Audiophilepure

https://www.whathifi.com/speakers/hi-fi-speakers/fyne-audio-f501e

We like the Fyne’s sense of scale and are impressed with the low-end authority and punch they generate on demand. Bass is taut, tuneful and articulate by class standards. We push the volume levels northward to see how the F501E cope – they tick that box confidently at anything that passes for normal listening levels.

These towers are a fun listen too, as a trip down memory lane with The Low End Theory from A Tribe Called Quest proves. The F501E are fluid and expressive. They track rhythms with determination while communicating changes in musical momentum in a natural and convincing manner. Having the acoustic centres of the tweeter and mid/bass aligned helps with integration; the result is a crisp and forthright performance with vocals that captures nuances and subtle shifts in intensity superbly. The rival Q Acoustics 5050 sound a touch disinterested and mechanical in contrast.

https://www.soundstageultra.com/index.php/equipment-menu/1261-dali-epikore-9-loudspeaker

This time, I focused on Roger Daltrey’s voice in “Behind Blue Eyes.” Here I noted that unique dynamic initiation of the waveform again, but now through the midrange. The Epikore 9s gave Daltrey’s voice a solid, meaty feel, making the image of his head seem slightly larger than life, as if his mouth was about a foot wide. I heard the same effect when I switched over to the Steven Wilson remix of Larks’ Tongues in Aspic from the King Crimson 1972–1974 box set (Discipline Global Mobile KCLPBX503). I always get a giggle out of hearing John Wetton in “Easy Money” trying to play the bass line in 3/4 time while singing in 4/4 time—it sounds like he’s really concentrating. Here, Wetton sounded full, rich, and appropriately chocolatey; no surprise, given what I’ve already noted.

https://www.hifinews.com/content/ps-audio-aspen-fr5

Therefore, as also evidenced by its joyful, snappy handling of Artemesia’s ‘Bits And Pieces’ [Hooj Choons HOOJCD031], PS Audio’s loudspeaker is great for when you want your listening room to feel like a nightclub at 1am. But what of more audiophile concerns? Given Maria João Pires’ recitals of Chopin’s ‘Nocturnes’, a ‘4D audio’ recording at both Munich’s Musikhochschule and London’s Henry Wood Hall [Deutsche Grammophon 447 096-2], it convincingly evoked the sense of listening at a distance, as piano notes smoothly decayed into an echoey ambience.

On this solo piece the music ebbs and flows at Pires’ command, but on Wagner’s Das Rheingold [Decca Music Group; 192kHz/24-bit], it is Georg Solti (figuratively) pulling the strings of the whole Vienna Philharmonic. Listening to both pieces back-to-back proved the FR5’s chameleonic nature, as it widened its focus on Wagner’s prelude (‘Vorspiel’) to dig deep into the low basses, convey the moving air of the horns, and let the mass of strings build up, and up, to the memorable crescendo. This is a small speaker that makes a big impression.

https://www.whathifi.com/reviews/dali-epikore-3

They take a measured approach to music replay where control and composure take priority. Added to their excellent detail resolution and insight this means that they can track low-level instrumental strands in a dense composition with ease and continue to sound organised even when the music becomes demanding. There are no hard edges or signs of stress even when the speakers are pushed hard, and when cracks do start to appear it is at far higher levels than we would usually listen at.