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Listening to Händel's Concerto Grosso Opus 6, Rich also pronounced it a "music lover's speaker"; not super revealing or super imagining but pleasing to listen to and nicely balanced tonally. Rich has trouble listening to my Audio Physic Step SLE speakers sometimes due to their occasional forwardness. I have to agree but I'm quite sure the forwardness of the Steps can be tamed with some additional system changes. I have had other amps (e.g. Tempo Electric Model 302 monos) in my system that have completely eliminated this forwardness - however, there were other tradeoffs.


The speaker wires I use are about 15 feet in length which precludes borrowing wire from my audiophile friends who use much shorter lengths. It also makes it difficult for reviews, too. I decided it was time to make up some of the DIY silver wire used by Tempo Electric and see if this would substantially alter my impressions. This DIY wire was originally written about by the late Harvey Rosenberg. I ordered the recommended 16-gauge soft temper silver wire and threaded it into a Teflon jacket. As I have found numerous times before, someone else's speaker wire may not work well in your own system. My homemade, mil-spec speaker wire outperformed the DIY silver cable in every way - nuff said!

Since Dave MacPherson also manufactures and sells an amplifier, the Electrodyn EA2, I suggested he send me an amp to try with the speakers. He had an older EA1 on hand and asked for some time to update it as much as possible to EA2 standards. The entire upgrade was not possible due to circuit changes to lower the signal/noise ratio. I'll call this an EA1+ for purposes of this review. It is a hybrid amp, with E88CC tubes in the first gain stage and Mosfet transistors in the output stage, producing 275 watts per channel into 8 ohms.
The amp arrived in a couple of weeks. I connected the Electrodyn EA1+ via its unbalanced RCA input jacks and am I glad I suggested this! It became immediately obvious that my 40wpc Red Rose tube amp was really marginal power-wise for driving the T3s. It also became quickly apparent that the EA1+ was a very fine amp. The tonal balance became even better, with the bass power really coming into another level. With my Red Rose amp still in the system, I had been relaxing with my girlfriend Marlene on my listening couch and playing Roseanne Cash for her to see if she would like to go to her upcoming concert in New Haven. Playing the same CD with the EA1+, the soundstage opened up, the percussion came alive and everything took on a greater sense of ease and rightness.
It made sense to go back and play some of the selections from earlier in this review so I played the Lucinda Williams again. Now her voice was almost absent of unnatural hardness and edge. I listened to the whole CD twice, relishing in the newfound dynamics on the bluesy guitar solo in cut 3, "Nothing In Rambling". The transient energy was now rivaling the level from my Steps speakers although still not quite with their level of detail and information. The T3s may be able to work acceptably with lower power but they thrive on the 410 watts per channel delivered by the EA1+ into 4 ohms. I have to say that this was the most enjoyable I have ever heard this CD sound. It finally became much more accessible on a musical level because I no longer felt distracted by any edgy quality.


I promised Dave not to make this into an amplifier review but I have to agree with his website's claim that this amp can be listened to for hours without fatigue. Sitting in my recent play pile on the coffee table was the fine live jazz recording, Jimmy Smith Fourmost [Milestone MCD-9184-2]. It's hard to believe that this recording is already eighteen years old and that Jimmy is no longer with us. The superb level of talent on this CD (accompaniment by Stanley Turrentine, Kenny Burrell and Grady Tate) is a treasure and I am almost wistful when listening to it. It was difficult to concentrate on any one instrument, so well does the speaker integrate every player into the musical whole. The live feeling comes through, along with a musical rightness that is rare in high end audio.
Typically, reviewers comment favorably when they can pick out every instrument and listen to it individually. However, this speaker makes a convincing argument against this. Listening to Miles Davis' Workin' with the Miles Davis Quintet [Prestige OJCCD-295-2], I was again drawn to the brilliance of the whole band. Even on the cut "Half Nelson" where Miles and John Coltrane take turns in solos in classic bebop era style, with Philly Jo Jones and Paul Chambers driving the rhythm, the emphasis is on the whole.
The T3 speakers do not expose the micro-detail available from a number of more revealing speakers out there, including my Audio Physic Step SLE speakers. They also don't exhibit panoramic soundstaging abilities. However, neither of these qualities detract significantly from the overriding excellence of this speaker/amp combination. Their performance strengths are a pleasing combination of ease and control, superb integration of the drivers, very satisfying frequency extension on both ends and a tonal balance that is sheer perfection to my ears. For me, I am hooked on the ultra-refinement of my Step SLE speakers and cannot go backward on this quality. Others, like my visiting friend, Rich Brown, will prefer the T3's strengths.
The T3s really have a holistic approach with the music that makes me feel churlish in criticizing any particular aspect of the speaker. I enjoyed my time with the speakers immensely, particularly after pairing them with the Studio Electric EA1+ amplifier. Dave MacPherson has garnered some positive comments about his speakers and system sound from a number of reviewers in show reports but I am happy to be the first to give his speakers the attention of a full review. These speakers are a labor of love and have obviously met, and more, Dave's design goal of a monitor that he could listen to without fatigue.


