당신은 주제를 찾고 있습니까 “elac adante as-61 – 리뷰! 엘락 아 단테 | 오디오 애호가 라우드 스피커 | 1 장 : 첫인상“? 다음 카테고리의 웹사이트 https://chewathai27.com/you 에서 귀하의 모든 질문에 답변해 드립니다: https://chewathai27.com/you/blog. 바로 아래에서 답을 찾을 수 있습니다. 작성자 New Record Day 이(가) 작성한 기사에는 조회수 32,860회 및 좋아요 644개 개의 좋아요가 있습니다.
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elac adante as-61 주제에 대한 동영상 보기
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d여기에서 리뷰! 엘락 아 단테 | 오디오 애호가 라우드 스피커 | 1 장 : 첫인상 – elac adante as-61 주제에 대한 세부정보를 참조하세요
#Elac #Adante #Review
Buy here: https://www.musicdirect.com/speakers/ELAC-Adante-AS-61-Bookshelf-Speakers
In Chapter 1 of the Elac Adante, we discuss our First Impressions! Please stay tuned for Chapter 2: Sound Clips with Commentary which should be released this weekend/next week. Thanks so much for watching and remember to hit the thumbs up for the video! We appreciate it!
+++Gear used+++
Source: VPI Avenger, Dynavector 20x2l
Macbook Pro/Roon/Qobuz
Amplifier: Vinnie Rossi LIO/AVC Tubestage module https://www.vinnierossi.com/
LTA MZ3 and Ultra Linear Amplifier: https://www.lineartubeaudio.com/
NAD M10: https://nadelectronics.com/product/m10-bluos-streaming-amplifier/
DAC: Vinnie Rossi LIO https://www.vinnierossi.com/
Speaker cables: Audience http://audience-av.com/cables/
+++Connect+++
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Loa Elac Adante AS-61 – Audio Sơn Hà
Audio Sơn Hà Nhà nhà cung cấp: Loa Elac Adante AS-61, Loa Nghe Nhạc | Xem Phim, Sản Phẩm Hiend hàng đầu tại TP. HCM và các tỉnh. Liên hệ: 0908.812.754 để …
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Date Published: 9/2/2021
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Loa Elac Adante AS-61 – Websosanh
Xem ngay Loa Elac Adante AS-61 giá rẻ nhất 66500000đ. So sánh giá từ 2 cửa hàng. Nơi mua Uy tín ✓ Bảo hành tốt nhất ✓ Cập nhật tháng 06/2022.
Source: websosanh.vn
Date Published: 8/7/2022
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ELAC Adante AS-61 standmount loudspeaker – Hi-Fi+
There is no such thing as a perfect loudspeaker. Even the very best of them trade compromises across a range of parameters. The ELAC Adante AS-61 is no …
Source: hifiplus.com
Date Published: 2/11/2021
View: 369
Loa Elac Adante AS-61 – SaigonStereo
Designed with the entical drivers as its floorstanding sibling, the AS-61 Stand Mount delivers reference-standard Adante sound with just a fraction less …
Source: www.saigonstereo.com
Date Published: 9/7/2022
View: 8816
Loa Bookshelf 3 Chiều ELAC Adante AS-61 RRP – Địa Linh
Loa Bookshelf 3 Chiều ELAC Adante AS-61 RRP. AS-61 mang đến âm thanh Adante tuyệt hảo. Là giải pháp lý tưởng cho hệ thống âm nhạc 2 kênh hoặc là cơ sở cho …
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Date Published: 11/29/2021
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ELAC Adante AS-61 (Rosewood Veneer) Stand-mount …
It’s not every day that a speaker grabs my attention the way that ELAC’s Adante AS-61 has. For starters, this stand-mount titan features an incredibly …
Source: www.crutchfield.com
Date Published: 5/24/2022
View: 3926
Elac Adante As-61 Review – Small Package, Big Sound
The AS-61 standmount model is the least expensive speaker in the Adante range, which also features the AF-61 tower and AC-61 center-channel speakers. Its …
Source: 7review.com
Date Published: 8/16/2021
View: 1377
ELAC Adante AS-61 Loudspeaker Review – Sound & Vision
Elac’s step-up AS-61 standmounter gets most everything right. Combined with the company’s well-matched SUB3070 subwoofer, it makes for a highly …
Source: www.soundandvision.com
Date Published: 4/13/2022
View: 6126
주제와 관련된 이미지 elac adante as-61
주제와 관련된 더 많은 사진을 참조하십시오 리뷰! 엘락 아 단테 | 오디오 애호가 라우드 스피커 | 1 장 : 첫인상. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 elac adante as-61
- Author: New Record Day
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- Date Published: 2019. 10. 18.
