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ON TEST

reflex design which has its bass/midrange drivers mounted above and below a centrally-located tweeter, in what’s most correctly called an MTM (midrange-tweeter-midrange) array. (Not a D’Appolito array, because to qualify as a true D’Appolito array… that is, the one popularised by famous US loudspeak-er designer Joseph D’Appolito, the drivers used must be specific sizes and types, and the distances between the drivers calculated us-ing the crossover frequency as a factor in the equation. That said, the MMMicroOne might be a D’Appolito array…but if so, Evolution Acoustics certainly doesn’t mention it.)

Iam not certain, but I think the Evolution Acoustics MMMicroOne speakers might be the first stand-mount speakers I have ever reviewed where it’s not possible to

buy the speakers without the stands. That is, the stands and the speakers come together as a package, and you can’t split them. I’ll have more to say about this later in this review.

The equipmenTAs you can see from our photograph (well, not exactly ‘ours’, because it was kindly supplied to us by Evolution Acoustics), the MMMicroOne is a three-driver, two-way, bass

Loudspeakers

Evolution Acoustics MMMicroOne

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evolution acoustics MMMicroone Loudspeakers ON TEST

‘squirting’ an orange pip away from you by squeezing it between your fingers, compared to throwing the pip with your hand!). Also, because the pleated membrane is inherently ‘loose’ it has a resonant frequency that’s well outside its operating range, which isn’t true of, for example, dome tweeters.

Because the patent has long since expired on the air motion transformer, the many speaker manufacturers using it have created acronyms to describe its operation, then trademarked (™) those acronyms so no other company can use them (though they’re free to use the technology it describes, of course). Thus it is we find similar designs known by the initials AVT (Precide Audio), JET (Elac), ART (Adam Audio), FAL (Sorasound), ESS (ESS Speakers, the original licensee for Oskar Heil’s original AMT), HVFR (GoldenEar) and, no doubt, many others, not least of which is Martin Logan, though MartinLogan calls its versions ‘FoldedMotion’ tweeters… and is therefore unique for being the only manufacturer not to use an acronym! A company called Dayton Audio makes AMT drivers available as OEM parts, and Evolution Acoustics’ PDAV looks a lot like Dayton’s AMT1-4, but with a higher-quality faceplate.

Adam Audio’s website offers a particularly clear description of the advantages AMT tweeters offer over other types: ‘All other loudspeaker drive units—whether they are voice-coil driven, electrostatics, piezos or magnetostatics—act like a piston, moving air in a 1:1 ratio. This is undesirable, as the specific weight of air is much lower than that of the driving mechanics. Speaking in terms of electrical engineering one could say there is a bad match between source and load. The [air transformer] principle achieves a 4:1 velocity transformation between (the) driving diaphragm and the driven air. In other words, the air moves in and out four times faster than the folds are moving. This superior motor system is responsible for the enormous clarity and transient reproduction that is to be heard from the ART drive units.’

The bass/midrange drivers used in the MMMicroOne have many unusual design features. Evolution Acoustics calls them ‘CMAT’ drivers, which is a contraction of ‘Ceramic MATrix.’ The material appears to be the same one developed by German manufacturer Thiel & Partner, where a thin aluminium tape is shaped by deep drawing, then completely

Evolution Acoustics MMMicroonELoudspeakers

Brand: evolution acousticsModel: MMMicroonecategory: standmount LoudspeakersrrP: $5,500Warranty: Two YearsDistributor: absolute HiendAddress: po Box 370 ormond VIC 3204

(04) 8877 7999 info@absolutehiend.com www.absolutehiend.com

readers interested in a full technical appraisal of the performance of the evolution acoustics MMMicroone Loudspeakers should continue on and read the LaBoraTorY reporT published on page 30. readers should note that the results mentioned in the report, tabulated in performance charts and/or displayed using graphs

and/or photographs should be construed as applying only to the specific sample tested.

