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Welcome to Pursuit Perfect System
http://www.youtube.com/c/PursuitPerfectSystem
http://www.pursuitperfectsystem.com
In this video I am in the Vitus Audio room where they are showing off some fantastic electronics including their NEW SIA 030 Integrated Amplifier.
The system is using Rockport Avior Speakers Alluxity Streamer, Schroeder Turntable and more
This room was very very dark and hard to film in.
http://www.vitusaudio.com/
http://rockporttechnologies.com/avior-ii/
http://www.schroeder-tonarme.de
Thanks to my Show Sponsors
Thanks to Melco
https://www.melco-audio.com/
Thanks to GIK Acoustics
https://gikacoustics.co.uk/
Thanks to Tellurium Q
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The song in this video is
Magnetic Lies Malia, Boris Blank https://geni.us/frooI7
Colour to the Moon (feat. Chris Jones, Beo Brockhausen, Hans-Joe Allan Taylor https://geni.us/wXC5X5y
All The Children Barbra Streisand https://geni.us/hToXP
There will be more and are already a raft of videos in my channel which is a comprehensive video and audio coverage of the this amazing hifi show.
I hope you enjoy it !!
I am a Dirac Live Calibrator and come and out and setup systems for customers, if this is of interest please get in touch with me
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Avior II – Rockport Technologies
Like all Rockport Technologies loudspeakers, the Avior II has an extremely low resolution floor, and its sound remains coherent and resolved, as well as …
Source: rockporttechnologies.com
Date Published: 10/24/2022
View: 3407
Rockport Technologies Avior II loudspeaker – Stereophile.com
At $38,500/pair, this three-way design is almost entically priced to the Magico S5 Mk.II and is very similar in height, wth, and weight—a …
Source: www.stereophile.com
Date Published: 6/7/2021
View: 4009
The Rockport Avior II Loudspeaker – The Audiobarn
Like all Rockport Technologies loudspeakers, the Avior II has an extremely low resolution floor, and its sound remains coherent and resolved, as well as …
Source: www.theaudiobarn.co.uk
Date Published: 9/17/2021
View: 9652
Loa Rockport Technologies Avior – Audio Hoàng Hải
Avior là model thứ 3 trong dải sản phẩm của hãng, vừa xuất hiện tại Việt Nam cách đây không lâu. Trọng lượng rất nặng giúp Avior triệt tiêu rung chấn hiệu quả …
Source: audiohoanghai.com
Date Published: 10/11/2022
View: 8872
Rockport Technologies Avior II Loudspeakers
Price: $38,500 USD per pair. Warranty: Five years parts and labor. Rockport Technologies 586 Spruce Head Road South Thomaston, ME 04858. Phone: …
Source: www.soundstageultra.com
Date Published: 4/6/2021
View: 234
ROCKPORT TECHNOLOGIES Avior II – Audiodrom
Ačkoli se můžete doma v místnosti podle Rockport Avior II rovněž navigovat, neboť jsou při své velikosti nepřehlédnutelné, jejich primární …
Source: www.audiodrom.net
Date Published: 2/27/2021
View: 3664
Rockport Technologies Avior II Loudspeakers
Located in South Thomaston, Maine, Rockport Technologies is a boutique audio manufacturer known for the tremendous attention they pay to every …
Source: www.soundstagehifi.com
Date Published: 4/9/2022
View: 6065
Rockport Technologies Avior II – Command Performance AV
Like all Rockport Technologies loudspeakers, the Avior II has an extremely low resolution floor, and its sound remains coherent and resolved, as well as …
Source: www.commandav.com
Date Published: 10/20/2022
View: 7164
Rockport Avior II – PhonoPhono High Fidelity in Berlin
Rockport Avior II. Genialer High-End Standlautsprecher; elegantes Design ohne parallele Wände; Rockports neueste Generation von Sandwich-Membran-Treibern …
Source: www.phonophono.de
Date Published: 1/12/2022
View: 6262
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주제와 관련된 더 많은 사진을 참조하십시오 Vitus Audio NEW SIA 030 Rockport Avior Speakers Thrax turntable @ Munich High End HiFi Show 2019. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 rockport avior 2 price
- Author: Pursuit Perfect System
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- Date Published: 2019. 8. 16.
- Video Url link: https://www.youtube.com/watch?v=RWYgPCrMKiY
Rockport Technologies
Like all Rockport Technologies loudspeakers, the Avior II has an extremely low resolution floor, and its sound remains coherent and resolved, as well as maintaining dynamic fidelity even when played at extremely low volumes. This ability to resolve low-level information is critical to reproducing the artistic nuance of music, as well as resolving the spatial cues of the recording environment, and enables the loudspeaker to transport the listener back to the original musical event.
Rockport Technologies Avior II loudspeaker
Following my review of the floorstanding Magico S5 Mk.II last February , I spent some time with two-way stand-mounted speakers from Aerial Acoustics Bowers & Wilkins , and Dynaudio . As much as I appreciated the small speakers’ virtues, I found myself missing the big Magico’s bass extension and ability to play loud; my next loudspeaker review, therefore, would be of another floorstander.
