repman

Here is a review from the Absolute Sound perhaps a deal for you on the speakers What are your expectations for a $129/pair loudspeaker? Not all that high I would guess. At the very least, you’d expect it to work reliably, play reasonably loud, and not look too schlocky. But high-end sonics? That’s setting the bar way up there. And that was pretty much what I thought when the redesigned Pioneer SP-BS22 LR was presented to me for review. But there was one significant difference—the new BS22 sports a discrete signature on its back panel just above the binding posts: A. Jones.So what’s in a name? This particular A. Jones is Andrew Jones, the British gentleman known principally for his exquisite designs for TAD Labs, the high-end wing of parent company Pioneer Electronics. However, he’s also the chief speaker engineer for Pioneer, where the demands of that global titan include a broader-based, budget-conscious market. I can’t speak for Mr. Jones’ ability to compartmentalize, but it does speak volumes about his creative range—a bit like engineering a McLaren one day and tinkering with a Mini the next. However, whether it’s designing the latest beryllium coincident transducer, or bringing the new TAD Evolution 1 ($29,000, review to come) or, in this case, the modest SP-BS22 LR to market—the influence of Mr. Jones’ design cannot be taken lightly. To look at, the SP-BS22 LR is as conventional and unassuming as a speaker comes. It’s a two-way bass-reflex design that tips the scales at little more than nine pounds. If you imagined its driver array as something along the lines of a TAD-derived coincident driver trickling down to the sub-$150 price point, think again. Mid/bass duties are handled by a prosaic four-inch driver with a structured-surface diaphragm to aid rigidity and fend off breakup modes. The one-inch soft-dome tweeter uses a large, custom- designed waveguide to control dispersion and increase sensitivity. Construction and fit and finish appear solid, consistent with today’s “made in China” workmanship. The SP-BS22 LR speakers utilize a curved cabinet design, which adds stiffness to the enclosure and is said to reduce internal standing waves. (This last issue is less germane in small boxes than full-range enclosures.) Although SP-BS22 LR is small, its relatively low 85dB sensitivity means that it requires more than minimal power. Bass is better controlled and there’s more of it with additional watts; plus, the added power enlivens dynamics and enriches tonality. But, like they say, the devil’s in the details, and the wildcard is the not-to-be-underestimated Jones Factor. What makes his concoction such a delight to listen to is how well he applies high-end values to such a small and (let’s face it) cheap bundle. To be clear, my point is not that the BS22 somehow dethrones every loudspeaker below, say, five grand, but that Jones has hit the bull’s-eye (it figures he’s an archery buff) in the nature and proportion of the speaker’s many inevitable compromises. The BS22 has an honest tonal signature that doesn’t pander to the “let’s move ’em” sensibilities of big-box-store salesmen. It is remarkably free of sonic hype. From the outset I noted how quiet the cabinet was. There was little sense of a veil or cloud hanging over the soundstage, smudging images and restricting acoustic boundaries. The choristers of the Turtle Creek Chorale were firmly rooted in position during Rutter’s “A Gaelic Blessing” from his Requiem [Reference Recordings], and there was a well- defined, dimensional soundstage, albeit one that was somewhat abbreviated in depth and size. However, the essence of the BS22’s performance is found in the quality of its midrange. Jones has fashioned a smooth, tonally ripe midband with just enough heft and weight behind vocal and instrumental images to provide reasonable dynamic and harmonic scale. The treble is surprisingly open, which lends overtones a fullness and dimensionality that are often lacking in blue-plate loudspeakers. The BS22 does roll off the top treble to some degree, giving sonics a darker and somewhat more forgiving character, but credit the waveguide tweeter for limiting dispersion at the lower end of the tweeter's passband so its dispersion more closely matches that of the upper end of the woofer's passband. As a result, vocals of either gender are tonally authentic rather than helium-breathing, Munchkin-like caricatures. On a track like Linda Ronstadt’s “Poor Poor Pitiful Me” from Simple Dreams [Asylum] the BS22 demonstrated canny balance, articulating low- level niceties while producing the weight and dynamic energy of the tracks’ rhythm section. Similarly Don Henley’s high harmony during Jackson Browne’s “Colors of The Sun” was fully realized with that distinctive smoky character soon to be made famous when he formed the mega-band, the Eagles, a couple years later. And again during Jennifer Warnes’ “If It Be Your Will” on Famous Blue Raincoat [impex] the speaker managed to steer clear of peaky treble behavior and again artfully straddle the line between articulate reproduction of the graceful 12-string and the deep colors of the bass guitar. The take-away here is that the BS22 is agile enough not to bury musical delicacies beneath a slurry of low-frequency cabinet resonances. At first I thought it might be foolish to cue up “Prof” Keith Johnson’s latest from Reference Recordings, Horns for the Holidays [RR-126, review this issue], but, beyond the obvious SPL limitations, the BS22 supplied a rich sensation of bloom from these spirited wind and brass sections with discernable contrasts in energy. The SP-BS22 doesn’t go especially deep beyond the upper bass, but it remains composed at higher outputs. There’s bit of port/cabinet noise at its dynamic limits, but on Norah Jones’ “Sinkin Soon” from Not Too Late [bluenote], acoustic bass was both tuneful and tight. For the most part, the BS22 avoids the midbass boom that makes potential subwoofer- matching such a nightmare. Although not sonically cringe-worthy, there was a bit too much sibilance for my taste. When Holly Cole sings “Take me home/ You silly boy” from Temptation, there was just a small helping more “sss” than I prefer. There was also a general diminution of top-end transparency the higher the speaker went. Cymbals, for example, lacked the wide-rimmed splash and decay of the real things. And, lastly, beyond the absence of true low bass, the most noticeable subtraction was a diminution of macro-dynamics. The BS22 compresses gently but firmly, and flattens out the larger swings as if carefully measuring its own physical limitations, self-censoring if you will. I would never have guessed at the outset that I’d be taking the BS22 so seriously when it came time to write this review, but in the right room this game little compact has in many areas turned in a performance worthy of speakers well beyond its almost laughably low price point. All courtesy of the man behind that tiny back-panel signature. The BS22 is simply one of the great buys out there, without reservation. [h=3]SPECS & PRICING[/h]Type: Two-way, bass-reflex Drivers: 1" tweeter, 4" mid/bass Frequency response: 55Hz— 20kHz Sensitivity: 85dB Impendence: 6 ohms Dimensions: 12.6" x 7.2" x 8.5" Weight: 9.1 lbs. Price: $129/pr.

