Atlantis Lab AT31 Floorstanding Speakers Review – HiFiReport
Good things often come to those who wait, and that certainly seems to be the case with Atlantis Lab. Two years ago, Mr. Chang of Sound Ray, the distributor, mentioned to me that Enrico Rossi of Norma Audio had suggested he consider representing a French speaker brand. Rossi, it was said, was personally very fond of this brand, and was even their Italian distributor. Despite having connections, perhaps due to the disruption of the pandemic, the wait stretched to two long years. It wasn’t until this year’s Munich High End Show that Mr. Chang, despite his age, flew to Germany to meet with this French manufacturer, finally securing a distribution agreement. With everything finalized, the brand was officially introduced to the market. That brand is Atlantis Lab.
Long Listening and Rich Detail?
Is this a new brand? Why haven’t I heard of them? If you haven’t, neither have I, until recently. However, Atlantis Lab was founded back in 1998, marking its 25th anniversary this year. The founder, Eric Buy, is a well-respected figure in the French Hi-Fi scene. His interest in audio began early, and at the age of 14, he started working in an audio factory as an assembler. Through accumulated knowledge and skills, combined with connections to like-minded audio enthusiasts, he established Atlantis Lab (initially named Atlantis Acoustique) in 1998. To achieve technological breakthroughs for Atlantis Lab, Eric Buy collaborated with professional audio engineers, including mixing engineers, recording engineers, acoustics professors, and numerous industry experts, even seeking advice from . Eric’s goal was to create speakers not only for Hi-Fi enthusiasts to enjoy music at home, but also for professional use in recording studios. He considered that recording engineers often listen continuously for 8 hours a day, usually at moderate volumes, around 80 dB at most. Yet, they need to discern every detail and nuance, capturing all the information within the recording. Long-term listenability and rich detail became the two key design principles for Eric’s speakers. All Atlantis Lab speakers are designed based on these criteria.
Design Element 1: Compression Driver
How was this achieved? To maximize detail retrieval from Atlantis Lab speakers, Eric Buy chose to use compression drivers, and even added horn loading in higher-end models. Interestingly, while many manufacturers using compression drivers typically opt for metal diaphragms, Eric uses polypropylene (PP) diaphragms. This choice gives Atlantis Lab speakers a unique high-frequency character. Despite employing compression drivers, the treble lacks the typical harshness often associated with them. Instead, the sound exhibits a certain roundness and warmth. More on this later.
Design Element 2: Horn Loading
Furthermore, horn loading is implemented in three models: the AT16 bookshelf speaker, and the AT23 and AT31 floorstanding speakers. The latest flagship, the AT38, just launched at the Munich show, even incorporates horn loading for the midrange driver. The manufacturer’s official website doesn’t provide detailed information about the horn assembly design. However, their drivers, including both horns and compression drivers, are sourced from the Italian manufacturer Eighteen Sound. The combination of compression drivers and horns is a rather “classic” design approach, and in practice, it effectively achieves Eric’s goals.
Design Element 3: Paper Cone Drivers
The classic design elements extend beyond just horns. Atlantis Lab favors paper cones for their midrange and bass drivers. This isn’t to say paper cones are inherently superior, but rather that paper is a classic cone material. Some of their speakers even use pleated paper surrounds, adding to the vintage flavor. Again, these drivers are also sourced from Eighteen Sound.
Design Element 4: Solid Oak Side Panels
Furthermore, all Atlantis Lab speakers feature solid white oak side panels. This not only enhances the aesthetic appeal but also strengthens the rigidity of the speaker cabinet, helping to suppress resonances. Consequently, Atlantis Lab speakers are heavier than expected. The AT23, a small floorstanding speaker under 1 meter tall, weighs over 30 kg per speaker, while the AT31, at 122 cm tall, weighs a substantial 60 kg. Because they use solid wood panels, without paint or veneer, each speaker is unique in its grain pattern. Some may not appreciate this, but for Eric Buy, it embodies the spirit of craftsmanship.
