Excerpted from u-audio

That afternoon, I experienced many firsts in my life.

It was the first time I had heard the Spendor Classic 100 speakers; it was also the first time I had heard amplifiers from Norma Audio. That day was my first visit to Tonlin Audio for a listening session; it was also the first time I had listened alongside so many veterans of the audio industry, not for social leisure, but for work. Among them was even a foreign original equipment manufacturer (OEM) boss. This listening session was also the first time I had encountered an OEM boss personally adjusting the speakers before my audition at a dealer. Too many novel experiences all happened that afternoon.

I had an appointment with Mr. Chang from Sound Ray to meet Enrico Rossi, the owner of Norma Audio. That afternoon was also the time the editorial department arranged for me to audition the Spendor Classic 100 at Tonlin Audio. The interview was scheduled at a café near Tonlin. From the outside, the café didn’t look like it would serve good coffee, but as it turned out, it wasn’t bad. A busy afternoon deserves to start with a good cup of coffee like that.

We chatted for over an hour, all the while waiting for Boss Luo to finish his preparations. Boss Luo wasn’t being lazy, leaving equipment setup until just before the listening session. It was because Mr. Chang had specifically requested that this time, the newly launched Spendor Classic 100 speakers be paired with a just-introduced amplifier. He was confident in the speakers’ performance and equally confident in the amplifier’s ability to drive them well. This amplifier was none other than the Norma Audio flagship integrated amplifier, the IPA-140. However, this was the only unit in Taiwan! After the audio show, it had been taken back by a dealer in Tainan. For this review, Mr. Chang specially arranged for the dealer to send it up, hence the wait.

After the interview, we walked for just half a minute and arrived at Tonlin. It was my first time at Tonlin, and I realized Boss Luo was truly remarkable. His sale of the world’s first pair of Elac Concentro speakers had made waves in the industry. But until you’ve been there, you wouldn’t know that Tonlin’s listening room is actually like this.

Human Effort Conquers Nature: Meticulous Speaker Positioning Overcomes Unfavorable Room Conditions
What’s it like? First, it’s very small, only about 4 ping (approx. 13 square meters). Sitting inside, I suddenly felt grateful that I have my living room at home to listen to music. Secondly, it’s irregularly shaped, not a standard rectangular space, but a trapezoidal space close to a square. A square room is troublesome enough, let alone one that’s asymmetrical left and right, with different wall materials on each side. How do you work with that? Boss Luo relies on his years of experience to tune the sound. After listening to a few tracks, I whispered to Boss Luo, expressing my admiration, because I felt the standing waves here weren’t as severe as I had imagined, and it wasn’t boomy. The fact that Tonlin could sell Elac Concentro speakers in this absolutely less-than-ideal space shows Boss Luo’s remarkable skill. It also means that whatever audio needs you have at home, Boss Luo can surely satisfy them, no matter how challenging.

Exterior Virtually Unchanged for 30 Years, Interior Completely Renovated
I know what you’re thinking. I haven’t forgotten who the protagonist of this article is. This audition features the Spendor Classic 100 bookshelf speakers. Rather than calling them “bookshelf,” it’s more appropriate to call them “stand-mount” speakers. Just their height is 70 cm; raising them by about 30 cm brings them to the height of floor-standing speakers. They feature a 3-way, 3-driver, bass-reflex design, and true to their name, they are truly classic. In fact, they are a classic. Since Spendor launched the S100 in 1989, followed by the SP100 update in 1994, and then the SP100R2, the Classic 100 is the latest version, released in 2017.

Just looking at photos, you really can’t appreciate the charm of the Spendor Classic 100. Seeing the speakers in person, I deeply felt that this long-standing factory truly deserves its reputation as a speaker expert. Even though they look much like products from 40 years ago, the internals are all different. This Classic 100 is a new version launched just last year, with different driver materials. The revamp of the Classic series began with the launch of the flagship SP200 in 2015, and it took two years to gradually complete the entire new series lineup.

Featuring New Drivers for Enhanced Overall Performance
The driver arrangement on the Classic 100, from top to bottom, is midrange, tweeter, woofer. Let’s start with the tweeter. It uses a 22mm dome tweeter made of a synthetic polymer fiber, which is lighter in mass, aiding high-frequency extension. Above the tweeter is a 180mm polymer cone midrange driver. This polymer cone, designated EP77, is the factory’s latest diaphragm development, also found in the D series. Polymer cones have long been known for their light weight and high internal damping, resulting in fast response, clear and transparent sound, and minimal coloration from the material itself. The center of the midrange driver features a bullet-shaped phase plug, which helps disperse sound wave resonances from behind the cone, contributing to clearer sound reproduction. The woofer below is a large 300mm driver, with a cone made of composite Kevlar fiber. The material itself is very rigid, resistant to deformation, and similarly offers low distortion characteristics.

