sonosphere
Well-Known Member
Background:
Achieving performance of a Rs. 2.0+ Lac FS in less than Rs. 50k is no mean feat. I felt story of this feat must be told. So here is my detailed review of SMD Audio’s FS, (Model#: SF35G).
Note:
Custom Design - SMD Audio’s Floorstanding speaker, (Model#: SF35G)
(Above FS’s graphic design is based on customization as per my request. SMD offers to customize the aesthetics of your FS as per your choice of color and finishes. The “standard design” of this FS is in photo below "Harmonic Balance" section)
Under the hood:
Custom Design - Rear Views - Bass reflex port and cable binding posts
Observations:
1. Tonality:
2. Dynamics (Attack, Sustain, Decay):
3. Harmonic balance:
Standard Design - SMD Audio’s Floorstanding speaker, (Model#: SF35G)
4. Instrument separation:
5. Loudness:
6. Imaging:
7. Soundstage:
Audition setup of SMD FS. (Usher V-601 BS seen behind them)
(My old setup's Ushers were also auditioned again for comparison with FS)
Conclusion:
Associated gear:
Recordings played:
“Planets” by Gustav Holst (Symphonic Orchestra), Headed for the future (Neil Diamond), Hey You (Pink Floyd), One slip (Pink Floyd), I am a camera (Yes), Jaan ne Jaan (R.D Burman), Tujhse Naraaz Nahi (R.D Burman), Om Shanti Om (Laxmikant Pyarelal), Indian Express (Instrumental by L. Subramaniam), Bombay Theme (A.R Rahman), Yeh Haseen Vadiyan (A.R Rahman), Aawaaragi (Ghulam Ali), Hazaaron Khwahishein Aisi (Jagjit Singh)… and many more.
SMD Audio:
I had admired performance of SMD’s bookshelf speakers (BS) at an earlier event [Link]; however one of their small FS at same event didn’t impress me much. So when I had a chance to audition SMD’s bigger FS recently, I was not expecting much, except louder level from the bigger FS. Contrary to the earlier experience of the smaller FS, I was happy to discover some specialties in the bigger one, within initial 2 songs of audition. After 5 songs of various genres, it was apparent that this FS is in the same league of well regarded ones like Pro AC 140 and Amphion Argon 3L. Both these FS were upwards of Rs. 2 lacs when launched. When I was told that the SMD’s FS costs below Rs. 50k, it sounded like a story “too-good-to-be-true”. The story did turn out to be true, when I bought it!
Achieving performance of a Rs. 2.0+ Lac FS in less than Rs. 50k is no mean feat. I felt story of this feat must be told. So here is my detailed review of SMD Audio’s FS, (Model#: SF35G).
Note:
1. This review includes supplementary information /explanations that veteran audiophiles may find tiring, however I have retained the supplementary information for benefit of people, who are just venturing into this hobby.
2. This review is based on the performance of this speaker, after approximately 75 hours of playing /”burn-in” and application of eq for room-correction. (Fresh piece didn’t sound impressive, just as the smaller FS mentioned in “Background” section above). The audition was done at approximate loudness level of 95 dB @ 1 meter.
3. I am not associated with SMD Audio in any way. This review is my independent observation of a product purchased from SMD Audio.
Custom Design - SMD Audio’s Floorstanding speaker, (Model#: SF35G)
(Above FS’s graphic design is based on customization as per my request. SMD offers to customize the aesthetics of your FS as per your choice of color and finishes. The “standard design” of this FS is in photo below "Harmonic Balance" section)
Under the hood:
Entry level designs in FS usually are 2-driver based involving a woofer and a tweeter. Next level designs are 3-way cross-over based, involving 3rd driver, i.e. the mid-range. To get more loudness and dynamic range you have 3-way involving 5 drivers, and this FS is from that stable, as detailed below.
- Design: 3 way cross-over, 5-Drivers, Bass reflex rear ported,
- Woofers: 2 nos. 165 mm paper cone
- Midranges: 2 nos. 105 mm paper cone
- Tweeter: 1 no. 26 mm dia, Pure titanium dome with neodymium magnet.
- Crossover: 3-way, with split connector-terminals for bi amping/bi wiring. Internal cabling with Pure OFC.
- Power handling: 120 watts RMS per channel.
- Frequency response: 40 Hz to 20 Khz approx. (…My estimate. I don’t have measured figures)
- Nominal impedance: 8 ohms
- Sensitivity: 89 dB. (…My estimate. I don’t have info on this, however comparing loudness levels with my Usher V-601 BS (having 86 dB sensitivity), This FS sounds significantly louder at same amp-gain level.
- Cabinet structure: Hi grade MDF board material, internally chambered; Font panel having drivers is composed of two 18 mm thick panels, sandwiched to 36 mm thick, remaining panels are 18 mm thick, Surface Finish: PU Painted (Mirror Gloss)
- Dimensions: Width: 215 mm (8.5 inches), Depth: 315 mm (12.25 inches), Height: 840 mm (33 inches), approx.
