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The Official $3,000 Speaker Evaluation / Home Audition Event

152K views 287 replies 51 participants last post by  kingnoob 
#1 ·
The Official $3,000 Speaker Evaluation / Home Audition Event




Introduction

IT IS HERE! We are in the midst of the Home Theater Shack $3,000 Speaker Evaluation event, as I write this. Six pairs of speakers are on the premises, and over the next two days, Feb. 21 and 22, we will hear a lot of great tunes on them. There will be lots to report.

This is not a shootout. Each speaker will be set up for its best sound in this room and evaluated on its own merits.

For now, this post (#1) will be used as the summary post and will be updated through the weekend and beyond. Check back often - we will tell you ih later posts when this summary has grown.


The Speakers

The criteria for the speakers used in this event was floorstanding speakers with an MSRP between $2500 ($2499) and $3500 per pair as delivered for the event. Any finish was acceptable. Speakers requiring external DSP or an active crossover did not qualify. Since the emphasis is on 2-channel music use, speakers made for that purpose were favored, although some may be perfectly acceptable for home theater use as well.

Sadly, some of the speakers selected via the readers' poll were not available because the manufacturers chose not to participate. We cannot read minds to know all their reasons, but can only conclude that it is their loss not being included. We go above and beyond the call of duty to ensure that each model evaluated gets the fairest treatment possible by three sets of experienced ears. We will not, however, shy from the truth or be edited by the suppliers, even if they are HTS sponsors. In the end, we are confident that this serves all concerned in the best way possible.

We deeply appreciate those who DID choose to participate, some on short notice to fill in at the last minute. We ended up with a great mix, including some noteworthy technology offerings: one RAAL tweeter model and one concentric mid-tweeter model. We were looking forward to hearing every one of them by the time the big event arrived.

Here are the speakers included in the event:

The Room

Cedar Creek Cinema/Two-Channel Room, Luverne, Alabama. The most recent change to the room is that the equipment cabinet which used to occupy most of the space below the cinema screen has been removed. We deemed that removing the cabinet would improve the soundstage and imaging. Total changes relative to the diagram below:
  • Front equipment rack removed.
  • Corner traps added in rear corners.
  • Additional side absorptive panels.
  • Front subwoofer cabinets turned toward front corner traps with 4-inch gap (cabinets at 45° angle relative to the room) with dissipation panels on their backs (toward room center)..
  • Cutouts in stage structure allowing Left and Right Mains to be on the main floor within one foot of the front wall.


The room is heavily treated. Some might think the amount of treatment is too much for two-channel speaker evaluation, but I think it is just right. More on this in a summary post below. The measured RT60 is 0,2 to 0.3 second.




The Evaluators

The evaluators for this event have proven their ability to work together to provide what some describe as some of the most in-depth and worthwhile loudspeaker reviews on the web. They are:
  • Joe Alexander, Madison, Wisconsin. Joe is an avid audiophile and staff writer for Home Theater Shack.
  • Leonard Caillouet, Gainesville, Florida. Leonard has installed and set up speakers professionally for much of his life. He is a Moderator and Administrator and one of the chief technical gurus for Home Theater Shack.
  • Wayne Myers, Lincoln, Nebraska. A musician and lover of great sound, Wayne has a degree in Audio Technology and reviews speakers and headphones for Home Theater Shack.

Evaluation Tracks

We have gone back and forth a bit on how many test tracks to use. In the end. we decided that a certain number of tracks should be common, that all evaluators would listen to each pair of speakers with them. and that each evaluator could then have a number of tracks of his choice. We each have our favorites that we have used many times before and know exactly how they should sound. And each has his favorite music styles to listen with. Each evaluator spent one-half hour with every speaker pair at its ideal setup, plus brief listens close to the wall (zero toe and zero listening angle) and with Audyssey MultEQ.

No code has to be inserted here.


Associated Equipment


  • OPPO BDP-105 Universal Player - We will be using the 105 as the source for this evaluation. All of the tracks used during this evaluation event were extracted using either dBPowerAmp or Exact Audio Copy (EAC) from the original CDs, and were written to a USB flash drive and accessed for playback via the 5509's front-panel USB port. We appreciate OPPO being a sponsor here at HTS.


