Joseph Audio Pulsar: Recomended Reference component

  • UltraKops

    UltraKops

    ACA Member

    With a strong subjective performance backed by solid measurements, Joseph Audio’s Pulsar is an easy choice for our Recommended Reference Components list, and might be an easy choice for your home. As Graham Abbott said at the end of his review, “They sound stunning. After hearing them, you, like me, will probably want to own them.”


    Usually, the speakers we name as Recommended Reference Components are large three- or more-way floorstanding models capable of reproducing bass that reaches or approaches 20Hz. Such low-end depth is necessary to reproduce the full range of audible frequencies (aka the audioband), which extend from 20Hz to 20kHz. But sometimes we review small speakers that, despite not being able to reproduce the bottom octave or even the bottom two octaves still deserve recommendation for their exemplary performance above that range. Such a loudspeaker is the Joseph Audio Pulsar, a two-way, stand-mounted design that sells for $7700 USD per pair.

    When Graham Abbott reviewed the Pulsar in January, he dealt with the issue of bass right away. He heard the usual limitations of small speakers, but also some surprising strengths: “Tosca’s Delhi9 (CD, G Stone K-7) has some very deep bass and bass tones that the Pulsars admirably reproduced, trading off the very lowest frequencies for a rhythmic, resonant underpinning that refused to weigh the music down. The Pulsars couldn’t replace the bass reach and solidity of a high-end floorstander, but they might fool you into thinking you’re close.

    “The speed of the Pulsar’s bass was revelatory with acoustic jazz. I played a lot of Bill Evans, and Scott LaFaro’s double bass sounded incredible, with all the sinewy twists and turns in his technique easy to follow -- and the pacing was perfect. That speed and clarity were perfect adjuncts to the tunes on Stoa, by Nik Bärtsch’s Ronin (CD, ECM 1939), in which Bärtsch leads his band through a series of acoustic workouts. The music is at turns bombastic and intimate, the band is incredibly tight and fluent, and the sound is splendid. I played the 15-minute opener, ‘Module 36,’ a number of times back to back. It moves from a contemplative opening to a frenetically paced climax, and the Pulsars’ pace, rhythm, and timing were riveting: kick drums and bass lines were completely distinct, beautifully articulated, and had great impact. These speakers could provide a convincing facsimile of real bass wallop.”

    Above the low end, the good news continued: “The Pulsar’s midrange was equally excellent, with a delightful tonal and textural elegance that combined with that addictively stunning speed and transparency in the bass. Anyone who enjoys solo acoustic guitar must own a copy of Late Works, William Carter’s recording of compositions by Fernando Sor (24-bit/192kHz AIFF, Linn Studio Master). It’s a superlative recording, and the Pulsars delivered massive amounts of detail -- rarely have I heard all the subtle nuances of fingers on strings and fingerboard, and the distinct timbre of nylon strings, rendered so convincingly, or placed within so perfectly described an acoustic.”

    Graham’s highest praise was reserved for the Pulsars’ soundstaging and imaging: “The Pulsars imaged and soundstaged better than almost any other speakers I’ve ever heard, minimonitor or floorstander. The manual indicates that the buyer should expect the soundstage to extend about a foot in front of and behind the speakers. In my room, the soundstage began just behind the Pulsars and went incredibly deep and wide; images floated entirely free of the cabinets. Musicians and instruments were located precisely, their images nicely rounded, clearly outlined without being etched. With some recordings, the 3D effect was almost uncanny, as was the Pulsars’ ability to capture all the subtle ambient cues that make for a particularly immersive acoustic. When I played something recorded in a large hall, I heard that acoustic faithfully reproduced; and smaller spaces felt correspondingly more intimate without losing the sense of real volume.”

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    March 2014

    1  20 Mar 2014  
  • antkots

    antkots

    Registered

    Ενα ηχειο που πραγματικα εμεινε στην μνημη μου με την καλυτερη θυμηση......ειναι αξιον περιεργειας πως ενα τοσο μικρο σε ογκο ηχειο αποδιδει ετσι!!!!!!
    Μπραβο,απο τα δυνατα σημεια του HI END !!!

    2  20 Mar 2014  
  • dapost

    dapost

    Registered

    +1

    Δε νομίζω να υπάρχει ένας άνθρωπος που να μην εντυπωσιάστηκε από τα ηχεία αυτά στις διάφορες επιδείξεις που έχει κάνει ο Γιώργος.

    3  20 Mar 2014  
  • antkots

    antkots

    Registered

    Και εγω ετσι πιστευω Δημητρη

    4  20 Mar 2014  
  • caravelle

    caravelle

    Registered

    Small speakers sounding better, (with their limitations though), if they are properly designed and constructed.

    There are good reasons for that, as explained in an article of the sound magazine "ΗΧΟΣ", October 1978, # 67, p.49,
    (unfortunatelly in Greek language):

    by Th. Spinoulas

    5  11 Apr 2014  
  • kotsidisjohn

    kotsidisjohn

    ACA Member

    φρεσκαδουρα.

    6  11 Apr 2014  
  • caravelle

    caravelle

    Registered

    Έχεις υπ΄όψη σου κάτι, που να αντιβαίνει στα παραπάνω, και να έχει διατυπωθεί πρόσφατα η και παλαιότερα;

    Και τα δικά σου ηχεία, αν δεν κάνω λάθος, σε αυτές τις αρχές στηρίζονται...

    7  11 Apr 2014  
  • caravelle

    caravelle

    Registered

    Kαι το, αρχαίο αλλά διαχρονικό, ΒΒC LS3/5a:

    link

    8  11 Apr 2014  
  • AlexD

    AlexD

    ACA Member

    Τίποτα σε πιο καινούργιο δέν έχεις?

    9  11 Apr 2014  
  • caravelle

    caravelle

    Registered

    Oι αρχές λειτουργίας παραμένουν...

    Για κάτι σε νεότερο, δες τα ηχεία του Κοτσίδη.

    Εδώ το θρυλικό BBC monitor με το sub του:

    Kαι σε φρέσκο: (chiaroscuro)

    10  11 Apr 2014  
  • kotsidisjohn

    kotsidisjohn

    ACA Member

    ιδια ειναι ολα, και του Κοτσιδη μαζι, ολα μινι ηχεια με sub απο κατω.

    11  11 Apr 2014  
  • AlexD

    AlexD

    ACA Member

    caravelle wrote:
    Oι αρχές λειτουργίας παραμένουν...
    Για κάτι σε νεότερο, δες τα ηχεία του Κοτσίδη.
    Εδώ το θρυλικό BBC monitor με το sub του:
    Kαι σε φρέσκο: (chiaroscuro)

    Ναι δέν νομίζω οτι διαφωνεί κανείς πως ένα μεγάλο ηχείο είναι σαν ένα μικρό με μία/δύο/... μονάδες χαμηλών.

    Όλα έτσι είναι. Απλά στου Γιάννη αφαιρείται η μονάδα πάνω. Σε άλλα δέν αφαιρείται. So what? Το θέμα σε όλα αυτά είναι να ταιριάξουν οι συχνότητες αποκοπής στο κρός ανάμεσα στα μεγάφωνα.
    Αν γίνει αυτό δέν υφίσταται διαφορά. Αν τώρα πετάξεις δορυφόρους τυχαία με τυχαίο σάμπ το αποτέλεσμα θα είναι κακό.

    Αυτό δηλαδή λέει και το άρθρο σου δέν λέει κάτι διαφορετικό.

    12  11 Apr 2014  
 
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