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Specs are 37Hz - 30kHz frequency response at +/-3dB with 88dB/1W/1M sensitivity. Nominal impedance is 8Ω and dimensions including metal feet are 350 x 293 x 1081 WxDxH and weight is just over 25kg per. The designer’s excellent measurements give a first indication of the neutral character of this speaker.
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Sound. My loaner pair did not require a very long break-in and after two or three weeks was able to deliver in full. At first the ribbon sounded a bit harsh and lean. After a short period bass extension and overall resolution improved significantly and I was no longer able to distinguish any harshness in the upper midrange. The Armonia is the kind of speaker for which it is tough to identify significant faults. It is very coherent and over the previous models has greater power handling, lower distortion levels and no particular caveats. I remember my previous session with the Altra floorstander. It had plenty of delicacy but at times sounded a bit fragile and on very dynamic tracks distorted a bit. Its sonic fingerprint was less neutral than the new and more affordable generation. Sonic attributes of the new Apertura are an overall laid-back character with fair dynamic contrast and first-class tone. In comparison with the Altra the Armonia seems more solid with better tonal balance. I hardly discerned any coloration across the bandwidth, only a perhaps slightly recessed top octave. Even so overall tonal balance felt reasonably neutral due in part to the absence of brightness in the lower treble and due to a linear but luscious midrange. Listening to voices showed a nearly complete absence of sibilants yet the sensation of presence was well rendered.
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By comparison to my Triangle Magellan monitors, the Armonias delivered a less dynamic and forward sound with more seductive tone and soundstage depth. In absolute terms the Aperturas’ dynamic skills were enjoyable but their main special feature versus my Magellans two-ways was their solid and more palpable voice without it being thrust forward at me. While the balance did seem a little on the mellow side, the Armonia didn’t sound dull and captured all the subtle shifts in dynamics for an overall vivid sonic result.
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The difference in tonal balance between Apertura and Triangle was easily perceptible. The former had less top-octave energy and probably lower harmonic richness. The tonal DNA was closer to the Sonus faber Guarneri Evolution I recently reviewed. They delivered less detail than the Italians however and the Sonus faber remain unbeaten for their quality of tone and the imaging. Image depth nevertheless seemed to be a noticeable achievement for the French speakers and at their price the only true competitors I recently encountered were the 20th-anniversary PMC floorstanders which delivered a stunning three-dimensional soundstage but with perhaps a less neutral response.
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The comparison with my new Vivid Audio K1 speakers was a bit more difficult due to the huge price gap. Even so, considered on the sole criteria of tone and stage depth, the French were almost as good as the Vivids. In terms of resolution, speed, bandwidth, linearity and precision, the K1 of course outclassed them. But where expensive full-range speaker usually require more set-up effort, the French shone during their short match against the South Africans with remarkable coherence and setup ease.
The Armonia delivered clean low frequencies for such a compact two-way floorstander without exaggeration and good linearity and the rear port was free from chuffing. With high SPL capability and low-distortion bass down to 35Hz, I considered this performance more than respectable given the asking price. The central spike did its job admirably but I noticed spurious LF vibrations directed into my paving stones. This proved easily addressed with a small silicon sliver between cone and floor.
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