  • Onkyo PR-SC5509 9.2-Channel Network A/V Preamplifier - Our preamp/processor for the event: Onkyos' 5509. It is a highly capable processor and very well regarded as one of the top preamp processors available. We decided in this speaker listening event to include a brief evaluation for each speaker pair with Audyssey MultEQ engaged to see how it affects the soundstage and image clarity and "evens out" the room's influence on frequency response. The 5509, with MuiltEQ XT32 capability, made this a breeze. Of course, its 192kHz/32bit Burr-Brown DACs and specs like 0.05% total noise plus distortion (20 Hz–20 kHz, Half power) ensure it to remain completely transparent. We appreciate Onkyo being a sponsor here at HTS.


  • Emotiva XPR-5 Five-Channel Reference Power Amplifier - The XPR-5 is a fully discrete, dual differential, high current, short signal path Class A/B amplifier with a Class-H power supply. The power supply rails are modulated to stay a minimum number of volts above the amplifier's output. This yields an efficient design that will stay cool while driving a pair of 8 Ohm speakers to 500 W or a pair of 4 Ohm speakers to 750 W. Having lots of clean power available is important when evaluating two-channel speakers. With the XPR-5 there is never a question or concern about being able to drive the speakers under test cleanly and reliably. Thanks to Emotiva for being a sponsor at HTS.


Thoughts On Placing Expensive Speakers Close To A Wall

Most speakers in most rooms will not sound that great when placed close to a wall. Remember that we are talking about fairly serious, discriminating listening, mainly to music, with roughly $3,000 worth of speakers. Our belief is that anyone willing to spend that kind of money on speakers will be serious enough about good sound to find the best possible way to set them up and get the absolute best performance from them, even if it means moving them to that desired location temporarily when said listener feels like getting a serious dose of great music with great sound.

There are speakers that do not sound too bad close to the wall. But none, in our experience, can give a deep, engaging soundstage when too close to the wall. If one has to place a pair of speakers close to a wall, it would be better to save money and buy a pair for a few hundred dollars - check out our Reviews Area for candidates - and call it good. A $3,000 pair of speakers might sound a little better there, but will not sound great and it is highly doubtful you will be getting your "money's worth" from those speakers with them shoved up against a wall.

Having said all that, some readers have expressed interest in doing exactly what we do not suggest, or they are at least curious enough to ask about it, and may place an expensive set of loudspeakers - like the ones we evaluate here - next to a wall. After all, it is their money to do with as they please. So, having made our recommendation, we have chosen to be as helpful as possible and briefly listen to these speakers close to a wall. This information will be included with the individual reviews.


Thoughts On Equalizing High-End Speakers

There was a time when it simply was not done. That time is past. There are numerous ways it can be accomplished these days...
  • With pinpoint frequency precision.
  • Using exactly the type and amount of correction desired.
  • With phase/time correction if desired.
  • Without adding noise or distortion.
  • Without adding audible artifacts.
We performed extensive listening tests with carefully-applied Audyssey MultEQ correction and with sparingly-applied Parametric EQ (PEQ) correction and are convinced that correction can be achieved without negative effects, and that categorical claims that such correction causes audible corruption are not provable in blind testing and are without merit. As a matter of fact, we are witnesses to some who actually prefer equalized sound.

In our case, we chose to finish the evaluation sequence by applying Audyssey MultEQ XT32 to see how well it could accomplished the following:
  • Lift drooping high frequencies resulting from off-axis listening angles.
  • Even out room-interaction frequency response variations.
  • Tighten and improve soundstage and imaging.
The results are reported with each evaluation.


Our Test Sequence

Here is the sequence that each speaker pair went through:
  1. Close-To-Wall Evaluations 1 & 2.
    • Set up 1.
      • Speaker Location - Set close to the front wall, pointed straight at the Listening Position (LP). We used a previously-decided-upon setup location typical of a home theater environment or a general-purpose room where speakers have to be close to a wall for some reason.
      • Distance from back of the speaker to wall: 2 ft.
      • Distance from center of front baffle to side wall of the room: 5 ft.
      • Distance apart: 9 ft 4 in.
      • Zero Listening Angle (speakers pointed straight at the LP).
    • Run REW Sweeps L & R, check for good matching and proper function.
    • Set up 2.
      • Same as above.
      • Zero Toe In (speakers pointed straight at the back wall).
    • Run REW Sweeps L & R.
    • Evaluate 2. Three to five minutes listening time by each evaluator.
    • Set up 1
    • Evaluate 1. Three to five minutes listening time by each evaluator.
  2. Ideal Location Evaluation 3.
    • Set up 3.
      • Ideal setup location is determined for deep soundstage and sharp imaging. This could take from a few minutes to 45 minutes.
    • Run REW Sweeps L & R.
    • Evaluate 3. Thirty minutes listening time by each evaluator.
  3. Audyssey MultEQ Evaluation 4.
    • Run MultEQ Setup
    • Run REW Sweeps L & R.
    • Evaluate 4. Three to five minutes listening time by each evaluator.
  4. Record physical measurements.


