Let’s find out what are the best floor standing speakers under 2000. Best tower speakers under 2000 2020.
Some are loud, some bring clarity, and others get right to the heart of the matter. Whatever their talents, these speakers should be heard.
When there is a wide variety of floor standing speakers is available, it becomes hard to choose what are the best bookshelf speakers under 2000 floor standing speakers with built in sub woofer?
Well, don’t worry our experts are here to help you out, their expert advice will help you find top rated floor standing speaker for your.
Also, they have found some budget and affordable floor standing speaker, these some good floor standing speakers from great ones.
Budget is only one of the factors that matter when looking at any hi-fi component, but if you’re after a pair of great-sounding floor standers then it’s best not to skimp.
If that sounds like a significant threat to your bank balance, console yourself with the fact that you won’t have to fork out for stands, the quality of which can make or break a stand mounter speaker.
Yes, you’ll almost certainly be paying for more wood or extra drivers but, equally, you’ll also have access to a broader range of sound-led design solutions.
That said, a large cabinet can amplify unwanted resonance – leading to greater distortion, difficulty with controlling dynamics and the like – so more care needs to be taken in cabinet design.
So, while there are now numerous pairs of budget floor standers that make our feet tap as much as they do our test room shake, it’s in this 700 to 1500 bracket where we begin encountering what we’d describe as true hi-fi.
There’s plenty of Award-winning pedigree in this round-up, too, including Wharfedale’s Evo 4.4 – the current holders between 1000 and 1500 – and the Fyne Audio F501 towers, whose trophy they nicked.
As if to beat that, the Dali Oberon 5s picked up two Awards this year – for best floor standing speakers 500- 1000, and as part of our surround package Product of the Year – while they were joined in the home cinema section by Monitor Audio’s Silver 200s.
Bowers & Wilkins is no stranger to accolades for its 600 series, either, and the 603s make an appearance here alongside Acoustic Energy’s hefty sub-grand AE120 speakers.
Last but by no means least are the Neat Iota Alphas, diminutive in size but not in talent.If you’re looking to upgrade your system for the new decade and big sound is top of the agenda, then every one of these deserves an audition.
Best Floor Standing Speakers Under 2000
- Acoustic Energy AE120
- Bowers & Wilkins 603 Tower Speaker Review
- Dali Oberon 5 review
- Fyne Audio F501 Review
- Monitor Audio Silver 200 review
- Neat Iota Alpha review
- Wharfedale Evo 4.4 review
Acoustic Energy AE120 Review
We unbox Acoustic Energy’s AE120 floor standing speaker with no small amount of excitement. They emerge to reveal a tweeter and three relatively large drivers, all within a slender and unobtrusive footprint.
The bijou dimensions and true three-way configuration has piqued our interest.The AE120 floor standers are the largest in the firm’s most affordable 100 series. T
hey pack a 25mm soft-dome tweeter, a dedicated mid-range driver (housed in its own enclosure) and twin bass drive units – that last trio featuring the company’s bespoke 11cm paper cones – they’ve got a lot going for them.
You get a choice of two finishes. The model we’re testing has a black satin wrap, which costs £50 more than the walnut vinyl-veneer option.
Once placed on the spiked plinths, these speakers would fit happily into even the smallest of rooms. Their cabinets use 18mm thick panels and weigh in at 19kg each.
That 25mm tweeter includes the company’s Wide Dispersion Technology (WDT) wave guide and, at the back, you’ll find a slotted bass reflex port to augment those bottom two bass drivers.
Once run in, the AE120s are relatively un-fussy regarding placement, making them an ideal proposition for the space-deprived. We settle on placing them 30cm from our testing-room wall.
Balance and spaciousness
We cue up Hootie & The Blowfish’s Hold My Hand from the album Cracked Rear View on Tidal and note how well balanced the AE120s are.
Anyone used to traditional two-way stand mounts will notice a big difference here, especially in the opening-out of the mid range.
