Spendor SP1 Speakers:
A pleasure to listen by
My involvement with the SP1's started innocently enough as a lark. I had long received from various quarters very positive opinions about the Spendor BC1 and, its younger sibling, the SP1. As I was going through several emails for classified ads prior to publication, I chanced upon a pair for sale. I called the individual, inquired about their cosmetic and working condition, price, shipping arrangement and after a bit of negotiation agreed to purchase them. It was consummated in a matter of minutes really. The SP1's arrived safely boxed in their original cartons, packing materials, along with the manual, and stands. The seller, Scott Mallonee, was true to his word. The units were in excellent condition.
Specs
A bass reflex design, the SP1's employ three drive units. Spendor's very own 200mm - 40mm coil speaker made of homoplymer polypropylene cone is used to handle the low frequencies. Other frequencies are passed on to two high frequency units: a Celestion HF1300 and a Coles 4001G. The overall response is +/- 3db 45 - 20,000 Hz. Impedance is 8 ohms nominal. The overall dimensions are 635mm x 300mm 300mm (25" x 12" x 12"). Each weighs 42 lbs. Power handling is specified at 90 watts with a maximum sound level at 104 dBA. Inputs connectors are 4mm terminals with plastic caps. Spendor makes 12" stands for these speakers, which are made of steel and have provision for spikes. The serial numbers of the units under review are 001712 and 001713.
The SP1's were sold in the US approximately between 1983 - 1990. Afterwards, the Series II were introduced.
Associated Components
The following components were used to evaluate the Spendor SP1's: Audible Illusions Modulus 3 tube preamplifier primarily its line section, Audio Research SP-3 tube preamp principally used for LP reproduction, Classe' DR-9 amp, Audio Research D-76 tube amp, Sonic Frontiers SFS-80 tube amp, JVC XL-Z1050 compact disk player, Inouye Line Conditioner, Promethean Bandpass Interconnect, Linn Sondek turntable with Valhalla, Linn Ittok LVII tonearm and Linn K18 cartridge, Pink Triangle turntable with MMT tonearm and Promethean Green cartridge, Sound Dynamics 300Ti speakers, and XLO 5 speaker cables. Prior to reviewing the speakers, I had the system playing for about two hours.
Sound
When I was hooking up the speakers for the first time, I noticed that a terminal on one of the speakers was loose. Thinking that it would not matter and being lackadaisical at that time, I plunged ahead anyway. When I listened to the SP1's later I did not know what to make of them. They sounded boxy, lacked dynamism, and the bass was diffused. I was so baffled by their performance that I decided to stop listening, thinking that it just might be listening fatigue on my part. On and off for two weeks I'd listen and be dissatisfied until I could stand it no longer. I looked at those cheap terminals and decided to change all of them. I called up two or three audio shops in Dallas looking for a reasonably priced yet effective speaker terminals. The owner of Wavelength Audio had just replaced the gold-plated terminals of an Alon Petite pair with very expensive ones. Upon inspection, I determined that the terminals from the Alon Petite were suitable to my application and purchased those from him. Replacing the terminals was an hour's worth of labor. This time, I made sure that the terminal screws were locked tight on the rear panel. (No, I did not solder the internal speaker wires to the terminal. Soldering does change the sound, sometimes not for the better. I wanted to maintain the method of original connection.)
So how did the SP1's sound afterwards? Much more focused. More precise and less fuzzy. The speakers started singing. They imaged. The soundstage became more defined unlike before where it would not stay put. The bottom end tightened as well.
There is an alluring overall quality to the SP1's. Once accustomed to its nectar, the listener will demand it from other speakers as well. Mass strings possessed body and were well rounded and natural. Vocals were liquid, rich, an lush. Listening to Amanda Mcbroom (West of Oz, Sheffield Lab 15), one could not help but be captivated by her vocal dexterity. Judy Collins' singing (Colors of the day/Best of Judy Collins, Elektra 75030) was electrifying. The bottom end was tuneful though it could use some tightening up and extension. In some ways, the SP1's remind me of the Rogers LS3/5a. Both make me go back to them despite their drawbacks.
After listening to the SP1's for two weeks, I connected the Sound Dynamics 300Ti's. The Sound Dynamics compared to the Spendors sounded somewhat less refined. There was a slight edge to the vocals which before had gone unnoticed to my ears. On the plus side, the 300Ti had a more solid low end, and provided better resolution although the difference was not staggering. For example, the Sound Dynamics could articulate the snare drum's crispness. One can catch the metallic splash of the cymbals and their lingering harmonics. The SP1's are not quite as articulate.
Let me put it another way. It would seem that with the Sound Dynamics 300Ti's, the approach is to illuminate and from the darkness bring to light the musical source. Hence, your ability to discern the leading edge or lingering musical notes. In this scenario, you'll appreciate the articulation and resolving qualities of the speakers. You're close enough to analyze the different nuances of the instruments. Step back two or three paces and what you will have is the music rendered by the SP1's. The two speakers offer a different perspective to the music.
Application
Having lived with both the Sound Dynamics 300Ti's and the Spendor SP1's for a number of months and having experimented with setups for both, I know where each would be better suited. The SP1's would be better with an amp that can take control, especially at the bottom end. Typically that would be a transistor amp though I have discovered an exception with the Audio Research D-76 tube amp (more on this in a review at a later date). A caveat for ported speakers, especially the SP1's is that they could go "bong" on you. For the 300Ti's, a tube amp would be better.
Conclusion
As one will deduce I've grown fonder of the Spendor SP1's. No, they are not the ultimate speakers and probably will not satisfy those who want to analyze the music. Aesthetically, they look plain and boxy. They also aren't often in the market. Their price is steady at around $550 or about half their original retail value. But old as these boxes are, they continue to be musical. They possess the magic, and unlike others do not call attention to themselves. The SP1's deserve no less than three clefs. Listen and discover.
by Rome Castellanes
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