Audiophilepure

https://www.hifinews.com/content/hifi-rose-rs451-streamer

An even more revealing player, including HiFi Rose’s own RS151, will bring out even more of the air in these recordings. For a reduced price, however, the RS451 is both appealing and very listenable. And when you add in all the ease of operation and the flexibility on offer – more than most of us will ever use – there’s much to commend this ‘semi-reference level’ player.

Load it up with a comprehensive library on an inserted SSD, and connect up a USB drive to rip your CDs, and it will probably cater for just about your every need. The RS451 also has that network access and ability to play, or copy, content from local and network storage, Internet radio and more – even if you never connect it over HDMI to your TV to play back YouTube content, etc. Steer clear of all those in-depth settings in the menus, unless you really wish to while away the odd wet afternoon, and you won’t go far wrong.

https://www.soundstagehifi.com/index.php/equipment-reviews/2027-dynaudio-contour-20-black-edition-loudspeaker

“Loveless” from Lo Moon’s self-titled album (24/96 FLAC, Columbia / Tidal) opens with a gentle bell-like tone, similar to a vase being struck with a rubber mallet. Through my Focal 1008 Be 2 speakers, that tone’s ring was a little more pronounced than through the Dynaudios; the Danish speakers delivered a slightly warmer tone, as if from a vase made of thicker glass. The ensuing deep growl of the synth was presented with a little more thickness and weight by the Dynaudios. There is a washboard-like repeating synth effect that begins after the bell tone stops. With the Focals, the sound was quite dry and hiss-like, while the Dynaudios seemed to deliver it in a smoother, less raspy manner. Percussion hits had similar impact, both speaker pairs demonstrating dynamic proficiency, but the Focals exposed the drum skins’ texture a little more. The background synth effects, as well as reverb and decay, were more apparent through the Focals, and noticeably less so through the Dynaudios; the 20 BEs maintained focus on the foreground elements and drew less attention to the atmospheric background effects, making the Dynaudios sound more relaxed and composed. Guitars had a richer tone through the Contour 20 BEs and cymbal splashes were less prominent, while always remaining silky smooth.

Conclusion

The Dynaudio Contour 20 Black Edition is an exceptional standmount loudspeaker that elevates the Contour series to new, impressive heights. Its integration of the Esotar 3 tweeter, Confidence-inspired woofer, and upgraded crossover delivers a richly detailed, dynamically authoritative, and effortlessly natural presentation. Imaging is precise, and soundstaging is expansive. Bass performance belies the speaker’s modest size, making it fully capable as the centerpiece of a dedicated two-channel system. It’s a loudspeaker for the discerning ear, one that values honesty over hype and refinement over ostentation. If you’re seeking a standmount that combines luxury craftsmanship with high performance, this Dark Star, the Dynaudio Contour 20 BE, might just be for you.

https://www.headfonia.com/hiby-rs8-ii-review/#google_vignette

The RS8 II delivers a balanced, natural, and subtly musical sound signature without drifting into warmth or colouration. Compared to the original RS8, the tuning is more controlled and closer to neutral, with greater emphasis on clarity, spatial precision, and dynamic contrast.

What stands out immediately is the sense of effortlessness. The RS8 II never sounds strained, regardless of load or listening level. Whether paired with sensitive IEMs or demanding headphones, it maintains composure and authority at all times.

https://www.headfonia.com/topping-dx9-discrete-review/2/

There are a few technical limitations worth keeping in mind regarding the processing window. Over USB and IIS, PEQ is supported from 44.1 kHz to 192 kHz at 16-bit to 24-bit. Coaxial, optical, and AES share this same range, while Bluetooth supports PEQ up to 96 kHz and 24-bit.

I also appreciate the memory logic Topping implemented. By default, the unit remembers the last-used PEQ configuration for each individual output. It then automatically recalls that profile the next time you switch back to that output, which is useful if you frequently alternate between headphone jacks and preamp outs. For those who want fast access, you can assign the PEQ toggle and preset selection to the knob press or to remote buttons to avoid menu-diving. Topping also included a crossfeed function with multiple modes, which is a welcome addition for headphone listeners. 

https://www.headfonia.com/audioquest-lone-ranger-review/

Now, a year or two ago I was in need for an additional XLR cable and wanted to get a Yukon – the same as I was already using – but my retailer didn’t have any on stock and suggested I’d try the Black Beauty. The step up from the Yukon reminded me of my first time with AudioQuest. The jump in quality was just absurd. Details, definition, precision, depth and layering were all enhanced. Music sounded more graspable to me.

Why am I telling you this? Because AudioQuest did it to me again. The step up from the Robin Hood to Lone Ranger again is more than remarkable.

The VE PRO is not quite as wide as the VE PURE or as immersive as the VE ZEN. The 3 BA drivers do a good job in arrangements, but it’s not quite as deep and enveloping as the flagship ZEN.

However, if you find the chilled positioning of the VE PURE mids, then the VE PRO might be the better choice as it pushes them front and center with the additional upper-treble contrast producing some welcome bloom and sparkle in the process. 

To that end, the VE PRO can sound like it has a more attention-grabbing presentation with the controlled BA drivers etching out some welcome space and air for each note to be clearly heard and clearly underpinned by the low-end power.