Floor Loudspeaker Reviews

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J. Gordon Holt Posted: Oct 09, 2005 Published: May 09, 1993 0 comments
Richard Shahinian has been offering loudspeakers to music lovers for more than 15 years. I use the word "offering" here in its strictest sense, because Dick has never "sold" his products—by pushing them. Indeed, he is probably one of the worst self-promoters in the business. If we think of "soft sell" in the usual context of laid-back and low-pressure, then Shahinian's approach would have to be called "mushy sell."
Thomas J. Norton Posted: Apr 18, 1995 Published: Apr 18, 1993 0 comments
Eighty thousand pairs. According to Vandersteen Audio, that's the number of Vandersteen 2s of various generations which have been sold since the loudspeaker—and company—first saw the light of day in 1977. The 2 has been continually refined along the way—a new driver here, a new crossover change there, heavy-duty stands—more changes, in fact, than the occasional changes in model designation would indicate. The 2's main calling card has always been a high perceived value for money. If anything, this calling card has only been enhanced over the years as its price remained remarkably stable while the cost of high-end audio in general was perceived—rightly or wrongly—as being on a dizzying upward spiral.
Robert Deutsch Posted: Sep 09, 2006 Published: Feb 09, 1993 0 comments
My first encounter with the Acarian Alón IV was at the 1992 Las Vegas WCES. I was doing the show report dealing with speakers, and there was already enough advance buzz about the Alón IV that I put it on my "Speakers I Must Listen To" list. And listen I did, at some length, and came away impressed with their open quality and well-defined soundstage. In discussing reviewing assignments with John Atkinson, I told him that the Alón IV was one of the speakers I wouldn't mind spending some time with. (The list also includes the WAMM, the MartinLogan Statement, and the Apogee Grand, but I'm not holding my breath.)
Corey Greenberg Posted: Mar 30, 2008 Published: Feb 02, 1993 0 comments
"And I say panel speakers can't rock'n'roll—"
Guy Lemcoe Posted: Mar 03, 2007 Published: Nov 03, 1992 0 comments
What's 1/16" narrower, over 1/2" shallower, and 3/16" higher than the Mirage M-3 loudspeaker? The new Mirage M-3si, that's what. Though the published dimensions for the old and new speakers are the same, my eyes told me there was a difference between them when I had them side-by-side in my listening room in Santa Fe. Being the compulsive type, I got out my trusty tape measure. No, my eyes had not deceived me—the M-3si is skinnier and taller. As I waltzed them into position, I sensed they weighed about the same as their predecessors; close enough that setting them on Arcici Super Spikes is a two-man operation. Though either speaker makes a definite presence in a room, I still find their high-gloss, black finish (the only finish available) unassuming, attractive, and elegant.
Dick Olsher Posted: Jul 18, 2013 Published: Nov 01, 1992 1 comments
Designer Dr. Roger West got his first taste of electrostatic transducers many years ago during a stint with Janszen (remember the Janszen tweeter?). To realize the potential of the full-range electrostatic loudspeaker (ESL), he and Dr. Dale Ream formed a new company dedicated to ESL research and development. West describes this company, Sound-Lab Corp., as "the electrostatic speaker specialists."
Corey Greenberg Posted: Nov 05, 2006 Published: Apr 05, 1992 0 comments
Foreword by Sam Tellig: I wanted to like the Sci Fi Teslas. I originally heard these speakers at Dave Wolf's store in New Canaan, Connecticut—no longer in business, alas.
Sam Tellig Posted: Sep 03, 2006 Published: Apr 03, 1992 0 comments
"Well, Sam, are there any speakers you are really excited about?"
Larry Greenhill Posted: Apr 05, 2008 Published: Oct 05, 1991 0 comments
One question posed by John Atkinson at the July 1991 Stereophile Writers Conference had to do with the ease of reviewing: Is it harder to write a bad review of an expensive product than a good review? I find it hardest to write a good review of an inexpensive product. If I admire a less expensive loudspeaker, for example, it may become a recommended component, and can displace a more expensive speaker (that received mixed comments) from our twice-yearly rankings. This can be a big responsibility; even a conditional rave of a low-cost product means that JA may assign another Stereophile reviewer to do an immediate follow-up report. The Snell Type E/III loudspeaker may be a good case in point.
Jack English Posted: Jan 05, 2007 Published: Sep 05, 1991 0 comments
Let's see—should I start with a discussion of conflict? Or maybe indecision? No, let's be more psychological and talk about approach/avoidance dilemmas...No, I'm supposed to be entertaining. How about a joke? Nah, that won't do. Well how about the framework for a joke? Yeah, that's the ticket!
Guy Lemcoe Posted: Sep 12, 2014 Published: Aug 01, 1991 0 comments
666acoustat1100.jpgAcoustat Model Twos have been my reference loudspeakers for almost five years. I remember, on first hearing them in a high-end store in Illinois, how they let the music through in a way new and important to me. I knew I must own them! They seemed, despite their imposing appearance, to step aside when the music came on. The effect was akin to having a door opened onto the performance. One became privy to intimate details captured in recordings which are rarely heard outside the concert hall. Not veils, but flannel sheets were lifted from the sound! If one fussed around enough with placement, the Twos truly disappeared into the soundfield—music came from in front of, to the sides of, between, and behind them as if they weren't there. Focusing them like a fine camera lens on the listening chair created a "sweet spot" which, when I sat therein, raised within me a sense of awe usually associated with things magical. You knew when you entered this space, for it was different from that surrounding it. The musical presentation assumed an almost holographic palpability.
Lewis Lipnick Posted: Jul 20, 2008 Published: Jun 20, 1991 0 comments
We all know it's impossible to reproduce live music. An obvious statement, no doubt, and one that holds every audiophile hostage to the never-ending search. As a musician, I find the situation especially frustrating. The constant reminder of live vs reproduced makes living with an audio system a serious compromise, regardless of price or quality. About three and a half years ago, however, I reviewed a product which I felt, and still feel, offers the first real glimpse of that impossible dream: the B&W 801 Matrix Monitor (footnote 1). Although it wasn't perfect, I found this speaker provided more musical honesty than anything I had heard before. In this respect, it established a new standard by which others would be judged.
John Atkinson Posted: Oct 04, 2011 Published: Jun 01, 1991 3 comments
666wil32.jpg"No pain; no gain." Thus goes the June 1991 offering from the Cliché-of-the-Month Club—(800) MOT-JUST—a saying that seems particularly appropriate for audiophiles with aspirations. High-performance loudspeakers fall into two categories. First are those exasperating thoroughbreds requiring endless Tender Loving Care and fussy attention to system detail to work at all. Take the Avalon Eclipse or the Infinity IRS Beta, for example: when everything is just fine, you put on record after record, trying to get through as much music as possible before the system goes off song again. On the other hand, speakers like the Vandersteens, Magnepans, B&W 801 Matrix, and KEF R107/2 appear to sound excellent even as you unpack them, before you've even put them in what you think might be the optimum positions in your listening room.

