Speakers to hang on to for LIFE

My latest & best are the Infinity Beta's. You can build a great system around these! Any shortcomings are far overshadowed by their strengths(including bass below 30hz). I don't ever seem my self selling them! Just ordered a new DAC from PS Audio and a ARC LS25 MkII preamp, along with the newer Epsilon Crossover/Controller for the Betas. Can't wait to hear the "new" system once it's in place.

HI Doug! Did you ever get your Joule's up and running?
Very interested in your analysis of them.
Kindest Regards
Tom Flynn (nutreez69)

I've had (and still have) three speaker systems "for life". KLH Model 5's, bought in 1972; B & W 801 F's bought in 1982 and ADS 1290's (with ADS 300 back channels) in 1992. I "just" bought a pair of Martin Logan CLS's (in 2007) and have worked them into the mix. They've all been restored at one time or another and are still going strong.

Where can you hear them?

Listen to a full-Sanders system; it is hard to say why, just go and listen.

Luca

I got to hear those Harbeths with Audio Note gear earlier this year and they didn't do it for me. I've read the reviews on here as well as elsewhere. I get that they sound nice, but for me they are lacking in detail. I realize that you don't really get 'detail' in live music. I can fully understand how the Harbeth crowd feel about speakers that sound differently...I could easily live with the Harbeth sound as it's enjoyable,but with the Vandersteen upper end lines, I found the best of both worlds as they are faster in the mids and seem to be more revealing into the music. JMHO and I fully get where others are coming from. I got PRoacs over Spendors years ago, so I guess that's that's why I decided to go with 'that' sound over the Harbeth sound.

Harbeth M40.1. This speaker makes music listening enjoyable day in day out.

Nice list. Still selling off my Proac Supertowers in teak, lol....I've been fortunate to listen to most of your choices and have enjoyed them in various forms. I loved those EOS with mods as stands....they just looked cool. I think it was in a Dallas store if I recall correctly.

That brings back a memory. I built a kit from Fried call the super monitor and a couple of revisions after that. I always had a soft spot for that. Perhaps because I built it. It went deep, shook the walls, clear and clean with not much electronics getting in the way with the 1st order crossover.

von schweikert vr2s which I own. I also own vr4 II with the factory mod to vr5s. Perfect for me. Either one with the favorite being the vr4-5s.

I remember how cool those OHM's were back in the day. They weren't for me. Even the MBL"s aren't my cup of tea, but I can see why folks love them so much. Again, we all listen for different things. This is interesting as it's not 'what is the best speakers you've heard', it's one that you have an emotional attachment to. I thought my Proacs would be with me til I died, even though I knew they weren't exactly what I wanted. The more I learned about listening I realized this year that I wanted new speakers. The Proacs kept sounding better and better, but I also knew it was time. They are still better than most speakers up to 2500 and someone will get a great deal on the towers and or matching monitors, but I wanted the Vandy's after hearing them. They just get it right, but they are also very expensive.

Ohm Walsh 2. Try others but never ever give them up!

I bought a ton of stuff at Tech back in the day. I am selling off a Luxman tuner I got there. Last thing I have left

I am original owner of a pair of OHM Ls I still use and enjoy that I bought new back in 1978. They went for about $500 a pair back then. I rebuilt them once myself a few years back and they still sound great and excel with progressive rock music in particular.

These were designed as a smaller option to the classic larger Advents that were all the buzz back in the day. We sold both at Tech Hifi and I clearly recall the Ls lived up to their billing.

One unique aspect of these old OHM designs is that OHM is still in business and provides service, parts and upgrades for pretty much every speaker model they have ever sold, including these. Modern refurbed versions can also be had when available for not much more than these cost almost 40 years ago. If modern speaker large, holographic sound stage capabilities are not a priority, these old simple box designs deliver a of bang for the buck still and are worth hanging on to for life. Modern high quality similar designs like HArbeth for example do not come cheap.

wow, that's a long time, lol

Rdiiorio, KLH 9 for 42 years! Any repairs? I replaced mine with Infinity ServoStatics. I doubt if many of them can even be found working or not.

I've owned McIntosh SRT22's since the 90'sand still remain pleased with them. the woofers and midrange speakers had to be refurbished last year and they continue to sound great!

I nearly got the Stages they lacked bass and I didnt like them with the integrated sub bases they sold with them. The Apogees will sound so much better than any of the speakers you mentioned as long as you are using proper amplification. What are you running them with? I venture to say that if you upgraded your electronics, your stages will absolutely sing. The high powered Krells really controlled them. I also heard them with top of the line AR tubed gear and again, they sang. That was a great speaker. My buddy sold them up in Providence back in the day.

