Nola Micro Grand Reference
Can Nola downsize its ten-driver Baby Grand Reference floorstander to make it room-friendly for the UK?
June 2010
Review: Ken Kessler
Lab: Keith Howard
Supplied in left and right-hand mirror image enclosures,
sans grilles, the speakers were set up with the ribbons on the
inside, note machined cones fitted to the dedicated stands.
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Ribbon tweeters - you gotta love 'em for their speed, extension and
clarity. But if we're no longer living in a world that supports
full-range ribbon systems, then you have to admire Nola for using the
technology in its top models. Inevitably, when the manageable
(size-wise) Micro Grand Reference arrived (£12k inc. stands), my
interest was piqued.
It started when I saw a thin foam square protecting the ribbon during
shipping. Removing it betrayed the tug of some serious magnets,
but it stayed in place while Ralph, from Artisan Audio, set up the
speakers. In under a half-hour, he'd positioned them on their
dedicated stands - lightweight and reminiscent of Russ Andrews'
Torlyte, only with a heavy gloss black finish to complement the
luscious rosewood of the speakers themselves.
A key part of Nola philosophy, the stands act as an energy
path. They're spiked down below, but ball-bearings sit between the
stand's top plate and the speaker. So they rock. Literally. This
creates the only fiddly bit of the set-up procedure. If the stands
aren't level, the speaker won't sit squarely. This may or may not
affect the sound, but it will gnaw at you because it just won't look
right, like a crooked painting in your dentist's office. I handed
Ralph a spirit level, and he sorted it in seconds.
Although this didn't apply in my room, which is built directly onto
terra firma, the stand's special ball bearing isolation system was
also developed to reduce the influence of floor-borne vibrations. Nola
designer and CEO Carl Marchisotto explained that, 'The Micro employs a
built-in double platform base with ball bearing isolators to reduce
coloration. The stand was designed expressly to minimise the "acoustic
presence" of a stand, so it can get out of the way of the music. This
turned out to be the most effective method to isolate the system from
the floor and results in lower coloration and greater dynamics.'
It's odd to be dealing with the stands before the speaker, especially
since they're optional, but I doubt anyone would not buy them once
they're demonstrated together. In no small way, the looks are a plus,
for most speaker stands are hideous metal tubing affairs. These
resemble fine Chinese furniture, having a black lacquer finished to
piano standards.
GRAND IDEAS
Carl stated quite clearly that this speaker was designed to deliver
the same musical experience as the Baby Grand, but where space is an
issue. The Baby Grand occupies a space of 1580x46Ox560mm (hwd); on its
stand, the Micro needs only 1155x280x280mn (hwd) - quite a
reduction. To achieve this, Carl quartered the number of 110mm cast
frame alnico magnet mids and ribbon tweeters, swapping two 240mm
woofers for two 120mm cast-frame magnesium woofers.
Like Vandersteen and a couple of others, Nola employs 'open baffle'
technology for its mid and treble units; the woofers reside in a
ported enclosure. Aesthetically, Nola deals with this by producing a
cabinet that looks like a solid box, rather than a cube with a small
panel perched on top. But it's a clever illusion: the upper section is
a baffle backed by a frame with grilles filling the apertures, so it
looks like a conventional parallel-sided box.
Ironically, there is no grille for the front, which may upset the
house-proud, who don't like looking at naked drivers. It has yet to
cost Nola a sale, but Carl said he'd find a way to deal with it if
necessary. He just doesn't like the damage a grille inflicts on the
sound. The grilles at the sides are strictly there for looks and do
not affect dispersion or tonal balance, as would cloth between driver
and listener.
Nola employs a 45° mirror-imaged array for the midrange and
tweeter, and further evidence of serious attention to detail because
this demands mirror-imaging of the speaker baffles, unlike less-costly
vertical arrays which don't require left/right enclosures. The twin
woofers, custom-made for Nola by SEAS, are fitted to a rear vented
enclosure, the vent being flared to eliminate port noise. The midrange
operates as an open baffle dipole, while the open baffle ribbon
tweeter eliminates any type of extra diaphragm, as the ribbon is the
diaphragm. Carl succinctly states that, 'The lack of an enclosure [in
the midrange and high frequencies] eliminates a large source of
coloration.'
