Audiophilepure

Read Here

“The best-sounding album I played during my first week with the LSX system was jazz guitarist Mary Halvorson’s Meltframe (16/44.1 FLAC, Firehouse 12/Tidal). The quality and character of timbre of Halvorson’s guitar convinced me that, after many experiments, I’d nailed the Desktop EQ/DSP settings in the Control app’s Expert section. On my desktop stage, the speakers’ octave-to-octave energy balance let instruments and humans sound quite natural. The vibrating body of Halvorson’s guitar took up residence behind my desk. My enjoyment of Meltframe put to rest any lingering questions I had about the LSX’s sound.

Fine detail and sharply focused images were the most conspicuous aspects of the LSX system’s sound. Soprano Dorothee Mields singing John Dowland’s “From Silent Night,” accompanied by viola da gambist Hille Perl and lutenist Lee Santana, from In Darkness Let Me Dwell (16/44.1 FLAC, Deutsche Harmonia Mundi/Tidal), sounded sweet, tuneful, and exceedingly spacious. All I could ask for was more strong energy in the mid-bass and a greater sense of macrodynamics. Lack of force and dynamic expression were the LSX system’s prime failings

Read Here

”
It’s not a completely clean bill of health, though. Those overproduced albums of the 1980s and early 1990s always sound syrupy, but can sound almost edgy here. James Taylor’s ‘That’s Why I’m Here’ from the album of the same name [Columbia] is a perfect example, as it’s all Yamaha DX7 synths backing an over-ripened James Taylor vocal. This particular recording might have been one of the progenitors of MP3, but the full 16/44 CD recording can easily show any brightness to the sound or spitchiness to the vocals, and both were displayed here. In truth, the vocal ‘spitch’ sound was minimal, and as much a function of the recording itself, but even with the treble set at -3dB, it never quite tamed that slight zing to the top end. I tried not to let the price get in the way of the review, but it’s here the price becomes an issue, in a good way. That zing would be unacceptable in many of those classic high-end designs that also sport Accutons, but here it’s just a function of a good middle-priced loudspeaker trying to make a well-balanced sound. It’s also the kind of zing that is only really noticeable if you have logged lots of hours with the more upmarket competition. Many will never notice. ”

Reas Here

‘The fit and finish are impressive for a speaker at this price point. Other cabinet finishes available include prime walnut, an oak colored finish, as well as the recently discontinued (hence discounted at retail) noyer. The flax drivers are quite attractive, but can be easily hidden by attaching the included full-length magnetic black grill if desired. Like most Focal speakers, I found just a single set of robust binding posts around back. Focal doesn’t typically provide multiple sets of binding posts for a bi-amping option given their easy load and higher-than-average sensitivity specs. The Aria 926 is no different in that regard, with 8 ohms nominal impedance of and rated sensitivity of 91.5 dB. That doesn’t mean they won’t still benefit from a high-quality power amplifier, though. Before moving the Focals to my dedicated listening room, I first connected them to my family room system for a couple of weeks to break them in while serving television audio duty. Next, the Focal Aria 926s were moved upstairs, taking the place of the just-reviewed Sonus faber Sonetto IIIs in my listening room.”

Read Here

“As hinted at earlier, the Zodiacs can not only play big, but they can play at whatever scale the recording dictates – expanding and contracting as necessary. They not only follow the music, but mange to be mere conduits of the music – no small feat. Where the GamuT comes out a winner, is in its ability to perform all the necessary audiophile tasks at an equally high and balanced level. Yes, the Grande Utopia is a touch more resolving, perhaps the big Wilsons have a few molecules more bass grunt, and so on, but for my money the Zodiac does more at integrating all musical aspects at a tremendously high level than any other I’ve yet experienced. That is their strength to me. I never feel like I’m listening to speakers when they are on.

Read Here

“The sense of effortlessness the speakers managed with Aphex Twin carried over when I streamed a high-res version of “Whole Lotta Love” from Qobuz. This 50-year-old Led Zep track sounded shockingly fresh on the Callistos: Jimmy Page’s guitar was raw and aggressive, and the combined slam of bass guitar and drums had a dynamic, propulsive effect. Listening to the psychedelic mid-section, stereo-panned effects came across in a vivid and dramatic manner. I was also surprised at how loud the system could play: with volume set to mid-point, there was more than enough level to fill my relatively large listening room.”

Read Here

”
The Elipson Prestige Facet 24F is an unusual loudspeaker in today’s market. It has more bass than most and is happy to play at higher levels than the competition. Its tonal balance doesn’t seem entirely even but this does little to undermine the appeal of what it plays. Those looking to unwind with their music will find a lot to like, especially if they enjoy a bit of home cinema too. ”