I've owned a pair of Apogee Stages since 1991.
Others that have tried and failed to succeed them; Bose 901 v5 stacked with either Bose crossover, or a Heathkit AD-1702 and REL Storm Sub (I still don't get it), Braun L810, ADS, Mission, NHT, Dynaudio, Bud Fried Signatures, Ohm C2 (4-Quad), Canton, Polk SDA, KEF 104, Pioneer CS-99A (4-Quad)

There are many reasons folks hang onto speakers for life. Money is a huge thing. Just because there are advances in tech, often the gains aren't worth the price of admission. Also, the speakers are only as good as the system and room they are in. I have seen way too many folks change just to change and often they aren't happy with the changes. I have been around hi end audio since 1969 or so. I have had to take a few breaks as I wasn't able to be around it as much when I was in the Navy on ships away from land for a year at a time (other than three day port calls in third world countries). Then I was away from it for a few years due to kids and work. I recently came back and am playing some catch up, I have seen bigger advances in digital to where I can listen to it and enjoy it. I also see a huge change in some SS amps. I finally heard a SS amp I can live with (Ayre) and was able to get it. It made my vintage Proac Super Towers sound very good. I never realized it had the bass it has as I ran tubes.

The one thing I've heard that has changed over the last decade is that everything seems to be more 'revealing' or 'detailed' , but so much emotion has been lost in many products I've listened to. It's like we have the ability to now get more detailed, but only a few products allow the emotion of live to come through.

What is the true lifespan of a speaker? It depends on the person as Beewax posted. For him it's none, but for many they are fine with what they have. Tha'ts what makes this hobby so much fun.

If everyone hand on the same speaker for life. We would listening music just like the Flintstone on TV.
Speaker is technology and they sound better everyday. Speaker to hand on to for life for me is none.

If your switching speakers every 6 months your either very wealthy which is cool, Maybe something is wrong with your equipment that your not aware of yet. There maybe something wrong with your acoustics. After you see past the illusions that go along with installing new speakers, the "honeymoon phase" I call it, you see the flaws that where glossed over. But then ask yourself are you listening to music or just to the equipment? Maybe the problem is elsewhere.

But to answer your question, I have owned KLH Model-Nines for 42 yrs.

Revel M20s.

If you know how to set them up, Altec Lansing Voice of The Theatre A-7's deliver the real thing.For subwoofer action, try JBL Professional Installed Sound ASH Series Maximum Impact cabinets with old JBL 2245-H 18" drivers installed. They are around 32 cubic feet each.The undistorted bass will hurt you, but you will enjoy it because you are an audiophile.

After a thought I second Joeyboynj... :). Rel B2 is an outstanding sub. Integrates extremely with mains, very versatile, not to mention the bass itself and spatial info it adds to the soundstage.

I must admit that some twenty-five speakers ago, when I bought Infinity ServoStatics, I was set for life, or at least that I was satisfied. These were speakers that need frequent repair of the midrange driver, but if was the appeal of the ServoStatic 1As that brought me to sell the 1s. There really is no such thing for an audiophile of one last speaker system, but if you get old it does happen. I own two systems now and one of them is no doubt the last.

I love the posts from people that have been speaker swapping for decades but are still positive that the speakers they just bought ARE HERE FOR LIFE!!!! Lmao!

Tbg --

What I think is needed is the counterpart to a microphone, namely a point source capable of 110 db peaks and flat from 20 to 100,000 Hz. I know of no such device.

Indeed no small measure to pursue. I can very much attest to this demand, ultimately speaking, but have come to live in a satisfying manner with less. I much prefer a point source (or two pr. channel) over a line source, though my experience with single point source units is too limited to form any conclusion. Where I have heard them they've lead to compromises too severe to warrant a purchase over a 2-way system, but there are alternatives still to be sought out - the BMS 15CN682 being one of them (http://bmsspeakers.com/index.php?id=bms_15cn682). Where the cross-over frequency is around 1kHz in a 2-way system, give or take, I find the outcome can be made to ensure a very capable performance with more pro's than con's. A pair of subs can accommodate the need for the last octave while providing positive influence upwards as well; though demanding to integrate the subs properly, it's certainly possible with some effort. SPL is no issue without banging ones head against the distortion ceiling, and I'd wager frequency extension upwards is less important than the impact of thoroughly implemented sub-terrain performance. Of course, all of the above is relative to my own performance needs, and is not supposed in any way to be seen as a "lecture" delivered in your direction.

