Source: Coincident Speaker Technology 
Price: Eclipse $3,999.00 US & Super Eclipse $4,999.00 US 
Rating: &(highest rating awarded- state of the art)

Coincident Technology's Israel Blume was at it again and decided to build a model fashioned after the top-of-the-line Millenniums which we reviewed in TIER's Volume 10, #4.  According to Mr. Blume, the design goal was to construct a pair of loudspeakers with the sonic attributes of the Millenniums, but in a more compact and economical package.  In business since 1988, Coincident Technology first manufactured and marketed speakers in the lower price ranges and it wasn't until 1998, that the no-holds-barred Millenniums-a world class speakers system-was offered.  The success of the Millenniums must have inspired Blume to develop another high-end design which will appeal to a wider range of audiophiles, as they are priced significantly lower than the $7,000 (US) Millenniums.  So here we have them, the brand new mini Millennium models, available in two varities-the Eclipse and the Super Eclipse.  More about the different versions later, but first...

Appearance:
What comes to mind when looking at the Eclipses is the word elegant.  Styling a pair of box-like contrivances isn't a simple task as most loudspeakers have a square shape with six panels of various sizes; and that is exactly what we have here.  However, a closer look reveals outstanding cabinet work and finish, sleek lines and well executed structure.  Thus, the Eclipses' aesthectic appeal scores high.  Each cabinet stands 42 inches high with a footprint of only 8 inches wide and 16 inches deep.  The Eclipses' slim, monolithic-type of appearance can be easily coordinated with any interior.  Finished on all sides, the enclosures accept large spikes to anchor them firmly.  The Eclipses do not allow bi-wiring as there are only two solid gold-plated binding posts located at the bottom rear of each enclosure. 

Technology:
This is where the Eclipses resemble the technical arrangement of the Millenniums.  But first a few words about the cabinet and its bracing management.  Unlike the double-enclosure Millenniums, the Eclipse feature a single cabinet constructed of one-inch hardwood MDF.  To accomodate the system's two side-firing woofers as well as two midrange drivers and a tweeter arranged in the D"Appolito method (the tweeter between the mid-range drivers), Blume has to address all potential cabinet resonances.  He opted for an array of braces, strategically placed throughout the enclosure.  Horizontal braces above and below each woofer and a series of three horizontal and vertical top braces render a super rigid housing which has virtually no discernible sonic property.  Though not visible, each enclosure is divided into a section for the woofers and another section for the mid and high frequency drivers and both sub enclosures are sealed.  Internal (standing) waves are eliminated with the help of cimputer calculated cabinet dimensions.  Blume states that the enclosures are tuned to a sonically harmless fundamental resonance frequency of 350Hz.

Two side mounted, mirror-imaged  8-inch woofers operate in an internal volume eight times larger than the top enclosure.  These drivers have massive magnet assembly with a 2 inch voice coil; stiff, specially treated paper cones are suspended via a thick, but flexible natural rubber surround in a low reflection magnesium basket.

In the Eclipse version, two 5-inch midrange drivers made by Seas are used for their excellent power handling capabilities, linearity and system integration.  However-and this is most intersting-the expensive Seas sibling, the Excel model, is used in the Super Eclipse.  These are identical drivers to those found in the Millenniums and there is a significant performance difference, as we shall find out later on.

The tweeters for both models are 1-inch titanium dome units which feature a powerful double magnet assembly, vented poles pieces and non-resonant, thick aluminum front plates.  The tweeters have a wide dispersion charachteristic which allows a frequency response beyond 20kHz at 30 degrees off axis.  Their low resonance frequency of 550Hz assures supple sonic rendering of the highs without ringing.

A first-order crossover design divides the frequencies at 95Hz and 3kHz.

Frequency repsonse is from 28Hz to 35kHz; the impedance is 14 ohms with the lowest dip at no more then 10 ohms.  Sensitivity is 92dB 1 watt/meter.

The Sound:
Few listening tests are as elaborate as the ones we conducted for the Eclipses.  We used all the amplifiers we had in-house at the time which included, the Brston 5B-ST (bridged), the OCM 800, the Celeste Moon integrated, the Parasound, the Wytech Lab Topaz, and a little 4 watt/channel single ended prtptype supplied to us by Wytech Lab (not yet available to consumers).  A Celeste Moon and Wytech Lab Opal preamps, our in-house CD transport/DAC, as well as the a still-to-be-reviewed Rega CD transport/DAC, Straightwire and Nordost speaker cables and interconnects made up the balance of our auditioning systems.  With the exception of the Parasound amplifier, we used virtually the same auditioning components as for our listening test of the Millenniums about one year ago.

In order to determine the differences between the Eclipse and Super Eclipse models, two series of listening tests were conducted over a period of three months.  First, we'll document the results of the regular Eclipse audtitions, beginning at the bass.

