A Conqueror From The North
Andrew Chasin auditions the Coincident Speaker Technology Conquest loudspeaker
Given the limited time I had to cover the 1997 Canadian Consumer Electronics Exposition (see Volume 1, Number 1), it simply wasn't possible to visit every exhibitor's room. I was forced to pick and choose those rooms which I thought would be of most interest to our readers. Unfortunately this meant that some rooms did not receive any coverage in our show report, one such room being that of the upstart Canadian loudspeaker company, Coincident Speaker Technology. Once the show had passed, I began to hear from people who told me that they felt Coincident's room had one of the best sounds of the show despite the fact that their system was one of the least expensive. Needless to say this piqued my interest, and I decided to do a bit of research into Coincident's line of loudspeakers. One of the speakers which caught my eye was the Conquest, a floor standing version of their well-reviewed Triumph, that boasts a frequency response flat to 35 Hz and a price tag that places it in the very competitive under-$1500 range (all prices given in U.S. dollars). I contacted Israel Blume, owner and chief designer for Coincident, who kindly agreed to lend us a review sample of the Conquest.
The Conquest's driver complement consists of a 1" ferrofluid-cooled silk dome tweeter, and an 8" mineral-filled polypropylene cone woofer. While the drivers used in the Conquest are sourced externally, they are modified in-house in order to optimize them for use in the Conquest.
The Conquest's rated sensitivity is a relatively high 92dB @ 1W/1m. Coupled with a benign 8 ohm impedance, this is one pair of full range speakers that won't need to be driven by a he-man muscle amp. In fact, Coincident states that a 7 Watt amplifier is sufficient to drive the Conquest, meaning that this speaker should appeal to the single-ended triode crowd.
Although the review sample didn't sport any, grilles are available for the Conquest for an additional $35 per pair.
Experimenting a bit with cables, I tried a pair of van den Hul M.C. D352 (an older vdH design) that I had in my cable stash. While I've had good results mating these cables with other loudspeakers, when partnered with the Conquests, the sound was too thin and bright. I obtained good results with Transparent Wave Plus but felt that this pairing would not be likely in the real world given this cable's fairly high price. Trying to find a balance between sonics and the financial realities of most potential customers for the Conquest, I ultimately settled on a pair of Audioquest Midnight Hyperlitz. This cable retained many of the benefits of the Wave Plus at a price more in-line with that of the Conquest. Although I didn't have any Wire World Orbit speaker cable on hand for this review, it should be a synergistic match for the Conquest since it is used for the Conquest's internal wiring.
I broke in the Conquests for about 50 hours using a variety of musical sources before attempting any serious listening.
The Conquest's rendering of All Blues from Miles Davis' Kind Of Blue (the gold Super Bit Mapped Sony reissue, CK 52861) was superb. The Conquests presented a very wide soundstage, Bill Evans' piano placed far outside the edge of the left loudspeaker. The sound of Davis' trumpet floated in space free of the loudspeakers and had the right amount of brassy bite without any edginess. Again, the Conquests proved that they were champs at resolving detail, the spit remaining in John Coltrane's mouthpiece near the end of this track being clearly audible (all right, maybe that wasn't the most pleasant example I could have used, but you get the idea). While the Conquests pushed Jimmy Cobb's ride cymbal closer to the front of the soundstage than I've heard before, I was so captivated by the excellent reproduction of wood striking metal that I didn't think much of it. I've listened to this recording through many fine loudspeakers (some costing far more than the Conquests) and this was definitely one of the best renderings I can remember.
Gustav Holst's Suites For Military Band (The Cleveland Symphonic Winds, Frederick Fennell cond, Telarc CD-80038) demonstrated the deep, extended but well controlled bottom end that the Conquests were capable of. The bass drum in the March from the First Suite had good impact, while retaining good definition and no overhang. This was in stark contrast to some other full range speakers in the Conquest's price range which tend to turn this bass drum into a muddled boom, overpowering the rest of the orchestra. Soundstage width and depth were very good, the snare drum imaging to the far left and well behind the front wall of my listening room. The timbre of the woodwinds sounded just right and the triangle had good sparkle and definition. If you're wondering if the Conquests can play loud cleanly, then wonder no more - they sailed through this very dynamic recording at a sound pressure level of about 90dB without any signs of strain.
