Audiophilepure

READ HERE

“Scrolling through Qobuz to find some tasty tunes to stream, I settled on the famous 1961 live Bill Evans Trio recording from the Village Vanguard jazz club in New York City. Right out of the gate I heard many similar qualities between the Magnepans and the Quad ESL-57 speakers I use every day, with LRS delivering high levels of transparency and coherency. The volume of air in this tiny club, one I’m familiar with, was instantly recognizable, with every murmur from the audience or clink of glasses on the bar plainly audible. The sound of Evans’ piano had the percussive attack of the real thing, while Paul Motian’s cymbals sizzled. But the real star of this recording is young bassist Scott LaFaro, whose blazing virtuosity was cut short by a car accident just days later. LaFaro’s fingering and speed were startlingly clear through the LRS, and while the panel didn’t deliver the deep thunder of his instrument, I didn’t really feel like I was being short-changed.”

Read Here

“Audiophiles, of course, cannot live by deep bass alone—at least the experienced ones. Those frequencies should provide a foundation for everything else that happens. I’ve mentioned this before, but Bob Clarke of Profundo loves to evaluate high-end audio systems with recordings of grand pianos—as opposed to female voice. That prompted a listen to Australian pianist/composer Alister Spence’s album, Whirlpool, a two-disc set that’s his first solo album in three decades.

Spence is a pianist who spends a lot of time on the left half of the keyboard, so to speak, and most of these improvisations focus on deep water—its power, its persistence, its expansiveness. The Joseph Audio Pulsar2 loudspeakers were so adept at drawing out that aquatic vastness that I could easily hear the inspiration from Debussy’s La Mer, that sublime and humbling rise and fall of ocean waves, without any hint from the liner notes.”

The Sonus faber Lumina III is a fairly petite floorstanding speaker, not heavy at all at 35 pounds per, which suggests another reason why these speakers are so affordable (MInimalism!) The ply on the baffle can be covered with wenge or walnut, or in gloss black. I was immediately interested in the wenge from the press photos but I got walnut, which is still gorgeous. You can also get them in matte with maple inlays, which sounds like something I’d dig. And, of course, the rest of the enclosure is covered in that “iconic” leather. (LUxury!)

The Lumina line borrows plenty of technologies from the more expensive lines, another reason for the affordable MSRPs. The tweeters are the same DAD (damped apex dome) models used in the Sonetto series, as are the 5” midrange drivers. The 5” paper cone woofers are new, designed to match well with the mids. The Sonus faber Lumina III is a three-way, four-driver design with a sensitivity of  89 dB and a 4-ohm impedance and a frequency response that goes down to about 40 Hz.

Read Here

“Listen to the self-titled track from The Scotts and the improvements are obvious, with the new version delivering harder hitting, more layered lows. The previous model sounds bloated and blurred in comparison. The extra control at low frequencies helps rhythmic drive and agility.

Move up the frequency range and the steps up in articulation and clarity are striking. Voices come through with greater subtlety, and it’s easier to hear changes in intonation and phrasing. The Series 2 offers a clearer view of the recording and sounds more balanced overall.

The differences between the speakers are just as stark when we play The Road OST from Nick Cave and Warren Ellis. The title track has a sparse piano opening and we’re struck with just how much more defined and open the new speakers sound.

Their presentation is tauter, and a little more forward than the originals, but also sounds more natural and transparent. Tonally, there’s been a shift away from what now seems like a slightly over-blown bass and overly rich lower midrange to something more neutral.”

Read Here

“Sonus Faber’s Electa Amator III ($10,000/pair) is different. In many ways, lining up this two-way minimonitor next to Focal’s flagship stand-mount is a study in contrasts. From its solid-walnut (not MDF!) cabinet to its use of marble and brass, it looks far more artisanal than the average bookshelf model, and its price includes matching stands of very high quality. The EAIII has the same 1.1” fabric-dome tweeter used in Sonus Faber’s flagship model, the Aida ($130,000/pair), and a 7.1” paper-coned midrange-woofer based on drivers higher in the Italian brand’s line. The EAIII is voiced differently from most of today’s speakers, with a “smiling” frequency response: that is, it slightly boosts the bass and treble. I adored it when I reviewed it in 2019, having greatly admired its build quality and visual charm. It also sounded very good, with punchy output in the all-important midbass. This, allied to its detailed yet rich, almost golden midrange, made listening through the EAIIIs great fun with every type of music I played.”

Read Here

“Full range, low distortion, no coloration: The thoroughbred performance of the Divin Marquis confirms that Göbel High End presents serious competition to the Wilsons, Magicos, Rockports, Tidals, von Schweikerts, and YG Acousticses of the cost-no-object loudspeaker world. I am going to miss the Göbels when they go back to the distributor, and I am not looking forward to packing them into the flight cases and maneuvering them up the steps to my vestibule.”

Read Here

“From the jump, the Sonnets presented an engaging, inviting, detailed yet utterly natural timbre, and a sound stage that bloomed in all directions. With some added care, the frequency range was very smooth and linear with an overall warm balance. No, they will not replace my 500 lb Sunny Cable Majestic15, or my 50K Lansche 4.1 with 4 powered 10 inch bass drivers and Plasma tweeters. I can say that the $8K Sonnets possesses wholly unique qualities that even some of the big dollar designs don’t possess in the same way. Ultimately what you get with the Sonnets add up to intense musicality, outstanding reproduction of timbre, great dynamic output, and effortless detail retrieval.”

Read Here

“With the full-port plug, the response drops off even less steep. D4 distortion is back up where it was with no port plug, but the D2 (2nd ordered harmonics) are lower. Overall, the harmonic distortion appears to be less, but the bass output is also a bit less (I left the volume control unchanged for all three bass response tests).”