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Setup: Initial listening was done with the S-520s bi-wired with Audio Art Reference and running full-range atop the SW-520s which served purely as speaker stands. Following these sessions the SW-520/S-520s were tested in various configurations. The benchmark configuration using the supplied jumpers with a single run of Audio Art Reference cable into the SW-520s and then a JPS Labs jumper cable to the mains with JPS Ultaconductor 2 cable. JPS Labs jumpers then replaced the stock jumpers. Next I tried a loom comprised exclusively of JPS Labs. A mixed session followed with Audio Art cable from the amp, JPS jumpers and the Signal Silver Reference biwire to the monitors.

Issues: I encountered a few minor issues with one of the SW-520 bass modules which was easily remedied. On initial testing, the right woofer exhibited distortion at moderate levels to have me contact Usher. They immediately shipped a replacement woofer but in the interim the original regained its composure and was never replaced. I also discovered that the binding post to the monitor was wired out of phase on the same mass module. This was resolved by running the jumpers in reverse. So much for preliminaries. On to listening!

• "The Jovial Broome Man" from the Best of Baltimore Consort  [DOR-90023] demonstrates the virtues of minimal microphone technique and unbridled dynamics. A wonderfully risqué little piece with vocals and instruments captured with subtle details and real acoustical space.

• "Fanfare for the Common Man" from FIM Super Sounds III  [FIMXR24 073] is a Winston Ma remaster of the Reference Recordings classic by Professor Johnson. It has all the right stuff, massive attack, generous decay and the sheer weight conveyed on the drums for always a good system workout.


• "Lost Love" from The Lightkeepers: Pinar Toprak [Moviescore Media MMS-10012] is a haunting soundtrack that captures a sense of melancholy with symphonic sweep and the local texture of America’s east coast with a distinct  flavor of violin work. Impressive work from Toprak and the Pro Arte Orchestra of Belgrade.

• "Can Can: All Star Percussion Ensemble" from Top 12 in Gold Plus [Golden String Audiophile Repertory FIM GS DXD 001]  is Winston Ma demonstration material remastered in 24-bit 352.8kHz. Fast attacks and excellent localization of instruments on a huge clear soundstage serve a whimsical percussive interpretation of Offenbach’s material.

• "Andy Lex" and "Cooper, Thanks for the Birds" from Ladybirds: Regional Community Theatre: Tyler Pursel & Teeter Sperber [Creep Records P  95991] is an unusual rock concept album built  upon the style of modern stage musicals, capturing innocence through wisdom of relationships. Bouncy synth, piano, boys choir and Beatlesque homage drift from light to powerfully dark. Well recorded with artificial soundscape and good bass authority. Something a little different for those who explore the eclectic.

• "Into the Light" from Hand Built by Robots: Newton Faulkner  [Brightside Recordings 88697113062]  demonstrates Faulkner’s rapid fire lyrics and explosive guitar work that manage to weave a tapestry of remarkable insight and intelligence into ambitious and entertaining musical material. Recorded with transparency, detail and immediacy as a priority.

• "Love on Your Side" from The best of the Thompson Twins Greatest Mixes has extended and dimensionally enhanced remixes of  the group’s classic 80’s pop material. High contrast frequency extremes, clean midrange, decent dynamics and a wall-to-wall artificial soundstage done with flair and fun.

• "Soul of Great Drum Music" from Usher be There is Usher’s own demo disc with a wealth of well-recorded and challenging material. This cut is a percussive dream with subtle detail, dynamics, great instrument localization, acoustic space and the kick of massive drums.

Resolution and Dynamics: The S-520/SW-520 combination had an engaging level of dynamic liveliness. Overt swings were handled with respectable authority and lower level changes were tracked with a level of differentiation that was worthy of comparison to more expensive designs. In some of the cabling configurations the upper midrange became slightly pronounced to be just shy of pushing the speaker into an analytical character but coupled with a very transparent midrange came off sounding as though it had a higher degree of articulation. Bass macro dynamics were surprisingly well handled at reasonable levels and the combined floorstander exhibited greatly enhanced capabilities over a much wider range. Resolution on the SW-520 was good maintaining the overall character of the main speaker with excellent control and definition into the lowermost octaves.


Dynamics and bass performance were comparable to the Mark & Daniel Diamond with a slight nod to the M&D on dynamics and one to Usher for demonstrating slightly better extension and greater ease. As an even more upscale comparison, the Apogee Duetta Sigs went down lower with better coherence but the Usher combination fared far better than expected and rivaled the resolution and dynamic abilities of some of the ribbon hybrids in the former Apogee Centaur line plus outperformed them in bass control and integration.