Floor Loudspeaker Reviews

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John Atkinson Posted: Feb 01, 1991 0 comments
This must be the month I drew the right straw to review "loudspeakers with three-letter initials." Elsewhere in this issue I describe my experiences with a pair of JBLs. Everyone knows that JBL stands for "James B. Lansing," founder of that company. You do, don't you? But PSB? If you've been paying attention here, you probably remember that JGH reviewed one of their loudspeakers back in May 1988. If you haven't, well, listen up. PSB is named after Paul Barton and his wife Sue, who formed Canada-based PSB in 1971. (Paul is still their chief designer.) The company was unknown in the US until just a few years ago, and still has a lower profile here than, well, certainly that other three-letter company. But not for lack of trying. They have at least 10 models—at last count.
John Atkinson Posted: Jan 10, 1995 Published: Jan 10, 1991 0 comments
"Boy, that's flat!" I whistled. I was looking at a quasi-anechoic TDS response Avalon Acoustics' Charles Hansen had produced for his latest brainchild, the two-way Eclipse loudspeaker that he was setting up in my listening room.
John Atkinson Posted: Jun 30, 2009 Published: Dec 30, 1990 0 comments
"My vision for the future is one where all manufacturers sell their products directly to the end user. In this way, even the audiophiles in Dead Horse, Alaska can have access to all the audio manufacturing community has to offer." Thus wrote loudspeaker designer David Fokos in a letter introducing his new company Icon Acoustics to the press at Stereophile's High End Hi-Fi show in San Mateo, CA last April (footnote 1). Mr. Fokos, a Cornell graduate who for some years worked for Conrad-Johnson Design and designed that company's well-regarded Synthesis and Sonographe loudspeaker models, feels very strongly that the traditional retailing setup is inefficient when it comes to exposing audiophiles to a wide enough choice of product, particularly when it comes to loudspeakers. With 300 speaker manufacturers listed in the Audio directory issue but even a major retailer restricted to probably six brands, even big-city audiophiles will only be able to audition a fraction of the total number of brands. "Our industry is suffering from product saturation of its retail distribution network."
Thomas J. Norton Posted: May 28, 2006 Published: Nov 28, 1990 0 comments
It may surprise some readers to learn that all of the contributors to Stereophile do not get the chance to hear, at our leisure and in familiar circumstances, everything that passes through the magazine's portals. Not that we wouldn't like to, but there just isn't time. Nor are the logistics always right. I was therefore probably as intrigued as the average reader by LA's glowing report on the $5000/pair Mirage M-1 in the June 1989 issue. The M-1s had been on the market long enough for me to have heard them on several occasions, of course, but generally at shows and not under the best of conditions. I did get to hear them briefly at LA's later that same summer, but the hustle and bustle of a Stereophile Writers' Conference party isn't the optimum place for value judgments.
Dick Olsher Posted: Aug 09, 1995 Published: Aug 09, 1990 0 comments
As Laura Atkinson shuffled into my listening room one evening, she spied the Stage loudspeakers tucked away in the corner. "Hey, Dick, those look like Apogees, but they're kind of small." Rising to the occasion, I responded with: "Honey, I shrunk the Apogees." At roughly 3' tall by 2' wide, the Stage is far from intimidating; it even feels more compact and is certainly much cuter looking than the old Quad ESL. Yet Junior's resemblance to the rest of the Apogee family is unmistakable. The canted baffle, the vertical tweeter/midrange along the inside edge of the baffle, and the pleated aluminum-foil woofer clearly bear the imprint of the larger Caliper and Duetta models. It's almost as though Apogee started shrinking the Duetta until the price tag shrank below two kilobucks.
