- Written by Piero Gabucci
- Published on 22 May 2013
The GoldenEar Triton Three Floor-Standing Speakers In Use
Most of my listening was done on a Parasound solid state preamp/amp combination; however I did manage to get my 55 wpc Onyx integrated tube amplifier into the system. Interestingly enough though I fed it high-res files through my Benchmark DAC1 USB. Other equipment included a Marantz SACD player and turntable, and Transparent Audio cables throughout.
Beginning with voices, I had just downloaded Paul McCartney's Kisses on the Bottom, a high-res file at 96kHz/24 bit covering some old jazz standards. The recording may not blow the sox off your feet, but I find it pleasurable nonetheless. Although this is a new recording and my familiarity minimal, it provided a good piece for auditioning. The Triton Three renders Paul's aging, character-filled voice with a warm finesse placing him intimately forward, front and center. The classically jazz ensemble includes a string section along with some all-stars, Diana Krall's piano, both John and "Bucky" Pizzarelli's guitars, Eric Clapton to name a few. Although a studio album, the Triton renders the performance with a sense of space. Musically, the piano sounds natural and the electric guitar is not only rich but articulate.
Moving on to a female's voice, I like Rene Marie recordings because they just "feel' nightclub. Her CD Black Lace Freudian Slip is her effort to sing 'her way'. Her voice and musical style is casual and natural. The recording comes off through the Triton as both, soft and sensual yet powerful and emotional. More so, the instruments and especially the stand-up bass, is well defined yet extends deeply. The piano here is richer; the Triton Three renders piano notes with clarity and weight.
The intriguing HVFR tweeter never sounds brittle or etched, but rather quite smooth. The shape of the ribbon tweeter is square rather than rectangular. I think this important for off-axis performance, very much like a conventional dome tweeter. Its strength was evident playing acoustic material, mostly strings. Guitars spring off the speaker plane.
Track 3 is an updated version of a previously recorded track called Wishes. The new arrangement is almost country-music sounding, hardly jazzy. Here the tweeter shines, the twang of the guitar on the Three is so articulate; the sense of each pluck of the string hangs and decays beautifully.
What really should be emphasized about the Triton Three is that while the image is clean, the instruments defined, and voices forward and warm; it's the ability to blend the powerful bass radiators with the mid-range and tweeter in a smooth and natural way. You will never fatigue listening to the Triton Three.
Further evidence of this clarity and blending is found playing David Chesky, Area 31. The opening Concert for Violin and Orchestra combines tremendous string movements with percussion instruments. The musician's flamenco hand clapping sounds astoundingly three-dimension. The second movement is a bit dark and mysterious; the piece is melodic and emotional. The recording itself is well done, the Triton Three blends the heavy rhythms and startling percussions in such a seamless manner, that you begin to almost anticipate the next chord. Like the work itself, the Triton Three transforms the eclectic work. It's just "there"..
Pipes Rhode Island CD is a collection of live recordings of grand pipe organs throughout the Providence region. Each track is varied not only in style but played by different musicians. The soundstage and differences in musical space comes through nicely in the Triton Three. Although some recordings are more intimate others are open and spatial. The Triton Three gives you recognition of that difference.
I want to reiterate how impressive the Triton Three is with bass, where any of the speakers in the GoldenEar line excel. Throughout the CD, the pipe organ's sound immense, the Triton reverberates throughout my own space; rattling pictures on walls, flutters my pant leg and sends deep chills through my stomach. All this with relatively low power generated by my amplifiers but supported by the impressive amplifier within.
The ability to dial in the right amount of gain from the bass volume on the rear is huge, this allows for room adjustments that few speakers can accomplish.
Sandy did send along his disk of music he demonstrates at the shows. Each specifically chosen to show off attributes of the speaker. One track in particular combines the silky voice of Mel Tormé and an excellent orchestra, Once in love with Amy. Not only does Tormé's voice hang impressively about 4 ft off the floor in my space, the orchestra's sense of swing-style is rich and toe-tappingly good. The Triton presents such a polished performance with graceful pitch, elegant blending and impressive dynamics.