- Video Url link: https://www.youtube.com/watch?v=GROr2QBv3L4
Loa Elac Adante AS-61
Được thiết kế với các trình điều khiển giống hệt như người anh em của nó, Giá đỡ AS-61 mang đến âm thanh Adante tiêu chuẩn tham chiếu với phần mở rộng và đầu ra âm trầm ít hơn một chút. Giải pháp lý tưởng cho hệ thống âm nhạc hai kênh hoặc cơ sở cho việc lắp đặt âm thanh vòm, đừng gọi nó là giá sách: đây là một màn hình không thỏa hiệp được thiết kế cho những người nghe nghiêm túc. Các giá đỡ chuyên dụng có sẵn và được khuyến nghị.
Nơi bán Loa Elac Adante AS-61 giá rẻ nhất tháng 07/2022
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ELAC Adante AS-61 standmount loudspeaker
When it comes to designing loudspeakers, Andrew Jones is one of the sharpest tools in the box. He has the magic touch and seldom puts a foot wrong in the products that fall under his purview. There is a string of loudspeaker ‘hits’ attributed to him, at every level from the distinctly affordable to the disturbingly expensive. But arguably, it is the ELAC Adante AS-61 that truly makes his bones.
The Adante range was the third series out of the ELAC gates for Jones, with the more down-to-earth Debut and UniFi ranges before it. But good as these models (Debut now in Mk 2 guise) clearly are, Adante is ELAC and Andrew Jones showing what they are capable of when the brakes are taken off. And arguably the AS‑61 standmount is the purest expression of those design goals.
Ostensibly, the Adante looks like a two-way standmount. Closer inspection shows that top driver is a concentric 25mm soft-dome tweeter at the acoustic centre of a 133mm aluminium midrange cone. What you can’t see, however, is that the 200mm aluminium bass cone is actually a passive radiator, driven by an internally mounted and separately chambered 165mm aluminium bass cone. ELAC’s description of this arrangement sums it up perfectly: it’s a three-way, interport-coupled cavity design. Ports connect the separate chambers of the internal structure of the Adante’s cabinet, although there is no external port to contend with. This gives the Adanta AS-61 an ability to deliver an impressive 41Hz in room, with a reasonably benign six-ohm impedance load. The trade-off – such as it is – means the AS-61 has a relatively low 85dB sensitivity.
The speaker is designed to work with its own stands. Cleverly, ELAC designed this to use just the one cross-head screw throughout. However, there are 20 of them needed for each speaker to connect the two uprights to the top and bottom plates, and to bolt the speaker to the stand itself. Mid way through the third screw of 40, I began to discover the need for good battery management when it comes to power screwdrivers.
The lone drawback of the Adante AS-61 is it takes some work to get really, really right. And in the process, it often achieves a ‘good enough for government work’ level of performance that I fear many will settle upon. Actually ‘fear’ is the wrong word – the speaker sounds good even when its installation is relatively imprecise. But the difference between ‘good’ and ‘OMG!’ is a somewhat iterative process of listening, repositioning, and listening again. Toe-in, precise levelling of the loudspeakers, side and rear wall distance, and listener position are all best performed with the kind of accuracy and precision normally attributed to £30,000 loudspeaker installations. When you give the AS-61 that kind of precision, though, you are rewarded with the kind of loudspeaker midrange and high-frequency performance you simply don’t find at this price level. The short answer here is what you hear in most auditions is probably about half of what you can extract from these loudspeakers. Upstream electronics are perhaps less vitally important, but there’s a need to get things right here, too. A good, meaty 100W amplifier – and a very good source – should be the minimum requirement.
