've always had one problem with high sensitivity speakers. They are supposed to work well with low-power amplifiers, ensuring fast energy transfer, without driver's rubber suspensions that might damp this energy, without tweeter's attenuator, but in fact many of them sound best with high-power amps. Avantgarde Acoustic horn speakers are a very good example – despite their over 100dB sensitivity their own manufacturer offers a 50W class A amp for them. A solid-state amp, I should add which is again odd.
My experience with Triangle speakers is about the same. I've known them since 1994, when the Antal TZX model was introduced. It was said then that they required a soft, warm sounding tube amplifier to drive them because of their high sensitivity and because they sounded bit bright and that brightness had to be dealt with somehow. I listened to them with many tube amplifiers, mostly low-power ones and I didn't really like the results. Usually the result was a boomy bass and a bright treble not so well „dealt” with, which suggested that low-power tube amps were actually not the best partners for those speakers. And still, even today I hear many people suggesting that Triangles should be paired up with tube amplification because of their high sensitivity. Well, my test proves otherwise.

Company has changed since that time, they created a whole new generation of speakers – the top line called Magellan, that in fact now accounts for a separate brand name, although within the same company. The developments achieved when working on their design were later transferred also to the less costly lines, a Genèse most of all. It was possible because Triangle is one of few manufacturers that actually make all elements of its speakers, including drivers, by itself. Our test subject belong to the newest line called Signature. In principle it should be a „bridge” between Genèse and Magellan, although most of the solutions were transferred from the latter.

Triangle Signature
Novelties and modifications

Cabinet

Unlike Genèse, Signature's cabinets are made of 21mm thick HDF (and not MDF) slates (7 slates 3 mm each), except for the front baffle that is 25 mm thick which gives the cabinet more weight, makes is more stable and limits the vibrations transferred from working drivers.
The surface's finish is more luxury, which of course means more time and work consuming. There are as many as 7 up to 10 layers of lacquer. After each layer is placed it is polished and than it undergoes multiple thorough inspections. There are three finishes available: natural mahogany veneer, and white or black „high gloss” lacquer.

Drivers


For a TZ2500 a new phase plug has been designed to go with the 2mm titanium dome. The tweeter's horn is 100% injected aluminum developed originally for the Magellan project. At present, Tweeter’s larger surface offers a greater dispersion of high frequencies. The volume of compression of the tweeter’s back chamber has also been increased to offer better shock absorbency, thereby preventing the return of sound waves on the dome. These enhancements have improved upon the quality of high frequencies in terms of detail, finesse and transparency, as well as minimal sound distortion
The 185cm aluminum basket has been entirely redesigned to provide better ventilation to its double-layered coil. It is equipped with a small pleat, peripheral short travel suspension. The new version of its cone in treated paper offers increased clarity at this very important frequency section of sound reproduction. The phase plug has been replaced by a dust cap of identical shape and size to prevent air from escaping, as it would normally do so in an enclosed volume.
The bass woofer benefits from numerous enhancements producing a faster and deeper bass. It is equipped with a double magnet motor, a double-layered coil and an inverted half-roll rubber suspension, all of which ensure a faster speaker response. Its fiberglass cone has been improved upon to offer extra speed. The entire central part is closed with an aluminum cover.

Other
Each model is equipped with a terminal for bi-wiring or bi-amplification. The terminals are designed and assembled by TRIANGLE. Built with High quality copper alloy they provide an excellent conductivity. They accommodate a 5 mm diameter cable and receive banana plugs with locking system for excellent security.
The internal cable (supplied by highly-regarded US manufacturer, Kimber Kable) was selected for its detail when it comes to the medium/high frequencies and for its steadiness in relation to the bass frequencies. The combination of these two cables, containing strands of different sections, minimizes resonance and enhances performance. Instead of regular bass-reflexes Triangle used a solution called Twin Vent, that discharges the rear wave created by the bass drivers through a single vent. This system means that each of the drivers can operate in complete isolation. Increasing the volume of the sound does not disrupt the tonal balance, the only remaining distortion limit is the driver mechanics.
Signature speakers sport an improved version of SPEC - SPEC II (Single Point Energy Conductor). Spec is a brushed steel point. Similar to the design of a cello, it evacuates part of the mechanical energy towards the floor, thus improving sound quality. Cabinet vibration is kept to the minimum and has little effect on sound reproduction. Again, TRIANGLE‘s attention to seemingly small details such as this gives it a distinct and unique advantage.

