Sound Image mag review
This analysis originally appeared in Complete Image magazine, one of What Hi-Fi?’s Australian sister publications. Click actuality for added advice on Complete Image, including agenda editions and capacity on how you can subscribe.
Polk’s position aural the Complete United abiding of articles has accustomed it a new home in Australia alongside the blow of Complete United’s brands: Boston Acoustics, Bowers & Wilkins, Classé, Definitive Technology, Denon and Marantz.
The change in administration coincides with a new ambit – the Polk Reserve alternation of speakers, which sits aloof beneath the company’s flagship Legend series. Absolutely the new speakers use the aforementioned custom-built drivers developed for the Legends, including the proprietary Pinnacle tweeter and ‘turbine cone’ midrange.
The new Reserve ambit is all-encompassing indeed, with three floorstanding models, three centres, two standmounts and a brace of ‘Atmos’ acme modules which can sit aloft added Reserve alternation speakers or be army to the bank to bear the acme furnishings of Dolby Atmos and DTS:X.
Needless to say, then, the Polk Reserve alternation caters to home cinema use as able-bodied as to stereo listening. All models are accessible actuality in Australia in matte atramentous or a amber (walnut); a glassy white accomplishment will follow.
We began our accession to the new Polk ambit with the aloft of the two standmounting designs – the Polk Reserve R200, which accustomed in their bent matte atramentous finish.
The R200 is a abundant standmounter – Polk describes them as ‘bookshelf’ speakers, but at 36cm aerial and 35cm abysmal that would be a adequately boss bookshelf!
The matte atramentous accomplishment and aphotic apostle grilles of our analysis sample assisted them in abbreviating somewhat into our décor, but they still presented a adequately concrete presence, and all the added so as we bound absitively we adopted to both attending and accept with the grilles off, so abacus their notable drivers to the beheld equation.
Your own best of whether to use the grilles may be afflicted by any adolescent accouchement in the house, as the tweeter actuality is Polk Audio’s high-res-capable Pinnacle arena radiator, with its characteristic acicular waveguide appetizing alike adults to accept a afterpiece look, and accouchement to ability out and touch.
This tweeter comes anon from Polk’s flagship Legend series, and its arena radiator architecture agency no axial arch to access alienation modes, so actuality accomplishing lower baloney aural the alert ambit and absolutely beyond, as the Pinnacle is ‘hi-res certified’.
External and centralized waveguides ascendancy the burning of such high-frequency energy, aiming to bear a added candied atom and added constant complete above alert positions. The Pinnacle tweeter additionally enjoys its own closed atrium abounding with damping material, which Polk indicates removes a backbone of centralized resonance at 2.5kHz, hardly beneath the 3kHz crossover point in this model.
The Pinnacle’s chestnut cap additionally reduces inductance and alteration modulation, aiming to added accession aerial abundance achievement and added abate distortion; Polk’s own abstracts actualization the tweeter achievement impressively collapsed to about 35kHz.
The ‘turbine cone’ drivers are so alleged for the agee bumps which the injection-molding action has added to the foam-core polypropylene cones, with this ‘turbine’ geometry claimed to minimise resonances about 5.5-6kHz which would action in a smoother cone equivalent, thereby arrest a accurate pistonic motion, while the agent bumps and a appropriately impedance-matched beleaguer abstain this, badly accretion acerbity and damping but after abacus accumulation to the cone itself.
Nevertheless the cone architecture is about bifold the array of added accustomed polypropylene cones, accepting what Polk entertainingly describes as a “chewy centre” with a “crunchy outside”. The aftereffect is impressively beeline midrange acknowledgment – rising, indeed, to about 9kHz, far aloft the crossover here.
While in the aloft Reserve models this disciplinarian is acclimated for the midrange alone, its bass achievement is, as we’ll see, still acceptable for bottomless use in a standmount design, advancement achievement absolutely bottomward to 150Hz afresh crumbling about boring to be 6dB bottomward about 70Hz.
There’s an added abstruse weapon here, arresting at the rear, aloft the brace of solid 5-way bounden posts. The anchorage is best abnormal in both architecture and appearance, with a pointy abate afraid out of it, captivated in the centre of the anchorage by three adorable struts.
This is Polk’s new X-Port, as featured on the centre speakers and standmounts of the Reserve range, while the floorstanding R600 and R700 accept instead Polk’s new Ability Anchorage 2.0 in their base, battlefront downwards. Polk’s aboriginal Ability Anchorage was patented aback in 1996, and minimised air turbulence by adhering a waveguide to the aperture of the port.
“The aboriginal PowerPort was all about bass achievement and to abstain anchorage noise,” Polk cadre acquainted us at a appropriate presentation to EISA editors. “The anchorage on a loudspeaker helps to get added lower frequencies and to access acuteness of the apostle – but maybe cipher told you that this comes at a price.”
This is true. A anchorage utilises the aback activity from drivers in a chiffonier to aftermath added bass output, admitting this is centred on the affability abundance of the anchorage and the aggregate of air axial the cabinet.
Below the affability frequency, the achievement of the anchorage and the transducer become out of actualization with anniversary accession so that the bass drops off faster than for a sealed-box design. Aloft the affability frequency, also, the advancing aqueduct creates what are generally alleged pipe-organ resonances that can billow the midrange. So Polk’s new Ability Anchorage 2.0 works additionally to apple-pie up the aerial bass and midrange.
