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Davis Acoustics Monitor One
The origin of a satisfactory choice
When we say: "chances…"
A couple of years ago I bumped into the shop of a friend in Milano. As I entered, I realized that in the biggest listening room there was a friend that was listening to a couple of loudspeakers that I did not know. This friend likes the live-like sound just like me, so I decided to enter the room; there were two big 2-ways loudspeakers with a huge reflex port in the front side and a mid-high horn driver playing the Götterdämmerung by Richard Wagner.
I sat on the couch and listened carelessly, but after a while I realized that I was very concentrated. I was actually listening to beautiful voices with the accompaniment of a plausible orchestra, with a powerful and restrained low range and every single set of the orchestra well defined. The voices were very natural and well positioned on the soundstage. I wondered how would these loudspeakers sound in my house?
As soon as the listening of Wagner ended, I took a pop CD - Scream and Shout by Will-I-Am featuring Britney Spears and I turned up the volume of the amplifier. Wonderful, sensational; the live effect was evident. Violent, powerful, a harsh blow at every hit on the drum; the sound pressure was present, everything was at the right place. These loudspeakers sounded at unbearable SPL and showed no signs of effort.
I asked which was the model of these Davis Acoustics loudspeakers: the Monitor One. They explained to me few more details on the "Power" line of the producer. I knew this brand really well because when I travelled to France I listened to this brand speakers many times. I knew that Davis Acoustics production was focused mainly on professional devices and I was really surprised by these home products.
I remembered a correct sound from my previous listenings but here … it was pure excitement, and a correct timbre that is hard to find in horn systems.
I listened to another song from a CD that I accidentally had in my bag. It was the suite from West Side Story directed by Bernstein. I listened and I was surprised. I heard something very similar to what I heard at a concert some time before.
I asked for the price - 4.900,00 euros the pair. I started to think about other high efficiency loudspeakers. I had a few names in mind but they were more expensive and the sound was not so balanced and I considered that the quality price ratio here was very good.
As I got back home I listened to my Audio Note E-Spx speakers and trying to recall the sound heard in the shop, I thought that it would have been nice to get the same sound here.
The sound was nice but not as thrilling as that of the Davis. There was something missing. The sound of the British loudspeakers was nice, dynamic and with a good low range but the sound heard in the shop was different, it was alive.
In the meantime I read on the producer's website something about this product. I also checked different opinions posted in some French forums and the opinion was always the same: good sound at a relatively low price.
Just two drivers: the 12” paper cone, double magnet woofer made by the same Davis Acoustics, the aluminium horn made by the Italian B&C Speakers and a compression driver by the Spanish Beyma. A good crossover that cuts at 900 Hz, on the back of the cabinet the bi-wiring binding posts and on the front the huge reflex port. The grilles you can see in the ports are necessary to avoid that Satie and Ravel, our cats, can go in the heavy and well damped cabinet.
When we say: "chances…"
A couple of years ago I bumped into the shop of a friend in Milano. As I entered, I realized that in the biggest listening room there was a friend that was listening to a couple of loudspeakers that I did not know. This friend likes the live-like sound just like me, so I decided to enter the room; there were two big 2-ways loudspeakers with a huge reflex port in the front side and a mid-high horn driver playing the Götterdämmerung by Richard Wagner.
I sat on the couch and listened carelessly, but after a while I realized that I was very concentrated. I was actually listening to beautiful voices with the accompaniment of a plausible orchestra, with a powerful and restrained low range and every single set of the orchestra well defined. The voices were very natural and well positioned on the soundstage. I wondered how would these loudspeakers sound in my house?
As soon as the listening of Wagner ended, I took a pop CD - Scream and Shout by Will-I-Am featuring Britney Spears and I turned up the volume of the amplifier. Wonderful, sensational; the live effect was evident. Violent, powerful, a harsh blow at every hit on the drum; the sound pressure was present, everything was at the right place. These loudspeakers sounded at unbearable SPL and showed no signs of effort.
I asked which was the model of these Davis Acoustics loudspeakers: the Monitor One. They explained to me few more details on the "Power" line of the producer. I knew this brand really well because when I travelled to France I listened to this brand speakers many times. I knew that Davis Acoustics production was focused mainly on professional devices and I was really surprised by these home products.
I remembered a correct sound from my previous listenings but here … it was pure excitement, and a correct timbre that is hard to find in horn systems.
I listened to another song from a CD that I accidentally had in my bag. It was the suite from West Side Story directed by Bernstein. I listened and I was surprised. I heard something very similar to what I heard at a concert some time before.
