***CENTER CHANNEL IS SOLD - PRICE IS FOR THE TRITON ONE LOUDSPEAKERS***
For sale is a customer consignment pair of the GoldenEar Triton One Loudspeakers + matching GoldenEar SuperCenter XXL center channel loudspeaker(s). The speakers are on consignment, at our boutique, for a long-time client of ours whom takes excellent condition of his equipment. Therefore, the speakers are in like new condition complete with all of the factory packing manuals, cords, etc.
Due to the size and weight we will ship via insured freight only. The units will be strapped to a skid and delivered with a liftgate and pallet jack.
Also, local pickup is available.
Here you can learn more about this opportunity:
GoldenEar Technology Triton One loudspeaker Robert Deutsch
| Feb 4, 2015
I reviewed GoldenEar Technology's first speaker, the Triton Two ($2999.98; all prices per pair), in February 2012
. It was and is an outstandingly good speaker, but I thought then that if GoldenEar would apply the same expertise to the design of a speaker with fewer cost constraints, the results could be better still. Sandy Gross, president and CEO of GoldenEar, must have been thinking along similar lines when he named the speaker Triton Two, leaving One for a more ambitious future product.
But the Triton One was slow in coming. Meanwhile, in the three years following my review, the Triton Two remained the top GoldenEar model as it was joined by: two lower-priced floorstanders, the Triton Three ($1999.98) and Triton Seven ($1399.98); two bookshelf models, the Aon 2 ($799.98) and Aon 3 ($999.98); and some home-theater speakers and subwoofers.
I can understand why GoldenEar took their time in coming up with the Triton One. When you have a speaker as successful as the Triton Two, the expectations for any model above it will be correspondingly greater.
Well, the Triton One is here at last—and I was eager to hear if it would prove worth the wait.
Description and Design
If you've seen the Triton Two, imagine a speaker that's the same general shape but a little taller, a little wider, and a little deeper—that's the Triton One, at 54" high by 8" wide by 165/8" deep, 80 lbs, and $4999.98/pair. I find it sleek, and like the fact that its looks don't draw too much attention to the speaker, but I know that some consider the Triton series too plain looking. The cloth-covered look has worked well for some highly successful speakers, such as the Vandersteen 2 and the Quad ESL-63. However, if you want your speakers to look like fine furniture, the Triton One may not be to your taste.
The Triton One's cloth wrap hides an impressive array of technology. Like the Two, it's a three-way design with a powered, passive-radiator-loaded subwoofer section, and features GoldenEar's version of the famed Heil Air-Motion Transformer, called a High-Velocity Folded Ribbon tweeter. However, the Triton One is not just an inflated Two. The engineering team—headed by Bob Johnston, under the direction of Sandy Gross and with input from Gross's business partner, Don Givogue—examined every part of the Two's design, and considered how improvements could be made. According to Gross, "the basic plan was to make the One more dynamic, with even better bass and more refined at the same time."
A list of the differences between the Triton One and Two:
• The One's upper-bass/midrange drivers are 5.25" vs the Two's 4.5", which allows the crossover frequency to be lowered from 160 to 100Hz. These drivers have correspondingly larger internal chambers than in the Two.
• The One's cabinet is larger, with thicker walls; it's better damped and better braced.
• The One's passive cones and baskets are stiffer than the Two's.
• The One has three 5" by 9" long-throw bass drivers, vs two in the Two.
• The One has four 7" by 10" passive radiators, vs two in the Two.
• The One's crossover is a balanced design, which, among other things, is claimed to reduce the stray capacitance in the magnetic gap.
• Considerable development of the DSP circuitry that's part of the hybrid passive/active crossover between the One's woofers and upper-bass/midrange drivers has allowed the crossover to now be phase perfect, says GoldenEar.
• The One's DSP uses 56- rather than 48-bit processing, and the sample rate has been raised from 96 to 192kHz, both for measurably lower noise and distortion.
