The Coltrane 3s, housed in an improved version of the original cabinet design and playing in the same room, produced some of the best bass I've ever heard here. Marten's specs claim a frequency response of 20Hz–60kHz, ±2dB, and I heard nothing to contradict that. Although my room is notorious for being incapable of expressing the lowest octave, the Coltrane 3 produced the deepest bass I've heard here, with the exception of the original Vandersteen Model Seven, which has a built-in powered subwoofer.

Bass transients were cleanly expressed, followed by well-defined textural and harmonic structures that combined to produce those real bass notes. The results were consistently believable renderings of the instruments that produced the notes. This was true throughout the bottom octaves, no matter the volume and no matter the instrument. Granted, my room is of modest size (15' wide by 22' long by 8' high—but filled with records, so it looks smaller), but I could push the Coltrane 3s to very high SPLs without them revealing even a hint of strain. Their overall tonal and textural character remained remarkably consistent.

One record I've been wowing visitors with lately is David Murray's Spirituals (LP, DIW-8042), recorded by the great engineer Jim Anderson at the late Phil Ramone's A&R Studios, in New York, in January 1988. In "Amazing Grace," Murray explores much of his tenor saxophone's range, braying high and digging down deep, as bassist Fred Hopkins plucks the depths and drummer Ralph Peterson Jr. rumbles and explodes on toms. Pianist Dave Burrell, almost buried in the mix, mostly plays blocks of pounding gospel chords to cut through the clamor. This track—and, indeed, most of Spirituals—sounds like the greatest Saturday Night Live end-of-show cast reprise, ever. This astonishingly great, almost violent recording demonstrated all of the Coltrane 3's finest attributes: its speed and responsiveness, and the unerring tunefulness and impressive vitality and clarity of its bottom end. You need to hear the opening bass lines of "Blues for My Sisters (For Barbara and Michelle)" to really appreciate the Coltrane 3s' solid, muscular, cleanly delineated bottom octaves. They're addictive, and through the Martens they produced stomach-clenching pressure waves I hadn't thought were possible in my room.

The speaker's neutral reproduction of massed and solo strings well suited my listening tastes. If I wanted more warmth and bloom, I'd do so at the front end—it wouldn't take much. But in my system, driven by the solid-state darTZeel NHB-458 monoblocks, the Coltrane 3s left me satisfied and convinced with every listen. However, if you're obsessed with Quad electrostatic speakers, nothing produced by Marten—or any other maker of moving-coil speakers—will be likely to make you switch.

Link do recenzji: Marten Coltrane 3 – Stereophile

低頻豐富飽滿 Coltrane 3 SE的低頻量感豐富，其實不必再利用背後的旋鈕增加了，假若您覺得低頻的量感還不夠，當然 可以酌量增加，但我相信這種機會不 多。像我聽辛諾波里指揮德勒斯登國 家管弦樂團的李斯特「但丁交響曲」時，管弦樂的低頻基礎就很厚實，音 樂氣勢澎湃磅礡，而且衝擊性很強。

聽杜達美指揮洛杉磯愛樂的德弗札克 「第八號交響曲」時，又是另外一番 風景，此時弦樂群柔美細緻，所有樂 器的融合度很高，使得音樂充滿吸引 人的魅力。顯然Coltrane 3 SE的平衡性 很好。此外，整體管弦樂的聲音也很 厚，可說是飽滿而柔美，不會單薄。

聽萊納指揮芝加哥交響樂團的理查 史特勞斯「英雄的生涯」時，同樣的，弦樂群非常細緻柔美，低音聲部飽滿厚 實，銅管也很雄厚，再加上Coltrane 3 SE 的高解析能力，讓我好像能夠聽到管弦 樂各聲部交叉編織的紋理般。誰說鑽石 高音、陶瓷中音的聲音會硬？Coltrane 3 SE將這首曲子唱得柔美寬廣極了。

Link do recenzji: Marten Coltrane 3 SE – Audio Art

Link: Marten Parker Trio – Stereophile – Recommended Components 2020

Link: Marten Parker Trio – Stereophile – Recommended Components 2019

Link: Marten Parker Trio – Stereophile – Recommended Components 2019

Link: Marten Parker Trio – Stereophile – Recommended Components 2018

Link: Marten Parker Trio – Stereophile – Recommended Components 2018

Link: Marten Parker Trio – Stereophile – Recommended Components 2017

Link: Marten Parker Trio – Stereophile – Recommended Components 2017

Link: Marten Parker Trio – Stereophile – Recommended Components 2016