GoldenEar T66 – Premium vinyl record cleaners

GoldenEar T66

GoldenEar has been round for over 10 years, making semi-active and totally passive loudspeakers at quite a lot of value ranges. In 2020, The Quest Group, which owns the AudioQuest model, bought GoldenEar Technology, merging audio system with cables in a single massive, beautiful, synergistic, forward-thinking lovefest. The members of the unique design staff stay in place per the press launch, and it appears they’re able to start their first post-merger speaker. Which is how the T66s ($6900) ended up in my listening room, the “T” being a nod to the unique Triton sequence. However, it’s a completely revamped line, taking the traditional GoldenEar design and mixing in refinements and updates on the expertise by way of the brand new partnership.

The T66s characteristic that archetypal GoldenEar cupboard: tall and slender, standing at 48.8″ like a swept-back shark’s fin. This present iteration comes with inner structural enhancements that make it much more steady and inflexible than earlier generations and is on the market in each black and crimson. There’s a perforated steel basket over the entrance that’s an improve over the corporate’s conventional “sock” cloth cowl, and the shiny end appears improbable. The driver complement contains: “GoldenEar’s High-Velocity Folded Ribbon AMT tweeter, cast-basket mid/bass items, quadratic planar radiators, and a long-throw powered sub-bass part.” The audio system have to be plugged in to energy these subs, which is one minor draw back—extra wires, extra plugs, extra stuff to wrangle—however as soon as they’re linked, the problem of a low-end bass is actually solved (extra on that later). The sub part is DSP managed, which implies it comes pre-tweaked however might be modified to swimsuit tastes and room response. In phrases of enhancements, simply to scratch the floor a bit right here, there’s a brand new crossover system, which GoldenEar claims “ensures flat, +9-octave frequency response.” Internal wiring is up to date with AudioQuest’s Perfect-Surface Copper+, alongside the brand new binding posts and the non-compulsory capability to bi-wire. Arguably, the least thrilling (although my favourite) change is a brand new cast-aluminum base with adjustable toes. Nothing’s higher than adjustable toes. In all, the T66 appear to be a traditional GoldenEar speaker from the surface however has been tweaked and adjusted internally to the purpose the place it’s not fairly Triton anymore.

Leaving apart naming conventions and firm possession, it’s not possible to speak in regards to the T66s with out mentioning the built-in, lively, 500W, DSP-controlled amplifier. It powers two lively long-throw quadratic subwoofers, one halfway up the cupboard and one down towards the underside, alongside two passive Quadratic Planar Back-Wave-Driven radiators. That’s lots of speaker for these deepest frequencies, and that’s why they want the additional plug. The downside of bass is actually negated right here. Some proportion of parents studying this evaluation proper now have crawled round their ground whereas a subwoofer sat of their listening house, mocking them. In my thoughts, there’s nothing extra good than an audiophile in literal supplication to his system, performing a ritual that will or might not work. (I don’t care which aspect you are taking; so please cease composing your indignant letter to the editor.) The sub crawl is one excessive manner of fixing an issue many listeners face: principally, the right way to discover the precise place for his or her powered subwoofer that integrates its sound most effectively. This could be very usually annoyingly irritating, since most individuals don’t have an entire ton of additional floorspace to maneuver subs round in and usually plunk them down wherever they naturally match, which is never the perfect spot. The T66s have a way more sensible resolution: stick these powered subs proper within the speaker cupboards themselves, eliminating any pesky positioning points. The built-in-subs resolution is a defining trait of GoldenEar’s lineup, and it’s one thing that I’ve all the time admired.

And it really works nice. I’ll go forward and threat spoiling the remainder of the evaluation by saying that the bass sounds simply improbable. Smooth, even, strong, with out flabbiness. Even at low ranges, there’s all the time a way of physicality because of that lively amplifier. However, after I first acquired these items unpacked and positioned correctly, one thing felt completely off. I had on a Rudy Van Gelder Blue Note recording with the drums in the precise channel, and so they got here off manner too massive. Like aggressively massive. Why did the bass sound so monumental and blown out of proportion? Just fully overwhelming? I used to be pondering positioning; I used to be pondering room dynamics; and it lastly occurred to me after a pair records that I ought to test the extent knob on the again. There it was, turned all the way in which as much as max in just one channel. I ticked it again into the middle place, and every thing clicked into form. Here I’m, a person with out an ego, capable of admit my errors to be able to keep away from making the identical bone-headed error but in addition for example how efficient and doubtlessly finicky the bass adjustment might be. Tweakability cuts each methods: There are extra choices to alter and to doubtlessly mess up, however extra importantly those self same choices can dial in sound in response to private choice. Want to scare babies? Jack all of it the way in which up. Want to, I don’t know, cease your assortment of half-full water glasses from rattling? Turn it again down. The knob turns, and it’s an exquisite factor.

