Aspen Acoustics Lagrange L5 MKII ribbon dipole speaker system

The active oppositional woofers are impressive for their powerful output, which is enough to satisfy all but the most aggressive HT applications. Their output and frequency cut off can be massaged to elicit the character of bass one desires. I ran through my cascade of bass heavy pieces, including Lorde’s “Royals,” Stanley Clarke’s “Passenger 57 Main Title” from At the Movies, Musica Nuda’s “Roxanne” on Live a Fip, as well as hybrid music involving acoustic and synthesized instruments, such as The Rippingtons’s “North Shore” from Fountain of Youth. In each instance, the result was a weighty, undistorted, rich bass line. Heavy synth notes had not just punch, but the roundness that evades inferior systems.

Fun with baffle slopes

The source throughout the review was my standard digital front end now, the Small Green Computer sonicTransporter and the SONORE Signature Rendu SE with systemOptique optical conversion technology. My first setup established while Scott was visiting was the Wells Audio Cipher Tube DAC. I started with a DAC direct to the Pass Labs XA200.8 Monos, and then graduated to systems implementing a preamp. As regards preamps, I used the Cambridge Audio Azur 840E, but that was uninspiring with the equipment, so I substituted the Kinki Studio EX-M1+ in preamplifier mode. That was a highly efficacious move, and reinforced why it is not good enough to simply select a preamp, but the ardent hobbyist must compare several preamps with any given system to find a synergistic match.

The speakers were set up in my 13’ x 23’ x 7.5’ room approximately 5 feet out from the head wall, and the mid/bass (outer) tower of each channel was 2’ from the side wall, while the listening chair was 10’ from the speakers. The twin towers of each channel were aimed with the mid/bass tower slightly wide of each respective ear, and the 34” ribbons aimed at the ears. Initially both towers were raked back by the built in 7-degree baffle slope. We tuned the rig to Scott’s taste by using the subwoofers’ frequency cutoff and output controls, and the ribbons’ attenuators. I noticed that Scott set the treble output higher than I would, which reinforces the wisdom of having adjustability with the ribbon driver. After listening to that setup, I tuned the system with less tweeter output and more low-end presence. With Scott’s tuning, the openness of the speakers on the top end was approaching that of an omnidirectional speaker, with a terrific degree of air surrounding the instruments and voice. I felt that Scott was listening quite a bit for the contribution of the ribbons he had made. Frankly, if I could build neodymium magnet ribbon drivers, I too would be listening to them intently! As I began to introduce much more low-end presence by adjusting both the crossover point and the gain of the plate amps for the subwoofers, Scott commented that he tuned the system “from the top” while I tuned it “from the bottom.” I’m not sure that is my typical approach; in this case I felt the bass was too light, so I began there. I would likely begin wherever I felt there was an overemphasis or deficit.

While the speaker with the higher output adjustment of the tweeters was too bright for my taste, it showed the high degree of flexibility to accommodate a wide range of preferences, much more than a typical speaker with fixed crossovers. Scott admitted that my recommendation before the review that he add an attenuator to the ribbon was a winning idea; it would ever so slightly compromise the ideal waveform, but the benefit of blending it to the midrange is overwhelmingly more beneficial.

I made adjustments quickly, and soon the tweeter and ceramic midrange drivers were agreeable. I still felt there was a shyness of warmth, so I upped the subwoofer’s crossover to come a bit more into the range of the Accuton mid, and this is when the warmth associated with highly listenable speakers came about. For an extra dash of warmth and midrange output, and even more focus to the center image, I physically tipped the mid/bass cabinets forward to decrease the baffle slope. Now the mid/bass cabinets were closer to being erect, with furniture pucks under the rear footers. This yielded a most gratifying burst of that midrange magic, allowing not only some more warmth, but a leap in resolution in that range and more focus of the center image. The tweeter had been a focal point, but now the midrange was pulling in a similar amount of attention.

