4.7
Based on 78 reviews
  1. Dan Clark

    I finally received my Lores after what seemed like an eternity. They are well worth the wait! Mine took about 150 hours of playing at many different volume ranges, and as if by magic, they bloomed into beautiful music machines! The bass got tighter and the highs smoothed out. The mids were perfect from the beginning.
    I’ve had a lot of good gear over my nearly fifty year audiophile journey. Like Eric, I was amazed by live audio at a young age. I started with some ElectroVoice Sentry IV-B’s. I used them for listening as well as live sound reinforcement. They NEVER let me down! I’d still have them, but they were destroyed in a house fire. Then I went on to Klipsch Industrial loudspeakers. I loved them almost as much as my EV’s, but they weren’t as smooth.
    Now I’ve got my Lores. My days of playing drums and doing live sound are over, by choice. The Lores are the BEST sounding speakers I’ve ever owned! Any style of music, at any volume. Just don’t fear the FLETCHER-MUNSON phenomenon at low volumes. I love my Lores, and I’ll die a happy audiophile!

    LoreLore

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    Image #1 from Dan Clark
  2. Jeff (verified owner)

    I’ve owned several fantastic speakers over the years including B&W 804’s, Thiel CS 2 2’s, ProAc D18’s, Tekton Lore’s with a beryllium tweeter, and now the Perfect SET’s (with a standard tweeter). All of these speakers are very good in various ways, but the Perfect SET’s are considerably better than all of them. They posses a major slice of sonic characteristics of different speaker technologies. For example, they have much of the speed, velocity, and liveliness of a horn design, the unforced detail and resolution of an electrostat, the dynamics of a high efficiency box speaker, and much of the imaging of a good minimonitor. Don’t let appearances fool you, the tweeter array might suggest the speaker could sound unbalanced with too much high and low energy with not much midrange energy. I assure you, these speakers are very linear and extremely coherent from top to bottom. These are the most coherent speakers I’ve ever owned. They’re also very engaging and they sound incredible at all listening levels. They sound stunning with my Primaluna Integrated amp. Interestingly, even though they were designed with low power SET amplifiers in mind, they actually sound better hooked up to the PrimaLuna’s 4 ohm taps. (They also sound excellent on the 8 ohm taps, just a little better on the 4 ohm taps). The Perfect SET’s excel with every genre of music from classical to rock, to jazz, etc. They have accurate tone and they produce the leading edge, body, and decay of a note with aplomb. Each note is clearly delineated and easily heard distinctly from other notes, yet simultaneously served up as one coherent platter of musical deliciousness. More than any other speakers I’ve heard, the Perfect SET’s allow me to do what I’ve always wanted to do, which is to stop listening to the gear and just enjoy the music! The SET’s are an incredible value. They sound better than speakers costing many times the price. They do everything so well, I can’t find fault with them, I really can’t.

    The Perfect SETThe Perfect SET

  3. john schwarzmann

    I love the Lore speakers. They sound great and I would give them 5 stars. I am disappointed in the customer service. I ordered the speakers in November 2020, and have yet to receive the grills (August 2021). I follow up with Tekton many times with minimum responses. I have received one response and was given the excuse there is a shortage of materials. I could live with that, but I would like periodic updates.

    LoreLore

  4. E. Diaz

    This evaluation is done after over 200 hrs of break-in.

    The last time I had experienced sonic bliss was with a system that cost $70,000 in 1998: 550lb. Dunlavy SC-VI speakers, monoblock tube amps that looked like jewelry, speaker cables as thick as my wrist, and a fully-treated, dedicated, audio-retailer listening room that had walls filled with sand. That system would cost $117,000 in today’s dollars. The Dunlavys alone would cost $42,000.

    That was then. Now, I have finally arrived at a small fraction of the price. I feel no need to further chase the audiophile horizon. As the Double Impacts have broken in, I have been continuously and increasingly astonished at their natural and ghostly-holographic sound. Just this week I switched from a Sony Blu-ray transport to a server, using Exact Audio Copy to ensure perfect digital data transfer onto the hard drive. The difference was INSTANTLY noticeable to myself and my non-audiophile friend. Some people say that digital source makes no sonic difference: “Its all 1’s and 0’s”. But the Double Impacts revealed the change of digital source in way that jumped out at my non-audiophile friend. Well, that is an understatement. It was more like the sonic difference was thrown (lovingly) at our heads. And this transport/server comparison was done with real-time A/B switching. I had also experienced a prior improvement in clarity and soundstaging by re-terminating the speaker cables to eliminate signal-thru-solder.

    Putting audio into visual terms, we audiophiles seek a transparency akin to a clear window pane. These speakers are more like a wide open window; no glass. Your upstream changes will stand out.

    I have at least 2 dozen audiophile-grade recording on CD’s that I’ve owned for 20-35 years. Everything from classical, to jazz, to electronica. I am hearing the music again for the first time- with background instrumentation and minute sounds effects that eluded me for over 1/3 of a century. The difference in low level detail is not subtle.

    The bass is phenomenal; powerful and nuanced. The Double Impacts do not overpower the living room of my average-sized apartment. Sine wave tests with a decibel meter show a startlingly flat bass response at my seating position even though the back of the speakers are 10 inches from the back wall. Maybe I got lucky? And the soundstage has very good depth in spite of the compromised speaker placement. The midrange is glorious, deserving more words than I can write here. The treble is pristine and liquid. These are like electrostats with sensitivity and SLAM.

    The reason is now obvious for the rave magazine reviews of the Double Impacts. Writing to describe the Double Impact’s transparency and oomph is like discussing sex with with a virgin. I didn’t have to win the lottery to finally achieve my goal of re-experiencing the jaw-dropping sound of that crazy-dollar system from 1998.

    Associated equipment: Musical Fidelity A300, Schiit Bifrost DAC, Kimber PBJ interconnects, Audioquest Type 4 (crimp terminated without solder), dedicated laptop computer configured with Fidelizer and playing WAV files ripped from CD’s.

    Double ImpactDouble Impact

  5. Trace

    Had my Sigmas for over 3 yrs now & have thoroughly enjoyed them. Coming from Apogee Duetta Signatures (15 yrs) I had grown to love open baffle sound. If you have enough room to get these 5 or 6 ft off the back wall you’re likely to love these. My only suggestion is get a sub (or better yet a pair of subs) to really flesh out the bottom end if you like the fuuuuull range sound. You just have to move a bit more air than these can accomplish (but I am spoiled). They blend beautifully with a pair of Hsu Research 10″ subs & my room is the equivalent of a 3 car garage. My-o-my, the openess, air and definition, without edginess, is wonderful! Careful placement of the subs can give you a most delicious low end and between all 3 amps I’m running nearly 900 watts so definition is remarkable as the system coasts along.

    OB SigmaOB Sigma