Stewart Copeland's tom-toms had excellent leading-edge definition. Neither instrument suffered from undercontrolled reflex-speaker "boom." Vocals lacked a little body. The kickdrum in the song's chorus was produced with good weight so was the bass guitar. I loaded the 2003 dual-layer SACD Every Breath You Take: The Classics (A&M Chronicles 069 493 607-2) into the MBL N31's CD slot, cued up "Invisible Sun," and pressed play (footnote 1). I started my serious listening to the Sonus Fabers the day I started reading this book. One recent example of the latter was Walking on the Moon by Chris Campion, about the Police, including their rise to worldwide fame amidst the late-1970s punk rock scene.
#Sonus faber lumina free
Closer inspection revealed that these were examples of a free lending library (see ). I had not previously noticed that some houses have a small, standmounted bookcase in their front yard. Since New York City's lockdown in March 2020, I have taken a daily walk in my neighborhood, masked and socially distanced. When I listened to the speakers' back and side panels with a stethoscope while these tones played, I could hear some fairly strong vibrational modes between 500Hz and 1kHz. The half-stepspaced tonebursts on Editor's Choice spoke cleanly down to 100Hz but were lighter in weight in the bottom two octaves.
The 25Hz and 20Hz warble tones were inaudible at my usual listening level.
While the 63Hz and 50Hz tones were quieter, the 40Hz and 32Hz tones had reasonable weight, the latter aided by the lowest-frequency mode in my room. The Lumina IIIs reproduced the 1/3-octave warble tones on Editor's Choice with good power down to the 80Hz band.
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