Lab Report on page 30

• sensational sound• Glorious imaging• price includes stands

• stand design• short warranty• No bi-wire facility

LaB reporT

As you might also be able to see from the photograph, the tweeter is not the usual dome type, but a type Evolution Acoustics calls a Pleated Diaphragm Air Velocity (PDAV) tweeter. Evolution Acoustics doesn’t give any information about its design, construction or operating principle—other than to say that it’s “our own very ultra high-quality tweeter”—but it appears to be an air motion transformer (AMT). Invented by the legendary loudspeaker pioneer Oskar Heil, the functional part of an air-motion transformer tweeter is rather like the moving part of a piano accordion, being in essence a pleated membrane. As the ‘pleats’ or ‘folds’ move towards each other then away, they compress and rarefy the air between them in such a manner as to create sound waves. The beauty of this system is that the ‘pleats’ in the membrane are super-efficient at moving air (think of the difference between

oxidised in a proprietary process and changed to alpha corundum in a special firing process that results in an extremely hard (Mohs’ Hardness 9), extremely thin (50μm) and snowy-white coloured dish-shaped cone. This ceramic cone has comparatively high inner damping because as the oxidation proceeds from both sides to the middle, the result is a foam-like microstructure in the middle that damps the surface layers, leading to better impulse response and significantly reduced

Behind evolution AcousticsThe two men behind evolution acoustics are Jonathan Tinn and kevin Malmgren. The company was founded by the two in 2006, shortly after Malmgren left Von schweikert research, where he’d worked for six years, after having graduated from the university of California in 1998. Tinn had been in the hi-fi industry for many years, in various roles. Formerly a vice president of global sales and marketing for ed Meitner’s eMM, he left Meitner to start import/distribution operation Blue Light audio (which, amongst other brands, distributes darTZeel in North america) and, while working there, also started playback designs in partnership with famous designer andreas koch (studer, sony, sonoma). In addition to owning Blue Light audio and being a partner in both evolution acoustics and playback designs, Tinn also owns the companies Chambers audio (a retail/internet hi-fi operation) and Wave kinetics, which manufactures a variety of vibration control systems. J. D.

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ON TEST evolution acoustics MMMicroone Loudspeakers

are made, and the identifying labels on the drivers merely say “6.6 CMAT”, Thiel & Partner’s OEM speaker division, Accuton, lists Evolution Acoustics as one of the companies that it supplies with drivers.

As for that bass/midrange driver itself, it is beautifully made, with a cast alloy

basket, a lovely centre-vented magnet, a ventilated voice-coil and under-spider cooling with the air-flow filtered by a foam grille. Overall the driver is 120mm across, with mounting-hole centres at 110mm and a cone diameter of 75mm, but the important Thiele-Small diameter is 84mm, which gives an effective cone area (Sd) of 55cm². However because two drivers are being used, the total area available is twice this (110cm²), so if Evolution Audio’s designer (Kevin Malmgren, see breakout box ‘Behind Evolution Audio’) had instead used a single bass/midrange driver to get the same area delivering low frequencies, that driver would have had to have had an overall diameter of 156mm.

The curved side-walls of the cabinet are 25mm thick and appear to be made from veneered MDF to which is added a ‘French curve’. The front baffle, on the other hand, is something else entirely. It is, for the most part, 50mm thick, but actually increases in thickness in some places to 75mm, which appeared to be due to some additional cross-bracing. The crossover network spans across two completely separate printed circuit boards, which are bolted one atop the other and then fixed to the base of the inside of the cabinet. I could not see the totality of the

network due to the confined space inside the cabinet, but the components

I could see (or feel) were all state-of-the-art and included MKT capacitors, cross-mounted

air-cored inductors and 1 per cent metal-film resistors. The loudspeaker grille attaches to the front baffle by means of hidden magnets, so if you prefer to listen to your speakers without grilles, you won’t have to look at any ugly baffle fixings.