French manufacturer invested a lot of money to transfer a Genèse line to a Signature one. No wonder that these new speakers are significantly more expensive: Alpha costs 29 990 PLN, Delta – 24 990 PLN, Theta – 14 990 PLN (prices per pair). But it is only fair to say that this new line is something completely different and that Marc Le Bihan, chief and managing director of Triangle (on a photo with Magellans) has every right to be proud of his new achievement. The reviewed model, Delta, is a three-way, four-driver design in a bas-reflex cabinet. This in not a particularly large model measuring :1230 x 345 x 385 mm (including SPEC) – but it undoubtedly has its own distinguished look that comes from a perfect finish. The delivered frequency range, according to manufacturer, starts at 35 Hz and goes up to 20 kHz, with a sensitivity of 92 dB.

Recordings used during test (a selection)

• Jesteś Bogiem, soundtrack, Magic Records 3719533, CD (2012).
• ABBA, Gold - Complete Edition, Polar/Universal Music K.K. (Japan) UICY-91318/9, 2 x SHM-CD (2008).
• Alan Parsons Project, I Robot, Arista/Sony Music Japan SICP 30168, “Legacy Edition”, 2 x BSCD2 (1977/2013).
• Antonio Caldara, Maddalena ai piedi di Cristo, René Jacobs, Schola Cantorum Basiliensis, Harmonia Mundi France HMC 905222, 2 x CD (1996/2002).
• Black Sabbath, 13, Vertigo/Universal Music LLC (Japan) UICN-1034/5, 2 x SHM-CD (2013).
• Count Basie, Live at the Sands (before Frank), Reprise/Mobile Fidelity UDSACD 2113, “Special Limited Edition No. 197”, SACD/CD (1998/2013).
• Depeche Mode, Remixes 2. 81-11, Mute Records 9663626, 3 x CD (2011);
• Depeche Mode, Should Be Higher, Columbia Records 758322, SP CD (2013).
• Diorama, Child Of Entertainment, Accession Records, A 119, SP CD (2010).
• Dire Straits, Dire Straits, Vertigo/Universal Music LLC (Japan) UICY-40008, Platinum SHM-CD (1978/2013).
• Happy The Man, 3rd - “Better late…”, Belle 132047, SHM-CD (1983/2012).
• Michael Jackson, Thriller. 25th Anniversary Edition, Epic/Sony Music Japan EICP-963-4, CD+DVD (1982/2008).
• Miles Davis, The Complete Birth of the Cool, Capitol Jazz/EMI 4945502, CD ([1957] 1998).
• Nat “King” Cole, Welcome to the Club, Columbia/Audio Fidelity AFZ 153, SACD/CD (1959/2013).
• Ornette Coleman, The Shape of Jazz to Come, Atlantic Records/ORG Music ORGM-1081, SACD/CD (1959/2013).
• Siekiera, „Nowa Aleksandria”, Tonpress/MTJ cd 90241, 2 x CD (1986/2012).
• The Enid, In the Region of the Summer Stars, EMI/Belle 132084, SHM-CD (1976/2013).
• Vangelis, Blade Runner, soundtrack, reż. Ridley Scott, Atlantic Records/Audio Fidelity AFZ 154, “Limited Edition No. 2398”, SACD/CD (1982/2013).

Japanese editions of CDs & SACDs are available

It's been a long, long time since I last listened to Triangle speakers in a controlled environment that allowed me to actually listen to them and not to the rest of the system, to the room or any other element of the setup. That's surely not a reason to brag but it is what it is and I just wanted to be clear about it. The only real advantages of this situation I can see is that it allows me to evaluate the change that went down during those 5 years since the last test of Triangle speakers for „High Fidelity”. Surely the evaluation can't be perfectly objective as over these 5 years my reference system changed, I changed, my expectations toward what good speakers should and what shouldn't do changed. But I still think that my memory of impressions I had then is rather good so what I am about to write now should be more or less right.

