Loudspeakers

Finding the right speaker system to go with a wall-mounted TV can be tricky, but this one is built to deliver the same sort of dynamism and punch as full-size speakers, according to the makers.

Our younger readers might laugh about this, but in the olden days, there were businesses that existed that would rent you a TV. As long as you stayed signed up you always had the latest model – and when the TV died the rental company gave you a new one and you could dispose of the old one as you wished. Good for me – I was allowed to break them up in the garage.

Slapping the word ‘Max’ onto the end of your product name doesn’t automatically make it great, as anyone who’s tasted Pepsi Max can attest. But in the case of Acoustic Energy’s Neo Max system it seems entirely appropriate.

Tannoy is among the elder statesmen of the British speaker industry, and the ethos of its Prestige range of speakers has gone unchanged for half a century, taking the ‘if it ain’t broke, don’t fix it’ dictum to a new extreme. More recently, the Arena series of sub/satellite packages has been Tannoy’s offering in this extremely competitive category and the Highline 300 LCR is newly released and tested here.

Quadral is not a UK household name. The German brand has been in business for nearly 40 years, but has only ever intermittently appeared in this country. Now the manufacturer is making a serious attempt on the UK market with its full range of products, of which the Chromium range is the second most pricey in the sizeable lineup. Tested here is a package comprising the £1,160 Chromium 50 floorstanders, £650 Chromium 30 standmounts, £410 Chromium 10 centre and £475 88DV sub. All parts are available separately.

Compact bookshelf speakers are all well and good if you don’t have much space, but for bigger, bolder home cinema thrills you’ve no choice but to make room for a decent set of floorstanders.

The 800 Series from Bowers & Wilkins has for a long time been the weapon of utter perfection and choice for some of the world’s most demanding sound engineers – because monitoring what exactly you are making in a recording studio is crucial. You want utter fidelity, not a brash and boastful presentation that makes everything sound fabulous in the studio, but then leaves it all a bit damp and frayed around the edges when not heard on such flattering speakers.