With these tools they developed a new series of drivers for the Silver RS line, which they rechristened Silver RX. Given my experience with the RS6, John Atkinson thought I should review the Silver RX6. Speaker Design The Silver RX6 is the second from the top of Monitor's four new Silver RX models.
The Walnut finish of my review samples was quite attractive, though my old black-lacquer Silver RS6s blend into the room a bit more easily. Other than that, and some minor differences in the grillecloths and the styling of the front baffle, the Silver RX6 looks identical to the Silver RS6. Cosmetics aside, however, no components have been carried over to the RX6 from the RS6.
The new 2.5-way floorstander has one 6" mid/woofer and one 6" woofer, both using cones of Monitor's proprietary Ceramic-Coated Aluminum/Magnesium (C-CAM) alloy, finished with RST, which Monitor describes as a radial pattern of surface dimples. The new drive-units are trickled down from the more expensive Gold RX series.
Each of these drivers is in a separate ported chamber within the enclosure, to provide differential tuning. In addition to the front reflex port, the 1 gold-colored dome C-CAM tweeter has its own damped rear chamber.The Silver RX tweeter is more sensitive and has a wider bandwidth than the Silver RS6 version; Monitor tells me that the RS6's slight peak around 11kHz is absent in the RX6, and that this makes it a more suitable partner for brighter-sounding electronics. The RX6 also features bolt-through driver design: Each driver is mounted with a single tensioned through-bolt secured to the rear wall of the cabinet.
This bolt acts as a rigid cabinet brace to reduce box colorations; Monitor provides an Allen wrench for tightening the driver mounting bolts following transport. As with the RS6, the RX6's base has user-adjustable feet and spikes. The Silver RX6's grille is attached to the cabinet with magnets. I listened to the speakers with and without the grilles, and was impressed at how small a difference I heard.
I slightly preferred the grilles offI heard a touch more resolution of detailbut I'm splitting hairs here. Grilles on or grilles off, the speaker looks equally attractive. Listening The Monitor's midrange neutrality and rendering of detail, ambience, and holographic imaging made me mine my collection for vocal recordings. Despite its flagrant commerciality, I never tire of Norah Jones singing "Don't Know Why, " from her Come Away With Me (CD, Blue Note 5 32088 2), and through the Silver RX6s her perfectly silky, low-level vocal articulations were bathed in a rounded golden glow. And as one of my "Records To Die For" for 2012, Lady Gaga's Born This Way (CD, Streamline/Interscope B0015373 0 2) has grown on me as I've continued to delve into the intricacies of her arrangements.
My favorite tune is still the power ballad "YoÅ and I"the RX6 brought out all the subtle intricacies of her bluesy inflections, most of which will be missed by kids who listen only to MP3s of this well-engineered album. Lower in frequency, the Monitor was equally revealing and complimentary to well-recorded male voices, from the chiming Bryan Ferry in "More Than This, " from Roxy Music's Avalon (CD, Virgin 8 47460 2), to Mighty Sam McClain's guttural growl in "Got to Have Your Love, " from his Give It Up to Love (CD, JVC JVCXR-0012). I was also really taken by Mark Cohn's Listening Booth: 1970 (CD, Sagura Road 25594-D), a collection of accessible but unusual covers of songs from that year that you may have lovedor hated.I spent most of that year listening to the Doors, Santana, and Iron Butterfly, and so at the time was no fan of most of the tunes on this CD. I despise no pop artist more than I despise Cat Stevens, and was shocked to find that my favorite track on Cohn's album is Wild World. Cohn dispenses with Stevens's insipid, cheesy arrangement to create a straightforward voice-and-guitardominated performance that I found involving and enjoyable through the Monitor RX6s. The ability of the Silver RX6s to develop a sense of space made them an excellent match for ECM piano recordings. Keith Jarrett's concert grand on La Scala (CD, ECM 1640) was warm and delicate, with a very real sense of the size of the recording venue.
This effect carried over to well-recorded orchestral works as well. Reinbert De Leeuw and the Schönberg Ensemble's performance of Louis Andriessen's De Tijd (CD, Elektra Nonesuch 79291-2) includes sudden, jarring instrumental clashes that break the tranquility of a tense, dark pianissimo orchestral continuo. Through the Silver RX6s there was a real sense of instruments popping out of nowhere to rest on a bed of air in a deep, wide concert hall. However, pianist Josef Christof's recording of John Cage's One , from Late Piano Works (CD, ITM 9500037), also contains a lot of space, silence, and decay; other affordable speakers have reproduced a somewhat greater sense of room ambience with this recording. In this work Ligeti spends a good bit of time exploring the extreme upper registers of the cello and violins, and every subtle nuance of the harmonics of the instruments' upper strings was reproduced through the Silver RX6 with no sense of excess bite or lack of balance.
The Monitor's high-frequency reproduction enabled perfect integration of the fundamentals and harmonics of the trumpet; Wynton Marsalis's instrument on his Levee Low Moan (CD, Columbia CK 47075) was startlingly realistic: The Monitor's integration of the horn's dynamic envelope, timbre, and harmonics inspired me to scribble in my notes: That's a trumpet! The RX6's high-frequency purity nicely dovetailed with its perfect rendition of crisp, clean, fast transients on recordings with percussive content.The bell-like knocks and shimmies of Philipp Vandré's instrument on Cage's. (CD, Mode 50) were extended and detailed, with just the right amount of decay.
