Floor Loudspeaker Reviews

Sort By: Post Date | Title | Publish Date
Muse Kastanovich Posted: Nov 22, 2013 Published: Nov 01, 1995 1 comments
666swans.100.jpgAs a privileged reviewer-type person, I was sent the souped-up, all-rosewood, bi-wirable version that sells for $2905/pair. They're quite handsome and very solidly built, weighing in at a respectable 50 lbs each. At $2275–$2905/pair, the Baton is Swans' most affordable speaker, and reportedly employs many of the technical refinements of their larger, more costly models.

The Baton uses the tried-and-true two-way dynamic design, with a 7" coated-paper woofer and a 1" fabric-dome tweeter. The tweeter comes with a little Marigo dot stuck to its center to shape its response. It's not a physically easy task for a woofer to reproduce (well) all the frequencies from about 60Hz up to about 2 or 3kHz. One that succeeds is a nice find, though, because the sound has a nice coherence to it when most of the music is coming from the same driver. But don't take my word for it—just look how many zillions of two-way speakers there are out there.

Lonnie Brownell Posted: Oct 23, 1995 0 comments
That's right, that's no typo; the name of this speaker is the Thiel CS.5—not 1.5, not 8.5, just point five. The CS.5 is the smallest of Thiel's floorstanding CS (Coherent Source) loudspeaker family, and is likely to remain so—a name like CS.125, for example, is a bit unwieldy. If you're familiar with the rest of Thiel's CS line, then you can imagine what the CS.5 looks like: it resembles the other CS speakers, except it's smaller (footnote 1). And, being a typical smartypants 'ender (as in "high-ender"), I bet you think you know 'zactly how these sound, too, don't you? Well? I thought so.
Michael Fremer Posted: Sep 19, 1995 0 comments
The Sears guy came to our basement the other day to check out the water heater. Staring at the walls of LPs and tiptoeing through the piles of CDs strewn on the floor, he exclaimed, "What the heck are you? A disc jockey?" So I told him.
Robert Harley Sam Tellig Posted: Sep 19, 2012 Published: Sep 01, 1995 0 comments
I can't think of two products at further ends of the audio spectrum than a single-ended triode tubed amplifier and a mass-market Home Theater loudspeaker. Single-ended tubed amplifiers are about reproducing subtlety, delicacy, nuance, and communicating the music's inner essence. Conversely, a Home Theater loudspeaker system—particularly one made by a mass-market manufacturer—would appear to put the emphasis on booming bass and reproducing shotgun blasts, with little regard for musical refinement.

What a bizarre marriage it was, then, to pair the new Infinity Composition Prelude P-FR loudspeakers with the Cary Audio Design CAD-300SEI 11W single-ended triode amplifier (reviewed elsewhere in this issue). This combination didn't happen by accident; as you'll see, these apparently disparate products are a match made in heaven.

I discovered the Infinity Preludes while surveying Home Theater loudspeaker systems for the upcoming second issue of the Stereophile Guide to Home Theater. In addition to evaluating the loudspeaker systems under review with video soundtracks, I assessed their musical qualities—or lack thereof. The Preludes were such a musical standout that I rescued them from the Home Theater room (where they had been powered by mass-market receivers and fed with a laserdisc source) and gave them a new lease on life in the larger music room, with reference-quality source and amplification components. The Preludes' extraordinary musical performance and unique design compelled me to tell you about how they performed in an audiophile-quality two-channel playback system.

Thomas J. Norton Posted: Aug 01, 1996 Published: Aug 01, 1995 0 comments
The Vandersteen 3A is a higher-end variation on the theme established by the company's first loudspeaker, the 2C. The latter is still available, though much updated into the current, highly popular 2Ce. A four-way design, the 3A has separate sub-enclosures for each drive unit; the whole affair is covered with a knit grille-cloth "sock" with wood trim end pieces. A rear-mounted metal brace allows the user to vary the tiltback—an important consideration for best performance with this loudspeaker.
Thomas J. Norton Posted: Jan 02, 2017 Published: Jul 01, 1995 0 comments
When I requested the Snell Music and Cinema Reference System for review, plus the new Snell Type A Music Reference System for evaluation, little did I know what I was letting myself in for. I lost count of the number of large shipping cartons delivered to my garage—though I'm sure the delivery man didn't. Except for the subwoofers, all the individual pieces are relatively small. But together they form a system that definitely demands both attention and a large room to sound its best and to keep it from visually overpowering the space.
Wes Phillips Posted: Feb 17, 2016 Published: Jul 01, 1995 7 comments
"Wow!" Jerome Harris—jazz guitarist, bassist, and composer—stopped talking and listened intently to the rough-mixdown dub of his latest album, Hidden in Plain View: The Music of Eric Dolphy (New World 80472-2 CD) (footnote 1). He'd brought it by my house in order to hear it on another system before pronouncing judgment. "That sounds like us! And I ought to know because I was there..."

