The ELAC BS 244.3 has changed compared to previous generations only in detail. The test of the compact box shows what that means for the sound.
The vernacular says the devil is, indeed in detail. A loudspeaker developer, with so delicate constructions such as one x-fold folded OFFICIAL membrane has to do, can sing a song about the importance of the detailed development and manufacturing production. ELAC has not only to technological prosperity brought this high sound principle in many decades, but also the manufacturing techniques so far perfected that the tolerances much lower than comparable structures are.
The completion of a principle has however the disadvantage that for big, obvious for any visible improvements there’s so much air. So is the BS 244 in the meantime 3rd generation content (the cognate of the series 200 not included) with the perfecting of mainly optical details. What should you call into question in principle in a mature and obviously successful speaker model? The most obvious for the buyer amendment: no bi-wiring Terminal more, but only single-wiring, which seems to confirm the often observed trend towards less effort and for focusing on a high-quality amplifier.
Something has been done visually: piano lacquer works the box slightly edgier, even cleaner processes, and also the continuous coloring all front-end elements in black (with the exception of the JET membrane) brought with them the sympathies of the esthetic mitbewohner(innen) of owner of the new security. The owner even the JET tweeter of the 5th generation is crucial for more, which long-time generation already in the 2nd, whose acoustic tuning also has taken over the 3.
The sweetly folded Mmuf with very large effective membrane surface after the principle by Dr. Oskar Heil comes in of 244.3 deeper to use than in earlier generations: He plays down to 2500 Hz, it wants to collect the drivers not in regions at risk of distortion which is extremely high demands on the design of the crossover. Including the famous, now black anodized 18-Crystal cone takes over with his sandwich diaphragm.
Listening test: looks small, sounds great
Also in the first hearing test passes was the star of the small black box: with his crisp, deep bass it pretty loose, he surpassed even the Nubert NuVero certainly very well-equipped at this point 30, which sounded similar to deep, but below slightly slowed.
When Jacques Loussier “Little Fugue” turned out that bass not only through all layers dominated this sovereign dynamic, but that the box is also otherwise extremely homogeneous played on the point. MIDs and highs she worked out confidently and with great feeling for rhythmic cohesion small impulses, without cluttering the listener with resolution or silvery details.
A sound vote, which did not lose in largest occupations to persuasion: The final II of Wagner’s “Meistersinger” with the famous chaos-Groove (Rundfunk – Symphony orchestra Berlin, lead: Marek Janowski) kept at the very prudent ELAC rhythm and structure and by no means ended in chaos. To do this, put it on the day a special joy of music and worked out beautifully even child voices – a bit at the expense of the stage depth.
So occupations in smaller spaces or electronically generated sounds with the ELAC felt ultimately still a bit more natural than Orchestra and Opera Chorus: Friedemann’s “Saitensprung”, in which, the bouncing wildly across the room pulses was fascinated by the listener from all sides, or the elegiac minimalist “Tunglio” by Ólafur Arnalds, where you forgot that you listened to only a small compact box and not a big concert.