- Weight: 21.5 Kg per FS Tower
Custom Design - Rear Views - Bass reflex port and cable binding posts
Observations:
1. Tonality:
I found the tonality to be slightly on the warm side of neutral. Some “bright” recordings (old songs) in my CD collection, that I couldn’t bear to listen for long, were listenable enough that I sat thru whole songs. At low cost spectrum, warm sounding speakers are often associated with low resolution and detail, however this SMD FS was actually the opposite (…more on this coming up in subsequent sections below). I would conclude regarding tonality saying that it sounds very natural on neutral, acoustic recordings. You will end up listening to all songs in your collection since even the “bad” recordings are listenable on this FS.
2. Dynamics (Attack, Sustain, Decay):
Dynamics were far better than anything I have heard in sub Rs. 50k price. Though at low volumes (say around 60 dB at 1 meter) the snap and sparkle is lesser than at loud volume (say 95 dB at 1 meter). Despite this, somehow it manages to reproduce the rhythmic and harmonic structure of recording, such that it is quite enjoyable even at low volumes. Dynamics at loud volumes are remarkable enough that I have devoted a separate section on “Loudness” below. The dynamics are explained in terms of three phases that follow a sequence, as given below.
- Attack phase: Very impressive. Not only you get a very dynamic snap when the drum stick hits drum-skin, the snap captures all frequencies in right balance. On a hit, the bass, mids and treble, all jump suddenly for few milliseconds. Other speakers around Rs. 50k price can only dream of matching the hefty bass end of snap, however SMD’s FS did an impressive job here. This is not much of a surprise here, since this FS has two 165 mm dia woofers, whereas others in this price usually have only one. Mids and treble snaps were equally well delivered. This capability made rock songs very enjoyable.
- Sustain phase: This is an undemanding /easy phase for most speakers, so keeping this short. SMD did quite well here. What many would notice better in SMD FS than other speakers is the harmonic balance and detail. (…more on this in sections “Harmonic Balance” and “Instrument separation” below). This capability is most noticeable in the rich notes of Grand Piano that are played on a slow pace.
- Decay phase: In case of SMD FS, the decay would be better explained as deeeecaaaaayyyyyyy. SMD FS reproduced decay phase as well as Hi-end speakers costing 500k+ INR (For e.g Adante FS “AF-61” and Manger BS “MSM C1”). In many songs, a bass guitar note is left hanging till it decays to zero level naturally, taking something like 4-5 seconds from peak of Attach-phase to zero. SMD FS did full 4-5 seconds of it with full clarity and coherence, and quite as good as aforementioned Adante or Manger did.
- Another aspect of decay-phase is the “reverb decay”. Good recordings have different reverb assigned to different instrument-groups. Drums may have moderate sized room-reverb, Horns may have Hall-reverb, and lush strings may have Stadium sized reverb. Once again the SMD FS performed very close to the Adante and Manger. SMD FS reproduced all reverbs so faithfully that you could visualize drums playing closer to you, the Horns-section 25 meters behind in a hall, and the large string-section far in the back, as if playing in outer space.
The balance I am referring to above, is not about ruler-flat frequency response. It comes as surprise to many that speakers that measure ruler-flat on test-tones don’t sound natural on acoustic recordings. A cello’s sound is a rich spectrum of not tens, but hundreds of odd and even harmonics from bass end to treble. Unless all… ok, that’s expecting too much 
… Unless most harmonics are reproduced in same proportion as the real one, the cello won’t sound authentic. In fact it may end up sounding like totally different bowed instrument!
… Unless most harmonics are reproduced in same proportion as the real one, the cello won’t sound authentic. In fact it may end up sounding like totally different bowed instrument!
It’s very difficult to achieve Harmonic balance and coherence in a multi-driver speaker due to issues in achieving “sonic-match + phase-match + level-match” (all simultaneously!) between cross-over zones and between Left /right channels. Level-matched drivers are also more expensive than regular ones. This is the reason why cheap multi-driver FS sound big, but have as much clarity as mashed potatoes. I bow to SMD’s designer (Mr. Sandeep Devasthali) who achieved very authentic harmonic balance under 50k INR.
SMD FS did so well in this department that it can be used in recording studio. This is a really BOLD statement; however notwithstanding my limited experience in recording albums in studios, I stand by it. (Genelec 8040 is a BS Studio Monitor that finds home in many respectable studios. If you hear this SMD FS after the 8040, you will know why I am saying this).
Standard Design - SMD Audio’s Floorstanding speaker, (Model#: SF35G)
4. Instrument separation:
When it comes to authenticity, this capability comes next to “Harmonic balance”. It’s tough enough to reproduce one cello authentically, now how about simultaneously generating thousands of harmonics, of multiple instruments, each having different attack /sustain /decay phases? This is what separates Studio speakers from HiFi speakers. A HiFi speaker, first and foremost needs to sound good /pleasant, even if it is at compromise of authenticity, but a Studio speaker MUST reproduce all instruments in proper proportion and loudness.
Post 2010 generation of audiophiles are fortunate that even entry level bookshelves deliver good instrument separation, IF... there are only 3-4 instruments playing, (e.g. Jazz or Rock quartet). However throw a dense symphony at them, and the BS will mix many instruments among them into one mushy texture. If you play the same music loudly, the mushy texture starts sounding hard, edgy and "un-listenable". Nothing of this sort happened with SMD FS.
