La ac 10(10000 euro costa un terzo dei concorrenti che usano gli stessi altoparlanti) ha un solo woofer e i famosi medi e tweeter ceramici della Thiel &Partner-Germany.
BY Stero Times Usa:
Usher Audio AC 10 Loudspeaker
The Proof Is In The Packing
I’ve been very fortunate this past year to spend a lot of time listening to some wonderful reference-quality loudspeakers. With the exception of the dazzling $3,995 Chesky Audio C-1, most of these speakers cost anywhere from $8,000 to $13,000. Speakers in that range tend to be of similar quality and performance so I often have to look hard for something special that may set one speaker apart from the pack. This is usually something completely unrelated to the sound of the speaker, but still leaves a lasting impression about the quality of the company. In the case of the Usher Audio AC-10, that something special was their packaging.
Normally trying to get a speaker the size of the AC-10 back into its shipping carton is about as much fun as trying to get a slippery 5-year-old to stay in the tub after he realizes that “SpongeBob SquarePants” is on Nickelodeon. Even with a little help, packing big speakers can be a world-class bitch. Not so with the AC-10s. While many of their competitors often pack their speakers in something barely stronger than Saran Wrap and chunks of Styrofoam, the Usher speakers come in a nice cloth “sack” and can be easily lifted and set snuggly into heavy-duty cartons with thick foam braces that are form-fitted to the shape of the speakers. This attention to detail is also prevalent in the design and construction of these visually and sonically stunning speakers. But please keep reading to find out more about these special loudspeakers because no one would pay more than eight grand for speakers just because they’re packed nicely … would they?
An Asian Sensation, An American Curiosity
Mr. Tsai Lien-Shui founded Usher Audio about 30 years ago. The company’s goal is to produce very high quality audio components at affordable prices. When the “Dancer Series” (the premier speakers in the company’s rather broad loudspeaker range) popped up on the U.S. audio scene a few years ago, the initial response was rather uneven despite the considerable buzz that they created overseas. Depending on which audiophile chat room or bulletin boards you were reading the Ushers were either “really awesome” or “a complete rip-off” (of another company’s design). The latter reaction is probably due to the fact that many of the speakers in the Usher “Compass” line’s “X” Series and Dancer Series bare a striking resemblance to speakers in the vaunted Sonus Faber speaker line.
Now this wouldn’t be the first time that one speaker designer built a speaker with a strong resemblance to another. Take a look at the Snell XA Reference, which looks like a Thiel design, and remember how much the Carver Amazing loudspeaker looked like the classic Apogees? But regardless of a speaker’s looks the bottom line is how well the design is executed.
Enter the D’Appolito Effect
When I first saw the ads for the Usher speakers two things immediately caught my attention: First, the aesthetics of the cabinetry reeked of fine furniture-quality craftsmanship. Gorgeous hand-built walnut cabinets with gorgeous black satin baffles that are elegantly sloped to enhance sound dispersion and time-phase coherency, are mounted on bases that resemble gorgeous walnut surfboards. Beneath the bases were not just simple threaded spikes, but heavy-duty machined brass cones that help give the speakers an extremely rigid coupling to the floor. Toward the bottom of the rear of the speakers are two sets of gorgeous five-way speaker posts. The result is a speaker that is thoughtfully designed, looks as though it belongs in the Museum of Contemporary Art, and did I mention that it is gorgeous? Also, the speakers are huge. The AC-10, the second smallest of the Dancer series, is still nearly 4’ tall and weighs more than 125 lbs!
Second, and more importantly, was the name of the man who was responsible for their design: Dr. Joseph D’Appolito. Now those of you who have traveled in audiophile circles over the years are very familiar with his name and contributions to loudspeaker design. His midrange-tweeter-midrange (MTM) driver configuration (also known as the D’Appolito configuration) has been used in too many other manufacturer’s designs to name.
