Monitor Audio PL300 II
Those who follow high fidelity since many years, like myself, know that the Monitor Audio British brand has been around for 40 years.
Over time, I happened to listen to their speakers, and among them I remember the Studio 20 model, which in Italy was particularly successful.
To be honest, I didn't love it very much, with its metal dome tweeter that has always seemed to me too “sharp”, annoying. And since then, I couldn't listen carefully other products of this prestigious brand, since the last Munich Hi End, during the introduction of the new Platinum II Series.
In one of those big boxes on the ground floor, which are used as listening rooms, there was a couple of the huge PL500 II loudspeakers. Thanks to the almost-empty room of the Sunday mornings, and the desire to sit down after having walked for three full days, I entered. Well, it took a few seconds of music to understand that I was in front of a champion, regardless of brand or reputation which, by the way, is not lacking in this case.
Monitor Audio displayed on a table spectacular drivers, designed by Monitor Audio engineers. Let's say omething about their production technology, before continuing with the description.
The MPD ribbon tweeter is evidently inspired by the Dr. Oskar Heil's AMT driver, modified so that it can get to play up to 100,000 Hz without drops.
The midrange and bass drivers cones are made with the C-CAM alloy, which is made from aluminum and magnesium mixed, and superficially coated by pure ceramic, in order to achieve maximum structural rigidity. Under the C-CAM membrane, there is a sandwich called DDR-II, composed of Nomex honeycomb, coated at the bottom by carbon fiber. According to Monitor Audio, this technology reduces distortion by more than 8 dBs at frequencies above 300 Hz.
Furthermore, the midranges are housed in a mold, made with a polymer, called ARC, loaded with inert components in order to absorb vibrations and reduce resonances.
The drivers are fastened with a single bolt to the back of the cabinet, with the result of getting an even more rigid structure, internally lined with damping material.
Let's step back a little and talk about the current Monitor Audio production, which is rather complex. Just talking about the Home Audio Series, we have to mention the Reference Monitor, Bronze, Silver, Gold and finally Platinum II Series, each of them include bookshelf and floorstanding speakers, center channel and subwoofer, for A/V purposes.
The PL300 II is the second model of the Platinum II Series, starting from the top.
The midrange and bass drivers cones are made with the C-CAM alloy, which is made from aluminum and magnesium mixed, and superficially coated by pure ceramic, in order to achieve maximum structural rigidity. Under the C-CAM membrane, there is a sandwich called DDR-II, composed of Nomex honeycomb, coated at the bottom by carbon fiber. According to Monitor Audio, this technology reduces distortion by more than 8 dBs at frequencies above 300 Hz.
Furthermore, the midranges are housed in a mold, made with a polymer, called ARC, loaded with inert components in order to absorb vibrations and reduce resonances.
The drivers are fastened with a single bolt to the back of the cabinet, with the result of getting an even more rigid structure, internally lined with damping material.
Let's step back a little and talk about the current Monitor Audio production, which is rather complex. Just talking about the Home Audio Series, we have to mention the Reference Monitor, Bronze, Silver, Gold and finally Platinum II Series, each of them include bookshelf and floorstanding speakers, center channel and subwoofer, for A/V purposes.
The PL300 II is the second model of the Platinum II Series, starting from the top.
The loudspeaker looks stylish, even in its classic look.
The sample under test had the glossy black lacquer finish on the side and rear sides, while the front is covered in good quality grain leather.
The grilles, 3 per speaker, are fully integrated into the front and can be extracted with a supplied small tool. They seem to be pretty transparent to sound, so they can be left in place, to keep the nice look.
The bottom stands are beautiful and they are provided with adjustable, bespoke feet, rubber coated at the bottom, under which you can screw the spikes, if the speakers are placed on carpets.
The sides are tapered toward the rear. The rear side is equipped with two small reflex ports- Their surface is designed with horizontal grooves, to guide the outgoing air flow. The bespoke binding posts are among the best on the market and they accept any power cables termination.
The packaging and the manual tell us that the 300s are designed in the UK and manufactured in China. That does not surprise me, especially when I think back to the good brand cigarette lighters we bought in the 70s and that, in their glossy lacquered versions, were called "Chinese lacquer”. Moreover, we all know by now that in China you can buy quality, or junk, if you do not want to pay for the quality.
The sample under test had the glossy black lacquer finish on the side and rear sides, while the front is covered in good quality grain leather.
The grilles, 3 per speaker, are fully integrated into the front and can be extracted with a supplied small tool. They seem to be pretty transparent to sound, so they can be left in place, to keep the nice look.
