Audiophilepure

https://www.stereophile.com/content/focal-diva-utopia-wireless-streaming-active-loudspeaker

The analog connection between the preamp and primary speaker did not induce any hum or hash that I could hear, ears close to the speaker and volume cranked up beyond comfortable listening level.

Listeners who like vinyl as well as streaming won’t have to compromise with the Diva Utopia system, except in that the only analog connection isn’t balanced. The same goes for someone with a large collection of CDs they haven’t ripped to a server, as long as their CD player has a TosLink output. The only downside is all those connections, running cables from wherever the turntable or CD player resides to the rear of the primary speaker. In the setup described above, I used a 6′ cable from my phono preamp to the rear of the primary speaker, which in my setup was the right one.

https://www.stereophile.com/content/audia-flight-fls10-integrated-amplifier

With a slightly mellow midbass and a potent, agile bottom end, the Audia Flight isn’t warm in a bloated, nostalgic way, but its sensuous shimmer keeps pulling you in. More than once, I perceived phantom tubes in the system, although my ears also told me that second-order harmonic distortion is reassuringly low.

The FLS10 sounded even more commanding than it looked in my room and on paper (200Wpc into 8 ohms, almost double that into 4). Basswise, the amplifier doesn’t produce slam as brutally visceral as my beloved Krell reference does, but for the first time I’m considering that the Krell may be overly prodigious, and that the Audia Flight has it beat for musicality.

I enjoyed every minute I spent with the FLS10, and every recording I played through it. Its departure will leave a bittersweet void

https://www.stereophile.com/content/mofi-electronics-sourcepoint-888-loudspeaker

The crossover between the midrange and woofers is set to 130Hz; that between the midrange and the coaxially mounted 1.25″ soft-dome tweeter is at 1.6kHz. The tweeter therefore operates over a wider passband than usual. When I interviewed Andrew Jones for my SourcePoint 10 review, he explained that the coaxial unit’s lower-frequency cone acts as a waveguide for the tweeter. The waveguide reduces the tweeter’s excursion requirement, so it can be operated down to a lower frequency than would be possible if it lacked a waveguide. With a waveguide, “the improvement in efficiency or sensitivity and the reduction in excursion more than make up for the fact that you’re crossing over at 1.6k. It enables you to get a very good progressive, consistent off-axis performance,” Jones told me, adding that using a dome with a slightly larger diameter, 1.25″ rather than the usual 1″, with a wide roll surround, provides extra dynamic range capability at the lower frequencies.

https://www.stereophile.com/content/mofi-electronics-sourcepoint-888-loudspeaker

On MoFi’s website (footnote 4), Andrew Jones writes that his “goal for the SourcePoint 888 is to enhance the technology and sound quality of the SourcePoint 8 and elevate it to an even higher performance level.” A “higher performance level” is indeed what I found with the MoFi SourcePoint 888. With more neutrally balanced high frequencies than the SourcePoint 10 but with equally precise stereo imaging, coupled with a transparent midrange, no coloration to speak of, and extended, powerful low frequencies, the SourcePoint 888 sounded superbly involving with every type of music I played. That it achieves this level of performance at a price many times lower than that of competing overachievers is astonishing. Highly recommended.