Beschreibung
Monitor Audio Gs60 Signature Floor Standing Speakers. In excellent condition for age I have owned these from new and come from a pet free home and always had blinds shut so the sun didn’t fade these beautiful cabinets these would have been the platinum series back then as there was no platinum these are a flagship speakers with an electrolastic sounding mid range as the top half of the speakers are totally sealed from the bass sections the bass is pin point accurate with no chuffing sound from the bass ports that i find takes quality away from the sound the front facing bass port is for the is for the lower half of the speakers while the top one facing to the rear is for the mid range and tweeter section allowing you to fine tune the sound the closer of further away from walls etc I have tried to show the imperfections in photos they are in the best colour in my opinion rosewood they come with the original packaging tool kits etc see photos come and have a listen if you’re interested you won’t be disappointed this is my first attempt at listening on eBay so forgive me if I’ve missed something off I have decided that this is a cash on collection only or bank transfer no PAY PAL any questions message me The speakers are just too heavy to post each box weight 33kg because the bases are made from metal and they are in storage at the moment due to selling my house. I have tried to post a video but I can’t upload it for some reason but if you go on Facebook and type monitor audio Gs60 I think the video will pop up so you have a better idea of the condition they’re in Thanks for looking For the people who like a good read February 15, 2007 Monitor Audio Gold Signature GS60 Loudspeakers As Monitor Audio’s Gold Signature GS60 loudspeakers were maneuvered around my room by Sheldon Ginn, of Kevro (Monitor’s Canadian distributor), I reflected on how my attitudes toward hi-fi have changed over the years. I remembered reading my first serious review of a high-end product: a Monitor Audio Gold Signature bookshelf speaker. Reading that review, I’d thought that these two small boxes must be the absolute best speakers in the world -- after all, how could they not be something extraordinary when they cost over $1000 per pair! That first exposure to the British company’s products must have made a deep impression. In the back of my brain, I’ve always thought of Monitor gear as very high-end, and so expensive as to be beyond the reach of all but the super-rich. But the speakers now before my eyes didn’t mesh with my long-ago formed preconceptions. The GS60 ($3995 USD per pair) is the top model of Monitor’s Gold Signature line, and is therefore the most expensive speaker they sell. In the flesh, it manages to look both stately and modest. The combination of its 42 height and small (8 1/8W x 13D) footprint mean that the GS60 won’t overpower a room of modest size, as have some far larger speakers that have squatted golem-like in my basement listening room. The GS60’s reasonably compact dimensions are offset by beautiful real-wood finishes. The finish on my samples immediately distinguished itself by what it wasn’t. Nowadays it seems almost de rigueur for a high-end speaker to be lacquered and polished within an inch of its life. The GS60s came delivered in a gorgeous, delicious walnut veneer with a matte finish more in line with high-quality antique furniture. The striations in the grain were easily visible, and the finish gave off a sense of old money that stood in stark contrast to the ostentatiously nouveau-riche gloss of some other speakers. That appearance of quality is more than skin-deep -- the cabinet panels are joined tongue-and-groove for strength, and each reasonably svelte GS60 weighs a substantial 59.7 pounds. Its sensitivity is specified as 90dB with a nominal impedance of 6 ohms so they should prove reasonably easy to drive. As I stared at these slim, attractive floorstanders, my perception of them metamorphosed from unattainable high-end wet dream into reasonably achievable reality. What didn’t fade was my assumption that the GS60 is a genuinely high-end speaker. Its most immediately familiar driver is its gold-colored, 1 dome tweeter, visually similar to the one found in the speaker covered in that age-old review that was my introduction to the brand. Made of Monitor’s proprietary ceramic-coated aluminum magnesium (C-CAM) alloy, the GS60’s tweeter was designed to lower the driver’s fundamental resonant