The bottom stands are beautiful and they are provided with adjustable, bespoke feet, rubber coated at the bottom, under which you can screw the spikes, if the speakers are placed on carpets.
The sides are tapered toward the rear. The rear side is equipped with two small reflex ports- Their surface is designed with horizontal grooves, to guide the outgoing air flow. The bespoke binding posts are among the best on the market and they accept any power cables termination.
The packaging and the manual tell us that the 300s are designed in the UK and manufactured in China. That does not surprise me, especially when I think back to the good brand cigarette lighters we bought in the 70s and that, in their glossy lacquered versions, were called "Chinese lacquer”. Moreover, we all know by now that in China you can buy quality, or junk, if you do not want to pay for the quality.
The main specifications stated by the manufacturer tell us of a 3-way system with four speakers, impedance 4 Ohms with a low peak of 4.2 Ohms at 111 Hz, 2 x 8" woofers, one 4" mid-range and a ribbon tweeter. The weight is 55 kg each, net.
The frequency response goes from 28 to 100,000 Hz at -6 dB, the maximum power handling is 300 W, the sensitivity 90 dB and the maximum S.P.L. is 117.8 dB (A) with 2 loudspeakers working.
The Monitor Audio PL300d II were connected to the following system:
turntable Basis 2001, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", CD / SACD player: Yamaha CD-S3000, multimedia player: Oppo 105 D, preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers: JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, XLR Super Transparent, Transparent Super RCA, Way PH B 2.2 Ref XLR phono cable, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: SL-Matrix USB MIT, power cables: Shotgun AC 1 MIT, Black Noise Pearl and others DIY, mains distributor: Lector Edison 230/8, mains filter: Black Noise 2500.
The listenings begin with "Tribute", the double vinyl performed by the Jarrett-Peacock-DeJohnette trio (ECM), after the speakers have been playing for about fifty hours at a moderate volume, as recommended by the manufacturer. From here we begin to use suitable volumes to listen often at almost live S.P.L. and this beautiful album, particularly well recorded, is functional to the performance evaluation of the components of an audio system.
As a drummer, I am immediately struck by the correct sound of the drumset cymbals played by DeJohnette, and the strength of the dynamics the Monitor Audio follow flawlessly, even at very high sound pressure levels. The bass is complete even in the lowest frequencies and the piano transmits the usual "ECM sound" that we have come to recognize log time ago.
This is a great record, to listen as it should when the neighbors are on vacation and your wife is not home.
Hard to believe how two so small mid-ranges can play so loud, maintaining cleanliness and transparency that, in some circumstances, come to recall the precision of the compression drivers.
I put on the turntable "Beethoven - Five Piano Concertos" with Claudio Arrau on piano and the Concertgebouw Orchestra conducted by Bernard Haitink (Philips LP). I enjoy a superb listening, given to me by the PL300 II, from all points of view. Composed, rigorous, color-free sound; designed by those who, in addition to microphones and measuring instruments, clearly use their ears. And very good ears, dear readers!
In front of me there's an orchestra that is large, well positioned in the space behind the speakers and extremely balanced in the frequency response.
We can not say that "Yesshows", a Yes' vinyl album by Atlantic Records, is a great recording. In some tracks it's quite closed at the top frequencies and the mid-bass range tends to cover the rest, while the sound is a bit better in other tracks, depending on the places where the concerts were recorded. But when we like a record, and in this case I love to listen to it again, our system must be able to play it at its best, otherwise you'll spend your life listening to the most of the time boring audiophile music, that sounds (almost) well (almost) with any system.
Mission accomplished; the woofer maintains an excellent intelligibility of the low-range (and who knows Yes music, knows how much importance had the work of the bass player Chris Squire in their compositions). Clearly, the low frequency distortion is too low to be heard.
Let's go digital with Handel's Messiah in LSO SACD + DVD edition, with the London Symphony Orchestra conducted by Sir Colin Davis. We immediately appreciate the excellent dynamics of the instruments and choir, while the tonal balance is above all criticism.
The instruments are well placed in the environment and extended far beyond the speakers. The Monitor Audio manage to be serious, very serious, when the musical message requires it. Indeed, the correct term is "rigorous", not to be associated with sensations such as boredom or excessive composure, which are very far from this performance. The voices are always very clear and transparent.
During the listening, I noticed a low-range maybe a little over-abundant, compared to other versions of the Messiah, but a quick check at the composition of the orchestra showed the use of 4 double basses and 6 cellos; the amount of low frequencies that can generate all together is huge and so is correctly reproduced by the PL300s.
