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test tonsili TLC Maestro 70S w HIFI News
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arek
Feb 24, 2001, 7:52:42 AM2/24/01
to
W marcowym numerze angielskiego Hi-Fi News jest test kolumn Tonsila TLC
Maestro 70S
obok NHT Super Zero iALR/Jordan Entry S.
Jakby ktoś był zainteresowany mogę wysłać skan na priv
Pozdrawiam
Arek
Maestro 70S
obok NHT Super Zero iALR/Jordan Entry S.
Jakby ktoś był zainteresowany mogę wysłać skan na priv
Pozdrawiam
Arek
JaroMi
Feb 25, 2001, 6:27:37 PM2/25/01
to
Jou!
konkrety?
Wyniki?
Konkluzja?
Rzuć tutaj - myślę, że więcej zainteresowanych będzie.
Jaro
konkrety?
Wyniki?
Konkluzja?
Rzuć tutaj - myślę, że więcej zainteresowanych będzie.
Jaro
arek
Feb 26, 2001, 1:35:11 PM2/26/01
to
Proszę bardzo :
TLC Maestro 70S
This solid baby speaker gives a big sound
Price 220 f
The Polish-based Tonsil
Loudspeaker Company is a large operation that manufactures under its own
name, and produces speakers on an OEM basis for a number of well-known
British names: The company has an in-house capability, manufacturing its own
enclosures and drive units, as well as loudspeaker assembly. TLC speakers
are currently sold through various specialist retailers, and this is the
entry-level model, which like all their models has a high quality fully
veneered finish (either in dark or light cherry). The product may have the
name of an automotive donkey, but the Maestro 7oS really is impressively
made given the price. Each enclosure weighs 7kg, which is more than usual at
this end of the market; and perhaps more to the point it has a solid feel,
with well damped, internally braced panels The enclosure performs cleanly
when rapped smartly: a good, if low-tech test for obvious resonances (your
bones provide the impulse, and the ears do the Fast Fourter transform).
The system is rear vented by a smoothly fiared port which is damped around
its outside, and this implies positioning some distance from the rear wall,
though the loudspeaker's voicing also points in this direction. Ptacing the
speakers too close to a wall can give a rather loose, bass-heavy feel. The
other back panel fitting is a set of bi-wire speaker inputs terminals -
incidentally the only component that is not made in-house by TLC. Bi-wiring
was tried, but with little net effect either way. Some loudspeakers seem to
benefit from bi-wiring more than others, and this appears to be one that
doesn't; but with other amplifiers and cables, you may find differently. At
least it is a variable: something to play with.
The drive units themselves consist of a 180 mm cone bass driver made from a
cellulose coated long-fibre pulp in a diecast alloy basket, with a synthetic
dust cap and foam surround (a material that is not as popular as it once
was, in part because it can perish under some
conditions, though perhaps not in a warm, heated environment). In any case,
the unit as a whole is guaranteed for five years, and Tonsil claims to have
working bass-driver samples over zo years old.
The tweeter is a z5mm titanium dome unit with a protective mesh cover, and
the crossover is at a higher frequency than usual, around 3.5-3.8kHz, to
enhance power handling. The nominal frequency response extends from
4oHz-2okHz; sensitivity is 87d8/im for 2.83 volts; and impedance is 8 ohm.
Recommended amplifier power is 25-1oo watts, and apart from avoiding
amplifiers too close to the bottom of this range, there is nothing here that
is obviously contradicted by the evidence. Technical parameters seem mostly
smack-orr the centre line for a speaker of the type.
The speakers were set up on Mission pedestal stands, and compared with a
pair of compact Missions of similar size, though clearly greater
sophistication, and with various mid-price fioorstanders, including a KEF
Q-Series model, driven by a new Cyrus CD player, a Primare DVD player and a
Marantz integrated amplifier: a combination with a perceptible natural
warmth and euphony without being in danger of sounding slushy.
Perhaps because of the high crossover frequency, there is some coloration, a
kind of scrunched-up upper midband that added a steely edge to violins, and
a slightly shut-in spatial feel. The bass is warm and fiuid, and is not
lacking in tunefulness, but there is a perceptible loudness effect, a
warming and thickening of upper bass information that stops short of
sounding obviously heavy-handed, while ensuring the speaker sounds bigger
than is usually the case.
The outcome was still engagingly exuberant music making, for example in a
Takacs Quartet recording of Haydn string quartets, and a fine sense of
occasion in the new Alison Krauss album Forget About if (try'Maybe' for a
sustained exercise in indescribable wonderfulness). Only in the finale from
Bartok's Concerto forOrchesfrn, in the vivid and wildly energetic Ivan
Fisher account on Philips, did the speaker seem to blur over the fine
detail, though it studiously avoiding sounding harsh - a real danger here.
