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The X-719's bass performance was unlike that of any other speaker I've heard. With all recordings, the bass was forceful, forward, dramatic, and deep (JA's measurements will tell us just how deep). But in searching for a word to describe the bass, the only word I can think of is buxom. With every recording I used, I kept thinking of...Dolly Parton. Adrienne Barbeau. Kitten Natividad. That is: round, tight, well-defined, dramatic, warm, supple, but slightly larger than life. Scott La Faro's solos on the live Bill Evans recording bloomed with good definition, and although the bass presentation was rather round, there was no sense of coloration, overhang, or sluggishness.

When I played well-recorded electronic rock recordings at higher volumes, the Usher's bass performance was even more dramatic. On "Feel No Pain," from Sade's Love Deluxe (CD, Epic EK 53178), the portamento from the lower-register bass synth shook the room with extraordinary definition and with no trace of coloration, overhang, or strain. Recordings such as this demonstrated the X-719's seemingly limitless capabilities of high-level dynamics#8212;by far the most impressive I've heard from a bookshelf speaker this size.
I decided to turn up the volume. The bass-synth blasts on "Electric Battle Weapon 6," from the Chemical Brothers' American EP (LP, Virgin/Astralwerks ASW 43338), are true lease-breakers. I cranked up the system to about 110dB. Walls were shaking. Floors were shaking. My dog began barking violently. But the Ushers didn't flinch#8212;despite my predilection for listening to delicate piano recordings with these speakers, the Ushers could party hearty when asked to.

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Såsom, Shirley Kwan, Sara K, The Doors, Gilberto Gil mm

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