Floor Loudspeaker Reviews

German manufacturer Canton Elektronik has a strong presence in Europe, but distribution of its loudspeakers in the US has been sporadic. Consequently, the most recent review in Stereophile of a Canton speaker, the Reference 3.2 DC, was in 2010. When we heard, in December 2020, that Bluebird Music would be bringing Canton back to North America, we were eager to review a Canton loudspeaker. Balancing performance and price, we selected the Reference 7K, which costs $6995/pair.

Many loudspeaker designers are minimalists at heart. They embrace a design aesthetic that says that simpler is better. Based on the evidence of the company's R 8 Arreté, Ole Klifoth, of Danish loudspeaker maker Audiovector, is not one of those designers.

On its website, in the Specifications section for its "R"-model loudspeakers (footnote 1), Audiovector offers a long checklist of technologies, many of them optional, some of them, called "Concepts," assigned snappy names and acronyms: IUC for Individual Upgrade Concept; LCC for Low Compression Concept; SEC for Soundstage Enhancement Concept; NES for No Energy Storage; FGC for Freedom Grounding Concept; and NCS for Natural Crystal Structure.

Over a lifetime of audio shows, I've consistently enjoyed Dynaudio speaker demonstrations. Each time, I've told Dynaudio North America's Michael Manousselis that I'd love to review the speaker on display that year. But I never followed through. So, when Jim Austin suggested I review a Dynaudio speaker "because they haven't gotten much press," it resonated with my deep-seated guilt. A little research revealed that the last Dynaudio speaker Stereophile reviewed was the 40 Special in November 2018. The last floorstander was the Dynaudio Sapphire in 2009!

2020 may not have been a year to celebrate, but there were some housebound highlights. For example, after I had finished with the measurements to accompany Michael Fremer's review of the Marten Oscar Duo in the November 2020 issue, I set up these Swedish two-way standmounts in my own listening room. Yes, the measured performance was excellent, but I was not expecting how much I would enjoy the sound of the Oscar Duos.

The first image that pops into my mind when I think of Focal is of the iconic Grande Utopias and how at one Montreal audio show I couldn't believe that the gentlest, sweetest music I'd heard all day was coming out of those massive speakers. I saw it as a paradox of sorts.

Founded in the City of Lights, Focal has been around since 1979, the year Francis Ford Coppola's Apocalypse Now received the Palme d'Or at Cannes and when the average annual income in America was $17,500. Focal started as a twinkle in the eye of engineer and technology journalist Jacques Mahul, who believed he'd built a speaker that would appeal to hi-fi enthusiasts: the DB13. Fast-forward half a century, and Focal, designated "entreprise du patrimoine vivant" (living heritage company) by the French government, employs some 230 people at its large, stylish, multilevel digs.

Time for some towers. In recent months, a succession of standmount speakers has passed through my listening room: GoldenEar BRXes, Bowers & Wilkins 705 Signatures, Marten Oscar Duos, original KEF LS50s, and the new LS50 Metas. All these loudspeakers sounded excellent, though different from one another. I felt that a floorstanding loudspeaker would make for an interesting change.

Many companies in high-end audio and elsewhere use a trickle-down approach to advance their products. The process begins with the development of a suite of new technologies, capabilities, components, or whatever the relevant entities might be. Typically, it's a flagship product that functions as the impetus, target, and first deployment of the new technologies. Subsequently, the new technologies trickle down to other models, each one incorporating a subset appropriate to its price point.