Audiophilepure

AMT drivers manifest both horizontal and vertical dispersion similar to that of a small dome tweeter, but without the vertical dispersion issues of a ribbon, which requires a listener to be seated at precisely the same height as the transducer to get the superior detail that technology promises. Audiovector further improves its AMT driver by implementing the “Soundstage Enhancement Concept,” sending 30% of the tweeter’s energy backwards—through a long tube so there won’t be any negative interaction with the radiation to the front. There’s less compression and distortion. Klifoth declared proudly: “The technology creates openness, better harmonics, and a generally more lifelike presentation.” Well, of course, he’d say that: They’re his speakers. Time to report on my own experience with the R1 Arretés—and the experience of three other listeners especially qualified to have informed opinions about the Audiovector’s high-frequency reproduction.

https://www.hifinews.com/content/scansonic-m20-loudspeaker

Fed with the familiar symphonic work-out that is Britten’s ‘Young Person’s Guide To The Orchestra’, here played by the Kansas City Symphony Orchestra under conductor Michael Stern [from Britten’s Orchestra, Reference Recordings RR-120SACD], the strength of these Scansonic speakers is in the detail they bring out in the various instrumental groups, and their speed and lightness of touch. But as the great final fugue builds to its climax, one can’t help but want for a bit more grunt and scale.

That said, these speakers don’t need massive amplifier power to do their stuff. With a Supernait 3 integrated from Naim, which admittedly falls below the lower limit of Scansonic’s suggestion, they were easily capable of going more than loud enough with no signs of stress, while still sounding both open and dynamic.