John Atkinson

Back in the last century, I mused in this space about the essential difference between recorded sound and the real thing. I had been walking to dinner with friends when I heard the unmistakable sound of live music coming from a window. But here was the kicker: rather than the instruments being of the audiophile-approved acoustic variety, they were two amplified electric guitars. Their sounds were being reproduced by loudspeakers, yet it was unambiguously obvious that it was not a recording being played through those loudspeakers, but real instruments.

Since the ES14 from the mid-1980s, speakers from the English Epos company have been renowned for their midrange magic, not for ultimate dynamics. But Mike Creek, Epos's owner, is aiming for both with the Encore 50, which made its debut at CES. This three-way floorstander, priced at $9995/pair, uses two port-loaded 9" woofers with Kevlar/carbon-fiber/pulp-composite cones, in a large cabinet to achieve a high 90dB sensitivity, while the metal-dome tweeter uses an injected-molded roll surround to give high excursion. The midrange is fed by a tapped autotransformer to allow adjustment to a tight tolerance in production.

Colorado manufacturer YG Acoustics, led by the energetic Yoav Geva, achieved notoriety by proclaiming its Anat Reference II Professional the "Best Loudspeaker on Earth. Period. " Stereophile reviewer Wes Phillips didn't disagree with that characterization, though it is fair to note that at $107,000/pair, the Anat Reference II Professional is also one of the more expensive speakers on Earth. Making its debut at CES, YG's two-way Carmel is relatively more affordable, at $18,000/pair, but shares with its sibling an enclosure constructed from slabs of aluminum CNC-machined in-house.

PBN's new speakers feature an enclosure formed from CNC-machined MDF layers, with an interior surface intended to minimize standing waves.