All Hail the Triton Five

A newsletter or two ago I reported that I had been surprised and pleased when I moved the Triton ONE-R from my demo room,  replaced it with the Triton Five, and fell in love with the Five.  I listen to the Five every morning when my timer turns on my 1996 Sony receiver to the classical station for a gentle awakening. Though groggy I usually enjoy the music but am not in the mood for evaluation of sound quality.  Only when I put the Fives in the demo room did I pay attention to discover how fine they are.  Now British magazine HiFI News and Record Review has reviewed them and raved.  Here are a few excerpts:

   “Quite simply, these are speakers that just sound ‘right’ as soon as you listen, creating a soundstage picture completely free from those slim towers, unearthing startling detail in the midrange and the treble, and with bass to make some much larger – and much more expensive – loudspeakers sound just plain silly. If you’ve ever read one of those reviews in which the writer seems to suggest a process of toiling at the coalface to get under the skin of a product – get real, it’s only listening and writing – then you’ll enjoy the fact that the Triton Fives are not just ridiculously good for the money, but also remarkably easy to enjoy….– I was already hooked by the wide-open sound, the weight and power of the bass and the way they seem completely invisible in acoustic terms, leaving the listener focused and well-extended, the percussion nicely delineated, and the piano naturally weighted. It’s an exciting sound, and presented with total ease by the Triton Fives….offering up the voice and brass in perfect balance with the orchestra in the resonant Snape Maltings acoustic for a brilliantly atmospheric sound. They also manage to be fast and crisp without ever sounding brash or overbright.
these speakers really can boogie, with fabulous snarl to the guitar, thundering bass and a heart-thudding drum figure just before the solo howls out. By any standards these are simply wonderfully well-balanced speakers, and a delight to review. ….Superb speakers for sensible money? Yes – and then some! The Triton Fives live up to their ethos by putting the engineering budget where it counts – into the sound. The open, focused soundstaging, powerful, punchy bass and remarkable handling of voices and acoustic instruments all contribute to the very special sound on offer, making these slender black columns remarkable value and a must-listen. Sound Quality: 87% of 100″

   Of course I have picke the choice bits of the review, but there is more at this link   https://files.constantcontact.com/fbc8b03f001/6098d2b1-e71b-47b1-a00b-5ef16bde66ef.pdf
Happy listening,
Wylie314-692-2230
wylie@speakerandstereostore.com
Copyright © 2019 The Speaker & Stereo Store, All rights reserved.


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Troubles at home

I have some sort of electrical problem, so a dozen or so outlets are dead till an electrician fixes the problem next week. Two of the outlets are the ones that feed my Triton Two+, ONE, ONE-R, and REFERENCE, so I can’t use their built-in subs. For replacements I put in a pair of the Triton 5 that normally reside in my bedroom and I have been super pleased. Yes, the clarity is a bit less, and if I were to crank up to concert loudness or put on drum solos I would notice the difference. But I haven’t had those urges lately so I am just enjoying. As a matter of fact I did the “reviewer thing” and did a long listening session that was a lot of fun. I think I should do a quick comparison before I bring back the big boys, but I can say right now that for a $2000 pair of speakers the Triton Five is a winner.

Home theater, again

We have a 12 x 17 bedroom that we use for our home theater, but for the past year we have listened in stereo because I sold the center channel speaker to a guy who just had to have it NOW. Actually stereo is usually just fine, but surround can be nicer. This week I finally put back a center channel.

I’m using GoldenEar SuperSat 60s on stands right and left and SuperSat 60C for the center. SuperSub XXL for the sub (which is serious overkill, but I have one for demo so why not.) For rears I amusing Gallo Micros on the floor, pointing upward because anything else would be too close, as we have the TV on the long wall.

Most people bypass the SuperSat 60, probably because of the $999 price but to have a line of four woofers and two bass radiators in a D’Appolito array with the GoldenEar Heil tweeter lets me have top notch sound in a small room.

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NEW products from Music Hall

Music Hall is known and respected for solid, good sounding products that are serious value. Here are two new ones.

Music Hall mini plus

music hall mini plus

 
Hey, I hear ya, it’s hard to excited about another “new” cheap phono preamp, but this one is seriously different. It features a headphone out, capacitance loading, a rumble filter, and the feature that truly makes the mini plus standout, a trim/gain control. This incredibly useful feature is kind of like having a volume control for your phono stage. Why would you want that? Sometimes the turntable isn’t loud enough or the sound from vinyl is distorted and shrill. The trim/gain control allows you to really dial-in the output of your turntable/cartridge to each individual system and even each recording. As you know, the output of each record can vary quite dramatically which sometimes changes the optimal performance and that sweet honey spot of your system. The trim/gain pot allows you to perfectly control the output of your vinyl rig and maximize your system’s sound. Only $150

To see photos and full descriptions go to https://musichallaudio.com/product/mini-plus-phono-preamp/

Music Hall Connect phono cable  Only $99

Two years in development with one of the world’s leading cable designers has resulted in the production of this magnificent wire. A cable specially designed for turntables.
The CONNECT cable will have you pulling out and rediscovering your record collection.

