Mark Fenlon has a desire to build his finest drivers for a reasonable price. This goal is being fulfilled in his Alpair line of drivers. In a recent conversation with me, Mark was unusually excited about his new Alpair 12 driver which sports his newest cone and spider technology. He assured me it offered both improved clarity and better treble extension over his Alpair 10, which has received much recent praise. I ordered a pair of Alpair 12 drivers when they became available to evaluate. I am glad I did.
In addition to Mark’s new metal cone and spider technology, he has further differentiated his drivers from other full rangers with a striking new appearance. I believe the new visual appearance will better position the identity of his brand. (See picture below.)
Having listened to the Alpair 12 for about 150 hours now, I want to share my early impressions. First, the Alpair 12 is of excellent build quality and sports an improved appearance over previous Alpair drivers. The magnet assembly is substantially larger than previous Alpair drivers. Whether it is Mark’s latest cone and spider technology, the larger magnet, the greater cone diameter, or all of the above, I like what I am hearing very much.
Compared to the Alpair 10, the Alpair 12 presents with a lower noise floor thus yielding better detail retrieval from a clearer and more open midrange and highs. The extended highs Mark has coaxed from the Alpair 12 cone is stunning. It is much better than anticipated, delivering believable size, textures and dynamics. Snare drum pop is crisp and tight; the ride & high hat cymbals are percussive; bold, yet airy, with good decay characteristics. This kind of extension and presence in a coned full-range driver without the use of a supporting tweeter or whizzer cone (both which add their own set compromises), has been an unfulfilled goal of full-range driver enthusiasts.
Tonal accuracy is a top priority. The Alpair 12 beautifully renders the Grand Piano, delivering a complex harmonic structure. Bass extension is also tight and extended. The Alpair 12 surprises with very good immediacy, while maintaining a controlled upper midrange (no shout or obvious peaks).
In summary, the Alpair 12 is a superb driver. It likely redefines the upper the limits possible in a full-range single-driver of its type. Mark tells me his driver will continue to improve for up to 500 hours. I believe him.
Bob Spence
In addition to Mark’s new metal cone and spider technology, he has further differentiated his drivers from other full rangers with a striking new appearance. I believe the new visual appearance will better position the identity of his brand. (See picture below.)
Having listened to the Alpair 12 for about 150 hours now, I want to share my early impressions. First, the Alpair 12 is of excellent build quality and sports an improved appearance over previous Alpair drivers. The magnet assembly is substantially larger than previous Alpair drivers. Whether it is Mark’s latest cone and spider technology, the larger magnet, the greater cone diameter, or all of the above, I like what I am hearing very much.
Compared to the Alpair 10, the Alpair 12 presents with a lower noise floor thus yielding better detail retrieval from a clearer and more open midrange and highs. The extended highs Mark has coaxed from the Alpair 12 cone is stunning. It is much better than anticipated, delivering believable size, textures and dynamics. Snare drum pop is crisp and tight; the ride & high hat cymbals are percussive; bold, yet airy, with good decay characteristics. This kind of extension and presence in a coned full-range driver without the use of a supporting tweeter or whizzer cone (both which add their own set compromises), has been an unfulfilled goal of full-range driver enthusiasts.
Tonal accuracy is a top priority. The Alpair 12 beautifully renders the Grand Piano, delivering a complex harmonic structure. Bass extension is also tight and extended. The Alpair 12 surprises with very good immediacy, while maintaining a controlled upper midrange (no shout or obvious peaks).
In summary, the Alpair 12 is a superb driver. It likely redefines the upper the limits possible in a full-range single-driver of its type. Mark tells me his driver will continue to improve for up to 500 hours. I believe him.
Bob Spence
Attachments
Well, I wrote a very lengthy series of comments detailing my thoughts on the thread in the MA forum. Unfortunately, it was closed while I was doing it, with the result that when I tried to post, the whole damn lot was lost. I don't have time to try re-writing it all now, I'm too tired & I've got to go to the hospital in a minute. Broadly speaking, my impressions are similar to Bob's.
