REFERENCE COMPONENTS-SPEAKERS

Speakers are, of course, the most difficult of all components to evaluate, even in the best of circumstances. This is because they are the least perfected of all the components and that doesn’t even take into account room requirements and sonic priorities.

In my case, I also have the added burden that two of my main contributors are (or were) speaker manufacturers, some of whose products you will see as References below. Other associates are distributors of speaker lines. Accordingly, I made the only decision I could: All the choices in this category are mine alone.

What I say to those who question my objectivity is; please closely read the rest of the References first to see my consistency and sensitivities, before making judgements on the few choices you may be understandingly skeptical about. Any final and true judgement concerning these (or any) specific components requires a personal listening session with them. If this list inspires such an event, it has been a success, no matter what the ultimate result.

This is the component category in which I believe that I am most "behind the curve". While I am very confident that all the speakers that are included deserve to be there, I am just as confident that there are at least an equal number of others that are missing. I have heard some of the "missing", but I haven't yet made the in-depth evaluations and comparisons that are a requirement for their inclusion.

Important Distinction: In my "Priorities and Distinctions" section within the main Reference file, I emphasized the primary importance of musical "low-level information", which must be reproduced if a component is to be included in this list. I also used the word "accurate" before that expression. I feel this component category requires a further distinction and an exception, because of its unique nature.

All components, except speakers and cartridges, are generally accurate; at least when focusing on timbres and phasing etc. They have other problems; like losing information, dynamic compression etc. That's the reason for my choice of priorities. However, speakers have much more serious problems than the other components, which means you can't even assume that their basic timbre and phasing are natural and accurate.

Accordingly, for many audiophiles, getting the timbres correct (accuracy) will be their first priority within this category, while "completeness" will be secondary, though still very important. I generally agree with them.

There are a growing number of loudspeakers, usually large and highly expensive, that require the use of large, costly, complex and inferior amplifiers to help overcome their problems of design. These models are either downgraded or not References at all. Almost every speaker I have ever heard that has low sensitivity, and a difficult impedance, has the same problems; they sound "dry, mechanical and compressed".

Playing these speakers unnaturally loud, with the use of (usually very expensive ) high-power amplifiers, which usually have the same sonic problems, is a "solution" that actually compounds the problems. The only "beneficiaries" of this "strategy" are those who build, market and sell these expensive and usually (grossly) overpriced components.

If all that wasn't enough, they also have a serious problem with retaining the desirable sonic quality of "cohesiveness", which one reader described as the characteristic of the entire frequency range "being cut from the same cloth". This is very difficult to achieve with multiple drivers, crossover points etc.

In effect, these products are really designed for people looking for "prestige", rather than the accurate reproduction of music.

There is no such thing as "the best speaker in the world", at least that I can imagine. There are just three models in this class at this time, and only two of them are "full-range". There should be 4 or 5 speakers in here. Another speaker, the Ars Acoustica System Max, used to be in this class. It's still the finest separate satellite and subwoofer combination I've heard.

The Pure Reference (PR) is the finest speaker I have ever heard overall. It has finally replaced my 10+ year "reference", the Ars Acoustica System Max. These two speakers are very similar in basic design philosophy, though their execution is quite different, mainly due to a decade's worth of improvements in (dynamic) driver technology. The PR is also unusually "practical": It is "flexible" in the choice of both amplifiers and listening rooms.

Since I obviously don't change my references very often, I feel it is necessary to discuss my basic philosophy on speakers. This will include the long-term history, and evolution, of my personal speaker references, plus the specific and detailed reasons why the Coincident Pure Reference has achieved its current status.

Note- The lengthy write-up on this speaker, which is now finished, can be found in the dedicated Pure Reference File.

This is simply the finest horn loudspeaker we have ever heard, and we've heard plenty of them over the years. Amazingly, it isn't even their top-of-the-line model. Their best model, according to the manufacturer and distributor, is the Trio. Sadly, the Trio wasn't at the 2004 CES, so we'll have something to look forward to another year.

The Duo is the first horn loudspeaker I've heard that doesn't have obvious horn colorations. It also disappears as well as any horn speaker in my experience. The dynamic gradations are state of the art, just like other well executed horns, but that's not a surprise. It's sense of immediacy and transparency are amazing. It's simply "alive" sounding. We tried to find its "fatal flaw", but we failed. It passed a number of tough tests: massed violins, various voices, piano, woodwinds. Most impressively, it did this with digital sources, transistor amplification and ($1/ft) generic interconnect and speaker cable. If that wasn't enough, the listening room was mediocre. Despite all this, it provided the best sound at the show. I've only heard one other speaker in my life sound so good with so many obstacles to overcome. My associate agreed with my assessment, and, if anything, he was even more enthusiastic. The retail price is in the $ 17,000 range, which is expensive, but it obliterated most of the speakers that cost more.

There are two serious caveats:
1. The sound that impressed us so much came from the manufacturer's room, and not the distributor, which had various problems. It's obvious that setup is critical and there was only one listening seat that was optimum in both rooms.
2. Neither of us was even close to being happy with the bass integration, which is the major weak point in the design. It wasn't really "bad", but it was still noticeably UN-seamless. This could be a serious (disqualifying) problem for some listeners. The Trio's lower horn goes 70 Hz (170 Hz Vs. 100 Hz) deeper into the bass, which should seriously reduce this problem. (On the other hand, a 3-way horn is inherently less cohesive than a 2-way horn.) The Duo (and the Trio) has its own built-in bass amp and crossover, so that avenue can't be changed for the better. They also make a powered, horn subwoofer called the "Basshorn". They are supposed to be incredible, but they cost around $ 27,000 a pair. The extra (stock) bass modules, used in the distributor's room, did NOT help to alleviate this problem area in our opinion.

I received this letter, in September 2005, from a reader with important information. There is only slight editing:

"...I have read your Reference components list... I was willing to give it a try with the Avantgarde Duo, and went to a showroom of Avantgarde close to my home in Germany. Surprisingly, they managed to give a demonstration of the "classical" Duo with 8 Ohm drivers, and after that I was able to listen to their new Duo Omega. The newer drivers are something to listen to; they are a lot faster, more detailed ... more of everything... After the Duo Omega we heard a Trio, and we liked the Duo´s more coherent soundstage and presentation better."

Personal Note-This is great news! I then asked the reader for further information and clarification. This was his reply, and once again with only slight editing:

The dealer was Avantgarde themselves. They have a showroom near Duisburg/Germany. Mr. Krauss was demonstrating the Duo Omega and it was breathtaking compared to the regular Duo. The drivers are much faster. They show more detail, and not in the sense of beeing overly analytical, but in the sense of musicality... The Duos will arrive in December and I will report and send pictures."

Personal Note- I'm disappointed, but definitely not surprised, that it "was Avantgarde themselves" that had the successful demonstration. My associates and I have heard the (regular) Duo on several occasions now, but only the manufacturer was able to impress us to the point of being "blown away" (a popular and overused audio expression from the 1970/80's). Readers should be acutely aware that while these speakers have "great potential", it is also quite difficult to realize in "real life", at least so far.

Finally, I didn't "overlook" the reader's remark about liking the new Duo more than the more expensive Trio. There's going to be trade-offs between these two speakers, despite what the manufacturer claims. In fact, I wonder who "we" consisted of? (This helpful reader soon realized even further "clarification" was required, so this 3rd letter just arrived:)

"The wondering "we" needs obviously clarification. I went to the Avantgarde showroom with a friend of mine with the so called "super-ears", and besides that he is using a self-build speaker that is, in my opinion, the best speaker of my life. It uses compression drivers in conjunction with sherical horns. You see we are horny guys. Unfortunately, it does not fit into my music room. So the Duos are the closest thing possible."

It's no secret that this speaker (which is otherwise outstanding) has problems with the bass frequencies. The integration, in particular, is troublesome to me. They have their own "Basshorns", but they cost a fortune, and are huge. Fortunately, a European reader, who owns a pair of Avantgarde's upscale Trios, may have come to the rescue. He was still bothered by the bass, and had a custom-made pair of subwoofers made. Here's his communication, with some slight editing (English is not his first language):

"Just wanted to share with you my new Trio bass units. As I found the overly eq´d, ctrl 225 pro Avantgarde subs lacking in integration and speed, I managed to get Bert Doppenberg (ORIS horns), in Nunspeet NL, to design 2 custom bass towers for my Avantgarde Trios. Their enclosures are made in a matrix manner, with 82 separate internal "chambers". The drivers are Bert's own 15 inchers (2 in each box), tuned to max efficiency (103dB), uneq´d minus 3 dB @ 38hZ.

Since it was easier for Bert to build the enclosures himself, and actually do the tuning in his "studio", rather than making a drawing to have them made in Norway, I went down to NL in January and picked them up. After having played around with the passive line filter, to feed the LM3875 based BD30 amp, for a little over 10 months, I now feel I´m close to my target;

They sound like a true extension of the midbass horns of the Trio. The bass lines are actually much better differentiated. The midbass, with two 15 inchers a channel, is fantastic. They have, in my room, a useful output of uneq´d response down to 25hZ, which is more than adequate."

Personal Note- This is really good news for European Duo/Trio owners, who can have the speaker made there and directly shipped to them. Owners in the rest of the world, including North America, will have to purchase the plans, and woofers, and have them made and assembled locally. Still, alternatives are always welcome. Hopefully, someone in North America will also make a suitable Duo/Trio subwoofer.

A reader, with the latest (new Omega drivers) version of this speaker, just sent me a letter with his recent experiments and observations. They may be helpful to current and prospective Duo owners. He is European, so I have done a little editing:

"The Duos are burned in by now, and I used bi-wiring for the midrange and high driver. The bass is connected directly to the preamp, by using the hot lead of the XLR connector.

In this configuatiuon, the sound has changed considerably. The bass has more definition, even though it is still the weak heel of the speaker, but by biwiring, and omitting a few stations in the signal path, the Duos sound somehow cleaner and also faster. Maybe this is all worthwhile for those who are not happy with their Duos."

This is NOT a full-range speaker, but the (super) tweeter from another German horn speaker manufacturer, Acapella. It is the Ion TW 1S. It is, without a doubt, the finest tweeter I've ever heard, and I also doubt it can be noticeably improved. It sounds like nothing is there. No matter what your reference is; the finest ribbons, horns, dynamics etc., this will outperform it. Best of all, this ion (plasma) tweeter does NOT produce ozone, which was the fatal flaw of all the previous ion/plasma designs I've heard or read about. (Like the Magnat, also from Germany, which equalled the Acapella in performance.)

The Acapella Ion TW 1S can be purchased as a stand alone tweeter for around $ 8,300 per pair. It has its own volume control and an adjustable crossover with the use of capacitors. It can go optimally down to 5 KHz, and even lower, though not at its best. It is so good, it should be used with every speaker, if practicalities and finances permit it. For me, it is now at the top of my want list.

I always try to avoid superlatives. They're now used so often in audio "reviewing" that it has become commonplace, if not ridiculous, and 90+% of them are undeserved (meaning that they're total "BS"). The Acapella TW IS is different, because it is one component that definitely deserves a true superlative, which I will now provide:
This may be the most perfect component ever manufactured in audio history.

