MangerA different way of listening

Noises, sounds and music are probably the only things

that remain with us throughout our life.

Time to reconsider.

“The ear is the watch-dog among our sensory organs. Its world is the stillness,where the creaking of a branch or the wingbeat of a titmouse can be heard.”

(Rainer Klinke, Professor of Physiology)

It is not yet clear to what extent we just “hear” the tones nowadays,

instead of taking in the soul of the music. However it is absolutely

clear that the fabric of perception has already begun to disintegrate.

The aural effects are often enough reflected in the progress of the

entertainment industry, where the motto is always “more” – more

bass power, more treble clarity, more surround sound. In other

words: “Amplification increases awareness of life, and euphoria is a

function of sound pressure.”

It cannot be avoided that nowadays, where people are listening

less and less, and only learn to perceive acoustic sensations, that the

signals are in competition with each other for attention and become

ever louder and more extreme in order to be heard.

Noise is a phenomenon that has accompanied us at an ever in-

creasing level throughout the past centuries. Actual noise disturbance

however did not start until the media revolution, an age that has

subjected us to continual noise emissions.

Our listening habits are being increasingly characterized not

by acoustic events, but by indiscriminate acoustic pollution. It’s no

wonder that under this bell of noise we are gradually becoming

immune and deaf to the sound details of everyday life. The fact that

we are also losing a part of the sensual quality of our environment

is perhaps the acceptable price of progress, but that our capability for

musical experience is also gradually deteriorating in line with the

displacement of the listening perspective is unacceptable. Especially

as it is music that provides us with a flavour of our immense

emotional potential, a potential that our everyday reality prevents

us from experiencing.

But it is not only the noises from everyday life that are increasingly

placing demands on our hearing, but also conventional loudspeakers

that produce noises not present in the electrical input signal. To

be more specific these are transient noises originating in the stored

energy of the components used in the construction.

It is hard to imagine this because it doesn’t really fit into our

conception of loudspeakers, but we now know that diaphragm bodies

and their spring-like suspensions, as well as the capacitors and

coils, act as energy storage that delay transient-free conversion of

the electrical energy into fluctuations in the air pressure. This

means that conventional loudspeakers, as a result of their design,

suffer from dynamic irregularities which are superimposed on

any input signal in the form of oscillation. You won’t be consciously

aware of them, but your hearing sensitivity will still cause them

to be processed. And this is the weakness of most loudspeakers. They

reproduce the sound artificially and have a tendency to dynamically

exaggerate the original sound. Finding a loudspeaker with no natural

vibration, that reproduces only what is contained in the recording,

is a difficult task indeed.

The ear is the widest ranging perception instrument provided

to us in the evolutionary process. The eye reacts in the wavelength

between 400 and 700 nanometers, within the spectrum of visible

light. Anything below this, x-rays or gamma rays for example, cannot

be registered by the naked eye. And the same is true for higher

wavelengths. Expressed in frequencies this means that the eye can

register a range of around one octave. The ear, on the other hand,

can register ten octaves. So if our eyes were as good as our ears then

we would be able to make look through everything with our x-ray

vision and could turn night into day with infrared sight.

This phenomenal performance by our hearing system with its tiny

hair cells that react to fluctuations in the air pressure with movements

of around 100 billionth of a millimetre, make our ears not only par-

ticularly susceptible to acoustic disturbances, but also make them the

most uncompromising notification instrument that registers every-

thing without fail and that ruthlessly uncovers every single change.

And this has wide-ranging consequences. Even before we perceive

tones, our ears register noises that last no longer than 0.01 milliseconds

(1000 times faster than the first perception of sound occurs).

“In my view a sound transducer should be capable of reproducing all types of acoustic events equally well, irrespective of whether this is a concertor a discussion. It is just as important to be able to reproduce naturalsounds such as birdsong and the wind in the trees where the only humancontribution is the sound of a distant church bell. The loudspeaker itselfshould not be perceptible in this auditory experience. Its presence shouldnot be indicated by any natural resonance or changes in the sound field.”

(Josef W. Manger, Acoustic researcher and inventor of the Manger sound transducer)

What you should know.

sound transducer uses a single thin and flexible

bending diaphragm with a diameter of 19 cen-

timetres to reproduce all sensory impressions

from 80 Hertz to 35 Kilohertz.

The actual innovation is that both the mass and

the compliance of the thin diaphragm material changes from

the centre to the edge at a continuous ratio, as is the case with the

basilar membrane in the cochlea of our inner ear. As in the biological

example bending waves at an ever decreasing propagation speed

occur. This means that a sound signal, irrespective of its complexity,

is split phase-exact on the diaphragm by bending wave dispersion

into its individual components of differing frequencies. And as in the

case of the ripples after the tiniest stone has broken the surface of

the water, the highest frequencies rapidly dissipate only in the centre

of the diaphragm. Lower frequencies on the other hand, as with a

much larger stone thrown in the water, extend to the edge and cause

the whole diaphragm to oscillate.

It took more than twenty years of systematic investigation,

testing, research, and rejection until finally the vision of a transient-

free radiation principle became an engineering reality.

The result is not only one of the most graceful features on the

loudspeaker market, but also an engineering instrument of high-end

mechanical precision that has continued to gain in popularity

among both music experts and aficionados under the designation

Manger sound transducer. Thanks to its superior design and

technology the Manger sound transducer has been the reference

transducer used in recording studios, music colleges and research

institutes for many years.

The decisive advantage of the Manger sound transducer is that

it has no piston-like transients with their exaggerated overshooting.

Instead the Manger concept is based on the revolutionary principle

of bending waves moving to the outside edge like ripples of water

starting from the centre of the diaphragm. Instead of conventional

multiway systems with their dome and cone diaphragms the Manger

Like an ear, but with a better design. “You have to swim against the stream to reach the source.”

(Chinese proverb)

The development of a transducer like this requires more than

just know-how and personal obsession. The Manger sound trans-

ducer is the result of a plethora of scientific disciplines ranging

from mathematics and physics through to audiology – the science

of hearing – and is the product of close co-operation with uni-

versities and established expert institutes.

Innovative success was the result. Josef W. Manger holds 40 patents

throughout the world for this exceptional sound transducer and he

was presented with the Diesel inventor medal in silver, one of

Germany’s highest awards for engineering excellence. Any technical

development should however not be an end in itself, and the

decisive factor is its usefulness.

“To my surprise it turned out that the radiation principle selected by you, at least in the idealisation I investigated, produces a sound radiation inline with the current at all times, which means that transient noises andsimilarly annoying effects do not occur. Therefore time curves with suddenchanges are correctly reproduced in the sound pressure curves.”

(Prof. Dr. Ing. Manfred Heckl (†), Chair of Engineering Acoustics at the Technical University of Berlin)

Manger sound transducer. A development from auditory research.

its liveliness of realistically vibrating sound bodies. This wonderful

sensation is so authentic that, as in a concert hall, you are no longer

dependent on a specific fixed position, but can experience the music

at any given point throughout the listening room, equally balanced

and locationally stable.

“These localizations remain so stable even when moving from

one listening position to another that you almost tend to favour lis-

tening positions that are off-centre. Even with quiet listening the

reproduction is such that, in contrast to the normal tendency to

increase the volume, you find yourself reaching for the volume

control, but only to see if you can turn it down just a touch more”,

is how Production Partner describes the sensation.

It doesn’t matter what music you listen to, the Manger sound

transducer is a phenomenon in temporal precision, spatial distribu-

tion, subtlety and sensibility – an instrument that offers you not

only the sounds, but also the tremendous power of the music in an

unadulterated fashion, therefore turning acoustic events into

musical experiences. This, of course, assumes that the recorded event

is worth listening to and possesses sufficient depth to warrant the

discovery of the unknown. As this is the point when hearing becomes

listening and the Manger sound transducer becomes an instru-

ment to sensitize us to appreciate the finer sounds.

With its sensationally time-accurate resolution the Manger sound

transducer causes the air to vibrate with the same volume ratios

and the same acceleration as caused by the original string of an instru-

ment. This real-time link simultaneously couples the electrical

signal with the ears and, with no mechanical discrepancies, helps the

bending wave transducer to a leap in quality that is unrivalled in

conjunction with the wonderful concentration allowed to the listener

by the Manger sound transducer.

Even after a short period of getting accustomed to the Manger

you will be transported to a world of sound where the loudspeakers

become completely invisible behind the sound panorama of the

imaginary source. Gerold Lingnau in the FAZ newspaper wrote:

“The music is simply there – room-filling and true to life.”

And it is not just the one flat acoustic image that exists between

the loudspeakers but a complete and authentic experience of the

music with a breathtaking wealth of resolution in spatial expansion.

You can either concentrate on the details in the foreground or

in the background, either on the left or the right.

The reproduction by the Manger sound transducer achieves the

remarkable impression that you are right in front of the performer

in the sound panorama and following the performance close up in

Back to the origins of sounds.

“Even in the most dreadful situationmusic should never offend the ear, butremain a pleasure, that is to say, it should always remain music.” (Mozart)

Any true broadband transducer must also offer fast rise times

coupled with high excursion amplitudes and cover the complete

frequency spectrum without interference or adulterated ampli-

tudes. This is why two extremely lightweight aluminium voice coils

as an electro-dynamic unit drive the circular sandwich diaphragm.

This series arrangement offers an unrivalled rise time of 13 micro-

seconds and an astonishing stroke of ± 3.5 mm.

It is also important that waves in the diaphragm returning from

the edge do not disturb the sound event. This is why a star-shaped

damper absorbs the bending waves from the acoustic centre at

the diaphragm edge reflectionless. It is no coincidence that its shape

resembles the wedge structure of anechoic chambers.

There are good reasons why the Manger sound transducer does

not look like a traditional loudspeaker driver, but is more a guiding

star showing the listener the way to the music.

That the Manger sound transducer has remained unchanged since

its introduction is not the result of designers hoping for improved

sales figures with a good design, but the result of a pro-tracted process

where nature specified the design.

A loudspeaker driver should reproduce the sound event within

the first millisecond absolutely truly in line with the efficiency of our

sense of hearing. Therefore a flexible bending diaphragm vibrating

in itself when excited in contrast to the monotony of a piston loud-

speaker. The result is an innovative diaphragm design that stores

neither the forces preceding the reference point, nor the lagging

forces resulting from springiness.

A sound transducer must come as close as possible to the ideal

of a punctiform sound source and cover with as much accuracy in

impulse and phase the complete frequency spectrum in achieving

a perfect match of the input signal. Resulting in a broadband trans-

ducer with a frequency range from 80 Hertz to 35 Kilohertz, from

which all sound events cover the same path to the ears of the listeners

from the one single central source.

“I am often asked why I am in the business of making loudspeakers. To put it simply, thereason is that I was not satisfied with con-ventional speakers. In my opinion they distortthe original sound, and this distortion is not insignificant.” (Josef W. Manger)

How Manger sound transducers function.

The voice coil is yet another innovation. The rise time of

0.013 milliseconds stated in the performance specifications (which is

a quantum leap compared to piston loudspeakers) meant that

we had to develop a completely new coil system, the design details

of which are so unique they are covered by patent protection.

The fine mechanical qualities behind the Manger sound trans-

ducer are also apparent in the four electrical coil connecting leads

made of pure copper. These are connected by hand via contact

points with the 0.4 gram aluminium coil and are as thin as a human

hair. This extraordinary precision is only possible using a com-

pletely new process that Manger developed especially for this purpose.

During manufacture and assembly each single Manger sound

transducer is stringently checked and tested for quality. We know

that every detail can make a significant contribution to the overall

quality of this precision transducer. Only optimum interaction of all

of the individual components ensures that we maintain the high

quality that has made the Manger sound transducer so famous.

The transducer design also ensures that this assertion of quality

will always apply. The Manger sound transducer has neither a cen-

tering spider nor a supporting suspension. All 32 components

of the sound transducer are assembled in painstaking and detailed

work, carried out with the utmost care using tools specially

developed for this purpose. A cost-intensive operation that is more

similar to the work of an old-fashioned watchmaker than to

today’s standard mass production in loudspeaker manufacture.

The demands placed on the manufacture of the Manger sound

transducer are so complex that the quality standards cannot be

met in just one single measure. Indivisible quality is the motto,

and this is why Manger sound transducers are manufactured with

an exceptional degree of careful craftsmanship and with no

regard to costs.

Shaped to the bending wave transducer under clean-room con-

ditions it is typified by a degree of quality excellence that makes a

Manger sound transducer an investment for life, infinitely functio-

nally reliable, with a musical performance capacity well beyond the

limitations that are imposed on a traditional loudspeaker chassis.

Manger’s precision expertise and the subtle quality of the

materials can be felt in every aspect of the transducer. For example,

the baskets are manufactured from a piece of resonance-damping

Duralumin with the highest quality of planeness and concentricity

at tolerances of ± 10 µm. The surface is then turned using

diamond tools and given a silk-matt finish in an anodizing process

that only a handful of companies can master.

The secret behind the transducer, the efficient material of the

sandwich diaphragm, was personally developed by Josef W. Manger

and is manufactured in our own laboratories to a closely guarded

formula. As many as 15 neodymium magnets with the highest

energy density available today gives the Manger sound transducer

an efficiency factor achieving an astonishingly high sound

pressure level of 91 decibels.

Manger technology.

It is no coincidence that the Manger sound transducers are made in Mellrichstadt, as this oldest site of cultural interest in Franconia is not only located exactly at the centre ofGermany and Europe, but is also directly adjacent to the Rhön biosphere reserve. Thismodel region recognised by UNESCO is intended to set an example of how human economyand trade is possible in harmony with nature. Creativity and innovation, but also anawareness of traditional values form the motor driving the people in this region to achievethis. And the Manger sound transducer is a fine example of what can be achieved.

Trust is a fine thing, but listening tests are much better. However

this “cost-is-no-object” approach comes at a price. The Manger

sound transducer is not expensive in view of its performance, but

it isn’t cheap either.

We communicate directly with our customers and this is

how we learn what you really expect from us. And you benefit

from the advantages previously only offered to a small number

of exclusive dealers. To demonstrate that this isn’t just an empty

promise, we want to make you an offer that is pretty unusual

in our business:

Test the legendary Manger sound transducer. For more infor-

mation call us on ++49 (0)97 76-9816 or check out our website at

www.manger-msw.com

Manger sound transducers can only be manufactured in

very small numbers due to the immense expenditure involved in

production and materials. And really we should be talking of

custom-built units that are hand-made with the utmost of care.

This guarantees the customer that the transducer star has been

given the same attention in manufacture as the reference model

at a tolerance at less than ± 0.5 dB (this being a parameter that

our competitors tend not to mention).

Custom manufacturing has another advantage: the basket of

every single Manger sound transducer is numbered after all checks

have been successfully carried out. This means that every

customer is registered in the manufacturing documentation and

can not only benefit from the three-year guarantee, but also

enjoy the fair service warranty of the manufacturer offered as a

personal customer service.

Every single Manger sound transducer is a unique product.

R E F E R E N C E

S T U D I O M O N I T O R

M S M c 1

info@manger-pro.dewww.manger-pro.de

Fon +49/9776/9816Fax +49/9776/5925

Industriestrasse 17D-97638 Mellrichstadt

Extremely quick recognition or ponderous repetition?

Our sense of hearing is not just the frequency analyser

it is often described as. On the contrary we humans

perceive and evaluate in a temporal sequence first of

all the noises, the so-called transients and then the

tones (repetitions, frequencies) of the music. Each

natural tone is preceded by such a transient noise.

These transients communicate to our sense of hear-

ing the location of a sound source, e.g. where an

instrument is located, and what type of sound source

is involved, including its size. So that music, as a

complex mixture of transients and tones, can be re-

produced naturally, it needs an extremely fast sound

transducer with precision operation.

The Manger sound transducer (MSW) operates using

the principle of bending waves and is a broadband

sound transducer that reproduces music and other

sound events without any delay and without any

energy-storing forces. The extremely fast rise time of

less than 13µs and the broad frequency range of

80Hz – 40kHz allow extremely fast transients and

highly complex musical structures to originate natu-

rally from a single point source. A true spatial repre-

sentation of the instruments and an extraordinarily

trueness to detail in the resolution of the music are

the result.

A fast drive is required to achieve the fast reaction

time of 13µs. Our power amplifier for the MSW

achieves a performance bandwidth of 250kHz, which

is equivalent to a rise time of 2µs. This speed is

necessary to ensure that the quality between the

low-power signal (output mixing console) and high-

power signal (output power amplifier) is maintained.

A progression of ideas

A fast sound transducer, the corresponding power

amplifiers and a bass unit for effortless reproduction

of even the lowest octaves are certainly not the end

of this development. We have thought of various

adjustment features to make a sound engineer's life

that much easier. These include room adaptation

filters, near-field/cinema-screen EQ settings, and an

input trimming stage controller, that can accurately

set the two-channel or multi-channel equality to wit-

hin a tenth of a dB. And that's not all: conveniently

placed handles for transporting this 30 kilogram

heavyweight, a perfect matching, movable stand,

available in different heights, a dockable bass unit as

an optional extra, a self-explanatory operating con-

sole with a clear layout, and finally an attractive

design that is still mindful of the needs of the user.

It’s simply a question of time

General SpecsType Amplified 2Way SystemFrequency Range 30Hz - 40kHzCrossover Frequency 330HzMaximum Output Level 110dB peakDimensions (H x W x D) 495 x 270 x 424mmWeight 30kg

Speaker UnitsHF Manger Sound Transducer, bandwidth 80 - 40kHz, risetime 13µsLF 200mm fibreglass-Polyester sandwich cone, 38mm voice-coilEnclosure Closed

Amplification UnitMaximum Output Power LF: 250W at 8Ohms, 400W at 4Ohms (with optional LF-Module)

HF: 180W at 8OhmsBandwidth HF: 250kHz (-3dB)Input Sensitivity 6dBu (1,55V) or 0dBuInput Impedance 10kOhmControls Input Trim switch: 11 positions (-2,5dB to 2,5dB)

Input Sensitivity switch: 6dBu, 0dBuPolarity switchAV-Filter: High Pass Filter (80Hz, 12dB)LF-Module switch: LF -6dBRoom Acoustics Correction switch: Highpass at 100Hz (+3dB, 0dB, -3dB, -6dB)Nearfield-/Cinema Screen Correction switch: Bell at 3,25kHz, 1,0oct. (+3dB, 0dB, -1,5dB, -3dB)High Frequency Trim switch: Shelv at 10kHz (+2dB, +1dB, 0dB, -1dB, -2dB)

Input Connector XLR-3Power Indicator Orange LEDLimiter Indicator Green/red LED

Accessories MSM c1 Stand, moveable, individual heights available

Design by lautSINN

_________________________________________________________________________________________

Manger Products Industriestrasse 17 D-97638 Mellrichstadt Tel. +49 9776 9816 Fax +49 9776 5925 eMail: info@manger-msw.com

© copyright by Manger msmc1_facts_080623.doc

Facts of the Manger reference studio monitor MSMc1:

• Manger Sound Transducer W05/1,2.216 with N53 Neodymium magnets in sealed cabinets with aperiodic damping

• longthrow 8“ woofer with glasfibre polyester fabric sandwich diaphragm in sealed cabinet with low Qts for precise and powerful low frequency response

• cabinet manufactured with various thicknesses of MDF with high dampening (absorbent) inner layer

• a continuously changing radius up to 38mm for the reduction of cabinet diffraction • crossover frequency 330Hz 24dB low pass and 12dB high pass • max. SPL 110dB • wide frequency range from 30Hz up to 40kHz, ideal for high resolution media like SACD,

DVD-Audio and Blu-Ray • MSW amplification: integrated analogue power amp with a bandwidth of 250kHz and peak

Vout = 55V • woofer amplification: integrated analogue power amp with high damping factor > 200 • shielded toroidal core transformer 750VA • all filter circuits use Burr-Brown-Op Amps • Input Trim Switch: exact level trim for compensation of differences between left and right

input channels • Input sensitivity switch • Polarity Switch: 0°/180° • AV-Filter: 80Hz/12dB HP-Filter • LF-Module Switch: 6dB attenuation for addition of a second woofer, which is connected in

parallel • Room Acoustics Correction Switch: EQ for speaker placement • Nearfield-/Cinema Screen Correction Switch: EQ for back screen or nearfield placement

(3,25kHz/1,0 oct./+3dB/0dB/-1,5dB/-3dB) • High Frequency Trim: Shelving filter 10kHz (+2dB/+1dB/0dB/-1dB) • Optocoupler limiter circuit (switchable), optocoupler is not in the signal path and has best

audio performance • balanced 3 pin XLR • MSMc1 can be supllemented with an additional LF-Module for higher output power in the

woofer section; the LF-module is switched in parallel with the integrated woofer of the MSMc1

• Standard finish: slate grey – Other finishes on request (no veneers!)

• MSMc1 stand: fixed stand with a height of 86cm (MSW axis at 125cm)

• MSMc1 lift: stand with a changeable height from 76 to 106cm (MSW axis from 115cm to

145cm)

50

Manger MSMc1

Firmengründer:Josef Manger

Gründungsjahr:1969

Firmensitz:Mellrichstadt, Deutschland

Anzahl der Mitarbeiter:4

Entwickler:Daniela Manger

Anzahl der bislanggebauten (in Paar):100

Gehäusewerk:keine Angabe

Lautsprecher-Prinzip:dynamisch, 2-Wege geschlossen

M anchmal zählt der Prophet im eigenen Lande wenig. DieWandler des Josef Manger führen hierzulande auch nach

30 Jahren noch ein Nischendasein, haben aber weltweit einenexzellenten Ruf. Tonmeister David Chesky beispielsweise hat viele seiner besten Aufnahmen mit „dem Manger“ gemacht undschwärmt mir, wann immer wir uns sehen, von den fantastischenFähigkeiten dieses Lautsprechers vor. Die Meriten des einzig-artigen Biegewellen-Wandlers sind unbestritten, dennoch verliefdie Geschichte von Manger und stereoplay nicht immer glücklich.Das lag weder an der Qualität der Lautsprecher noch am fehlen-den guten Willen der Redakteure. Sondern schlicht an dem überlange Jahre stark bedämpften stereoplay-Hör- raum, der die anfangs nur wenig belastbaren undrecht leisen Manger-Wandlerzu schnell ans Limit kommenließ. Mit der aktiven MSMc1konnte Firmenchefin Daniela Manger jetzt auch diesen letzten Schwachpunkt aushebeln: Ein potenter 8-Zoll-Tieftöner nimmtdem Manger-Wandler die Arbeit unter 300 Hertz ab, ein intelligentgeschalteter Limiter begrenzt den Pegel, wann immer es zu vielwird. Doch selbst im stereoplay-Hörraum war das nur selten derFall, obwohl ich mich diebisch drauf gefreut hatte, wieder einenManger hören zu können und alle meine Hörtest-Lieblingsplattenzum Einsatz brachte, darunter auch einiges hochdynamischeMaterial. Die MSMc1 schlug sich wacker – und beeindruckte michsehr. Völlig egal, welche CD oder LP gerade lief: Es gibt meinerMeinung nach weltweit keinen Wandler, der Musik so selbstver-ständlich entstehen lässt. Der dem Hörer so unauffällig nebenbeidas Gefühl vermittelt, dabei zu sein. Der die Natürlichkeit einerakustischen Gitarre so getreu rüberbringt und Stimmen sounvermittelt richtig, so schlackenfrei in ihrer vollen Pracht darstellt.Und da er jetzt selbst im stereoplay-Hörraum ordentliche Pegel-Leistungen bringt, ist der Manger mehr denn je ein klangliches Wunderwerk.