It’s been a while since we published a review of a Rockport Technologies loudspeaker. Michael Fremer raved about Rockport’s Antares in August 2002, which at the time cost $41,500/pair. In September 2004, he was also impressed by the combination of the Rockport Merak II loudspeaker and Sheritan II subwoofer ($29,500/system). I’ve been consistently impressed by the sound of Rockport speakers at audio shows over the past few years, so I asked Rockport’s Andy Payor for a pair of Avior IIs.
The Avior II
At $38,500/pair, this three-way design is almost identically priced to the Magico S5 Mk.II and is very similar in height, width, and weighta back-breaking 220 lbsbut is significantly deeper. The review samples were finished in a high-gloss piano black, and the speakers’ appearance belied their bulk. Other than on the stepped rear panel, there’s hardly a straight line to be seen: the top slopes down, the sidewalls are gently curved, and the sloped-back, 6″-thick front baffle is faced with inset black felt and narrows toward the top, to optimize the tweeter’s acoustic environment.
The raked-back enclosure is heavily braced and features a triple-laminated, constrained-mode-damped construction with sections of varying thickness, and stands on an integral base, which has a subcompartment for the potted crossover circuitry. The network is wired point to point, and uses film/foil capacitors manufactured exclusively for Rockport Technologies as well as custom inductors and Caddock power resistors. All the crossover components are matched to within 1% tolerance, and each individual network is fine-tuned for the specific drive-units with which it will be used.
Those drive-units? Starting at the bottom of the baffle, the twin 9″ woofers are reflex-loaded with a flared port approximately 8″ deep and almost 3″ in diameter on the rear panel. Above the woofers is a 6″ midrange unit that covers the range from 150Hz to 2kHz. At the top of the baffle is a custom 1″ beryllium-dome tweeter from Scan-Speak, housed within a shallow catenary waveguide. According to Andy Payor in an e-mail, this waveguide “improves the acoustic impedance match of the tweeter at the low end of its range, and allows for lower distortion and greater dynamic expression from the tweeter itself, as well as improved dispersion characteristics at the midrange/tweeter crossover point.
“Back in the 1950s, Harry Olsen showed the effects that different enclosure shapes have on the baffle step, as well as edge diffraction. Both of these phenomena can be mitigated with a large chamfer or radius on the enclosure’s edge. However, the small ¾” radius or chamfer that you typically see on an enclosure doesn’t begin to solve the problem. In order to be effective, these chamfers need to be much broader surfaces, more like large facets, to significantly affect diffraction issues. The Avior II’s large, broad baffle facets do an excellent job of making the transition from 2pi to 4pi space much smoother. The baffle step still exists, but the transition is less problematic.
“The other issue that the broad chamfer helps solve is edge diffraction, where the soundwaves move across the baffle and encounter a sharp discontinuity at the cabinet’s edge and the wave essentially ‘snaps’ off the baffle and creates a new, secondary source of sound. This new source of sound is slightly disparate from the driver’s original direct radiation and of course combines with the original radiation to create a whole host of comb-filtering artifacts and phase anomalies. Enclosures that don’t address edge diffraction or the baffle step never really get entirely out of the way sonically, and draw attention to themselves during playback.”
The lower-frequency drivers in Rockport’s previous generation of speakers, including the Antares and Merak, used Audiotechnology motors mated to Rockport’s carbon-fiber composite cones. The original Avior, introduced in 2011, was the first loudspeaker to use a midrange drive-unit and woofers designed from the ground up by Rockport Technologies. According to Payor, “I felt it was extremely important to have full control over every aspect of the drive-unit’s design and construction in order to elevate the performance potential of our loudspeakers beyond what is possible using off-the-shelf drive units. That’s not to say that there aren’t plenty of excellent drive-units available for purchase, but I can say with confidence that none are like the ones we build, and these are not merely another manufacturer’s drivers with our dust caps on them.”
The sandwich diaphragms for the Avior II’s midrange unit and twin 9″ woofers are terminated with low-loss rubber surrounds and feature a geometry of varying thickness. They comprise stiff carbon-fiber fabric outer and inner skins just 0.004″ thick and pre-impregnated with a custom epoxy resin, these bonded with a Rohacell core under high pressure and heat. The midrange driver has a cast-aluminum frame and a vented titanium voice-coil former. Payor again:
“When we began building our own custom midrange and bass units about six years ago, we changed to titanium formers because they are considerably stiffer than the Kapton formers we previously used. I prefer not to use aluminum formers because of the unwanted eddy-current damping (aluminum is a very good electrical conductor). On the other hand, titanium’s electrical conductivity is quite low, so we can avoid the eddy-current damping (as with the Kapton formers), yet still benefit from much better transfer of force to the cone, as well as better thermal dissipation. Our motor systems utilize optimized copper shorting rings and tapered pole pieces, and have generous, radiused venting through the motor system.”
