Floor Loudspeaker Reviews

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Thomas J. Norton Posted: Nov 04, 1999 1 comments
Hard to believe it's been more than six years since NHT launched its flagship 3.3 loudspeaker (footnote 1). At the time, the floorstanding 3.3 was a revolutionary product for the company, whose product line until then had been aimed squarely at the customer who wanted good sound, but wanted it in a small, affordable package. While the 3.3 didn't change NHT's dedication to its roots, it did signal to audiophiles that the manufacturer could play ball with the big boys.
Posted: Jan 02, 2005 Published: Dec 02, 1993 0 comments
When Ken Kantor helped to found Now Hear This, Inc. (most commonly referred to by its initials, NHT) in 1986, he brought with him a wealth of design and production experience learned from stints with NAD and Acoustic Research. He also brought a desire to build and market products that a wide range of people could afford. NHT began by producing small, two-way designs distinguished by the angled front baffle which remains the company's trademark. The latter is no gimmick, but was designed to optimize the loudspeakers' radiation pattern, a matter of keen interest to Kantor ever since his undergraduate thesis work at MIT. This interest continued at AR, where he was responsible for the MGC-1 loudspeaker—probably his best known pre-NHT loudspeaker design.
Robert J. Reina Posted: Dec 23, 2010 0 comments
I've always enjoyed the time I've spent with NHT loudspeakers. The two bookshelf models I've reviewed—the SB-3 (Stereophile, November 2002) and its successor, the Classic Three (November 2006)—shared NHT's "house sound": liquid, balanced, and dynamic, with little coloration, and a slightly forward and lively midrange. The newer Classic Three, still in production, sounded more refined, natural, and detailed than the SB-3. I like to see speaker designers whose work improves over time.

So when NHT approached me about reviewing a new floorstanding model with a small footprint, the Classic Absolute Tower—their first new speaker design of the next decade, they say—I jumped at the chance. Not only had I not reviewed an NHT in a while, but I'm increasingly intrigued with—and applaud—the trend of manufacturers to add small-footprint tower speakers to their lines of affordable speakers. As most speakers costing under $1000/pair tend to be bookshelf models, shoppers need to worry about buying good-quality stands of the appropriate height, and about optimizing the speaker positions with respect to the front and side walls.

