Floor Loudspeaker Reviews

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Robert Deutsch Posted: Apr 16, 2010 0 comments
A few years ago, I had a phone call from a marketing organization. I was asked, as a member of the audiophile press, to participate in a survey dealing with the "images" of various brands of loudspeakers.
Kalman Rubinson Posted: Mar 29, 2010 0 comments
It was only a few months ago that I greeted Oppo Digital's BDP-83 universal Blu-ray player as a breakthrough consumer component, and it became a Runner-Up for Stereophile's Budget Product of 2009. It now appears that Oppo is using the design as a base on which to develop similar and more advanced products, both for themselves and for a good many other manufacturers. Some may take exception to my use of the word manufacturers—if it's an Oppo under the skin, what, precisely, are these other "manufacturers" contributing? Well, that's hardly a new question.
Michael Fremer Posted: Mar 18, 2010 0 comments
It's difficult to believe that the former top model of Vandersteen Audio's line of loudspeakers, the Model 5, has been in production in one form or another since 1997. Time passes quickly when you're having fun. Like all Vandersteen speakers, the 5 was and remains a good value and performance proposition. For all the 5's high technology and excellent performance both measured and audible, its price now starts at under $20,000/pair (up from about $10,000/pair when the 5 was introduced in 1997), including a built-in, proprietary powered subwoofer in each cabinet, and a sophisticated equalization system for room compensation.
Art Dudley Posted: Feb 26, 2010 0 comments
On two occasions I've caught myself wondering how to afford a pair of Wilson Audio loudspeakers. Interestingly, both happened within the past year. The first was in April 2009, at the Son et Image show in Montreal, during a demonstration of the MAXX Series 3. The experience was notable for its blend of genuinely great sound with genuine musicality: Each performance unfolded of its own natural accord, with human randomness and nuance, and without the fussy, mechanical, shallow artifice that attracts some audiophiles in the way a carnivorous plant attracts flies—and, if they're lucky, kills them (the audiophiles, that is).
Wes Phillips Posted: Feb 16, 2010 0 comments
Almost every assumption you might make about Vienna Acoustics' Klimt The Kiss loudspeaker by looking at it would be wrong. It is not a stand-mounted two-way loudspeaker. It's a three-way, with a coincident tweeter-midrange. And that ain't no stand—it's an integral part of the speaker. It does not have a conventional cabinet—there are two separate enclosures, complete with micrometer control of both vertical and horizontal axes. And those sure aren't plain-vanilla drive-units—they're about as unique as they come.
Dick Olsher Posted: Dec 22, 2009 Published: Nov 22, 1986 0 comments
Irving M. "Bud" Fried, an early contributor to Stereophile, hails from the city of brotherly love, and I must confess to finding it difficult avoiding a few brotherly jabs at Mr. Fried's name: something like "this Bud's for you" would surely not escape deletion by our conscientious Editor. And what if I should happen to complain of a dried-up or "Fried" quality in the upper mids—JA is bound to object to this breach of good taste. Well, having gotten that off my chest, you'd be interested to know that I consider it quite appropriate that someone from Phil-a-del-phia should be in love with transmission-line enclosures; the name is almost as convoluted as a trip down a folded line.
Kalman Rubinson Posted: Nov 20, 2009 1 comments
I have reviewed and owned so many Paradigm speakers that they feel almost like members of the family. I've owned the v.2 and v.3 versions of the Reference Studio 60, and reviewed the v.3 version in Stereophile (in December 2004, Vol.27 No.12). My long and intimate relationship with this speaker is founded on the best of reasons: We are extremely compatible. The Studio 60, in all its incarnations, is large enough to be used as a full-range speaker with nearly any program material, and yet is compact enough to be easily accommodated in my relatively small Connecticut listening room. It neither looms over me nor disappears into the space. Used as a center-channel speaker, it's just short enough to clear my line of sight to the video display. Finally, and despite inevitable price creep over the last decade, the Studio 60 still comes in under $2000/pair—my line in the sand for a reasonably priced system.
John Atkinson Posted: Nov 13, 2009 0 comments
It was an audacious demonstration. For the launch of Aerial's 20T loudspeaker at the end of 2002, Aerial's head honcho and designer, Michael Kelly, had arranged to compare the speakers reproducing the recorded sound of virtuoso violinist Arturo Delmoni with the real thing. The setting was the ornate dining room of one of Newport, Rhode Island's many mansions, and, given the inevitable differences—due to the facts that a violin has a very different radiation pattern from a loudspeaker and thus excites the room differently, and that the recording inevitably gives the listener a double dose of the room's acoustic—the demo was successful. There was much subsequent argy-bargying between Stereophile's reviewers about who would review the Aerial 20T, but it was Michael Fremer who eventually wrote about it in April 2004.
