Tonight's listening session has concluded so I can scribble some more. The BS244's AS-XR cones, previously overshadowed by the JET tweeters, have run-in and are asserting their own magic. Their performance is very much to my taste. The BS243 reaches down to 40Hz, and this BS244 sounds like its going to the low 30s. It has good weight but it's not delivered in the same visceral way of the SCM11. While I have no quibbles about the latter's delivery of bass power in orchestral music, where dance and techno are concerned it can be brutal. It is a sealed box design so the bass seems to be punted straight ahead at the listener. With pumping dance beats, the SCM11's power can be felt on the chest, and if the volume is too loud... an unpleasant pressure on the ear drums.
The ported BS244 does it differently. It goes deeper than the SCM11(46Hz at -6dB, HFN) but doesn't do that brutish chest-punch thing with dance music. Its deep bass seems to be directed downwards at the floor than flung towards the listener. I reckon bassheads may prefer the SCM11's presentation. That's not to say the BS244 isn't exciting. It portrayed the subterranean basslines on Sade's Soldier of Love track with greater depth and clarity.
And that brings me to the main strength of the AS-XR cone: it serves up very textured bass sounds. The concept behind the multi-faceted crystal-pressed cone must work then, i.e. to minimize distortion. Bass notes start and stop on time with no overhang. The combination of extended bass and immaculate control makes for a very rhythmic performer. I've been longing to own an upmarket standmount whose bass delivery matches the PRaT of the Epos M12.2 I had. The Dynaudio Focus 110 and ATC SCM11 couldn't quite do that (one is too rich, the other too muscle-bound), but the BS244 has achieved it.(and that's with a LF extension deeper than the M12.2, Dyn and ATC!) I can finally end my hankering to own another Epos. Bye Epos!