Triangle Antal 40th Anniversary Edition loudspeaker Specifications

Sidebar 1: Specifications

Description: Three-way, four-driver, bass-reflex floorstanding loudspeaker. Drive units: one 1" (25.4mm) horn-loaded anodized magnesium-dome tweeter; one 6.5" (135mm) cellulose pulp-membrane midrange driver; two 6.5" (135mm) wood pulp, flax, and carbon fiber-membrane bass drivers. Crossover frequencies: 185Hz, 3.9kHz. Frequency range: 37Hz–22kHz. Sensitivity: 92dB/2.83V/m. Impedance: 8 ohms nominal, 3 ohms minimum. Power handling: 140W RMS. Recommended amplification: 80–250W.
Dimensions: 42.9" (1090mm) H × 7.8" (200mm) W × 13.6" (345mm) D. Weight: 59lb (26.8kg) each.
Finishes: Santos Rosewood, Blond Sycamore.
Serial numbers of units reviewed: 20_TEC71_AN_ V1_0283 (both). Made in France.
Price: $4700/pair. Approximate number of US dealers: 33. Warranty: 3 years, nontransferable.
Manufacturer: Triangle Hi-Fi, 475 Avenue Flandres Dunkerque, Z.I. Les Etomelles, 02200 Villeneuve Saint-Germain, France Tel: +33 (0)3 23 75 38 20. Email: Web: US distributor: Antal Audio Group, 32 DIX Ave., Glens Falls, NY 12801. Tel: (503) 970-8531. Web:

Triangle Hi-Fi
US distributor: Antal Audio Group
32 DIX Ave.
Glens Falls, NY 12801
(503) 970-8531

Anton's picture

Thank you.

An instant classic review!!!

rschryer's picture

Thanks, Anton.

David Harper's picture

that "breaks in" is the audiophiles brain. Opinions to the contrary are audiophile nonsense. But there's an aweful lot of audiophile nonsense about everything here so who am I to complain? Whatever you believe is true for you. A lot like religion. If something has no basis in fact then we're all free to believe whatever we decide. It's all good.

johnnythunder1's picture

Your comments bring this place down. However, my new strategy is to ignore your opinions as I would the ravings of a mad man. Yes this is an ad hominem attack because to even debate what you are being a contrarian about is to stoop too low. A mind like yours cannot accept such abstract concepts. I'm surprised that you can even listen and understand music.

hb72's picture

would you accept Klippel factor measurements vs break-in time as proof of brake-in affects? Spider material as much as rubber or whatever the material surrounding the cone measurably change their stiffness & damping properties, especially vs displacement, after having been worked back and forth a couple of (hundred or thousand) times. non-linear properties to plastics isn't really a new thing in science.
See literature on Klippel factors.

PS: it is considerably easier to claim & proof the existence of a particular effect than its universal absence.

best regards

Valter's picture

to get addictive it is necessary that the sound meets the "expectation" you expect from the sound of your hi-fi.

johnnythunder1's picture

there was someone quite famous in this business who said along the line of , " if you can hear it and it can't be measured than we are measuring the wrong thing." We are all stupid for believing and hearing that audio equipment breaks in but you guys in the white lab coats on audio science review know better than us fools. If that's true, don't go to stereophile to comment just like I dont comment on the audio science review. Keep your opinions to yourself and let us deluded fools us enjoy Stereophile and let us waste our money how we want.

JHL's picture

...verges on projection. It wants for traceability and falsifiability, and it contradicts reams of cross-linked, patternable user evidence. It gatekeeps for X what Y may hear. At its best the theory of habituation relies on disconnected assumption and at its worse it abuses and impairs the audio high end.

Together with the myth that things may not break in because reasons, it's another failure of pseudo-reductionism, in this case back down to average sound.

In no field is a phenomenon adamantly disallowed for you until I can prove it to my satisfaction. Just here.

Kal Rubinson's picture

Haven't we heard all these arguments from both sides before? They each fail to convince the other side.