Initial Results

As usual, there were some surprises. We heard some soundstage and imaging that were to die for. While we did not expect any of them to sound terrific in a close-to-the wall setting, a few actually sounded fairly good there, and one sounded VERY good. One model sounded downright awful close to the wall, and then had its revenge by giving us one of the better soundstage / imaging performances in its final setup that we heard over the weekend.

We were amazed to see how a very small difference in listening angle - one degree - that's right, one single degree - could transform a soundstage from lackluster ho-hum to WOW.

Some of these are beastly heavy monsters. And some finishes were eye-popping.

It has been invaluable to have the three sets of ears and listening perspectives together for these events. One evaluator will hear a certain quality and be ready to rave about it, making note of some other "minor factor," and another evaluator will have found that "minor factor" to be more like a showstopper, adding in his notes only a mention of what the first evaluator was crazy about. All in all, our perspectives came to rest with a great deal of consensus, but the contrasting views will no doubt stand out in our final write-ups.

One of the early pairs we listened to - I will never reveal which - got a mixed set of reactions initially. A few hours later, one of the group said he thought they might deserve a second listen in a different location. So we investigated further and found that they did, indeed, give a better performance there. We keep each other grounded, providing checks and balances and perspective balancers at every turn.

In the end, loads of fun were had by all. Terrific hosts and savory grilled meats did not hurt one bit. Cheese curds from Wisconsin and chocolate meltaways from Nebraska made their way to the snack bar. I doubt anyone lost weight with all the treats and good food available. The moderate Alabama weather treated us nicely. Gracey, the Cedar Creek Cinema cat, reminded of us her mascot status and insisted on a scratch or two whenever we came out for a break.

And discussions are under way for what our next evaluation event might entail.

In the mean time, stay tuned for our detailed results. We sill start feeding them into the following posts in the next couple of days.
 
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#87 ·
Nice pic, guys. You are really building the suspense here! I didn't think about it earlier, but all the speakers there except for the Salks have a lot of drivers. I'll be particularly interested to see how the dynamics and max output of the Salks fare in relation to the other models you're looking at.
 
#90 ·
Excellent review of the Songtowers........and nice to see that it performed well near walls as well as in more "ideal" locations.......a characteristic that should appeal to many speaker- position- restricted members such as myself.......

The finishes on these speakers "speak" volumes about the internal quality, as well......
 
#97 ·
Personal decision. Sonnie decided to let us do all the talking this time around.

Hey guys, out of curiosity, which of the speakers are sealed, ported, or vented? Some of the supporting literature on their websites is a little vague and/or they don't show the backs of the speakers.
Will be part of each review. None of the speakers evaluated was sealed, and porting strategies varied.
 
#96 ·
I got pictures of the backs of all the speakers - if you do not see them in the post, go to the gallery in the $3,500 section and all the pictures are there.

Glad everyone liked the SC Songtowers. I had the regular Songtowers with the dome tweeter. They were wonderful speakers with a great soundstage and imaging although they did lack bass punch and they benefitted from a sub. The Rosewood finish on them was sublime. They also benefitted from a KT-88 tube amp

I've since moved on to an older pair of Salk HT3s with the pre Raal tweeter. Sub was retired as the bass on these hits hard. Unfortunately the tube amp was also retired due to the low sensitivity of the HT3s.

Great job guys and looking forward to hearing your thoughts on the remaining 5 speakers.
TBH - the pair that Leonard referenced hearing are mine - he was up my way for work and we hung out a couple nights and had a chance to give them a listen.
 
#94 ·
Wow, nice review. Really makes me feel like I'm in the room with you guy's. From the sounds it, I would drool over the chance to listen to my music on these speakers. I a huge Supertramp fan & these sound like the perfect speakers for that kind of music. Great work!!!
 
