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Big expensive floorstanders have to be top notch because while it adds that weight it often adds annoying resonances or sounds simply terrible in smaller apartment sized rooms. Which is why Woochifer touts subwoofers. The best place for the midrange and treble is not necessarily the best place for bass. So you pull your speaker 3 feet from a wall and the bass is fine but now you lose out, possibly, on the higher frequencies.
Two subwoofers placed very well handles the issue of stereo imaging and most quality subwofers will create more depth than any floorstander for sane money. It is also tue that a subwoofer creates a 3-way system. However the end user has much much more control of the sound. With a lot of work on the buyer's behalf it can be done but it's work. I always hear the handoff between sub and speaker though - presumably if that was solved then for about 4k you should be able to get a totally full range system of supreme sound quality.
Perhaps you have knowledge of the ultimate subwoofer out there. It's fine for a compnay to get credit for invention, it is also true that much of the time someone else will come along and improve upon the great idea.
Whenever I go to a live concert, I am constantly amazed at how much bass there is compared to what most home sound reproduction systems put out. I don' t know if the people who design equipment are deaf or they just test it in an anechoic chamber, sign it off and ship it out. Any sound system which cannot reproduce deep bass is not high fidelity in my book.
The tone of an orchestra, the power of the low register instruments themselves including pipe organs, pianos, cellos is lost without bass. So is the rhythm. One test I listen for whenever I hear a new speaker if I have the opportunity is for plucked double basses and cellos accompanying other instruments.
If you can't feel them, you aren't getting anything like what a real orchestra sounds like and this is a very common compositional technique so it isn't something that you rarely hear. I think this is one criteria acousticians use for judging concert halls as well. Bass reinforcement is critical to any good hall. One problem with using a separate subwoofer is that unless it is physically close to the speaker it is used with, there will be major cancellations and reinforcements in the frequency range where the their frequency response transition occurs.
This translates into major peaks and dips in frequency response in that region which is very annoying to listen to.
Booming resonances on some notes and nothing audible on others. Therefore the designer who builds the subwoofer into the rest of his speaker system can optimally integrate it. If I were contemplating a subwoofer, I would buy two and use them as stands for the main speakers. I don't know much about the current market for subwoofers.
Possibly the first subwoofer was the monster used in the Infinity Servo Static I. If there is a clone of it or at least something in the same vein, I'd guess it is a Velodyne servo conrolled 15" woofer. That's where I would start. Among other inventions, AR invented the dome tweeter and ferrofluid cooling. This allowed the design of small drivers that could handle a lot of power and hence produce high volume without distortion and yet have a very wide dispersion up to a high frequency when compared with all of the available alternatives such as horns or conventional cones.
Yet when compared to the dispersion of woofers and midranges, even the best tweeters are relatively directional especially in the highest octave where directional cues are so important for stereo reproduction what some people call imaging or sound staging I suppose. Anyone doubting this should look at polar responses of speakers as a function of frequency.
They all tell the same story to one degree or another which is one of nearly omnidirectional dispersion at low and mid frequencies and increasingly limited dispersion as the frequency goes up.
The solution to the problem of early reflections of low and mid frequencies but not high frequencies has been to pull the speakers away from the back wall, use sound absorbing material on the back wall, or add more indirect firing tweeters. This last method allows the speaker to be placed close to the wall where bass reinforcement is much greater.
Don't tell pctower that an indirect firing tweeter is no good. He might just wind up throwing out his prized Vandersteen Vs. Still haven't figured out how to fix the original Bose s yet.
That's a tough nut to crack. I don't belive Acoustic Research ever used an indirect firing tweeter in any of its models. You sound like you are personally modifying the AR9. You can add these drivers to most any speaker if you want to. You also are not truly being realistic. To condemn speakers for not having enough bass is fine when money is no object but the reality is that good bass not just a lot of it costs a tremendous amount of money - for CURRENT loudspeakers. The trade-off is so obvious when you hear any big line of speakers the little Standmount is far faster sounding with the trade-off being that no a double bass and organ is not going to have justice done Trouble is A LOT of speakers that can do those Organ and double basses are slugs in the midrange and some have annoying metal tweeters that zing up and completely ruin violins.
Directionality means a smaller sweetspot which is not the worst thing in the world Your assessment of SUbs is the same as my assessment If you're a big organ music fan then I can certainly see where you're coming from The AR9 as a stoick speaker apparently had phase problems and was considered pretty average But this does not help current buyers looking for speakers.
Most view the Quads as best for classical music as stock speakers - The 63 to me is overpriced dynamically and bass void but they seem to be greatly loved and have lasted forever so maybe they're built for the small British apartments and strictly chamber and light ensemble stuff. Surely you forget the best speaker ever made on the top 10 list Griffin Electronics type 85 Tri Amplified with electronic crossovers.
Actively damped bass driver. And all from Dusty Chalk. Eschew fascism. Truth Will Out. Originally Posted by stevef JoeE SP9. Is there a reason that a thread that ended in is being dug up? Joe I can afford almost any panel going past or present -- I disagree with your conclusion -- generally speking the ESL needs to be gigantic -- and few rooms can support them adequately.
