ProAc Tablette 10 loudspeaker Review

December 15, 2017 § Leave a comment

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“the ProAc’s also differ to KEF’s similarly LS3/5a-inspired LS50 is on forward momentum and weight. The latter offer greater heft to better satisfy listeners trying to fill larger listening/lounge rooms, especially those who prefer to play it louder. Overdrive the ProAc and you’ll hear hints of upper-midrange strain. The KEF are the by far the more physically arresting speaker of the two.”

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Rockport Technologies – Lyra DAMSTIF™ Enclosure – Video

December 12, 2017 § Leave a comment

The Absolute Sound 2018 Buyer’s Guide: Stand-Mounted Loudspeakers Under $3,000

December 11, 2017 § Leave a comment

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“5
Classic Totem through and through, the Sky is purpose-built—clean and seamless, with rigid cabinetry and beautiful veneer finishes. The Sky is also prima facie evidence of just how far small speakers have evolved in the way of a fuller-bodied and warmer musical balance. Its tweeter and woofer sing with an of-a-piece coherence. Given the right-sized room (medium-to-smallish) and strong amplifier support, the Totem Sky just clears its throat and lets loose, eliciting tuneful bass with resonant energy, dynamic vigor, and surprising slam. With break-in, the Sky grows significantly more textured and realistic: The ambience surrounding singers, for example, becomes airier and better defined. Hats off to Totem’s Vince Bruzzese for his continuing quest to coax big-time performance from the tiny two-way, while still harnessing the virtues of speed and transparency that come with a little box.”

Fern & Roby at the Capital Audiofest 2017 – Video

December 6, 2017 § Leave a comment

Sanders Model 10e Hybrid Electrostatic Loudspeaker $17,000 Review

December 5, 2017 § Leave a comment

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“The fact that the Sanders, because of the vertical size of the panel, presents a sonic image that is not fettered at a particular height while not theoretically predicated one way or the other (stereo does not have theoretical height impression) will add for some listeners an additional dimension of realism. Certainly those speakers that make one feel one is looking down at the music diminish the naturalness of the spatial impression. Point source speakers that present the height at ear level can be very natural, however. But there is a special impression generated by speakers that are enough like a line source to float the images vertically (so that the image moves up or down if the listener does), which to me seems natural as well, in a different way.”

GoldenEar Technology Triton Reference Loudspeakers $8499 Review

December 3, 2017 § Leave a comment

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“At more typical listening levels, the improvements in the mids and the highs revealed themselves readily when I played any good recording of acoustic piano. Hammer strokes sounded purer and more deliberate than I recall from the One — I was consistently drawn to the clarity and consistency of the References’ reproduction of pianos. In “Spanish Steps,” for example, it was always Morrison’s sax that drew most of my attention, but through the References, Neil Drinkwater’s piano held my focus just as much. The sound of cymbal crashes was also improved, in terms not only of cleanness but of liveliness — through the References, the highs were just a little more immediate, precise, and unrestrained.”

Markaudio-Sota Cesti T Loudspeakers $3495 Review

December 2, 2017 § Leave a comment

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“Perhaps the Cesti Ts’ greatest strength was their ability to resolve a detailed soundstage with large-scale orchestral music. Mahler’s Symphony No.5, in a concert recording by Yuri Temirkanov and the Saint Petersburg Philharmonic Orchestra (SACD/CD, Water Lily Acoustics WLA-WS-76 SACD), offered an excellent example of this. Through the Cesti Ts, the orchestra was spread out in front of the room across a superbly wide and deep stage. Recorded with only a single pair of microphones and produced without noise reduction, equalization, or compression, this CD is one of the most lifelike- and natural-sounding discs I own. The music was well served by the Cesti Ts, making it easy for me to close my eyes and visualize the performance unfolding in front of me. Even the occasional cough picked up by the mikes and clearly reproduced by the speakers served only to enhance the intimacy of my listening experience and increase the sense of authenticity.”

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