The Conquest's powerful and dynamic portrayal of well recorded symphonic music, had me digging deep into my collection. My notes from listening sessions devoted to Carl Neilsen's Symphony No. 1 (San Francisco Symphony, Herbert Blomstedt cond., London, 425 607-2), the Overture's of Malcolm Arnold (The London Philharmonic Orchestra, Malcolm Arnold cond., Reference Recordings, RR-48CD), Aaron Copland's Rodeo (New York Philharmonic, Leonard Bernstein cond.) and many others, consistently contain phrases like "Deep, extended bass", "Great transient response", "Expose every subtle detail of the score", and "Powerful, dynamic presentation". While I'm not going to claim that the Conquests brought the sound of the monumental forces of a full symphony orchestra into my 12' X 16' listening room (what speaker can?), they presented a reasonable facsimile of reality, one that continually captivated my attention and drew me into the musical event.
Could the Conquests do the rock thing as well as they could do the jazz and classical thing? Most definitely! The Conquests ably pumped out the lewd, rude and sometimes crude You Oughta Know from Alanis Morisette's Jagged Little Pill (Maverick Records, CDW 45901). Her vocals clearly cut through the wailing guitar track, with all their raunchiness intact. The throbbing bass track on Hand In My Pocket from the same disc, had excellent weight and authority. While the Conquest has the ability to do justice to well recorded rock recordings, it isn't a loudspeaker that will smooth out the rough edges of a shoddy engineering job. For example, Pearl Jam's 10 CD sounded bright, course and barely listenable at anything other than low volume levels - pretty much what I've come to expect from this disc.
Up to this point I had relied exclusively on the solid-state Aragon 2004 Mk.II for amplification, and although it sounded fine from the low bass up into the lower midrange, I began to notice that some recordings exhibited a trace of upper midrange/lower treble grain, as well as a tonal balance leaning towards the cool side of neutrality. Switching to the diminutive 20 Watt VTL tiny triodes completely banished any sense of grain or leanness previously heard with the 2004. While the VTL's didn't have quite the same grip on the bottom end as the Aragon, their lack of the solid-state amplifier's MOSFET mist allowed the Conquest's exceptionally refined tweeter to really strut its stuff. The high massed strings in the finale of Neilsen's Symphony No. 1 (my current torture test for a speaker's upper frequency purity) cut naturally through the Orchestra and were completely free of grit or glare. Listening to the Cowboy Junkies The Trinity Session, I felt like I could reach out and touch Margo Timmins as her silky smooth voice caressed every word of her rendition of Blue Moon.
Getting right to the punch-line, the M-7si was not much competition for the Conquest. Where the Conquest had well-controlled, tuneful and articulate bass, the M-7si had boomy, bloated bass of the one-note variety. Where the Conquest had an extended, detailed top end, the M-7si had a top end that was rolled-off and dull in comparison. Given that these two speakers are priced nearly identically, don't even think about purchasing an M-7si until you've heard the Conquest.
The Conquest had stiffer competition from the Studio 150, which in my opinion is one of the best speakers in the $2500 range. The Conquest couldn't quite muster up as convincing a three dimensional soundstage as the Studio 150 - the Studio 150 had the ability to locate instruments with pinpoint accuracy in three-dimensional space, whereas instrumental placement within the soundstage presented by the Conquest was slightly vague in comparison. The Studio 150 presented more air around instruments which provided a stronger impression of instruments playing in a real space. On the plus side, the Conquest's bottom end was more detailed and extended than that of the Studio 150's. While the Conquests didn't convince me to retire the ProAcs from my system, at about $1000 less, there were times during my listening sessions when they presented a pretty compelling case.
Speaker Technology Conquest Loudspeaker
Manufactured by Coincident Speaker Technology
51 Miriam Cr., Richmond Hill, Ontario, Canada, L4B 2P8
Phone: (905) 886-6728, Fax: (905) 886-2627
email: email@example.com, web:http://www.enterprise.ca/~coincid/cst1.htm
Source of review sample: Manufacturer Loan
|Copyright © 1997 Audiophilia Online Magazine|