Stand Loudspeaker Reviews

Sort By: Post Date | Title | Publish Date
John Atkinson  |  Jun 09, 2017  |  First Published: Apr 01, 1989  |  0 comments
The Monitor Audio R300/MD ($669/pair) debuted at the 1988 SCES in Chicago. English company Monitor Audio is one of the pioneers in spreading the use of metal-dome tweeters in relatively low-cost loudspeaker systems. The tweeters they have designed in conjunction with SEAS and British manufacturer Elac may have now found their ways into a number of designs from competing manufacturers, but there is no doubt that Monitor leads the way. The new R300/MD features a new ¾" version of the SEAS 1" aluminum-dome unit Monitor introduced with their R652/MD (reviewed in Vol.10 No.5), in conjunction with an 8" doped paper-cone woofer.
John Atkinson  |  Mar 07, 2017  |  First Published: Apr 01, 1989  |  5 comments
I like Brooklyn. I even got married under the shadow of the Brooklyn Bridge! (Almost the exact spot where Cher's grandfather let his dogs howl at the moon in Moonstruck. And if you're ever in the Park Slope area, check out McFeeley's for brunch.) I could be forgiven, therefore, for having a soft spot for any Brooklyn manufacturer, including Ohm Acoustics. Except that the only Ohm model I have heard was the omnidirectional Ohm Walsh 5 (favorably reviewed by Dick Olsher in Stereophile in 1987, Vol.10 No.4, and 1988, Vol.11 No.8), and the omni principle is something that I have never found to work, or at least to give me what I feel necessary in reproduced sound. The Ohm Model 16, however, is one of three more conventional Coherent Audio Monitor (CAM) speakers intended to offer good sound at an affordable price: $300/pair
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.
John Atkinson  |  Sep 03, 1995  |  First Published: Sep 03, 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.
John Atkinson, Robert Harley  |  Nov 07, 2010  |  First Published: Aug 07, 1988  |  0 comments
The loudspeaker coming under the microscope this month emanates from north of the border. The Canadian loudspeaker industry has benefited enormously in the last few years from having the measurement, testing, and listening facilities of Canada's National Research Council in Ottawa made available to it on a commercial basis. Unlike the US or even the UK, where a new speaker designer has pretty much to rely on his own resources, having to invent his own test procedure as well as design the product, the Canadian equivalent can have his loudspeaker tested under standard conditions, quickly indicating whether he is on the right track or not. (He still, of course, has to rely on his own talent to get on the right track in the first place or to get back on it if it appears that something is amiss.)
Thomas J. Norton, Various  |  Jun 28, 1995  |  First Published: Jun 28, 1988  |  0 comments
Americans might be forgiven if they haven't heard of Epos. A small, British specialist loudspeaker manufacturer, it was founded in 1983 by its designer, Robin Marshall—an ex-BBC engineer and a onetime consultant to Monitor Audio, according to Roy Hall of Epos's US importer, Music Hall. Their first model, the ES 20, didn't make it to the US, and was apparently a bit too pricey in the UK to make much of a splash there (about £700, $1300 at the current rate of exchange—a mint in a country with the patent on sub-$500/pair (UK prices!) two-ways). In 1986 or thereabouts, the new, smaller ES 14 was introduced, using updated versions of the same drivers in a smaller, ported cabinet. Music Hall only recently began importing the Epos into the US.
John Atkinson  |  Oct 12, 2017  |  First Published: Aug 01, 1987  |  1 comments
Introduced in 1985 as the smallest model in JBL's "Ti" range, the 18Ti ($590/pair) shares with its larger siblings, like the JBL 250ti (recently reviewed by J. Gordon Holt), a high-tech tweeter that uses a one-piece ribbed titanium-foil dome/surround just 25µm thick. This is both rigid and of very low mass, pushing its first-breakup mode up to the region of 30kHz. The tweeter is mounted above the polypropylene-cone woofer, offset a little to one side to make room for the 45mm diameter port (though the speakers are not supplied as a handed pair). The 10-liter internal volume box is well-constructed from 20mm chipboard, covered in real-wood veneer.
J. Gordon Holt  |  May 14, 2013  |  First Published: Nov 01, 1986  |  3 comments
One of the oldest names in US audio, Altec Lansing was building speakers for theaters and recording studios long before the introduction of the microgroove LP in 1948 (which date many see as marking the inception of high fidelity). Started in 1931 under the name All-Technical Services ~Corp., the firm later purchased another audio firm called Lansing Engineering, and merged the names. Altec's Model 604, one of the first true coaxial speakers, was adopted for home use by many early hi-fi buffs and, several permutations later, is still widely used for monitoring in disc-cutting rooms.
Dick Olsher, J. Gordon Holt  |  Aug 13, 2014  |  First Published: Aug 01, 1985  |  2 comments
885gale.promo250.jpgThe Gale loudspeaker dates back to the early 1970s. As I understand it, the basic design resulted from a collaboration of Ira Gale and Sao Win, who were college classmates at the time. Their speaker proved very popular in England and was subsequently imported to the USA during the mid-1970s by Audio Technica. Recently, Techport (the folks who import the Perreaux line) has taken over US distribution.