Thanks downloaded the driver fix on the MF website works great now . I appreciate the help once again.

Ran into another problem , I got the Vlink 192 delivered yesterday and loaded the driver CD it seems this unit is also incompatible with windows 8 am I missing something or there a workaround for this ? Thanks for any help.

Thanks for the info

Chris , thanks I think I will order one right away to compare the differences. I had ordered a Mapleshade usb to spidf converter a while back when I was first going to use a computer but it only supports up to windows 7 so running 8 now makes it pretty much useless to me. If anybody has a need for it they can have it for free just PM an address to send it to. Thanks for the welcome Chris.

Ahh that CJ and Quads must have had a magical midrange !!! I use the new KT -120 tubes along with some nos tubes if you have not heard the 120s I think you would be impressed. CJ highly endorses this tube . I have upgraded my 11a with CJ Teflon caps it truly is a keeper for me! It really makes the ML's sing. Tung-Sol KT120 Power Vacuum Tube [TABLE] [TR] [TD] [/TD] [TD]This is the most powerful audio power tube in production today. With a plate dissipation rating of 60W (compare that with the 35W of the 6550, the 42W of the KT88, and the 50W of the KT90), a pair of these KT120 tubes in push-pull configuration can deliver 150 watts or more of audio power. And when used in a vintage circuit designed for 6550 or KT88, the KT120 will deliver unbelievable amounts of clean headroom, low end rumble and dynamic punch all without overloading. The glass of this tube is a full 1/2" taller with the internal plate structure 3/8" longer than its nearest KT88 cousin. The internal control grid cooling fins are twice as large as the KT88 adding to the amazing performance of this tube. This particular tube draws between 100mA (.1A) and 300mA (.3A) more filament current than a standard KT88, so check with your amp manufacturer to insure you have the additional filament headroom to power these tubes. This new KT120 is the steamroller of audio tubes, prepare to be flattened. [/TD] [/TR] [/TABLE]

Thanks for the welcome guys, I appreciate the help everyone has given. I am using mine with a WireWorld Silver Starlite USB cable.

Thanks I am going to try the SPDIF connection tomorrow, I do prefer the Rega DAC overall .

I have a Mydac that I bought for my office system do you think that is more appropriate for Computer audio than the Rega it was less expensive but sometimes that does not mean a thing . Let me know what you think.

Thanks

Thanks, so are you saying the DAC is not really ideal for USB sound from a computer? I really like it because it has an almost analog sound rich and warm. what do you consider a good DAC for purposes? Thanks

OK thanks for the tip I only went with APE because J-River recommended it in a tutorial. Do Flac and WAV sound better?

I have a pair of ML Sequel II that I repaneled, and added new electronics last year, CJ ET-5 preamp, CJ premier 11A amp. The Sequels and 11-A are old but I still love the sound.

I think I am following you , I am using APE is that what you were asking . This is like learning a new language OMG! Thanks about the CJ I am definitely a tube junkie.

Thanks for the clarity, I am new to the computer audio world but have been involved with audio for over 30 yrs. I have Conrad Johnson tube gear and electrostatic speakers and decided to take a step away from changing a disc after every album. I thought it would be a good idea to put all of my cds in one place finally. I am in the process of ripping a rather large collection of discs to J-River OMG what did I get into LOL. Thanks for the replies I appreciate the help.