Description
If you think mini-monitor means small sound, the Air Tight Bonsai will have you thinking again. Forget mini; the sound here is decidedly, uh, maxi. For starters, the speaker’s wide dispersion and voluptuously full and rounded imaging will fool you into thinking you’re listening to a far larger transducer. Plus, in the midband the Bonsai delivers an exciting sense of immediacy and a bold presence, coupled with remarkable detail, that also belie its size and single 4? driver. It’s a thing of beauty to behold, to boot. An excellent review of these speakers is available from The Absolute Sound at: https://www.theabsolutesound.com/articles/air-tight-bonsai-al-05-mini-monitor/ from which I am quoting from. Air Tight, founded by the legendary Atsushi Miura and based outside of Osaka, Japan, is known first and foremost as a manufacturer of extraordinary handcrafted tube electronics. Indeed, the single-driver Bonsai is currently the sole loudspeaker bearing the marque’s name. But it’s quite a special speaker and one that’s certainly a delight to have around. Mr. Takanori Ohmura, formerly of Luxman, designed the Bonsai’s driver and enclosure. An expert on speaker diaphragms, Mr. Ohmura has focused his research on full-range drivers for more than 15 years. His connection to Mr. Miura and Air Tight dates back to their days at Luxman, the company Mr. Miura’s father-in-law founded and that Mr. Ohmura joined in 1976. (For more about Mr. Miura, see JV’s recent Hall of Fame feature on the designer in Issue 268.) Mr. Ohmura now runs his own factory in Malaysia called AMM Laboratory where the Bonsai’s driver is made and where the speaker is assembled. The version of the Bonsai presented here, also known as the AL-05, marks the monitor’s third iteration over a decade and a half; the previous versions are the MSM-1 and the AL-03. The “AL” designation refers to the multi-core Alnico magnet used in the driver assembly.According to information provided by Air Tight, Mr. Ohmura’s ongoing interest in full-range drivers lies in their general phase correctness. All versions of the Bonsai have had 10cm-diameter diaphragms. (Ohmura-san has never increased diaphragm size—to obtain louder volumes and deeper bass—as this would lead to a loss of phase coherence due to time delays.) To offset single-transducer disadvantages—specifically, a lack of scale, impact, and power—Ohmura-san has not only improved the enclosure through the years, but has also concentrated on finding the most suitable coating materials and multi-polymer paints to apply to his nano-woven glass-fiber diaphragm to achieve the quickest transmission speeds. The Japanese have a long cultural tradition of polymer chemistry and lacquering techniques—and Ohmura-san’s chemistry degree helps, too, as does his studies of violin finishes and piano lacquers.Speaking of finishes, the Bonsai’s wooden enclosure is in piano-black. There are grilles that attach to four tiny pegs on the speaker’s face, but I never really used them. The drivers are too pretty to cover up! Surrounded by a near-square panel of glossy black, the gold-toned coating of the diaphragm glows with a subtle sheen.Setup and SoundGiven their diminutive dimensions and light weight (11 pounds) the Bonsais were a snap to set up. However, you will need to consider supplying stands for them, as none are included with the speaker. Broadly speaking and on most program material (especially well-recorded music), playback through these transducers resulted in a big, full, highly engaging sound. These monitors ain’t no wallflowers. Thanks in part to the diaphragm’s unique proprietary coating, the Bonsai’s single driver offers a pacey presentation that feels evenhanded and effortless yet offers a roundedness that might be described as tube-like in its dimensionality. There’s also a decided midrange emphasis (as you would expect from a single-driver speaker of these dimensions). With jazzy material, such as Diana Krall Live in Paris on ORG’s excellent 45rpm LP, vocals registered as smooth, present, and quite realistic. While I wouldn’t call the soundstage the deepest or widest I’ve heard—these are mini-monitors, after all—the sense of venue was portrayed admirably well, with instruments placed where they should have been (given the scale here). There’s an openness, size, and spaciousness to the Bonsai presentation that’s surprising and pleasing. Krall’s piano on “Deed I Do” was reproduced with quick-footed transient attacks and good verisimilitude—ditto Jeff Hamilton’s crisp snare delivery. On top I detected a slight softening on some cymbal taps, an almost lispy effect—but this was a rare occurrence. John Clayton’s upright bass seemed slightly recessed at times, but I suspect this might well have been in part because of the way it was miked. There may have been a touch of brightness to the piano’s upper registers, but then I’m sensitive to brightness. I’m picking nits—the Krall LP was overall a thoroughly enjoyable experience. Next I spun Buena Vista Social Club’s eponymous album; this one is also packed with midrange delights but contains more complex layering of instruments than the Krall disc. Here, right from the “Chan Chan” opener, the snare had energetic snap and speed while the multifarious percussion instruments were distinct and well defined. Shakers and various hand-drums displayed lovely delicacy and detail. Muted cornet sounded richly lifelike, as did Ibrahim Ferrer’s lively tenor. Again, the Bonsai’s pacey nimbleness carried the day; the counterpoint to which is reduced power-and bass-range color and impact. (Given the inherent limits of a single-driver in a very small box, this must be considered part and parcel of the Bonsai experience. Bass doesn’t go much below 100Hz and thins down well above that point.) Yes, not all of the usual high-octane gusto of this energetic album was conveyed—it could have used a dash more hot salsa in the mix. Still, the sound was quite enjoyably realistic where the speakers played.Conclusion The Bonsai AL-05 mini-monitors offer an extremely pleasing mix of tube-like bloom, nimble pace, snappy transients (particularly in the midband), impressively wide dispersion, and the octave-to-octave timbral and dynamic coherence that only a single-driver speaker has to this degree, coupled with higher-than-expected resolution of detail. Whatever shortcomings exist at the frequency extremes, they are more than made up for by the monitor’s three-dimensionality. Transients are quite fast even if their leading edges aren’t always razor-sharp.While I wouldn’t describe the Bonsais as highest-resolution speakers, they do present a remarkable degree of detail (especially on well-recorded source material), far more than one would expect for their size and type. But, oh, their presence and dimensionality! Those combined with their big, full soundstage (and almost complete disappearing act) make them winners that exceed expectations across most criteria. Where they’re intended to play, they play exceedingly well, and (not surprisingly) the midrange is their strong suit. As such, and given their petite dimensions, these might make a good choice for a secondary setup, say in a study or a bedroom.I’d imagine that Japan’s smaller-scale living quarters must have influenced the Bonsai’s development. They certainly fulfill the desire for large-scale sound in a small, yet beautiful package.Specs & PricingType: Single-driver mini-monitorDriver complement: 10cm (4?) full-range driverFrequency response: 70Hz–20kHz (-10dB)Impedance: 4 ohmsDimensions: 170mm x 270mm x 220mmWeight: 5 kg (approx. 11 lbs.)Retail Price: $2500AXISS AUDIO (U.S. Distributor)17800 South Main St., Suite 109Gardena, CA 90248(310) 329-0187
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(21) : 716.4 €
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