frequency to a claimed 500Hz; according to Monitor, this results in a smoother response and lets them use a simpler crossover. The midrange and low-frequency drivers are also made of C-CAM, though they’re not gold-anodized. The 6.5 midrange is run full range up to its natural high-frequency rolloff point, as Monitor believes that a capacitor would degrade the sound; the cap’s absence results in increases in clarity and small-scale detail. According to Monitor, their Rigid Surface Technology (RST) cones, which feature a dimpled surface, add sufficient stiffness to the assembly to allow for more linear high-frequency performance and better power handling. The GS60 comes with a nicely made grille that looks quite natty when attached. The speaker is attractive without the grille, however -- the contrast of the rich wood, the silver midrange and woofer cones, and the tweeter’s gold dome enhances its appearance without appearing overly ostentatious. I left the grilles off. The fairly tall, narrow cabinet is stabilized by a metal plinth that is an inch or so wider and deeper. Monitor supplies the GS60 with a set of nasty-looking spikes that should have no trouble piercing the thickest carpet. I have hardwood floors, so I especially appreciated the inclusion of a set of rubber-damped feet that screw into the bottom of the plinth instead of the spikes. The GS60 has two sets of nicely made and widely spaced binding posts, but I single-wired them with the supplied jumpers. System and setup I evaluated the GS60s in my main system, driving them with my Anthem Statement P2 amplifier by way of single-wire Acoustic Zen Satori speaker cables. For most of the review period I used the most excellent Song Audio SA-1 preamplifier, with my Sonic Frontiers SFL-2 also seeing some duty. My Benchmark DAC1 received bits from a Toshiba SD-3750 DVD player by way of a homebrew Canare digital cable. A Pro-Ject RPM 10 turntable (review forthcoming) did most of the source duties. Early in the review period I used a Shelter 501 Mk. II cartridge, but about halfway through I remounted my long-neglected Roksan Shiraz -- too long had we been apart. Phono-preamplification duties fell to my Ayre P-5xe phono stage. Interconnects were, for the most part, Analysis Plus Solo Crystal Oval for balanced signals, and Acoustic Zen Matrix when running single-ended. AC was transmitted via Shunyata Research Taipan or Cardas Hexlink 5 power cords; a Shunyata Hydra Model-6 line conditioner filtered the power and protected my gear from surges. After Sheldon Ginn had left, I spent quite a while searching for the best locations for the GS60s. My listening room is fairly small, but it’s bass-hungry -- its 230 square feet open onto a much larger room by way of a staircase, and behind my listening seat are shelves holding more than 2000 records. The WLM Duo 18 subwoofer’s two 18 drivers never overload the room; conversely, a smaller speaker such as the GS60 needs a bit more boundary reinforcement than might seem ideal. Whereas some larger speakers have been comfortable 36 out from the front wall, I had to shove the GS60s about 7 farther back. That still gave them plenty of breathing room, and neither their imaging nor their soundstaging suffered. After I’d got them situated to my satisfaction, I sat down for a listen. According to Sheldon Ginn, my review samples had already had some serious playing time, so I didn’t worry about break-in. Sound I’ve noticed over the years that certain albums shine when played through a particular piece of audio equipment. When I began regularly swapping gear in and out of my system (read: reviewing), I tried to give all different forms of music a fair shake, which meant steering myself away from repeated listenings to one particular album. Nowadays I don’t care what I listen to, and let my instincts tell me what record should find its way onto the turntable. If the same album spins repeatedly, well, that tells me something about what the component is doing. Think of my turntable as a musical Ouija board. Jazz recordings of all kinds seemed especially suited to the Monitor GS60s’ adept way with space, and the speakers led to my possession by Miles Davis -- specifically his Filles de Kilimanjaro [Columbia PC 9750]. Throughout my time with the GS60s, Filles was never far from the turntable, and this oddball album epitomized all that these British speakers did so well. My first impression was of a lively, quick, revealing sound, with a tight, tuneful