Eventually, I want the finest of each type of speaker to be included here. I am looking for the finest satellite with subwoofer; Horn; Dipole (Ribbon, Electrostatic or Planar); Omnidirectional, Full-Range and a Line-Source.

They all have design legitimacy, because there is no "5-Ace hand" in speakers. The preference of one type of design over another will depend on each listener's room requirements, personal tastes and priorities.

A few models that have most interested me are the large Sound Labs Electrostatics, and the finest horn designs from Avantgarde and Acapella Audio (with their safe ion tweeters). The difficulty is auditioning these speakers in depth. This is even more true now that I don't have a store. Having a limited readership, refusing ads and being hyper-critical doesn't help either.

I've heard the original version of these speakers for three years now, in a number of extensive and thorough auditions, using equipment, software and listening rooms I am intimately familiar with, and with varying degree of break-in; from very little up to being fully broken-in. I've been very impressed with them from the beginning, and in every subsequent instance, but I've held back from making a Reference designation for two reasons:

1. I wasn't certain of the full extent of their most obvious, to me, sonic problem, and
2. I wasn't as impressed with them, frankly, as much as I thought I would be after I went back to my own system. (This is equally true of almost all the other speakers and components I've heard since then, but with the Total Victory I didn't know why.)
As of June, 2004, this is no longer the case, since both of the above reasons are now history.

There is a new (II) version of these speakers, which not only takes care of my primary sonic reservation, but also improves on their sonic strengths and, very importantly, even allows the use of a greater choice of low-powered amplifiers. Here are the details:

The Total Victory II looks exactly the same as the original version, meaning the cabinet and drivers are exactly the same. The changes are in the crossover, the tuning of the ports, the internal cabling (with their latest Extreme speaker cable) and better floor coupling (with larger, heavy-duty spikes and "Extender Feet"). Unfortunately, I didn't hear the speakers with either the new spikes or the extender feet. Improved coupling should provide superior focus, bass definition and more precise transients. So I still haven't heard these speakers at their absolute best. (They weren't totally broken-in either, but they were reasonably close.)

I actually didn't expect much of a difference, and I was not given a "heads-up" of what to listen for by the person performing the audition, so I went into the listening session both skeptical and "blind". That perspective didn't last too long, because the improvements, while not "day and night" or "fundamental", were definitely easily noticeable and "significant", meaning the type of improvements that raise a component to a new level of performance.

The first improvement I noticed was in the area that bothered me the most in the past; overall cohesiveness and blend, or as many have described it; "sonics like a seamless piece of cloth". The improvement was obvious; the speaker was now as "seamless" as any four-way I've heard. This quality enhanced other strengths of the speaker; it was more natural; especially noticeable with male voices, which had less overhang and slurring, or body without fat.

Then I started hearing other improvements; there was greater phase coherence, allowing more musical textures to be heard and greater separation and intellegibility of the musicians. The sound-floor was also lower; conveying more subtle details, decays, harmonics, micro-dynamics etc. The sound was cleaner, more precise and more immediate too. While one other change was made in the system (a cartridge), I still know some of these improvements emanated from the speaker, because of another comparison we made, but I just don't know how much.

Also important was the enhanced ability of low-powered tube amps to control the lower bass of the II. I heard this distinctly with the Coincident MP 300B, which has only 17 watts or so. The amp had good bass detail and even impact with this new model. This means amps with minimum midrange and high frequency compromises can now be used to drive this speaker.

So overall, from my perspective, the Total Victory II goes from being "excellent", though maybe a "near miss", to something that is now outstanding and a Reference. I feel this way because it passed my ultimate personal test; by comparison, my own system, custom made for my preferences, was not much more satisfying. In fact, taking into consideration the differences in listening rooms, the two systems were competitive. This might not appear like much of a distinction, but in the last 8 years, only two speakers I've heard have been able to make that claim; the Total Victory II and the Avantgarde Duo. So what does this all mean?

At this point in time, the two finest speakers currently available, at least that I am aware of, without any considerations of price, are the Total Victory II and the Avantgarde Duo (and most likely the Avantgarde Trio). To make that statement clear; none of the mega-buck speakers I heard at the CES 2004 were as satifying overall*.

*Though it must be kept in mind that I only heard those speakers in "show conditions" while I heard the Total Victory II in an all-out, optimized home set-up. I'm pretty certain that a few of those speakers, all much more expensive than the Total Victory, can equal, or even surpass, its performance in an equivalent optimized set-up.

Rules- Price is irrelevant for now and the reader must remember that I heard the Avantegarde Duo at the CES 2004, in a mediocre room and not close to its best, while I heard the Total Victory II had its near best. The results...

I believe that the Duo has greater ultimate potential than the Victory II. The Duo has a greater sense of immediacy, "aliveness" and is slightly cleaner and more seamless in the mids and highs, while also being a little more dynamic, at soft and loud volumes. They're both very neutral, with good separation and a satisfying soundstage. But while the Victory II falls noticeably behind in a number of areas, it also has two noticeable advantages, both more easily heard, and both involving the bass frequencies;
1. The Total Victory II's bass, below 160 Hz, is far superior to the bass module that comes with the Duo, in virtually every way.
2. Maybe even more important, the bass of the Total Victory II is very cohesive with the rest of its frequency range, while the Duo's bass sounds different enough that it will probably constitute a serious problem to a listen critical in that area. (I'm not sure at this point whether I could live with the Duo's stock bass myself.) By contrast, the Total Victory II does not have any "serious problems".

So why do I put the Avantgarde Duo in "Class A", and not the Total Victory II? Because the Duo (and I also assume the Trio), with the addition of an "all-out" custom-made woofer system or, from what I've been told by many people, Avantgarde's own BASSHORNS, can reach the highest level of speaker performance in the world today. Of course, you're talking serious money for the custom made woofers or the BASSHORNS, but money is irrelevant at this point of the discussion. When money does matter, a different perspective is in order...

The Total Victory II costs $ 13,000 a pair. That is an increase of $ 1,500 over the original version, which is still available at $ 11,500 a pair. After hearing the Series II, I wouldn't consider the earlier version which, by the way, can be updated for $ 1,820 plus shipping. I advise everyone who has the original to get the update, even if you have to sacrifice something else you've been planning to purchase. The improvements are too serious to ignore, especially at that price. They're a "refinement" yes, but they're a major refinement, and noticeable enough that I couldn't live without them after hearing them.

The Duos are $ 17,000 to $ 19,000 a pair, which isn't that much more, but they still may require expensive woofers to finish the project. The BASSHORNS are $ 27,000 a pair, and sometimes more than one pair is needed in a large room. That is a lot of money, many times the cost of the Victory, and is an accurate indicator of the comparative value of the Victory, which is still second best.

To summarize; if you are in the $ 10,000 to $ 15,000 range, and have no intention of ever spending more, I would look at the Total Victory II, even if you have to make a sacrifice to get there. If your budget is above that, and assuming you have a good sized room and horn speakers don't bother you, I would look for a used pair of Duos first, and then save up more for BASSHORNS, unless the bass problems don't bother you. If you have enough money to purchase everything new, I would take a trip to New York City and hear the entire Avantgarde line for yourself. You'll either buy them on the spot, or go back a more experienced and knowledgeable listener, with the realization that horn speakers aren't for you. At that point, I'd take a real close look at the Total Victory II, regardless of its much lower price.

These were the very first speakers made by Apogee in the early 1980's. They were never reviewed in my memory (which is another disgrace of the audio 'press') and they were quickly forgotten when they were discontinued and replaced with inferior models.

These speakers were "classics", a true breakthrough, both in sound and basic design. They weighed something like 300 lbs each and needed a huge amount of current to drive them.

At their best, they were extremely fast, clean, neutral and dynamic, and with a mid-bass I've never heard before, or since for that matter. Their biggest problem was that they required ultra high-current amplifiers, which still all sound relatively dry and mechanical. Without that problem, they would be a Class A speaker. They are (probably) the best dipole speaker of all-time* and can still sound almost awesome with proper setup and amplification.

Subsequent Apogee models were almost "like toys" compared to these "Originals", both in sound and build quality, though they were much easier to drive. (The only exceptions were the very early Scintillas and the very late Grands. The Stages were also "good value".) The best amplifiers for these speakers (that I was aware of) were the original, pure Class A, Mark Levinson ML-2's. They were only 25 watts into 8 ohms, but 400 watts in a .5 ohm load! They were just what these speakers require. They must be biamped.

* Their only competition for that title, that I am aware of, are the Sound Labs A-1 and A-3, which I will also be adding to this list.

Finally, to read an extensive essay, originally posted in February 2007, on our experiences with this speaker, both positive and negative, click here: The Apogee Speaker, Levinson and Krell Amplifiers.

I was a Wilson Audio dealer in the late 1980’s and personally owned a pair of Watt IIs that I extensively modified. I am also familiar with most of their subsequent models. The basic WATT design is David Wilson's greatest audio achievement, because it demonstrated, for the first time, the potential of dynamic loudspeaker designs. When it first came out, it may have been one of the finest speakers available, at any price.

It must also be said that the WATT (and every other Wilson Audio speaker) has almost always been overpriced, to even absurd levels in recent years. It is also true that all of Wilson's speakers (except the earlier WATTS) have been grossly overrated by a groveling (see TAS #125) and incompetent audio press. However, the WATTS can still be an excellent choice if purchased used and then modified.

Only their cabinets will be utilized, so it’s best to find the cheapest model available. Updated drivers, crossovers etc. can then be installed for a reasonable (not by Wilson!) cost. The end result will be a superb speaker, definitely competitive to Wilson's latest models, purchased at a fraction of their cost, and which even low-powered (SET/OTL) amplifiers can drive (a major advantage).

Avoid all their other speakers. The best woofers that I've heard for the modified WATTS are the better models from Entec (see below). In larger rooms, the Tympani IV Bass Panels (see below) are an excellent choice. There are probably other choices equally as good. Wilson's Puppies (to #V) are "good", but they lack truly deep bass and are VERY overpriced.

More Recent- A reader, who lives in Hong Kong, recently sent me this (slightly edited) information, which may prove very useful.

"The price for used Watt/Puppies, any models, are fairly "cheap" here in Hong Kong. It's about 50%-60% of what you have to pay for in North America. So, next time when people are travelling to the neighborhood and would like to pick up a pair, this is the place to shop. This also applies to other big name gear, new or used, because the economy here is real bad." (4/04)

One of the all-time "classics", this speaker should have been somewhere within this list from the beginning. The reason for the "oversight" was that I wanted to hear it again with a more "modern" perspective. I was able to audition the most recent version (post 1990), which according to a reader, has improved drivers, horn and crossover.

This speaker has state-of-the-art dynamic range, tremendous detail, a very good sense of "immediacy" and a "huge sound". The efficiency is an incredible 104dB at 1 watt. It is at its best with ultra-low powered amplifiers, including 2A3's etc. This also allows it to capture low-level information. Ordinary tube amplifiers may sound noisy because of its efficiency, while virtually all transistor amplifiers will exaggerate the obvious "horn" colorations that already exist.