So just when did this odd marriage of a renowned speaker designer and a Taiwanese electronics manufacturer begin? “I began consulting on speaker designs for Usher about five years ago,” said D’Appolito. “I designed the crossovers for all the Usher speakers and do the final voicing.” He also specifies the cabinet designs and tests prototype drivers from his lab in Wolfeboro, New Hampshire. Ironically, only one of the top-of-the-line Dancer series speakers utilizes the fabled driver configuration and that is the stand-mounted model 777. The AC-10s, like most of the Dancer series speakers use the classic tweeter-midrange-woofer(s) arrangement.
So when you couple this legendary designer’s expertise, with cabinetry that is this bold and dare I again say gorgeous, the expectation is that there is a new player in town and that he is gunning for that lofty perch of unattainably expensive loudspeakers. Not so fast folks, despite their build quality, looks, and designer’s pedigree, the Usher AC-10s are priced at only $8,400! Now while this is not a cheap speaker to say the least, its quality of build and performance rank it up there with speakers such as the highly-praised Kharmas and Avalons; speakers that cost at least twice as much.
The Wonderful Sound of Misery
The AC-10s are about as close to a complete speaker as I have heard in some time. It begins with those gorgeous cabinets that I described above and continues with their driver compliment. The AC-10 uses a 1” ceramic tweeter and a 4” ceramic midrange much like those used in newest Talon audio designs.
One of the songs that I spent a great deal of time listening to while evaluating the AC-10s was the dark and melodic “Miss Misery” from the Good Will Hunting soundtrack [Capitol 2338]. The song was performed by Elliott Smith. If that name sounds familiar it’s because Mr. Smith at age 34 took his own life in his apartment in the Echo Park neighborhood of Los Angeles on October 22nd.
Smith was once referred to as “the unhappiest man in the land.” After listening to the lyrics of this Academy Award nominated song, it’s hard to argue. The song is about a man who seems to have embraced a relationship with emotional pain. I remembered listening to the song through the AC-10s and noting how purely melancholy Smith sounded on this track. The AC-10s were able to convey the emotion of Smith’s voice and the crispness of his acoustic guitar playing. This can be directly attributed to the splendid imaging afforded by the ceramic tweeter and midrange and Dr. D’Appolito’s crossover design.
Room to Boom … or not
Big speakers such as these tend to flourish in large rooms such as mine (24’ x 28’) since there is plenty of room for the bass to boom. But the AC-10s never exhibited a desire to sound bass-heavy; you might even say that the bass performance was somewhat refined. This is the direct result of a specially designed 10” bass driver that was developed by Usher and manufactured in house. The Yellow Jackets’ recording “ Greenhouse” [GRP GRD-9630] has long been one of my bass performance reference discs. Jimmy Haslip’s super-deep bass lines can reduce a lesser speaker to sounding like a bloated, unmusical annoyance. But through the AC-10s, the bass sounds as if were created by an instrument. This is one of the few speakers I’ve heard that makes using a subwoofer just plain silly.
A good disc for checking out the full musical spectrum is WAR’s “Anthology 1970-1994” [Avenue Records R2 71774]. From the early ‘70s grooves such as Spill the Wine, which featured former The Animals’ lead singer Eric Burdon, to the East L.A. car anthem, Low Rider, the AC-10s bring attention to the fine musicianship of this most under-appreciated R&B/funk/soul band. Of particular note is Lonnie Jordan’s organ playing on cuts like the classic All Day Music. I’ve never heard the level of detail surrounding the keyboard strokes be as well resolved as it was through these speakers. As big as the AC-10s are they do a tremendous job of rendering low-level detail with such finesse that they maintain the individual character of each vocalist; whether it be the gentle sadness of Elliott Smith or the dynamic range of Kurt Elling.
The Revolution Has Begun
During the HE 2003 Show in San Francisco, I was visiting with Stan Tracht of Thee High End, Usher’s U.S. distributor and he gave a complete tour of the Usher line of speakers and electronics all of which appear to be solidly built but reasonably priced. I asked Dr. D’Apollito how were they able to produce such high quality gear at such great prices? “Eastern manufacturing costs are much, much lower,” he said. “Also eastern manufacturing technology has caught up with the west and most of their plants are much newer and more efficient. This is something the rest of the high-end audio manufacturing world will have to deal with.” This is very true. There were a number of other companies such as Xindak and Ming-Da who were making their presence felt at the Show and will continue to offer gear that more than challenges the best of many U.S. companies from a sonic and quality standpoint and absolutely kills them from a cost standpoint. In these tough economic times equipment of the level of performance will become more and more appealing to U.S. audiophiles who simply can’t afford to take out a second mortgage just to build a quality system. In fact, one of the reasons why Dr. D’Appolito is working with Usher is because he is delighted with the value that Usher is offering to the high-end audio world.