When listening to new speakers one is able to tell whether these are good already after hearing a few tones. Especially if one repeats this exercise almost every day for years. It takes time to understand what makes them sound the way they do. But it doesn't take long to realize whether particular speakers are worth listening to, spending time with, or maybe one should stop listening to them at once.
Yes, I knew that immediately with Signature Delta, too. In fact I heard what I expected to hear. I had heard Magellans during some shows and presentations before so I knew what to expect from Signature. Both lines used, at least some, same solutions and elements, similar drivers, same care about details – it all combined into the same „start package” that gave these French speakers a pole position before the „race” even started.
But even all that did not prepare me to see how the designer's approach to the sound changed. These speakers don't sound bright anymore, there is no need to „smoothen” the treble with proper cables, electronics, or placement in the room. I was truly fascinated with that change of performance so I decided to listen to some recordings I knew that could sound horrible, colored if there was any deviation in speakers performance. These were mainly old recordings from 30ties and 40ties, big-band music, but also some more recent, not so perfectly recorded ones. For example: Miles Davis' concert The Complete Birth of the Cool, Nat „King” Cole’s Welcome to the Club, Count Basie at the SandsM (before Frank), or Siekiera's „Nowa Aleksandria”. Also some recordings from totally unknown, but surprisingly good Japanese label called Belle. Deltas delivered these recordings in an amazingly good fashion.

By pure accident test of these speakers happened right after one of Avantgarde Acoustic Zero 1 – great sounding, three-way, active, sporting digital process speakers from a horn specialist.

I has to admit that a performance of Triangle's tweeter was in no way inferior to what I had heard from German speakers. Deltas delivered rich, open sound, with no horn coloration that in many cases (although not in Avantgarde's case) could cause some audible ringing. Triangle speakers utilized horns and very good midrange drivers to deliver an amazing performance comparable to what high-end speakers often deliver: midrange is smooth but detailed, very rich and a bit dark. All of you who, regardless if you really want it or not, can spot any deviations from „normal” sound, will truly love what these speakers do.

The attack phase is sharp – there is no softening of it, which reminded me of Avantgardes that do the same. And yes, it's a big deal to present both, a great definition and a richness of sound at the same time, without making the whole performance focused on treble. After all treble plays only a complementary role to the midrange.

Changes in the performance of Triangle speakers in this subrange comparing to previous models are most likely result of a few things: a change of approach of their designers (some might say that now it's more „mature”), a technological progress (better drivers and other elements), and a growing experience of the company/designers (or a knowledge). And, I have no doubts about it, this is the best driver this company ever created, and, apart from Magellans, also its best implementation. That's obviously kind of simplification of facts, but the final result of my analyses of the performance leads to this conclusion. A simplification doesn't include analyses of how midrange integrates with treble horn and two woofers. This is obvious but I'm still going to write it – it is always about cumulative performance of all drivers, of a whole speaker, and not just about one driver – all elements of every speaker must come TOGETHER to offer good performance, good sound.
But still, while listening to Signature Delta I couldn't help thinking that it was the midrange that had the biggest influence on my perception of the performance of these speakers. It offers great resolution, very nice selectivity, everything is presented in a very orderly way, sound isn't muffled but neither is it exaggerated.

During my listening sessions I had Triangles toe in significantly so that the axes crossed before me. That gave me a soundstage usually offered only by some stand-mounts – speakers very simply not there, they disappeared from the room leaving me alone with music. A toe in allows to limit a bit treble performance too, not that it was necessary in this particular case. Anyway horn speakers seems to be less susceptible to the change in directivity than regular tweeters are, since while the top treble seems slightly rolled off there is still the same level of energy in the whole treble range. What was truly important was something else – a listener's position (how high his ears were) against midrange driver. In my case the best result were achieved when my ears were just below lower edge of midrange driver. When I sat bit lower I could hear a slight emphasis on the part of the range delivered by horn while a part of midrange was slightly muffled.
When having my ears at optimal height I was rewarded with a fantastic balance between and insight into recording, while still seeing a big picture and being involved in the music. Performance of these French speakers lets listener relax. Sound isn't slow, it's more like a „regular” horn speakers speed. They don't limit dynamics – quite the contrary – dynamics is exemplary, but even though they will rather rock you than shake you. Listening to them is pretty involving which allows listener to „disconnect” from environment and focus on music completely.

