Floor Loudspeaker Reviews

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J. Gordon Holt  |  Jun 12, 2008  |  First Published: Mar 12, 1984  |  1 comments
Thiel is one of those loudspeaker manufacturers, like Spica and Dahiquist, among others, that pay close attention to detail.
J. Gordon Holt  |  Sep 10, 2005  |  First Published: Mar 10, 1984  |  0 comments
Most Stereophile readers are aware by now of why the full-range electrostatic should, in theory, be the ideal transducer. (If you aren't aware, see the accompanying sidebar.) Acoustat was the first manufacturer to design a full-range electrostatic that was so indestructible it came with a lifetime warranty. (MartinLogan is now offering a three-year warranty on their speakers, and is considering going to a lifetime warranty). But Acoustat was never able to solve another problem that has plagued all flat-panel speakers: treble beaming.
J. Gordon Holt  |  Mar 30, 2012  |  First Published: Mar 01, 1984  |  0 comments
While I refuse to admit publicly how long I have been sitting on these loudspeakers before doing the report on them, I must say that it is probably a good thing I wasn't in all that of a hurry to get around to it. They did not sound very good in the room where I had initially installed them, and had I written the report on that basis, it would have been lukewarm, to say the least.

I have now had the opportunity to live with the Acoustat 2+2s in my usual listening room, which is more like a typical listening environment (19' by 24' by 9' and moderately padded), and I am more than a little impressed. This is an extremely good speaker, particularly at its price of $2100/pair.

The 2+2 resembles the Model Four in that it contains four of Acoustat's full-range electrostatic panels per side, but differs from it in that two of the panels (per side) are stacked on top of the first pair to produce a radiating surface twice as high and half as wide as that of the Four. The result, particularly in the case of the black-grilled version we tested, bears a startling resemblance to the mysterious obelisk in 2001, A Space Odyssey. The 2+2 system towers almost to the ceiling (and at just under 8' may be too high for some ceilings), and although it is more graceful in appearance than a pair of Fours, it tends to dominate a listening room at least as much.

J. Gordon Holt  |  Sep 17, 2014  |  First Published: Jan 01, 1984  |  12 comments
We wrote a long, rather unkind report on the HQD, pointing out that, if that was typical of the way it was supposed to sound (And why not, after Mr. Levinson had installed and tweaked it?), then it had to be the most expensive bomb ever to be made available for civilian use. Mr. Levinson responded with a phone call during which he:

1) Told us we had not heard it at its best, but refused to address himself to our specific criticisms;

2) Claimed that many practicing professional musicians felt the HQD to be "extremely realistic";

3) Informed us that, since he sold very few HQD systems and would soon be discontinuing them anyway because Quad had ceased making those speakers, the "sensible" thing to do would be to kill the report; and

4) Mentioned, just in passing of course, that he was currently writing a feature article for Time on the subject of "underground" audio magazines.

