Floor-standing Speakers

BG Corp Z-92 Planar-Ribbon Speakers and 210i Subwoofer

ARTICLE INDEX

In Use

I listened to music from various artists (Diana Krall, Muse, Rodrigo y Gabriela, Armik, Taylor Swift, Metallica and Lady Gaga) to determine that the speakers could indeed be used stand alone without a subwoofer and concluded that the Z-92s produced more than adequate bass. The bass was very fast and taught with only a hint of hangover on certain musical selections and the bass integration with the midrange planar-ribbon driver was smooth and seamless. The midrange and highs are very smooth and detailed with excellent resolving power and wide dynamics. It appears that BG Corp has achieved their design goal of mating a cone bass driver with a dissimilar planar-ribbon midrange driver with excellent results. The Z-92s stand alone have enough bass output to satisfy all but the really deep bass aficionados.

I then proceeded to place and adjust the 210i subwoofer to augment the low bass output of the Z-92s. I first adjusted the subwoofer manually and set the gain and crossover using test tones and a radio shack SPL meter. I ended up setting the gain at about 10 o'clock and the subwoofer crossover to augment the Z-92s output below 60 Hz. This combination produced a speaker/subwoofer combo with substantial powerful bass without any noticeable hangover and a clean highly resolved midrange and smooth extended high frequencies. The sound stage produced by this combination was wide and had better than average depth. The big surprise to me was the 210i subwoofer's speed and lack of coloration. I have three other excellent subwoofers in various systems and the only one that outperforms the 210i in a two-channel music system is the Sunfire Subrosa and the Subrosa is almost three times the price of the 210i.

As good as this combination sounds on its own; it was further improved by utilizing the Audyssey room/speaker equalization system in my receiver. After equalization the already excellent bass tightened up more with better pitch definition and any remaining vestiges of midrange forwardness completely disappeared. This also improved the believability and apparent depth of the soundstage.