Estás de acuerdo con esta lista?

[MartinV56 866]

Estás de acuerdo con la lista elaborada por la revista Stereophile sobre los mejores 25 sistemas de altavoces período 1962-2002

[url="http://www.stereophile.com/features/709/index.html"]http://www.stereophi.../709/index.html[/url]


[font="arial, helvetica, sans-serif"][center][img]http://www.thresholdlovers.com/photo/40thlogo.jpg[/img][/center][b][i][u]AR 3A loudspeaker:[/u][/i][/b]
It may have been ugly, colored, and with rolled-off highs, but the sealed-box 3A defined the "Boston Sound" and helped establish the American speaker industry. I never liked it, but I can't ignore it. Pretty much the same drive-units were used in AR's multidirectional LST, which years later was to inspire Mark Levinson's Cello speakers.

[b][i][u]Dahlquist DQ-10 loudspeaker:[/u][/i][/b]
The Brits hated the DQ-10 for its superficial resemblance to their beloved Quad electrostatic. But with the first Magnepan and the Infinity Servo-Statik, Jon Dahlquist's staggered-baffle speaker helped launch the High End in the early 1970s.

[b][i][u]Yamaha NS1000 loudspeaker[/u][/i][/b]
Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market.

[b][i][u]The Advent Loudspeaker[/u][/i][/b]
The late Henry Kloss had the Midas touch: whatever his fancy alighted on turned into sonic gold. In the case of the Advent Loudspeaker, he designed America's first true high-end dynamic sealed-box loudspeaker. And given that everyone was convinced that good speakers needed to use three drive-units, Henry made do with two. He designed the Advent armed with microphone, voltmeter, oscilloscope, and signal generator, but without—the entire generation of speaker engineers who graduated since the early 1980s will be astonished to learn—a computer. Henry made do with talent and ingenuity.

[b][i][u]Acoustic Energy AE1 loudspeaker[/u][/i][/b]
Designer Phil Jones may have fed the LS3/5A concept steroids, but the AE1 makes the list because it spearheaded the resurgence of the metal-cone woofer, which acts as a pure piston in its passband. (But outside the passband...)

[b][i][u]Acoustat 2+2 electrostatic loudspeaker[/u][/i][/b]
Between the demise of the KLH 9 and the introduction of the MartinLogan CLS, the Acoustats held high the flag of American electrostatics.

[b][i][u]MBL 101d omnidirectional loudspeaker[/u][/i][/b]
Critics dubbed this innovative German design the "accordion from Mars," but Jürgen Reiss's bending-mode Radialstrahler drive-units were the first to successfully address the challenge of producing a laterally omnidirectional radiation pattern.

[b][i][u]PSB Alpha loudspeaker[/u][/i][/b]
Canadian Paul Barton has designed bigger speakers and he has designed better speakers, but none of those has offered so much sound for so little money as the Alpha in all its guises—or, with more than 50,000 sold, has benefited so many people.

[b][i][u]Spica TC50 loudspeaker[/u][/i][/b]
John Bau's ugly ducking of a time-aligned two-way miniature showed that great sound could be produced from a speaker without the designer having to throw unlimited sums of money at the problems.

[b][i][u]Shahinian Obelisk loudspeaker[/u][/i][/b]
I first heard the quasi-omnidirectional Obelisk 25 years ago, and it sounded as different then from what else was around as it does now. Richard Shahinian has always gone his own way, guided by his overwhelming passion for classical orchestral music; his speakers fall into the category of "If you love their sound, they're the best speakers in the world for you." However, for Dick to survive and even to prosper through the years lends his efforts a credibility that cannot be acquired in any other way.

[b][i][u]Avantgarde Uno & Sonus Faber Guarneri Homage loudspeakers[/u][/i][/b]
With American and British loudspeaker design philosophy running along rigidly defined rails by the 1990s, the appearance of these musically communicative German and Italian speakers, which danced to very different design drummers, blew a welcome breath of fresh air into the High End.