I asked for the price - 4.900,00 euros the pair. I started to think about other high efficiency loudspeakers. I had a few names in mind but they were more expensive and the sound was not so balanced and I considered that the quality price ratio here was very good.
As I got back home I listened to my Audio Note E-Spx speakers and trying to recall the sound heard in the shop, I thought that it would have been nice to get the same sound here.
The sound was nice but not as thrilling as that of the Davis. There was something missing. The sound of the British loudspeakers was nice, dynamic and with a good low range but the sound heard in the shop was different, it was alive.
In the meantime I read on the producer's website something about this product. I also checked different opinions posted in some French forums and the opinion was always the same: good sound at a relatively low price.
Just two drivers: the 12” paper cone, double magnet woofer made by the same Davis Acoustics, the aluminium horn made by the Italian B&C Speakers and a compression driver by the Spanish Beyma. A good crossover that cuts at 900 Hz, on the back of the cabinet the bi-wiring binding posts and on the front the huge reflex port. The grilles you can see in the ports are necessary to avoid that Satie and Ravel, our cats, can go in the heavy and well damped cabinet.
Back to the story: after a couple of days I went back to the shop and I asked for a "private listening". I had my CDs with me and the listening began. The amplification chosen was not the best possible and it was in trouble with the top range. The recording were all very different from one another despite, the characterization given by the amplifier.
The Miserere by Arvo Part was powerful, natural and distinct. The soundstage was present and very deep. The pedal of the organ sounded as it might have sound during the recording (ECM always displays the pictures of the recording location). The tubular bells sounded clear and strong and trumpets could be heard from the back of the scene. Voices were amazing.
The Départ by Rhim had a devastating dynamics, sounds were quick and decaying times were correct. The soundstage was less huge than that of the Miserere, the breathing of the instrument players had the right evidence in the recording.
Pogorelic played Mozart and the piano appeared in front of the listener. Sounds came from silence and have the right timbre and the correct weight.
The Ouverture by Rossini directed by Abbado seemed to be played by a small radio. The sound was pressed, not present and shabby, not very captivating.
Too many differences, it was important to listen with more attention.
In order to do so, I asked my friend Pietro C. to help me, and with his small van we took the big boxes from the shop to my home and we carefully carried the boxes upstairs, at the 4th floor.
For the first listening I put the loudspeakers 50 centimeters away from the back and side walls. I pointed them towards the listening position. I connected the whole system and I got an exaggerate low range sound - I verified with the test CD that the issue were around 80 Hz - but also a free sound that was dynamic and well positioned in the space.
I asked the opinion of a few friends and with regret the ANs were sold to a friend. I kept the Davis Acoustics. I wanted to find the right positioning to obtain the best sound and for a couple of days I did not play music.
I started listening again and I put the loudspeakers in the spot that still hosts them today, but I tried also different positions that were not quite as satisfactory. Well what I have decided is that the loudspeakers must be toed in one meter behind the listening point and far away from the back wall. It is also useful to lift the back part so that the horns are pointed toward the listener.
The Miserere by Arvo Part was powerful, natural and distinct. The soundstage was present and very deep. The pedal of the organ sounded as it might have sound during the recording (ECM always displays the pictures of the recording location). The tubular bells sounded clear and strong and trumpets could be heard from the back of the scene. Voices were amazing.
The Départ by Rhim had a devastating dynamics, sounds were quick and decaying times were correct. The soundstage was less huge than that of the Miserere, the breathing of the instrument players had the right evidence in the recording.
Pogorelic played Mozart and the piano appeared in front of the listener. Sounds came from silence and have the right timbre and the correct weight.
The Ouverture by Rossini directed by Abbado seemed to be played by a small radio. The sound was pressed, not present and shabby, not very captivating.
Too many differences, it was important to listen with more attention.
In order to do so, I asked my friend Pietro C. to help me, and with his small van we took the big boxes from the shop to my home and we carefully carried the boxes upstairs, at the 4th floor.
For the first listening I put the loudspeakers 50 centimeters away from the back and side walls. I pointed them towards the listening position. I connected the whole system and I got an exaggerate low range sound - I verified with the test CD that the issue were around 80 Hz - but also a free sound that was dynamic and well positioned in the space.
I asked the opinion of a few friends and with regret the ANs were sold to a friend. I kept the Davis Acoustics. I wanted to find the right positioning to obtain the best sound and for a couple of days I did not play music.
