Stand Loudspeaker Reviews

In the 1990s, while putting together one of my early hi-fi systems, I'd often visit New York City audio retailer Sound by Singer to gawk at their top-tier wares. On one such visit I noticed a serious-looking gentleman listening to Stravinsky's The Rite of Spring through a pair of Audio Physic's Step loudspeakers (accompanying electronics long forgotten). Sitting on their dedicated, minimalist-looking metal stands, the pint-size Steps were angled up 22° or so, to create a physical time alignment of the tweeter's and midrange-woofer's wavefronts. The Step looked odd—kind of scrawny. But these petite minimonitors projected music that seemed to exist entirely free of their cabinets, pulling off a sort of "disappearing" act I'd never before heard.

I promise not to tell you that the 40th Anniversary Edition Harbeth P3ESR loudspeaker sounds like a bigger speaker than it actually is. It does not. Likewise, I won't suggest that it offers a large portion of what Harbeth's bigger, more expensive models do—I'll leave that to the happy owners on the Harbeth User Group. But can I tell you it's good value for the money? The current, non-anniversary version of the P3ESR costs $2195/pair (footnote 1), while the souped-up, tarted-up 40th Anniversary Edition goes for $2890/pair—prices I think are chickenfeed, considering all the timeless virtues and musical satisfactions I have discovered in both versions.

"Its a dessert topping!"
"No, its a floor wax!"
"Dessert topping!"
"Floor wax!"
"Kids, don't argue—it's a dessert topping and a floor wax!"

Twenty years later, this Saturday Night Live routine still rings true. Experience has taught me that very few products can do two things equally well. Remember those jaunty amphibicars that sported propellers on their rear decks, letting you drive them straight into the lake after a bracing spin along the back roads? Unfortunately, they could neither corner well nor handle even the slightest chop. As for Swiss Army Knives, well, I guess it's better to have a mediocre screwdriver/awl/magnifying glass/tweezers with you than none at all. And I've never seen a Veg-O-Matic in a professional kitchen, just mandolines, food processors, and knives.

"It was not subtle. The [$2000/pair] Tekton Impact Monitors were doing it all: singing, drumming, shaking the air, drawing me in, and making every CD or LP pure pleasure to listen to. A little soft . . . but not too soft. Imagine a gentle but guiding touch with a most perfect sparkle—and then firm and impactful when necessary."

I wrote that last October, after hearing Tekton Design's new Impact Monitor speakers at the 2017 Rocky Mountain Audio Fest. I repeat it here because, as I listened to the Impact Monitors, I thought, Yeah, these speakers sound pretty damn good, but those seven tweeters are a gimmick if ever there was one.

Do-It-Yourself (DIY) loudspeaker projects are quite common in the UK, where details about several excellent designs, including a recent one by Martin Colloms, have been published for public domain consumption. Stateside, the situation is rather grim, where only an occasional subwoofer project (always popular) makes it into the commercial magazines.

Everything sounds like what it's made of.

I'm known for saying that, and to me, it's obvious: box speakers with dome tweeters sound like box speakers with dome tweeters. I can hear their tweeters calling to me when I'm in the next room, making a phone call. I can hear their boxes hissing and groaning even after I turn off the stereo. Many a day, I think Edgar Villchur, inventor of the acoustic-suspension loudspeaker and the dome tweeter, ruined audio, and that audiophiles will never stop denying how artificially colored the sounds of domes and cones in boxes really are.