In the same way that BMW will probably always have a big executive saloon car range called ‘5’, Monitor Audio will probably always have an aspirational loudspeaker range called ‘Gold’. The latest is the fifth incarnation of the series.
Staying with the BMW analogy, the Gold 200 is the loudspeaker equivalent of a 520d with leather interior. In both cases, it’s the model that marks the owner out as both discerning and fiscally level-headed.
The Gold 200 is a three-way design, with an MPD (‘micro pleated diaphragm’) high frequency transducer positioned above a 6.3cm C-CAM (‘ceramic-coated aluminium/magnesium’) midrange driver – these two share a single housing. Beneath them there’s a pair of 16.5cm RDT II (‘rigid diaphragm technology, generation 2’) long-throw bass drivers.
Monitor Audio favours the MPD transducer over the more common dome tweeter because of its far greater surface area which, it says, delivers smoother and faster high frequency response all the way to 100kHz. C-CAM is given the nod thanks to its resistance to bending stresses and, consequently, its consistency and efficiency – plus, of course, Monitor Audio has been aboard its ‘metal drivers for the win’ hobby-horse for some years now. And RDT II combines C-CAM as a front skin with carbon-fibre as a rear, sandwiching a Nomex honeycomb core – the result combines the sort of lightness and rigidity that’s essential to pistonic efficiency and is, says Monitor Audio, the lowest-distortion cone in its history.
That’s a strong start on the ‘racy-sounding abbreviations’ count, but there’s more where those came from. The two bass drivers feature Monitor Audio’s patented DCF (‘dynamic coupling filter’) technology, wherein the more usual rigid coupling between driver and voice coil is replaced by a pliant alternative. In this instance it’s a nylon ring, calibrated to be rigid up to the crossover frequency and springy above it (to dampen surplus higher-frequency energy), and vented to aid cooling and air-pressure dissipation.
The crossover points are 650Hz and 3.5kHz respectively, which are well chosen as they are far away from the all-important midrange territory where listeners are especially sensitive.