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Stereophile reviewed Polks RT-25i in November, 2001 https://www.stereophile.com/standlou...417/index.html

They noted, : €œHere, in a nutshell, is what the Polk RT25i did well: linear and organic low-level dynamic resolution, as in live music; superlative resolution of inner detail; on good recordings, a highly accurate depiction of room ambience; extremely flat but natural reproduction of transient articulation; and extraordinarily uncolored tonal balance from the midbass to infinity and beyond.€�

€œThe RT25i's reproduction of vocals was to die for, due to the speaker's superlative timbral and dynamic performance and its resolution of detail in the all-critical midrange. I'd never heard Janis Ian (Breaking Silence, Analogue Productions CAPP 027) or Mighty Sam McClain sound more natural, and the angelic integration of Crosby, Stills & Nash's voices on "Guinnevere" (Crosby, Stills & Nash, Atlantic/Classic SD 8229) floated in three-dimensional space, each vocal line easy to follow individually. The dynamic and delicate articulation of well-recorded percussion instruments, from mallets to snares on both classical and jazz recordings (Miles Davis, Kind of Blue, Columbia/Classic CS 8163, 45rpm, and the Kohjiba and Crumb recordings), made the Polks seem to disappear entirely. Kind of Blue and Ian's "Some People's Lives" showcased the warm, rich, articulate reproduction of piano timbres as convincingly as I've heard from any speaker under $2000.€�

As always, YMMV.

[Peter Wieck[_2_]]

On Wednesday, June 20, 2018 at 6:25:40 PM UTC-4, wrote=
:
Stereophile reviewed Polk=E2=80=99s RT-25i in November, 2001 https://www.=
stereophile.com/standloudspeakers/417/index.html=20

This review reminds me of the Turbo-Encabulator:

https://www.youtube.com/watch?v=3DRXJKdh1KZ0w =20

Peter Wieck
Melrose Park, PA

[[email protected]]

I recall vividly attending the 1986 CES show in Las Vegas, and I
had an appointment with Matt Polk regarding some custom driver work
he was looking at: I was to meet them at their suite. Approaching
the suite down the hall, I saw TWO Matt Polks standing out front
of the entrance, both wearing his, at the time, signature lab coat.
It wasn't until I was perhaps 25 feet away when it became apparent that
standing there was a life-size, cardboard cutout of a photograph of
Matt Polk in his signature labcoat, propped next to a real life-size
Matt Polk in his real signature lab coat, striking exactly the same
pose.

So as not to offend him, I went up to the cutout and asked it if
he knew where I could find Matt Polk.

Dick Pierce