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0 2 4 6 8 10 12 14 16

Company‘s Founder:Josef Manger

Founding Year:1969

Head Office:Mellrichstadt, Germany

Number of Employees:4

Chief Designer:Daniela Manger

Number of Units Built so Far (a Pair):100

Manufacturer of Enclosure:n/a

Loudspeaker Design:dynamic,2-way, closed

Daniela MangerBusiness Manager:“The active design directly leads to the outstanding quality of the MSW.“

Sometimes a prophet has no honor in his own country. After 30 years Josef Manger’s sound transducers still lead a niche ex-

istence in his native country, although they are highly acclaimed worldwide. Sound engineer David Chesky, for example, has used “the Manger” for many of his best recordings and praises the amaz-ing capabilities of this loudspeaker every time we meet. The merits of the unique bending-wave transducer are unchallenged, but the relationship between Manger and stereoplay has not always been a happy one. Neither the quality of the loudspeaker nor a lack of motivation on the part of our audio critics was to blame. The real cause was our listening room which was highly damped in the early years and drove the initially rather underpow- ered Manger sound transduc- ers quickly to their limit. With the active MSMc1 company director Daniela Manger succeeded in cor- recting this last flaw: A powerful 8” woofer takes care of the frequencies below 300 Hz and an intelligently implemented limiter tames signal levels before they get too strong. But even in our stereoplay listening room the limiter has rarely been triggered. Despite the fact that I had brought some highly dynamic test mate-rial as well as my favorite vinyl test records to the audition and was really looking forward to closely re-examine the Manger system. The MSMc1 passed the test with flying colors and deeply impressed me. No matter which CD or LP was playing: In my opinion, there is no sound transducer worldwide which lets music evolve as naturally as the Manger Sound Transducer (MSW) and unobtrusively involves the listener into the musical event. No other loudspeaker reproduces the pureness of acoustic guitars and the depth of vocals with such fidelity and beauty. And since its output power can now even cope with the stereoplay listening room the Manger system has earned the rating “acoustic marvel“ more than ever.

RatingRating

NaturalnessSound

Absolute top class 60 points

Total RatingExcellent 82 points

Price/Performance outstanding

Fine Resolution

Dynamics

Bass Quality

Imaging

Test Rating 10/10

Summary:superb transparency,subtle & effortless

51

1 Die 19 Zentimeter große, weiche und unterschiedlich bedämpfteMembran ist das Kennzeichen desManger-Biegewellenwandlers.

2 Die Schwingspule ist mit 70 Millimetern Durchmesser rechtgroß, aber mit ihren 0,4 Grammaußerordentlich leicht.

3 Auf der Rückseite finden sich die Anschlüsse und umfassendeKlangregelmöglichkeiten.

1

2

3

Product Information

compact active loudspeaker

The hallmark of the Manger bending-wave transducer is its soft 19 cm mem-brane with star-shaped damping.

The voice coil is pretty big (70 mm)but remarkably light (0.4 g) at the sametime.

The back panel provides connectorsand extensive tone control options.

Distributor: Manger Products, Mellrichstadt, GermanyPhone: +49.9776.9816www.manger-msw.comWarranty: 5 years Dimensions: W: 10.6” x H: 19.5” x D: 16.7” Weight: 66 lbs (30 kg)

Recommended placement: close to the wallon speaker stands. For rooms up to 115 sq.ft.

Power consumption: – (active loudspeaker)Low frequency rolloff (-3dB): 39 Hz

If the highest virtues of a

studio monitor are signal

fidelity and a pure, natural

reproduction, then the Manger

MSMc1 is one of the most

virtuous of its kind.

With the large number of monitor tests performed by Professional audio Maga-zin since its inception, you could be for-given for thinking that our testers might at some point just sit, numbed and bored, in front of the speaker systems to be tested, thinking “Been here before, heard that before”. But despite the feel-ing of having tested a thousand speak-ers, this is really not the case. It’s always interesting to discover with your own ears what the latest studio loudspeakers have to offer in terms of sound quality. And the surprises are generally positive. For example, with the new and very rea-sonably priced Samson Resolv monitors that we tested in Issue 2/2009. Not to mention the excellent representatives in this field, such as the Geithain MO-2 or the current reference model at Profes-sional audio Magazin, the KRK EB8 Ex-posé. And still we secretly dream of the ultimate transducer, that loudspeaker of-

by Harald Wittig

Test Nearfield-Monitor Manger MSMc1

72 Professional audio Magazin 3/2009 Translated to english and copyright by: Manger Products, Industriestrasse 17, D-97638 Mellrichstadt, Tel. +49 9776 9816, Fax +49 9776 5925, eMail: info@manger-msw.com

fering unmatched signal fidelity, impulse behaviour, precision in time and phase to transcend the act of listening back to its natural state. A candidate possibly capable of achieving this is the Manger MSMc1, the first amplified studio moni-tor from this highly respected loud-speaker manufacturing company based in Mellrichstadt in Germany’s Franco-nia. Thanks to its unique Manger sound transducer, developed by the company’s founder Josef W. Manger, the MSMc1 is destined to achieve reference quality status and offer an unadulterated, scru-pulously exact depiction of sound reality to the listener’s ear instead of an ap-proximate detailed blueprint. But this is a claim made by just about every loud-speaker manufacturer today and they all go their own way in trying to achieve the ideal sound of an absolutely neutral studio loudspeaker. In the case of the MSMc1 Manger relies on its own leg-endary patented developments, indi-vidual components of the highest quality

and manufacturing exclusively in Ger-many. In view of all this, at first glance, the high cost per pair of around 7500 euros seems almost moderate, as the price for top-of-the-range loudspeakers can exceed this many times over, as hi-fi enthusiasts know to their cost! But let’s have a closer look at the MSMc1 and fo-cus particularly on the special features of its technology.

It all began with the ear

The first thing that stands out when looking at the front of this rather un-pretentious, but elegantly styled moni-tor, is the obvious trademark, the star-shaped Manger sound transducer. Almost 25 years ago, in 1985 to be ex-act, Josef Manger began production of the sound transducer bearing his name. This is a so-called bending-wave trans-ducer, which in simple terms is a broad-band sound transducer that reproduces

music and other sound events without any delay. The more than 30 years of research work is based on the follow-ing realization: even the most beauti-ful sound starts with a noise, with the so-called initial transient to be more

Back to nature

• Three-dimensional spatial representation• Outstanding impulse behaviour• Excellent selectivity• Highest signal fidelity/neutrality• First-class finishing

—

SummaryThe Manger MSMc1 is one of the best nearfield monitors on the market. Spatial representation, impulse behaviour and the highest signal fidelity are unmatched.

Manger MSMc1

=

-

+

precise, which is the result of a fast change in the air pressure. As this oc-curs even before a frequency is gener-ated, it is a pure acceleration process. This is registered by the human ear no later than after a few mikroseconds, and the signal is processed by the brainstem to a piece of directional information. In other words, we immediately localize the direction that the sound originates from. The other areas of the brain only become active after this has happened. For example, the diencephalon deter-mines the magnitude and distance of the sound source with astonishing ac-curacy. Actual noise recognition and sound evaluation only happen at the end of this process, consecutively in the sub-ordinate brain areas and in the cerebral cortex. This made Manger realise that it had to be possible to build a loudspeak-er that, in contrast to conventional cone and dome drive units, did not generate

its own transient superim-posed on the reproduced signal. Because the con-stant transients unavoid-ably generated by the piston-like movements of the drive unit trigger the listener’s age-old local-ization reflex described above. This means that the listener initially uses this elemental reflex to recognise or localize the loudspeaker and this has two consequences. First-ly, the human ear can be-come tired more or less quickly as the localization reflex is constantly trig-gered again and again. Secondly, the listener is forced to sit in the famous

“sweet spot “ with stereo reproduction, as this is the only position where the sound travel times from the right and the left loudspeakers are approximately equal, enabling the listener to compen-sate the localization of the loudspeakers and concentrate on the essential, i.e. on the music being played.

The Manger sound transducer, or MSW for short, is based on Manger’s inten-sive study of the physiology of hearing. These bending wave transducers that incidentally have nothing at all to do with so-called bending resonators or omni-directional radiators, for example from Meletzky in Berlin, has no mass-and-spring effect with its undesirable ener-gy-storing forces unlike conventional drivers. The MSW has a flexible plate-like membrane that behaves like a me-chanical resistor. The sound is broken up

by the different propagation speed in this three-layer sandwich-type membrane into separate frequency ranges. Here the signal spreads across the membrane surface, which has a different stiffness at the centre than at the outer rim, from the inside to the outside in the form of a travelling wave. Higher frequencies are emitted in the centre and the ever lower frequencies radiated to the rim. In this way sound radiation of the complex signal comprising many different indi-vidual frequencies is simultaneous and the phase patterns of the original are re-tained. This is the point where the more attentive reader sits up and takes notice. Yes, AKG developed a similar technology with its headphone membranes designed using the patented Varimotion process. (For more details see the test report on the AKG K 702 in Issue 2/2009). In Man-ger’s case however it was actually the human ear, to be more precise the basi-lar membrane in the cochlea, that served as the model. Here the complex sound signal is also emitted in the form of a travelling wave. The striking star shape of the MSW is certainly not a design gag to humour people who enjoy the trap-pings of Christmas at their workplace. This unique shape also serves to damp long waves, i.e. the low frequencies, ab-sorb these and ensure that no reflections can return from the rim to falsify repro-duction quality. And this is why Manger refers to this jagged component of the transducer as a star-shaped damper.

Completely manufactured

in Germany

Thanks to its design principle and the way the 190 millimetre plate-type mem-brane operates, the MSW is capable of handling a frequency range from 80 Hz to an astonishing 35 kHz while simultane-ously approximating the ideal of a point sound source. In spite of this unusually large operating range and a high effi-ciency factor of 91dB 1 W/1 m, the MSW achieves a remarkably fast rise time of under 13 microseconds. Thirty years ago Manger designed a special voice coil to achieve this, which actually involved two mechanical moving coils switched in parallel, made from aluminium wire on an aluminium base and with pure copper wire leads. The overall result is a long, but nevertheless very light voice coil, weighing no more than 0.4 grams in

The MSMc1 is an ampli-

fied two-way loudspeaker.

In addition to the obvious

Manger trademark, the

MSW sound transducer,

easily recognisable by its

star-shaped damper, the

speaker also has a new

woofer-midrange unit that

is responsible for all fre-

quencies below 250 Hz

Test Nearfield-Monitor Manger MSMc1

74 Professional audio Magazin 3/2009 Translated to english and copyright by: Manger Products, Industriestrasse 17, D-97638 Mellrichstadt, Tel. +49 9776 9816, Fax +49 9776 5925, eMail: info@manger-msw.com

spite of a possible displacement of + 3.5 millimetres. The special arrangement of this double voice coil, patented by Man-ger in 1969, also provides considerable suppression of natural resonance.

The unit is driven by 15 neodymium mag-nets of the highest quality, arranged in a circle behind the membrane and the double voice coil. They generate a very strong magnetic field of 1.32 Tesla at an air gap of no more than 0.95 millimetres in width, thus ensuring the unusually fast rise time, meaning that the MSW can ef-fortlessly follow even the fastest tran-sients. Attentive readers will already have noticed that the MSW is supplemented with a conventional woofer-midrange driver. This is responsible for all frequen-cies below 250 Hz, above this level the Manger transducer operates on its own. According to the company’s boss Daniela Manger (this university graduate engi-neer is the head of Manger Products and manages the company along the same lines as her father did), this cut-off fre-quency was necessary to exclude any increased harmonic distortion at high volume levels. It wasn’t always just no-torious critics of earlier Manger speakers

who complained about a certain weak-ness at high volumes. In other words: it might sound great, but it can’t be played loud. Be that as it may, the woofer-mid-range speaker has a lightweight and torsionally rigid membrane made of a fibreglass-polyester sandwich construc-tion and it is claimed that it features ex-act bass reproduction. For reasons of reproduction precision, Manger deliber-ately selected an sealed design in order to exclude from the outset any effective smearing that happens in some bass-re-flex speakers.

The MDF cabinet accommodates two analog power amps producing more than enough power, made in Germany just like all of the other MSMc1 components. An impressive 250 watts for the woofer and 180 watts for the tweeter pack a hefty performance punch. The large toroidal transformers are a special design, the power amps are installed discreetly and all components are of the highest quality according to Manger.This volume of performance calls for large transformers and results in a fair weight. Coming in at 30 kilograms, the MSMc1 is a bit of a heavyweight that is

The MSMc1 LF Module (shown connected here) is

a passive subwoofer available as an optional extra

that takes the load off the fitted woofer unit, re-

sulting in an actual increase in performance espe-

cially at high listening volumes.

best placed on a solid pedestal base. As an alternative Manger also offers the MSMc1 stand, made of aluminium, that can be rolled into position to achieve op-timum alignment of a pair of monitors. Priced at around 1300 euros per pair this is not exactly a low-cost solution, but we very quickly came to appreciate the ben-efits during the course of the test. The fine adjustment of the loudspeakers is no problem, as Daniela Manger demonstrat-ed to us during her visit to the studio, ex-actly aligning the two MSMc1 speakers to our listening position using a laser point-er and laser spirit level (see photo on page 78). The basic model of the stand offers a fixed height of 88 centimetres, measured from the base to the underside of the loudspeaker, but Manger Products can also supply special heights at no ex-tra cost.

Those of you looking for the comfort of an adjustable-height function, where money is not an issue, can go for the MSMc1 Lift model. The stand height can be hydraulically adjusted by gas pressure to any height between 780 and 1080 mil-limetres. However, this feature will cost you around 3270 euros per pair of stands.

Turning now to other equipment features, namely the connections, and the controls for volume and sound levels. The MSMc1 has an XLR socket on the input side, and above the heat sink there is a con-nection socket for a Speakon cable. You can also connect the so-called MSMc1

LF Module, which is an additional pas-sive woofer (Price per pair 1520 euros) to take the load off the installed woofer. The LF Module is not a subwoofer to ex-pand the lower bass range, but shares the bass load with the installed woofer. In practice this results in a performance increase particularly at high volume lev-els, as the deflection amplitude of the installed woofer is halved and this subse-quently goes into the limiter. As long as the MSMc1 is used as a nearfield moni-tor in small productions, there is really no need for the LF Module. According to Manger, the MSMc1 can however be used in larger rooms, but then more as a midfield monitor. Here the extra passive woofer proves to be a sensible invest-ment to avoid having to tolerate minor impairments in sound quality when high-er volume levels are unavoidable. A slide switch is fitted to the back of the monitor for adapting to the extra subwoofer and this allows the bass level to be reduced by six decibels.

For connecting to a true subwoofer, the MSMc1 naturally has a high-pass fil-ter that kicks in at 80 Hz with a reduc-tion of 12 dB per octave. Three further filters are available to adapt to the con-ditions in the listening room or produc-tion environment. The first is a high-pass filter, strictly speaking a shelving filter, that is triggered at 100 Hz and allows a reduction/increase in the range of +3 to –6 dB. Above the slide switch that ac-tivates it, this filter is helpfully labelled

The back of the Manger

sound transducer is also

available separately. 15

neodymium magnets of

the highest quality gen-

erate a very strong mag-

netic field of 1.32 Tesla at

an air gap no more than

0.95 millimetre wide.

This is the reason for the

very fast rise time of the

MSW.

The MSMc1 LF Module is connected to the moni-

tor by Speakon cable. A slide switch on the back

panel of the MSMc1 reduces the bass level by 6

decibels.

Test Nearfield-Monitor Manger MSMc1

76 Professional audio Magazin 3/2009 Translated to english and copyright by: Manger Products, Industriestrasse 17, D-97638 Mellrichstadt, Tel. +49 9776 9816, Fax +49 9776 5925, eMail: info@manger-msw.com

“Room Acoustics Correction” and serves to adapt to the listening environment. In a way this also applies to the so-called Nearfield/Cinema Screen filter, which is a bell filter with two applications. When the MSMc1 is used in nearfield the high-er sensitivity of the human ear to higher volumes in nearfield can be compen-sated for by lowering the filter level and this has been adapted to the Fletcher-Munson curve. When the MSMc1 is be-ing used for cinema sound mixing and positioned behind a perforated screen, then increasing the filter level can com-pensate for sound losses. The third fil-ter is again a shelving filter to influence the high frequency range beyond 10 kHz allowing an increase or reduction by a maximum of + 2 dB. In practice, this high frequency control, will be used primarily to adapt the sound to personal prefer-ences. During the test in the Professional audio Magazin studio this control as well as the others were set to neutral. Even in this position the sound was very im-pressive – just as a small foretaste of the listening test.

Before we get down to the nitty-gritty, i.e. to the actual sound qualities of the MSMc1, just a brief comment on the finishing. This is absolutely top class, the Manger monitor is a premium loud-speaker with unobtrusive elegance through and through. The two rubber-clad carrying handles are a great help when setting up as it’s not a simple task to lift 30 kilograms just like that. The handles make it easy to place the loud-

speakers on their stands or take them

down without any im-minent danger of drop-

ping these top-quality loudspeakers on the floor

and possibly damaging them.

As already mentioned Daniela Man-ger personally brought the pair of MSMc1 speakers to our studio and carried out the set-up and alignment pretty much on her own. As with all Manger systems it is essential that the MSW is aligned direct-ly to the listener, and the recommended optimum position is a more acute angle inwards so that the theoretical axes in-tersect directly in front of the listener. This results in outstanding central local-ization with a simultaneous increase in the size of the sweet spot. In our experi-

ence it is certainly well worth the effort to get the set-up just right.

A precision sound

instrument

After the pair of MSMc1s were perfectly set up, Daniela Manger advised us that she wasn’t going to say any more, and that we should simply listen as impar-tially as possible. We started out with a Sonar project and played this mix. The first spontaneous reaction of our collec-tive editorial team was “Amazing!” The spatiality and the precision of the point-source localization of the instruments involved in the musical arrangement are quite simply impressive. There is also an extraordinarily high selectivity that only the best monitors can offer.

But let’s look at these aspects in turn. Firstly, the MSMc1 stands out with a spatial representation that we have pre-viously hardly ever encountered in this confident magnitude. Even the reign-ing champion in this discipline, the Gei-thain MO-2, has to take a bit of a back seat here, as the Manger monitor does not only open up the spaces and create

Graduate engineer Daniela Manger, head of Manger Products, during the fine adjustment of the pair of

MSMc1 in the studio of Professional audio Magazin.

The Manger sound transducer in its

latest design. The first versions

were made by Josef W. Man-

ger 25 years ago. The striking

star-shaped panel on the

190 millimetre plate-type

membrane serves to damp

long-wave, i.e. low fre-

quencies to prevent any

distorting reflections

from the membrane rim.

Test Nearfield-Monitor Manger MSMc1

78 Professional audio Magazin 3/2009 Translated to english and copyright by: Manger Products, Industriestrasse 17, D-97638 Mellrichstadt, Tel. +49 9776 9816, Fax +49 9776 5925, eMail: info@manger-msw.com

a three-dimensional image of the actual room dimensions for the listener’s ear, but also manages to reproduce those peculiar tonal changes or sound modu-lations typical of concert halls. For ex-ample the Altiverb 6 impulse response of the great hall of the Babelsberg film or-chestra is one of our declared favourites at Professional audio Magazin for concert guitar recordings. The reason for this be-comes immediately apparent with the Manger. This virtual reverberant cham-ber offers a certain softness and has a subtle reverberation, which is clearly au-dible with a top-class reproduction unit such as this. The trebles in particular are smoothed and the sound is very silky and sleek. Even new-style guitar play-ers with their crystal-clear touch sound more lyrical in a post-romantic style. It is truly amazing how the sound develops in the room, although it is a pure DAW mix. Particularly sound engineers specialis-ing in audiophile classical recordings will come to love the MSMc1 as they can hear exactly what they have recorded: the in-strument, the room and their own favou-rite microphones – no more and no less. Even the effect of sound-creating plug-ins, not to mention hardware effects, are depicted by the monitor with a precision that reveals even the finest nuances. For example, the Twin Tube plug-in from SPL (tested in this Issue, Page 82) can dem-onstrate its full potential. On the whole the effect actually provides one of our arrangements with the promised tube

The end of the stereo triangle

The thirst for development is apparently never satisfied at Manger. There is no other reason-able explanation for the development of the so-called Holoprofil, a transparent synthetic cover for the MSW sound transducer. Basically this inconspicuous accessory costing around 400 euros per pair is designed to create a “hologram-type reproduction”, irrespective of the listening position even outside of the famous sweet spot. It is claimed that the Holo-profil solves the age-old problem of the stereo triangle. As soon as the listener moves away from the ideal listening position at the peak of the stereo triangle, where the zero axes of the loudspeakers intersect, the stereophonic spa-tiality effect deteriorates, localization becomes more and more indistinct and the phantom centre seems more and more instable. After comprehensive tests and investigations, Josef W. Manger discovered an explanation for this phenomenon, claiming that it was caused by a design fault in the driver of every loudspeaker. All information obtained from the input signal was already completely depicted by just one half of the membrane surface area. The other half of the membrane simply provides a rep-etition of the input signal. Manger calls this a “shadowy counterimage”. This peculiarity means that not only two loudspeakers have to be brought into alignment at the listening position, but four auditory images (two per speaker driver), which is apparently a physical impossibility. The listener, moving away from the peak of the stereo triangle, would cause repeated displacement of these auditory im-ages and the result would be a continual blur-ring of the spatiality.The Holoprofil that Manger supplies together with an alignment template (see photo), claims to offer a solution to this phenomenon. Fitted directly on top of the MSW, it covers around a half of the membrane surface. The

complete membrane diameter remains avail-able to generate the sound pressure, but at the same time the “shadowy counterimage” is removed.But does this, not exactly inexpensive ac-cessory, actually work? After long and full discussions we believe that this plastic cover has rather a delicate effect on the reproduc-tion behaviour of the MSW. The treble range, but also medium frequencies, appear to be slightly less colourful. This effect however only becomes apparent when the listener moves his listening position sideways. If he remains sitting in his usual position, the one used for the alignment of the Manger monitors, then the effect is negligible. A minimum increase in spatiality and a further improvement in selec-tivity could certainly be determined. Anyone with a particular interest, especially in view of the fact that the MSMc1 is already outstanding in spatial representation and in differentiating sound events, could certainly consider buying or testing them.

The Holoprofil is aligned to the MSW exactly using

a template that is fitted with a spirit level for fine

adjustment.

warmth without the need for any ex-treme settings. Admittedly it is doubtful whether such finesses would still be au-dible on audio equipment of lesser qual-ity. But anyone intending to make or mix recordings for playing on absolutely top-class equipment with magnificent sound would certainly have to seriously con-sider such a top-class sound transducer.

And of course the Manger monitors don’t gloss over any weaknesses. If the starting material isn’t up to standard, then the Manger is unforgiving. The at-tention to detail also uncovers all of the accompanying sound events feared by both vocalists and instrumentalists, and especially by sound engineers: breath-ing noises, the scratching of the violin bow stroke, noisy shifts, and so on. All of this unwanted ambient noise however

is a guarantee of a certain liveliness of a recording. To put it another way: Expe-riencing music outside of a concert hall from a recording is given a new realism, it sounds more authentic and some-how more inspired, more like a live ex-perience. And microphone testers will find an absolutely reliable partner in the Manger monitors. If you want to catch the partly subtle differences between microphones optimised for signal fidel-ity, then the MSMc1 operates with the precision of a measuring instrument. It helped to considerably shorten our test of the Josephson C617. (The results can be read on Page 68 of this Issue.)