Sonically, the mid and top are extremely attractive to sit in front of. The soft dome is effortless, and there is no sense of hardness or brashness, just musical honesty and refinement. A good tweeter doesn’t shine, it seduces over time, and a really good one allows you to play any kind of music without exaggerating brightness or blandness. That’s one of the things the ELAC Adante does so well: mix it up with Mahler, Mozart, and Metallica in one session, and the loudspeaker will bring out the best in each. It will not hide why a bad recording is bad, but neither will it expose such recordings to bright light, rendering one-third of most collections unlistenable. The great one-album arbiter here is Strippedby The Rolling Stones [Virgin]. Some of the live from the studio takes (in particular ‘Love in Vain’) are some of the best recordings made of the band, whereas some of the live tour cuts (for example, ‘Street Fighting Man’) are some of the worst. ELAC portrays them with egalitarian equanimity. This is helped by a clean, detailed, and fast midrange that blends almost seamlessly with top and bottom.
But it’s the bass that really shows why this is so important a loudspeaker design. Until the Adante, bass was always going to be a trade-off between cabinet size, cabinet material, and whether or not the loudspeaker is a bass reflex model. The net results of these trade-offs was a loudspeaker that either went for accuracy at the expense of bass depth, or bass at the expense of accuracy. The more you went for accuracy (a sealed cabinet made of the stuff of tanks or kitchen worktops) generally the leaner the bottom end, but the more you went for bass depth, the greater the influence of the cabinet and the port. What happens with the Adante is the best of both worlds; the smaller, ported 165mm driver effectively ‘informs’ the performance of the outer 200mm bass driver, which acts like a much larger drive unit in a sealed-box. That means you get to hear those difficult, fast-paced yet deep bass notes on ‘Chameleon’ [Trentemøller, The Last Resort, Poker Flat] as distinct, non-blurred, almost percussive bass tones with the sort of depth you might attribute to bigger designs and none of the port-chuffing and choking up that normally occurs when a smaller box tries to overstretch itself. The cabinet is nearly dialled out here, and it’s only when comparing it to a few speakers that are significantly larger, heavier, and pricier that you begin to hear where the cabinet coloration kicks in.
OK, so ELAC is not breaking the laws of physics here, and the amount of volume headroom low-end you can extract from a big cabinet or bass drivers with the surface area of Wales is not on the table here. It goes plenty loud for most and the bass is extremely deep for a cabinet of this size, aided by that functionally inaudible cabinet, but if you seek bottom octave organ pedal notes, gut-churning synth sounds and want to play The Who – Live At Leeds[MCA] at something approaching gig-like volume levels, sooner or later the AS-61 is going to run out of steam. But these are not limitations of the AS-61, just fundamental limits placed on performance by building a cabinet that doesn’t need to be built in a shipyard.
It’s here where ELAC and Andrew Jones show their mettle. This speaker design is so good, it could be easy for the company to fall into something of a showboating trap – making a loudspeaker that is engineered to sound impressive, but ultimately unrewarding. Add a bit more bloom to the bass here, trade that accuracy for a bit of sparkle in the upper mids, and you’d get a loudspeaker that grabs headlines, but ultimately leaves people cold. This, on the other hand, is a crowd pleaser that also delivers the sonic goods for the long game.
Five years from now, there will be dozens of brands making a hash of emulating what ELAC and Andrew Jones did here. Many of them will be in the buttock-clenchingly expensive part of the loudspeaker market, and hardly any of them will be able to achieve the same clarity of thought, vision, and – most importantly – sound as the Adante AS-61 delivers. When you listen to the ELAC Adante AS-61, you know almost immediately that you are hearing something different. We are in the presence of greatness, here, and there will be a lot of companies trying and failing to play catch-up.
