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REVIEW: MB Quart Alexxa AS-B1 Speakers

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Model: Alexxa AS-B1
Category: Speakers
Suggested Retail Price: $1100.
Description: near-field monitor
Manufacturer URL: MB Quart
Model Picture: View

Review by NeuGeo on August 06, 2009 at 17:06:30
IP Address: 71.246.111.187
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for the Alexxa AS-B1




The loudspeaker is the exclusive analog interface to the human ear.
For the audiophile it is crucial that the affirmed loudspeaker uncompromisingly replicate sonic information.(preferences notwithstanding)

The Epos M12 monitor has served me well for many years and is quite possibly the most significant accruement ever to enrich my system. (until now)

So, the MB Quart Alexxa B1 sustains the intuitively uniform neutral response and musically engaging characteristics of the Epos. The MB also possess greater power handling ability , a perceptibly deeper bass response, extra mid-bass slam, especially vivid midrange , expanded imaging, and relentless resolution.
But, that’s just my opinion.


HOW LOW CAN YOU GO
MB claims 38Hz on the bottom end of the frequency scale for the B1.
While I was un-able to measure this performance, I have no reason to doubt it.
When the music calls for it, bass output is tight, resonant, surprisingly deep and capable of a robust temperament that is intensely satisfying. The Alexxa woofer can move a lot of air during high SPL events. I capitulate nothing using this stand-mount monitor without a sub. (imho)

IF IT RINGS, DON’T ANSWER IT
Conversely , the high end is also well represented here.
The Epos M12 utilizes an aluminum-dome tweeter and is pitch perfect to my ears. What I mean to say is, the mythology of ringing metallic tweeters does not apply hear.
The Alexxa Titanium dome-tweeter is a noteworthy contrivance.
When the music calls for it, the highs are almost ribbon like, effortless and airy. System synergy can be such a gracious deity. I was not aware that my set-up could produce highs like this.

THINGS ONCE HIDDEN, WILL BE REVEALED
Resolution is the most notable aspect of the MB. Sonic details are significantly magnified, for better or for worse. Most classical and jazz recordings are engineered well ( K-Tel don’t count) So-called popular (pop) music is a mixed bag.
Certain labels, artists, engineers, producers etc. have standards and ideals that bring about great recordings. These speakers are effectively, aural HD monitors.
Music that sounded very good on the Epos, sounds positively outstanding on the Quarts. (CD’s exhibited a more dramatic transformation than vinyl in my system)
Overly compressed recordings sound worst than ever. My (highly competent) analog gear can be considered modest when compared to my digital equipment.
Perhaps future up-grades will level that “playing-field”.

WHAT HAPPENED TO THE MUSIC?
On Love Deluxe (CD) (Epic ek 85243), The Alexxa wholly rendered Sade’s vocal performance. It was lifelike, persuasive and especially involving. Diamond Life (LP) Portrait Records/ 1985 CBS Inc. sounds equally pure and lifelike.
So, which sounds better vinyl or CD? The short answer, I don’t know.
On certain LP’s there’s substantial presence, a persistently enduring character of the analog recording process. By presence I don’t mean to imply midrange prominence, although the event occurs mostly in the mid-band; I am referring to an intentional sounding presentation that goes beyond the recording/playback process and sounds like a singularity. On Roy Ayres , Lifeline -Ubiquity,1977(LP) , Polydor, “Gotta Find a Lover” especially life-like is the vibes solo, its so compelling, its uncanny. It doesn’t sound like its coming from a loudspeaker, it sounds like there’s a active thing in the room creating resonance. While this phenomenon does occur with specific cd’s, its of a dissimilar character. ( IDK)

There are no generalities in this terrain. There is no set pattern here, no guidelines; the nature of the recording venue, the engineering techniques and the process of that recorded medium all combine to create a unique sound.
Your results my vary; hell my results may vary:
Electric-Light-Orchestra, New World Record (Epic/Legacy) cd sounds better than ELO, ELO’s Greatest Hits vinyl, ( CBS Mastersound Audiophile Pressing).
AJA by Steely Dan (MCA) cd sounds just as good as the vinyl version(but not identical). The cd version has more airy high frequency content, especially on the title track. I could sense, rather than hear drum-sticks interacting with the high-hats during the keyboard solo. The highs on the MB reached stratum that the M12 did not. I mean, I know this recording well and did not expect this. Sticks gently tapping high hats, apparently moved up in frequency (higher highs, tangible and airy) with more delicate rendering. The highs were actually higher and softer sounding, while conveying a realistic tactile effects . In all, a very analog sounding occasion. And I’ve been entirely fulfilled with the Epos rendering of this recording. So now, I’m in the process of perception updates.
(Audiophile) Listening works like an incessant feed-back loop. When you supplant your audio hardware, you will ultimately alter your acuity.