A REAL BLAST
MASS MURDER
Carl Marchisotto hates mass. Not the Catholic kind, but
the sort that makes speakers sluggish. 'It's about resolution. Our
ribbon tweeter has 26 times less moving mass than any known
dome. Domes with exotic materials may solve one problem, but they
introduce others, which is mass. Diamond domes may be stiff and not
break up, but they are heavy. Ribbons offer better resolution and
detail. The lack of coloration due to low resonance allows them to be
very smooth. Our ribbon - with over 2lb of neodymium magnets - is
built just for us in California.' So, too, the proprietary
woofers. 'Only 8g moving mass, the speed equivalent to an
electrostatic. Only,' he adds, 'with dynamics.' |
Fed by the Marantz CD-12/DA-12 and Quad CDP-99 II CD players, Audio
Research Ref 5 preamp, Quad. II-eighty monoblocks and Luxman
C-600f/M-600A pre/power combination, with YTER and Kimber cables, the
Nolas responded with equanimity regardless of the components. It was
an case of instant puzzlement: how could a speaker be so revealing,
open and detailed, yet be so immune to mismatches?
So I tried the McIntosh C2200/ MC2102 pre/power pack, a Musical
Fidelity player, the Pure io10 iPod dock with a Nano: something about
the Nolas targeted virtues rather than flaws, though we know that such
selectivity is impossible.
Keep this in mind, because it made assessing them both easier and
trickier. Blasted euphony...
My initial burst with the speakers came courtesy of the
superbly-recorded Keb' Mo' treasure, Peace... Back By Popular
Demand [Okeh/Epic EK92687] and the experience negated the
admittedly superb demo I'd heard at CES of one of the Micro's larger
siblings, with open reel tapes. The bass! So clean, clear, controlled,
coherent! I'm running out of 'C' words - the bass was nearly on a par
with the Wilson Sophia 2s, my reference speaker. Slightly cooler,
perhaps, but no less impressive.
With the lilting take of 'Get Together', the system just ebbed and
flowed, the most liquid-sounding reproduction I've heard of this
all-time Pave demo disc, the lower registers filling the room with
tactile, uncannily authentic bass. But even that didn't prepare me for
the lone piano on 'The Times They Are A-Changin": the requisite ring
to the upper keys, the richness in the mid and bass... if tonal
accuracy was all we needed, then the Micro is a champion speaker
system.
Two other qualities, however, came into play to raise the speaker even
higher up the food chain. The first? The vocals were as
natural-sounding as one could hope for, belying the disc's digital
origins. Nothing marred the phrasing, the voicing - no rasp, no
sibilance. But the second framed all of it: utterly transparent
openness, reminiscent of Apogee's Diva when driven by a kilowatt of
Krell power. You felt as if you could walk around the instruments.
Perhaps the CD was making life simple for the Nolas, given that I'd
already noticed their freedom from mismatching. Carl warned me not to
worry about the impedance, what he called the 'static' (meaning the
speaker's 86dB rating) versus the real-world behaviour of the
speakers. At no point was power an issue; the Quads were a match made
in heaven, the Class A Luxman positively salacious. But it was all too
easy, so I dosed it with some grunge.
GOOD INTENTIONS?
Percussion and bass marriages rarely plumb the muddy depths of
Nirvana, and there's something about 'Heart Shaped Box' from In
Utero [Geffen GED24536] that seems designed to confuse fey sound
systems.
Bass player Novoselic and drummer Grohl might not have altered the mix
if they'd monitored the recording 17 years ago through Nolas - had
they existed - because the album seems deliberately dark and dank. It
could even be called 'swampy' had it come from America's southeast
rather than northwest. Regardless, the Nolas provided the possibly
unwelcome opportunity for the listener to focus on individual
instruments, rather than the entire deluge. Which asks of the
listener, do you want such detail, especially if that may not be the
artist's intention?
I turned to the mono Beatles re-masters, which pre-date grunge
(although contemporary with the early Kinks) to hear 40-year-old
tracks sounding as if they were recorded by audiophiles. George
Harrison's early sitar flourishes possessed metallic twanging to set
your cilia waving, just as would a real sitar if you've been blessed
enough to hear one in person. Meanwhile, George Martin's piano solo
on 'In My Life' took on a presence that nestled eerily between the
real and the aetherial.
GRAND FUNK
For all of the neutrality, detail and clarity, there's something
'gossamer' about the small Nola. It caresses sweet voices, strings and
the space in which they're recorded. Then it went all funky with
Little Feat's 'Tripe Face Boogie', and realised that this is a
loudspeaker which will never, ever bore a sophisticated listener.
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