The Set Up
I am fortunate in having a large, 30’ x 22’ x 11’ dedicated listening room, with many absorbers and diffusers. After some experimentation I ended up with the speakers 118” from the front wall, 66” from the side walls , 139” apart, and 139” from my listening position, wherein each measurement is from the center of the panel. As I noted earlier, the Models 10’s are designed to be aimed directly at the listener. Roger devised a simple yet effective trick to achieve this. Because the panels are reflective to light, one can simply dim the ambient light, hold a flashlight over one’s head and aim it at the speaker. When the reflection is centered, the speakers are aimed correctly. I should mention that I could get proper center fill of the sound no matter at what distance I sat, provided of course that the speakers were properly aligned for that spot; however, despite their directivity, and despite my room being well treated, I still preferred the sound when I was no farther away from the speakers than they were from one another. Roger advised me to ensure that both speakers were equidistant from the listener, and to do so within a half inch. I did as he suggested and indeed, this paid off. This sort of care in setup probably benefits any speaker, but especially so the Model 10’s, as they are so phase-perfect.
As noted above, for most of the time I used a Sanders Sound Magtech stereo amplifier for the woofers, and a Sanders Sound ESL stereo amplifier for the panels. I also used the Merrill Audio Veritas monoblock amplifiers, recently reviewed by my colleague Ray Seda, and obtained superb results with both amplifiers. Upstream, I used the Miracle Audio Devinitive linestage and Phonatic phonostage. The analogue source was a TT Weights Gem turntable with Schick arm and Miyajima Shilabe cartridge. On the digital side I used my AMR DP-777 DAC, fed by my HAL MS-1 music server, running JRiver. As described above, the active crossover was a Behringer DCX2496. The Behringer comes pre-set for nominally flat response but because bass is so room-dependent, it is usually necessary to make an adjustment in bass volume, relative to the panels. Roger’s instructions describe this, and show the user which buttons to push.
In the interest of full disclosure, I have to mention one problem that occurred. After setting up the speakers, I noted a marked channel imbalance, 4 dB, to be exact. After systematic swapping of cables and gear, I verified that the problem was with the speakers. I assumed that one of the electrostat panels was defective, so I contacted Roger. Roger explained that it was highly unlikely that it was a panel but to make sure, he suggested I swap the left and right panels. As I described above, this is a very easy procedure. This did not solve the problem, so Roger said that it was most likely a failure of the power supply, which provides a static charge to the panel.
Roger sent me a new power supply, along with step-by-step instructions as to how to change it. Unfortunately, this, too, did not solve the problem. Roger was about to send me a new woofer cabinet when he suddenly realized that there was one other thing that could account for the channel imbalance: The Models10’s can be used with either 110 or 220 V, and it was possible that one speaker was set for the higher voltage. He told me what to look at on the back of the speaker and sure enough, one speaker was mis-set. He told me how to set it for the correct voltage, which took about 30 seconds, and voila, problem solved. Obviously, we would all prefer that none of our equipment ever fails but alas, things do happen. The important question then becomes, how do the manufacturers handle the issues? In this regard, Roger scored an A+. He stood behind his product, and was prepared to do whatever was necessary to correct the problem. Moreover, when the problem was identified, he apologized for it, which speaks volumes about his character. On a more practical note, he told me that this was the first time this had occurred but to prevent a recurrence, their shipping protocols would be altered such that the voltage setting would be checked immediately before the carton was sealed.
At Long Last…the Sound
How many times have each of us read a review in which a traditional speaker was said to have “electrostat-like” speed and/or transparency? Electrostats have a major advantage over dynamic driver speakers, an advantage based on simple physics. Specifically, I am referring to mass. In race cars, a car with less mass will always have the advantage over a heavier car in terms of acceleration, deceleration, and handling. And so it is with speakers; the lower the mass, the more quickly the driver (or panel) can start, stop, and change direction. The mass of an electrostat panel is far less than that of a cone or dome, and less than even that of a magnetic planar, as the latter has conductive wires attached to the diaphragm. Moreover, the electrostat panel is powered over its entire area, unlike a cone or dome which is powered only near its apex and perimeter, respectively, where the voice coil attaches. For cones and domes, not being powered over their entire area leads to irregularities in their movement, sorry if that sounds like a commercial for a laxative, which translates as distortion. And the electrostat panel has yet another advantage over comes and domes: The stators, which carry the musical signal, are present on both sides of the panel, so the panel is both pushed and pulled, which adds still further control as compared to cones and domes.