• The Triton One's subwoofer amplifier has an output of 1600W vs the Two's 1200W, and its damping factor is significantly improved. Instead of using a single large power supply, the One's sub amp uses a separate, small supply for each circuit section, which is said to prevent signal coupling between sections.
The Triton Ones were set up in my listening room in about the same positions other speakers have occupied (footnote 1). Sandy Gross came by to help set them up, tweaking the speakers' distances from the front and side walls and their angles of toe-in.
The Triton One is provided with spikes, though I didn't install these until the speakers' positions were finalized. But when all spikes were fully screwed into the speakers' bottom plates, Gross felt the angle was not optimal—when I sat down to listen, the tweeter axes fired somewhat over my head. The solution was to lean the Ones a bit forward, which he achieved by leaving their spikes installed at the back of each speaker, but using only the smaller rubber feet at the front.
The Triton One has only one control: for subwoofer level. Setting this is mostly a matter of personal preference. I kept tweaking it, and eventually settled on a setting in the middle of the range.
I drove the Triton Ones with a McIntosh Labs MC275LE, a tubed power amplifier that has the easy-on-the-ears smoothness that is the hallmark of the best tube electronics, but without any of the rolling off of tonality at the top and bottom of the audioband that impairs resolution—descriptors that also apply to my preamplifier, a Convergent Audio Technology SL-1 Renaissance. Rated at 70Wpc but generally known to produce about 90W, the MC275LE had more than enough power to drive these speakers to levels that were about as high as I could tolerate.
Once I begin a review, I try to keep as a constant every potentially confounding variable that could influence my evaluation of the product. I don't change components in the system during a review—but this time I had to make an exception.
The problem was with my digital source: an Ayre Acoustics CX-7eMP CD player. I was in the initial phase of break-in and casual listening when the Ayre began to make a purring sound when playing a disc. This would continue until I stopped the player. Sometimes the purring would go away for a while—and then come back again. There was no obvious effect on the sound, but I couldn't be sure that it wasn't having some subtle effect, and it wouldn't be fair to the Triton One to review it with a source component that may not have been working properly. I ended up replacing the Ayre CX-7eMP with PS Audio's DirectStream DAC (DS) and its companion PerfectWave Memory Player CD/DVD transport (PW); the full story of my experience with the DS and the PW can be found in my Follow-Up review of the DirectStream, elsewhere in this issue.
As I was simultaneously reviewing the Triton One and the PS Audio combo. I had to periodically switch my focus from the speakers to the CD player, noting any changes in sound as I explored the performance of the PS Audio components, and considering what those changes told me about the sound of the speaker.
GoldenEar Technology Triton One loudspeaker Page 2
The Triton One proved extraordinarily revealing of the effects of the various comparisons and tweaks I was making with the DS-PW. The effects of using different cables (three HDMI, one XLR) between the PW and DS were easily audible. The same with the beneficial effect of substituting Hi-Fi Tuning Supreme fuses for PS Audio's stock ones. And when, late in the listening period, PS Audio sent me updated firmware for the DS, the resulting improvements were obvious. The Triton One is a high-resolution loudspeaker, which had its payoff in listening to music as well as listening for the effects of system tweaks. With almost every CD I played in the DS-PW, I noticed musical details that had previously been inaudible or could be only faintly heard. Resolution had been one of the Triton Two's strengths as well. However, while I didn't have a pair of Twos on hand for direct comparison, my sense was that the Triton One is a significant advance on the already high resolution offered by the Triton Two.
When I played recordings of orchestral, choral, big-band, and rock music at impress-your-friends levels, the Triton Ones sounded quite spectacular, and showed little sign of strain. "Winter Wonderland," from Clark Terry and Frank Wess's Big Band Basie (CD, Reference RR-63CD), had the requisite punch but remained musical, and the speakers didn't protest, even though the level was a notch higher on the CAT preamp's volume control than my usual maximum. Audio Tools' sound-pressure-level meter app (C-weighted, fast) on my iPhone 6 gave a peak reading of 94.7dB; the actual level was probably higher, the reading of the meter limited by the clipping of the iPhone's input circuitry. Whatever the actual level, it was subjectively loud enough that if I'd played music at that level for visitors, I'm sure most of them would have asked me to turn it down.
