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Ken Micallef-Trenner & Friedl Osiris

Stereophile

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November 2019

Loudspeaker

Ken Micallef-Trenner & Friedl Osiris

Austrian loudspeaker manufacturer Trenner & Friedl has a thing for coaxial drivers. They’re used in at least three of the company’s eight loudspeaker models, including the diminutive Sun bookshelf speaker and the large floor standing Taliesin. In these models, T&F eschew more conventional stacked drivers for a putatively time-aligned, wide-frequency range coaxial design.

I first encountered T&F’s approach when I reviewed the above-mentioned Sun,1 which proved to be the best small loudspeaker experience I’ve ever had. And I do mean small, as in 8.25" high by 6.25" wide by 5.5" deep and weighing a scant 7lb. The Sun did tone, soundstaging, image weight, and dynamics so well for its size that I felt compelled to review the No.3 speaker in Trenner & Friedl’s lineup, the floorstanding Osiris ($8500/pair).

T&F likes to name its speakers after Egyptian deities, including Osiris but also Ra, Isis, and (generically, or maybe not—see below) Pharoah. As explained to me via email by Bob Clarke of Profundo, which distributes T&F products in the US, company co-founder and principal designer Andreas Friedl also identifies his speakers with jazz musicians—hence, “Pharoah” is also, very likely, a reference to Pharoah Sanders (note the spelling), “Ra” to Sun Ra.

Regardless, all Trenner & Friedl loudspeakers share such characteristics as cabinets built with multiply birch panels of varying thicknesses, multilayered lacquer finishes, oil-lacquered cones, crossovers built with Mundorf capacitors, locally sourced damping materials, and Cardas Audio cabling and binding posts.

Design

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Definitive Audio in Bellevue, Washington, near Seattle—one of the premier dealerships in the Pacific Northwest—continued its 50th anniversary celebration with an event it called “Icons and Innovators.” Highlighted by showings of the new JBL Everest series and Bowers & Wilkins Nautilus and 801 Abbey Road edition loudspeakers, the event drew a full house to the first of two sessions.

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Touched-up Beatles and Ringo in color

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Traveling through time and space

In the April 2024 issue of this magazine, a piece by Editor Jim Austin appeared in the “As We See It” space. It was titled “On assessing sonic illusions,” and it has haunted me for more than a year. Jim’s thesis was that a music recording is a “synthetic, whole-cloth creation ... a complete fabrication.” He writes: “Very few recordings correspond to an actual performance. Most are studio concoctions with pieced-together instrumental tracks and artificial ambience that document no sonic event that ever occurred.”

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Why award Recording of the Month to a project whose vocal soloists, though thoroughly committed, are in some respects less than ideal?

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Period-style listening

Last night, I sat on a bright yellow velveteen sofa eating red beans and rice while listening for three hours to blues and jazz from rare 78rpm records. I walked out feeling gospel-level raised up, with a head full of dreams and cultural memories.

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