Audiophilepure

http://www.hifiplus.com/articles/wilson-audio-sasha-daw-floorstanding-loudspeaker/?page=3

“In fact, the Sasha DAW’s only real weakness is possibly also its greatest strength. This is not a loudspeaker that ever sounds bad (its greatest strength), but it also has the potential to sound truly soul-shakingly good. There will be some pairs of Sasha DAWs where that potential remains untapped. This is a loudspeaker where going to the extra place is not simply an exercise in navel-gazing but returns the kind of performance that can stop you in your tracks. Here’s a perfect test of the Sasha DAW’s true power; play something evocative like Jacqueline du Pré’s remarkable rendition of the Elgar Cello Concerto [Barbirolli, LSO, EMI]. Unless the system has been set-up with a pick-axe, you will get goose-bumps. When the system is fully on song and at its very best, you find yourself in tears. It’s an uncontrollable, almost atavistic, reaction to the music that happens when the system pulls the music into focus. You can find this in very well set-up systems, but usually in very well set-up systems that cost so much they could depth-charge the economy of a small island nation.

http://www.theabsolutesound.com/articles/magico-m6/

“The three MPod feet that support the tripod on which the enclosure rests are very sophisticated devices that do more than couple the speaker to the floor. Magico calls the MPod a “noise-channeling support system.” Cones and spikes perform the important function of coupling the speaker to the floor so that the cabinet vibrates less. This anchoring effect makes the cabinet more resistant to moving in response to driver motion. But cones and spikes don’t dissipate vibrational energy. The ideal loudspeaker-to-floor interface would thus provide the anchoring effect of spikes, along with vibration dissipation. That’s the theory behind the MPod. The device employs constrained layer damping that is tuned so that the MPod provides solid coupling to the floor below 300Hz, but attenuates noise and vibration above that frequency. The damping material, which was reportedly developed for NASA, is so thoroughly researched that the designer using it can specify the precise frequency at which the material begins attenuating vibration. Note that the MPod’s lower hemisphere isn’t connected with hardware to the speaker, but rather through the constrained layer damping mechanism. The MPod is usually shipped with a pin inserted through the device that is removed once the MPod is installed. Removing the pin engages the constrained layer damping structure. It is thus possible to hear the effect of the device by pulling the pin. Unfortunately, the review samples had made the rounds of audio shows and weren’t shipped with pins, so I was unable to hear this comparison.”

https://www.stereo.net.au/reviews/revel-f228be-floorstanding-speakers-review

“This is a seriously capable loudspeaker, and so it should be at this price. The Revel F228Be is very sure in itself, and it’s almost as if it challenges the listener to find ever more challenging source material. Great recordings are rewarded with a huge sonic soundscape with three-dimensional imagery, dynamic slam and incredible finesse and detail. Despite being expensive, I believe” it’s actually rather good value for money then – you’d need to spend a good deal more to obtain relatively modest incremental gains. This big floorstander will please discerning buyers that demand realistic presence along with accuracy and musicality. “

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https://www.hifinews.com/content/goldenear-triton-oner-loudspeaker

“As already mentioned, I tried moving the speakers about while spinning some favourite tracks through them, but this was to little avail. You’ll soon go back to using them pointing straight at you, and with the bass control set to the ‘normal’ position.

Like that, the One.Rs give a wonderfully rich and ripe view of the John Wilson Orchestra’s Rogers & Hammerstein At The Movies album [Warner Classics 3193012], and in particular the light and shade of ‘The Carousel Waltz’, which whirls and spins from the most delicate of touches to great stabs of bass brass as it builds to its joyful climax.”

https://www.stereophile.com/content/elac-carina-bs2434-loudspeaker

“I had high hopes for the Carina BS243.4 with Schiit’s new $799 Aegir power amplifier. If this combo could play demonstration-quality recordings with demonstration-quality sound, a better place.

I already knew the Elacs could do elegant and refined, but there remained in my mind some X-factor, some sonic issue I was not quite noticing. I felt this because, while I listened, my brain kept scanning the soundfield for anomalies, trying to decide whether the BS243.4s can focus and image with sufficient precision. I realized that, despite the Elacs’ good dispersion—or perhaps because of it—toe-in was working like the focus ring on a camera lens. But unfortunately, at this point in the review, my brain could not decide when the best focus had been achieved.”

https://hometheaterhifi.com/reviews/speaker/floor-standing/sonus-faber-olympica-nova-v-tower-speaker-review/

“It pains me to say, but as much as I love the original Olympica IIIs that have anchored my media room setup for four years now, the new Olympica Nova Vs are superior in every way imaginable. The three woofers on the Olympica Nova Vs offer a significant improvement in bass output as well as depth. More surprising is that even with the additional bass, the Olympica Nova Vs were less sensitive to positioning in my room. This bass also seemed to blend better with the midrange, creating a more cohesive experience. The Olympica Nova Vs sound phenomenal with well-recorded classical and jazz yet can totally rock out if you prefer more dynamic styles of music, like EDM or Metal. The larger cabinet and improved construction seem to have made a fuller-bodied sounding speaker as well. Male and female vocals are handled with equal aplomb. Much like their predecessors, they present great detail and dynamics without crossing over towards harsh or clinical sound. “