Neat Petite Mk1
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25-10-2014, 16:59
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southall-1998
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Pair of original Neat Petite MK1 Speakers.
They are a tad scruffy. The flash exposes all of this. In normal light they look decent.
Due to no boxes, I'd prefer the buyer to collect.
I'm based in Devon, Torquay.
PM if wanted.
£200, firm.
S.
01-11-2014, 13:27
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southall-1998
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12-12-2014, 15:44
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southall-1998
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Neat Petite Classic Standmount Speaker Review
The Petite Classic is utterly sensational. Without once compromising on the attributes a well engineered modern standmount speaker should have, they channel a sheer musical joy that dates all the way back to the original. If you are simply looking for the most effortlessly enjoyable speaker at two grand, your search is over. It's this one.
Neat Petite Classic standmount speaker review - are they really worth our highest score?
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The Neat Petite Classic is a two way standmount speaker. More than that, it is one of the archetypal standmount speakers. Yes, once again what you see here is a new product that is not entirely and unapologetically new because going back to your roots is A Big Deal at the moment and it is likely to only going to get bigger.
The Petite was in fact, the first ever Neat speaker. Neat’s owner and founder Bob Surgeoner was originally a Hi-Fi dealer (Neat does in fact stand for North Eastern Audio Traders) and had something of a Ferruccio Lamborghini moment in the late eighties when he realised that many of the speakers he sold had specific areas of greatness but lacked strength in depth. What followed was a research program to create a speaker that was, as far as possible, free of these issues. The original plan was to build the resulting speaker in limited quantities as a dealer exclusive. An appearance at a Hi-Fi show in 1989 and the interest that resulted was enough to convince Bob that there might be something in making the speaker - now named Petite - available to a wider audience.
The Petite remained in production until well into the 21 st century. Unlike a few long running designs, the specification was never frozen and it continued to be developed throughout its life before production ended a few years ago in 2016 and that was that. Now it’s back and we need to ask the questions that we always do when confronted with devices of this nature. Is the Petite Classic faithful to the original? If it is, do design decisions made over thirty years ago still make sense now? Is this a tool to separate those of us constantly looking for fragments of our youth from our cash or something you, a normal well-adjusted human looking for the best standmount you can buy at the money, should get excited about? Let’s find out.
It makes sense in terms of placing the Petite Classic in context of its ancestor to point out that there is an intervening step between the speaker that ceased production in 2016 and the Petite Classic. In 2021, Neat announced that it would celebrate the 30 th Anniversary of the Petite going on sale with a limited run - just 100 pairs in fact - of the Petite 30 th Anniversary. What was interesting about the Anniversary (which I had to bite my knuckles and refuse to review because AVForums' policy is to only review things that won’t instantly be unavailable) was that it wasn’t simply a 2016 Petite in a gloss box. Neat had in fact changed almost everything, combining a cabinet that had more in common with the original Petite with drivers that reflected their current thinking. The result was that people went crazy for them. Confronted with the reality that heritage sells, Neat began to think about how the Petite might come back full time.
The Classic is heavily influenced by the Anniversary but it is not the same so if you were one of the lucky so and sos that snagged a pair, this is not a ‘Clio Williams moment.’ The Classic takes most of the design and engineering of the 30 th
Anniversary model but makes some quite significant changes. Crucially though, some things are carried over. The original Petite used a conventional soft dome tweeter but Neat’s development in recent years has been focused on ribbon and air motion type devices. The Petite Classic therefore uses an Air Motion Transformer type high frequency unit. This gives many of the advantages of a ribbon but in a more robust package with greater radiating area. Never one to go in for ultra extended frequency responses, Neat quotes an upper response of 22kHz.
This hands over at a relatively high 3.8kHz to a 150mm polymer mid bass driver. This is very much in keeping with what the original Petite used and it is recognisably different to any other Neat driver I have encountered, not least because it has a raised dust cap which is not part of the usual Neat ‘design language.’ Neat’s aim with this drive unit is nothing if not ambitious. Having handed over from the tweeter at 3.8kHz, the aim for the Petite to have useable output (with roll off) down to 30Hz.
This is a fairly ambitious undertaking for a speaker that is a mere 30 centimetres high. Furthermore, don’t think that the Classic is one of those standmounts that presents a small frontage and then goes on to have a cabinet that is deeper than it is tall. Unlike the Anniversary which is around 20mm taller, the Classic has the same dimensions as the original, meaning it is 20 centimetres wide and a mere 18 centimetres deep. One other significant difference is that the Classic is finished in a black or white ‘sheen’ rather than the piano gloss of the limited edition model. This has the convenient benefit of being both less expensive to produce and rather more contemporary with it.
One other change from the Anniversary can be spotted at the back. That was fitted for biwiring but the Classic makes do with single terminals; something that I am sure most would-be buyers won’t care about. Also visible at the back is the interesting port arrangements of the Classic. There is a larger, foam filled port that vents the tweeter and smaller free flowing port that opens to the mid bass driver. Neat quotes a sensitivity figure of 87dB/w and this feels relatively believable in use.