J. Gordon Holt  |  Nov 06, 2005  |  First Published: Oct 06, 1983  |  0 comments
First I should clear up what may be an ambiguity in the driver-lineup spec for these speakers. In each system, three 8" cone units serve as woofers. Two of these crossover from the midrange drivers at 100Hz. Crossover to the third 8-incher, the subwoofer, is at 40Hz. Thus, two woofers are active from 100Hz down to 40Hz, and all three are active below 40. In other words, the third woofer does not come into play until the frequency drops to the point where the radiating area of two 8-inchers starts to become inadequate for moving air, at which point the additional area of the third speaker is thrown in. Below 40Hz, all three are working together.
J. Gordon Holt, Various  |  Sep 23, 1995  |  First Published: Sep 23, 1983  |  0 comments
Warning to Purists: Despite certain qualities about the ESL-63 speakers which you will probably like, Quad equipment is not designed primarily for audiophiles, but for serious-music (call that "classical") listeners who play records more for musical enjoyment than for the sound. Quad's loudspeakers do not reproduce very deep bass and will not play at aurally traumatizing volume levels, and Quad's preamplifier is compromised through the addition of tone controls and filters, all for the purpose of making old, mediocre, and/or worn recordings sound as listenable as possible.
J. Gordon Holt  |  Mar 04, 2008  |  First Published: Sep 04, 1983  |  0 comments
These speakers inadvertently managed to put me in a good mood even before I listened to them, because of a dumb little gaffe committed by Thiel's packing department. Each speaker came with an Owner's Information sheet, which is nice. Each sheet included Unpacking (and Repacking) Instructions, which is nicer. But each sheet came packed inside the carton, underneath the speaker, where it was not accessible until after the speaker was dumped out of the box, which is pretty silly!
Larry Archibald  |  Sep 10, 2014  |  First Published: Aug 01, 1983  |  3 comments
No, we made no typos in the specifications sidebar. The weight of the Wilson Audio Modular Monitor (WAMM) speaker system is enough to make you consult a structural engineer before dropping it on your living room floor—fragile, 300-year old New England frame houses are probably out. And the recent price increase from $32,000 to $35,000 is enough by itself to buy a pair of Quad ESL-63s—which is not a bad speaker system. The WAMM represents an all-out assault on both the state of the art in speaker systems and on the limits to which wealthy audiophiles will go in order to have the best.
J. Gordon Holt  |  Jun 09, 2014  |  First Published: Apr 01, 1980  |  21 comments
Dr. Alan Hill, president of Plasmatronics Inc., was previously employed by the US Government in laser research. His assignment: To increase the efficiency of lasers so that they could do something more impressive than produce holograms, mend leaky retinal blood vessels, and punch pinholes in steel blocks. Dr. Hill earned his keep, thus advancing laser technology a giant step closer to Star Wars, and then retired from government service to design. . . a loudspeaker?!!!?
J. Gordon Holt  |  Nov 05, 2006  |  First Published: May 05, 1979  |  0 comments
There are certain manufacturers for whom every new product implies the promise of countless modifications, Usually a month or so apart, culminating inevitably in a version so far removed from the original that it must be assigned a new model designation—usually a letter suffix ranging from A, to D. By the time E is envisioned, another CE Show is approaching, so the decision is made to give the unit an exterior facelift and a brand-new model number. Presto! A new product for CES.
J. Gordon Holt  |  Dec 08, 2015  |  First Published: May 01, 1978  |  4 comments
This is an electrostatic column speaker, 6' tall and costing $6000/pair. An integral, fan-cooled amplifier is located in the base. The 2SW is said to cover almost the entire frequency range and is based on a patent, number 3,668,335, issued to manufacturer/designer Harold Beveridge on June 6, 1972. Internal acoustic lenses in front of the electrostatic panels widen the speaker's dispersion: In the Beveridge literature, it says "This 6-foot high device consolidated the entire frequency range into a vertical line source, and uniformly disperses it over a horizontal pattern, 180 degrees wide. The beaming characteristics of the high frequencies are ingeniously translated into the same dispersive pattern as the low frequencies, creating a perfectly balanced cylindrical sound wave front."
J. Gordon Holt, Larry Greenhill, Thomas J. Norton  |  Apr 30, 2006  |  First Published: Mar 01, 1978  |  0 comments
One of the less-glamorous speaker systems around today, these have more to offer the critical listener in terms of satisfaction than do most of the more-exotic designs.
Allen Edelstein  |  Aug 21, 2015  |  First Published: Dec 01, 1977  |  1 comments
The B&W DM-6 is the second "phase-coherent" speaker system we have tested. (The first was the Dahlquist DQ-10 in January 1977.) From what we see in the latest ads from the US, England, and Japan, there will be more forthcoming. One speaker manufacturer who has been around for a long time and is currently pushing his own "phased" systems observed that many of his competitors' designs are being introduced merely because "phase response" sells these days. Yet the truth of the matter is that the experts still do not agree as to whether linear phase has any effect on reproduced sound.

The DM-6 is an expensively made product using three drivers specially designed for it. The woofer cone is of Bextrene plastic, common in England but rare in the US. The midrange unit is a 6" cone of DuPont aromatic polyamide, "Kevlar," which is claimed to have extremely high internal damping. (This is the first acoustical use of this material that we know of.) The tweeter is a ¾" dome. The cabinet is of complex construction, heavily braced and lined with bituminous felt, which can significantly reduce cabinet resonances.

J. Gordon Holt  |  Mar 03, 2008  |  First Published: Jan 03, 1977  |  0 comments
The Dalhquist DQ-10 loudspeaker has not as yet been formally submitted for review. (The designer tells us he is still working on the low end.) We auditioned a pair at the one local dealer we could find who had the DQ-10s on demo, and were immensely impressed. Obviously, Jon Dahlquist is on to something that other speaker designers have been overlooking, for, despite the multiplicity of driver speakers in the system, the DQ-10 sounds like one big speaker. There is no awareness of crossovers or separate drivers (except at the low end, about which more subsequently), and the overall sound has a degree of focus and coherence that is surpassed only by the Quad full-range electrostatic, which don't go as low at the bottom or as far out at the top.
J. Gordon Holt  |  Jun 11, 2006  |  First Published: Sep 11, 1976  |  2 comments
In the last issue we published a rather enthusiastic "Quickie" report on a small, $190/pair speaker system from a new company—the FMI Model 80. It was virtually devoid of low end, even as a stereo pair (pairing effectively doubles bass output), and slightly rough as well as a shade soft at the high end, but it had a quality of "aliveness" to it that almost defied belief. Was it a breakthrough in design? A new transducing principle? No, it was neither. In fact, the Model 80 looks like any one of those hundreds of little bookshelf systems that clutter, the pages of Stereo Review's "Hi-Fi Directory" in tedious profusion.

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