The Usher Audio AC-10s are a revelation in every facet of what high-end audio is all about: thoughtful design from a reputable designer, gorgeous looks, the liberal use of high quality materials, great sound and did I mention that they are packaged nicely too. Highly recommended.
8871 review:
NO INFERIORITY COMPLEX
USHER CP-8871 LOUDSPEAKERS
Si tratta della versione con due woofer della 8571 che usa gli stessi altoparlanti della 738!
Although designed in a classical way, but with a unique structure, loudspeakers of the Taiwanese manufacturer win respect by the high quality and universality of the sound they offer. Let us present enormous, high-end loudspeakers, available at a price far from being outrageous.
There is no need to introduce Usher company any closer, since their products are frequently the subject of articles published in our magazine. Let me just refresh your memory by saying, that the company’s headquarters is in Taipei, Taiwan, and the majority of products offered by the company are Joe d’Appolito’s creations, a renowned loudspeaker designer. He is also the father of the reviewed model CP-8871 design.
STRUCTURE
The loudspeakers belong to the Dancer series, which includes two subgroups: loudspeakers equipped with Usher drivers (symbol CP), and those equipped with Accuton ceramic midrange and tweeter drivers and Eaton woofers (symbol AC). Interestingly, cases of the counterparts from both subgroups are virtually identical. Ostensibly, the manufacturer must be thinking that it is worthwhile producing two models, which present various sound characteristics, although visually are very similar. It is a policy quite uncommon at the high-end market. According to the Polish distributor, CP-8871s work best with transistor amplifiers, whereas more costly AC-10s — with tube ones. In reality, the differences between the two models are far greater. CP-8871s have smaller, 8” woofers and are much easier to be set up due to a totally different, i.e. drier bass configuration.
CP-8871 are mighty loudspeakers, although their sophisticated look tries to disguise this fact in a smart way. Though the width (32 cm) and height (137 cm) of the case is an acceptable value, the depth (85 cm) can surprise many an audiophile. The case leans backwards at a significant angle, which increases the minimum distance to the wall (from the front panel). The shape of the case has virtually nothing to do with traditional, cubic shapes. True, the style of the design is similar to other products of companies like Avalon or Sonus Faber, but it does not matter, since the loudspeakers really are impressing. Furthermore, the quality of the assembly can truly compete with the first-rate products available on the market. The front panel, consisting of as much as 4 layers of MDF of the total thickness of more than 6 cm, has beveled side edges, and the bevel extends towards the top. Around the tweeter the panel has a trapezium shape. The upper edge of the front panel is rounded, in order to reduce the diffraction waves radiated by the drivers. The curved side panels, meeting gently at the rear of the loudspeaker, are made of 25 mm MDF, and coated with 3 mm layer of natural wood (two versions are available: dark walnut and birch). Neither of the panels is parallel. The upper one, with a slightly concave profile, rises towards the rear of the case. The interior of the massive cases contains a system of sturdy reinforcing rings, mounted both horizontally and vertically. The effect is an outstanding overall mass — 77 kilos. The craftsmanship of the case is visible not only in the high quality of the woodwork, but also in every detail, such as massive, gold-coated terminals and the manufacturer’s label. One of the obvious disadvantages is cardboard bass reflex tunnels (on the rear panel), void of any rounded surfaces, which results in increased level of noise, or even resonance at the audible level.
According to the manual, during standard exploitation, the loudspeakers should be rested on wooden plinths equipped with large brass cones, but it is not very advisable to mount the cones right after setting the loudspeakers up, because even the slightest shifts of the
loudspeakers along the floor are extremely troublesome, not to mention the destructive influence of the cones on the floor or carpet’s surface. Until the perfect setting has been found, it is better to place the loudspeakers directly onto the carpet or, if the floor is bare, onto a piece of felt.