Setup
I was somewhat taken aback when the Avior IIs were delivered. Each was packed in a large, well-finished crate that only just fit in the vestibule to my listening room. (Though the crate is narrow enough to fit through a standard doorway, the fact that the vestibule’s door to the street is not in line with the door to my room left just ½” of clearance!) Casey McKee, of Austin dealer Ne Plus Ultra, visited to help me unpack the Aviors and set them up.
The Rockport Avior II Loudspeaker
Description
Rockport Avior II
While carefully preserving the original Avior’s distinctive form, the new Avior II is the epitome of high performance and visual elegance in a loudspeaker which although modest in size, delivers authentic, full range sound.
Immediately apparent is the potent combination of our new waveguide mounted beryllium tweeter and our latest generation of 6″ midrange and twin 9″ carbon fiber sandwich composite bass drivers. This, in conjunction with an entirely redesigned crossover, has allowed us to essentially create a completely new loudspeaker. The Avior II’s sound is even more transparent and resolved then the original, and is characterized by a rich, textural liquidity and authoritative dynamic fidelity throughout the entire frequency range.
The Avior II’s waveguide mounted beryllium tweeter improves the acoustic impedance match of the tweeter at the low end of its range, and allows for lower distortion and greater dynamic expression from the tweeter itself, as well as improved dispersion characteristics at the midrange/tweeter crossover point.
The Avior II’s triple laminated, constrained mode damped enclosure boasts a solid 6 inch thick front baffle and variable section thickness, gracefully curved side panels and crowned top surface. Together, these not only create an elegant form, but also endow the enclosure with immense stiffness and minimum resonant signature. The enclosure’s large sweeping chamfers and ever changing baffle dimensions virtually eliminate diffraction anomalies, while the Avior II’s visually stunning, raked back form and high gloss piano black finish are the ideal complement to its awesome sonic accomplishment.
Like all Rockport Technologies loudspeakers, the Avior II has an extremely low resolution floor, and its sound remains coherent and resolved, as well as maintaining dynamic fidelity even when played at extremely low volumes. This ability to resolve low-level information is critical to reproducing the artistic nuance of music, as well as resolving the spatial cues of the recording environment, and enables the loudspeaker to transport the listener back to the original musical event.
Rockport Technologies Avior II Loudspeakers
Equipment Reviews
Rockport Technologies Avior II Loudspeakers
High-end audio gear can get expensive, but the meaning of expensive depends on the context. For the sake of SoundStage! Ultra, I put most equipment in one of two mental categories: house money and car money.
In the US, the median price of a home is $236,100 (all prices USD); the average transaction price of a light vehicle is $37,577. I used to review house-money gear, and these days many manufacturers make loudspeakers priced in that category. But most folks can’t afford a second home; it’s fair to say that you must be pretty wealthy to afford that much for a pair of speakers.
Car money is different. Lots of my friends could, if they chose, afford to buy a second car. Sure, a shiny red convertible that doesn’t replace the daily driver is still a major purchasing decision, but lots of folks can stretch their budgets to do it — especially if the spouse is onboard. My point: If you can afford the shiny red convertible, you can alternatively afford a fine set of loudspeakers in the car money category. I’ve shifted my focus to those products.
The Rockport Technologies Avior II loudspeaker is squarely in car-money territory. At $38,500/pair, it won’t be a casual purchase for any but the superrich — but at the same time, it costs an order of magnitude less than a number of loudspeaker models I saw and heard at High End 2019, in Munich, Germany. Meeting a price such as the Avior II’s sets a speaker designer some stiff challenges. For that kind of money, the buyer expects — and should expect — a lot. Materials, finish, design — and, of course, sound quality — will all be expected to be top shelf, but there will still be budgetary tradeoffs that won’t constrain the designer of a house-money speaker.
Having owned several Rockport models over the years, and reviewed even more, I know Rockport Technologies well. For over a decade now, the company has consistently been among the top three speaker brands I recommend to anyone shopping at this price level — and, as this SoundStage! InSight video clearly shows, in 2019 the company remains in top form.
Although founder Andy Payor still designs and dials in each speaker that goes out the door of Rockport’s facilities in South Thomaston, Maine, it was the company’s new owner-president, Josh Clark, who came to my home to set up the Avior IIs. Clark told me that the II is significantly better than the original Avior, a speaker I’ve heard and liked at many audio shows over the years. My expectations were high.
The II
From the day they arrived, in two wooden crates with a combined shipping weight of 700 pounds, it was clear to me that the Avior II is a serious endeavor. Perhaps the most obvious change from Avior I to Avior II, at least at first glance, is the addition of the waveguide housing the tweeter. Although the 1” beryllium dome at the center of the waveguide is part of the same drive-unit used in the original Avior, the addition of Rockport’s custom waveguide is so significant that it might as well be a new driver.
