Stand Loudspeaker Reviews

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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!
John Atkinson Posted: Jul 09, 2006 Published: Dec 09, 1993 0 comments
Back in the early 1970s, the BBC needed a physically unobtrusive, nearfield monitor loudspeaker for use in outside-broadcast trucks. Accordingly, they instructed their design department, which at that time featured such luminaries as Dudley Harwood (the "father" of the polypropylene cone, who went on to found Harbeth) and the late Spencer Hughes (the "father" of the Bextrene cone, who went on to found Spendor), to produce such a model. Thus, not only was what was then probably the finest collection of British speaker-design talent involved in its development, there were no commercial constraints placed on the design. The only limitations were intended to be those arising from the necessarily small enclosure and the absence of the need for a wide dynamic range under close monitoring conditions.
John Atkinson Posted: Sep 04, 2005 Published: Dec 04, 1993 0 comments
Back in the early 1970s, the BBC needed a physically unobtrusive, nearfield monitor loudspeaker for use in outside-broadcast trucks. Accordingly, they instructed their design department, which at that time featured such luminaries as Dudley Harwood (the "father" of the polypropylene cone, who went on to found Harbeth) and the late Spencer Hughes (the "father" of the Bextrene cone, who went on to found Spendor), to produce such a model. Thus, not only was what was then probably the finest collection of British speaker-design talent involved in its development, there were no commercial constraints placed on the design. The only limitations were intended to be those arising from the necessarily small enclosure and the absence of the need for a wide dynamic range under close monitoring conditions.
Larry Greenhill Posted: Apr 29, 1995 Published: Apr 29, 1993 0 comments
Imaging, imaging, imaging. That's what I thought when I first heard the Sonus Faber Electa Amators reviewed by Jack English last October. How could such small speakers create such a wide, deep soundfield? John Hunter, president of Sumiko, Ltd. and importer of Sonus Faber products, was amused but not surprised at my reaction. I did the natural thing and begged for a review pair.
Larry Greenhill Posted: Apr 29, 1995 Published: Apr 29, 1993 0 comments
This compact, $1600/pair monitor employs many of the same design features found in the company's highly rated Matrix 801 system. Although the price is high for a two-way minimonitor, the 805 fits right into a growing high-end marketplace for such designs, one which emphasizes high quality in a small enclosure which will fit into most living-room environments without calling much attention to itself.
Larry Greenhill Posted: Apr 20, 1995 Published: Apr 20, 1993 0 comments
The word totem is powerful in its own right. Totems have conscious and unconscious meanings, depicting powerful supernatural forces in nature and within us. Native Americans of the Northwest Coast tribes, starting with the Chippewa, or Ojibwa, used the term for the animals or birds associated with their clans. Tall wooden columns were carved with the clan totem, which could be a bird, fish, animal, or plant. Later, the Kwakiutls of the Pacific Northwest held feasts called Potlatches, during which poles carved with family and clan emblems were erected. Totems were also involved in worship and rites of passage. So elemental were the forces depicted by these symbols that Freud used totem to depict basic cultural laws, both spoken and unspoken, that guide daily behavior and proscribe what remains forbidden. It is fitting that the Totem loudspeaker reviewed here comes from Canada, the home of the enduring Kwakiutl Potlatch, where totems were so powerful.
Jack English Posted: Oct 06, 1995 Published: Oct 06, 1992 1 comments
Solamente una faccia bella?
At first glance, the Sonus Faber (pronounced Fah-bear) Electa Amator appears to be a typical minimonitor: a small vented box with two drivers. The speaker is significantly better-looking than Franco Serblin's first speaker system, the Snail, a subwoofer with two satellites attached via arms (see photograph in Vol.11 No.3, p.34). And, like the Oracle Delphi turntable or Goldmund Apologue speakers (the latter also an Italian design), the Amator's appearance has received at least as much attention as its performance. But is it just another pretty face?
Corey Greenberg Posted: Sep 10, 2005 Published: Jul 10, 1992 0 comments
I have a theory about "showing off" systems. I call it Zen and the Art of Keeping Your Yap Shut. Think about it: what's the first thing that pops into your head when someone tells you how great their system sounds? "Yeah, right!"