One of the things I appreciated about the original Quads, when I had them, was that I could play the speakers at a low level and all the music was still there. They didn't have to be played loud. (And, of course, the Quads couldn't really play loud.) The Triton Ones were similar to the Quads in this respect: I didn't feel I had to play them loud to hear all the music. I think this is a testament to GoldenEars' high resolution. In fact, some of my best times with the speakers were late in the evening, listening at what, in audio-demo terms, would be considered barely above background level (C-weighted peaks in the low 70s)—but which my system and the Triton Ones rendered as very plausible illusions of listening to music in a concert hall or opera house.
The tonal balance was fundamentally neutral, the highs clean and extended; the various percussion instruments in Ana Caram's "Viola Fora de Moda," from the Chesky Records Jazz Sampler & Audiophile Test Compact Disc, Vol.1 (Chesky JD37), being clearly differentiated. Another test of transient accuracy that I like to use is All Star Percussion Ensemble, led by Harold Farberman (Golden Strings GS CD005). The instruments on this recording cover the entire audioband, including timpani and bass drum at the bottom. The sound through the Triton Ones had an appealing crispness, with no smearing of transients. However, I would avoid combining these speakers with components whose intrinsic sound is on the bright side: the Triton Ones will let you hear it.
In my review of the Triton Two, I noted that at times I could hear a box resonance in the midrange—a common problem with box speakers, and one not easy to fix. The Triton One's thicker walls and improved damping and bracing seem to have done the trick. The box resonance, while not completely absent—a task impossible to achieve even in theory—was much lower in amplitude than I remember from the Two, and was almost always masked by the music.
One of the Triton Two's strengths was its bass, which eclipsed that of just about every other floorstanding speaker of similar size and price that I've heard—so I was a bit surprised that, with the Triton One, GoldenEar chose to focus their efforts on bettering that performance—it sure didn't need it. I suppose it was a matter of building on what had already been accomplished—and, for many people, what most clearly distinguishes speakers from one another is in the area of bass extension and power. (Another reason for focusing on the bass was so that use of Triton Ones in a home theater might make it possible to forgo a subwoofer.)
Because each Triton One has three powered woofers and four passive bass radiators, one might predict that its sound would be heavy, with overemphasized bass. This was simply not so. As I listened to a variety of music, it became clear that GoldenEar had chosen to go for quality rather than mere quantity of bass. The low bass was certainly there—GoldenEar claims 14Hz, which I couldn't achieve in my listening room, but I think this was at least partly due to my use of the McIntosh tube amp and the size and shape of the room itself. In any case, I think faithful reproduction of the 20–40Hz octave is a more realistic target to strive for, and this was well within the One's abilities.
A few years ago, at an audio show, I was given a CD-R of deep-bass demo tracks by Poh Ser Hsu, of subwoofer manufacturer Hsu Research. Featured are such audiophile favorites as Béla Fleck's "Flight of the Cosmic Hippo," Mickey Hart's "Kodo Drums," etc. The Triton Ones sailed through them, the bass always tuneful and firm. In music that didn't reach down into the deep bass, there was no midbass emphasis to give a false impression that there was deep bass. If anything, there appeared to be some weakness in the midbass; the voices of male singers—primarily baritones and basses, tenors to a lesser extent—seemed to lack some chest resonance. This could well have been due to the speakers' interaction with my room; JA's measurements might shed some light on whether this is a characteristic of the GoldenEars.
The Triton Ones were soundstaging champs: the stage was wide, higher than the speakers themselves, and presented great depth when called for. Imaging was precise, a precision only enhanced when the PS Audio DirectStream DAC was updated with the latest firmware. Playing the "Depth of Image" tracks (34–42) from Best of Chesky Jazz and More Audiophile Tests, Vol.2 (Chesky JD68), I could hear the difference between the sounds of the acoustic clicker at 50', 60', and 70'. I fancied I could even hear the difference between 70' and 80', but I wouldn't swear to it.