The waveguide serves two primary purposes: First, it narrows the tweeter’s dispersion at the bottom of its passband, to make it more closely match the dispersion of the midrange driver. This improves that all-important acoustic transition between midrange and tweeter, particularly at the crossover frequency. Second, the waveguide increases the tweeter’s sensitivity by about 5dB in the lowest portion of its operating range. This means that the tweeter needs less power from the amplifier to produce a given output level, and the benefits are enormous: much higher output with much less distortion. Rockport explains: “The waveguide improves the acoustic impedance match of the tweeter at the low end of its range, and allows for lower distortion and greater dynamic expression from the tweeter itself, as well as improved dispersion characteristics at the midrange/tweeter crossover point.”
Although the tweeter’s motor and diaphragm assembly wasn’t designed by Rockport, the Avior II’s other drivers were. The single 6” midrange and two 9” woofers, designed from scratch by Andy Payor, feature some seriously cool-looking cones. According to Payor, the cones are formed using “ultra-high modulus carbon fiber fabric skins which are pre-impregnated with a custom formulated, toughened epoxy resin system and consolidated to a Rohacell core under high pressure and heat.” Rockport claims that these cones have the highest ratio of stiffness to weight of any speaker cones now made, and that their behavior is entirely pistonic within each driver’s passband. In the midrange driver, this results in the cone’s first breakup mode occurring at 6.5kHz, and with an amplitude of only 3-4dB. When you consider that the midrange driver’s passband extends up to only about 2kHz before handing off to the tweeter, you can see that this should virtually eliminate midrange-cone-created distortions from the Avior II’s sound. The 6” midrange has a cast-aluminum frame, an oversize spider, a vented titanium voice-coil former, copper shorting rings, tapered pole pieces, and radiused venting through the motor system — all designed to reduce distortions. Payor explains the result of all this on the sound: “This ability to resolve low-level information is critical to reproducing the artistic nuance of music, as well as resolving the spatial cues of the recording environment, and enables the loudspeaker to transcend the drudgery of merely playing the notes.”
The 9” woofers are very similar to the 6” midrange driver in concept and execution, but of course are optimized to reproduce low frequencies. Payor claims that both models have extremely powerful 2” voice-coil-based motor systems with ample provision for high power handling and heat dissipation.
Each crossover network is fine-tuned for the specific unit of Avior II it’s installed in — a rare thing in commercially available loudspeakers. This allows Rockport to ensure that owners get what they’ve paid for: a genuinely neutral loudspeaker capable of reproducing a recording’s finest details. Such hand-tuning is synonymous with rigorous quality control, and should give buyers peace of mind. Each network is wired point to point to “avoid the parasitic effects of pc-board type construction,” using film/foil capacitors manufactured exclusively for Rockport, as well as custom-made inductors and Caddock power resistors. All components are matched to within a tolerance of 1%, and the entire crossover is potted, then sealed in a chamber in the speaker’s base.
The Avior II’s enclosure is made of MDF: a 6”-thick front baffle and “triple-laminated, constrained-mode damped, variable section thickness, curved side panels and [a] crowned top surface.” The panels’ chamfered edges help reduce edge diffraction, and the speaker’s raked-back stance improves time-domain behavior. Although many similarly priced speakers are made of more exotic materials, Rockport extolls their use of MDF, and what makes it perform as well as they claim: “Even though this is an MDF cabinet, it has enormous stiffness due to its large section thickness (stiffness increasing as the cube of the ratio of section thickness increase).”
Each Avior II measures 46.5”H x 15”W x 24.5”D and weighs 220 pounds. The speaker’s frequency response is specified as 25Hz-30kHz, -3dB, its sensitivity as 88dB/2.83V, and its impedance as 4 ohms, with a recommended minimum amplification of 50W. Grilles are included.
Setup
The night before the Avior IIs arrived, I prepped my listening room by uninstalling the TAD Evolution One TX speakers — but only after intently listening to the TADs one more time, to seal into my aural memory as much of their sound as possible, for eventual comparison with the Rockports.
I was fortunate that Rockport owner-president Josh Clark flew down from Maine to help me uncrate and set up the Avior IIs. Still, while moving their two 350-pound crates was a daunting task, removing the speakers from those crates was anything but. It’s a two-person job, but removal from the well-made wooden shipping crates went smoothly and quickly. After we’d unpacked them, Clark spent several hours trying them in different spots in the room. For this he had no special requirements or setup protocol — he just moved them and listened to them, as we all do when setting up speakers.
The Avior IIs sounded splendid in the first positions we tried — having already reviewed a handful of speaker models in this room, I always try new speakers in those spots first — but they sounded their very best, with optimal bass response and the sharpest imaging, when they were 10’ 6” from my listening chair, 9’ apart (measured from the tweeter centers), 2’ 3” from the sidewalls (measured from the tweeter centers), 3’ 3” from the front wall (measured from the rear baffles), and toed in so that the tweeter axes crossed just behind my head when I sat down to listen.
The system was my typical setup: a 2016 Apple MacBook Pro laptop computer running Roon and streaming Qobuz to a Hegel Music Systems HD30 digital-to-analog converter feeding a Boulder Amplifiers 2060 stereo power amplifier. Interconnects, speaker cables, and power cords were all Siltech Explorer models. The Apple and Hegel sat on an SGR Audio Model III Symphony equipment rack.