It must be placed in a corner to get the specified 35 Hz bass, otherwise it will lose at least 10 Hz. Both of the frequency extremes are missing, which to me is a minor problem, but there is one major problem; some easily noticeable frequency aberrations, which will seriously irritate many, if not most, contemporary listeners. This problem has been significantly reduced by the improvements made in the 1980's, but it is still there.

The speaker weighs almost 170 lbs, and the retail price, for a pair, is $ 5,800. (Compare that to the Wilson Grand Slam etc. for value.) There are many updates and modifications that you can make to this speaker. In fact, I would love, just once, to hear the Klipschorn (fully modified) in an all-out system.

This is a component that is the epitome of the "loving it or hating it" concept. If the listener is amazed on their first listen, there is a good chance it could become "the speaker of their dreams". On the other hand, if the listener is immediately put off by its problems, it is highly unlikely that anything can ever be done to change that first impression.

Klipsch's other models, the La Scala and Belle Klipsch, have the exact same drivers, but they also have smaller cabinets that are not designed for corner placement. Their tonal balance problems are even more pronounced, harder to mask, and they are also more difficult to work with during speaker placement.

This speaker, along with its less expensive siblings, is probably still the most satisfying and safest way "to get into" serious horns, though it will never again be "the best" horn loudspeaker. (see above-for Class A Horns)

Because of its inherent problems, the most accurate classification of this speaker is (Upper) Class C. I did put it in Class B for a while, because of its unprecedented longevity and its reputation as a "Classic", but recent technological improvements have finally caught up with it.

CAVEATS- There is occasionally a "honeymoon" type of experience with this speaker. Some listeners go "crazy" about them on their first listen, but then become tired of them after just a few days or a month. That is the reason why more than one "long listening session" is in order with them before the purchase.

Room Size- The room size must be relatively large, so that the distance from the listener to the speaker is far enough for the speaker to sound "whole" and "cohesive", rather than as three separate drivers. I suspect a 15' to 20' minimum distance should be adequate.

This Reference designation is somewhat in the manner of a "swan song", because the Victory II has recently been discontinued. That's a shame, but according to the manufacturer, the price had already gone from $ 6,000 to $ 7,000 (a pair), and would have risen to $ 8,000 on a new run, due to escalating parts costs. However, since the Victory II will still exist in the used speaker market, and the additional fact that I previously asked Coincident, privately and in public, to specifically manufacture this speaker (something I never did before or after), I feel I have a responsibility to discuss its performance*.

*The description and discussion below applies only to the Victory II, and not the "original" Victory. The original Victory can be upgraded to the VII for $ 1,000. I highly advise getting this upgrade. As of now, late October 2007, there are only 18 pairs of VIIs in existence, and I have one of them.

The Victory II (VII) sounds almost exactly the same as the Total Victory II (TVII). This isn't surprising, since they look exactly the same from the front, and are using the same speaker drivers. The only serious differences are the deeper and more powerful bass of the TVII, because of its 4 extra side-firing woofers, and the increased height of the TVII, which usually provides a larger sound. As I placed the VII on top of a (7" tall) sandbox, and also installed the "Extender Feet", I virtually eliminated the height difference. Further, I am also using (the Ars Acoustica) subwoofers, as I previously discussed (in theory) on this website. Thus, I'm hearing the VII at its highest potential. (Though I have also heard them without subwoofers.)

In general, as with the TVII, the VII, especially with a subwoofer, is superb in virtually every area of performance. It is highly neutral, immediate, transparent, fast, detailed, delicate, clean and dynamic. If anything, its sound-floor is even lower than I expected (based on my memory of the TVII). In fact, with the one possible exception of the Ars Acoustica System Max, it may be as low as (or lower than) any other speaker I've ever heard in my own system. Accordingly, its retrieval of harmonics, decays and ambience is outstanding.

In the same vein, when making comparisons to the best speakers I've ever heard;
-Short of an ion tweeter, such as the Acapella, the VII's high frequencies are as good as I've ever heard.
-Short of the new Pure Reference, it's as neutral as any speaker I've heard.
-Short of the finest horns, it's as dynamic and "alive" (in the mids and highs) as any speaker I've heard.
-It also has that "effortless" quality that only horns can improve on.
-Its sense of immediacy reminds me of the Martin-Logan CLS, though with a natural richness and body missing in that electrostatic.

I have only one serious point of concern with the VII (along with the lack of deep bass, which can be alleviated with a proper subwoofer), and that is its ultimate imaging capabilities.

The VII has a large image, both wide and deep. The precise placement and separation of the instruments/performers are also excellent (even when the music becomes loud and complicated). Where it noticeably falls short of the finest imaging speakers, such as the first-place Morrison (an omnidirectional) and even the next-best Ars Acoustica (a 2-way similar to the Wilson WATT), is in their unique focusing ability. With these speakers, both of them 2-ways, you almost feel that you can literally outline the exact shape of the instrument, or body, of the performers. The VII does not share this ability. This isn't surprising, since I've never heard any 3-way do so. In fact, it may be technically impossible for any speaker, other than a 1-way or 2-way, to have this ability. So, at this point then, we must discuss "trade-offs", and how they apply to this speaker's design and performance*.

The VII has extra drivers between the woofers and the tweeter; two midrange domes (actually giant dome tweeters, which are amazingly fast and pure) in a D'Apollito configuration. The extra drivers give the VII several sonic advantages; increased speed, linearity and purity, plus greater dynamic capability. They also relieve the other drivers, allowing them to be heard at their best, but the unavoidable downside is a third radiation pattern and a second crossover point. While the VII's five drivers are all fast, accurate and complete, making it surprisingly cohesive, the extra radiation pattern can't be finessed. Thus the focus is noticeably deficient compared to the best performers. This is important because, so far, this is the only noticeable** problem I've heard with this speaker (along with the deep bass rolloff of course). In fact, with an excellent subwoofer, the VII actually outperforms, overall, every single speaker I heard at the 2004 CES, and at all price points.

*The new TV IV, which I haven't heard, addresses this extra driver issue. It uses a "deluxe" version of the ribbon tweeter used in the TVII and VII, extending a full octave lower, thus eliminating the need for the extra midrange domes.

**Meaning it's audible without a direct comparison, or a serious use of your memory.

In summary, the Victory II is for those serious audiophiles looking for a speaker truly faithful to the musical signal, being both accurate and complete sounding, and also easy to drive with SET amplifiers. However, because the VII is highly revealing, readers should be warned right now that it will also enable you to hear the "ugly" along with the "beautiful". That means not only will you hear how bad the worst recordings really are, but it will also reveal basically all the weaknesses of the other components in your system.

Don't let the relatively low price fool you, the VII will pass on more musical information (other than deep bass) than 90+% of the speakers selling for 5 to 10 times its (former) retail price. Unless you are prepared to take the time and expense to find and assemble a truly excellent system around it, the VII will be an exercize in frustration. If you do make that commitment though, you will be well rewarded, and don't worry about the "expense". There are many excellent components available at reasonable prices, especially when purchased "used".

I predicted on this website, more than two years ago now, that the VII, with a "suitable subwoofer", would be "world class" in performance, and competitive with anything out there, despite its relatively modest price. I feel my "prediction" has been proven accurate, but I'm not a psychic (or I would have also predicted its cancellation). I just heard the TVII, and the rest was easy. While it's unfortunate that the VII can no longer be purchased new, they will eventually become available on the used market. Considering the discounts I've seen for used components, even for the best of their type, I now predict there will be a lucky audiophile whenever a pair of these speakers becomes available.

1. I can not confirm the specified sensitivity of the VII to be 97/db at 1 watt. In my system, it is only slightly louder than the Ars Acoustica, which is around 92db. I would estimate the VII to be in the 93db range. However, the VII is still very easy to drive, because its impedance curve and crossover are also highly benign.

2. My reference system is exactly the same except for the speaker change. I've been using records from The Supreme Recordings and some (highly familiar) personal favorites as my source material.

3. With my analogue source, I must use a subwoofer in my system, due to my amplifier impedance matching problems. I can play the VII full-range with my digital source, but in my 500+ sq.ft. room, I still need a subwoofer on some source material.

4. The Victory II is still (subtlety) breaking in, despite the 300 hours play time with my receiver, on a local classical music station. I assume the limited dynamic range of the station couldn't finish the job.

5. The nightly warm-up routine of my system is now more easily heard than at any time in the past. I assume that this is also because of the ultra revealing nature of the VII. It takes around 2 hours of play time for me to get to 95% optimum. The first half-hour is awful.

6. The Victory II's reproduction of "space" is excellent, but it's not "outstanding". The front and back sense of space is not as well synchronized (or as cohesive) as the Ars Acoustica satellite, which sounds better "organized", but after warm-up, this is subtle.

7. The Victory II will be best heard in near total darkness for those listeners (such as myself) who are easily distracted by the sight of 5 drivers, and thus expecting the worst. It's all in the mind of course, because the speaker doesn't sound disjointed, but why have one sense conflict with another when it's unnecessary?

8. Subwoofer Advice- For those audiophiles with small rooms, the VII's bass, which goes down to around a solid 40Hz, will do the job on its own. For those with larger rooms (300 sq.ft. or greater), I would seriously consider subwoofers, which take the speakers' performance to another level (Class B). The quality of the subwoofer will be critical. A cheap and/or low quality subwoofer will sabotage the VII's inherently outstanding performance. Even if only one quality subwoofer can be purchased at a time, that is infinitely preferable to a pair of mediocre subs. (I would especially consider all-out DIY subs, using high quality woofers.) I estimate the crossover frequency to be optimum at around 50 to 60 Hz, and a steep slope, 24 to 48 db/octave, will be preferable.

Personal Disclosure- I checked out my "Changes and Updates". Since September 1999, this website's birth 8+ years ago, I've added exactly two Coincident speakers, the TVII in 2004 and now the VII, to my References. Further, both of these speakers are now discontinued. So, not even one currently manufactured Coincident speaker is now a Reference on this website. That status will change next month, but it is obvious that I have never been "obsessed", or had a "love affair", with Coincident speakers. However, that's the charge made by the paranoid, the ignorant, the cynical and/or those with (usually monetary) agendas. Readers of this website can make up their own minds on whether my (always disclosed) personal relationship with Israel Blume, the owner/designer of Coincident, has effected my judgement.

It took a letter from a reader (see his letters below) to remind me that I have overlooked (and underestimated) these speakers. This reader could not have been more correct, because these speakers should have been References from the beginning. I have no excuses, because I have a lot of experience with various Acoustat models, and so have some of my closest associates.

I plan to give specific model Reference designations after some further research and communication (not all the Acoustat models are equal). However, I can state at this time that none of their "hybrid" models (which had dynamic woofers) will be on this Reference list. Until then, I would first carefully read the letters below, since they derive from the contemporary experiences and observations of the writer. Of particular importance, and relevance, is his use of modern amplifiers.
Another suggestion is to go to: www.audiocircuit.com
Once there, check out their "Acoustat" file for information and the history of the company.

This classic speaker design has a midrange neutrality and cohesiveness that still puts almost all other speakers to shame. It is also very transparent and has excellent low-level retrieval. Unfortunately, it is insensitive, difficult to drive and can’t handle very much power or else the panels will "arc", causing permanent (and audible) damage.

