It occurred to me recently that, after nearly a decade of specializing in reviewing affordable speakers, and with the exceptions of two entry-level Mission models, I'd never taken a look at recent designs from the large mainstream British speaker manufacturers. So with this review I embark on a Bob Reina "British Invasion" tour to seek out the most innovative and value-conscious designs from companies that have been household names in British stereo shoppes for decades.
When I reviewed Infinity's Primus 150 loudspeaker in the April 2004 Stereophile, I was very impressed with its overall performance. To this day, I continue to be amazed at the level of realism this $198/pair loudspeaker can reproduce, and I've kept the review pair to serve as a benchmark for an entry-level audiophile speaker. When I'd completed that review, my first thought was: Now—what can Infinity do within the affordable Primus series for more money? So I requested a review sample of the Primus series' flagship, the three-way Primus 360 floorstanding speaker. After all, how could I resist listening to a speaker that claims 38Hz bass extension for only $658/pair?
Following my favorable experience with Epos Ltd.'s entry-level loudspeaker, the ELS-3 ($329/pair; see my January 2004 review), Roy Hall, of importer Music Hall, called me with some excitement about the new Epos M5 ($650/pair). In a crowded room at the Home Entertainment 2004 show in New York, I did a quick comparison of the M5 and ELS-3 under suboptimal conditions of multiple speakers in the room and Roy answering consumers' questions while pouring scotch for his dealers. Still, I was able to hear enough from the M5 to intrigue me, and with high expectations, I asked for a pair for review.
I don't know Gram Slee from Gram Parsons, or which House he was in at Harry Potter's Hogwarts School, but let me tell you: If you'd just been listening to a bunch of budget phono preamps, as I had, then came upon the GSP Audio Era Gold Mk.V, you'd think someone had switched out not just the phono preamp but your entire system. You might think you were listening to a different pressing or a different cartridge. How can this be?
My normal practice in seeking out contenders for Affordable Speaker Nirvana is to pursue speakers I stumble across at our Home Entertainment shows, and to keep tabs on new designs from manufacturers whose wares have impressed me in the past. This time, however, editor John Atkinson called me out of the blue: "How would you like to review the Amphion Helium2 loudspeaker? It's the entry-level speaker in a Scandinavian speaker line distributed by Stirling Trayle of Quartet Marketing."
Paul Barton, founder of PSB Speakers International, is an icon of the North American speaker industry. A talented designer who has for many years produced innovative and cost-effective designs at a range of prices, Barton does not let time stand still, constantly updating and revising his designs. But what makes him unique, in my view, is that, unlike the designers at most North American speaker companies, whose successful affordable designs are trickled down from their more expensive models, Barton, like the British designers, seems to get most of his excitement from his budget lines. His original PSB Alpha was, in its day, the most significant entry-level speaker made in North America since the original Advents of the 1970s.
In the September 2001 Stereophile (Vol.24 No.9), I wrote very favorably about Polk's RT25i loudspeaker ($319.90/pair). That bookshelf model impressed me with its open, neutral midrange; its pristine, extended high-frequency response; and its low-level dynamics. On the minus side, the RT25i was fairly limited in low-bass extension and high-level dynamic slam. At the time, I was seeking a new speaker for my home computer music-composition system, and I bought the review samples—the only time I've done that since I began to write for Stereophile some 20 speaker reviews ago.
Attending a Consumer Electronics Show is enjoyable, productive, nerve-racking, and exhausting. Too many components, so little time. One has to prioritize to ensure sufficient time to cover everything intended. One needs to avoid certain rooms, such as those with new, unremarkable designs from companies whose designers would love to talk—for half an hour or more—with each audio reviewer who makes the mistake of sauntering in. There are also many rooms in that middle region—rooms on neither the Must Hit nor the Must Avoid list.
I love dealing with the colorful characters of high-end audio. One such individual is Victor (Veekh-tor) Goldstein, who has distributed high-quality European audio gear from his New York City headquarters, Fanfare International, for 23 years. A nuclear engineer by training, Goldstein transitioned into audio when the Three Mile Island incident reduced the demand for his services. (I guess he felt his skills were transferable to single-ended triode amplifiers.) Most of all, Goldstein is a passionate lover of music with a vinyl collection that numbers well into five figures, and a fixture at many of the significant classical performances at New York's major concert halls.