Audiophilepure

I would say, however, the included Allan key is a bit too big and awkward to use with the screws, so if you have a small Philips Head screwdriver, I recommend that one as it is a lot faster.

Aside from that, you get the new grey leather case with enhanced button access, integrated cooling gel, and a larger heat dissipation plate on the rear. It uses a Velcro flap rather than the M17’s tucked-in variant and feels a little more secure as a result.

Aside from those, you also get a cleaning cloth, a pin tray tool for memory card access, a USB-A to Type C adaptor, a long USB-A to USB-C cable, and a shorter USB-C to USB-C alternative.

https://www.hifinews.com/content/jbl-summit-ama-loudspeaker

On this track the brilliant clarity of the performance was noteworthy, in particular the precise location of various instruments. But it’s not a complex, dense piece, unlike Opeth’s ‘Blackwater Park’, the closing track from the Swedish band’s 2001 album of the same name [Sony Music 19439876312]. This posed the Summit Ama a different challenge of thick, distorted guitar riffs and crashing cymbals, but the speakers responded with a superb display of lower midrange strength and drive. Sticking with European prog/metal, Riverside’s epic nine-minute ‘The Struggle For Survival’ [Wasteland, InsideOutMusic; 44.1kHz/24-bit] was delivered with real speed and clarity right across the frequency range.

A few years ago, Michael Børresen and Flemming E. Rasmussen embarked on a mission: to create a flagship loudspeaker that preserved the distinctive M-series aesthetics while delivering dramatically greater performance. The Børresen M8 Gold Signature is the result of that quest —a singular creation representing the absolute pinnacle of our craft and more than a decade of accumulated engineering insight.

The M8 was conceived from a simple but uncompromising premise: a loudspeaker should react to the signal as quickly and as precisely as physics allows. To achieve this, long-held assumptions were re-examined. Every material choice, every structural decision, and every acoustic principle serves one overarching goal: to remove inertia, distortion, and delay between the signal and the sound. The result is a loudspeaker whose performance challenges conventional categories.

https://www.stereophile.com/content/nad-masters-series-m10-v3-streaming-integrated-amplifier

I connected my vinyl playback rig—the Arkiv B fitted to a Linn Ekos tonearm and a Linn Sondek LP12 turntable with its Lingo power supply—to the Black Head and the NAD M10 V3’s phono input. I took a deep breath, crossed my fingers, and played a test pressing of Sasha Matson’s Fillmore Street/Little Woodstar album on Albany Records, which I produced and which, like the 2012 Cannonball Adderley album, was mastered by Kevin Gray. Interesting. I remember the Black Head as sounding sweet back in the day, and the balance with the SUT feeding the NAD’s phono input did indeed sound sweet, though there was no lack of high-frequency detail. Alvester Garnett’s cymbals on Fillmore Street‘s first movement had sufficient “splash.”Using the Matson album, I performed level-matched comparisons between the LP played via the M10 V3’s phono input and the 24/96 FLAC files streamed with Qobuz Connect. The LP’s low frequencies sounded powerful and extended; the double bass and kickdrum were more clearly articulated with the digital version but somewhat less warm. The midrange seemed palpable with both media; on balance I slightly preferred the LP’s presentation