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Alpair 12: Initial Impressions
Dave, I am evaluating the new Alpair 12 in Affirm's new Elation loudspeaker enclosure, a proprietary back loaded tractrix horn design. It has been modified as neccessary to accommodate the larger size magnet structure, wider stance, and deeper profile.
I have utilized three amplifiers: The Art Audio Carissa, Class A, 18 watts per channel 845 amplifier, K & K Audio's modified Dynaco ST70, 10 watts per channel, Class A1, and a 30 watt per channel solid state design by Chris Owen, Clarity Cable.
Dave, I am evaluating the new Alpair 12 in Affirm's new Elation loudspeaker enclosure, a proprietary back loaded tractrix horn design. It has been modified as neccessary to accommodate the larger size magnet structure, wider stance, and deeper profile.
I have utilized three amplifiers: The Art Audio Carissa, Class A, 18 watts per channel 845 amplifier, K & K Audio's modified Dynaco ST70, 10 watts per channel, Class A1, and a 30 watt per channel solid state design by Chris Owen, Clarity Cable.
Probably.
But you will need a woofer driver for the bass that is 6 to 10 dB more efficient to offset the OB's 6dB/octeve low frequency roll-off. I think just about any full range driver will work in an OB speaker if the proper bass driver(s) and crossover are used (a crossover is probably required for both drivers). I do not believe that a single full range driver will work in an OB all alone. You need bass reinforcement of some kind.
Martin,
Happy to have you here. I'm just looking for any alternative to coupe with my new 1858 Goldwood in H frame which is exactly as what I posted at your thread. I found a bit difficult for me to source the JX92s and the Alpair 12 can be obtained from local source here in Vancouver. I'll keep crossover the 1858 at 90-100hz and would try to start crossover the Alpair 12 from 150hz up. Please do advise.
Albert
Happy to have you here. I'm just looking for any alternative to coupe with my new 1858 Goldwood in H frame which is exactly as what I posted at your thread. I found a bit difficult for me to source the JX92s and the Alpair 12 can be obtained from local source here in Vancouver. I'll keep crossover the 1858 at 90-100hz and would try to start crossover the Alpair 12 from 150hz up. Please do advise.
Albert
Finally had chance to try to re-write some of my original impressions post on the A12. I'm somewhat limited at present due to family illness, and I haven't had chance to do as much with them as I would like. However, FWIW, a selection of general musings.
Physically the A12 is impressive when you get your hands on a pair. It's a very pretty driver (as far as such things can be -let's face it, they're not in the same league as, say, Zoe Tapper naked on a Maldives beach at sunset, but as drive-units go, they're up there with the best). They're weighty, and the build quality is excellent; the basket is the best example of the MA composite frame I've seen yet. Feels very solid, and the six screw-holes are centered on the basket, rather than being toward the outboard edge, which is useful. Where they really score is when you start looking at the finer details. The cone is quite remarkable; extremely thin / light, beautifully [multi]formed / pressed, and the glue-line of the dust-cap to the main cone is as tight as I've seen; Mark's production tolerances are very good through necessity. If they weren't, this thing wouldn't work. The suspension is also beautifully done. The ribs of the spider are of varying diameter, while the front suspension is extremely supple. Right on the edge I'd say. Connectors are solid & colour coded for ease of use; you'd have to try very hard to damage them.
In spec. terms, it's an interesting driver. The response shaping that Mark's done makes them very easy to listen to for extended periods -the midband dip will prevent any sibilance creeping in, while the gentle lift from ~3KHz - 8KHz ensures a decent sense of detail. Above 10KHz, the gradual roll-off to a -6dB at 20Khz keeps things smooth -v. useful with either digital sources or a modern phono-cartridge, 90% of which have a ruddy great peak in their HF output. Exceptionally wide operating BW; AFAIK, there are no other metal single cone, whizzerless drivers with this kind of extension. VC inductance is extremely low for a driver of this size -no surprise there given how high they go (or visa versa). The lift in the lower mids should go some way to countering step-loss, and there's plenty of linear travel to play with. Q & Vas are modest, total moving mass is very low given the size & materials, & raw motor strength is good. The infamous Γ=(B*L)/m acceleration factor comes out at a nominal (very respectable) 551.44m/s -arguably not something to be taken too heavily, but it does at least indicate reasonably little inertia in the power-train.
