sibilant to my ears. Soprano Dame Montserrat Caballe's
vocal line "Ah, fors'e lui: Sempre libera" from Verdi's "La Traviata," on
Opera's Greatest Love Songs [RCA Victor Red Seal 09026-61886-2] carried
a glorious radiance albeit intermittently audible midrange artifacts.
The Cardas also induced spectral imbalance and ringing from the BS1 on
less optimized piano recordings such as a 1965 rendition of Beethoven's
Sonatas on The Originals, Ludwig Van Beethoven, Sonaten No. 8
"Pathetique", No. 14 "Moonlight", No. 21 "Waldstein", No. 23 "Appassionata"
[Deutsche Grammophon 447 404-2]. Wilhelm Kempf, the legendary German
classical pianist's otherwise consistently insightful reading via my other
speakers, was not only plagued by high note sibilance and midrange
muddling via the Loth-X, but was also afflicted by resonance-induced
distortions. While my reference minimonitor, Celestion SL700, was able to
hold its composure during the same passages with aplomb and still proceed
to deliver a fulfilling performance, the BS1's presentation had an unmistakable
congestion, negating the crucial open sound. Having heard the BS1 under
much better terms, I believe it wasn't a major resolution issue but rather one of
refinement.
This is an irony existing only at both ends of the equipment quality spectrum.
With the SL700 belonging to the vast category of medium-priced, core
audiophile products, and the BS1 of the budget-priced category, readers can
expect the refinement from the exotic product to reveal all in balanced details,
while the limitations of such ability in many budget products can parch the
simple listening pleasure.
Changing speaker cable to the less expensive and less sensitive Tara Labs
Phase II TFA Return alleviated the symptom considerably. Although it did not
match the Cardas's dimensionality and textural refinement, neither did the
Tara Labs hinder the BS1's dynamic ease and background information
conveyance, sounding just a little reserved in tonality, thus serving the BS1
very well.
With the Tara Labs Phase II TFA Return, getting down with the latest
compilation of disco-queen Donna Summer's Greatest Hits [Mercury 314 558
795-2] complimented the BS1's potentials. The 45-rpm single version of "Hot
Stuff" sounded coherent and lively, albeit with intermittent depletions of
microdynamics. Via the BS1, while the recording was not of the same caliber
in vocal resolution as the JVC XRCD, the Loth-X was always depicting Donna
Summer at center stage unwaveringly and reproduced the up's and down's of
Summer's very powerful singing aptly.
Playing Richard Strauss' chamber music, "Sonata No. 1" from Richard
Strauss Sonatinen for 16 woodwinds [DG BMG D112472], the BS1 sounded
sophisticated and zealous. The woodwinds sounded lively and swift, with
good image and textural definition. The musical presentation consisted of
woodwind instruments with mild dynamic demands, allowing this chamber
music to represent a most rewarding coupling of music to the Loth-X.
In reproducing complex, large-scale orchestral performances, like
"Shostakovich Symphony No. 10" from Karajan Gold [DG 439 036-2 or BMG
D118283], medium volume settings enabled the Loth-X to sound large with
expeditious transients and punchy dynamics. However, my attempt at
squeezing more wholesome dynamics and tonalities from the BS1 with an
increase of the volume affected a uniform aggressiveness, which I believe
was an indication that it was buckling under my demand to have it behave like
my other, larger speakers within the same space.
SUMMARY
Progressively, we are setting our expectations from minimonitors higher and
higher. Their ability to play loud without strain becomes absolutely essential.
In reality, minimonitors will work to an exceeding excellence if certain
conditions are present to facilitate a full exploitation of their potentials. These
conditions include appropriate room dimensions, proper listening height,
meticulous positioning and compatible amplification. Optimized, a
reference-class minimonitor in a proper setup could exert tidal dynamics,
captivating dimensionalities and sonorous tonalities. My Celestion SL700,
which is renowned for refinements in dimensionality and tonality, and its
tenacious appetite for substantial amplification, is able to perform
breathtakingly in an average-sized room. Some minimonitors, however,
regardless of dynamic capabilities, must be pampered in smaller rooms. In
my opinion, the Loth-X BS1 is such a speaker.