The Quad’s must be auditioned carefully to ensure they are matched sonically and that there are no problems with the panels, which are now very expensive to repair. Even when there is no outright damage, the aged panels will still sound different than when they were new, due to the inevitable stiffening and stretching of their diaphragms and membranes. (See below for possible repair information.)

Their midbass is bumpy and they don’t image very well; the sound tends to come "off the panels". They are at their best in a small or medium-sized room, and with music that doesn’t require high volumes for emotional effect.

The ESL-63, which eventually replaced the original, was more focused, superior in the frequency extremes and played louder, but its midrange wasn't as natural or as immediate. Many listeners might still prefer it over the "Original", especially those who listen to a wide variety of music.

I have read that the ESL can be rebuilt to their original condition (along with their original sonics) with minimal work and expense. There is even now a website that describes these procedures and parts (quadesl.org). There is a direct link within this site's Links section.

For European readers- One reader has informed me that there was a German equivalent of this (ESL-57) speaker manufactured around 40 years ago. It was called the Braun LE-1. Only around 500 pairs were ever made. It was the same speaker inside, "but built with a more rigid and beautiful frame". He also claims it is now a "collector's item".

This same reader also informed me that this same speaker went back into production in 2000. According to another reader; "the replica is made by Quad Musikwiedergabe, the German Quad distributor. In fact they bought the original production line of the ESL from the new owners of Quad."

The New Old Quad now sells for $ 3,300 a pair. It has the same model number as the original. I have also provided a link to this German Quad manufacturing company within the Links section. This site is in both English and German.

Further- Quad (of England) can still supply replacement bass and tweeter panels for the original (57) Quad ESL. They are 140 and 120 GBP respectively, plus shipping.

A reader recently informed me about a new Quad 57 (and 63) tweeter panel from a company in England with the name: One Thing Audio. In the reader's words;

"The new treble panels fitted by onethingaudio are hugely superior to the original."

For those seriously interested, and I would be if I still owned the Quads, the link to this company is in the Links File.

This speaker was originally designed, manufactured and marketed by the late audio legend Stewart Hegeman. That was a long time ago and it has now been continuously improved for more than 25 years by the current designer/builder/owner, Don Morrison. My (now former) store was even a dealer for this line for a period in the 1980's.

The primary and unique sonic strength of this speaker can be heard by anyone: It has the finest overall imaging I’ve ever heard. The soundstage is both huge and focused, with the speakers totally disappearing. The sound is also quite neutral and cohesive, and the speaker has very deep and detailed bass, especially for its size.

On the downside, it cannot play really loud; it compresses dynamics both loud and soft; and it has a rather dry, analytical quality. In my experience, this is one of those "love it or hate it" designs that must be auditioned thoroughly before purchase.

I have not heard the most recent (and more expensive) models* which may have addressed these problems and thus move it to a higher class. I do have strong confidence that the newer models will be noticeably better than the earlier versions. This is due to my experiences with all the prior updates Morrison made to the speakers, and to his electronics, while I was in Toronto.

This speaker is an unique and excellent design that should be in many more stores. This won't happen because the speakers are (literally) hand-built, and Don Morrison, for all of his talents, will never be mistaken as a disciple of Dale Carnegie.

*The most recent model I've heard was an early version of the 1.5 more than 10 years ago. The latest model is the 2.0, which has a retail price of $ 6,000.

FURTHER: Audiophiles who have a serious interest in the omni-directional MBL speakers should look at the Morrison as a serious alternative. Its imaging qualities are at least as good; it is much more sensitive and practical to amplify; it has much more cohesive bass than the MBL; and it's far less expensive. The MBL scores some points too, but at a real high cost.

These speakers (along with the recent Audiostatics) are both the fastest and the cleanest, overall, I have ever heard, especially in the midrange. While all the CLS generations have the basically the same performance, only the earliest version was generally reliable, but even those models may have problems now.

These speakers define "precision" and "immediacy". They sound just like they look; a totally transparent window into the performance. They also have excellent macro dynamic qualities; the finest I’ve ever heard with electrostatics (along with the large Sound Labs), and they can even play very loud if they are rolled off in the bass.

Their problems are equally obvious; they have phase irregularities, so the sound can be heard to come "off the panels", and they also have an "analytical" quality, which can only mean that they are losing some low-level detail.

They also require a powerful (and natural sounding) amplifier because of their inefficiency and difficult load. (The Counterpoint SA-20, SA-220 and all the Natural Progression models are excellent matches. So are the ASL Hurricane and the Altec 1570.) A (very high-quality) subwoofer is needed in a large room, in which case the CLS should then be modified to roll off their bass below 100 Hz. (The Tympani IV bass panels, below, are a superb match with the CLS.)

Ironically, their reputation for sounding "bright" is unwarranted and is almost always caused by using inferior solid-state amplifiers, and/or mediocre digital sources, poor setup and incompatible cables. The one absolute rule I have found concerning these speakers is that they can never be used with both a transistor preamplifier and a transistor power amplifier at the same time.

With care, the CLS should sound very neutral, but with a bit of a lean quality caused by their thinning of harmonic timbres. None of Martin-Logan's other speakers are in the class, or have the same sonic potential, of the CLS (unless you are lucky and can find the over-priced Statement electrostatic panels on their own or at a bargain price).

Important CLS Trick- An associate has informed me that he uses the internal (5") input wire within the CLS to hook up directly to his (Altec 1570) mono amplifier's speaker binding posts. This totally eliminates the speaker cables. A very desirable procedure; both sonically and financially. Other suitable mono amplifiers may also use this technique. (1/04)

These electrostatics are from Holland, and are far different (and superior) to their earlier, sonically veiled models that this company made in the early 1980's.

They have the same incredible speed and purity of the CLS, but with even superior "imaging" and a richer sound. They can't play quite as loud, but that is not a problem in most small or medium sized rooms. Their appearance, tall and thin, is both stunning and practical. They require very high quality amplifiers, but need less power than the CLS's. They can be doubled up for better bass.

These are not technically "subwoofers" since they have virtually no response below around 30 Hz. They are an excellent match for extending the bass of other dipoles, like the CLS and the Quad’s, or even small high-quality monitors, like the Wilson Watts (all versions), though only in large rooms.

The blend is superb, and they have incredible midbass impact. They are large, both tall and wide, and require very powerful (500 watt minimum!) amplifiers to sound "alive". Their only other downside is that their huge size may compromise the image focus. They also require a steep, minimum 24 dB/octave (preferably 36 dB/octave) low pass, electronic crossover (DB makes a crossover that is superb for this application). The crossover point should be around 125 Hz*. The (now discontinued) Parasound HCA-1200 or 2200 amplifiers were excellent choices.

*It's possible to still get good results up to 180 Hz or so, and even with a good first order slope, but there will be a trade off with power/weight/body versus speed/immediacy/purity. Ultimately, it's the listener's call of course.

Further- They can also be noticeably improved by building a heavy-duty frame around (and under) their existing frame. My associates and I used Granite (around 100 lbs. of it per channel). This included a 1.5" thick granite base of around 48" by 18".

These are the finest self-powered subwoofers I have ever heard. They are clean, go very low and have excellent control; in fact they can sound over-damped at times. They go deeper and have more "weight" than the Tympan above, but they don’t have the Tympani's amazing midbass impact, definition and superb cohesive blend.

The best models, for the money, are their older versions with 3 woofers in a box (SW-1), and especially the models with the deeper cabinets (SW-2). None of their models with just 2 woofers per cabinet (SW-5), and even the most recent (L2-F20), has sufficient weight and impact on their own. This means another pair must be purchased so that they can be stacked. This is an expensive, though potentially superior, method of achieving optimum results with this particular design.

CAVEAT- All of their models can be overloaded with powerful and sustained low bass notes (i.e. Respighi-Pines of Rome-Catacombs-Mobile Fidelity-UHQR). This happened every time, even when I had a stacked pair of SW-2 models (that's 6 woofers per channel!), and I never listen at extremely high (HP/TAS) volume levels.

KLH MODEL NINE ELECTROSTATICS- This was considered (by Stereophile's J. Gordon Holt) to be "the finest speaker", overall, in its day, which was back in the 1960's and 1970's. I owned a double pair of them myself for a few years in the mid 1970's.

It was very fast, detailed, clean and transparent. It had to be "doubled up" to play reasonably loud and provide decent bass extension. The "imaging" wasn't very good and while it was neutral, it was not quite as "natural" sounding as the Original Quad. The outer, wood frame could "buzz" in a highly irritating fashion with certain bass frequencies and it also had some reliability problems with its step-up transformers. It required a very stable, powerful and clean amplifier to drive them.

It would be interesting to hear how a (double) pair of these speakers, with modern amplifiers, would compare with modern speaker designs.

VARIOUS MAGNEPAN MODELS- All the speakers from Magnepan, including the Reference Tympani bass panels above, require above average power, and louder-than-life sound pressure, to sound "alive". This is because they very noticeably subtract low-level information; particularly dynamic shifts and harmonic decays.

They are excellent in many other sonic areas, but this one serious weakness, especially within this list's set of priorities, disqualifies them from being a Reference at this time. They also lack "cohesiveness", which is the ability to sound as of "one sonic cloth". However, they may still be an excellent choice for audiophiles looking for an Entry Level speaker, if purchased used at a good discount.

If a reader wants their best model for the money, I would advise buying the 3.5, used only, which should be easy to find. It's worth the effort and patience to save up the extra money to purchase the 3.5 instead of living with their less expensive models. It has all of their many strengths, and less of their obvious weaknesses. Newer (still used) versions of the 3.5 are also desirable.

ARS ACOUSTICA LA DIVA- This model doesn’t have the purity, immediacy or speed of their top-of-the-line System Max, or most of the other Class B speakers for that matter, but it is still neutral, cohesive and retrieves more low-level information than almost any other speaker. "Ultra liquid" best describes it. It is also of "one sonic cloth", which is an important priority for many listeners. The main sonic problem deals with the precision and the purity of the tweeter used, which is otherwise excellent.

It is easy to drive and its bass is excellent for such a small enclosure. Think of a Wilson Watt that is more full-bodied and with a richer, more complex sound and deeper bass, though with less "speed". Depending on your sonic priorities, this speaker will either be something you love, or something you have no interest in. This speaker was in Class C, and still would be if it was generally available.

ARS ACOUSTICA SYSTEM MAX- This is still the second finest speaker system I have ever heard overall. (It was replaced by the Coincident Pure Reference.) Its flaws are far fewer than most, and generally subtle. It is extremely neutral and it is supreme in retaining low-level musical information, including subtle dynamic inflections. It also disappears very well and it is relatively easy to drive. It was in Class A for the longest time, but I have removed it since it is almost impossible to find, new or used.

Its main problems are first a noticeable lack of power and weight in the mid and lower bass range, which is otherwise superb in quality. The only other serious problems deal with the limitations in ultimate speed, precision, immediacy and cohesiveness inherent in even the highest quality dynamic-driver systems.

The SYSTEM MAX is still excellent in all these areas, but it's not the equal of the finest crossover-less electrostatics, nor even the dynamic Coincident Super Eclipse (and Victory series) in the areas of speed and precision. The highly modified (Focal) tweeter has resonance's that may become audible when certain frequencies are excited at high volumes. Further, the "imaging" does not match the Morrison models.

