$899 each
4 Stars
A pair of speakers thatโs as American as the stars and stripes and strong filter coffee, and an exciting, dynamic listen
DEFINITIVE TECHNOLOGIES IS one of those loudspeaker manufacturers thatโs instantly recognisable as being American. Like JBL, Klipsch, Infinity and Cerwin Vega, thereโs something in the design and engineering of Definitiveโs products that just says โUSA, USA, USAโ. As it turns out, thereโs something very American about the sound of this particular pair of loudspeakers, but more on that later.
Definitive has been around since 1990 and anyone whoโs spent any time reading American hi-fi magazines will be familiar with the incredibly distinctive Mythos ST and STS SuperTower speakers, thanks to the companyโs long-running prominent inside front cover adverts. With their built-in subwoofers and unique oval shaped โracetrackโ drivers, these tall and slender floorstanders captured my imagination, and Iโve been angling to hear a set for years. When a pair of the standmounted StudioMonitor 65 speakers came up for review, I jumped at the opportunity.
Features and Construction
The StudioMonitor 65โs are big for standmounts, with an odd form factor that actually makes a lot of sense when you consider the driver layout. Measuring 419mm tall by 383mm deep, theyโre almost square from the side but that depth is necessary to house the 12-inch driver in the top panel. Hang on โ a 12-inch driver in a standmounted speaker? What sorcery is this? Well, itโs one of Definitiveโs โracetrackโ drivers, so while itโs 12-inches long, itโs only 6-inches wide, and itโs an unpowered planar (or flat) bass radiator. The cabinet is sealed, which makes the radiator pressure coupled to the two main drivers, so itโs implemented to extend bass response without needing a port of some sort. You canโt see the racetrack driver, hidden as it is under a cloth-covered honeycomb panel, but thereโs no doubt that itโs there once you hear the bass extension.
At 200mm, the front of the speaker is relatively narrow compared to the other dimensions, with a curved glossy anti-diffraction baffle housing two 5.25-inch mineral-filled polymer-coned BDSS midrange drivers and a 1-inch aluminium dome tweeter, which has been heat-treated and coated with a ceramic layer. The drivers are laid out in a D’Appolito or mid/top/mid configuration. BDSS stands for Balanced Double Surround System โ basically in a BDSS driver, the cone is supported by soft rubber surrounds at both the outer and inner edges, which allows it to have a longer excursion and less distortion. These BDSS drivers are some of the strangest looking drivers Iโve seen, thanks to the mushroom-shaped Linear Response Waveguides plonked in the centre of each cone; these are claimed to smooth off-axis frequency response and disperse the sound of the drivers over a wider area.
The StudioMonitor 65โs are rated at being an 8 Ohm load and are claimed to have a very high 92 dB sensitivity, a power handling of 20-300 watts and a frequency response of 30Hz to 30kHz. The crossover network apparently features oversize inductors and Mylar capacitors to improve sound quality, and thereโs an integrated Zobel network to flatten the impendence curve and make the speakers easier to drive.
The twin pairs of binding posts are connected with plated metal links. As binding posts go, theyโre solid and have flats machined into their top surfaces to allow users to crank them down on spade connectors or bare cable โ they also offer banana plug connectivity. The finish is good in a utilitarian way, with the only really flashy looking bit being that glossy front baffle โ the rest is all matt black โ no shiny wooden veneers are available here. The internally braced cabinets arenโt all that well damped, the smaller curved cabinets of the Monitor Audio Gold GX50 mini monitors (reviewed here) present panels that are substantially more inert. Grilles are supplied, hooking up to the baffles using old school plastic plugs. Being no fan of grilles in general, they were left in the box but theyโre there to tidy the looks of the speakers for those who want a little more discretion.
Sound Quality
I placed the speakers on the Monitor Audio stands that I had in, along with the Gold GX50โs. The size of the StudioMonitor 65โs is obvious when theyโre actually on a stand, but at around 10kg, theyโre not that heavy.
The review set had been run for only a couple of hours, so I set them up to run-in for a few days โ thereโs a note in the box with the manual recommending a few days of โconditioningโ at normal listening levels, and itโs a good thing that itโs there because fresh from the box, these are the flattest and most un-dynamic speakers Iโve ever heard. Six hours later and I could have sworn that something paranormal had happened, because they magically transformed into something rather special, and kept improving for the next 24 hours or so.