Design Element 5: Adjustable Bass Reflex Port
Another distinctive feature of Atlantis Lab speakers is their “adjustable” bass reflex port design. Conventional reflex ports are typically fixed—port length, opening shape, number of ports, and placement are all predetermined by the manufacturer. Consumers can, at most, use the provided foam plugs to adjust bass response. Atlantis Lab speakers, however, employ a telescopic bass reflex port. The port tube is double-layered and extendable. To lengthen the port, you push it in; to shorten it, you pull it out. A handle at the end of the tube allows for easy adjustment of the port length. To my knowledge, Atlantis Lab is unique in adopting this design. To understand Atlantis Lab, these five elements—horn loading, compression drivers, paper cone drivers, solid wood side panels, and adjustable bass reflex ports—are the most prominent characteristics of their speakers. Now, let’s focus on the AT31 model under review.
AT31: Embodiment of Key Features
The AT31 can be considered a representative model embodying all five key features mentioned above. Its cabinet, like other Atlantis Lab floorstanding speakers, exhibits a slightly tapered shape, narrower at the top and wider at the bottom. Whether you see it as bullet-shaped or pyramid-shaped, it’s clear they aimed to minimize parallel surfaces within the cabinet to reduce standing waves. The solid wood side panels feature geometrically cut edges, creating a dynamic three-dimensional effect. Five vertical stripes are carved into the sides—three in the center and one on each outer edge—these textured side panels are a common design signature of their speakers.
Unique Speaker Foot Design
I always admire speaker manufacturers who design their own speaker feet or spikes. These seemingly minor accessories are treated with varying degrees of importance by different manufacturers. Atlantis Lab floorstanding speakers feature a unique “foot” design that functions as both a pad and a spike. These feet, machined from stainless steel, are composite assemblies. Visually, they appear to be flat pads resting on the floor. However, this flat pad is just the lower part of the assembly. Lifting the speaker and removing the flat pad reveals a metal cylinder inserted into the pad from above. Soft damping material is applied to the contact surfaces between these parts, and a stainless steel ball is embedded at the bottom of the metal cylinder. Therefore, the “foot” actually makes contact with the floor via this steel ball, and vibrations are further dissipated through the ball’s kinetic energy. It’s a clever design, and indeed, an Atlantis Lab original. Mr. Bo Yun of Sound Ray lifted the speaker and disassembled the “foot” to show me, and I was genuinely impressed by the manufacturer’s ingenuity—even if not a groundbreaking design, it’s certainly thoughtful.
Horn Tweeter and Dual Woofers
The AT31 employs a total of four drivers, three on the front baffle. From top to bottom, these are a 160mm paper cone midrange driver with a curvilinear cone profile and no phase plug or dust cap—upon closer inspection, its surround is also pleated. Below the midrange is the horn opening, housing a 1-inch PP diaphragm neodymium magnet compression tweeter. Curiously, the horn on the AT31 is smaller and a different shape than that on the AT23. The AT23 uses a larger, circular horn opening with a matte surface, while the AT31 has a near-oval horn, with a smaller opening and a smoother surface. Below these is a 310mm woofer. This standard pleated cloth surround paper cone woofer immediately inspires anticipation for its bass performance—in my experience, speakers using this type of woofer typically deliver fast and articulate bass. Is that the case here? I’ll keep you in suspense and reveal more later. The AT31 also features a slightly smaller (260mm) woofer on the rear, also with a cloth surround paper cone, but with a different surround pleat design—fewer pleats, just double pleats. Is this a passive radiator? Given that the AT31 has a bass reflex port, this rear driver is likely just a rear-firing woofer, not a passive radiator.
Ultra-High 100dB Sensitivity
Limited information is provided by the manufacturer, so I can only add a few more details. Firstly, like all Atlantis Lab speakers, the AT31 boasts high sensitivity, meaning it’s easily driven. Official specifications state a sensitivity of 100dB, the highest in their lineup. Secondly, according to the manufacturer, the AT31 has remarkably impressive frequency response figures, achieving 30Hz to 20kHz within a +/-1dB tolerance. -1dB at 30Hz? I’m not sure, but these are indeed striking numbers.
