Loudspeakers

After arriving in 2021 with its premium S series [HFN Apr ’22], US speaker manufacturer Perlisten has subsequently trickled its technology down into more affordable lines, including the comprehensive R series [HFN Aug ’22]. But perhaps these speakers weren’t affordable enough, because the company has returned with a new A series intended to give audiophiles ‘a little taste of what Perlisten has to offer’.

The range is currently limited to four options. The A4t reviewed here, at £6000, is joined by a smaller A3t floorstander (£4600), the A3m monitor (£2700) and A2s on-wall/surround speaker (£1950), but there are no partnering A series subwoofers or in-wall variants in the catalogue.

First launched into the Far East market, the decision to bring the A4t to UK dealers is good news for hi-fi enthusiasts seeking a ‘value for money’ proposition. This floorstander may come from Perlisten’s entry-level lineup, but it has the imposing form of the brand’s far costlier models. Its cabinet stands nearly 1.3m tall and stretches some 450mm deep, making it essentially as large as the flagship S7t LE [HFN May ’25]. Additionally, the A4t claims to follow its siblings in delivering high SPLs, a high sensitivity and deep, clean bass, although this model carries none of the THX certifications of its S and R series siblings.

Holy trinity

Helping to achieve its rated ‘typical in-room’ low-frequency extension of 28Hz [see PM's Lab Report] is the A4t’s trio of 215mm bass drivers. These form part of a two-and-a-half-way configuration, which is a first for Perlisten as its previous floorstanders have been either two-way, three-way or four-way designs. The two uppermost (bass/mid) drivers operate below 1.2kHz, while the lower driver only covers the range below 250Hz. All three of these drivers are reflex-tuned via a grille-covered front-facing vent in a fashion designed to reduce low frequency phase distortion [see boxout].

Material matters

The A4t’s two-and-a-half-way strategy helps deliver a speaker at an accessible price point, as does the choice of driver materials. The trio of bass units are carbon fibre types, a less ‘exotic’ option than the bespoke HPF (Hybrid Pulp Formulation) material of the R series or the TPCD (Thin-Ply Carbon Diaphragm) cones of the S series. Perlisten also uses a new tweeter. All A series models feature domes made from Teteron, a polyester fibre, instead of silk (R series) or beryllium (S series).

Above: The dome’s large waveguide boosts treble while controlling its off-axis output

This HF unit measures a full 35mm across, sufficient for the unit to work down to the low mid/treble crossover and also to sport a voice coil large enough, and with sufficient power handling, to match the output of those three big cones. The dome’s large waveguide also boosts the treble while controlling its off-axis output. In practice, the A4t’s dispersion pattern is similar to that of the DPC (Directivity Pattern Control) arrays of the company’s more expensive models.

Unusually, this horn/waveguide overlaps the bass/mid drivers above and below it, although its acoustic centre is in closer alignment with that of the cones than perhaps it looks. That said, the A4t will surely stand out in a lineup of its floorstanding contemporaries. It could never be called svelte, but the same might be levelled against fellow American tower speakers from Klipsch, SVS [HFN Jul ’24] and MartinLogan [HFN Jul ’23], so maybe I need to check my European sensibilities.

Even if you do raise an eyebrow at that distinctive waveguide arrangement, the fit and finish of the Perlisten A4t should win you over. There’s a well-made and robust feel to the internally braced MDF/HDF enclosure – the baffle leans back slightly while its 50mm thickness provides a firm footing for those four drive units. Outrigger feet, with optional spikes, are easily adjusted for height, and the speaker binding posts (a single set here) are reassuringly chunky.

Weight watch
Hitting its brief of giving a taste of the ‘Perlisten sound’, the A4t couples superb bass weight with a controlled demeanour, never once coming across flustered or ragged at high volumes. Compared to the company’s top-line S series speakers, however, this is a softer, more forgiving performer, not only in the treble but in the low bass. Setup in the HFN Listening Room [HFN Yearbook ’25] and used with Constellation Revelation 2 and Unico pre/power amps [HFN Jan ’25 & May ’26], the A4t crafted soundscapes that were relaxed and very listenable.