Finally, the dynamics gradations, while outstanding at low to medium levels, still do not equal the best of the horn speakers, like the Klipschorns, or Avantgarde Duos etc., at higher volumes. The existence, and the accumulation, of all these flaws, is the reason why it is not possible for there to be one "best" speaker with today's technology.

The tonal balance and phase can be changed slightly with dip switches to compensate for both rooms, listening positions and amplifiers. The subwoofers can be stacked which may help in its most obvious problem area. All the cabinets are made out of a special meta-polymer, including the subwoofers, and are the deadest I am aware of. They may be thought of as expensive at $ 16,000 U.S., but are actually an excellent value compared to the competition, considering both their sonics and their build quality.

CAVEAT: I have yet to find one amplifier that optimizes both the satellite and the subwoofer. The satellite requires extreme purity, which means low-power (SET/OTL) amplifiers, but the subwoofer requires some current, which means more power and circuit complexity. In short: this speaker still has room to evolve, even within its current design structure, because it is too pure for today's high-power amplifiers, and not quite sensitive enough for low-power amplifiers.

NOTE- This speaker manufacturer, Ars Acoustica, doesn't have a website, or even a dealer in North America at this time (that may change). They do have an e-mail address. It can be found in The Links.

CELESTION SL6/SL600 LOUDSPEAKERS- I received a letter from a veteran reader that I felt should be shared with everyone. It's only slightly edited;

"...It occured to me that there is no mention of Celestion's original SL6 and SL600 speakers. They should be on your (Reference Component) list as Entry Level (SL6) and Class C (SL600). I know that the SL600 with its funky aerolam cabinet was way overpriced when new, but now (more than 22 years later) it's one of the truly excellent bargains USED.

I have a pair and it continues to amaze me (It's currently driven by a pair of VTL Tiny Triodes fed by a Luminous Audio passive preamp and a Well Tempered Classic/Denon DL-103R...Throwing out my existing $$$$ active preamp and replacing it with the little passive Luminous thing was the most important upgrade of the last year.)

To get back to the Celestions: These loudspeakers...possess all the strengths (and a lot more) of the original (BBC/Rogers) LS 3/5a design, but without the weaknesses. I have always found them to be the next best thing to an electrostatic speaker (although I do not agree with Stereophile's John Atkinson who claimed them to "land safely" in the Martin Logan CLS's performance area. They simply don't.). Nevertheless, they do provide outstanding imaging capabilities with an incredibly smooth and detailed midrange and a fast, low fundament which is enough for all but the biggest orchestral works. I know you've heard people talk like this before, but there is one thing that gets me the most: One of the biggest advantages over other seemingly similar two-way designs is that the soundstage doesn't fold in when the going gets tough (a problem with most Linn speakers, BTW). And, it is among the few metal-dome tweeter loudspeakers that don't provoke listening fatigue in any way... They truly deserve a mention in the "Reference Components" files."

Personal Note- I had a few pairs of the SL6s in my store in the 1980's, as trade-ins. They were certainly good, and well built, with a number of sonic strengths, but while I no longer remember all the details, I do remember preferring other speakers in their price point at the time. As for the SL600, try as I could, I was never able to get a pair of them in my store (or home), even for a short loan. I only heard them at audio shows. It was obvious they were better than the SL6, but it was impossible to judge the degree of the improvement in an alien environment. It would be interesting to hear these (once) famous and successful designs on modern equipment, especially compared to the speakers of today. My Advice- Readers should NOT overlook or dismiss them if they become available for audition and sale.

Further- A reader also reminded me of the Celestion 700, which I don't have any experience with, but which he described as follows:
"A bit on the dark side, but the speakers can totally disappear and, as your reader said, they don't collapse under demanding music (provided you give it sufficient power)."

MERLIN VSM LOUDSPEAKERS- I've been regularly asked about about these speakers over the years, plus a few times by readers in the last couple of months, so I decided to share my perspective and observations with everyone.

I had the Merlin VSM (and the smaller TSM) in my (former Toronto) store for around a year, in 1998-1999. I auditioned them in different rooms and with different electronics, sources, cables etc. The results were all basically the same; I did NOT like them. They were noticeably cleaner and smoother than average, and also had excellent outer detail, but they were harmonically lean, dry and analytical, lacked both weight and impact in the bass and they were also compressed in dynamics. In other words, they sounded "dead" to me.

Like many other speakers I've heard with the same basic flaw, they only became (partially) "alive" when they were played "louder than life". I've heard them since then, though not in controlled circumstances, and they still appear to have the same problems.

I may be the only person who has criticized them in public (in print or on the web), but this is what I've heard, repeatedly. For some reason(s), other audio "journalists", or regular audiophile posters, haven't heard and/or reported these problems. (The designer/owner is a "nice guy", but that is irrelevant.)

I have a working theory of the primary reason why they sound the way they do; They use a Dynaudio tweeter. To be blunt- Virtually every speaker I've ever heard that uses Dynaudio drivers has the same problems, more or less, as described above. This has been my experience no matter how the designer utilized them, and no matter how much the particular Dynaudio drivers cost, and the VSM (Esotar) tweeters are extremely expensive.

The VSM, and Dynaudio drivers in general, remind me of transistor electronics, for better and worse. For the many audiophiles who enjoy and prefer the strengths of solid-state, digital sources etc., and feel tubes and analog are inferior, the Merlins may be a superb performer. Ironically, I still strongly feel that tube amplification would be a requirement in an effort to minimize the problems I hear with the Merlins, and, in fact, Merlin uses the superb CAT amplifiers at their public demonstrations. I agree with this choice.

I've known the owner/designer of Merlin, Bobby Palkovic, for more than 25 years. I much prefer his models from the early 1990's. They were even at one time, in my opinion, the best sounding speakers at the CES show, and I told that to him. There's no question of his experience and talent, but I don't like his current direction.

Postscript- After writing this short "review", I realized it reminded me a lot of my VPI HR-X posting back in February 2005. That's another component which received a "pass" from both the audio "reviewers" and audiophiles in general. It can also be impressive to listen to for the first hour or so. Both components even have similar sonic strengths, and also the same musical weaknesses that turn me off. If these popular and acclaimed components turn out to be the sonic trend of the future ("Detail" above all, and without substance), count me out. I hope I'm not alone.

Further- A reader's question reminded me of a speaker similar to the Merlin VSM, which I used to own in the late 1990's. It was the Coincident Visionary Reference. It had an asymmetrical cabinet and used an even more costly version of the Dynaudio "Esotar" driver, instead of the "standard" version the VSM uses. The Visionary was both more sensitive and neutral than the VSM, with deeper, more powerful bass and it also had superior low-level detail. I compared them side-by-side on several occasions, and always preferred the Visionary. Still, in the long run, and despite all its strengths, I didn't care that much for the Visionary either. While not as noticeable, it still had the same basic problems as its Merlin competitor.

The Visionary Reference is rare, but if anyone really likes the VSM's strengths, and thinks I'm wrong about its weaknesses, then the Visionary is worth searching for. It can also be modified, by adding an extra woofer, for even deeper bass. While I never heard it modified myself, one of my former customers had this done, by the manufacturer, and was very happy with the results. (4/05)

EMINENT TECHNOLOGY MODEL 17 SUBWOOFER- This is one of the most amazing components I've ever heard of. I even wondered whether this was an audiophile prank, but Bruce Thigpen, the owner/designer, is not the joking type. I know, because I was a dealer of his for years. (The ET Tonearm and then their speakers.) I'm reacting this way because the subwoofer looks like a (heavy duty-commercial) FAN! That's right, just like an electric table fan, blades and all, though without the normal protective cover. It sounds crazy at first, but subwoofers are supposed to move a lot of air, and what moves air better than a fan? (Think of the various Hollywood Hurricane movies.) For the record; ET calls it a "Rotary Woofer".

The specifications for this "Rotary Woofer" are absolutely amazing, to the point of being almost unbelievable. How about "flat" to BELOW 1 HZ! At least that's what their own graph displays. And it can play above 110 dB. It goes up to around 30 Hz, and then dies out itself. It changes the pitch, as far as I can understand, by altering the rotary speed and shifting the relative position, or angle, of the blades as they continually turn. It has to be mounted in a wall. Here's the information from their own Eminent Technology website:

"Note, the model 17 must be professionally installed in an attic or basement which becomes an infinite baffle. The price includes the driver, enclosure, baffling, filters, motor, motor speed controller, motor mounting bracket and installation instructions. The amplifier should be capable of operating near its rated power at between 1 and 3 Hz."

I haven't seen, let alone heard, the ET Model 17 yet, but I still have a few reservations:
First; Fans usually make a lot of peripheral noise. If the tiny fans in some amps are irritating, what will this be like? (My associate was NOT aware of any noise after Thigpen used a muffling device-good news!)
Second; The Model 17 only goes up to 30 Hz, which means it will only mate with speakers that already reproduce relatively low bass (I wish it could go up to 60 Hz or so).
Finally; There's the price; $ 12,900 each! ($ 25,800 a pair). That price does NOT include the crossover or the amplifier, and that amplifier better be flat, and have real power, down to 1 Hz, or the rotary woofer itself will be frequency limited!

My Hope and Fantasy- That Bruce Thigpen comes out with another ("budget") version, that goes "only" down to 10 (or even 15) Hz, goes up much higher (to 80 Hz), and costs far less, so people can afford to buy a pair of them. This will make this design much more practical for Music, since it is obviously designed now for Home Theater. (10/05)

AUDIO PHYSICS VARIOUS MODELS (USED ONLY)- This line was in Class C, but we'be been told that their chief designer left the company, so caution is now in order. There are many models, constantly changing, so research before auditioning is advised. They have two inherent disadvantages; their prices are higher because they are imported from Europe, and they’re not as sensitive as a number of new designs coming on the market. The build quality/value is average. Some of their older models may have had Class B performance. Look for them used only, to bring their costs in line with North American models.

I haven't heard this revolutionary subwoofer myself, but one of my associates was extremely impressed when he heard it at the 2005 Rocky Mountain Audio Fest. Recently, Peter Moncrieff, the man behind International Audio Review (IAR), posted a very lengthy explanation and discussion of the TRW-17. Moncrieff makes a good case that the E.T. is not only "the best subwoofer" you can buy, but the only true subwoofer ever made. Here's the URL for his essay:

These two models are exactly the same except that the Millennium has separate cabinets for the subwoofers. Both models are extremely fast, clean, revealing, neutral and dynamic, and with a large soundstage. In fact, they were the fastest and most precise dynamic speakers I have ever heard, and even superior to the Ars Acoustica System Max within the midrange and highs in these parameters.

These speakers are a very easy load for amplifiers, with a 10 to 14 ohm impedance and 92db sensitivity. This means that they can be driven to high volumes by even vintage (and inexpensive) low-power amplifiers and single-ended triodes, and with good bass control because of their high impedance.

The Manley Retro/NEO 300B and the Atma-sphere amplifiers are particularly excellent choices, not only because of their obvious strengths, but also because their bass reproduction sounds excellent. No bi-amping is necessary with these speakers to get dynamic, full range sound. This is a large advantage over other conventional designs, except for true horns. They are among the most versatile of all speakers I know

Listening to these speakers with a modest Dynaco Stereo 70, or other vintage amplifiers, is an audio revelation, not in the absolute sense, but in the quality of sound achievable with such modest amplification.