Esprit Cable Internal Wiring
Furthermore, the internal wiring is specially selected from Esprit Cable, another French brand. Esprit Cable uses high-purity, fine-strand oxygen-free copper manufactured in France. Additionally, the AT31, like all Atlantis Lab speakers, features only a single set of speaker terminals, precluding bi-wiring. Whether single-wiring or bi-wiring is superior, or if the latter is genuinely better than the former, remains a debate in the industry. Manufacturers who insist on single-wiring often have confidence in their crossover designs.
Superb Detail Retrieval
The listening session took place in Sound Ray’s listening room. It’s not a large space, roughly the size of a typical living room, with wooden floors, corner bass traps, and a dedicated power line—conditions not too different from a typical home environment. Mr. Chang paired the AT31 with MSB electronics, using the Reference DAC as both DAC and preamplifier, directly driving an S202 power amplifier, rather than using Norma Audio components, which he also distributes. I had forgotten to bring my CD case, regretting the time I spent carefully selecting discs that morning. I only remembered as I approached the Xizhi interchange, thinking I’d have to choose CDs from Mr. Chang’s collection. Upon arriving at Sound Ray, Bo Yun asked, “Would you like to listen to streaming via Roon?” Really? Excellent! Problem solved, let’s get to work. Facing this entirely unfamiliar brand, with its horns, compression drivers, and cloth surround paper cone woofers… my focus was squarely on these three elements, the DNA of Atlantis Lab. Could these three components fully explain the AT31? I listened intently, trying various tracks, seeking to grasp the AT31’s character. The most striking feature of the AT31 is its exceptional detail retrieval. Even at low volumes, it reproduces a wealth of information clearly and precisely. The sound density is surprisingly high, though not quite as solid and dense as Marten speakers I’ve heard at Sound Ray in the past. While the AT31 offers good density, it retains a certain paper cone looseness. The most intriguing aspect is its bass. Manufacturer specifications claim 30Hz (+/-1dB), but in practice, it might deviate from expectations. I don’t mean the manufacturer understated it, but rather, we might not perceive it as reaching that low. This is due to the cloth surround paper cone woofer. Cloth surround paper cone woofers are known for their speed, low distortion, and transient response—sound starts and stops promptly without much lingering decay. This results in particularly clean bass that doesn’t drag or trail. I don’t perform instrument measurements (HiFiReport doesn’t do lab tests), so this observation is based partly on information gathered from past interviews with horn speaker manufacturers and partly on my listening experience, for your reference.
Rich Information, Vibrant Colors
Let’s first talk about the information retrieval. Benefiting from the compression driver and high sensitivity, the AT31 is incredibly rich in information. This abundance of information not only provides ample detail, making each recording sound as if you’re hearing something new. Does this compression driver sound harsh? Not at all. Assisted by the horn loading, I even found it to have a richer, more lush, and even somewhat vibrant sound compared to metal diaphragm compression drivers. This was particularly satisfying with piano recordings. Listening to Igor Levit’s performance of Bach’s Goldberg Variations, Aria, the theme is presented calmly and serenely. The AT31 conveyed the mellowness in the piano tones in a captivating and intoxicating way. Bach unfolds the lyrical theme at a slow tempo, developing the melody with clarity and order. The occasional ornaments add vibrant colors to the slow movement. These piano notes are so full, so rich, yet not at all hard-edged, instead exhibiting a supple quality. The decay of the piano notes is beautiful, with each note emerging before the previous one fades, the overlapping harmonics revealing vibrant colors throughout. This Goldberg theme is utterly captivating.
Bridging to Music’s Depths
This same captivating charm was also evident in Alfred Brendel’s performance of Liszt’s “Harmonies poétiques et religieuses.” These late works of Liszt reflect his return to religious solace in his later years. His compositions are imbued with inspiration from faith and profound philosophical meaning. This communication transcends language, expressing many metaphysical and ineffable things through melody, harmony, superimposed chords, and ambiguous tonality. In Brendel’s interpretation, these works become even more poetic and profound. During this brief audition, time didn’t allow for deep immersion, but after listening to “Prière” and “Pensée des morts,” the AT31 proved incredibly persuasive in reproducing piano. It meticulously portrayed every note and phrase the pianist intended to convey. The deep bass was profound and stable, the soaring highs were brilliant and colorful, the forceful chords conveyed surging emotions, and within the receding music, one could discern carefully crafted, philosophical monologues. If the purpose of audio is to build a bridge of communication between people and music, the bridge erected by the AT31 leads directly to the depths of music, allowing one to follow Liszt’s poetic recitation of profound faith between the white and black keys.