Listening time, however first, a confession. I’m very acquainted with the GoldenEar sound. I used a pair of Triton Three+ in my listening room for a protracted whereas, and although they’ve since moved on to a brand new house, the reminiscence of their sound is etched in my thoughts. I gained’t actively examine the 2 since that’d principally simply be guessing, however it ought to be famous that I’ve heard a model of this design earlier than, and I’m very comfy with it. Anyway, that mentioned, I began with somewhat Idles. Their monitor “Never Fight a Man with a Perm” is a grinding slam of a track with a relentless backbeat and a growling guitar line. The singing is extra like shouting to a rhythm, and it’s really sort of nice. The T66s did a strong job of maintaining that chugging, always ahead beat in focus, and when the refrain hit and people guitars smashed down, the sound was larger than it wanted to be (in a great way). Bass is a giant a part of that monitor—the low finish retains the composition alive and makes certain it by no means sounds empty or chilly—and the T66s have a number of the tightest, most satisfying bass I’ve heard shortly. Even with out cranking the amount, the kick drum had some heft and physicality, all the time there however by no means overwhelming. Cymbals sparkled, midrange was locked in, however that decrease finish hooked me from the beginning.

Next up, one thing a bit extra rhythmically difficult. “I Want You” by Marvin Gaye from his album of the identical title is an underrated disco/soul gem. The soundstage was huge by means of the T66s, with the strings bursting out to the left of the speaker, the guitar on the precise extending out additional than it ought to have, whereas Gaye’s vocals drifted round ghostly and ethereal. Then the beat dropped in, and it was silky-smooth heaven. The T66s dealt with this complicated monitor, holding the rhythm in test whereas the upper-end guitar groaned away, and the strings sounded massive and full. But as all the time it was that voice, echoing prefer it was 10 toes tall, larger than my room, as if Gaye had been peeking in by means of my roof to belt out a couple of traces. The T66s appeared to thrive beneath these situations, with music that begged to be turned up, performed loud, performed massive. Once I acquired previous that beautiful decrease finish, the complete spectrum clicked into place. The midrange was surprisingly dialed in and smoky and simply splendidly realized, and whereas I felt just like the uppers one way or the other acquired misplaced within the combine I’m not completely certain that was the T66s’ fault. Overall, I felt like they had been very forgiving and labored nicely with most tracks spanning each style I may throw at them.

I needed to pull out some vinyl to show my concept that larger is best with the T66s. I not too long ago picked up a replica of Ride’s album Nowhere and cranked the amount to uncomfortable ranges and advised my youngsters to return into my workplace as a result of it was time to study shoegaze—simply kidding, they’re too busy resenting me for each second they aren’t watching Bluey. Nowhere occurs to be an excellent album to show my level, although, and the second monitor “Kaleidoscope” was an ideal testing floor. The wall of distorted guitars created an infinite, wave-like soundstage, whereas the pounding drums had a very nice sense of rhythm and heft, from the bottom registers as much as the cymbals. Meanwhile, Ride’s vocals had been typically very clear and melodic, sung virtually in falsetto. This readability melded nicely with the tough, grinding guitars, and the T66s constructed the entire thing into a extremely nice expertise. Size, weight, and distinction appear to be specialties for the T66, particularly up in that higher midrange, which stunned me. I anticipated to be excited by the bass, knew I’d actually just like the mids and the uppers, however the full spectrum of sound felt locked in and clear.

To wrap up, I threw on Jazz at Oberlin by The Dave Brubeck Quartet. The file opens with “These Foolish Things,” and the dwell recording high quality is surprisingly good. It was a sluggish track, and Paul Desmond’s saxophone performed a fast however lilting solo atop a smooth piano and delicate drumming. The T66s did an ideal job of reproducing the sax with out shedding the piano, drums, and bass within the background. I felt Brubeck’s solo sounded very nicely resolved, the midrange purity was wonderful, and the soundstage remained tight and huge. I’d say the T66s shine with music that takes benefit of their full spectrum and their huge soundstage presence, however they nonetheless sound fantastic taking part in a smaller dwell band. I ran by means of a myriad of jazz albums throughout my time with the T66s and persistently discovered myself eager to play much more, often at a louder quantity. Not as a result of the T66s sound dangerous at low ranges—they’re fairly improbable, and I had them on within the background whereas I labored, principally always—however as a result of they’re so wonderful when pushed. Everything is massive and daring, even a dwell album of a jazz quartet.

The T66s did what I anticipated, and that’s an excellent factor. There had been some surprises, some apparent sonic enhancements, and a few quality-of-life enhancements like these delectable adjustable toes. As the primary speaker beneath the brand new possession, the T66s are an exquisite addition to the GoldenEar product line. Just as audio system that look nice, sound superb, match into practically any atmosphere, and negate the necessity for a further powered subwoofer, they’re a simple suggestion. I liked my time with the T66s, and I extremely counsel in search of them out.

Specs & Pricing

Driver complement: 8″ x 12″ passive radiators (x2), 5″ x 9″ subwoofers (x2), 4.5″ midrange (x2), AMT tweeter
Sensitivity: 91dB (2.83V/1m)
Frequency response: 29Hz–25kHz typical’
Nominal impedance: 4 ohms
Recommended amplification: 20–500Wpc
Built-in subwoofer energy amplification: 1000W peak/500W RMS, DSP-controlled
Dimensions: 7.5″ x 48.8″ x 14.75″ (with base, no spikes)
Weight: 60 lbs. every
Price: $6900/pr. (Black); $7200/pr. (Santa Barbara Red)