Audiophilepure

https://www.analogplanet.com/content/esoteric-grandioso-t1-turntable

I keep several turntables to use in my reviewing process — SME 30/2, Brinkmann La Grange, Roksan TMS, Garrard 301, plus a few others — because each one offers a different set of strengths. The Esoteric Grandioso T1 turntable is the first turntable I’ve heard in my system that I feel could replace all of them on a sonic — though not a personal — level.

I liked the T1 best when the torque was cranked up to deliver the most PRaT, though the more relaxed sound resulting from lower torque seemed more appropriate for some music. Yes, the asking price is crazy, but presumably, if you’re shopping in this price range, you’re not digging through the couch cushions looking for a few lost pennies.

It’s good to see companies pushing the limits of what’s possible; hopefully we’ll soon see some of this technology trickle down to more approachably priced ‘tables. If the Esoteric T1 is within your budget, I can’t think of a better option.

The M2s start at $16,500 per pair, and for perspective, the flagship XL2s start at $42,000. I’m a fan of flat black finishes for any speaker because they disappear when the lights are off and I’m watching a movie. So, I went for Anthracite Black, which is a bespoke satin finish that carries an $830 upcharge. For the rear section of the cabinet, I chose textured black, which is included. The front trim consists of a metal plate around the tweeter plus two more bits that say Figaro and carry the Audio Solutions logo. I specified Titan, which added $760. Further choices included the top plate, wire terminals, and driver mount covers, which I kept at the base prices. My final pick was ISO Acoustics Gaia II isolator feet, which added $810. The final figure was $18,900.

Ultimately, the PA1s don’t sound entirely as liquid and free-flowing, or quite as authoritative, as the Halcro Eclipse, but it’s absolutely astonishing that they come this close at less than half the cost. The PA1s are a little less powerful and euphonic, but they excel in the area I find most important: letting the music speak for itself.

The PA1s sound relaxed and unhurried, but definitely not slow or thick. They are highly lyrical and engaging, very articulate, nimble, and dynamically expressive. They can be incredibly fast, but only if the music requires it. They don’t always sound fast, which can translate to a dry or staccato rendition or shortened decay. Impressively, despite their communicative nature, they never shout or try to impress. Instead, these amplifiers disappear altogether, and you simply forget about them. And that is the highest praise I can give an amplifier.

To a degree, the intentional overlapping of frequencies of the drivers in The Stony moves the speaker partway into the category of a hybrid line source speaker. Such a design is not more linear than a conventional design that moderates overlap of frequencies. However, it contributes to a degree of fullness that more conventional designs may not achieve. The PureAudioProject Trio15 10” Coaxial, which I compared directly using the same system discussed below, was more linear sounding, one might say more precise. However, The Stony had a particular fullness from the overlapping drivers not found in the Trio15. The speakers are built with different design parameters and as such display distinct performance parameters.

I mention this not to suggest The Stony is not an accurate speaker, but to make potential owners aware that it is not designed as an all-out attempt to measure perfectly. Stephen is not beholden to measurements but enjoys tuning his designs by ear. If you are the type of audiophile who is maniacal about measurements or cannot tolerate the idea that drivers overlap beyond the bare minimum, you are likely not a MADO customer. If such discussion seems trivial and you would make your decision about The Stony based on other considerations, chiefly how well it connects with you emotionally, then this review is on the right track for you.

https://www.enjoythemusic.com/magazine/equipment/0926/Lindemann_Woodnote_BRIDGE_Network_Audio_Music_Streamer_Review.htm

It can benefit every system, but it reveals its full capability with loudspeakers that preserve time-domain integrity. With conventional box speakers, the Woodnote brings clear benefits in refinement: clean transients, a calm noise floor, openness, a sense of expression coupled with natural detail and ambience. These gains are easy to hear and will be appreciated by many looking to elevate their digital front-end. However, the Woodnote takes this up a notch or two with a scarcely credible performance when matched with a suitable system.  The way expression is delivered – micro-dynamic shading, breath pressure, phrasing intent and the entire envelope of notes (transient – sustain – decay) – makes performances feel alive rather than reproduced. These qualities become fully audible on systems that maintain low stored energy and coherent timing: often this means speakers that are electrostatics, planar, single-drivers, open-baffles, horns or cardioid speakers. Some box speakers can also work to these levels of performance. Simple crossovers also help.

https://www.hifinews.com/content/jl-audio-gets-smart

Topping the Primacy series, priced £86,000, is the three-way T6 floorstander [pictured], while a two-way standmount, the S3, sells for £34,000 plus £1599 for optional stands. The speakers integrate individual amplifiers for each driver ‘section’ – ie, a 600W-rated module powers the T6’s four 140mm aluminium bass drivers – allied to 192kHz/32-bit DSP governing crossover, delay, phase, etc.

Analogue inputs on both RCA and XLR are joined by RJ45 ports supporting the high-resolution Dante audio networking protocol. The latter is also found on JL Audio’s £14,500 Primacy CS control/streaming DAC unit, which includes automated ‘room optimisation’, a built-in MM/MC phono stage, and app interface.