Audiophilepure

http://www.theabsolutesound.com/articles/joseph-audio-pearl-2020-graphene-loudspeaker/

Choosing to go even bigger, I put on the Liszt Hungarian Rhapsody No. 2 from Stokowski Rhapsodies LP/tape [LSC-2471, RCA/Classic Records reissue or 15ips RRAP 0009 Analogue Productions Ultra Tape]. Liszt begins with a big, rich, full-throttled sound (from strings, horns, percussion, and bass) that immerses the listener in a huge soundscape with a sense of stage depth, size, and grandeur appropriate to this music. The direct sound is reinforced by reflected sound from the orchestra’s hall that is easily heard as a supporting contribution rather than a homogenized facsimile. The Pearls maintained the direct-versus-reflected aural distinction embedded in the recording, while also allowing individual instruments to sound fabulous within the mix.

Fleetwood DeVille Speaker Review

The overall in-room response, as measured on the tweeter axis and within a few inches above and below the tweeter midline, was fairly uniform to about 300Hz, where room modes began to appear. A response dip of about 3dB was seen in the upper midrange with the measurement mic positioned a few inches below the horn. I’m not suggesting that a single measurement is predictive of the in-room tonal balance when listening in the far field, where spatial averaging of sound energy becomes important. However, I had set up the DeVille as I would a mid-field studio monitor, and found listening height to be a critical factor to obtaining the most accurate tonal balance. Mounted on the 24-inch-tall factory stands, the horn ended up above my ear height. I experienced a significant increase in upper-midrange energy when I stood up, such that my ears either lined up level with or were slightly above the horn. I went the extra mile here and acquired 16-inch-tall stands (featuring a slight tilt back) so I could lower the horn midline by about 8 inches and match the horn height to my ear level. This gave the most accurate tonal fidelity with my favorite sopranos.”

https://www.soundstageultra.com/index.php/equipment-menu/991-dynaudio-contour-20i-loudspeakers#most-read-equipment-reviews

Like my old Contour 1.8 Mk.IIs, all current Contour models are still made in Dynaudio’s factory in Skanderborg, Denmark, where they also manufacture over a million drivers per year, for themselves as well as select OEM customers, and have impressive measurement and quality-control facilities. Dynaudio is a hi-fi heavyweight. Unlike many newer, smaller outfits, where production volumes are low and post-sale support can be spotty, Dynaudio warrants the Contour 20i for five years, extendable to eight years with registration of the units on Dynaudio’s website. Nice.