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oomy woofer. Conversely, you wouldn’t want to pair a silky-sounding ribbon tweeter with an overdamped, lean-sounding woofer. Per Kristoffersen has effectively matched the tweeter’s character—pleasingly airy, somewhat soft and forgiving yet finely detailed—with the woofers’ by slightly underdamping the latters’ tuning. But that’s not to suggest that the Diablo’s top is dull or muted, or that its bass is slow, woolly, or sloppy. The Diablo was extended and supple at both frequency extremes, providing exceptionally natural instrumental textures that were free of edge, brightness, or grain on top without sounding dull or uninvolving, while the low frequencies were sufficiently well controlled to sound nimble and firm but never thumpy. The extension into the low bass from the two 9" woofers was deep, full, and satisfying. When the Diablo was called on to deliver the low organ-pedal notes in the second movement of Saint-Saëns’ Symphony 3, from a 1987 LP with Marek Janowski conducting the Radio France Philharmonic Orchestra (Harmonia Mundi HMC 5197), those notes appeared as very deep, distant, well-controlled, compacted thunder—just as they had earlier that same evening, during a live performance at Avery Fisher Hall. Never mind that Avery Fisher doesn’t have an organ, and that those notes were generated electronically via a pair of tractor-trailer–sized subwoofers placed against the back of the stage. The pedal notes on the Janowski recording had authority, weight, and a velvety texture that avoided sounding canned or one-notey, or even as if they were emanating from the speakers. Low bass may be omnidirectional, but some speakers that go very low also produce an audible mechanical backlash that is directional. The Diablo didn’t. The Diablo handled electric and acoustic bass equally well, convincingly reproducing both the harder attack of the former and the softer attack of the latter. Lovers of hard rock and orchestral music will be thrilled with the Diablo’s low-frequency performance in terms of both extension and dynamics. With live recordings taped in large venues, the pair of them easily produced an illusion of enormous space. The speakers’ response was subjectively smooth, and extended down PEAK CONSULT EL DIABLO into the 30Hz region in my room. The Diablo didn’t produce the Wilson MAXX 2’s slam, but that would not have meshed with the rest of the speaker’s sonic personality. Kristoffersen asks the Diablo’s 5" midrange driver to handle an unusually wide bandwidth: 200Hz all the way up to 4800Hz, or 2kHz higher than in most two- and three-way designs, which usually cross over at 2.7kHz or so. The advantages of extending the midrange’s bandwidth so high are tonal and phase continuity in a critical musical frequency range. For instance, fundamental violin frequencies range from just below 200Hz up to just above 3.1kHz, and a concert grand piano is capable of fundamentals from around 28Hz up to almost 4.2kHz. The overtones, of course, go much higher, but having a single driver reproduce the key instrumental funda- ASSOCIATED EQUIPMENT ANALOG SOURCES Continuum Audio Labs Caliburn turntable; Continuum Cobra, Graham Phantom, Kuzma Airline tonearms; Lyra Titan i, Air Tight PC-1, EMT Jubilee JSD 5, Transfiguration cartridges. DIGITAL SOURCES Musical Fidelity kW DM25 DAC & transport, BPTmodified Alesis Masterlink hard-disk recorder. PREAMPLIFICATION Manley Steelhead, Blue Amp MC 42 phono preamplifiers; Musical Fidelity kWP, DartZeel NHB-18NS preamplifiers. POWER AMPLIFIERS Musical Fidelity kW monoblocks, Music Reference RM-200. LOUDSPEAKERS Wilson Audio Specialties MAXX Series 2. CABLES Interconnect: TARA Labs Zero, Shunyata Research Antares Helix. Speaker: TARA Labs Omega, Stereovox LSP-600. AC: Shunyata Research Anaconda Helix, JPS AC. ACCESSORIES Continuum Audio Labs Castellon magnetic isolation stand, Finite Elemente Pagode equipment stands, Symposium Rollerblocks; Audiodharma Cable Cooker; Shunyata Research V-RAY Reference, Hydra 8 power conditioners; Oyaide AC wall jacks; ASC