With regard to a proper listening distance with horn/waveguide speakers I suppose it's dependent on the different incarnations and their implementation (2-way or more). My own 12" OSWG waveguide-based speakers have no problems integrating at a listening distance under 10 feet, though I suppose 10-12 feet distance (or slightly more) could be preferable. Unfortunately my listening room doesn't allow for experimentation much over 10 feet.

Phusis, I too went through discovering the speed of compression drivers in horns and once came very close to buying a five way compression horn array from GOTO. At the time I had Avantegarde Trios and learned a lesson about an array of horns. Unless you are quite a distance from them, instruments will switch positions at different notes. In short, not having a fifty feet long listening room, I could not enjoy either my Trios or a five compression driver horn system. I have seen pictures of Japanese audiophiles sweeping the dust out of the mouths of their horn speakers with listening chairs only about ten feet in front of them. So apparently some can tolerate this, but not me.

I have had single driver horn systems, full range electrostats, line arrays of ribbons and dynamic tweeters and midrange drivers, horns with and without compression drivers, and many dynamic driver systems. What I think is needed is the counterpart to a microphone, namely a point source capable of 110 db peaks and flat from 20 to 100,000 Hz. I know of no such device.

I've long had a "sonic crush" on the sound coming from several cinema auditoriums and their associated speaker systems. This hasn't got anything to do with "hifi" per se (though strictly speaking, it should), but simply that the oftentimes effortless, full-bodied, dynamic, and indeed rather coherent presentation appeals to me immensely. That it doesn't relate to "hifi" (in the more or less traditional sense) as such is by no means to be understood negatively, but rather that it imprints itself intuitively as something "right." I find it the more interesting, even truer, that my impressions herein have been formed under conditions that "breaks" contrary to the typical environment under which we relate to hifi, that is in a darkened auditorium (usually) filled with people, no visible equipment, and a focus towards seeing a film.

This brings me to a shift or transition that is still underway towards... a settlement? Some 10 years ago a visit to a hifi-exhibition lead me to rooms with a range of horn-driven JBL speakers - the S4800's, Array 1400, and not least the overlooked S9800SE's. Here the sound, especially from the latter, in many ways gave me the sensation of "finally, at last" (closely related in some ways with the cinema sound experience mentioned above) and I simply kept hanging around and "inhaled" the music here for hours. I've not since become a JBL-fan, but it informed me about a preference that has since been sought after, albeit not initially with horns and compression drivers as the common denominator. Instead, my "deviation," so to speak, went from direct radiating tweeters to ribbon-based speakers (Raidho) and then to waveguide speakers going from the Finish Amphion speakers to US-based S.P. Technology/Aether Audio, and finally the Polish originated hORNS speakers where a variety of horns and waveguides are used in conjunction with compression drivers and pro-style mid/bass drivers, in what are usually 2-way systems.

What is to be brought from this is the addictive nature of the effortless, full-bodied and dynamic presentation from compression drivers paired with larger and efficient mid/bass units crossed over no higher than 1.4-1.5kHz - depending on the size of these units and their implementation. Moreover the mid/bass units here used are not sub-bass units per se, but have to be capable playing midrange as well - and this is very important; instead of trying to squeeze out sub-bass from one package a much more important emphasis is placed on the mid-bass and integration with the horn/waveguide and its compression driver, and so maintain only one cross-over frequency in a not too audibly critical spectrum. Whatever one seeks in the sub frequencies must be attained with the use of (preferably) two, or even more subwoofers.

So, this is not about a particular speaker or even brand to hang on to for life, but a speaker principle that has gone on to establish itself as indispensable compared to the more typical regime of hifi-speakers: direct radiating dome tweeters now sound thin, malnourished and strained; typical hifi mids sound compressed and lacking dynamic impact; and not least the upper bass/lower mids of typically larger multi-way hifi-speakers simply lack the cohesion to bind together this very important area with the rest of the frequency spectrum into a homogenous musical whole.

The typical application that is associated with this speaker principle I've now come to cherish for the last many years may not lead one to think of "hifi," but it doesn't matter - except for the ones who are lead to dismiss it out of a prejudiced stance; what matters is that it sounds like real, live acoustical music, something that would (or should) lead one to reevaluate the now established term "hifi" and question its merits as the true holder of the meaning 'high fidelity.' I don't disregard other opinions on what hifi is, but if the goal is seeking a live presentation of acoustical music in a real space environment then the matter presents itself less subjectively and into a different direction than where the established hifi-milieu has come to "coagulate" - if you ask me. Sorry for the detour...