While the cabinet’s exterior retains the simple, vintage look of the 40-year-old studio monitor, the cabinet materials have changed. The Classic 100 uses MDF boards, with varying thicknesses in different parts, tailored to control vibrations on each surface. Internally, the use of damping materials is minimized to achieve a more transparent and natural sound. The grille is magnetically attached, allowing easy removal for superior sound quality. The bass reflex port is located on the front baffle, with a flared opening designed for efficient airflow. The speaker terminals on the back are gold-plated, with three sets provided, allowing for tri-wiring or tri-amping. If you prefer simplicity, just use the jumpers; it sounds excellent too. That’s how it was set up for this audition.

Norma Audio’s Owner Personally Adjusts Speaker Positioning

Ready for the audition? I was ready, but someone else had other ideas.

The amplifier driving the Classic 100 was the Norma IPA-140 integrated. With Norma’s boss Rossi present, of course it had to be tuned to its optimal state. Although this wasn’t his territory, and he wasn’t as familiar with the room’s acoustics as Boss Luo, Rossi made a request—he wanted to adjust the speakers. He pulled a burned CD-R from his backpack, with a printed track list tucked into the jewel case, containing carefully selected passages he uses as test tracks. He asked the distributor to assist, following his directions. Toe-in, pull apart, angle out a bit, move in a little… he listened intently, giving instructions. His eyes were closed, lips slightly parted, expression focused and serious, as if conducting a sacred ritual.

What did he listen to during this time? I didn’t ask him about every track, but the ones I remember, which he played repeatedly, included guitar, vocals, and drums. I could guess what he was listening for: capturing the sweetness and sheen of the highs, the clarity and warmth of the mids, plus the layering and weight of the bass. He also noted Tonlin’s narrow listening room, filled with equipment. Having the right channel fire straight ahead would mean sound bouncing directly off the equipment rack packed against the right wall. Moreover, the right side was closer to the wall, the left side farther. He ultimately opted for a significant toe-in angle, having the Classic 100 face directly towards the listening position. This is a standard approach in small spaces to minimize excessive side-wall reflections.

Rossi signaled he was done and motioned for me to take the seat. He leaned towards the edge of the sofa, and I picked a CD from the rack. I intended to test Rossi’s setup skills. From 1987 to 1991, he worked for an Italian audio magazine, responsible for lab measurements and circuit analysis of reviewed equipment—a media veteran. Later, he became an audio company owner—an industry veteran. I wanted to see how he could tune speakers in an unfamiliar environment in just 10 minutes. I decided to verify with similar music.

Captivating Vocals at the Golden Intersection Point
The first CD was “Melancolia,” an album of Spanish songs by French soprano Patricia Petibon. The recording features the soprano, a period-instrument chamber orchestra, plus guitar and some folk instruments. As the music started, Petibon’s voice was focused, positioned slightly left of center, with a three-dimensional image. Her singing constantly shifted in pitch, with varied inflections. It’s challenging to sing like that, and equally challenging for a system to reproduce such a recording. The Classic 100 portrayed Petibon’s varied vocal techniques brilliantly. There was body, but not excessive weight; Petibon is a lyric soprano capable of some coloratura. These songs demand precisely that light, agile quality. Heavier vocals would lose that liveliness. The vocal presentation from the Classic 100 was truly captivating.

I also noticed the orchestra. Although small in scale, the strings were enchanting, especially when the cello and double bass dug in. The abundant low-end from the Classic 100 astonished me—so full, so weighty. With such a solid foundation, the music felt more stable. Petibon’s singing, sculpted and vividly alive, combined with the orchestra’s ebb and flow, created the music’s emotional core. Importantly, this listening experience was with me leaning forward, similar to Rossi’s posture during setup. If I slouched back into the sofa, the sound lost its liveliness and three-dimensionality, its luster diminishing significantly. This sweet spot wasn’t just a “king’s chair”; it was a golden intersection point.

Was that it? Not yet. This album also features guest guitarist Daniel Manzanas. I’ve heard this album on many systems in many places; I know how vibrant and rounded the guitar can sound. Here, I wouldn’t say it was the absolute best experience—the small room and significant toe-in prevented the sound sources from separating fully, slightly compromising layering. However, it excelled in the guitar’s realism. Here, the guitar was just accompaniment, just an accent, yet I heard the plucking, clear and distinct. The texture was dense, the notes rounded, the tone clear and warm, the sheen gentle, cutting through the strings.