The question is: Are such unfussy designs really high-end? I mean, if they were truly high-performance speakers, shouldn't the owner have to suffer even just a little to reach musical nirvana? "A little pain; some sonic gain!" goes that other familiar saying.

You all know where you stand on this vitally important question. Me, I prefer to sit and construct the following graphical analogy. Draw a vertical axis and mark it "Absolute Performance." (The units are "gb," footnote 1) Now draw a horizontal axis and label it "Setup." (The units are "dU" for "deci-Ungers," footnote 2) Okay, sketch out an inverted V-shape. This curve, something like an engine's torque vs RPM curve, represents the manner in which a system's or component's performance changes according to how it is set up.

Robert Harley Posted: Feb 08, 2011 Published: Apr 01, 1991 0 comments
The Snell Type C/IV's design has been highly influenced by both the testing methods and philosophy of Canada's National Research Council in Ottawa. Other well-known loudspeakers to have benefited from the NRC's testing facilities include the Mirage M-1 and M-3, PSB Stratus Gold, the Waveform, and Camber 3.5. The NRC provides a variety of services to loudspeaker designers, notably use of their testing facilities which include a full-sized anechoic chamber. In addition, the NRC is heavily involved in carefully controlled blind listening comparisons between loudspeakers, used to aid the loudspeaker designer while the product is under development. The NRC doesn't provide design services, but rather the means of testing and evaluating work in progress and finished products.

Despite not offering design aid, many loudspeakers created with the NRC's testing and listening laboratories share some common philosophies. Chief among these is the belief that flat amplitude response is far and away the most significant factor in listener preferences and thus should be the paramount design goal. Many NRC-influenced loudspeakers share steep crossover slopes, wide dispersion, smooth off-axis response, and pay considerable attention to the way the loudspeaker interacts with the listening room.

Robert Harley Posted: Feb 08, 2011 Published: Apr 01, 1991 3 comments
Last July I reviewed the $4850/pair Hales System Two Signature loudspeakers and enthusiastically recommended them. In fact, they displaced the B&W 801 Matrix 2 as my reference loudspeaker, and have become a fixture in my listening room. Over the past seven months, my impressions of the Signatures have been largely confirmed: transparent and uncolored midrange, resolution of fine detail, precise imaging, superb transient abilities, and, most importantly, an ability to thoroughly involve the listener in the music. These qualities earned the Signature a Class A recommendation in Stereophile's "Recommended Components." I've greatly enjoyed the many hours spent with the Signatures.

Hales Audio makes another loudspeaker—the System Two reviewed here—that is very similar to the Signature, but much less expensive (footnote 1). Because the System Two is such a close relation to the Signature—it uses identical drivers, a nearly identical crossover, and similar cabinet construction—and costs nearly 2 kilobucks less, I was eager to hear what the smaller system had to offer. Because the Signature was recommendable at $4850, the System Two just might be a bargain at $3000 if it even came close to the Signature's musicality.

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