Floor Loudspeaker Reviews

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Sam Tellig Posted: Sep 03, 2006 Published: Apr 03, 1992 0 comments
"Well, Sam, are there any speakers you are really excited about?"
Anthony H. Cordesman Posted: Feb 25, 2007 Published: Oct 25, 1985 0 comments
The latest edition of Audio's annual equipment directory lists 238 speaker manufacturers. At best I can claim to have heard one product from 10–15% of the manufacturers on this list, and the top of the current product line from a far smaller percentage.
Brian Damkroger Posted: Jan 16, 1999 0 comments
On the occasion of a recent major birthday, my significant other, Bonnie, gave herself a "mid-life crisis" present—a beautifully restored, bright yellow Porsche 911. She'd spent the previous several weeks wading through reference books to figure out exactly which year and model she wanted, and each night we'd discuss the pros and cons of various models, options, and points in the 911's +30-year evolution. Bonnie explained to me that, throughout its production run, the 911 maintained the same basic design and a consistent set of engineering goals, but was continually updated and refined. In her mind, the 1973 Targa was the one to have, the last and fastest of the lightweight 2.4-liter models.
Wes Phillips Posted: Nov 13, 2005 0 comments
Jim Thiel sounded almost bored. "Almost everything about the CS2.4 is pretty standard stuff—short-coil, long-gap, low-distortion drivers, aluminum diaphragms, polystyrene capacitors, spatial coherence, time coherence, reduced diffraction baffles, reduced cabinet vibration, etc., etc. Of course, I think the execution of the 2.4 is more successful than our previous models, but in terms of what's really different, that mechanical crossover is what's special."
J. Gordon Holt Posted: Jun 12, 2008 Published: Mar 12, 1984 0 comments
Thiel is one of those loudspeaker manufacturers, like Spica and Dahiquist, among others, that pay close attention to detail.
Larry Archibald Posted: Mar 25, 2007 Published: Jan 25, 1989 0 comments
Frankly it's a bit nutty for me to be doing this review. First, as Publisher of this esteemed journal, my primary duties involve financial and personnel management, as well as a good bit of public relations; I don't need and am not required to perform the exacting tedium of product reviews. Second, Jim Thiel and Kathy Gornik of Thiel are friends of mine. So what, you ask? Well, if this were going to be a uniformly positive review, I would therefore be ruled out as the reviewer; if it's to be wholly or partially negative, it will surely put a strain on one of my best audio friendships.
Robert Harley Posted: May 31, 1995 Published: May 31, 1993 0 comments
Choosing a loudspeaker can be difficult. Although it is easy to be seduced by a certain model's special qualities, that exceptional performance in one area is often at the expense of other important characteristics. Go with high-quality minimonitors for their spectacular soundstaging, but give up bass, dynamics, and the feeling of power that only a large, full-range system can provide. If you choose an electrostatic for its delicious midrange transparency, you may have to forgo dynamics, impact, and the ability to play loudly. Pick a full-range dynamic system for its bass and dynamics, but lose that edge of palpability and realism heard from ribbon transducers.
Wes Phillips Posted: Dec 15, 2008 0 comments
One might argue that Thiel Audio's 3-series loudspeakers are the audio equivalents of BMW's 3-series sports cars: relatively affordable, but 100% about performance. Thiel has made bigger, more expensive loudspeakers than the 3s, as well as smaller, less expensive models—but the iconic Thiels are the 3s.
John Atkinson Posted: May 06, 2007 Published: Jun 06, 1990 0 comments
John Atkinson Opens
I've said it before and I'll say it again: a would-be loudspeaker designer shouldn't even start to think about the possibility of maybe designing a full-range, multi-way loudspeaker until he (and they do all appear to be men) has cut his teeth on a small two-way design. There is still as much art as science in designing a successful loudspeaker, even with all the computer-aided this and Thiele-and-Small that, that even a two-way design requires a designer either to be possessed of a monster talent or of the willingness to undergo months, even years, of tedious and repetitive work—or of both. For a would-be speaker engineer to start his career with a wide dynamic-range, multi-way design, intended to cover the entire musical spectrum from infra-bass to ultra-treble, seems to me to be a perfect case of an admittedly well-intentioned fool rushing in where any sufficiently self-critical angel would fear to tread.
John Atkinson Posted: Mar 09, 1998 0 comments
A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [gasp!] "purchase.") Before I bought my long-term reference loudspeakers—a pair of B&W John Bowers Silver Signatures—back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of Stereophile (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.
Brian Damkroger Posted: Feb 02, 2000 0 comments
When I describe the Thiel CS7.2 to friends, the word that gets the biggest reaction is "simple." Veteran audiophiles protest, noting the big Thiel's multiple drivers, complex cabinet, and elaborate, zillion-element crossover. Nonaudiophiles just glance at the 5'-tall speaker, smile sympathetically at Bonnie, and roll their eyes.
J. Gordon Holt Posted: Mar 04, 2008 Published: Sep 04, 1983 0 comments
These speakers inadvertently managed to put me in a good mood even before I listened to them, because of a dumb little gaffe committed by Thiel's packing department. Each speaker came with an Owner's Information sheet, which is nice. Each sheet included Unpacking (and Repacking) Instructions, which is nicer. But each sheet came packed inside the carton, underneath the speaker, where it was not accessible until after the speaker was dumped out of the box, which is pretty silly!
Larry Greenhill Posted: Apr 22, 2001 0 comments
Those who have read this magazine regularly over the past five years know that Canadian designer Vince Bruzzese has been marketing his small, two-way loudspeakers under the Totem Acoustic brand name. Every review of one of these designs has raved about their strong bass response and three-dimensional imaging, but ends with a "but": "the sound is totally awesome, the imaging is holographic, and my wife thinks it looks terrific in the living room, but..."
Paul Messenger Posted: Mar 20, 2005 0 comments
I don't know whether Sam Tellig or I first discovered the delights of some slightly idiosyncratic loudspeakers made by Triangle—Tree-ON-gle, if you add the relevant accent—in the northeastern corner of France. I do recall feeling quite relieved to find that I wasn't the only hi-fi writer who liked and wrote about them.
John Atkinson Posted: Aug 22, 2014 0 comments
The French do things differently. I first heard Triangle loudspeakers at the 1981 Festival du Son, in Paris. That was, of course, after I had obtained admission to the show, in a nonintuitive process in which members of the press obtained their credentials at a booth inside the show. But my experience of the Triangle speaker, a small, three-way floorstander, was positive: It sounded clean and uncolored, and nothing like the BBC-inspired speakers I preferred at that time. The Triangle wasn't as neutral as the English norm, but there was something appealing about its sound—something that, I later learned, Stereophile's founder, J. Gordon Holt, referred to as jump factor.

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