Stand Loudspeaker Reviews

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John Marks  |  Feb 19, 2013  |  4 comments
The Anima is a two-way loudspeaker from Canalis Audio, a new enterprise of longtime importer Immedia, of Berkeley, California. Canalis is thereby related to Spiral Groove, and Canalis speakers bear the Spiral Groove logo on their terminal plates. Spiral Groove, founded in 2005, makes turntables; their SG2 ($15,000) was favorably reviewed by Brian Damkroger in the June 2010 issue. Canalis makes at present four models of loudspeakers, all designed in collaboration with noted engineer Joachim Gerhard, formerly of Germany's Audio Physic. All Spiral Groove and Canalis products are made in the US.
John Atkinson  |  May 28, 2006  |  First Published: Jun 28, 1995  |  0 comments
Yes, it's the same Canon—the Japanese photography, photocopier, and laser-printer giant whose logo for so many years adorned the rear wings of Williams Formula 1 racing cars. Canon's venture into the unknown waters of audio was instigated by the head of the UK-based research center, Hiro Negishi. I have been seeing Negishi-san, one of the world's leading minds in optical technology, at Audio Engineering Society conventions since the early '80s, so I was only half-surprised to see Canon launch first one loudspeaker, then a full range (footnote 1).
John Atkinson  |  Mar 01, 2008  |  First Published: Jun 01, 1992  |  0 comments
I believe Ken Kantor said it first: a couple of years ago, in his September 1990 interview with Robert Harley (Vol.13 No.9), he remarked that "there's no reason why a two-way 6" loudspeaker can't be the equal of almost the best speaker out there from a certain frequency point upward, with the possible exception of dynamic range." When I read those words, they rang true. If you put to one side the need to reproduce low bass frequencies and can accept less-than-live playback levels, a small speaker can be as good as the best, and allow its owner to enjoy the benefits of its size—visual appeal, ease of placement in the room, and the often excellent imaging afforded by the use of a small front baffle.
John Atkinson  |  Jun 13, 2014  |  First Published: Oct 01, 1989  |  1 comments
666celestian3.250.jpg"Why does John Atkinson devote so much of his time to loudspeakers selling for under a [sic] $1000?" wrote a correspondent to The Audiophile Network bulletin board in August, there being a clear implication in this question that "more expensive" always equates with "better" when it comes to loudspeakers. While it is true that the best-sounding, most neutral loudspeakers possessing the most extended low-frequency responses are always expensive, in my experience this most definitely does not mean that there is an automatic correlation between price and performance. I have heard many, many expensive loudspeakers whose higher prices merely buy grosser sets of tonal aberrations. For those on modest budgets, provided they have good turntables or CD players, a good pair of under-$1000 loudspeakers, coupled with good amplification, will always give a more musical sound than twice-the-price speakers driven by indifferent amplification and a compromised front end.

End of discussion.