The advantages enumerated above are far more than theoretical. Listening to music – importantly, any type of music – through the Model 10’s revealed unrivaled clarity. Instruments and voice were portrayed with breathtaking detail in virtually every parameter: tonality, rise time, texture, shading, harmonics, etc. By comparison, most every other speaker with which I am familiar sounds muted, colored, and sluggish. The amount of musical information provided by the Models 10’s allows a far greater appreciation of the music and sense of realism, as compared to most other speakers through which so much information is obscured. A number of years ago, when I was affiliated with another magazine, I wrote an article entitled “Real or Surreal,” in which I spoke of the common practice of speaker manufacturers intentionally boosting certain frequencies, to give the illusion of detail. Ultimately, such speakers become fatiguing, and lend a sameness to all recordings played through them. The Model 10’s are the antithesis of this; they have a very flat frequency response, and provide gobs of information throughout the entire frequency range. In point of fact, the Model 10’s are amongst the most evenly balanced speakers I have heard. They are neither warm, nor harsh. Instead, they provide an incredibly clear and uncolored window into the music, in which every instrument is heard clearly, cleanly and distinctly. They allow the listener to hear and comprehend the pace and nuance of the performers, and this is true for all types of music.
- ← Previous page
- (Page 4 of 6)
- Next page →
I have owned the 10c speakers for a couple of years and continue to enjoy them. I obtained a replacement audio output board for the dcx 2496 that simplifies the circuit, uses better opamps, and also uses a remote control to vary gain…it can be used as a system volume control. A board is also available to replace the digital input / clock circuit. All I can tell you is that I wish Roger would offer this as part of his 10c system, it elevates the transparency, removes grundge, and just makes the speakers better. Contact Ward Maas at Pilghamaudio.com for more info.
Roger does not believe op amps make a difference (he used very inexpensive ones in the Innersound crossover amp, and told a friend of mine who is an op amp guru that “they all sound the same”). I replaced five of the op amps at my friends advice and it made a TREMENDOUS difference. I’m very much a fan of science and like much about objectiveness, but while I was once a “doubter” of some of the tweak nature of high end audio, I’ve come to find over time that numerous things I used to mock I could hear differences in if I gave it a chance and a bit of an open mind. Yes, there is snake oil crap, but there are other things that I have noticed making an improvement (like cables, ha ha ha! Yeah, I used to be in the “all sound the same unless poorly designed” camp, and mocked the cable swapping crowd. Then I stopped mocking and started listening more….)
The op amps I was talking about above (that I replaced) are in the Innersound (now Sanders Sound) crossover amp, not a Behringer unit, just to clarify. Have heard the DCX2496 at shows in Roger’s room, but have not tried it yet in my system).
Thanks for both reviewing a great speaker and interviewing one of the great pioneers in high-end audio. I would like to listen to a pair of Model 10s with a DEQX HDP-4 instead of the Behringer. The DEQX would serve as digital crossover with very steep filters (maybe lowering the crossover point below 172Hz significantly), it would correct both speaker and room, and even seamlessly integrate a pair of subwoofers at any reasonable frequency. Let me just dream.
Glad someone in audio review tells it like it is WRT what live music actually sounds like. Having had subscription series to symphony orchestras and listened to more live jazz than most people, I can tell you that imaging is an pot of gold at the end of the audiophile rainbow. Now, that’s not to say that pinpoint imaging doesn’t have its own visceral enticements, but it’s not what real live music sounds like. So, perhaps we need to abandon the notion that audiophiles must pursue “the closest thing to live”. Maybe we should recognize different tastes and expectations for different audiophiles and leave it at that. Personally, I’ll spend my extra money on live music and more vinyl rather than more exotic gear.