DOWNSIDES: These models, all of them, do not equal the (former Class A ) Ars Acoustica System Max in neutrality, cohesiveness and retrieval of low-level information, though they are still "good" in these parameters. The modified WATTS (and the Ars Acoustica Diva-below) have lower "sound-floors" and are also more "complete" sounding. A few readers described the original Super Eclipses as "lean". I generally agree with them, but I would use the term "leanish", because it is more of a tendency than an obvious characteristic. In short, these speakers are not for everyone. It is their overall sonic excellence, easy drive capability, superb build-quality and reasonable price that make them exceptional.

I would use only good tube amplifiers with these speakers. Transistor amplifiers, even the better models, tend to emphasize their leanish character, making it more obvious and even obtrusive.

FURTHER: The Millennium was discontinued after the manufacturer felt that its slightly enhanced performance and flexibility was not worth the 33% premium. The replacement, the Total Eclipse, is the exact same 5-driver configuration, except the two midranges are 6 1/2" but not magnesium, while the two side-firing woofers are 10" instead of 8". The speaker cabinet is also larger in each dimension, making the enclosure much more massive and heavier, around 150 lbs. There are improvements in both sensitivity (94dB) and in deep bass, but the Super Eclipse will still have some sonic advantages because of the superior speed of its 5" magnesium midrange drivers.

There have been a number of improvements to the Super Eclipse (now up to version III). The most important being new midrange and tweeter drivers. The sensitivity is also higher. I have not heard these improved models, though some associates have heard the new tweeter, which they claim is a significant improvement. There is also a Partial Eclipse, which has half the drivers of the Super (except the tweeter). I heard the original version, and I preferred its midrange to the original Super Eclipse. These new models may deserve a higher ranking.

I will post this list until I find one that is more definitive, and objective. Besides the Avantgarde Duo, Coincident Total Victory II and the (corner only) Klipschorns mentioned above, here are some other speakers that, Readers have informed me, also work very well with low-powered Single Ended Triode (SET) amplifiers;

I would appreciate finding out about any other models, that readers have actually heard for themselves, to add to this list. This list is not a temporary project. It will be kept here indefinitely for now, and eventually, permanently in both the Amplifier and Speaker Files. Further, don't expect to see the speaker models posted here a day or so after your e-mail is sent to me. Please remember that I'm usually behind in ALL my correspondence, including even the brief and helpful information letters.

Finally, I will keep my own "SET friendly list" because at least one list should have no commercial foundation, temptations or considerations*.

*For example, another website placed the Merlin speakers on their list, which, despite all their enviable qualities, will still not work well with low-powered SET amplifiers. I know, because I tried them. The sensitivty was just too low. Merlin, themselves, uses the excellent CAT amplifiers, which are pentode based and push-pull, at their audio show demonstrations. I would trust Merlin to know how to optimize their own speaker designs.

LIVING VOICE OBX-R2- A reader sent me a letter with some observations on this component. I felt they should be shared. There's some small editing;

"...I have been told by the manufacturer that the OBX-R2 really needs more than 20 watts for anything but a smallish room. They are rather efficient, however one of the strengths of the speakers is that they are very dynamic (which makes sense as Living Voice started out making large horn speakers). If they don't have enough power, you loss some of that. I own a pair and really love them; I am moving into a small apartment and will get my 15 watt Cary 2A3 out of storage and give it a try."

Personal Notes- I'm not familiar with this speaker. If this reader is correct, the Living Voice requires, in most circumstances, more power than the finest SET amps can deliver. What a shame. Worse, it also means that many audiophiles may be overly optimistic when claiming various speakers are SET friendly.

CAVEAT-Please be advised that the readers’ letters posted on this site are solely the opinion of that reader and may not necessarily represent or reflect the opinions of Arthur Salvatore or High-End Audio. These letters furthermore, are not to be taken as being endorsed by Arthur Salvatore or High-End Audio. They are posted because they may be edifying, thought provoking or entertaining.

S.E.T. FRIENDLY SPEAKER LIST- Here's an interesting letter from a reader living in South America, with some Vintage Speaker alternatives for SET amplifiers. There was extensive editing on my part, mainly due to the required grammatical and spelling assistance (my bold):

"I have been in the vintage business for 6 years now, collecting Western Electric, Jensen, Tannoy, Altec, JBL, Klangfilm, Telefunken and others, all within Latin America (from Mexico to the Patagonia).

...I have listened to almost every vintage horn speaker, and my conclusion is that vintage JBL components are the best of the vintage stuff, having a price target in mind. You have to consider that a good vintage set of JBL 3-way loudspeakers will cost $ 3,000-5,000, while a Tannoy (2-way coaxial) or a Jensen (triaxial) shall cost $ 6,000-10,000, or even $14,000 (with orignal cabinets), and a pair of WESTERN ELECTRIC 3-way, with original crossovers, may go for $80,000 or even 100,000! (without original cabinets).

Everyone of these systems has more or less the same problems you heard on the Klipschorns (personally I feel Klipschs are on the bottom of the list of vintage speakers for home listening, among Altec and EV's). But everyone on that list gives a natural emotional contact with the music that the new transducers can't.

What highly surprised me was my brother-in-law's experience. He modified a JBL PROJECT EVEREST, with TAD components (tweeters, mids and woofers), only retaining the horn (a great deal there), and a custom X-over made by John Wolf, from Classic Audio reproductions (take the time to check his website). I have had the luck to hear the: Wilson Audio's Grand Slamm, B&W, Martin Logans, Revel, Dynaudio, Dunlavy, Proacs, and many other flagships models (their top of the lines), and nothing compares with the modified Everests. I estimate the final price paid was almost $ 17,000, but having in mind that all the drivers were bought brand new from TAD, (the cost) in the used market would drop over 50%.

There are some speakers I'm interested to hear, like the esoteric new horn based breed, especially the European experiments. From a lot of audio friends and audio chats, there always appears the name "Avantgarde" on the top of everyone's list, so I sincerely hope to have the chance to hear and compare them to these projects.

BTW, I'm the Chilean Canary Audio dealer, and the tube rolling suggested on your site for their CA-339 are 100% right."

Personal Notes- I feel the "emotional contact" observed by this reader is caused by their superior dynamic scale, "big sound" and generally effortless quality. I've experienced it myself. Most modern designs lack these qualities, even the "flagships", due to their inefficiency and also their basic inability to simply move air.

However, I'm just not crazy about any of the vintage speakers that I've actually heard. They wear me out after a relatively short period of time. Personally, I owned the big Altecs for a while, and heard the Electro-voices many times, and I still much prefer the Klipschorns to both of them. One of my former associates loved the TAD drivers, and I've heard good things about them from some readers, but I have no personal experience with them.

COINCIDENT VICTORY II- A reader sent me this letter with his initial impressions of the Victory II. Here it is, with only slight editing (my bold):

"...I have only had my pair for a week (updated from MK. 1) and they are superb!

I previously had the Super Eclipse MK 3 model from Coincident, and I don’t miss much in the bottom octave. I have gained in overall refinement and in palbability (due to enhanced transparency and imaging), and it is easy to drive with a restored Eico HF-81. It seems that his Mk. 2 update has eliminated the lower end anemia that the MK. 1s suffered, and smoothed out the spectral bumps. I also enjoy the Coincident Extreme interconnect very much. They are both bargains in my opinion."

Personal Notes- As I informed this reader privately, I'm not surprised by his observations, based on how impressed I was with the Total Victory IIs last year, especially with the original Frankenstein amplifiers. Further, I don't think his speakers are even broken in yet. I still believe it's possible to put together a "world-class" speaker system (meaning competitive with anything out there at any price), if a suitable subwoofer* can be found for the Victory II. (Though I realize that won't be any easy task.)

*I actually have two pairs of outstanding subwoofers that may be "suitable", but unfortunately both of them are discontinued and extremely rare. However, I am going to make the effort to find something that is suitable, and available.

S.E.T. FRIENDLY SPEAKER LIST- Here's another informative letter from the same helpful reader who made the contributions in August. There's some editing on my part (my bold):

Here are links to a 3-part article on SET amps that appeared on 6 moons website:

1. http://www.6moons.com/industryfeatures/set/set.html
2. http://www.6moons.com/industryfeatures/set/set_2.html
3. http://www.6moons.com/industryfeatures/set/set_3.html

The third link is the most useful as it has a good list of high sensitivity speaker brands.
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v. short list from Response Audio (similar to Welborne's list on recommended speaker sensitivities):

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In addition to the list from Welborne Labs, here is another list of recommended speakers from Decware:

Much of the pricing info is out-of-date and several models are no longer produced. However, most manufacturers listed are in business and have updated models to choose from. Decware (decware.com) has their own line of speakers.

One manufacturer that should be mentioned is Klipsch. Every bookshelf and floorstanding speaker in their Reference, Synergy II and Synergy III lines have sensitivities exceeding 90 dB/watt/meter with several exceeding 95 dB/watt/meter. Since this brand is widely available, they'd certainly be candidates for any SET amp. Downsides with Klipsch: a bit more expensive than competitors, but not outrageously so. Also, some don't like the treble produced by horn tweeters.

You've already mentioned their classic Klipschorn models at various other places so no need to repeat in this section other than to note they're very sensitive (>=100 dB/W/m)." (9/06)

SET FRIENDLY SPEAKERS- Here's another letter from a reader who has something to add to our on-going search for suitable speakers. With some minor editing, and my bold:

"...I am a budget audiophile, and found what I would consider a GREAT bargain for the low-watt guys. David Dicks at Common Sense Audio (www.commonsenseaudio.com), sells several lines of efficent drivers along with box plans for the D.I.Y. market as well as pre-built systems.

I built a pair of his 2.8 mk.II twin ports with his proprietary Audio Nirvana Super 8's (a poor man's Lowther). I must say I was skeptical, but the proof is in the sound and they do have some magic. Tried them with an AES 300b integrated, sweet and detailed. Currently using them as my main speakers with a Manley Stingray with very good results. I know the single full-range driver might not suit everyone's taste, but for the ridiculously low price (I have just over $ 350 in mine for the pair) they are worth a listen. Much more natural sounding than the Klipsch LaScalla's were with the 300b's. And if you want to upgrade to Lowthers, Dave will give you full credit for your Nirvanas. BTW, Dave's designs are all bass-reflex." (9/06)

AVANTGARDE TRIOS WITH BASSHORNS- I still haven't heard these speakers, but a veteran and experienced reader had a lengthy audition with them, and has allowed me to post his observations. Here they are, without editing:

Listening notes: Avantgarde Trios with 2 bass Modules, Corner Placed
As presented by Bob Visintainer
Amplification: Audiopax
Media: Standard CD’s of known quality, often of people I knew/heard in person.

"These speakers are very much of the 'front row and center' school. They retain the sense of ease of the best horns, whilst avoiding (for the most part) the colourations that seem to plague horns. Bob played several jazz cuts for me and it was very obvious tht the system felt very much at home in that material. In fact, they are even better than most horns in this material.