Anyone who now believes that the MSMc1 is a loudspeaker for acous-tic, preferably classical music would be wrong. As with every good monitor the

Manger is not choosy about the material it has to reproduce. For example a fu-sion electric guitar solo, recorded with an Engl Fireball and the SPL transducer, sounds clearly more direct and lively, as the transients of the plectrum touch or the movement of the fingers during a vi-brato almost appear as a three-dimen-sional, photo-realistic depiction. The delicate smoothing of the touches us-ing the new Transient Designer plug-in in the Sonar 8 can be done by ear alone, because the Mangers readily provide in-formation on the effect caused by a par-ticular control setting on the sound.

The exemplary impulse behaviour of the MSW and of the equally high standard subwoofer benefits good percussion recordings. If you ever wanted to know what your overheads can actually do and just how crisp a natural, well-tuned and microphoned snare can sound, then the MSMc1 provides you with the exact in-formation you require. Playing, recording and listening are an enjoyable experi-ence, and it is totally unnecessary to use loud volume levels. Even at a very mod-erate, kind-to-the-ears volume all of the qualities described above are pres-ent. Anyone working in an environment calling for an acoustic irradiation of the production at high volumes is welcome to do this. The Manger can also handle high volumes. However our experience shows that use of the LF Module is rec-ommended, as according to our admit-tedly subjective listening impression, the Manger monitor retains the same com-posure it displays at low to medium vol-umes.

Summary

The Manger MSMc1 is an absolutely top-class monitor loudspeaker. The hard-to-beat, almost three-dimensional spatial representation, the extraordinarily high selectivity and the completely neutral, practically unadulterated reproduction are unrivalled.

In the measured frequency response, measured in a not completely soundproof room under practical con-

ditions, the slight drop at 500 Hz and the slight increase above three kHz can be seen. However this does

not have any affect on the sound.

Technical Profile

Model MSMc1 LF-Module switch for optional woofer boost module (-6 dB reduction)

Manufacturer Manger Room acoustics correction switch High pass filter at 100 Hz (+3, 0, -3, -6dB)

Distribution Manger Products, Industriestr. 17, 97638 Mellrichstadt t +49 9776 9816, f +49 9776 5925 info@manger-pro.de www.manger-pro.de

Nearfield/Cinema Screen Correc-tion switch

Bell filter at 3.2 kHz, 1 octave (+3, 0, -1.5, -3dB)

Type Amplified two-way speakers High Frequency Trim switch Shelving filter at 10 kHz (+2, +1, 0, -1, -2dB)

Dimensions W x D x H (mm) 270 x 424 x 495 Input and output connectors

Weight (kg) 30 Input connectors 1 x symmetrical XLR

Price (recommended retail price, euros)

3707 Accessories

Features Instruction manual, mains cable, optional: LF-Module (1520 euros per pair), MSMc1 stand / c1 Lift (1360/3266 euros per pair), Holoprofil (400 euros)

Loudspeakers 2 Special features

Dia. woofer membrane (mm) 200 Manger MSW sound transducer

Dia. tweeter membrane (mm) Manger sound transducer Rating

Output woofer channel 250/400 (with connected LF module)

Finishing Very good

Output tweeter channel 180 Features Good

Limiter Operation Very good

Indicator LED (green = ready, green/red = limiter)

Measured values Very good

Control switches Sound Very good to Outstanding

Volume/Input sensitivity °/° (11 settings [-2.5 to +2.5 dB] / 2 settings [6dBu/0dBu])

Overall rating Top-class Very good to Outstanding

AV filter High pass filter (80 Hz, 12 dB reduction)

Price-performance ratio Very good

Test Nearfield-Monitor Manger MSMc1

80 Professional audio Magazin 3/2009 Translated to english and copyright by: Manger Products, Industriestrasse 17, D-97638 Mellrichstadt, Tel. +49 9776 9816, Fax +49 9776 5925, eMail: info@manger-msw.com

52 | 53 Studio Magazin 11/11

Highly Addictive!

Manger MSM c1 Fritz Fey, Photos: Manger

In the early 90s I was introduced to the Manger loudspeaker and its inventor Josef W. Manger for the first time. Compared to the development status of all the other studio monitors the listening experience opened up a new dimension for me, as though a “veil” had been lifted from my ears. Never before had I heard anything similar. Within the last twenty years the implementation of the bending-wave principle via planar membrane fullrange drivers has been optimized constantly so it was high time to delve into the topic again. While Josef Manger is still active in the realm of research and development he has handed over management of the company to his daughter Daniela Manger years ago. After completing her studies in electri-cal engineering Daniela now expertly and successfully continues her father’s lifework. According to company history the first membrane prototypes were manufactured from “Nur Die” full-fashioned stockings with Chinchillan. This pretty erotic aspect is easily transferable to the exciting listening experience, although nowadays the membrane uses a sandwich construction whose basic concept goes back to the late 70s. But let’s return to the present: For more than two years Daniela and I have been trying to make provisions for a contemporary review of the Manger loudspeaker in Studio Magazin. So finally in November she found the time to visit our editorial department and brought along two heavy flightcases which could hardly be lifted ...

Achtung Suchtgefahr!

Das ‚Manger-Prinzip‘ bewegt sich vor einem umfangreichen

wissenschaftlichen Hintergrund, dessen Details den Rahmen

eines regulären Hörtests mühelos sprengen würden. Man

sollte jedoch unbedingt wissen, dass der Manger Schall-

wandler die Zeitsensibilität unseres Gehörs in vollem Umfang

bedient. Bekanntermaßen entscheidet sich beim Hören so

ziemlich alles in den ersten Millisekunden eines wahrgenom-

menen Schallereignisses. Im Transientenpaket stecken die

wichtigsten Informationen für eine gehörmäßige Auswertung:

Richtung, Größe, Distanz. Mit einer Anstiegszeit von dreizehn

Mikrosekunden und einem Übertragungsbereich von 80 Hz

bis 40 kHz ist der Wandler imstande, selbst komplexeste Si-

gnalstrukturen aus einem Punkt heraus präzise abzubilden.

Insofern ist er dem Ideal eines Lautsprechers wahrschein-

lich näher und dem Mikrofon ähnlicher als alle anderen Kon-

struktionsprinzipien. Natürlich muss die Verstärkerelektronik

diesen extrem hohen Anforderungen in gleicher Weise ge-

recht werden.

ÜberblickDer MSM c1 ist mit einem Manger-Schallwandler W05/1 mit

Neodym-Magneten und einem langhubigen 8-Zoll-Tieftöner

mit Glasfaser/Polyestergewebe-Sandwichmembran bestückt.

Beide Systeme sind in einem separaten, geschlossenen Ge-

häuse untergebracht. Das Gehäuse besteht aus MDF mit un-

terschiedlichen Materialstärken und ist intern aufwändig be-

dämpft. Zur Vermeidung von Abrissreflexionen an den Gehäu-

sekanten sind diese im Bereich des Breitbandsystems vari-

abel abgerundet gestaltet. Die Frequenzweiche trennt beide

Systeme bei 330 Hz mit einem 24 dB Tiefpass und einem

12 dB Hochpass. Auf diese Weise entsteht ein weit gesteck-

ter Übertragungsbereich von 30 Hz bis 40 kHz. Für eine Er-

höhung des Schalldrucks von 110 dBSPL ist ein Tieftonmodul

erhältlich, das oben aufgesetzt wird und für weitere 6 dB gut

ist. Die analoge Endstufe für den Breitbandschallwandler ar-

beitet mit einer Bandbreite von 250 kHz und verfügt über ei-

ne Anstiegszeit von 55 Volt pro Sekunde. Der Tieftöner wird

mit einer separaten analogen Endstufe sehr hohen Dämp-

fungsfaktors angetrieben. Auf der Rückseite werden diverse

Schalt- und Regelmöglichkeiten zur Einstellung der Eingangs-

empfindlichkeit, Orts- und raumakustischen Anpassung, Fil-

terung für Subwooferbetrieb und Polarität angeboten. Ein in-

tegrierter, abschaltbarer Limiter mit Optokoppler sorgt für

den möglicherweise notwendigen Überlastungsschutz. Der

analoge Audioeingang ist symmetrisch als XLR-Buchse aus-

geführt. Das Gehäuse des optional zur Schalldruckerhö-

hung (nicht zur Frequenzgangerweiterung nach unten) erhält-

lichen, als Aufsatz ausgeführten Tieftonmoduls setzt die ab-

gerundeten Gehäusekanten geometrisch fort und wird über

ein Spezialkabel mit dem Lautsprecher verbunden. Im Zube-

The “Manger design” is based on an extensive scientific

foundation whose details go far beyond the scope of a

conventional listening test. You should know, however,

that the Manger sound transducer is as time-sensitive as

the human ear. This is very important as almost all the

information of a sonic event is packed into the first milli-

seconds of its onset. The transients contain all the criteria

your ears need for evaluation: direction, size and distance.

With a rise time of 13 microseconds and a bandwidth of 80

Hz to 40 kHz the sound transducer is able to depict even

the most complex signal structures from a single center.

Insofar the Manger design comes closer to the ideal of

a loudspeaker and resembles a microphone to a greater

extent than all the other design concepts. The same ex-

tremely high requirements must be met by the electronics

of the power amplifiers, of course.

OverviewThe MSM c1 features a Manger W05/1 sound transducer

with a neodymium magnet and a long-throw 8” low

frequency driver with a fiberglass/polyester sandwich

membrane. Each system is housed in its own closed chas-

sis. The enclosure consists of MDF of varying densities and

is extensively damped on the inside. Rounded edges in

the area of the fullrange systems reduce diffractions to a

minimum. The crossover splits the frequency range at 330

Hz using a 24 dB low-pass filter and a 12 dB high-pass

filter. This results in a wide frequency range of 30 Hz to

40 kHz. An optional woofer module can be mounted on

top of the MSM c1 to increase the available 110 dB sound

pressure by another 6 dB. The analog power amplifier

for the fullrange sound transducer provides a bandwidth

of 250 kHz and a rise time of 55 volts/second. The low

frequency transducer is driven by a separate analog power

amplifier with a very high damping factor. The back panel

is equipped with various switches and controls for adjust-

ing the input sensitivity, listening environment, acoustics,

filters for subwoofer operation and polarity. An integrated

switchable limiter with optocoupler protects the system

against overloading. Analog input signals are connected

via balanced XLR jacks. The enclosure of the optional woof-

er module – which increases the sound pressure without

expanding the low frequency range – is mounted on top

of the main unit and connected via special cable. It fea-

54 | 55 Studio Magazin 11/11

hör test

hörkatalog sind auch spezielle Stative,

eines davon mit hydraulischer Höhen-

verstellung, zu finden. Der Regler für

die Eingangsempfindlichkeit ist in halb

dB Schritten einstellbar und kann mit

einem Schalter zu 1.55 oder 0.75 Volt

vorgewählt werden. Zur Raum- oder

Aufstellanpassung steht ein Neigungs-

filter zur Verfügung, das in drei dB Stu-

fen von -6 bis +3 dB eingestellt wer-

den kann. Ein Glockenfilter, das bei

3.5 kHz ansetzt, dient zur Kompensa-

tion handelsüblicher Leinwände, wenn

man den Lautsprecher dahinter aufstel-

len möchte, oder kann eine korrigier-

te Gehörempfindlichkeitskurve in die-

sem Frequenzbereich mit -1.5 oder -3

dB herstellen. In stärker oder zu gering

bedämpften Räumen ist eventuell eine

Anpassung der Höhenwiedergabe an-

gezeigt, die mit einem Neigungsfilter

im Bereich von +2 bis -2 dB abgebildet

ist und bei etwa 10 kHz einsetzt. Die-

ses Filter ist durchaus auch eine Mög-

lichkeit, dem persönlichen Geschmack

etwas entgegenzukommen.

HoloprofilDieser mathematisch-geometrisch be-

rechnete mechanische Aufsatz für den

Schallwandler bedarf einer etwas aus-

führlicheren Erklärung. Manger fiel bei

zahlreichen Versuchen auf, dass das

vollständige Signal bereits von der hal-

ben Membranfläche des Schallwandlers

wiedergegeben wird. Die zweite Hälf-

te liefert dieses Signal praktisch ein

zweites Mal. Je weiter man sich vom

Lautsprecher entfernt, desto schwie-

riger wird es, diese ‚beiden‘ Signale

zur Deckung zu bringen, mit dem Re-

sultat, dass sich Unschärfen im Hö-

henbereich und der Räumlichkeit erge-

ben. Mit dem Holoprofil wird nun das

‚zweite‘ Signal mechanisch abgedeckt,

in dem man es direkt vor das Chas-

sis nach genauer Anleitung mit Scha-

blone und Befestigungsmaterial mon-

tiert. Auf diese Weise nimmt die Abbil-

dungsschärfe auf die Distanz wieder

deutlich zu, jedoch steht gleichzei-

tig die gesamte Membranfläche zur Er-

zeugung des Schalldrucks zur Verfü-

gung. Dies schafft eine größere Un-

abhängigkeit von der Abhörposition,

ist aber, wie meine persönliche Erfah-

rung zeigt, in einer ‚normalen‘ Abhörsi-

tuation nicht erforderlich. Im Gegenteil

nimmt die Plastizität im Nahfeld eher

ein wenig ab.

HörenNach korrekter Ausrichtung der Laut-

sprecher in meiner Regie, die auch ei-

nen unmittelbaren Vergleich zum Haus-

Abhörsystem ermöglichte, konnte die

Hörsitzung beginnen. Der einzige Un-

terschied war die erweiterte Basisbrei-

te zum fest installierten System, da

die Manger-Lautsprecher außen da-

neben standen. Dass dies prinzipi-

ell eine spektakulärere Stereoabbil-

dung nach sich zieht, ist Ihnen vermut-

lich aus eigener Hörerfahrung klar. Man

könnte sagen, dass bereits bei den er-

sten Tönen die sprichwörtliche Son-

ne aufging. Die räumliche Abbildung

dieser Lautsprecher ist so weit au-

ßerhalb jeder alltäglichen Hörerfah-

rung, dass man zunächst seinen Oh-

ren nicht trauen möchte. Ich hörte je-

des Detail, jede feindynamische Bewe-

gung, jede Ebene der Räumlichkeit auf

eine kaum beschreibbare, selbstver-

ständliche Art und Weise. Entsprechend

präzise ist auch die Richtungsabbil-

dung. Die Phantommitte steht nadel-

scharf, und alles, was sich in unmittel-

barer räumlicher Nähe davon befindet,

lässt sich mühelos lokalisieren und ab-

stecken. Der Bassbereich, den wir auf-

stellungsbedingt um die verfügbaren 3

dB anhoben, präsentiert sich dank des

geschlossenen Gehäuses extrem defi-

niert und abgegrenzt. Dies ist vermut-

lich dem schnellen Ausschwingverhal-

ten des Tieftöners zuzuschreiben. Ich

fürchte, mir war das Entsetzen anzu-

sehen, als ich auf mein gewohntes Ab-

hörsystem zurückschaltete, dass nun

tures the same rounded edges as

the MSM c1. Options also include

fixed and hydraulically adjustable

speaker stands. The input sensitiv-

ity can be switched from 1.55 to

0.75 volts and fine-tuned in steps

of 0.5 dB using a separate control.

A shelving EQ allows adjustments

in 3 dB steps from -6 dB to +3 dB

to adapt the MSM c1 to different

rooms and locations. The addi-

tional bell filter starts at 3.5 kHz

and should be activated when

the loudspeaker is positioned

behind standard cinema screens

to compensate for the loss of high

frequencies. It can also be used to

set up a corrected hearing sensi-

tivity curve of -1.5 or -3 dB in the

same range. The treble range of

the loudspeaker can be adapted

to heavily or poorly damped rooms

using a shelving EQ with a control

range of +2 to -2 dB. This filter also

allows you to tweak the frequency

response of the MSM c1 to your

personal taste.

The HoloprofilThis mechanical attachement for

the Manger sound transducer has

been mathematically and geo-

metrically computed and requires

some detailed explanation: Dur-

ing his experiments Mr. Manger

discovered that it takes only half

of the transducer’s membrane sur-

face to reproduce all of the signal.

The other half of the membrane

surface generates an identical

copy of the signal. The larger the

listening distance becomes the

more difficult it gets to keep both

signals congruent. This results in

a lack of definition in the treble

range and spatial imaging. So the

Holoprofil is used to mechani-

cally cover the “second” signal. It

comes with precise instructions,

a template and fastening material

and has to be mounted directly

in front of the chassis. This way

the imaging definition at larger

distances is once again increased

while at the same time all of the

membrane surface is available

for generating sound pressure.

Although the Holoprofil expanded

the listening sweet spot it seemed

to slightly decrease near-field plas-

ticity. In my opinion this feature

is dispensable in normal listening

situations.

The Listening TestIn my control room I set up the pair

of Manger MSM c1 adjacent to my

own monitor system and correctly

aligned them. The test conditions

were identical for both systems

except that the base width of the

Manger loudspeakers was slightly

larger. You probably know from

your own listening experience that

this will result in a more spec-

tacular stereo imaging. From the

first notes it became obvious that

the MSM c1 is playing in a differ-

ent league. The spatial imaging

of these loudspeakers is so far

removed from any conventional

listening experience that you can-

not believe your ears. I was able to

hear each detail, each level of spa-

tiality and the slightest changes in

dynamics with amazing ease. The

same goes for the localization. The

phantom center is sharply defined

and everything in its close vicinity

can be easily localized and distin-

nicht gerade vom Schnäppchentisch

eines Kaufhauses stammt und zudem

auch noch mit einem Trinnov-Optimizer

gruppenlaufzeitentzerrt ist, wenn wir

mal bei der Zeitebene bleiben wollen.

Ein herkömmlicher Lautsprecher klingt

im Vergleich zum Manger-System ange-

strengt, eng, flach, eindimensional und

bewegungsfaul. Es ist so krass, wie

ich es beschreibe, aber darin liegt na-

türlich auch eine gewisse Gefahr, wer-

den Sie vielleicht jetzt denken, denn

niemand wird dieses Klangbild jemals

wieder so hören, es sei denn, er be-

sitzt ein Manger-System. Das teilte die

Hörerschaft bereits in zwei Lager, wie

mir berichtet wurde – die einen, die

mit einer solchen Durchsichtigkeit und

Präzision nicht zurechtkommen und die

anderen, die ohne nicht mehr arbei-

ten wollen. Ich kann aufgrund der Hör-

sitzung nicht sagen, zu welcher Grup-

pierung ich am Ende gehören würde,

denn dafür bedarf es eines längeren

Arbeitens mit diesem Werkzeug. Ob

man beim Mischen auf diesem Laut-

sprecher schneller mit dem Räumlich-

keitseindruck zufrieden ist, und dieser

auf anderen Lautsprechern folgerichtig

leicht verloren gehen kann, kann man

zumindest zur Diskussion stellen. Mei-

ner Auffassung nach kann es aber nicht

sein, zu viel oder zu präzise über ei-

nen Lautsprecher zu hören oder di-

es gar als schädlich für die Arbeit und

das Beurteilungsvermögen bewerten.

Es ist ganz eindeutig, dass dieser Laut-

sprecher nichts hinzufügt, was nicht

im Signal vorhanden ist, aber eben

auch nichts verschweigt. Mein obli-

gatorischer ‚umgekehrter‘ Hörtest mit

ausgesuchtem, schlecht gemischtem

oder klingenden Material zeigte, dass

der MSM c1 dann ebenso schonungs-

los schlecht abbildet, wie er eine ex-

zellente Orchesteraufnahme mit ent-

waffnender Authentizität und Plastizi-

tät auf die Bühne zaubert. Ich kann zu

keinem anderen Schluss kommen, als

hier ganz öffentlich zu schreiben, dass

ich niemals einen Lautsprecher gehört

habe, der die Zeitebene so präzise und

feindynamisch abbildet. Wer das ein-

mal im direkten Vergleich zu einem

Lautsprecher in klassischem Design ge-

hört hat, wird mir ohne Zögern zustim-

men.

FazitDie Manger-Schallwandler-Technologie

in ihrer modernen Ausprägung ist ei-

ne untrügliche Kontrollinstanz, die zeit-

lich und tonal Außergewöhnliches lei-

stet. Die zeitliche Abbildungspräzision

des MSM c1 spielt in einer eigenen Li-

ga und übertrifft alles, was ich bisher

gehört habe. Wenn Sie sich an die ein-

leitenden Worte erinnern – es hat sich

eigentlich nichts geändert: Man betritt

definitiv eine andere Dimension und

hört Details, die, zumindest in meinem

Studio, bisher irgendwo im Verbor-

genen lagen. Dabei fällt der Preis für

dieses Präzisionswerkzeug mit 8.640

Euro brutto für das Paar noch überra-

schend günstig aus. Was soll ich sa-

gen, ohne zu sehr ins Schwärmen zu

geraten oder gar unglaubwürdig zu er-

scheinen? Wenn man so wie ich die

Möglichkeit eines direkten Hörver-

gleichs hatte, macht der MSM c1 ein-

fach sehr viel offensichtlicher auf Si-

gnaldetails aufmerksam, die man zwar

auch auf allen anderen Lautsprechern

wahrnehmen kann, aber erst, wenn der

MSM c1 mit dem Finger darauf gezeigt

hat, mit einer Selbstverständlichkeit,

die jede verbale Beschreibung an ih-

re Grenzen stoßen lässt. An sich ist die

Räumlichkeitsdarstellung spektakulär,

allerdings gewöhnt man sich so schnell

daran, dass sie auch gleich unspekta-

kulär und selbstverständlich wird. Erst

beim Zurückschalten auf mein ja ei-

gentlich geliebtes Monitorsystem wur-

de mir klar, was ich alles verpasse. Ich

sage nur: hohe Suchtgefahr! Ich muss

es leider Ihnen überlassen, ob Sie ei-

nen eigenen Hörversuch wagen wollen.

Wenn ich es mir leisten könnte, ich

würde sofort umsteigen…

guished. Due to monitor placement

the bass range had been boosted

by the available 3 dB. It sounded

extremely contoured and tight

thanks to the closed design of the

enclosure and the high damping

factor of the woofer. Switching

back to my normal monitor system

was pretty sobering, although I

own high-end models that have

been equipped with a Trinnov-

Optimizer for group delay distor-

tion correction. In comparison

with the MSM c1 conventional

loudspeakers sound strained,

cramped, shallow, one-dimen-

sional and lazy. The difference is

as extreme as I describe it and if

you don’t own a Manger system

you will never enjoy such a fantas-

tic sound impression again. This

fact is polarising, however. Some

listeners cannot handle this kind

of transparency and precision and

shy away from it. And some listen-

ers simply refuse to work without it

in the future. Based on the rather

short listening session I don’t

know yet which group to join. Tools

like the MSM c1 must be applied

in practice over longer periods. It

remains to be seen, if mixing with

Manger loudspeakers makes you

more negligent as far as spatial-

ity is concerned and if the results

sound disappointing on other sys-

tems. In my opinion, however, you

can never get too much detail and

precision out of a monitor and high

fidelity can never be detrimental

to your work and judgement. Fact

is that the MSM c1 neither adds

anything which is not contained in

the signal nor conceals anything.

My mandatory “reversed” listening

test using poorly mixed and bad

sounding audio material proofed

that the imaging of the Manger

monitor was relentlessly honest

in this case, too. When you listen

to the authenticity and plasticity

with which the MSM c1 reproduces

excellent orchestral recordings you

will agree that its precise and dy-

namic imaging of the time domain

is simply unique.

Summary The modern technology of the

Manger sound transducer provides

you with a monitoring solution

of the highest dynamic and tonal

quality. The imaging in the time

domain is intriguingly precise and

miles ahead of the competition.