Sonically, I like them. I like the balance, I like the tonality and harmonic reproduction / decay. For me the overriding characteristic is stability; precise, very mechanical (in a positive way) feel. Detailing is excellent, several steps beyond the current A10 model. I'd concur with Bob's assessment of a low noise-floor; low level detail is very good indeed. Transient response is always an interesting question for FR drivers; by their very nature, they are wide BW designs, so transient response per se is always good, however, it's excellent in the A12. Dynamic response / handling is also very good, within the context of wide-band units. I tend to like car analogies; and what we have here is the 1988 McLaren MP4/4 of the FR driver world. It's about the package, rather than specific, stand-out features, and to my mind, it's very well judged indeed.
Physically the A12 is impressive when you get your hands on a pair. It's a very pretty driver (as far as such things can be -let's face it, they're not in the same league as, say, Zoe Tapper naked on a Maldives beach at sunset, but as drive-units go, they're up there with the best). They're weighty, and the build quality is excellent; the basket is the best example of the MA composite frame I've seen yet. Feels very solid, and the six screw-holes are centered on the basket, rather than being toward the outboard edge, which is useful. Where they really score is when you start looking at the finer details. The cone is quite remarkable; extremely thin / light, beautifully [multi]formed / pressed, and the glue-line of the dust-cap to the main cone is as tight as I've seen; Mark's production tolerances are very good through necessity. If they weren't, this thing wouldn't work. The suspension is also beautifully done. The ribs of the spider are of varying diameter, while the front suspension is extremely supple. Right on the edge I'd say. Connectors are solid & colour coded for ease of use; you'd have to try very hard to damage them.
In spec. terms, it's an interesting driver. The response shaping that Mark's done makes them very easy to listen to for extended periods -the midband dip will prevent any sibilance creeping in, while the gentle lift from ~3KHz - 8KHz ensures a decent sense of detail. Above 10KHz, the gradual roll-off to a -6dB at 20Khz keeps things smooth -v. useful with either digital sources or a modern phono-cartridge, 90% of which have a ruddy great peak in their HF output. Exceptionally wide operating BW; AFAIK, there are no other metal single cone, whizzerless drivers with this kind of extension. VC inductance is extremely low for a driver of this size -no surprise there given how high they go (or visa versa). The lift in the lower mids should go some way to countering step-loss, and there's plenty of linear travel to play with. Q & Vas are modest, total moving mass is very low given the size & materials, & raw motor strength is good. The infamous Γ=(B*L)/m acceleration factor comes out at a nominal (very respectable) 551.44m/s -arguably not something to be taken too heavily, but it does at least indicate reasonably little inertia in the power-train.
Sonically, I like them. I like the balance, I like the tonality and harmonic reproduction / decay. For me the overriding characteristic is stability; precise, very mechanical (in a positive way) feel. Detailing is excellent, several steps beyond the current A10 model. I'd concur with Bob's assessment of a low noise-floor; low level detail is very good indeed. Transient response is always an interesting question for FR drivers; by their very nature, they are wide BW designs, so transient response per se is always good, however, it's excellent in the A12. Dynamic response / handling is also very good, within the context of wide-band units. I tend to like car analogies; and what we have here is the 1988 McLaren MP4/4 of the FR driver world. It's about the package, rather than specific, stand-out features, and to my mind, it's very well judged indeed.
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..only race it did not win was the gp of italy, maybe this time will be a matter of local taxes and prices.
Geez, Scott, what kind of eval do you do when you DO have the time?
Thanks, and thanks for the possibility of yet another change of project. - Pat
Looking at the ALPAIR 12 Freq. Chart the Midbass(400Hz) is at the same dB level than the treble(8Khz), and between this the Mids looks very good.
I also wonder some impressions from who already listen this driver, but I believe the Hi will be good.
As you know the Alpair 10 Freq. Chart curve is a model to envy of perfection!
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