Infinity RS-2 (1970s)

Name: Infinity RS-2
Brand: Infinity

One of Arnie Nudell’s boldest experiments in point-source imaging and dipole dispersion—deep bass, open highs, and a voracious appetite for amplifier power.

Overview

The Infinity RS-2 (Reference Standard II) isn’t just another floorstanding speaker from the late 1970s—it’s a statement. Born during the “Old Infinity” era under the direction of Arnie Nudell, this 5-way 7-speaker system was engineered to push the boundaries of what high-fidelity could achieve in a domestic setting. Marketed as an updated version of the legendary RS-1, the RS-2 carried forward Infinity’s obsession with time-aligned, point-source theory while refining its execution with advanced materials and a sophisticated crossover architecture. It wasn’t subtle, and it wasn’t easy—but for those who cracked its code, it delivered a level of clarity and spatial coherence that few contemporaries could match.

This wasn’t mass-market audio. At a time when many manufacturers were chasing efficiency and cosmetic polish, the RS-2 demanded attention with its imposing 1.2-meter-tall cabinet, solid oak diffraction wing, and complex driver array. It was designed for enthusiasts who valued technical innovation over convenience, and it showed. The RS-2 didn’t just play music—it dissected it, laying bare the texture of instruments and the space around them with startling precision.

But make no mistake: this speaker was never going to be everyone’s cup of tea. It required serious amplification, careful room placement, and a willingness to tinker. Owners report that the RS-2 reveals every flaw in the signal chain, from poor recordings to underpowered amps. Yet that same unforgiving nature is part of its allure. When properly driven and set up, the RS-2 doesn’t just fill a room with sound—it reconstructs the performance within it.

Specifications

Manufacturer	Infinity
Model	RS-2 (Reference Standard II)
Type	5-way 7-speaker floor type speaker system
Frequency Response	36 Hz to 32 kHz
Impedance	4 Ω
Sensitivity	87dB/W/m
Crossover Frequencies	60 Hz, 125 Hz, 1.5 kHz, 3 kHz
Dimensions (W×H×D)	580 mm × 1,220 mm × 460 mm
Weight	45.5 kg (approx.)
Drivers	25 cm cone woofer ×2; 12.5 cm cone midrange ×3; EMIT tweeter ×3 (including one rear-mounted)
Power Handling	15–100 Watts

Key Features

The Diffraction Wing & Point Source Theory

At the heart of the RS-2’s design is the gently curved solid oak diffraction wing—a structural and acoustic innovation borrowed from Infinity’s flagship IRS series. This isn’t just a cosmetic flourish; it’s a functional element intended to minimize edge diffraction and create a more coherent wavefront. By mounting the woofer directly into the wing, Infinity aimed to align the acoustic centers of the drivers more closely, supporting the point source theory that underpins the speaker’s imaging precision. The result is a remarkably focused soundstage, with instruments appearing as distinct, three-dimensional objects rather than smeared sonic impressions.

To further enhance time alignment, the RS-2 employs a Watkins network—a specialized crossover topology developed to maintain phase coherence across the driver array. This wasn’t standard practice in the late 1970s, and even today, few vintage designs went to such lengths to preserve temporal accuracy. The payoff is evident in the speaker’s transient response: attacks are crisp, decays are natural, and the overall rhythm of music feels more lifelike.

Dipole Dispersion with Rear-Firing EMIT Tweeter

One of the RS-2’s most distinctive features is its bi-directional (dipole) design, achieved through a rear-mounted EMIT (Electromagnetic Induction Tweeter). Unlike conventional dome tweeters, the EMIT uses an ultra-thin plastic diaphragm suspended between powerful samarium-cobalt magnets, driven across its entire surface rather than at a single point. This full-surface drive mechanism contributes to exceptionally low distortion and a smooth, extended high-frequency response—flat all the way to 32 kHz.

The rear-firing tweeter floods the listening environment with reflected energy, creating a more immersive and spacious presentation. In the right room, this dipole behavior eliminates the “boxy” sound associated with many enclosed speakers, replacing it with an openness that mimics live acoustic events. However, this also means the RS-2 is highly sensitive to room placement. Too close to a rear wall, and the reflected energy becomes overwhelming; too far into the room, and the front-to-back balance collapses. Finding the sweet spot takes patience.

Polypropylene Cones and Internal Isolation

The RS-2’s woofers and midrange drivers use polypropylene cones—a material choice that was forward-thinking for its time. Compared to paper, polypropylene offers a much lower Q factor (7–9 vs. 90–100), meaning it dampens resonances more effectively and produces cleaner midbass and lower-midrange output. It’s also thermally stable, capable of withstanding temperatures up to 135°C, which helps maintain performance during extended listening sessions.

Inside the cabinet, the woofer enclosure is divided into two isolated chambers to prevent internal interference and promote linear phase behavior. This attention to internal acoustics reflects Infinity’s commitment to reducing coloration, even in areas most manufacturers ignored. The division ensures that each woofer operates in a controlled environment, minimizing intermodulation distortion and improving bass articulation.

Historical Context

The RS-2 was part of the Infinity Reference Standard series (1970s–1980s), a line of high-end speakers developed during the company’s most innovative period. Marketed as an updated version of the RS-1, it aimed to deliver similar sonic performance with refinements in materials and crossover design. While not as extreme as the IRS, the RS-2 shared much of its DNA—diffraction wing, point source theory, and the EMIT tweeter—making it a more accessible entry into Infinity’s flagship philosophy.

The Reference Standard series included models like the RS-1, RS-3, RS-4.5, RS-5, RS-5000, RS-6000, and RS-6000a, with the RS-2 positioned as a key model in bringing Infinity’s advanced engineering to a broader audience. It stood out not just for its sound, but for its ambition: a speaker that didn’t compromise, even if that meant being difficult to drive and set up.

Collectibility & Value

Today, the Infinity RS-2 occupies a niche but passionate corner of the vintage audio world. It’s not a mainstream collectible like the Linn Isobarik or the Quad ESL-57, but for fans of “Old Infinity” engineering, it’s a prized find. Market value varies dramatically depending on condition and completeness. Units sold for parts or in non-working condition have appeared for as little as $65.00 or Best Offer, while Buy It Now listings have been seen at $89.00 for pre-owned pairs.

One major concern affects long-term ownership: foam surround degradation on the woofers. The foam surrounds, now over 40 years old, often require replacement via refoaming kits—a common but necessary maintenance step for vintage speakers of this era. The sale of repair kits for RS-2 foam surrounds confirms this as a known failure point.

The RS-2 is also known as an “amp eater”—a demanding 4-ohm load with moderate sensitivity (87dB/W/m) that calls for robust amplification. Solid-state amps with strong current delivery tend to fare better than tube designs, though some hybrid setups have worked well. Owners emphasize the importance of careful amplifier matching; underpowering the RS-2 doesn’t just limit volume—it compromises control and clarity.

Despite the challenges, the RS-2 remains a “long-term object of desire” for some audiophiles. It’s not a speaker that blends into the background; it’s a project, a statement, and a window into a pivotal moment in speaker design. For those willing to invest the time and effort, it still delivers a listening experience that feels startlingly modern in its transparency and precision.