The bass reflex port is located on the rear of the speaker, above the speaker terminals, and is 48mm in diameter and 105mm long. Rather unusually, the inside wall of the port is lined with a layer of 6mm soft foam, effectively reducing the diameter to around 36mm. I say ‘unusually’ because most manufacturers try to keep the sides of the port as ‘slippery’ as possible, which is the opposite of what Evolution Acoustics has done with its port, where the foam would tend to decrease the air-flow through the port. No doubt Malmgren has a good reason for lining the port with foam, because it makes the port more expensive to manufacture than it would be if he’d opted for a smooth-surfaced port.

As stated in the introduction to this review, the Evolution Acoustics MMMicroOne speakers come with their own stands. While this means that the speakers will be placed at exactly the height the designer intended the speakers perform their best, it also means that if you don’t like the appearance of the stands, or they put the speaker at the wrong height for your listening position, you’ll either have to modify the stands to suit your ear height or, if they don’t suit your tastes and/or your décor, have a new pair of stands made for you. I was not entirely happy with the stands for several reasons. One of these was that I found that if I pushed either side of the speaker it swayed for quite some time… and did this also if I pushed from the front or rear, though to a far lesser extent. Another was that the stands don’t have cable management, so your loudspeaker cables will be visible. I also didn’t like the method Evolution Acoustics has chosen to fix the top-plate of the stand to the vertical part (it uses two large bolts whose heads remain visible), and the speaker itself to the top plate (two bolts, and between them a ‘sandwich’ of four metal plates and four wooden pucks). These fixing devices are not visible if you’re looking from above the speakers, but once you’re sitting down, they become clearly visible.

Evolution Acoustics rates the in-room frequency response of the MMMicroOnes as being 35Hz–30kHz ±3dB, their impedance as nominally 6Ω (but notes a deviation of ±2Ω), and a sensitivity of 87dBSPL. Note that although the manufacturer says on its website that: ‘The Evolution Acoustics MMMicroOne loudspeakers are designed and engineered in the USA, comprised entirely of custom tooled components with absolutely no “off the shelf” parts,’ the speakers are manufactured in China.

distortion as well as a wider operating bandwidth than if the material were the same consistency throughout. Although Evolution Acoustics doesn’t state where the bass/midrange drivers in the MMMicroOne

The bass/midrange driver is beautifully made, with a cast alloy basket, a lovely centre-vented magnet, ventilated voice-coil and cooling...

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ON TEST evolution acoustics MMMicroone Loudspeakers

You should also note that although Evolution Acoustics first released the MMMicroOnes at the 2012 CES show as selling for $US2,500, where they garnered a flurry of positive publicity, including from John Atkinson, the editor of Stereophile, who commented that the speakers were: “extremely affordable for a speaker that gave one of the best sounds I heard in Las Vegas”, Jonathon Tinn of Evolution Acoustics later said that it was not economically viable for him to sell the speakers at this price, with the result that the US retail price is now listed at $US4,000 per pair. This may have been a genuine error in costings on Evolution Acoustics’ part, but then again it would not be the first time a manufacturer has underpriced a product at CES in order to gain favourable media and reviewer attention.

in use and LisTening sessionsAt the time I commenced my listening sessions I was somewhat concerned that the tweeters were not at ‘ear height’ in my listening room so, since my ears were ‘lower’ than the tweeter, I gradually raised my chair through several different heights until my ears were level with the it, listening over and over to the same track while I did so. My conclusion was that with these speakers, you shouldn’t worry if your ears are lower than the tweeter because in my room I could not hear any significant differences at all. However, when I later experimented with off-axis listening positions, I discovered this wasn’t true for those positions. Indeed as I moved further off-axis, the level of the high-frequencies dropped significantly, meaning that if you want the most brilliant highs of which these speakers are capable, you should always angle the speaker cabinets inwards so that both left and right tweeters are aimed at the listening position. Conversely, if you prefer a ‘less bright’ treble, you could face the speakers straight down your room—or even angled away from you—so that you’re listen-ing off-axis!

