Stand Loudspeaker Reviews

Totem Acoustic Mani-2 loudspeaker

John Atkinson Feb 02, 1996 First Published: Feb 02, 1996

Following my review of two high-performance minimonitors last November (footnote 1), I received a letter asking why I recommended a stand-mounted speaker at all when it was possible to buy a floorstanding design with more bass for the same amount of money. Furthermore, the correspondent went on, when you consider that the minimonitor sitting on its stand occupies as much floorspace as the floorstander, it's hard to see why a market for minimonitors exists at all.

Stand Loudspeaker Reviews

Acarian Alón Petite loudspeaker & PW-1 woofer system

Wes Phillips, Robert J. Reina Jan 11, 1996 First Published: Jan 11, 1996

SLAM! My left foot went numb. My fellow salesman, Danny Shapiro, had lost control of the Thiel CS5 that we'd been walking into place in Demo Room V, and it had come crashing down on my foot with unerring accuracy—all 180 lbs worth. As I stared down in horror, I remembered that we'd left the spikes on. But wait a minute—there was no pool of blood spreading out from under the CS5. How could that be? Convinced that the heavy cabinet was acting as a tourniquet, I levered it off my foot, expecting a grisly sight. I got one: my new Rockport pierced by the carpet-point—right between my big and second toes. And people ask me why I like small loudspeakers.

Stand Loudspeaker Reviews J. Gordon Holt Historical

Bose 901 loudspeaker

J. Gordon Holt Nov 07, 1995 First Published: Nov 07, 1971

The Bose 901 has created more of a stir in audio circles than any other loudspeaker we can think of, with the possible exception of the original Acoustic Research system. Much of the 901's popularity is attributable to Julian Hirsch's rave report in Stereo Review, and there is no doubt but that Amar Bose's compellingly convincing ads had their effect, too. But these things alone could hardly account for the 901's popularity.

Stand Loudspeaker Reviews

Sonus Faber Electa Amator loudspeaker

Jack English Oct 06, 1995 First Published: Oct 06, 1992

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?

Stand Loudspeaker Reviews Budget Component Reviews

JMlab Micron & Micron Carat loudspeaker

Dick Olsher Sep 26, 1995 First Published: Sep 26, 1991

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.

Historical Stand Loudspeaker Reviews

Celestion SL700 loudspeaker

John Atkinson Sep 05, 1995 First Published: Sep 05, 1988

"Who Stole The Bass?" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 Stereophile (Vol.10 No.3). And for the designer of a box loudspeaker, the fundamental design decision, at any price level, is how much bass extension to aim for. It will always be possible to design a speaker with extension down to 20Hz, but will the result be musically and commercially successful? Will the designer end up with a speaker hypertrophied in that one area at the expense of every other? Will, indeed, the result be feasible technically? For example, for a given cabinet volume, gains in low-frequency extension have to be balanced against corresponding drops in sensitivity, and it is quite possible that to go for 20Hz extension will result in a 60dB/W/m sensitivity, equating with a speaker that only plays extremely quietly, and thus of no use to anyone.

Stand Loudspeaker Reviews

Acoustic Energy AE1 loudspeaker

John Atkinson Sep 03, 1995 First Published: Sep 03, 1988

"Who">http://www.Stereophile.com//features/44/">Who Stole The Bass?" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 Stereophile (Vol.10 No.3). And for the designer of a box loudspeaker, the fundamental design decision, at any price level, is how much bass extension to aim for. It will always be possible to design a speaker with extension down to 20Hz, but will the result be musically and commercially successful? Will the designer end up with a speaker hypertrophied in that one area at the expense of every other? Will, indeed, the result be feasible technically? For example, for a given cabinet volume, gains in low-frequency extension have to be balanced against corresponding drops in sensitivity, and it is quite possible that to go for 20Hz extension will result in a 60dB/W/m sensitivity, equating with a speaker that only plays extremely quietly, and thus of no use to anyone.

Stand Loudspeaker Reviews

Sonus Faber Guarneri Homage loudspeaker

Martin Colloms Jul 05, 1995 First Published: Jul 05, 1994

Sonus Faber provides a fascinating and challenging insight into the art of high-quality sound reproduction. This Italian company makes two costly two-way stand-mounted speakers that couldn't be more different from each other.

Stand Loudspeaker Reviews

Epos ES 14 loudspeaker

Thomas J. Norton, Various Jun 28, 1995 First Published: Jun 28, 1988

Americans might be forgiven if they haven't heard of Epos. A small, British specialist loudspeaker manufacturer, it was founded in 1983 by its designer, Robin Marshall—an ex-BBC engineer and a onetime consultant to Monitor Audio, according to Roy Hall of Epos's US importer, Music Hall. Their first model, the ES 20, didn't make it to the US, and was apparently a bit too pricey in the UK to make much of a splash there (about £700, $1300 at the current rate of exchange—a mint in a country with the patent on sub-$500/pair (UK prices!) two-ways). In 1986 or thereabouts, the new, smaller ES 14 was introduced, using updated versions of the same drivers in a smaller, ported cabinet. Music Hall only recently began importing the Epos into the US.

Stand Loudspeaker Reviews

Sonus Faber Extrema loudspeaker

Martin Colloms Jun 07, 1995 First Published: Jun 07, 1992

Sonus Faber was founded in 1981 by Franco">http://www.stereophile.com//loudspeakerreviews/870/index2.html">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.