However, through these alterations the L5 MkII had shifted somewhat from the more diffuse sound of the Apogee ideal toward the familiar dynamic speaker sound with more localized drivers. While the speaker had gained texture and tonal presence, it had moved a tad away from the panel sound for which Scott was aiming. It was not an overt move to dynamic speaker sound, but a compromise. There was something quite pleasing about this hybrid speaker with a hybrid, non-parallel positioning of the two towers that was worth further exploration. It was so unusual that Scott indicated he would test the baffle slope on the upcoming L1 with a shallower angle. The beauty of the twin cabinets, again, is the high degree of flexibility, not only in the horizontal plane, but also the vertical. The potential iterations of the L5 MII continued to grow as the review period extended.

Eventually, one last novel moment of positioning occurred, and it pertained to an effort to once again make the two towers parallel, only with more forward baffle positions. The tweeter cabinets also were boosted from behind to make all the front baffles nearly vertical. I did this gently while playing music, so as to not have a lag between hearing the difference. Instantly, the treble was heard as having the higher output again —logical, given the drivers were now aimed at my ear without any backward slant. Surprisingly, the soundstage scale changed not so much, but the precision seemed a touch better. Overall, it was not a shocking difference, and I may have adjusted the tweeter output downward, but the change was not cunning enough to pursue, so I tilted the tweeters backward again.

What was the milieu of the music during all this? The overall sense was that one was not so much listening to a mere dynamic speaker, but to a panel with the impact of a dynamic. There are many such hybrids, but the distinction here is that, usually, a panel/dynamic hybrid employs a panel for the treble/midrange and a dynamic driver for the bass. Here, with the L5, Scott has gone one less step away from the dynamic speaker system by employing only the ribbon tweeter while keeping the dynamic midrange and bass drivers. The question becomes, is that enough to elicit the perception of an Apogee speaker? In many respects, yes, but the effect depends much on the baffle slope, with more backward slope placing the midrange driver off axis to the listener’s ears, more reminiscent of the Apogee sound. The slot-loaded bass is more like a panel’s bass, and with the long tweeter the effect of the stretched soundstage is fairly convincing.

Comparison to Kingsound King III electrostatic speaker

I have the Kingsound King III electrostatic speakers, which are a full range dipole panel speaker with arrays of bass and mid/tweeter drivers. The bass output of the King III is commendable for a full-sized panel, but lighter in comparison to the powerful subs used in the L5 MkII. The wall of sound is distinct when hearing the King III, partly because it is a taller speaker (nearly six feet tall), while the bass/midrange tower of the L5 MkII is a foot shorter and emanates lower to the floor. The Accuton midrange does hint at localization, however not as much as the same driver in the Vapor Audio Joule White. The L5 MkII’s midrange driver sits seven inches higher than in the Joule White, which helps lift the performance to bridge the height difference between the Vapor and King Sound speakers.

The character of the L5 MkII is as distinct to the ear as the difference between a dynamic speaker and a panel speaker. Most dynamic/ribbon hybrid speakers hand off between drivers vertically, while the L5 MkII hands off between dynamic and ribbon drivers horizontally! Again, usually the handoff in a fixed crossover design is absolute, while the handoff between tweeter and midrange in the Aspen Acoustics speaker, due to its attenuator, is variable. Hearing vocals, the voice is to a degree fixed in the vicinity of the midrange driver, but not nearly so much as might be expected. It is a more generalized localization, as I attempt to describe it using an oxymoronic phrase. The tweeter seemingly stretches and pulls the midrange point source both vertically and horizontally, such that at about the moment one thinks, “Aha! It is anchored to the midrange,” the effect in an ephemeral manner disappears and the perception of the panel fully takes hold. It is not as though the speaker waffles between the two, but like a visual illusion that fools the eyes into seeing movement, the horizontal handoff fools the ears into hearing more generous image size than normal for a dynamic speaker. This also is set to the users’ preference, as the effect can be strengthened or weakened by adjusting the ribbon’s output.

