Audiophilepure

https://www.stereophile.com/content/pearl-acoustics-model-one-loudspeaker

The driver is only half the equation; the Model One’s cabinet, based on the Voigt pipe design, is the other half. In a conventional speaker enclosure, the rear soundwave cancels the sound produced by the front of the cone. In a Voigt pipe, the rear wave is delayed so that it exits the enclosure in phase with the front wave, which it does through the vent at the base of the baffle. “The two waves reinforce each other, increasing acoustic output,” explained Harley. “Especally in the lower bass region.”Another characteristic of the Voigt pipe design is its tapered internal geometry, which works much like a horn or an acoustical instrument. Harley: “Consider the double bass. When a player plucks a string, the vibration travels down through the bridge into the front of the body of the instrument. The front panel excites a large volume of air, which escapes through the small f-holes, producing loud and powerful low frequencies.”The Model One operates on a similar principle,” he said. “The energy from the rear of the driver excites a column of air inside its enclosure. That air is then released through the front port in a controlled manner, allowing the system to produce very deep and well-defined bass from a relatively small initial movement.”

The NF ACOUS NM25 is a $199 in-ear headphone that exceeds its price range in transient speed, imaging accuracy, and build quality.

It features a diffuse-field reference tuning designed for studio monitoring and analytical listening. Its dual-magnet driver and Clutter Trap 2.0 Helmholtz resonator strike an impressive balance between detail retrieval and listenability.

However, its low-frequency extension is limited, the lower mids are slightly thin, and there’s a deliberate dip around 3kHz, which may limit its suitability for certain music genres and listening preferences—it’s not a ‘smooth’ or ‘warm’ headphone; it’s a precise monitoring earphone that reveals details.

Compared to the Shure SE425, the NM25 offers higher resolution and better ergonomics at a lower price. Compared to the more expensive Sony IER-M7, it falls a bit short in low-end thickness and midrange richness but still provides surprisingly good monitoring value for just over half the cost.

Approach it as a monitoring tool or critical listening reference—it’s best suited for dedicated listening sessions rather than casual all-day wear.

I’ve listened to many budget and entry-level headphones and was expecting a thin, treble-forward sound, especially from those entry-level planar headphones. I was very surprised to hear the JT9 pour prodigious amounts of bass and warmth over my ears.

The JT9 has a warm, bassy, moderately V-shaped tonality with a larger-than-life sound presentation.

There is a healthy amount of effortless low-bass presence, as if I’m listening to a dynamic-driver headphone, unlike most planar headphones, which have tight but stingy bass presence.

https://www.hifinews.com/content/gryphon-antileon-revelation-power-amplifier

The Berliner Philharmoniker/Simon Rattle recording of Mahler’s Symphony No. 2 [Warner Classics; 44.1kHz/24-bit] found it getting into a gentler groove, conveying quieter passages with a soft, deft hand and painting a big, set-back picture of the orchestra. But the thundering percussion of I. Allegro maestoso arrived as a reminder of its latent power and dynamic flair. I don’t say this lightly, but the Antileon Revelation is perhaps the best power amplifier I’ve yet heard.

Our hi-fi world is not short of high-end power amplifiers, but Gryphon’s new ‘lion-like’ Class A model might just be the king of the sub-£50k jungle. Exquisitely styled and meticulously constructed, the Antileon Revelation nails the ‘pride of ownership’ brief while offering a performance of staggering power, scale and detail. Audition at your own risk, because once you’ve heard it, you’ll have to own it.

You always remember the music you grew up with, and for me, that’s Styx. They were my favorite band in the ’70s and ’80s, and they still move me when I listen to albums like Equinox. These recordings are more treble-forward, and the Hekla managed to keep the synths and screaming guitars from becoming harsh. The drum and bass anchored classics like Lorelei and Midnight Ride with a controlled punch. Dennis DeYoung’s high tenor cut through with just the right balance.

I couldn’t leave this review without a trip through Foo Fighters’ Wasting Light. This was Dave Grohl’s first use of the Neve console he bought from the now-defunct Sound City Studios in LA. It is a true reference rock recording for me because it has no digital processing. It’s analog all the way, and the Hekla gave this quality material its full head. Though it’s a studio recording, it has a live club feel with depth, warmth, and texture. The band seemed to do its thing right in front of me.

https://www.soundstageultra.com/index.php/equipment-menu/1318-technics-sl-1200gme-turntable

Sadly, some audiophiles will turn their noses up at a product from a major Japanese manufacturer that in their mind resembles a DJ turntable. That’s their loss. I think the SL‑1200GME looks cool as hell, and, crucially, it is an astonishing performer that can compete with turntables in the £10,000–£15,000 class. My only caveat is that you must ensure it is sufficiently isolated from vibration, because the built-in isolation, while good, isn’t as effective as that offered by a suspended-subchassis turntable. Once effectively isolated, you will have a turntable that will match or better some very exotic hardware.

In this job, one is exposed to a lot of esoteric audio equipment, so it’s easy to become blasé about products. Not this time. I don’t mind admitting that the SL‑1200GME filled me with lust—I would love to own one! Visually and sonically, it’s very different from my SME Model 35 and Michell GyroDec, although its extraordinary speed accuracy reminded me sonically of the SME Model 35.