The dynamic range is what one expects from horns and they play loudly and softly, if not with equal aplomb, with virtually equal aplomb. Nothing they did was rated less than good, and the vast majority of material was rendered in excellent fashion, especially within the category of 'up front, first row' presentation. There were 2 things that were not optimum, however.

The first and most surprising was some difficulty deciphering the St. Thomas organ. The organists Hancock (both of them) tend to let their fingers run riot without any consideration of the reverb time at St. Thomas. It is difficult to hear the lines clearly, even in the cathedral, especially as the organ has a slightly recessed, romantic tone. I would have expected these speakers to have assisted in clarifying these lines; they did not. In fact, they were slightly less defined than middle pew center nave listening position (my normal seat) which surprised me.

The second was not a surprise, and that was the midrange tone on a violin, which was the only hint I got all night of 'horn colouration'. The effect was so obvious with a Heifetz unaccompanied Bach Partita that I revised the speaker overview. That it wasn’t in there was an oversight on my part, Heifetz has a difficult tone to deal with. However, the bowing, notation and dynamism were revealed in a way I have never heard before on any speaker.

The rest of the speaker’s performance was as good as or better than expected (and I expected a lot), in some cases enough better to give one pause. The 1st track on the Billy Idol Cyberpunk CD was rendered with a clarity and impact that were nothing short of startling. And without shrillness! On Handel’s Messiah Jerome Hines was about what I expected, and the orchestra had an appropriate perspective. Unlike many horns, in fact, the orchestra maintained a bit of distance which many horns find difficult, even with well recorded material. I guess I would say the perspective was 1st 1/3 of the orchestra, which is a lot better than front row orchestra. The chorus, however, was stunningly good. Dynamic and clearly articulated without artificial brightness.

Brass was very well done as were massed violins, particularly in their upper ranges.

As noted, there was only one hint of the old horn colouration and none of the 'throatiness' that marked VOTs and Electrovoice speakers.

These speakers are excellent for many types of material. Bob maintains that they will sound really good with even Home Theatre receivers, and my previous experience with various horns leads me to believe he is correct, though SETs must be the amp of preference. Though I believe that a centre channel match for home theatre would be difficult, I doubt it would be required, given the lateral imaging of the speakers.

I was very sorry that there was no vinyl available, and I believe that the additional smoothness and interior detail of vinyl would be extremely well suited to these speakers.

They are probably not suited to older classical lovers cashing in their Marantz or Macs and their Bozak concert grands, but I can think of virtually no one else who should not audition these speakers."

"In general, my preferences in music are rather wide, but my 'home' is what is loosely called classical, with an emphasis on early music through Mozart. That does not mean, however, that I do not have the occasional night of Mahler, Wagner or even Penderecki. It doesn’t even mean that the majority of the music I listen to is of that genre. It does mean that a large percentage of my serious listening is of that type. Conversely, the music forms I listen to least are Country (except early through Hank Williams Sr.), Big Band, house/Techno and Hip-Hop/Rap. Even so, I do listen to other forms of popular music with many of the same demands. The rest of the consultants share my classical outlook though they are more biased toward pop, rock, dance, techno and hip hop than I."

Personal Notes- The most important point of this letter is what's not in it: The reader never mentions hearing a noticeable problem with the Basshorns interacting with the Trios. This is a critical observation, considering that's the main potential weakness with this speaker system, and this reader is an acute and picky listener. This fact alone may justify the huge costs of these woofers for many.

I agree with the reader's conclusion. These speakers are very difficult to optimize, and the cost of hearing them, at their near best, is well worth it. They should get SET amps and vinyl to complete the show. Considering the large investment they already made, the extra costs are peanuts.

The same reader sent me a short addenum after he read my above note. Here it is, without editing:

"Your comments were right on point. I also auditioned on the same night (though for a short time) the Duos with the subwoofer usually marketed with them. The difference in tonality, dynamic range and speed indeed created a huge seam. I would not want to live with that.

However, the Basshorns are an excellent match to the Trios when properly set up and there is no seam that was readily heard on any material. They are at an entirely different level altogether. Both in performance and (sadly) price. I should have made that plain in the Email I sent along with the review. At any rate, I trust your readers will find the review useful."

I received these very interesting and informative letters from a veteran reader. They reminded me of a speaker line I should have never overlooked (Acoustat), and I am now already in the process of making amends (see above). There are a lot of observations here, and some potentially good news, that I feel should be shared with everyone. This correspondence is quite lengthy, but definitely not overlong, when you take into account both its detail and wide scope (all the bold is mine):

"I haven't written you in a while but after reading your latest update about having no Class A speakers (at least not a complete system) I thought I should bring your attention to a couple of candidates that I heard recently.

The first is the NEW Apogee Synergy. Apogee has been resurrected by an Australian guy who for several years has been making replacement ribbons for existing Apogees. He has developed new tools to make such ribbons with high precision compared to the original hand-cut ribbons. So what is so special about the new Synergy? It is essentially a Scintilla clone with two major differences:
1) The impedance is no longer a completely amp breaking 1 ohm but is about 2.5 ohms. While this is low it is not beyond most amplfiers to deliver clean power.
2) The sensitivity of the speaker has been improved to 95db/watt with the use of new technology high energy Nd magnets.
This means the speaker has near horn sensitivity without horns and with the purity of ribbons. This means that moderate and low powered tube amps (like the Canary or Wyetech amps) will be able to get plenty of SPL while doing the low level thing they like to do best. Also, it means no price to be paid for high sensitivity like one gets from most horn loaded devices (ie. Without their colorations).

I have heard this speaker in depth, albeit with less than ideal amplification, and I can confirm that it has the same character (or lack thereof…Apogees were always one of the least colored of all loudspeakers) of sound that I have heard from other big Apogees (I have in-depth experience with the Full-Range, Diva and Scintilla and have owned Caliper Signatures). Your biggest complaint about the old Apogees was the need to use less than optimal amplifiers and now that barrier has been effectively eliminated. Since they are already one of your top Class B picks then this new speaker is a definite contender for Class A in your ranking system. (AS- I agree!)

The next speaker is an electrostatic speaker that I feel you have overlooked and is one of the more underrated speakers ever. That brand is Acoustat, but I am only going to suggest specific models for inclusion. Basically, all the models after about 1985 should be considered at least Class C or better, this coinciding with the introduction of the Medallion transformers, which greatly improved the transparency and low level resolution of these speakers. Models that fit this description would be the Acoustat 1+1, 2, 2+2, 3 etc. They don't have quite the transparency of say an Audiostatic or STAX (I know because I owned those as well a late 1990s ES 100 and had STAX ELS F81s) but they have a dynamic and physical presence to the sound that is unlike any other full-range electrostatic speaker with the possible exception of Soundlabs.

These speakers can be brought to perform at nearly the same level with Apogees in terms of transparency, dynamics, neutrality, and max acoustic output, IF the interface capacitors are replaced with much better modern equivalents (getting rid of the big electrolytic cap makes a BIG difference in the mid and high frequency transparency). I would then put these speakers in lower Class B by your standards (using Apogees as a reference point, as I had both types of speaker simultaneously…I kept the Acoustats).

The other version of Acoustat I want to recommend is the Acoustat Spectra series. This speaker line used the exact same panels but with a completely redesigned interface. They are much more transparent (now approaching Audiostatics but still a bit behind STAXes), easily the equal of top ribbon designs (like Apogees), but have much better soundstaging with equivalent imaging to the Acoustat 1+1 (the best imaging of the older versions). I would recommend all the models from the Spectra 22 on up, depending on room size but the sound quality will be equivalent at all sizes, just an increase in acoustic power. Ironically, the bigger the model the LOWER the power requirements (like multiple drivers in parallel, sensitivity goes up with more panels).

I have a smallish room, so for me the Spectra 2200 (a fancier cosmetic version of the 22 but exactly the same speaker) works fantastically, but with a big room then there is the Spectra 33/3300, 44/4400, 66/6600. As the name suggests, the number is the number of panels per speaker. So the 6600 is essentially three panels below and three above, the 4400 is 2 below and 2 above and the 3300 is 3 below. In terms of acoustic power, I would say my Spectra 2200 are about the same as a Apogee Duetta Signature. The bigger models can easily compete with the biggest Apogee. These speakers are superbly low in coloration, high in transparency, image and soundstage superbly, and have a physicallity to the sound that seriously makes people ask where the subwoofer is located. Serious bass and fullness of sound unlike any other estat I have heard, and again on par with Apogees.

Also, the big ones will have over 90db sensitivity and a not too severe (minimum 3 ohms I think) impedance curve. This means high SPL from moderate power. As an example, I have at the moment 45 watt tube hybrid SET amps from KR Audio (the Kronzilla monoblocks), these will drive both pairs of Acoustats I have (1+1 and Spectra 2200) efforlessly. They also worked well with OTL amps and these are the least sensitive of the Acoustats I am recommending. I would say that these speakers easily belong in the upper part of Class B and with the right amps could knock on the door of Class A because they do most everything right and the big ones might make a fair attempt at getting an orchestra reproduced realisitically.

Finally, Acoustats are nearly indestructible. They do not arc, the panels do not go bad. The only damage you can do is to damage the transformers (very rare). There are thousands around still working fine after 20+ years.

The models I would say qualify for Class A or Upper B would be:
Acoustat Spectra 6600 and 4400

Solid Class B for a pretty big room: Spectra 3300
Solid Class B for a smaller room: Spectra 2200

The best part about these speakers now is the price. 1+1 can be had for under $1000. This is a joke for the performance. The bigger late model Spectras (last design before they were closed down by Rockford-Fosgate their parent company) will cost substantially more but will give true estat performance with acoustic power and impact that most other estats only can dream about.

That brings me to amps. I have heard many of the amps on your list and most I would agree are very good. Have you or your associates heard the KR audio Kronzilla monoblocks? If not then you owe it to yourself to hear what they can do. They are available as 45 watt or 100 watt versions. They are parallel set using a pair of the huge T1610 tubes. There is also a 25 watt and 50 watt stereo version that might even have better sound as it is only 1 tube per output. They are hybrid, meaning the input and driver stages are transistor but they have zero feedback and run of course in Class A (they are single ended). They have control at the frequency extremes in a way that I have never heard from SET or any other tube amp for that matter. They have a tonality that is not as lush as say the ASL or Canary amps, but are also not as lean sounding as the Wyetech amps. They are also more dynamic than any of these amps and delve very deeply into the low levels of a recording.

At the moment they are the best I have personally heard, even bettering the Ayon Reference, Kondo amps, and the New Audio Frontiers 845 reference monoblocks. The only amp I have heard that may be better is the WAVAC HE 805, but this costs Silly money. I have also heard quite a number of times the CAT JL2 and JL3 amps. The KR is IMO superior on almost every level, but especially at the low level and yet they have the control and ease of these big amps (not that the KRs are small but the CATs are HUGE)."

My (Edited) Reply to the Reader- Thanks a lot for the letter...My main excitement, as you could have easily predicted, is the new Apogee. I wonder if it will become available in North America? Anything new about this company will be of great interest to me. You’re correct, I overlooked the Acoustats for some reason... I am also very familiar with them, and I feel you are overrating them somewhat. Still, some of their models should have been a Reference from the beginning, as you write.

