But on musical material rich in subtle high-frequency details, such as “The Park” from Feist’s The Reminder [Cherrytree/Interscope], the Radius system fared less well. The problem is that the system tends to overemphasize treble details— making the leading edges of acoustic guitar notes in “The Park” sound a bit hard-edged and glassy or making the background chirping of birds (meant to be a background effect) overly prominent. While this extra bit of treble emphasis at first seems exciting, it tends over time to make high-frequency details distracting, giving them an edgy, or “splashy” quality that can break the illusion of hearing real performers in a three-dimensional acoustic space. Again, though, listeners who like a touch of added drama might find the Radius system’s treble characteristics not only acceptable, but desirable.
Overall, I found the lovely and surprisingly compact Radius system to be very well made, sonically revealing, and a dynamic eye-opener. The system would be a particularly good choice for those who focus primarily on movies, because it conveys the energy and intensity that make great films so much fun to watch.