Eos Testimonials


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Reviews, awards, comments

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What Owners say


"...very close to what I hear during the local chamber music series."

"Am listening to the Kenneth Leighton Trio and this is the first time I have heard "depth" -- piano behind cello and violin. Very realistic and clean! The EOS is essentially flat, balanced, and fast! The quartet and trio music is very close to what I hear during the local chamber music series. I'm trying to get a local recording studio up here for a listen."

--G.R., New Mexico, USA


"...I could have listened to them for several hours..."

"Hi Roy, I got a chance to listen to "P's" EOS pair a few days ago (just haven't got down to writing a few lines to you). I now know what you mean when you said that the EOS will sound more open than [my] Callistos. Right off the bat I could hear that, although "P" hadn't yet set it up for the listening distance and height. The mids sounded good already. The highs were airy and extended but did have a bit of an edge but that was expected since it had only done 15 hours and I know from experience that this will improve as it plays. Besides I suspect the tweeter needs to go back on its rail for the listening position which probably was another cause for this 'edge.' The bass is huge improvement from his old [ProAc] floorstanders (it's tight and there is no overhang like he had earlier) but needs to extend more as it burns in. Having said that I could have listened to them for several hours without worrying about all this but he had to rush off to work :-) I will schedule another listening session shortly."

--K.B., Bangalore, India


What a reviewer says

"Editor's Choice Award!" HiFi News and Record Review

"I hate to use the awful old cliche 'snaps into focus' but that's exactly what happens to the Eos's sound when the tweeter position is optimised. lt's quite remarkable, and the most convincing demonstration of the importance of accurate driver time-alignment that I've ever experienced.

"The traditional knuckle-rap test confirms the inertness of the Eos cabinet, and it's there to be valued in this speaker's unusual lack of the false lower-midrange bloom that we're habituated to hearing from conventional slab-faced box cabinets. Once it's removed, you wonder how you ever lived with such a colouration.

"This is one contributor to the Eos's outstandingly open, clean sound. Another I'm sure, is the first-order crossover. There's a widespread orthodoxy in audio's academic circles that the phase distortion caused by typical passive crossovers (ie, up to fourth order) is inaudible. Well, I demur and not just because I tend to like the sound of speakers with first-order crossovers. I've experimented in this area over a number of years and have no doubt that crossover phase distortion has clear audible consequences. A significant part of the Eos's fine, spacious imaging unquestionably owes itself to that simple crossover.

"It has to be said, though, that the Eos's rare clarity is also in part due to a less than scupulously neutral tonal balance. [GMA disagrees- see below] There's a lack of midrange warmth here, although curiously it's more apparent on some programme material than others. For instance, I didn't feel that Ella Fitzgerald's masterly 'Reach For Tomorrow' [Verve 839 838-2] -a track that's very sensitive to a speaker's ability to reveal vocal nuance- was tonally cool or upper-mid forward, but other items clearly were. One such was Diana Krall's 'Narrow Daylight (24/96 version from Dual Disc, Verve 0602498648247), where both the vocal and acoustic guitar break had a little more edge to them than they should.

"What you gain from this acceptance of the Eos's sometimes forward nature is a really quite special blend of insight, spaciousness and sheer persuasiveness on material to which it's well suited. To label this as a speaker best adapted to small musical forces would be to do it an injustice, but there's no question that it excels on simply accompanied vocals, small jazz ensembles, chamber music, etc. Particularly vocals.

"With the tweeter optimally positioned, the Eos's ability to transport the singer to the listening room was simply uncanny. The sound was pretty good even with the tweeter off its sweet spot, but with correct tweeter alignment the sheer resolution of vocal nuance and inflection came as something of a shock. Kurt Elling's voice in particular I've never heard more realistically rendered, and this wasn't a mere matter of hi-fi nerdiness. With the enhanced sound came an even deeper appreciation of Elling's skill at moulding and delivering this prosaic paean to lost love. I kept repeating the track with a sense of wonderment.

"Another benefit of the Eos's inherent transparency is its ability to refresh and reinvigorate recordings which you've classified as being on the dull and turgid side.

"Outstanding spatial qualities...." - Keith Howard, HiFi News magazine, April 2010


GMA replies-
We are of course, very pleased that Mr. Howard really enjoyed his time with Eos. Receiving their "Editor's Choice Award" was quite an honor!

Eos, like all of our designs, has a first order crossover. This means that both drivers are producing sound together over several octaves. The speaker is designed for this overlap to be smoothly integrated at the listening position. If the speakers are tested with the microphone only 1 meter away, it is almost inevitable that some anomalies in the measurements may show up which are not apparent in normal listening. These would only be a problem if you intend listening at one meter from the speakers! Eos' time-coherent output makes for a more direct sound, which can be interpreted as forwardness.

Mr. Howard uncovered a couple of very narrow-band resonances that we later traced to shipping vibration-damage, and corrected. Also, his Eos were in rather large room, thus producing less low bass,

Regardless, what a positive review! Thank you, Keith Howard, for your time and energy!