And as I said at the beginning of

this review: You simply enter a

new dimension and start to hear

details which have previously been

hidden – at least with my studio

environment. And when you con-

sider the price/performance ratio,

a gross price of EUR 8,640 a pair is

almost a bargain. If I could afford

it, I would swap systems immedi-

ately. What more can I say without

getting too enthusiastic or loosing

my credibility? The MSM c1 reveals

sonic details that can be perceived

on other systems, too. But it

reveals them more clearly and with

amazing naturalness. Although the

imaging of spatiality is spectacular

in the beginning you get used to it

pretty soon and take it for granted

until you switch to a different

system and start to miss it pain-

fully. So give the MSM c1 a try, but

beware – it’s highly addictive!

32

Test: Aktivlautsprecher Manger MSM c1

Mach die Welle!

einsnull

Peripherie:

– Quellen: Naim NDX, RipNAS Z500Netbook Sony Vayo VPCW11S1E, MediaMonkey, Thesycon-USB-Class-2-Treiber

– D/A-Wandler: Grace m903Electrocompaniet PD-1

Ich sag‘s ja immer wieder: Zu unserer digitalen Musik passen

Aktivlausprecher wie die Faust aufs Auge. Das macht man

in Tonstudios schließlich auch oft so. Und wenn man

schon in diese Richtung schielt, um sich inspirieren zu

lassen, kommt man, wenn‘s ganz besonders highendig

sein soll, an einer Legende nicht vorbei.

Manger_EN211_S.32-35.indd 32 20.04.11 09:32

The Perfect Wave!My personal credo is that active monitors are a perfect fit for digital music. It is common practice in recording studios for years. And when you start looking for some inspiration in this high-end monitor sector there is one legend that always stands out.

Peripheral devices:

– Sources: Naim NDX, RipNAS Z500 Netbook Sony Vayo VPCW11S1E, MediaMonkey, Thesycon-USB-Class-2-drivers– D/A converters: Grace m903 Electrocompaniet PD-1

33

Gehörtes:

– Various Artists Musik wie von einem anderen Stern (FLAC, 44,1 kHz, 16 Bit)

– Arne Domnerus Group Jazz At The Pawnshop (FLAC, 44,1 kHz, 16 Bit)

– Frits Landesbergen Big Band The Old Fashioned Way (FLAC, 44,1 kHz, 16 Bit)

– Ella Fitzgerald & Louis Armstrong Ella & Louis (FLAC, 96 kHz, 24 Bit)

– Malcolm Arnold & The LPO Arnold Overures (FLAC, 176,4 kHz, 24 Bit)

– Johnny Cash American Recordings IV (FLAC, 44,1 kHz, 16 Bit)

– Air 10.000 Hz Legend (FLAC, 44,1 kHz, 16 Bit)

eingespannt und wird zentral von ei-ner Schwingspule angeregt. Der Trick der Biegewellenbewegung ist, dass bei hohen Frequenzen nur kleine Teile der Membran zu Schwingungen angeregt werden, erst bei tieferen Frequenzen breiten sich die Biegewellen bis zum Rand aus, wo sie sorgsam bedämpft werden, damit es keine Refl exionen gibt. So erreicht der Manger-Wandler einen Arbeitsbereich von ca. 100 Hz bis 25 kHz bei näherungsweise punkt-förmiger Schallquelle. Seine Vorteile liegen, wie nicht anders zu erwarten, auch beim Impulsverhalten, da er mit hoher oberer Grenzfrequenz arbeitet und auch keinen schweren Konus hin und her beschleunigen muss. Dieses „zeitrichtige“ Verhalten hat den Wand-ler über die Jahre zu einer festen Größe in der anspruchsvollen Audioszene ge-macht. Und nicht nur dort, denn auch die Profi s im Tonstudio haben nicht lange gebraucht, um seine Vorzüge zu erkennen. Die Jungs brauchen Natür-lichkeit, Aufl ösungsvermögen, Neu-tralität – bitte, das kann er, der MSW. Er misst sich vielleicht nicht wie ein Strich, leichte Welligkeiten sind im Frequenzschschrieb schon zu erken-nen, jedoch ist das natürlich nicht das einzige Kriterium, das für natürliche Musikwiedergabe zurate gezogen wer-den muss. Vielmehr ist es so, dass per-fekte Zeitrichtigkeit und Reaktions-geschwindigkeit eher dazu betragen, den Klang als „richtig“ und angenehm zu empfi nden. Und das wiederum ist die ganz große Tugend des MSW. In

Und diese Legende kommt sogar aus Deutschland und heißt Man-ger. Für den unwahrscheinlichen Fall, dass Sie noch nie etwas von den Schall-wandlern aus Mellrichstadt gehört ha-ben: Es handelt sich um wirklich ganz anders als normal arbeitende Chassis, deren klangliche Vorteile dafür gesorgt haben, dass ihr exzellenter Ruf seit Jah-ren anhält.Die Geschichte des Manger-Schall-wandlers geht zurück bis in die 1960er-Jahre, wo sich der Akustikpionier und Firmengründer Josef W. Manger mit dem Zeitverhalten von Mikrofonen und Lautsprechern beschäftigte. Er entwickelte u.a. ein Messverfahren für Sprungantworten und kam auf diese Weise quasi nebenher zum Lautspre-cherbau, denn ihn packte der Ehrgeiz, die von ihm selbst herausgefundenen Unzulänglichkeiten konventioneller Lautsprecher mit einer Eigenkon-struktion zu umgehen. Mit den bis dahin bekannten Lautsprechern war Manger unzufrieden, sie sind nicht breitbandig genug – man braucht kleine für hohe Frequenzen, die dann keine tiefen Frequenzen wiederge-ben können, und man braucht große für tiefe Frequenzen, die dann zu viel Masse bewegen müssen und ellenlang nachschwingen. Konsequenterweise vermeidet der Manger-Wandler diese Fehler. Seine 20-cm-Membran be-wegt sich nicht „kolbenförmig“ vor und zurück, sondern arbeitet nach dem Biegewellenprinzip. Die voll-kommen fl ache Scheibe ist am Rand

Das aktive Konzept steht der Manger MSM c1 nicht nur optisch, es kitzelt das technisch mach-bare aus den Chassis heraus

Im Bassbereich kommt ein TIW200 von Visaton zum Einsatz, der elektronisch

entzerrt bis 30 Hz aus seinem geschlossenem

Gehäuse liefert

Manger_EN211_S.32-35.indd 33 20.04.11 09:32

The low frequencies are reproduced by a TIW200 from Visaton. Mounted

in a closed cabinet the driver is electronically equalized and goes

down to 30 Hz.

The active design of the Manger MSM c1 not only looks good but drives the monitor to its electronic limits.

Audio material:

– Various Artists Musik wie von einem anderen Stern (FLAC, 44.1 kHz, 16 bit)

– Arne Domnerus Group Jazz At The Pawnshop (FLAC, 44.1 kHz, 16 bit)

– Frits Landesbergen Big Band The Old Fashioned Way (FLAC, 44.1 kHz, 16 bit)

– Ella Fitzgerald & Louis Armstrong Ella & Louis (FLAC, 96 kHz, 24 bit)

– Malcolm Arnold & The LPO Arnold Overures (FLAC, 176.4 kHz, 24 bit)

– Johnny Cash American Recordings IV (FLAC, 44.1 kHz, 16 bit)

– Air 10.000 Hz Legend (FLAC, 44.1 kHz, 16 bit)

And this legend stems from Germany and goes by the name of Manger. Just in case you never heard of the transducers from Mellrich-stadt: These systems work com-pletely different than comparable products and exhibit so many sonic advantages, that their excellent rep-utation is constantly growing. The history of the Manger trans-ducer goes back to the1960’s when acoustic pioneer and company founder Josef W. Manger explored the time response of microphones and loudspeakers and developed among other things a measuring method for step responses. While he tried to avoid the shortcomings of conventional transducers he almost accidentally discovered his passion for speaker construction and started to design custom models. Manger was dissatisfied with the loudspeak-ers available at that time as their bandwith was too small. For high frequencies you had to use small drivers which could not reproduce low frequencies. For low frequencies you had to use large drivers which had to move too much mass and were too inert. The custom Manger transducer avoids these flaws. Its 20 cm membrane does not move back and forth like a piston, but works ac-cording to the principle of bending

waves. A completely flat resonating plate is attached to a rim and excited by a voice coil. With high frequen-cies only small parts of the mem-brane are vibrating around its center. With lower frequencies the bending waves extend to the rim where they are meticulously attenuated to pre-vent any distracting reflections. This way the Manger transducer provides a working range of about 100 Hz to 25 kHz with a nearly point-shaped sound source. As was to be expected, its impulse response is another re-markable advantage as the system uses a high upper cut-off frequency and operates without a heavy cone that needs to be moved back and forth. This time correct behavior has established the transducer as a highlight among demanding au-dio aficionados. And it did not take long until sound studio profession-als came to appreciate these advan-tages. Sound engineers are looking for a natural, high-definition, neu-tral sound reproduction and that’s exactly what the MSW has to offer. The monitor is not absolutely lin-ear – there are some ripples in the frequency response curve, but this is not the only criteria for natural mu-sic reproduction. It is rather, the per-fect time correctness and response speed that conveys an accurate and

34

Test: Aktivlautsprecher Manger MSM c1

einsnull

der MSM c1 arbeitet er aktiv getrennt ab ca. 300 Hz, den Bassbereich über-nimmt mit dem TIW200 von Visaton eine feste Größe. Seine Membran be-steht aus einem Sandwich aus Glasfa-serschichten und Polyestergewebe, was ihn recht resonanzarm und trotzdem extrem steif macht. Sein Parameter-satz erlaubt zudem recht kompakte, trotzdem tief abgestimmte Gehäuse: Er läuft in den ihm zugestandenen ge-schlossenen 20 Litern bis ungefähr 45 Hz, bekommt obendrein noch etwas Schützenhilfe von der Elektronik, um ihn noch bis an die 25-kHz-Grenze zu bekommen. Heraus kommt ein äußerst tief abgestimmter Tieftonpart mit den Vorzügen, die ein geschlosennes Ge-häuse mit sich bringt.Natürlich stammt auch die Aktivelek-tronik aus deutschen Landen. Ganz

die „Jazz Variations“ von der Manger-CD anhören. Und alle teilten mit mir eine Meinung: Da fällt einem einfach nichts mehr ein. Außer: Die Plastizität und Authentizität dieser Box sind ein-fach sagenhaft. Und noch etwas: Der Bass dieser Box ist bemerkenswert! Die MSM c1 spielt abgrundtief, knochen-trocken und pegelfest. Das ist mit der beste Bass, den ich seit Langem ge-hört habe. Und das wird noch mal eine Spur souveräner mit zwei Bässen pro Seite. Ein schnell anschließbares, „LF-

gewissenhaft hat Manger den pas-senden Partner für den Schall-wandler herausgepickt, schließ-lich sollte die Elektronik nicht die Fähigkeiten der Chassis limi-tieren. Nein, das sind auch keine Schaltverstärker, sondern schön satte Class-A/B-Endstufen mit or-dentlich Leistung. In Zahlen sind das an die 250 Watt für den Bass und 180 Watt für den Biegewellenwandler. Da-mit lässt sich nicht nur pegelmäßig was anfangen, das bedeutet ganz viel und nicht zu vernachlässigenden Head-room. Und wenn man sich das alles zu-sammenreimt, wird ein wunderschöner Schuh draus. Idealer Breitbandwand-ler, Ausnahmewoofer, leistungsfähige Endstufen, und das alles in einem ak-tiven Konzept – das kann eigentlich nur in einen der allerbesten Lautspre-cher überhaupt münden. Und wissen Sie was? Das tut‘s auch, da braucht man gar nicht lange drumrumzureden. Das Aktivkonzept geht voll und ganz auf. Stimmen werden angsteinfl ößend realisitisch und räumlich unglaublich präzise wiedergegeben und Instru-mente, und ich meine damit wirklich alle, entfalten ihre volle Dynamik – das ist ganz großer Sport. Wer aufgrund der großen Fläche des Mittelhoch-tonwandlers mangelnde Aufl ösung befürchtet: Denken Sie noch mal ganz genau über das Funktionsprinzip nach, dann fällt es Ihnen noch leichter, mir zu glauben, dass es dem MSW pro-blemslos gelingt, auch die ganz feinen Details herauszuschälen. Den lieben Kollegen musste ich natürlich auch vorführen, was der MSM c1 zu leisten imstande ist. Und so durften sich ganz viele von mir herbeizitierte Mitarbeiter

Die MSM c1 misst sich nicht wie ein Strich, bleibt aber im Mittel sehr ausgewogen. Beein-druckend ist die Bandbreite des MSW: Bis über 20 kHz spielt er voll mit, ein gewisses Bünde-lungsmaß lässt sich nicht vermeiden. Klangent-scheidend bei ihm ist jedoch das Zeitverhalten, und das ist wie erwartet auch messteschnisch erste Sahne. Der Wirkunsgrad ist nicht zu ermitteln – ein Aktivkonzept halt – wohl aber die Verzerrungen. Und selbst das ist schwierig, denn sie sind so gering, dass man sie in einem normal skalierten Messschrieb kaum erkennt. Bravo!

Der legendäre Manger-Schallwandler verfolgt ein völlig anderes Funktionspriznip als herkömmliche Lautsprecher

Die wunderschönen Ständer kann man bei Manger mitor-dern, die Höhe ist individu-ellen Wünschen anpassbar

Per Trimmpoti kann man Raumeinfl üsse eliminie-ren, außerdem gibt‘s noch einen Hochpass und Eingangspegelwahl

Manger_EN211_S.32-35.indd 34 20.04.11 09:32

pleasant sound impression. And these are the great virtues of the MSW. In the MSM c1 the trans-ducer actively covers all frequencies from about 300 Hz upward, while the bass range is handed over to the tried and tested TIW200 from Visaton. Its membrane consists of sandwiched layers of fiberglass and polyester fabric – an extremely rigid combination which exhibits very lit-tle resonance. And its set of param-eters allows a rather compact en-closure of 20 liters with pretty deep basses. The closed cabinet goes down to 45 Hz and up to 25 kHz – with a little help from the electronics. The result is a powerful bass range with

all the advantages that come with a closed housing. Of course, the active electronics come from Germany too. A suitable part-ner had to be chosen carefully as the electronics were not al-lowed to limit the cabinet’s abili-ties in any way. And Manger made the right choice: Instead of Class-D amplifiers only high-quality and ef-ficient Class-A/B power amps are used. Which means 250 watts for the bass driver and 180 watts for the bending wave transducer. They not only provide lots of power but also precious headroom. So there are perfect broadband transducers, exceptional woofers and powerful amps combined in an active design. And the whole is more than the sum of its parts. It simply has to result in one of the very best monitors on the market - and it surely does. The active design works amazingly well. Voices are reproduced stunningly realistic and spatially precise. In-struments – and really all of them – unfold their full dynamics, what a treat! And if you think the mid/treble transducer is lacking resolu-tion because of its large surface area, you should remember its functional principle. This will convince you that the MSW effortlessly succeeds in depicting even the finest details. Of course, my dear workmates wanted to hear the MSM c1 perform too. So all of them listened to the „Jazz Variations“ on the Manger CD. And

all of them agreed: The plasticity and authenticity of the loudspeaker is phenomenal. Just one more thing: The bass response of the monitor is gorgeous! The MSM c1 performs way down low, bone-dry and stable. This is one of the best bass sounds I have heard for a long time. You can even double the bass power per side by adding two optional LF-Module bass cabinets. They contain the same

In addition to a high-pass filter and input level control several trim pots correct the acoustics of the room.

The legendary Manger transducer is based on a completely different functional principle as conven-tional loudspeakers.

The beautiful speaker stands are also available from Manger. Their height can be customized at no additional cost.

The frequency response of the MSM c1 is not completely linear, but very balanced on average. Its bandwidth is quite impressive: It goes beyond 20 kHz without any restrictions, except for a cer-tain amount of directionality. But measurements confirm its extraordinary time response which is the true basis for great sound. Efficiency is unde-terminable due to the active design. Distortion is also difficult to determine as it is very small and hardly measurable. Congratulations!.

Manger MSM c1

einsnull

Modul“ getauftes Bassgehäuse glei-cher Bestückung ist nicht nur gegen Aufpreis erhältlich, sondern trägt auch dazu bei, dass der solo schon exzel-lente Tieftonbereich noch druckvoller und präziser in der Raum abgegeben wird. Der tiefrequente Teil der MSM c1 arbeitet natlos mit dem MSW zu-sammen, und der hat natürlich noch mehr zum Gesamtklang der Box bei-zutragen. Wenn man sich überlegt, dass man gleich noch ein paar exzellenten End-stufen bekommt, relativiert sich der Preis für diesen Ausnahmewandler sowieso.

Christian Rechenbach/Elmar Michels

Vollaktiv: Kräftige Class-A/(B-Endstufen treiben die Chassis an. Klanglich sind diese Amps erste Wahl

Die Oberfl äche der Box ist in vielen Farben

erhältlich, das dezente Mattschwarz unseres

Testmusters wirkt äußerst edel

Manger_EN211_S.32-35.indd 35 20.04.11 09:32

driver as the monitor and send the al-ready excellent low frequency range with extra punch and precision into the listening room. The bass com-ponent of the MSM c1 co-operates seamlessly with the MSW and both units complement each other in a very harmonious way. Considering that two high-quality power amps are included in the package this pair of monitors is worth every single cent of the initial cost.

Christian Rechenbach/Elmar Michels

Daniela Manger uses a laser pointer to exactly adjust the MSM c1. This way she creates a perfect stereo triangle and maximizes our listening environment.

The cabinet’s finish is avail-able in many different colors. The subdued

matte black finish of our test model

looks really stylish.

Active to the max: High-capacity Class-A/B power amplifiers drive the speakers and deliver excellent sound quality.

Price: circa 8,640 euro (pair)LF-module: circa 810 euro (apiece)Stand: circa 770 euro (apiece)Distributor: Manger, MellrichstadtTelephone: 09776 9816Internet: www.manger-msw.de

Connectors: 1 x analog XLRLF: 250 watts @ 8 ohms 400 watts @ 4 ohms (with optional LF-module)HF: 180 watts @ 8 ohmsHigh-shelf filter (10 kHz/+2 dB, +1 dB, 0 dB, -1 dB, -2 dB)Bell filter (mid boost) at 3.25 kHz (+3 dB, 0 dB, -1.5 dB, -3 dB)High-pass filter at 80 Hz (+3 dB, 0 dB, -3 dB, -6 dB)High-pass at 100 HzInput trim switch: 11 positions (-2.5 dB to 2.5dB)

<checksum>„The MSM c1 enables you to set up the shortest possible signal chain and – what’s even more important – to achieve the best sounding audio system.“

</checksum>

Technik im Detail

Das vom Verstärker bereitgestellte Signal verarbeitet der Manger-Wandler ähnlich wie konventionelle Chassis: mittels einer stromdurchflossenen Schwingspule, die einem Feld von 15 kreisförmig angeordneten Magneten aus Neodym ausgesetzt ist und so das elektrische Signal in mechanische Schwingungen verwandelt. Die mit 70 Millimeter Durchmesser extrem große, doppelt gewickelte Spule wiegt nach

Herstellerangaben ganze 0,4 Gramm und soll extrem kurze Anstiegszeiten ermöglichen. Während herkömmliche Membranen sich idealisiert wie starre Kolben verhalten, nutzt Manger eine weiche Membran mit veränderlicher Dicke und Zusammensetzung. Größe und Material sind so austariert, dass die sich kreisförmig ausbreitenden Biegewellen eine extreme Bandbreite abdecken, die mit kleinen Abstrichen

von 80 bis nahe 40 000 Hertz reicht – das sind mehr als neun (!) Oktaven. Kein anderer Breitbänder erreicht solche Werte bei vergleichbar gutem Rundstrahlverhalten. Die genaue Zusammensetzung der Membran ist ebensowenig in Erfahrung zu bringen wie andere Details. Daniela Manger, die seit geraumer Zeit die Geschäfte führt, gibt sich diesbezüglich ebenso zugeknöpft wie früher der Vater.

So funktioniert der Manger-Wandler

Der fachübergreifend tätige Tüftler erkannte frühzeitig die Bedeutung ultrakurzer Luft­druckschwankungen für die Wahrnehmung von Geräuschen und Klängen aller Art. Seine Kernaussage: Konventionelle Lautprecher speichern in ihren Membranen und Aufhängungen Energie. Die Folge, so Manger, sind leise Einschwinggeräusche, die unser Gehör verwirren.

Sein Gegenentwurf basiert auf einer dünnen, biegeweichen Platte mit einem Durchmesser von 19 Zentimetern. Gewicht und Steifigkeit variieren mit dem Radius. Die Schallenergie wird von einer Doppelschwing­spule eingeleitet. Das System erzeugt Biegewellen, deren Ausbreitung von der Frequenz abhängig ist.

Tiefe Frequenzen erreichen den Rand der Membran, hohe kommen kaum über das Zen­

Die sternförmig gezackte Dämmung am Rand einer

flachen, auffallend weichen Membran ist das Erkennungs­zeichen eines Schallwandlers, den es in dieser Form und Ausprägung nur einmal gibt.

Die Rede ist vom Manger­Wandler, entwickelt und herge­stellt durch die gleichnamige Firma im fränkischen Mellrich­stadt. Zu kaufen gibt es den Strahler bereits seit einem guten Vierteljahrhundert.

Spezialisten aus der Musi­kerszene oder dem Umfeld von Hochschulen schätzen das Sys­tem wegen seiner überragenden Offenheit und Dynamik, die ein völlig entspanntes Hören er­möglichen. HiFi­Fans hingegen tun sich vielfach schwer mit der ungewohnten Funktionsweise, die nicht immer auf Anhieb verständlich erscheint.

Doch die Beschäftigung mit dem Thema lohnt sich, denn die hörphysiologischen Zusammen­hänge, die Firmengründer Josef Manger (Jahrgang 1926) vor über 30 Jahren zur Entwicklung seines Wandlers bewogen, sind heute so aktuell wie damals. Siehe dazu den Download­Tipp auf der rechten Seite.

Extrem schnell, extrem offen

Manger MSMc1Extremely fast, extremely open

The star-shaped jagged dam per on the edge of a

flat and remarkably soft mem-brane is the distinctive mark of a transducer, which in this form and implementation is quite unique.

We are talking about the Manger transducer, designed and manufactured by the com-pany of the same name located in Franconian Mellrichstadt/Germany. This transducer has been available on the market for more than 25 years now.

Experts from the music scene and universities treasure the system for its outstanding transparency and dynamics, which allow for a completely relaxed listening experience. Hi-fi fans on the other hand have difficulties understand-ing the unusual functionality, which takes some time to get familiar with.

Closer study of this topic is worth it, however, as the prin-ciples of auditory physiology, which inspired the company’s founder Josef Manger (born in 1929) to develop his trans-ducer more than 30 years ago, are still valid today. For more information please refer to the download hint on the following page.

At an early stage his inter-disciplinary work made the inventor discover the impor-tance of ultra-short air pressure variations for the perception of all kinds of noises and sounds. The quintessence of his re-search: Conventional loud-speakers store energy in their membranes and suspensions. This results in soft transient noises which confuse our sense of hearing.

His alternative design is based on a thin flexible plate with a diameter of 7.5” (19 cm). Weight and stiffness vary according to the radius. The sound energy is induced by a double voice coil. The sys-tem generates bending waves whose propagation depends on the frequency.