While the Gales have undergone same changes through the years, their distinctive appearance and, according to some, their equally distinctive sonic "flavor," have continued to earn the respect of critical listeners all over the world. Nonetheless, these speakers have also sustained their fair share of criticism; not everybody likes them. This sort of continuing disagreement usually means that what is at issue is a "different" kind of sound—a product that sounds quite unlike others, yet somehow offers a high enough degree of musical satisfaction to appeal to a lot of serious audiophiles. Of such products are cults made.

J. Gordon Holt, Thomas J. Norton  |  Sep 18, 2012  |  First Published: Jul 01, 1985  |  0 comments
While it is not quite accurate to say that $500/pair loudspeakers are a dime a dozen, they are by no means unusual. And since this is a price area where major design compromises are mandatory (footnote 1), the sound of such loudspeakers tends to vary all over the map, from pretty good to godawful—depending on what performance areas the designer chose to compromise and by how much.

I approached this latest half-grander with little enthusiasm, despite Siefert's persuasive literature, I have, after all, been reading such self-congratulatory hype abiout new products for longer than most Stereophile readers have been counting birthdays. This, I must admit, was ho-humsville.

Sam Tellig, Alvin Gold  |  May 14, 2013  |  First Published: Jan 01, 1985  |  3 comments
The Boston Acoustics A40 loudspeaker ($150/pair) has become "legendary" (ie, it's stayed around for a while), probably because a pair of them images as well as Rogers LS3/5As. Unfortunately, it is no match for the LS3/5A in terms of smooth midrange response. Of course, at $150/pair, it shouldn't be.

I was originally going to do a review comparing the Spectrum 108A ($200/pair) and the Boston Acoustics A40. On first listen, I was mightily impressed by the A40. But after Stereophile's Larry Archibald schlepped me out a pair of the 108As, I didn't much want to listen to the A40s.

Dick Olsher  |  May 09, 2014  |  First Published: Aug 01, 1984  |  0 comments
It has been my experience that $400 or thereabouts is about the least one can pay for a pair of speakers with the expectation of audiophile-calibre sound.
Dick Olsher  |  Jun 11, 2006  |  First Published: Apr 11, 1984  |  1 comments
Small enough to fit in a shoebox, these little darlings from England almost manage to redefine the state of the art in very compact monitor design (footnote 1). Here's a speaker that isn't as neutral as the BBC LS3/5a compact monitor, but that does manage to equal or exceed that venerable design in most respects.
Larry Greenhill, Dick Olsher  |  Jun 17, 2008  |  First Published: Mar 18, 1984  |  0 comments
The Fourier 6 has the special ability to generate large coherent sonic fields, from a box small enough to slip into an ordinary shopping bag. At $499/pair, the 6 competes directly with another remarkable-imaging, compact American speaker, the Spica TC-50 ($420/pair).
Anthony H. Cordesman, Various  |  Mar 11, 1998  |  First Published: Feb 11, 1984  |  0 comments
High-quality, low-cost loudspeaker systems are not an everyday blessing. The Rogers LS3/5a has survived for more than a decade precisely because so few US manufacturers sought musical accuracy as distinguished from high output and powerful bass. The economics of loudspeaker manufacture also don't lend themselves to economy. The cost of woodwork is driving the price of speakers up almost as fast as the cost of sheet-metal work is escalating the price of electronics.

Pages

X