We found it to be solid, powerful, dynamic and resolute in all areas up to around 180Hz to 200Hz, where the lower part of the midrange segment kicks in.  In about that region some of our panelists detected slightly laid back information with a little less energy than the frequencies above and below.  This sonic attribute didn't restrain the loudspeakers' otherwise accurate rendering of detail or tonal balance but lent the overall sound a bit of  "warmth".  Some of our panelists didn't comment at all, although our nit-picking Editor stated that he heard it loud and clear and that the Millenniums had no such weakness.  As half of our panelists didn't find anything they didn't like, we must ask our readers to take the above comments with a grain (or two) of salt.  The pure midrange area, including the transition into the high frequencies and extension into the dog whistle range, can be considered immaculate.  Imaging, time and space accuracy, focus on instruments and voices ranks up there with the best systems we have auditioned.

When we had finished with the first series of tests, Blume replaced the regular SEAS with the expensive SEAS Excel midrange drivers and we launched our second series of tests. With the brand new midranges just installed-certainly not burned in-the loudspeakers, now named Super Eclipse, took on that distinctive sonic character which audiophiles and music lovers readily distinguish as "the high-and". Now the speakers sounded absolutely linear, filling that small frequency spread In the bottom midrange area to match the energy above and below and rendering exceptional tonal equilibrium across the entire audible frequency range. As well, they now become more revealing, with improved spatial information.  Focus, detail, sound-stage proportions and authenticity improved considerably. The sonic caliber of both models was realized with all amp/speaker combinations but with subtle differences relating to the amplifiers' performances.  This and the earlier listening tests verified our impressions that both models of the Eclipse allow listeners to use amplification of their choice to attain the sound with which they feel comfortable. This brings us to the performance characteristics of the systems we had in-house and what one might expect to hear using various amplification. The best all-round sound, as expected, was with the single-ended 18 watts per channel Topaz. We all considered the sound of this system to be faultless, that is precise, realistic, revealing and musically alluring-almost audio education.
 

A surprising second best was achieved with the Parasound MCA 3500 amplifier reviewed in this issue. The system sounded a bit richer in the bass, a little less revealing in the midrange, but utterly convincing in the top frequencies. Musicality, a much neglected attribute, still rated exceptionally high.  The OCM came third, along with the Bryston. Whereas the OCM introduced a touch richer bass information, the Bryston had a slightly better resolving quality, not restricted to the bass. The high frequencies were handled a little better by the OCM, while the midrange clarity, focus on instruments and voices were a bit better with the Bryston amp.  The Celeste Moon integrated amplifier came in a close fourth. The system now had the same tonal characteristics as theTopaz/Eclipse combination, but didn't quite accomplish the apex in any of the parameters mentioned above. Still with very respectable sound, the Moon/Eclipse system should be considered a fine synergistic combination with admirable and appreciable musical merit.

Synopsis & Commentary:
To tell you the truth, we didn't expect the Eclipses to be anywhere near as good as the Millenniums; an attitude based on our experience with other speaker manufacturers' attempts to market a "cheaper" version of their flagship design.  However, the Eclipses, particularly the Super Eclipses, do perform almost as well as the more expensive Millenniums. Actually, it shouldn't be a surprise as the Super Eclipses employ identical parts and only the cabinets are different. So what is offered here is an honest-to-goodness replica of an outstanding design which, based on our listening tests, come within about 85 percent of the performance of the Millenniums in its Eclipse version, but edges up over 90 percent in the Super Eclipse model.  Even given the rather substantial reduction in cost the Eclipse aren't exactly priced inexpensively. We'd like to point out to our readers that the performance differences between the Eclipses and the Super Eclipses, though apparent to experienced listeners, can only, be realized when one has established what, in fact, a superb system can achieve. The same holds true when the Super Eclipses are compared to the Millenniums. These loudspeakers aren't everyone's cup of tea to be sure, but those who have aspired to audio's high-end are well advised to have a listen.  As the Eclipses are capable of mercilessly revealing their back-up components, we'd like to forewarn all those interested that the electronics-amps, preamps and source components-greatly influenced the final sound of those speakers.  Single ended amplifiers are highly recommended-the Topaz worked best in our studio, but we understand that Manley amps are also exceptional matches and we are sure that there are others. Though slightly different in sonic makeup, both 
cables used for our listening session are also highly recommended. When all is right, the Eclipse models will deliver authentic musicality for those who love the music; and they will deliver accuracy and stunning transparency for those who like to listen to their components-a rare opportunity to please the audiophile AND the music lover.

Editor's Note:
The results of the audition using the Wytech Lob single ended prototype amplifier with 4 watts/channel were literally stunning and actually surpassed the performance with our in-house Topaz.

Reprinted With The Permission Of The Inner Ear Report.