Tyler/Salk sensible alternatives to Gallos?


Friends, Since I first posted last week, my obsessive tendencies have kicked into "gear." Many suggested the Gallo Ref III as a must hear for me - a musician who literally plays with his system. On paper, the Gallos make a strong impression with near universal accolades. But peeling away the adoration, I wonder whether they would be a best buy for my needs. I am prepared to buy used. The Gallos go for around $2k. But then you need to add the cost of the sub - another $500-600. Many may say it is not necessary. Without having it, I will always wonder. A bigger issue is the sound stage. I am told that they cast a broad but short shadow. Since I stand when I play/listen, that is a significant issue. I could buy a pair of stands, but custom made can run upwards of $700. Cinder blocks will not fit our decor, I am sure my wife will say. All told, even used, I am looking at something some north of $3k for the Gallos. And perhaps it is still the champ at that price point. But enter the contenders. I read that Mr. Tyler makes magic with his Linbrook Signatures which can be had from him, used, for $4k delivered with a 2 yr warranty. They can be had for hundreds less from private sellers. And Mr. Salk's QW can be had new for the same price as the Gallos in my paradigm, and his Ht3's could be had used for about $1000-1500 more. No reports from owners or reviewers quibble about the depth or vertical reach of these speakers, or the need for stands or subs. So, assuming that they all trade within the same range, and given my particular needs, would the Gallos still reign in my world?
deliberate1

Showing 1 response by audiokinesis

Achieving decent soundstaging across a wide listening area requires taking psychoacoustics into account. The ear localizes sound by two mechanisms - arrival time and intensity. Arrival time will inevitably be skewed in favor of the closer speaker if you're off the centerline. So to maintain an acceptable soundstage from off-centerline, ideally you'd want a configuration where the farther away speaker is actually a bit louder than the one you're closer to. Perhaps the simplest solution is a geometric one - namely using an extreme amount of toe-in, like about 45 degrees, such that as you move closer to one speaker you're also moving more on-axis of the farther speaker. Most speakers are louder on-axis than they are off-axis, at least in the higher frequencies where most localization cues come from. Note that most speakers are not designed for this configuration and so most do not really work very well with it. The radiation pattern has to be unusually well-controlled or else the soundstaging or tonal balance (or both) falls apart with this much toe-in. But it's not like you can use less toe-in and get nearly the same results - the tweeter axes have to cross well in front of the listening area if you want that freedom to move side-to-side without the soundstage (and tonal balance) collapsing.

In order to get consistent tonal balance throughout the room, you want the first-arrival frequency response and the power response (summed omnidirectional response) to be very similar. One key here is to look at the first-arrival sound from the two speakers combined, rather than at just one. That same extreme toe-in that gives us decent soundstaging over a wide area can also give us consistent tonal balance over a wide area if the speakers are designed with this as a high priority.

Decent soundstaging across a wide listening area and consistent tonal balance throughout the room are important to me, and I gravitate towards designs that can do this. The Klipschorns suggested by Tvad are among the relatively few loudspeakers that can do both.

Duke
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