Astrallite, I guess it is a matter of how old you are when you decide they are for the rest of your life. Maybe my Rectilinear IIIs are still working or my Fulton Premiers but certainly not my Infinity ServoStatic 1s.

But in reality I cannot imagine living with the particular compromise in the speaker you own for a long time.

None because the electronics in active speakers will fail in 2 decades or so and the in passive speakers you will have to replace the capacitors within 15 years or so.

I just love vintage infinity's. Had RS 6b when I was young and just bought them again as backspeakers in my surround set up. They still sound beautiful and are perfect for smaller rooms. In my living room I have used Infinity renaissance 90 for the last 5-6 years. I love them. But having just moved to a new home with a different and larger living room I had problems getting the sound I wanted. I now know that it was largely due to setup and speaker placement challenges, but I still bought myself a set of infinity IRS Betas. Anyway I will never sell my renaissance speakers.

I have loved the Supertowers for years and love them all over again since I hooked up the Ayre integrated. I get my new DAC/cable this week and can't wait to burn it in. I bet it's going to sound that much better. That said, I'm selling them off (let me know if interested) along with my other two sets of proacs so that I can afford the Vandy Treo's. I love the rightness of the Treo's, but I will be fine with the Proacs until I can sell them, that's for sure.

As for tired of looking at something, I'm past that part of my life. Maybe in a car, but not in a speaker. The tall, slim, teak Proacs are attractive to me and always have been. I've never been a B&W guy at all. Way to hot on the top end for me. The new diamond series are the first ones I can listen to that don't make my ears bleed. Again, I realize how popular they are and when I say that about their sound, I'm talking the top level ones since the 800's came out years ago. Just not for me, but many swear by them.

I have gone through an embarrassing # of speakers in my search. I was in the hobby for 20 years before selling almost everything and focusing on family and career. Now, back into it again.
First go round I owned Kef, Audes, Duevel, Totem, Usher, Talon, B&W, Anthony Gallo, Meadowlark, Aerial Acoustics, Von Schweikert, Omega, Thiel, Polk, Martin Logan, NHT, Verity Audio, Rethm and a few others I don't even remember....
Before I sold 8 years ago, I had a pair of Firebird Talon's that I loved (although they sounded better with the original ceramic tweeter then the diamond tweeter I upgraded to). I sold those but kept my Aerial Acoustics 10T's for my HT system. I still have the 10T's in my family room, and they still sound amazing!
My new 2 channel system will be using Vienna Acoustics The Muzik speakers, which I have yet to pass judgement on. But my Aerial Acoustics 10T's do fit the thread title; I will keep them forever. Even considering all the others I have listed, the 10T is a revolution in performance; especially considering their current going rate here on Audiogon.

@Ctspooner I've never heard the extremas but, have always lusted after them. My acupuncturist had supertowers and I always thought they had an uncanny rightness about them - even when laying on a table!

I forgot about B&W 800's - very impressive but, who would have the right space to make them sing? I've also been very impressed by song big Ushers - can't recall the model - something Dancer. Furthermore, I'd add the MBL 101 Radialstrahler.

The speaker I'd most like to hear is the Dali Megaline. Nothing sexier than a huge ribbon tweeter.

Don't hang on to speakers for LIFE.
Spoil yourself.
New speakers may not necessarily perform better in any particular area than your otherwise excellent ProAcs, but you do get tired of looking at the same old two boxes day in and day out.
I recently switched from slow and dated [looking] Meadowlark Shearwaters to fast and sexy [looking] System-Audio Mantra 50s and have not regretted this move.

was that post for mine? I don't see where I said perfect. In fact, my point was that I have really enjoyed many of those speakers. I have a few sets right now also and have loved them for different reasons. I'm now going to sell off everything as I'm starting over. I agree with you in that there is no perfect anything.

My Dear friend : There is no such a thing as perfect speakers or perfect amp or pre amp or cd player. They all have positive and negative points. I have 4 different sets of speakers and the all sound great but not perfect. It is the art of matching with the res of your system .

Very interesting list. We have a similar ear I think.

