The Saxon Manufactory of ME Geithain, which this year celebrates its 50th birthday (!) is known primarily for their studio monitors. These are the Convention referred to in an acoustically optimized Studio environment designed and mostly active causing MEG Chief thinker Jochen Kiesler to the idea, to make a real counter concept on the legs: the ME 160 is a passive Floorstanding speaker, acoustic specially aligns for great listening distances in typical not so strongly damped rooms.
- ME Geithain ME-160
- Data sheet
The problem: MEG reject in principle sound ducts and horns, because it would affect opinion on voice representation and distance perception according to Kiesler’s. To still achieve the corresponding directionality, one attack on the one hand to a low-midrange driver giant with 21 cm, on the other hand the ME 160 has installed one above the other not only one but three tweeter domes. These sit near enough shape, bundle the sound a spotlights of line of, similar, much more, without requiring an additional sound leadership needed.
Below, a second low-midrange driver, which slowly fades out but down to 150 Hz ensures the necessary steam. This value can be changed from the factory: MEG provides on request also a box with something more basic sound volume, about very slender-sounding rooms and free-standing installation. The Saxons in the base of the box banished the bass reflex tube, also a second resonator on the inside is used, which effectively damped any standing waves and so the upper bass to make precise.
Free-standing installation was the order of the day in the AUDIO listening room, because the ME 160 rocked at Gronemeyer’s “Unplugged” with a rich Board and an almost unbelievable joy of playing go. A reasonable volume limit was in the AUDIO listening room to make out, but did it in the deep bass sometimes even too much of a good, greased bass drum and acoustic guitar on fee and not always entirely followed the decay processes. No doubt this phenomenon by the listening room and his room resonances is caused – a large, dröhnen free space is so equally duty such as care and patience in establishing. The direct cut session “Tribute To Cole Porter” (stockfish) the Geithain overtook the revel F52 in terms of dynamic and resolution, but also a lot of its intimate charm of the cellar – took audiophile recording so the bass face should appear as trio partout swing in a large concert hall.
Classical music is traditionally the métier of monitor manufacturers, and here the ME160 by no means disappointed: gigantic the width of the stage during the final chorus of Beethoven’s 9th Symphony, perfect singers and Orchestra staggered. With a lightness and liveliness that was second to none, she opened the space in contrast to Blumenhofer and Burmester upwards and burned down a true musical firework. In the bass, however, this might have something more discreet and more precise.
ME Geithain ME 160
Technical data and test results
|Dimensions (W x H x D)||32.5 x 107.0 x 37.0 cm|
|Color||Black ash, cherry, white, others on request|
|Bass principle||Two-way bass reflex|
|Number of ways||2 1 / 2|
|Working principle of full Active|
|Maximum volume upper value||113 dB|
|lower cut-off frequency (-3dB)||30 Hz|
|Lower cut-off frequency (-6 dB)||27 Hz|
|Nominal impedance (audio)||4 ohm|
|Natural, high resolution and incredibly dynamic, get-up-and-go box for large rooms|
|Projection very directly, bass can lose depending on the setting up of control|
|Bass depth (bass Foundation)||95|
|Attention to detail (precision)||105|
|Maximum level (vitality)||100|
|Sound judgment||well over 99|
|tested in issue:||3 / 10|