Tube Traps, RPG BAD & Abffusor panels; Furutech DeMag’ Loricraft CD and LP demagnetizer, VPI record-cleaning machines. —Michael Fremer mentals, in addition to many of the resulting harmonics, should result in a strong sense of musical continuity. Indeed, I found that just such a continuity was one of the Diablo’s key strengths. It gushed forth a sense of smooth musical flow while suppressing the discontinuities that afflict some multi-driver designs. But in any speaker, piling so much on the midrange driver’s plate will result in tradeoffs. One of these is that, as the frequencies reproduced by the cone rise, so does its directivity, which leads to “beaming” at the higher frequencies within the driver’s bandpass. As the frequencies rise, the amount of cone area used to reproduce those frequencies decreases and becomes concentrated toward its recessed center, where it attaches to the voice-coil. However, rather than being heard as excessive brightness, the result is usually an overly polite sound—the driver can’t produce enough off-axis output at the higher frequencies to provide adequate frequency and power response to fill the room. Another potential problem created by extending a relatively large cone’s response is the nonlinearity caused by the cone’s flexure. However, the Diablo’s smoothness leads me to suspect that AudioTechnology’s expertise has tackled that problem, just as Peak Consult’s Per Kristoffersen has successfully navigated the off-axis response issue. Which is not to say that Kristofferson’s choice was inaudible. The Diablo had a slightly mellow overall sound, with less sparkle and life than some might wish, as well as a very slight, easily ignored coloration that I heard as just a touch of compression or congestion—what JA likes to call “hootiness”— in the upper mids and lower treble. In fact, this was the first thing I heard when the Diablos were first fired up in my room—but, as it has with all great speakers, my ear/brain system quickly made peace with this coloration, which quickly blended into the musical flow and disappeared. (And if you think your favorite speaker is without colorations, think again.) When I encountered—in an enormous room—another pair of El Diablos at the 2007 Consumer Electronics Show, I immediately heard that same minor coloration. Yet despite the venue’s size, which should have exacerbated the off-axis response problem, those Diablos sounded remarkably www.Stereophile.com, May 2007 95
)LQDOO\ $Q ,Q :DOO 6SHDNHU :LWK 1RWKLQJ WR +LGH 7KH ,QVLGHU·V FODULW\ DQG UHDOLVP VHWV LW DSDUW IURP RWKHU LQ ZDOO VSHDNHUV SDLU h1R RQH LQ WKH URRP FRXOG EHOLHYH VXFK SRZHUIXO DFFXUDWH VRXQG ZDV HPDQDW LQJ IURP WKHVH GLPLQXWLYH LQ ZDOOV 7KRXJK WKH ,QVLGHUV ZHUH ORFDWHG KLJK RQ WKH ZDOO WKH PXVLF ZDV YHU\ JRRG DW HDU OHYHO DQG WKH GLVSHUVLRQ ZDV H[FHOOHQW 0LNH 4XLQQ -D]] 7LPHV ´7KH JDVSV RI GLVEHOLHI ZKHQ -HII -RVHSK UHYHDOHG WKH VRXUFH RI KLV GHPR·V VRXQG SURYHG KRZ HIIHFWLYHO\ WKH ,QVLGHU FRXQWHUV FRQYHQWLRQDO ZLVGRPμ :HV 3KLOLSV 2QKLIL *OSEPH!UDIO +,), ZZZ MRVHSKDXGLR FRP PEAK CONSULT EL DIABLO similar to the pair in my listening room at home. However, despite what I believe JA’s measurements will reveal about its slightly mellow character, the Diablo’s overall presentation never seemed starved for air, and never sounded soft, bland, or boring—nor, of course, did it ever sound bright, etchy, grainy, or harsh, unless the recording itself was grossly so. Trumpets, flutes, xylophones, and brass all sounded sufficiently airy and metallic. Cymbals rang convincingly, and overall, throughout the months I listened to the Diablos, I wanted for nothing in terms of highfrequency or transient response. But most important, and perhaps because of that high crossover frequency, instrumental harmonic structures, and especially the human voice, were exceptionally lifelike and coherent. I can’t think of a loudspeaker that better reproduces instrumental and vocal touches and textures. I could consistently rely on the Diablos to provide long evenings’ worth of entertainment without producing boredom or fatigue. They