#95 ·
Glad everyone liked the SC Songtowers. I had the regular Songtowers with the dome tweeter. They were wonderful speakers with a great soundstage and imaging although they did lack bass punch and they benefitted from a sub. The Rosewood finish on them was sublime. They also benefitted from a KT-88 tube amp

I've since moved on to an older pair of Salk HT3s with the pre Raal tweeter. Sub was retired as the bass on these hits hard. Unfortunately the tube amp was also retired due to the low sensitivity of the HT3s.

Great job guys and looking forward to hearing your thoughts on the remaining 5 speakers.
 
#103 ·
Awesome first review on the Salks. :clap::clap::clap:

I am curious about evaluating a speaker on how it handles sibilance. Sibilance is mostly due to the wrong microphone being used up front. If a song has sibilance issues (I'm looking at you, Al Stewart!), the blame should be firmly placed on the engineer. Too bad Al's engineer didn't use a more dynamic mic like the the current EV RE20.

I guess my point is that if the source material has sibilance and the speaker reduces it, what else in the music is the speaker altering from the original recording and how does that change the overall listening experience? I can see the thought that if you can hear the sibilance, perhaps the speaker is accentuating it. That would definitely be bad.

Anyway, just trying to understand the thought process on this issue of the review.

Although, my ears have too many hours at the Zoo bar in Lincoln to be considered accurate measurement instrumentssssss. :D
 
#104 ·
Awesome first review on the Salks. :clap::clap::clap:

I am curious about evaluating a speaker on how it handles sibilance. Sibilance is mostly due to the wrong microphone being used up front. If a song has sibilance issues (I'm looking at you, Al Stewart!), the blame should be firmly placed on the engineer. Too bad Al's engineer didn't use a more dynamic mic like the the current EV RE20.

I guess my point is that if the source material has sibilance and the speaker reduces it, what else in the music is the speaker altering from the original recording and how does that change the overall listening experience? I can see the thought that if you can hear the sibilance, perhaps the speaker is accentuating it. That would definitely be bad.

Anyway, just trying to understand the thought process on this issue of the review.
Excellent questions. I felt that the smooth high end and low distortion of the SongTower SC did a pretty good job of not accentuating sibilance. I would not say that they cut it or controlled it, just did not make it worse. Joe is our "sibilance authority," with Leonard a close second, I am sure they will have something to say.


Although, my ears have too many hours at the Zoo bar in Lincoln to be considered accurate measurement instrumentssssss. :D
Earplugs. Even our beloved Zoo bar gets loud enough you need 'em. I catch a fair amount of live music in the Lincoln/Omaha area, and these are my choice. Yeah, they seem to make the music sound dull at first, but after a couple of songs of adjustment time for your ears, you will forget they are there. When the show is over - no ringing ears!
 
#105 ·
The Initial Intro Post has been updated for probably the final time, with additional information about

  • The Speakers
  • The Room
  • Associated Equipment
  • Thoughts On Equalizing High-End Speakers
Also, a Summary Post has been updated with Joe's Fun Photos of
  • The Speaker Lineup
  • Speaker Storage
  • The Aftermath of the Removed Equipment Rack
  • The Stage Cutouts and Front Woofers
  • Other Room Views
 
#107 ·
Salk review turned out as I expected it to - it's a very good product and I know a few people that have the model with the Raal tweeters and they have similar comments about it. I'm very interested in two of the upcoming reviews ... the Tannoy speakers and the Phase Techs. You don't hear a lot about these two brands - but Tannoy has been around for a while, and I do like concentric drivers :T! Phase Techs are nice as well, but seemed to disappear from public view for a while, it will be good hearing a review of one of their models again! :bigsmile:

So far so good! P.S. Nice pics as well!!!
 
#108 ·
Salk speakers are not known for sibilance. If it is in the recording, then you will hear it. Have owned 6 pairs of salks with all tweeter types. Overall a review I expected given my own long term insights. Well written and thorough guys. And lots of hours of " work"!!
 