Sound
Because I’ve lived with other Rockport speakers, I think I now understand what this company does better than ever. Or maybe I’m just an older, wiser reviewer who can now better communicate his specific thoughts about products. Either way, before I dive into my song-by-song analysis, I want to give you more of an overview of what I think the Rockport Technologies Avior II is all about.
Describing the sounds of loudspeakers that reproduce the music on recordings with something approaching genuine neutrality is not as straightforward as it might seem. A speaker that measures neutrally at the listening position — i.e., one that produces a generally flat frequency response — probably won’t sound perfectly balanced to most listeners. On the other hand, if your speakers do sound balanced — read, good — they probably don’t measure perfectly flat at the listening position. Why?
The “Harman curve,” often mentioned in the reviews and articles of SoundStage! writer Brent Butterworth, can be described as the loudspeaker frequency-response curve that most listeners prefer. This curve tells us that listeners tend to like a sound that has a gradual increase in amplitude in the bass, and that gently decreases with increasing frequency. Plotted on a graph in the standard way, such a frequency response is a line that slopes gently downward from left to right. I could go more deeply into this, but those are the basics that you need to know.
In-room frequency response
Although each speaker designer has his or her own take on what frequency response sounds best, many are largely in agreement with what Harman concluded years ago. The room will, to some degree, help the speaker’s output approximate the Harman curve with room gain in the bass (a gradual increase in level of the lowest frequencies) and absorption of higher frequencies by carpets and furnishings (a gradual decrease in level in the highs). When a speaker whose frequency response measures relatively neutral or flat in an anechoic chamber is placed in an average room and its output is measured again, the result is often close to the Harman curve.
Every Rockport speaker model is measured, fine-tuned, and verified with listening by Andy Payor, and has always been. What I know about Payor and hear in his speakers is that he likes real bass — solid, punchy lows that listeners can feel throughout their bodies — and dislikes grating highs that can at first sound like increased detail, but are actually excess treble output. The sounds of his speakers reflect these preferences, and most listeners like what they hear.
I found the Avior II no exception. It had deep, full-bodied bass that most speakers of similar size can’t match. It also had a high-frequency balance that I never tired of — listening fatigue was never part of my Avior II experience.
When I listened to “Marseille,” from Ahmad Jamal’s Ballades (24-bit/96kHz FLAC, Jazz Village/Qobuz), the weight of Jamal’s left-hand notes was fully re-created by the Avior IIs, presenting in my room a convincing aural facsimile of an actual piano. Recordings of acoustic pianos played through speakers with lighter tonal balances don’t sound as realistic. If that were all there was to describe about the Avior II’s reproduction of “Marseille,” I’d move on — but it’s nowhere near the full story. At about 2:12 into this track, James Cammack’s subtle double-bass playing — this is a duo album — was fully distinguished from Jamal’s left-hand notes, as if an aural microscope had been trained on the two instruments. Through the Avior IIs, bass was never merely bass — their impressive delineation of low-end notes greatly added to my enjoyment of “Marseille.” As I continued listening, I realized even more that the low end contains real detail — and that there’s tons of it in this recording. Such detail is fully revealed only when the speakers are able to resolve such nuances and complexities at the bottom of the frequency response. The Avior IIs were easily able to accomplish this very rare feat.
A speaker’s sound is largely defined by its tonal balance — how it distributes energy throughout the audioband. But at the highest of the high end, a pleasing tonal balance alone is not enough. Rockport Technologies has long made speakers endowed with tremendous powers of resolution, from top to bottom of the audioband — if uncommon amounts of textural detail are on the recording, a pair of Rockport speakers will let you hear it in your room. It’s this rare attribute that audiophiles, and especially I, crave.
When I listened through the Avior IIs to “River Lea,” from Adele’s 25 (16/44.1 FLAC, XL/Columbia/Qobuz), I heard deeper into the electronic reverb added to her voice, and her inhalations before vocalizing, than I’ve been able to with most other speakers, regardless of cost. The midband in “River Lea” was basically neutral in tonality, but the dense midbass and info-packed lower midrange laid bare the slightly husky quality of Adele’s almost universally recognized voice. The same was true when I listened to Lauren Daigle’s music — these two singers’ voices have always sounded to me very much alike, though not identical. The Avior IIs gave each singer’s voice the unique combination of color, richness, and depth it possesses in real life, never failing to distinguish between them.
I used to cite tracks by Nickel Creek in my reviews, but haven’t in a while. During the band’s long hiatus (2007-2014), their former fiddler, Sara Watkins, released her second solo album, Sun Midnight Sun (16/44.1 FLAC, Nonesuch/Qobuz). Through the Avior IIs her fiddle sounded rosiny, and her voice in “When It Pleases You” was clear and tinged with emotion. Although this recording lacks wide dynamic range, the Avior IIs’ exceptional powers of resolution meant that I could better enjoy its various musical elements. A recording such as Sun Midnight Sun can sound too processed through some speakers because of their inability to reveal microdetail — sounds that should be distinguished from each other are instead mushed together. But I found that if a recording contains a detail, I heard it through the Avior IIs.