John Atkinson Posted: Apr 17, 2005 0 comments
Twelve years ago, loudspeaker manufacturer NHT launched its model 3.3, a floorstanding, full-range design that Corey Greenberg summed up in the March 1994 Stereophile as doing "everything I want a He-Man reference loudspeaker to do...I find myself without a single area of performance I've heard bettered by any other speaker." The NHT 3.3 basically combined a high-performance monitor with a sideways-firing subwoofer in the same enclosure, and when I first saw NHT's Evolution T6 system at the 2002 CEDIA convention, I was reminded of the classic 3.3, but a 3.3 updated for the needs of home theater as well as music. And despite inflation and the incorporation of a line-level crossover and a pair of monoblock amplifiers to drive the subwoofers, a two-channel T6 system costs the same as a pair of 3.3s: $4000.
Brian Damkroger Posted: Nov 05, 2004 Published: Oct 01, 1999 0 comments
June is a always a perplexing time for me. The weather is lovely, the mountain wildflowers are blooming, things are pretty calm at work.....but it's Bonnie's birthday.
Robert J. Reina Posted: Jan 05, 2012 0 comments
I've long been fascinated by Carl Marchisotto's speaker designs, first for Alón by Acarian Systems and currently for Accent Speaker Technology's Nola family of models. The Alón Circe has been my reference loudspeaker for over a decade, and it replaced my previous reference, the Alón V Mk.III. During my tenure at Stereophile I've also reviewed the Alón PW-1 woofer system (February 1997, Vol.20 No.2) and the Nola Mini speaker (January 2006, Vol.29 No.1), both now discontinued. In recent years, however, I hadn't paid much attention to Marchisotto's newer speakers, as he's focused on expensive designs featuring the Raven ribbon tweeter—currently, four models ranging from $15,200 to $238,000/pair. Although I've been impressed with all of the Raven-tweeter models I've heard at shows, dealers, and audiophiles' homes, my taste over the years has leaned toward Marchisotto's simpler two- and three-way, all-dynamic designs.
John Atkinson Posted: Oct 30, 2014 7 comments
For a reviewer, deciding which products to write about is a tricky business. You want to do a professional job of evaluation, but you also want to be able to wrest maximum enjoyment from your music while you do so. Attending audio shows is where reviewers perform sonic triage, weeding out the products that aren't ready for prime time, and making a note of those they wish to invite home after the show.
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.
Dick Olsher Posted: Jan 17, 2008 Published: Jun 17, 1987 0 comments
The Ohm Walsh 5 displaces the Ohm F at the top of the Ohm line, and the current Walsh 5 production run represents a "limited edition" of 500 pairs worldwide. There's even a certificate of authenticity—hand-signed by Ohm Acoustics President John Strohbeen—packed with the speakers that makes it all official. I think that this is more than a clever marketing gesture and clearly demonstrates Ohm Acoustics' pride in their new flagship loudspeaker.
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.
Robert Deutsch Posted: Jun 30, 2000 0 comments
It may come as a surprise to relative newcomers to the field of audio, but some loudspeaker manufacturers are manufacturers in only a limited sense. They buy drivers, off-the-shelf or custom-built, from companies like VIFA, SEAS, Focal, etc.; cabinets from a woodworking shop; and crossovers from an electronics subcontractor. While the system design will have taken place in-house, actual manufacturing is restricted to assembling the components, perhaps tweaking the crossover, and final QC. Even some highly successful loudspeaker manufacturers use this approach, which can work well as long as the suppliers do their jobs properly.
John Atkinson Posted: Feb 06, 2005 Published: Jan 06, 2005 0 comments
Like the Reference Studio/60, which was enthusiastically reviewed in the December 2004 issue by Kalman Rubinson, Paradigm's floorstanding Reference Studio/100 is now available in a v.3 version. The '100 is the flagship model in the Canadian manufacturer's Reference line. Its earlier incarnations, the original Studio/100 and the Studio/100 v.2, were reviewed by Tom Norton and Robert Deutsch in the August 1997 and June 2000 issues of Stereophile, respectively, and both writers were well impressed at how much sound quality could be wrought from this competitively priced speaker design. Bob Deutsch, in particular, referred to the v.2 as a "a serious high-end contender, and a formidable one for just about any speaker in its price range and even well above."
Kalman Rubinson Posted: Dec 19, 2004 0 comments
I am biased in favor of Paradigm loudspeakers. I've used them for 10 years; they offer good sound and good value, properties they share with a number of other Canadian makes who have taken advantage of Canada's National Research Council facilities in Ottawa. In fact, the first components I bought specifically for what is now my multichannel system were Paradigm Esprit/BP speakers, which had impressed me at a Stereophile show. When I took the step into multichannel and found that there wasn't a matching center-channel speaker for the Esprits, I replaced them with Paradigm's Reference Studio/60 v.2s. But while the smaller Reference Studio/20, and the larger Studio/100 have both been reviewed in Stereophile, the Studio/60 had not. The release of the v.2's successor, the Reference Studio/60 v.3 ($1699/pair), was an opportunity to fill that gap.
Thomas J. Norton Posted: Jul 16, 2015 Published: Jun 01, 1992 0 comments
692.parapromo.jpgParadigm is not a new name to US audiophiles, but the Canadian loudspeaker company hopes to increase awareness of its products with their Monitor series, all members of which incorporate a similar design philosophy and drive-units. Heavy and apparently massively constructed, the top-of-the-line Paradigm Studio Monitors ($1899/pair) are the first commercial loudspeakers to pass my way with provision for tri-wiring: three sets of terminals on the back of the enclosures provide direct links to the crossover segments feeding each separate driver (or drivers, in the case of the low end).

Those crossovers use quasi-Butterworth filters, but there is, by design, little attempt to correct for driver aberrations in the crossover, a technique which Paradigm does not believe produces the best results. The wood-veneered cabinet is solidly constructed, making use of a combination of high-density composite hardboard and MDF—a technique claimed to reduce uncontrolled resonances. MDF cross-bracing is provided, and four heavy-duty spikes are furnished per speaker. (I used Tonecones in my listening for the simple reason that three spikes are self-leveling, four are not.)

Barry Willis Posted: Jul 03, 2005 Published: Oct 03, 1999 0 comments
Most speakers don't come in heavy wooden crates—they come in cardboard cartons, two per box, light enough to be tucked under one arm and carried out to the car. Not so in HighEndLand, where the smallest minimonitor can test a healthy man's strength. There are plenty of good reasons for this cult of robustness, foremost among them structural stability and the suppression of resonances.

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