Sonus Faber Electa Amator- Agree
Sonus Faber Ellipsa-Agree
Artemis Eos Signature with Bass Modules-One of my fav's along with Sonus Extrema's
ProAc Response 3.8- Loved listening to them at my friend's store
ProAc Supertower- I have owned for years and am finally letting them go if anyone wants them, lol
Joseph Audio RM33
Joseph Audio Pearl
Quad ESL 988- Loved these both times I heard em
Vandersteen 4- Love the new ones BEST ;) (getting Treo's)
Gallo Reference 3.5
Dynaudio Special 25

The most impressive speakers that remain unforgettable and, therefore, if I had them I would hang on to for life are (no particular order):
Sonus Faber Electa Amator
Sonus Faber Ellipsa
Artemis Eos Signature with Bass Modules
ProAc Response 3.8
ProAc Supertower
Joseph Audio RM33
Joseph Audio Pearl
Quad ESL 988
Vandersteen 4
Gallo Reference 3.5
Dynaudio Special 25
These were the best in their particular areas, that I've ever heard.

The one I bought….Dali Euphonia MS 4. Narrow baffle, svelte, nice casework, good bass, fantastic top end, great midrange, nice imaging. Fits in a medium room well. High WAF factor.

have subwoofers come that far that you can really integrate them and not 'hear' them? I've never heard a sub that integrates fully, but I haven't listened to a system with them in years. Do you use two? I would assume that's the only way to do it as it can be directional no matter what some folks say. I really am interested in everyones thoughts on this. Bass is the biggest thing that separates a 5k speaker from a 15+k one imho. thanks.

Hi Mark, I have the crossover set at 38HZ. This seems to be the best for my speakers in my room and system. I have also tried 43HZ and 41HZ for a few months each. But the winner was right at 38HZ.

My subwoofer can be set as low as 22HZ and I find that most of the upper model Rel's all van be set at these levels. Rel subwoofers are made for supplementing the sub-bass range for large speakers that can already go low in the bass.

Take a read of the January 2014 issue of The Absolute Sound. Rel's new R-528 SE just maybe what you are looking for. Its a "Sub Bass System" made for large speakers and can make organ recordings produce room lock in your system. I went out to hear it and the article was exactly was what I experienced. Therefore, if I was to upgrade it would be to this current model. Have fun! I did. Thanks, Joe

REL is very high on my list for a subwoofer for my Dynaudio Sapphire speakers and I am extremely interested in your experience with your B-2 so far.

I would welcome any additional information you are willing to provide. What loudspeakers are mated with your sub? How low have you set the crossover?

The Sapphires seem to really need a very low crossover so the subwoofer does not bleed much if at all into the mid bass (40-80 IMHO). That's a key thing for me. Thanks. Mark

I would have to say my Rel B-2 subwoofer. I never experienced a subwoofer that integrated and disappears so well as a Rel subwoofer using their hi-level Neutrik SpeakOn connectors to capture the characteristics of the amplifier and transfer that to the subwoofer and speaker. This I feel is what makes this subwoofer disappear very well.

Any Sonus Faber speaker should be held for life. Buy them for looks, keep them for the sound! When you consider the resale value of most speakers, relative to their new price, it just doesn't make sense to sell them. They will always look great in a second system. I'll never sell my Sonus Faber Electa Amators (bought new in 1992), even when I upgrade in the future.

I have had problems in the past with most ribbons as most designers don't marry them properly from what I've heard. The Legacy speakers (current) have done a pretty good job. I think I may be sensitive to coherency from top to bottom. I used to love the Apogees back in the day, but I thought they lost their magic when they were mated with their subs. I have never liked the ML speakers either. I do like Maggies, unless they are mated with subs. I'm not a sub guy for the most part. Bass is the most expensive part of the speaker. There are a few companies who make musical and coherent speakers that dip into the mid 30's or lower and they sound awesome.

There is a reason many choose a speaker for life if you would, but WHY?? What are you sensitive to? Do you care about a full range speaker? Can your room handle it? Staging, imaging, pace, rhythm???? Why are you keeping your speakers for life? Thanks.

You are a brave and honest person. I don't think it's a weakness exploring...I also enjoy the smorgasbord, but am in box dynamic speakers...I have been concerned about ribbon speaker tweeters, the silk is still the answer there for me.

Rogers Studio 1, purchased new in 1983. 30 years on, and I still love the way they sound. Every upgrade in my gear has allowed them to reveal more and become more musical. I may move on one day, but that day isn't today.

Arcamadeus, with 53 years or more in this hobby, I too conclude that my BMC Arcadia speakers will be for life. Of course, that may not be for long. I'm still having fun.