PMC Prophecy 1 review

PMC has certainly chosen grandiose names for its recent product ranges. First, we had an entry-level series called Prodigy, and now we have a step-up range named Prophecy. It will be interesting to see what grand-sounding name starting with P the company comes up with next.

Fortunately, every model we’ve reviewed from both these new ranges has knocked it out of the park. We’re pleased to report that the baby of the Prophecy speaker range maintains that high standard.

Build & design

The PMC Prophecy 1 is a small standmount speaker for the money. It stands at a fairly conventional 40cm high, but it is the slim proportions that draw the eye at just 16.5cm wide. The need to provide decent internal volume is satisfied with a relatively generous depth of 26cm.

We can’t imagine many rooms, no matter how small, that the Prophecy 1 speakers don’t fit into.

Rather than use a reflex port to tune the bass performance, these standmounts stick to PMC’s tried and trusted transmission line configuration. The rear-firing output from the Prophecy 1’s mica-loaded 12.5cm mid/bass unit travels down a folded, carefully damped path inside the cabinet. As this signal passes through, most of the sound gets absorbed, leaving only the lowest frequencies to emerge from the substantial vent at the base of the speakers.

Importantly, this low-frequency sound is in phase and, if properly tuned, fills in below the point where the mid/bass’s output starts to tail off. The line inside the Prophecy 1 has an effective length of 1.79m.

This is a type of bass loading that PMC has employed since the brand’s inception in 1991, and the company has long claimed that it is the most effective way to achieve clean, low-distortion bass output from a box speaker.

Why don’t more manufacturers use such a design? That mostly comes down to cost and complexity when compared with a conventional reflex port configuration.

The tweeter used here is the very same 27mm soft dome unit we so liked in the Prophecy 7 floorstanders, reviewed earlier in the year. It is a capable driver with a distinctive grille that (in combination with a heavily dished waveguide) is claimed to deliver wide and controlled dispersion.

The crossover point between the two drive units is a relatively low 1.5kHz, and PMC has kept things simple by only offering a single pair of input terminals. The terminals are pleasant to use, solid to the touch and nicely made.

We like the clean and modern design of these speakers. Their slim proportions and uncluttered appearance give them a refreshingly modern aura, which is all the more striking given that much of the competition still looks so traditional. Build quality is excellent, with crisp edges and beautifully applied veneer.

The vent at the base of the cabinet is a substantial and weighty metal structure that gives the speakers an impressively engineered feel. The cabinet feels as solid as they come, and is available in three finish options: Mediterranean oak, Natural walnut, Blackened walnut. They all look smart to our eyes.

These are easy speakers to position. Given their small stature, it may be tempting to put them right up against a wall or even in a room corner. We would fight the urge to do so, as the Prophecy 1 sound so much better when given a little room to breathe.

In our 3 x 7 x 5m listening space, they perform best around 70cm away from the rear wall with a bit of angle towards our seating position. Ideally, they should be as far from any side walls as possible.

Sound

Given such a placement, these PMCs generate a wonderfully expansive soundstage that lacks nothing in terms of focus, layering and image depth. The sound is projected well clear of their cabinets, which speaks well of the enclosure’s well-controlled and low-resonance structure.

Instruments and vocalists are locked into position, and that placement doesn’t waver even when the recording becomes demanding or volume levels rise.

This quality comes to the fore when we listen to a well-recorded classical piece such as Hymn To The Fallen by John Williams, where each section of the Boston Symphony Orchestra is placed with conviction in a three-dimensional space. Even conventional pop recordings such as In The Air Tonight by Phil Collins benefit from the PMCs’ image focus and stability, as Collins’ voice floats effortlessly between the speakers and the electronic instrumental backdrop sits comfortably around it. The sense of space between all these sounds is pleasing, as is the uncluttered feel it imparts.

Given PMC’s studio heritage, it comes as no surprise to find that the Prophecy 1 have a lovely, even tonal balance. No part of the frequency range gets undue emphasis and this translates into convincing vocals and instrumental textures. It helps that the speakers' detail resolution is exceptional for the price, and they can organise all that information into a cohesive and musical whole.

The choice of whether to enjoy the recording or analyse it is left to the individual. These standmounters are fully capable of taking the source material apart, allowing the listener to dig deep into the mix. Yet, they are equally happy if you just want to sit back and enjoy the full glory of Holst’s Planets suite.

They have the kind of free-flowing dynamics that seem a little out of place in such a compact design, and can deliver the sledgehammer crescendos of a piece like Mars with unusual composure and punch. Even when pushed, these standmounters sound controlled, where others begin to crack.

We accept that something this modestly sized is never going to produce seismic bass. But these standmounts prove surprisingly capable, delivering the complex basslines of Massive Attack’s Heligoland with conviction. Lows, even the deepest notes, are taut, crisp and tuneful. Add the PMCs' natural sense of rhythm, and you have a speaker that’s as happy to party as it is microscopically examining the production of a recording.

The Prophecy 1 are transparent too, and that can be a double-edged sword. On the plus side, they tell us an awful lot about the recording being played. We can appreciate Massive Attack’s obsessive attention to production details, but also enjoy the more limited, technologically basic recordings of Nina Simone.

Sure, these standmounters will show up shortcomings in the recording or production, but they never make a meal of things. It pays to feed them a good signal. Any speaker at this level demands top-class partnering electronics, and these small boxes are no different. The likes of the Naim Nait XS3 integrated amplifier and sources such as the Cyrus 40 ST music streamer or the Rega Planar 8 record player are good starting points.

Verdict

It should be clear by now that we are hugely impressed by the Prophecy 1 speakers. They tick all the boxes for us, from an excellent all-round sound and thoughtful engineering to class-leading build.

Feed them with a talented system, and we suspect few alternatives at this level will get you closer to the recording. Highly recommended.

Review published: 22nd September 2025

SCORES

• Sound 5
• Build 5
• Compatibility 4

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