Art Dudley Posted: Oct 19, 2009 1 comments
For 15 years, lovers of low-power amplifiers have clamored for more and better high-efficiency loudspeakers (footnote 1). For 15 years, their choices have remained limited to products with varying combinations of colored sound, poor spatial performance, basslessness, high cost, and cosmetics that range from the weak to the repulsive.
Robert Harley Posted: Oct 08, 2009 Published: Jan 08, 1995 0 comments
Whenever anyone marvels at the enormous Genesis II.5 loudspeakers in my house, I'm quick to tell them that the II.5 is the smallest, least expensive loudspeaker made by Genesis Technologies. In fact, the company makes two larger speaker systems, the $33,000 Genesis II and the $70,000 Genesis I (footnote 1).
Michael Fremer Posted: Sep 14, 2009 0 comments
Though taller, narrower, deeper, more gracefully sculpted, and even more mantis-like than the MAXX Series 2 that I reviewed in the August 2005 Stereophile, at first glance the Wilson Audio Specialties MAXX Series 3 seems little more than a minor reworking of its predecessor with a major increase in price: from $44,900 to $68,000 per pair. But first looks can be deceiving. Take a closer, longer gaze—or, better yet, spend some time listening (especially if you've spent time with the MAXX 2)—and you'll quickly realize that while the familiar Wilson design concepts remain in play, the MAXX 3 is far more than a minor reworking of an older model.
Robert Deutsch Posted: Jul 25, 2009 0 comments
A compact horn loudspeaker. Isn't that an oxymoron, like jumbo shrimp, or military intelligence? From such venerable speakers as the half century-old Altec Voice of the Theater and the Klipschorn, as well as more modern examples like the Avantgarde Acoustic Trio, horns have always been big. The original Avantgarde Uno was the smallest speaker in Avantgarde's line, but it was still visually imposing, with a big horn midrange on top, a horn tweeter below that, and a powered sealed-box subwoofer at the bottom. (I reviewed the Uno 2.0 in Stereophile in August 2000, Vol.23 No.8, and the Uno 3.0 in August 2002, Vol.25 No.8.) The Uno and its siblings, the Duo and Trio, are perhaps the antithesis of the in-wall loudspeakers beloved by interior designers. These speakers do not fade into the background—not visually or sonically.
John Atkinson Posted: Jun 30, 2009 Published: Dec 30, 1990 0 comments
"My vision for the future is one where all manufacturers sell their products directly to the end user. In this way, even the audiophiles in Dead Horse, Alaska can have access to all the audio manufacturing community has to offer." Thus wrote loudspeaker designer David Fokos in a letter introducing his new company Icon Acoustics to the press at Stereophile's High End Hi-Fi show in San Mateo, CA last April (footnote 1). Mr. Fokos, a Cornell graduate who for some years worked for Conrad-Johnson Design and designed that company's well-regarded Synthesis and Sonographe loudspeaker models, feels very strongly that the traditional retailing setup is inefficient when it comes to exposing audiophiles to a wide enough choice of product, particularly when it comes to loudspeakers. With 300 speaker manufacturers listed in the Audio directory issue but even a major retailer restricted to probably six brands, even big-city audiophiles will only be able to audition a fraction of the total number of brands. "Our industry is suffering from product saturation of its retail distribution network."
Sam Tellig Posted: Jun 12, 2009 2 comments
If you have more than six or seven bucks to spend, you might consider the Imagine T floorstanding speaker from PSB Loudspeakers ($2000/pair). A year ago, John Atkinson reviewed PSB's Synchrony One speaker ($4500/pair; Stereophile, April 2008, Vol.31 No.4). The Imagine series is the next line down, and also includes center, surround, and bookshelf models. John Marks flipped over the Imagine B minimonitor in his column in the February 2009 issue.
Wes Phillips Posted: Jun 12, 2009 0 comments
It ain't the stuff you don't know that trips you up, it's the stuff you know that ain't so. When, at the 2007 CEDIA Expo, I encountered Klipsch's startlingly new Palladium P-39F loudspeaker ($20,000/pair), I was impressed by its looks. Tall (56"), as beautifully contoured as the prow of a canoe, and clad in striking zebra-stripe plywood, the P-39F is possibly the best-looking speaker Klipsch has ever made.

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