bottom end and exceptional imaging, and it took me only a few more minutes to thoroughly appreciate the GS60s’ ability to re-create an enveloping acoustic space in my room. The rhythm section holds Filles together, and while the GS60s definitely tilted toward the lean end of the spectrum, they delivered tight, tuneful, authoritative bass. The GS60 is claimed to extend down to 28Hz (no rolloff is specified), and from my listening, the claim seems reasonable. But more important, in my opinion, the bottom end politely refrained from intruding on the midbass, which worked just swell with Ron Carter’s low-level, always-working electric bass, while keeping each whack of Tony Williams’ kickdrum a distinct event. Exceptionally tight bass without bloat can at first sound somewhat unimpressive, but ends up being much more satisfying over the long haul than a tubby, flatulent low end. The GS60’s low end was definitely of the self-effacing type -- but then, when I least expected it, in would slam a deep, resonating bass note right where it needed to be, and up would go my eyebrows as these svelte columns cranked out some serious low end. My initial impression that the GS60 was a bit on the lean side gradually modified itself with the qualification that they also delivered serious heft when it was called for. Up through the midbass and into the midrange the GS60 really began to shine, strutting its stuff with poise and self-assurance. Staying with Filles de Kilimanjaro for a little bit, I found it exceptionally easy to differentiate between the often entangled musical lines in the busy and rhythmically complex Frelon Brun (Brown Hornet), which is no small feat -- this track has tripped up many a component in my system. But while the GS60s did a bang-up job on Frelon Brun, my estimation of their performance moved up a big notch when I heard them render the spacious Tout de Suite with double helpings of space around Davis’ ethereal trumpet. In relation to Williams’ crisp cymbals, the trumpet and Wayne Shorter’s tenor sax took on a bit more of a distant quality than I’m used to, which may well indicate that the midrange was somewhat down in level compared to the octaves above. No matter -- the very slightly recessed midband only helped underscore the delightful manner in which the GS60s re-created an acoustic space. After laying it aside for a few months, I decided it was time to put Giant Sand’s Chore of Enchantment back in regular rotation. Those of you who’ve read my reviews over at SoundStage! know how highly I think of this album, and nothing much has changed. This combination of Southwestern desert rock and acoustic folk, seasoned with a dash of thrash metal, has to be one of my favorite albums of the last five years. Howe Gelb’s granular tenor can prove problematic for some speakers, but the GS60 exhibited absolutely zero overhang on male vocals -- no resonance, chestiness, or thinness, even on such tracks as the exceptionally close-miked Dirty from the Rain, in which Gelb sounds as if he’s just swallowed the microphone. For their vinyl edition of Neil Young’s Greatest Hits [LP, Reprise/Classic 48935-1], Classic Records has worked wonders with some of the older tracks, exhuming more crispness and clarity than I’d have ever thought possible. Cowgirl in the Sand was never one of my favorite songs, but it took only one spin on the ’table to seriously invigorate my ears. Young and his band are possessed of an almost sloppy looseness that entirely belies the deep groove in which they lock themselves. The Monitor GS60s locked into that groove themselves, presenting it with an exciting feeling of immediacy. Classic has mastered Greatest Hits a touch on the hot side, and the highest notes of Young’s extended electric-guitar solos could get a bit more bitey than through my Hales Audio Transcendence Five speakers. In fact, with many recordings I was aware that the highs tended to be quite prominent. Poorer recordings that were themselves somewhat bright gained a tiny bit of extra presence in this region, but, contrary to my early expectations, the GS60s didn’t tilt my listening choices toward only well-engineered, neutrally balanced recordings. Although the GS60’s highs were very slightly prominent, they were truly grainless, and among the purest I’ve heard. Cymbal overtones were extraordinary in their purity, and the speaker uncovered startling layers of harmonics. My Canadian edition of Tom Waits’ Blue Valentine [LP, Asylum 