Robert Harley Posted: Oct 29, 2006 Published: Jul 29, 1990 0 comments
When a loudspeaker designer produces a world-class product, it is usually the result of years, perhaps decades, of experience gained from designing less ambitious products. To review a particular designer's product history is to witness the learning curve in action as both his skill and technology advance. Successfully battling the laws of physics to produce a truly exceptional loudspeaker is thus thought of as the domain of the seasoned veteran whose vast knowledge and experience culminate in the pinnacle of his career—a world-class loudspeaker. Moreover, it is just these designers, working their way up to their masterpiece, who are the most successful at getting an ambitious design right. The high-end loudspeaker business is littered with the remains of companies that attempted to build a first product far too lofty for their skills.
John Atkinson Posted: May 06, 2007 Published: Jun 06, 1990 0 comments
John Atkinson Opens
I've said it before and I'll say it again: a would-be loudspeaker designer shouldn't even start to think about the possibility of maybe designing a full-range, multi-way loudspeaker until he (and they do all appear to be men) has cut his teeth on a small two-way design. There is still as much art as science in designing a successful loudspeaker, even with all the computer-aided this and Thiele-and-Small that, that even a two-way design requires a designer either to be possessed of a monster talent or of the willingness to undergo months, even years, of tedious and repetitive work—or of both. For a would-be speaker engineer to start his career with a wide dynamic-range, multi-way design, intended to cover the entire musical spectrum from infra-bass to ultra-treble, seems to me to be a perfect case of an admittedly well-intentioned fool rushing in where any sufficiently self-critical angel would fear to tread.
John Atkinson Posted: Jul 30, 2010 Published: Mar 30, 1990 0 comments
According to the conventional wisdom, companies selling consumer products fall into two categories: those whose sales are "marketing-led" and those whose sales are "product-led." Marketing-led companies tend to sell mature products into a mature market where there are no real differences between competing products—soap powder, mass-market beer, or cigarettes, for example—whereas product-led companies tend to sell new technologies, such as personal computers and high-end hi-fi components. In the audio separates market, conventional wisdom would have a hard time categorizing any individual company: no matter which you choose, it would be simplistic to say that it is either product- or marketing-led. No matter how good the product, without good marketing the manufacturer stands little chance of success; a poor product superbly marketed may make a company successful overnight, but that success will have hit the end stops by the following night. Nevertheless, for this review, I have chosen a model from a company renowned for its marketing strength: Polk Audio.
Dick Olsher Posted: Feb 25, 2006 Published: Feb 25, 1990 0 comments
Even to a nontechnical observer, someone without a deep grasp of the germane technical issues, the Amazing Loudspeaker should indeed prove a source of amazement. First of all, there's no box. Don't mistake the back grille for an enclosure—if you pass your hand along the Amazing's behind, you'll realize that the grille is merely a cosmetic cover; you can actually stroke the woofer magnets if you're so inclined. Yet without an enclosure or electronic trickery, this speaker boasts excellent dynamic headroom and true flat bass extension almost to 20Hz. Just think of the woodworking costs inherent in trying to coax such low-end performance from a conventional box speaker. The savings in carpentry have been put toward one heavy-duty ribbon design. The Amazing begins to sound like an incredible bargain at its modest (by high-end standards) asking price. What's the catch? Fundamentally, the answer lies in superior engineering. And, as Bob Carver will readily admit, good engineering isn't inherently any more costly than bad engineering.
Sam Tellig Posted: Aug 09, 2014 Published: Jan 01, 1990 0 comments
666acoustat11.jpgI wish I could be enthusiastic about the Acoustat Spectra 11—an electrostatic/dynamic hybrid selling for $999/pair. At first glance, the Acoustat Spectra 11 looks like a good deal. They could almost be called knock-offs of the Martin-Logan Sequels—they're about the same size. As with the Sequels, there are moving-coil bass cabinets below, electrostatic panels on top. The Spectra 11 cannot be bi-wired and does not come with spikes. Tiptoes are recommended, and I used them. I let the speakers run in for about 24 hours before doing any serious listening.