There are no limitation to the music, no restrictions because of the speakers. I've listened to many very different recordings from my collection and not even once had I to worry about performance – each and every time I could just sit back and enjoy. Triangle never try to mask anything, this is not a performer that „let's thing go”. A clarity of a sound combined with proper resolution allowed me to treat any technical problems of all recordings just as part of them, as a part of a process of sound recording and creating a final product. Each of the elements of this process is potentially full of traps, possibilities for making some mistake.
Listening to Siekiera's Idziemy przez las from the new two-disc re-issue of „Nowa Aleksandria” I was almost certain that Triangles delivered a tonal balance as it was intended by Damian Lipiński, a guy responsible for re-mastering of this title. I could be sure because I had a rare opportunity and pleasure to exchange my impression with Damian on his work in progress. Damian had sent me files with few versions of this song asking for my opinion. A problem with this material was using Dolby A noise correction system which was not necessary since the recording had been done on 38 cm/s tape. Dolby A does eliminate noise but at the same time it introduces some characteristic distortions in dynamics and timbre. It emphasis, for example, some nasal sounds which is very difficult to fix later. When listening to this re-master with Deltas in my system I surely realized that but it wasn't a real „issue”. Damian managed to somehow get rid of these colorations, without loosing any energy in treble area, and without exaggerating problems with dynamics introduced by noise correction system. Without any deficiency in timbre presentation Triangles presented exactly was this recording was about. You might say that they acted a bit like studio monitors in this particular case.

Whenever I review an interesting product, which is a case here, text seems to write itself achieving huge volume before I realize that. So to put an end to that I should only briefly describe all other elements, especially that is most important about these speakers has already been said.
Bass goes down deep and is well controlled. But you can hear what king of speakers are these. It is simply not the same sort of bass that you get from large woofers, there is no way you could make such mistake confusing ones with the others. Even the Tannoy Kensington GR, although they don't deliver such a substantial bass, they still managed to offer richer upper bass and a part of the range responsible for lower part of male voices, Cole’s for example. Triangle deliver this part bit faster and don't create such a big phantom images like more expensive horn speakers supported by active subwoofers, like Avantgardes do. Even the Harbeth M30.1 when paired with good electronics deliver richer lower midrange and thus larger phantom images. So don't expect a „tectonic”, ground-shaking bass from Triangle speakers. You don't need to worry – bass won't be dry, nor will it sound to „light” – there is enough bass foundation for the whole sound. Some of you might prefer other speakers with more punch, but even those of you will admit that there is an idea, a concept for the sound of Triangle speakers, and that it is a good one. If you agree to this you have to admit that any changes to this sound towards whatever you think it is missing, would ruin the total effect.

Summary

This is a very important thing about Triangle Signature Delta – it is a very well-thought-out design. They offer a fast, dynamic sound, with wonderful midrange, rich and very nicely defined treble. Soundstage is amazing and I mean both, width and depth of it. I haven't mentioned it before because it was there and I was aware of it but on the other hand it just did its job without attracting too much attention. The fact is that each time a recording allows it, soundstage become very wide, totally „ignoring” where the speakers sit, because these disappear from the room. That applies not only to good classic and jazz recordings but even to such specific ones as a debut album of Dire Straits which in fact consists of several mono tracks.
These are high-efficiency speakers which results in an immediate energy transfer effect, similar to the one presented by designs with wide-range driver, which gives you an impression of immediate sound reproduction. All that doesn't mean that these are easy to drive speakers – I recommend rather powerful partners for them. Outstanding speakers.

These speakers were awarded with a RED FINGERPRINT award

Speakers with high sensitivity seem to be good partners for a low-power amplifiers, and they sometimes actually are. But high sensitivity isn't really enough as low-power amps require from speakers also a „friendly” impedance curve, and not so big phase shifts, especially in bass range. A nominal impedance of Delta reads 8 Ω, but it can drop as low as 3,2 Ω, so they are surely not the most easy loading for an amp. You want to drive them with tube amp? Fine, but use a powerful one - Ayon Spirit III managed to sound much better than Leben CS300 XS [Custom Version]. But in my opinion Triangle will offer their top performance with powerful solid-state amp. Such setup will offer better control, better dynamics, and a better tonal balance.