John Atkinson  |  Dec 29, 2006  |  First Published: May 29, 1990  |  0 comments
Some reviews seem ill-fated from the get-go: samples break; systems go wrong; test equipment gives anomalous measurements; and at times the reviewer starts to doubt his or her ears when it seems impossible to get the component being reviewed to sound anywhere as good as reported by other writers. Such was the case with this review of the Celestion 3000. When Celestion's Barry Fox visited Santa Fe three days before Christmas 1989 with early samples of the speaker, we were dismayed to find that the ribbon of one of the pair was crinkled and immobile, apparently due to the extruded-aluminum magnet frame warping in transit. Fortunately, Barry had brought a spare tweeter with him, to show how it worked, so we replaced the broken one in order to do some listening.
John Atkinson  |  May 05, 1995  |  First Published: May 05, 1989  |  0 comments
Following my reports on 13 mainly inexpensive loudspeakers that have appeared in the last four issues of Stereophile, I thought I would give myself a treat this month by reviewing the latest incarnations of a model that has stood the test of time: the two-way Celestion SL600Si...This is a carefully tuned infinite-baffle design, sacrificing ultimate extension for upper-bass and lower-midrange quality. Its crossover is conventionally British in that it puts flatness of on-axis amplitude response ahead of time coherence, while everything about it, from drive-units to the cabinet itself, is flagrantly "high-tech."
John Atkinson  |  Sep 05, 1995  |  First Published: Sep 05, 1988  |  0 comments
"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.
Larry Greenhill  |  Sep 28, 2008  |  First Published: Mar 28, 1998  |  0 comments
I first auditioned a pair of Chario Academy One minimonitors five years ago, but the review was aborted when the Italian Chario company lost its US distribution. When I reheard the Chario Academy Ones at the 1997 WCES, I found their elegant cabinetwork appealing and their sound listenable and involving. I therefore requested a pair for review from the new US importers.
Robert J. Reina  |  Oct 26, 2009  |  0 comments
In my reviewing career, except for fleeting listening sessions at the occasional audio show, I've had little contact with products from the Italian loudspeaker maker Chario. When asked if I'd be interested in reviewing an affordable bookshelf speaker from them, I did some research and discovered that Chario is distributed in the US by Koetsu USA. Well, with that kind of pedigree—I'm a loyal owner of two Koetsu Urushi cartridges—I thought I'd better give the Premium 1000 ($1015/pair) a careful listen. A few months later, I was tucking in to a pair of review samples.
Wes Phillips  |  Nov 26, 2012  |  First Published: Jan 01, 1996  |  8 comments
Coincident Speaker Technology was known until recently as Concentric Speaker Technology. Under that name they marketed a line of cylindrical speakers covered in leather. All of their previous offerings have been discontinued along with their former name; the Troubador ($1495/pair), a handsome two-way housed in an asymmetrical cabinet, is the first of their new line of speakers. A bass module/speaker support à la the Wilson Puppy is also offered. Coincident's speakers are designed by Israel Blume and are direct-marketed in the US. There's a 30-day money-back guarantee and a five-year warranty on parts and labor.
John Atkinson  |  Sep 29, 2016  |  19 comments
I have been an advocate of small speakers since I began using BBC LS3/5a's in the late 1970s, continuing through Celestion SL6es in 1981, Celestion SL600s and SL700s in the late '80s, and B&W Silver Signatures in the mid-'90s. Yes, I do like accurate and extended bass reproduction—but you need a big speaker to be able to provide that, and, as the late Spencer Hughes, founder of Spendor, once remarked, "big speakers have big problems." I don't see the point of extending a speaker's low-frequency performance if the result is compromised soundstaging and midrange reproduction. And there is also the intellectual elegance of a speaker that is no bigger than it need be.
Robert J. Reina  |  Jul 06, 2012  |  5 comments
I thought I'd review the procedure I typically use to seek out affordable speakers for review as, in the case of the Denmark-designed DALI Zensor, made in the company's facility in China, there was a twist at the end.

In preparing to review affordable loudspeakers, I typically put together a list of potential candidates I've discovered at audio shows, or that have been recommended to me by other Stereophile writers. I add to that list products I've learned about from press promotions, usually from companies whose products have impressed me in the past. I boil this down to a short list, then run it by Stephen Mejias to make sure I'm not tripping over The Kid's own quest for budget sonic nirvana.

Robert Harley  |  May 14, 2016  |  First Published: Sep 01, 1990  |  4 comments
The philosophy promoted by many mainstream stereo magazines (and thus often the belief of the general public) is that one should spend a minimum amount of one's hi-fi budget on electronics and front ends, and a maximum amount on loudspeakers. Since all electronics sound alike and it's the loudspeaker that really produces the sound, the highest overall performance is obtained by putting expensive loudspeakers at the end of a chain of inexpensive electronics. Cables? Don't waste your money.
Stephen Mejias  |  Jan 03, 2013  |  9 comments
I was ready to have some fun with Dayton Audio's B652 loudspeakers—the ones with the outrageously high price of $39.80/pair.

Available from Parts Express (catalog #300-652), the Dayton B652 is a simple two-way, sealed-cabinet design with a 6.5" polypropylene mid/woofer and a ferrofluid-cooled, 5/8" polycarbonate tweeter. The cabinet is clad in black vinyl and has a removable grille of black cloth. The B652s sounded pretty much the same regardless of whether the grilles were in place, but I preferred their looks with the grilles off, so that's how I listened. Better looks often equal better sound—at least in my home.

Stephen Mejias  |  Sep 19, 2012  |  First Published: Aug 01, 2012  |  1 comments
The Definitive Technology StudioMonitor 45 measures a very room- and back-friendly 11 11/16" (297mm) high by 6¾" (172mm) wide by 11 11/16" (297mm) deep, but these dimensions are attractive for reasons other than simple, efficient transport and placement. I noticed right away that something about the speaker just looked right. Paul DiComo, DefTech's senior vice president of marketing and product development, explained that while the number and size of drivers used in any DefTech design will largely dictate that speaker's height and width, the company nevertheless aims for Fibonacci, or golden-ratio, dimensions. According to DiComo, these efforts help minimize standing-wave and "organ-pipe" resonances inside the speaker's cabinet.

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