Stand Loudspeaker Reviews

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John Atkinson Posted: May 17, 2013 Published: Jun 01, 1994 0 comments
Silicon Valley–based Velodyne was founded in 1983 to develop a range of subwoofers that used servo-control to reduce non-linear distortion to vanishingly small levels. They succeeded in this goal to the extent that Velodyne is now perhaps the best-known subwoofer company in the US, currently employing 65 people. At the 1994 Winter CES, Velodyne launched the subject of this review: the DF-661 ($1800–$2600/pair), their first full-range loudspeaker (the "DF" stands for "Distortion-Free").

The three-way DF-661 was designed from the ground up to continue the Velodyne tradition of ultra-low distortion. "We had developed the technology and resources to attack distortion elsewhere in the audio chain," wrote company President David Hall, "and started with the premise that, by definition...distortion in loudspeakers is wrong." (His italics.) "We went to the laboratory for a solution, with the living room as the ultimate goal." Velodyne calls this attention to technological detail "The Silicon Valley approach to sound."

John Atkinson Posted: Oct 10, 2011 2 comments
When John Marks wrote about the Vivid B1 in his column, "The Fifth Element," in February 2011, he was so excited about the sound he was getting that he asked me to drive up to Rhode Island to give a listen for myself. Not only was I impressed by what I heard at John's, I decided to do a full review of the speaker.
Michael Fremer Posted: Nov 18, 2001 0 comments
What's a pro audio company doing at CES?
John Atkinson Posted: Jun 06, 2008 Published: Jan 06, 1992 0 comments
I've been musing much of late on what enables some hi-fi components to sound natural while others always seem to add an edge of artificiality to their sound. This dichotomy was examined in last month's "As We See It," where I asked a representative group of Stereophile writers to discuss the fact that many high-end components regarded as being neutral in their sonic character, with apparently little wrong in their measured performance, can actually sound quite unmusical. This would seem to suggest that the nature of what a component does wrong is of greater importance than the level of what it does wrong: 1% of one kind of distortion can be innocuous, even musically appropriate, whereas 0.01% of a different kind of distortion can be musical anathema.
Robert J. Reina Posted: Jul 11, 2011 2 comments
A while back, I received an e-mail from The Kid (Stephen Mejias): "I've been listening to and enjoying the Wharfedale 10.1 loudspeakers ($350/pair) for a couple of months. I wrote about them for my March and April issue columns, but they are good enough for a complete review. Are you interested?"

Hmm . . . so The Kid is now assigning me equipment reviews? "Sure, why not?"

The day after the Wharfedales arrived, The Kid sent me another e-mail: "Have you unpacked them yet? They are so pretty!"

That they are, Kid.

Robert J. Reina Posted: Nov 19, 2005 0 comments
Following in the footsteps of my August 2005 review of the B&W DM603 S3, the second stop of the Bob Reina British Invasion Tour is the latest revamping of Wharfedale's affordable Diamond series.
Thomas J. Norton Posted: Jul 31, 2005 Published: May 01, 1998 0 comments
Scratch an audiophile and, chances are, you'll find a closet Wilson Audio fan. The Wilson WATT/Puppy would probably make almost anyone's list of the most significant high-end loudspeaker designs. David Wilson first built his reputation with the custom-built WAMM loudspeaker—a monumental piece invariably included with products like the Infinity IRS, Genesis I, and Apogee Grand when the world's most awesome loudspeakers are discussed. But it was the WATT, followed by the WATT/Puppy—the latter now several generations improved over the original design—that really put the company on the high-end audio map.
John Marks Posted: May 29, 2012 3 comments
I had had it in the back of my mind for some time to try to hear the Wilson Duette, if only because celebrated classical recording engineer Tony Faulkner had, some time ago, shared with me his opinion that the Duette's simpler crossover made it the most coherent speaker in Wilson's line. Faulkner told me that when a cramped recording venue makes it impossible for him to use his favorite Quad electrostatic speakers for monitoring, he uses Duettes.
J. Gordon Holt Posted: Oct 08, 2009 0 comments
Every engineer has known for years that, while beryllium has excellent physical qualities for use as a speaker radiator—light weight, rigidity, and a remarkable degree of internal damping—it is not usable as such because it cannot be stamped out like most other materials. It will not stretch, and any attempt to shape it simply causes it to split.

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