6E-162] isn’t exactly an audiophile pressing, but it’s the music that matters, right? Waits was in fine form in 1978, and on $29.00 the GS60s pulled it all together to present him at his smoky best. Every cymbal stroke stood out in crisp, natural relief, and although those cymbals were very slightly elevated in level, they remained engaging rather than stepping over the line to induce listener fatigue. Nancy Wilson and Cannonball Adderley’s 1961 self-titled album [LP, Capitol/EMI SM-1657] was the last I listened to through the Monitor GS60s, and it summed up everything the speakers did so well. I know this LP intimately -- I’ve listened to it on every combination of gear I’ve had in my house. There’s a fair bit of sibilance on Wilson’s voice, and a nasty slice of glare to boot, but the album is nonetheless delicious, and the GS60s served it well. On A Sleepin’ Bee, the loping bass kept tuneful pace with the crisp drums, and Wilson’s vocals were well defined within a spacious, deep, equally well-defined soundstage. I played this track several times, tremendously enjoying it each time, before reluctantly unhooking the Monitors from my system and packing them up. Conclusion There’s much to recommend in the Monitor Audio Gold Signature GS60. It’s a top-of-the-line speaker from a well-established manufacturer well known for producing high-quality products, and it retails for an entirely reasonable $3995/pair. While five bucks less than four kay isn’t exactly chump change, it’s waaay easier to spend more and get less than it is to spend less and get more. Of course, as with any speaker, I have a couple of caveats about the GS60. Those who prefer a reticent treble or a prominent bass will want to audition it before purchase, but I’d wager that there are few who would buy a speaker of this pedigree without an extended listening session. For the rest of us, it’s entirely possible that the GS60s’ combination of a thoroughly uncolored midrange, a detailed but butter-smooth treble, a trap-tight bass, and miles-deep imaging will inspire us to invite an English speaker into the house. …Jason Thorpe [email protected] Monitor Audio Gold Signature GS60 Loudspeakers Price: $3995 USD per pair. Warranty: Five years parts and labor. Monitor Audio USA 902 McKay Road, #4 Pickering, Ontario L1W 3X8 Canada Phone: (905) 428-2800 Fax: (905) 428-0004 E-mail: [email protected] Website: www.monitoraudio.com North American distributor: Kevro International Inc. 902 McKay Rd., Suite 4 Pickering, Ontario L1W 3X8 Canada Phone: (905) 428-2800 Fax: (905) 428-0004 E-mail: [email protected] Website: www.monitoraudiousa.com Back PART OF THE SOUNDSTAGE NETWORK -- www.soundstagenetwork.com All contents copyright Schneider Publishing Inc., all rights reserved. Any reproduction, without permission, is prohibited. Ultra Audio is part of the SoundStage! Network. A world of websites and publications for audio, video, music, and movie enthusiasts. MONITOR AUDIO GOLD SIGNATURE 60 FLOORSTANDING SPEAKERS 4 REVIEWS ????? ????? 4.8/5 Own this? Help your community and rate it. (Tap a star to rate) 54321 MONITOR AUDIO GOLD SIGNATURE 60 FLOORSTANDING SPEAKERS DESCRIPTION GS60 Your SpaceThe elegantly proportioned GS60 embodies all the conviction and integrity of Monitor Audio design. Its thirty year heritage is eloquently expressed by a compelling unity of cutting-edge innovation and aesthetic creativity bringing life-like power, dynamics and realism to music and film. Like all models in the Gold Signature range, the flagship GS60 is a monument to the cabinet-maker’s art. Immaculate real wood or piano gloss finishes are blended with a slender, contemporary design and superb attention to detail, investing the GS60 with an air of resolute quality. USER REVIEWS Showing 1-4 of 4 [Jul 22, 2015] josh Audio Enthusiast hi i bought gr60 speakers and needed tweeters so i bought gs60 tweeters and put them in is there gonna be any difference in sound compared to the gr60 tweeter or are the gs and gr tweeters the same OVERALL RATING5????? ????? VALUE RATING5????? ????? [Sep 07, 2007] macrog Audio Enthusiast STRENGTH: Resolution 3D Imaging (Depth imaging suprising) BAss detail and depth (I've heard deeper but not with better detail in the bass) Finish is beautifull. Emotional impact WEAKNESS: Treble still bright on poor recordings. Not totally neutral (not really suited to classical music) I got these speakers as an insurance replacement for my old Monitor Audio Gr60s. The Rosewood