PSB Image25 Bookshelf Speakers * Fully Serviced

PSB Image25 Bookshelf Speakers * Fully Serviced

PSB

Regular price $250.00 USD
Sale price $250.00 USD Regular price
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PSB Image B25 loudspeaker


Paul Barton, founder of PSB Speakers International, is an icon of the North American speaker industry. A talented designer who has for many years produced innovative and cost-effective designs at a range of prices, Barton does not let time stand still, constantly updating and revising his designs. But what makes him unique, in my view, is that, unlike the designers at most North American speaker companies, whose successful affordable designs are trickled down from their more expensive models, Barton, like the British designers, seems to get most of his excitement from his budget lines. His original PSB Alpha was, in its day, the most significant entry-level speaker made in North America since the original Advents of the 1970s.

 

A new Image
PSB's current product line is quite broad, with more than a dozen two-channel products ranging from $199 to $6999/pair. The Images comprise PSB's "mid-priced" line. I was impressed with the least expensive floorstanding Image, the 4T ($649/pair), when I reviewed it for the February 2001 Stereophile. In June 2004, after completely revamping the Image series, PSB sent us the Image B25, at $449/pair the most expensive bookshelf in the current Image lineup.

 

All PSB Image speakers are front-ported, bass-reflex designs that share a new 1", aluminum-dome, ferrofluid-cooled tweeter. The new woofer cones are injection-molded from metalized polypropylene, instead of being vacuum-formed from extruded sheets of the material, as in the original Images. PSB claims that injection-molding results in better consistency. The woofer cones are also of lower mass, for higher efficiency, and have rubber surrounds. Paul Barton told me that he's most excited about the Images' new cabinets, which include a curved "elbow" port tube and strategically placed damping materials, both intended to eliminate "fluting" pipe resonances in the tube.

 

The Image B25 is a medium-size, two-way, magnetically shielded bookshelf speaker sporting the new tweeter and a single 6.5" woofer. It's designed to perform well on stands or bookshelves, or mounted on a wall as a home theater surround speaker. I set the B25s on my trusty Celestion Si stands, which are loaded with sand and lead shot. (PSB makes its own dedicated stand, the SP-25i, for $99/pair.) My review sample was finished in an attractive light-toned Sienna wood finish; black ash is also available.

 

Sound
In my first listening sessions, it soon became apparent that I was hearing several things in the Image B25's midrange that I'd never heard from a bookshelf speaker at this price, or from any PSB speaker at any price. The entire midrange was dead neutral, liquid, and holographic—but when this was combined with an extraordinary level of detail resolution, perfectly articulate transients, and a broad, continuous, organic presentation of the entire dynamic envelope, the overall sonic picture inspired me to strip-mine my music collection for well-recorded acoustic instruments.

 

With the Image B25, I couldn't listen to enough jazz piano. With every original-pressing jazz LP and Acoustic Sounds vinyl reissue I threw at it, the B25 revealed naturally rich and woody piano tones with transient attacks as natural, delicate, articulate, strong, and personal as I've heard from any bookshelf speaker. After spending many hours with Duke Ellington and John Coltrane (LP, Impulse! A-3082), Count Basie's 88 Basie St. (LP, Pablo/Acoustic Sounds 2310-901), Herbie Hancock on Miles Davis' My Funny Valentine (LP, Columbia CL 2306), and Thelonious Monk on Miles and Monk at Newport (LP, Columbia CS 8978), I thought maybe I should listen to something other than piano recordings.

 

But woodwinds, especially in the lower register, affected me in the same way. Sonny Rollins' natural, breathy, vibrant tenor sax shone on Saxophone Colossus (LP, Prestige/Acoustic Sounds LP-7079), as did the seductive and angular solo-clarinet passages in Kohjiba's Transmigration of the Soul, on Festival (CD, Stereophile STPH007-2). I thought I'd memorized that last piece; but as I reveled in the wide yet subtle dynamic shadings of its marimba passages, I noticed for the first time that the clarinet sometimes doubles the marimba. The same level of detail resolution enabled me to pick out mistakes in some acoustic guitar passages on Janis Ian's Breaking Silence (CD, Analogue Productions CAPP 027), and in Mark Ribot's dobro work on Madeleine Peyroux's Dreamland (CD, Atlantic 82946-2).

 

The marimba passage in the Kohjiba had shown me how the PSB's articulate resolution of midrange detail extended into pristine, delicate, uncolored, yet unfatiguing high frequencies—and now began my quest for percussion recordings. When I listened to John Cage's Third Construction, from Pulse (LP, New World/Classic NW 519), the Images completely "disappeared," letting me easily follow each percussion line with its sharpness, dynamics, and speed intact, but without a trace of hardness. From my notes on listening to Wuorinen's Ringing Changes (LP, Nonesuch H71263): "master-tape-like dynamics and transients—a veritable window on the chamber orchestra."