Larry Archibald Posted: Aug 12, 2006 Published: Nov 12, 1989 0 comments
John Ötvös, the father of Waveform Research Inc. and The Waveform Loudspeaker, hesitates not at inviting ultracritical examination: "The Waveform is the most accurate, the best, forward-firing loudspeaker in the world." Period. Reviewers, of course, welcome such statements, and I'll be examining that one, but I'll also try to answer the inherent reviewing question of whether the Waveform is a good place for you to park $9800 on your way to "the highest of high-end sound" (that was our slogan for the first Santa Monica High End Hi-Fi Show).
John Atkinson Posted: Sep 09, 2006 Published: Nov 09, 1989 0 comments
In audiophile circles, it is the "Stuart"—electronics designer Bob Stuart of the Boothroyd-Stuart collaboration—who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum—a rectangular box loudspeaker—seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and 'SL600 (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.
John Atkinson Posted: Aug 10, 2008 Published: Aug 10, 1989 0 comments
Loudspeaker designers are dreamers. Something takes hold of a man—the fact that loudspeaker designers are all men must be significant—and he wrestles with recalcitrant wood, arcane drive-units, and sundry coils, capacitors, and cables, to produce something which will be individual in its sound quality yet inherently more true to the original sound. An impossible task. Yet if there were to be an aristocratic subset of those dreamers, it would be those who have taken upon themselves the burden of producing electrostatic loudspeakers. For these farsighted engineers, there is no standing on the shoulders of others, there is no recourse to tried and tested combinations of other manufacturers' drive-units. Every aspect of the design, no matter how apparently insignificant, has to be created afresh from first principles. For a new electrostatic design to produce a sound at all represents a great triumph for its progenitor, let alone having it sound musical. And to produce an electrostatic loudspeaker that is also possessed of great visual beauty is indeed a bonus.
John Atkinson Posted: Dec 04, 2010 Published: Jul 15, 1989 0 comments
Although, historically, Asian high-performance loudspeakers have not had much impact in the US (with the possible exception of the Yamaha NS1000), it is obvious from recent events that that situation might change. Some Japanese manufacturers are determinedly attempting in 1989 to scale the high-end heights. Onkyo, for example, launched an entire range under the Precise brandname, designed by that most idiosyncratic of talented Californian engineers, Keith Johnson, while Yamaha has licensed the Swedish ACE-Bass technology to produce loudspeakers that extend amazingly low in the bass for their size. But it is Pioneer, already well-ensconced in the US pro market with their TAD (Technical Audio Devices) drive-units and monitors, who have made perhaps the biggest techno-splash with their "Elite-TZ" speakers. These feature both high-tech drive-units and a novel (if not entirely new) method of minimizing enclosure vibrations.

The TZ-9 is the top of Pioneer's new line, and costs a cool $4000/pair, placing it firmly in the high-end category. But for that outlay, the TZ-9 owner acquires a largish and quite handsome speaker, finished in a rather orange-colored oak veneer and standing some 4' high. Both tweeter and midrange units feature domes fabricated from an amorphous form of carbon termed by Pioneer "Ceramic Graphite," which is said to have 10 times the bending stiffness and two times the internal loss or self-damping of an equivalent titanium dome. The practical result should be accurate pistonic motion in each unit's passband, with a better-damped HF resonance than a metal dome. In practice, these Ceramic Graphite diaphragms can be quite brittle. Despite the presence of protective wire grilles over the mid- and high-frequency units, the first pair of TZ-9s we received had had the midrange domes shattered, due to inadequate early packaging.

Dick Olsher Posted: Feb 08, 2008 Published: Jul 08, 1989 0 comments
When it comes to loudspeaker drivers, Dynaudio has earned an enviable reputation for quality and reliability. To use an automotive analogy, they are the Mercedes Benz of the driver universe. If you're a speaker builder, the odds are that you have already experimented with these drivers. And even if you're not a speaker builder, it's quite possible that your speakers use Dynaudio drivers. After all, some of the finest speaker systems in the world do. A case in point is the Duntech Sovereign, which single-handedly embodies almost the entire Dynaudio catalog.

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