The timpani have a realism close to perfection; the heads are in good evidence, as always should be; the mallet strikes the skin, and we have to hear that.
The final Amen, wonderful example of Baroque composition, strikes again for dynamic performance and accuracy in the reproduction of the entire orchestra and the Monitor Audios throw us directly to the London's Barbican Hall. The temptation, at the end, to stand up and applaud with the audience at the performance, is strong.
The "Nutcracker" on Philips CD, in which an inspired Valery Gergiev conducts the former Kirov Orchestra, now called Mariinsky, can be an ugly beast for systems not fully developed or not put up with a large orchestra conducted with the necessary energy .
This ballet by Tchaikovsky, includes sweet and romantic pianissimo and fortissimo of unprecedented violence, with sudden contrasts. Amplifiers and speakers must be very well designed, to provide the illusion of realism that every audiophile (so to say, because ultimately we read wherever the celebration of my-fy) would like to have in his home. The PL300s swallow the abundant amount of Watt that the Brystons are able to deliver and turn them into pure music, without ever going over the top. The tonal balance is always well centered and the “listening fatigue” turns in an unknown expression, although the ribbon tweeters seem to have no upper limits. This results in a feeling of transparency and of air between the instruments that could conciliate every audiophile's taste.
Every little orchestra noise, that I like to call "breathe", it's in a proper light, without any filter; if you have attended a Classical music concert in the first rows of a theater you know perfectly well what I mean. Chairs creaking, musicians who are coughing or clearing their throats, etc.
These Monitor Audios make you hear everything and they do it with an enviable sense of proportion. Even the low range, while being powerful and deep as it should be, it is never dirty or confused.
If the size of your room is huge enough, you will hear from these speakers orchestras that, to a good approximation, will remind you the real ones. Don't believe to audiophiles that say you can not even get close to a live sound: it's not true.
Maybe they can't.
I do not miss listening to "Firth of Fifth" of Genesis, from SACD Selling England by the Pound, at very high volume, to check the power handling of the speakers. The floor and the couch are shaking, but no distortion reaches my ears.
Too bad you're not here to listen with me this fantastic performance. The Phil Collins' ride cymbal is solid, as if it was here in my room. The bass is deep and the guitar screams through the distortion pedal.
In short, did you realize I liked a lot the Monitor Audio PL300 II?
Indeed, let me tell you they impressed me. If pushed with strength and quality by the amplifiers, reward the economic effort needed to take them home.
They are a real reference, sold at a price that is not a reference price, considering the current market of high fidelity.
Hear them absolutely, it will not be difficult, given the wide distribution of the brand around the world and then write me if you agree with me or not.
I already know that, but I wait for your comments anyway.
Angelo Jasparro
Manufacturer: Monitor Audio
The frequency response goes from 28 to 100,000 Hz at -6 dB, the maximum power handling is 300 W, the sensitivity 90 dB and the maximum S.P.L. is 117.8 dB (A) with 2 loudspeakers working.
The Monitor Audio PL300d II were connected to the following system:
turntable Basis 2001, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", CD / SACD player: Yamaha CD-S3000, multimedia player: Oppo 105 D, preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers: JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, XLR Super Transparent, Transparent Super RCA, Way PH B 2.2 Ref XLR phono cable, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: SL-Matrix USB MIT, power cables: Shotgun AC 1 MIT, Black Noise Pearl and others DIY, mains distributor: Lector Edison 230/8, mains filter: Black Noise 2500.
The listenings begin with "Tribute", the double vinyl performed by the Jarrett-Peacock-DeJohnette trio (ECM), after the speakers have been playing for about fifty hours at a moderate volume, as recommended by the manufacturer. From here we begin to use suitable volumes to listen often at almost live S.P.L. and this beautiful album, particularly well recorded, is functional to the performance evaluation of the components of an audio system.
As a drummer, I am immediately struck by the correct sound of the drumset cymbals played by DeJohnette, and the strength of the dynamics the Monitor Audio follow flawlessly, even at very high sound pressure levels. The bass is complete even in the lowest frequencies and the piano transmits the usual "ECM sound" that we have come to recognize log time ago.
This is a great record, to listen as it should when the neighbors are on vacation and your wife is not home.
Hard to believe how two so small mid-ranges can play so loud, maintaining cleanliness and transparency that, in some circumstances, come to recall the precision of the compression drivers.
