Inner sound electrostatic speakers reviews

Home » Articles » Review. Do you know how a speaker works? Or do you just sit back and listen to the sound coming from a box or tube? The physics behind moving air in regulated patterns is fascinating. Oh, and by the way, all of those space movies and TV shows are breaking the laws of physics since space is airless and sound waves cannot travel through a vacuum — that explosion you hear in the movies? But I digress.

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Content:

• Magico speakers and ??? amplification?
• The Best Speaker Cable
• InnerSound Isis Floorstanding Speakers
• InnerSound Isis Hybrid Electrostatic Speakers; Black Pair
• QUAD ESL 2812 electrostatic loudspeaker
• Innersound ESL300 Mark 1 Electrostatic Power Amplifier
• NEED ADVICE - Magnepan 2.5r vs Innersound Isis vs Magnepan SMGa
• Review: Unity Audio Inner Soul Towers
• Types of Loudspeakers: Proper Guide

WATCH RELATED VIDEO: MartinLogan ElectroMotion ESL Speaker Review - Electrostatic Speakers!

Magico speakers and ??? amplification?

Innersound burst onto the audiophile scene in with the introduction of the Eros, a hybrid electrostatic loudspeaker. Designed by Roger Sanders, the Eros mated a flat-paneled electrostatic driver to a 10" dynamic woofer housed in a transmission-line enclosure. Though credited with inventing the curved electrostatic panel, Sanders had forsaken his invention in favor of flat panels, with their narrower dispersion patterns and resultant reductions in room interactions and distortions.

The Eros caught the attention of many audiophiles and reviewers, who were captivated by its extraordinary soundstaging capabilities, its warm yet natural tonal balance, its holographic imaging, and its nearly seamless integration of electrostatic and dynamic drivers.

The Eros was followed by the Isis, another hybrid design in a smaller package. There are four amplifiers in the Innersound lineup, and the company has recently introduced a solid-state phono preamp to go with its balanced line stage.

They also offer interconnects and speaker cables designed to optimize their other products. If your electrostatic speakers require a heavy dose of current and voltage, the ESL monoblock, capable of delivering a peak current of amperes into an electrostatic load, is specified to meet your needs.

All told, each amp contains a staggering 36 output transistors, all bipolar. Run at full output, the transistors would be capable of a combined W, but unlike the rest of us, these bipolars are not required to work that hard. The output impedance is negligible, the distortion vanishingly small, Innersound claims. The circuit employs neither global feedback nor feedback in the output stage.

Each monoblock is of modest dimensions, weighing a mere 45 pounds apiece. Why so much available peak current and voltage? To answer that question, we have to take a closer look at the practical problems posed by the typical electrostatic speaker. The first problem is how to extract bass with extension, weight, dynamics, and slam -- the same problems many have with planar designs. But to the extent that the criticism applies to electrostatics and planars, it applies as well to most modern single-driver horn designs.

If bass-reproduction problems are not unique to electrostatics, other problems are more nearly so. Whereas dynamic speakers present basically resistive loads, electrostatic speakers are mostly reactive. As the signal changes polarity, an electrostatic sends the signal back to the amplifier, inducing instability. In contrast to many dynamic loudspeakers that present essentially flat impedance loads to an amplifier, electrostatics act like capacitors in that their impedance varies with the frequency of the musical signal.

The lower frequencies present very high impedance to an amplifier, while the higher frequencies present an impedance that can dip below 2 ohms. The problem, however, is not unique to electrostatics, as any owner of the original Apogee Scintilla knows. As impedance drops, an amplifier must provide increasing amounts of current.

I installed the Innersound amps in my current reference system. During the review process I used two preamps: a Counterpoint SA 5. Both the Counterpoint and the JJ are full-function tube preamps, the Counterpoint being both rectified and regulated with tubes.

The Blue Circle Music Ring provided power conditioning; all cable and AC cord responsibilities were impeccably handled by Stealth. Not by design, the room has always flattered good-quality audio systems of all varieties. There are big windows at either end, but also lots of bookcases, art on the walls, soft couches, and a baby grand piano.

The room can be configured to allow me to listen to music when facing the long or the short wall. For the purposes of this review, I listened with the system arranged along the shorter wall. Whereas the MG3. I was able to accommodate both preferred seating arrangements. The short answer: extremely well. Because the Isis is a passive design, the ESL was required to handle both the transmission-line bass as well as the electrostatic panels.