Similarly, Egberto Gismonti's guitar playing is quite percussive in his duets with percussionist Nana Vasconcelos on their. (CD, ECM 1279); the Monitors created a lifelike sense of churning rhythm. With busy and angular jazz fusion, the speaker had a sense of coherent pacing that simulated a live performance.The interaction of bassist Guy Nasangue and drummer Moktar Samba on Jean-Luc Ponty's. (CD, Atlantic Jazz 782500-2) is busy and frenetic; through the Monitors, there was never a sense of blurring or sluggishness. The Silver RX6's reproduction of bass was also superb. Dave Holland's double-bass intro to Kevin Eubanks's "Nemesis, " from Holland's Extensions (CD, ECM 1410), was warm and three-dimensional throughout the instrument's entire range.
For electronic bass, the rapid-fire bass-synth passage that ends Spaceship , from Philip Glass's Einstein on the Beach (CD, Elektra Nonesuch 7 93230-2), was clean and clear, with no trace of overhang. The Monitor's high-level dynamic performance was exceptional, especially for a speaker of this size and price, so I subjected it to the Ellen Test: The closing passage of "Mansour's Gift, " from my jazz quartet Attention Screen's Live at Merkin Hall CD, Stereophile STPH018-2.
, has a triple-forte crash of piano, bass, and drums that probably spans a wider dynamic range than any other of John Atkinson's recordings for the Stereophile label. I put the recording on at a normal listening level for the piece, then wait for the crash.
If my wife, Ellen, runs into the room screaming Turn that down! I know the speaker has passed the test. The Silver RX6 passed, with flying colors. The Silver RX6 was also a party speaker that could handle loud rock.
For Ellen's birthday dinner, on a lark, she spun Lady Gaga's The Fame Monster (CD, Streamline B0013535-72) at about 98dB. To my surprise, she stood in my listening room dancing continuously for about six tracks as a half dozen other females, ranging in age from 10 to 65, joined in. I worried about the wine glasses in my liquor cabinet getting knocked off their racks. The Monitor was also a great home-theater speaker.
As partial compensation for not getting a ticket (and I know of no human or semi-human being who did) to the Kraftwerk festival in April at the Museum of Modern Art, where the band was to perform their entire catalog over eight nights, I watched all of their Minimum/Maximum video (DVD, EMI ASW 36292), also at about 98dB. The sense of drama and passion came through clearly, transporting me back to the concert I attended during Kraftwerk's 2006 world tour, during which the video was shot. I was thus able to turn my musically inclined 11-year-old daughter, Caitlin, on to the band, as well as our close family friend Danny Gray, who, at 23, is using his Columbia University physics degree to play in an original alternative-rock band. I was really looking forward to the RX6/RS6 comparison. Sure enough, as I switched back and forth between the RX6 and RS6, I noted that the RX6 had more natural and realistic highs.
Sibilants were more prominent through the RS6, and could be a bit brash in highly modulated passages, but not through the RX6. However, in all other areasbass to midrange timbres, detail, transient articulation, ambience retrieval, soundstaging, dynamicsthe RS6 and RX6 were virtually identical. The Epos M5i had an equally detailed and natural midrange and midbass, although the Epos's bass didn't go as deep as the Silver RX6's, nor were its high-level dynamics as extended.I also felt the RX6's highs were more refined. The Dynaudio Excite X12 excels at midrange detail and naturalness, and its highs are as delicate and detailed as the Silver RX6's. However, the Excite's midbass is slightly warmer and not as extended as the RX6's, though its high-level dynamics, while not in the Monitor's league, were still very impressive for a bookshelf loudspeaker. Summing Up Despite the advances made in affordable speakers in the six years since I reviewed Monitor Audio's Silver RS6, its replacement, the Silver RX6, excelled in every parameter by today's standards, demonstrating a broad range of strengths and no weaknesses. And while you might find affordable speakers that slightly outperform the Silver RX6 in an area or two, I doubt anyone will find one that's so universally appealing.
It was an ideal match for every type of music, from delicate female voices and jazz trios to bombastic orchestral and electronic rock music. And its small footprint, attractive but unassuming appearance, and clean, extended bass performance make it an ideal home-theater speaker: one that obviates the need for a subwoofer. I can't think of another affordable speaker that better meets such a broad range of needs. Description: Two-and-a-half-way, ported floorstanding loudspeaker.
Drive-units: 1" (25mm) C-CAM gold dome tweeter, 6" RST mid/woofer, 6 RST woofer. Crossover frequencies: 700Hz LF, 2.7kHz MF/HF. Dimensions: 35 5/8" (905mm) H by 1013/16" (275mm) W by 123/16 (310mm) D (includes plinth and feet). Weight: 36.13 lbs (16.4kg).
Serial numbers of units reviewed: 201869 (both). Approximate number of dealers: 375. WILL BE PACKAGED WITH EXTREME CARE.
The item "MONITOR AUDIO SILVER RX6 FLOOR STANDING SPEAKERS PAIR With SPIKES & PLUGS RX 6" is in sale since Sunday, September 27, 2020. This item is in the category "Consumer Electronics\TV, Video & Home Audio\Home Audio\Home Speakers & Subwoofers". The seller is "sunnyviewlane*" and is located in Medford, Oregon.This item can be shipped worldwide.