Floor Loudspeaker Reviews

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Erick Lichte Posted: Jul 03, 2014 20 comments
The year: 1999. The city: Minneapolis. While taking a break from partying with Prince like it was, well . . . that year, I wandered into a local audio emporium to see what new and exciting goodies were on display. Set up in a large listening room, attached to the latest Mark Levinson gear, were Revel's original Ultima Studio loudspeakers. I sat down, gave them a listen, and heard the best sound I had yet heard. For the first time, it seemed to me that I was listening to an audio system that played with low distortion and little coloration. Also, the system's wide dispersion threw a huge soundstage, engrossing me in the music in ways other speakers couldn't. I was hooked.
Larry Greenhill Posted: Mar 28, 1999 1 comments
On a very special Saturday night in early September—late winter in Australia—I was deeply moved by hearing Brahms' Symphony 1 in the concert hall of the Sydney Opera House complex. Perhaps it was Marek Janowski's fiery, inspired conducting, but I keep recalling the hall itself. Earlier that day, I had photographed—first from my hotel room, later from a ferry—the huge, nesting sail-like roofs, covered with a million white ceramic tiles, that enclose an opera theater, concert hall, and restaurant. Twenty-five years in construction and costing over $107 million, the Sydney Opera House is described in my Fodor's '98 Australia guide as "the most widely recognized landmark of urban Australia." Attending the concert that night—all 2679 seats were occupied—I found the acoustics lovely, dark, and rich.
Larry Greenhill Posted: Jun 17, 2008 0 comments
Back in March 1998, Revel's Ultima Salon1 floorstanding loudspeaker generated quite a stir at Stereophile (Vol.22 No.3). Our reviewers were impressed by its seven designed-from-scratch drive-units, its ultramodern enclosure with curved rosewood side panels, exposed front tweeter and midrange, rear-facing reflex port and tweeter, and a flying grille over the mid-woofer and woofers. In the December issue (Vol.22 No.12), the Ultima Salon1 ($16,000/pair) was named Stereophile's "Joint Speaker of 1999" for its "big bass, timbral accuracy, low distortion, dynamics, lack of compression, and best fit'n'finish."
Kalman Rubinson Posted: Dec 31, 2000 0 comments
The Revel Ultima Studios came to me by chance. I'd wanted to review Revel's high-value Performa F-30—see my May 2000 report—but the Studio was offered instead. By the time a pair of Studios had arrived, however, the F-30s were also on their way, and the Studios were put on the back burner. Because of the mix-up, I thought the Studios would be freebies—just listen for a while and send 'em back. I am now obliged to do the honest thing and fess up in public: Many months have passed and the Studios are still here.
Kalman Rubinson Posted: Mar 22, 2008 1 comments
This is my fourth review of a Revel loudspeaker, and I was even more excited by the arrival of the Ultima Studio2s ($15,999/pair) than I was when their predecessors, the original Ultima Studios ($10,799/pair when first reviewed; $15,000/pair when last listed in "Recommended Components"), were delivered in 2000. (See my review in the December 2000 Stereophile, Vol.23 No.12.) After all, the Studios were my reference speakers for years and, along with the larger Ultima Salons, were statement products that were the product of the talented designer Kevin Voecks and the considerable resources of Harman International, parent of Revel as well as of JBL and Infinity. Over the years, I've also reviewed Revel's Performa F30 (May 2000, Vol.23 No.5) and Concerta F12 (July 2006, Vol.29 No.7), each outstanding at its price point. If, after all these years, Voecks and his team were ready to reconsider their statement products, they should be something special.
Michael Fremer Posted: Aug 18, 2002 0 comments
Antares is a giant red star in the constellation Scorpio. According to Rockport Technologies' Andy Payor, the $41,500/pair Antares loudspeaker is the "ultimate" reasonably sized, full-range loudspeaker, and is built to a standard "unequaled in the industry." Rockport's $73,750 System III Sirius turntable came with equally boastful claims that turned out to be anything but hyperbole. Has Rockport done it again with the Antares?
