Triad Speakers has been designing and manufacturing three-piece (woofer and two satellites) loudspeaker systems since 1982. The company was formed that year by designer Larry Pexton and has enjoyed steady growth in their market niche. Their original three-piece loudspeaker was a collaboration with Edward M. Long, of "Time-Align" fame, and Ron Wickersham. It was felt that the ideal loudspeaker would have the least cabinet interference, thus the design decision to keep the woofer separate and the midrange/tweeter enclosure small. Triad speakers were selected for inclusion in the Consumer Electronics Show's Innovations 1990 Design and Engineering Showcase, the sixth time the company's products have been selected for this award.
Back in the Spring of 1988, I was sent a pair of diminutive two-way speakers that totally redefined for me what miniature loudspeakers were supposed to be about. That model, Acoustic Energy's AE1, may have offered short measure in the low-bass department, but its apparently effortless dynamics, musically natural balance, and tangible imaging made it a winner. It also broke the mold of modern audiophile speaker design by featuring a 4.5" woofer with a metal cone just 3.5" in diameter. (Various companies have experimented with metal-cone drive-units in the past, only Ohm and pro-sound company Hartke having had any previous commercial success, though Monitor Audio now also offers a range of speakers with metal-cone woofers, their Studio line.) Since that time, Acoustic Energy has tried to produce a full-range speaker that built on the success of the AE1, but with only limited success, in my opinion. While their AE2 added a second identical woofer, and offered useful increases in bass extension and dynamic range, I felt it to be too colored in the midrange to be a real audiophile contender (see Vol.13 No.2, February 1990, p.134.)
Reality check number one. Tired of reading about the latest and greatest $65,000 loudspeakers? Or even the current hot ticket at $2500? Such loudspeakers promise to bring you the audio truth, or the golly-gee-whiz, honest-to-gosh, absolutely positively real sound. And some of them do seem to come awfully close, though truth be told, we're still a long way from replicating realityand will never do it with just two channels.
In an unfortunate coincidence, a few nights before the Cabasse team arrived to install the company's unusual-looking La Sphère powered speaker system, VOOM HD Networks, Monster HD channel, which is exclusively devoted to B horror movies, broadcast The Crawling Eye (aka The Trollenberg Terror), a 1958 black-and-white howler starring Forrest Tucker. I watched.
The Fourier 6 has the special ability to generate large coherent sonic fields, from a box small enough to slip into an ordinary shopping bag. At $499/pair, the 6 competes directly with another remarkable-imaging, compact American speaker, the Spica TC-50 ($420/pair).
I've been musing much of late on what enables some hi-fi components to sound natural while others always seem to add an edge of artificiality to their sound. This dichotomy was examined in last month's "As We See It," where I asked a representative group of Stereophile writers to discuss the fact that many high-end components regarded as being neutral in their sonic character, with apparently little wrong in their measured performance, can actually sound quite unmusical. This would seem to suggest that the nature of what a component does wrong is of greater importance than the level of what it does wrong: 1% of one kind of distortion can be innocuous, even musically appropriate, whereas 0.01% of a different kind of distortion can be musical anathema.
When I attended the 2006 GuangZhou Hi-Fi Show in China, it seemed as though most of the Asian-built loudspeakers I saw were huge, astonishingly efficient, and had horns. When I walked into Usher Audio Technology's room, however, Paul Chen was making music happen with the Usher S-520s ($500/pair).
One of the first affordable loudspeakers I reviewed for Stereophile was the original Paradigm Reference Studio/20 bookshelf model, in the February 1998 issue (Vol.21 No.2). At the time, I felt that the $650/pair speaker was a breakthrough—although not completely devoid of colorations, its ratio of price to performance set a benchmark a decade ago. I kept the Studio/20s around for several years to compare with other bookshelf speakers I reviewed, and they remained listed in Stereophile's "Recommended Components" for several years after that. The Studio/20 is now in its fourth (v.4) iteration, so I thought I'd grab a pair to hear how they compared with current affordable bookshelf designs.
In the ice-cream world, chocolate is the universal end of the line. Vanilla experiments that taste great but look foul, maple syrup flavors that are more maple than syrup, tutti-frutti that's too tutti—all are recycled as chocolate flavor, their visual sins permanently hidden from view. In the world of wood, the equivalent of chocolate ice cream is the ubiquitous "black ash" veneer. The original color and character of the wood are irrelevant: it all ends up stained black.
The first reference I saw to the Count of Saint Germain was in Foucault's Pendulum, Umberto Eco's dense novel about a man whose paranoid delusions become so overpoweringly real that, by the end of the book, the reader is left wondering whether the protagonist's enemies actually exist. That their number should include Saint Germain was a nice touch: Part cabalist, part confidence man, the real-life Count was thought by some to be immortal (in Pendulum he's pushing 300), and while Casanova wrote vividly of meeting Saint Germain at a dinner party in 1757, so did the English writer and pederast C.W. Leadbetter—in 1926. Like Aleister Crowley, the Count of Saint Germain can be seen peering over the shoulders of countless parlor (but not parleur, or even haut-parleur) occultists: He keeps popping up all over the place.
I always look forward to Stereophile's Home Entertainment Shows, where I scout out interesting new models of affordable loudspeakers. At HE2007 in New York City, I was struck by the Silverline Audio room—not only by the sound I heard there, but by the way Showgoers reacted to that sound.
I believe Ken Kantor said it first: a couple of years ago, in his September 1990 interview with Robert Harley (Vol.13 No.9), he remarked that "there's no reason why a two-way 6" loudspeaker can't be the equal of almost the best speaker out there from a certain frequency point upward, with the possible exception of dynamic range." When I read those words, they rang true. If you put to one side the need to reproduce low bass frequencies and can accept less-than-live playback levels, a small speaker can be as good as the best, and allow its owner to enjoy the benefits of its size—visual appeal, ease of placement in the room, and the often excellent imaging afforded by the use of a small front baffle.
For years, I have espoused the use of the same speakers (except subwoofer) in all positions for multichannel music. To have no speaker in the system contributing a different voice to the choir seems as intuitive as having the room acoustics not color the sound. Of course, this still doesn't guarantee perfect timbral match—positioning and room acoustics usually impose some unique characteristics under all but the most perfect and symmetrical conditions. You can hear tonal imbalances even between the left and right speakers of most two-channel systems simply by switching pink noise between them. On the other hand, there's no reason to superimpose on these unavoidable differences the additional imbalances inevitable with using different speakers in a multichannel array.