Phase Technology PC60 CA 30th anniversary Absolute Phase Crossover

One pair lightly used/professionally broken in ........Priced for Cash & Carry Sale

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Description: Two-way, sealed-box bookshelf speaker. Drive-units: 1" woven-synthetic soft-dome tweeter, 6.5" RPF/glass/Kevlar-cone, solid-piston woofer. Crossover frequency: 2.0kHz. Frequency response: 60Hz–20kHz, ±3dB. Sensitivity: 87dB/2.83V/m. Impedance: 4 ohms. Recommended amplification: 25–150W.
Dimensions: 131/4" (340mm) H by 85/8" (220mm) W by 81/4" (210mm) D. Weight: 32 lbs (14.5kg) per pair.
Finishes: Oak, Black Oak.

Design
The PC60 CA features the Absolute Phase Crossover that Phase Technology uses in all of its speakers. The topology, originally designed for home-theater speakers to ensure broad horizontal and vertical dispersion, is also designed to phase-align all drivers, acoustically and electronically, to maximize the precision of soundstaging and imaging. The new drivers designed for the PC60 CA include a patented 1" soft-dome tweeter woven of some synthetic material, and a 6.5" woofer with a flat solid piston made from a sandwich of RPF, glass, and Kevlar. Phase Tech claims that because solid-piston drivers don’t exhibit the normal breakup modes, the entire front surface of the cone reproduces all frequencies in unison

The PC60 CA’s reproduction of the highs and its flawless articulation of transients made it an excellent match for recordings with demanding percussion transients—such as "My Spine," percussionist Evelyn Glennie’s solo on tuned car-exhaust pipes from Her Greatest Hits (CD, RCA Victor 47629-2). I was transfixed by percussionist Daniel Druckman’s delicate, forceful, varied phrasing in George Crumb’s Spanish Songbook 1: The Ghosts of Alhambra, from The Complete Crumb Edition, Vol.15 (CD, Bridge, 9335). The singer and players were spread across a wide, open, airy soundstage

The PC60 CA’s superbly defined, clean bass delivered an impressively dramatic reproduction of the bass drum in "Dog Breath Variations" and "Uncle Meat," from Frank Zappa’s The Yellow Shark, with Peter Rundel conducting the Ensemble Modern (CD, Barking Pumpkin R2 71600). The Phase Techs also unraveled a great deal of detail in that densely orchestrated piece. I had never noticed the pianissimo banjo way down in the mix before, and I also noticed that the speakers clearly separated the opening bass line of "Uncle Meat," which is doubled by bassoon (Zappa’s favorite instrument) and piano. I also found that the speaker’s linear and subtle delineation of low-level dynamics gave well-recorded instrumental solos a high level of realism. With Susie Ibarra’s percussion solos on her Radiance (CD, Hopscotch HOP2) and Dino Saluzzi’s bandoneón solos on his Cité de la Musique (CD, ECM 1616), each virtuoso’s unique phrasing shone through the PC60 CAs.

Finally, I loved the Phase Tech’s coherent presentations of rhythm sections in jazz and rock recordings. In Saudades by Trio Beyond, with guitarist John Scofield and organist Larry Goldings, Jack DeJohnette is clearly the driver of the rhythm in "Pee Wee," the tribute to Tony Williams (CD, ECM 1972/73). From my notes: "Groove!" I had a similar reaction to DeJohnette’s interaction with bassist Dave Holland on pianist Geri Allen’s The Life of a Song (CD, Telarc Jazz CD-83598).

I can’t think of a more versatile drummer than Andy Newmark. Although probably best known for playing in that iconic session when Keith Richards first played with Ronnie Wood, he also played on John Lennon’s last two albums, Carly Simon’s Anticipation, and with Sly and the Family Stone and Pink Floyd. My favorite Newmark performance is on Roxy Music’s Avalon (CD, Virgin 47460 2). I listened to the entire album through the Phase Techs, and Newmark’s driving rhythms kept my toes tapping the whole time.2