I put on the turntable "Beethoven - Five Piano Concertos" with Claudio Arrau on piano and the Concertgebouw Orchestra conducted by Bernard Haitink (Philips LP). I enjoy a superb listening, given to me by the PL300 II, from all points of view. Composed, rigorous, color-free sound; designed by those who, in addition to microphones and measuring instruments, clearly use their ears. And very good ears, dear readers!
In front of me there's an orchestra that is large, well positioned in the space behind the speakers and extremely balanced in the frequency response.
We can not say that "Yesshows", a Yes' vinyl album by Atlantic Records, is a great recording. In some tracks it's quite closed at the top frequencies and the mid-bass range tends to cover the rest, while the sound is a bit better in other tracks, depending on the places where the concerts were recorded. But when we like a record, and in this case I love to listen to it again, our system must be able to play it at its best, otherwise you'll spend your life listening to the most of the time boring audiophile music, that sounds (almost) well (almost) with any system.
Mission accomplished; the woofer maintains an excellent intelligibility of the low-range (and who knows Yes music, knows how much importance had the work of the bass player Chris Squire in their compositions). Clearly, the low frequency distortion is too low to be heard.
Let's go digital with Handel's Messiah in LSO SACD + DVD edition, with the London Symphony Orchestra conducted by Sir Colin Davis. We immediately appreciate the excellent dynamics of the instruments and choir, while the tonal balance is above all criticism.
The instruments are well placed in the environment and extended far beyond the speakers. The Monitor Audio manage to be serious, very serious, when the musical message requires it. Indeed, the correct term is "rigorous", not to be associated with sensations such as boredom or excessive composure, which are very far from this performance. The voices are always very clear and transparent.
During the listening, I noticed a low-range maybe a little over-abundant, compared to other versions of the Messiah, but a quick check at the composition of the orchestra showed the use of 4 double basses and 6 cellos; the amount of low frequencies that can generate all together is huge and so is correctly reproduced by the PL300s.
The timpani have a realism close to perfection; the heads are in good evidence, as always should be; the mallet strikes the skin, and we have to hear that.
The final Amen, wonderful example of Baroque composition, strikes again for dynamic performance and accuracy in the reproduction of the entire orchestra and the Monitor Audios throw us directly to the London's Barbican Hall. The temptation, at the end, to stand up and applaud with the audience at the performance, is strong.
The "Nutcracker" on Philips CD, in which an inspired Valery Gergiev conducts the former Kirov Orchestra, now called Mariinsky, can be an ugly beast for systems not fully developed or not put up with a large orchestra conducted with the necessary energy .
This ballet by Tchaikovsky, includes sweet and romantic pianissimo and fortissimo of unprecedented violence, with sudden contrasts. Amplifiers and speakers must be very well designed, to provide the illusion of realism that every audiophile (so to say, because ultimately we read wherever the celebration of my-fy) would like to have in his home. The PL300s swallow the abundant amount of Watt that the Brystons are able to deliver and turn them into pure music, without ever going over the top. The tonal balance is always well centered and the “listening fatigue” turns in an unknown expression, although the ribbon tweeters seem to have no upper limits. This results in a feeling of transparency and of air between the instruments that could conciliate every audiophile's taste.
Every little orchestra noise, that I like to call "breathe", it's in a proper light, without any filter; if you have attended a Classical music concert in the first rows of a theater you know perfectly well what I mean. Chairs creaking, musicians who are coughing or clearing their throats, etc.
These Monitor Audios make you hear everything and they do it with an enviable sense of proportion. Even the low range, while being powerful and deep as it should be, it is never dirty or confused.
If the size of your room is huge enough, you will hear from these speakers orchestras that, to a good approximation, will remind you the real ones. Don't believe to audiophiles that say you can not even get close to a live sound: it's not true.
Maybe they can't.
I do not miss listening to "Firth of Fifth" of Genesis, from SACD Selling England by the Pound, at very high volume, to check the power handling of the speakers. The floor and the couch are shaking, but no distortion reaches my ears.
Too bad you're not here to listen with me this fantastic performance. The Phil Collins' ride cymbal is solid, as if it was here in my room. The bass is deep and the guitar screams through the distortion pedal.
In short, did you realize I liked a lot the Monitor Audio PL300 II?
Indeed, let me tell you they impressed me. If pushed with strength and quality by the amplifiers, reward the economic effort needed to take them home.
They are a real reference, sold at a price that is not a reference price, considering the current market of high fidelity.
Hear them absolutely, it will not be difficult, given the wide distribution of the brand around the world and then write me if you agree with me or not.
I already know that, but I wait for your comments anyway.
Angelo Jasparro
Manufacturer: Monitor Audio