The Isis may be the baby in the Innersound family, but it has a ferocious thirst for power. With the ESL s in place, the Isis transmission line was fully under control, producing authoritative and extremely dynamic bass into the midHz region in my room.

This was the rule. The music had weight but was never heavy or leaden. The ESL s provided a foundation that was sufficient to carry the music, yet agile and fast enough to keep it moving. Nothing sluggish here. In my experience, whereas all electrostatics possess a holographic midrange, some project images lacking adequate body and dynamic drive. Reviewers have tended to focus on the dynamics of speakers as a property that is important primarily for the adequacy of its reproduction of the lower registers, using such concepts as "bass slam" to describe what they have in mind.

The truth is that the midrange must be dynamic and full-bodied if it is to convince the listener that the voice is coming from someone of flesh and blood as well as bones. It was in rendering a palpable, dynamic midrange that the Innersound speaker-amp combination shone.

The midrange was rendered with a see-through quality all right, but the images created were entirely three-dimensional. Heads were most definitely attached to throats, chests, and abdomens. The Innersound combination projected the midrange in a way that charged even my large room.

The sound was alive and vibrant, while remaining completely true to the traditional electrostatic "voice": subtle, nuanced, and seductive. There was no hardness in the upper mids and no etch or edge in the highs. The sound was extended and lovely. Massed violins were sweet and soothing. The Innersound combination was able to draw me into the music as much through its power and dynamics as through its ability to realize the more familiar electrostatic virtues.

The Innersound amp took control of its electrostatic stablemate while never overwhelming it. The amp gave the impression of being in complete control: an unfazed and unassuming presence that was up to the task but without any need to put a stamp on the proceedings. The sound was unfailingly musical, present, and coherent within the confines of a hybrid design, with musical details aplenty, and no thinness, bleached harmonics, or transistor artifacts. In short, if the Innersound combination is any indication, Sanders is right: The limitations often associated with playing music recordings through electrostatic speakers are artifacts of system matching and not inherent limitations of electrostatics.

I had listened to the Maggies several times, but never for an extended period. They struck me as a bit unfocused and veiled -- opaque, even -- with a slight smearing between the upper bass and lower midrange.

Listening to the MG3. The Innersound amp may well be designed for electrostatics, but it was made for the MG3. Veils were lifted, the midbass snapped into focus, and the lower midrange became full and clear.

The bass was remarkably extended and weighty, and the midrange. And the ribbon tweeter sounded like greased lightning, it was so airy. If the former pairing warranted a long-term relationship, the latter called for holy matrimony. If the Innersound-Innersound combination was dynamic -- and it was -- it was nothing compared to the dynamics the Innersound-Magneplanars were capable of.

Not just the room, but the house rocked. It was fun. I loved it, even if my wife and I were charged with disturbing the peace and, worse, reducing property values. I was able to audition only briefly the Innersound amplifier with my dynamic speaker reference, the Green Mountain Audio Continuum 1. The Innersound bested all the solid-state occupants of that link in the chain, but reminded me why I preferred the GMA with tubes. On the one hand, the Innersound produced grain-free highs and a clear window on the sound, while creating a bottom end that lifted and carried the music.

On the other hand, leading edges were a bit less incisive, and the musical detail was not as fully realized with the Innersound as with the tube amp.

While the GMA did not trip up the Innersound, it showed the big monoblock to be a bit less than the last word in resolving inner detail and microdynamic shadings. The Innersound ESL monoblock did not possess that last bit of resolution and harmonic completeness that characterize truly great amplifiers -- of which there are very few, in my experience.

Unlike many muscle amps with similar power ratings, the ESL took charge without issuing a formal announcement that it was in charge, while confidently responding to everything the music asked of it.

Much like the outer design of the chassis that houses it, the amp did nothing to call attention to itself. It excelled by shining the spotlight elsewhere in the system, and always in the service of music. To some, this might suggest that the amp lacked character or personality, but to my way of thinking, this was its character. The Innersound ESL responded appropriately to every situation in which it found itself.

It was never caught short, added nothing, and never drew undue attention to itself. You might purchase different amps for each of these tasks, or you can save yourself a lot of trouble and money by purchasing a pair of Innersound ESL monoblock amplifiers.

