On the cover of the PMC Prophecy brochure, as you might expect, it’s a lavish production, emblazoned with the words “hear the future.” This is essentially marketing rhetoric, but perhaps there’s a grain of truth to it. High-quality speakers can transport listeners through time; they can transport you to the moment and place of a great concert, placing you among the audience. Of course, there’s a degree of skepticism, but in reality, you can simply close your eyes, focus on the performance, and you’ll be there.

The less coloration a speaker has, the more authentic the experience. However, whether you’ll actually hear music from the future remains debatable. The Prophecy series, slimmer and more elegant than the 25i series it replaces, forms the core of PMC’s product line. All four models (five if you include the center channel Prophecy C) utilize the same 125mm (5-inch) mid-bass and bass drivers; generally, the larger the enclosure, the more drivers are used. The Prophecy 7, positioned in the middle of the three floorstanding loudspeakers, replaces the 25.24i from its predecessor, but improves sound quality by adding a midrange soft dome driver to the existing two-way, two-driver configuration. In fact, they achieved this without raising the price, which is admirable for a speaker that seems to have few compromises.

X Dynamics The biggest difference between the Prophecy model and its predecessor lies in the design of the vents, part of PMC loudspeakers’ signature Advanced Transmission Line (ATL). Previously, the vents were cut into the front baffle at the bottom of the cabinet; in the recent model, aerodynamic fins have been added to reduce turbulence generated when compressed air interacts with the outside air in the transmission line. For the Prophecy series, PMC created an aluminum base called Laminair X, which provides the final segment of the transmission line and includes fins that generate laminar airflow. The quality of this component also brings the added benefit of enhanced stability, eliminating the need for the stainless steel base bracket used in the 25i series for tilt testing. However, the isolation provided by grommets in that system has been removed, replaced by a natural cork pad between the cabinet and the base. The prophecy’s base is threaded for direct mounting of spikes.

The Laminair X is said to be superior in generating the desired laminar flow compared to the previous system; the fins are now as deep as the base (31 cm), instead of the 5 cm deep in the 25i model. This results in cleaner bass because the compressed air behind the bass cone can flow more freely out of the transmission lines. The prophecy 7’s drivers include a 27mm soft dome tweeter based on the professional series design, covered by a protective shield that not only provides protection but also extends the highest frequencies for a flatter response. PMC has also placed the tweeter in a waveguide, which improves sensitivity and allows for a smoother transition with the midrange soft dome.

The midrange soft dome driver is a 55mm unit with a performance-enhancing protective cover and is housed in a more complex waveguide, which PMC calls n-compass (get it?). Its function is similar to the tweeter, aiming to improve dispersion and integrate with its paired driver. The midrange waveguide combines two profiles: a shallow exponential waveguide and a steep hyperbolic waveguide, designed to leverage the hyperbolic shape’s advantages in low-frequency loading and sensitivity while using the exponential shape to control off-axis dispersion. Dispersion is reportedly enhanced through diffraction and re-radiation of high frequencies by this waveguide. Both soft dome drivers’ waveguides, like the drivers themselves, are derived from PMC’s proprietary design, ensuring good performance at least at high volumes.

The woofer on the Prophecy 7 looks rather ordinary, but it was specifically developed for loading in the new LaminairX series. Its goal is to deliver high power, wide bandwidth, high speed, and low bass coloration, which is quite demanding for a 5-inch driver. PMC achieved this by using an ultralight, mica-filled cone material housed in a cast alloy chassis with ferrite magnets, and the results showed some success.

When driven by the Moor Amps Angle 6 150W power amplifier, the Prophecy 7 proved to be somewhat of a jack-of-all-trades. It sounded good at first, but by the end of the rather short review period, I had grown to really like its extremely low distortion and high transparency, coupled with excellent bass bounce. During that time, I played a lot of music with the Prophecy 7 and heard new details in many tracks; John Abercrombie’s *Timeless* sounded excellent, with harmonic details resolved so beautifully, thanks to the speakers’ quietness. While they lack fancy cabinets, their construction avoids interference with the sound, allowing me to hear more music and less cabinet noise.

I think the narrow front baffle helps with this, as does the solidity provided by the aluminum block at the bottom. With a record as exceptional as this, you get a tremendous amount of atmosphere and excellent imaging, even off-axis. I tend to sit in the “sweet spot” when I’m alone, but when sharing a sofa with others, I tend to sit to the side, which usually noticeably detracts from the imaging, but is less so here. This wide diffusion likely does make sense.

Tone-wise, the prophecy seems remarkably accurate. Its balance is slightly off by some standards, but it makes other sounds bright and forward. This suggests they are extremely neutral. It makes *Message in a Bottle* (yes, The Police, you might be surprised if it’s on vinyl) sound a little fuller, but keep in mind that this album was made for post-post-punk city, so it sounds raw and lively. In fact, it sounds fantastic; the drums are disguised as progressive rock, and so are the guitars. Only Mr. Sting’s rap gives it a pop vibe, but with speakers this fast and controlled, it’s a treat either way.

Conclusion: The prophecy7 is highly sensitive to changes in the scale of the sound image. One track fills the entire room, while the next is presented in a tightly focused, three-dimensional space between the two speakers. The cleaner the production, the smoother the sound; of course, Johan Lindvall Trio’s album *End* (reviewed in the June issue) is presented on a relatively small scale, but the performance is completely captivating, its inner beauty truly drawing you in. For Jeff Parker’s live recording of *The Way Out of Easy*, the sound image outside the prophecy7 is almost as strong as it is between them, and there is so much individuality in the sound—each instrument has its own unique timbre and acoustic characteristics—yet the band as a whole presents itself as a completely cohesive unit.

You can hear its professional pedigree in the monitor-like capabilities of this speaker, resolving details such as compression, reverberation, and effects in the playback. The prophecy7 doesn’t possess the typical characteristics of a monitor speaker, but it does demonstrate the transparency of nuances offered by this design. Perhaps this also comes down to diffusion; how the speaker interacts with the room depends entirely on diffusion, making it a key factor in our perception of sound.

I revel in the speed and directness of the Prohecy 7, and it doesn’t sound bright or forward when it does. Especially at higher volumes, it tends to be lyrical, as I’ve done with them in my systems, thanks to its remarkably low distortion, allowing for complete immersion in a wide range of tracks, including The God in Hackney’s “A Frozen Western,” another example of the sound completely enveloping the speakers, giving the impression that they disappear when I close my eyes.

Since its release five years ago, I’ve intermittently used PMC 25.26i speakers, which have the same three-way, three-single configuration with a soft dome midrange driver. However, despite being larger and more expensive, I would gladly trade them for the Prohecy 7. These speakers are significantly superior in almost every aspect, except for the absolute bass extension, which is quite an achievement considering their greater affordability. The combination of elements in the Prohecy 7 results in a design that performs far beyond its price. Don’t let their sleek, attractive appearance fool you; this is an exceptional speaker.

Technical Specifications

Type: 3-way, 3-driver floorstanding speaker with PMC ATL (Advanced Transmission Line) cabinet

Drivers: One 27mm soft dome tweeter; one PMC 55mm soft dome midrange driver; one PMC 125mm mineral cone woofer

Crossover Frequency: 600Hz / 3.1kHz

Frequency Response: 40Hz – 20kHz (-3dB)

Impedance: 6 Ohms

Sensitivity: 88dB / W / m

Dimensions (H x W x D): 965 x 165 x 310 mm (+23mm including binding posts)

Weight: 23.7 kg/unit

Finish: Natural walnut, Mediterranean oak, dark walnut