I also exerted additional expectations on the modest BS1 by using
amplification well beyond its league, as the BS1's abilities in conveying what
is upstream of it became supremely important. Had similarly priced budget
gear been available to me, I might have imposed fairer expectations.
Nonetheless, the BS1 was exploited under uncommon circumstances, and
having considered its limitations, its fortés are sweepingly exciting for just
$599.
For example, the 47 Laboratory Gaincard S induced in the Loth-X mild
dynamics, refined top-end and a detailed but relatively soft midrange. On the
other hand, the all-tube amplification of M3 and the 125 Wpc EL34-based
Music Reference RM9 II power amp charged the BS1 in producing
dimensionality, lively dynamics and a host of complex tonalities. Alternatively,
the 185 Wpc McCormack DNA-1 Deluxe offered a bland and less detailed
midrange and slightly recessed top-end, though it did induced the most
defined bottom-end of the four amplifiers used. In addition, my 6-month
experience in using the 300B Audio Note Quest monoblocks might have
overly realigned my sonic priorities to the favor of a prominent midrange.
Therefore, matching the BS1 to amplifiers with moderate outputs, such as the
Gaincard S, was more befitting of the speaker's comfortable operating zones
than either the overly powerful Music Reference or McCormack ever
contributed.
In spite of my $3,200 Celestion SL700's wholesale superiority over the Loth-X
BS1's, the Loth X's $599 MSRP houses a high degree of cost advantage for
its efficiency, fundamentally sound dynamics and full-fledged tonalities.
Incapable of supporting double-bass conveyance and the soundstage
specificity of the Celestion, a dampened BS1 nevertheless sounded confident
and mature, making prolonged listening sessions highly enjoyable. Adding a
powered subwoofer will compliment the BS1 undoubtedly, an option well worth
any audiophiles' considerations.
While there is the widely accepted wisdom of allocating more funds on
speakers over anything, an initial investment of more than $599 for a pair of
bookshelf speakers in a budget system may no longer be necessary. Although
I believe no audiophile can resist the temptation of progressing onwards with
more exotic loudspeakers, for the purpose of music replay, the BS1 is a good
starting point.
While the Loth-X was of modest disposition, I believe audiophiles will be
amazed at its potential when fed from competent upstream components. This
is particularly indicative of the potentials of BS1's bigger brothers. I wouldn't
be surprised to see readers taking it into their main audio system after
hearing what it is capable of in their dormitory or secondary system.
The $599 Loth-X BS1 is a cost effective execution of a proven technology.
While many audiophiles will understandably seek out more complex,
mainstream and costlier products, experienced listeners will appreciate and
recognize instantly the feats this affordable speaker achieves. While it is
unlikely any reader would choose a $6,500 amplifier (47 Lab Gaincard S) or
$9,450 system (Audio Note M3 + Music Reference RM9 II) to drive the $599
Loth-X as I did, the BS1's ability at conveying the distinct characteristics of
varying amplification speaks volume of its potentials. The BS1 may just as
well bring you a fresh and revelatory experience and open up a whole slew of
options for you.
Associated Equipment:
Digital Front End
47 Laboratory 4713 Flatfish CD Transport/4705 Progression DAC
Audio Note DAC One 1.1x Signature
CEC TL1 CD transport
Linn Ikemi CD player
Sony SCD-777ES SACD/CD player
Amplification
47 Laboratory 4706 Gaincard with two 4700 Power Humpties S
Audio Note M3 preamplifier
Decware SE84C
Loth-X JI300
McCormack DNA-1 Deluxe
Music Reference RM9 II
Reference Line Preeminence One Signature amplifier
Z-systems RDP-1 Reference Digital Preamplifier
Loudspeakers
Apogee Duetta Signature
Audio Note AN/E SEC Silver
Celestion SL700
ELAC 518
Genesis VI
Klipschorn
Cabling
Audio Note AN-La (8 feet, bi-wired)
Audio Note AN-SPx (8 feet, bi-wired)
Audio Note AN-V silver cables (RCA 1m, 2 pairs)
Aural Symphonics AS-One (RCA 1m pair, 0.5m pair)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains
Illuminations Orchid (1.5m, AES/EBU XLR)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Van den Hul MCD-352 (8feet)
Virtual Dynamics Nite Series complete cable system
Accessories
Salamander Synergy 20 (2)
ASC Tube Traps, Flat Traps