I started listening again and I put the loudspeakers in the spot that still hosts them today, but I tried also different positions that were not quite as satisfactory. Well what I have decided is that the loudspeakers must be toed in one meter behind the listening point and far away from the back wall. It is also useful to lift the back part so that the horns are pointed toward the listener.
I tested their sound with different amplifiers.
With a Primaluna the mid range was too evidenced and I did not like it.
With a Cayn it wasn't bad but the low range was withdrawn, with an Almarro the low range was very good and the mid and mid-high range were wonderful. Unfortunately, the sound was too mellow in the top range.
Then I tested the amplifier that my friend Gabriele Serpentino designed and built for his own use. The sound was nice but to drive these Davis we need accurate and powerful tubes. These loudspeakers sound good both when play at loud or low sound pressure level; anyway they need a powerful amplifier to get the full and rich sound that they can give you.
I have a Bryston at home that I wanted to try. It's the small 2B-LP and I decided that this Bryston was the amplifier that performed best. I have listened to music at a very high volume but the device had never reached the clipping. All in all I think that 60 watt for each channel on 8 Ohm are enough but I'd like to try also the new Bryston Cubed that Angelo reviewed and that I listened in his room; those Bryston have 1 kW for each channel, a smaller model will be enough.
Finally we were ready. I adjusted a bit the position of the loudspeakers in order to avoid the resonance peak that they had at around 80 Hz and I never moved them since then.
A friend that visited me at home asked me to explain why I have chosen the Monitor One. Well all those that come to visit me and listen to my system are very impressed by it because it sounds really great. But I have chosen the Monitor One mainly because when I listen to music there is nothing between the music and me. Is it due to high efficiency? I think so, but it must be also due to the speakers' quality that do not colour the music. This makes me think of Angelo Jasparro, that once tried the JBL 4350 has not changed anymore.
The first thing that everyone notices is that there seems to be no limit to the music. This is one of the advantages of an efficient device. The two features that impress most the listeners are the freedom of the sound and the free flowing of natural dynamics in its tiniest variations and that can explode with big orchestras. This same freedom can be appreciated when listening at a moderate volume to trios or quartets.
The second comment that my friend often make is that these loudspeakers are horn loaded but do not sound like horn loudspeakers, or in other words they do not have the mid range in evidence and their sound is not nasal. These Davis do not colour sounds; Davis did a great research work and coupled a driver with a metal horn in order to produce natural sounds, only sometimes with some instruments, oboe- clarion or bassoon, a hint of horn-coloured sound may be present but it is never heard with voices.
Listening to voices with the Monitor One is a real pleasure; they are rich in details, natural, well positioned on the soundstage. some people say that horns are not fit for voices, but the more I listen to these loudspeakers the more I wonder if it is really so.
Since Davis Acoustics have arrived my system plays even better. Unfortunately if the recording is not good they evidence it.
Rock music is reproduced well. Of course recording matters but once again the sound is powerful and majestic, the soundstage changes as the volume is raised and many sensations can be compared to those of a live concert.
Jazz music sounds very good, too. The timbre of the different instruments is well evidenced especially if we think that it is a two ways design. Metallic percussions sound very sharp and detailed and not anonymous as one may think since it has a horn with a pretty big diameter driver.
The real surprise comes when we listen to a symphonic orchestra recorded in high quality. The sound is full, rich in hues and dynamic and can transport the listener to far away places.
Voices sound really great no matter what you listen. It could be the Monodie of Hidegarde von Bingen sang by Mme Kirby or the voices of the Haendel Messiah directed by Hogwood, or again the Nozze di Figaro sang by Samuel Ramey and directed by Solti or any other well recorded singer, the result is the same: the voice is very rich of shades and very alive.
Am I in love with these loudspeakers? No, not at all. I have only realized that these Monitor Ones are perfect with all music genres. They are serious loudspeakers.
They have two big limits: one is the aesthetic side. They do not look nice, the varnished version is even worst in my opinion and with the grid on the situation is even worst. The second limit is the price: they are not expensive and for this reason they are put in a sort of limbo where many other speakers can be found. Speakers that do not have the same features of the Davis.
4.990,00 euros for the pair is not a present but is a price that makes you think a lot.
They are also heavy and bulky, the packaging is huge and the brand is not so famous. Once you want to resell them it will not be so easy, but, who cares? I do not want to get rid of them, with them music is music, being it a string quartet, a contemporary composition, Wagner, Monteverdi, The Rolling Stones or Dizzie Gillespie.
