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Monopulse S Speakers Boxed
MonoPulse S Speakers
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Fecha del anuncio 19.04.2025
Última actualización 19.04.2025 MonoPulse S Speakers
MonoPulse S Speakers MonoPulse S Speakers MonoPulse S Speakers MonoPulse S Speakers MonoPulse S Speakers MonoPulse S Speakers
Descripción Descripción original Inglés, Otras traducciones de idiomas son traducciones y pueden contener errores. InglésAlemánEspañolTurco Very good.

MonoPulse is one of Britain’s smaller speaker makers, but it has been around for more than a decade, has a very distinctive range of speakers, enjoys a steady demand (especially from Scandinavia), and seems perfectly happy to remain a small operation.

The current line-up consists of three models – two floorstanders (A is for audiophile, S for slim) and one standmount (C is for compact). The £1,775/pair Model S is the smaller of the former, all of which share much in the way of technical features and physical presentation. In a business dominated by wood-veneered boxes, it’s a pleasant change to find a cloth-covered speaker in a selection of colours.

That said, this relatively new model does represent a significant change for MonoPulse. For example, the Model S is significantly simpler than the 62S, which is arguably its immediate predecessor. Lacking the latter’s supertweeter it’s a simple two-way, and the elaborate metal-framed enclosure is replaced by a more conventional rectilinear box.

Our examples came nearly all in black, decorated by cerise (ie pink!) highlights. Most is cloth, though the back panel is leather adorned by cerise stitching, and the top surface is a carbon fibre panel surrounded by cerise piping; just below the drivers, a matching badge embellishes the front. Another distinctive (and welcome) touch is a carrying handle, usefully integrated into the back panel and facilitating moving the speakers around for best imaging and bass evenness.

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The key technical feature here lies in offsetting the drivers with respect to each other and the listening zone. Close inspection is difficult because the drivers appear to be rear-mounted and are well covered by a fixed and decidedly opaque cloth grille. The tweeter appears to be sited below the bass/mid driver, and is also recessed to a rather greater degree than that provided by the normal baffle thickness. The two drivers are electrically linked via what’s described as a ‘patented asymmetric’ crossover network, the objective being to maintain accurate impulse synchronicity and precise musical leading edges through the crossover region.

The driver line-up consists of a 160mm (nominal frame diameter) bass/mid unit with a polypropylene cone, plus a 28mm fabric dome tweeter that operates above 3.5kHz and is fed via a fourth-order (24dB/octave) crossover network. The accompanying leaflet might be brief, but it’s very much to the point, and includes an unusual amount of useful advice.

The manufacturer’s specified 87dB sensitivity is confirmed in our tests, which is a good figure in view of the speaker’s fine bass extension to 25Hz (-6dB in-room). However, although the impedance is generally held above 8 ohms through most of the band, it does dip abruptly to around 4 ohms in the crossover region (at 4kHz), somewhat compromising the amplifier loading. The port output looks well damped and is tuned to 38Hz, though the impedance also reveals a significant little peak at 210Hz (the same as that seen on the 62S model), probably due to the vertical standing wave inside the enclosure.

In most respects the far-field averaged in-room response is rather impressive, though it’s not particularly smooth, does tend to emphasise the higher frequency part of the spectrum, and shows somewhat alarming 3dB peak at around 4.1kHz, immediately followed by a dip at 6.1kHz.

I thought it would be interesting to dig out my 2010 62S measurements, to see how the newcomer compares to this similar but also somewhat different earlier model. The bass is now slightly better damped, and relative output (and sensitivity) is significantly enhanced through the broad midband. The big difference is seen in the presence band (1.5-4kHz), where the newer Model S is significantly too strong, whereas the 62S had shown a modicum of restraint here (like the majority of commercial designs),

Neater still in my view is the floor-coupling arrangement. Putting spikes directly into the base of a speaker as slim and shallow as this (18cm x 20cm) is a recipe for a knockover disaster, which MonoPulse counters by means of a very neat arrangement using chunky steel outriggers. These are retracted for packing and transit, but each may then be pulled out to expand the footprint by slackening and retightening a couple of bolts. Thumbwheel-equipped spikes are then attached at the ends, ensuring a firm fix with no risk of stripping threads, and keeping the enclosure’s port (that fires downwards through the base) clear of the floor. Said port is tuned to a claimed 39Hz, and worked fine under our conditions, but additional damping tubesare available FOC if required. The speaker is normally aligned for a listening ‘window’ about 90cm from the floor, though the spike heights may be adjusted to tilt this optimum axis slightly up (or down) to suit your favoured listening height.

It’s certainly true that this presence ‘forwardness’ does offer certain advantages, especially in the way it makes speech unusually clear and intelligible even at very low listening levels. Despite a somewhat ‘edgy’ quality, it brings a welcome openness to the overall character, and there’s no denying that one does adjust quite quickly to the departure from strict neutrality. But there’s also no denying the effect is fairly obvious, particularly when the speakers are first connected, and it does remain a notable characteristic, even once one’s ears have made the adjustment.

The manufacturer claims that this design delivers superior leading edge definition, and I can’t disagree with the assertion that the Model S has fine overall coherence, and in this respect is somewhat reminiscent of that achieved by loudspeakers using single full-range drivers. Stereo imaging is precise right across the soundstage, and even shows reasonable depth perspectives despite the forward tonal balance.

Dynamics could have more grip and a greater sense of drama, though in fairness this aspect of the performance is pretty typical of a speaker of this sensitivity and type. Much the same is true for the dynamic range, which is much as one might expect, but doesn’t set any new records in this regard.One obvious if perhaps somewhat surprising strength lies in the bass region, which might be a little dry for some tastes, but which is also impressively smooth, even and deep. This ensures that the speaker provides a firm underpinning to bass-rich material without any of the boomy exaggeration that is regrettably all to common, especially amongst modest port-loaded designs.

Sufficiently ‘different’ in both appearance and tonal balance, the MonoPulse Model S certainly justifies its existence in a marketplace that all too crowded with lookalike and soundalike clones. This is certainly not a speaker that’s been designed either by committee or computer programme, and that alone must be a good thing. The presence forwardness will certainly not suit every taste. When the volume is turned up the sound can become a bit edgy, exaggerating some individual instruments in the mix, but it also ensures plenty of explicit detail when playing at low late-at-night levels. Add in the fine overall coherence, precise imaging and the dry, even and extended bass and it all adds up to a very neat overall package.

Technical Specifications

Make: MonoPulse

Model: S

Drive units: 160mm bass/mid with polypropylene cone

28mm soft fabric dome tweeter

Sensitivity (claimed and measured): 87dB

Measured frequency response

(in-room far-field averaged): 24Hz – 20kHz ±6dB

Impedance (claimed): 8 ohms (nominal & minimum)

Impedance (measured): 8 ohms nominal, 4 ohms minimum

Max power: 250W max, 150W continuous

Dimensions (WxHxD): 18x91x20 cm

Weight: 11kg

Price: £1,775/pair
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