It wasn't the first time the Metaphor 2s had totally transfixed a visitor with their accurate portrayal of a musical event. This time, however, they'd done it to one of the participants of that specific performance. It isn't as if it was easy stuff to disentangle, either. Jerome's disc is texturally dense: Marty Ehrlich and Don Byron on reeds, Ray Anderson on trombone, E.J. Allen on trumpet, Bill Ware on vibes, Bobby Previte on drums, and Jerome himself on acoustic bass guitar—occasionally all wailing away simultaneously. The Metaphor 2s have the articulation to sort out all of those interweaving melody and rhythm lines, the frequency balance to render them with astonishing timbral veracity, and the speed to ensure that, even with four drivers in a large enclosure, it all arrives at the same time and with swing aplenty. Does it sound as though I'm describing one hell of a speaker? I think so anyway.

Dick Olsher Posted: May 07, 1995 0 comments
A.C. Wente of Bell Telephone Labs was apparently the first person to get the bright idea (in the 1930s) of measuring sound transmission in a small room. A loudspeaker at one point reproducing pure tones of constant power, and a microphone at another point measuring sound-pressure levels, gave him the means to assess the room's impact on sound quality. The measured frequency response was so ragged that I'm positive the venturesome Dr. Wente was duly shocked.
Thomas J. Norton Posted: Apr 25, 1995 0 comments
High-end-audio manufacturers are both more and less adventurous than their more mainstream contemporaries. While mainstream-audio manufacturers will almost invariably change their models every year, the changes are more often than not cosmetic—at least in between successive models. High-end manufacturers, on the other hand, will keep the same model in the line for several years, but make cosmetically invisible refinements along the way.
Robert Harley Posted: Apr 04, 2008 Published: Mar 04, 1995 0 comments
The idea of mating a dynamic woofer to a ribbon midrange/tweeter is appealing on paper. Such a "hybrid" loudspeaker would have the many advantages of a dipole ribbon transducer, yet be more practical and affordable than full-range ribbon designs. Among the ribbon's great strengths is its narrow vertical dispersion (reducing the ceiling and floor reflections), contributing to the ribbon driver's well-deserved reputation for transparency, terrific soundstaging, transient zip, and excellent resolution of detail. By adding a dynamic woofer to a ribbon midrange/tweeter, the system cost can be contained compared to a full-range design.
Thomas J. Norton Posted: Apr 09, 2006 Published: Feb 09, 1995 0 comments
Audiophiles have long had a love-hate relationship with dipolar loudspeakers. These devices are nearly always a pain to position properly, they tend to dominate a room, and more often than not they're fussy about amplification. But when it all comes together, the best of them can make magic.
Robert Harley Posted: Oct 08, 2009 Published: Jan 08, 1995 0 comments
Whenever anyone marvels at the enormous Genesis II.5 loudspeakers in my house, I'm quick to tell them that the II.5 is the smallest, least expensive loudspeaker made by Genesis Technologies. In fact, the company makes two larger speaker systems, the $33,000 Genesis II and the $70,000 Genesis I (footnote 1).
Thomas J. Norton Posted: Mar 05, 2009 Published: Jan 05, 1995 0 comments
Like all companies that have been in business long enough to become fixtures in the marketplace, Infinity has seen its share of changes. It has long been that audio rarity—a company with one foot in the High End and one in the mass market. For the past few years, however, and despite continuing production of the now-classic IRS in its Series V incarnation, Infinity's mass-market foot has been the more firmly planted. Infinity, now a large company, is part of an even larger conglomerate, Harman International.
Martin Colloms Posted: Dec 31, 1998 Published: Dec 31, 1994 0 comments
How can a reviewer possibly put a value on a loudspeaker as costly as the Wilson Audio Specialties X-1/Grand SLAMM? When he reviewed Wilson's WATT 3/Puppy 2 system ($12,900-$16,000/pair, depending on finish) a few years back (footnote 1), John Atkinson said that it was "one of the more expensive loudspeakers around." The Grand SLAMM costs almost five times as much!
Russ Novak Posted: Apr 27, 2010 Published: Dec 27, 1994 0 comments
Balanced performance isn't the be-all and end-all of product design. A person can listen to a product which balances the highs with the lows, detail with forgiveness, delicacy with dynamics, and still feel unmoved. Such a product might sound "proper," but it won't produce the illusion of a live performance. It takes a special window or two on reality to convince you you're listening to live music. Such a loudspeaker may have other deficiencies which keep it from being a universally appealing product, but it keeps reminding you of the live experience. It may appeal only to a small number of audiophiles, but their experience may well be more intense.

Pages