July 2005 Reviewed by Roger Kanno	Infinity Beta 50 / Beta C360 / Beta ES250 / SW-12 Home-Theater Speaker System

Description Model: Beta 50 floorstanding speaker Price: $1000 USD per pair Dimensions: 41.3"H x 10.4"W x 14.7"D Weight: 63 pounds each Model: Beta C360 center-channel speaker Price: $400 USD Dimensions: 25.6"W x 8.5"H x 11.8"D Weight: 35 pounds Model: Beta ES250 surround speaker Price: $700 USD per pair Dimensions: 13.8"H x 11.8"W x 6.9"D Weight: 13 pounds each Model: SW-12 powered subwoofer Price: $800 USD Dimensions: 16.8"H x 14.9"W x 19.9"D Weight: 45 pounds

Description (cont'd) System Price: $2900 USD Warranty: Five years parts and labor Features Proprietary CMMD drivers CAI waveguide MDF cabinetry Biwire and biamp capability (50, ES250) Multiple selectable dispersion patterns (ES250) Bass Optimization System (SW-12) 12" CMMD woofer (SW-12) Variable crossover (SW-12) 500W amplifier (SW-12) Finishes: black or cherry (50, C360, SW-12), black or white (ES250)

Until recently, I’d been a longtime owner of a pair of Infinity Composition Prelude P-FR loudspeakers. These unique speakers are still a very-good-sounding design, even by today’s standards, though they’ve now been replaced by Infinity’s newer "statement" model, the Prelude MTS. Although Infinity has begun to move away from making expensive speakers, the Prelude MTS remains in their product line, and its technology is being trickled down to their less expensive series. Such is the case with their Beta models, which, among other design innovations, feature the Ceramic Metal Matrix Diaphragms (CMMD) originally developed for the Prelude MTS.

After using Infinity speakers as my references for so long, I was eager to hear what some of their more recent and inexpensive models sounded like. I received for review pairs of Beta 50 floorstanders and Beta ES250 surrounds, a Beta C360 center-channel, and an SW-12 powered subwoofer. Total system price: $2900 USD.

To Infinity and beyond

The CMMD diaphragms of the drivers (tweeters, too) used in the Beta series are made of aluminum laminated with a ceramic compound said to make them less brittle than traditional ceramics and stiffer than titanium or aluminum alone. They’re also said to have excellent damping characteristics. The tweeters employ Infinity’s Constant Acoustic Impedance (CAI) waveguide, claimed to improve both their on- and off-axis high-frequency responses, and to increase sensitivity and so smooth the transition to the lower-frequency drivers.

The units I received were all covered with a high-quality cherry-colored vinyl. My only complaint was that the underlying MDF was visible at some of the edges. Otherwise, the finish was as good as any I’ve seen in this class of speaker. I had reservations about the acoustic transparency of the speakers’ metal grilles, so I left them off during the review period. The main speakers (Beta 50) and the surrounds (Beta ES250) have two sets of binding posts, for biwiring or biamping, and all appear to be solidly built.

The Beta 50 is a relatively large three-way floorstander that weighs a hefty 63 pounds. It features a 1" tweeter, a 5" midrange, two 8" bass drivers, and is rear-ported. The C360 is a substantial center-channel speaker weighing 35 pounds. Its driver complement comprises a centrally mounted 1" tweeter and 4" midrange, flanked on both sides by 6.5" bass drivers.

The ES250 surround is a trapezoidal design with a 1" tweeter and 5" bass/midrange driver on opposite sides of the cabinet, a configuration common in dipole surround speakers. However, it also has a selector switch that allows the two banks of drivers to operate in bipolar mode (in phase) or dipolar mode (out of phase). One bank of drivers can even be turned off for monopolar use. Finally, each ES250 can be used simultaneously as a surround and back surround speaker. The jumpers on the two sets of binding posts can be removed to allow connection of both a left or right surround and a back surround signal -- you can have a full 7.1-channel speaker array using only two ES250s.

Although it has a 12" driver, the SW-12 is a relatively compact rear-ported subwoofer. There are stereo line-level inputs and both high-level inputs and outputs. The controls consist of a level adjustment and a crossover continuously variable from 50 to 150Hz. Switches are provided for main power, crossover bypass, and phase inversion. There are also controls for Infinity’s Bass Optimization System: Frequency, Level, and Width. This parametric equalization system allows the user to tame a single bass resonance peak, which many rooms have. Instructions are provided to set it by ear, but the process seems relatively complicated and somewhat haphazard. The SW-12 is actually best calibrated with Infinity’s optional Room Adaptive Bass Optimization System (R.A.B.O.S.) kit, which comprises a sound-pressure-level meter and test CD. I was not provided with a R.A.B.O.S. kit, so I bypassed the Bass Optimization System.

Setup was uneventful. I placed the Infinitys in the usual speaker positions in my listening room: the mains about 6’ apart, the center-channel atop my 34" direct-view CRT. I set the surrounds on stands about a foot above my seated ear level and to the sides and slightly behind the listening position. I preferred the somewhat fuller sound of the ES250 surrounds in bipole rather than the slightly more diffuse dipole mode, but the differences were subtle. I didn’t try wiring the surround and back surround channels of the ES250s separately for 7.1-channel sound, nor did I use the monopole mode; the proximity of the surrounds to my listening position make my room better suited for dipole and bipole surrounds. Still, it was nice to have the option.

