2,000 euro for the stand speakers is cheap – create well-known brands with current technology? And who has the best recipe in the vote? We test four models of B & W, Dynaudio, EPOS and Canton.

  1. Four standing speakers up to 2,000 euro compared
  2. B & W 683 S2
  3. Dynaudio emit M30
  4. Canton Chrono 519
  5. EPIC K3

The general complaint of many hi-fi enthusiasts, that high quality equipment are becoming increasingly expensive, is all too understandable. But fortunately, there are many who offer also an affordable line for less well-heeled fans even among the confessing high end manufacturers. Manufacturers such as Canton (GLE) and B & W (DM300) they have reached even in the course of the history of HiFi to cult fame.

If only 2,000 or even only 1,500 euro retail price may cost a few full-blown standing speakers, the question arises: where should just saved be? The sound and the technology do not insure the manufacturer. If that’s true, we examine in this comparison test of four Floorstanding speakers.


Different strategies

The previous flagship manufacturer B & W in his three-way stand box 683 S2 is relying on an easier foil casing, but makes no compromises in the Assembly. Dynaudio invests the emit series, however, in a high-quality lacquered appearance, without savings on the driver quality. The M30 committed on a simplified crossover and a two way approach.

The intermediate go epic and Canton, where you at least look at the austerity investing even in amazing detail in the construction of housing. Who reached the best compromise sound now? Read the answers in the test reports on the following pages.

From the Nautilus tube up to the sickenlosen midrange: hardly a manufacturer comes from the drum so intense, when it comes to the high level of development of its own drivers. And in fact, the depth of development of and technical expertise in B & W are absolutely amazing.

It is also amazing that the English manage to combine four of its highly complex chassis in a full-fledged three-way level box and then delicious 1500 euros to provide these. The midrange speaker with Kevlar fabric is outside with a foam ring instead of beading and is thanks to the outer membrane part is dazzling in a particularly clean, interference – and play resonance-free vocal range up to 4000 Hz.

The tweeter is almost even higher: the aluminium membrane consists of a ultra lightweight dome and an outer reinforcing ring, what has driven especially the natural resonance at 40 kHz in the inaudible range. The dome is so highly resilient that you could buy her a loyal phase 6-dBWeiche with just a capacitor.

Two parallel aluminium cones, whose effective membrane area is even slightly smaller than that of the mid-bass work in the bass and keynote range up to 400 Hz. Together with the front-mounted reflex tube, which form in the ‘ Flowport ‘ manner filleted studded is, should mobilize the two amazing depth.

Strong but gentle

What succeeded them in the hearing test in an impressive way: strong as precise bass Foundation when Friedemann’s “Saitensprung” stood as one and the same can be said also of the excellent tool figure in space drawn far backwards.

Marla Glens “Cost Of Freedom” remained the 683S 2 on the soft side and moderated pulses and attack a little, scored but with a superb transparent tweeter and a very musical, rhythmically pointed and unzip stress end presentation. A touch of reference class blew in Anton Bruckner’s 8th Symphony (line: Simone Young) by the sursauturer room: wide rooms, warm strings and good certainty, that you relax for hours with this box can be heard.


Gentle and musical box with the “Lean back” factor and incredibly silky transparency. Sometimes some aggressiveness is lacking, plays but big and suitable for long-term use.

A Dynaudio, made in Denmark and made of real wood, usually comes at a price. But time and again the flagship audiophile tried to press him about easier dressed audience with the DM series which but not always convinced real fans finishes due to their housing.

That can change completely with the newly introduced emit, whose goal is compatibility with weaker or less audiophile amplifiers at the same time. She betrays optically not only classic Dynaudio core competencies and is a hot contender for price-conscious fans of Danish HiFis with slanted, clean matt lacquered body in the style of early contour and without compromising on the technology.

The top model M30 shows off right with two Connoisseurs, whose shaping the diaphragm shaped from a single piece of MSP (magnesium silicate polymer) reveals the great, really elaborate aluminum voice coils behind it. Unusually easy wiring, however, failed: the M30 is a pure two – box with parallel woofers, what developers because of the difficult to often avoid dominant vertical interference.

A smooth transition and the superb quality of the tweeter is even more important in such a concept: a 28 mm dome construction similar to the Of esotar models to a smooth transition hinbekommen.

Resolution high 2

The tweeter was also the star of the show at Tori Amos’ “Little Earthquakes”: with audiophilster resolution and gentleness, he spoiled the ears and provided the voice Bell-clear, but assertive about a backing band voluminous especially in the fundamental. Between the midrange was her little pale, what but just older recordings as album of the Beatles had the white charm. The emit won maximum dynamics from the vinyl without the listeners with details.

