Audiophilepure

https://www.soundandvision.com/content/kef-lsx-ii-wireless-speaker-system-review

Otherwise, day-to-day operation of the LSX II speaker system was a snap, whether streaming from the KEF Connect app or directly from the “native” Qobuz or Tidal apps on my iPad mini. (Though I confess this can get a bit confusing—which app is this, anyway?) Most users will be perfectly happy using KEF’s app. It has all of the expected music-streaming features—playlists, “favorites,” and the like—and is about as simple and intuitive as one can expect in this decidedly un-simple age. That said, I must observe that there are no physical controls on the LSX II speakers themselves apart from the pairing and reset buttons on the rear of the main speaker. So if the KEF remote—which provides volume, input, and play/pause/skip controls—is lost in the sofa cushions and your phone or tablet was forgotten at the office…

Lastly, the Connect app lacks any tone controls, per se. If you choose the “Expert” setup mode you can effectively adjust treble, midrange, and bass by a few dB each, but you must first dig deep into the 104-page PDF owner’s manual to learn how these correlate to “Desk Mode,” “Wall Mode,” treble Trim, and Bass Extension; this is probably done by design to discourage ham-thumbed users from screwing up the LSX II’s carefully created native balance.

https://www.soundstageultra.com/index.php/equipment-menu/1135-atc-scm50-passive-active-loudspeaker

This pair of ATC SCM50s was quite simply one of the most breathtakingly revealing sets of loudspeakers I have ever heard. According to my definition of what constitutes high-end sound, these loudspeakers utterly excelled across all parameters, and I believe this is no coincidence. The SCM50 was designed from the outset as a recording engineer’s scalpel; its task was to reveal every unwanted creak of a chair or surplus open microphone channel, and to permit forensic analysis of a singer’s performance or technique. In Making Rumours, Caillat describes how they chose which microphone to use for Nicks’s lead vocals on “Dreams.” He set up around eight top-class vocal microphones on a long line of booms in the live room of the Record Plant studio in Sausalito, California, and asked her to sing into each one in turn. It was quickly apparent to both of them that the Sennheiser 441 best suited Nicks’s voice, and it became her microphone of choice. It’s the incredible transparency and openness of studio monitors that allows such differences to be discerned, and I believe it is the combination of ATC’s studio heritage and superlative engineering that makes the SCM50 such an exceptional loudspeaker for the home.