Lots of active crossover options listed here (both analog and digital)
http://thewelltemperedcomputer.com/HW/ActiveCrossover.htm
Has anyone tried a 48dB/oct analog crossover with the model 10s such as the Marchand XM44 and compared with the Behringer?
Chris B
48dB/oct is the standard setting. Roger crosses at 172hz at 48 on both sides.
vdorta
I am test driving a Deqx Premate at the moment, with my 10c s. I am told a HDP4 [ 3 way] has a tweeter x-over that does not go low enough, so you are throwing away a crossover. Save money and buy the 2 way Premate. I have yet to ponder that info. and purchase.
6 weeks later…I have bought the HDP4. For $500 more, you get better transparency and thus imaging. This must be the linear power supply. I saw inside both machines. Anyhow, I thought it no contest in the end. This is so far ahead of my Behringer set up of dcx2496, deq2496 and src2496. I am a happy chappy.
Oh yes…the included asynchronous usb input is truly excellent. I surpasses my Audio-Gd DI V3. I think it injects I2S directly into the digital receiver. I play [a] from a netbook via usb and JRiver,[b] Squeezebox Touch with EDO mod to usb from a SD card [c] cd from Oppo 95 [d] vinyl via SOTA/SME and AQVOX balanced phono stage.
Roger once told me that in order to get the crossover slope that is used in this instance with these speakers, it can only be done in the digital realm to get it low enough. The crossover point in the bass panel amp on my Innersound Eros III amp (his speaker company before Sanders sound, but it’s basically the same speaker), is 310 HZ, higher than what can be done with the DC2496. So that would rule out any analog crossover like the Marchand.
Do you have an active crossover amp, or one of the rare passive crossover Eros models? I have the crossover amp (actually, it’s an Innersound Kaya amp, better transformer and 330 watts at 8 ohms). I have a friend who is an op amp expert, and under his recommendation, I replaced five cheap op amps better (and much more expensive) ones and it made a notable improvement to the sound. I had thought about trying the DCX2496, but afraid the cheap nature of it might ruin the sound (plus I listen to tons of vinyl, have over 3000 lps, so do prefer the idea of not “digitizing” the signal). There are the replacement boards by Pilgham audio mentioned in the first post, so maybe I should pick up a DCX2496 just to try and see if the lower crossover point wins out over my “hotrodded” Innersound crossover amp. If not, I can return the unit. If it shows promise over my crossover amp, then try the upgraded boards mentioned. But….your mention of the Marchand intrigues me. The price is a bit steep (compared to the DCX2496), and I don’t know if Marchand has a return policy, but I do see they sell a board unit only of the crossover which of course is much cheaper. Hmmmm…wonder if it could be installed in my Innersound crossover amp?
I purchased both a Behringer DCX2496 and a Marchand XM44 to try with my Eros MKIII.5. Both tuned to 48dB/oct at 172Hz with the equalization as specified by Roger in his DCX setup manual. They both made the lower midrange much more transparent. There was a “hollow sounding” coloration with the stock crossover. However…. The Behringer obscures microdetail which the Innersound are known for. I preferred the stock crossover for its natural detailed sound despite the lower midrange coloration. Then came the Marchand XM44 with the same tuning as the DCX. The stock Marchand was better than the Behringer for sure but i still felt it was slightly “hifi” sounding. After lots of research, I ordered some dual OPA627 and DEXA discrete opamps from Partsconnexion. I put a pair of DEXA in the input section. I ended up using the OPA627s in the high pass section only since the stock opamps are a little punchier in the low pass. Bingo! This combinations sounds amazing! The lower midrange is seamless now, the bass dynamics and articulation much better, the microdetail is still there, and as an added bonus the high frequencies sound much more extended. Somehow the stock crossover was making the Eros sound muffled. These were always awesome speakers, and now sound even better.
I have the new 10Ds and I have a modded behringer done by Audiosmiles in the UK and it is truly amazing.