"I know others who felt that I overrated Acoustats...until they heard them at my place. The biggest problem Acoustats had over their relatively long history was first the original transformers were not that great and hindered the sound. Second, the passive parts used inside were not the greatest, again hindering somewhat the sound, afterall they were quite affordable speakers. Third, because they were affordable speakers, people rarely coupled them with truly high end amplification and sources and this GREATLY hindered their potential. I am now powering my Acoustat 1+1 and Spectra 2200 with KR audio Kronzillas and the result is shocking, even though these are "only" 45 watt amps.

As to the new Apogee...I am not sure if they will be selling in the US, although if they don't they should. I will be getting an Analysis Audio Omega speaker for review sometime in the near future. I will be able in the relatively near future to get a longer auditioning time with more appropriate amplification. I expect great things.

This is kind of an Apogee clone that is mid-way in size between an Apogee Duetta Signature and an Apogee Diva. Interestingly, these speakers while not terribly sensitive (86db/watt) are a pretty easy load (above 4 ohms). I have heard really impressive things about them from a trusted source and based on the design I expect they will perform admirably (easily as good as original Apogees). I will also be driving them with SET amps as I have heard 30 watts is sufficient in a moderately sized room. Thanks for taking my recommendations seriously and I look forward to your own comments."

My (Edited) Reply to this letter- I did hear the last generation of Acoustats with really good electronics, though not with anything on the level of KR Kronzillas...Keep in touch with the new Apogee. I would really love to see a modern version of the original "Full-range", which drove me crazy in the early 1980’s. I still can’t get it out of my mind. That speaker with SET amps! A fantasy I didn’t think could ever be made. I’ll do almost anything to hear such a combination.

The reader replied again to my last letter, with a lengthy letter of his own:

"Thanks for the update. That is the interesting thing about these Acoustats. I hear a lot of people underrating them, but they keep getting better and better with the level of electronics placed on them. Obviously, Apogees are the same way (perhaps even more so). Like I said I would not put the Acoustats above Apogees, but I would put them above most of the rest of your list. The problem with old Apogees is the tough impedance, especially the Scintillas and Full-Range (although a bit easier than the Scintilla just more amps). I have, however, heard Scintillas sound incredibly good with a particular Zero Feedback hybrid from Holland (Sphinx Project 16). This amp is 100 watts Pure Class A (uses a cooling fan) with tube front end and one of the most massive power supplies I have ever seen in an amp (4 power transformers and two more for the tube section). This amp can drive anything and will play Scintillas effortlessly to high levels. It is one of the only amps that can do this and sound good. I have a Dutch friend that is doing this with a Scintilla and it really sings.

I know another Dutch guy who has a completely rebuilt and custom finished Full-Range. It is amazing. However: he doesn't have the same level of amps on it and quite frankly the Scintilla with the better amp outperforms it in critical areas like low level resolution, micro dynamics and tone. That is not to say the Full-Range is a worse speaker, oh no, just the amps don't let it shine as brightly.

One of the most interesting experiments I have heard is with an Apogee Diva. Now this speaker is large (almost Full-Range size) but is a much easier impedance load (dropping only to about 3 ohms) and more sensitive (about 86db/watt). This means a reasonably powerful SET or PP tube amp can easily drive it. Another friend had a rebuilt pair of Divas (as you can see I am dialed into the European Apogee scene, having owned a pair in the past) and we found that a small, zero feedback, 2 stage (yep only two stages), high bias class A (to 15 watts) hybrid that put out 50 watts into 8 ohms and 100 into 4 ohms made heavenly music with the Diva. Really top stuff! Did you know Apogee speced the Diva to deliver well over 100 db at 4 METERS with 100 watts of power? I believe them. Most of the rules about Apogees don't really apply to the later models. They work fine with moderate top quality power (for example the big Canary monos or the ASL 1009 PP 845 amp or the Hurricane). I would really like to hear a CAT JL2 on them.

The KR amps are probably the best overall amp I have heard. They seem to have no weakness. There maybe an amp here with SLIGHTLY better something and an amp there with SLIGHTLY better something else, but they are a complete package. Let me know what you think about them compared to some of the other highly touted amps on your site. The best part is that they are single ended with serious, real world drive. They will drive all Apogees effortlessly, except the 1 ohm Scintilla. BTW, there is a 100 watt version of what I am now using at home (I have at home the ones with "only" 45 watts). Apparently, the difference is in the power supply (much bigger by about 10 kg) and in the biasing scheme (so it wastes less power).

The new Apogee Synergy I think has the potential to be one of the very top speakers on the market today. I have yet to hear it with what I would consider "serious" amplification. I think something like the KR Kronzilla or Wyetech's 211C amp would make an ideal partner and sound simply heavenly. BTW, Graeme Keet (now Mr. Apogee) has also made a Full-Range sized high sensitivity speaker called the Definitive. It is around 100db/1 watt sensitive. The downside is that he is asking in excess of $100,000 for it. You can check them out at this website:
http://www.apogeeacoustics.com/
http://www.apogeeacoustics.com/specialprojects.html
http://www.apogeeacoustics.com/synergy1_5.html

Also, here is a another speaker of interest.
http://www.relcoaudio.it/Relco_ing/davinci.htm
I have heard the smaller Mantis version of this speaker (also on the website) and the ribbon is fully competitive with Apogees, just the small bass driver lets it down. Now I will hear this Da Vinci very soon and can give you feedback on it. I like the fact that they used cones in a line source arrangement and especially that they are also used as dipoles to match the dispersion in the room of the ribbon. The construction of this companies ribbon is fully on par with the new Apogee Synergy (as I have seen both). This Da Vinci is 90db sensitive, so it is also suitable for moderate powered amps."

Personal Notes- There is quite a lot to contemplate and absorb here, but the most exciting news for me personally is the Full-Range Apogee being driven by a SET amplifier, even if it's not using a 300B output tube. More importantly, considering how many used Acoustats are out there and available at low prices, this reader's observations of their potentially outstanding performance can only be described as even more great news for many audiophiles.

I am going to find it very difficult to get that "Definitive" speaker out of my mind. I honestly believe that if it sounds as good as the original Apogee (let alone better!), and it really is an easy 100db load, then it would probably be my first choice as "the finest speaker ever made". In fact, I would be surprised if it wasn't the best speaker ever made.

Finally, I recently discovered that one of my associates picked up a pair of KR amplifiers, though not the Kronzillas. There will be a posted report on them after some routine modifications, in-depth playback and relevant comparisons.

I received two informative letters from a reader a little while ago, and they were put temporarily aside when I was swamped with correspondence. I kept them though, and am now posting them, along with my initial response (mainly questions) and some final thoughts. Here is the first letter, with only the parts concerning speakers, with only minor editing (my bold):

"Some friends and I recently bit the bullett and built a set of Open Baffle designed speakers (see pics). The dimensions are 45"h x 20" wide with side "wings" measuring 5" at the top scalloped out to about 16" at the bottom to assist in bass wave launch and cancelation. We went with a narrower profile than usually found in OBs because we're incorporating a bass driver into the OB and thus not trying to maximize the bass from the mid driver.

We used the new high excursion form of the Supravox 215 Exc. OB midrange driver and their 15" 400 Exc bass field coil drivers with a pair of horizontally positioned Fountek Pro 5.1 tweeters. Expensive drivers but well worth the cost! The field coil in each Supravox driver is powered by its own small dc power supply. The tweeters have 2.2 uF Mundorf gold/silver caps on them (11 khz) and the bass drivers have a high pass filter using Solen 16 ga. Hepta-litz 17 mH inductors (75 hz).

Despite the somewhat pedestrian look, the sound of these open baffles is absolutely breath taking and a SUBSTANTIAL improvement over my Oris 150 horns with AER MD III drivers and Altec Lansing 16" bass drivers. We compared them side by side to a set of Avant Garde Duos and simply unplugged the Duos after about 25 minutes.

We're knocking around the idea of refining the shape of the ob frames (rounding off edges, perhaps a little narrower) and then making the OB frames available in "flat packs" with 2-3 grades of matched drivers (Chinese import, Visaton, Supravox). Kind of an "Ikea-like" approach to absolute world class sound for less than the sales tax on a pair of Avante Garde duos!"

"Thanks for the letter. I might post this...However, a few questions first though:
Where did you get the information on the speaker?
What’s the sensitivity etc? SET friendly I assume?
And what would be the approximate cost to exactly duplicate it, going all out with the drivers, like you have? (“Better than the Duos” obviously has grabbed me!)
Or are you keeping this close to the vest, since you may end up marketing it (which I can understand)?"

"The speaker info is:
1.) Fountek 2.1 tweeter (7 ohm, 97 db)
2.) Supravox 8" 215 Exc. Open Baffle mid (6-6.5 ohms, 100db)
3.) Supravox 15" 400 Exc. Alnico magnet (8 ohms, 96db)

Yes, the speakers are extemely SET friendly having driven the entire system on 2A3 monos to the Wavelengths, although the 2A3 have a tad less dynamic headroom than the 300bs.

The Supravox drivers are field coil drivers and thus each require a small dc power supply ($105 on the Internet via electronic supply stores). In our open baffles, we wire the Founteks in parallel with the Surpavox midrange using a capacitor (we use a 2.2 Mundorf gold/silver but the values may vary depending upon room, etc.). For the bass, we then use either two 8.5 mH Goertz Alpha core inductors per side (for a total of 17 mH inductance) OR one set of 17 mH Solen hepta-litz inductors. The high pass bass filter kicks in at roughly 75 hz.

***Yes, we're considering marketing these speakers as flat packs with two driver options: the 8" Visaton B200 mid, 15" BGS 40 bass driver and the Fountek 2.1 tweeters OR as previously described with the Supravox combo.

Our cost to build the Supravox combo is about $5,000 (OEM) in components (drivers, caps, inductors) plus $100 in Marine Grade plywood plus labor to build the baffles. Yes, the Supravox drivers are not cheap! But, they're worth it.

The Visaton (available thru Solen Canada) version would cost around $800 (OEM) in components, plus the plywood and labor! Oh, and you don't need the dc power supplies for the Visaton version.

The Surpavox baffles are conservatively the equal to any Avante Garde system I've heard (Unos, Duos and Trios) and I dare say the Visaton version will give the Avante Garde duos a very, very competitive run for their money......

If you google the net for Omega speakers and Red Wine Audio, you'll find a pair of open baffles Omega recently built using just the Visaton B200 mid. It got rave reviews at a recent show. So, imagine what a well designed open baffle system would sound like with the B200 mid supplemented by a quality tweeter and a 15" bass driver?!"

Final Thoughts- The descriptions and prices of these speakers sounds almost too good to be true, and there may be a potential conflict of interest here. However, I feel that the writer is sincere with his observations, and his commercial considerations are secondary. If not, I wouldn't have posted this letter in the first place. Time will tell of course, but this is another situation where some other observations will be very appreciated. I will also be on the lookout for any further developments with these speakers*.

*Further- Another veteran reader has now also sent me highly encouraging information and observations about the Supravox drivers and speakers. He even confirmed the Duo/Supravox shoot-out results mentioned above. This was in March 2007, so these speakers are now on my "Radar".