Well, to expand on my my pre-review of the RC3R...
The speakers arrived in two seperate boxes. These are a demo pair that have been making the rounds, and while they have some dings in them thanks to Fed Ex and UPS (they have been around a bit), I must say that they were very handsome speakers. Nice rosewood finish on built like a tank cabinets. The size is interesting: while they need stands, they are larger than the average monitor speaker, but take up less space than a floorstander (a nice thing.) I suppose that if one requested, they could be built as floorstanders, but their size as is makes them easier to move about.
The three-ways incorporate the often seen Scanspeak 8545, a Morel dome midrange (interesting) and an ATD ribbon tweeter. Now, I have been living with Quad 63 USA Monitors for the last year and a half, though I'm starting to dabble with dynamics again (not that I have any plans of getting rid of the Quads, unless for another electrostatic design). All types of speakers have stong and weak points, the Quads being a lack of body and punch on some music. Being a fullrange panel, though, the Quads have coherency in spades (though not quite the magic midrange of a properly restored Quad 57, but, then, nothing much does....) So I looked at these three-ways with just a tiny bit of a raised eyebrow (well, kind of kidding here.) What a nice surprise apon first listen: Rick has done a wonderful job of blending all three drivers (all from different manufacturers.) Everything comes together into a pleasing whole, with no driver calling attention to itself over another. (For instance, a couple years ago I listened to a pair of Triangle speakers. I enjoyed their "speed", but they sounded a bit bright to me. After a while, I came to the conclusion that maybe there was a bit too much energy in the treble region. I felt that I was hearing the tweeter a bit too much.) :nono:
The overall character that I would ascribe to the RC3R would be slightly on the warm side of neutral. If one is looking for a speaker that brings hyper-excitement to things or is very agressive or forward, this is not the one. Instead, the RC3R has a laidback (but not too laidback) yet very detailed character. This is a plus : good recordings would shine, but bad recordings were still bearable (or even enjoyable if one liked the music enough to accept the poor recording. Being a music fanatic first and audiophile second, I tend to listen to a number of poor recordings as well as very good ones.) The use of the ribbon tweeter is interesting. To me, it does not have the sense of added "air" or extra extension that some ribbon tweeters can give. Instead, it sounds a little more like a well designed conventional tweeter, but in a very, very smooth and very, very good way. No fatigue here, but no sense that things are veiled either. Nice.
The Morel mid might be the star here. Nice, fleshed out mids. Good detail here, and this, to me, is the most important aspect of a speaker, where the heart of a speaker is. While not as transparent in the mids as the Quads, it still peforms quite admirably, and with more body than with the Quads (a little more on that later.)
So let us get to the bass. A very good performer for its size. I initially had my subwoofer on (Parts Express Titanic 10 inch sub kit.) There was a nice, deep, full presence going on. After a couple days, I ended up turning off the sub. Surprise! Not much of a change, except for a recording or two with very deep bass. The speakers performed quite well without the subwoofer. My guess is that I was getting stuff into the low 30s, ample enough for the majority of music out there.
As far as the soundstage presentation, the speakers imaged very well. Perhaps not the pinpoint imaging of a small monitor, but very well none the less. They produced a nice field of music that floated in front of me.
In regards to amplification, I first used a single Monarchy SM70 Pro. It's a single-ended Class A mosfet amp, 25 watts at 8 ohms, 40 at 4 ohms. While low in power, the amp is class A and high current. CC Poon of Monarchy told me that once a customer of his used a single one of these to drive a Soundlab electrostatic speaker (strange but true.) The little Monarchy worked just fine on the 84 DB, appox. 4.5 to 5 ohm load of the RC3R. Later, I hooked it up to my Music Reference RM9 (100 watt per channel tube amp.) As would be expected, the extra power resulted in a fuller, more robust presentation. Just for chuckles, I also hooked up a Soundcraftsman amp that I was selling on Ebay (not the most fefined amp, to be sure, but I was curious to try its 200 watts per channel of solid state power.) While in no way as enjoyable as the Monarchy or Music Reference tube amp (though not horrible), it did convey a nice sense of power with the RCRs. So, as far as amps go, I would say if you are going for tubes, think push/pull of at least 50 watts or so, and solid state of 100 and up for maximum heft. You can go with less and be happy (as I found with the little Monarchy amp), but more power will bring...more. As you would imagine at around 84db and with a 4 or 5 ohm load, these are not exactly for the SET gang (though Rick did tell me that people have tried it, and I'm sure it worked, though I can't imagine it being optimum.)
So how did I like them compared to my Quads? Well, they are...different. The Quads have a more open and transparent sound, being fullrange electrostatics, and a very clear midrange (though still not as transparent as the Quad 57.) The RC3Rs, while not as transparent, have body and heft that the Quads can't manage. This made them very enjoyable with percussion in a way that is not possible with the electrostatics. Nice dynamic punch! Nice warmth to the mids.
A friend brought over his Transcendent Sound Grounded Grid and Hagerman Coronet phono pre (I have the kit, have not had a chance to build it yet. Also, after hearing the Grounded Grid, I think I might be leaning towards trying that kit, too, some day. Very nice!) He liked the speakers, and said they made him think of the highly regarded VMPS speakers with ribbon drivers. I have not had a chance to hear those myself.
I won't go into exact music cuts. I'll just say that I listened to rock from the 60s to the present, jazz from the 50s to 70s, some folk and blues, a little classical, as well as some DVD viewing (and Jon Brion's score for "Punch Drunk Love" THAT is a whacky and fun audio treat, the percussion was esp. impressive on the RC3Rs.) The neutral nature of the RC3R served everything nicely, neither adding nor subtracting, just pretty much showing what is there, but not in an agressive or "in your face" manner. As stated before, this is a speaker that you can listen to audiophile recordings and, um, not so "well done" recordings, and still enjoy everything. And isn't that a good thing for the majority of us music fans?
As far as kits or direct marketing go, the RC3R is, price-wise, in an interesting spot. It's not quite cheap enough to be a "budget" speaker, but will not break the bank like some of the most expensive kits. It strives high, and I would agree that it could stand against commercial stuff in the $3000 range, easily. So if this kit (or finished speaker) fits your budget, your taste, and your amplification, I think you will be quite pleased.
Equipment (for anyone interested) Audible Illusions Modulus 3 with John Curl moving coil step-up board for the phono stage. Amps are Monarchy SM70 Pro and Music Reference RM9, phono source is the wonderful Quattro table (designed by Peter Clark of Redpoint Audio Design and Thom Mackris of Galibier Design) with heavily modded Rega RB300 arm and Dynavector 20Xl cartridge, digital source is an Oades Brothers slightly modded Sony ES555 SACD player. Interconnects are a mix of Goertz TQ2, Pure Silver Sound, and borrowed (expensive) Audience AU24 cables. Speaker cables are also borrowed Audience AU24s and Goertz MI2. Power cords are built according to Chris Venhuas' design, with raw cable from him.