Again, vibraphone and piano are rendered especially well by the L5 MkII because the entire keyboard seems more palpable across the expanse between the speakers, the field needing to be filled for the Left-Center, Center, Right-Center response seeming to have drivers located there. This is a powerful benefit of the horizontal handoff between the treble and midrange. Warren Wolf, playing his piece “For Ma,” works across the length of the vibraphone, and each mallet strike arises most convincingly from the appropriate location on the instrument. Consequently, the L5 MkII is better than the panel speaker at precisely locating each note from the instrument across its entirety, an unexpected outcome! The King III gives enormity, but does not as accurately place the instrument’s notes across that enormous canvas. Similarly, there is a seeming specificity to the treble that evades big panels and more traditionally designed hybrid-dynamic speakers, once again due to the horizontal handoff of the midrange to the ribbon of the L5 MkII. Puny tweeters that are fixed above the midrange cannot create the sheer openness and airiness of a big ribbon. The delicacy of the cymbal work, or the warping of the notes on steel strings in Willy Porter’s “Road Bone,” stand out in beautiful relief, strong and solid, without the diffusion inherent in a tweeter design like that of the King III. Though not quite floor-to-ceiling tall, the images are more generous than a typical dynamic speaker. Normally to get such scale with even a dynamic hybrid one might have to move into the largest of floorstanding speakers.

Distinctly superior center imaging

Previously I mentioned the sensation of a superior fullness of the in-between space, the regions between center and the left and right channels. Here is perhaps where the L5MkII distinguishes itself, as these oft innocuous voids, treated like a bad comb-over by standard dynamic speakers, and flattened out with broad brush strokes by panels, are highlighted in a delicate and delightful way. The L5 MkII unloads generous amounts of information between the left and right towers that neither the King III nor the Joule White could. I scratch my head at that, and wonder how that happens? Once again, I suspect it is due to the horizontal handoff between ribbon and midrange. What else could it be? The drivers are not inherently superior to the finest speakers, but are rendering perceptually more information, leading to a sense of more involvement in the recording. That is a strong reason why I consider the L5 MkII to be a new genre of speaker —the DLT (Disproportionately Large Tweeter). It is as much a hybrid driver combination as a hybrid orientation of drivers! Together, these unusual characteristics offer a unique listening experience that resides between the full panel and hybrid dynamic genres.

Enter the Legacy Audio i.V4 Ultra amplifier

I have been experiencing lately the convergence of three of the finest sounding products under review for the past 13 years. Along with the L5 MkII, I recently reviewed the Legacy Audio i.V4 Ultra amplifier, a multi-channel class D design. It has class-busting sound and it has joyfully become my amplification reference for all speakers! I never would have been able to make such a statement five years ago. I take particular glee in announcing that a class D amplifier, and a multi-channel one at that, is my reference! And then there is my other recent review of Belden’s power cords and the Iconoclast by Belden top models of interconnects (both RCA and XLR) and speaker cables. Likewise, they have turned all they touch into gold. I am the proverbial kid in the candy store, as I build a variety of systems with these.

The i.V4 Ultra brings an extra dose of impressiveness to the L5 MkII. As the speaker uses its own class A/B plate amp for the subwoofer, it allows the class D to loaf, toying with the midrange and ribbon drivers. A sense of ease radiates from the speaker, as well as scale nearly as generous as the King III electrostatic. That is a terrific feat from a speaker using mostly dynamic drivers with far less radiating surface area! The midrange and tweeter, when dialed in to hand off to each other in a seamless transition, acoustically present nearly as a panel, or perhaps, again, a triangle. Indeed, the allusion to a triangle is most appropriate, given the ever so slight outlier localization of the midrange.

The fear with such a fearsome revealing set of drivers would be that a high-power class D amp would bring a searchlight’s searing intensity, making the speaker intolerable for higher levels and longer listening. The outcome is the opposite; the i.V4 Ultra, incredibly, softens, makes more supple, fills and elongates notes to their fullest, and with tender timbral sensitivity. I sit and listen to music I have heard hundreds of times over the decades, and I have never had the sense of the music slowing down, or more accurately, filling, such that there is so much additional information filling what were previously gaps between notes, so that they lean away from staccato toward legato. It is akin to a beautiful video of an animal’s movement slowed down in time to appreciate the beauty of movement. Of course, the music does not slow, but the amount of appreciable activity in it has increased.

