- #Elac debut reference specs drivers#
- #Elac debut reference specs driver#
- #Elac debut reference specs full#
- #Elac debut reference specs plus#
Straightening the cabinet smooths this effect off to a good degree, although it never fully goes away. Celine Dion’s I’m Alive is a strident performance at the best of times, but through the toed-in F5.2 it’s quite raucous. This works wonders for making vocalists stand proud of their backing and picking out lead instruments, but is just too ‘in your face’ on occasions. With it firing straight at me, I find it to be quite midrange-dominant. In the case of the F5.2 this action brings about an additional benefit. Additionally, ELAC has done a quite superb job of making compact cabinets that give a highly convincing impression of being much larger. Straightening it up brings about a superb swathe of sound from left to right, and still with plenty of stability in the centre. Toe it in towards you and there is a very strong central image, but a cessation of the action quite abruptly beyond its outer positions.
#Elac debut reference specs full#
Cabinet finish is a good-quality black ash and grilles are provided that cover the drive units – but not the full front panel – and lock firmly into mounts located on the baffle with impressive grip.įollowing my experience with the Debut B6.2 standmount, I decide to experiment with the F5.2’s positioning in my listening room and find that it behaves in a very similar way. The advantage of this new layout is that it permits the crossover to stay simple while facilitating true three-way operation. In addition, there’s a new topology that even Andrew Jones would go as far as describing as “unconventional”. Consequently, the crossover points themselves have dropped slightly, from 100Hz and 3kHz, to 90Hz and 2.2kHz respectively. In the same manner as its sibling Debut B6.2 standmount, the introduction of new drive units and cabinet construction on the Debut F5.2 have meant that the crossover has come in for some attention. Design-wise, this means a 25mm cloth dome with a larger surround, new dome material and different doping compared with the older Debut range. Treble is handled by the same tweeter that is used across the range. The bass and midrange drive units are based around an Aramid weave cone with a rear damping coating and a new convex dust cap.
#Elac debut reference specs driver#
The divider between the bass enclosure and the midrange section partially serves this purpose, but additional front-to-back bracing is fitted below the bottom driver at the point where the front baffle is most susceptible to flexing.
#Elac debut reference specs drivers#
The bass drivers work in the lower section and have twin rear-firing ports, meanwhile the top port on the rear panel services the upper section containing the midrange driver.Ī new feature for the Debut 2.0 range is cabinet bracing. While all three drivers are identical, the bass and midrange sections within the cabinet are separated.
Unusually at the price the F5.2 is a three-way design, with the two lower main drivers handling the low bass leaving the top driver to take over the midrange frequencies up to the handover point of the tweeter. Although not an entirely accurate measurement, it’s surely performance that counts here. Speaking to the speaker’s designer Andrew Jones confirms that ELAC specifies driver size by the diameter of the chassis fixing holes.
However, as I found with the B6.2 standmount reviewed in last month’s issue, the driver size is a little optimistic, with the outer roll surround being just a smidge over 100mm across according to my measurements. All of which brings us rather neatly to ELAC’s F5.2, which is the smaller floorstander in the new nine-model Debut 2.0 range and utilises three main ‘5.25in’ drive units (133mm). You get more bass, a generally greater sense of scale and more drive units that are better optimised to cover the full frequency range.
#Elac debut reference specs plus#
The reason being that, as long as you aren’t intending to pop said loudspeakers onto a bookshelf, then by the time you have located them in your room and perched them on some suitable stands they take up roughly the same amount of room as some floorstanders, so why not just opt for them in the first place? While things are more complicated than this, you can see the logic.Īlthough budget floorstanders can come with disadvantages – such as larger cabinets that might be less than optimal in order to keep to a lower price point – I have always felt that the plus points of such designs far outweigh the negatives. There is a school of thought among some loudspeaker buyers that a standmount design is a bit of a waste of time. The smaller of two floorstanding models in ELAC’s Debut 2.0 range, the F5.2 is a true three-way design.
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