Audiophilepure

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“The level of clarity and detail retrieval they provide is about as best as I have heard from a passive loudspeaker. Vocal reproduction is equally flawless and about as uncolored as I have come across. Bass response was deep, potent and detailed, especially when tempered with just the right amount of room correction in my case. Soundstage reproduction and off-axis response are equally impressive, so you don’t have to be in the sweet spot all of the time. Practically speaking, they have no real weaknesses that I can divine. That makes them a benchmark in my book when it comes to stereo speakers. I don’t know what Keven Voecks and the folks at Revel have in mind to top the F228Be when the sights turn to update the Ultima2 line. But until that fateful day, and if financial fortune should ever smile upon me”

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“The above graphs show the Revel M126Be speaker’s low-frequency responses that I captured using groundplane measurements (where the speaker and microphone are on the ground in a wide-open area). Revel characterizes the low-end response as -6 dB at 54 Hz, and this is a conservative spec by my measurements. In ported mode, the response knee pretty much starts a bit below 60 Hz, and there is usable output below 50 Hz. I also measured the M126Be with its port plugged. We can see that it reduces output below 100 Hz. This might be handy for those who are getting too much of a bass boost from having to place the speaker near large room surfaces. Overall, the responses shown here are quite good and shows a well-implemented port. This is a bookshelf speaker with solid extension down to 50 Hz, and that range will cover most music recordings, especially of acoustic music. Those who don’t need deep bass can get by without a sub, but those who want the subterranean thunder of modern action movies will certainly want to add a sub. I think the 50 Hz extension is a very reasonable frequency to aim for. It covers much conventional music without trying for deep bass which would have incurred a big penalty in sensitivity.”

https://hometheaterreview.com/aperion-audio-novus-502-speaker-system-reviewed/

“Setting the speakers up is fairly straightforward. As there isn’t anything too unconventional about their design, they don’t require anything particularly special in terms of placement. If this is your first time setting up a pair of surround speakers, I’d refer you to the user manual for helpful tips on proper setup. Potential buyers should note that the A5 height and surround bookshelf speakers don’t come with wall mount brackets in the box, so be sure to get yourself a couple with rated weight support for these speakers if you need them mounted.”

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From what I’ve learned regarding how Jorn was able to reduce the overall cost of the Vimberg speaker line, for starters – although sourced from Accuton, the drivers for the Vimberg line are from the standard stock of drivers rather than the much higher costing custom units that are made exclusively for the Tidal line. Another cost reduction process has to do with the finish. For the Vimberg line, Jorn uses a special machine for the finishing process. Additionally, the finish is approximately one-half as thick as the meticulous, labor intensive, manual process used for creating the stunning finishes of the Tidal speakers. Beyond that, the highly polished stainless steel mounting brackets and feet for the Tidal speakers has been replaced on the Vimberg with glass-pearl streamed anodized aluminum units. Obviously there are more areas where Jorn was able to trim costs but for high-level understanding, these are the primary areas that provide a significant amount of the cost reduction for the manufacturing process of the Vimberg loudspeakers.”

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“And my time with the Klipsches was a sobering reminder: Amplifiers and loudspeakers—especially low-power amplifiers and ostensibly easy-to-drive speakers—require careful matching. If the output characteristics of the former don’t suit the impedance characteristics of the latter, it doesn’t matter if both components offer Class A performance under optimal conditions: The sound won’t get off the ground. (I shudder to think how many great products have been poorly reviewed by gurus who condemned them merely for not performing well with their references.) It’s tempting to think that very sensitive speakers in general, and horns in particular, will sound great with virtually any low-power tube amp—but it just ain’t so.”

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“The ATC SCM100SE is a big-boned loudspeaker, and while its SE aesthetics help it to look more classy than its ‘pro-tools’ type stablemates, it will never be the slender belle of the speaker ball. But the 100SE makes no apologies for this and neither should it. If you want to move air properly you need a box with volume and preferably a large bass driver. The SCM100SE has both and is very well put together. What makes it so appealing is the ease with which it goes about the business of reproducing not only the full bandwidth of the signal but its full dynamic envelope as well, and if you like to play at levels that approach the realistic, it is in a class of its own. ”

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“It was the R11s’ imaging that blew me away. With or without the assistance of subwoofers, the 705 S2 minimonitors are imaging monsters that can chisel out aural images on a soundstage with laser precision. Not everyone likes or wants this, but I do. Because the R11s are large tower speakers, I didn’t expect that level of imaging definition. Then I listened to “Give Me One Reason,” from Tracy Chapman’s New Beginning (16/44.1 FLAC, Elektra), a track I often play to test a speaker’s imaging abilities. It begins with plucked guitar to left of center, then Chapman’s voice dead center, then Andy Stoller’s bass drum, including his subtle cymbal work just to the right of and behind the first guitar, then a second guitar far to the right of Chapman’s voice. Then two background singers enter, behind and to the right and left of Chapman’s lead vocal. As I listened to the R11s re-create each of these images with exquisite precision, sometimes down to what seemed the size of a tennis ball floating between the speakers, I knew they’d give up nothing to the much smaller B&Ws with SVS subs. Even when instruments were panned hard right or left, their sounds didn’t seem to emerge from the R11s’ baffles, but to hover just around the edges of the speakers — just as I’m used to with my reference setup.”