Class A Sound for a Class B Price?
To answer the provocative question posed by that subhead: No, I don't think that GoldenEar Technology's Triton One delivers the quality of sound you can get from speakers like MBL's Radialstrahler 101 Mk.II ($70,500), Sonus Faber's Amati Futura ($36,000), Vivid Audio's G1 Giya ($65,000), Wilson Audio Specialties' Alexia ($48,500), or YG Acoustics' Sonja 1.3($106,800). If you yearn for and can afford one of these Class A superspeakers, go for it.
And yet, the mere fact that it's not unreasonable to compare the sound of the $4999.98 Triton One with the sounds of speakers costing tens of thousands of dollars more per pair says a lot about the GoldenEar's level of performance. For the audiophile who doesn't have—or doesn't wish—to spend the money for cost-no-object speakers, yet wants sound quality that approaches what such expensive models can produce, I recommend first listening to the Triton One. You may decide that it's all the speaker you need.
GoldenEar SuperCenter XXL Center Channel Speaker ‘First Look’ Highlights
If you are looking for the ultimate in center channel speaker, then your search is over. Consider the new flagship SuperCenter XXL Center Channel speaker from GoldenEar Technology. This amazing speaker continues the GoldenEar Technology legacy created by industry legend Sandy Gross. The SuperCenter XXL is a larger version of the GoldenEar SuperCenter XL Center Channel Speaker and uses the same signature High Velocity Folded Ribbon (HVFR) tweeter that is a core technology of the GoldenEar Technology family of speakers. The SuperCenter XXL contains one folded ribbon tweeter, four 5.25” cast-basket mid/bass drivers, two 6.75” x 8” Quadratic Planar Low-Frequency Radiators, and one 7” x 10” Quadratic Planar Low-Frequency Radiator. With three Quadratic Planar Radiators, the SuperCenter XXL is capable of bass extension down to 33 Hz and can effortlessly anchor the center stage of your home theater.
GoldenEar SuperCenter XXL Center Channel Speaker Highlights Summary
- The SuperCenter XXL is a perfect match for a larger home theater utilizing any of the Triton Series Tower Speakers.
- Bass extension is deep and is the lowest in the SuperCenter series of center channel speakers.
- The SuperCenter XXL offers exceptional clarity and imaging.
- Paired with the Triton One Towers, the SuperCenter XXL delivers an immersive soundstage for both movies and multi-channel music.
Introduction to the GoldenEar SuperCenter XXL Center Channel Speaker ‘First Look’
One of the perks about being a reviewer is the chance to audition some amazing gear. I am currently working on a review of the GoldenEar Triton One Tower Speaker System used in a Dolby Atmos and Auro-3D home theater using a Marantz AV-8802 processor. Both reviews will be coming in the near future, but I wanted to provide this first look at the GoldenEar SuperCenter XXL Center Channel speaker. Sandy Gross called me a couple of weeks before the Triton One Towers arrived, and said that he was including something special for me with the review system. The SuperCenter XXL is a brand new speaker and is the big brother to the SuperCenter XL. The SuperCenter XXL is the largest speaker in the SuperCenter series of speakers and it has the lowest bass extension in the lineup. Sandy explained that his new creation would be a wonderful match for the Triton One Towers and he asked if I would include it in the system review. I was delighted to be the first person to get a review sample of this amazing center channel.
