Audiophilepure

https://www.stereophile.com/content/chario-aviator-amelia-loudspeaker

Plenty of thought and care went into designing and making the Chario Aviator Amelias. Their delivery seems unforced and easy—but not “easy” as in laid-back. Easy as in effortless. They possessed a smooth, vivid naturalism. They’re big on immediacy—not shy about delivering a punch.

The Amelias sound bigger than they are. They were easily able to fill my high-volume listening room with sound. They share a bit of “omni” character with my MBL 120 loudspeakers, perhaps because of drivers on three of six surfaces dispersing sound throughout the room. The impression was of a wider, fuller sound than expected, though not to the extent of the MBL 120s, which are true omnis. I’d consider buying these if the time were right. It’d be easy to spend a similar amount of money and get inferior sonic results.

https://www.whathifi.com/us/reviews/sonus-faber-minima-amator-ii

Things are sure-footed rhythmically, too, with the speakers conveying the energy of music well. They sound composed yet enthusiastic with tracks such as this, and remain comfortable even when pushed hard. We would still point you elsewhere if you routinely listen at ‘party’ levels, but for most people who have small to medium-sized rooms these Sonus Fabers will go loud enough.

A listen to Beethoven’s 9th Symphony shows that these little gems can generate a sound of impressive scale. They handle larger dynamic shifts well, without sounding like they have to strain to do so. Their impressive control comes to the fore when it comes to tracking a multitude of instrumental strands without losing sight of the music’s whole. These are the kind of speakers that put the spotlight on the music and allow the mechanics of hi-fi to fade into the background.

Soundstage depth became more layered, and the interstitial haziness that sometimes clouds the spaces between images was cleared up. The soundstage seemed to open up a bit more across the board. How could improving phase in the lower overlap help imaging and the rendering of “space” around instruments to the extent I was hearing? I would expect this sort of soundstaging improvement if the upper overlap, closer to the frequency range where imaging information exists, had been improved. I cannot explain it, but it’s there. Whatever technical reasons are involved, the DC2 crossover brought about the same kinds of improvements in resolution, soundstaging, and dynamic agility that I heard when the ground-breaking YG BilletDome hybrid tweeter was introduced in early 2018 (see my Sonja 2.2 review)—which is to say, very rewarding performance increases, indeed. Is the pre-DC2 Sonja 2.2 still a great speaker? Yes, but better is better, and DC2 advances the Sonja further.

YG’s DC2 crossover improves the Sonja 2.2i’s overall sound quality more than I imagined was possible, and I presume similar or greater improvements are conferred on the upper Sonja models, as well. It is as if a key piece of a building were put in place, and the integrity of the entire structure became more robust. The DC2 crossover “unifies” more of the listening experience. YG has pursued both flat frequency response and a low relative phase angle with excellent results. The DC2 update further validates its approach. The time domain matters a lot in this game. I continue to be impressed with YG speakers, and the DC2-equipped Sonja 2.2i is another resounding success.