REVIEWS & TECHNOLOGY
AUSTRALIAN HIFI MAGAZINE
BEST BUY REVIEWS 1994
The following review
comes from Australian HIFI in 1994.
Transcript of Review by Greg Borrowman, Editor of AUSTRALIAN HIFI.
It's not right to judge
a book by its cover, and by the same token it's probably not right to judge a
speaker by its veneer. It is often the case however that a manufacturer who is
particular about fits and finishes may also be equally obsessive about the more
important matters of component selection and circuit design. And obsessiveness
in loudspeaker design is by and large the preserve of the smaller specialist
manufacturers who, though they haven't the engineering and test facilities of
the big players, more than make up for their lack of high tech resources by
zealous attention to detail. However, these days, thanks to the dwindling cost
of computer hardware and the increased availability of packages such as MLSSA
and LEAP, Calsod etc, even the smallest manufacturers can afford the tools of
the modern loudspeaker designers' trade.
Sonic Arts' Minitor Pro
speakers are available in either black vinyl wrap, or as in the case of the
pair supplied for review, a lustrous genuine Jarrah veneer. Jarrah is a
handsome material, and Sonic Arts' cabinetmaker has done it justice. I happen
to prefer to listen to my speakers with the grills off, and it was a pleasant
surprise to find that not only are the sides veneered, but so too is the front
baffle. In fact the only surface not graced with Jarrah is the bit you
shouldn't see, the rear baffle.
Speaking of the rear
baffle, the Minitor Pro back panels feature a bass-reflex port and a chunky
pair of four way binding post terminals inset into the customwood. The latter
are substantial enough to cope with all but the most hawser-like of
According to the
designer a great deal of time was spent experimenting with various enclosure
dimension ratios in order to find just the right mix to work with his crossover
network and drivers. What he ended up with is a box that has a narrow front
baffle but is comparatively deep.
To reach his very worthy
Sonic Art recommends
that these speakers be placed approximately 75mm from the wall if they're sited
on a bookshelf. However the ideal placement is on stands that position the
tweeters at the listeners' ear level and give the boxes at least a metre's
clearance from the nearest boundary. Our listening tests were conducted first with
the speakers mounted in this fashion and then with the speakers mounted on a
shelf. In the shelf position the speakers were approximately 1.8m apart, 80mm
away from the rear wall and a metre from each sidewall. In both locations the
listening position was about two metres from the plane of the front baffles and
tweeters were just above ear height. The amplifier used was rated at 100 watts
RMS per channel, both channels driven into 8 ohms.
We kicked off the listening
tests with the title track from Neil Youngs' Harvest Moon (Reprise 9362
45057-2) The listening room is on the lively side and this often has the effect
of exaggerating the brightness typical of many small speaker systems. However
the Sonic Art Minitor Pros immediately announced themselves as atypical.
The first impression was
of a very open, relaxed and smooth sound. The Minitors carry the Pro appendage
because they are designed to deliver the response and dynamism of professional
monitors. The Minitors' pleasant sweet character, however is unlike most
monitors I have heard. The average studio monitor is so clinical and uncolored
that many ordinary listeners find the sound slightly unpleasant. Audio
engineers need access to every nuance and detail of a recording, but in my
experience most non-audiophiles prefer a little honey in the mixture.
What the Minitor Pros
manage to do quite successfully is to mix the access to detail and dynamics of
a superior studio monitor with the more musical flavour of a well-made
bookshelf speaker. The detail of a performance is there, but it is not
necessarily thrown into sharp relief because the sound leans away from the
clinical and hard and toward the warm and smooth. Perhaps as a consequence of
this, they seem particularly suited to female vocals. American singer Suzy
Bogguss (Voices in the Wind, Liberty CDP-0777-7-98505-2-1) has that familiar
soft twang of so many country artists and given the wrong speakers. Her voice
can sometimes sound overly nasal. The Minitor Pros seem incapable of inflicting
such unflattering treatment and Suzys' cover of John Hiatts 'Drive South' has
never sounded better.
Along with transparency
and dynamics, the test of any speaker is its' capacity to recreate a plausible
soundstage. Thanks to their generally open quality, the Minitor Pros were up to
the mark in this category as well. The breadth of the sonic pictures extended
well beyond the boxes themselves and the apparent height of the image was well
above average. The depth of the image was compromised in the shelf-mounted
position, but on stands the image depth was fabulous, easily able to contain a
full orchestra and still position the tympani at the rear of the stage.
SonicArt may only be a
fairly recent entrant to the Australian loudspeaker fraternity, but it is clear
that the designer not only understands the technical side of speaker design,
but that he also has a real feel for what must be done to elevate a speaker
above the ordinary. An impressive effort and an extraordinary loudspeaker!