You can see photos and description at https://musichallaudio.com/product/connect-phono-interconnect/

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GoldenEar ONE.R

The latest from GoldenEar is the Triton ONE.R,  and the “R” stands for REFERENCE.    Yes, the ONE has been upgraded in every way:

New tweeter, new smaller bass/midranges, new crossover, new wiring, more subwoofer amp power, more cabinet bracing, and piano black finish. All these changes are described more fully in the first review, in Sound and Vision magazine. Here is a link. 

GoldenEar Triton One.R

The reviewer considers the ONE.R as a smaller version of the REFERENCE for less money ($6000 vs $9000) and my short time listening to date agrees with him.  It looks like the main difference will have to be in the maximum SPL . The smaller 5.25 in cone bass/midrange driver  in the ONE-R might top out a lower SPL. The REFERENCE is spec’d to 12 Hz, while the ONE-R is 13Hz output (clearly insignificant) but because the REFERENCE has one more bass driver, bigger passive radiators, larger cabinet, and a little more powerful subwoofer amp it will surely move a bit more air. Frankly the original Triton Two did as much bass as I ever want, but there is always merit to more bass SPL capability.

But do they sound the same? An audiophile friend who has heard the REFERENCE several times dropped by, and after a one minute listen said he preferred the ONE.R. My take is that he was just here when I was playing a good track: I need more comparison to decide. Right now I have a pair of the REFERENCE, the ONE, and the ONE.R in the room for comparison and will be swapping off. I know that many of you, my subscribers, have ears more golden than mine, so anyone who wants to help me decide the differences is invited to drop by and listen. I’m highly available; just email or call for a mutually convenient time.

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Triton Reference is a TAS GoldenEar Award winner

It’s on the cover of TAS’s September issue, Inside is a review by Anthony Cordesman, TAS’s most prestigious reviewer. He is so high-end it’s ridiculous — Pass Labs Class A monoblock amps, etc. so he is used to owning and auditioning the best of the best, cost no object. Here are selected quotes from his four page review:

“…remarkable amount of transparency, life, and soundstage detail along with some of the best-integrated powered subwoofer performance I’ve heard at anything like the price.”

“…a truly excellent speaker for the money.”

“…one of the few speakers that can actually reproduce very-low-frequency organ, bass guitars, and synthesizer bass down to subwoofer levels. …brings out the deepest notes a recording allows with tight detail and without exaggeration.”

“…a pleasure to listen to over extended periods of time.” (as opposed to some speakers that impress with a gee-whiz sound that turns out to have added coloration that leads eventually to listening fatigue.)

Mr. Cordesman is a big fan of the Triton One, so he made some comparisons between the One and the Reference:

“…a major improvement over the Triton One…”

“.. smooth overall timbre through the frequency range, with deeper bass, smoother midrange with more detail in the upper midband , and a cleaner treble with a great deal of air. …has a remarkably coherent set of dispersion characteristics and a wider, more stable and exceptionally detailed soundstage.”

His “Summary Judgment”

“highly recommended. Well worth auditioning and fully competitive with some substantially more expensive speakers.”

My Summary and Impressions

Actually the first impression was the weight. I helped unload each 150 pound box and un-boxed a pair in my basement garage for the initial break-in. For me, wimp that I am, it was a chore unpacking them. When it was time to move up one floor I resorted to hired help The look like the other Tritons, but bigger and with a gloss black finish. All GoldenEar speakers share the same design concepts and voicing, each one sounding closer, as they move up the line, to the GoldenEar’s ideal. I have listened to all of them and enjoyed each one tremendously, enjoying what was improved at each step up, but the Reference was a revelation. The warmth and smoothness were the most striking at first, then I began to notice greater dynamics, and a combination of 3D solidity and coherence. Of course the gloss black finish is super, though in my dark living room its not shown to advantage. I am still experimenting with placement: so far they sound great everywhere. But naturally I hope to find that magic spot that will bring perfection.

About the Price 

When you read reviews about any Triton speaker you’ll see many mentions along the lines of ” compares well to speakers or beats XX times the price.” Well, yeah, but $8500 a pair is the most expensive speaker I’ve ever had or sold. However in this world of ever-increasing high-end audio prices it is (oh, how can I even say this) a great value. Of course this is all relative each person’s mental version of “value”, but relative to other high end speakers of similar sound quality the Reference can be called that. As Mr. Cordesman says “…fully competitive with some substantially more expensive speakers.” I love to demonstrate, so feel free to call and set up an audition, just for fun. I am famous for not being a salesman, so don’t expect me to try any persuasion or pressure or closing tactics. That’s not my thing. I love audio and I like to share an audition, especially when people bring their own music.

