Reviews — Treehaus Audiolab Field Coil Speakers

Reviews and Press

Awards and Best Of’s

Part Time Audiophile - Marc Philips - AXPONA 2024 Best of Show

“Why did I wait until now, at AXPONA 2024, to discover Treehaus AudioLab? I suppose it’s because another of PTA’s writer already called shotgun when it came to covering this brand. Maybe it’s because this gorgeous, handmade gear seems plucked out of the world of lifestyle audio where everything looks great while the sound is, well, just very good. I quickly learned that Treehaus AudioLab gear, from a sonic standpoint, is the real deal..”

The Audiophiliac - Steve Guttenberg - Best of AXPONA 2024

“Mind-expanding”

Enjoy the Music - Rick Becker - Best of Capital Audiofest 2023

“Rich Pinto presented a very fine speaker that lies at the intersection of fine art, industrial design, and high-end premium audio.”

Product Reviews

Twittering Machines - Michael Lavorgna - Phantom of Luxury Loudspeaker

“One foggy morning near the end of this review period, Roon Radio found its way to play “Girl from the North Country” from The Freewheelin’ Bob Dylan, his sophomore release from 1963 (yea, even Dylan was a sophomore at one time). And I was so taken, and taken back, with this music I decided to play the entire album… the bulk of the sound contained in Freewheelin’ came out of those full range drivers, with the super tweeters and woofers acting as minor supporting cast. With the Triode Evolution 300B driving that full range driver, Dylan’s one man band sounded rich, full, and lit up with life-like energy in Barn and projected into space in some ways hitting my ears very nearly like a pair of giant headphones. The Atellier Rullits have no discernible peak or peakiness that can haunt some full rangers—SHOUT—while being very resolving and wonderfully rich. Color me impressed.”

Punchy, powerful, and playful with a menacing manner, I’ve Got Heaven feels like a soothing balm for the mind-numbing endless flow of our normalized beyond the pale current events. Played loud and louder still, the Phantom’s also ‘get’ this kind of hard-driving crush of sound as well as the more delicate bits, filling the Barn with Mannequin Pussy’s manic energy. I’ve Got Heavenbuilds masses of sound from guitars, synthesizer, bass, drums, and vocals at times growing into massive crescendos of near mayhem and this energy, this force, was propelled into the barn by this system with gut wrenching seamless glory and thanks to the field coil power supply’s voltage level adjustability, you can dial in more tightly gripped guts or a softer focused bloom to suite your fancy.”

…And that bass, open baffle bass, is something to be experienced for its combined strengths of deep reach and free-flowing form. This music lives in and loves timing and the Phantoms deftly move with whatever flow you throw their way.

The Treehaus Phantom’s do have a phantom-like quality in that they create a compellingly tactile presence with the beating heart of music feeling rich and harmonically right with delicate beauty and/or guts and heart-pounding glory morphing with the music in play.”

Tracking Angle - Dave McNair - Shootout at the SUT Corral

“The Treehaus sounds like it looks—sweet and silky-smooth but detail-rich. Musical elements from my selection of test cuts took on a subtle saturation in color. The harmonics and dynamic profile that give a great recording such an enjoyable texture were portrayed by the Treehaus in a mesmerizing way. It simultaneously relaxed and energized vinyl playback”

Tracking Angle - Dave McNair - National Treasure Loudspeaker

“I found the sound as engaging as any proper high-end speaker system - and more so than many. It has a unique flavor to its sound and visual appeal, along with a legit performance-to-price ratio.

Whether a lover or a hater of open-baffle speaker systems, any serious audiophile who has the chance should put ears on these beauties should. You won’t regret it. You may fall in love. You’ve been warned.”

Copper Magazine - Tom Methans - System Review

“Because the drivers are free of cabinets, every cut sounded alive and present as sound seemed to emanate from a stage rather than a pair of speakers. Nothing about the system is sappy, tubby, or overly warm – rather it is revelatory of the recorded material…

Treehaus Audiolab does more than build a stereo system, it reaches back to the earliest days of craftsmanship, design, and sound while incorporating a contemporary sensibility.

I encourage everyone to experience the system for themselves. For those new to tube amplifiers and field coil speakers, don’t get too overwhelmed by unfamiliar terms and components. Just sit back and enjoy.”

Enjoy the Music - Rick Becker - Phantom of Luxury Loudspeaker

“The first thing that hit me with the Treehaus is the transparency of the music. Not just the music, but the musicians are right there in front of you. The high resolution obviously contributes to this presence, but you can have high transparency with lower resolution and vice versa. When you have them both, it is captivating.

The next most prominent feature is the dynamics, particularly the macro variety. A rim shot or the attack of an electric guitar string comes at you right out of the soundstage. Most of the music is anchored with precision on the soundstage behind the plane of the speakers, extending out beyond the front wall for however many feet is appropriate for the recording. Orchestras go way back, rock bands not so far. Soloists and small groups are typically closer yet.

The sense of air — not just the extension of high frequencies and their overtones, but the air in the venue — is real enough to be breathable. Violins can be sweet enough to be fattening, or raw and bitter, depending on the recording. There is no place to hide on such a transparent soundstage. The notes have a fast attack when played that way, and a rapid decay. The huge magnets of the field coil drivers have complete control of the cones, generating not only the notes, but the space between the notes wherein the ambient room tone resides. With the very high 102dB efficiency of the speaker, the music just happens as if there were no time delay between the laser or the stylus and the phantom musicians on the soundstage.”