LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
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getting <strong>the</strong> t<strong>one</strong> wrong on a couple <strong>of</strong> <strong>the</strong><br />
really large drums. But because <strong>the</strong> b<strong>as</strong>s<br />
response is necessarily limited, <strong>the</strong> problem<br />
w<strong>as</strong>n’t more than detectable. Much<br />
more noticeable w<strong>as</strong> <strong>the</strong> furious rhythm<br />
and <strong>the</strong> energy. That odd scraped gourd<br />
in <strong>the</strong> introduction came on with power,<br />
and so did <strong>the</strong> whistle. The kick drum,<br />
which some speakers simply ignore<br />
(perhaps fortunately), w<strong>as</strong> surprisingly<br />
good. So w<strong>as</strong> Feldman’s piano.<br />
We were curious to see how <strong>the</strong><br />
C<strong>as</strong>tle Richmonds would do on our usual<br />
battery <strong>of</strong> technical tests. We began by<br />
drawing its impedance curve, which is<br />
shown in <strong>the</strong> graph above. Despite <strong>the</strong><br />
claim <strong>of</strong> an 8 ohm impedance, <strong>the</strong> curve<br />
actually gets ra<strong>the</strong>r closer to 4 ohms<br />
over an important part <strong>of</strong> <strong>the</strong> range,<br />
and considerably below 4 ohms at high<br />
frequency.<br />
We set up our precision calib<strong>rate</strong>d<br />
microph<strong>one</strong> 1 m in front <strong>of</strong> <strong>the</strong> Richmond,<br />
but weren’t certain how we<br />
should orient it. We usually position it<br />
on axis with <strong>the</strong> tweeter, but <strong>the</strong> inverted<br />
In an ideal hi-fi world speakers would<br />
all be affordable and equally suited to reproducing<br />
all types <strong>of</strong> music effortlessly. In<br />
<strong>the</strong> real world, many speakers strain with<br />
<strong>the</strong> t<strong>as</strong>k <strong>of</strong> handling <strong>the</strong> weight <strong>of</strong> complex<br />
music. This <strong>one</strong> w<strong>as</strong> no exception.<br />
Choosing a pair <strong>of</strong> speakers is <strong>of</strong>ten a<br />
sum <strong>of</strong> compromises, and, in this c<strong>as</strong>e you'd<br />
best limit your music listening to smaller<br />
groups, with or without voices. You'll actually<br />
be happily surprised, <strong>as</strong> I w<strong>as</strong>, with<br />
<strong>the</strong>se speakers' ability to deliver a clearlydefined<br />
image, and <strong>the</strong> solid, palpable presence<br />
<strong>of</strong> each performer.<br />
—Albert Simon<br />
This is a much smaller speaker than any<br />
C<strong>as</strong>tle we had ever tested, but its considerable<br />
virtues make it a worthy member <strong>of</strong> a<br />
distinguished family.<br />
configuration <strong>of</strong> <strong>the</strong> speaker places <strong>the</strong><br />
tweeter ra<strong>the</strong>r low. We finally put it<br />
at wo<strong>of</strong>er height, but slanted down so<br />
that it pointed toward <strong>the</strong> tweeter. The<br />
resulting frequency response curve (top<br />
right), is very good, especially through<br />
<strong>the</strong> upper midrange and <strong>the</strong> top end, The<br />
waviness in <strong>the</strong> lower part <strong>of</strong> <strong>the</strong> band is,<br />
<strong>as</strong> usual, due to room modes. Of course<br />
<strong>the</strong>re’s not much in <strong>the</strong> way <strong>of</strong> very<br />
low b<strong>as</strong>s. Clean response mostly ends<br />
at 50 Hz, and even <strong>the</strong>n <strong>the</strong> waveform<br />
(second image at right) isn’t really clean.<br />
Below that you’ll hear sound, but not <strong>the</strong><br />
fundamental t<strong>one</strong>.<br />