The placement of the strummed rhythm guitar is delivered with clarity. Hootie’s voice is central, with the bass sitting just to his right in an impressively mapped-out, three-dimensional stereo-imaging display.
The album continues to Let Her Cryand our heart flutters as we note where the tambourine is being shaken in relation to the guitar – which is accurately delivered with discernible distance from the mic.
It’s a similarly expansive, layered presentation. There are strands of melody through the mid range here that speakers at this level are rarely able to reveal.
The AE120s are resoundingly listenable too, never displaying harshness. We play Bruce Springsteen’s High Hopes and the Boss’s vocal in American Skin (41 Shots) is as clean and tonally textured as we could ask at this level.
The bass is refined rather than punchy, but it is nevertheless clean and agile. We become aware of a shortfall, though. The dynamic build from the outset of the track is not as pensive, brooding or sombre as it could be.
Backing vocals, keys and percussion are all present and given space to shine, but the rising tension, which builds from barely audible strings to musical crescendo, is a shade off what we had hoped for in terms of dynamic resolution.
We play the same album through our current favorites, the Dali Oberon 5s, and find the songs more exciting, emotive and entertaining.
The Dalis slightly edge the AE120s in terms of low-level detail resolution too. Back to the Acoustic Energy speakers, and we cue up The Hobbit (An Unexpected Journey) by Howard Shore.
There’s tonal accuracy and plenty of volume, not least during a flute melody – a showcase for the refined treble – that never gets harsh.
When the foreboding male choir advances during An Ancient Enemy however, we don’t feel the requisite amount of fear. It’s somewhat restrained.
The Acoustic Energy 120s are well made, slender and unfussy, and they offer an accommodating and musical sound.
There’s a sensible bass weight and admirable stereo imaging. If you’re after an unfussy but easy-going floor stander, you could do a lot worse.
Best Tower Speakers Under 2000
Bowers & Wilkins 603 Tower Speaker Review
Whether it’s budget or high-end Floor Standing Loudspeaker, B&W usually delivers on the engineering front, and the 603s are no different.
Peel away the magnetic grilles – a first for the 600 Series – and you’ll see what we mean. Traditionally, a 600 Series speaker would sport B&W’s trademark yellowKevlar mid-range cones.
But this material has now been replaced by B&W’s eye-catching silver Continuum cone material, first introduced to its flagship 800 Series Diamond.
Here, the cone is part of a B&W FST drive unit, which is great to see included at this price. FST drivers replace a traditional rubber surround with a specially designed foam ring.
B&W claims the foam damps vibrations in the cone better, thus improving clarity and reducing distortion.
The only limitation to the design is that it restricts the movement of the cone, so it can be used only for midrange, not bass.
Hence the 603s’ 15cm FST driver is used with a pair of 16.5cm paper bass cones. Add a 25mm double-dome tweeter for high frequencies and you have a true three-way speaker – unusual at this level.
Unfortunately for the 603s, it feels like the driver design might have distracted B&W from the speaker’s overall finish. The cabinet exterior doesn’t look like it belongs on a product worth over a grand.
It feels quite scratchy and basic, and the plinths seem like an afterthought.B&W recommends listening without the plinths, so it’s a good excuse to leave them in the packaging.
Compare the fit and finish of the B&W 603s to the similarly priced Fyne Audio F501s and, in our opinion, the latter come across as considerably more premium. The 603s are rear-ported, so it helps if you can give them a bit of room to breathe.
We’d suggest around 50cm from a rear wall, a decent width apart and slightly toed in to the listening position. We start with I’m A Ghost by Australian hip-hoppers Hilltop Hoods.
A solitary harp carves a furrow through the opening seconds of the track and the speakers track its plucking with intent. The track’s vocal emerges front and centre, and is met with a mixture of piano and strings.
The B&Ws deliver with focus and precision, but there’s loads of space – it’s a huge, expansive stereo image that allows you to dip in and enjoy each of the elements individually.
