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MARKI B&W Solid HCM1-2

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B&W Solid HCM1 and Active PowerBass loudspeakers John Borwick
B&W Loudspeakers launched their first Solid Monitor loud speaker in 1990 (reviewed by Geoffrey Horn in September that year). It was the forerunner in a series of distinctive appearance and was marketed under a subsidiary trading company, Rock Solid Sounds Incorporated Limited. Now they have introduced three new Solid models (actually made in China): the HCM1 (f249-90 per pair), the smaller HCM2 (£129.95) and the Active PowerBass subwoofer (£299-00). This review looks at the HCM I as a potential hi-ti stereo unit, with or without the PowerBass, but these models very clearly lend themselves to forming the basis of a home theatre surround sound system.
Of course these loudspeakers are not 'solid', yet the B&W research team have evolved techniques for reinforcing cabinet rigidity to such an extent that the word is a fair description of their behaviour. It began with the Matrix series more than a decade ago where a honeycomb of crossbraces effectively muted panel resonances and internal standing waves. (The top Matrix 801 model is used by many professional recording engineers and has been the recipient of many awards.) For the Solid range, the computeraided design uses an injectionmoulded toughened co-polymer incorporating resonance-damping material with internal ribs for added strength and rigidity. A knuckle knocking test quickly demonstrates the absence of any box-like resonances.
Solid HCM1
Plastics moulding of course gives much more freedom to the designer than wood panels and here Morten Warren has gone for a curvaceous enclosure, available in black or white, which combines eye appeal with proper attention to both internal acoustic requirements and a smooth radiation pattern. Even the straight sides are not exactly parallel, to spread any build-up of standing waves. In sum, the HCM1 is a stylish loudspeaker of mini proportions (235 x 165 x I 65mm) but with highperformance potential.
The two drive units are set into a multi-radiused baffle for optimum diffusion of high frequencies. Unusually shaped twin reflex ports also emerge through the front panel, as can be seen by removing the perforated metal grille. This operation is a little tricky (I used a hook made from a paper-clip) but is mentioned in the User Guide because the loudspeakers are delivered with a thin textile sheet (scrim) in place behind the grille. This effectively hides the drive units from view but inevitably introduces a degree of treble loss, and I much preferred the sound with the scrim removed, or the grille left off altogether.
The tweeter is a 25mm soft dome polyester unit with Ferro-fluid cooling/damping and crosses over at 3.5kHz to a 130mm co-polymer cone bass unit having a lowhysteresis roll surround. Both drive units are magnetically shielded to permit use near a television screen or computer monitor, and indeed the HCM1 is actually sold singly (at £124.95) as well as in pairs.
B&W incorporate something they call Acoustic Voice Matching to provide smooth distribution of sounds in any two- to six-channel set-up, and there is a fast thermal "Polyswitch" overload protection device which reduces the input if safe levels are exceeded. In practice, overload is an unlikely eventuality as the power handling is rated at 150 watts and sensitivity is a healthy 89dB at 1 metre for 2.83V input. In other words, the name 'solid' may be taken to refer to the sound pressure levels attainable as well as to the physical construction.

