{"id":6526,"date":"2022-02-15T12:29:10","date_gmt":"2022-02-15T10:29:10","guid":{"rendered":"https:\/\/melodyclub.gr\/?p=6526"},"modified":"2022-02-15T12:29:10","modified_gmt":"2022-02-15T10:29:10","slug":"spendor-classic-sp100r2-loudspeaker","status":"publish","type":"post","link":"https:\/\/melodysvision.com\/el\/2022\/02\/15\/spendor-classic-sp100r2-loudspeaker\/","title":{"rendered":"Spendor Classic SP100R2 loudspeaker"},"content":{"rendered":"

Art Dudley<\/a>\u00a0from stereophile.com<\/p>\n

In late 1996, as\u00a0Listener<\/i>\u00a0magazine entered its third year of existence, the Spendor SP100 became my reference loudspeaker, and would remain so for a considerable time. My decision to try the SP100 was influenced by John Atkinson\u2019s review of its antecedent, the nearly identical Spendor S100, in the\u00a0December 1991 issue<\/a>\u00a0of\u00a0Stereophile<\/i>. But my purchase decision came down to two things: The SP100 did virtually everything one could ask a modern loudspeaker to do, requiring in the process far less amplifier power than usual. Just as important at the time, it sold for only $3300\/pair\u2014which explains how I could afford them on the spotty salary of a teacher turned fledgling publisher.<\/p>\n

I might add a third factor: The unapologetically big, boxy Spendor SP100 fit my idea of what a loudspeaker ought to look like far better than any of the towers, triangles, pyramids, panels, or pee-wees on the market. Then as now.<\/p>\n

This flagship of Spendor Audio\u2019s Classic line has undergone its second revision, and is now in R2<\/sup>\u00a0(Revision 2) form; thus, when offered the chance to give it a spin, my hearty\u00a0Hell, yes<\/i>.<\/p>\n

Description<\/b>
\nSpendor remains among the few high-end speaker manufacturers that design and make their own drive-units; indeed, as company owner and design director Philip Swift mentioned in a recent conversation, some of the tooling used to make the drivers in my Classic SP100R2<\/sup>\u00a0review samples was used in the early 1970s, to make their classic BC3 monitor. That distinction, according to Swift, is more than just marketing fluff: \u201cOne of the things that sets Spendor apart is that we understand how our drivers work.\u201d<\/p>\n

Two of the SP100R2<\/sup>\u2018s three drivers are made in Spendor\u2019s factory, in Hailsham, East Sussex. First is an 11.8\u2033 Bextrene-cone woofer that incorporates a cast-alloy frame, a ferrite magnet, a fabric dustcap, and a half-roll surround made from what Swift describes as \u201ca synthetic simulation of a natural latex rubber\u201d and says has the best qualities of a modern polymer. According to Swift, the damping of this driver is accomplished differently from that of its immediate predecessor, with a newly chosen compound on the rear side of the cone and a very thin coat of a cellulose-based material on the front.<\/p>\n

The SP100R2<\/sup>\u2018s 7\u2033 midrange driver, also designed and made by Spendor, has undergone even more development, with a new polymer cone, 5\u2033 in diameter, that\u2019s said to be much stiffer than before. The driver\u2019s surround has also been made stiffer, while its ferrite magnet remains unchanged. As with my old SP100, the rear of the midrange driver is contained within a sealed subenclosure made of MDF. With crossover frequencies of 500Hz and 5kHz\u2014the latter is exceptionally high\u2014Spendor\u2019s 7\u2033 driver is responsible for the vast majority of the SP100R2<\/sup>\u2018s output. (One can\u2019t help noting that a major portion of the speaker\u2019s output is acoustically supported by a generously sized baffle.)<\/p>\n

The 0.8\u2033 tweeter, recently introduced to the line, is made to Spendor\u2019s specifications by the Norwegian firm SEAS. Its small textile dome is augmented with a larger-than-usual half-roll surround, which endows the tweeter with the power-handling capability and radiation characteristics of a larger unit, according to Swift.<\/p>\n

<\/p>\n

In addition to the drive-units noted above, Spendor also makes some of the components used in their crossover networks\u2014most notably their hand-wound chokes and autoformers. As Philip Swift observes, \u201cWe use an interesting technique: Our inductor has tapping points, so we get an extra two or three dimensions of control over the phase coherence of the crossover. It also means we don\u2019t put attenuating resistors in series with any of our drivers, since we can use a better-sounding autoformer instead.\u201d<\/p>\n