A confident performance
As the track ups the tempo and injects a fluttering bass line and more percussion, the B&Ws step up their game too. The speakers handle the dynamic shifts and flows of the strings with confidence.
Switch to Muse’s Dead Inside and the B&Ws hammer home their strong-willed sense of delivery. As the track drives along, every drum thwack hits with intent and purpose.
The bass notes are deep and probing when required, the speakers reinforcing Muse’s reputation for powerful stadium rock. Arguably the B&Ws’ biggest attraction is the way they handle vocals.
That FST driver does a great job of communicating with the listener. We play Jorja Smith’s Don’t Watch Me Cry, and the 603s show how attentive and revealing they can be.
The number of musical elements in the track is stripped right back, and with the rise and fall of her vocal mirrored by the accompanying piano, the piece sounds intimate and emotional.
Our only slight reservation is that the 603s don’t deliver the most relaxed of listens. This finesse shortfall is enough for us to dock the 603s a star.
If you favour a balance that’s a little less forward and more easy-going, you might prefer the Wharfedale Evo 4.4s. We’d also suggest using electronics with plenty of poke to get the best sound.
The 603s are the kind of floor standing that won’t struggle to sell themselves during a demo – they are blessed with many impressive qualities. Just make sure you have a careful listen before you sign on the dotted line.
Dali Oberon 5 review
Dali Oberon 5 are the best Wireless Floor Standing Speakers under 2000. Sometimes manufacturers hit the spot so accurately that we can only sit back and applaud. Dali’s Oberon 5 is one such product.
There are no magic ingredients here, no cutting-edge technology to explain the Oberon 5s’ unusually talented nature.
Just careful engineering and steady refinements of design ideas that Dali has pursued for years. The Oberon 5s are compact two-way towers, standing just 83cm high and just more than 16cm wide.
The dimensions mean they will look right at home in most rooms, never dominating visually. The MDF cabinet is nicely made and there are four finish options: black ash, white, dark walnut or light oak.
There are a pair of 13cm mid/bass drivers and a larger-than-usual 29mm soft-dome tweeter. The mid/bass drivers use the company’s favoured wood fibre/fine grain paper pulp cone. Which is claimed to deliver the drive-unit Holy Grail of high rigidity with low resonance.
Here, though, the engineers have worked hard on the motor system and suspension set-up to optimise detail, transparency and dynamics.
The three drive units are linked through a single-wired two-way crossover, resulting in a sensitivity of 88dB/W/m and nominal impedance of 6 ohms.
These figures are typical and shouldn’t present any issues for any good price-compatible amplifier. Like most Dalis we’ve tried, these speakers don’t have a fussy nature.
When it comes to positioning, the Oberon 5s like to be a little away from the back wall and firing straight ahead, rather than angled towards the listening position. As for partnering electronics, you’ll get out what you put in.
The Oberons will sound perfectly acceptable with good budget electronics such as the Marantz PM6006UK amplifier and partnering CD player, but feed them with something more ambitious.
Such as the Rega Elex-R (£950) or even Moon’s 240i (£1990), and they shine accordingly. Once given a few days to settle, these are terrific performers. They’re responsive and musical but, most of all, fun.
We start with Radiohead’s In Rainbows and the Dalis sound right at home among the complex rhythms and dense production.
But they bring out the emotion too, highlighting the haunting nature of Videotape or the uplifting change of gear in 15 Step’s instrumental break.
The Oberons possess dynamic subtlety, rhythmic precision and transparency in abundance.
They’re detailed too, revealing low-level instrumental strands with ease, but also managing to arrange that information in a composed and organized way.
Dali speakers are rarely shy when it comes to treble output. And, sure enough, these speakers have a crisp high-frequency output with plenty of bite.
It’s smooth enough, though, to avoid sounding brittle, and it blends seamlessly with the speaker’s expressive midrange performance.
The Oberons sound great with voices, squeezing the last drop of emotional impact from Nina Simone’s heart-breaking Strange Fruit.