Deeply recessed bolts through the rear panel leave the fascia free of any fitments and the goldplated terminals, similarly recessed, will accept 4mm plugs or bare wire. Proof of the versatility of the HCM1 is afforded by the inset ball-jointed mounting stem which bolts to the base stand but which can be turned to suit a vertical or horizontal position and then angled to point the loudspeaker in any desired direction. Placing the HCM1 horizontally will be very appropriate for TV centre (dialogue) loudspeaker use and there is an alternative shorter stem to provide a lower profile. The stand base has rubber feet to avoid scratching a polished surface and it can also act as a mounting plate for wall or ceiling, when the balljoint can again provide an almost infinite choice of angle.
Active PowerBass
The bottom two octaves in the audio spectrum, say from 100Hz downwards, are important in supplying warmth, depth and a sense of space to reproduced sound. However, they contribute very little to the directional stereo effect and are radiated in a non-directional manner from all but the very largest
The new Solid PowerBass unit conforms to normal subwoofer principles but adds a couple of features to enhance the flexibility of use. It is roughly cube shaped (360 x 330 x 330mm) but has a bowed frontage and perforated metal grille cut away at the top to expose a red 'power on' LED and rotary volume control knob. The latter is unusual in that it pops forward when pressed and can be pushed back flush with the panel when the desired bass level setting has been established. There is also a power on/off switch on the rear panel and a phase reverse switch which should normally be set to the zero position. However, with some equipment or subwoofer placements, a fuller bass effect might be heard with the subwoofer phase reversed, and this should be checked after any change in the set-up.
fier and satellite loudspeakers. Alternatively, for use with an integrated amplifier, there are four pairs of spring-loaded loudspeaker terminals to receive the L/R music signals from the amplifier and loop them on to the satellites. There is a further pair of line-level phono sockets to provide a link feed to a second PowerBass unit for a more substantial installation. The User Guide explains all these possibilities for either a stereo amplifier or home theatre surround-sound decoder, with clear connection diagrams.
Positioning of the subwoofer is relatively uncritical, though an unobstructed position between the main stereo loudspeakers will be best for avoiding any residual L/R bias which keen ears might detect from an offset location. Magnetic shielding allows the PowerBass to be sited near a TV screen or computer.
Performance
Using well-liked stereo material to audition the HCM1 loudspeakers on their own soon had me convinced that all that clever cabinet construction has paid off. There was absolutely no feeling of listening to a pair of 'boxes' and the absence of coloration gave a believable impression on music of all kinds. Spatial realism was helped by the excellent treble dispersion, which produced a stable stereo image over a wide listening area. This, like other aspects of this design, is helpful in any surround sound application whether the HCM1s are used as main pair, centre front, rear loudspeakers or in all five positions.


The frequency response showed a slight step up from about 8k Hz and this was audible as an unusually extended treble and very slight brightness, very unforgiving of over-bright recordings. However, this unclouded top-end supplied a pleasing degree of immediacy. The bass reflex design has skillfully maintained a smooth response down to about 70Hz which, however, leaves an inevitably shallow effect where deep bass is important, e.g. organ or pop recordings. Wall mounting will of course add substantial bass reinforcement because rear reflections then reach the listener almost in phase with the forward wave, and a similar boost can be achieved by placing the loudspeakers on a shelf close to the wall.
Hooking up the Active PowerBass added an essentially seamless extension at low frequencies. The crossover at 95Hz left the HCM I sound virtually unchanged but enabled me to juggle with a bass ingredient which extended all the way down to the limits of most recordings. A warble tone at 31.5Hz was clearly audible (and made my door rattle) at a perfectly normal listening level. Setting the subwoofer volume control gives one a feeling of power but needs careful experimentation if a natural balance is the aim rather than 'boom boom'.
It is all too easy to become selfindulgent and wind the bass up beyond sensible limits -just to show it's there. The PowerBass has very high power handling capacity and its 'solid' reflex enclosure does reproduce the bass register very smoothly, but it will be doing its job best when used subtly. Then large choral or orchestral works can attain realistic loudness and depth, piano tone really comes to impressive life and voices take on a proper fullness and presence.
To sum up, the Solid HCM 1 is a serious mini monitor in its own right with surprising clarity and attack. By designing the HCM I and the PowerBass together, using that Active Voice Matching technique, B&W have been able to optimize their respective responses and meet the needs of both the dedicated stereophile and the home theatre buff (al Specification Solid HCM1 Type two-way bass reflex.
Drive units 130mm woofer, 25mm tweeter Frequency response 70Hz-20kHz ±3dB Sensitivity 89dB for 2-83V at 1 metre Nominal impedance 8 ohms Crossover frequency 3-5kHz Dimensions (H x W x D) 235 x 165 x 165mm Weight 3kg Finish black or white Solid PowerBass Type subwoofer bass reflex Drive unit 200mm long-throw Frequency response 38-95Hz t 3dB Amplifier 70W discrete MOSFET Low/high pass filters at 95Hz Dimensions (H x W x D) 365 x 330 x 344 mm Weight 10kg Finish black Manufacturer B&W Loudspeakers Limited, Marlborough Road, Churchill Industrial Estate, Lancing, West Sussex BN15 8TR. Telephone 01[zasłonięte]-750750 UK retail prices HCM1 2249-90 per pair, 2124-95 single; Active PowerBass £299-00 single