Far from being flat and un-dynamic, the StudioMonitor 65โs are actually some of the most exciting loudspeakers Iโve heard in ages, particularly when weโre talking about standmounts. In a post on the Witchdoctor forums, I referred to them as the โrockingestโ speakers Iโve heard in a long, long time, which is a pretty accurate summation of the sound of these speakers. Enthusiasm over nuance and subtlety is a characteristic that I ascribe to some American speakers โ a punchy, dynamic and in your face sound that grabs the attention and doesnโt let it go. Whatever I played on the StudioMonitor 65โs had an intense musicality and a feeling of speed that demanded foot-tapping and plenty of air guitar action.
Some speakers convey the beauty of the music โ picture an audio demonstration by a very British loudspeaker firm, with a smart suited company man informing you that โyouโll hear the delectable resonance of the triangle on the far left of the sound stage, while the deep, rumbling, hollow brass note of the oboe is clearly discernable at the rear of the acoustic space.โ Thatโs definitely not whatโs on offer here โ rather itโs a guy in jeans, boots, a muscle shirt and a megaphone yelling: โLISTEN TO THAT GUITAR DUDE!!!โ. Thereโs a time and a place for the former, many audiophiles requiring and demanding it, but if you want to enjoy your music, then the StudioMonitor 65โs do exhilaration like no other speaker Iโve encountered in this price range.
Itโs difficult to qualify exactly what gives the StudioMonitor 65โs this exciting sound. The large cabinet and that big radiator mean that these speakers go low for standmounts, yet the bass is always fast and taut, sounding just like a sealed cabinet in terms of pace, with no overhang and of course, no port chuffing; but the thrill and energy arenโt all about the bass. Basically it comes down to a sensation of speed through the frequency range, right to the very top.
The aluminium tweeter contributes to this quality โ itโs a projective sounding unit with a vivid and forward character. Itโs recessed into the baffle, so it must be loaded to a degree by the short horn shape surrounding it, which explains some of its sound. Also, like many metal dome tweeters, itโs got a distinct, almost aggressive edge to it, which heightens the overall sense of speed. Thereโs something of a splashy nature on bright recordings, especially at high levels, and while itโs a long way removed from the smoothness of a soft dome unit, itโs not generally intrusive or harsh โ just obvious. Thereโs no sibilance at the top but youโre never in any doubt as to the presence of the tweeter, or its material. The twin midrange drivers are also quick, and they combine with the tweeter to provide impressive attack and intensity on transients.
Play something that starts off with nothing but a strummed guitar, even at low volume levels and your head will nod and your feet will tap as surely as if youโre spinning hard rock. The guitars on โThe Man Who Sold The Worldโ off Nirvanaโs MTV Unplugged In New York immediately had me hooked, and I found that there was no way to just sit there and coolly analyse the nature of the sound I was hearing, because the music was so lively.
The guitars on โHigh Schoolโ from The Watson Twinsโ Southern Manners had a driving sound to them that they had my whole body rocking along โ and this is absolutely not a rock song! This is a perplexing sensation but itโs huge fun, which is the StudioMonitor 65โs in a nutshell. The vocals on this track were clear and nicely defined while the low frequencies rumbled menacingly (which is how theyโre meant to sound) considering that I wasnโt listening to floorstanders. Even โShoot The Lights Outโ from the same CD had me tapping along on the floor, despite being a slow and almost sombre song. Thereโs no shortage of detail here; from the sound of the initial guitar to the phrasing of the two vocalists, the speakers lay everything out as clear as sunlight in the desert, with a lot of air and space around the instruments, but this detail isnโt all that tonally nuanced.
These speakers were always about the pace of the music though, and it didnโt matter what I listened to โ the rhythm was always contagious. โTuckerโs Daughterโ and โGreen Riverโ from Ian Mossโ Six Strings sounded good with plenty of weight and speed. Frank Blackโs Fast Man, Raider Man was also a blast through these speakers, as were Santanaโs Supernatural and Shaman CDs; which were particularly vital and dynamic. Cranking 10CCโs โArt For Artโs Sakeโ from Greatest Hits And More to massively high volume levels (far more than I usually apply to most review speakers and literally loud enough to chase the neighbor out of her house – how was I to know that she was home in the mid afternoon?) showed that the weighty bass stayed controlled regardless of how much power I threw at them, but the recordingโs bright balance meant that the treble got out of hand and I couldnโt take it for too long. The speakers sounded unburstable though, with no sense of compression as the power and noise rolled upwards. They donโt need loads of power but theyโre not averse to it, either.