The guitar I played was different from Rossi’s—mine was classical (nylon strings), his was steel-string acoustic. The vocals I played were different—operatic soprano versus his folk male vocals. The bass I played was different—double bass versus his booming kick drum. Yet, I instantly understood his satisfaction.

Hearing Subtle Nuances, Like Being There Live
Listening again to the vocal works of Maria Jaell, still a soprano, but now accompanied by piano. I only listened to the first and second tracks. The first piece is gentle and lyrical throughout; the singing is tender, and the piano is equally soft. Yet within that tenderness lie countless details. A slight slowing, a gentle hush, and many subtle shifts in vocal delivery become the focal points of appreciation. The vocals I heard were extraordinarily clear, just like when I listened to Petibon sing – a distinct person, a vivid presence, reciting a poem.

The piano notes possess a full, granular texture. In my experience, the roundness of these notes is particularly distinct; sweet and juicy, with rich resonance. Is this the merit of the Classic 100? Or is the Norma IPA-140 responsible for such beautiful sound? Overjoyed by what I heard, I turned to Teacher Zhang beside me. His reply was brilliant: “Both sound wonderful.” Haha, indeed. Yet I do not regard this as self-praise. Before the listening session, during my interview with Rossi, he shared a concept: “The loudspeaker determines the tonal balance of music reproduction, while other aspects such as timbre, dynamics, and soundstage are decided by the amplifier.” For this reason, he places great emphasis on the quality of Norma amplifiers. Without superior quality, even the finest speakers cannot deliver exceptional sound. I believe Norma contributed greatly to this quality.

The second piece, The Owl, features striking dynamics, ranging from extremely quiet singing and playing to powerful, intense passages. The opening piano notes alone are profoundly impactful. Judging from the thickness and weight of the piano sound, I suspect it is related to the toe-in angle. Less inward tilt would likely result in a thinner piano tone, though string vibration details and resonant timbre would be more prominent. The piano performance here is impeccably beautiful, stirring deep within the heart.

Lively, Tangible, Impactful
Jazz best reveals a system’s sense of liveliness. I played the album La traversée du jour led by drummer Bertrand Renaudin. I discovered that this system boasts agile responsiveness, with absolutely no sluggishness in sound. Every detail is crisp and distinct, and each detail paints a vivid picture. The percussion is not only lively but also demonstrates the system’s astonishing dynamic performance. As soon as the first track begins, full, round percussive notes burst forth; the strum of the steel-string guitar conveys clear force, and the sound carries tangible impact. The flute emits a rounded timbre with delicate breath nuances. The tambourine in the second track sounds incredibly lively. The dry, crisp sound of fingers striking the drumhead is immediate, and the moment of impact brings clear, concrete chimes from the metal jingles around the rim.

The distorted electric guitar in the third track delivers impact without harshness – remarkable considering the wide toe-in positioning, with the drivers nearly facing directly toward the listening position. Yet the system’s low distortion minimizes noise, and combined with optimal room coupling, it produces a bold, visceral guitar tone without harshness or glare. The kick drum is impressively powerful; ordinary bookshelf speakers struggle to reproduce such full-bodied drum sound, but the Classic 100 is no ordinary bookshelf speaker – or rather, it defies conventional bookshelf speaker standards. Its 300mm bass driver is no trivial feature. The thick, solid, forceful drum sound seems like it should emanate from far larger speakers to possess such energy. Within its compact enclosure, the Classic 100 achieves maximum reproduction efficiency. The most exuberant percussion appears in the sixth track and tracks twelve through fifteen: tight, swift drum strikes, with profound weight and power in the low end. Rossi’s words from our earlier interview lingered in my mind. He stated that Norma amplifiers are characterized by high current output, high damping factor, and high slew rate, enabling precise, effortless control over the loudspeakers. Was this true? The extraordinary sound I heard stands as proof of his claim.

I turned to Owner Luo and asked how the sound differed from his initial setup after repositioning. “There is less low-frequency standing wave,” he replied. I believed him. The deep, impactful drum strikes across these tracks exhibited clean, tight bass. The electric bass in the ninth track would sound muddy and lacking definition and granularity if standing waves were severe. Yet what I heard was crystal clear. Beneath the electric bass and percussion, the tenor saxophone emerges rounded, warm, and rich, with airy, breathy friction – simply exquisite. Who says vintage-looking gear produces outdated sound? Who says British speakers are muted and lethargic?