There is no such thing as a perfect loudspeaker. Even the very best of them trade compromises across a range of parameters. The ELAC Adante AS-61 is no different, but the step-change in technology means it’s trading compromises at a more advanced reading age than its peers. I listen to a lot of good loudspeakers, some of which have feet that cost more than these Adante standmounts, but this is the one that gives me pause. The ELAC Adante AS-61 is the loudspeaker that takes on the high-end behemoths… and wins!
TECHNICAL SPECIFICATIONS
Speaker type: three-way, interport-coupled cavity standmount loudspeaker
Tweeter: 1×25mm soft-dome, concentrically mounted
Midrange: 1×133mm aluminium cone
Woofer: 1×165mm aluminium cone, internally mounted
Passive radiator:
1×200mm aluminium cone
1×200mm aluminium cone Crossover frequencies: 200Hz, 2kHz
Frequency range: 41Hz–35kHz
Sensitivity: 85dB @ 2.83v/1m
Recommended amplifier power: 50–160W
Peak power handling: 160W
Nominal Impedance: 6 ohms
Binding posts: Dual pair five-way metal
Magnetic shielding: No
Cabinet finishes: Gloss black, gloss white, rosewood veneer
Accessories included: Binding post straps, manual, gloves
Dimensions (W×H×D):
24.4 ×48.4 ×40.2cm
24.4 ×48.4 ×40.2cm Weight: 16kg
Price: £2,600 (stands, £520)
Manufactured by:
ELAC Electroacoustic GmbH
URL: elac.com
Distributed in the UK by:
Hi-Fi Network Ltd
URL: hifi-network.com
Tel: +44(0)1285 643088
https://hifiplus.com/reviews/
Loa Bookshelf 3 Chiều ELAC Adante AS-61 RRP
Bất kể bạn chọn thuộc tính nào thưởng thức âm thanh, các thuộc tính âm thanh chỉ cần được yêu cầu. Tuyệt vời và yêu từng chi tiết âm thanh – âm nhạc cho mỗi ngày và không chỉ là một vài khoảnh khắc đặc biệt.
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Small Package, Big Sound « 7Review
Home » SPEAKER PACKAGES Elac Adante As-61 Review – Small Package, Big Sound SPEAKER PACKAGES Elac Adante As-61 Review – Small Package, Big Sound 988 Views
By Thomas J. Norton
GERMANY-BASED ELAC known in the 1960s and 1970s for its automatic (Miracord) turntables. The company disappeared from North America in the ensuing decades while transitioning into a major European loudspeaker brand. A few years ago, it decided that the time was right to return to the U.S. market. To produce new designs for that move they lured veteran speaker designer Andrew Jones away from his extended gig at TAD/Pioneer. The ELAC Debut line (now in its second generation) came first and seriously shook up the budget speaker sector. That was followed not long after by the pricier, but hardly pricey, Uni-Fi series. (Reviews of both the Elac Debut and Uni-Fi series speakers in 5.1 configurations can be found at soundandvision.com.)