They donโt offer anything close to a laid-back presentation โ itโs not even in the same vicinity as mellow, but theyโre none the worse for that. As long as the recording isnโt too bright or harsh, then the sound has been judged finely enough so as not to be fatiguing, at least to my tastes, but if youโre looking for a warm, rich presentation, look elsewhere. Theyโre not lean thanks to all that bass, but they are explicit and forceful โ more like professional monitors than anything else. This comes back down to my perception of the American sound: if you value musical excitement over all things, then these (and other American speakers) will rock you.
The StudioMonitor 65โs should be reasonably tolerant of a good range of components and they seem to be easy enough to drive. They wonโt much like partnering with overly bright or forward sounding amplification or sources though; that would likely be too much of a good thing, so some sympathy in system matching is critical here.
Placement And Soundstaging
While Definitive states that the StudioMonitor 65โs are designed for both stand or shelf placement, itโs hard to see how theyโd do well on a shelf, because they sound best with some space around them. Admittedly thereโs no port to worry about, but that top radiator still makes its presence felt if they get too close to the rear wall.
I settled on having them sited with the rear panel at least 45cm from the wall, and they needed a heavy toe-in to get the soundstage to come into some kind of a focus (even more than the user manual suggests). This exacerbates the treble but itโs the best compromise. Even then, while the soundstage was broad, it was quite shallow and they never quite vanished as much as I would have hoped despite the MTM driver layout, so I was always somewhat aware of their presence. I tried moving the speakers well into the room but this aspect of their performance never really improved. The imaging was diffuse, without the โlocked in spaceโ quality often found in standmounted speakers โ the Linear Response Waveguides lurking in the midrange drivers are designed to disperse โsound over a wider area for crystal clear intelligibility for every listener in the roomโ, which they obviously do, and thatโs all very well but it surely does cut down on the precision of the image placement.
Conclusion
The StudioMonitor 65โs responded very well to the clean and powerful sound of the Parasound Model 2100 preamp and Model 2125 power amp pairing that I had in for review, and the sense of speed was further enhanced when I replaced the basic copper cabling with some of Nordostโs seriously quick Blue Heaven II speaker cable and interconnects.
However, they were at their dramatic best with faster and more capable amplification. The speakers should theoretically have been well out of their depth but they had no hassles showing off what my Viganoni and Viganoni Sachem monoblock power amps could do. These amps are among the quickest and most dynamic Iโve heard for less than silly money, and with the Rogue Audio Metis Magnum preamp (reviewed here) and my Marantz SA8260 SACD player in the loop, the speakers just blasted along, making everything from rock to folk sound acutely involving.
Iโm not talking about the emotional involvement that comes from the beauty of the music, or immersive textural detailing that creates that sense of intimacy, but rather the sheer addiction of a presentation this intense. Iโve heard more detail, more bass and a more neutral character, hell Iโve heard more of a great number of things on any number of the speakers that Iโve reviewed, but I donโt recall hearing quite this much exhilaration from anything short of powered near-field monitors.
The rather basic looks and finish ceased to worry me after a while โ there are heaps of more polite options with deep glossy veneers out there; you buy these for their sound. The overall sound quality was more than I expected from speakers at this price point, and while it definitely wonโt be everyoneโs cup of Earl Grey tea, itโll appeal to some folk in the way that a giant sized mug of extra dark, strong filter coffee with six sugars does. I really liked these speakers, andtheyโll be one of my first choices when I finally get round to getting my second system up and running.
The StudioMonitor 65โs arenโt flawless, and theyโre certainly not ultra-neutral audiophile instruments, but they absolutely, positively make music fun. Theyโre very nicely priced considering their performance โ itโs hard to believe that this much dynamism is available for this kind of money. Try them first โ youโll know very quickly if theyโre your type of speaker. ASHLEY KRAMER