When Verdi’s Requiem (conducted by Georg Solti) were impressed by their superb detail resolution, however it lacked the “Dies Irae”-Pauken even in live environments a little to strike precision and Subsonic strength. Who wants to go new in the audiophile world, finds a perfect beverage with the Emit.


Very high resolution and highend transparent box with amazingly, Smoother spatiality.

The top model of the Chrono series offers for 1800 euros already visually astonishing amount box for the money: extends over one meter in height, and like at least with some viewing distance with their combination of high-gloss baffle and slide wood. Technical package is available in the Chrono a lot: three full way with four clay, where the cone chassis an aluminium diaphragm and the tweeter is a aluminium manganese – diaphragm call their own.

This three-way concept provides for 300 and 3000 Hz crossover frequencies and thus has a large part of the relevant area to the midrange. He has the same basket size (18 cm) colleagues as his bass and has more hub could make with the double curved wave surround, as he as pure midrange driver to process. However the smaller voice coil and the flatter membrane design with smaller dust protection CAP, a level monster as more aware of a fine worker in it less.

Fürs rough are responsible 18 two more, paralleled their ALU-Membran with significantly larger dust protection covers must be reinforced. The s-shaped wave surround here is much more used with the goal of a completely linear, beaded reflections-free action.

Fürs gross is still a reflex tube below 50 Hz. It is hidden in the base of the box and finds always identical connections to the room as independent from the lineup. Also, an additional electrical high pass filter serves the draught when at the same time improved transient response.

Top tricks

The metal dome proved a golden middle way between softness and resolution in the listening test: you projected in Mahler’s Symphony No. 4 (direction: Bernard Haitink) choir and Orchestra with a looseness of a high end speaker and also on the conditions of the room was amazingly realistic. The character of her voice has easily tended to the dynamically stirring with without the listener but to annoy or to overburden.

Inga Rumpfs “A man’s world” the bringer of pure fun was over the Chrono: dynamic, clean, beautiful voice and rhythmically so captivating, that even the Sleepy foot a pretty tired in the evenings Tester had to beat. Even at high levels, she made hers excellent: clear and concise could club atmosphere with kickendem bass, though the last Hertz depth and rich “bass of pit of the stomach” remained a little guilty. The otherwise completely convincing, audiophile performance but did not diminish.


Neutral, dynamic, and clearly, the canton is an audiophile all-round box in the best sense. You playing without nerves, dynamic and exciting, and dominated everything except linearity.

Designed and engineered in the UK: The boxes of epic make a clear statement, where they want to be sonically positioned on the nameplate. Behind the voicing is none other than electronics specialist Michael Creek, and followed the basic establishment of the housing (for sound reasons of course) best English traditions. So you can almost completely unscrew the back panel of the K3, the biggest box of the K series, in two parts, and all drivers are screwed from behind in the stable, fixed and solid resonance connected to the housing baffle.

The two woofers in the 18-cm-format be clamped by an additional sub sound wall behind the main body, which should guarantee a tighter fit and the screws of stronger pulses relieved, and spread evenly onto basket and baffles, if the two cones to produce full power in the bass.

At all seems a large part of the naturally tight budgets in the housing development to be gone, because even the fit tweeter with its foam rubber waveguide and tuned at exactly 40 Hz reflex slot on the front – from epic due to its rounding and vortex poverty called “high velocity slot port” – evidence of higher development costs.

Inner qualities

The driver trio on the front panel is connected in the 2.5-way mode: the lower woofer himself prematurely in the keynote range hides, while the Middle runs up to 3.5. To producing any unwanted interference in the middle of the membrane, it is equipped with a sharp, but very slight Phaseplug. Both cones work parallel in the bass, and they do significantly more dynamic than one would have expected their unassuming membrane thanks to the very expansive centering.

For brilliance and high-frequency a 25-mm fabric dome displays then itself, which is associated with a short but quite tight Horn attachment on sound pressure level higher and more uniform beam angle.

When Paul O’Brien “big yellow taxi” the K3 then also primarily impressed with their unity and dynamics jumping to: Agile like a small Club PA, she conjured up an extremely clean shaded music flow into the room, glamorous holographically provided voices in the somewhat flat space and gave no nakedness itself even at high volumes with a bone-dry, powerful deep bass.

She indulged in small sound color weaknesses in female voices: that sounded Anne Sofie von Otter in Bela Bartok’s “Bluebeard” something badly squeezed, also lacked the Orchestra at all impressive fine dynamics in fine detail. The tester remained rather at what best can the epic: handmade, dynamic rock and folk, which she very well served with its Club like atmosphere.


Wholesome, dynamic and agile with high charm character. Sounds especially when rock and folk atmospheric holographic, but less fine drawing and rich timbre.