A TAD different
TAD’s Evolution One TX loudspeaker ($27,995/pair) and the Rockport Technologies Avior II have some physical similarities: each is a sleek, black, raked-back floorstander in gloss paint that puts most automobile finishes to shame. In both models, the fine details are attended to in every parameter — you won’t find a crooked nameplate or a misaligned grille or anything to complain about. However, for ten grand more, you get a lot more speaker in the Avior II. It has bigger woofers — 9” vs. 6.3” — with the attendant increase in internal volume, and weighs more than twice as much as the TAD: 220 vs. 101 pounds. And judging by the knuckle-rap test, the Rockport’s cabinet is far more inert. The Avior II is way more loudspeaker, and its 4” greater depth will require more room.
The sound of the Evolution One TXes was similar in many ways to that of the Avior IIs. Much like the Rockports, the TADs were warm and full in the bass, never grating in the highs. The TADs’ generous lows allowed the acoustic spaces of original recording venues to fully form in my room, though not as much as they did with the Avior IIs. Music never sounded too mellow through either speaker — there was always detail aplenty — nor did listening fatigue ever set in. In short, these speakers were tonally more alike than different, and that’s a good thing. Their designers clearly know what listeners like, and have imbued their creations with these qualities in large helpings. But that wasn’t the whole story.
What clearly differentiated the Avior II from the Evolution One TX was the Rockport’s ability to better differentiate sounds in the lower midrange, midbass, and low bass. This greater articulation and dexterity in the lower region of the audioband was a trick the TAD couldn’t come close to matching. The Evolution One didn’t produce one-note bass, but the Avior II let me hear the finer gradations in the lower frequencies that made Jonas Hellborg’s double-bass playing in “Iron Dog,” from his The Silent Life (16/44.1 FLAC, Day Eight Music/Qobuz), come to life in a way the TAD wasn’t up to. Through the TADs, individual strums in a series of same melted into each other, making the overall sound less real and less interesting — but through the Rockports, each strum was clearly its own musical and aural event. So it was no surprise that the Avior II could also go lower in the bass, and with greater power. The Avior II is a significantly better speaker all around, but from the mids down to the low bass the Rockport is in another world altogether.
Conclusion
The Rockport Technologies Avior II is easily one of the finest loudspeakers I’ve heard in the last five years. It combines an expertly voiced tonal balance that I can’t imagine anyone disliking with the ability to resolve the finest details in recordings, from the top to the very bottom of the audioband. In fact, until you hear these speakers, you very well may never have heard genuine bass detail. When you combine an exalted level of sound quality with qualities of build and fit’n’finish that are in the top 5% of speakers in the high end, you also have a slam-dunk recommendation from me and an easy Reviewers’ Choice recipient. Skip the new car. Buy a pair of Avior IIs, and drive off into the sunset — in your old car — one very happy audiophile.
. . . Jeff Fritz
Associated Equipment
Amplifier — Boulder Amplifiers 2060
— Boulder Amplifiers 2060 Preamplifier-DAC — Hegel Music Systems HD30
— Hegel Music Systems HD30 Source — Apple MacBook Pro computer running Mojave 10.14.5, Roon, Qobuz streaming service
— Apple MacBook Pro computer running Mojave 10.14.5, Roon, Qobuz streaming service Cables — Siltech Explorer interconnects, speaker cables, power cords
— Siltech Explorer interconnects, speaker cables, power cords Rack — SGR Audio Model III Symphony
Rockport Technologies Avior II Loudspeakers
Price: $38,500 USD per pair.
Warranty: Five years parts and labor.
Rockport Technologies
586 Spruce Head Road
South Thomaston, ME 04858
Phone: (207) 596-7151
Website: www.rockporttechnologies.com
ROCKPORT TECHNOLOGIES Avior II
U Rockport Avior II se mi moc líbila skálopevná stabilita zvukového obrazu, kde korelovaný růžový šum šel ukázněně zprostřed a nekorelovaný se rozprostřel přes čelní stěnu beze změny tonality. Takhle to slyšívám jen výjimečně. A zvuk je přes Avior II stabilní nejen prostorově, ale shora dolů přes všechny reproduktory, které jsou svázané tak, že prostě nepoznáte, že jde o víceměničový systém. Na svou velikost se Avior II chovají jako monitory, a i když je v prostoru rozhodně nepřehlédnete, samy umí zmizet. Jak efektivně? Tak, že saxofon se zmaterializuje v místnosti hezky vpředu a nalevo od piana s pevným a znělým soundem, který dá informaci jak o velikosti ozvučníku (to je ta část korpusu, ze které jde většina vzduchu ven), tak o jeho pohybech v prostoru. Saxofon není – na rozdíl třeba od piana – nástroj statistický a vůči mikrofonu je v prakticky neustálém pohybu, pakliže ten není na něj chycen klipem. S Avior II máte o těch pohybech přehled a reprosoustavy mě nechaly slyšet i elegantní otočku, kterou Phil Woods s nástrojem udělá v závěru tracku The Name is Makowicz (Sheffield Lab).