I prefer to take each review at face value, including issues such as this, that inform us of the author's perspective and interpret it in the context of my own perspective rather than throwing out the baby with the bath water.

volvic's picture

Funny story happened to me a few weeks ago regarding product habituation. A chap was selling a pair of Linn Kan stands and a recently refurbished pair of Linn Kan I’s. I got the stands and then wondered about buying the Kan I’s. Owning a pair of IIs, I thought it would be fun to do a side-by-side, but I thought better of it than spend $500 on a whim. A week later, he had reduced the price to $350 and told me that Linn purchasers were picky and didn’t want them because he had re-veneered the wood and wasn’t stock looking anymore. He offered to send them to me on his dime and compare them with mine and if I liked them, I could pay him after. When I finally compared them to my II’s I was stunned; mine sounded lifeless; I put my ear to the tweeters to ensure they were working. I checked with companies in the UK, including Falcon Acoustics, about what would cause this, and they think the caps in the crossover were toast. But I realized I was listening to these speakers the last few years, thinking everything was fine when they were slowly declining as performers. The I’s with the new caps, new Falcon Acoustics woofers, and new Hiquaphone tweeters were clearer, more detailed than my ten years younger IIs. Amazing what tricks my brain played on me, always knew I didn’t have golden ears. Time to recap and bring those II’s to full spec.

rschryer's picture

A room acoustics friend of mine said that the sound of our gear invariably changes due to the constant flow of current running through the components. It's a process that results in altering frequencies and shifting phases, some of which our brain adapts to, some of which it doesn't, and all of which renders the overall sound less involving to us over time.

If it's true, it's a good argument for new or refurbished gear.

volvic's picture

This was an eye opener for me, moving forward, if I plan on buying used gear knowing if it's been refurbished, is now essential in meeting the asking price or simply walking away.

Kal Rubinson's picture

If it's true. Does your friend have a reference to any study or investigation of this?

rschryer's picture

Actually, at this time, to answer your question, Kal, he "more likely does".

This friend works in the industrial acoustic treatment field, mostly to do with soundproofing and lowering room reverberations. He also has his own acoustic treatment business that caters to audiophiles. He mentioned the above theory — those shifting tonalities, frequencies, phases — as being one of the prime reasons why audiophiles, particularly those who never cared about room acoustics before, are now looking for a way to regain their diminished enthusiasm for their system's sound.

And it appears that acoustic treatment can work to this end, because it's designed to compensate for acoustic imbalances. That doesn't mean, however, that it might not be a better idea to just buy something new to replace the old.

I'm sure his work — his passion — is based on scientific evidence, but my gut tells me it's a plausible theory.

I'll ask him for a reference.

Anton's picture

There was a guy in my Hi Fi Club who had a major league system, built around some "A" grade equipment.

When I first sat in his room, I thought he had found sonic paradise. Imaging, frequency response, everything.

It had that "live in the same room illusion."

It was perfect, until it started to dawn on me that while it certainly did have all those qualities, it was more like 'live in an eternally unchanging room.'

All the music had that great feeling, but every recording was placed into the same sonic room, over and over.

It wasn't doing anything wrong, but over time I came to dread hearing it.

Everyone's, even Jack L's, system sounds basically the same from day to day....habituation leads to some slight ennui which leads to changing gear. All systems fail that final test of live v recording. At first we may marvel at how close they come, but over time, we tire of hearing the same failure day after day, and we move on.

In general.

Sorry for drifting from the topic of breaking in gear. Breaking us in or breaking us down is also a big part of the hobby, for sure.

windansea's picture

This is why I have 3 systems with different characters. A fleawatt SET with full-range open baffles. Then massive Maggies with tube pre and Class D amp. And then mini maggies with class A amp, for near field. Get a little tired of one, go to another.

Anton's picture

I believe in your system,exactly.

I had a friend growing up who was like this when it came to dating: the initial rush, habituation, moving on.

Sometimes 'different' is actually what we perceive as 'better.'

Thanks for your great post!