Stand Loudspeaker Reviews

Sort By: Post Date | Title | Publish Date
Stephen Mejias Posted: Jul 02, 2013 1 comments
Late last year, when I first heard of the Music Hall Marimba, I was happily surprised: One of my favorite hi-fi manufacturers had finally introduced its first and (so far) only loudspeaker—and it was seriously affordable at $349/pair. I wanted to review the Marimbas right away, but grumpy old Sam Tellig beat me to them.
Kalman Rubinson Posted: Mar 25, 2008 0 comments
For years, I have espoused the use of the same speakers (except subwoofer) in all positions for multichannel music. To have no speaker in the system contributing a different voice to the choir seems as intuitive as having the room acoustics not color the sound. Of course, this still doesn't guarantee perfect timbral match—positioning and room acoustics usually impose some unique characteristics under all but the most perfect and symmetrical conditions. You can hear tonal imbalances even between the left and right speakers of most two-channel systems simply by switching pink noise between them. On the other hand, there's no reason to superimpose on these unavoidable differences the additional imbalances inevitable with using different speakers in a multichannel array.
Robert J. Reina Posted: Nov 19, 2006 0 comments
When reviewing affordable speakers, it's critical to have benchmarks and comparisons for various price points. Inexpensive speaker designs are exercises in tradeoffs and compromises, especially for the least costly products. In all of my reviews, I try to compare the speaker in question with other designs close to the review sample's price, chosen from my list of previously reviewed speakers. From time to time, if a speaker particularly impresses me, I ask the manufacturer if I can keep the speakers around a while longer, so that it can serve as a comparison reference for a certain price point. That's not to say that any speaker I don't keep around is less desirable—there's just not enough room in my house to keep a sample of every speaker I like. An audio reviewer's wife puts up with enough as it is.
Robert Harley Posted: Jan 25, 2016 Published: Sep 01, 1990 3 comments
Now Hear This (NHT) was founded to produce low-cost loudspeakers a breed apart from the mass-market variety often found at the lower price points. Co-founder Ken Kantor has a long history in the hi-fi business as a designer at Acoustic Research, NAD, and as a design consultant to some large Japanese manufacturers. NHT's line ranges from the $180/pair Model Zero to the $1200 Model 100.

At $480/pair, the Model 1.3 is midway in NHT's product line. Finished in a gloss-black high-pressure laminate, the 1.3 is elegant, even beautiful, and is distinguished by its unusual angled front baffle. This design means that the rear baffle is nonparallel to the driver, thus reducing the amount of internal cabinet energy reflected back toward the woofer. This is said to improve imaging and midrange purity by reducing comb filtering. In addition, the angled baffle puts the listener directly on-axis with the loudspeakers pointing straight ahead. This increases the ratio of direct-to-reflected sound reaching the listener and further improves imaging.