 

After I'd analyzed Max Roach's drum technique on the aforementioned Sonny Rollins LP, I decided to hold a drum master class in my listening room. I'd been raving to a close friend, session drummer Mark Flynn, about the unorthodox and extraordinary drum technique of David King, drummer for The Bad Plus. I decided to showcase King by playing Mark the band's These Are the Vistas (CD, Columbia CK 87040) through the PSBs. King's use of a small, simple Slingerland kit with an intense yet subtly focused snare as the centerpiece, his dynamic use of the ride and sizzle cymbals in what is almost a role reversal of those instruments, and an extraordinarily focused sense of power and energy in all the album's trio arrangements, were all easy to point out to Mark with the B25s

The B25's high-frequency articulation showed up well on the tutti brass passages of the Basie LP as well. The muted trumpets were searing and biting, but not a bit spitty. I noticed a similar effect on the brass passages of my white-dog pressing of Bartók's Concerto for Orchestra (LP, RCA Living Stereo LSC-2643). Moreover, the passages of massed strings in this work were searing yet silky and sweet, as they are in live performances. Finally, the PSBs were capable of a tremendous sense of drama—the high-level passages of this orchestral blockbuster showed no hint of strain or compression throughout the wide, deep soundstage.

 

The B25's high-frequency resolution was most evident in its rich, natural, liquid rendition of female vocalists. I noticed that all sibilant passages were prominent without being bright, and with levels of articulation and realism and a lack of coagulation reminiscent of the effect of hearing a moving-coil phono cartridge for the first time.

 

On the opposite end of the frequency spectrum, the B25's bass performance was fairly natural and extended, and capable of high-level dynamic slam and realism. Jerome Harris' bass on "The Mooche," from Editor's Choice (CD, Stereophile STPH016-2), sounded woody, natural, and nonresonant, if a touch warm. On electronic recordings, such as Sade's Love Deluxe (CD, Epic EK 5317), the bass synth and drum machine were extended, powerful, and dynamic. This recording's slight midbass warmth adds to its power and drama; at 95dB volume levels, it shook the house and partied hard, without a trace of overhang or resonance.

 

Further down the frequency spectrum, the organ pedals on John Rutter's Requiem (CD, Reference RR-57CD) didn't shake the room, but were uncolored and, as my notes read, "damn convincing from a bookshelf." I also noted that the soprano soloist on this recording sounded completely integrated into the acoustic of the recording venue, a church.

 

I was intrigued by how clearly the B25 revealed the extent to which electronic processing had been used in rock recordings. I noticed, on Sade's Love Deluxe, how subtly and ingeniously gating had been applied to the sound of the drum machine. The PSBs also made very clear how, on Aimee Mann's Bachelor No.2 or The Last Remains of the Dodo (CD, Super Ego SE 002), the engineers had overdone the compression on all of the instruments while leaving Mann's vocals unscathed, which puts the sound of this otherwise excellent recording slightly out of joint.

 

Competition
I compared the PSB Image B25 ($449/pair) with the Epos ELS3 ($329/pair), the NHT SB-3 ($600/pair), and the Alón (now Nóla) Li'l Rascal Mk.II ($595/pair).

 

The Epos ELS3 exhibited less midrange detail, as well as less extended and articulate high frequencies, than the PSB. However, the Epos's slightly less liquid and less holographic midrange was very natural, and the speaker presented a somewhat smaller sound. These differences were noticeable but not dramatic. On the low end of the spectrum, bass extension and high-level dynamic slam were almost as good as the PSB's, despite the Epos's significantly smaller size. Still, the PSB exceeded the Epos in high-level dynamic articulation in the midrange and highs.

 

The NHT SB-3 was very liquid and involving in the midrange and sounded somewhat more romantic, but resolved a bit less detail. The PSB also had more extended and detailed high frequencies. The NHT's bass extension and high-level dynamic slam were equal to the PSB's, though the NHT's midbass was somewhat warmer. Unlike the PSB, the NHT tended to compress the sound a bit on complex passages.

 

The Li'l Rascal Mk.II exhibited somewhat more detail and air in its liquid-sounding midrange than the PSB, but the PSB's high frequencies seemed more sophisticated, articulate, and revealing. The Li'l Rascal's bass extension and high-level dynamic contrasts were very similar to the PSB's.

 

Payoff
Paul Barton has once again upped the ante on what he can design into an affordable loudspeaker. Although it's been several years since I heard and reviewed his Image 4T, I can't recall a single area where that older, more expensive speaker outperformed the Image B25—it impressed me in many areas and let me down in none. I can't think of a single other speaker for less than $500/pair that outperforms the PSB Image B25. Congratulations, Paul!

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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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All items are meticulously serviced and restored to meet factory specifications

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