Audiophilepure

https://www.stereophile.com/content/onkyo-icon-series-50-streaming-integrated-amplifier

According to Ueda, “The A-50 offers a high level of functionality at an affordable price because it shares circuitry for streaming services and room calibration with other Onkyo products such as AV receivers, allowing for cost savings. However, there are no compromises in the audio circuitry. This product embodies Onkyo’s technology and dedication, featuring a dedicated amplifier circuit and a DAC circuit employing our proprietary DIDRC technology.” According to Onkyo’s website, DIDRC stands for “Dynamic Intermodulation Distortion Reduction Circuitry,” which “reduces beats generated in the ultra-high frequency band by DIDRC’s High Slew Rate Circuit to improve the sound of analog recordings and stabilizes audio signals with positive and negative signal symmetry to reproduce minute signals such as those of MC cartridges even when amplified.”

https://www.soundstagehifi.com/index.php/equipment-reviews/2036-sigberg-audio-saranna-active-loudspeaker

Miles Davis’s rendition of “Basin Street Blues” from Seven Steps to Heaven (Mobile Fidelity MFSV 1‑534) was another memorable listen. The Norwegian speakers beautifully rendered Davis’s dynamic shading, so that the woeful pinched cry of his muted horn created a solemn late-night mood. Frank Butler’s brushwork had a whispering quality, the microdynamics of the patter of brushes on skins enhancing the sense of realism. Cymbals had natural crispness and delicate sparkle, without exaggeration or thinness. Ron Carter’s double-bass notes were tuneful and textured; they felt clearly articulated while possessing natural weight. Again, the soundstage was generous in size, reaching to the outer edges of the speakers and just beyond my front wall, while not exaggerating the intimate setting captured on the recording. There was a tightness to the rhythm, demonstrating the Sarannas’ grip and control over the notes while still conveying the fluidity of this music.

Next, I switched from vinyl to digital, then, looking for something harder-edged, cued up the title track of Tool’s Fear Inoculum (24‑bit/96kHz FLAC, RCA Records / Tidal). The repeating, bell‑like synth chime in the track’s opening pulsated through a wide, transparent soundstage that was almost architectural in scale. The building rhythmic growl of the electric guitar, which combines a synthetic cello-like tone with the inherent raucous sound of the strings, was delivered with clarity and plenty of excitement, but stayed clear of offensive abrasion. The tabla sounded tight, tuneful, and energetic, with its timbre expressively portrayed, while the vocal was clearly differentiated from all these instruments. The Sarannas capably sorted out the plethora of sounds, allowing me to easily focus on individual elements while appreciating the sum of their parts.

https://www.headfonia.com/arctec-ab-92-review/2/

This is the section where we find out how the brand describes the sound signature of the unit in question. For the ArcTec AB 92, we find the following:

The AB 92 is engineered for a truly spatial listening experience. Its open-back “AirBorne” geometry, combined with generously dimensioned ear pads, allows for unobstructed sound radiation and minimizes reflections back to the diaphragm. This design philosophy creates a room-filling, three-dimensional stereo image that feels less like headphones and more like a personal concert hall. The AB 92 delivers a remarkably settled and uncolored bass and midrange.