Open Soundstage, Grand Scale, “Film-like” Feel
In orchestral music, the AT31 presents an expansive soundstage and a relaxed sense of scale. I initially expected compression drivers and horns to sound sharp and incisive. However, the AT31’s sonic character leans towards a softer quality, providing a comfortable and stress-free listening experience. Is the image unclear? No, it’s clear, but not with the meticulous precision of a fine-line drawing. Is it defined? Yes, but not with the razor-sharp image of ultra-high resolution. While clear and defined, it offers a relaxed listening experience. Even at higher volumes, it doesn’t feel oppressive. This aspect truly exceeded my expectations for a speaker equipped with compression drivers. Take “John Williams in Vienna,” for example. On the first track, “The Flight to Neverland” from “Hook,” I’ve heard systems that render instrumental sections with extreme clarity and pinpoint localization. However, I don’t always pursue ultimate performance in these aspects. Exceptional resolution and focused imaging don’t necessarily translate to moving musicality. It’s like high-resolution digital photos that reveal every detail, but sometimes lack a certain “film-like” quality. Sometimes, that “film-like” musicality is more emotionally engaging. I believe with some adjustments, the sound could become even more “precise,” but I appreciate this clear yet relaxed musicality that allows me to sit and listen for extended periods. Even the dissonant, Stravinsky-esque opening of “Excerpts” from “Close Encounters of the Third Kind” soundtrack wasn’t at all unpleasant. The surging, rolling low-string sections felt incredibly vivid. You might say it’s not clear, but these strings are clearer than most. Don’t forget, detail retrieval is a strength of compression drivers. Listen to the silky smoothness of the string section—it truly exemplifies what it means to be meticulously detailed. The AT31’s presentation is wonderfully peculiar. I could probably find reasons to nitpick, but the musical beauty seems to render any such criticisms superfluous and almost malicious.
Honey, Where Did the Speakers Go?
There’s another aspect I’m eager to share. That is, when playing music, Atlantis Lab speakers have a remarkable lack of “presence.” I believe Sound Ray must have spent time fine-tuning the speaker placement (Mr. Chang mentioned that what I heard that day was Bo Yun’s masterpiece). However, the AT31 genuinely possesses this ability—to create a grand soundstage, a large stage, with abundant information, yet the speakers themselves seem to disappear. This was true when listening to piano, orchestral music, and especially vocals. Take Anne Sofie von Otter’s French song recordings, for example. I’m not concerned with the authenticity of a Swedish singer performing French songs. My focus is on how a mezzo-soprano with such exquisite vocal technique showcases her artistry in these songs. In her rendition of Barbara’s “Dis quand reviendras-tu?”, a touch of coolness and rationality makes this melancholic song sound even more detached. Von Otter’s voice floated in the center of the soundstage, with a sense of depth extending behind the speakers. Singing Edith Piaf’s classic “La vie en rose,” her bel canto technique and rounded, warm voice, though lacking the original singer’s world-weariness, offered a noble and elegant charm. Through the AT31, I could discern the finest details of von Otter’s voice—the subtle vocal turns, the throat resonances, the vocal resonances, and the articulation.
Exceptional Microdynamics
I must also commend Atlantis Lab speakers for another outstanding attribute: their microdynamic performance. The surprise it gave me allows me to confidently say that, in the AT31’s price range, I can’t think of any other speaker that can match its microdynamic capabilities. Listening to “La route des metaux” from Joël Grare’s “Paris – Istanbul – Shanghai” album provides ample evidence. In this album, Grare attempts to blend different musical genres—classical, folk, jazz—and disparate Western and Eastern elements. This suite, primarily featuring percussion, is also rooted in the same fusion concept. In this suite, Grare creates significant contrasts to delineate the layers of percussion and generate dynamic variation. These dynamic contrasts deeply test the playback capabilities of audio systems. The AT31, in this regard, delivers sheer listening pleasure. Particularly in passages that are very soft, subtle, and quiet, the AT31 manages to render the musical nuances with remarkable clarity and definition. And when the music swells to loud crescendos, it avoids harshness or stridency. When you can perceive these subtle sonic cues, sense these minute details, the musical landscape expands.