As with all Spendor Classics, drivers and crossover networks are mated to an enclosure whose design has little in common with the products of most other contemporary speaker makers. It\u2019s an intentionally thin-walled and thus mildly resonant cabinet: not because the people at Spendor don\u2019t know \u201cbetter,\u201d and not because they\u2019re too cheap to make and sell a more massive product, but because 40-plus years of experience has told them that this is the way to make the sorts of musically agreeable speakers demanded by an enduring portion of their consumer base. Swift elaborates: \u201cIf you have too much mass, you store energy\u2014which, if released slowly, can spoil musical timing.\u201d The MDF cabinets do, however, make judicious use of internal bracing and thin, bituminous damping pads, the latter sharing space with what appears to be very-good-quality acoustical foam. But, in a first for this model, foam is no longer used to damp the two front-mounted reflex ports. \u201cThat was done for the good reason of preventing high-frequency noise from coming out of the port,\u201d Swift says. \u201cBut now we have a flared port which accomplishes the same thing\u2014and looks much better.\u201d<\/p>\n

There\u2019s just one more change evident in the SP100R2<\/sup>: Whereas earlier versions had three pairs of input terminals\u2014and were thus triwirable\u2014the SP100R2<\/sup>\u00a0has only two pairs, allowing the user to drive the woofer separately from the tweeter and midrange driver. \u201cThere was a time when everyone loved to play with biwiring and biamping,\u201d Philip Swift says, \u201cbut because we\u2019ve continued to work so hard to balance the speaker overall, we prefer to see the product performing at its best in the field.\u201d<\/p>\n

A final note: The Spendor SP100R2<\/sup>\u00a0is supplied with a nice-looking black-fabric grille, attached to the baffle by molded fasteners of the usual sort (although the hardwood \u201cframe\u201d around the baffle\u2019s periphery makes the tight-fitting grille unusually difficult to detach). Notwithstanding the textural lightness of the fabric, the grille very slightly dulled the sound, so I did all of my listening without.<\/p>\n

Installation and setup<\/b>
\nThe Spendors arrived at a time when my listening room and every storage nook in my house were already blessed with many more full-size loudspeakers than usual. Consequently, I was able to compare the SP100R2<\/sup>\u2018s performance directly with that of such things as the\u00a0Klipsch Heresy III<\/a>, the\u00a0Line Magnetic 755i<\/a>, the\u00a0DeVore Orangutan O\/96<\/a>, and the Surreal Sound Fifth Row, along with my own\u00a0Audio Note AN-E SPe HE<\/a>\u00a0and\u00a0Quad ESL<\/a>\u00a0references and a borrowed pair of Wilson Audio\u2019s enduringly fine\u00a0Sophia Series 2<\/a>s. As I had with most of the above, I used the Spendors in my 12\u2032 by 19\u2032 listening room. Of the three amplifiers I\u2019m fortunate to own, the Shindo 25W Corton-Charlemagne monoblocks sounded best with the Spendors, while Shindo\u2019s somewhat less powerful (footnote 1) Haut-Brion sounded fine but a little less strapping than usual; the SP100R2<\/sup>\u00a0wasn\u2019t quite sensitive enough for the 4Wpc\u00a0Fi 421A<\/a>.<\/p>\n

Footnote 1: The Haut-Brion is rated at 20Wpc, but its output transformer has only a single, 16-ohm secondary, and passes notably less power across a lower-impedance load.<\/p>\n","protected":false},"excerpt":{"rendered":"

Art Dudley\u00a0from stereophile.com In late 1996, as\u00a0Listener\u00a0magazine entered its third year of existence, the Spendor SP100 became my reference loudspeaker, and would remain so for a considerable time. My decision to try the SP100 was influenced by John Atkinson\u2019s review of its antecedent, the nearly identical Spendor S100, in the\u00a0December 1991 issue\u00a0of\u00a0Stereophile. But my purchase<\/p>\n","protected":false},"author":6,"featured_media":6528,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[85],"tags":[],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","category-nea"],"yoast_head":"\nSpendor Classic SP100R2 loudspeaker - Melody's Vision<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/melodysvision.com\/el\/2022\/02\/15\/spendor-classic-sp100r2-loudspeaker\/\" \/>\n<meta property=\"og:locale\" content=\"el_GR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spendor Classic SP100R2 loudspeaker - Melody's Vision\" \/>\n<meta property=\"og:description\" content=\"Art Dudley\u00a0from stereophile.com In late 1996, as\u00a0Listener\u00a0magazine entered its third year of existence, the Spendor SP100 became my reference loudspeaker, and would remain so for a considerable time. 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