Audiophilepure

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“If you think film sound is slumming, it isn’t. I’m a huge fan of film scores, and the best experiences I had with the TADs with large-scale music, such as symphony orchestras or elaborate electronic compositions, were when I played soundtracks from a film’s original Blu-ray, not the separate release of the score on CD. For more on this subject I highly recommend Score, a superb documentary on BD about film scores, their composers, and how they’re recorded. The final orchestral flourish on that release, appropriately titled “Finale,” sounded spectacular through the TADs when supported by the Revel center and sub. My only frustration is that this selection isn’t credited in more detail—I can’t tell you what film it comes from.

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“Bigger though – it ain’t always better. For those of us working with more limited square footage – or where our loudspeakers need more wall clearance than living circumstances will allow – are advised that the ProAc Tablette 10, in a simple twist of irony, turn up the heat on musical insight and the second hand LS3/5a market. How hot? Ninety degrees.

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“With Sopra No1s in the your system, amplifiers or other upstream components that sound coarse or grainy, or send other sonic garbage downstream will quickly be revealed as inferior. Don’t blame the speaker if your preamp, DAC or other system component no longer sounds so good. The Sopra No1 is a very revealing speaker, but its extreme neutrality is just a window on your music. These speakers do not editorialize that music in any way. The next speaker on this audiophile’s wish list is the upmarket Focal Utopia Diablo. Even though I can expect that speaker to be better, the Sopra No1 still earns the rating below. It does not deserve a lower rating just because there might be something better out there. The Focal Sopra No1 is a highly communicative, extremely entertaining and completely satisfying loudspeaker. ”

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” This was not a bad thing, just different. The lower bass was just as good but with even more detail and definition with tubes in use. I got a better sense of the space and ambiance of the recording venue with the E.A.R. equipment. The ability of these speakers to render ambiance so well is quite exceptional for such an affordable design. Oddly, the width of the soundstage narrowed but seemed deeper with a better sense of layering in depth”

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“This is a high-end magazine, and I am used to handling loudspeakers with speaker terminals that cost less than the Monitor Audio Silver 300. And yet, this is every inch a high-end loudspeaker. It is more set to the entertainment-delivery end of the high-end world (rather than the overly cerebral), but the point of high-end shouldn’t just be about the price tag or how heavy the loudspeaker is. It should be about the sound, and it’s in the sound quality department where the Silver 300 scores so highly. ”

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“I have a theory that we audiophiles love soundstaging and dimension so much because we are innately such visual creatures with a cultivated vocabulary for measuring and pointing in space. If you want to appreciate how adept is the human hearing system at sonic location, listen to the Alexia Series 2. There’s a lot to be said for proper timing and wave form preservation but talk stops when the Alexia’s play. Thanks to keen driver positioning and improved coherence, dimensional performers appeared before me in aural space with a newly heard definition; soloists more often appeared in bas-relief than as cardboard cutouts. From cavernous symphonic halls to intimate churches to near dead recording studios, venue context became easily heard. Everything was more transparent. I experienced genuine improvement in midrange and low frequency attack and decay. Notes stopped. New notes began.”