Stand Loudspeaker Reviews

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Art Dudley Posted: Jan 04, 2013 4 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 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.
John Atkinson Posted: Feb 25, 2007 Published: Dec 25, 1994 0 comments
As far as I can tell, Santa Fe–based speaker engineer John Bau had designed but four commercial loudspeakers before the TC-60 was launched at the 1994 Winter CES: in order of appearance, they were the Spica SC50i (1980), the TC-50 (1983), the Angelus (1987), and the SC-30 (1989). None were expensive, and all garnered much praise, both in Stereophile's pages and elsewhere.
Art Dudley Posted: Apr 10, 2012 2 comments
The sound of the Stenheim Alumine loudspeaker—its openness, transparency, and freedom from temporal distortions, not to mention its good bass extension for such a small enclosure—reminded me at once of my favorite small loudspeaker from the late 1980s, the Acoustic Energy AE1. On reflection, the comparison is extraordinary: The two products are as different as night and day, the AE1 being a wooden loudspeaker with a metal-cone woofer, the Alumine a metal loudspeaker with a pulp-cone woofer. I suppose one can skin a catfish by moving the knife or by moving the fish.
Art Dudley Posted: Feb 27, 2014 Published: Mar 01, 2014 19 comments
I know someone who bought, for his own kitchen, a stove intended for the restaurant trade, simply because it enhances his enjoyment of cooking. Another friend, a motoring enthusiast, has equipped his garage with a brace of tools, including a hydraulic lift, that would be the envy of some humbler repair shops. Yet another friend indulges her enthusiasm for ceramics with a potter's wheel and kiln that one might find in a well-endowed art school. Among the most serious consumers, it seems, the watchword is professional; odd, then, that professional-quality monitors don't account for an even bigger chunk of the domestic loudspeaker market.
John Atkinson Posted: Dec 30, 2011 Published: Jan 01, 2012 3 comments
High-end audio is in some ways a dynastic beast, though without as many "begats." One of the world's most successful loudspeaker manufacturers in the years following World War II was the Wharfedale company, from Yorkshire in the North of England. Wharfedale was founded by Gilbert Briggs in 1932, who in the 1950s handed over the reins of Technical Director to fellow Yorkshireman Raymond Cooke. Cooke left Wharfedale in 1961 to found KEF Electronics Ltd., where he subsequently appointed Goodmans designer Laurie Fincham as Chief Engineer in 1968. Fincham led a team of young engineers, including Mike Gough, who eventually joined B&W, and Yorkshire-born Andrew Jones, who became KEF's Chief Engineer in 1989, before Fincham was lured to Harman's Infinity division, in Northridge, California, in 1993. Jones followed Fincham across the Atlantic, where he worked on Infinity's Prelude, Overture, and Reference Series speakers, before joining Pioneer in 1997. The Japanese company had established a state-of-the-art speaker-design facility in Southern California, and Jones was invited to lead the design team.
Stephen Mejias Posted: Oct 10, 2012 4 comments
The last few decades have seen dramatic improvements in the art (and science) of loudspeaker design. Tannoy's budget-priced Mercury series is now in its fifth iteration. The two-way, front-ported Mercury V1 ($320/pair) measures 11.8" high by 6.7" wide by 10" deep and weighs 9.9 lbs. My samples came in a very handsome Dark Walnut finish (Sugar Maple is available) with simple black cloth grilles. I left the grilles off to reveal the speakers' attractive front baffles and accentuate their equally attractive high frequencies (more on the latter later).
J. Gordon Holt Posted: Jan 01, 1971 2 comments
After a number of years of equipment reviewing, one gets rather blasé about "compact" loudspeakers. The appearance of yet another one that looks like hundreds of others and embodies no radically new innovations to pique one's curiosity is likely to be greeted with a passionate Ho-Hum.
Stephen Mejias Posted: Oct 27, 2011 5 comments
We were sitting near the pool, in a cozy, private cabana on the outdoor terrace of the Trump Plaza Residences in downtown Jersey City, surrounded by all kinds of beauty: To the north, the old Powerhouse Building stood proud, strong, and silent; to the south, Exchange Place's Colgate Clock was just beginning to glow, extending its tireless arms toward Lower Manhattan; to the east, the Empire State Building soared into the humid evening sky, its white-lit spire making thin veils of the summer clouds; and to the west, the redbrick row houses of Harsimus Cove hummed with the sounds of quiet domestic life. Before us stretched a long table covered with delicious treats: cheeses, meats, and crackers; olives, grapes, and hummus; bottles of beer, vodka, and wine. We were at Shana's place, with Natalie, Nicole, and Daniela—Kristin was there, too. And all I could think about were loudspeakers.
Stephen Mejias Posted: Nov 15, 2011 0 comments
On Thursday, August 11, Cut Copy performed for a massive crowd at Brooklyn's Prospect Park, putting the perfect end to what had been a beautiful summer day. Concert photos by Natalie.

The enormous sky above Brooklyn's Prospect Park was a dazzling watercolor. Warm, soft shades of yellow, orange, and violet swept across a saturated canvas as the sun slowly dissolved into the horizon and day reluctantly gave way to night. It was the second week of August and, though no one wanted to admit it, the days had become noticeably shorter.

I walked alone through turnstiles that led to the large band shell where thousands of people would congregate for the final night of "Celebrate Brooklyn," a summerlong series of outdoor concerts. This year's season included performances by a wonderfully diverse and talented collection of artists—some obscure, some renowned, all worthwhile: Andrew Bird, Larry Harlow, Animal Collective, Real Estate, The Feelies, Los Lobos, The Bad Plus, Dr. John, and dozens of others.

Stephen Mejias Posted: Jul 05, 2012 14 comments
It was unusually warm for early spring, without a cloud in the big, blue sky to tame the sun's dazzling light—far too beautiful a day to be indoors, but Uncle Omar and I had already planned a little listening session, and I was determined to show him that high-end cables would make a difference in his system. I wasn't necessarily feeling bullish about the task, though. It had taken me a couple of years to convince Omar that he should replace his old boom-box speakers with something better, and it was only dumb luck that finally made it happen: I was with him when he found a gently used pair of B&W DM602 speakers at a junk shop in Jersey City. When they were new, the DM602s sold for around $600/pair, but on this happy day they were tagged at $50. "Do it," I begged him. "Doooooo it!"

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