Boxe Rogers LS 7 : pe 2 cai, bass tip reflex, diametru bass de 20 cm, suspensii din cauciuc, cutiile sunt din lemn, plase de protectie, impedanta 8 ohmi, 200 W, sensibilitate 1m/2,83V/88dB, Vintage, un difuzor de bass are o indoitura (vezi foto), nu influnteaza sunetul doar estetic, made in England.
The English loudspeaker manufacturer Rogers [no connection with the contemporary US company Rogers High Fidelity] has had an illustrious history since being founded in 1947 by veteran designer Jim Rogers. Absorbed by the Swisstone company in 1976, it has since gone from strength to strength, the main creative work now being done by the respected English engineer Richard Ross. Noteworthy for keeping the miniature BBC LS3/5a design in continuous production for nearly 15 years, Rogers also makes a range of polypropylene-cone woofers and midrange units which are used in other models in its range.
The LS7t ($949/pair) is the second most expensive model in Rogers' "domestic" range, and is an elegant box speaker, finished in walnut veneer. Unusually, the grille, which consists of black cloth over a profiled fiberboard frame, is set into the front of the speaker and should not be removed. Under the grille, the familiar sight of the German MB Electronics titanium-dome tweeter greets the eye, this featuring a plastic "phase plate" and mounted vertically above a 6" diameter, polypropylene-cone woofer. This is constructed on a diecast chassis and is fitted with a generous-sized magnet. A 6"-deep, 2.5"-diameter reflex port completes the baffle array.
The crossover is constructed on a printed-circuit board fitted to the input terminals. (Two sets are provided, for bi-wiring and bi-amplification.) Ferrite-cored inductors are used, while the capacitors appear all to be plastic-film types. The enclosure is lined with "eggcrate" plastic foam, and apart from the rear panel being inset slightly to add a degree of stiffness, there appears to be no other internal bracing.
Positioned well away from room boundaries, the LS7ts proved capable of throwing a deep, well-defined soundstage. Instrumental placement within that soundstage was unambiguously palpable, and the effect was consistently musical. On the Stereophile flute-and-piano Poem recording, the flute was set back a little behind the plane of the speakers, with a slight "chiff" noticeable to its tonal quality (this not to as great a degree as with the Paradigm Control Monitor), with the piano set further back still. Both instruments could be heard to be surrounded by a dome of ambience, and the retrieval of detail was impressive—in fact, I used the LS7ts to decide which of the test pressings of this recording best represented the original sound.
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