Despite not being able to hear any significant differences related to listener height, I opted to listen exactly on-axis so that I was allowing the speakers to give it their ‘best shot’—as it were—and also had the speakers angled to face me, for the reason outlined in the previous paragraph. I have to say that I was most impressed by the sound quality of the treble: it’s crisp, clean, articulated and quite effortless, and playing back some high-res files that contained recorded material above 20kHz, it was perfectly clear that the tweeter’s response stretched ‘way above 20kHz. You could hear it from the sizzle of cymbals and the incredible ‘air’ that’s in the highs. Listen to Jonas Burgwinkel’s kit on Katzenburger

Music Productions’ fabulous Blu-ray, titled Heinrich Von Kalnein, to hear the sizzle at its best. Not only is the sound on this disc incredibly good, but when listening via the MMMicroOnes you can hear what they’ve done when recording the drums…it seems weird, but the sound proves that it works.

You can also listen to the same disc to hear the ‘air’ as the Sonodore RCM402 captures the ambience of the room perfectly. As it happens, this disc is also ideal for demonstrating the incredible dynamics the MMMicroOnes are capable of delivering, because this disc has a ‘DR Score’ of DR19, which is right up there with the most dynamic recordings available.

If you’re planning on checking out the MMMicroOnes’ dynamic capability, make sure you use a powerful amplifier, because I found they took quite a bit of power to really get going. I’d been putting hours on the speakers with a well-credentialled but

moderately low-powered British amplifier because I’d read that Evolution Acoustics likes its speakers to have at least 500 hours on them before being reviewed, yet every time I stopped by the room to check how the burn-in process was going, I was a bit underwhelmed by the sound, and decided they needed even more burning-in. Eventually, however, with no changes after many hours, I thought enough was enough, and put them in my system with my current workhorse amplifier (an Aragon 8008), only to find myself totally blown away not only by the extraordinary dynamics, but also by the sound quality. The speakers’ characteristics had been instantly transformed, simply by switching amps… and presumably mostly by the tenfold increase in power. Whereas previously the speakers had been mumbling the words along to the music, they were now truly singing.

And speaking of singing, I auditioned a standard Red Book CD that is high on my rotation list at the moment, despite the fact that it’s a totally commercial (sponsored!) project, which I usually abhor. Titled ‘Melodie Francaise’, it comprises 14 classic French songs interpreted by a variety of artists, including Big Scary, Dappled Cities, Deep Sea Arcade (with Megan Washington), Katie Noonan, Edward Deer, Vance Joy and others. Some of it is highly electronic and grossly overproduced, but it all works nonetheless, and sounded absolutely fabulous through the MMMicroOnes. Some of the tracks are not only more natural, but also more magical,

such as Kate Miller-Heidke singing Il N’y a Pass D’Amour Heureux, or Big Scary’s take on Je T’Aime Moi Non Plus. The ability of the Evolution Acoustics MMMOnes to accurately and pitch-perfectly deliver the exact sound of human voices—male or female— is so good that it is scary. As for their bass response… well, as they say, your milage will vary—in this case on your room and where you locate the MMMicroOnes in it, but in mine they certainly dug deeper into the low frequencies than I thought such a small pair of two-ways would be able to dig, and—again considering their diminutive size—delivered amazingly high sound pressure levels at the low frequencies they can deliver before the sound became congestive. And the bass they do deliver is very, very tight, enormously tuneful and beautifully paced with a sensational ability to deliver clean transients… and, best of all, not overemphasised in the upper bass to give the auditory impression of there

being bass lower down than there really is, with the result that the bass you do hear is very truthful.