GOLDENEAR SUPERCENTER XXL CENTER CHANNEL SPEAKER ‘FIRST LOOK’ SPECIFICATIONS
- Design: 2-1/2 way Ported (Passive Radiators)
- Drivers: One – HVFR™ High-Velocity Folded Ribbon Tweeter; Four – 5.25? Cast-Basket Mid/Bass Drivers; Two – 6.75? x 8? Quadratic Planar Low-Frequency Radiators; One – 7? x 10? Quadratic Planar Low-Frequency Radiator
- MFR: 33 Hz – 35 kHz
- Efficiency: 91 dB
- Dimensions: 5.75” H x 35” W x 11” D
- Weight: 31 Pounds
- MSRP: $1,249.99 USD
- SECRETS Tags: GoldenEar, GoldenEar SuperCenter XXL, GoldenEar Center Channel, Triton Series
- Where to Buy: GoldenEar Website
The SuperCenter XXL contains one High Velocity Folded Ribbon (HVFR) tweeter, four 5.25” cast-basket mid/bass drivers, two 6.75” x 8” Quadratic Planar Low-Frequency Radiators, and one 7” x 10” Quadratic Planar Low-Frequency Radiator. The speaker itself shares the SuperCenter design aesthetic with rounded edges and glossy end-caps. The SuperCenter XXL is a substantial speaker yet its design doesn’t dominate the listening space. Installation is very simple and GoldenEar recommends placing the speaker above or below ear-level with the speaker angled toward the listening position using the adjustable feet that are included with the speaker.
The internal design of the SuperCenter XXL is impressive. There are three separate internal chambers inside the speaker. The first chamber contains two of the 5.25” drivers and the HVFR Tweeter which are coupled to the large 7” x 10” Quadratic Planar Low-Frequency Radiator in the center of the speaker. The two smaller chambers on each side of the speaker contain a special 5.25” driver which is engineered for low frequency response up to 500 Hz. Each of those drivers is coupled to one of the smaller 6.75” x 8” Quadratic Planar Low-Frequency Radiators. One of the biggest pluses that the larger cabinet and extra drivers deliver relative to the SuperCenter XL, is dramatically improved dynamics and impact, especially in the range below 500 Hz.
I expected the SuperCenter XXL to sound pretty amazing and I wasn’t disappointed.
As we all know, the center channel speaker is crucial in helping to recreate the theater experience. So much of the critical dialog in movies comes from the center channel, that the viewing and listening experience hinges on how well we can hear that dialog in the movie. A great example of this is “The Grand Budapest Hotel” which tells the story of a famous hotel and the friendship between its concierge and Zero, the lobby boy. I loved the dialog between F. Murray Abraham and Jude Law in the dining room at the hotel. The SuperCenter XXL reproduced the actors’ dialog with exceptional clarity and easily revealed nuances and emotions in their voices. Instead of just watching the dialog from my sofa, the SuperCenter XXL put me at the table in their conversation. The echo of the cork popping from their champagne bottle reverberated through my listening room as the SuperCenter XXL blended beautifully with the Triton One Towers creating the illusion of being in the cavernous dining hall with them.
Music is also very central to the story of “The Grand Budapest Hotel” and the experience starts right from the music playing on the Blu-ray title menu. I had to stop and think about the last time I even made note of the music on a title menu, and in this case it was so striking that I had to hesitate before playing the movie just to enjoy the experience. The SuperCenter XXL created a totally seamless soundstage across the entire front of my listening room. The music was gorgeous with intricately layered vocal harmonies and the bass vocals sounded especially rich. The music throughout the film sounded no less impressive and the SuperCenter XXL brought the gorgeous balalaika music to life with exquisite bass and vibrant strings that played harmoniously with the Triton Ones.
The biggest takeaway for me with the SuperCenter XXL was its ability to produce sound with such clarity that I forgot that I was listening to a speaker. While I have traditionally listened to my favorite shows like “The Big Bang Theory” in stereo, I found that listening in Dolby Surround with the SuperCenter XXL brought me closer to the characters than ever before since the dialog was focused so clearly in the center of the listening space.
If my initial impressions are any indication, GoldenEar Technology has yet another winner on their hands. The SuperCenter XXL is easily one of the best center channel speakers available today. If you are looking for new speakers or looking to upgrade your GoldenEar Technology speaker system, you should absolutely consider adding the SuperCenter XXL Center channel speaker to your home theater.
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