Infinity Classia C205 Bookshelf speakers
Classia series borrowed the design from more expensive and extravagant Cascade series. However, traditional drivers are used now instead of special flat ones. The depth of body has been also increased. Side walls are located at a small angle to each other.
Top cover is made of bent glued board and partly extends to the front wall, fairing to the safety mesh. Such form of the body not only looks unusual, but also helps to avoid standing waves in internal volume. The speaker system is two-way and of bass reflex type. It is convenient that the bass reflex is on the front panel and allows you to place the loudspeaker close to wall. It will be very easy to hang it on wall - two metallic brackets on the back side are provided. An improved inch tweeter is able to work up to 40 kHz. It is placed in a horn with a constant acoustic impedance (CAI technology), due to which the dispersion of sound field extends and aligns. The tweeter's dome as well as diffuser of 133-mm MF/LF driver is made of aluminum base, on both sides coated with a layer of ceramics (CMMD technology). Such composite has the properties, necessary for a good diffuser - lightness and high rigidity. Due to the use of this material it became possible to decrease distortions and to improve the transparency of sound. Designers decided to have a pair of terminals, hiding them in the niche for easy mounting on wall.
At the first minute of the listening to Infinity Classia C205 you arrive at the following idea: catchy, well-structured sound. Infinity immediately "takes the bull by the horns". The system steps aside sound hints and fictions - it articulates the music speech accurately and consistently clearly. Sound is relief, expressive and with high emotional tonus. Whether you offer the American pair to play different recordings - classics, jazz, popular music, audiophile recordings - and every time the result satisfies the expectations. It seems that the model always strongly and even pointedly states: I can everything. Only after long and careful listening you find out the hint of schemetism in the presentation of acoustic timbres and the lack of thinness at the transfer of acoustic atmosphere of live recordings.
