Experimenting with position this morning…
At the moment, closer back to the wall and square, no toe in.
Currently listening to Kate Bush : Aerial, ( 2004 )
Happy Sunday listening
R
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Afternoon ratrat how are you finding the results with the speakers closer to the rear wall, that looks a similar distance I have with my 26’s at the moment.
Yes, ATC is very conservative with the specs. As I wrote earlier, my 50ASL measures around ~24hz -0dB in my room while the specs say 38hz -6dB.
Also the stand mount versions have same volume enclosures as the tower versions. T-versions just have the stand ”integrated”. So the recently released 20ASL SE should have very similar specs than the regular tower-version.
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They’ve been moved around, several positions. They don’t seem to mind where they are placed.
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I do wonder if ATC might decide to produce a non-special edition of the active 20 standmounts, I.e. without the gloss paint, leather fronts and fancy trimming. It might offer a cost saving on the SCM20 towers even allowing for the cost of stands.
Roger
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They a pro version in studio black…
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The manual for the new C4 sub does mention SCM20ASL in the crossover frequency tables. The ATC Profession site refers to this model as SCM20ASL “Pro”. It would not make sense to mix pro and non-pro products in the manual.
You could be right…
Indeed, and I’ve sometimes wondered if there would be a market for a nicely veneered version in their hifi range. Perhaps they want to avoid undercutting the top of the entry range.
Roger
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I think there would be a market for different veneer finish options on the entry series. I spoke to the guy from ATC at the recent dealer open day, he said apart from the entry series they have total in house control regarding cabinet construction and finish in relation to Consumer Hifi.
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Very nice, was that done at their factory in UK ?
Yes, this is a special series at the request of the French importer.
I specify that I no longer have the sub… There is no need with the 40A!
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Diamond black, bathed in evening sun
Close up details…
Another snap, from further back.
In recent days, these PMC Twenty5 23i active speakers have been with us on home loan.
We’ve been astonished how much music 
comes from these diminutive compact floor standing speakers.
BW
R
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Probably one of the most honest comments, made on here.
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The more I think about it, the more I lean towards actives. Just sell the 300DR, get a nice SupercapDR for my 282 and the PMC active modules and call it the day. Wish I could audition the SCM40A as well but there’s no ATC dealer around Antarctica 
Thanks for sharing your findings with us @ratrat
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Sadly, the loaners went back.
So our faithful old friends Epos ES14’s are back in and doing a super job too.
They may be 35+ years young, but they really do make marvellous music 
They came from “Sound Advice”, Loughborough, in the late 1980’s.
Same as our lovely Linn Sondek LP12.
A thought to share…
We’ve auditioned some brilliant new and modern speakers in recent weeks. Price range around £5k. They are all good, in their own way. But, with new aural reference points, when we then switch back to these veritable old friends, the immediate thought is “yes, actually these speakers are still pretty good”. (Compared). Mr Marshall was a clever fellow.
Here is an earlier image to share…
Currently listening to Steely Dan : “Reelin’ In The Years”.
From … Can’t Buy A Thrill, ( 1972 ).
Happy listening
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Makes one wonder why change speakers…
Save the money and buy more records…
My speakers in the living room are over 40 years old, got second hand be me just 40 years ago in March 1974 and in daily use.
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You could ask the same about all components, why change from the first you ever bought… But it does of course depend what kit you have, and what are your aspirations for sound.
Interestingly the IMF RSPM speakers I bought secondhand in 1990, made in about 1970 are still going strong today, and still sounding extremely good (I’ve been hearing them over the oast few days at my brother -in-law’s house where they now reside - and now powered with the same amp I’d think that they would give an extremely good account of themselves if heard alongside my current much younger PMC MB2 speakers, so much so that I do sometimes wonder why I changed, other than lack of overhead capacity with the highest peaks such as on the Telarc 24 bit recording of Tchaikovsky’s 1812 played at realistic orchestral level.
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Simple.
Because the second ( new pair ) are for another room, second system.
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Completely agree with your sentiment
Don’t think we could ever retire these wonderful speakers.
They will continue, on the end of Linn LP12 source and Naim 72-HC-140 amplifiers.
(As maybe originally intended, by creator Mr Robin Marshall ).
Hope that helps
Happy listening…
R
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