Polk Audio L-800 Review
Summer of 2011, I traveled 2 1/2 hrs each way to a fellow Polkie’s house to hear the newly released LSiM 703’s as there are no upper series Polk dealers in my area. That day, I heard a speaker that completely disappeared with pinpoint imaging I’d not heard in a Polk speaker to date. While I was there, my host also wheeled in his SRS 2’s PB for a comparison.
The SDA’s had a MUCH wider soundstage, better sense of scale and dynamics, deeper bass, and that signature vintage Polk Audio Sound. However, although the 703’s were bookshelves, where they were better than the SRS 2’s was resolution, micro details in the recordings were better and imaging. The instruments seemed more defined in the soundstage.
That day we joked about Polk combining the two for a new SDA speaker and that’s what I feel the Legend L800 to be.
Listening to the SACD of Dave Brubeck’s Time Out, the scale of Dave’s piano is conveyed very well, without imposing its size on the other instruments in the soundstage. Paul Desmond’s alto sax playing is very focused with a sense of ease that he plays with. But something startled me. As I was listening to Kathy’s Waltz, I could actually hear Desmond’s tongue on the reed! There are several places in the recording where I’ve heard his mouthpiece fill with saliva. However, this was the first time I noticed articulation.
Listening to the London Symphony Orchestra’s recording of Mahler Symphony No. 2 The Resurrection, the strings are usually a wash of sound, however, it felt as if I could hear each instrument individually.
All in all, to say that I am absolutely happy with my L-800. I can now move on from my vintage SDA’s. I will always have my Monitor 4’s for sentimental reasons, but for now, the L-800’s are all the speakers I need.
The SDA’s had a MUCH wider soundstage, better sense of scale and dynamics, deeper bass, and that signature vintage Polk Audio Sound. However, although the 703’s were bookshelves, where they were better than the SRS 2’s was resolution, micro details in the recordings were better and imaging. The instruments seemed more defined in the soundstage.
That day we joked about Polk combining the two for a new SDA speaker and that’s what I feel the Legend L800 to be.
Listening to the SACD of Dave Brubeck’s Time Out, the scale of Dave’s piano is conveyed very well, without imposing its size on the other instruments in the soundstage. Paul Desmond’s alto sax playing is very focused with a sense of ease that he plays with. But something startled me. As I was listening to Kathy’s Waltz, I could actually hear Desmond’s tongue on the reed! There are several places in the recording where I’ve heard his mouthpiece fill with saliva. However, this was the first time I noticed articulation.
Listening to the London Symphony Orchestra’s recording of Mahler Symphony No. 2 The Resurrection, the strings are usually a wash of sound, however, it felt as if I could hear each instrument individually.
All in all, to say that I am absolutely happy with my L-800. I can now move on from my vintage SDA’s. I will always have my Monitor 4’s for sentimental reasons, but for now, the L-800’s are all the speakers I need.
2-channelBelles 22A Pre, Emotiva XPA-2 Gen 2, Marantz SA8005, Pro-Ject RPM-10 Turntable, Pro-Ject Phono Box DS3B, Polk Audio Legend L800's, AudioQuest Cable throughout.
Comments
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I agree 110 percent... Once they open up after a good break-in period, there is no going back to the vintage SDA.The Gear... Carver "Statement" Mono-blocks, Mcintosh C2300 Arcam AVR20, Oppo UDP-203 4K Blu-ray player, Sony XBR70x850B 4k, Polk Audio Legend L800 with height modules, L400 Center Channel Polk audio AB800 "in-wall" surrounds. Marantz MM7025 stereo amp. Simaudio Moon 680d DSD
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