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News from CES 2017

GoldenEar Technology introduced the Triton Reference

Basic facts:

  • Same design concepts as the Triton One and Two, but all new components
  • Better sound in every respect
  • Gloss black finish
  • $8500 a pair
  • Due in Spring (maybe April or so)

It has already made British magazine What*HiFi’s Top 10 products at CES 2017 list. Soundstage Global reported on the GoldenEar Reference (following extracted from a show report by Roger Kanno, Senior Contributor Soundstage)

I used to think that some $5000/pr. speakers were the epitome of high-end audio playback at a reasonable cost. At this price you can get some truly outstanding speakers that also represent excellent value for money. Well, we sometimes get set in our ways and at recent CES I would often find myself scoffing at speakers that cost more than $5k/pr., thinking that they couldn’t possibly offer the same value as some of those excellent-sounding, less-expensive speakers. But this year, I heard a couple of floor-standing speakers that changed my mind. I consider the GoldenEar Technology Triton One to be another of the benchmark loudspeakers in the $5000/pr. price range, but this year GoldenEar displayed their new Triton Reference, priced at $8448/pr. Although it features a similar driver configuration to the Triton One, the Triton Reference is a slightly larger speaker. And like with Revel, this new GoldenEar features totally redesigned drivers, which have been blended together with a fully balanced crossover. The bass amplifier and DSP circuitry are also said to be improved over what’s used in the Triton One. Speaking with Bob Johnston, GoldenEar’s Director of Engineering, it became apparent that the drivers have all been substantially improved and can play much louder than any ones they made before. However, the real benefit of them is that when they play at similar levels as their other drivers, there is said to be less distortion and compression. This was apparent during the demo where both orchestral and jazz music were played at relatively moderate levels, but with an utter sense of ease and natural flow to the music. When horns were played, there was plenty of bite, but in a natural way and never irritating — and the volume did not have to be turned way up to sense the immediacy of the sound. Kodo drums sounded like Kodo drums without having to turn the volume to 11 and overload the room with enough bass to cause a concussion, even though I am sure that a pair of Triton References are capable of this. This new Triton may have even more brawn than its very capable brethren, but it also possesses a rare level of refinement that I usually associate with much more expensive loudspeakers.

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Me versus stores

When you walk into an audio store demo room you can see all their speakers lined up. With me it’s completely different. When you walk in you see only one pair of speakers in my demo/living room. Here’s a problem — I find that even people who visit often think that they are seeing it all. NO. NO. NO. Behind a door just steps away I have all my other demo speakers. By “demo speakers” I mean speakers that are out of the box, broken in, sitting there ready to be brought in for listening. I have ALL the GoldenEar Technology tower and bookshelf speaker’s lurking there, just waiting for someone to ask to hear them. If you make an appointment I will have the ones you want waiting in the demo room. If you want to hear another?? People think it’s big deal to swap speakers. NO. NO. NO. It’s not as fast as an Indy pit stop, but I am very practiced, so it’s very easy, and pretty fast. I use a mini hand truck to wheel the big speakers in and out, and banana plugs for quick connect. Easy peasey. The demo itself is more like going to a friend’s house for a listening session than undergoing a high-end store sales presentation. You can bring what you want to hear (a good idea because I’m sure our tastes in music are not identical.), or we can find something you like among Tidal streaming service’s 40 million tracks. You can listen as long as you want, and there is no pressure. I am mostly retired; I’m still in this business for love of music, interest in the components that play it, and the company of other audiophiles. And so all the time I spend playing with my stereo I can tell my wife “It’s business.” Priceless. I’m not saying that I am better than stores, just different in several good ways.

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I try a Music Hall MMF 7.3

 

Because of the good Stereophile review I’ve set up a Music Hall MMF-7.3 turntable at home. It comes with an Ortofon 2M Bronze, which I listened to and then put on my Quintet Bronze ( one of the new Ortofon moving coil cartridges). The 2M was good, but the Quintet was clearly better, but naturally for more money. Oh the curse of better costing more. One point of the comparison was to see if I can sell off my old table (VPI HW19 MKII with SME 309 arm) without stepping down in sound. A comparison was necessary. Just changing the the cartridge wasn’t enough: to get the MMF 7.3 up to the old table’s sound I had to put on a better cable, use a Music Hall Aztek upgrade mat, and put the MMF 7.3 on a butcher block base. It worked very well so I may use the Music Hall from now on, though I love the workmanship of the SME arm and have a sentimental attachment to the VPI because at one point way back when I was a leading VPI dealer. Still, I prefer to demonstrate with components that I represent, so the choice will probably got to Music Hall.