It was inevitable that ELAC would climb higher up the price ladder, and the first result of that process is the new Adante range. But the climb was only a few rungs. While the Adantes will be considered expensive by K-Mart shoppers, in the audiophile world their prices are highly competitive. The AS-61 standmount model is the least expensive speaker in the Adante range, which also features the AF-61 tower and AC-61 center-channel speakers. Its featured attraction is a coincident midrange/tweeter. Andrew Jones has used this type of driver in all but the least expensive of his designs, including his pre-ELAC work. In a coincident driver, the tweeter is located at the apex of the midrange cone, which restricts dispersion at the low end of its range to better match the limited top-end dispersion of the driver covering the midrange. In the AS-61, the tweeter is a soft dome (protected by a web-like grille), but the other drivers use aluminum cones. The AS-61 combines this coincident midrange/tweeter with a larger woofer. But the “woofer” you see from the outside is actually a passive radiator. The active woofer is a 6.5-inch design mounted in a sealed box located entirely inside the cabinet. This driver fires into a second chamber toward the back of that 8-inch passive radiator, which in turn passes the bass to the outside. A passive radiator acts like a port, but without port noise or resonances. The woofer configuration used here also acts as a mechanical low-pass filter, passively rolling off the top end of the woofer’s response above 200 Hz. Although a 200-Hz crossover can be useful, it’s rarely seen in three-way designs since the low-pass leg typically requires a large, heavy, and expensive inductor. The AS-61’s midrange/ tweeter crossover point is 2,000 Hz. The AS-61 is available in gloss black, gloss white, or matte rosewood finishes. It’s solid and well-braced, and fitted with two sets of excellent-quality, biwire-able binding posts. I used single wiring for this review. SETUP I initially set up the AS-61s about 44 inches from the closest wall behind them (measured from the center of the front baffle), roughly 9 feet apart, and 11 feet from my listening position. The system driving the speakers consisted of a Marantz AV8802A pre-pro (with its room EQ, The AS-61 features a 6.5-inch woofer contained within a sealed box inside the speaker’s cabinet. This passes bass on through an 8-inch passive radiator.
tone controls, and other internal processing bypassed), a 5-channel Proceed Amp 5, and a Marantz UD7007 universal disc player. The cables used were Kimber AGDL (digital link from player to pre-pro), vintage Cardas Hexlink (pre-pro to power amp), and AudioQuest Rocket 88 (speaker). All music sources were from CD. The Adantes come with easily removable grilles secured by magnets, but I left them off for all of my tests and listening. LISTENING The sound I heard from the AS-61s impressed me immediately. With good source material their top end was neutral—neither rounded off nor overcooked. Sibilants were clearly defined but unexaggerated (or at least as natural as close- miked vocalists can be). Lightly brushed cymbals, delicate finger sounds on guitars, the sheen of stringed instruments, and a singer’s preparatory breath intake at the beginning of a vocal track were all beautifully captured. The imaging was solid, and the sense of depth (when present in the recording) proved very satisfying. The Adantes excelled on voices, both male and female, pop, and classical. Leo Kottke’s album My Father’s Face has long been one of my favorite reference discs for how clearly it shows off Kottke’s crisp guitar playing and distinctive voice. The latter isn’t his strong suit, but I’d be surprised to ever hear it sound better than it did on the AS-61s. The balance there, and with other vocalists including Nils Lofgren, Holly Cole, The King’s Singers, Sinne Eeg (if you like great jazz vocals, check out this Danish star’s recordings), Jose Carreras, and Leontyne Price, was superb. There was only one performance area where the AS-61 disappointed me: bass extension. But that was in my room. My open-concept listening space is huge, and this isn’t the first time I’ve experienced less-than-deep, solid bass with a pair of speakers under review, including ones far more expensive than the ELACs. But it’s also true that others, including the similarly priced Monitor Audio Silver 10s, can produce a much more satisfying sense of weight in the low end than the AS-61s—in the same speaker and listener positions. (To be fair, the Silver 10s have two 8-inch woofers and a larger cabinet.) Despite its low-end limits, the AS-61’s bass was tight and boom-free, so there was promise there. It’s no secret that the room itself, and where speakers and the listeners are positioned in the room, are just as important to the bass response you hear as the speakers themselves. My close measurements on the speaker taken near the 8-inch passive bass radiator using the Omnimic measurement system (not a laboratory-grade instrument, but useful and sufficient to the task here) showed that without any help from the room the AS-61 falls off At a Glance + Detailed, clean highs + Superb vocal reproduction + Bloat-free bass Relatively low sensitivity