CP-8871s are 3-way loudspeakers. Two 8955 woofers of 21 cm in diameter reproduce bass, and midrange (300-400 Hz) is reproduced by a 18 cm driver of similar construction (8945), closed together with a 28 mm silk dome in a separate chamber. The above-mentioned drivers seem to be identical with Scan-Speak constructions. Carbon-paper membranes of the woofer and midrange driver come from the same supplier, who cooperates also with the Dutch, but T-S parameters of the drivers are different. The resonance frequency of the 8955 woofer is 24 Hz, a little more than e.g. 21W/8550 Scan-Speak driver, which results from using a lighter membrane. The BI ratio equals 7,47, which is not much considering the enormous magnetic system of this driver, measuring 146 mm. The smaller driver includes a magnet which is “only” 12 cm in diameter. Both of the drivers have baskets cast of light alloys and a ventilated bottom damper. Brass-coating of some elements helps to minimise 2nd and 3rd order THD. In the face of these facts, it might seem weird that midrange driver’s mill is straight, while the wall at that point is 66mm thick. The fact that the air flow behind the membrane is limited, surely does not help the driver to move freely.
The crossovers include components of the highest quality, mounted on two separate plates. Driver connection utilizes standard OFC wire with slides. The woofer filter employs one transformer coil and air coil, coupled together with a parallel capacitor (3rd order filter) and impedance equalization circuit. Owing to this, its module has mild characteristics, however, the two minimal values in the range of below 300 Hz equal approx. 3 Ohms. Positioning of the two coils closely to the crossover is somewhat surprising. Inevitably, it will lead to shared electromagnetic induction. Hi-pass and low-pass filters are of 2nd order type, whereas the tweeter crossover is built of the 3rd order filter, without the adjusting resistor, but containing the Zobel circuit, flattening the driver’s impedance. For more details connected with the loudspeakers’ internal structure please refer to James Moriyasu’s editorial htpp:/www.audioexpress.com/reviews/media/204moriyasu2210.pdf.
SOUND
Realizing the size of the loudspeakers, one can undermine the practical possibilities of setting up the loudspeakers in an ordinary room. However, in reality, CP-8871 do not cause any problems during installation. Clear, linear bass, reproduced “right at the first go” is something that cannot be underestimated in the case of loudspeakers of that size. The general bass characteristics can be described by the following adjectives: precise, contoured and balanced. It is particularly true in the case of acoustic passages reproduced by bass, which is far from being exaggerated, and at the same time is able to reproduce the sound of double bass, which creates a comprehensive, and very low if necessary, foundation for the whole orchestra. However, bass in the Usher loudspeakers cannot be described as powerful, attacking the listener, and easily felt on the whole body of the listener. A more detailed assessment of this aspect will be dependent on the personal requirements and preferences of each listener. In my opinion the sound lacks bass mid subrange. Playing the albums of Marcus Miller, Chick Corea (and the Electric Band) and Peter Gabriel pretty loud did not make me shiver with excitement. Midbass, from 50 to 80 Hz, can be described as a bit shy. As a result, the sound lacks “guts” and the expected impact. Obviously, the assessment of this aspect will be influenced to a large extent by the audition room. Possibly, a “hole” around 60 Hz in my room is partially responsible for these observations. The lowest bass (below 40 Hz) was much more straightforward than mid subrange, but at the same time very disciplined, with impeccable control and scope.
It is the midrange, where CP-8871 prove, what they are really worth. A bit old and dusty Eric Clapton’s “Unplugged” record (American edition) unleashed the openness and realism of the sound produced by these loudspeakers. Crystal clear, light sound rich in aliquots, and perfectly separated sounds of applause, instantly caught my attention. Similarly, the sound stage was exceptionally spatial, and free from any drivers. The stereophonic sound proved to be surprisingly precise. With lights off, it is impossible to guess that the sound is reproduced by such huge loudspeakers. It is worth mentioning, that the armchair I was sitting in was relatively close to the stereo base — 2,7 m. The sources of sound absolutely naturally filled the space between the two loudspeakers, stretching out of the contour of the external edges of the loudspeakers. As far as 3D realism is concerned, the huge Ushers will satisfy many lovers of expensive monitors rested on stands, which — to make things clear — in no way can compete with CP-8871s when talking about the scale of sound and the size of the sound stage. The reproduction of its vertical dimension is not problematic at all, and it is not due to the loudspeakers’ height, but due to great differentiation of sound details in this “most difficult” sphere.