Low frequencies are spread toward the membrane edge, while high frequencies mostly

Technical Details

The signal provided by the ampli-fier is processed by the Manger transducer similar to conventional chassis: Current flows in a voice coil, which is exposed to a field of 15 neodymium magnets arranged in a circle. This voice coil converts the electrical signals into mechani-cal vibrations. The extremely big double-wound coil with a diam-eter of 70 mm and a weight of

only 0.4 grams according to the manufacturer allows for extremly short rise times. While conventional membranes ideally behave as rigid pistons, Manger employs a soft membrane of varying thickness and consistency. Size and material are balanced in such a way that the circularly spreading bending waves cover an extremely large bandwidth from 80 up to 40 000 Hz – more

than nine (!) octaves. No other broad-band speaker with the same excellent omni-directional propaga-tion comes close to these speci-fications. The chemical composi-tion of the membrane and other technical details are top secret. In this regard Daniela Manger, who runs the company now, remains as silent as her father in the past. This is understandable as the

How the Manger Transducer Works

Bass, upper mids and highs can be

precisely fine-tuned.

Like the loudspeaker,

the optional speaker

stand is available in

any RAL color. The

height of the ultra-

stable stand can be

customized.

The voice coil is

double-wound in

opposite directions

and measures 70 mm

in diameter.

Technik im Detail

Das vom Verstärker bereitgestellte Signal verarbeitet der Manger-Wandler ähnlich wie konventionelle Chassis: mittels einer stromdurchflossenen Schwingspule, die einem Feld von 15 kreisförmig angeordneten Magneten aus Neodym ausgesetzt ist und so das elektrische Signal in mechanische Schwingungen verwandelt. Die mit 70 Millimeter Durchmesser extrem große, doppelt gewickelte Spule wiegt nach

Herstellerangaben ganze 0,4 Gramm und soll extrem kurze Anstiegszeiten ermöglichen. Während herkömmliche Membranen sich idealisiert wie starre Kolben verhalten, nutzt Manger eine weiche Membran mit veränderlicher Dicke und Zusammensetzung. Größe und Material sind so austariert, dass die sich kreisförmig ausbreitenden Biegewellen eine extreme Bandbreite abdecken, die mit kleinen Abstrichen

von 80 bis nahe 40 000 Hertz reicht – das sind mehr als neun (!) Oktaven. Kein anderer Breitbänder erreicht solche Werte bei vergleichbar gutem Rundstrahlverhalten. Die genaue Zusammensetzung der Membran ist ebensowenig in Erfahrung zu bringen wie andere Details. Daniela Manger, die seit geraumer Zeit die Geschäfte führt, gibt sich diesbezüglich ebenso zugeknöpft wie früher der Vater.

So funktioniert der Manger-Wandler

Der fachübergreifend tätige Tüftler erkannte frühzeitig die Bedeutung ultrakurzer Luft­druckschwankungen für die Wahrnehmung von Geräuschen und Klängen aller Art. Seine Kernaussage: Konventionelle Lautprecher speichern in ihren Membranen und Aufhängungen Energie. Die Folge, so Manger, sind leise Einschwinggeräusche, die unser Gehör verwirren.

Sein Gegenentwurf basiert auf einer dünnen, biegeweichen Platte mit einem Durchmesser von 19 Zentimetern. Gewicht und Steifigkeit variieren mit dem Radius. Die Schallenergie wird von einer Doppelschwing­spule eingeleitet. Das System erzeugt Biegewellen, deren Ausbreitung von der Frequenz abhängig ist.

Tiefe Frequenzen erreichen den Rand der Membran, hohe kommen kaum über das Zen­

Die sternförmig gezackte Dämmung am Rand einer

flachen, auffallend weichen Membran ist das Erkennungs­zeichen eines Schallwandlers, den es in dieser Form und Ausprägung nur einmal gibt.

Die Rede ist vom Manger­Wandler, entwickelt und herge­stellt durch die gleichnamige Firma im fränkischen Mellrich­stadt. Zu kaufen gibt es den Strahler bereits seit einem guten Vierteljahrhundert.

Spezialisten aus der Musi­kerszene oder dem Umfeld von Hochschulen schätzen das Sys­tem wegen seiner überragenden Offenheit und Dynamik, die ein völlig entspanntes Hören er­möglichen. HiFi­Fans hingegen tun sich vielfach schwer mit der ungewohnten Funktionsweise, die nicht immer auf Anhieb verständlich erscheint.

Doch die Beschäftigung mit dem Thema lohnt sich, denn die hörphysiologischen Zusammen­hänge, die Firmengründer Josef Manger (Jahrgang 1926) vor über 30 Jahren zur Entwicklung seines Wandlers bewogen, sind heute so aktuell wie damals. Siehe dazu den Download­Tipp auf der rechten Seite.

Extrem schnell, extrem offen

Manger MSMc1

Verständlich, da die vor Nachbau schützenden Patente ausgelaufen sind. Die im Studiomonitor verbauten elektronischen Filter korrigieren den Frequenzgang geringfügig, ohne das überragende Impulsverhalten zu schmälern. In der Aktivbox klingt der mit der Zeit gereifte Wandler reiner und genauer denn je. Die sanft und klangschonend arbeitenden Limiter sind eine feine Sache.

trum hinaus. Prinzipiell spei­chert sich keine Energie, sodass auch feinste Druckänderungen nicht verfälscht werden. Das akustische Zentrum liegt stets in der Mitte.

Die Funktionsweise ist dem menschlichen Innenohr nach­empfunden. Dort gibt es eine Basilarmembran, welche die eintreffenden Schallwellen fre­quenzabhängig selektiert und ihre Weiterverarbeitung über Haarzellen und Nervenfasern ermöglicht.

Prinzipiell kann der Manger­Wandler alle Frequenzen ab­strahlen, Bässe allerdings nur mit deutlich reduziertem Pegel, was zusätzliche Tieftöner sinn­voll macht. Im vollaktiven Stu­diomonitor MSMc1 übernimmt ein 8­Zoll­Konus diese Funk­tion. Er grätscht bei 300 Hertz ein und entlastet die Weich­membran sehr deutlich. Seine

Parameter sind für geschlossene Gehäuse optimiert.

Die Elektronik im hinteren Segment ist wie die übrigen Bauteile „Made in Germany“. Großzügig dimensionierte Kühlkörper, symmetrische Ein­gänge und gleich drei Ortsfilter zeugen von der Ausrichtung für Profis und Kenner.

Grundsolide ElektronikDie analog ausgeführten End­stufen sind auf eine hohe Band­breite getrimmt und erzielen eine Gesamtleistung von 430 Watt. Ihnen stehen Limiter zur Seite, die ein Überfahren der Boxen wirkungsvoll verhindern und den Betrieb in allen Le­benslagen sicher und klang­schonend gestalten. Die rechte Leuchtdiode an der Boxenfront wechselt von Grün auf Rot, so­bald vordefinierte Schwellen überschritten werden.

Selbige liegen beim Manger­Wandler nicht ganz so hoch wie bei konventionellen Boxen mit vergleichbarer Membranfläche, dürften den meisten Anwendern aber vollauf genügen.

Das eingangs erwähnte Con­cord­Album „Top Drawer“ mit George Shearing (Piano), Mel Tormé (Gesang) und einem nicht genannten Bassisten schien wie für den Manger­Studiomonitor gemacht. Die Männerstimme besaß eine un­bändige Kraft, der Bass kam so locker­flockig wie im echten Leben, das gelegentliche Fin­gerschnippen atemberaubend deutlich und realistisch.

Das Resultat war eine völlig selbstverständliche Teilhabe am Geschehen, die so von keiner anderen Box erreicht wurde, auch nicht von der vielfach teureren TAD.

Mit komplexeren Klang­körpern oder sehr hohen Pegeln (beim Manger nicht nötig) ließ die stupende Offenheit etwas nach, lag aber dennoch auf hohem Niveau.

Alle Achtung, kann man da nur sagen. Der unter Kennern längst legendäre Wandler tönt im Studiomonitor neutraler und klangreiner als je zuvor. Daran hat gewiss auch die Elektronik einen erheblichen Anteil.

Laser-Messungen

verdeutlichen die

frequenzselektive

Arbeitsweise. Hohe

Töne (links oben 10

kHz) verarbeitet vor

allem das Zentrum;

tiefe (rechts unten

100 Hz) erregen die

gesamte Fläche.

Bu Em irit in velisl ullandre min

exeros nulla feu facinci llandre

www.manger-msw.com www.stereoplay.de

stay in the center. As no ener-gy is stored, even the subtlest pressure variations will stay free of distortion. The acoustic center is always located in the center of the membrane.

The speaker’s functionality is inspired by the structure of the human inner ear. There you find an organ of Corti which sorts incoming sound waves according to their frequency and passes them on via hair cells and nerve fibers.

Basically the Manger trans-ducer can radiate all frequen-cies, although the level of bass frequencies is clearly reduced. This must be compensated for by an additional woofer. In the MSMc1 powered studio monitor an 8” cone fulfils this function. It starts at 300 Hz and relieves the soft membrane noticeably. Its parameters are optimized for closed cabinets.

The electronics in the rear section and all the other com-ponents are „Made in Germa-ny“. Generously dimensioned heats sinks, balanced inputs and three room filters are a clear indication that this prod-uct is designed for profession-als and aficionados.

Rock-solid Electronics The analog power amps can handle the full bandwidth and provide 430 watts of total pow-er. They are assisted by limiters, which prevent the loudspeak-ers from being overloaded and ensure safe and gentle perfor-mance in all situations. The right LED on the front panel switches from green to red as soon as predefined thresholds are exceeded.

Compared to conventional loudspeakers with the same membrane dimensions these

thresholds are set a bit lower for the Manger transducers, but most users will not notice the difference at all.

The Concord album „Top Drawer“ mentioned earlier with George Shearing (piano), Mel Tormé (vocals) and an unknown bassist seemed to be predestinated for the Man-ger studio monitors. The male vocals had an overwhelming power, the bass was as easygo-ing as in real life and the oc-casional finger snapping was breathtakingly clear and real-istic.

The speakers let you dive into the musical atmosphere like no other speakers before, including the many times more expensive TADs.

With more complex sound sources or at very high volume levels (a rather dispensable op-

tion) the stunning transparency slightly decreased, but stayed on a very high level nonethe-less.

Congratulations – in a stu-dio monitor this already leg-endary transducer sounds more neutral and pristine than ever before, which is also owed to the excellent electronics.

patents protecting against replicas have expired. The electronic filters integrated in the studio monitor correct the frequency response only slightly without affecting the outstanding impulse response. The transducer has matured over the years and sounds purer and more precise than ever in the powered monitor. The excellent limiters work smoothly, gently and unnoticeably.

Frequencies

bass

aluminum basket 2 voice coils

broadband membrane pole core ports

treble reflection damper bass reflection damper

bassmids midshighs

The thin, flexible mem-

brane is completely flat.

The stiffness changes

according to the radius

and induces mechani-

cal separation. The

highest frequencies are

radiated in the center

while the mid and low

frequencies are spread

to the membrane edge.

Download HintiOn www.manger-msw.com the manufacturer provides numerous expla nations and back-ground information. The trans ducer has been described and tested by stereoplay several times, the first time in September 1979.

Laser measurements

clarify the frequency-

selective principle of

operation. The center

processes mostly

high frequencies (top

left 10 kHz), while low

frequencies (bottom

right 100 Hz) excite

the whole membrane.

Klang Absolute Spitzenklasse 60 PunkteGesamturteilsehr gut 82 Punkte

Klang 60

Messwerte 6

Praxis 8

Wertigkeit 8

Noch kompakter Aktivmonitor mit einzigartigem Biegewellen-wandler und separatem Bass. Klingt dank alles überragender Verständlichkeit bei maßvollen Pegeln so gelöst und selbstver-ständlich wie kaum eine andere Box. Unbedingt anhören!

0 10 20 30 40 50 60 70

14

10

6

2

Vertrieb: Manger Products, Mellrichstadt Telefon: 0 97 76 / 98 16 www.manger-msw.com Auslandsvertretungen siehe Internet

Maße: B: 27 x H: 49,5 x T: 42,4 cm Gewicht: 30 kg

Aufstellungstipp: frei auf Ständer oder wandnah, Hörabstand ab 2 m, normal bedämpfte Räume bis 35 m²

Frequenzgang & Impedanzverlauf

Etwas welliger Verlauf mit zurückhaltenden Mitten; zahlreiche Ortsfilter zur Raumanpassung

Pegel- & Klirrverlauf 85-100 dB SPL

Relativ hohe Verzerrungen in den Mit-ten mit Kompression (nur bei 100 dB) Entfällt, da Aktiv-Lautsprecher

Untere Grenzfreq. -3/-6 dB 39/34 Hz Maximallautstärke 88 dB Verbrauch Standby/Betrieb: -/28 W

85 dB 90 dB 95 dB 100 dB

20 Hz 50 Hz 100 Hz 200 Hz 500 Hz 1 kHz 2 kHz 5 kHz50 dB

60 dB

70 dB

80 dB

90 dB

100 dB

110 dB Manger MSM C1 Pegel- & Klirrverlauf

13 15 8 10 14

stereoplay Bedarfsprofil

FazitManger MSMc18640 euro (manufacturer info)Distributor: Manger Products, Mell-richstadt, www.manger-msw.com Phone: 09776/9816 Worldwide distributors can be found on the website. Dimensions: W:10.6“xH:19.5“xD:16.7“ Weight: 66 lbs.

Set-up hints: on stands or close to wall, listening distance more than 7’, normally damped rooms up to 35m²

Measurements

Rating

Price/performance outstanding

stereoplay test rating

Frequency response & impedance

Levels & THD 85-100 dB SPL

profile

Slightly rippled behavior with re strain ed mids; numerous room filters

Relatively high distortion of mids with compression (at 100 dB only)

Lower cut-off freq. -3/-6 dB 39/34 Hz Max. level 88 dB Power cons. standby/operation: -/28W

A still compact powered monitor with a unique bending wave trans-ducer and separate bass speaker. Thanks to its outstanding intelligibil-ity at moderate levels the monitor sounds very transparent and natural. Pretty hard to beat. Give it a listen!

Measurements

Sound

SoundAbsolute top class 60 points

Total RatingExcellent 82 points

Performance

Quality

n/a – for powered monitor

Conclusion

Wolfram Eifert

Staff member of Test & Technik

Point-source drivers are more relevant than ever before. All localizable frequencies emanate from the same source and differences in sonic delays due to separate chassis are eliminated. The technology used for drive mechanisms or membranes is unim-portant in this context. Even simple and small broad-band systems can offer a lot of fun as proved by the rat-ing of the Audium. The Manger monitor is an exceptional product with sensational transpar-ency. Everybody who is willing to get familiar with it, will deeply enjoy it. The spirited Piega perfectly combines all aspects. The high-flyer in this group is the TAD. In my opinion it represents the quintes-sence of perfection and vitality.

fidel

ity

reso

lutio

n

dyna

mic

s

bass

soun

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Le haut-parleur MSW (pour MangerSchallwandler) est une création deJosef Manger. Sa production a com-

mencé dès 1985 et continue sous la houlettede Daniela Manger, fille du génial fondateurde la compagnie qui a mis au point ce trans-ducteur large bande particulier. Ses nom-breuses qualités de reproduction, dont unebande passante étendue et linéaire ainsiqu’une réponse impulsionnelle exception-nelle, en ont fait un haut-parleur de choixpour équiper les enceintes de monitoringMSM c1 de ce banc d’essai. A noter que leconstructeur propose également d’autresmodèles non amplif iés comme, parexemple, ceux de la série Zerobox qui per-mettront aux audiopathes que nous sommesde pouvoir jouer avec les amplificateurs etles câbles haut-parleurs de notre choix. Unechose est cependant sûre, la MSM c1,comme toute autre enceinte active digne dece nom, évitera le traditionnel casse-tête duchoix de ces éléments et les problèmesinhérents à une mauvaise adaptation amplivers enceinte ou câble vers enceintepuisque cette enceinte est active. Leconstructeur aura choisi l’amplification dequalité nécessaire aux besoins des studiosprofessionnels.

LA PIERRE SUR L’EAULe haut-parleur électrodynamique tradition-nel, le célèbre haut-parleur à membrane enforme de cône, transforme l’énergie élec-trique en énergie acoustique (déplacementdes molécules d’air produisant le son) par ledéplacement de sa membrane. Les caracté-ristiques mécaniques de ce type de trans-

BANC D’ESSAI ENCEINTE

L’HISTOIRE DU HAUT-PARLEUR LARGE

BANDE EST INTIMEMENTLIEE A CELLE DE LA

HAUTE-FIDELITE AVECQUELQUES REUSSITESNOTABLES COMME LESMODELES LOWTHER ETLEUR CELEBRE BICONE

BLANC. LA TECHNOLOGIEA EVOLUE ET CERTAINS

FABRICANTS ONTDEVELOPPE DES

TRANSDUCTEURSSORTANT RESOLUMENTDES SENTIERS BATTUS.

C’EST LE CAS DE LASOCIETE MANGER

ET DE SON MSWULTRAPLAT.

Le large bande master

MANGER REFERENCE STUDIO MSM C1

Le large bande master

20

ducteur (poids équipage mobile et hystéré-sis des suspensions, entre autres) les empê-chent d’être suffisamment rapides pourpouvoir reproduire une impulsion demanière absolument satisfaisante. Orchaque note émise démarre toujours parune impulsion que nous baptisons l’attaque,et dont l’importance est primordiale dans leréalisme d’un son. Cela correspond (oudevrait correspondre) à une accélérationpure et brutale du cône du haut-parleurtransformée en changement très rapide depression dans l’air. L’oreille est capable d’enregistrer ces varia-tions que notre cerveau apprécie dès lespremières microsecondes comme une infor-mation directionnelle (localisation de lasource sonore) puis plus tard comme unenote, un son. Malheureusement, le haut-parleur électrodynamique superpose soncomportement impulsionnel plus ou moinsapproximatif à la note jouée, ce qui induitune dégradation du rendu transitoire perçu

par rapport auson natif. L’idée fon-damentale de Josef Manger aété de considérer que la membrane duhaut-parleur doit calquer son comporte-ment sur celui de notre oreille. Le fonctionnement du MSW est inspirépar la structure interne de notre oreilleconcernant la transmission des sonsen fonction de leur fréquence par lacochlée et le nerf cochléaire. Cetravail s’effectue par propaga-tion des ondes à la manièredes cercles décrits à la sur-face de l’eau après le jetd’une pierre.

LE CERCLE DES SONSRETROUVESLe MSW est donc un haut-parleurplat doté d’une membrane circulaire soupled’épaisseur et de consistance variable le

FICHE TECHNIQUEOrigine : AllemagnePrix : 10 180 eurosDimensions : 495 x 270 x 424 mm (sans le pied), 1 010 x 358 x 463 mm (sur pied)Poids : 30 kgAmplification : 250 W (8 ohms, grave), 180 W (8 ohms, médium aigu)Haut-parleurs : grave 200 mm à membrane fibre de verre et polyester, cellule Manger au-delà de 330 HzRéponse en fréquence : 30 Hz à 40 kHzEntrées : 1 ligne XLR, 1 Neutrik Speakon pour module de grave supplémentaireSensibilité : 0,775 V (0 dB, 10 K), 1,54 V (+6 dB, 10 K)Niveau de sortie maximum : 110 dB à 1 mFréquence de coupure : 650 Hz

21

MANGER REFERENCE STUDIO MSM C1

long de son rayon, plus épaisse à l’extérieurqu’au centre. La composition du matériau dela membrane ainsi que certains détails tech-niques sont gardés secrets, d’autant plusque les brevets déposés par Josef Mangersont tombés dans le domaine public. Le sup-port de membrane en forme d’étoile amortitle signal émis de sorte qu’aucune réflexiond’onde ne retourne de la périphérie vers lecentre du haut-parleur. Les fréquences d’unson sont émises de manière concentrique lelong de la membrane, l’aigu est généré parle centre tandis que les graves le sont par lapartie plus épaisse sur le grand diamètre. LeMSW est capable de reproduire une bandecomprise entre 80 Hz et 35 kHz à la manière

d’une source ponctuelle, la réponse enphase frôle l’idéal théorique. D’un point de vue technique, la bobinemobile double de 70 mm de diamètre nepèse que 0,4 g et permet une réponse tran-sitoire extrêmement rapide et inhabituellede 13 µs. Le circuit magnétique est constituéde 15 aimants néodyme disposés en cercleet développant un champ magnétique de1,32 tesla. L’enceinte MSM c1 relaie leMSW en dessous de 330 Hz par un boomerde 20 cm de diamètre en charge close.L’ébénisterie relativement compacte enmédium peint dans le RAL de son choix estinstallée sur un pied en aluminium dispo-nible dans le même coloris RAL. Elle

embarque deux amplificateurs dont ondevine la présence par les deux dissipateurslatéraux à ailettes. Ils fonctionnent en classeAB et délivrent 250 W pour le grave et 180 Wpour le MSW. La face arrière reçoit laconnectique qui inclut une fiche secteur IEC,une entrée XLR pour un signal de niveauligne en bas et une fiche Neutrik Speakon enhaut où se connectera un caisson passif degrave MSM c1-LF proposé en option. Il sera alimenté par l’ampli de grave capabledans ces conditions de sortir 180 W pour lesdeux boomers. Enfin plusieurs réglagessont accessibles dont des corrections deniveau et de profil de courbe autour de 100Hz, 3,25 kHz et 10 kHz ainsi qu’un réglagede sensibilité d’entrée, entre autres. Deux diodes LED vertes au bas du bafflesupport indiquent la mise sous tension pourcelle située à gauche et la mise en servicedu limiteur de puissance quand celle dedroite vire au rouge.

Nous avons rarement l’occasion de pouvoirtester des enceintes de monitoring dans noslocaux. Ce genre de produits avec amplifica-tion intégrée n’a que rarement semblé correspondre aux envies, aux pulsions des audiophiles et des mélomanes à larecherche permanente du meilleur ampli, dumeilleur câble, de la meilleure enceinte pourleur système. Pourtant le principe del’enceinte monitor active présente des avan-tages techniques indéniables.Notre quête plus passionnelle, plus irration-nelle et parfois infondée du Graal sonoresaura-t-elle se satisfaire d’un tel produitaussi fini et aussi calibré ? Nous avonsdéplacé chaque enceinte devant le pointd’écoute de manière à former un trianglepratiquement équilatéral entre ces troispoints. Elles ont été pincées vers le pointd’écoute de manière à ce que le croisementdes axes virtuels d’émission se fasse justedevant l’auditeur, c’est ainsi que nous avonsobtenu les meilleurs résultats subjectifsdans notre auditorium.Timbres : L’écoute de nos habituellespistes repères a dévoilé une rigueur certainedes enceintes Manger dans la présen -tation tonale et dans le phrasé harmonique.

ECOUTE

La face arrière de la Manger (à gauche)propose différents réglages acces-

sibles par commutateurs rotatifs et àglissière qu’on aperçoit sur la gauche

du circuit imprimé interne.

BANC D’ESSAI ENCEINTE

22

La cellule Manger montre de très grandescapacités à analyser la texture de chaquenote avec une précision remarquable, onreconnaît sans difficulté les partitions enécoute. Néanmoins, on reste un peu surnotre faim dans l’aptitude de l’enceinte àrévéler les plus infimes détails d’ambiancetels que nous pouvons les entendre avecnotre système repère. En clair, les extinc-tions de notes paraissent trop sous contrôle,ce qui donne une impression d’expressivitéretenue, de léger manque de souffle.

