Budget Component Reviews

Have I told you about my objectivist friend—the left-brain audiophile who puts a lot of trust in measurements? He has a high natural intelligence and is an extremely experienced listener, but once he knows a component doesn't measure well, he can never again experience it impartially.

I don't want to embarrass my friend, so in this story I will call him O., for Mr. Objectivity.

The Monitor Audio R300/MD ($669/pair) debuted at the 1988 SCES in Chicago. English company Monitor Audio is one of the pioneers in spreading the use of metal-dome tweeters in relatively low-cost loudspeaker systems. The tweeters they have designed in conjunction with SEAS and British manufacturer Elac may have now found their ways into a number of designs from competing manufacturers, but there is no doubt that Monitor leads the way. The new R300/MD features a new ¾" version of the SEAS 1" aluminum-dome unit Monitor introduced with their R652/MD (reviewed in Vol.10 No.5), in conjunction with an 8" doped paper-cone woofer.

I like Brooklyn. I even got married under the shadow of the Brooklyn Bridge! (Almost the exact spot where Cher's grandfather let his dogs howl at the moon in Moonstruck. And if you're ever in the Park Slope area, check out McFeeley's for brunch.) I could be forgiven, therefore, for having a soft spot for any Brooklyn manufacturer, including Ohm Acoustics. Except that the only Ohm model I have heard was the omnidirectional Ohm Walsh 5 (favorably reviewed by Dick Olsher in Stereophile in 1987, Vol.10 No.4, and 1988, Vol.11 No.8), and the omni principle is something that I have never found to work, or at least to give me what I feel necessary in reproduced sound. The Ohm Model 16, however, is one of three more conventional Coherent Audio Monitor (CAM) speakers intended to offer good sound at an affordable price: $300/pair

One of my favorite parts of writing for Stereophile is reading all the heartfelt letters our readers take the time to write me. There's nothing I like better than to kick off my boots, stretch out on the futon-couch, and let the groovy love vibes just shine off the pages. Time doesn't always permit a reply, but for now...AS in MD: thanks! RP in CA: sure, why not? And SH in IN: I've tried that, but it chafed.

Reviewers of high-fidelity gear are a trend-sniffing, topology-bandying bunch. When four of our kin gathered last November over lunch, during the 2016 New York Audio Show, the high-end chatter flew fast and furious. "Did you hear those mother-rocking big horns on the seventh floor?" "Nah, man, the Bruno Putzeys speakers on nine were best in show." "What about those li'l Lowthers on eight? Great sweet spot, but small as peanuts."

If speakers were cars, the Infinity IRS Beta and B&W 801 Matrix would represent the luxury end of the mass market, with perhaps the Celestion SL700, Quad ESL-63, and MartinLogan Sequel II analogous to rather hairy, temperamental sports cars—the Porsche 911, for example. But most people don't buy Porsches, or even Lincoln Town Cars; they buy Hyundai Excels and Ford Escorts. In the same way, when the car is garaged for the night, they don't sit down in front of IRS Betas; in all likelihood they listen to their records with a compact two-way design. If competently designed, a small two-way can give a great deal of musical satisfaction, and, to take a current hobbyhorse of mine out for a trot, if a designer can't produce an at least competent two-way loudspeaker, he or she has no business trying to design larger, more ambitious models—there's nowhere to hide your lack of talent if all you have to play with is a tweeter, a woofer, a rectangular enclosure, and a handful of crossover components.