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Hot British Review for Triton Five

Alan Sircom of Hi-Fi Plus loved almost everything about the Triton Five – bass, soundstage, dimensionality, treble, and especially the price. He didn’t claim perfection – he said that to get the best bass performance you need a big amp, and that  the definition of the bass does not measure up to what could be had by “spending an order of magnitude more than the Triton Five”. Since “an order of magnitude” is defined as ten times he is referring to $20,000 speakers. I haven’t heard any lately, but I’ll agree in principle that he is right. Here are selected quotes:

If ever there was a speaker that best encapsulates ‘affordable excellence’ in audio, it would be the GoldenEar Triton Five. if you want to take maximum advantage of what the Triton Five has to offer. In particular, the Triton Five needs that big amp ‘grip’ that only a large power amp with an appropriately ‘stiff’ power supply can deliver. Once that condition is met, you are, ahem, golden! This means the kind of big, deep bass that many of us thought wasn’t at all possible at this price level:. Used with an appropriately powerful amplifier, the Triton Five brings truly awesome-grade deep bass and power without the sort of overblown, flabby, tubby, and flubby bass groans that you can get at this price level. The other big feather in the Triton Five’s cap is its soundstaging properties. The loudspeaker builds a wall of sound; not in a manner befitting a murderous 1960s impresario with mad taste in hair, but more like your rear wall has been replaced with the concert hall, club, studio, or other venue in which that particular recording was made. There is a true sense of epic scale on offer here, the kind of thing that you might have to spend £10,000 or more to experience elsewhere. ….The Triton Five is three dimensional, incredibly open, and capable of an extremely accurate soundstage that ‘scales’ sublimely well… …. a fine sense of top-to-bottom coherence ….a natural-to-rich tonal balance that is extremely alluring, and the clean, extended, and grain free treble associated with AMT ribbons… Spending more does eventually justify itself. When you start to talk about the ‘shape’ and ‘texture’ of deep bass notes, without sacrificing the ‘depth’ of bass, then suddenly some of the true titans of high-end begin to win out. This doesn’t manifest in playing dub reggae or dubstep, but comes across when playing something big and orchestral and a little bit dour – symphonies by Mahler or Bruckner. The bass comes across as the most powerful and structural you can get in its class, but lacks the kind of cold beauty required to portray the depths of this kind of music. At the price it has no peers and no parallels, and comes strongly recommended.

Link: Hi-Fi+

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The Absolute Sound reviews Music Hall’s MMF 7.3.

It turned out to be as much a review of three cartridges as a turntable review. But back to the 7.3 The MMF 7.3 retail price is $1395 without cartridge: add $200 to get Ortofon’s $440 2M Bronze cartridge. Call for my price. The 7.3 improvements over the 7.1:

  • a new quieter DC motor with electronic speed control comparable to using a separate $300 speed box.
  • pushbutton change from 33 to 45.
  • an upper model carbon fiber arm,
  • better platter bearing
  • Ortofon 2M Bronze cartridge

It retains the following:

  • acrylic platter
  • screw-on record clamp
  • RCA output jacks for cable upgrades
  • two-plinth base with sorbothane isolation
  • Completely isolated motor contacting the table only with the belt.
  • and other features you can find at the link following this summary

The reviewer’s personal reference table is the Kuzma Stabi-S ($2156 without cartridge) which is a TAS GoldenEar Award winner. While he liked the 7.3 enough to say that in its price range it would be “…at the top of his list”, but he still preferred his Kuzma, so while the 7.3 is tops at its price it does not kill the best of its higher priced competitors. I wonder how the MMF 9.3 ($2195 without cartridge) would compare to the $2156 Kuzma? Now about cartridges, because he tried three models in the 7.3: He was not pleased by the $440 Ortofon 2M Bronze that came on his table. OK, we know cartridges have individual personalities, but since the general consensus of reviewers is that the 2M Ortofon cartridges are excellent we have to consider that he has a distinct taste. Then he installed the $995 Goldring Elite and sure enough he found that $995 beats $440. He preferred the additional detail, ambiance, spaciousness, etc. of the Goldring. Then he installed his personal cartridge, the Denon DL103, which he liked best. He described it as “…warm-blooded, almost intuitive…” compared to the Goldring’s “…triumphant resolution…”.. Not so much detail, but he preferred it. It almost read like a tube vs, transistor review. Remember – it’s his cartridge. BUT WAIT – he then tried putting the 7.3 on a 2″ Mapleshade Platform ($75 unfinished) and reported major improvements in “bass heft and textural gravitas”, plus “…calming the overabundance of air”. I like that he said that he said “The MMF 7.3 revealed the character of each cartridge with decided neutrality.” That’s a very high recommendation. You can’t ask more than that – to allow each cartridge to sound its best. Here are links:

The Stereophile review Music Hall’s web page about the 7.3

Happy listening, Wylie

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