TAS-Platinum M2
Published by: The Absolute Sound
Date of Issue: January 2004
Reviewer: Neil Gader
PSB of Canada makes infuriatingly good loudspeakers speakers that for over 30 years have routinely sent shivers down the spines of audiophiles who thought they had to spend a lot more cash to get that kind of sound (and, for the sake of bragging rights, probably did). The Platinum Series is founder Paul Barton’s attempt to lay to rest the dubious distinction of “great for the money.” As the precious metal designation suggests, the seven model series is PSB’s new flagship line, created from a clean sheet of paper, a lot of laser vibratometry, Finite Element Analysis, and frequent visits to Canada’s National Research Council for number crunching and critical listening tests.The PSB Platinum M2 is like a versatile ball player—capable of handling every position on the audio playing field with grace and ease.
The smallest Platinum in the line is the M2, a two-way, bass-reflex design with a front-firing rectangular port situated at the cabinet’s base. Like the larger floor-standing Platinum models, the M2 is designed with die-cast-aluminum top and bottom trim-caps. These are structural elements—not window dressing —and are bolted down from inside the enclosure. Carrying the metal theme forward, the high-density MDF front baffle uses a distinctive anodized aluminum laminate and is framed in die cast aluminum. Interior bracing is stout. Of particular note is the four-pane “window”- brace between the tweeter and mid/bass drivers.
The driver complement consists of a 6.5" mid/bass transducer with a woven fiberglass diaphragm and rubber surround, and a 1" Ferrofluid-cooled aluminum- dome tweeter with a shielded magnet capable of extended high-frequency response to accommodate the wider bandwidth of hi-rez source material like SACD or DVD-A. This is a tweeter-below/mid/bass-above design, which, in conjunction with a fourthorder Linkwitz–Riley crossover, is said by PSB to be optimal for phase linearity in the vertical plane. PSB’s optional 24" stands have the built-in advantage of mechanically bolting to the M2 for the ultimate in rigidity. For bi-wiring duty dual-5-way gold-plated binding posts are standard. All Platinum speakers are shielded for video—a first for PSB’s premium products.
The sonic strengths of the M2 fairly fly out of the blocks with an exciting “live” feel that energizes most material —an unfettered immediacy that gives the music a compelling sense of realism. Big speaker dynamism makes the smallish M2 sound much larger than its size would suggest. The M2 also seems devoid of typical cabinet artifacts and resonances. Source material doesn’t appear to “center” in and around the enclosure; driver integration is excellent.
The overall character of the M2 is midrange-forward in emphasis and a bit dry in comparison with the more rounded, warmish sound of my reference compact, the ATC SCM20SL. Bass response is solid down to the stated 55Hz there’s useable response below that, but the M2 rolls off fairly steeply below 50Hz. At reasonable levels, the port is commendably quiet. The M2 is not one of those monitors that boosts the midbass in order to disguise a lack of low-end grunt. Its low-frequency energy is highly controlled, and the speaker is able to handle the dynamic charge of gut-rupturing brass sections or the pounding lower octaves of a grand piano with equal aplomb. Full orchestra is necessarily reduced in dynamic scale, but the M2 has the midrange dynamics to keep pace with a fast subwoofer like PSB’s own SubSonic 10.
Truthful vocal reproduction is the area I’m most sensitive to. I consider it a vital aspect in evaluating a loudspeaker’s performance and a “deal-breaker” if the results are sub-par. If a loudspeaker captures the essence of male and female voice, I consider that it’s playing in the big leagues. In the M2’s case, from James Taylor’s “Boatman” [Hourglass, Columbia SACD], with its intricate four-part harmony, to Dusty Springfield’s sensual classic “The Look of Love” [Casino Royale, Colgems/Classic Records DAD], singers of both genders sounded continuous from bass to falsetto. On occasion, as in Norah Jones’s “Come Away with Me” [Blue Note SACD], the gently brushed snare and softly played ride cymbals gave away the tweeter’s location. Still, Jones’s vocals were sweet and smooth and natural, within the limits of a typical studio setting. All performers were imaged impressively, as well, with nearly unwavering solidity. There can be only one conclusion: The M2 is playing in the big leagues.
On an orchestral work like Stravinsky’s Rite of Spring [Cleveland/Maazel; Telarc SACD], the M2 didn’t shrink from the dynamics of the “Sacrificial Dance.” The thunder of the bass drum didn’t faze it—only a hint of bass augmentation from the port was audible. I also felt there was a general brilliance in the lower treble that overlaid the brass and wind sections, especially the trumpets and the chirping piccolo. In this and other symphonic music, the M2 created a wide contiguous soundstage, with exemplary imaging that was as natural as it was well-defined. Midrange bloom, however, was a bit constricted, creating a more analytical sense of the performance.
The M2 was highly responsive to component swaps, a trait that made switching between the tube and direct outputs of the Shanling SCD-T200 SACD player both informative and fun. During “1B” from Appalachian Journey [Sony SACD], I preferred the M2’s violin reproduction via the slightly warmer top end of the tube output stage. On the other hand, when listening to a good jazz-combo recording like The Bill Cunliffe Trio Live at Bernie’s [Groove Note SACD], I preferred the M2 through the direct outputs for the crisper transient attack coming off the piano—a further lesson that it’s the rare system that can be all things to all musical genres.
The overall excellent M2 doesn’t provide much of a target for criticism, but every loudspeaker involves a tradeoff or two. In this instance I found that at higher amplitudes, the lowest frequencies of the M2 would bloom a bit too much, revealing a trace of port noise. Bass didn’t become loose with overhang; rather, there was a subtle muddying of the tonal waters. For example, on Tom Waits’s “Take It With Me” [Mule Variations; Anti- Epitaph], the M2s reproduced Waits’s close-miked vocal with captivating sensitivity and detailing. The loose action, honky-tonk piano reflected every one of the hard miles it had endured. But the accompanying acoustic bass, which is mixed in at a fairly low level, seemed to occasionally cloud the tonal picture. In the PSB’s defence, keep in mind that the M2 is only a hair’s breadth taller than 15 inches!
At the other end of the spectrum, I can only speculate about whether the treble brilliance I noted in a narrow band was due to a slight frequency rise or to the material (as in physical) differences between aluminum and fabric domes. It was probably the result of a little of each. I loved the transient speed and low-level detailing of light percussion during “The Look of Love.” It was flat-out addicting. Yet I was a bit at odds over Dusty’s heavier sibilance as she sang “…is saying so much more than words could ever say….”
A lot of glam loudspeakers do some things spectacularly well at first listen; later, their equally spectacular blind spots signal that the honeymoon’s over. The PSB Platinum M2 is like a versatile ball player—capable of handling every position on the audio playing field with grace and ease. The M2 may not blow the foam off your latte, but over the long haul it will put a lot more music in your life. Does it live up to PSB’s "great for the money” rep? Well, no. Actually it goes it one better—the Platinum M2 is just plain great."