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Another obligatory mention is how voices and instruments get enveloped in the heightened realism of spatial halos or bubbles – what our American colleagues call bloom. Even with lesser production like the thrashing but ingenious Goat from the sadly defunct noise rockers Jesus Lizard (a top tip for rogues), one always feels that the song is buoyed on something loose, breathing and mobile emerging from within a physically tacit room even if the latter was merely a rehearsal space as one assumes was the case with the Chicago noise band. It probably relates directly to how well the Spendor conveys the recorded mix of direct and reflected sound.

As admitted, I'm hard pressed to describe the treble in isolation as it surely contributes to these qualities even though I'd have to say that it's not an epitome of air and presence but in this discipline plays it slightly defensive. Multi-layered HF finesse gets more polished and analytical with many more cost-effective boxes which perhaps even sport ribbons or AMTs. It's not that the English don't extend high enough or brush detail under the table. Fundamentally everything is accounted for. It's simply that the listener is approached not with detail glamour but perceives it through a holistic perspective which reveals its subtleties only once deliberately focused upon.

Depending on bias, one might agree "that's exactly how it ought to be" or demur with "I lack for a bit of treble brilliance and insight". Clearly the SP100R² designers opted against spectacular highs in favor of unprepossessing naturalness. Or as my girl friend Maria put it who joined me on Einstürzende Neubauten, "less glitter than with the Thiels but I still like the newcomers more".

So far so good but how about the promised fulsome bass given that maxi monitor status might suggest limitations vis-à-vis proper floorstanders? Extension equalled that of my Thiel CS 3.7, exceeded my prior Sehring 703SE reference and should satisfy even those used to >€10.000/pr towers. And there's plenty of shove. It's perhaps even a tad emphatic considering pure neutrality. This increases perceived volume which also has tonal balance drift toward warmth. I might have preferred fewer pounds but that said, it never crossed the line into thick when driven by neutral to slimmer high-control amps like my Audionet monos or even the small Abacus Ampino.

Densely busy music particularly with rapidly alternating bass beats or similar accents thus isn't a special competence but it doesn't turn into mission impossible either. Where bass dynamics and timing go, the Spendor is neither a twitchy racer like my Thiel nor a plush sprung limousine. To remain in character, think day-to-day commuter car, perfectly suitable to portray the nearly machine-gun double-bass attacks of "Killing Birds with Stones" or "The Welding" from the progressive metal formation Intronauts [Habitual Levitations - Instilling Words with Tones] with sufficient pizzazz. Whilst it doesn't crack and hit hard enough to reflexively duck one's head, everything remains gratifyingly intelligible. There's no blur or fogging.