The resulting speaker looks different, both to other contemporary Neat models and most other things on the market. Crucially though, the Classic is a good looking little speaker. There’s no escaping that spending £1,995 on a Far East produced speaker (or even one made closer to home) can buy something more visually spectacular but the Classic has a distinctive ‘engineered’ feel to it that is hard not to like; a sense you bought a speaker rather than furniture that makes noise. It feels solid, deliberate and confidence inspiring and interestingly, despite the old school cabinet dimensions, it doesn’t really feel retro in the way that a Mission 770 (or even a Spendor 4/5 ) does. I’ll also say that is is one of a small number of cases where I’ll go on record as saying that the white finish is probably the one to go for as it sets the black details off perfectly.
The resulting speaker looks different, both to other contemporary Neat models and most other things on the market
The Classic was tested on the end of a Cambridge Audio Edge A with a Chord Electronics Hugo Mscaler and TT2 connected to a SOtM SMS200 Neo running as a Roon Endpoint, as well as a Michell GyroDec with SME309 arm and Van den Hul DDTII special cartridge running via a Cyrus Phono Signature phono stage. It was then moved upstairs to run on a Naim Supernait 3 taking a feed from an iFi ZEN Stream (again as a Roon Endpoint) and ZEN One Signature DAC . Material used has been FLAC, AIFF, DSD, Qobuz , Tidal and vinyl.
As noted, the Classic’s sensitivity is reasonably benign. It would not be my weapon of choice for a compact valve amp but neither do you need to make a beeline for the Musical Fidelity range to make them work properly. I also feel that the 30Hz in room figure is not a work of fiction. There’s discernible roll off by that point but there’s an amazing amount of bass heft for a slender bodied, standmount speaker. Not big uncontrollable lumps of heft either - we’ll come to that in a bit.
Interestingly, impressive though the bass is, it won’t be what you notice first. The relatively wide baffle of the Classic and the Air Motion transformer combine to give a truly extraordinary stereo image. The Petite is astonishingly ‘unboxy.’ Listening to the utterly beguiling In the Morning (Grandmother Song) by Eliza Shaddad on the Neat is captivating. Shaddad is compellingly and emotively real and every heartfelt syllable resonates with intensity that makes this a performance rather than a presentation. Then around her, the Neat generates a space and airiness that is astonishing given the size of the box on offer. The experience is akin to turning on a domestic flatscreen and getting IMAX out of it.
As befits Neat’s huge experience with ribbons and AMTs, the handover to the mid bass, even at the relatively high point it happens at is seamless and there’s not the slightest hint of tonal change across the two drivers which, given that is occurs in a critical part of the midband, would stand out like an iceberg in the Mediterranean. From there, the Neat then couples its prodigious low end oomph to that top end to create something rather special. This is the smallest I’ve ever tested that can take Daft Punk’s TRON Legacy score and absolutely nail it with no need to make allowances for scale or the like. The deep string, brass and synth section of Recognizer has a heft you feel as well as hear and then, as the full orchestra comes in, there is a level of room around it that simply should not be.
The Neat does this while asking very little of your or your musical taste. You can take Nirvana’s Nevermind
(another debut from 1991) - and not the softened and remastered version either; the spiky congested mess of the original that I bought as a child desperately trying to fit in with the group aesthetic even though I enjoyed grunge about as much as I did maths - and while the Neat is obligated to note that there’s about as much dynamic range as there is from a child’s talking doll, the result is still spacious, controlled and intoxicatingly exciting.
And I can’t go any further without talking about excitement because, for all the considered technical excellence of the Petite Classic, the sheer joy it delivers is by far and away the most captivating feature.
For the avoidance of doubt, I was not at the audio show in 1989 where the prototypes went on to capture the collective imagination… but I know someone who was (given they now work with an altogether different and vaguely competitive speaker company in 2022, they must remain anonymous). Speaking to them about the stir the original created, there is the unquestionable sense that, more than anything else, the Petite Classic captures the same effortless rhythmic joy that the original did. That was a speaker designed to be the foil for the Naim, Exposure and Cyrus amps leaving dealers in droves and, connected to the Supernait 3, the Classic still slots into the role like it was built solely for the task. The effect of the Naim’s much vaunted ‘grip’ on the Petite Classic is glorious. Goya Soda by Christine & The Queens, with its huge, almost comedic sliding bass notes, is a thing of unadulterated joy, hitting like a hammer and moving like a scalpel. Once again, it’s the Classic’s astonishing airiness that makes the difference though. Even the Supernait 3, with its newly opened out presentation benefits from the sheer three dimensionality on offer.
And then, when you give in to the dark side, abandon all last vestiges of ‘reviewing’ and drive the bolts out of them with The Bucket by Kings of Leon, the Neat just stops being HiFi and assumes the role of a grin generator. The sheer energy and out and out fun on offer here is beyond anything else I’ve tested
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