[b][i][u]KEF Reference 107 loudspeaker[/u][/i][/b]
Yes, the elegant R107 was the first high-end speaker to successfully implement a "bandpass" or "coupled-cavity" woofer, but its real importance lay in the fact that it finally rammed home the lesson that speaker design primarily involved engineering rather than art. Yes, art is still an essential part of designing a musically satisfying speaker, but only when that art rides on a platform of solid engineering. [/font]
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[b][i][u]Apogee Scintilla loudspeaker[/u][/i][/b]
It wasn't the first all-ribbon loudspeaker from Apogee, it wasn't the biggest, and it probably wasn't even the best-sounding (that was probably the Duetta). It was also a pig to drive, with perhaps just the big Krells up to the task of sinking power into what was, at some frequencies, little more than a short circuit. But the Scintilla was the Apogee speaker that convinced me that the magnetically driven ribbon, with its effortless coupling to the room and its lack of sonic character or coloration, was more than just a historic backwater of speaker design.

[b][i][u]KLH 9 electrostatic loudspeaker[/u][/i][/b]
An American classic at least two decades ahead of its time. I heard the 9 only once, but I still shiver at the memory. [/font]
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[b][i][u]Meridian D600 digital active loudspeaker[/u][/i][/b]
More recent Meridian loudspeakers exceed the D600's performance in every way, but this modest floorstander was the first to show what could be achieved by integrating power amplification and digital technology in a speaker design.

[b][i][u]Celestion SL-600 loudspeaker[/u][/i][/b]
The first popular compact supermonitor, introduced in 1983. The English company's Graham Bank and Gordon Hadaway decided that, as the main source of coloration in a box speaker is the box, they would effectively do away with it by making it from the Aerolam material used in airplane construction. The copper-dome tweeter used in the SL-600 and its wooden-box SL-6 sibling also pioneered the resurgence of interest in moving-coil drivers with pistonic metal diaphragms. "Had anyone even 1) tried to make a compact monitor sound this uncolored, or 2) charge as much?" asks Wes Phillips. Nope. But what a sound!

[b][i][u]Spendor BC1 loudspeaker[/u][/i][/b]
Designed by the late Spencer Hughes after he left the BBC, the BC1 was perhaps the finest all-'round loudspeaker to come out of the UK until the B&W 801 Series 2. Too bad its somewhat loose low frequencies were not the optimal match for typical mid-1970s LP playback, and that the CD came too late to save it from relative obscurity.

[b][i][u]Thiel CS3.6 loudspeaker[/u][/i][/b]
While almost every Stereophile writer nominated one of Jim Thiel's designs, it was the CS3.6, from the early '90s, that was mentioned most often, rather than one of the Kentucky company's flagships. This is because the '3.6 was the finest all-'round package in terms of time alignment, neutral balance, power handling, bass extension, and industrial design—all for about $­­­­3000/pair, which, in hindsight, looks like an unbelievable bargain. While Jim Thiel has since designed speakers that exceed the CS3.6 in one, two, or more areas of performance, the '3.6 represented the first full flowering of his talent.

[b][i][u]BBC LS3/5A & Wilson Audio WATT loudspeakers[/u][/i][/b]
These two tiny speakers—which, apart from being intended to serve as location recording monitors, are as far apart in their design starting points as is possible to imagine—redefined the art of the miniature loudspeaker: the LS3/5A in the mid-1970s, the WATT a decade later. The LS3/5A perhaps represented the finest flowering of a team of audio engineers assembled by the state-run broadcasting company, and which included Dudley Harwood and the late Spencer Hughes.

[b][i][u]MartinLogan CLS electrostatic loudspeaker[/u][/i][/b]
The elegant and transparent (both visually and sonically) CLS brought electrostats into the mainstream consciousness—you can find MartinLogans on both the small and silver screens.

[b][i][u]B&W Nautilus, Infinity IRS, Wilson Audio WAMM loudspeakers[/u][/i][/b]
One uses cone/dome drivers in a conventional cabinet (if something resembling a snail could be called "conventional"), the other two use dynamic, planar-magnetic, or electrostatic upper-range drivers in a panel array and conventional woofers in a separate tower. All three were made in minuscule numbers, and all three are the finest-sounding true full-range loudspeakers I have heard.[/font]
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[b][i][u]B&W 801 Matrix Series 2 loudspeaker[/u][/i][/b]
Widely used in classical recording studios and high-end systems alike, the revised version of the big B&W took the concept of a high-quality minimonitor integrated with a bass bin to a far wider audience than its $­­­­5000/pair price would suggest was possible. "Possibly the best-selling high-end loudspeaker ever sold in the US," notes Wes Phillips, and "certainly the most influential dynamic loudspeaker design of its generation." The current Nautilus incarnation of the 801 builds on a solid base of quality.