During my test I paired these speakers with my Soulution 710 power amplifier, and two integrated ones: Onix RA-125B and Ayon Audio Spirit III (New). During the test I had a chance to compare them directly with Avantgarde Acoustic Zero 1 active speakers. Triangles were placed on Acoustic Revive RST-38H platforms. Test was conducted as an A/B comparison with A and B known. I used 2 min long music samples and whole pieces and albums.

French like to do things their own way. Even if there is no point, no logic behind it they do it anyway to show others that they have to consider them, that French have their saying in this particular matter. That's what also guys from Triangle did from the very beginning of company's activity, that started in 1980 actually with a realize of a two-module 1180 model, with a very specific upper section. And while many might think that this module reminded them of Wilson Audio Watt speakers, French version actually was introduced 5 years earlier. Also their next innovation introduced with a 1981 project – CX2 speakers – which was a tweeter placed outside main cabinet, today you can recognize in many models of other speaker specialist – Bowers&Wilkins.

Even today French speakers can be hardly mistaken with any other. Cabinets are made from 7 high-density fiberboards of 3mm bent with a press so as to obtain an overall thickness of 21mm. They are finished either with natural Mahogany veneer of with high-gloss white or black lacquer, and they sport very good drivers made by Triangle. The latter is a result of many years of experience – the Zenith 1 model, introduced in 1985 was the first one in company's history utilizing company's own made driver. There are some similarities when it comes to the choice of drivers and their layout between Signature Delta and a Magellan Cello model. Treble is delivered by a TZ2500 - a 25mm titanic tweeter placed in an aluminum horn and a special phase plug designed for this particular driver. This driver is placed outside main cabinet and decoupled from it with elastomer.
Below there is a 185 mm midrange driver, that is also difficult to mistake with a product of any other manufacturer. It sports a paper cone and a stiff suspension, which means it follows good, old standard from dozens of years ago. It sports also a heavy die-cast aluminum basket. There is no phase plug in the middle of a cone, which might be some sort of surprise. Instead there is a classic, plastic cone-shaped dust cover. A reason of not using a phase plug is that during preliminary tests it cause some air to get away via the back of a diaphragm. There is a reason to place midrange driver in a closed chamber so designer decided to something about this inconsistency of previous designs.
Below there are two identical 185mm woofers working in separate chambers with cones made of carbon fiber. Their baskets are as solid as the one of a midrange driver. These drivers sport a double magnetic systems.

A crossover is mounted on two separate boards – one for bass section and one for mid-treble section. The latter uses and air coil and 2 core coils, polypropylene and electrolytic capacitors. The internal wiring is done with a Kimber Cable (in a gray sleeve). At the back there are double speaker bindings made of anodized copper. Manufacturer delivers classic jumper plates, so I suggest to replace them with classic wire jumpers.

As already mentioned two woofers sit in two chambers and each of them uses a separate bass-reflex but from the outside you can see only one exhaust. Triangle came up with an idea of a Twin Went – from the outside there is a single large b-r port, but in fact it is divided inside into two sections – each for one woofer. It is supposed to improve a tonal balance.

The whole cabinet sits on a very solid piece of casted aluminum, that replaces a classic plinth. It sits on two rubber feet sporting short spikes (these two are mounted in the back) and one special spike called SPEC II (Single Point Energy Conductor) placed in front. There are also another companies that prefer a three-point support of their speakers, American Avalon being one of them (see HERE).

Technical parameters (according to Manufacturer)

Design: 3-way, bass-reflex
Sensitivity (1 W/1 m): 92 dB
Frequency range (+/- 3 dB): 35 Hz – 20 kHz
Power handling: 120 W RMS
Nominal impedance: 8 Ω
Minimum impedance: 3,2 Ω
Dimensions (without pedestal): 1170 x 233 x 372 mm
Dimensions (with pedestal): 1230 x 370 x 386 mm
Weight: 33 kg
Finish: white, black, mahogany (high-gloss)