Audiophilepure

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.

https://www.stereophile.com/content/philharmonic-audio-bmr-monitor-loudspeaker

When the subject of where the speaker is made came up, Ken replied, “From across the world. It’s hand-assembled in the US, but we source components from China, Serbia, Indonesia, and Taiwan. When you buy our speaker, you’re supporting the GDP of five countries.”

The BMR’s sensitivity is rated at 86.5dB/2.83V/m, a figure Ken said was conservative; he puts it closer to 88, 89dB; we’ll see what JA’s measurements show. As for the speaker’s lowish 4 ohm impedance, Ken said it’s very linear and smooth and shouldn’t present a difficult load to the amplifier. He suggested a minimum power requirement of between 40 to 60Wpc, adding, “we know people who use 300B amps with it and are happy, so it really depends on how far your listening distance is and how loud you play your music.”

https://pt.audio/2025/03/21/wolf-von-langa-serendipity-loudspeakers-review/

That’s not damning with faint praise, mind you. I’m just setting up the reason why these monitors really impressed the heck out of me, and think part of it is the AMT tweeter. It seems like I’m really an AMT fan, and every time I review a speaker with one I find myself hurling one compliment after another at its creased and folded little feet. The aforementioned bass performance seems to create an impressive and believable whole with the higher frequencies. I’m almost convinced that another tweeter would have to impact the performance of this speaker in a profoundly negative way.

https://www.hifichoice.com/content/dali-rubikore-2

This also means that with well-recorded, smaller-scale music, the DALI is joyous in what it can do. Revisiting Chris Thile’s earlier work with Nickel Creek delivers a truly stunning performance with the debut album of the same name. The achingly lovely When You Come Back Down is presented with an effortlessness that transcends the playback hardware and lets you rejoice in a presentation that balances energy and refinement to spectacular effect. The violin solo in the track can sound a little bright on the end of quite a few speakers, but here it’s positively sumptuous.