Michael Fremer Posted: Sep 19, 2004 Published: Sep 01, 2004 0 comments
No one has ever accused Rockport Technologies' Andy Payor of under-engineering a product, and this set of gleaming black beauties is no exception. The system is available in two configurations: as the two-way Merak II for $19,500/pair, including sturdy custom cradle-stands with integrated crossover; and as the Merak II/Sheritan II, a three-way, two-box floorstander that, to afford them at $29,500, will reduce some to living in the speakers' shipping crates. You could do worse for housing than checking into the Sheritan Rockport: The wooden crates are almost exquisitely finished.
Wes Phillips Posted: Jul 09, 2006 Published: Dec 09, 1995 0 comments
As I trundled the WATT/Puppys off to the Stereophile laboratory complex for our test procedures (see my review in the last issue), I idly wondered to myself, "Gee, what am I going to do for an encore?" Visions of exotic butterfly-like horns danced in my head (nope, J-10 Scull gets those babies). I was tantalized by the call of ambitiously designed behemoths (Major Tom gets those, he's got the room for 'em). Maybe some jewel-like, state-of-the-art minimonitors? (JA glommed 'em—editor's prerogative, y'know.) So what does that leave me?
Corey Greenberg Posted: Nov 05, 2006 Published: Apr 05, 1992 0 comments
Foreword by Sam Tellig: I wanted to like the Sci Fi Teslas. I originally heard these speakers at Dave Wolf's store in New Canaan, Connecticut—no longer in business, alas.
J. Gordon Holt Posted: Oct 09, 2005 Published: May 09, 1993 0 comments
Richard Shahinian has been offering loudspeakers to music lovers for more than 15 years. I use the word "offering" here in its strictest sense, because Dick has never "sold" his products—by pushing them. Indeed, he is probably one of the worst self-promoters in the business. If we think of "soft sell" in the usual context of laid-back and low-pressure, then Shahinian's approach would have to be called "mushy sell."
Robert Deutsch Posted: Mar 18, 2007 Published: Mar 19, 2007 1 comments
It must be difficult for makers of audio equipment to decide how to best exhibit their products at events such as the annual Consumer Electronics Show. If you're doing a demo, you want it to impress audio journalists and potential dealers, and sometimes just playing music is not enough: you need something extra. A few years ago, Joseph Audio put on a demo, supposedly of their top-of-the-line floorstanding speaker, during which Jeff Joseph removed a cloth that had been draped over what was assumed to be hotel-room furniture. Under that cloth were the speakers that were actually playing: Joseph's new in-wall model, mounted on flat baffles. Wilson Audio Specialties demonstrated their speakers with purportedly ultra-high-end electronics and digital source, then revealed that they were actually using a modestly priced preamp and power amp, and that the source was an Apple iPod.
Larry Greenhill Posted: Jun 08, 2009 Published: Mar 08, 1996 0 comments
The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late Peter Snell's original three-way floorstanding design, and is the most radical departure from Snell's original. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.
Larry Greenhill Posted: Apr 14, 2002 0 comments
Say "Type A" to a group of psychologists and they immediately think "hard-driving, workaholic executive." Speak the same phrase among audiophiles, and the late Peter Snell's (1946-1984) flagship loudspeaker comes to mind. The model reviewed here is the seventh iteration of Snell Acoustics' Type A, and this is the 12th published review of the product in American audio magazines. (The last one published in Stereophile was in March 1996, Vol.19 No.3, of the Type A Reference.)
Larry Greenhill Posted: Dec 19, 2008 0 comments
"How do you make an object common as a box iconic?" asked Bob Graffy, Snell's vice president/brand manager. He and Joseph D'Appolito, Snell's chief design engineer, were sitting in my listening room, discussing cabinet designs. Graffy noted that KEF had sought the same in their distinctive, silvery, cylindrical Muon loudspeaker ($150,000/pair). For the flagship model in their Illusion series, Snell commissioned Gerd Schmieta, former designer for Ideo, to integrate D'Appolito's wish list for an ideal enclosure: a narrow, rounded upper baffle for the midrange and tweeter, wider at the base for the woofers, holding a constant cross-sectional area while maximizing cabinet volume, and compliance with a 15° tip test.
J. Gordon Holt Posted: Apr 30, 2006 0 comments
One of the less-glamorous speaker systems around today, these have more to offer the critical listener in terms of satisfaction than do most of the more-exotic designs.

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