Floor Loudspeaker Reviews

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Larry Greenhill  |  Dec 27, 2001  |  0 comments
Film sequels are a mixed blessing. If an action movie holds my attention, I can't wait to see the sequel: same characters, same actors, new adventures. And if the first film was successful, studios are more than willing to oblige. So Jurassic Park begat The Lost World, which begat Jurassic Park III. But the results are often unsatisfying.
John Atkinson  |  Jan 14, 2009  |  0 comments
With hindsight, it should have been obvious at the time that the 1970s witnessed a glorious flowering of high-end audio. Almost all the brands now regarded as leaders had their start in that decade, though with perhaps the exceptions of Audio Research, Linn, Magnepan, and Naim, those of us working at audio magazines missed the significance of the new names. Dynaudio, for example, was founded in 1977, but not until the end of the 1980s did I become fully aware of the ground being broken in drive-unit and overall system design by this Danish loudspeaker manufacturer.
Paul Bolin  |  Nov 30, 2002  |  0 comments
It's always tough to follow an award-winning act. Wes Phillips raved about the original EgglestonWorks Andra back in October 1997, and it was subsequently dubbed Stereophile's Speaker of the Year for 1997. The Andra won many other plaudits, and found its way into a number of top-shelf recording studios as the monitor of choice. Such a reputation for excellence is the stuff most speaker designers dream of. It also imposes the burden of expectation—the "new and improved" version of such a knockout product had better be good, or else.
Wes Phillips  |  Oct 04, 1997  |  0 comments
Bill Eggleston builds speakers because his father did. "My dad always told me that when he started, the only way you could get really good speakers was to build them yourself. We always had drivers and parts around, and I just began building my own so early I can't even remember. Much more important, my father passed on his wide-ranging approach to music. He listened to everything, and he taught me to be open-minded about music."
Michael Fremer  |  May 24, 2018  |  10 comments
Viginti is Latin for twenty. It's also the name of a new loudspeaker from EgglestonWorks, to be produced in a limited edition of 250 pairs in celebration of the launch, 20 years ago, of the company's original Andra, on which the Viginti is based. The Viginti is a shapely and eye-pleasing 4' 2" tall, and weighs 255 lb—kind of heavy for its size.
Thomas J. Norton  |  Nov 27, 2018  |  37 comments
German manufacturer Elac had a significant North American presence in the 1960s and '70s, primarily with its Miracord automatic turntables. While it eventually disappeared from the US market, Elac never ceased to be a player in Europe, where it eventually shifted its primary focus from turntables to loudspeakers.

When Elac decided to reenter the US market a few years ago, its success was hardly assured. Faced with hundreds of brand names and thousands of models fighting for attention, it hired veteran speaker guru Andrew Jones to improve the odds. In his previous work, first for KEF and then for TAD and Pioneer, Jones had built a solid reputation on designing well-received, cost-no-object speakers as well as high-value budget designs.

J. Gordon Holt  |  Nov 11, 2020  |  First Published: Sep 01, 1964  |  9 comments
These are two of Electro-Voice's "middle-ground" speaker systems, filling the quality (and price) range between the huge Patrician 800 and the diminutive Coronet system.
Anthony H. Cordesman  |  Feb 24, 2009  |  First Published: Apr 24, 1987  |  0 comments
There is something especially exciting about a new loudspeaker design, if only because speakers are the component where one constantly hopes for the sonic miracle that will suddenly make it all sound real. No other component has the same overall impact in coloring the system, presents more room problems, or inspires more frustration on the road to the perfect system.
Corey Greenberg  |  Mar 30, 2008  |  First Published: Feb 02, 1993  |  0 comments
"And I say panel speakers can't rock'n'roll—"
Thomas J. Norton  |  Apr 23, 2019  |  13 comments
Visit any consumer audio show these days and you'll see rooms full of systems costing from six to seven figures. Manufacturers like to put their best foot forward, and demoing systems with loudspeakers designed to sell for $50,000/pair and up (often up) seems an obvious way to go.

It's also common for an audio company to launch its flagship models first, and only later release more affordable products, for a wider range of buyers. The hope is that the promotional shine of the dream products will be reflected onto the budget models.

Robert J. Reina  |  Aug 02, 2012  |  0 comments
We've all read about how bookstores, appliance stores, and other bricks-and-mortar retailers are suffering with the increasing domination of Internet sales. That got me thinking about audio dealers. I've always believed that one can't really make an informed purchase of audiophile equipment without hearing it in a system properly set up by and at at a serious audio retailer. Here in New York City, we're blessed with six first-rate audio dealers in Manhattan alone, with more in the suburbs. I estimate that 90% of the products reviewed in Stereophile can be auditioned at a dealer or two within a two-hour drive of anywhere in the New York metropolitan area.
Thomas J. Norton  |  Jun 07, 1995  |  First Published: Jun 07, 1994  |  0 comments
If Canada has emerged as a hotbed of loudspeaker production in the past few years, the folks at Audio Products International must be positively sizzling. Of their three lines—Mirage, Energy, and Sound Dynamics—Mirage is perhaps the best known in the US, with Energy running a distant second. Mirage, at least in their flagship M series, features rather esoteric bipolar designs, while Energy sticks to the more conservative, forward-radiating approach. Stereophile has had extensive exposure to the various Mirages (a review of one of the M-series babies, the M-7si, is scheduled for a future issue); our exposure to Energy has been virtually nil, save for the odd Hi-Fi Show and CES. And thereby hangs a tale.
Jack English  |  Feb 25, 2007  |  First Published: Feb 25, 1996  |  0 comments
If reviewers can be believed, the diminutive, $995/pair Epos ES11 loudspeaker has been a phenomenal success worldwide since its 1990 introduction. Stereophile added its voice to this hallelujah chorus in Vol.14 No.7, when the '11 kicked butt in a blind-listening-panel evaluation of inexpensive small speakers. While the ES11 did plenty of things extremely well, it was inevitable that it was limited in terms of ultimate sound-pressure levels (spls), deep-bass extension, and dynamic persuasiveness. While the ES11 was an unqualified success given its modest size and price, one couldn't help but wonder what Epos might be capable of in a larger model. (While a larger Epos model already existed in the $1695/pair ES14, it predated the technology of the ES11 by four years.)
Robert J. Reina  |  Jun 19, 2008  |  0 comments
Last year, when Epos importer Music Hall contacted me about reviewing the then-new M16 floorstanding loudspeaker, I hesitated. I had been very impressed with the M16's little bookshelf brother, the M5 (see my review in the April 2005 Stereophile, Vol.28 No.4), which I found uncolored, detailed, and a great value. Most of all, the M5 had an incredible balance of performance. But several times in the past, having been seduced by a wonderfully balanced bookshelf speaker, I've then been disappointed by one of its costlier, floorstanding brethren. The larger speaker might share the bookshelf's overall character, have deeper bass, and play louder with less strain, but too often that magical sense of balance that I had so enjoyed in the smaller speaker would be absent.
John Atkinson  |  Aug 15, 2008  |  0 comments
Audio shows are where reviewers search out products for possible review. We are always on the lookout—or listenout—for components that transcend the boundaries of the ordinary, that set the pulse racing a little faster. The 2007 Rocky Mountain Audio Fest, held in Denver last October, was the first RMAF I had attended, and among the rooms that impressed me was one featuring components from the Japanese brand Esoteric, which was celebrating its 20th anniversary.

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