Dynamique : La puissance des électro-niques embarquées laisse présager unebonne réponse dynamique de l’enceintecapable de reproduire des niveaux crête de110 dB à 1 mètre. Effectivement, l’écoute àniveau domestique procure d’excellentessensations sonores quand il s’agit de repro-duire un signal transitoire, avec un respectcrédible des attaques (puissance et timing)et de l ’épanouissement des notes. Enrevanche, quelques traces très acceptablesde compression et de distorsion douce fontleur apparition quand le volume sonores’élève vraiment, notamment dans les fré-quences médiums gérées par la celluleomnidirectionnelle Manger. Ce comporte-ment tout à fait logique n’empêche nulle-ment ce transducteur exceptionnel de restertrès intelligible dans son discours.Image : Les prestations des MSM c1 sont tout à fait excellentes en termes deperspectives spatiales et d’étagement desplans sonores. On distingue précisément quifait quoi et où au sein de chaque perfor-mance musicale. L’image stéréo développée s’avère extrê-mement stable et, bien que l’enceinte soitprévue pour une utilisation de proximité (stu-dio, mixage), elle sera tout aussi à l’aise àdessiner une scène sonore réaliste et spa-tiale dans un salon domestique à quelquesmètres d’un confortable sofa.Transparence : Ces enceintes profession-nelles s’avèrent d’un très bon niveau detransparence. Il est vrai que la cellule Man-ger apporte un plus incontestable dans lacrédibilité des fréquences qu’elle reproduit.On pourra par ailleurs peaufiner la réponsede l ’enceinte selon ses goûts et selonl’environnement grâce aux commutateurssitués en face arrière. Toutefois, il subsisteun léger creux quelque part vers 500 Hz (fré-quence proche de la coupure du filtre), quiintroduit un soupçon d’introversion à la lec-ture du message. Le diamètre modéré duboomer a été adopté par le constructeurpour coller à la vélocité de la cellule Manger.Le grave restera effectivement satisfaisantdans sa tension et dans son articulation tantqu’on reste à des niveaux d’écoute raison-nable. A cette condition, il procurera uneassise très acceptable à la restitution.

Le bilan d’écoute des Manger MSM c1 estpositif. L’écoute procure de grands momentsde plaisir auditif et nous avons tout particu-lièrement apprécié les prestations musicalesde la cellule omnidirectionnelle Manger quireste un haut-parleur large bande trèsconvoité des mélomanes. Cela étant, ilmanque probablement cette touche de poé-sie musicale qui fait qu’un produit véhiculel’émotion d’une œuvre et nous fait vibrer.Néanmoins, l’enceinte s’avère véritable-ment irréprochable pour du travail de studio. La MSM c1 est une enceinte de monitoringqui jouit d’une cote élevée dans le mondeprofessionnel grâce à sa rigueur de restitution. Force est de constater que cetterigueur rendra son utilisation plus délicatepour un mélomane.

William Savignac

FABRICATION ■ ■ ■ ■ ■TIMBRES ■ ■ ■ ■ ■DYNAMIQUE ■ ■ ■ ■ ■IMAGE ■ ■ ■ ■ ■TRANSPARENCE ■ ■ ■ ■ ■QUALITE/PRIX sans objet

VERDICT

SYSTEME D’ECOUTESources : Lecteur Nagra CDPCâbles : Stealth (modulation)Manger (modulation XLR et secteur)

Sous la poignée noire de transport del’enceinte, on trouve la fiche secteur

IEC et l’entrée XLR.

BANC D’ESSAI ENCEINTE

MANGER REFERENCE STUDIO MSM C1

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D epois de mais de 30 anos dedicado a de-senvolver o transdutor perfeito, Josef W. Man-ger apresentou ao mercado o Manger Sound

Transducer que, segundo a sua filha Daniela, actual responsável da Manger Products, permite dar “tan-to aos técnicos de som como a todos os audiófilos e amantes de música o transdutor perfeito. No nosso transdutor, as peculiaridades típicas que existem devi-do à construção de drivers convencionais desaparecem logo à cabeça, de forma a evitar os erros que todos os outros têm. Fizemos imensos estudos, desde a fisio-logia da audição do ser humano, passando por todo o tipo de escutas que devem ser aperfeiçoadas, até chegarmos a uma base que considerámos o ponto de partida para a reprodução natural e fiel de qualquer som. De seguida foi a escolha dos materiais a utilizar, a técnica de fabrico e qualidade do mesmo – estamos a falar de microns de tolerância de erro, a precisão acús-tica dos testes e tudo o mais, levando à criação de um transdutor capaz de uma reprodução perfeita”.Conforme descrito, este transdutor da Manger teve como base de desenvolvimento o próprio ouvido hu-mano e a forma como este interage com o meio am-biente onde está, ou seja, reconhecendo que a nossa audição é também condicionada pelo local onde nos encontramos. Se retirarmos esse local da equação, ficamos com as bases para uma medição perfeita da audição, algo que se torna óbvio para quem faz tes-tes de audiologia e/ou trabalha neste ramo.

MoniToreS ProfiSSionaiS Manger MSM C1

o nosso sentido de audição não tem a ver somen-te com as frequências que ouvimos e com a pres-são a que elas nos chegam aos ouvidos (e restante corpo, é preciso não esquecer que todo o corpo é ressonante), mas também e muito especialmente tem a ver com as chamadas ondas transientes, que nos permitem ter a percepção do “tamanho” e dis-tância do som ouvido. Segundo os especialistas de audiologia, em primeiro lugar ouvimos o ruído que é emitido de forma temporal sequencial (ou seja a evolução do som durante determinado período de tempo), sentindo e ouvindo primeiro as transientes, e só depois os tons, compostos pelas frequências, repetições, etc. Cada tom tem assim, sempre, tran-sientes no início, e são estas que comunicam ao nosso sentido de audição a localização de determi-nado som, ao mesmo tempo que também nos aju-da a identificar qual o tipo de som que estamos a ouvir. É desta forma, que a música, sendo ela uma mistura extremamente complexa de transientes e tons é ouvida e percebida pelo nosso sentido de audição. Mas isso não quer dizer que estejamos a ouvir tudo, quando ouvimos música ou outros sons reproduzidos através de componentes electrónicos. Para isso, é necessário um transdutor capaz de re-produzir fielmente (e não o mais fiel possível) os sons naturais (sejam eles gerados de forma natural ou electromecânica/digital). e esse transdutor tem de ser extremamente rápido e preciso.

Apesar de existir há mais de 30 anos e de deter patentes mundiais sobre a sua tecnologia, capaz de produzir “os melhores monitores de referência do mundo”, a marca Manger permanece desconhecida da grande maioria dos utilizadores profissionais. Durante vários anos, esta empresa alemã, fundada por Josef W. Manger investiu na investigação e desenvolvimento de transdutores e colunas que conseguissem responder às necessidades de audição perfeita, semelhante o mais possível à própria audição humana. Esta investigação deu origem a diversos produtos de alta-fidelidade que, infelizmente, se perderam na imensa selva que é esse mercado do “som esotérico” onde génios e charlatães convivem alegremente. Felizmente, a Manger decidiu criar um sistema de monição de referência para o mercado profissional, os monitores de estúdio MSM c1 que prometem finalmente trazer a marca para um segmento onde o seu esforço poderá ser reconhecido e aproveitado. Aproveitando o facto de a Filmebase ter assumido a representação da Manger para Portugal, a Produção Áudio pôde finalmente colocar estes monitores à prova, num processo que nos levou algumas semanas a concluir e para o qual foram imprescindíveis

a colaboração de Joaquim Pinto da Filmebase, assim como de Elvis Veiguinha, dos estúdios Digital Mix, em cujo espaço nos foi possível finalmente escutar as MSM c1 como elas mereciam.

O cóDigO MSWo transdutor MSW criado por Manger opera base-ando-se no princípio “bending wave”, em que a onda sonora passa a ser transportada do centro para a periferia do transdutor com uma velocidade variável proporcional, visto que o transdutor é mais rígido na sua zona interior e mais suave à medida que evolui para a periferia.o princípio base do sistema “bending wave” é o de que um transdutor deste tipo tem sempre uma resis-tência controlada, sendo assim capaz de responder perante determinada força com uma velocidade pro-porcional, o que irá resultar numa radiação de pres-são sonora exactamente igual à que existe na força original (sendo que aqui por força queremos dizer de-terminado som, mas a expressão é também utilizada noutros meios tecnológicos).o transdutor utiliza dois tipos de drivers ao mesmo tempo, mas com funcionalidades diferentes. Utiliza um driver de impedância (resistência) mecânica, que vai fazer com que o diafragma actue como se fosse o ouvido humano – em que apesar de receber toda a informação de frequências ao mesmo tempo, tem uma sensibilidade diferente em toda a sua estrutura – sendo mais rígido no centro que nas pontas, o que faz com que as frequências sejam “espalhadas” pelo próprio diafragma num conjunto que soma não só as frequências em si, mas também a velocidade tempo-ral de cada frequência. o segundo driver possui uma

Os monitores de referência implacáveis

AN

ÁLi

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Por António gil e André Pires (análise) | Fotografia: carlos Mateus de Lima

Os monitores de referência MSM c1, criados pela Manger. A nova referência de escuta profissional? Seguramente o mais implacável monitor de estúdio até hoje criado

| noVeMBro ‘1128 |

impedância eléctrica quase negligenciável, mas que é suficiente para manter a carga eléctrica que per-mite o funcionamento do sistema em si e vai fazer com que o diafragma actue sempre com uma carga eléctrica mínima, tal como a que existe no corpo hu-mano. Com esta combinação de drivers, o transdutor consegue “traduzir” na perfeição e de forma exacta o sinal que for alimentado, no domínio das frequências e no domínio temporal, fornecendo informações de distância, direcção, etc.Desta forma, como a velocidade do som é depen-dente da frequência, o controlo da dispersão das fre-quências no diafragma do transdutor é feito através de uma frequência coincidente, nos 80 kHz, visto que a velocidade de transmissão das frequências sonoras no diafragma é mais alta que a sua transmissão pelo ar, criando-se assim um ponto de “acerto” nas veloci-dades entre o som do transdutor e o som apercebido pelo nosso ouvido (que é o som que é transportado no ar). ao mesmo tempo é também um transdutor de ban-da larga, capaz de reproduzir uma enorme gama de frequências, sem qualquer tipo de atraso e sem gas-to energético de impulsionamento das mesmas on-das, o que faz com que estas não se “comam” umas às outras. Segundo o fabricante, este transdutor funciona a uma velocidade inferior a 13 micro-segun-dos, respondendo dos 80 Hz aos 40 kHz, permitindo desta forma que mesmo as transientes mais rápidas e estruturas musicais ou sonoras complexas sejam reproduzidas fielmente, permitindo a percepção dos vários pontos de fonte sonora, a partir de um único ponto de emissão: o transdutor. É assim possível ter-se uma representação verdadeiramente espacial dos instrumentos ou fontes de som, assim como de todos os detalhes que fazem com que esses instru-mentos ou fontes sonoras sejam identificados.Por outro lado, um outro problema que se punha era o de se criar um motor capaz de criar uma resposta que afectasse o transdutor desta forma. assim, a Man-ger criou um amplificador que colocou internamente no seu monitor de referência, com um desempenho que alcança os 250 kHz, e com um tempo de resposta de apenas 2 micro-segundos. esta velocidade asse-gura assim a total resposta do transdutor desde as respostas mais “lentas” das frequências mais gra-ves, até às respostas mais “rápidas” das frequências mais altas, garantindo ao mesmo tempo que o sinal que sai de uma mesa de mistura é “transformado” quando chega ao amplificador, recriando o tempo de resposta necessário para passar ao transdutor a frequência e a velocidade certa para essa frequência, de forma a que o possamos ouvir de forma perfeita, mantendo a naturalidade do som.

O MONitOr MSM c1Desta forma a criação deste monitor de referência MSM c1 aparece como uma das enormes novidades da actualidade. o guia de onda, em forma de estrela de nove pontas, é parte integrante do transdutor, sendo responsável pela forma como as frequências se envol-vem umas com as outras e ao mesmo tempo se sepa-ram e são transportadas. Para garantir melhor o som apercebido, o fabricante criou ainda um altifalante de graves que casa perfeitamente com o transdutor, sen-do responsável por esse domínio de frequências. foi mesmo criada uma unidade adicional somente dedi-cada aos graves, que pode ser acoplada directamente ao monitor, de forma a reforçar essas frequências, po-dendo inclusive ser montado em cima da própria co-luna MSM c1, ficando desta forma o transdutor MSW situado no meio dos dois altifalantes de graves. Mas não foi só por aqui que a Manger ficou.a empresa já tem nome no mercado hi-end de insta-lação e de home-cinema e foi também com base nes-sa experiência que os responsáveis de engenharia do projecto colocaram ainda no monitor a possibilidade de filtros que permitem a adaptação da resposta à sala, de forma a retirar o mais possível este tipo de situações da escuta mais crítica. equalizações espe-cíficas para nearfield e ecrãs de cinema, um estágio de nível de entrada, que permite de forma precisa escolher entre uma escuta de dois canais (estéreo) e uma escuta multicanal (5.1, 7.1, 7.2, etc.), com uma precisão de acerto de cada coluna que vai até a um décimo de um dB. Desta forma temos então um monitor de referência topo de gama, de duas vias, activo, respondendo dos 30 Hz aos 40 kHz, com a frequência de corte situada nos 330 Hz, e com um pico máximo medido de 110 dB. Para as frequências agudas e médias temos o transdutor MSW, com uma largura de banda entre os 80 Hz e os 40 kHz, com o tal tempo de resposta de 13 micro-segundos, e um altifalante de graves, que vem até aos 30 Hz, construído numa sanduíche de fibra de vidro e poliéster de 200mm de espessura, com uma bobine de 38mm, tudo isto em conjunto com dois amplificadores desenhados especificamen-te para estes dois altifalantes. Para os graves está um de 250W a 8 ohms, podendo trabalhar a 400W a 4 ohms quando se coloca a unidade de sub-gra-ves adicional. Para o transdutor MSW foi criado um amplificador com um tempo de resposta de apenas 2 micro-segundos, com uma potência de 180W a 8 ohms e respondendo até aos 250 kHz, com uma sensibilidade de 6 dBu a 1,55V e uma impedância to-tal de 10 kohm.Tal como foi indicado anteriormente, está presente um potenciómetro de acerto do nível de entrada, de

noVeMBro ‘11 | | 29

O transdutor e guia de onda MSW, o grande responsável pela inovação dos sistemas Manger

O monitor Manger MSM c1 com o pedestal de origem, tendo em cima a unidade de graves extra MSM c1LF

11 passos fixos, vindo dos -2.5dB a +2.5dB, existindo ainda um outro botão para acerto da polaridade. este é extremamente importante porque permite assim uma afinação perfeita dos monitores em relação à sua colocação espacial e em relação ao sinal que recebem vindo de uma mesa de mistura. Tem ain-da presentes dois outros botões, um de passa-altos, que faz um corte aos 80 Hz de 12 dB, e um outro que permite cortar a sensibilidade da zona de graves em -6 dB.as várias correcções acústicas existentes para o acerto da sala são feitas através de comutadores que permitem vários acertos, nomeadamente pas-sa-altos nos 100 Hz, com cortes de -6, -3, 0 e +3 dB, com a filtragem para as situações de nearfield/home-cinema a serem feitas por uma equalização em forma de sino (bell), centrada nos 3.25 kHz, com valores de +3, 0, -1.5 e -3 dB por oitava. Por sua vez o driver de agudos permite acertos de protecção (shel-ving) nos 10 kHz dos +2 dB aos -2 dB em passos de um dB.as ligações são em ficha XLr de três pinos, tendo o monitor dois indicadores luminosos em LeD, sendo um de cor laranja, que indica que o monitor está li-gado, e um outro que pode alternar entre o verde e o vermelho, indicando que o sistema está a trabalhar perfeitamente ou que se entrou no limite e em so-brecarga. a caixa é totalmente selada, contrariamen-te ao que acontece com muitos monitores nearfield, onde uma saída da pressão do ar ajuda a refrescar e

ao mesmo tempo a potenciar a movimentação do ar dentro da própria coluna.Para finalizar, e a pensar na forma como a coluna/monitor pode ser transportada e movida de um local para outro até aos seus acertos finais, o fabricante colocou ainda duas pegas laterais, visto que a coluna pesa 30 kg. Para os que querem (e podem) a Man-ger disponibiliza ainda dois pedestais desenhados especificamente para ela, com vários tamanhos dis-poníveis e tratados de forma a minimizarem todo e qualquer contacto da coluna com o meio circundante, garantindo um desacoplamento total.Claro que tudo isto tem um preço e apesar de não chegar a extremos que os clientes da alta fidelida-de conhecem, é mesmo assim um monitor de valo-res altos, rondando os 5000 euros por cada unidade principal.

PriMEirA AuDiçãO DAS MANgEr MSM c1a audição dos monitores profissionais de estúdio Manger MSM c1 decorreu ao longo de várias sema-nas, começando não pelo seu habitat natural que seria uma régie de um estúdio de gravação ou de masterização, mas numa típica sala de estar de uma casa de habitação, embora com uns generosos mais de sete metros de comprimento por quatro de largu-ra e pé direito de três.esta sala com o seu complemento de mobília, tape-tes e decoração caseira tem a vantagem de ter as paredes cobertas com um acabamento em madei-ra com perfil razoavelmente difusor e o tecto com o estuque trabalhado em relevo com semelhantes propriedades acústicas. finalmente, uma grande janela com um vidro único com sensivelmente três metros por dois domina a parede que ficou ‘atrás’

Na parte de trás dos monitores MSM c1 estão os vários comutadores para acertos de resposta que permitem ao monitor ser colocado em qualquer tipo de ambiente e configuração (estéreo ou multicanal). Em ambas as sessões foram deixados nas posições base

Na sessão de escuta nos estúdios Digital Mix as Manger MSM c1 ficaram a dois metros uma da outra como na primeira sessão, mas absolutamente paralelas entre si, uma colocação absolutamente não ortodoxa que deu excelentes resultados

das Manger com estas a projectar para o compri-mento da sala.as colunas colocadas em cima dos seus excelentes suportes Manger ficaram à distância de dois metros entre si, medidos a partir do centro do MSW e a pou-co mais de um metro das paredes laterais. a sala não tem, claro está, a resposta cinzelada de uma régie profissional a que estas Manger indubita-velmente pertencem, mas consegue ter uma respos-ta razoavelmente neutra, ou pelo menos “não tão colorida” como uma sala de estar comum, devido às características descritas.em termos de toe-in (rotação das colunas no eixo vertical em direcção à posição de escuta), ficaram ini-cialmente orientadas da forma convencional em que um ouvinte colocado sensivelmente no vértice do triângulo equilátero (neste caso com dois metros de lado) que a sua posição forma com as colunas, con-segue ver os painéis laterais ‘interiores’ das colunas, portanto umas linhas imaginárias que saíssem per-pendicularmente das faces das colunas, encontrar-se-iam ligeiramente atrás da sua nuca.Sobre o aspecto do posicionamento o manual apenas salienta que os nosso ouvidos devem ficar à mesma altura que o centro do MSW e dá de forma genérica o tal triângulo equilátero como referência de colocação.Todos os controlos de afinação da resposta estive-ram sempre na posição linear.a fonte foi um portátil a funcionar alternadamente com um rMe fireface UC e uma M-audio fW410. infelizmente o USBPre 2 da Sound Devices – que tão bons resultados tem dado com as colunas residentes – não chegou a conviver com as Manger.o primeiro contacto com as MSM c1 foi no mínimo desconcertante. a impressão foi de uma resposta muito (demasiado) suave, embora extensa, a fazer lembrar a resposta de umas Quad electrostáticas, mas mais fechada. Mas ao contrário das britânicas, que nos devolvem um palco sonoro muito envolvente quando bem colocadas na sala, o palco sonoro das Manger era muito sensível à nossa posição e algo in-definido o que resultava num sweetspot (área onde se pode ouvir a reprodução das colunas com melhor qualidade) estranhamente pequeno. realmente, o comentário que mais aparece associa-do às colunas Manger é o de que temos de ‘reapren-der a ouvir’ ou fazer ‘reset às nossas expectativas’.

ainda para mais as colunas habituais no estúdio são ambas caracteristicamente vivaças na gama média-alta e alta, (umas nS-10M Studio e umas aDaM S3a, o modelo original com o tweeter arT), embora não nos tenha sido possível fazer uma comparação direc-ta com as Manger por motivos de espaço.a resposta muito suave nos médios-agudos e agudos parecia tirar ‘recorte’ aos sons e portanto definição espacial, pelo menos da forma mais imediata como as colunas convencionais com tweeters de cúpula os costumam apresentar.Durante vários dias insistiu-se neste posicionamento e na maior variedade possível de música para tentar ‘compreender’ as MSM c1.estranhamente, mesmo algumas experiências com a posição de escuta em termos de distância às colunas e altura relativa das orelhas proporcionaram poucas alterações, embora se registasse um acréscimo de ‘definição’ na gama média-alta quando se alterava a altura das orelhas, tirando-as do eixo perpendicular ao MSW.Depois de uns dias de pausa e perplexidade a lem-brança remota de um artigo numa revista para au-diófilos sobre um modelo Manger para Hi-fi, fez-nos questionar o toe-in inicial.Segundo essa memória, o toe-in mais indicado para o MSW deve ser mais virado para ‘dentro’ que o habi-tual de forma a que só se consiga ver o painel frontal de ‘caras’ sem vislumbrar os painéis laterais, ou seja que as tais linhas imaginárias se cruzem praticamen-te à frente da cara do ouvinte e não atrás da nuca .as audições retomaram com esta alteração entre outras, como uma distância às colunas mais exacta e uma mexida na mobília para tentar garantir a míni-ma interferência acústica possível (posteriormente, já com as Manger devolvidas à filmebase, ainda sur-giu um artigo também ele a propósito de um modelo Hi-fi da marca, que sugeria uma posição ainda mais radical: colocar as colunas paralelas uma à outra, ou seja sem toe-in nenhum!).

SEguNDA AuDiçãOa semana de intervalo antes da audição seguinte, e provavelmente a total ausência de escutas noutros sistemas aliadas às alterações tiveram um enorme impacto na percepção das capacidades das Manger.De facto, o sweetspot aumentou no eixo esquerda/

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convencionais, se nos colocarmos no sweetspot e avançarmos a cabeça, o phantom center mantém-se e as panorâmicas extremam-se, se recuarmos, as panorâmicas voltam ao lugar e se continuarmos a afastar-nos o resultado fica progressivamente mais mono. Com as Manger quando nos afastamos,

primeiro as panorâmicas começam a fechar ligeira-mente e de repente é como se ‘saíssemos’ do palco sonoro, como se este fosse um volume sólido ou uma ‘bolha’ de cujos limites tivéssemos saído e ele ficas-se a acontecer à nossa frente, ainda estéreo embora menos tridimensional do que no sweetspot.

direita em termos tímbricos e espaciais, o que é es-sencial para uma escuta colectiva durante uma mis-tura por exemplo.esta estabilização deu-se também no eixo de pro-fundidade, embora a nível de informação espacial se detectasse um fenómeno algo curioso. Com colunas

No estúdio de Elvis Veiguinha todos escutam atentamente. José Raposo da Sound Station também veio à sala da Digital Mix ouvir o som das Manger

o som suave das Manger exige de facto uma apren-dizagem. Tomemos como exemplo a reprodução de sibilantes e o álbum “Livro” de Caetano Veloso já es-cutado em inúmeros monitores.neste álbum, a voz de Caetano apresenta em alguns momentos alguma sibilância não exagerada que, em bons monitores, aparece mesmo assim de forma ní-tida e ligeiramente saliente e que nos Manger surge clara e definida mas sem sobressair, como se fizesse parte do conjunto.

