Stand Loudspeaker Reviews

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Martin Colloms Posted: Jun 07, 1995 Published: Jun 07, 1992 0 comments
Sonus Faber was founded in 1981 by Franco Serblin. Real wood has always featured strongly in the construction of this company's evolving range of costly, compact loudspeaker systems (footnote 1). The first was called the Parva, now in its FM4 form. This was followed by the Minima, a Tablette-sized model. The upmarket Electa came through in the last few years, followed by the Amator-Electa. This series increases in size and weight with each new introduction—for example, the Minima weighed 6kg, the Electa 12kg, the latest Extrema a massive 40kg or 88 lbs.
Art Dudley Posted: Jan 05, 2012 2 comments
At present, my writing chores are divided between two fields: domestic audio and lutherie. Having invested considerable time in both, and having by now met a number of builders who are distinguished in one or the other, I can say with all confidence that the best share a simple, single point of view: Everything makes a difference.
Martin Colloms Posted: Jul 05, 1995 Published: Jul 05, 1994 0 comments
Sonus Faber provides a fascinating and challenging insight into the art of high-quality sound reproduction. This Italian company makes two costly two-way stand-mounted speakers that couldn't be more different from each other.
Michael Fremer Posted: Aug 11, 2007 0 comments
Audiophile eyes usually roll when a manufacturer describes a loudspeaker as a "genuine musical instrument." Musical instruments have specific characteristics of pitch and timbre. Ideally, a loudspeaker should be a portal to the music; the speaker itself should be neutral in pitch and timbre—in other words, the opposite of a musical instrument. That the sound produced should be "musical" is a different argument.
Larry Greenhill Posted: Apr 29, 1995 Published: Apr 29, 1993 0 comments
Imaging, imaging, imaging. That's what I thought when I first heard the Sonus Faber Electa Amators reviewed by Jack English last October. How could such small speakers create such a wide, deep soundfield? John Hunter, president of Sumiko, Ltd. and importer of Sonus Faber products, was amused but not surprised at my reaction. I did the natural thing and begged for a review pair.
Corey Greenberg Posted: May 10, 2013 Published: Oct 01, 1994 2 comments
I know, I know—"NOT ANOTHER $%#$ SONUS $%#$# FABER REVIEW IN $%#$# Stereophile!!" In just the past two years or so alone we've spilled a pretty fat bottle of ink on this Italian speaker line: Martin Colloms reviewed the $12,500/pair Extrema (Vol.15 No.6) and $9000/pair Guarneri Homage (Vol.17 No.7); Jack English covered the $4500/pair Electa Amator (Vol.15 No.10); and Larry Greenhill wrote about the $1800/pair Minima FM2 (Vol.16 No.4). That's a lotta jizzatoni, so let me tell you right off the bat that when I called Italy a few months ago, speakers were the last thing on my mind.

I wanted shoes.

Robert J. Reina Posted: Dec 30, 2013 Published: Jan 01, 2014 0 comments
I've loved the neutral, detailed, involving sound of Sonus Faber loudspeakers for as long as they've been available in the US. Most of my listening to them, however, has been at audio shows, and during a visit to Audio Research Corporation in 2012. (Since 2008, both ARC and Sonus Faber have been owned by the Italian firm Fine Sounds SpA, and since then ARC has used speakers made by SF, as well as by Wilson Audio and Magnepan, in the design of their electronics. Fine Sounds also owns 100% of Wadia, McIntosh, and Sumiko.)
Lonnie Brownell Posted: Nov 13, 2015 Published: Dec 01, 1995 0 comments
Tricker tweets? I know, Halloween has already come and gone, but I just had to use that because this little speaker has a trick about its tweeter. The Spectrum Audio 108cd is constructed of ¾" MDF for the baffle and ½" MDF for the sides, with a very–high-quality black ash vinyl covering all the way around. (A brown ash finish is also available.) Rapping on the cabinet results in a hollow bonk, rather than a solid thud.
J. Gordon Holt Posted: Oct 01, 1978 4 comments
666Spendor_BC1.jpgThis smallish loudspeaker system has been getting high ratings in the English audio magazines for some years but was not available to US consumers until recently, when the small firm (literally a Mom'n'Pop enterprise, footnote 1) arranged for US distribution through Audio International.

The Spendor BC-1 is about as unimpressive-looking as any other smallish three-way loudspeaker, of which there are countless hundreds of models being made in the US at present. In fact, we were so ho-hummed by the mundane appearance of this speaker that we found it hard to connect the pair up and give them a listen.

Art Dudley Posted: Jan 04, 2013 5 comments
In late 1996, as Listener magazine entered its third year of existence, the Spendor SP100 became my reference loudspeaker, and would remain so for a considerable time. My decision to try the SP100 was influenced by John Atkinson's review of its antecedent, the nearly identical Spendor S100, in the December 1991 issue of Stereophile. But my purchase decision came down to two things: The SP100 did virtually everything one could ask a modern loudspeaker to do, requiring in the process far less amplifier power than usual. Just as important at the time, it sold for only $3300/pair—which explains how I could afford them on the spotty salary of a teacher turned fledgling publisher.
Sam Tellig Posted: Oct 03, 2004 Published: Jun 01, 1990 0 comments
"Speakers are difficult," says Lars.
Robert J. Reina Posted: Mar 07, 2013 5 comments
The Spendor S3/5R2 loudspeaker reminds me of Art Dudley. My friendship with Art began more than 25 years ago, long before either of us joined Stereophile. Frequently, we would sit down to discuss music, guitars, and audiophiles. Art didn't have much patience for a certain category of audiophile who would evaluate an audio component based on how many points on their sonic checklists they could tick off. Image specificity? Check. Soundstage depth? Check. Lower-bass extension? Check.
Art Dudley Posted: Jul 13, 2003 0 comments
Transistors can be made to sound like tubes, digital can be made to sound like analog, and cables can be made to sound like no cables. You'd almost think we live in an age of miracles.
John Atkinson Posted: Aug 24, 2009 0 comments
Two years ago, I embarked on a series of reviews of mostly state-of-the-art, mostly full-range floorstanding speakers: the Sonus Faber Cremona Elipsa (December 2007), KEF Reference 207/2 (February 2008), PSB Synchrony One (April 2008), Magico V3 (May 2008), Avalon NP Evolution 2.0 and Epos M16i (July 2008), Esoteric MG-20 (August 2008), Dynaudio Sapphire (January 2009), and Revel Ultima Salon2 (March 2009). I had intended to intersperse those reports with coverage of some high-performance minispeakers, but for various reasons that never happened, so in the next few issues I'll be making up that lost ground, beginning with a promising contender from the UK, the Spendor SA1.
Anthony H. Cordesman Various Posted: Mar 11, 1998 Published: Feb 11, 1984 0 comments
High-quality, low-cost loudspeaker systems are not an everyday blessing. The Rogers LS3/5a has survived for more than a decade precisely because so few US manufacturers sought musical accuracy as distinguished from high output and powerful bass. The economics of loudspeaker manufacture also don't lend themselves to economy. The cost of woodwork is driving the price of speakers up almost as fast as the cost of sheet-metal work is escalating the price of electronics.


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