In addition to soundstaging and transparency,  the Triumph's excel in the midrange.  Their portrayal of the human voice lacked any noticeable colorations, chestiness or sibilance. 

The Triumphs will play loudly—very, very loudly.  With the muscle-bound Sunfire driving them, they took on as much power as I dared, blasting out Led Zep, Stevie Ray and the Clash at ear splitting dbs without much if any noticeable distortion. 

Conclusion: Like the raves you've read in these pages about Coincident Speaker Technology Triumphs and Conquests, the Signatures seem to perform musical magic far above and beyond what one might reasonably expect from speakers of their size and price 
-Sensible Sound-Feb/98

The Triumph loudspeakers are understated and elegant in appearance.  Their sound is elegant and understated too-and like other high-quality musical components many of their virtues, arise from things they don't do.  They don't have an audible crossover point.  They never rely on hyped-up dynamics or exaggerated bass.  In all cases, I found my voice was reproduced with disarming detail and accuracy by the Triumphs.  Midrange detail and transparency were equally impressive.  I also found that the Triumphs could differentiate well between recording venues. 

In a different vein, Mahler's "Ich bin der Welt” gave the Triumphs another chance to demonstrate their excellent midrange detail.  Soundstaging in this recording was wide and deep extending beyond the speakers in both directions.  The vocal detail extended well into the upper register no matter what the dynamic level.  The feeling of the performance was powerfully conveyed despite the lack of deep bass and the orchestral foundation was conveyed with more authority than I expected.  (As for the extent of the bass, the Triumph's specification of bass response to 40hz seems accurate.)

In summary, the Triumphs offer good soundstaging and transparency and are very fine indeed in reproducing smaller groupings of musicians.  Their stunning midrange detail and transparency separate them from the pack at this price level and merit the highest recommendation. 
-The Absolute Sound-Issue 111

With every amplifier the Triumph/Mini Sub system presented high-end sound which revealed the back-up system(s)quality well enough to qualify as a reference with which to audition other components.  Stunning sound was achieved with all amplifiers we used which is proof of the Triumph/Mini Sub's neutrality.  With the Topaz/Opal, we couldn't find fault.  The system delivered sweet highs, blossoming midrange and authoritative bass-all well balanced with a natural flow of all musical program material.  Within a well matched system, you can expect a wide and deep soundstage and the sensation that the speakers aren’t there at all: can't ask for better-at any price.

The Coincident Triumph Signature Mini Subwoofer combination doesn't fit into the high-end price category, but it fits comfortably into the high performance class of loudspeaker design. The Coincidents are admirable products, featuring an elevated degree of engineering and sound.  Try them in your system, you may be surprised at what you can obtain for under $6,000. 
-The Inner Ear Report-Vol 10 #3 1998

When the Triumphs are set up as described, you can get a pretty convincing spread of sound, with believable depth and nice spatial detail-and some convincing music making too.  On the Brahms Clarinet Quintet, I was startled by how well the Triumphs kept the music moving forward.  The Triumphs sounded like the Triumphs I have Come to know already: very good spatially, very tactile, emotionally involving, a little colored. 
There are moments in all of these album's major pieces where the ensemble is playing in more than one rhythmic stream at the same time.  The Triumphs pull it off-just not amazingly well for their price, amazingly well, plain and simple.  I think the Coincident Triumph Signature is a pretty nice, speaker.  I do think if s a heck of a bargain.  Arguably best of all: It adds one more very good choice to the ranks of reasonably priced and reasonably sized speakers that can be driven with just a few watts of power Recommended. 
-Listener-Summer 1999

The enclosure's interior volume which seems to be the optimum size for a 6 1/2 - inch woofer, is 931 cubic inches (15.25 liters).  The cabinet's medium-density fiberboard walls, which are 1 inch thick, are veneered inside and out, an expensive - and welcome - touch that prevents uneven moisture absorption and possible warping.

The impedance curve is very uniform.  The Signature's impedance characteristics should make it a relatively easy load for any modern amplifier and this speaker should sound pretty much the same with most such amplifiers.

Even at the relatively high level of 100db SPL, the Triumph Signature's second and third harmonic distortion is very low.  The highest relevant distortion products are only 2% second harmonic and 1.8% third harmonic at 60hz.  This is very good performance, as distortion in the bass is generally less annoying than midrange distortion.  Above 60 Hz, distortion is mostly less than 1.8%.  The Signature's excellent performance in this regard means that instrumental timbres will not be adversely affected by harmonic distortion.

