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Image HiFi Magazine, 5/2008Loudspeaker Review: WLM La Scalaby Cai Brockmann, photos by Rolf Winter(Translated to English)_______________________________________ _______________________________The Return of the Paper Cone - Three letters spread out through the world.Well known by three letters nobody questions anymore where these letters came from now that the former Vienna loudspeaker manufacturer - “Wiener Lautsprecher Manufaktur” - officially changed into “WLM Loudspeakers”. WLM of Austria already gained a rock-solid reputation on international markets as some of the finest sounding and crafted loudspeakers for home applications in the world.During this year’s High End show in Munich, I got stuck once again longer in the showroom of WLM than usual during audio shows. It sounded way too good to just catch a quick listen, and far away from the often noticed mediocre soundstage blamed to show conditions. As for WLM it becomes routine to reproduce sound on such a high level, pleasing, inviting and quite rousing even if one peeked by the door only for a brief moment (what I did more than once).When I got to hear the price of this precisely imaging and space-filling loudspeaker, it was clear – I soon have to audition a pair of this just-launched La Scala! And since the La Scala Monitor is only 500,00 EURO cheaper (and needs to be stand-mounted because of the smaller cabinets), I asked for the “real” La Scala. But don’t let yourself be fooled by its attractive price tag and geometrically plain shape - a lot of development and brainwork are put behind the La Scala. Of course, high quality parts and pristine workmanship are taken for granted as on all WLM productsDuring the design of both La Scala models, Hannes Frick and Martin Schützenauer of WLM Loudspeakers focused on a new entry level of their line (which was formerly the popular Diva models) but maintaining the virtue that lead all WLM products to their great success. To control production costs, the La Scala will only be available in two finish options – European Cherry veneer with black frontend or completely in matte black. My test La Scala has been the European Cherry version to contrast with the matte black frontend. I liked it! Workmanship is simply exemplary with its end-to-end veneer, the neat shadow gap on the back, the premium loudspeaker terminal and the high grade steel spikes. A front cover is available as an option against a small extra charge for those La Scala owners who don’t like the “bare” drivers on display for everyone to see because of the tweeter which might raise eyebrows. Here we are not talking about a dome or ribbon tweeter, nor a horn tweeter for the high frequency range - but an old fashioned paper cone driver. This is not even a high-tech derivate from space research but a rather plain, “vintage-style” built 64mm cone driver featuring a special rear sealed steel basket and paper diaphragm. Before anyone mean to know better – pause for a moment, put every measuring instrument aside and just listen. WLM view this as being purely practical and a perfect match with the bass driver in terms of tonal integration and by means of natural sounding partial resonances.By the way, the German chassis specialist Visaton supplies the WLM-specified transducers for the La Scala. With its 22 centimeters of diameter the decently dimensioned bass driver leads to instant satisfaction along with the paper cone tweeter. It’s the overall performance rather than being a specialist in single disciplines which proves the bass driver to achieve the desired sound signature. The paper cone is silky coated and thus appeals to me a bit flashy, but who cares? Both drivers are covered by a decoration trim-ring made of black aluminum with an inner/outer radius chamfer gleaming like silver – a WLM-typical style element – which leads to a noble appearance of the “La Scala” in script. The bass drivers and paper cone tweeters are OEM designed by WLM and Visaton and are manufactured according to strict specifications from the Austrians. Each driver is carefully hand-selected in Vienna to arrange well-matched pairs. According to WLM it is especially this time consuming selection where one may find the secrets of exemplary good sound. Another secret of course is based in the crossover network. WLM prototype specialist Martin Schützenauer spent plenty of time to develop – or more precisely to reduce the crossover to its absolute minimum with no more than just a handful of selected parts, directly attached to the engraved single-wire terminal where one also finds a treble control to fine-tune HF-balance to room and taste.The solid and twin braced cabinet features a floor firing port and allows fine tuning since adjustable spike lengths regulate floor distance. The La Scala is easy to set up and a joy to play from the very beginning, but of course improves its performance once again through careful adjustments. After 1-2 weeks of continuous operation the La Scala is fully burned-in and simply superlative in its price class.The indicated efficiency of approx. 93dB seems to be realistic, so I started with a combo of Audio Note P2 SE amp on its 8 Ohm outputs and A23-loudspeaker-cables. With the tweeter control in 0dB-position this already is a fine-tuned setting for most of the good classical recordings where the La Scala reproduces a spacious sound with rich tone and texture. Harmonics of cembalos, strings and flutes are well integrated, top end is open and detailed, but never runs the risk of sounding aggressive.With a level adjustment in its plus range the top end might get too much of a good thing as I found in many modern recordings. But that of course is up to personal taste, recordings, room acoustics and electronics. However, the tweeter control can be varied widely to accommodate their listeners with a well balanced and natural sounding reproduction.At the other end it surprised me how a 2-way loudspeaker could reproduce such quality with sufficient low bass. The La Scala plays the low- and mid frequency range well articulated, spacious and smooth with a proper foundation of scale and sound pressure but never runs the risk of swapping definition for restraint. Music is built in such a way, that you get confronted with a sound experience where one becomes part of musical event. Even drums, percussions, organs and full-size orchestras are built with high energy and an undeniable character of reality in relation to the real circumstances - respect WLM.The La Scala is in top shape with a bass reproduction of the highest caliber, as I`ve already mentioned, with speed and authority out of its 8” driver whose floorstander version encloses 46 liters. The La Scala leaves no doubt at the authority of the respective bassist to be reproduced. She not only clearly shows the tonal signature of a contrabass, no matter if strongly pulled, powerful slapped or stringed but also knows to distinguish between different e-basses. It is probably her speed that applies everything in its proper place even at high SPLs, where other bass-reflex constructions might drift into muffled sound due to indifferent movement of the air. Very well done by the La Scala!This is also true for the tweeter who integrates perfect with the mid/woofer where the music appears wide open and spacious, even if the loudspeakers have to be further apart than generally. The virtual stage transported into the living room is authentic with verve and emphasis but without tonal shifts. Simply a multi-talent and exceptional in its price range. Chapeau, La Scala!Conclusion: What pleases: Honestly superior. Uncomplicated and a joy to play. Tweeter control and pristine workmanship.What is absent: To be honest – nothing!What amazes: That only WLM use paper cone tweeters.What next: Arrange the La Scala, fasten to the sofa and bathe into music.
