The littlest Pro Ac, the original Tablette or how much bass is enough?
We take for granted the number and variety of small monitors available in the hi-end market today, but it was not always so. Back in “The Day”, small speakers also had to be cheap (who would pay big bucks for a small speaker, the logic went), so you generally didn’t get well-built cabinets or premium drivers and the speakers weren’t usually very good. Unless…
You looked into the pro market at the BBC-designed LS3/5A, which was designed to be, as the Brits’ would say, a “high quality miniature loudspeaker”. It was also designed for what we would now call near field monitoring, but worked OK as a home speaker and increasingly found favor in the hi-end home audio market.
Eventually, the home audio oriented speaker companies noticed this emerging market and started to develop products to cater to it. The ProAc Tablette came along at the right time (early ’80’s) and happened to catch the eye (ear?) of The Absolute Sound magazine and its legendary editor Harry Pearson. Harry gave it a quite complimentary review and ProAc, which previously had only a minimal presence in the US market, was off and running.
After the reviews came out, I made it my business to hear them for myself. I worked in NYC at the time and took the train to the nearest ProAc dealer, a now long gone store in New Brunswick, N.J. Sure enough, quite a nice sound came out of those diminutive boxes. I wanted a pair, but never bought them for reasons lost in the mists of time. A few years ago, a pair of the originals showed up on Audiogon for a reasonable price so I righted that wrong from long ago.
The reason to talk about this speaker (besides its good sound) is its status as one of the first and best of these early mini-monitors (as they came to be called). It can be fairly said that the BBC monitor and the Tablette opened up this market to the mainstream. The premise was that they offered competitively hi-end sound for relatively low-end dollars, assuming you were willing to give up bass and high output levels.
Today, like back in 1981, it’s still amazing to hear what comes out of such small boxes, especially in terms of dynamics and loudness in a reasonably sized room. Obviously, they will not out do larger speakers in some ways, but to me they play just loud enough and have just enough bass to be fairly satisfying on these fronts.
The glory here, as you would hope, is the midrange. Even now, it does a fine job, better than many modestly priced speakers on the market today. As with most small monitors, the imaging is fairly precise, but limited in size and height. The treble is a bit accentuated, but not so much as to scream, at least when played at reasonable playback levels. The drivers show their age a bit, being a bit more rough and ready than the better drivers today. But you don’t get that quality of drivers in modestly priced speakers and you can pick up a pair of used Tablettes for around $300. This math looks good to me.
With mini monitors, bass is always the elephant in the room. Here is where their enclosure size works against the Tabs. Listening to the Decca/Fruhbeck de Burgos Albeniz Suite Espanola, the music is accented by tympani strikes. On a larger speaker (or live music) the tymp powerfully cuts through the orchestra, on the ProAc it sits back as just a component of the orchestra. But it’s there at least, and you can understand the composer’s intent. The lowest open string on the Bass is around 40 Hz and the lowest on the Cello is around 60 Hz, so the ProAc’s in a sympathetic room can at least begin to reproduce these instruments (without really capturing them in full). But it must be said that, bottom line, their approximately 1/3 cubic foot enclosure is just not large enough to get convincingly to the lowest string of the Bass.
A speaker with an enclosure volume of around 1 cubic foot (3 times as much) is large enough to reasonably get down to that magic 40 Hz figure in room. Again, not to say that response even lower than 40 Hz wouldn’t be desirable, but it’s less of a limitation since that’s mostly the province of the last handful of pipe organ pedals, synthesized electronic music and movie soundtrack effects and the like that are not generally of major musical significance, for classical music especially.
But then again, having the frequencies below 40 Hz also helps bring out concert hall room ambience (which certainly does help create the illusion of a live music venue) and can add to the sense of power on rock music, so they can’t be ignored completely. The problem is, as you descend below 40hz, reproducing this deep bass well becomes expensive, requiring large speakers, large rooms and powerful amplifiers. Sometimes I ask myself if it isn’t more trouble than it’s payoff. But I used to own Infinity IRS V’s, so I guess my arm can be twisted on this point.
Oh well, enough bass theorizing, back to the Tablettes. You can hear why they made waves, both positive and not so positive all those years ago. I do believe that the original Tablette sounds better than the sum of its parts, an example of the magic a wily speaker designer can conjure up.
So I still like them, and with their tiny size it’s no problem to store them when not in use. I guess, truth be told, as my only speaker their limitations would be just too, errr… limiting. Even ProAc eventually increased the size of the Tablettes in their later iterations. Perhaps a comparison between the original and the current Tablette will be possible at some point.
At the end of the day, there are many larger speakers I prefer less despite their low-frequency advantages. It turns out that what the original Tabs do well is not such an easy act to follow.