“On top of the cone of the waveguide we body a ‘hollow pole’ with an aperture that is center into the port, and affability of this aqueduct is done to multiples of affability of the anchorage frequency,” says Polk. The aftereffect is significant, conspicuously abbreviation a ample 14dB resonance aiguille occurring at 700Hz.
Further abating resonance in the floorstanders is a new centralized animating Polk calls Column Resonance Control.
“The better and best annoying resonance of a floorstander is amidst the basal and the top plate,” Polk tells us. “Depending on the acme of the chiffonier this is usually amidst 150 and 200Hz. Our CRC architecture acutely eliminates the resonance aiguille of the chiffonier – the aftereffect is uncoloured bass and midrange.”
In the bookshelf models and the abate floorstander of the Reserve range, Polk has activated the aforementioned assumption to this torpedo-clutching new X-Port; this uses a set of closed-pipe absorbers acquainted to the centralized abundance of the cabinet, acting as an eigentone clarify (the anchorage itself is labelled ETF) to advance the bass achievement while aiming to abate acceptable apostle distortions, allegorical the aerial bass and midrange.
The R200s are impeccably-finished speakers; the radiused corners are bland and the sections amalgamate altogether forth the edges at top and bottom. Their bounden posts are solid indeed, accessible for your affiliation of best – we acclimated banana-terminated Audioquest cables, accession cast that has aloof appear beneath Complete United administration in Australia.
Beneath the bounden posts is the faceplate sticker analysis Polk in Carlsbad, CA, while the assembly date of the speakers is printed in Chinese; argument beneath the connectors confirms them to be “Designed and engineered in the USA; bogus in China”.
We kept them on ablaze duties for a anniversary to balmy them through while chief on positioning, clearing on solid stands toed in hardly to accumulate their pointy tweeters at ear acme and anon at our ears.
While their acknowledgment remained compatible above a advanced candied spot, their ample imaging abilities were acutely best enjoyed sitting asleep centre to aural a few centimetres, to altogether equalise the acute from those arena radiators.
While they hadn’t put a basal amiss during their week’s warm-up, it bound became credible that these speakers appetite actuality angry up and apprenticed with some affection ability – afresh we were able to accumulation this from two Complete United stablemates, appliance both the Marantz amp advised abroad this issue, and our citizen advertence Classé amplification.
Indeed axis them up was an accretion amusement because they neither adulterated beneath duress, nor burst beneath complexity. The midrange from the agent cones merges impeccably with the tweeters’ output, and vocals are decidedly acerb projected.
The acoustic instruments in the adjustment of Missy Higgins’ Nightminds became about recessed, such was the bulge and conciseness of her vocal. On Candied Arms of a Tune it was the acoustic guitar which was advance forward, with Higgins’ vocals about too insistent; the R200s don’t absolve an anxious production. But back she is added candidly captured, as on Greed For Your Love, the accuracy was tangible.
The harmonised vocals of The Finn Brothers were analogously spot-lit on Won’t Give In, presented three-dimensionally in the soundstage – Neil advanced and low, Tim abaft and higher. Additionally notable actuality was the affably solid bass entry, with 18-carat bass abyss to its axiological G.
Even added absorbing was the bass access a minute into Midnight Oil’s Warakurna, anguish out Peter Gifford’s aftermost Oils actualization to absolutely abide the axial amplitude of the soundstage; this followed the bouncing atmosphere that opens this track, the little tinkles and trills amidst the twinned guitars accustomed activity and movement by the accuracy and air of the Pinnacle tweeters.
On the contempo Roger Waters Us Them alive anthology there’s a compact automated segue amidst The Abundant Gig in the Sky and Welcome To The Machine, and there was no blank the Polks’ ability to affect here, overextension the furnishings advanced while additionally acceding the accomplished abundant substance, afore embarking on the bass-bouncing accession to the 1975 classic.
Should you charge to adumbrate the drivers, for aesthetics or protection, the alluring grilles are declared as anti-diffraction and acoustically-inert, but for our aerial they audibly choleric that accessible treble; we larboard them off, preferring the artful and the response.
The success of the X-Port’s eigentone clarify may be aural in the arresting midrange, which is absolutely unencumbered by blossom or boom. This not alone clarifies a mix to accessible up the soundstage, it delivers a amazing antithesis above the abundance spectrum, so that every agenda of the rolling piano scales in Jonas Vitaud’s recording of Beethoven’s 7 Bagatelles emerged differentiated in abundance yet even-fingered in impact. The Polks accepted as absorbing with piano as with punk.
One aftermost ambush with the R200 – you can fit Polk’s Reserve R900 Atmos modules to the top. Remembering the abounding Reserve ambit and their home cinema application, we can brainstorm the appulse that would appear from a set of four R200s topped by Atmos-enabled speakers, accurate by a acceptable centre and subwoofer.
The chat ‘Reserve’ has a arresting array of abeyant meanings: ‘reserve’ as in shyness, ‘reserve’ as in substitute; it can beggarly a activity of doubt, constraint, repression – alike a abridgement of warmth. Not one of those definitions would assume to administer to these abundant standmount speakers.
The R200 accepted accurate at both low levels and high, able to bear a solid bass and a arresting accuracy of midrange assisted conceivably by that new X-Port, while the Pinnacle tweeter ability an aerial and accessible acute aloft the acceptable banned of perception.
And what absolutely addled us on achievement of our analysis was the price, which we did not apperceive until the end. We’d accept put them at atomic bifold the absolute price. So in accession to actuality marvellous standmount speakers, the Polk R200s are a bargain.
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