I should point out that with this system I had returned to the COS D1 DAC + Preamplifier as the lead in to the i.V4 Ultra amps, and I am using the amps in a faux mono mode, two channels of each unit dedicated to a single speaker’s midrange and tweeter. That pesky COS D1 reasserts itself with consistency; just when I think I have bettered it with the Exogal or a different system configuration with the old Eastern Electric Minimax Tube DAC Supreme, the D1 sweeps them aside. Indeed, the more swapping of DACs I do, the more I am convinced that it is not cables that are system dependent, but DACs!

These speakers shine more brightly with additional refinement in amplification. The Legacy Audio i.V4 Ultra is a wonder of an amp; class D with such erudite sensibilities that it makes me forget classes A and A/B. I have never heard such gloriously pure high power from any amplifier, and certainly not with such a perfectly noiseless background. You will see in the review that I gush over the new class of class D amplifiers, specifically the i.V4 Ultra. As might be expected, the most glorious performance of the L5 MkII was with this amplifier.

I made full use of the amp’s four channels by driving the midrange and tweeters separately, giving each of these 4 Ohm speakers 2 x 1,000 wpc. As both the tweeter and subwoofer can be attenuated, there is never a power mismatch with this speaker, even when amps of very different output and power structure are used. The beneficial influence of the i.V4 Ultra was heard across the board, and the speaker improved in all aspects over the Pass Labs XA200.8. There seems to be no limit to how much resolution from a system this speaker can handle, and handle deftly. The L5 MkII is not the most powerful speaker I have ever used; that award goes to the Legacy Audio Valor speaker system. It does not create the largest window on the sound; that award goes to the King Sound King III. It does not have the most focused center image; that award goes to the PureAudioProject Trio15 Horn1 (the Quintet15 Horn1 will use the same horn driver). It does not have the most room pressurizing bass; that award goes to the Legacy Audio Whisper DSW Clarity Edition. However, it captures a surprising degree of all these speakers’ capabilities.

So, now i own them

Over the course of many years as I heard many different genres of speakers, I concluded that The One does not exist, in reference to the perceptually perfect speaker. Panels are about hugeness, dynamic speakers give impact, horns have exceptional transients, arrays have fullness, and the list goes on. But this speaker, this DLT, has so many aspects of preferred traits that it is close to being the one speaker I could accept, eschewing all others. And its big brother is on its way to me! The performance of the Lagrange L5 MkII is addicting and difficult to fault.

At about 8 weeks into the review process, I called Scott and told him that this article was changing from a review to an owner’s review. I have seldom exercised this privilege in 14 years. It is the ultimate compliment to a product that I decide I do not want to be without it. In some cases, I have requested continued use of a product subsequent to reviewing. I have reviewed enough craft manufacturer products to know that Scott is not in a position to loan out units, so I had to make the decision of whether the speakers were worth owning. They are, and as well, I am of the opinion that the Lagrange L1 might be worth the upgrade. Time, and another review will tell; I will let you know in a few months. The first build of the L1 that will be coming to me for review is now posted to the Aspen Acoustics website. If Scott worked his magic as well on them as he did the L5 MkII, it will be a very special transducer.

I am disclosing the purchase for good visibility and integrity. I do not make deals under the table, that is, I do not manipulate reviews for my own agenda. As I disclosed, I advised Scott for his benefit before there was a review, but I do not discuss the product under review. Does the fact that I have purchased these speakers change the outcome of the article? No; I have actually toned down the reaction to these speakers so as to not be accused of producing an advertisement for Aspen Acoustics.

