A pair of the fabulous large ATC monitors in mint condition, with boxes and grills.
Note: I also owned the active SCM20, and these are better, *with a high-quality amp* (I used an ASR Emitter).
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"I find active ATC to be better than Wilson Sasha and Revel Salon 2..." https://www.hifichoicemag.com/content/atc-scm19-%C2%A31996
"This ATC has superb bass, it goes low but is tight and fully textured, with a decent amplifier it stops and starts with total precision. So when a pianist uses a damping pedal you know exactly how he or she is doing it. This is partly because this is a very quiet loudspeaker, the box makes very little contribution and the absence of a port removes the resonances that such devices introduce. Overhang is not in evidence yet serious low end is, you can get quick bass by avoiding deep notes, but that is not the case here." https://www.soundstagexperience.com/index.php/wesworld-menu/feature-articles-reviews-menu/757-atc-scm19-v2-loudspeakers
"The ATCs did a better job of catching the naturally decaying sounds of instruments in a room than any other speakers I know of."
"What I heard was so effortless that I never heard a trace of the existence of a crossover and separate drivers. It was as if the term headroom had never been coined. The small details of Flint’s sad yet inviting voice shone right through, all adding up to her beautiful timbre. Nor did her faultless diction ever sound forced, and there was no exaggeration of the upper midrange. This sort of sound will entirely disarm those who still maintain that studio monitors are “too revealing.”" http://www.theabsolutesound.com/articles/atc-scm19-loudspeaker-1/
"The ATC sound is fully committed, never retiring. And so it goes with the new SCM19. Its resolution is unstoppable, as if it is on a mission to exploit every single aspect of an amplifier’s output. Tonally faithful to the source, the 19 is brimming with midrange power and a single-driver like coherence, challenging if not surpassing its compact predecessors."
"The SCM19 is neutral through the broader midband, presence range, and treble, with no energy drop-off as it approaches its 2.4kHz crossover point. Neither is there evidence of suck-outs or flagging dynamics that tend to soften and lay back the mids for an unearned depth effect. The 19 is not dry or clinical sounding, either. It has a comforting warmth in the lower mids and upper bass that adds to the impression of musical scale and substance. Also a good part of the 19’s opulent character is attributable to the superb on-and off-axis dispersion of the mid/bass unit, i.e., its power response. I never felt head-locked in a tiny sweet spot. Even when I was seated well off-axis, the 19’s essential tonality, weight, and body remain consistent. Vocal reproduction—always a point of pride for this brand—has never before been as direct, live, and in-the-room as it is through the SCM19."
"The SCM19 benefits greatly from an uncolored enclosure that permits more of the potential of the transducers to be heard. This is a quieter, less-colored box that steps out of the way of the signal and effectively disappears. It results in a speaker that launches transients without hesitation and articulates lower frequencies with greater precision. Midrange timbral information has been clarified, and the hint of nasality that I’ve perceived in my own earlier-edition ATCs has been eliminated."