Any music sounds at its best and it is great to listen even at a very low volume, not bad isn't it?
Domenico Pizzamiglio
Manufacturer: Davis Acoustics
With a Primaluna the mid range was too evidenced and I did not like it.
With a Cayn it wasn't bad but the low range was withdrawn, with an Almarro the low range was very good and the mid and mid-high range were wonderful. Unfortunately, the sound was too mellow in the top range.
Then I tested the amplifier that my friend Gabriele Serpentino designed and built for his own use. The sound was nice but to drive these Davis we need accurate and powerful tubes. These loudspeakers sound good both when play at loud or low sound pressure level; anyway they need a powerful amplifier to get the full and rich sound that they can give you.
I have a Bryston at home that I wanted to try. It's the small 2B-LP and I decided that this Bryston was the amplifier that performed best. I have listened to music at a very high volume but the device had never reached the clipping. All in all I think that 60 watt for each channel on 8 Ohm are enough but I'd like to try also the new Bryston Cubed that Angelo reviewed and that I listened in his room; those Bryston have 1 kW for each channel, a smaller model will be enough.
Finally we were ready. I adjusted a bit the position of the loudspeakers in order to avoid the resonance peak that they had at around 80 Hz and I never moved them since then.
A friend that visited me at home asked me to explain why I have chosen the Monitor One. Well all those that come to visit me and listen to my system are very impressed by it because it sounds really great. But I have chosen the Monitor One mainly because when I listen to music there is nothing between the music and me. Is it due to high efficiency? I think so, but it must be also due to the speakers' quality that do not colour the music. This makes me think of Angelo Jasparro, that once tried the JBL 4350 has not changed anymore.
The first thing that everyone notices is that there seems to be no limit to the music. This is one of the advantages of an efficient device. The two features that impress most the listeners are the freedom of the sound and the free flowing of natural dynamics in its tiniest variations and that can explode with big orchestras. This same freedom can be appreciated when listening at a moderate volume to trios or quartets.
The second comment that my friend often make is that these loudspeakers are horn loaded but do not sound like horn loudspeakers, or in other words they do not have the mid range in evidence and their sound is not nasal. These Davis do not colour sounds; Davis did a great research work and coupled a driver with a metal horn in order to produce natural sounds, only sometimes with some instruments, oboe- clarion or bassoon, a hint of horn-coloured sound may be present but it is never heard with voices.
Listening to voices with the Monitor One is a real pleasure; they are rich in details, natural, well positioned on the soundstage. some people say that horns are not fit for voices, but the more I listen to these loudspeakers the more I wonder if it is really so.
Since Davis Acoustics have arrived my system plays even better. Unfortunately if the recording is not good they evidence it.
Rock music is reproduced well. Of course recording matters but once again the sound is powerful and majestic, the soundstage changes as the volume is raised and many sensations can be compared to those of a live concert.
Jazz music sounds very good, too. The timbre of the different instruments is well evidenced especially if we think that it is a two ways design. Metallic percussions sound very sharp and detailed and not anonymous as one may think since it has a horn with a pretty big diameter driver.
The real surprise comes when we listen to a symphonic orchestra recorded in high quality. The sound is full, rich in hues and dynamic and can transport the listener to far away places.
Voices sound really great no matter what you listen. It could be the Monodie of Hidegarde von Bingen sang by Mme Kirby or the voices of the Haendel Messiah directed by Hogwood, or again the Nozze di Figaro sang by Samuel Ramey and directed by Solti or any other well recorded singer, the result is the same: the voice is very rich of shades and very alive.
Am I in love with these loudspeakers? No, not at all. I have only realized that these Monitor Ones are perfect with all music genres. They are serious loudspeakers.
They have two big limits: one is the aesthetic side. They do not look nice, the varnished version is even worst in my opinion and with the grid on the situation is even worst. The second limit is the price: they are not expensive and for this reason they are put in a sort of limbo where many other speakers can be found. Speakers that do not have the same features of the Davis.
4.990,00 euros for the pair is not a present but is a price that makes you think a lot.
They are also heavy and bulky, the packaging is huge and the brand is not so famous. Once you want to resell them it will not be so easy, but, who cares? I do not want to get rid of them, with them music is music, being it a string quartet, a contemporary composition, Wagner, Monteverdi, The Rolling Stones or Dizzie Gillespie.
Any music sounds at its best and it is great to listen even at a very low volume, not bad isn't it?
Domenico Pizzamiglio
Manufacturer: Davis Acoustics
