- Written by Jim Clements
- Published on 02 July 2014
The Induction Dynamics ID1 Floor Standing Speakers In Use
I was feeling a little nostalgic when sorting through my movie collection one day. That’s when I when I stumbled across “Mission impossible” on Blu ray. I used to watch the original Mission Impossible TV series with my dad and brothers. We really loved this show and I personally enjoyed the way the first movie followed the original formula quite closely. And that was perfectly fine by me.
This movie has quality, epic music throughout. Over the ID1’s, the opening musical score started things off on the right foot – with the horns displaying a satisfying, realistic splat and blat.
Later during one of this movie’s iconic scenes, the rush of the cascade of water billowing from the aquarium was fleshy and full sounding. Then in the closing bullet train scene, the music and complex audio effects were clean, full and clearly delineated. I plainly heard all the sounds both subtle and brash alike as I sat there with my eyes wide open, really into it! This was total awesomeness.
Next up, I listened to the 2-channel PCM track off the Rush 2112 Music Blu-ray. This format is such a great idea. I hope to see more of these in the future. For those of you who do not know, this disc has high resolution audio in stereo and surround. The music is accompanied by a video about the songs. The video on this disc is a series of frames that are like story boards and are reminiscent of the pages from an old comic book. This video presentation brings life to the stories in the songs.
The ID1 speakers love to rock and this Blu ray brought out their best in so many ways. The remastered audio possesses grand dynamics on a grand scale. The ID1’s got this right and they also passed more subtle cues in the transient attack of the drums, the sparkle of the cymbals, the clarity of the vocals and the driving electric guitar. These were all notable, but I most enjoyed the bass that was revealing of significant changes in character between songs all while remaining true to pitch.
I kept cranking it up to live levels and there was no hardness or glare. Just pure rock goodness. In the Overture’s Finale, I enjoyed the fat bass, driving guitar rhythms and the seat shaking kick drum without a single ounce of listening fatigue.
So it was proven through cinema and rock that the ID1’s have slam and boogie potential but the real test is on other forms of music, music that tests the most important realities of sound reproduction. And that would be in the midrange. Take Lightnin' Sam Hopkins on heavy vinyl courtesy of Arhoolie Records. The tonal palette of this recording is recessed in the bass due to the instrumentation. This puts a greater emphasis on the mid and upper registers. The quality in these areas really governs the believability of the performance.
The ID1's revealed their voicing as an accurate monitor with a smooth, peak-free rendering that traced Lightnin’ Hopkins voice like a champ and never faltered on soft and loud passages alike. Take “Ice Storm Blues” as an example. The ID1’s treated Hopkins’ voice and guitar work with great care on this track.
The unmitigated dynamics of the music shined through with deeply quiet backgrounds. This enhanced the percussive effect of the piano on “Do the Boogie”. This was certainly as realistic sounding over the ID1’s as vinyl can be.
I subscribed to Hi-Fi Choice many years ago. They included free, full-length CD’s with the magazine back in the early days of digital audio. I have hung on to a few of these discs. One of my favorites is Daniel Levy Piano Recital on the Edelweiss Emission Label. Levy is certainly one of my all-time favorite pianists and this disc shows him in the best light.
Over the ID1’s, I felt like the piano was 5' or so behind the plane of the speakers. This was a much more laid back perspective than I was expecting and was indeed a pleasant surprise.
The greatest beauty of the ID1’s in this case was their ability to convey all the piano's voicing from the percussive to the melodic and from very soft to very loud. My favorite piece that tests all these elements is Track 8, “Schumann Kinderszenen”; the piano was rendered with such beauty and the tonal balance was spot on. This held true on the next track as well, “Brahms Ballad in G Minor” (minus the coughs, footfalls and chair squeaks in the audience). Levy pounds the keys here, but the sound held up with nary any hint of audible distortion or compression.