The 100 Hz square wave (bottom<br />
right) is quite good, with barely a glitch<br />
on <strong>the</strong> riser, and a funny little lateral<br />
wave almost certainly caused by distortion<br />
in <strong>the</strong> b<strong>as</strong>s. But <strong>the</strong>n we do test at<br />
high levels: 100 dB reference level at that<br />
1 m distance.<br />
By <strong>the</strong> usual high end standards,<br />
<strong>the</strong>se are low-cost speakers. They probably<br />
won’t be <strong>the</strong> cheapest in <strong>the</strong> store,<br />
however, and people not used to high end<br />
gear may find <strong>the</strong>ir gaze wandering over<br />
to speakers half <strong>the</strong> price and triple <strong>the</strong><br />
size. But you’re buying music, not scrap<br />
iron. For a price most people can ei<strong>the</strong>r<br />
pay or save up for in a re<strong>as</strong>onable time,<br />
<strong>the</strong>y’ll amply justify buying something<br />
o<strong>the</strong>r than a mini system.<br />
Too bad <strong>the</strong>y’re not available in<br />
CROSSTALK<br />
No <strong>of</strong> course it can’t play a full orchestra<br />
at realistic volume. Of course it can’t reproduce<br />
kettle drums and plucked b<strong>as</strong>ses realistically.<br />
But what it can handle it handles<br />
with aplomb. It h<strong>as</strong> n<strong>one</strong> <strong>of</strong> <strong>the</strong> grey opaque<br />
sound <strong>of</strong> too many inexpensive speakers. It<br />
plays music, for real.<br />
I w<strong>as</strong> bemused by <strong>the</strong> quality touches<br />
C<strong>as</strong>tle h<strong>as</strong> provided even at this price. The<br />
terrific wood finish for <strong>one</strong>. The curved<br />
grille (best left <strong>of</strong>f, <strong>as</strong> usual) for ano<strong>the</strong>r.<br />
And have you noticed that <strong>the</strong>y went to <strong>the</strong><br />
expense <strong>of</strong> making right-left mirror image<br />
speakers?<br />
This is a cl<strong>as</strong>s act all <strong>the</strong> way.<br />
—Gerard Rejskind<br />
Despite <strong>the</strong>ir modest price <strong>the</strong>se little<br />
speakers can give <strong>the</strong>ir owners a lot <strong>of</strong> ple<strong>as</strong>ure.<br />
Find a volume level <strong>the</strong>y’re comfort-<br />
fivepacks. We were thinking that you<br />
could add a subwo<strong>of</strong>er and you’d have a<br />
home <strong>the</strong>atre system that would make<br />
your home-<strong>the</strong>atre-in-a-box neighbors<br />
green with envy.<br />
able with, and you can start to discover <strong>the</strong>ir<br />
numerous <strong>as</strong>sets. I’m talking about image,<br />
depth and width, all <strong>of</strong> which are perfectly<br />
acceptable. If <strong>the</strong> bottom end could use a<br />
little more weight, <strong>the</strong> midrange is very<br />
good and gives <strong>the</strong> music considerable richness.<br />
The sensitivity <strong>of</strong> <strong>the</strong> musicians, heard<br />
through <strong>the</strong>se speakers, is contagious.<br />
Add to that a multitude <strong>of</strong> details, good<br />
inflection, lyrics you can always follow.<br />
These qualities make you forget, or at le<strong>as</strong>t<br />
forgive, an occ<strong>as</strong>ional hardening here and<br />
<strong>the</strong>re, and perhaps a bit <strong>of</strong> drag on certain<br />
rhythms.<br />
On <strong>the</strong> æs<strong>the</strong>tic side, you can hardly<br />
help noticing <strong>the</strong> refined wood finish that<br />
invites you to touch <strong>the</strong>m, to appreciate<br />
<strong>the</strong>ir satin smoothness. These cabinets<br />
were made by artists, not mere laborers.<br />
—Reine Lessard<br />
ULTRA HIGH FIDELITY Magazine 3<br />
Listening Feedback Room