Indeed, those used to a bright-sounding system will notice a lack of top-end brilliance – some reconfiguration of expectations might be required, and on-axis listening is recommended. But it certainly doesn’t take long to become adjusted to this speaker’s sound profile, or to notice areas where it still accentuates crisp detail, such as the filigree percussive aspects that punctuate Ozric Tentacles’ eerie, bass-rich ‘Pteranodon’ instrumental [Dovetail Records DOVE CD 6].

Above: Mounted into Perlisten’s machined HDF baffle are three 215mm reflex-loaded bass and bass/mid drivers with carbon fibre cones and, standing proud, a 35mm ‘Teteron’ dome tweeter set into a large alloy waveguide. Cabinet has two alloy outriggers with rubber/spiked feet

To make them amenable to everyday listening spaces, not to mention the complex, multichannel demands of home cinemas, the A4t’s controlled directivity resulted in a somewhat curtailed soundstage when playing the title track from David Essex’s Rock On [Columbia; CD res] in the large HFN room. However, though this album’s wide mix was gently squeezed, the precision and clarity of the stereo picture between the cabinets remained excellent. The tom-tom drums that roll from right to left were resonant and tonally distinct, while the thin wisps of violin and bursts of brass that followed were free of glare. As for the bottom end, this was big, almost lush.

Rich rewards

Isaac Hayes’ ‘Do Your Thing’, the lengthy jam from his Shaft soundtrack [Concord Music; 192kHz/24-bit], sounded richer still, mellifluous even, and there was plenty of dimensional detail on display, from the depth of the stage that pushed guitar chords and trumpets forward, to the lightly tapped bongos that patrol the right channel. The main drumkit, meanwhile, was locked in the centre, every strike of the snare drum being firm and attacking.

This track is 19 minutes long and heavily improvised, much of it devoted to a wah-wah guitar solo from Michael Toles with an overdriven, fuzzy tone. A more rambunctious loudspeaker would have pushed this through a little more, but such criticism is very much content dependent. The A4t didn’t sound anything other than lively and dynamic with the twangy, propulsive country-and-western of Margo Price’s ‘Don’t Let The Bastards Get You Down’ [Hard Headed Woman, Loma Vista; 96kHz/24-bit].

Ramp up the volume and the A4t maintains its smooth tonal balance. Perlisten says the speaker is ‘equally at home’ in a cinema setting, and it’s easy to imagine it coping well with the often brash and aggressive soundmixes of a Hollywood action flick. It also manages to impress with its bass extension and output without sounding skewed too much toward the low-end.

Above: Unlike Perlisten’s S series speakers the A4t does not have a split crossover – hence the single set of bright plated 4mm cable terminals

The languid, sultry jazz of José James’ cover of ‘Ain’t No Sunshine’ from his 2018 album Lean On Me [Blue Note; 44.1kHz/24-bit] was right in the speaker’s wheelhouse. The fine central imaging framed James’ soulful vocals, while delicate brushed drums came through above well-defined bass. Similarly, Joan Baez’s stripped-to-the-bone version of ‘House Of The Rising Sun’, in mono for her eponymous debut [Vanguard Records; 192kHz/24-bit], was a captivating listen via the A4t, her whistling vocal soaring high without sibilance, and acoustic guitar ringing out cleanly.

Light bite

You don’t, then, need to feed this floorstander a hard-driving, bass-rich diet to appreciate its talents. Shostakovich’s Symphony No.1 in F Minor, from the Boston SO for Deutsche Grammophon [96kHz/24-bit], showed the A4t can sound sprightly and light on its feet despite the visual evidence to the contrary. It easily conveyed the fizz of pizzicato strings and the work’s staccato melodies, while shifts in both tone and weight were well handled. This was a performance of subtlety and precision… until the thrusting first crescendo of the ‘Allegretto’ saw orchestral drums conjured with real depth and dynamics. In a word? Tasty.

Hi-Fi News Verdict

While aiming for a lower price point, Perlisten clearly has no desire to change the way it goes about designing its floorstanding loudspeakers – the A4t is once again a weighty yet controlled performer, with a focus on imaging precision and nuance. With the push to affordability, however, comes a softer and arguably more ‘crowd-pleasing’ sound. Put this on your list if you like to listen long… and loud.

Sound Quality: 87%