Audiophilepure

https://www.audiophilia.com/reviews/2025/7/1/audiovector-qr1-se-loudspeakers

Relative to the Audio Physic Step, which I had in-house at the same time, the QR1 SE offers more tactility and goosebump factor along with harder-hitting, deeper bass. The Audio Physic delivers a wider soundstage, more separation, pinpoint imaging, and generally disappears. While still revealing, the Audio Physic is perhaps slightly more forgiving in nature and likely to be more flexible in terms of partnering equipment. At approximately twice the price, the Audio Physic is a fine value given its refinement, but the QR1 SE is a screaming deal.

I gradually learned the QR1 SE is sensitive to placement in some aspects and quite flexible in other ways. The front-facing bass reflex slot allows the speaker to be placed near a rear wall. Anthony Chiarella recommended I try them in shelves as an experiment. This could be a viable setup where a rear-ported speaker would fail. In general, imaging depth diminished with proximity to the rear wall but not nearly as much as I would have expected, which is great for small spaces. On the contrary, in a larger room, leveraging the rear wall to boost the bass output and scale of the presentation was not as effective. In my living room, the Audio Physic Step could scale up and fill the space, while in my office, the QR1 SE had a more commanding presence over a wider range of volume levels.

https://www.soundstagehifi.com/index.php/equipment-reviews/1952-dynaudio-confidence-20a-active-loudspeaker-system

One of the tracks that I used to compare the two Danish speakers was “Silver Coin” from A Book Like This, the debut album by Australian brother-and-sister duo Angus & Julia Stone (16/44.1 FLAC, Nettwerk Music Group / Tidal). Again, the 20A pair did their vanishing trick, casting a wide soundstage that extended just beyond the front wall. I could hear every last detail in the opening violin notes: the clean, pure tone as well as the underlying grippy resinous friction of the bow across the strings and the woody resonance of the instrument body. The acoustic guitar was also presented with tremendous detail. It had natural resonance and realistic timbre. Angus’s voice had lifelike body and presence that I found enthralling. The slap of the brush on the snare drum had wonderful texture, and the bass guitar sounded solid and very articulate. Through the Confidence C2 floorstanders and Bryston monoblocks, the strings were a shade less clear, the guitar strings a little less incisive and a little more laid back, with a softer and warmer presentation. The piano sounded less focused through the C2 Signature speakers than through the 20A system, and the drums were not as well textured—the patter of brushes was less distinct and nuanced. But sonic images were larger with the C2. The C2s were less revealing of the drum-skin textures. The patter of brushes was less distinct and nuanced. Bass was noticeably deeper and fuller with the C2s, but the 20A system sounded a little more articulate in the mid bass.