[b][i][u]Magnepan Magneplanar Timpani loudspeaker[/u][/i][/b]
Back in the late 1980s, more Stereophile readers owned Magneplanar panels than any other loudspeaker. Jim Winey's twin ideas of using an array of ceramic refrigerator magnets and bonding a flat wire coil to a Mylar diaphragm allowed him to create a magnetic equivalent to an electrostatic speaker but without some of the latter's problems, and with additional benefits such as ease of drive and much higher power handling. The current Magnepan designs may use a ribbon tweeter and be refined in all areas of performance, but are no different in concept from what Paul Bolin calls "a landmark in the dictionary sense of the word." [/font]
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[b][i][u]Vandersteen 2 loudspeaker[/u][/i][/b]
In production for a quarter century and incrementally improved throughout that period, the modest-looking 2 offers astonishingly clean, extended, and detailed sound without ever losing sight of the music. That it does all this for just $­­­­1500/pair is a tribute to Richard Vandersteen's talent but also foresight. [/font]
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[b][i][u]Quad ESL-63 loudspeaker[/u][/i][/b]
An inspired planar design from a true audio genius, England's Peter Walker, and still in production (as the ESL-988) more than two decades after its introduction, the Quad has survived when bigger, more complex full-range electrostatics have long since disappeared. "A no-brainer classic," writes Paul Bolin. "People will be listening to the ESL-63 40 years from now and loving every minute." [/font]
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[mariohernandez010 0]

No está JBL

jajajaja, ahí van a quedar la pila de revendedores vintage y otros negociantes chantas dignos de pepito paga doble

PD: No está Tannoy

[lag 506]

[quote name='mariohernandez010' date='18 October 2011 - 06:57 AM' timestamp='1318939021' post='91580']
No está JBL

jajajaja, ahí van a quedar la pila de revendedores vintage y otros negociantes chantas dignos de pepito paga doble

PD: No está Tannoy
[/quote]


Stereophile miente
hay muchas cajas que aparecen , por pagar buenas reviews y por ser rupturistas no por sonar bien.

Cual sería tu selección mario?

[YOP 68]

[quote name='lag' date='18 October 2011 - 08:09 AM' timestamp='1318939783' post='91584']
[quote name='mariohernandez010' date='18 October 2011 - 06:57 AM' timestamp='1318939021' post='91580']
No está JBL
jajajaja, ahí van a quedar la pila de revendedores vintage y otros negociantes chantas dignos de pepito paga doble
PD: No está Tannoy
[/quote]
Stereophile miente
hay muchas cajas que aparecen , por pagar buenas reviews y por ser rupturistas no por sonar bien.
Cual sería tu selección mario?
[/quote]
no es primera vez que mario nos ilumina con sus comentarios. no creo que resista analisis alguno.

[UPset64 327]

Creo que es difícil opinar con objetividad si la lista está completa. Se necesita haber oído demasiado, y tener muchos años para abarcar tanta producción -yo soy muy joven aún

[YOP 68]

volviendo al tema de la lista yo escuche advent , infinity kappa y celestion. los 3 eran ricos pero los mas filete eran los infinity kapppa pero puta que eran mañosos con el match con los ampli. los advent tambien sonaban rico

[ZHAR 736]

Cuando recien salieron al mercado, varios años atras, un compañero ingeniero importo las [b]B&W Nautilus[/b], al año despues me invito a su casa donde me las presento en conjunto con un equipamiento [b]Meridian[/b]...

Un sueño... era lo mas refinidado que escuchaba hasta ese momento y sin duda hasta ahora... pero demasiado lejano de mi alcance economico... mucho.

[ian curtis 343]

Si no están los Technics SB-LX90, la lista no existe...

[caello 27]

[quote name='YOP' date='18 October 2011 - 08:27 AM' timestamp='1318940872' post='91585']
[quote name='lag' date='18 October 2011 - 08:09 AM' timestamp='1318939783' post='91584']
[quote name='mariohernandez010' date='18 October 2011 - 06:57 AM' timestamp='1318939021' post='91580']
No está JBL
jajajaja, ahí van a quedar la pila de revendedores vintage y otros negociantes chantas dignos de pepito paga doble
PD: No está Tannoy
[/quote]
Stereophile miente
hay muchas cajas que aparecen , por pagar buenas reviews y por ser rupturistas no por sonar bien.
Cual sería tu selección mario?
[/quote]
no es primera vez que mario nos ilumina con sus comentarios. no creo que resista analisis alguno.
[/quote]


Por otro lado no cacho niuno...

