September 19, 2018 § Leave a comment
“They go loud too. Kii Audio claims a maximum sound pressure level peak of 115dB, which is impressive and entirely believable if our experience is anything to go by. Turn the volume up and the Threes stay remarkably clean and unflustered, keeping obvious distortions to very low levels.
We move onto Beethoven’s Fifth Symphony and enjoy the speaker’s dynamic punch and ability to track a multitude of instrumental strands without confusion. The Threes sound brilliantly organised and have the composure to match even when the music becomes demanding. They can deliver a large-scale sound with an authority that’s well beyond most similarly sized rivals and with clarity most barely hint at”
September 15, 2018 § Leave a comment
“If price is your main consideration–and it certainly is for most people–there are plenty of options available at roughly the $10,000 level. An equally important consideration, though, is size. A smaller speaker is much easier to integrate into a room, and if it can perform at the level of the Kanta No. 2, you will score some bonus points with your significant other. I would contend that most audio enthusiasts are guilty of believing that more is better. Go big or go home is the typical thought process. I would caution to choose speakers for the room size, not based on your insecurities: Bigger is not always better and is more often a problem when considering the speaker to room proportion ratio. Having lived with the Kanta for a few months, I began to appreciate the total package: a huge and high-resolution soundstage with manageable dimensions.”
September 14, 2018 § Leave a comment
“Things are good tonally. The Contours have a smooth, refined balance that avoids emphasising the harshness in aggressive recordings. Bass is rich but remains articulate, and is surprisingly extended for a speaker of this size. With eyes closed, it would be easy to imagine the sound coming from the 20s to be that from decently sized floorstanders.”
September 12, 2018 § Leave a comment
“My takeaway from the measurements is that they confirm my listening impressions. This is probably why trying to equalize these speakers (at all) provides no significant improvement. They’re designed to work just fine, thank you, right out of the box! No room correction, parametric equalizers, or bass foolery required. Now this presumes (obviously) that you have a room that is not an echo chamber, that your speaker placement in the room is symmetrical from right to left, and that you’re willing to do some “speaker dancing” to find the best position for the Revels. Should any of those conditions not be so, then you’ll probably benefit significantly from some of the room correction software available on most any AVR or HT processor.
Which brings up yet another issue. Although you CAN run the Revel Performa M126Be speakers from an AVR, I wouldn’t generally recommend it. The Revels are Lipizzaner Stallions, not dray horses. They’ll show you the best (and the worst) of the associated electronics. Unless you get very lucky, hooking up a “bargain” receiver, preamp, power amp, or integrated to the Revels will only show you the error of your ways. I consider my Arcam AVR550 an unusual enough uber-performer in the world of AV receivers that I can get away with using it with the Revels, but only barely.”
September 5, 2018 § Leave a comment
“I have been using computer based software DSP since 2011 to custom design digital FIR correction filters in both the frequency and time domain for loudspeakers in rooms. In my own listening tests, I prefer the tilted response from 20 Hz to -10 dB @ 20 kHz. To my ears, sounds subjectively balanced or neutral from top to bottom. Whatever your preference is, this is a good place to start, as the subjective listening tests that Sean and team have performed, multiple times, with multiple participants, does correlate to a preferred in-room measured response, assuming good loudspeaker design with smooth directivity.
I hope folks get an opportunity to hear the Kii THREE’s, as an excellent example of what accurate sound reproduction “sounds” like. If you are in Vancouver, head over to Liquid Sound for a listen. This speaker measures as good as it sounds and vice versa. Smooth frequency response from 21 Hz to 20 kHz with time aligned drivers, means the music arriving at one’s ears matches as closely as possible to the content on the recording. ”
September 1, 2018 § Leave a comment
“There is no such thing as a perfect loudspeaker. Even the very best of them trade compromises across a range of parameters. The ELAC Adante AS-61 is no different, but the step-change in technology means it’s trading compromises at a more advanced reading age than its peers. I listen to a lot of good loudspeakers, some of which have feet that cost more than these Adante standmounts, but this is the one that gives me pause. The ELAC Adante AS-61 is the loudspeaker that takes on the high-end behemoths… and wins!”