Limited bass extension
test report steeply below 50 Hz and its -6dB point is just over 40 Hz. The room can usually be counted on to offer at least some gain in the low bass, though that depends on the room’s size, configuration, and any openings to adjoining spaces. In a space as big and open as mine, the benefit is limited. It was no surprise, then, that when I moved the speakers a foot closer to the wall behind them and a foot closer together (and the listening seat forward by roughly the same distance), I got better and sometimes even surprising results. The bass tightness remained, but it was now enhanced by a rewarding increase in bottom-end punch. Below roughly 45 Hz, there was still little useful response. But there’s a solution for that, one strongly recommended for any standmount or bookshelf speaker, particularly in a big room: a subwoofer. ELAC sent us its Adante SUB3070 subwoofer, a relatively compact 77-pounder equipped with two 12-inch, aluminum-cone drivers and a 1,200-watt (maximum) BASH amplifier in a sealed cabinet. A first sample proved faulty (a likely victim, perhaps, of an early production run), but a replacement for the defective sample worked beautifully. The SUB3070 has a setup feature designed to minimize your room’s effect on the sub’s response. You first download ELAC’s Sub Control app and link the phone with the sub via Bluetooth. You then hold the phone as close to the woofer as possible and engage the app. This generates a low frequency sweep tone in the sub, which at close distance should result in a near anechoic measurement. You next take a similar measurement at the listening position. The software in the sub then calculates a correction curve that’s applied to the subwoofer. Any errors in your cell phone’s microphone appear in both measurements so the app can compensate for them. It’s all very slick, and no measurement devices apart from your phone are needed. The main shortcoming is that it only optimizes for one position and can’t average readings for multiple seats. The Sub Control app also provides full remote control for all of the important setup functions, including level and phase, plus four optional, preset tweaks to the corrected response (Normal, Music, Cinema, Night—I used Normal throughout) and eight separate bands of parametric equalization for additional fine tuning. I found this parametric EQ extremely useful, but to employ it effectively you’ll need some sort of external measurement device, such as the above- mentioned Omnimic system from Parts Express that I use for in-room measurements. After optimizing the sub’s response with the app, the results were exceptional. I threw all of my favorite music selections at it, including pounding drums, deep organ passages, and growling synth bass. Together with the AS-61s, the SUB3070 never left me wanting for more. No small, single sub will fully energize a room as big as mine (by “energize” I mean roll down your socks and turn your belly to jelly). But I heard and felt everything I needed to hear, and then some. The soundtrack from Blade Runner 2049, as played back on an almost full Adante system consisting of the AS-61s, the equally superb AC-61 center, the SUB3070, and, as non-ELAC outliers, Revel Concerta bi-pole surrounds, was a visceral experience. Nothing fazed RATING Subwoofer PERFORMANCE 4.5/5 FEATURES 5/5 BUILD QUALITY 5/5 VALUE 4/5 Elac’s Sub Control app connects via Bluetooth and lets you tweak all features on the SUB3070. Specs ADANTE AS-61 6.5 in aluminum cone woofer, 5.25 in aluminum cone midrange, 1 in soft dome concentric tweeter; 9.6 x 19.06 x 15.81 in (WxHxD); 35.3 lb SUB3070: 12 in aluminum cone (2); 1,200 watts BASH; sealed; line-level (2 x RCA, 2 x XLR), speaker level (2); Ethernet, USB; 20.39 x 1713 x 18.75 in (WXHXD); 77 lb
ELAC Adante AS-61 Loudspeaker Review
Adante AS-61 Speakers
Performance
Build Quality
Value
SUB3070 Subwoofer
Performance
Features
Build Quality
Value
$2,500/pair
AT A GLANCE
Plus
Detailed, clean highs
Superb vocal reproduction
Bloat-free bass
Minus
Relatively low sensitivity
Limited bass extension
THE VERDICT
Elac’s step-up AS-61 standmounter gets most everything right. Combined with the company’s well-matched SUB3070 subwoofer, it makes for a highly appealing, high-performance speaker package.