Comparando com sibilâncias noutras gravações mas-terizadas ou não, é possível depreender que, embora estas não ‘saltem’ da mesma forma do que noutras colunas convencionais será possível uma adaptação à resolução mais subtil das Manger e eventualmente discernir com fiabilidade quais necessitam de inter-venção.esta espécie de “não excitação” das gamas média-alta e alta mas com resolução e extensão parece ser a explicação para uma enorme sensibilidade das MSM c1 à proporção entre som directo e som difuso ou não coerente. exemplos: na mistura não masterizada de um concerto de pop-rock gravado num auditório de média dimensão o som da guitarra eléctrica contou com uma percentagem significativa do seu som cap-tado pelos ambientes e que se manteve na mistura em parte para preservar a sonoridade de ‘ao vivo’ e não sacrificar demasiado o timbre do próprio públi-co.em colunas convencionais (as do estúdio de que fa-lámos acima mas também no carro, no portátil, na aparelhagem, etc.) o equilíbrio existente permitia ainda uma presença razoável da guitarra com uma informação panorâmica clara e estável. nas Manger a percepção era de que praticamente tinha desapare-cido o sinal directo da guitarra e esta ficava a ouvir-se muito atrás da bateria e da voz.Deste concerto da banda Mazelab que terá apenas edição em DVD foi possível ouvir um primeiro tema já masterizado para um videoclip em que a ideia da mistura original se pôde ouvir finalmente reconstitu-ída quando tocada nas MSM c1.esta sensibilidade manifestou-se embora com nu-ances com material com muita informação espacial como gravações de orquestra.em gravações com muita ‘sala’ esta sobrepunha-se ao som directo com facilidade fazendo o conjunto soar distante e, comparativamente, com pouco recorte.Correndo o risco de estar a classificar involuntaria-mente algumas edições de culto como de menor qualidade objectiva, depois de muitas audições ficou-nos a impressão de que as Manger, devido a esta dita sensibilidade, têm a grande virtude de serem muito

exigentes quanto à qualidade, ou melhor ao equilí-brio espectral e temporal, da gravação/mistura.em gravações de editoras ditas audiófilas como a Chesky records, a reference recordings ou a ni-pónica Three Blind Mice que, independentemente de questões estéticas, primam por seguir preceitos de grande purismo e rigor quase científico nas suas produções, da captação ao fabrico do suporte final, o som que as Manger devolveram foi sempre muito equilibrado nestes parâmetros, fossem combos de jazz, música de câmara ou orquestras wagnerianas. o mesmo se passou com as magníficas gravações que Joaquim Pinto fez de Luís Miguel Cintra para a sua nova editora Presente. os álbuns do actor a dizer o “Sermão de Quarta-feira de Cinza” de Padre antónio Vieira e “apocalipse ou revelação do apóstolo S. João, o Teólogo” foram masterizados por João ganho e fabricados na Sony DaDC na Áustria.nestas gravações temos a portentosa voz e arte de Luís Miguel Cintra com toda a clareza e presença e com todo o ‘ar’ e reverberação dos espaços em que as gravações foram feitas: a igreja de São roque e a Capela do rato em Lisboa.Para além desta empatia com a voz, as Manger re-velaram um carinho especial por ensembles de cor-das tendo dado excelentes provas com duas obras favoritas, neste caso em gravações não ‘esotéricas’: “apollon Musagette” de Stravinsky (Chandos) e o adagieto da 5ª Sinfonia de Mahler (TeLDeC).gravações ‘acústicas’ como a edição original de “Buena Vista Social Club” ou o álbum “South Way” do baixista Yuri Daniel também soaram com grande naturalidade tocados pelas Manger.Uma outra gravação, da Three Blind Mice, em especial, costuma ser uma espécie de prova de fogo à resposta a transitórios de qualquer coluna. Trata-se do álbum “Misty” do pianista Tsuyoshi Yamamoto em Trio, uma remasterização para XrCD de uma edição dos anos setenta que apresenta, logo no primeiro tema, preci-samente a versão do standard que dá o nome ao disco, e que é um enorme desafio neste campo. o piano está firmemente colocado do agudo para o

Foi por causa desta foto, que descobrimos a surpreendente capacidade das Manger manterem a reprodução inalterada mesmo quando obstruídas pelo corpo de uma pessoa

Durante as três horas de sessão na Digital Mix foi possível escutar as Manger ao lado das Genelec residentes, comparando materiais misturados num sistema e no outro

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grave no espaço entre a coluna esquerda e o centro fantasma do estéreo, com a bateria no mesmo espa-ço do lado direito e o contrabaixo ao centro.em termos dinâmicos, na mão direita Yamamoto com enorme lirismo vai do sussurro de uma ‘gota de água na areia’ à percussão intempestiva do martelo na bigorna de um ferreiro mitológico. nas Manger os fortíssimos são absolutamente físicos e distingue-se claramente todo o processo do envelope dinâmico desde o ataque ultra-rápido do martelo nas cordas agudas, o sustain curto e intenso e o rápido decai-mento.o ataque ouve-se claro e definido, nunca como uma distorção provocada por um transitório demasiado forte para uma coluna menor. nunca, em várias co-

lunas convencionais de qualidade, activas ou não, com crossovers activos ou não com alinhamento de fase ou não, foi possível ouvir tão claramente este ataque distinto do sustain que se lhe segue com esta transparência.Será talvez fruto da enorme velocidade do transdu-tor MSW que o senhor Manger considerava abso-lutamente essencial para tentar reproduzir o som ‘verdadeiro’, ‘real’ como este acontece no ar e é per-cepcionado pelo nosso aparelho auditivo?Talvez explique o aparente paradoxo de as Manger terem uma reprodução suave mas extensa, resolu-ção nos transitórios e ambientes mas com alguma secura e a tal exigência no equilíbrio entre som coe-rente e não-coerente.

a reprodução praticamente full-range da unidade MSW parece compartilhar com as colunas eletros-táticas uma espécie de ausência de excitação nas gamas média-alta e alta que, uma vez assimilada, pode-se tornar num excelente trunfo no trabalho de masterização, por exemplo. este aspecto faz lembrar como às vezes é possível detectar em colunas de boa qualidade quando uma mistura foi feita em colunas hi-fi com crossovers problemáticos e o técnico andou a misturar a gama média-alta em torno do ponto de crossover, provavel-mente aos papéis com algum problema de fase.em colunas como as Manger, em que o crossover está bem longe desta gama, e sim em torno dos 330Hz, este problema simplesmente não existe.este apetite por gravações de boa qualidade faz com as MSM c1 sejam implacáveis com desvios a uma certa ‘linearidade’ na mistura. Por exemplo, torna-se muito fácil detectar misturas que, tendo pujança, es-tão a tender para os médios e magras na zona grave. Mesmo em gravações masterizadas.ficou a impressão de que, com um trabalho de adap-tação e experimentação, as Manger MSM C1 poderão tornar-se num trunfo em qualquer estúdio, em parti-cular de masterização.

tErcEirA AuDiçãOalgum tempo depois do primeiro contacto houve a possibilidade de ouvir estas colunas de novo (o mes-míssimo par), desta feita num ambiente mais pro-pício.no caso, tratou-se da sala (régie) dos estúdios Digital Mix de elvis Veiguinha, agora partilhando o complexo dos estúdios da Sound Station, em Lisboa.a sala tem dimensões bem mais generosas do que a primeira, tratamento acústico específico e conta com a plataforma nuendo 5.5 a 64bit e uma super-fície SSL nucleus em termos de cadeia de reprodu-ção para ‘alimentar‘ os monitores genelec 1031a residentes.Quando chegámos, as Manger já haviam sido coloca-das no lugar onde se mantiveram ao longo das mais

Presente

O sistema Steinberg Nuendo 5.5 a 64bit em conjunto com a superfície SSL Nucleus existentes nos estúdios Digital Mix foram a fonte usada durante a nossa sessão de escuta

“A Presente pretende contribuir para a edição de projectos independentes nas áreas da música, literatura e cinema”. É desta forma que a própria se apresenta no seu site. Para já conta com as edições na área da música do álbum “contra Mundum“ dos Pop Dell’Arte (entretan-to esgotado) e “Humanos Abençoados e outros contos” de Jorge Ferraz. Na palavra dita conta com um tríptico, com Luis Miguel cintra, constituído pelas gravações que falámos

nesta análise e por uma terceira “Dez can-ções de Luís de camões”, gravada por Vasco Pimentel e que já estará disponível quando este artigo for publicado.Para além da qualidade artística e áudio evi-dentes, todos os álbuns são acompanhados de edições gráficas bastante completas. No caso das edições de palavra dita incluem um livro com o texto original e com textos complementares de nomes relevantes como gastão cruz, Arnaldo Espírito Santo e José tolentino Mendonça, que enriquecem enor-memente a fruição auditiva.É absolutamente de saudar uma iniciativa editorial com estas ambições no plano ar-tístico e com enorme qualidade sob todos os pontos de vista.www.presente.pt

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Em resumoHabitualmente, as análises publicadas pela Produção Áudio são acompanhadas por uma indicação das áreas de aplicação do equi-pamento avaliado, assim como de um veredicto que obedece aos nossos critérios práticos, assumidos de forma constante ao longo da existência desta publicação. Em primeiro lugar, o pressuposto de que um produto, cuja análise é publicada nesta revista, é porque vale a pena. Na escala de avaliação, avaliamos as funcionalidades, relação qualidade/preço e a aplicabilidade à função, valor e factores de excelência que tornam o sistema avaliado em “Altamente reco-mendável” ou mesmo “imprescindível”.Nesta análise às Manger MSM c1, a aplicação é evidente. Estes são monitores de referência, na verdadeira acepção da palavra. Servem por isso para avaliar material gravado ou misturado de uma forma como nunca ouvimos antes. Em termos de aplicações, queremos acentuar a “avaliação” de registos áudio e a aplicabilidade à masteri-zação. recomendaríamos estes monitores para sessões de gravação? Sim. recomendaríamos para mistura? Sim, não e talvez. Depende do tipo de produção mas, como se depreende da análise feita, não será fácil habituarmo-nos a misturar com uma escuta assim... Mas seria sempre bom ter as Manger MSM c1 para comparar...No que respeita a uma avaliação, chegámos à conclusão – pela pri-meira vez – que a nossa escala não se adequa a um produto destes e, por isso, não a vamos aplicar. Pelo preço que estes monitores custam, dificilmente encaixariam na nossa escala de relação qua-lidade/preço. Mas são seguramente recomendáveis para quem os possa ter. Serão imprescindíveis? Sim, claro, como tudo o que é excepcional!

Elvis Veiguinha foi o nosso anfitrião. A sua vasta experiência e entusiasmo por tudo o que envolve áudio e música marcou o desenrolar da sessão

de três horas de escuta com cerca de dois metros de espaçamento e absolutamente paralelas entre si (a tal colocação aparentemente mais radical que apare-cia associada a algumas Manger Hi-fi).as qualidades em termos da extensão e resolução já evidentes aquando da primeira audição mantiveram-se inalteradas e de certa forma reforçadas, nomea-damente ao nível de graves. o mesmo não se pode dizer em relação a aspectos como o palco sonoro, percepção do estéreo e sweetspot.no novo contexto, pode-se dizer que as Manger MSM c1 desapareceram. ficou o som. e o sweetspot é enorme, mantendo-se a percepção real do estéreo em grande parte da sala à frente das colunas.embora as boas condições acústicas possam explicar esta performance superior às primeiras audições, o facto é que a reprodução através do MSW parece ser

relativamente imune a obstáculos ou interferências acústicas.o exemplo absolutamente surpreendente e defini-tivo aconteceu quando o nosso fotógrafo teve ne-cessidade de se posicionar entre a ‘plateia’ e uma das Manger para efectuar uma foto de pormenor e a tapou completamente com o corpo. nenhum de nós conseguia ver a coluna atrás dele e no entanto praticamente não se sentiu diferença em nenhum aspecto da reprodução. foi quase como se o corpo dele fosse acusticamente transparente.Uma rápida reprodução da experiência com as ge-nelec revelou como a situação é completamente diferente com colunas convencionais. o som vindo da coluna ‘tapada’ desaparece quase por completo e passamos, quase, só a ouvir a outra coluna.entre a muita música que tivemos oportunidade de

fruir com o maior entusiasmo em conjunto com elvis Veiguinha e o seu staff contou-se a remasterização de “The Dark Side of The Moon”, o jovem pianista francês David fray a interpretar os concertos de Bach, algumas faixas instrumentais do CD de testes de alan Parsons e alguns duetos do novíssimo Tony Bennett (com uma surpreendente Lady gaga a interpretar “The Lady is a Tramp” em grande nível com o mestre!).À sessão juntou-se várias vezes José raposo da Sound Station, que partilhou do entusiasmo geral que levou a sessão a prolongar-se por mais de três horas. entretanto, elvis Veiguinha não quis perder a oportu-nidade de ouvir algum do seu trabalho recente atra-vés das Manger. entre os muitos exemplos em escu-ta houve um que recolocou em perspectiva a questão da forma como se escuta com as Manger.Uma peça misturada para televisão que continha um som de piano, em que este soou inesperadamente seco e sem vida despoletou uma comparação com a reprodução da mesma peça nas colunas em que ela foi originalmente misturada, para se tentar perceber porque é que nas Manger aquela peça – e só aquela – soava tão diferente.embora fosse uma questão de difícil resposta, ficou a impressão de que a mistura teria tirado partido do comportamento natural dos tweeters de cúpula para trabalhar o brilho do piano e o que já definimos an-teriormente como “não excitação das gamas média-alta e alta” por parte das Manger seria responsável pela atenuação excessiva desse brilho, causando o desequilíbrio da mistura.em todo caso, esta problemática conduziu a uma pequena experiência de “reverse-audio-engineering” digamos assim.aberto um projecto já terminado de uma locução no nuendo e depois de se ouvir o mesmo em ambos os pares de colunas, fez-se uma cópia do som “seco” da voz, ou seja antes de qualquer processamento, e o nosso anfitrião elvis Veiguinha retrabalhou o mes-mo, mas desta vez a utilizar as Manger MSM C1 como escuta.De seguida, ouvimos o resultado em ambos os siste-mas e comparámos com a mistura original.a mistura resultante que soava bem nas Manger, ouvida nas genelec com que elvis normalmente tra-balha, soava um pouco equalizada em demasia e si-bilante em geral.embora se possa considerar que haveria sempre ne-cessidade de mais tempo de convívio com as Manger para se obterem resultados comprovados, é possível que estas não tenham a vocação de mistura no seu aDn.no entanto, a sua excelente resolução, coerência em frequência (ao fim e ao cabo a maior parte do espec-tro é reproduzido pela unidade MSW sozinha) para além da excelente resposta a transitórios, apetre-cham-nas para o trabalho rigoroso de masterização.De facto, com as Manger diferenças de timbre ou de equilíbrio espectral entre misturas ficam imediata-mente expostas de forma analítica e clara. o mesmo acontecendo com aspectos temporais como tempos de ataque e release de compressores, por exemplo.

EM rESuMOo segundo convívio com estes monitores Manger MSM c1, num ambiente mais indicado, permitiu fi-nalmente ouvi-las em todo o seu esplendor e apreciar as suas qualidades únicas.ao fim da maratona de audições ficámos todos a disputar quem as levava consigo só para poder ouvir música como deve de ser. o que é dizer muito. www.manger-msw.deDistribuição: www.filmebase.ptwww.cinesonics.pt

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R E F E R E N C E

A C T I V E S Y S T E M

M S M s 1

From rapid detection to constant repetition. Our sense

of hearing is much more than the frequency analyzer

most people take it for. In a musical context humans

first perceive and interpret a pitchless noise (a so-called

transient) followed by the actual note (a repeating

vibration, frequency). In fact each natural tone is

preceded by such a transient noise. It informs our

sense of hearing about the location, type and size of

the sound source, e. g. an instrument. And as music

is such a complex mixture of transients and tones, it

can only be reproduced naturally by means of ex -

tremely fast and precise sound transducers.

The Manger sound transducer works according to

the bending wave principle similar to an inverted ear.

This fullrange driver is not based on energy-storing

powers and reproduces music and other sound

events without any delay. Thanks to an extremely

fast rise time of less than 13 μs and a wide frequency

range of 80 Hz to 40 kHz even the most rapid tran-

sients and most complex musical structures are

radiated naturally from one point: The prerequisite

for realistic spatial imaging of the instruments and

extraordinarily detailed resolution of the music.

Thinking ahead for you

Fast sound transducers which accurately reproduce

subtle musical structures, and woofers which gene-

rate even the lowest octaves with ease are important

but not the end of the story.

The design of the MSMs1 is inherently consistent

and its functions are very effective. The dimensions

adhere to physical laws and the cabinet perfectly

enhances the sonic reproduction. Despite its functional

design the enclosure is stylishly elegant and classy. It

blends into the room without looking like a status

symbol.

Manger also implemented a number of control opti-

ons that will facilitate the life of music lovers, inclu-

ding various correction filters and control switches as

well as a limiter for preventing system overload. The

clearly laid out and selfexplaining control panel

makes user manuals dispensable.

Classic design, excellent quality, amazing reproduction

– the accurate, innovative and authentic MSMs1.

Precise in the tradition of the watchmaker’s craft

Innovative like an inverted human ear, minute details arranged in space

Authentic the artist, the reproduction, the experience

Music rediscovered in its true dimension...

info@manger-msw.comwww.manger-msw.com

Fon +49/9776/9816Fax +49/9776/5925

Industriestrasse 17D-97638 Mellrichstadt

General SpecificationsType Active 2-Way SystemFrequency Range 30 Hz – 40 kHzCrossover Frequency 330 HzMax. SPL 110 dB PeakDimensions (H x W x D) 44.8“ x 10.6“ x 8.4“ (1139 x 270 x 214 mm)Weight 105.7 lbs (48 kg)

ChassisHT Manger Sound Transducer, Bandwidth 80 Hz – 40 kHz, Rise Time 13μsTT 8“ (200 mm) fibreglass-Polyester sandwich cone, 38 mm voice-coilEnclosure closed

AmplifiersMax. Power Output LF: 250 W @ 8 Ohms

HF: 180 W @ 8 OhmsPower Bandwidth HF: 250 kHz (-3 dB)Input Sensitivity 6 dBu (1,55 V) or 0 dBuInput Impedance 10 kOhmsControl Switches Input Trim Switch: 11 Positions (-2.5 dB to 2.5 dB)

Input Sensitivity Switch: 6 dBu, 0 dBuPolarity SwitchAV-Filter: Hi-pass Filter (80 Hz, 12 dB)LF-Module Switch: LF -6 dBRoom Acoustics Correction Switch: Hi-pass at 100 Hz (+3 dB, 0 dB, -3 dB, -6 dB)Nearfield/Cinema Screen Correction Switch: peaking at 3.25 kHz, 1.0 oct. (+3 dB, 0 dB, -1.5 dB, -3 dB)High Frequency Trim Switch: Shelving Filter at 10 kHz (+2 dB, +1 dB, 0 dB, -1 dB, -2 dB)

Input XLR-3 (balanced)Power LED greenLimiter LED green/red

Finish silk matt as per RAL, Nextel or piano finish

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Professional audio manufacturer enters thecompletely different world of common li-ving rooms – this is the essence of what

Daniela Mangers latest design is all about. In hisarticle on the Manger MSMc1 (HIFI-STARS No.3) my colleague and chief editor Winfried Dunkelhas already told the whole story about the Mangeractive studio monitor. Now it’s my turn to intro-duce you to a new Manger creation, the MSMs1.

FeaturesWithout any doubt the most eye-catching featureof this loudspeaker is the Manger sound transdu-

cer. It works according to the bending-wave prin-ciple similar to an inverted ear (for further insightyou might take a look at the principle of the basi-lar membrane). On the edge of the membrane thesystem employs an effective aperiodic mechanicaldamping – the famous „Manger star“. Due to itsdesign the bending-wave transducer produces analmost coloration-free sound and depicts each in-struments characteristics in a most natural way.The technical background of the system is verycomplex and therefore explanations shall remainexcluded from this article as I am no (health) phy-sicist.

Floorstanding Active Loudspeaker Manger Reference Active MSMs1

A different style of listening

The Manger transducer reproduces music andother sonic events with almost no time-lag. Anextremely fast rise time of 13 microseconds and afrequency response of 80 Hz to 40 kHz are partof the reason why even rapid transients and com-plex musical structures evolve naturally from a sin-gle center. The realistic spatial imaging of instru-ments results in an extremely explicit resolution ofmusical details. These really demanding require-ments can only be met by fast driven systems. Forthe Reference Active MSMs1 graduate engineerDaniela Manger uses two integrated analog poweramplifiers. The amplifier driving the bending wavesystem has 180 watts RMS and 250 kHz band-width to offer, which results in a rise time of amere two (!) microseconds. According to the pro-duct description this fast acceleration speed is nec-essary to preserve the quality between the smallsignal (preamplifier output) and large signal

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(power amplifier output). The amplifier drivingthe woofer provides healthy 250 watts and a dam-ping factor of >200. As a result the electronics arecapable to control the chassis perfectly which re-sults in excellent impulse response.

ConstructionThe new Manger 2-way active loudspeaker is sur-prisingly easy to integrate into almost any livingroom. Plus it has the so-called WAF (for those ofus not being married: wife acceptance factor).With dimensions of 44.9” x 10.6” x 8.3” / 114 x27 x 21 cm (H x W x D) its closed system fits real-ly well into modern living environments. Closedsystems, due to their construction, do avoid manyproblems other principles bring along with them,e.g. standing waves caused by bass reflex ports. Animportant advantage. The MSMs1 is beautifullycrafted and weighs respectable 106 lbs/48 kg apiece. Therefore it stands solidly on whatever kindof floor you may have. If required, conical spikescan be attached to the bottom side to reduce thearea of contact. For this review the speakers wereseated flat on the carpeting of the listening roomwhich resulted in perfect acoustics. No spikes wereneeded. As Manger recommends a minimumroom size of 60 sq. ft./20 qm all I had to do in my120 sq. ft./40 qm room was aligning the transduc-ers to my listening position. The basic color of thetested monitors, called „basalt metallic silk mat”,has a smooth and pleasant touch that visually ori-ented people will love. The finish looks perfectand conveys an almost „erotic” touch. On requestthe MSMs1 is available in all RAL colors as well asin Nextel©-Suede Coating and Ultra High Gloss ata surcharge.The loudspeaker chassis’ are mounted behind the38 mm front panel in two separate chambers re-enforced on the sides by 22 mm medium densityfiberboards (MDF). This effectively avoids acou-stic interference between the two systems. Roun-ded edges reduce diffractions to a minimum. Thewhole mechanical construction is very rigid andstrong. The amplifiers are seated at the bottom inthe back of the enclosure where they can fullyunfold their potential without influencing the driv-ers. They are equipped with a 230 V power cordsocket and balanced XLR connectors. In additiona plethora of adjustments can be made which will

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make your life a lot easier in case of acoustic prob-lems. Included are room correction filters, near-field and cinema screen correction settings as wellas input trim switches, which adapt two-channeland multi-channel configurations in the range of atenth of a decibel. Also worth mentioning is theclear and self-explaining control panel layout. Ex-cellent – this will save you some time as there’s noneed to peruse the owner’s manual.