#109 ·
True Pete - I have heard quite a few different Salk speakers, and this was the first I recall having difficulty with sibilance. Now, do note that the volume was at -4 at the time and when it was turned back to -10, it was better. To me, the Salk speaker is one that I never personally thought of as a speaker you crank up to loud volumes - it is one you want to sit, relax, look at that stunning finish :), and just listen to some soothing tunes. That is the picture in my head when we start talking Salk speakers. :)
 
#121 ·
Same here! These sessions and reviews are much more the work of Wayne and Sonnie than Joe and I. It is a team effort, but Wayne does far more of the work, the thinking, the writing, and the testing. We just support what he does and get to listen and comment. Pretty good deal for Joe and me. :)
 
#112 ·
If you guys had some quasi-anechoic on/off-axis data for the speakers tested, that would resolve the concern over whether the speaker is adding or removing something from the music. In that sense, the speaker performed as it should have (ie; it contributed in some way to the response by removing or adding something to what should be a flat anechoic respons).

You may even be able to extract this information to some degree by evaluating the IR and gating the response. I'd imagine the best you could achieve is a reflection free response above 400hz or so, but that would at least tell you what's occurring in the speaker itself (not caused by the reflections that aren't able to easily be identified without in depth analysis).

Just some positive "criticism" for future testing.
 
#118 ·
I don't know what you mean by "quasi-anechoic on/off- axix data" nor how that would tell us anything about whether a speaker is adding or removing something from the music. There are many assumptions implicit in that kind of determination and an infinite number of variables in collecting and interpreting such response. I don't see where there is much to be gained beyond the measurements that we already have published, on both the speakers and the room.

I appreciate constructive criticism, but I really do not understand why you think we could gain anything like this.
 
#113 ·
First off, thanks to Sonnie for putting this project together and to Wayne, Leonard and Joe for their time and dedication in reviewing the various models. We at Salk Sound were honored to have been able to participate and provide our Supercharged SongTowers for this evaluation.

For those interested, I thought a few comments regarding our design philosophies would shed some additional light that some may find useful.

As I've said many times in the past, speaker design is all about balancing trade-offs. There is no free lunch. Often, achieving performance in some area involves a trade-off somewhere else. For example, high efficiency generally comes at the expense of bass extension. Choose a larger driver that plays deep and it probably won't perform all that well in the midrange. You get the idea. It is simply the laws of physics at work.

In our opinion, the most important aspect of speaker performance is midrange accuracy and detail. All great speakers have one thing in common: they get the midrange right. This is where 80% of the information is in a recording and where all the dialogue is in home theater. If you don't get this right, you may have a "good" speaker, but you will never have a "great" speaker.

So when we consider a new design, we won't put our name on it unless we are satisfied that the midrange performance meets our expectations. Top end air and transparency, along with deep bass extension, are secondary considerations.

If we sold speakers at retail, perhaps our design goals would be different. In a quick evaluation in an audio showroom, consumers generally take note of top end air and bass extension. But they often pay relatively little attention to midrange performance. Unfortunately, only after they get their purchase home do they discover that the bass is boomy and the top end is fatiguing. Since we don't sell at retail, we don't need to play games to win a showroom shoot-out. We are free to concentrate on speakers that excel in the all-important midrange go from there.

As you move up in our product line, the top end becomes more detailed and transparent and the bottom end becomes more extended. But we try to insure that no matter which speaker a customer chooses, the midrange performance will be excellent.

For example, the Supercharged SongTowers use Seas Excel W15's, a 5" woofer with magnesium cones. Magnesium is lighter and stiffer than paper. So these drivers can start and stop faster than a typical paper, kevlar or poly coned driver. The result is more detail and accuracy in the midrange. These 5" drivers do an exceptional job but, of course, can only move so much air down low. Want more bass? Move up to our Veracity ST's with 6" W16's or our Veracity HT2-TL's with 7" W18's. These speakers will move more air down low for added bass weight and heft.

But the midrange performance in all three of these models will be equivalent.

The other thing I might point out is that manufacturers will often boost bass in the region somewhere between 50Hz to 200Hz. This provides the illusion of "better" bass performance. But the frequency is no longer flat and the speakers do not accurately reproduce the sound they are being fed. In this case, the speakers are adding content that is not in the original recording.

I once had a cusomter come to our shop with a pair of his current (from an un-named but well-respected brand) speakers to compare to the SongTowers. He loved everything about the SongTowers but thought his speakers played deeper bass. I didn't think this was the case, so we measured both speakers. Sure enough, the SongTowers actually played deeper. His speakers simply had a hump in the response around 100Hz that provided an illusion of enhanced bass performance.

