It is so, that I listened to the predecessors of the SE version, the model 141, about four years ago. I do not remember much from that session, besides the quality of manufacture. However later, I used Zoller Impression Model 1 monitors for quite a long time after the test (test – HERE), where there acted as my reference for monitors in the price range below 10000zł. And I am mentioning those on a purpose. I did not want to write about that, but I have the distinct feeling, that the enclosures from Zoller were done by somebody related to Audiowave, for example Mr. Schott. I will not claim that the Zoller speakers were made in Poland, but frankly speaking I would not be surprised. The enclosures were made from wooden staves, finished in a certain way, with furrows on the sides and profiled edges. Such kind of enclosure is best known from products of the Italian Sonus Faber, but this is a kind of simplification. In the sunny Italy there are at least a few dozen other loudspeaker manufacturers, that have enclosures better than the SF ones. Let us mention Chario as an example, some time ago those were even distributed in Poland.

This is one trail. The second one appeared when I connected the loudspeakers to the amplifier: if I would not know who created them, I would think that those are of Harpia Acoustics make. The same flat frequency response, the same precision and splendid work of the tweeter dome. I am not sure, if I wasn’t influenced by the employed speakers: in contradiction to the regular 141 we have metal diaphragms here. I know, I know – “metal” is for many the synonym of bright and shouting. If somebody thinks like that, then it means, that he or she is still ten years ago, when one could not handle the resonances of such kind of diaphragms. Modern speakers with metal diaphragms sound incredibly detailed, but also warm. Really! Please read about the HA Diana (test – HERE).

SOUND

I mentioned Zoller. Those were really splendid speakers, but I think that the Audiowave are better. This is a small Polish company, that cannot go past short series of speakers sold in one or two shops, so the added value related to the logo is small compared to Zoller. Adding the distributor margin (in this case not existent), and other surpluses, that are always added to the price of a product in standard sales channels, it comes that those Polish speakers should cost about 6000-7000zł. And even then, this would be an interesting proposition. For 3600zł it is a bargain.

Placing those next to the Dobermann of Harpia Acoustics, I use as a reference for me since half a year, the Silesian monitors almost disappear, overpowered by the mighty Krakow constructions. I think that the whole Audiwave could fit in the chamber housing the cross-over of the Dobermann… And also it is immediately visible, that the manufacture quality of the 141 is outstanding, and the Dobermann, although nicely crafted, with care and diligence, look as the poor relative of the 141. I start with the looks, and not the sound, because the “material” value of those speakers, the class of them, is outstanding, regardless of the price. Let us say, that even the loudspeakers from Sonus Faber, albeit the archetype for the Polish market, in some way, from the Domus series are not that appealing.
And the sound? I mentioned metal – yes, it can be heard, that those are metal speakers. This is visible in splendid dynamics, precision and a certain coherence of sound. The superb contours of the sound, characteristic to high quality metal diaphragms is present here. And something called coherence, or focus – only the best speakers with conventional diaphragms can do something in that matter, and most of polypropylene speakers will never reach that level. Other speakers have different assets, but in the mentioned areas metal is king.

Firing up the ‘141’ we should immediately appreciate the scale of sound they produce. Suite Española - Albéniz (Decca/First Impression Music, FIM XR24 068, XRCD24), where “Asturias” is a masterpiece od dynamics, sounded in a very dynamic way, without noticeable compression. The orchestra was not especially big, but no stand mount speaker can reproduce its volume, or at least approach it. The Audiowave could however show the differences in dynamics, and when there were jumps of dynamics, when the whole orchestra hit, they were shown in the right proportion to quiet passages. In general the reproduced sound can be big, but it cannot be an orchestra. With jazz, like from the monophonic disc of Coleman Hawkins - The Hawk Flies High Riverside/Mobile Fidelity, UDSACD 2030, SACD/CD), the band was really large, and when Hawkins’ sax entered, it was strong, large and precise. This is a mono recording, but, as it happens many times, the drawing of the instruments, their scale, was much better kept than on many modern recordings. The speakers showed just that.

I am writing about that, because it gives a stable, big soundscape, having appropriate depth and vividness, and that in some aspect was even better than from the Dobermann. To avoid any misunderstandings: the Harpia are much better speakers - they reach far more down, and sound with a more thorough, better defined treble (about that in a moment) and have much more unrestrained dynamics. However, if we would cut some of the bass and treble and ease down with dynamics, then – in my opinion – it will turn out that the midrange-treble passage is better in the Audiowave. One of the few drawbacks of the Dobermann that I noticed in the half year time of using them is the slight dryness of the mentioned frequency range, as if the speaker would hold back from the moment of ultimate saturation of the sound, holding true to the saying: primum non nocere. The Audiowave do not have to deal with such high level of dynamics and precision, show the upper midrange in a nicer and juicier way. Even the Sound&Line Pretorian, with the very nicely performing Scan-Speaks were unable to combine such saturation (although they are even more saturated) and precision as the ‘141’. I hope I am clear enough: the speakers are splendid in that area, but you have to remember the context.

