Audiophilepure

https://www.hifinews.com/content/canton-reference-3-loudspeaker

Complementing other Canton Reference models, the Reference 3s also deliver a very engaging listening experience marrying controlled, substantial bass with warmth and convincing levels of detail. Soundstaging is not as immersive as it might be, but the musical ride is still potent, tactile and emotionally convincing. All this while letting you savour the softer look and superb finish of Canton’s new Reference lineup.

https://www.enjoythemusic.com/superioraudio/equipment/0522/Von_Schweikert_Audio_Endeavor_SE_Floorstanding_Loudspeaker_Review.htm

However, this was not at all my experience with the ESE. Of course, amplitude naturally weakened outside of the listening room, however, I found the presentation remained otherwise intact and true to life. Within the listening room, the sweet spot was everywhere you were. Every sonic attribute – transient speed, timbre, frequency balance, imaging, etc. — remained present, enveloping, and otherwise perfectly balanced to the recorded venue. In many ways, the effect is similar to omni-directional designs. The biggest difference, in my opinion (having listened to omni-directional speakers in my room before), is that omni-directional seemed to lack a solid center image, whereas, the ESE retained vivid imagery, placement, and staging.

It should be noted that, with a frequency response extending down to 28Hz, and an efficiency of 89dB/W/m behind them, I found the two ESE 7″ woofers to be exceptionally fast and articulate with plenty of balanced reaches into the lowest frequencies during most listening sessions. Throughout the review, I did tease the presentation with my Velodyne DD10+, experimenting with various crossover and amplitude points. Ultimately, however, I found a preference for the Velodyne contributions was minimal, leaving the sub out of the picture for almost all listening

https://www.hifinews.com/content/rockport-technologies-orion-loudspeaker

This track builds towards a crescendo, the mix becoming more complex, the musical picture bigger. Through the Orions, not one element of this huge wall of sound sounded out of place. These are speakers that don’t exaggerate anything unduly, although the potency of their bass will be sure to remind some listeners what they’ve been missing out on.

And you can, without worry, give the Orions the kind of intimate, sparse music favoured by the hi-fi cognoscenti. The recent Bob Ludwig remaster of Regina Spektor’s ‘Samson’ [Songs; Sire 093624842484], which features the vocalist accompanying herself on piano, was a masterclass in tonal nuance and clear, smooth mid-tones, plus the detail needed to evoke her finger playing and pedal technique. John Mayer’s ‘Slow Dancing In A Burning Room’ [Continuum; Columbia 96kHz/24-bit] is similar, combining acoustic guitars and solo vocal, and again the Orion loudspeakers delivered a sound of immediacy and insight, with small details populating a big stage.

I really can go on and on about the Technics SC-CX700 speaker system, but you get the gist of my enjoyment overall. At first, I thought this to be more of a lifestyle piece of gear, it is designed to integrate into your main audio listening environment, whether from a television or from streaming. Hell, there are soundbars that can do some of that, too. I was wrong in my assumption; this is a serious piece of audio gear that should maintain its technical integrity and ability into the future. I would have no problem living with this system as my main audio source, period.

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https://www.hifichoice.com/content/triangle-capella

With setup completed and sat on the low stands supplied with the Mission 700 standing in for the dedicated stand as it has a top plate large enough to accommodate the Triangle, the Capella impresses from the outset. The relationship between the amplification and drivers is extremely well judged. With the tweeter in particular, the Capella delivers on the dispersion and impressive immediacy it promises, but even leaning on it hard with the Qobuz stream of EBM by Editors, the top end is impressively refined and controlled.

https://www.soundandvision.com/content/monitor-audio-studio-89-loudspeaker-review

Finally, while some might consider these little Monitors to be “bookshelf” speakers, their rear‑panel ports will require at least a few inches of breathing room (to say nothing of the fact that small monitors like these almost always sound substantially better well out into a room). And, with 14″‑plus of depth, you’d need a pretty broad shelf, though a sufficiently low credenza or similar furniture could work nicely. There are no grilles, so prospective owners with aggressive cats, ferrets, or ill‑disciplined small children should take note.

The wrap? These are very fine‑sounding, intelligently engineered small speakers. That said, their price range is a crowded one, populated by several strong competitors, including some active, DSP‑corrected designs that include amplification, room‑correction, and music‑source facilities. So the competitive environment is a tough one. But if you need a quite small, very high‑performing passive loudspeaker that, while not cheap, is not crazily spendy, Monitor Audio’s got you covered right here

The Summit X is the Charles Barkley of loudspeakers. It plays better than it will probably ever get credit for and it would have been a superstar if Michael Jordan (the CLX) hadn’t come along at about the same time. But it’s still able to mop up everyone else on the court. Well, I can’t compare speakers to cars all the time, can I?

The good news is that the Summit X is about $10,000 less than the CLX, it has a lot more flexibility and it doesn’t require a pair of subwoofers to really give its all. It is a better value for all but the most demanding listener. The Summit was one of my favorite speakers of all time, and the new Summit X is even better. Properly setup with electronics to match, these speakers will paint a huge musical canvas for you to enjoy.

These speakers feature a 91.5 sensitivity rating, so anything above 35 watts per channel will drive them, and from hands-on experience, they are very tube friendly.

A bit of time at a friends’ house listening to the Sopra no. 3 for the better part of a day led me to revisit my review, written some time ago, when the bright orange Sopra no.3 graced our cover, and became my personal reference for a few years. Staffer Earle Blanton still uses his Sopra no.3’s as his reference, along with a pair of REL 212SX subwoofers. A formidable combination.