always invited me in and never pushed me away. The Diablo’s tonal balance was as self-effacing as its looks and, on closer inspection, equally and understatedly spectacular. The speaker never sounded too bright unless the recording was, nor did it sound polite—unless the recording was. From top to bottom, the Diablo never sounded mechanical, never showed any aural seams. The bass extension was deep, full, and satisfying without being overwhelming. While the overall balance was clearly tipped downward ever so slightly on top, this was never to the point that the Diablo sounded soft or rolled off. It was just slightly reserved. Some might wish for a more open sound, but I think the Diablo’s balance would be more welcome over the long haul. It was among the best-balanced loudspeakers I’ve heard here—its designer has managed to maintain a single sonic personality throughout the entire audioband. Unlike speakers that require high SPLs to work effectively, the Diablo, despite its slightly laid-back character, never failed to engage me. Even at very low SPLs it maintained impressive macrodynamic authority, sounding relaxed and unrestrained in my smallish room—like a high-powered amplifier just loafing along. Conversely, when cranked, the Diablo never sounded compressed, never lost its tonal or dynamic composure. I couldn’t come close to exposing its dynamic or SPL limitations. How loud will the Diablos play? Very, as I discovered at CES, where they filled a large space with ease. The Diablo sounded equally magnificent driven by Musical Fidelity’s mammoth kW monoblocks and by the 100Wpc Music Reference RM-200 tube amp. With the RM-200 the Diablos weren’t as tight or as controlled on bottom, or as dynamically authoritative—but at 94dB claimed sensitivity, they still got plenty loud. Conclusion The Peak Consult El Diablo is a very large-sounding loudspeaker in a surprisingly small package. It’s comfortable playing softly or loudly in a small or a large room, whether reproducing chamber music, large orchestral pieces, solo voice, hard rock, metal, acoustic jazz, or anything else you might throw at it. Its highly refined, slightly mellow personality won’t appeal to all, but I suspect it will to most, regardless of musical tastes. But while very capable, the Diablo is very expensive at $65,000/pair. Although its value will be in the eye, ear, and wallet of the beholder, you may wonder why anyone would spend so much on a pair of speakers. Its relatively small footprint (for a big, bassproficient speaker), exquisite finish, and understated appearance will make it attractive to the wealthy, urban audiophile who lives in an apartment of small to medium size, but who wants big sound when he can crank it and convincing sound when he can’t. And if that well-heeled audiophile has a big dedicated listening room, well, no problem there either. I spent three months with the Diablos and found them to be among the most capable and musically engaging speakers I’ve yet auditioned. They could rock out and play very loud and gritty, and they could lie back to deliver delicate acoustic music with all the textural and tonal nuance needed to convincingly sell it as happening live—and that’s within an hour of my return from a concert at Avery Fisher Hall. ■■ 96 www.Stereophile.com, May 2007
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"After intensive listening sessions
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MAY 2007 VOL.30 NO.5 48 61 FEATURES
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Page 78: John Atkinson DESCRIPTION Two-way,
Page 81 and 82: tic-dome tweeter with a more refine
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Page 88 and 89: I think the thing that most surpris
Page 90 and 91: Michael Fremer DESCRIPTION Three-wa
Page 92 and 93: “Measurements” sections knows.
Page 94: ility informing the Diablo’s appe
Page 103 and 104: founded in 2004. The first product
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Page 107: which she played on this recording,
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