finish is beautiful. The build quality is significantly improved over the Gold Reference series e.g.Cases much better made, Bases now composite with much more elaborate spikes. I ran the GR60s on a pair of mono Plinius sa250 mk4s but that system is now inhabited by a pair of Quad 2905s so the gs60s are running on the end of a much more modest system. Linn Pre / Power from a Cambridge 840c cd/da converter fed from digital output of home theatre pc. The sound is wonderful and anhilates the sound I achieved with the gr60s on the much more expensive system. The Treble still has a bit of sting on bright recordings but is much more transparent, Bass is deep and detailed. The imaging rivals that from the Quad Electrostatics. The sound on Industrial and Dance Music is scarey. Bass impact hits you in the stomach but with aclarity I have never experienced. These speakers are in my opinion a huge improvement on the gr60s and excellent value for money. Customer Service Slow to get. Had been on order for over 3 months. Similar Products Used: Monitor Audio GR60s Linn Ninkas (Triamped aktiv) Quad 2905s Royd Doublets Royd Sovereigns Naim SBLs Spendor SP9/1s Yamaha NS1000Ms OVERALL RATING4????? ????? VALUE RATING5????? ????? [Apr 03, 2007] Chris AudioPhile STRENGTH: Openness.natural revealing sound, airy spacious soundstage WEAKNESS: none Over the years I have heard many speakers that are priced in the Stratospheric range that do not come close to these.I wrote an article here on the GR60's on this site which is the fore-runner to these.Let's get to it then,Starting with the look of these speakers,MA has done a immpecable job in the finish of these.The wood venners are first rate,looks like an 8000-10000 speaker.The sound quality has been improved over the GR60.These speakers will put to shame the B&W 802d & 803d in every area.I listened to the 45,000CDN Amati Homages and was disssapointed in their bass response,Sonus Faber says they go done to 20HZ but I keep wondering to myself were's the bass.The biggest thing I noticed with these Is the 3- dimensionality, the speakers totally dissappeared into the room and just present the music, unlike the Amati's which did not, I could hear where the speakers were.The mid range is even more open than the GR's.With no Caps in the midrange and the newly designed drivers this speaker has the most open and revealing mids that I have heard from any speaker at any price.The best comparison I can make is that of Electostatics.One word of warning,these speakers are incredibly revealing and will tell you how bad your up-steam is.I would only use Single crystal cable such as Harmonich Tech which I have found to be the most nuetral cables to use in any system.The High end has been extended to 42KHZ and the cymbals are so much more brassy sounding and the decay of the instruments goes so deep, it's beautiful.The air and space around everything is even more open.Don't get fooled just by the looks,The Sonus Faber are gorgeous looking but will not come close in sound quality to these.Go listen,you will see and hear a world -class speaker, but make sure there connected to good equipment.I tried them with all types of music,jazz,classical,rock and they excelled in every area.Like Mike Mccann from E-gear Mag said of the GR's,this may be the best speaker system on the face of the planet.Congratulations to MA for such an excellent job ,to the other speakers manufacturers take note. Similar Products Used: Sonus Faber Amati Homage,B&W 802d& 803d,Revel Utima Studio Joseph Audio OVERALL RATING5????? ????? VALUE RATING5????? ????? [Feb 15, 2007] Ryan Audio Enthusiast STRENGTH: Crystal clear sound, no coloration, inner detail. Sound staging. Full range of sound WEAKNESS: Bass extention doesn't quiet go to 28hz as specs quote. I suspect more like 33hz. This could have more to do with room accoustics and also the fact the speakers have only had just over 100 hours of play time. Nothing else Love them, took a bit of time to run in but once they had about 100 hours in them they really shone! Build quality is very good. I certainly don't think i'm an audiophile but i can tell you that in a side by side comparision with the J.M Focal 836 chorus and the B+W 804s, it blew them away in my opinion. My old mission speakers are nowhere near these. I don't think i could have got better for my money Similar Products Used: Mission, aaron, jm focal lab OVERALL RATING5????? ????? 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