The speaker's responses matched closely, which should help keep images very stable.  Off axis response is most uniform.

In the 20 KHz cosine pulse test, the base of the acoustical output's peak is just slightly wider than that of the electrical input pulse-another sign of excellent high frequency response.  The lack of high frequency ringing tells us that the tweeter is well damped.

Tests of cabinet vibration tuned up nothing that might contaminate the sound, thanks to the solid, 1 inch MDF enclosure walls.

From the start J was impressed by the Coincident Triumph Signature's relatively high output and wide range sound.  Bass reproduction was very impressive, considering that it came from a single 6 1/2 inch driver.  The treble was very impressive too.  The midrange was clear but a little subdued, making some recordings with hyped instruments and vocals much more listenable.

The panel's comments about the Triumph Signatures were: "vocal very clear, drums tight and punchy."

I enjoyed listening to Coincident's Triumph Signatures with a wide variety of program material over an extended period.  If you like a less aggressive, less in-your-face sound, you should audition them-even on recordings you think are a little too forward and bright.  I think that you will find these speakers to be excellent.
-Audio Magazine-July/Aug 99

Resonance tuning is hot in audio right now.  With the proliferation of powerful CAD (Computer Aided Design) programs, a designer has, at his fingertips, a tool that can cut hundreds of hours off the product design cycle.  Coincident Speaker Technology  president and chief designer, Israel Blume, has taken these tools and applied them to speaker cabinets, for resonance control and tuning, and crossovers, for optimization of layout and topology.

Manufactured from a specially selected 1" hardwood MDF, the enclosure of the Triumph was designed using computer modeling in an effort to identify, and hence reduce, internal reflections and resonances.  The net result is a fundamental cabinet resonance of 350 Hz. Mr. Blume's research led him to conclude that an inherently non-resonant material, tuned to a high fundamental frequency, is sonically preferable to the traditional cabinet damping techniques.  In moving the resonant frequency higher, and thus lower in amplitude, the Triumph's cabinet is said to have very little sonic signature of its own.

The Triumph Signature loudspeaker would appear to represent an ideal first step in the quest for a full-range loudspeaker system fronted by a high - quality two - way monitor.

Upon opening the well - packaged Triumphs, I was pleasantly surprised by their nicely finished cherry veneer.  The heavy 1 3/8" front bevel, while reducing the effects of diffraction, lends the speaker a faceted, jewel - like appearance.  This is one handsome chunk of speaker.

It was immediately apparent that the tweeter was hinting at a level of refinement not usually found at this price point.

Within minutes I had the Triumph Signatures doing a disappearing act and throwing a huge soundscape.

I was pleasantly surprised with the bass of the demure Triumphs, which provided good response to 40 Hz.  The low frequencies that were generated by the Triumphs showed no signs of smearing or doubling and were mercifully free of a rise in this region.

Moving on to the midrange, the Triumphs flat out turned killer, showing near - perfect voicing in this region.  The Triumph does, however, walk that very fine line separating smoothness from brightness in the upper mid/lower treble.  While it has wonderful resolution, the Triumph's tonal balance is just forgiving enough for those less - than - pristine discs.  Male vocals are handled wonderfully.  Mark Knopfler's voice on Wag The Dog soundtrack hung magically between the speakers, with a roundness that was tangible.

The Triumph's imaging was absolutely first rate, easily matching my reference Alon IVs, throwing a huge soundscape without any of the dipole "talkback" of the Alons.  The Triumphs simply disappeared, generating a bloom that rivaled some vaunted dipoles I've had in - room.  Amazingly, for a speaker of such diminutive size, the Triumph's portrayal of instrumental scale was spot - on.

At its price point, which I consider dangerously close to factory direct, the Triumph has little competition, especially in the all - important midrange.  As the Triumph is said to be driven easily by tubes, including single ended triodes, I suspect that it may have been voiced with these in mind.
-Audiophilia-September 1998 
 

I can confidently recommend the Triumph Signature to potential buyers, particularly when mated with a high - quality subwoofer.  I would have to say that the Coincident Speaker Technology Triumph Signature, coupled with the Vandersteen 2Wq subwoofer, is truly a formidable full - range speaker system, with the ability to provide great musical pleasure for many years.
-Audiophilia-November 1998