And for example the context encompasses the treble. This is a further example, after the Harpia, JMLab Electra 1070 Be and APS model Aeon, how a metal dome can be successfully implemented. In this case it is an aluminum dome, and in addition quite small. I am not fond of speakers with a plastic phase corrector in front of the diaphragm (against appearances, such an element is also present in the Seas used by Harpia – it is a transparent disc from thin polyethylene glued on the protective mesh from the inside – it is barely visible, so it seems as it would not be there…), because I think, that it always influences precision and resolution in some way. This time, however, it seems that the usage of this speaker was a bull’s-eye – the treble was incredibly resolving, resonant and thorough. When on the Judy Garland disc Judy at Carnegie Hall (Capitol, 27876, 2xCCD) the strong recorded cymbals hit, they are shown as such, when on Kid A Radiohead (EMI, 27753, CCD) stronger accents on the upper midrange appear, they are reproduced immediately. But it is no overdraw, but fidelity. If somebody is used to low quality of textile tweeters, that can sound strong, but without coherence, this can be annoying at first. But it is worth to get used to such way of sounding, as it is closer to the truth. So when in “Touch of Trash“ from the disc Companion - Patricia Barber (Premonition/Mobile Fidelity, UDSACD 2023, SACD/CD) we deal with the wealth of cymbals, with different shades, dynamics and energy, the Polish speakers play it really splendidly. Comparing them head to head with the Seas mounted in the Harpia we have to admit, that the general boundaries are very close, and the class of the tweeter in the ‘141’ is not much lower. The thing that the Audiowave do not that well, is the building of the treble in such an open and wealthy way as the Dobermann do it. The difference is not striking, but it can be heard.

I have written much about the midrange and treble, but probably many readers wonder about bass reproduction. I will keep it short: there are no miracles. Low bass in “Use Me” from the mentioned disc of Barber are quite shallow, and the kettledrum from Austurias in “Suite…” is not as energetic as in the Pretorian for example. But compared to other stand mount speakers, like the ESA Triton 1, the Audiowave have a very good standing. From such a small enclosure and speakers, surprisingly low bas has been extracted. It does not go as low as in the Triton, it does not have such a swing, but it is very precise and – surprisingly, when looking at the materials used in the drivers of both loudspeakers – more saturated. One could even say that it is – subjectively – warmer. The warmth does not mean washout of the edges and silting, but a kind of filling. Actually a return to normality.

The speakers are of course not ideal. I already mentioned the limits in the buildup of the treble and bass, that does not go into the cellar (it does in the Dobermann…). The latter is not light, because we have a big drawing, and in addition it is muted with feeling, without an abrupt edge. Some problem might be caused by stereophony. I probably exaggerate, but I want to tell everything. The speakers create a deep and stable stage. But when the sound is saturated with large amounts of treble, then the instruments seem to sound from the speakers themselves, and from behind them, as in the Dobermann or the mentioned ESA. I think this is related to the directionality of the tweeter that is splendid in terms of timbre, but is marked with a burden here. And that’s it. And maybe one more thing, a good amplifier is needed, a strong one, because only then the dynamic capabilities of the speakers will be audible. Talking about power I am not even thinking about nominal power, but about the dynamic power. And so the perfect system could be the Cyrus 8 vs2 amplifier, with PSX-R power supply added in the future, and the Audionemesis DC-1 D/A converter with a C.E.C. drive. A cheaper amplifier 6 vs2 can also be used, but the resolution will be worse. Another setup could encompass the Xindak XA6200 and the CD06 player of the same company. Cables – Supra or Wireworld.

DESCRIPTION

The loudspeakers Audiowave 141 SE are stand mount speakers, two ways, with a bass-reflex on the back plate. The most important construction element is the enclosure – the sides were made from wooden staves, milled in the connection places, and the top and bottom made from staves without milling. Front and back are from thick MDF covered with a black material resembling velvet. All corners are rounded, and the quality of manufacture is extraordinary. Only the Italians make enclosures of comparable quality. The drivers are mounted in reverse configuration – the tweeter is below the mid-woofer, and also with an offset. Similar setups can be seen in products from companies like Castle (but not only that one). The bass and midrange is served by a nice driver from Seas, the L15 LRY with an aluminum diaphragm with 150mm diameter and a cast spider. In the middle a fixed phase cone is visible. As it is not made from metal it cannot serve as a heat sink for the driver coil. The upper frequencies are handled by the 19 TAF aluminum dome coming also from Seas. The drivers are connected to the cross-over by unwoven Kimber Cable strings- four for the woofer and two for the tweeter. The cross-over is placed on the back of the cable terminals and split on two PCBs. In the high frequency section an air coil and polypropylene capacitors (MKP) from Philips were used, and in the low frequency section a powder core coil and a polypropylene was used. The back plate houses a double cable terminal and a bass-reflex outlet. The terminals, but their pins are quite thick and close together, that makes the tightening difficult. It is also worth it to exchange the cramps for something better.

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