Audiophilepure

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.

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.