Gerald (Andy) Andeskie
I have always believed that the best audio systems are often the simplest. For that reason, I've long been drawn to high-efficiency, single-driver loudspeakers and have never been particularly fond of complex crossover designs. When I had the opportunity to audition Brian Charney's Companion Excalibur speakers in my home for more than two weeks, I was eager to hear what they could do.
Brian personally spent several hours setting up the speakers in my listening room, carefully adjusting placement, toe-in, and positioning relative to both the side and rear walls. After he left, I spent most of the following day experimenting with alternative placements, convinced I could improve upon his work. By the end of the day, the speakers were back in exactly the same position Brian had originally chosen. The man clearly understands his craft.
What immediately stood out was the Companion Excalibur's remarkable sense of immediacy and dynamic expression. Their speed, resolution, and realism are exceptional. Percussion recordings, in particular, were reproduced with startling impact and authenticity.
One of the most memorable listening experiences came from Mickey Hart's Dafos: Subterranean Caves of Krono. The recording moves from delicate vibraphone-like textures to explosive percussion and massive kettle drum strikes. Through the Charneys, the transition was astonishingly lifelike. Not only could I hear the impact of the drums, but I could sense the mallet striking the drumhead and the natural decay of sound within the recording space. The effect was so convincing that visitors routinely reacted with surprise, and even my rat terrier would wake from her naps when the drums entered the performance.
The Sonny Clark Memorial Quartet recording featuring John Zorn was equally impressive. The walking bass lines carried exceptional texture and weight, the drum work felt tactile and immediate, and Zorn's saxophone possessed a level of presence and realism unlike anything I had previously experienced in my listening room.
Another standout recording was Skip James' Today! The speakers captured the delicate and intimate nature of the performance beautifully, creating a sense that the artist was physically present in the room, positioned naturally within the soundstage.
Beyond their sonic performance, I was deeply impressed by the craftsmanship of the speakers themselves. Every detail reflects careful attention and pride of workmanship. My pair featured walnut veneer with maple accents and Voxativ AF 2.6 drivers. It remains remarkable to me that Brian is able to extract such full-range, authoritative sound from a 5" driver. The Tractrix horn design that loads the driver's rear wave is an elegant and highly effective solution.
For reference, my system includes a Grado Epoch cartridge, VPI TNT HR5 turntable with Rim Drive and 3D Arm, VAS Citation One preamplifier, and Sophia Electric 91-01 300 SET monoblocks.
Having spent more than thirty years in this hobby, I can honestly say that my time with Brian Charney's speakers has been one of the most revealing and memorable audio experiences I have ever had. They challenged my expectations, expanded my understanding of what is possible from a loudspeaker, and left a lasting impression.
These speakers deserve to be heard.