That is not to say that a person cannot enjoy a speaker with a response that is modified to accentuate some frequencies. But that is not what we are interested in doing. Our goal is to produce speakers that are neutral and accurate and don't add any character of their own to the sound. We are building speakers, not musical insturments that modify the sound.

One final comment... Much has been written about our finishes. We do put a lot of extra effort (and time) into our finishes. It is only natural to think we may pay less attention to finish quality on our lower priced models. This is not the case. No matter what speaker a person chooses, it is an important purchase and one that they will likely live with for some time. So we do our best to insure that the speaker they receive serves as a source of pride for years to come.

Again, thanks for taking the time to evaluate our Supercharged SongTowers. Great job and much appreciated!

- Jim
 
#115 ·
First off, thanks to Sonnie for putting this project together and to Wayne, Leonard and Joe for their time and dedication in reviewing the various models. We at Salk Sound were honored to have been able to participate and provide our Supercharged SongTowers for this evaluation.

For those interested, I thought a few comments regarding our design philosophies would shed some additional light that some may find useful.

As I've said many times in the past, speaker design is all about balancing trade-offs. There is no free lunch. Often, achieving performance in some area involves a trade-off somewhere else. For example, high efficiency generally comes at the expense of bass extension. Choose a larger driver that plays deep and it probably won't perform all that well in the midrange. You get the idea. It is simply the laws of physics at work.

In our opinion, the most important aspect of speaker performance is midrange accuracy and detail. All great speakers have one thing in common: they get the midrange right. This is where 80% of the information is in a recording and where all the dialogue is in home theater. If you don't get this right, you may have a "good" speaker, but you will never have a "great" speaker.

So when we consider a new design, we won't put our name on it unless we are satisfied that the midrange performance meets our expectations. Top end air and transparency, along with deep bass extension, are secondary considerations.

If we sold speakers at retail, perhaps our design goals would be different. In a quick evaluation in an audio showroom, consumers generally take note of top end air and bass extension. But they often pay relatively little attention to midrange performance. Unfortunately, only after they get their purchase home do they discover that the bass is boomy and the top end is fatiguing. Since we don't sell at retail, we don't need to play games to win a showroom shoot-out. We are free to concentrate on speakers that excel in the all-important midrange go from there.

As you move up in our product line, the top end becomes more detailed and transparent and the bottom end becomes more extended. But we try to insure that no matter which speaker a customer chooses, the midrange performance will be excellent.

For example, the Supercharged SongTowers use Seas Excel W15's, a 5" woofer with magnesium cones. Magnesium is lighter and stiffer than paper. So these drivers can start and stop faster than a typical paper, kevlar or poly coned driver. The result is more detail and accuracy in the midrange. These 5" drivers do an exceptional job but, of course, can only move so much air down low. Want more bass? Move up to our Veracity ST's with 6" W16's or our Veracity HT2-TL's with 7" W18's. These speakers will move more air down low for added bass weight and heft.

But the midrange performance in all three of these models will be equivalent.

The other thing I might point out is that manufacturers will often boost bass in the region somewhere between 50Hz to 200Hz. This provides the illusion of "better" bass performance. But the frequency is no longer flat and the speakers do not accurately reproduce the sound they are being fed. In this case, the speakers are adding content that is not in the original recording.

I once had a cusomter come to our shop with a pair of his current (from an un-named but well-respected brand) speakers to compare to the SongTowers. He loved everything about the SongTowers but thought his speakers played deeper bass. I didn't think this was the case, so we measured both speakers. Sure enough, the SongTowers actually played deeper. His speakers simply had a hump in the response around 100Hz that provided an illusion of enhanced bass performance.

That is not to say that a person cannot enjoy a speaker with a response that is modified to accentuate some frequencies. But that is not what we are interested in doing. Our goal is to produce speakers that are neutral and accurate and don't add any character of their own to the sound. We are building speakers, not musical insturments that modify the sound.

One final comment... Much has been written about our finishes. We do put a lot of extra effort (and time) into our finishes. It is only natural to think we may pay less attention to finish quality on our lower priced models. This is not the case. No matter what speaker a person chooses, it is an important purchase and one that they will likely live with for some time. So we do our best to insure that the speaker they receive serves as a source of pride for years to come.

Again, thanks for taking the time to evaluate our Supercharged SongTowers. Great job and much appreciated!

- Jim
Thank you for submitting your speakers to this evaluation. I trust these guys insight and have enjoyed reading about your STs. Welcome to the forum.
 
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