Sonus Faber Guaneri Homage or Extremas?

And still you're puzzled by the heat sink. Then you notice below the 'Extrema' legend to the right of it a little logo which looks like an electronic component, bearing the words SINE CAPPAT. And it all ties in to the crossover which is, like the outrageous styling and the dial-in damping, another novel -- not novelty -- feature.

The crossover of the Extrema bears no capacitors. I phoned MC -- the man you want on your team if Trivial Pursuit ever adds a category called 'the History of Loudspeakers' -- and he told me that (1) to the best of his knowledge this is the first time a capacitor-free crossover has been used in a commercially available dynamic speaker and that (2) it's a pretty nifty idea but not without its disadvantages. Sonus Faber is frank about the latter, dealing with the need to dissipate whole watts of wasted power through the fitting of the heat sink. To quote Sonus Faber, 'The fact that the amplifier is forced to deliver higher power on a prevalently resistive load of lower modulus cannot be considered a disadvantage for a correctly designed amplifier.'

The assumption is that this product, gaining in transparency by eliminating a key component from the crossover, will be driven by the kind of amplifiers which won't be affected if some of their wattage is wasted. And -- I may as well shock you now -- at ú6490 per pair, the Extrema is unlikely to be mated to amplifiers short of grunt.

SINE CAPPAT is a first-order parallel rather than series filter. By completely eliminating a whole component, it allows the tweeter to deliver greater transient response and 'snap' as well as higher transparency. As the tweeter's level still has to be attenuated relative to the woofer, due to the former's higher sensitivity, an inductor is fitted parallel to the tweeter.

But the use of such a technique places extra demands on the amplifiers, which explains why the nominal 4 ohm impedance and sensitivity of 88dB/1W/1m meant little in practice. The losses were such that some frighteningly robust amplifiers were driven into clipping, amplifiers which I would have wagered could drive the Extrema. It was a shame, for example, to disconnect the gorgeous Marantz MA-24 Class-A monoblocks which made such sweet music with the Extremas at low-to-normal levels. Along would come some crescendo, and blaaat!, the poor babies clipped with a sound like the exhaust of a pre-war Alfa. And I'm not even certain if the extra 3dB provided by running two pairs would have made much difference.