Floor Loudspeaker Reviews

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Art Dudley Posted: Jan 25, 2004 Published: Jan 01, 2004 0 comments
Like most people, I'm not interested in long, windy essays about audio reviewing, having barely enough time and interest for audio itself. But I do perk up when the debate turns to the audio reviewer's purpose in life: Should I write about everything that crosses my path, or should I limit my attention to those products that interest me, and that stand a chance of being good?
Paul Bolin Posted: Jan 18, 2004 Published: Jan 01, 2004 0 comments
I was introduced to Legacy Audio at the CEDIA Expo in September 2002, and I'll long remember it. A pair of Legacy's huge new Helix loudspeakers anchored the company's silent display, and I was irresistibly drawn to them. Sales manager Bob Howard introduced himself, and, after a few minutes of chatting, introduced me to Bill Dudleston, Legacy's founder and chief designer. Within two minutes, Dudleston had told me "I don't design speakers for hi-fi people. I design speakers for people who love music."
Larry Greenhill Posted: Jan 18, 2004 Published: Jan 01, 2004 0 comments
John Atkinson's track-by-track written evaluation in the July 2003 issue of his new Editor's Choice: Sampler & Test CD (Stereophile STPH016-2) drew me like a magnet. Here was a reviewer-editor putting into words his musical perceptions, gathered while he served as the engineer for the various recordings sampled on this compilation. JA's dual roles of writer and engineer merge complementary perspectives, yielding what should be useful descriptions of the sonic values of some of my favorite reference CDs. As I was about to start my review of Piega's new hybrid loudspeaker when I read this article, it was only natural to test whether this Swiss full-range speaker could deliver "what you should hear."
Art Dudley Posted: Nov 16, 2003 Published: Nov 01, 2003 0 comments
My friend Harvey Rosenberg, who had more clever ideas in a day than most of us have in a lifetime, was a Tannoy loudspeaker enthusiast. I, on the other hand, had little experience with the brand before 1995, when Harvey invited me to come over and hear his then-new Tannoy Westminster Royals.
John Atkinson Posted: Nov 16, 2003 Published: Nov 01, 2003 0 comments
The talented loudspeaker engineer is a man who is always in competition with himself. When PSB's Paul Barton put the finishing touches on his Stratus Gold model back in 1990 (footnote 1), I'm sure he had more ideas in mind that he could have used in a flagship design. Yet the Gold offered so much performance at such a competitive price—$2000/pair in 1991, rising to $2100/pair by 1997, then $2400/pair for the the Gold i, an evolutionary development—that it was not surprising that Barton applied his talents to developing ranges of more affordable speakers, such as the best-selling Alpha and Image series.
Robert Deutsch Posted: Nov 03, 2003 Published: Jul 01, 1999 0 comments
Although the component that actually produces the sound is obviously the loudspeaker, audiophiles know that everything in the system—digital or analog source, preamplifier, amplifier, cables, room acoustics—has an influence on sound quality. No matter how good the speaker, its performance depends on the quality of the signal, the speaker's acoustical environment, and how the speaker is set up in that environment. I've heard speakers that I knew to be topnotch performers sound dreadful at audio shows and in dealers' listening rooms.
Michael Fremer Posted: Nov 03, 2003 Published: May 01, 2002 0 comments
Interest in super-efficient, horn-loaded, compression-driver loudspeakers has grown in the past few years, fueled in part by a renewed fascination among many hobbyists with low-powered, single-ended triode tube amplifiers. But staring down the maws of two Tubby the Tubas is not every audiophile's idea of a good time—even when the resulting sound is spectacularly fast, coherent, and extended.
Paul Messenger Posted: Nov 03, 2003 Published: Jul 01, 1999 0 comments
Loudspeakers are all about balancing conflicting variables: accepting that you can't have electrostatic transparency and horn dynamics; finding something to suit the size of your room and credit rating; and picking the best all-around compromise to suit your particular taste. Goldilocks had the right attitude for loudspeaker reviewing. All that too-soft/too-hard, too-hot/too-cold merely sets the scene; "just right" goes straight to the heart of the matter.
Lonnie Brownell Posted: Oct 27, 2003 Published: Nov 01, 2001 0 comments
Mirage is a good name for a speaker manufacturer; it suggests that their products produce realistic illusions. A 1934 dictionary I've got supplies a definition for "mirage" that might also be apt: "An optical atmospheric illusion by which the image of a distant object is seen as if inverted." I don't mean that the Mirage OM stands Harry Belafonte on his head, or make him sing "O-Day"—instead, certain tenets of cones-in-a-box loudspeaker design and usage are turned turvy-topsy by Mirage's Omnipolar concept.
Michael Fremer Posted: Sep 14, 2003 0 comments
When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to those." It was obvious: Halee respected the Wilsons, but he loved the Infinitys. Not surprising, since Dave Wilson designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.
Brian Damkroger Posted: Sep 14, 2003 0 comments
I was riding BART home from Home Entertainment 2003, thinking about the day—the new products, the old friends, the rooms with really great sound. It's a long ride from downtown San Francisco to Livermore, so I next got to thinking about all of the hi-fi shows I've attended over the years and which companies, year after year, always seem to have good sound. At the top of the list were Audio Physic and its US importer, Allen Perkins' Immedia.
Paul Messenger Posted: Sep 14, 2003 0 comments
I reviewed JMlab's Mezzo Utopia loudspeaker in the July 1999 Stereophile (Vol.22 No.7). By chance, the Mezzos had followed a pair of B&W Nautilus 801s into my listening room, and the substitution had proved rather interesting. For all their many fine qualities, the 801, with its 15" bass driver, was distinctly bass-heavy in my room, whereas the 11" drivers of the Mezzos seemed just right in this regard.
Kalman Rubinson Posted: Jun 15, 2003 0 comments
When I first got into hi-fi, stereo was just over the horizon and imported products were still rare. The inexpensive ones came from Japan, and you could find them, often with names that changed from week to week, in the open-air displays in and around Cortlandt Street in lower Manhattan. The more expensive brands were European, primarily British, and beyond my financial grasp.
Paul Bolin Posted: Jun 15, 2003 0 comments
Of all the components to be seen and heard at an audio show or in a dealer's showroom, the most memorable and attention-grabbing are inevitably the super-speakers—bogglingly expensive, filled with cutting-edge engineering and exotic materials, of mammoth size and weight, with full-range reproduction that shakes building foundations and extends far enough up top to disrupt the navigation of bats. Survey the field, and the biggest Wilson, Aln, JMlab-Focal, Burmester, EgglestonWorks, and Nearfield Acoustics models, to name a few, fit that description.
Larry Greenhill Posted: Apr 20, 2003 0 comments
I was trading e-mails with Roger Sanders, manufacturer of the Eros Mk.III electrostatic (ESL) loudspeakers, when it occurred to me to ask him about his name. I was struck that he had the same last name as Gayle Sanders, president of another American electrostatic speaker company, MartinLogan. Were they related? "No," replied Roger Sanders, "it's simply a coincidence that we have similar names. I've never even met him.

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