Canton Vento 890 DC Floor standing speakers
In front of me are floorstanding speakers of a classic three-way design, where two woofers work at once on the bass. The traditional Canton tweeter with an aluminum-manganese alloy dome is loaded onto a small horn and covered with a neat metal mesh. At the top of the Vento 890 DC is an 18 cm midrange driver with an aluminum cone. The lower part is given to a pair of 20 cm low-frequency drivers loaded with a bass reflex, whose plastic tube faces forward. Driver diffusers are mounted on an original S-shaped suspension, which, according to the manufacturer, increases the length of the linear displacement of the membrane by more than 30%.
The body of the Canton Vento 890 DC does not have any right angles. Inside, it is divided into several compartments and reinforced with a tie-down system designed to completely eliminate standing waves and resonances. Finishing with natural veneer is made with true German accuracy, there is positively nothing to complain about to the eye. The company offers several colors to choose from. The towers rest on a small pedestal, into which spikes are screwed. The speaker cable terminals are located on a narrow rear panel at the very bottom of the speakers and are fitted with a neat plastic skirt to prevent short circuits. True, the design of the connectors makes it difficult to use "blades" when cutting the cable.
I put John Fogerty's album "Revival" into the player and immediately pay attention to the very good timbre of male vocals. True, at the same time I also note a slightly simplified presentation of high frequencies. Hoping that the loudspeakers will unfold in full force in the dynamic composition "Summer of love", I turn up the volume and lean back in my chair. And although the bass lacks a little weight, its speed and overall drive are beyond criticism. John's guitar also sounds embossed and extremely cheerful. However, it is still better not to abuse the volume, at least for the first few days after the purchase - the speaker system clearly shows a long warm-up, which should allow its obviously remarkable potential to be revealed. In the meantime, despite the declared lower limit of 20 Hz, the sound of the bass drum in symphonic works is too tough for the speakers - the beat is heard, and the main tone is no longer felt. The separation of instruments - both in terms of location in space and in terms of timbre - is quite good for the Canton Vento 890 DC. The localization of virtual images is not the most brilliant, and yet, by changing the position of the speakers in the room, I manage to achieve a good scene construction. Female vocals are bright, catchy, but harsh, hissing sounds are slightly emphasized and deprive Patricia Barber's voice of the usual warmth. However, in general, with the right choice of amplifier, these speakers are able to cope with any music.
