In previous issues you've heard me enthuse over two Tetra models, the Bullit and Space. Now I've had the pleasure to make acquaintance with the Rebel 3, which designers Adrian Butts and Wayne Prince warned me in advance might be a mite too much for my confined listening room (14' by 11'). They are no doubt right that these speakers need a considerably larger space for maximum benefit. Nevertheless, my time in front of the Rebel 3s has proved just as, if not more, rewarding than the previous listening sessions.

The Rebel 3 is an 8" two-way speaker, standing 43" and thus about 5" taller, though 7" narrower, than its arrow-shaped sibling, the Space. Unlike the Bullit and Space, the Rebel 3 does not conform to the unique tetrahedron design which generates the commercial name. The Rebel 3 is also only 13" deep, whereas the Space is 16.5". In my tight living room, the musical experiences were very similar. What with the bi-wire potential of the Rebel 3 (for the uninitiated, 4 speaker connects instead of the conventional 2), I would rate my courtship period with the Rebel 3 an even sweeter experience than my experiences with the Bullit and Space.

The specs of the Rebel 3 list the bottom of its range at 29 Hz, 4 Hz lower than the Space and 26 Hz lower than the shelf-model Bullit. To sample that end of its spectrum I challenged it with the Decca/London CD reissue of the Ansermet Russian Easter, a recording relatively light on bass, thus oppressive when played on a bright (read 'normal') mid-fi system, due to its preponderance of aggressive highs. The frequency spectrum, through the Rebel 3, seemed now astutely balanced, almost correct, the brass restatements of the motto underpinned with a more solid bottom in the low strings and percussion. The bass remains somewhat tubby, but this, like the feathery violins mentioned in the Space review, is inherent in the early Decca/London recordings.

A recording of similar vintage, the Dorati/Philharmonia Hungarica Bartok Dance Suite (Mercury 432017-2), one of the pioneer 35 mm recordings, has some thunderous bass and tympani strokes and sufficient dynamic and timbral contrasts to serve as a test of any system. (Check particularly the Comodo finale.) The Rebel handled all of Bartok's crags, crevices and pastoral plateaux with ease. I was particularly pleased with the retrieval of low level ambient information, which supplies the crowning touch of resurrected reality to this legendary Dorati performance.

Frank Sinatra's Come Fly With Me (Capitol CD), arrangements by Billy May and Nelson Riddle, had the expected bracing brass attacks, but also a smooth and solid bass, seamless spread across the entire tonal range. Most important, the voice - caught at its late '50s peak, in front and centre fidelity.

From vinyl's hallowed halls we sampled the old Stanley Black collection, All Time Top Tangos (London blueback, PS 176). On standards such as La Cumparsita the lifelike reproduction of accordion, centre stage and closeup, is astonishing. And the piano and percussion no less realistic. The sense of depth is outstanding. This recording is one of those which just might convince the confirmed CD addict that he's missing something.

Another blueback hall-of-famer to test the Rebel's voice reproduction: the Franco Capuana performance of Puccini's La Fanciulla del West (Girl of the Golden West). Mario del Monaco, of course, will intimidate any tweeter -- almost. Here both he and Renata Tebaldi ring in regularly with high notes capable of raising Rin Tin Tin from the dead! No problem for our bi-wired Rebels. For someone who thought - for decades - that peak distortion was endemic to LP reproduction, this is heaven indeed. Remarkable sound, fabulous performance.

I could go on for pages, I suppose, rhapsodizing over old favourites heard anew, but would not add much to the picture already painted. The Rebel 3, like its shorter siblings the Bullit and Space, is a terrific speaker and will do justice to anyone's front end. I bet you'll soon be combing your record and CD shelves to revel again in the revitalized and refurbished company of musical friends long taken for granted.

[Look for a 'Manufacturer's Visit' article about Tetra Listening Instruments in an upcoming issue -- Ed]