This review page is supported in part by the sponsors whose ad banners are displayed below

As a two-way concept the long-throw 15cm woofer obviously plays double duty and covers the midrange as well. This transition I found seamless. The voicing of this band to which human hearing is most sensitive to pick up even mild colorations was neutral to sober in the best sense of those terms. Fully in the tradition of the bigger nuVero models the designers have managed a projection of voices and acoustic instruments which struck me as very natural and free from deliberate effects. The tonal balance thus stayed clear of both 'warm' and 'cool'. What over the first few hours could suggest itself as recessed or perhaps boring turned out to be-nomen est omen!- committed to truth where things reminded me of the Danes at Dynaudio amongst others.


The Editor's front man Tom Smith ("Formaldehyde", The Weight of your Love) has such a clear and crisp intonation that undue warmth and volume get quickly ill matched. His vocalizing turns spot on whenever his fragile timbre sticks out most present from the surrounding music. Smith not only sang without embellishments plainly in front of the band, he was reach-out-and-touch tactile yet remained part of the whole which feathered out into fine detail before me


Exemplary here was the e-guitar whose flair recalls The Cure. It floats between vocals and electric bass in the depth of space without interrupting the musical flow. An older Magnat Quantum 603 I pulled out for an A/B drowned out some of these details in the surrounding mix. This was due to a small midband emphasis which generally can be quite pleasing but on complex materials clouds over the differentiation and separation of individual lines. Here the Nubert didn't miss a beat.


On the topic of naturalness and effects-free separate lines I always flash on Tori Amos' "I can't see New York" from Scarlett's Walk where here famous Bösendorfer concert grand must sound massive, insistent and just a tad mystical. Here I was once again astonished by how well the nuVero 3 tracked the huge bandwidth of this instrument. On neutrality and honesty some very mature monitors like my Magnat Quantum 905 can't do better even if the piano's low registers and sub range are better handled and more fully worked out. But in this discipline it's really not about the bass.


On the treble the designers here were most generous. The smallest nuVero gets exactly the same tweeter as their very largest model. And the optional ambient unit based on it. This 26mm silk dome is thus partially responsible for the capacious relaxed and airy but not overdone sense of space and well-illuminated fine detail on high. With the rear tweeter on, the virtual stage opens up laterally and sounds seem to disperse in a broader venue. Imaging precision suffers very little but personal experiments with this partial dipole mode are certainly called for. Sometimes it's right, sometimes less so. In general breath work and the particular attacks and key clatter of winds and brasses are as cleanly rendered as are the ephemeral trailing edges of struck triangles. With one proviso. It has to be on the recording. Badly compromised or poorly mixed music gets brutally exposed. Grain and sibilants telegraph as unpleasant noise or hiss which is no fun over the long haul. That's par for a course the maker himself calls honest loudspeakers. Truth in advertising? You bet!