Germany-based ELAC was well known in the 1960s and 1970s for its automatic (Miracord) turntables. The company disappeared from North America in the ensuing decades while transitioning into a major European loudspeaker brand. A few years ago, it decided that the time was right to return to the U.S. market. To produce new designs for that move they lured veteran speaker designer Andrew Jones away from his extended gig at TAD/Pioneer. The ELAC Debut line (now in its second generation) came first and seriously shook up the budget speaker sector. That was followed not long after by the pricier, but hardly pricey, Uni-Fi series.
It was inevitable that ELAC would climb higher up the price ladder, and the first result of that is the new Adante range. But the climb was only a few rungs. While the Adantes will be considered expensive by K-Mart shoppers, in the audiophile world their prices are highly competitive.
The AS-61 standmount model is the least expensive speaker in the Adante range. Its featured attraction is a coincident midrange/tweeter. Andrew Jones has used this type of driver in all but the least expensive of his designs, including his pre-ELAC work at KEF, Pioneer, and TAD. In a coincident driver, the tweeter is located at the apex of the midrange cone, which restricts dispersion at the low end of its range to better match the limited top-end dispersion of the driver covering the midrange. In the AS-61, the tweeter is a soft dome (protected by a web-like grille), but the other drivers use aluminum cones.
The AS-61 combines this coincident midrange/tweeter with a larger woofer. But the “woofer” you see from the outside is actually a passive radiator. The active woofer is a 6.5-inch design mounted in a sealed box located entirely inside the cabinet. This driver fires into a second chamber toward the back of that 8-inch passive radiator, which in turn passes the bass to the outside.
A passive radiator actually acts like a port, but without port noise or resonances. The woofer configuration used here also acts as a mechanical lowpass filter, passively rolling off the top end of the woofer’s response above 200 Hz. Although a 200-Hz crossover can be useful, it’s rarely seen in three-way designs since the low-pass leg typically requires a large, heavy, and expensive inductor. The AS-61’s midrange/tweeter crossover point is 2,000 Hz.
The AS-61 is available in gloss black, gloss white, or matte rosewood finishes. It’s solid and well-braced, and fitted with two sets of excellent-quality, biwire-able binding posts. I used single wiring for this review. You’ll also likely need ELAC’s matching ASBT-101 stands, which the company makes available as a $600/pair option.
Setup
I initially set up the AS-61s about 44 inches from the closest wall behind them (measured from the center of the front baffle), roughly 9 feet apart, and 11 feet from my listening position. The system driving the speakers consisted of a Marantz AV8802A pre-pro (with its room EQ, tone controls, and other internal processing bypassed), a 5-channel Proceed Amp 5, and a Marantz UD7007 universal disc player. The cables used were Kimber AGDL (digital link from player to pre-pro), vintage Cardas Hexlink (pre-pro to power amp), and AudioQuest Rocket 88 (speaker). All music sources were from CD. The Adantes come with easily removable grilles secured by magnets, but I left them off for all of my tests and listening.
Listening
The AS-61s’ sound impressed me immediately. With good source material their top end was neutral—neither rounded off nor overcooked. Sibilants were clearly defined but unexaggerated (or at least as natural as close-miked vocalists can be). Lightly brushed cymbals, delicate finger sounds on guitars, the sheen of stringed instruments, and a singer’s preparatory breath intake at the beginning of a vocal track were all beautifully captured. The imaging was solid, and the sense of depth (when present in the recording) was satisfying.
The Adantes excelled on voices, both male and female, pop, and classical. Leo Kottke’s album My Father’s Face has long been one of my favorite reference discs for how clearly it shows off Kottke’s crisp guitar playing and distinctive voice. The latter isn’t his strong suit, but I’d be surprised to ever hear it sound better than it did on the AS-61s. The balance there, and with other vocalists including Nils Lofgren, Holly Cole, The King’s Singers, Sinne Eeg (if you like great jazz vocals, check out this Danish star’s recordings), Jose Carreras, and Leontyne Price, was superb.
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- First Impressions
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- Specifications
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- chapter 1
- New Record Day
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- Hifi
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- audio
- vinyl
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- Amplifier
- Tube Amplifier
- Preamplifier
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