We move onto Prokofiev’s Romeo And Juliet where the Dalis show-off their fine dynamic reach and ability to render low- level shifts with skill.
They will play loud enough for most situations and in all but the largest of domestic settings. They’re compact speakers, but those twin mid/bass drivers still deliver plenty of low-frequency punch and authority.
Overall, these speakers manage to sound notably larger than they are. The Fyne Audio F501s dig even more deeply into the bass, but lack the sheer expressiveness of these Dalis.
That, and the sheer sense of fun that these speakers communicate, is what endears them to us the most.
Best Floor Speaker Under 2000
Fyne Audio F501 Review
Fyne Audio might be one of the newer kids on the hi-fi block, but its design and engineering team have been working together in other contexts for years.
As a result, the F501s look, feel and, most crucially, sound like the product of a company building on a great deal of experience and expertise.
At 98cm tall, 20cm wide and 32cm deep, the F501s are of unremarkable dimensions for a product of this type. These are some quality floorstanding speakers.
And in terms of build quality and finish, they’re exactly what a £1000 floor stander needs to be – sturdily made. From the chunky locking spikes beneath the substantial plinth all the way along the gently curved MDF-beneath-real-wood-veneer cabinets.
Finish is smooth and seamless; the veneer feels as good as it looks, and the shiny silver band above the port system at the bottom of the cabinet is subtle rather than showy.
A two-and-a-half-way design using a 25mm tweeter, 15cm mid-bass driver and 15cm bass driver, nominal impedance of 8 ohms and 90dB sensitivity won’t raise any eyebrows here, but Fyne Audio has brought some interesting thinking to bear with the tweeter.
It’s a highly rigid titanium dome that sits in the throat of the mid-bass driver in an arrangement Fyne calls IsoFlare.
At the bottom of the cabinet, Fyne has employed a downward-firing port above a carefully profiled, conical diffuser to convert the standard plain-wave port energy into a 360-degree wave front.
The aim is to disperse the port’s response more evenly and make the speaker less picky about its position in your room.
Unlike many rivals, Fyne has considered what happens to the grilles once you’ve whipped them off. As on the front, the rear of the cabinet has magnets so the grilles can be stored there.
It’s safe to say the thoughtful Fyne approach makes the speakers pretty forgiving of room position, but we find the F501s to be happiest out in some free space, and toed in just a fraction.
Diana Krall’s version of Almost Blue is a high-gloss hi-fi recording, with varied piano and close-mic’d vocal supported by stand-up bass and economical guitar – and the F501s absolutely lap it up.
There’s a broad, well-defined sound stage, solid stereo focus and a lavish amount of detail. No nuance of Krall’s phrasing, no creak of double-bass fret board is ignored.
But, while they’re borderline-fanatical about laying out the last scrap of information, the F501s don’t sacrifice the coherence of a performance. Timing and integration are excellent.
Upping the assertiveness quotient more than somewhat, a switch to Burn With Me by DJ Koze allows the F501s to show off their beautifully even tonality.
The cleverly judged crossover points mean, from the bottom of the frequency range to the top, there’s no noticeable gear-change to the F501s’ delivery.
This, along with the sweet timing and transparency of their sound, makes the picture the Fyne Audios paint absolutely convincing.
Bear in mind though, that these speakers sound best above background-music volume levels.
Moving to the Deutsche Gramophone recording of Rhapsody In Blue by the Los Angeles Philharmonic under Leonard Bernstein not only allows the F501s to again demonstrate their fine grasp of timing but also their dynamic prowess.
Rhapsody is full of attention-seeking shifts from ruminative piano to full-orchestra outrage, and the F501s handle each with confidence.
They snap into the leading edges of notes with drive and attack, and exit with similar alacrity.
We pose the Fynes a number of other musical challenges and they negotiate each with ease, combining low-frequency punch, speed and body with top-end crispness and substance.
The 501s’ top end isn’t impossible to provoke, but as long as you avoid lean partnering electronics, you’ll be in for a real treat.
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