But I have left the most sensational aspect of the Evolution Acoustics MMMicroOnes’ performance until last, and that’s their ability to create a stereo image: it’s so unbelievably good that it’s really not accurate to call it a ‘stereo image’ at all. It’s more like a ‘surround field.’ Sit in the sweet spot when listening to the MMMicroOnes and you will really believe that you’re there at the original live performance, because the image they create has everything in spades: full height, full width, full depth… in fact, the full Monty!

ConCLusionIf only, if only… By a curious twist of fate, I was actually at CES back in 2012 when the MMMicroOnes were first introduced but, as fate would have it, I never made it into Evolution Acoustics’ room, and therefore missed the opportunity to buy a pair for a sum that, given the strength of the Australian dollar at the time, would have worked out as being less than A$2,500! And, trust me; if I had heard them back then, I certainly would have purchased them on the spot for that price… they’re that good. Two years down the track, even with the local sticker price swelled to more than twice that amount, I’d be tempted, but it would be a more consid-ered purchase. If only, if only… Jutta Dziwnik

CoNTINued oN paGe 30

Their ability to create a stereo image is so unbelievably good that it’s really not accurate to call it a stereo image at all. It’s more like surround...

30 Australian

CoNTINued FroM paGe 28

evolution acoustics MMMicroone LoudspeakersLAB REPORT

LaboraTory TesT reporTThe frequency response of the MMMicroOne measured by Newport Test Labs was excellent. Graph 1 shows an overall response, where a far-field in-room pink noise response has been spliced (via post-processing) to a gated high-frequency response. This shows that the MMMicroOne’s measured response extends from 40Hz to 31kHz±3dB.

Graph 2 shows the high-frequency response of the MMMicroOne in greater detail, as well as the differences in response when using the speaker with the grille in place (red trace) and without it (blue trace). Although the response is marginally smoother without the grille, the differences are so slight that I think even the most golden-eared audiophile would be hard-pressed to hear the difference.

While I would normally recommend using a grille, because of the additional mechanical protection afforded to the drivers, in this case the drivers on the Evolution Acoustics are so tough that this is not an issue, so you can go ‘with’ or ‘without’ according to your visual (and auditory) tastes.

Although the frequency response falls within 3dB limits, you can see peaks and dips in the AMT’s response. These appear to be a function of the design, as all AMT tweeters exhibit similar traits. I liked that the tweeter rolled off smoothly above 25kHz, so although it was 3dB down at 31kHz, it was 13dB down at 40kHz.

Low-frequency response (Graph 3) was impressive for several reasons. The first is that although it appears as though there are only two traces on this graph, there are actually three. Newport Test Labs graphed the response of both bass/midrange drivers and has shown them separately using purple and black traces. As you can see, the two responses are so similar that it’s nigh-on impossible to tell them apart. (The small variations down below 15Hz should be ignored, as these were caused by external low-frequency noise, not the drivers themselves.) The driver response above 100Hz is very

flat, and exceedingly smooth right out to the steep (crossover-induced) roll-off above 2.5kHz.

The bass reflex port’s response (red trace) is also excellent, peaking at 55Hz and producing appreciable output from 30Hz up to 120Hz. Particularly notable is the fact that there’s no unwanted high-frequency output from the port, as there is with a great many ports. This may be because of the absorbent lining inside the port.

Look at Graph 4, which shows the impedance of the Evolution Acoustics MMMicroOne, you can see that it’s almost impossible to differentiate the trace of the impedance of the left-channel speaker from that of the right-channel speaker. This is speaker-matching at its finest… I don’t think I have ever seen a pair of speakers whose impedances have tracked each other so closely. This says as much for the quality of the drivers being used as it does for the quality-control procedures in place during the manufacturing processes.

