Audiophilepure

https://www.stereophile.com/content/estelon-x-diamond-mk-ii-loudspeaker

Balanced, engaging, and multifaceted, the Estelons took me through many moods. I felt not just in sync with the music but blessedly affected by it too. It’s true that sonically, in my room, the X Diamond Mk IIs were a notch past the midpoint between earthy and analytical. They have a slightly more pronounced mid-treble region than my Focal Scalas do. That means that they paired well with the Aurender A20 and the Grimm Audio MU1, and not as successfully with the otherwise excellent Eversolo DMP-A8 (which doesn’t sound sharp or strident per se but can’t boast perfect fluidity either). The A20 and the MU1 are both a touch mellower, less forward, more “analog” perhaps. That suits the Estelons.

In a historic account of a love triangle that I read recently, the femme fatale seduced her lover with a suggestive dance. The sentence that stood out was “When she danced, the concealed was revealed.” That’s also a very fitting description of the X Diamond Mk IIs. For speakers at this price level, you’d expect impeccable beauty inside and out, visually and sonically, and that’s what you get with these comely Estonians. They ooze detail and resolution and naturalness, unveiling what remains hidden—or is sloppily sketched—through lesser contenders. It’s hard to think of higher praise

https://www.enjoythemusic.com/superioraudio/equipment/1224/Vivid_Audio_Moya_M1_Loudspeaker_Review.htm

Lastly, the M1 simply sounds right. This is perhaps the hardest aspect of its performance to describe in meaningful impressionistic terms, but a quality that most listeners will hear and appreciate immediately. I think that this sense of “rightness” owes to the system’s remarkable dynamic composure and expressiveness, its cutting-edge transparency, its impressive tonal and timbral accuracy, and the superb inner-driver coherence that belies the M1’s multi-driver architecture. Like the great alchemists of centuries past, Dickie and his stalwart design team have managed to tease out of wood, carbon, aluminum, and steel something that resembles flesh and blood performers in the room. The results are simply stunning.

https://www.hifinews.com/content/technics-sb-f3-loudspeaker

Even though they are the largest model in the range, the ‘F3s are still far from full-sized and being sealed boxes (ie, not ported) they are easier to place. Well stocked bookshelves are ideal, but failing that, placing them on moderately tall stands in the corners of a reasonably cosy (small!) listening room is a good place to start. A partnering amp in the 40 to 75W class makes a good match, but the surprisingly high sensitivity of these speakers means lower-powered models are not out of the question. Remember, though, that tweeters in particular are more easily damaged by an under-powered amp than one that produces too much output.

The next track is Yello’s ‘Rubberbandman,’ which places more value on being ultra quick and the ability of a speaker to reproduce deep male vocals without chesty tones nor with weakness of palpability. The song is toe-tapping, rhythmic, and challenging for lesser speakers. Again, the Sonetto VIII’s are fabulous. These are a speaker that challenges for an excellent value, high-end two-channel reproduction machine. The Bass Cello on ‘Night Train’ is exceptional in its rendering, right down to hearing the strings striking the body with complete transparency. If you want detail without harshness, the Sonus faber Sonetto VIII G2 is something you must hear.

We will finish the listening portion of the review with ‘Power,’ a live cut from Marcus Miller. The bass line, percussion, and brass sections combine for a macro-dynamic fest for the ears. It was time to crank up the volume and test out the mettle of these towers when things get really tough. It was no problem for the now termed ‘mighty 8’s’. These are a speaker that can deliver on anything from classical to jazz to rock and yes, even country.

The GoldenEar is a technically very proficient speaker. It delivers high resolution and levels of transparency that are off the charts. Couple the high resolution with the black background and you get yourself superb imaging abilities. With the GoldenEar you can pinpoint each instrument in the constructed room. The sound stage it creates is well stretched into width and depth. Its height is also taller, making way for a grand soundscape. 

Where the BRX shines to me is in dynamic range. It handles loud and intense passages with ease. The BRX portrays details with care, delivering the finest nuances of the music.

The treble of the GoldenEar is fast, agile and detailed. It breathes loads of air into the rest of the sound spectrum. Highs are precise and clear but can sometimes come across as a touch too forward for my personal taste. At times, the GoldenEar is on the edge of hotness. The detailed response, however, is aiding music that relies on them, like Classical.

Cube Audio speakers excel in expanding evenly into the listening space, radiating sound across both the horizontal and vertical planes without distorting the image focus or compromising dynamic impact. They operate in close proximity to where the music’s “gravity” is, making the listening experience feel more interconnected and natural.

With the Jazzon V2, the music emanates from the submarine depths when positioned correctly within the room, the reproduced music makes sense, has a tactile presence, and flows effortlessly.

Unlike many similarly sized speakers, there are no gaps in the frequency spectrum, no sacrifice of harmony or counterpoint. Jazzon V2 speakers are perfectly balanced, delivering a coherent and immersive listening experience.