The SMD FS handled sparse and dense orchestration effortlessly with superb black background. A complex 3-way crossover serving 5 drivers delivering such black background is remarkable. (I have heard simpler 2-way crossovers clouding clarity of source) This FS betrayed not even a hint of struggle whenever a dense passage came in a song. It maintained effortless character even at loud volumes like 95 dB at 1 meter. This is another factor makes me recommend this FS as Studio monitor. Aforementioned effortless capability of SMD FS has been the biggest surprise for me, considering its price. However, aforementioned “Under the hood” details, tell us that its no surprise... such performance is a natural consequence of a powerful 5-Driver design. Other FS at this price range generally have maximum 3 drivers.
5. Loudness:
It’s rare that you play music at home so loud that you can’t make out what the person next to you is talking (say loudness level of approx 95 dB at one meter). However certain music demands that it’s heard at such loud levels to feel the original message of the composition. Large symphonic orchestras or Hard Rock songs are such examples.
Even if you had large acoustically treated room, most speakers in the “affordable” range would sound too bright and distorted at such loudness. In my listening room (16 feet x 18 feet) not only did the SMD FS play very loud without sounding distorted, they maintained the Harmonic balance and instrument separation. At loudness of 95 dB at one meter, such distortion-free performance belongs to the big boys that retail for 250k+ INR. (How the SMD FS played at low levels …say at 60 dB @ 1 mrt, is already described under “Dynamics” section earlier).
6. Imaging:
Standmount /Bookshelf speakers are known for better imaging, than similarly priced FS, however SMD FS surprised me by delivering better imaging than my Usher BS having same prince-range. I recollect my statement made Here (< Link to post# 295) regarding SMD’s BS. Similar statement applies to this SMD FS as well. This FS projects image of musical instruments within the soundstage with such clarity and spatial separation, that we can practically walk around instruments.
7. Soundstage:
I didn’t realize how important Instrument-separation and Imaging are to soundstage, till I did extended listening with SMD FS. The fun in soundstage is not only in how wide and how tall the music sounds, but also in how each instrument sounds distinctly separate from the others in its own reverb-space. I have witnessed huge soundstage in many speakers, however the music projected by some among them sounded like mashed potatoes… like a homogeneous mix of assorted ingredients splashed across a huge wall.
With SMD FS I could see musicians spread across an orchestral stage, wherein each instrument-group (strings, brass, woodwinds etc) occupied separate space. Depending on music recording, the soundstage seemed to extend horizontally about 1 feet beyond both ends of FS, and about 2 feet above the FS, on most songs. On songs having "spatial sound" effects, like intro of "Headed for the future" by Neil Diamond, the soundstage was engulfed around me like surround sound! Good recordings of symphonies delivered the best soundstage during crescendo. (Try the symphonic masterpiece “Jupiter /Planets” by Gustav Holst, on your HiFi, as an example. Off topic >> Is it a coincidence that John Williams’ ‘Star Wars” soundtrack seems to be inspired by “Planets”? Check google )
)Audition setup of SMD FS. (Usher V-601 BS seen behind them)
(My old setup's Ushers were also auditioned again for comparison with FS)
Conclusion:
I have compared SMD FS favorably to well regarded names like Pro AC 140, Amphion Argon 3L, Adante AF-61 and Manger MCM C1, but I am I not saying they are identical in performance. However, SMD FS is coming so close to their performance that, irrespective of cost-advantage, many would opt for it just for the convenience of buying it in India, without the hassles of importing or doubt about replacement of imported parts in future. I am also surprised that SMD FS sounded so well on mid-fi gear (see my gear-list below). I can only dream how it would sound with the likes of Bryston, Macintosh amps, premium DAC’s from Weiss etc, all retailing above 2K USD each. I strongly recommend anyone in market for a speaker from Rs. 50K to Rs. 2 lacs, to audition this FS before finalizing decision. … And kudos to Mr. Sandeep Devasthali (SMD Audio) for creating such a gem!
Associated gear:
Transport: Foobar on Windows PC (“SPDIF out” from Xonar Essence soundcard) > Belkin Synapse SPDIF cable > DAC: Audio-GD, DAC-19, RCA out > Power Amp (No Pre-Amp): Adcom GFA-545 MkII > Speaker: SMD FS
Recordings played:
“Planets” by Gustav Holst (Symphonic Orchestra), Headed for the future (Neil Diamond), Hey You (Pink Floyd), One slip (Pink Floyd), I am a camera (Yes), Jaan ne Jaan (R.D Burman), Tujhse Naraaz Nahi (R.D Burman), Om Shanti Om (Laxmikant Pyarelal), Indian Express (Instrumental by L. Subramaniam), Bombay Theme (A.R Rahman), Yeh Haseen Vadiyan (A.R Rahman), Aawaaragi (Ghulam Ali), Hazaaron Khwahishein Aisi (Jagjit Singh)… and many more.
SMD Audio:
_https://www.smdaudio.in_