Konkurence
Rockport Technologies Avior II jsou nesmírně zajímavé reprosoustavy, které – pakliže jste na lovu a hledáte něco v kategorii ´koupit a dál neřešit´ – by rozhodně neměly chybět na seznamu potenciálních kandidátů. Mají silný, pevný a velký bas, který vychází z inertního korpusu, a jestli je něco v obdobné cenové hladině trumfne, tak jsou to snad jen aktivy od Legacy Audio, které umí zahrát bas ještě barevněji a konturovaněji. Ale jsou to aktivy. Při správném krmení umí Avior II široký a hluboký prostor s perfektní kontinuitou, a jestli je něco srovnatelného, tak snad jen řada Vivid Giya, při obdobné podmínce odpovídajícího krmení. Jsou to reprosoustavy dynamické a dynamiku opravdu umí, jak tu mikro, tak tu makro, tady si už sahají na Magico a vůbec na to nejlepší, co je k mání za jakékoli peníze. Ale zase je tu ta podmínka správného krmení. Mají vynikající středové pásmo a nenápadné výšky, kterým musíte dát druhou šanci, abyste pochopili, že v nich vlastně nic nechybí, přestože na první poslech neoslní. Oceníte to ale po pár hodinách poslechu, kdy vás Avior II nabijí, místo toho, aby vás utahaly. Nevýhodou je, že si můžete v základu vybrat pouze černou (libovolné další barevné laky za příplatek) a provedení je trochu ´po americku´, takže vedle nových Bowers & Wilkins 801 D4 vypadají trochu konvenčně. Nicméně zpět na začátek: pokud jste na lovu, rozhodně si je poslechněte, je dost možné, že tím váš lov skončí.
SoundStageHiFi.com – Recommended Reference Component: Rockport Technologies Avior II Loudspeakers
Located in South Thomaston, Maine, Rockport Technologies is a boutique audio manufacturer known for the tremendous attention they pay to every detail of their loudspeakers. As revealed in a SoundStage! Shorts video featuring president Josh Clark, every Rockport speaker is thoroughly checked before leaving their shop to ensure that its finish is flawless; its acoustical output is listened to and measured, and its crossover is tweaked, until its sound duplicates, as closely as possible, the sound of that model’s prototype. Rockport is not a high-volume manufacturer.
Last December, Jeff Fritz reviewed the Avior II for SoundStage! Ultra. Although, at $38,500/pair USD, it’s Rockport’s second-least-expensive loudspeaker, the Avior II’s sound quality ranks high — Jeff thought it “easily one of the finest loudspeakers I’ve heard in the last five years.” The Avior II measures 46.5”H x 15”W x 24.5”D, including the base; it weighs a hefty 220 pounds; and its enclosure is made of constrained-layer-damped MDF. The curved side panels vary in thickness, the top panel slopes slightly downward toward the front, and the front and rear panels are raked back. On the rear are a port and binding posts, and the front baffle is 6” thick, with generously chamfered edges that taper outward from bottom to top, to minimize diffraction effects. The Avior II is finished in high-gloss black paint (custom colors are available for an upcharge).
Mounted on that massive front baffle are four drivers in a three-way configuration: a 1” beryllium-dome tweeter seated in a Rockport-designed waveguide (the latter is the biggest difference between the II and the original Avior), a 6” midrange, and two 9” woofers. The tweeter is made by Scan-Speak, but the midrange and woofers, which have cones comprising two layers of carbon-fiber fabric sandwiching a Rohacell core, are bespoke Rockport designs. Rockport specifies the Avior II’s frequency response as 25Hz-30kHz, -3dB, its sensitivity as 89.5dB/2.83V/m, and its nominal impedance as 4 ohms.
In his review, Jeff said that Rockport’s founder and chief designer, Andy Payor, “likes real bass — solid, punchy lows that listeners can feel throughout their bodies — and dislikes grating highs that can at first sound like increased detail, but are actually excess treble output.” The Avior II reflected this taste, Jeff found: “It had deep, full-bodied bass that most speakers of similar size can’t match. It also had a high-frequency balance that I never tired of — listening fatigue was never part of my Avior II experience.”
