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REVIEW: Konus Audio Systems Essence Speakers

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Model: Essence
Category: Speakers
Suggested Retail Price: $3,500
Description: Single driver full-range floorstanders
Manufacturer URL: Konus Audio Systems
Manufacturer URL: Konus Audio Systems

Review by NGeorge ( A ) on March 12, 2002 at 11:26:34
IP Address: 208.196.60.32
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for the Essence


The first thing you'll notice about these speakers is they're gorgeous - and you can stop right there. But you won't because even for their good looks (the adage simplicity is beauty really applies here), they are a lot more than meet the eye.

Designed by Sead Lejlic and Ted Jordan, and hand-made by master craftsmen, the Essence will blow you away.

Like it did me.

Before I start filling this review with cliches and high praises, let me come down to earth with three words to describe them: open, open, open.

Not just open in an even stream of music way, but open with all the valleys and highs that could only be described as life-like. They're also fast, dynamic and incredibly coherent. Yes, these Essence will provide you with a seamless flow of musical wonders that when you stop to fathom what you've just heard, you'll nod and say, "Wow, this is what true hi-fi is all about.

I actually chanced upon these transducers (that's a fancy word for speakers) one day while communicating with Sead on the intenet. (Distributed in the U.S. by www.sakurasystems.com). Saying I was looking to change my speakers, he mentioned a few that I should audition, including one that was his. Why not, I thought, if his speakers are Junji Kimura's reference (the 47 Laboratory designer), then they may be good enough for me!

But how good are they? Let's listen.

On "Lights Of Lousianne" from the album "The Hunter" by Jennifer Warnes (Private Music 1005-82090-2), the Essence's prowess starts immediately. Although not an exceptional recording (sonic-wise), this CD does imaging. With instruments and voice neatly placed, at about the proper height, layered with all the details (and never overlapping), the Essence lets you paint your musical canvas.

Within its 3-dimentional soundstage, there is no one spectrum that is too prominent: each area of the presentation is well balanced. On track #3, "Big Noise, New York," you'll see the same pinpoint imaging that I think will be the Essence's signature and where I believe the strength of these speakers lies. All throughout my listening sessions I found myself transfixed onto a steady, wonderfully natural soundstage.

On Janis Ian's "Breaking Silence" (Morgan Creek 2959-20023-2), listening to it is like hearing it for the first time. You can't help but notice the astonishing clarity, detail and dynamics. Try catching the transient attacks on "Walking On Sacred Ground," or hear the richness of her acoustic guitar on "Tatoo." Coupled with very good bass articulation and sheer transparency, you'd wonder if this disc has been re-mixed! One thing for sure, though, is you'd now want to stay home more and spin CDs - including ones you haven't heard in a long time - just to hear what you may have missed before you got these speakers.

Can they rock?

I alternately spun Brian Adams' "So Far, So Good" (A&M 31454 01572) and Nirvana's "Nevermind" (DGC 2064-24425-2) to break them in. For each track that I played, I held on to my seat. With the buildup turning up higher and higher (these CDs only sound good played loud), my threshold of limitations (to pain) reached newer heights. Where my previous speakers couldn't handle the intensity, the Essence thrived on it. In fact I found myself continually foot-tapping to the music over and over.

Never running out of steam, these speakers had me giving up first to the unrelenting attack while they just stood there without breaking out a sweat. I know because while my mind wanted more Seattle grunge, my ears needed a break.

Switching to Brazilian jazz, the Essence shows another desirable trait. The ability to separate and integrate (again without overlap) bits into a performance of speed and immediacy. On "Samba Dee Days" from "Samba Jazz" (Verve Records V6-8432, Japan) the integration of Stan Getz, Charlie Byrd and all the other musicians, where initially having their own spaces, come together and make this 1962 recording so fresh, so coherent. Most notable the decay heard from Getz's alto sax. (Is that his spit I hear?) Even for an unsophisticated singer like Astrud Gilberto from "Getz/Gilberto" (Verve Records V6-8545, Japan), her unassuming vocals are exactly what makes "The Girl From Ipanema" so special: it's simple and natural.

(Aside from having an engineer who cares, having an accurate loudspeaker that's free from coloration helps, too.)

