StudioLAB is the high-end division of successful direct sales manufacturer SpeakerDirect, Inc. On the Canadian audio scene for 30 years, SpeakerDirect decided to expand its base by designing a series of affordable, beautifully finished, high-end loudspeakers. Beginning with the Reference One, the series is now well into development of the Reference Four. The Four will receive its debut at the upcoming 2003 Consumer Electronics Show in Las Vegas. For this review, I took delivery of a pair of Reference Threes. The Reference Four has been promised for review as soon as it is in production.

It has been a real pleasure dealing with StudioLAB. Owner Bob Vince and designer son, Mike, are highly professional, very kind, and willing to make the review/reviewer experience a happy one. Their patience and kindness came well to the fore during the initial stages of the review. The Threes were allocated to David Brown, who, because of familial reasons, had to defer the review to me. They were at David's place for only a brief period -- during this time, his large room became problematic almost immediately, sucking much of the bass from the dual 5.75" woofers. Concerned after my initial rave (the well broken-in speakers had a short time in my listening room before delivery to David), he nervously called me and asked me to drive down and have a listen. The room/speaker interface was not a happy one - his listening room is a basement setup, not a huge space, but certainly large enough to upset the balance of the mid/bass drivers (we had a selection of low and medium powered tube amplifiers and a healthy solid state to drive the very efficient Threes). Back in the wilds of Toronto, the Reference Threes were again singing their lovely song in my 18' X 12' room (cooking merrily with the Audio Research VT 100 Mk.II power amplifier).

As such, I began Audiophilia's exhaustive review process once again. The speakers were a well-worn demo pair, so I only had to play with placement before serious listening began (they ended up two feet from the back walls and three from the sides). Immediately, the lovely sound I had heard in my room previously was there once again. Phew! Happily, the speakers were performing to their specifications and the relationship between them and my reference Audio Research VT 100 Mk. II power amplifier and SP9 Mk.III preamplifier remained uneventful throughout the lengthy review period. The Cardas cables and interconnects also made the union complete. After my huge sigh of relief, I began the audition in earnest.

The published frequency response of the speaker is 35Hz - 24,000Hz, they are 4 ohms, and are a very effcient 92dB. The dimensions: are 8" W x 12.5" D x 45" H. The speaker weighs a back-straining 100lbs (says StudioLab: '…the lower cavity of the enclosure is filled with a combination of sand and lead shot making the cabinet even more stable and less resonant improving bass response and imaging'). Yup! The speakers image very well - the instruments on stage are well delineated as are solo voices. In addition, the speakers throw a warm blanket of stage presence around the excellent images.

Inside the Three is a first order crossover (hard wired and silver soldered), premium polypropylene capacitors, large gauge air core coils, and proprietary insulating material that is said to reduce standing waves. Outside, your dollars get you gold plated, bi-wire terminals that will accept both banana plugs and spades (while the connectors worked fine, most audiophiles are used to Cardas-type connectors and expect these even on entry level high end speakers).

Let me say without any more delay that this speaker is a fine achievement, exhibiting the best in high-end qualities: clear and extended treble and a superb midrange. The D'appolito driver array design adds to the striking visuals, with the 1.1" ScanSpeak tweeter (with a low resonance of 550Hz) placed slightly to the side and in between the two 5.75", magnesium treated woofers with copper phase plug (sourced from Seas). Because of the mid/bass drivers' size, the bass is not earth shattering, but is well integrated and very refined. Even on demanding material, I heard no chuffing from the rear 2" port. In fact, the bass in my room measured a fairly hefty 38Hz.

When first delivered, I listened to Toots Thielemans playing bossa nova from The Brasil Project No. 2 (Private Music) and the Minnesota Orchestra pounding some Rachmaninov (Reference Records - # 96). Both CDs have exquisite sound and are representative of the best in digital recording. The late night listening session with the designers was very enjoyable -- in fact, Mike Vince mentioned that the Threes sounded as good as he had heard, if not the best. Indeed, my impression was that they sounded smooth and ultra musical, much like the sound I remembered from the StudioLAB room at the 2002 Montreal Audio Show -- definitely some of the best sound wrung from the Delta Hotel rooms.

During the main review period, I returned many times to The Brasil Project and the Reference Rachmaninov. Obsession, from The Brasil Project No. 2, has a very defined bass line heard after a short introduction -- the line is melodious, but grooves the tune headlong into ever-thickening textures. The StudioLABS examined the melody, harmony and rhythm, then combined each to create a truly musical portrait of bossa at its best. Superb! The Rachmaninov Symphonic Dances pack an enormous wallop! Here, the StudioLABs did not have quite the resolution of the Tetra Kids or the depth of bass of the much more expensive amphion Xenons. However, they laid out the orchestra in a very believable soundstage (Minnesota Orchestra Hall), and triangle and tam tam shimmered beautifully. Once again, the Threes delivered an honest assessment of the source, and, according to the quality of the numerous recordings heard, delivered emotions ranging from A to Z.

Canada's great jazz diva, Carol Welsman released her paean to the swing era, with Swing ladies, Swing (welcar WMCD 365). Suitably, the Canadian singer sounded gorgeous through her compatriot's speakers, swinging tastefully through standards such as Honeysuckle Rose, Cheek to Cheek, and If I Were a Bell. Carol's chest tones are almost profligate, and can be amp killers under the right conditions! Live, her instrument is amazing, and while not quite 'live', the StudioLabs did not shy away from replicating Carol's superb technique. And on her rendition of What Are You Doing the Rest of Your Life, the speaker's midrange was highlighted such that the quality of Mike Vince's design was self-evident. While a satisfying whole, with excellent treble and satisfying bass, it is the Threes' superb midrange that highlights the design.

The speakers spent some two months 'chez nous', sharing the listening room with models from amphion, and three from Tetra Listening Instruments. At CDN$3800.00, the StudioLABs were the least expensive, yet were finished very well and looked great standing tall in a maple veneer. Indeed, they did not look out of place among the exalted Tetra and amphion speakers (surely, some of the best cabinetry in the industry).

The StudioLABs took a circuitous route to my listening room, however, the fine sound certainly made the delay worthwhile. At CDN$3800.00, the Threes are in competition with some entry-level heavy hitters from Europe and North America. They need not shy away from comparison. If you are looking for a musicality and an imposing presence for an inexpensive price, place the StudioLAB Reference Three loudspeaker atop your audition list.