KUDOS TITAN 707 FLOORSTANDING LOUDSPEAKER

And they have. There’s an almost electrostatic-like sense of transparency and fluency, but with a heft and drive that panel designs just don’t manage to emulate. Timbres are rich, colourful and fully fleshed-out. I’ve found myself seeking out solo piano material, just to revel in the sense of a properly-sized instrument fully resolved in a convincing acoustic space. So, ‘january’ from Iiro Rantala’s my finnish calendar (ACT) was at once darkly brooding, yet curiously uplifting, the richness of Rantala’s tonal palette beautifully set off by the sensitivity of his touch and phrasing. The textures and woody tones of Evelyn Glennie’s marimba were made all the more real by the quick, clean attack and effortless timing in ‘Mexican Dance No. 2’ from rhythm song [RCA Victor] and showed, if there was any doubt, that the Titan 707s aren’t one of those loudspeakers that majors on beauty but goes a bit vague and apologetic when it comes to timing. This was the 707s in their element. Percussion is another strength, partly because of that timing, but mostly because it’s full of tactility, texture and impact. Whether sticks, skins, brushes or bits of old angle iron, the 707s paint a richly-resolved picture of the instrument and how it is being played. Jaura Jurd’s ‘The Lady of Bruntál’ from Landing Ground [Chaos Collective] switches in an instant from a wistful string opening to an urgent and compelling dash, the percussion working subtle but remarkable magic in the speed and delicacy of touch, but also the variety of textures and shapes conjured up.

So often it’s the little things that make the biggest difference. Gross errors are relatively uncommon these days, so once you’ve got the basics right, it’s all about how far you can go with the rest. Spoken voice is often telling, because we all know what it sounds like. Shawn Mullins, ‘Twin Rocks Oregon’ from Soul’s Core (Columbia) is a bit of a favourite for this, because there’s a lilt and cadence to his voice, but it still sounds conversational. Get it wrong and much of the magic evaporates, poetry becomes mere anecdote. Happily the 707s pitched it just-so; there’s a subtle rhythm and an unforced rhyming structure that isn’t always evident, but when you get it right, as here, it weaves a little spell of its own.

It’s this ability to resolve down to the intimate little details that comes out time and again. If, like me, you think Brian Blade is one of the greatest drummers at work today, then listening to him through the Kudos simply removes all doubt; or hear the variety of tonal shades Laura Jurd draws from her trumpet on ’Flight Music’, also from Landing Ground. It’s not detail for detail’s sake, either – the various components and complexities, whatever the music, are fully resolved and entirely cohesive. ‘Flight Music’ is a particularly revealing piece, at one moment lyrical and sweet, the next, angular and spiky; here, the Titan 707s brought out a real sense of actual musicians, at the top of their game, exploring the possibilities of their instruments and we’re invited to share in the sheer joy of their music-making. Some systems suggest you keep a respectful distance, lest someone get hurt, but with this version you can’t help but be drawn in. In point of fact, I got so drawn in, I let the entire CD run through…

There’s a slight foible, I won’t call it a flaw because everything else is so well-resolved I’m sure this is intentional. The upper midrange is very slightly recessed, which has the effect of putting a little more distance between the listener and the performance. My Albarry M1108s were entirely comfortable driving the Titan 707s, perhaps not quite so ‘forward’ as some other British designs of their ilk, their quick, lively and engaging character was nonetheless put to excellent use here. It’s a sense of physical separation, not by any means putting the music at arm’s length. Charlie Haden and John Taylor’s ‘Song for the Whales’ from Nightfall [Naim], places the piano back somewhat behind the double bass; but the piano textures and weight, and the tonal variety Haden draws from his bass, are simply extraordinary. Sinatra, ‘One for my Baby’ [Capitol] has the familiar intimacy of his voice, but the piano and Nelson Riddle’s orchestra are set a little further behind. Sinatra’s exquisite timing is still there, you just have to compensate ever so slightly for the deeper soundstage. It’s like sitting five or ten rows further back. Perhaps if your ideal concert seat is front row centre the Kudos Titan 707 is not for you, though I recommend you try it anyway, but if you like the broader balance of rows 5 to 10, then that’s what the 707s gave me. And speaking of cavernous soundstages, the Ramirez Missa Criolla [Naxos] showed the phenomenal transparency of these loudspeakers; aside from the vivid portrayal of the enormous acoustic space, there was a rhythmic cohesiveness that is often overlooked. The 707s pointed out, almost in passing, how the percussion sometimes echoes the rhythms in the melody, especially in the ‘Sanctus’.