While I had some reservations about the pricing at $7,900 per pair, having just undergone a price increase from $6500 per pair, Dave pointed out that the cost of materials (beautifully polished stainless steel enclosure and stands) is higher than a typical all-wood cabinet. He had simply underestimated his costs. I can see his point. The T3 speakers deserve high praise in both the sonic and artistic arenas.
Quality of packing: Excellent but with one caveat. The top of the metal sphere is not sufficiently protected in my opinion. Dave MacPherson agreed and said it was a result of a change in shipping the speakers with the spikes attached, thus giving up some cushioning space on top. While no damage occurred to the sphere in shipping, he plans to remedy this. Otherwise, double boxed with polyurethane foam between boxes protects the speakers well.
Reusability of packing: Completely reusable and durable.
Ease of unpacking/repacking: A breeze. Open top of box and lift out speakers vertically, holding the support ring under the metal sphere. One person can do this with little difficulty.
Condition of component received: Flawless.
Completeness of delivery: Complete, with two types of floor coupling discs provided.
Quality of owner's manual: Two pages but sufficient for most needs.
Website comments: Nicely designed, with good photos and salient information.
Warranty: The speakers are warranted against manufacturer defects for 2 years from date of purchase.
Human interactions: Polite and prompt.


Studio Electric responds:
I thank Steve for his thoughtful review of our T3 loudspeaker. Musicality is a term often used to express a speakers ability to retrieve the content of recordings while contributing no artifacts. After many years of building loudspeakers for professional use, I have come to believe that musicality is the most desirable single characteristic of a speaker. In the case of the T3, I feel that we have found that "certain something" that analytical "Hi-Fi" sometimes fails to deliver.We brought this speaker into production because the prototypes gave us back something that had gone missing in many high-end speakers and studio monitors. It allowed us to relax and enjoy a bit of the soul of the performer and the performance. I commend Steve for his articulate analysis of these characteristics and qualities, that I believe, set this speaker apart from many high-end systems.


I agree with Steve's comment on left-right width of soundstage, the T3 is good but perhaps not the king of the hill in this department. However, most listeners have commented that the depth of the soundstage with this speaker is quite excellent. So, we may have to agree to disagree on that one. I find no other fault in his analysis of the characteristics of the T3.


I also agree with his recommendations regarding associated equipment. Steve's default pre-amp and amplifier are voiced to mate well with the ceramic coated aluminum tweeters in his main system. I think what we have here, is a good example of the old metal vs. cloth tweeter debate. Sixmoons readers that have already come down on one side or the other of this question will understand Steve's quest for that last bit of detail, and also our design goal of making a non fatiguing speaker. A "soft" front end, and amplifier will sometimes not allow the T3 to open up, and breathe life into music to it's fullest potential. It is good that he changed out amplifiers at the end of the review. However, the brute force of the 400 watt Electrodyne amp that we provided for the review is not a necessity. Our experience so far, is tube amps that are not overly "rich" will do fine, if you do not need that last bit of micro-dynamics. Those considering purchase of the T3 are welcome to call and discuss appropriate amp pairings. Of course, if you wish to use our Electrodyne hybrid amps, we have no objections.


Thanks again!
David MacPherson
Studio Electric website