Now for a bit of a revelation; this is this speaker that motivated me to sell the Joule White. Over the years I have been moving away from box speakers, and the Joule White, even though a remarkable build and performer, has the box sound I struggle with more as I hear ever more speakers. With each passing year it becomes more difficult for me to incorporate a speaker’s cabinet contribution into my framework of what a speaker should sound like. Yet, when I hear the L5 MkII, I do not get a strong impression of the cabinet coloration, but rather more like a formidable panel sensation. Scott has done a remarkable job in keeping what I consider the biggest drawback of box speakers from sticking out like a sore thumb. That may be the greatest achievement in the goal of recreating the Apogee sound with a hybrid-dynamic speaker. I attribute that to the ability of the ribbon driver to draw away attention from the cabinet colorations, a nifty trick that evades most dynamic speakers. Kudos to Scott for pulling off a feat that very few dynamic speaker makers have achieved!

There is a long way to go before the Aspen Acoustics Lagrange series of speakers could be considered legendary. Magnepan speakers, in terms of cost to performance ratio, are legendary. In my estimation, given the inefficiencies of lower production numbers, when it comes to cost to performance, the L5 MkII is every bit as compelling. It pains me to think that most of the audiophile community may never hear the DLT genre of speakers. I am trying to do something about that. Scott is considering showing at a large audio event, but another reality for the craft speaker maker is that show costs can be a monumental financial burden for a startup company. I hope he is able to find some co-exhibitors to let his design be shown to the world. I know, and now you know, what I would pair with these speakers!

Whoever is blessed to hear the L5 MkII will, I suspect, find it to be as unique, intriguing and enchanting as I have described. In the meantime, how secure and adventurous of a hobbyist are you? If you meet the aforesaid criteria of an adventurous buyer and want an ephemeral sounding speaker with unique sonic attributes, you may wish to engage with Scott. You will learn quickly he is a sharp designer, and though he speaks softly, he has made a speaker that roars!

Aspen Acoustics Lagrange L4 speakers

ASSOCIATED COMPONENTS:

Source: Small Green Computer sonicTransporter AP I7 4T and SONORE Signature Rendu SE and systemOptique

Streaming Music Service: Tidal premium

DAC:  COS D1 DAC + Pre; Exogal Comet DAC and Plus upgrade power supply and Pulsar IR receiver; Eastern Electric Minimax DSD DAC Supreme with Burson, Sonic Imagery and Sparkos Labs Discrete Opamps

Preamp: TEO Audio Liquid Preamplifier

Amps:  Pass Labs XA200.8 Mono Blocks; Exogal Ion (PowerDAC, used exclusively with Exogal Comet DAC); Legacy Audio i.V4 Ultra (pair, totaling 8 channels)

Integrated: Redgum Audio Articulata; Kinki Studio EX-M1+

Speakers: Salk Sound SS 9.5 custom; Kings Audio Kingsound King III; Legacy Audio DSW Clarity Edition; PureAudioProject Trio15 Horn 1; Pure Audio Project Quintet15 Horn1; Kings Audio King Tower omnidirectional; Ohm Walsh Model F (restored)

Subwoofers: Legacy Audio XTREME HD (2)

IC’s: Iconoclast 4×4 “Generation 2” XLR and 1×4 “Generation 2 RCA”; Clarity Cable RCA with Audio Sensibility Y Cables; Schroeder Method Audio Sensibility RCA; Schroeder Method Clarity Cable XLR with Audio Sensibility Y Cables; TEO Liquid Splash-Rs and Splash-Rc; TEO Liquid Standard MkII; Clarity Cable Organic RCA/XLR; Snake River Audio Signature Series Interconnects; (Schroeder Method, self-assembled with Audio Sensibility Y Cables used with several brands)

Speaker Cables: Iconoclast by Belden SPTPC Level 2 Speaker Cables; TEO Cable Standard Speaker; Clarity Cable Organic Speaker; Snake River Audio Signature Series Speaker Cables;

Digital Cables: Clarity Cable Organic Digital; Snake River Audio Boomslang; Silent Source “The Music Reference”

USB: Clarity Cable Supernatural 1m

Power Cables: Belden BAV (Belden Audio/Video) Power Cord; Clarity Cable Vortex; MIT Oracle ZIII; Snake River Audio Signature Series; Anticables Level 3 Reference Series

Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo

Copy editor: Dan Rubin