Overall this is a lot of speaker for the money,
and if it is a little untidy around the edges it remains capable, one that
goes loud without varying wildly in sound as it does so, and which generally
conspires to sound bigger and fuller than you might expect. It is not an
ideal speaker for very complex, layered material where something with
greater resolving power and greater transparency is required, but otherwise
it gets the thumbs up.
words Alvin Gold
march 2001
TLC Maestro 70S
This solid baby speaker gives a big sound
Price 220 f
The Polish-based Tonsil
Loudspeaker Company is a large operation that manufactures under its own
name, and produces speakers on an OEM basis for a number of well-known
British names: The company has an in-house capability, manufacturing its own
enclosures and drive units, as well as loudspeaker assembly. TLC speakers
are currently sold through various specialist retailers, and this is the
entry-level model, which like all their models has a high quality fully
veneered finish (either in dark or light cherry). The product may have the
name of an automotive donkey, but the Maestro 7oS really is impressively
made given the price. Each enclosure weighs 7kg, which is more than usual at
this end of the market; and perhaps more to the point it has a solid feel,
with well damped, internally braced panels The enclosure performs cleanly
when rapped smartly: a good, if low-tech test for obvious resonances (your
bones provide the impulse, and the ears do the Fast Fourter transform).
The system is rear vented by a smoothly fiared port which is damped around
its outside, and this implies positioning some distance from the rear wall,
though the loudspeaker's voicing also points in this direction. Ptacing the
speakers too close to a wall can give a rather loose, bass-heavy feel. The
other back panel fitting is a set of bi-wire speaker inputs terminals -
incidentally the only component that is not made in-house by TLC. Bi-wiring
was tried, but with little net effect either way. Some loudspeakers seem to
benefit from bi-wiring more than others, and this appears to be one that
doesn't; but with other amplifiers and cables, you may find differently. At
least it is a variable: something to play with.
The drive units themselves consist of a 180 mm cone bass driver made from a
cellulose coated long-fibre pulp in a diecast alloy basket, with a synthetic
dust cap and foam surround (a material that is not as popular as it once
was, in part because it can perish under some
conditions, though perhaps not in a warm, heated environment). In any case,
the unit as a whole is guaranteed for five years, and Tonsil claims to have
working bass-driver samples over zo years old.
The tweeter is a z5mm titanium dome unit with a protective mesh cover, and
the crossover is at a higher frequency than usual, around 3.5-3.8kHz, to
enhance power handling. The nominal frequency response extends from
4oHz-2okHz; sensitivity is 87d8/im for 2.83 volts; and impedance is 8 ohm.
Recommended amplifier power is 25-1oo watts, and apart from avoiding
amplifiers too close to the bottom of this range, there is nothing here that
is obviously contradicted by the evidence. Technical parameters seem mostly
smack-orr the centre line for a speaker of the type.
The speakers were set up on Mission pedestal stands, and compared with a
pair of compact Missions of similar size, though clearly greater
sophistication, and with various mid-price fioorstanders, including a KEF
Q-Series model, driven by a new Cyrus CD player, a Primare DVD player and a
Marantz integrated amplifier: a combination with a perceptible natural
warmth and euphony without being in danger of sounding slushy.
Perhaps because of the high crossover frequency, there is some coloration, a
kind of scrunched-up upper midband that added a steely edge to violins, and
a slightly shut-in spatial feel. The bass is warm and fiuid, and is not
lacking in tunefulness, but there is a perceptible loudness effect, a
warming and thickening of upper bass information that stops short of
sounding obviously heavy-handed, while ensuring the speaker sounds bigger
than is usually the case.
The outcome was still engagingly exuberant music making, for example in a
Takacs Quartet recording of Haydn string quartets, and a fine sense of
occasion in the new Alison Krauss album Forget About if (try'Maybe' for a
sustained exercise in indescribable wonderfulness). Only in the finale from
Bartok's Concerto forOrchesfrn, in the vivid and wildly energetic Ivan
Fisher account on Philips, did the speaker seem to blur over the fine
detail, though it studiously avoiding sounding harsh - a real danger here.
Overall this is a lot of speaker for the money,
and if it is a little untidy around the edges it remains capable, one that
goes loud without varying wildly in sound as it does so, and which generally
conspires to sound bigger and fuller than you might expect. It is not an
ideal speaker for very complex, layered material where something with
greater resolving power and greater transparency is required, but otherwise
it gets the thumbs up.
words Alvin Gold
march 2001
Użytkownik "JaroMi" <jaq...@wp.pl> napisał w wiadomości
news:97c4c6$q8m$1...@zeus.polsl.gliwice.pl...
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