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Now it was time to see whether my musical Italian guests would sing bella voce. Here the Casta handled detail retrieval in an unusual manner. It energized dynamic shifts as subtle changes in pressure. Some speakers do this credibly in the bass region. The Casta accomplished it broadband. Although the Model C tracked dynamic changes with exemplary gradation, it also demonstrated a slightly soft leading edge for a somewhat more rounded 'warmer' read. Although some may assume that this defined the speaker as forgiving by nature, it easily translated changes in character introduced by each component and cable change. It simply didn’t exaggerate them.

Dynamics remained proportionately consistent over a wide volume range but highest contrast centered in the midrange. In my environment the Casta proved very similar in dynamic character to a large panel in that it pressurized the room effectively but slightly diminished the contrast between the extreme ends of the dynamic spectrum. It proved sensitive to phase both recorded and relative to particular electronics in the signal path such as phase reversal accomplished with the Wyred DAC2. Low-level playback was quite good but best results occurred when the volume was slightly elevated to enhance ambient information. Overall achievable loudness was quite high from the combination of high efficiency and good power handling. The speaker was easy to drive and low-powered amplification gave respectable results where soft clipping worked to advantage. The Casta however was not afraid of a little bit of extra power for transient peaks so higher powered amps added greater true dynamics. An absence of overload or distortion cues resulted in playback levels that often drifted higher than expected. The speaker could easily fill the room without strain while retaining a consistent tonal balance.


That balance was very much rooted in the midrange and required deliberate effort to be thrown off stride, indicating broad compatibility. The speaker managed a large bubble of cohesiveness extending through both horn drivers and the range covered by the massive woofer as quite a remarkable feat. The Casta rarely called attention to its components, demonstrating extremely low coloration throughout with a natural character balancing transparency against solidity. It evidenced no major spotlighting and added no extra air unless it existed on the recording. For those with a preconception as to what horns sound like, the Castas steered far away from the antiquated mold and came closer to the ideal of sounding less like anything.


High frequencies were detailed and smooth without drawing specific attention. The midrange and high-frequency horns acted very much as a single entity creating a tonal picture that was both cohesive and disarmingly natural. Combined with the mild softness in transient attack, it rendered digital playback as somewhat more analog and as a result recordings had broader appeal where detail was revealed rather than exposed. Subtly seductive.


Optimum performance in the bass required a little extra care. With the Bel Canto 200.4, depth and articulation were good but needed some ancillary support to add warmth. Surprisingly the little Tapping TP22 proved a tad fuller. Predictably the massive Audio Valve monos proved the most muscular and detailed. The differences between amplifiers in bass response were not earth shattering and bass character was reminiscent of a good panel speaker - highly responsive, very articulate but lacking absolute slam. This had the virtue of blending with the rest of the spectrum in a virtually seamless fashion to allow the bass to become a natural extension of acoustic instruments rather than a separate entity. Bass limits hit the lower 30s short of subwoofer territory but sufficient for most acoustic instruments. Articulation in this range was exemplary.

Handling of space depended on electronics. All amps accomplished wall-to-wall width and presented a central plane slightly behind the speakers but image focus and amount of projection versus depth varied with setup. Solidity and dimensionality were good even from the budget Tapping amplifier but the pricier fare added greater differentiation of space between objects to create more believable and complex renditions of instruments in 3D space. Since the speaker faithfully translated these various interpretations of events, it behaved in relatively impartial fashion. Image size and relative proportions given good recordings were life size and believable. Soundstage dimensions were huge where appropriate, with good recovery of venue cues but different from speakers which emphasize more air. The Casta concentrated on getting instrumental timbre and dimensionality accurate and treated space with somewhat greater density. Players and instruments were very solid objects and extremely well differentiated but in a slightly darkened hall.

The effective listening window was extremely generous. The wide dispersion including the vertical plane gave satisfying performance even from a standing position without penalty in tonal balance. The optimal position to achieve accurate soundstaging was somewhat smaller but hardly constricted. The speakers were relatively undemanding of setup to achieve these results and quite friendly as furniture. The Castas can coexist in a real living room environment and are not confined to dedicated listening rooms. After all the break-in, gear combinations and analysis, what does the Casta give you musically for its premium price? Natural ease. It had low apparent coloration, unstrained dynamics and an extremely convincing midrange that was uncluttered and natural. The overall tonal balance was reminiscent of a Quad 57, with a matter-of-fact character that drew very little attention to itself as a transducer. The Castas benefited from their high sensitivity and robust power handling but the design also demonstrated remarkable cohesiveness resulting from excellent driver matching combined with the effectiveness of constant directivity. This wide dispersion and uniform response created a much wider dynamic palette that was forgiving of listening position and afforded the Model C the advantages of a point or line source with the effective massive wave launch of a panel.