Audiophilepure

https://www.stereophile.com/content/dynaudio-focus-10-active-loudspeaker

“We have definitely improved the Focus tweeter with a device called the Hexis. It’s a plastic shape that looks like the Death Star and sits right behind the dome of the tweeter, very close to the diaphragm itself. The Hexis helps control the resonant behavior of the diaphragm and extends and helps give character to the high frequencies. It also helps protect the tweeter so if you accidentally push it, it won’t tend to crinkle or squash, thereby limiting high-end performance.

“We’ve also improved the midwoofer’s voice-coil, magnet system, and surround. The midrange/woofer is composed of polypropylene with added MSP (magnesium silicate polymer).” Because of this additive, it “delivers a much more natural sound than you typically get from a polypropylene cone.”

https://www.hifinews.com/content/wilson-audio-alexia-v-loudspeaker

Recalling a mentor who said, ‘If the soundstage is correct, all else will follow’, as with the Wilsonian concern for coherent and correct time arrival, within the soundstage – thanks to its scale, width, depth and height – I could picture with ease the performers and the instruments, and their relative sizes. Retrieval of detail was of macro-lens precision, as was exact instrument positioning. Confirmed in part by images in the CD’s booklet, it occurred to me that use of the term ‘uncanny’ is actually an understatement.

What turned this into a life-affirming experience, after dozens of favourite test tracks including most of Lou Rawls’ At Last [Blue Note CDP 7 91937 2] and the most authentic reproduction and contrast between his growl and Dianne Reeves’ sparkle, as well as Keb’ Mo’s Peace… Back By Popular Demand [Okeh/Epic EK 92687] with its gorgeous piano passages, was a recording from the Age of Sibilance. I don’t know why so many 1980s recordings are the antithesis of those from the velvety 1950s, but too many nestle on a knife-edge between treble extension and torment.

https://www.audiophilia.com/reviews/2022/9/23/bsc-research-dundee-8-loudspeakers

After I was finished listening to my classical examples, Mark played moments from the 1979 progressive rock classic Pink Floyd CD The Wall, allowing me to hear the electrical instruments of the band in a state-of-the-art recording. The recording was made manifest in the most arresting way. You could not be indifferent to the sound pouring through these babies. There was immediacy and energy, forward energy, born on the wings of the directionality of the sound. Very impressive. As an aside, I must admit, and many of you will laugh at this, I am not that familiar with Pink Floyd. By 1970 I had stopped playing and arranging “covers” of early Chicago and Blood Sweat and Tears material, sold off my “ballsy” Hammond-L and 251 Leslie speaker, and started focussing on the classical repertoire. (Yes, I do yearn occasionally to return to this repertoire). But I digress. For the moment, allow me to make a few final comments on the details of the speakers and we will have more to say about their sound.