A Sibelius Finlandia, Everyone Drawn into the Music
Despite the small room and relatively narrow speaker spacing, who says large-scale orchestral music cannot be enjoyed? I played Ashkenazy conducting the Philharmonia Orchestra in Sibelius’ symphonic poem Finlandia, and the system revealed its immense power. Though the Spendor Classic 100 appears dignified and understated, it comes alive with passion performing Finlandia. At the opening, trombones and French horns unfold profound, sustained phrases, bolstered by the deep, rugged tone of the bass tuba. Double basses sustain long notes that soften the metallic edge of the brass, while trumpets introduce the glorious radiance of a rising sun. In this brief opening, if one perceives all these tones and discerns the blended colors within the music, the piece becomes truly magnificent. The timpani rolls from behind are full-bodied and precisely articulated. The strings possess not only density but also intense tension, with a supple, textile-like quality that surges and flows like clouds, sea, wind, and waves. The delicate triangle pierces through the layers of sound – bright, clear, ethereal, and soaring. Truly, the finishing touch makes the masterpiece complete.

I became increasingly immersed, swept up in mounting emotion – and I was not alone. The entire group put down their phones, drawn together into Sibelius’ profound patriotic devotion. Rossi had borrowed every CD I played earlier, thoroughly enjoying the music. As Finlandia concluded, we could not help but discuss different recordings. This is how music should be experienced: audio equipment exists solely to serve music. If audio gear transports us into the music, it is truly high-end; if it only keeps us focused on sonic perception, it falls short of true Hi-End.

Delicate Strings, Organic Sound
I next played Stanisław Skrowaczewski conducting the Minnesota Orchestra in Bruckner’s Symphony No. 9, a Reference Recording production. I chose this disc not for RR’s renowned engineering, but for Skrowaczewski – one of the conductors I consider a true Bruckner specialist. Though the Ninth Symphony lacks the fiery intensity of Finlandia or the sudden, explosive dynamics of The Firebird or Carmina Burana, it abounds with orchestral brilliance within its gentle beauty. A superior system reproduces this work most completely. What challenges audio equipment most is its dynamic range: not instantaneous contrasts, but countless subtle stirrings balanced against full orchestral climaxes. RR recordings are famously transparent, offering exceptional clarity in soundstage and layering.

Through the Classic 100, this symphony sounds breathtakingly beautiful. The strings possess not only silky smoothness but also luminous sheen. The Classic 100 uses only a soft-dome tweeter – how can its high frequencies be so exquisite? The delicate texture, paired with density and shine, rivals the performance of premium ribbon tweeters. I jotted in my notebook: “First experience of such string refinement.” While writing, I hesitated to include this note, fearing readers might mistake it for hyperbole. After careful thought, I included it anyway – for it was my genuine experience.

I believe this stems from the Classic 100’s uncompromising performance in detail reproduction. It delivers extraordinary information density, constructing a highly organized soundstage. I describe it as organic – utterly natural, unforced, and authentic. Only those who frequently attend live concert hall performances can feel such emotion hearing Bruckner’s Ninth. The brass triplets building toward the climax of the first movement’s coda, culminating in a full orchestral tutti, is enough to stir the soul to boiling point.

Then the second movement begins, with pizzicato strings stating the scherzo theme. Bruckner once again employs triplets to drive the music forward. The dynamic swings within this movement are vast, particularly the fragile subtlety of soft passages contrasted with the overwhelming force of full orchestral tutti. Listening, I could not help but admire the Norma IPA-140. All the qualities Rossi emphasized were clearly evident: speed, dynamics, purity, low noise, texture, and vitality. I adored the endlessly transparent soundstage, with unobstructed depth of the orchestral platform. When the timpani strikes, it possesses solid imaging, tangible weight, power, and a convincing sense of distance.

Giving Music 100% Vitality
II ejected the CD, stood up, and thanked the distributor, Mr. Luo, and Rossi – for granting me the chance to hear such extraordinary sound, or rather, to experience such profound joy, freshly savoring the enchanting charm of this music. I have no desire to boast extravagantly about the technical prowess of the Spendor Classic 100; that would be vulgar. Instead, I will say this: driven by the Norma IPA-140, the Spendor Classic 100 truly breathes full, 100% life into music. It lives up to its name, Classic 100.

Specifications
Type: 3-way, 3-driver, bass-reflex bookshelf speaker
Tweeter: 22mm soft dome tweeter x 1
Midrange: 180mm midrange driver x 1
Woofer: 300mm woofer x 1
Frequency Response: 25Hz – 25kHz
Nominal Impedance: 8Ω
Sensitivity: 89dB
Recommended Amplifier Power: 25 – 250 Watts
Crossover Frequencies: 490Hz, 3.6kHz
Dimensions (H×W×D): 700 x 370 x 433 mm
Weight: 36 kg