[mariohernandez010 0]

[quote name='Robert de Saint-Loup' date='18 October 2011 - 09:38 AM' timestamp='1318945133' post='91603']

Y no sorprende que no esté Tannoy; en USA, Tannoy casi no existe. En UK en cambio, es "una institución".
[/quote]

Y en Hi Fi Chile también son una institución

[mariohernandez010 0]

[quote name='ian curtis' date='18 October 2011 - 10:26 AM' timestamp='1318947997' post='91610']
Si no están los Technics SB-LX90, la lista no existe...

[/quote]

La última vez que los escuché estaban literalmente en un restaurant

[Toperrix 17]

[quote name='mariohernandez010' date='18 October 2011 - 10:52 AM' timestamp='1318949565' post='91618']
[quote name='ian curtis' date='18 October 2011 - 10:26 AM' timestamp='1318947997' post='91610']
Si no están los Technics SB-LX90, la lista no existe...

[/quote]

La última vez que los escuché estaban literalmente en un restaurant
[/quote]
No es hueveo, jajaja, acá en Antofa si van al Chicken House (calle 14 de febrero) también tienen esos parlantes. Yo tengo los SB-LX50 guardados en la bodega de mi depto. Los saco para algún carrete cada cierto tiempo.

[YOP 68]

de esa linea los que la llevavan eran los lx70

[matador 97]

empesando con los yamaha ns1000 -recuerdo a ver leido hace años una tesis de un ingeniero acustico sueco o danes donde el presentaba su tesis alrededor de este parlantes que era el mas difundido en estudio de grabaciones y se usaban para dar un monitoreo del sonido, ya que estos eran los mas "representativos" difundidos en el mercado. Lo interesante de esta tesis era que en los 80 y 90 muchas de las producciones son de pesimo sonido -debido a lo pesimo que estos yamahan eran... y presentaba un buen resto de graficos y curvas de medicion que realmente sustentaban sus tesis. En base e esto se hizo un filtro pasivo de correcion para estos parlantes...

Despues Infinity Kappa 9 era muy temido debido a que este se comia a la amyor parte de amplificadores como papas fritas... ojo que es el Kappa 9 luego salio la version "mejorada" Kappa 9.1/2 que tenia una impedancia mas "amable y generosa" para amps -por cierto kappa 9 era el mejor parlante para prender fuego en los Nakamichis PA7 y 5 Stasis vi una vez como unos tiro un monton de humo y despues salir flamas un corto instante yo uso kappa 8.2 -que es practicamente identico pero solo con un bajo de 12" -uso solo el bajo como sub por mientras... para suplementar mis Magnepan debajo de 120HZ. pero Krell, Mark Levingson, Jeff Rowland, Dynamic Precision hacian maravillas con Kappa.

Quad sl es super dificil hacerlo rendir en todo su rango, pero en systemas con bajos activos es otra cosa, lo malo que se queman (perforan) rapido las menbranas si uno le da mucha potencia...por aqui se consiguen muchos de ellos malogrados con ese mismo typo de fallas...

Martin Logan se tiene que cambiar de menbranas para mantener su excelente calidad


Nautilus, IRS, Wilsom Audio son referencias de High End Thiel son muy especiales -recuerdo en los 80 pedi 2 tweeters Thiel q me salieron a 1000 "dolores" para montarlos en mi auto -nunca pude hacerlos rendir correctamente... -lo mas jodido es que si le pones el dedo a la menbrana de ceramica este se pega como ceniza en el dedo...

No veo marcas de escandinavia... leia que dinamarca es un de los mayor prodecentes de parlantes rlacionado a l procentaje de habitantes, y en si tiene muchos excelentes productos, tambien destacan Seas, Dynaudio, Scanspeak, Vifa que se usan en referencias mundiales pero como decia me extraña no verlos en esa lista que anda por ahi nomas...

un parlante muy poco conocido fuera de escandinavia es de la marca Forsmann, se basa en propias patentes y su sonido es fantastico pero el precio tambien es de high end -usa una patente llamada "vertical splitt system" y son dipoles :)Dynamic Precision con Forsmann son una fantasia divina

[patricio6 11]

yo escuche los Celestion Sl 600 y me impresionaron terribles speakers