Jack English Posted: Apr 02, 2006 Published: Jul 02, 1992 0 comments
As I said during the 1991 Stereophile writers' conference (Vol.14 No.12): "There's immense satisfaction in finding that next Audible Illusions or Vandersteen or Rotel." My oh my, am I satisfied! But before you start writing checks, hold onto those pens for a few moments. The PSB Alphas are not ProAc, Hales, Quad, or even Vandersteen killers. Goodness, what do you expect for $200?
Martin Colloms Posted: Jun 07, 1995 Published: Jun 07, 1992 0 comments
Sonus Faber was founded in 1981 by Franco Serblin. Real wood has always featured strongly in the construction of this company's evolving range of costly, compact loudspeaker systems (footnote 1). The first was called the Parva, now in its FM4 form. This was followed by the Minima, a Tablette-sized model. The upmarket Electa came through in the last few years, followed by the Amator-Electa. This series increases in size and weight with each new introduction—for example, the Minima weighed 6kg, the Electa 12kg, the latest Extrema a massive 40kg or 88 lbs.
John Atkinson Posted: Apr 02, 2008 Published: Jun 02, 1992 0 comments
I believe Ken Kantor said it first: a couple of years ago, in his September 1990 interview with Robert Harley (Vol.13 No.9), he remarked that "there's no reason why a two-way 6" loudspeaker can't be the equal of almost the best speaker out there from a certain frequency point upward, with the possible exception of dynamic range." When I read those words, they rang true. If you put to one side the need to reproduce low bass frequencies and can accept less-than-live playback levels, a small speaker can be as good as the best, and allow its owner to enjoy the benefits of its size—visual appeal, ease of placement in the room, and the often excellent imaging afforded by the use of a small front baffle.
John Atkinson Posted: Mar 01, 2008 Published: Jun 01, 1992 0 comments
I believe Ken Kantor said it first: a couple of years ago, in his September 1990 interview with Robert Harley (Vol.13 No.9), he remarked that "there's no reason why a two-way 6" loudspeaker can't be the equal of almost the best speaker out there from a certain frequency point upward, with the possible exception of dynamic range." When I read those words, they rang true. If you put to one side the need to reproduce low bass frequencies and can accept less-than-live playback levels, a small speaker can be as good as the best, and allow its owner to enjoy the benefits of its size—visual appeal, ease of placement in the room, and the often excellent imaging afforded by the use of a small front baffle.
John Atkinson Posted: Jul 06, 2008 Published: Jan 06, 1992 0 comments
Back in the Spring of 1988, I was sent a pair of diminutive two-way speakers that totally redefined for me what miniature loudspeakers were supposed to be about. That model, Acoustic Energy's AE1, may have offered short measure in the low-bass department, but its apparently effortless dynamics, musically natural balance, and tangible imaging made it a winner. It also broke the mold of modern audiophile speaker design by featuring a 4.5" woofer with a metal cone just 3.5" in diameter. (Various companies have experimented with metal-cone drive-units in the past, only Ohm and pro-sound company Hartke having had any previous commercial success, though Monitor Audio now also offers a range of speakers with metal-cone woofers, their Studio line.) Since that time, Acoustic Energy has tried to produce a full-range speaker that built on the success of the AE1, but with only limited success, in my opinion. While their AE2 added a second identical woofer, and offered useful increases in bass extension and dynamic range, I felt it to be too colored in the midrange to be a real audiophile contender (see Vol.13 No.2, February 1990, p.134.)
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.
Dick Olsher Posted: Sep 26, 1995 Published: Sep 26, 1991 0 comments
Let me take you back some 40 years to the mono days of the early 1950s. It's unlikely that the minimonitor genus of loudspeakers, of which this French JMlab is a prime example, would have survived back then. There was the practical problem of available amplifier power. The average amp could squeeze out no more than 10 to 15W into an 8 ohm load—far less power than the typically insensitive minimonitor demands for adequate dynamic headroom. But that in itself would not have sufficed to displace the minimonitor from the marketplace. After all, "high-power" amps (50-watters) could be had at a price.

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