Interlude: AT31 vs. AT23
During the session, Mr. Chang came to check in and was eager for me to listen to the AT23 speakers nearby, wanting my opinion. I initially resisted, citing the hassle of repositioning, but my curiosity about the AT23 got the better of me. I reasoned that with its smaller size, more approachable price, and simpler driver configuration, good sound was almost guaranteed, and it would be even more suitable for home environments. Following Mr. Chang’s suggestion, I set them up simply, mostly using a heavily toed-in position for nearfield listening. As soon as the music started, I was surprised. Ignoring the “headphone-like” listening experience created by this unusual setup, the AT23 and AT31 shared very similar sonic characteristics—both offered rich detail, relaxed and smooth sound, a large soundstage, low speaker presence, and excellent microdynamics. The main difference was in ease and scale. The AT31 sounded noticeably more relaxed and spacious than the AT23, and its bass was also a bit clearer. Given that the price difference is almost double, this disparity is reasonable. However, the AT23 hadn’t been carefully optimized. With proper setup and meticulous attention, its sound would undoubtedly improve further. (Mr. Chang, could I come back for another visit, or perhaps have the AT23 sent to the editorial office? I’m keen to discover its full potential!)
Best for Classical and Jazz?
With Mr. Chang present, I played a few more tracks, including jazz, rock, and pop. Based on the setup that day, I believe the AT31’s natural, transparent, clean, open, and richly detailed character truly made classical and jazz music sound exquisite. However, its inherently smooth and supple sonic nature, while not noticeable with pop, felt somewhat lacking in the aggression and weight needed for rock and especially metal music. No matter, I love classical music, and Atlantis Lab’s sonic flavor perfectly suits my taste.
Appearance Subjective, Sound Unquestionable
That day, Mr. Chang asked me repeatedly, “What do you think of these speakers?” He wanted me to rate them and analyze their sound, appearance, design, and market potential. My response to him was the same as what I’m writing now. (Mr. Chang, right? I speak my mind truthfully!). My reply to Mr. Chang was: “Appearance is always subjective.” Some are crazy about Wilson Audio speakers, while others find them like Transformers. MBL’s 360-degree omnidirectional drivers, some adore them, others find them bizarre. Planar speakers, some flock to them, others dismiss them entirely. So, it’s truly impossible to definitively judge appearance. I can only share what the manufacturer thinks of their own speakers. Bo Yun told me that during communication with the manufacturer, he, as the , offered some suggestions. The manufacturer’s direct response was, “I don’t make industrial products; I make crafts.” This reply left him speechless but deeply convinced me. I’m not easily persuaded, but I appreciate this kind of attitude, and I like the term “crafts.” I myself am a user of French audio equipment. I own two pairs of French speakers, two French brand amplifiers, and several French cables. When I hear the word “crafts,” I immediately understand. Yes, that’s why I’m so fond of these components. As for the sound, I’ve discussed it extensively earlier, and I elaborated on it point by point to Mr. Chang that day. I must say, Atlantis Lab speakers are truly distinctive. The AT31 is incredibly musical. For a classical music lover like myself, these speakers are exceptionally appealing.
Specifications
* Type: 4-driver bass reflex floorstanding speaker
* Drivers: 1 x 1-inch neodymium magnet/PP diaphragm compression tweeter, 1 x 160mm paper cone midrange, 1 x 310mm neodymium magnet cloth surround paper cone woofer, 1 x 260mm paper cone rear woofer
* Impedance: 4 Ω
* Frequency Response: 30 Hz – 20 kHz (+/-1dB)
* Power Handling: 250 Watts, 500 Watts peak
* Sensitivity: 100 dB
* Dimensions: 1220 × 290-410 × 410 mm (H×W×D)
* Weight: 60 kg
