Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1081-atc-scm40-loudspeakers

The ATC SCM40 is an extraordinary loudspeaker at this price and it’s very hard for me to think of anything that comes close, even at twice its cost. There are speakers that reveal more at very low listening levels—my own Naim SBLs, for example—but the SCM40s opened up and took a clear lead once the volume rose a little. The ATCs are beautifully built, easy to accommodate, possess world-class dynamics, deliver a powerful full-bandwidth sound, and are blessed with what I think is the world’s best midrange driver. Fed by good sources and driven with enough power, they delivered superb transparency and soundstaging. With their refined new tweeter they are more tolerant of poor recordings than many loudspeakers at this level. The SCM40s had astonishing timing and speed—there was zero overhang, and transient sounds were delivered like a bullet through a plate-glass window. They could groove and rock with the best, yet displayed superb delicacy on classical instruments or solo piano.

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distortions and colorations, but they never sound dry or overdamped and they have impeccably natural timbre. Their transient behavior is absolutely impressive, bordering on what the Magicos can do and certainly not what I am accustomed to hearing from Magnepan or Apogee. And in addition to sounding technically impressive, they also move me emotionally. So what’s missing, one might ask. Well, that would be bass impact and overall slam, and to a lesser extent, soundstage depth. But do note that it’s not bass depth that is missing, only the kind of “kick” that you get with cone drivers.

But for a speaker costing 6000 euros, I’d say that is a major achievement. There’s no such thing as the perfect speaker and there will always be lesser aspects. Certainly with cabinet speakers. So, if you are in the market for an ultra-revealing speaker and your musical diet does not lean very heavily on metal or hard-rock, the DP-107’s could be ideal.

https://www.soundstagehifi.com/index.php/equipment-reviews/1657-klipsch-la-scala-al5-loudspeakers

So what was there to do at that point other than nip downstairs and listen to The Wall from start to finish. It’s a glorious album, huge in scope and huge in its ability to reach through time, always managing to sound fresh through the years I’ve been listening to it. My pressing of choice is the Japanese Sony (LP, Sony 4OAP 1750-1); it just slightly betters the 2017 reissue. About halfway through “One of My Turns,” when Pink loses his shit and starts throwing stuff around, the quick transition slammed me back in my seat and for the first time, made me focus on how the keyboards help drive this track. I also took note of the way the La Scala’s fairly sharp bass cut-off made me miss some of the power of Mason’s kick drum and Waters’s bass. With this track in particular, and with bass-forward music in general, I realized that when I get my own huge industrial loft and end up purchasing my own pair of La Scalas, I’ll definitely want a couple of equally large, equally powerful subwoofers to flesh out the range below 50Hz.