Triangle Esprit Australe EZ floorstanding loudspeaker

Triangle Esprit Australe EZ

Triangle has always made its loudspeakers relatively efficient and the Australe EZ is no different, with a 92.5dB sensitivity and a nominal impedance of eight ohms that drops to just 3.3 ohms at a minimum. This means a loudspeaker that is easy to drive and is unlikely to trouble any amplifier it is likely to be partnered with. The tall tower is neatly finished in a choice of gloss white or black, and there are no veneers or RAL paint options.

The set-up is a breeze. You just need to place the loudspeakers at least 0.4m from the rear wall, at least 0.5m from the side walls, and at least 2m apart. You need to sit at least 2m from the centre of a line drawn from tweeter to tweeter.  And if that sounds pragmatic, it is, and so is the Australe EZ. It is unfussed about positioning, placement, and partnering. Just make sure the loudspeaker is level and not wobbling, and experiment with toe-in (don’t make it too acute though, as you don’t want the rear tweeter to start interacting with the front). There is one limitation to this; try not to have a very reflective rear wall. This is a good idea in general, but when there’s a rear tweeter involved, you want it to subtly reinforce the main sound, not provide too much of its influence: a wall of glass is going to do just that, so aim for a more diffuse rear wall (you might want to put room treatment panels on the back wall behind the tweeters in extreme cases).

I  preferred the Australe EZ wider and with no toe-in and sitting closer to the loudspeaker than usual. This is more of a near-field setting than most might choose, but it worked for the Australe EZ perfectly. This was just at the limits of the central image becoming distinct left and right channels. At that point, everything snapped into focus and clarity, the musical integrity of the sound went into hyperdrive, and the sound just seemed like there were real people projecting music into the room.

Amplifier and source choices are pretty much open to interpretation. I’d go with ‘quality’ rather than ‘quantity’, although if you can do both, the system will sound even better. Because of the hypnosis, I’m not talking specifics and price points, but when you are out of thrall, you’ll probably work out that this deserves a ‘commensurate’ system. I found it worked perfectly with a spot of Class D overkill in the shape of an Aavik U-150 integrated amplifier fed by a Hegel Mohican CD player and hooked together with either Ansuz, AudioQuest, or Nordost cable. In truth, I preferred the slightly earthier tones of the AudioQuest over those of Ansuz or Nordost in this context.

For a loudspeaker with two tweeters and three bass drivers, the Australe EZ leads from the midrange. It’s a midband-out loudspeaker, getting that all-important aspect of music correct first, and then letting the other parts do their stuff from there. That is not to downplay the bottom end or the treble extension but shows the design criteria of the Triangle sound. The mid and treble (but especially the midrange) are fast, dynamic, open, precise, clean, and entertaining. It’s the kind of loudspeaker where you put on a piece of music – let’s say ‘Marietta’ from Buena Vista Social Club Presents: Ibrahim Ferrer [World Circuit] – and it leads to another, and another, and another. Even with a CD front-end, this is more like a Tidal and Roon workout, with you just enjoying ‘swimming’ through your music collection. The overall presentation of that midrange is a little forward, but not troublingly so; music is a new projection further into the room, not a lap-dance.

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