As open as these Essence are, they're not in-your-face. Revealing? Yes, to the extend of lifting the veil that's normally found in lesser designs. If you have a bad recording, the Essence will reveal it. Operating within a soundstage that's realistic and believable, the transition of sonic is both neutral and smooth.

It appears to me if a design is good, everything else will fall into place. Listen to Nicky Hopkins play piano on "They Are All In Love" from "The Who By Numbers" (MCAD-11493) by the Who. While you'll enjoy Hopkins' fluid piano playing - plus lyrics that contrast the serene mood - check out Pete Townshend's own unplugged while strumming a ukelele on "Blue, Red & Grey." A love song from the Who!

Never one to hold back, Keith Moon was one drummer who could keep up with the best of them. Many times, Pete used to say, Moon kept the music and the band as tight as could be. Sometimes, too, driving the band crazy with his unpredictable tempo and maddening drumming. Nonetheless, he was a great musician and it shows on this CD with his forceful and direct style. It is unmistakably Moon who makes the Who sound so distinctive.

Here's a quiz: Do import CDs sound better than dometic? Absolutely.

Take "The Yes Album" by Yes (Atlantic AMCY-6282, Japan). Being my third copy, after the initial and ordinary analog-to-digital transfer when it first came out, to the more current Joe Gaswirt remastering in 1991, my import disc slays them both with more bite, impact and detail. On "The Clap, the acoustic live solo by Steve Howe, I feel more air and "liveness" on this CD than with the other two.

Whether it's my 47 Laboratory gear, or the Essence, or both that's retrieving so much information, I'm fortunate to say I have them both in my setup: A truly magical combination! On "Starship Trooper," again, the difference are evident. There's more inner nuances; percussion with more body, and the bottom more extended.

In the moving-air department - even with a plinth foot print of only 8" x 12" - the Essence can push air. (The Essence measures about 38" x 12" x 4 1/2" (HWD).

If it defies conventional wisdom or not (big cabinets make big sound), the proof is in the listening. So with my Gaincard set at 4 o'clock, I played Tchaikovsky's "1812 Overture" by Leonard Bernstein and the Israel Philharmonic Orchestra (Deutsche Grammophon 439 154-2 GMA) and waited for something to happen, something to give. Well, the piece stayed intact all throughout and I came away quite awed by the experience. Or try "A Lion In Winter" by the Bee Gees from "Trafalgar" (Polydor 833 786-2). Without the aid of a subwoofer, a minimonitor could never capture the echoes on this song, much less its depth. But the Essence does it so well that I prefer it over much larger speakers as well.

Another surprise is how the Essence makes the ProAc 1SC sound so s-l-o-w. Perhaps it's because the ProAcs have been tinkered too much that the two upgrades were primarily done to satisfy bass buffs, but the overall presentation has slowed down the music. The bass sometimes sounded detached, lagging behind the music.

A full-range, single 4" Jordan JX92S (www.ejjordan.co.uk) drive unit design in a transmission line cabinet (mine came in a beautiful Bosnian pine finish), the Essence will captivate you with an alluring soundstage, precise imaging, wonderful details and a bass that's full, deep and controlled.

For me - considering the many speakers I've listened to in all the big showrooms here in New York City - it's the most significant improvement I've heard in a long, long time.

Finally, what it all comes down to is whether it's raw, pulsating rock, simple, natural vocals, or complex orchestra passages, I find the Essence's resolving ability so solid that I'm wont to ask: "What are you listening to today?"

George


Product Weakness: Still looking
Product Strengths: An open, natural presentation


Associated Equipment for this Review:
Amplifier: 47 Laboratory Gaincard
Preamplifier (or None if Integrated): None
Sources (CDP/Turntable): 47 Laboratory Flatfish/Progression
Speakers: Essence
Cables/Interconnects: 47 Laboratory OTA cable
Music Used (Genre/Selections): As stated
Room Size (LxWxH): 15 x 12 x 9
Time Period/Length of Audition: 2 months
Other (Power Conditioner etc.): Custom-made 47 Laboratory power cord
Type of Audition/Review: Product Owner




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Topic - REVIEW: Konus Audio Systems Essence Speakers - NGeorge 11:26:34 03/12/02 ( 5)