Robert J. Reina Posted: Nov 30, 2002 0 comments
I first met NHT co-founder Ken Kantor in 1975 when we were both undergraduates at MIT. Kantor was sponsoring an extracurricular class entitled "Musical Ideas." The concept was to stick a dozen or so musicians in a classroom for free improvisation and hope to create music à la Miles Davis' Bitches Brew. The result was a mess; although talented guitarist Kantor meant well, there was no common vision or consistency of musical talent. Nevertheless, I had a blast trying to simulate a tamboura drone with a Hohner Clavinet, phase shifter, and volume pedal.
Corey Greenberg Posted: Jan 30, 1995 Published: Jan 30, 1994 0 comments
What makes someone a good hi-fi reviewer? A fine critical sensibility? A good technical background? Ears? Eyes? Nose? Throat? So many different people are reviewing audio gear these days that it's downright impossible to characterize a good reviewer. But I do know that Beavis and Butt-head would make killer hi-fi reviewers!
Kalman Rubinson Posted: Nov 19, 2005 0 comments
NHT's Xd system is what audiophiles have been saying they want: a matched loudspeaker system that optimizes the performance of its components for a real-world domestic listening environment. But with their dollars they've voted against just such systems for years. If we put our money where our mouths are, active speaker systems such as Meridian's DSP or those used in recording studios would dominate the High End.
John Marks Posted: Oct 30, 2013 Published: Aug 01, 2013 10 comments
Colleen Cardas strongly urged me to try the Callas loudspeaker from Opera Loudspeakers (whose products she also distributes in the US), which she claimed was an ideal match for the Unison S6 amplifier I reviewed last August. In my experience, the stand-mounted Callas ($5000/pair) is unique among loudspeakers in being the logical contrapositive (inverted and flipped, so to speak) of the usual D'Appolito driver array of midrange-tweeter-midrange (MTM).
Wes Phillips Posted: Sep 22, 2007 3 comments
When folks visit from out of town, they frequently remark that my Brooklyn neighborhood reminds them of "a real neighborhood" from their neck of the woods. "Except that we know all our neighbors and talk to them when we're cutting the grass, watering the lawn, and walking the dog. You probably don't even know the names of any of yours."
Robert J. Reina Posted: Sep 15, 2002 0 comments
I had mixed feelings about reviewing the $189/pair Paradigm Atom loudspeaker. Although in the past I've been favorably impressed with Paradigm's speakers—the $600/pair Reference Studio/20 remains one of my favorite affordables—Budget Bob tends to get a bit nervous when a speaker's price drops below $250/pair. In my experience, even when the most talented speaker designers attempt to make a speaker to sell at such a low price, the result is often a very small cabinet with limited bass extension and inferior high-level dynamics.
John Atkinson Posted: Nov 09, 1997 0 comments
There are many benefits accruing to a loudspeaker when its designer goes the active or powered route. The usual losses and distortions associated with passive crossovers can be circumvented, while the fact that the amplifiers and drive-units can be designed as a package enables the designer to squeeze more performance from each than would otherwise be the case. And the savings gained from the absence of a separate amplifier chassis can be passed on to the consumer.
John Atkinson Posted: Jul 17, 2005 0 comments
Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine—I was well impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) last January, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in December 2004, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of Stereophile's "Recommended Components" listing ever since Bob Reina's original review in February 1998.
Robert J. Reina Posted: May 14, 2012 3 comments
I have fond memories of the Paradigm Reference Studio 20. When I reviewed the original version for the February 1998 issue of Stereophile, it was the model that started me on my quest to seek out the best affordable loudspeakers. I believe that of all the speakers I've reviewed, the original Studio 20 remained in the magazine's "Recommended Components" longest. When I checked out the speaker's fourth generation, in May 2008, I felt it had significantly progressed in terms of sound quality and value for money. This didn't surprise me, however, as pushing the envelopes of sound quality and value has long been Paradigm's trademark. They've done with this with every one of their speakers I've heard, including the third and fifth iterations of the Atom (which I reviewed in September 2002 and February 2008, respectively), and the more expensive models I've heard at audio shows. So when I was given the opportunity to review the Studio 20's fifth generation, I jumped.
Robert J. Reina Posted: May 21, 2008 0 comments
One of the first affordable loudspeakers I reviewed for Stereophile was the original Paradigm Reference Studio/20 bookshelf model, in the February 1998 issue (Vol.21 No.2). At the time, I felt that the $650/pair speaker was a breakthrough—although not completely devoid of colorations, its ratio of price to performance set a benchmark a decade ago. I kept the Studio/20s around for several years to compare with other bookshelf speakers I reviewed, and they remained listed in Stereophile's "Recommended Components" for several years after that. The Studio/20 is now in its fourth (v.4) iteration, so I thought I'd grab a pair to hear how they compared with current affordable bookshelf designs.
Robert J. Reina Posted: Feb 26, 1998 0 comments
The least expensive model in Paradigm's Reference series, the Studio/20 loudspeaker is a rear-ported two-way dynamic bookshelf/satellite design, superficially identical to the powered Active/20 that JA reviewed last November. It features Paradigm's 25mm PAL pure-aluminum dome tweeter in a die-cast heatsink chassis, and a 170mm MLP mica-polymer cone in an AVS die-cast heatsink chassis with a 38mm voice coil. The crossover is third-order, quasi-Butterworth, said to be "phase-coherent." It features high-power ceramic resistors, film capacitors in all signal paths, and both air-core and steel-core inductors.

Pages

X