PSB Alpha B Bookshelf Speakers

PSB Alpha B Bookshelf Speakers

PSB

Regular price $100.00 USD
Sale price $100.00 USD Regular price
Sale Sold out

Paul Barton is a legend in the speaker business. For 25 years this musician and engineer has dedicated his life to providing speaker purchasers with higher levels of sonic realism at lower prices. Barton is a frugal perfectionist, and his obsession with psychoacoustics is evident in all his designs. I was mightily impressed with his midpriced Image 4T (Stereophile, February 2001), which was, like all Barton designs, designed with the assistance of the facilities of Canada's National Research Council.

Although PSB makes more than two dozen speakers ranging from $199 to $2699/pair, it is the affordable Alpha speaker, introduced 10 years ago (and reviewed in the July 1992 and January 1994 Stereophiles and the very first issue of Stereophile Guide to Home Theater, in 1995) that created all the fuss, at the time setting a new benchmark for affordable loudspeakers.

But Barton is not one to rest on his laurels. Into this third and latest generation of the Alpha, the Alpha B, he has trickled down some of the design and manufacturing innovations of his more expensive Image series.

The Update
The trickle-down from the Image series to the diminutive, two-way, rear-ported Alpha B is evident in the B's manufacturing as well as its design. First, the 5¼" polypropylene woofer cone is identical to that used in the Image models—with, however, a different voice-coil, one more appropriate for the smaller cabinet. (The aluminum-dome tweeter is the same as that recently introduced in PSB's entry-level speaker, the Alpha Intro.) As I indicated in my review of the PSB Image 4T, Paul Barton keeps costs down by using modular, molded design in all his Image speakers, thus minimizing separate manufacturing processes for each model. With the Alpha B, PSB has for the first time extended this modular construction to one of their least expensive models.

The Alpha B has molded plastic front and rear baffles connected by an MDF "sleeve" available in black or light cherry wood-grain finish. My cherry-finished sample was understatedly elegant. Unlike the original Alpha and the successor Alpha A/V, which John Atkinson reviewed in April 2000, the Alpha B has a grillecloth of fine wire mesh, removable "if one is careful," says Barton. I don't recommend removing it; it's difficult to do without bending the thin, attractive grille. Anyway, the Alpha B sounded virtually the same, with or without grilles. Like the Alpha A/V, the Alpha B is magnetically shielded for home-theater applications.

The Alpha Bs are available with the solid-wood SP25i stands ($99) in attractive black, but I listened to them using my trusty single-pillar Celestion Si stands, loaded with lead shot and sand.

The Sound
I was immediately struck by the Alpha B's smoothness and its uniformity of frequency response from the midbass to the extreme treble. In fact, aside from a slight forward character in the mid- to upper midrange (which adversely affected only certain instruments), the Alpha B was one of the most neutral inexpensive speakers I've heard.

The Alpha B excelled with vocals, especially those of the seductive female type. I'd just moved my VPI TNT/Immedia/Koetsu analog rig back to the large listening room of my relatively new house; anxious to mine my vinyl collection, I cued up a track from my original pressing of Ella Fitzgerald's Clap Hands, Here Comes Charlie! (Verve V64053). I was so taken by the warm, vibrant, immediate, natural quality of the mighty Ella that I put down my pen and pad and played through both sides of the disc. The Alpha B's natural vocal production was enhanced by the speaker's excellent articulation of subtle transients and microdynamic inflections. This is critical to achieving a realistic reproduction of a unique voice such as Joni Mitchell's, on "Chinese Café/Unchained Melody," from Hits (CD, Reprise 46325-2).

I have never heard a speaker costing less than $1000/pair that reproduces woodwinds more naturally than did the Alpha B. I cued up an old mono pressing of Louis Armstrong Plays W.C. Handy (LP, Columbia CL 591), and, during the entire recording, found myself ignoring the vocals and trumpet (difficult to do with Pops) and just following the clarinet. My notes: "Damn, that's a real clarinet!"

Further down the frequency spectrum, the Alpha B's midbass reproduction was superb. On well-recorded jazz discs, the string bass was as realistic as I'd heard from such an inexpensive speaker. The bass solo on Sonny Rollins' "Oleo," from Our Man in Jazz (LP, RCA/Classic LSP-2612), had a woody, resonant quality that was uncolored and rich without a hint of overhang. In fact, the bass was quite extended, with good definition down to about 50Hz, but without a trace of the kind of hooty flatulence I've heard from many inexpensive ported speakers. Below that frequency, however, the bass went missing in action, and recordings with significant pipe-organ pedal content lacked bottom-end air.

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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.

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