Penaudio Sara Floor standing speakers
Sara speaker systems look pretty laconically and actually they do not have something special. The most important thing, as always, is hidden in details, and also in the most literal sense. The developers has chosen 5.5-inch Seas heads for lower and middle bands, the diffusors of which are made of impregnated cellulose. The tweeter is also not very huge, with the caliber of 3/4 inches (20 mm), with a silk dome and liquid cooling of sound coil.
Crossover filters are adjusted for specific heads and built on polypropylene SCR capacitors and Graditech coils "on air", i.e. without steel cores. So, there are only two internal terminals and they are natural WBT Signature Platinum.Internal wiring is made of flat cooper Jorma Design cable. The acoustic design is bass-reflex in the form of aluminum tube, opening on the back wall.
The bodies are handmade and from the selected birch plywood with a thickness of 16 and 22 mm.
The foundation is a massive plate with threaded bushes for spikes. The walls while rapping do not buzz, the finish is brilliant. The variants of natural veneer are: zebrano, walnut, cherry, oak, birch, black ash.
After two-hour warm-up I turn on test fragments to estimate certain parameters of sound. The first thing that was immediately notices is surprisingly low for heads of such caliber bass. It is dense, energetic and not too fast, but without any signs of monotony. By the way, despite of quite high resistance, Sara takes a serious current from the amplifier, especially of phonograms with rich lower register. Therefore, cables should be short with large cross-section.
Everything is accurate and neat in mid-range; the sound is moderately detailed and rich in tonal nuances what is especially noticeable on acoustic instruments and vocal compositions. The playback is open, free without any coloring. Due to high crossover frequency of bands of tweeter and upper midbass the whole voice range from bass to discants is transferred naturally, lively, with recognizable intonations of each and every artist.
There is much air in the upper register; abundance of overtones makes the sound light and transparent, but you still feel the noticeable emphasis on brass and especially on cymbals, which can seem to be too bright. But at the same time the sound of silk tweeter does not irritate, and in addition you always can adjust the tone at HF changing the level of tis radiation.
Describing the character of Sara, I have to mention its ability to build sound scene with clear perspective in depth. Due to this the symphonic orchestra seems to be volumetric and at the same time the separate instruments are confidently fixed by ear in the certain point. As a rule, this characterizes the system with the exact phase coordination of all emitters and wide directivity pattern. And to achieve this without attention to nuances that compose the phenomenon of 'natural sound" is impossible.
