Burmester B10
Burmester B10
B10s are the newborn in the House of Dieter Burmester, the owner of the Company that produces audio equipments. B10s are included in the Classic Line that is designed for a wider public, exception made for the old serie Rondò. These loudspeakers are very well refined and have a technologic look with a glossed aluminum front panel 1 cm thick, very well fixed with shiny steel screws. They have given a special attention to the stiffness of the box, with a baffle of 48 mm - almost 5 cm - so that the return of negative vibrations to the structure of the acoustic box is minimized. The components: a 17 cm woofer with a membrane in fiberglass and a "ringstrahler" tweeter - or ring radiator - both built on Burmester's specific instructions. On the back panel there are the big connectors that are a peculiarity of the Berliner company, the reflex port and a switch for the bass range. In this project the bass range can be adjusted to fit at best all the listening environments. The reflex port can be closed with a thick polyurethane cap that transforms the acoustic box into a sort of air suspension. Moreover it's possible to choose between two different equalizations, with the reflex opened or closed; one of these equalizations increases the frequency response of 5 dB at frequencies of 70 Hz. The equalization is extended and satisfying up to 60 Hz with both configurations (on the producer's website there's the graphic). In conclusion, the facts stated tell of a continuous power around 80 W but this is a very careful evaluation as demonstrated by listening sessions outside my house and in very big places. Impedance is 4 Ohm, sensitivity is 87 dB and the crossover cuts at 2300 Hz.
Dimensions are 22 x 39 x 28 cm for a weight of 11,5 Kg. There are different finish available. The price is 3.800,00 euros/pair plus the cost of the stands that are necessary, since it's a medium-small loudspeaker. As for the stands Burmester suggests Foundation or Acatama, the latter cost 300 euros the couple. The package that contains the two loudspeakers is not easy to manage partly due to its weight - 25 kg - but the protection given by the cardboard and the shaped containers is very good. 
I positioned the loudspeaker at a distance of 110 cm from the back wall on 70 cm stand and with a strong orientation towards the listener. The system to which loudspeakers have been connected is the following: Bauer Dps turntable with Morch DP 6 tonearm and Transfiguration Aria and Denon DL S1 cartridges, American Hybrid Technology phono preamplifier, Spectral DMC12 line preamplifier and Spectral DMA50 power amp with various cables - LFD, MDF, NBS, Audio Note; YBA and others - Magneplanar MG 1.6 loudspeakers.
In my house the best results were performed with the selector on the minus position and with the reflex port opened; I must also say that these loudspeakers were burned in, as they had already been used in the shop from where I took them for my testing. I did not expect the immanence of a system with a higher capacity and big woofers as it was with the JBL4429 or with my Magneplanar, but I found characteristics of high quality and very defined, with the right timing for cue and endings and with every sound clear. This happens at all frequencies but is peculiar in the low frequencies. This was apparent listening to the beats of the bass drum in the Oiseau de Feu By Stravinskij, directed by Dorati on Decca. This recording helps also in the reconstruction of the other frequency ranges and there seem to be no annoying timbre highlights. The soundstage was good in my room when the loudspeakers were oriented towards the listening point. I also noticed that the bass was deep and not hidden by medium bass reinforces helping thus the listening of the lowest range allowed by the woofers. The dynamic contrasts are strong but the small B10 can stand it easily. The sound of Le Nozze di Figaro by Mozart in the recording by Solti on Decca was impressive, let alone comments on Erich Kleiber's performance because I let myself go and sang along more than paying attention to the components’ sound. Every single timbre is perfect and at the right time; violins are never too high, the woodwinds are all well defined, also the low strings are defined in the soundstage. With this recording I kept on turning up the volume. I listened again to the record of Giuliani that I already reviewed for Audio Activity few days ago and I had a very good feedback. A credible flute, a guitar that plays along with the right timing, a soundstage very alive and accurate. With Fratres by Arvo Part on Naxos, the timbre of the recording room is very present. The bass with Fratres goes very deep and is clear in its performance, up to where it’s possible. The power of the bass drum with Magneplanars is bigger, of course. The voices in The Ode for The Birthday of Queen Ann by Haendel on Oiseau Lyre, and especially the boy soprano voices reminded me of the time when I co-directed a similar choir. The B10s underline the fact that the sound of the old violins has been recorded a bit harsh by the Decca audio engineers. The “church like”soundstage present in the recording is good. 
Burmester B10
The limit of the bass that does not go deep is clearly heard in Jazz music like Kind of Blue by Miles Davies for example. I must say that the frequency response can be guessed by the dimensions of woofer and cabinet. With this record I have used a lot the different bass controls. With reflex port closed and on the "minus" position the bass is too fast and is not natural in the fading time, with the reflex opened the situation is more normal because every note of the double bass is followed by the natural echo of the instrument body. Putting the switch on the "plus" position with the reflex closed the sound is more puffy, but always too fast in the fading. I noticed all this in my listening room, so it's up to the customer to choose the right combination for his environment. Once found the right combination the winds are very good and the drum set is well defined. The power is well managed and the limits that the producer indicates seems really too cautious.
The fidelity of the timbre of these B10 is really outstanding despite the price and they play easily at very low volumes, the sound message does not get lost. I've been told that I often pay attention to this parameter - i.e. the listening at a low neighbor friendly volume - but it's because I think that it's really important to have loudspeakers that don't sound well only beyond a certain volume. Two suggestions: the loudspeakers should not be put too close to the wall, with less than 50 cm there is less freedom of the instruments in the imaginary soundstage even if the bass sound can be adjusted. If possible turn the loudspeakers towards the listening point so to see only the front panel, the soundstage will result more defined. It's possible to use 50 cm or 70 cm high stands. With the higher you'll probably have the tweeter above your ears but you will have a clear sound anyway and the soundstage will be more credible - those of you that go often to concerts know what I'm talking about.     3.800,00 euros is not a small sum. If you have decided to spend this amount of money, listen carefully to these B10 together with other medium size high quality loudspeakers you have chosen. They are very far away from the german sound of the 70's and 80's.
I liked them at Top Audio and I liked them even more at my place. Burmester hit the target once again. Domenico Pizzamiglio Translation: Francesca Rubino |