|
The Meadowlark Audio Kestrel is a slimline, floorstanding transmission-line loudspeaker that looks like a small Thiel. The sloping front baffle, combined with its minimalist first-order crossover network is intended to reduce time-domaine errors. This produces good imaging and clear detail. Since a first-order crossover minimizes the phase shift of the music signal between the two drivers and the sloped baffle puts those same drivers in sync, the music wave produced should be relatively seamless, hence natural. The “transmission line” here is a labyrinth of a specific length, inside the cabinet, that affects the woofer’s back wave so as to control and :tuner the output. The auim is tight, natural, deep bass.
The Kestrel sports Kimber Kable internal wiring, and the crossover it mounted externally to isolate it. The beveled front baffle is designed to reduce diffraction of the sound wave. This, along with a frameless grillcloth, further enhances clarity, imaging and tonality. In order to dissipate excess driver energy, the Kestrel has a Keldamp damping layer between the drivers and the front baffle and additional damping between the baffle and the cabinet.
Immediately, the Kestrels showed themselves as quick and producing very good bass. On Bob Marley & The Wailers’ Legend (Island Records 7 90169-2), there was solid bass impact with a full, controlled sound. There was a slight emphasis around the tuning point of the transmission line, though this was a good compromise, as the overall tonal balance was even. The timbral accuracy was good, allowing the instruments to retain their character, The rich vocals were natural, while the instruments took on a life of their own. Occasionally, the lowest octave had some loss of timbral definition, a phenomenon sometimes referred to as “one-note bass.” This sound is actually of one character, rather than one note; instruments lose some of their distinctiveness, an effect that occurred here only with very deep notes, such as some of the bass pedals on the organ.
Once properly placed, these floorstanders imaged like demons and sent up a wide, deep soundstage. On the Classic Records re-issue of Gala Performances (RCA Victor LDS 6065), the imaging was appealing and provided a layering of soundstage depth.
Timing was always impeccable, with solid rhythmic coherence and slam. Gala Performances would not sound natural in either tonality and image were it not for great timing. There was slight strain evident in the string section during demanding passages.
On Neil Young Unplugged (Reprise 9 45310-2), all these characteristics of the Kestrels showed up, and in addition, gave a treat on transients. The crispness and snap, when the audience clapped, were more than satisfactory; the initial slaps were quite clean, followed by a very brief hollow resonance. On Legend, the strike of bels and other percussion was very precise. On “Jamming,” it was quite clear when a bottle was struck on the left, while wooden sticks were struck together on the right. The Kestrels never lost the subtle inflections of vocals nor the note-shaping of instruments. Neil Young’s unique subtle vocal variances make his music moving. Lose the subtlety, and the music is lost. That’s what high end is all about -- subtlety.
Yes, the Meadowlark Audio Kestrels are high end loudspeakers. They convey the subtleties of music; give them enough power and they boogie. Not that they’re particularly power hungry. They were jammin’ with Audio Electronics’ 12-watt Se811 Single-ended monoblock amps, though Meadowlark recommends a little more power. In order to get the Kestrels to portray large-scale dynamics effectively, they have to be played a tad louder than I like. Given time, though, the speakers will break in further, becoming more dynamic. The Kestrels are good reproducers of all music types, providing exciting dynamic impact, natural timbre and fun.
|