When attempting to evaluate the MB with various music selections, something happens.
I become too busy listening to the music and forget to pay attention to what the speaker is doing. Lets forgive the music reviews.






The Very Best of Burt Bacharach, Rhino CD. All of these recordings sound like your right there in the studio with Burt.
“Only Love Can Break Your Heart“, Gene Pitney’s wailing voice comes across convincingly and natural, the ringing bell tones(in the foreground) sounded just as substantial, full bodied and authentic. The strummed guitar in the background, feels like it was played in another room/area. The standard recording techniques of that era have obvious characteristics that at times calls attention to itself.

“Always Something there to remind me” has wonderful vibrant lifelike vocals, with gentile chimes in background, Dusty Springfield, sounds like she’s sitting in on a studio session. Her voice rides on top of the orchestra, she often sounds like she’s in a box devoid of acoustic treatment, or maybe just compressed dynamics? Mostly with compensatory echo, she seems to have the same vocal range as Dionne Warwick but somewhat less refined .

Dionne Warwick, is in the same room as the orchestra during “Walk-On-By” , there’s this horn that punctuates the “walk-on-by” lyric and has a truly vivid live quality, and blends well with her voice, matching it rather than overpowering.

“What’s New Pussycat” , Tom Jones is one badass man, the inflection and power and dynamics of his voice are displayed with bluster and humor and affection here. Gotta love his vocal skills, It makes me smile every time I play this song, great recording, the band is as raucous as his voice is. And that blaring trombone lead-in, is it live or is it Memorex? nah, just MB Quart.


“The Look of Love“, Dusty Springfield is most polished here and best use of echo with her voice, more distant sounding, she don’t sound like she’s in a box anymore. better blend with the orchestra, exceedingly resonant sax-solo comes outta nowhere,


No Doubt, The Singles. Is an extremely well recorded cd, every cut a prime example of modern recording arts and science. Not to mention, what a great freakin group of musicians , punchy bass lines all over the place, the MB totally spewed vigorous power-pop outbursts into my room. These guys are off the hee-zee and lead singer Gwen Stefani’s voice has the expressive capability that matches the virtuosity of this group. Her voice is used more like an band instrument.
I gotta choose ,Don’t-Speak, as a personal-favorite with its raw emotional output.
Keep-on-Dancing sounds like pure Madonna-esq. pop.

Thelonius Monk, Monks Dream Columbia jazz masterpiece, CK40786,
Keys set upon by assured fingers, totally blending with the rest of the band, the acoustic bass, clearly present, not over powering but always there like a strong backbone, its like the bass was coming off the rear wall and everything else came from in and around the speakers. A very immersive experience.

The Alexxa kinda reminds me of Dynaudio and Totem monitors that I‘ve auditioned. I like them a lot too!

MB Quart(Germany) driver/components can be found in:
Thiel Audio, Totem Acoustics, Aerial Acoustics and Avalon Acoustics.
The brand name MB Quart is now owned by Maxxsonics corp. after they purchased the company from Rockford Corp.
(yes, the same guys that effectively snuffed NHT)
MB Quart GmbH no longer exists as a German brand.

The real German is now called Maestro Badenia Akustik & Elektronik GMBH.
Their Linea MS B1 monitor(inverted titanium dome) is where you can find the next generation Alexxa B1.



Product Weakness: sounds like a monitor. not a floor stander.
Product Strengths: high-res audio.


Associated Equipment for this Review:

Amplifier: Bryston 4B SST
Preamplifier (or None if Integrated): Conrad Johnson Premier Fourteen
Sources (CDP/Turntable): Classe CDP10 and Dual CS5000 with BenzMicro MC20 E2
Speakers: Eops M12 and MB Quart(Germany) Alexxa B1
Cables/Interconnects: Harmonic Technology Truth-Links
Music Used (Genre/Selections): blues, metal, pop, rap, jazz, fusion, indie, classical, country, latin, what-have-you
Room Size (LxWxH): 12 x 23 x 8
Room Comments/Treatments: wool felt sheeting
Time Period/Length of Audition: several months, i forget
Other (Power Conditioner etc.): PS Audio UPC 200
Type of Audition/Review: Product Owner
Your System (if other than home audition): yes




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Topic - REVIEW: MB Quart Alexxa AS-B1 Speakers - NeuGeo 17:06:30 08/6/09 ( 0)