Which is one reason I have avoided them. Most of the smaller ones like Martin Logan realize the problem and have put conventional woofers in to try and compensate for the big problems that stats have in the bass and dynamics region. But in my listening ML has created more problems than they have solved and I would still prefer to listen to the Quads. The is the smallest best panel I have heard. And a number of boxed speakers I have heard still do dynamics, bass drive and pressure better.
Quads do the holographic imaging and some of the unrelated to music but "audiophile" stuff much better than most. The is the only one I have heard that I think I could live with long term -- but it isn't my first choice. With more than posts I don't think I'm a newbie. My comment was made in jest. I am well aware of RGA's approach to gear.
I don't own boxes and never will. Currently I'm trying to decide between some new Apogee's and a Cayman. However, I've got a lead on some Acoustat 6's and may buy them and the car! Hey Joe, you've been contemplating that Apogee for a while now.
I cant believe some of the price I see on Agon too. They'll just take up my space though I think the Dude was talking about this newbie named Barney. Best wishes. Originally Posted by jrhymeammo. Not one entry from James B. Lansing is a joke. No late 70's Pioneer HPM stuff with giant voice coil, carbon cones, ribbon tweeters, except for the NS, all the other stuff is "east coast" sound stuff. Until, you buy them, and use them. Perhaps I'm missing something here.
Yes I know there are many quite decent speakers for less, but to get that hard to define elegance you need to spend near that amount or more not counting good electronics and cables to run the things.
So as to what I'm missing why can't those same 5K and up speakers deliver kick ass bass? Adding a grand per speaker to the expensive models almost gets lost in the pricing, worse a sub added to an exisiting cabinet should have some savings from reduced duplication of box, feet, connectors etc. My friend and I designed our own 3 way. Using a Scanspeak 10" woofer with an Fs of Like all speakers that deliver decent bass cabinet sizes go up, you can't get there from here with small boxes.
Those tiny subs with slope or servo correction and massive amps just don't seem to end up sounding very musical. My point is that good bass can be done especially at the 5K and up price points. One big problem pun intended is the size of the damn things. The biggest problem I hear and read all the time is that, if speakers can't play Classical music superbly, it's not considered audiophile speakers. I'm not obsessed with that word "Audiophile" at all, but kinda shytty how designers focus alot on Classical and Acoustic music.
First when I read the subject line to this post, said to myself this is a good post to read and clicked on it. LOL Still a good [old and new] read though. Actually classical music is limited. A synthesizer covers more frequency response at limitless permutations of dynamics.
So technically the best thing to illustrate technical perfomance would be a sysnthesizer and NOT classical music. Having said that the real reason classical is used is because we have a known reference of what instruments sound like such as piano or vilin whereas we have far less with an electric guitar player running through an amplified set-up.
So the classical music guros argue bogus condemnation of rock and pop and folk classical and often even Jazz. The bottom line is that no electrostat no matter how expensive sounds like a Horn loudspeaker at even more money. What is better? The K-Horn has been selling for more than 40 years and no it's not perfect but yes it is very good -- the question is the three things that it does better by a MILE than any panel can offer up more important to you than three things that a good panel can do that the K-horn can't.
Which is why Quad and Klipsch are still selling. Page 1 of 2 1 2 Last Jump to page:. Similar Threads Best speakers for classical, flamenco, acoustic string guitar music? By acqui in forum Speakers.
Replies: 24 Last Post: , AM. Axiom-Is the hype to be believed? By Best Vintage Bookshelf Speakers Uk HighFlyer in forum Speakers. Replies: 69 Last Post: , PM. Underpowering speakers? By gdew in forum Speakers. Replies: 23 Last Post: , AM. All times are GMT The time now is PM. All rights reserved. Build quality is good for the price, and the elegant curves of the cabinet add a touch of class.
Some clever bracing and damping minimise resonance. Rivals such as the excellent Fyne Audio Fs might sound a little more exciting, but over a longer listen the Evo 4. A superb pair of premium floorstanders that get better with every listen.
Read the full review: Wharfedale Evo 4. Mission is now owned by China's IAG group, but top-class British audio engineering remains critical to its design and production process. The QX-2s are sensational speakers that perform brilliantly across the board and look pretty smart, too. Fun, energetic and detailed, they're some of the best budget standmounters we've seen in recent times.
A fine budget buy indeed. Read the full review: Mission QX Another excellent pair of speakers from Fyne Audio. The mid-range F floorstanders impress with sweet timing, a well-defined sound stage and lavish levels of detail. Build quality is superb, which adds to the appeal, and cabinets come in a choice of real oak veneer or piano black gloss finishes. If you want to splash out on a pair of speakers that will bring a sense of scale and clarity to your favourite recordings, these are just the ticket.
The general look has hardly changed over the last decade or so, and those curved cabinets have gone from looking futuristic to almost classical, though they still look attractive. There's now a front-facing port and Best Vintage Bookshelf Speakers Uk Ltd of course the design looks as elegant as ever.