10 Hz 20 50 100 200 500 1K 2K 3K

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Graph 3. Low frequency response of front-firing bass reflex port (red trace) and upper (purple trace) and lower (black trace) mid/woofers. Nearfield acquisition. Port/woofer levels not compensated for differences in radiating areas. [Evolution Acoustics MMMicro One]

Newport Test Labs

400 Hz 500 1K 2K 5K 10K 20K 40K

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Graph 2. High-frequency response, expanded view, with grille on (red trace) and grille off (blue trace). Test stimulus gated sine. Microphone placed at three metres on-axis with AMT tweeter. Lower measurement limit 400Hz. [Evolution Acoustics MMMicro One Speaker]

Newport Test Labs

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Graph 1. Frequency response. Trace below 700Hz is the averaged result of nine individual frequency sweeps measured at three metres, with the central grid point on-axis with the tweeter using pink noise test stimulus with capture unsmoothed. This has been manually spliced (at 700Hz) to the gated high-frequency response, an expanded view of which is shown in Graph 2. [Evolution Acoustics MMMicro One Loudspeaker]

Newport Test Labs

This is speaker-matching at its finest… I’ve never seen a pair of speakers whose impedances have tracked so closely...

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evolution acoustics MMMicroone LoudspeakersLAB REPORT

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Graph 4. Impedance modulus of left (red trace) and right (yellow trace) speakers plus phase (blue trace). Black trace is ref 4 ohm calibration resistor. [Evo. Ac. MMMicro One]

Newport Test Labs

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Graph 5. Averaged in-room frequency response using pink noise test stimulus with capture unsmoothed. Trace is the averaged results of nine individual frequency sweeps measured at 3 metres, with the central grid point on-axis with the tweeter. [MMMicro One]

Newport Test Labs

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Graph 6. Composite response plot. Red trace is output of bass reflex port. Dark blue trace is anechoic response of lower bass driver. Pink trace is gated(simulated anechoic) response above 400Hz. Black trace is averaged in-room pink noise response (from Graph 5). [Evolution Acoustics MMMicro One Loudspeaker]

Newport Test Labs

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Graph 5. Composite response plot. Red trace is output of bass reflex port. Dark blue trace is anechoic response of bass driver. Pink trace is gated (simulated anechoic) response above 400Hz. Black trace is averaged in-room pink noise response (from Graph 1).

Newport Test Labs

Did I say I was impressed? The design of these speakers is excellent, the execution impeccable...

attribute is the uniformity of the spectral balance, with no ‘skewing’ of the response to emphasise either the high or low frequency regions. From about 100Hz up to 8kHz, the measured response is within ±1.2dB. There’s a very slight lift around 120–250Hz, and another even-slighter lift around 1–3kHz, but these would give a ‘character’ to the sound, nothing more.

Newport Test Labs measured the sensitivity of the Evolution Acoustics MMMicroOne as being 86dBSPL under its usual stringent test conditions. This is 1dB less than the average for all loudspeakers, and 1dB lower than Evolution Acoustics’ specification, but is around 2dB higher than I would have expected for this design, which has small drivers in a small-volume cabinet. It suggests, however, that you will get best performance from these speakers by pairing them with a relatively high-powered amplifier: my guess is one with an output of upwards of 80-watts per channel would be more than ample.

Did I say I was impressed? The design of these speakers is excellent, the execution impeccable and the results can be seen in the measurements, which were outstanding across every aspect of performance. Steve Holding

The impedance modulus itself is also excellent, never falling below 4Ω (though it comes close at 200Hz), never rising above 15Ω and having a beautifully rising impedance with increasing frequency. I also can’t see anything on the traces that would indicate a cabinet resonance. Outstanding! The position of the ‘saddle’ between the two impedance peaks at 32Hz and 80Hz indicates that you should not expect much bass response below 52Hz, and also that the minima is slightly ‘out-of-sync’ with the peak of the port’s output.

Yet another outstanding result can be seen in the phase response (blue trace). Again, this is the flattest, most linear phase response I can ever recall seeing. Although the phase swings a little at low frequencies, it’s still constrained to less than 30°, and from 300Hz up it’s so close to 0° that it may as well be. Again, I’m impressed.

Graph 5 shows the averaged in-room response, and you can see the most significant

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