Beta testing

The overall sound of the Infinity Beta system was extremely neutral, with fast, accurate bass, precise imaging, and excellent power handling. No matter what I played, I couldn’t trip up the Betas or make them sound strained or unmusical in any way.

The deep bass in chapter 4 of House of Flying Daggers was impressive, not only for its power but also for its articulation. Each time Zhang Ziyi hit one of the drums it sounded distinctly different, with well-defined attacks and decays and almost no overhang. When a bowl of beans is thrown across the room in that scene, the surround envelopment was excellent. The system also did a fine job of rendering the layering of elements in the dense mix from every channel. For example, the upright drums sounded as upfront and immediate as they should, while the background percussion of the massed drummers was more distant.

The SW-12 was surprisingly powerful for such a diminutive subwoofer, and sounded excellent in my room even with the Bass Optimization System turned off. Whether it was the Darla scene from Finding Nemo or some of my favorite demo sequences from Blade 2 and The Haunting, the bass was always tight and undistorted. The C360 center and 50 mains also did their parts in reproducing the low frequencies; together, all provided a solid and coherent presentation while maintaining the same clear, undistorted sound.

The Beta C360 proved an excellent center-channel speaker, able to handle the thundering hoofbeats in Seabiscuit as well as the delicate inflections of Diana Krall’s voice from her Live in Paris DVD. The ES250s not only provided outstanding surround envelopment, they also sounded superb, and were an excellent match for the center and mains. The DTS edition of Boyz II Men’s II [CD, DTS 71021-51001-2-8] blended the sound of each channel seamlessly, the sweet harmonies sounding equally good from every speaker.

The Infinity system made CDs sound exceptionally clean, with precise imaging. The Beta 50’s clear midrange made female vocals sound stunning. On "Sleigh Ride," from Baby, It’s Cold Outside [CD, Alert 6152810382], Holly Cole’s voice started out sultry and slow, then soared, but never faltered. She was positioned perfectly, just to the right of center, the accompanying double bass slightly off to the left. Even though the arrangement of "Tears in Heaven," from Five Songbirds [SACD, FIM SACD 048], is simple, Ayako Hosakawa’s vocal is one of the most pristine recordings of a female voice I have heard. The 50s reproduced her voice with remarkably little grain, and a sparkling clarity worthy of any high-quality two-channel audio system.

I cranked up the Eagles’ new concert DVD, Farewell Tour: Live from Melbourne, which is exceptionally well recorded for a live concert. The high hat and cymbals on Don Henley’s "Boys of Summer" were easily discernible, as was the desolate lead guitar, which was distinguishable from the multiple rhythm guitars. This multitude of guitars really came alive on "Hotel California" -- the dueling riffs of Joe Walsh and Steuart Smith, with Glenn Frey backing them up on acoustic guitar. They perfectly complemented each other while remaining distinct from each other, the bass, the keyboards, and the other instruments.

Although I keep referring to how clean and clear the Beta system sounded, and how tight and articulate its bass was, the system never sounded lean or thin. Although it couldn’t reproduce the lowest octave, there was solid bass down to that point, and the lack of distortion was surprising for such a reasonably priced system. Unless you’ve heard a very large, high-quality subwoofer or a true full-range speaker -- a rarity -- you won’t feel as if you’re missing anything with this system. And the high frequencies, which I’ve barely mentioned till now, were extended yet smooth and controlled. In short, this was truly a neutral and transparent-sounding system that I thoroughly enjoyed listening to, with no caveats.

Comparison

I’ve listened to many accomplished midpriced speaker systems in the past few years, and the Infinity Beta array was competitive with anything in that class. Each of those systems had their individual strengths, and while I had none of them on hand for a head-to-head comparison, I’m confident the Infinitys could hold their own against any of them.

For instance, the Mirage OM-9-based system ($3250) had a rich, enveloping sound that many will find irresistible, but the Infinitys’ more precise imaging should be prized by audiophiles, especially for two-channel recordings. The less-expensive Axiom Epic 60 system ($2005) had incredible power-handling characteristics as well as the superb Quadpole surrounds, which Vince Hanada thinks are some of the best surround speakers available. The Infinitys countered with comparatively faster and more responsive bass, and seemed to require less power to fill a room at home-theater-approved volume levels.

Conclusion

I fear that the Infinity Beta speakers might be overlooked by many shopping in the extremely competitive market of midpriced loudspeakers. Infinity may not get the same press and word of mouth as some other speaker manufacturers, but their Beta line deserves to be considered for use in any high-performance, high-value home-theater system. They’re solidly engineered, well built, and sound simply great.

Manufacturer contact information:

Infinity Systems Inc.
250 Crossways Park Drive
Woodbury, NY 11797
Phone: (800) 553-3332
Fax: (818) 993-7614

Website: www.infinitysystems.com

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