In fact, levels of low-level detail are class-leading. Sensitivity: Entry-level is a relative term. Happily, there's plenty of clever engineering inside to justify the high price. While most speakers are made from MDF, these cabinets are a hybrid construction of aluminium and birch plywood.
The drive units are no less exotic. The looks aren't to everyone's tastes, but there's no debate when it comes to performance. These are insightful and composed performers that work well across a wide range of musical genres. Top it off with a balanced, integrated and dynamic sound, and you have a pair of speakers that set sky-high standards for the price.
Read the full review: Wilson Benesch Precision P1. Power: 2 x 50W Dimensions: 30 x The AE1 Actives combine an amplifier with passive speakers to superb effect � and at a very reasonable price too.
They're small enough that they won't dominate your living room but lively enough to add a little swagger to the mid-range. With a healthy combination of punch and drive, you'll find that these active speakers revel in complex polyphonic rhythms. Even traditionalists who prefer hi-fi separates should track down a pair and give them a chance to shine.
Looking for a pair of wireless standmounders? The Formation Duos aren't cheap but they offer a level of detail and precision that makes you want to listen to your favourite recordings on repeat.
Aside from the power cable, the speakers are completely wireless, active and multi-room speakers and operate their own mesh network to ensure a rock-solid connection. We'd prefer a single app to handle all the multi-room functions, but excellent clarity and performance more than make up for that minor gripe. A stunning way to go wireless, and a fine way to explore the Formation family.
It's kept pace with the digital age and now offers some outstanding all-in-one streaming systems including the LS50 Wireless active speakers, which impress with their masterful sound quality and sleek styling.
A terrific interpretation of the 'hi-fi of the future'. Q Acoustics is a relatively young British brand so it doesn't come with any misty-eyed nostalgia. Established in , the firm's mission is to offer outstanding audio performance at a decent price. The affordable is fulfil that brief with a warm, rich and insightful sound plus thumping bass that comes through thick and fast.
One thing worth noting: the cabinets are 28cm deep so if you're planning to position the speakers on stands, be sure that the mounts aren't too shallow. British hi-fi loudspeaker brand ProAc has built up a reputation that's as solid as its hand-crafted products. The DT8s are some of the best-sounding floorstanders we've heard at this price point, delivering large-scale sound with delicate dynamic swings and plenty of midrange subtlety. The prominent company logos plastered across the front of the speakers may not be to everyone's taste, but the DT8s deliver class-leading performance for the money.
Read the full review: ProAc DT8. Wharfedale is undoubtedly a classic British hi-fi brand. Listen to hi-fi equipment from yesteryear and you might notice a different audio presentation more suited to the music from that era. In the case of the original Wharfedale Linton speakers, that era was between and the late s � a time of big trousers, big music and big speakers.
If you fancy a speaker that's built using modern methods and materials, but that takes this old-school approach to styling and sound, then you might well want the new version of the Linton. These speakers do an impressive job of capturing something of an older, fuller, more easy and open style of hi-fi sound without forgetting to make the music exciting.
With effortless weight, spot-on stereo imaging and layer upon layer of marvellous detail, you could listen to these speakers for days and still not get tired.
Read the full review: Wharfedale Linton. Spendor designs, engineers and builds all its loudspeakers in the UK. These compact, premium floorstanders combine the firm's flair for craftsmanship with a fun, expressive sound that belies the rather traditional cabinetry.
They remain clean, articulate and balanced even when faced with demanding rhythms � no mean feat. While some of Spendor's smaller speakers sound a little an analytical to our ear, the A4s are a far more entertaining proposition. And at just 80cm high, they won't dominate your living space. Read the full review: Spendor A4. If you have a smaller-sized room that begs for an intimate performance, the Quad S-1s are the perfect choice. The exquisite woodwork is matched by exquisite vocal handling, which displays remarkable clarity, insight and emotion.
A clear midrange is the icing on this compact audio cake. While it's fair to say that the S-1s don't quite have the authority to compete with larger rivals, their enchanting dynamics more than make up for the slight lack of scale. A fantastic offering from a great British firm that has been producing audio equipment since Read the full review: Quad S Since its inception in , PMC has grown from humble beginnings into one of the best in the domestic and studio speaker business.
For proof, look no further than these classy, slimline floorstanders. They don't look all that different from the cheaper Twenty model but offer a substantial upgrade in terms of resolution, dynamics and punch. If you have a small or medium-sized room, you'll find that the soundstage extends well beyond the speakers themselves. Is the metal detailing a little too showy?
Perhaps, but these are still a great buy. Read the full review: PMC Twenty5. This family-owned British brand is best known for its luxury DAB radios but also makes fantastic wireless desktop speakers. What Hi-Fi? Please deactivate your ad blocker in order to see our subscription offer. Reasons to Buy Smart, stylish design. Reasons to Avoid Nothing of note. Q Acoustics i An excellent addition to the i series of speakers.
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