Sonic EncounterPlease imagine this scenario: An enthusiastic fanof dedicated high-end gear and tube amplificationis confronted with the perfectly linear Mangertransducer. Which new experiences will he gothrough? This was my starting point when I ap-proached the Reference Active MSMs1. I remem-bered a remark by my chief editor: „You arehooked on the so-called ‘hot-blooded kiss of themidrange’, aren’t you?”, he said. „Plus a smoothand silky touch throughout the treble range”, Iadded. Well, back to reality. The first test set-upconsisted of a Restek EPOS CD player directlyconnected to the MSMs1 via XLR. This resultedin a very pristine reproduction of music, as ex-pected. It soon became clear that this special loud-speaker would call for special efforts. As an audiocritic there are „two souls dwelling in my breast”.One belongs to the straightforward and objective-ly analyzing technical writer. The second one is theself-confessed wine-loving high-end gear enthusi-ast with a strong inclination to tube sounds. Theroots of the latter are easily explained: I belong tothe generation which grew up with the sound oftube radios and was fascinated by the „magic eye”.So it comes as no surprise that this typical soundis an important part of my listening experience. Inaddition as a longtime band member the sounds oftube amps like VOX AC30s have left their marks.On the other hand I greatly enjoy the purenessand clear soundscapes of modern High Fidelity.According to Daniela Manger the typical MSMs1customer is involved in live concerts, either active-ly or passively. People who are accustomed to thedirect, technically unadulterated sound of instru-ments – in other words music fans who love liveevents. Just like me.

The AuditionAs I mentioned before, the starting test set-up wasbased on the Restek EPOS which I’m using as ref-erence for more than two years now. This CDplayer reproduces music in a straightforward andunvarnished fashion without altering the quality ofthe original recording. Nothing more, nothing less.The EPOS with its internal volume control andthe two MSMs1 complemented each other per-fectly and formed a very minimalistic 2-channelstereo system. The cabling consisted of Sommer“Excelsior” XLR signal cables (2 x 4 m) and aHMS power cable. That’s all you need to listen tomusic. Except for the media, of course ...I started with the Manger CD which by now hasbecome one of the most renowned presentationCDs worldwide. Track 1 named „Volles Geläut“ –I shook my head in disbelief and noted on myscratch pad: “Oh boy, that’s unbelievably good!”.

The backside of the MSMs1 offers manyoptions for individual adjustments

After that I programmed some of my favoritesongs into the CD player and continued the ses-sion. Track 11 „Isn’t She Lovely” by LivingstonTaylor made me push the repeat button and turnup the volume almost automatically. Never beforedid the whistling of the singer sound so clean.„Amazing” says it all.Some years ago I had been trying to find out thedifferences between some preamplifier tubes bylistening to Stings „Brand New Day” for hoursand hours. And I never listened to this CD eversince. Until now. How would it sound? Well, Stingis becoming one of my favorites again and I likehim even better singing and playing through theManger transducers.„In Concert” recorded by the Jan GarbarekGroup in October 2007 at the „Alter Schlacht-hof ” in Dresden thrilled my ears. The recording ismeant to sound that spectacular and the MSMs1made clear to which extent the sound engineershad reached their goal.A recording of Jocelyn B. Smith and her bandfrom 2003 is next in line. With „jo-jo“ all the

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strong and mellow facets of her voice unfold inthe room. Compact and rich sounds enthrall thelistener. With track 2 „The Lady is A Tramp” myfeet start tapping right away. Extremely tight bigband passages threaten to overrun me. I’m sittingin the front row while the musicians play at theirbest. What a treat!Even at higher volumes listening to the MangerMSMs1 is absolutely stress-free. And higher vol-umes mean up to 116 dB maximum output level ...To really understand what I am talking about, youmust hear the Manger Reference Active with yourown ears! Its fidelity of reproduction and its al-most merciless directness are simply unsurpassed.John Lee Hooker’s album „The Healer” with Car-los Santana originates from the good old days ofuncompressed studio recordings, in this case from1989. Anyone with a liking for this record shouldat least have heard it once through the Mangertransducers. The essence of this CD will embraceyou, I promise. OK, this is not going to end in anode to the MSMs1, but the sonic reproduction ofthis loudspeaker is so perfect and consistent that

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you must have heard it to believe it.The album „The Cactus of Knowledge” by RabihAbou-Khalil could serve as another example. Thisrecording, made by radio station WDR Cologne, ispretty „honest”, too. Track 3 starts with a cellowhich is soon joined by the oud of Rabih Abou-Khalil. The arabic-moorish oud (arabic: `ûd) is thepredecessor of the occidental lute (span: la úd)and exhibits plenty of tonal intricacies – i.e. rapidtransients and delicate tonal variations from coarseto melodic – which are extremely difficult to re-produce for conventional loudspeakers. TheMSMs1 solves the task with surprising ease. It’sthe seamless, fast-as-lightning, coherent reproduc-tion delivered so naturally that enthralls the listen-er time and again.This listening session ends with one of the refer-ence CDs of our editorial staff: „Argentina” bySexteto Mayor. In particular fascinating is the lasttrack with bandoneon, piano and violin – from theera of uncompressed, unmodified masterings. Anacoustic tour de force for the Manger transducerand a sonic delicacy for the listener.

Some Tubes for Dessert?Imagine two audio critics grinning broadly anddeeply enjoying their successful experiment! Wehad tried to connect the Reference Active MSMs1via cinch-XLR-adapter to an unbalanced tube pre-amplifier and it worked. (There are balanced tubepreamps with XLR connectors available on themarket, we know, but...) Thanks to the premiumpreamplifier of our „chief engineer” Klaus Sigland two „Excelsior” Sommer cinch cables (2 meach) we could surrender to the „hot-blooded kissof the midrange” and the „smooth and silky touchthroughout the treble range” after all. I swear, theSigl tube preamplifier is a real powerhouse thatsparkles with vitality and elegance. And the Refe-rence Active MSMs1 depicts every nuance of itscharacter with utmost fidelity. As far as imaging,resolution and rapidness is concerned the MangerMSMs1 is definitely superior to other loudspeakersystems.

Hit the markWithout any doubt the tonal reproduc-

tion of the Manger transducer is the mostpure of any speaker system I’ve ever heard.The minute you experience this impressivekind of sonic clarity you will be captivated.This system suits both technically orientedstudio experts and HiFi fans with a fondnessfor tube sounds alike. And taking into consid-eration the price/performance ratio the Refe-rence Active MSMs1 is almost a bargain!

ALEXANDER ASCHENBRUNNER

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InformationFloor-standing 2-way active loudspeakerManger Reference Active MSMs1 Price: starting at 13.000 € per pairManufacturer:Manger ProductsIndustriestraße 17D-97638 MellrichstadtPhone: +49 (0) 9776-9816Fax: +49 (0) 9776-5925Email: info@manger-msw.deWeb: www.manger-msw.de

cutaway of the Manger bending wave transducer

82 Exklusivtest: Standlautsprecher Manger MSMs1

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Daniela Mangers Studiomonitor c1 hat in unserem Haus nachhaltig Eindruck hinterlassen: Plastizität und Authentizität vom Allerfeinsten und ein Tiefton zum Niederknien. Das gibt‘s jetzt auch für zu Hause in Form der ebenfalls vollaktiven Standbox MSMs1

Home Off ice

Exclusive Test: Manger MSMs1 Floorstanding Loudspeaker

Daniela Manger’s studio monitor c1 has deeply impressed us: top of the line plasticity and authenticity and a divine bass range. Now the fully active floorstanding MSMs1 brings this treat to your living room.

Standlautsprecher 83

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te s1 der exzellente TIW 200 XS aus dem Hause Visaton. Der Zwanziger ist im Bass-bereich zu Hause und tritt mit zahlreichen Verbesserungen das gewichtige Erbe der legendären TIW-Chassisreihe aus Haan an. Mit seiner steifen Sandwichmembran und dem auf Verlustarmut gezüchteten Antrieb mit exorbitanter Hubfähigkeit ist er der ideale Spielpartner für den MSW. Daniela Manger verordnet ihm den Fre-quenzbereich ab 330 Hz abwärts in einem geschlossenen Gehäuse, das bauartbedingt vielleicht nicht mit ultimativem Tiefgang, aber dafür mit vorbildlicher Basspräzision glänzt. Ersteres besorgt die sehr hochwer-tige Aktivelektronik quasi im Nachgang. Sie befeuert sowohl die MSMc1 als auch die s1 komplett und macht weitere Verstär-kung überfl üssig. Der Moduleinschub ist auf der Rückseite der eleganten Standsäule untergebracht, die sich eng um die beiden Lautsprecherchassis schmiegt und mit der seidenmatt lackierten Oberfl äche und sanft gerundeten Kanten ein äußerst stimmiges Tonmöbel ist. Und gewichtig ist es noch dazu: Zsammen mit dem vollmetallenen Fuß bringt eine s1 satte 48 Kilogramm auf die Waage – das will man nicht den ganzen Tag durch die Gegend wuchten. Als Option gibt es natürlich auch Varianten mit be-lastbarer Nextel-Oberfl äche oder in edlem Klavierlack.

Anlage

Plattenspieler:• Acoustic Solid Machine mit SME

M2-12 und Clearaudio Goldfi nger

Phonovorverstärker:• Mal Valve Preamp Three Phono

CD-Player:• Trigon Recall II

Vorverstärker:• Mal Valve Preamp Four Line

Wenn Sie sich ernsthaft mit Lautspre-chern beschäftigen, kommen sie

an ihm nicht vorbei: dem Manger-Wand-ler. Er ist der, der anders funktioniert. Der, welcher dem konventionellen Laut-specherchassis den Rücken zuwendet, weil er mit dessen Schwächen nicht leben will. Erdacht hat Josef W. Manger ihn bereits in den 60ern des vergangenen Jahrhunderts, als er sich mit dem Zeitverhalten von Auf-nahme- und Wiedergabetechnik beschäf-tigte. Nach dem Gewinn der Erkenntnis, dass ein übliches Lautsprecherchassis prinzipbedingt eine gewisse Zeit zum Einschwingen braucht und das mensch-liche Gehör auf diesen Vorgang auch noch höchst sensibel reagiert, kam die logische Konsequenz: Das muss auch besser gehen. Am Ende dieser Überlegung steht die ak-tuelle Generation des Manger-Schallwand-lers, kurz MSW. Über die Jahre wurde er stetig verfeinert, verbessert und gepfl egt. Inzwischen hat Josef Manger die Geschäfte an seine Tochter Daniela abgegeben, die sich dem Thema mit gleicher Konsequenz und technischer Tiefe widmet.Der Clou des MSW ist die per koventio-neller Schwingspule angetriebene, außen fest eingespannte und biegeweiche Mem-bran. Diese lenkt nicht kolbenförmig aus, sondern lässt Wellen über die Oberfl äche laufen. Die tatsächlich aktive Oberfl äche reguliert sich mit der wiederzugebenden Frequenz selbsttätig, gezielte Dämpfungs-maßnahmen fangen die Wellenreste im Zentrum wie am Rand ab. Diese Funkti-onsweise ist der des menschlichen Ohrs gar nicht so unähnlich und sorgt dank Eli-mination von Masse und Einschwingvor-gängen für die praktisch verzögerungsfreie Erzeugung von Energie. Dadurch werden Schallereignisse extrem realitätsnah repro-duziert.Dafür klemmt es im Bass ein bisschen: die eingespannte Folie begrenzt die mögliche Auslenkung. Zwar ist der MSW bis in den Bassbereich hinein aktiv, so richtig wohl fühlt er sich allerdings mit einer Bass-ergänzung durch einen Tieftöner. Der muss natürlich genau aufpassen, dass er sich in seinem Frequenzabschnitt mög-lichst präzise verdingt, denn jede Unregel-mäßigkeit deckt der MSW schamlos auf. Eine entsprechend hohe Qualität sichert sowohl im eingangs erwähnten Studiomo-nitor MSMc1 als auch in der Heimvarian-

Der Stern, bei dem sich alles ver-dichtet: Der legendäre Manger-Wandler ist optisch außergewöhn-lich und klanglich eine Wucht

Floorstanding Loudspeaker

Equipment

If you are seriously into loudspeakers, there is one model you will encounter

time and again: the Manger Sound Trans-ducer. It is the one which works differently. The one which turns its back on the con-ventional loudspeaker chassis, as it refuses to live with its impairments. This sound transducer was invented by Josef W. Man-ger in the 1960s when he explored the time response of recording and reproduction technologies. After Mr Manger found out that conventional loudspeaker chassis al-ways exhibit an inherent transient time to which the human ear responds very sen-sitively, he came to the logical conclusion: There must be a better solution than this. Decades of research and development re-sulted in the current generation of Manger Sound Transducers (a.k.a. MSW). Through the years they have been constantly honed, enhanced and cultivated. By now Josef Manger has handed over operational busi-ness to his daughter Daniela who devotes herself to this topic with the same dedica-tion and technical expertise. The highlight of the MSW is certainly its flexible membrane which is driven via a conventional voice coil and fixed on the outer rim. The system does not move like a piston but runs waves across the surface. Higher frequencies are generated near the the center and lower frequencies spread to the rim of the membrane. Residual waves at the center and on the rim are damped. The sound transducer works similar to the human ear and generates energy with virtu-ally no delay as inertia and transient effects are eliminated. This results in an extremely natural reproduction of sonic events.The bass range is a bit subdued, however. The built-in foil limits the potential ex-cursion. Although the MSW reaches way down into the bass range it does not mind a little help from a complementary woofer. With the high-quality TIW 200 XS from Visaton the Manger Sound Transducer has found the ideal combatant which stays pre-cisely in its frequency range and performs his task perfectly both in the above-men-tioned MSMc1 studio monitor and in the s1 home model. This 20 cm loudspeaker is made for the low range and proves to be – thanks to numerous enhancements –

a worthy successor to the legendary TIW chassis line from Haan. With its rigid sandwich membrane and its efficient drive it exhibits immense stroke capacity and matches the MSW ingeniously. Daniela Manger assigned it to the frequency range from 330 Hz downward and housed it in a closed cabinet which due to its construc-tion does not excel in ultimate low range but in exemplary bass precision. The for-mer is taken care of by the excellent active electronics afterwards. They drive all com-ponents of the MSMc1 and s1 and make additional amplification dispensable. The module insert resides on the back of the el-egantly styled floorstanding column which closely nuzzles around the two loudspeaker chassis and features a silk-mat finish and smoothly rounded edges. No other piece of furniture looks and sounds as beautiful. And it’s quite heavy, too. Together with the metal socket the s1 weighs impressive 108 lbs – too heavy to carry around all day long. Robust Nextel and noble piano lacquer fin-ishes are available as options.

Record Player:• Acoustic Solid Machine with SME

M2-12 and Clearaudio Goldfinger

Phono Amplifier:• Mal Valve Preamp Three Phono

CD Player:• Trigon Recall II

Preamplifier:• Mal Valve Preamp Four Line

The star which emanates the magic: The legendary Manger Sound Transducer is a visual eye-catcher and an acoustic sensation.

84 Exklusivtest: Standlautsprecher Manger MSMs1

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MusikVarious Artists

Musik wie von einem anderen Stern(Doppel-LP, 180 g)

John ZornFilmworks XV: The Protocols Of Zion

Various ArtistsPercussion Direct

AirPocket Symphony

Vari

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Art

ists

– M

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wie

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Verstärkerelektronik braucht es abgesehen von der Sortierung und Lautstärkerege-lung der Quellen also nicht, nur symme-trische Ausgänge sollten vorhanden sein. Dann bleibt vor der Praxis noch die Qual der Wahl: Die Studiotechnik lässt sich selbstverständlich vollumfänglich konfi gu-rieren. Hochtonanpassung, Entzerrung bei 3 kHz für den Einsatz hinter Leinwänden, Basskorrektur, Hochpassfi lter für AV-An-wendungen, Polarität, Eingangsempfi nd-lichkeit – wie hätten Sie‘s denn gern? Die klügste Variante ist zumindest zu Beginn, alles in der Mittelstellung verharren zu las-sen. Da macht die MSMs1 nämlich auf An-hieb alles so unglaublich richtig, dass die Frage nach Änderungen sich innerhalb von Sekunden in Luft aufl öst. Sie bietet aus dem Stand unglaublich natürliche Stimmen und Instrumente, alles kommt absolut an-satzlos und einfach echt. Klavier perlt mit perfektem Timing, Gitarren fl irren lebhaft durch den Raum, Streicher singen sahnig

und Schlagwerk knackt und knallt unnach-ahmlich. Jede Stimme ist ein Traum, steht glasklar im Hörraum und zeigt auch bei höchsten Pegeln keinerlei Zerfallserschei-nungen. Die Manger löst jeden Frequenz-bereich unglaublich fein auf, ohne ihn zu zerfasern. Das ist die Paradedisziplin des Ausnahmewandlers: herausragendes Auf-lösungsvermögen bei perfektem Timing. Besonders bei Instrumenten machen die ansatzlosen Einschwingvorgänge den Un-terschied. Der Ton ist einfach da: sauber, echt, natürlich.Auch der Tiefton ist wieder herausragend. Stets ausreichend tief, dabei äußerst tro-cken und natürlich rund. Und auch die Feinheiten passen: Der Woofer zeigt im geschlossenen Gehäuse die klanglichen Unterschiede verschiedener Trommeln und Aufnahmen deutlich auf, ohne sich

Messtechnik-KommentarDie Messdaten der MSMs1 sind mit denen des Studiomonitors c1 weitestgehend identisch. Der aktiv korrigierte Bassbereich der s1 reicht bis unter tiefe 40 Hz, die Welligkeit im Mittelton ist dem MSW zu eigen und so schmalbandig, dass sie nicht hörbar ist. Zum Hochton steigt die s1 dezent an und kompensiert damit die natürliche Bündelung des Wandlers. Die Einstellmöglichkeiten der Aktiv-elektronik ermöglichen die Anpassung der Wiedergabe in weiten Grenzen, egal ob für persönliche Geschmäcker oder zur Kompensation von Raumeinflüssen

Die Elektronikeinheit der MSMs1 ist klanglich wie dynamisch und auch in puncto Betriebs-sicherheit über alle Zweifel erhaben

Die Rückseite des MSW steht durch zahlreiche Öffnungen mit der Außenwelt in Verbindung

Exclusive Test: Manger MSMs1 Floorstanding LoudspeakerVa

rious

Art

ists

– M

usik

wie

von

ein

em a

nder

en S

tern

Various ArtistsMusik wie von einem anderen Stern

(Double LP, 180 g)

John ZornFilmworks XV: The Protocols Of Zion

Various ArtistsPercussion Direct

AirPocket Symphony

Music

Except for the switching and volume con-trol of the sound sources no further ampli-fication electronics are needed. Balanced outputs should be available, though. And then the choice is yours: The studio tech-nology can be configured in many ways. Treble adjustment, equalization at 3 kHz in silk screen mode, bass correction, high pass filter for AV applications, polarity, input sensitivity – you name it! We recommend to leave everything in center position in the beginning. With this setup the MSMs1 already sounds brilliant and the desire for changes will evaporate into thin air im-mediately. Right from the start the loud-speaker offers incredibly natural voices and instruments, completely smooth and realistic. A piano sparkles with perfect tim-ing, a guitar vividly scampers through the room, strings gently float around your head and a percussion section cracks and bangs inimitably. Each voice is a gem that glows

crystal clear in the listening room and does not break-up even at the highest volume levels. In every frequency range the Man-ger loudspeaker exhibits an incredibly fine resolution without defibration. And that’s where this exceptional transducer truly shines: outstanding resolution with per-fect timing. Especially with instruments the smooth transient effects make the dif-ference. The sound simply unfolds: clean, pure, natural. This goes for the bass range, too. Suffi-ciently low, but very dry and tight. And the subtleties are a revelation: In its closed cabinet the woofer clearly depicts the tonal differences of various drums and record-ings without limiting its dynamics which are excellent, anyway. The MSMs1 handles high volume levels very well and seems

As far as sound, dynamics and operational safety is concerned the electronics unit of the MSMs1 is beyond all doubt.

The back panel of the MSW is connected to the outer world via numerous openings.

Measuring MethodThe performance data of the MSMs1 are mostly identical to the data of the c1 studio monitor. The ac-tively corrected bass range of the s1 goes down beyond 40 Hz, the middle range ripple is inherent to the MSW and so narrowband, that it is inaudible. Toward the treble range the s1 frequency response slightly rises which compensates for the natural directionality of the transducer. The adjustment options of the active electronics let you adapt the sound reproduction extensively to personal taste or room acoustics.

dabei in der Dynamik zu limitieren. Die ist sowieso exzellent. Die MSMs1 verträgt reichlich Lautstärke und langt auch gerne kräftig zu. Pegelsprünge setzt sie eins zu eins um, zur Not greift fast unmerklich der Limiter ein. Und sind wir mal ehrlich: Es wird so weit kommen. Ein so exzellenter Schallwandler will benutzt und nicht ge-schont werden. Das Bad im höchst sauber erzeugten Pegel macht glücklich, süchtig, fördert Lacher und Freudentränen an die Oberfl äche und lockt in Sekunden Schau-lustige an. Glauben Sie mir, ich weiß wo-von ich rede ...

Christian Gather

Manger MSM s1· Preis ab 13.200 Euro pro Paar· Vertrieb Manger Products, Mellrichstadt· Telefon 09776 9816· Internet www.manger-msw.de· Gewicht 48 kg· Garantie 3 Jahre· Chassis 1 x 200-mm-Tieftöner 1 x Manger-Schallwandler· B x H x T 270 x 1139 x 214 mm

FazitDie Mangersche MSMs1 ist Studiotechnik fürs Wohnzimmer. Ansprechend verpackt passt die Standbox in jeden Wohnraum und ermöglicht das hautnahe Erleben von höchst ausgereifter Profi technik in den eigenen vier Wänden. Der Manger-Wandler ist der Timing-König, der

äußerst dynamische und trocken aufspielende Bass perfekt angebunden. Im Verbund mit der fl exiblen Vollaktivierung eine echte Wucht!

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Freie Wahl: Diverse Regler und Schalter machen die MSMs1 in allen Belangen anpassbar

Der Tieftöner sitzt unsichtbar hinter einer Stoffab-deckung und sorgt dank geschlossenem Gehäuse und Aktivelektronik für exzellent sauberen Tiefbass

to enjoy them. Abrupt level changes are implemented uncompromisingly. Under extreme conditions the limiter is engaged unnoticeably. And honestly speaking: You will go to the limit. Such an excellent sound transducer wants to be challenged and not to be treated with care. Bathing in a sea of high volume levels makes you happy and addicted, makes you laugh and cry with joy, and attracts rubbernecks within seconds. Believe me, I know what I’m talking about ...

Christian Gather

Free choice: Various controls and switches let you adapt the MSMs1 to all kinds of conditions.

The woofer resides invisibly behind a fabric cover and generates a perfectly clean low range thanks to its closed cabinet and active electronics.

• Price starting at 13,200 EUR a pair• Distributor Manger Products, Mellrichstadt• Fon +49.9776.9816• Internet www.manger-msw.de• Weight 106 lbs (48 kg)• Warranty 3 years• Chassis 1 x 200 mm woofer 1 x Manger Sound Transducer• W x H x D 10.6“ x 44.8“ x 8.4“ (270 x 1139 x 214 mm)

SummaryThe Manger MSMs1 is studio technology for the living room. With its elegant style the floorstand-ing loudspeaker fits every living space and en-ables you to closely experience highly sophisti-cated professional equipment in your own four walls. The Manger Sound Transducer is the tran-

sient king with a perfectly in-tegrated dynamic and tight bass range. In combination with the flexible and fully active electronics it is a real sensation!

Manger Products · Industriestraße 17 · 97638 Mellrichstadt · Germany

Fon +49 9776 9816 · www.manger-msw.de