As far as tonal balance is concerned, the Ushers are very close to absolute neutrality. In comparison to Staks reference headphones, their midrange is more displayed. The similar observation concerns reference loudspeakers. It does not mean, that the midrange is unnaturally emphasized. It would be more precise to state, that it sounds very straightforward and crystal clear. CP-8871s appear to be a very objective tool for playing records. Excellent resolution of the above-mentioned range ensures fantastic insight into the recording, with aggression of the sound totally eliminated. Owing to this, the contact with the musicians becomes very close. The timbre of instruments is neither warm, nor cold, but simply authentic. The sound of the piano is particularly convincing. It is virtually impossible to trace any sound coloration, except a slight distortion of clarity in the midrange lower subrange and a microscopic emphasis of the upper edge. It was noticeable only during playing some records with the cello or the electric guitar. The dome sounds smooth, and in comparison to the midrange, relatively gentle. The level of details and their selection in this range deserve a good mark. Obviously, it is possible to come by loudspeakers in a similar price, but with more sophisticated tweeter section. However, I am not sure, if looking for such loudspeakers makes any sense, since all of the many virtues of CP-8871 will be lost.
As an enthusiast of extremely expressive and dynamic sound, my assessment of the tested loudspeakers is positive in respect of the above-mentioned aspects, but I would lie by writing, that it is a totally new quality. Undoubtedly, the Ushers reproduce a good deal of energy and have a good “drive”. It is good, but not very good. The communication of the message is based on the integrity of the ranges, lack of coloration, and relatively hard, punctual bass rather than on speed and comprehension of the reproduced sounds. In my opinion it is the consequence of the type of drivers used in the construction. A big and relatively heavy midrange driver does not transfer such contrasts and articulated transients, as smaller, lighter units. The bass, although extremely deep and perfectly controlled, does not send shivers down the listener’s spine, but focuses on the correct reproduction of timbre and instruments with the “static” characteristics. Despite this, the loudspeakers are familiar with the concept of rhythmical sound. Blues recordings (John Lee Hooker — “The Healer”, Terry Evans — “Puttin’ it down”) sounded really exciting.
Listening to these loudspeakers, I was always accompanied by the sense of comfortable audition, and also by the certainty, that these loudspeakers will not surprise me in an unexpected way. Their sound is in many respects unchangeable and of high quality.
Priced 34 000 z? per pair, the Ushers CP — 8871 are good value for money. They offer a full-scale sound which is very clear, rich in details, has a lot of swing, but at the same time is free from any unnecessary tension or aggression. Neutrality, spatiality and a very satisfactory range of timbre make these loudspeakers a real tool for re-exploring your collection of recordings. Broad and even direction characteristics, as well as clear, dry bass account for the fact, that despite the large size, setting these loudspeakers up is not a problem at all. Low value of the impedance module suggests using efficient transistor amplifiers, but not necessarily very powerful (the efficiency declared by the manufacturer seems to reflect the real value).
To sum up, CP-8871s are the best loudspeakers I have ever tested in the AV magazine. This fact, together with high quality and reasonable price means, that I am not afraid to recommend them to anybody.
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By Norvegian Magazine
"Conclusion These enormous loudspeakers from Taiwan are some of the stylish I have heard and seen. Unfortunately also among the most expensive I have had for test, even that it comes from a low-cost country. But it is not difficult to defence the high price also on the background of the extraordinary elegant cabinet so anyway are a piece of art to use of high class. The sound quality is also at the edge for what that is tecnical possible today." Norwegian magazine "eyefi" number 4 April 2002, written by Knut Vadseth.
Loudspeakers
