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I particularly appreciate that the placement of the CSP1s’ tweeters
are centered while also positioned in between the low woofer
and the mid cone. This arrangement makes a multiple surround
speaker scenario much easier to lay out, since there is no need to
offset the position of the speaker to compensate for a tweeter that
would otherwise not be centered. Similarly, because of the tweeter
position and successful frequency response matching tests, this
also makes the CSP1s conveniently interchangeable between left
and right. I found that the speakers were consistently accurate and
uniform by comparison, and the stereo imaging and frequency
response were impeccable at both loud and quiet playback volumes.
The CSP1s feature a useful custom high-frequency driver trim
attenuator, a clean and helpful way to adjust the high end, depending
on your listening environment and how far away you prefer to
sit from the speakers. It sounded great on several positions and it
made clever sense on how to fine-tune the speakers without adding
additional audio signal processing. The only downside is that
the attenuator knobs are not notched or labelled, so it might be difficult
to tell how much you are adjusting them without a defined
position or visual indicator.
Overall, I was impressed by the CSP1s’ performance, and it was
exciting to discover their capabilities. While not inexpensive (starting
at $9,995 for the pair), I rate the CSP1s as a feasible alternative to
their PMC or ATC counterparts—which can be significantly more
expensive. So, if you are in the market for such speakers, I highly
recommend that you consider the Christophers for equivalent
results at a more practical price. Plus, the CSP1s are made completely
by hand in the United States.
—Jorge Velasco
christopherspeakers.com
Mojave Audio MA-50
Versatile, Natural Transformerless Sound
Technical Grammy award-winning microphone designer David
Royer and Mojave Audio have released the MA-50, a large diaphragm
transformerless microphone with a cardioid polar pattern
that is considerably less expensive than other Mojave
offerings. The transformerless mic is an unusual category
for Mojave, but the goal was to make a mic that
sounded expensive but could be an option for a home
or pro studio.
Why a transformerless mic? Since transformers
can give gear a certain “sound,” a transformerless mic
could be the way to go when you are in the market
for something that has a more neutral or transparent
quality.
This is a very low-noise mic that has a large-diaphragm
cardioid 3-micron capsule, making it a good
candidate for use in a wide variety of situations. You
can consider using this mic in places where you might
use a small-diaphragm mic, such as a source with
fast complex transients like an acoustic guitar.
It also has a high max SPL handling of 125dB,
which makes it an option for an overhead drum
mic. This is where the versatility comes in.
The MA-50 has a classic design to it and
comes with a sturdy carrying case and
shockmount. There is nothing too fancy
about the shockmount, but it’s solidly constructed
with a metal frame and rubber use
for the cradle portion. It should last much longer
than a shockmount using a fabric-type cradle
that can sag over time.
I had the opportunity to use the MA-50 in a
variety of situations and compare it to a variety
of mics. It really held its own, even paired with
mics that were more expensive by a factor of 2 or 3.
My main test is my own voice, since I do voice work for
a variety of clients and I have a real familiarity with the sound
source and what it’s supposed to sound like. I set up my two
usual go-to VO mics and the MA-50 and ran thruough a
number of scripts. The MA-50 operated about as expected:
a very non-colored, true representation of my voice. One of
my favorite personal mics has a touch of proximity effect that
gives my voice a touch more body; this mic did not have that,
but it did have a nice sheen that I felt sounded very natural. So as
with any mic, it’s about what you want out of it. There is no right
or wrong. It’s worth noting that the mic I prefer on my own voice
is three times the price of the MA-50, so the fact that it’s even
in the conversation, let alone a possible alternative, is impressive.
I also tried the MA-50 against a household-name mic that is found in
most radio stations and is in the same price range. I preferred the MA-50.
Compared to this mic, I really appreciated the authentic, natural sound. I
was surprised at how much better the MA-50 sounded in this test. If I listened
to both demos in a blind test, with both mics being the same price
point, I would pick the MA-50 10 times out of 10.
I also used the MA-50 as mono drum overhead and on an acoustic guitar.
The versatility and natural, open sound were very pleasing in all
instances.
The relatively low price point of the MA-50 makes it a strong candidate
to consider for your next mic purchase.
—Matt Kern
mojaveaudio.com
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