Audiophilepure

The Stella Utopia EM Evo acquitted itself well during the evaluation period, with impressive transparency, lightning quick transient response, near unlimited dynamic playback capability, excellent lateral soundstaging and imaging, very good image height, and great instrumental separation to complement very tight, controlled, and refined bass response. The Ash Grey finish on the evaluation pair is as beautiful to look at as the sound produced by the speaker. Since the current version Stella’s introduction in 2018, many new upper-high-end speakers have entered the market from several manufacturers. Today, these Stella Utopia EM Evos continue to produce excellent sound that is competitive with all of them. Go listen and hear for yourself how Stella(r) sounding they can be.

https://www.stereophile.com/content/tad-ce1tx-loudspeaker

My definition of the word “best,” as applied to audiophile speakers, would include expressions like “extremely well-sorted” and “exposes everything” and “flawless tone.” This thought struck me now because exactly these words passed through my head over and over during the hundreds of hours I spent listening with the TAD CE1TX’s. These luxuriously appointed standmounts specialize in converting tiny signal currents into moving air with atomic-clock precision—all by itself, a captivating phenomenon to witness. But what elevated these new TADs to a level of performance I’ve rarely experienced from any speakers, anywhere, at any price is the coexistence of that atomic-clock precision with an innate ability to present instruments and voices in a most agreeable, seductive manner.

https://www.soundstageultra.com/index.php/equipment-menu/1180-psb-synchrony-t800-loudspeaker

Moving into the midrange, things got a lot closer. The Sonus Fabers and PSBs both produced an essentially neutral midrange that did not color voices. Both models created good width and, when the music allowed, produced a soundstage that was both expansive laterally and precise. Vocalists that should appear dead center did exactly that. The one difference was that the Sonus Fabers had a slightly more dimensional midband whereas the PSBs could sound a touch flat by comparison. The SFs produced a soundstage that was deeper and more three-dimensional as a result. The upper frequencies were a bit surprising: I actually heard slightly more air and sparkle through the Sonus Fabers than through the PSBs. This may come as a surprise, as the SF contains a soft-dome tweeter and the PSB is equipped with a metal dome.

https://www.enjoythemusic.com/superioraudio/equipment/0423/Alsyvox_Audio_Design_Botticelli_X_Loudspeaker_Review.htm

Over our entire day of listening, the resultant degree of coherence the Botticelli effortlessly delivered, its ability to convincingly speak with one continuous voice, was simply extraordinary. That voice is full-bodied, replete with the complex harmonic structures of individual instrumental accents that it presents with an overall tonal balance that is as faultless as I’ve ever experienced from any ribbon driver-based loudspeaker. As such, the piano was superbly represented time and time again, and the Botticelli’s ability to convey micro-dynamic shadings, combined with its truthful depiction of timbre, was simply and convincingly real sounding. Tone color is richly vibrant and texturally complete. Instrumental decay is portrayed exceptionally faithfully, with a sense of unrestricted speed that allowed for a very natural interpretation of its natural linger and air, all attributes of their remarkable coherence and astonishing speed.