In our previous issue I praised the Tetra Space's little brother, the Tetra Bullit. What was said in that review applies with equal force here. And then some. We praised the Bullit's sonic signature in the following words: "Clarity and projection from top to bottom of the frequency spectrum, an alive space both between and behind the speakers, a dynamism which belies the source (the speakers are a mere 12 pounds)."

Well, the Tetra Space loudspeakers are not a mere 12 pounds. They are 45 lbs. each. And while they certainly manifest the sonic qualities we cited for praise in the Bullit review, we can say with satisfaction that the Space adds an extra measure of gravity to the Bullit's clarity, and a little extra clout to the Bullit's dynamism.

Whereas the Bullit can sit virtually invisible in your listening room, the Space are a futuristic, manifestly visible addition to any room space. The speakers sit 39 ½" high, three-sided equilateral triangle (16") enclosure sitting on a base of the same dimensions. On top is a four-sided equilateral triangle housing the midrange and tweeter. (The theory is that the tetrahedron shape almost eliminates the standing waves, which are so frequently a problem with conventional box speakers.). The visual effect of the whole setup, with its sleek vertical lines, cherry on black, is rather like having two foreshortened arrows pointed at your ceiling. Most of my friends who saw the columns with their high gloss tetrahedron heads were quite taken with the aesthetic effect.

The tetrahedron head holds not only the 6" woofer but houses also the 1" tweeter. Beyond this I will not go with the technical side of the Tetra Space. Those wanting the rest will wish to tap the Tetra website. What I will concentrate on here is the musical effect.

I made reference to the many pleasures, both sensational and subtle, auditioning my audiophile CDs on the Bullit. The same sonic character is immediately evident with the Space: the ample soundstage, seeming ease of reproduction of the complete range of the audio spectrum, precise imaging - the signal strengths of speakers which will supply long-term pleasure for the lover of orchestral music. In addition, the Space supplied what I might describe as a certain extra palpability - an almost physical presence to the instruments and voices, both on CD and LP. (At least with the suggested room set up, the speakers further apart and more toed than with the general run of speakers.)

To generalize, The Space improved virtually everything I gave it. Some familiar faces were completely - astonishingly - transformed. Test case: a perennial (definitely non-audiophile) favourite, Artie Shaw's recordings from the late 30s and early 40s, which I've worn out on LP, despite their tendency to piercing break up at treble peaks. Usually I'd end up listening with the high cut on. A couple of years ago I acquired many of the same performances on CD, and found the treble unpleasantness, if anything, even more marked. Until the Tetra Space! What unalloyed pleasure to hear Shaw's inimitable versions of Begin the Beguine, Stardust and Moonglow without dreading the approach of the next tutti (and no need for treble cut!).

The radical cleanup of these ancient mono originals was the most unexpected revelation of my Space test period. There were many other nearly equal pleasures - though not so unexpected after my Bullit experience. The thrice-familiar audiophile test CDs and LPs - the Argenta Espana, the Reiner Rapsodie Espagnole, the Szeryng Tchaikovsky Violin Concerto (LSC 2363), the Dorati/LSO Respighi - all sounded startlingly musical as well as predictably vivid through the Space. I found myself listening for entire days (not, unfortunately, a frequent occurrence around my house) - forcing myself to find the time to hear just one more old favourite before bedtime. And then, naturally, just one more with a nightcap.

One particular Space pleasure nearly as revelatory as the Artie Shaw: the Ansermet CD version of Rimsky-Korsakov's Tsar Sultan Suite, a piece that, for its colour and tunefulness, should be much better known. I sat and listened to this performance over and over, revelling in the astonishing lifelikeness of the woodwinds and percussion, the depth of field of the various sections and soloists, the sense of air around them. About the only thing the Space didn't change for the better was the first violins - they are still feathery thin, but that, to my ears, is a common deficiency of many late 50s Decca/London originals.

All I can say, folks, without getting too fulsome, is go to the nearest dealer and listen to these speakers. I would be perfectly happy to have them for my reference system. And now I'm told the Tetra Live loudspeakers have the same virtues - and even more oomph. I can't wait to hear them.