The Innersound ESL is terrific, and a spectacular value at its price. Jules Coleman julesc ultraaudio. Warranty: Five years parts and labor. Innersound Central Ave. E-mail: info innersound. Back All contents copyright Schneider Publishing Inc. Any reproduction, without permission, is prohibited. October 1, Innersound ESL Mono Amplifiers Innersound burst onto the audiophile scene in with the introduction of the Eros, a hybrid electrostatic loudspeaker.

Design If your electrostatic speakers require a heavy dose of current and voltage, the ESL monoblock, capable of delivering a peak current of amperes into an electrostatic load, is specified to meet your needs. Why so much power? Ultra Audio is part of the SoundStage! A world of websites and publications for audio, video, music, and movie enthusiasts.

The Best Speaker Cable

Our research shows there really is no best speaker cable. I base this on extensive research on available cables and actual listening tests. The offers excellent value, solid construction, and, perhaps most importantly and surprisingly , better sound quality. But keep in mind that this is the least important piece of gear in your entire home theater setup and the impact it makes is negligible. This well-made, affordable speaker wire, in a gauge that's suited to a wide range of speaker binding posts, will satisfy casual and critical listeners alike. For most of us, the Monoprice gauge is a great deal on a sturdy and widely available cable. In our test setup, it sounded fuller and richer than many of its competitors, especially those with thinner gauges.

InnerSound Isis Floorstanding Speakers

Discussion in ' Audio Hardware ' started by amana9 , Feb 12, Log in or Sign up. Steve Hoffman Music Forums. Magico speakers and??? Location: Natick, MA. Everything sounds really good, but isn't wowing me. I've heard that Accuphase works really well with Magico.

InnerSound Isis Hybrid Electrostatic Speakers; Black Pair

The speaker being reviewed today is not about the latest exotic offering that only a small sector of the audiophile community would be interested in. Look no further! But, if this review was pigeonholed like that, I would be doing a great disservice to Omer Humayun, founder and owner of Unity Audio. In fact, what Omer has done here is to offer us the most direct and cost-effective way to gain access to we are all aspire to have.

QUAD ESL 2812 electrostatic loudspeaker

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Innersound ESL300 Mark 1 Electrostatic Power Amplifier

I currently have a two mono bloc configuration for my main speakers, Genesis 6. Suffice it to say they run hot and they are heavy. I love the look, the weight and appreciate the reviews they seem to receive. With a Class A Stereophile rating they are keeping company with some extremely expensive amps. Is this actually true? Just to complicate matters. PS Audio is releasing an M with a tube input stage.

NEED ADVICE - Magnepan 2.5r vs Innersound Isis vs Magnepan SMGa

Shopping around for headphones is confusing enough as is, and there are a lot of things you need to keep straight. Should you get on-ear headphones or in-ears? Open back or closed back?

Review: Unity Audio Inner Soul Towers

Most audiophiles know of the unwavering commitment to accuracy and groundbreaking industrial design baked into the DNA of every Wilson Audio product website , and the new Wilson Audio SabrinaX loudspeakers are no exception. Dave Wilson practically devoted his life to designing a speaker that would precisely reproduce what his ears and mics heard on his extraordinary recordings. His recording approach was a simple, purist style used to record musicians playing in natural acoustic spaces. It might seem simple, but there is nothing easy about this kind of approach. So it naturally follows that faithfully reproducing the recording of that event in a home listening room was his ideal. Today, Daryl Wilson and the rest of the great crew at Wilson Audio have maintained those same ideals and goals while simultaneously refining, improving, and advancing the product line.

Types of Loudspeakers: Proper Guide

The ambition of this project is to offer a high-end kit that even beginners in loudspeaker building can cope with. Thus a two-way loudspeaker with state-of-the-art drivers, a fairly simple crossover and a cabinet that is easy to construct. The cabinets must be rugged and well braced, but it doesn't have to look nice to sound good. The kit is built around one of the best drivers Danish loudspeaker industry can offer, an 18H52 driver from the hands of Per Skaaning at AudioTechnology, the company that carries the fruit of all experiences gained by his father, Eivind Skaaning, from participating in the development of ScanSpeak and Dynaudio companies. The 18H52 driver used here is made to my specifications and is proprietary to Jantzen Audio.

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