Playing “Marseille,” from Ahmad Jamal’s Ballades (24-bit/96kHz FLAC, Jazz Village/Qobuz), Jeff heard the following:
[T]he weight of Jamal’s left-hand notes was fully re-created by the Avior IIs, presenting in my room a convincing aural facsimile of an actual piano. . . . but it’s nowhere near the full story. At about 2:12 into this track, James Cammack’s subtle double-bass playing — this is a duo album — was fully distinguished from Jamal’s left-hand notes, as if an aural microscope had been trained on the two instruments. Through the Avior IIs, bass was never merely bass — their impressive delineation of low-end notes greatly added to my enjoyment of “Marseille.”To test the Avior II’s tonal balance and ability to reveal musical details, Jeff first played “River Lea,” from Adele’s 25 (16/44.1 FLAC, XL/Columbia/Qobuz): “I heard deeper into the electronic reverb added to her voice, and her inhalations before vocalizing, than I’ve been able to with most other speakers, regardless of cost. The midband in ‘River Lea’ was basically neutral in tonality, but the dense midbass and info-packed lower midrange laid bare the slightly husky quality of Adele’s almost universally recognized voice.”
Listening to Sara Watkins’s Sun Midnight Sun (16/44.1 FLAC, Nonesuch/Qobuz), he noted that “her fiddle sounded rosiny, and her voice in ‘When It Pleases You’ was clear and tinged with emotion.” Jeff could also clearly hear that the recording “lacks wide dynamic range,” and pointed out that it “can sound too processed through some speakers because of their inability to reveal microdetail — sounds that should be distinguished from each other are instead mushed together. But I found that if a recording contains a detail, I heard it through the Avior IIs.”
Jeff summed up his impressions of the Avior II:
It combines an expertly voiced tonal balance that I can’t imagine anyone disliking with the ability to resolve the finest details in recordings, from the top to the very bottom of the audioband. In fact, until you hear these speakers, you very well may never have heard genuine bass detail. When you combine an exalted level of sound quality with qualities of build and fit’n’finish that are in the top 5% of speakers in the high end, you also have a slam-dunk recommendation from me and an easy Reviewers’ Choice recipient.
Those things convinced us that the Avior II also deserves to be the first Rockport Technologies speaker to be added to our list of Recommended Reference Components.
Manufacturer contact information:
Rockport Technologies
586 Spruce Head Road
South Thomaston, ME 04858
Phone: (207) 596-7151
Website: www.rockporttechnologies.com
Rockport Avior II
Die neue Avior II von Rockport Technologies: höchste Klangqualität, technische Perfektion und optische Eleganz.
Die Avior II lehnt sich äußerlich an den legendären Vorgänger an. Unverwechselbare Form und kompakte Abmessungen konnten beibehalten werden
Die neue Technik zeigt sich in Form der neuen Hoch-, Mittel- und Tieftöner – Eigenentwicklungen von Rockport Technologies! Als Hochtöner wird der neue Beryllium-Hochtöner eingesetzt. Dank integriertem Waveguide bietet er eine exzellente Rundstrahl-Charakteristik. Die Verzerrungen wurden weiter minimiert, zugleich die verfügbare Dynamik erweitert.
Die ebenfalls neuen 6-Zoll-Mitteltönern und zwei 9-Zoll-Tieftönern mit Kohlefaser-Sandwich-Verbundmembranen komplettieren den Lautsprecher. Auch die Frequenzweiche wurde komplett neu entwickelt. So ist die neue Avior II ein völlig neuer Lautsprecher.
Der Klang des Avior II ist extrem transparent und aufgelöst, zeichnet sich zugleich durch eine reiche, strukturierte Lebendigkeit und beeindruckende dynamische Wiedergabetreue über den gesamten Frequenzbereich aus.
Das dreifach laminierte und gedämpfte Avior II-Gehäuse verfügt über eine 6 Zoll dicke Front. Die Gehäuse-Seiten haben unterschiedliche Dicke. Dies minimiert Resonanzen, optimiert das Abstrahlverhalten und sieht betörend gut aus. Die anmutig geschwungenen Seitenwände, die großen geschwungenen Schrägen des Gehäuses und das hochglanz-schwarze Gehäuse sind Blickfang und technologische Hochleistung.
Wie alle Lautsprecher von Rockport Technologies hat auch die Avior II ein extrem gutes Auflösungsvermögen. Das Klangbild bleibt stimmig und aufgelöst sowohl bei extrem geringen wie hohen Lautstärken. Diese Fähigkeit ermöglicht es dem Zuhörer, sich völlig in die Musik zu vertiefen.
Die Avior II wurde für mittlere Raumgrößen entwickelt. Sie sollten zur Rück- und Seitenwand einen Abstand von ca. 1 Meter halten. Die Lautsprecher werden mit Kabeln von Transparent entwickelt. Daher empfehlen wir, unbedingt Lautsprecherkabel dieses Herstellers zu verwenden. Wir nutzen Transparent MusicWave Reference.
Als Verstärker empfehlen wir Modelle mit guter Stromliefer-Fähigkeit. Neben Tranistor-Verstärkern kommen auch High-End Röhren-Endstufen in Frage. Exzellente Kombinationen: Kondo Melius (mit Kondo Vorstufe G70), Soulution Serie 500, Nagra Classic-Serie oder HD-Serie.
Die mitgelieferten Front-Abdeckungen sind abnehmbar. Standard-Farbe ist Klavierlack Hochglanz Schwarz, Sonderfarben sind lieferbar.
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