Eton Adventure A1-160 in the original hierarchy is second from the top level, yielding the forefront acoustics D1-160. And not so long ago, A1-160 has undergone a renewal, a symbol in the model appeared the final letter SG. At first glance, the new components is difficult to distinguish from those of the past, unless, of course, do not assume the appearance of a once-a pale tan solid diffuser. On the corporate website states that changed settings midbasa, so that we can expect from the new midbasa several other parameters. How different? When we started the test, this question was our main, if not the only one. Ah, often have to remember the wisdom: “Things are not as they seem – not things are as they seem.”
Cast chetyrehspitsevaya basket midbasa devoid of any signs of voicing. The material of the diffuser is still (despite the sunburn) is proprietary designation Hexacone. This three-layer composition, its unprecedented rigidity provided by a central cell layer of magnesium alloy, which is supplemented with the two sides of fiberglass. That’s only the bottom layer “sandwich”, it seems, has undergone changes.
With regard to possible changes in the shape of the profile, then something is safe to say I will not resolve. As before, the “cone” – not really a cone, but rather a parabolic segment – its generators are not convex, but rather concave. In general, this design is softer than the usual cone, but the cellular composition and geometry of such a lack of rigidity. There should be enough … And yet, as the least stringent of the diffuser section is its central part, the changing conditions of the transition in modal mode, and the nature of the radiation at high (for midbasa) frequencies. Taken lightly dimensions of the magnet (102 x 15 mm), partly due to increased (32 mm) diameter voice coil, but with a serious view of this magnet. The diameter of the axial hole for a coil, even a modest – 12 mm. O-ring on the rim is not, nor should be, complete array is mounted under the casing head. Contact terminals are designed for use terminals, “forks” – is one of the elements of Germany’s engineering school in acoustics.
Tweeter traditionally has a low “profile”, but rather serious diameter. Tissue membrane to form closer to a balanced dome, since the radiation is involved and external to the voice coil part. The diameter of 37 mm, the actual size of the dome 29 mm. Mounting accessories – mandatory “cup” and the housing for surface mounting with a neat reversal of the axis at 15 degrees. In the crossover is nothing superfluous: two “air” coil and a polypropylene capacitor (400 V, by the way). I think it is clear that the formula is perhaps only this: I + II. Transferring terminal, “spade” a contact to a contact, you choose the level of the tweeter: 0/-3/-6 dB.
As always, when listening to the need to begin to determine the attenuator. In the top of its surplus position of the upper does not feel: small plates are not very bright, although extra stiffness is noticeable. If the transfer terminal at the middle contact plates become more restrained, but the filling stroke in this version seems more natural. Had the idea that option with bi-Aping and active filters can be and raise the level, and timbre to withstand most natural. But here, today, and now listen to as a terminal and return to the original (top) position. Tambourine quite recognizable, natural attack, musicality, too, not height.
In the bass quite honest relief, the attack is mostly natural, except that jerk string is too loud. Solid, large and with well-designed double bass. Saxophone detailed and moderately dynamic, but the tenor seemed to decrease in size and becomes similar to the alto saxophone. Flute lacks smoothness, on some notes of their sound goes to the brink of molestation. In male vocals remarkable articulation, but some high notes lose their restraint. In the women’s vocals at times appears not quite appropriate pressure, not too much, however, prevents the perception of comfort. Backdrop scenes sound a little approximate and is transmitted in great detail (perhaps for that very reason). In general, here we have one rare case where timbre liberties seem to be quite logical and natural woven into the musical narrative.