KEF REFERENCE 1 STANDMOUNT LOUDSPEAKER
October 29, 2015 Comments Off on KEF REFERENCE 1 STANDMOUNT LOUDSPEAKER
” It works by creating a remarkable midrange, the kind of midrange you will struggle to find in a loudspeaker at any price. It manages to achieve the goals of sounding exceptionally honest, projecting well into the room, and just letting you listen deeper than usual into the recording. As an example of this, I played ‘Everyday’ from James Taylor’s 1985 disc That’s Why I’m Here [Columbia]. This was one of the staples of MP3 development cycle, and with its syrupy Yamaha DX7 synth-string sounds and OTT production values, it’s easy to turn hard or harsh in the midrange, despite Taylor’s soft, clear tones. ”
ELAC F5 floorstanders deliver phenomenal performance
October 28, 2015 Comments Off on ELAC F5 floorstanders deliver phenomenal performance
TRIANGLE ESPIRIT TITUS EZ
October 25, 2015 Comments Off on TRIANGLE ESPIRIT TITUS EZ
Triangles have always excelled at conveying low-level detail and the EZs did not disappoint – plenty here to behold. The midrange sounded cohesive and smooth, even with volumes way past moderate listening levels. Bass was fairly deep and resolute for their diminutive size, more tuneful and agile than being extended. Nevertheless, the EZs did quite well in reproduction of macro dynamics and power of orchestral and big band music. Big-speaker enthusiasts will, of course, immediately notice the missing octaves during orchestral crescendos
SVS • Prime Tower Loudspeakers $1000 Review
October 24, 2015 Comments Off on SVS • Prime Tower Loudspeakers $1000 Review
“Compared to my Paradigm Reference Studio 100 v3s, which when new in 2005 sold for $2300 a pair, the SVS Prime Towers showed both their limitations and their strengths. No one in his right mind would expect the Prime Towers to match the Studio 100 v3s, which have more drivers and are bigger in size and internal volume. The Paradigms went lower, with more cleanliness and weight, had a clearer midrange, and a top end that extended far beyond the level of my aural ability to track. But the Prime Towers weren’t all that far behind. They had enough depth on the bottom end to satisfy, they had better-than-expected midrange cleanliness, good detail retrieval and dynamic range, and enough top-end detail and air to keep me listening. The Prime Towers demonstrated that they come far closer to the Paradigms than I’d gone into this review thinking they would, and they showed what can happen to preconceived notions if one is open-minded.”
SVS • Prime Tower Loudspeakers Review
October 23, 2015 Comments Off on SVS • Prime Tower Loudspeakers Review
Compared to my Paradigm Reference Studio 100 v3s, which when new in 2005 sold for $2300 a pair, the SVS Prime Towers showed both their limitations and their strengths. No one in his right mind would expect the Prime Towers to match the Studio 100 v3s, which have more drivers and are bigger in size and internal volume. The Paradigms went lower, with more cleanliness and weight, had a clearer midrange, and a top end that extended far beyond the level of my aural ability to track. But the Prime Towers weren’t all that far behind. They had enough depth on the bottom end to satisfy, they had better-than-expected midrange cleanliness, good detail retrieval and dynamic range, and enough top-end detail and air to keep me listening. The Prime Towers demonstrated that they come far closer to the Paradigms than I’d gone into this review thinking they would, and they showed what can happen to preconceived notions if one is open-minded.
Focal Sopra No2 Loudspeakers Review
October 19, 2015 Comments Off on Focal Sopra No2 Loudspeakers Review
The somewhat more vibrant sound quality of Morrison’s most recent release, Duets: Re-working the Catalogue (16/44.1 FLAC, RCA), didn’t need the Sopra No2’s assistance to sound alive. In fact, “Some Peace of Mind,” with Bobby Womack, and a few other tracks are a tad bright, which I thought might give the No2’s tweeter some trouble — already, I could tell that the speaker’s very top end was a touch hot, a voicing characteristic of other Focal speakers I’ve heard. These days, my reference for neutrality is KEF’s Reference 1 ($7499/pair), and the No2 was a bit more lively in the extreme highs. Yet despite being tipped up, the No2’s top end sounded as clean and clear as the best metal-dome tweeters I’ve heard, which could be why I didn’t find its prominent highs as bothersome as speakers whose raised highs make them sound bright, even edgy.
AudioMachina Maestro GSE
October 18, 2015 Comments Off on AudioMachina Maestro GSE
. Four elastic sticky pads ensure that both elements cannot topple over. Naturally it’s more elegant because no connection can be seen between the woofer and monitor. Putting together the monitor without bending the copper bars requires two people who, in addition to muscle power, should also have finesse as well. I would at least wish for slightly more stable rods. Admittedly I did dismantle and set up the AudioMachina one or two times to swap places with the Lumen White. This really tiny criticism naturally doesn’t apply if you decide to buy a Maestro GSE which your dealer or salesperson then assembles for you and you leave it in that place. I really can’t imagine that you would like to move the AudioMachina out of your listening room for acoustic reasons.
ELAC Debut B6 speakers sound spectacular
October 18, 2015 Comments Off on ELAC Debut B6 speakers sound spectacular
2015 RMAF SHOW REPORT – LOUDSPEAKERS OVER $20,000
October 17, 2015 Comments Off on 2015 RMAF SHOW REPORT – LOUDSPEAKERS OVER $20,000
” The striking VR-55 Aktive ($60,000/pr.) leverages collaborative component manufacture and the application of VSA’s pioneering (and extraordinarily cost-effective) patent-pending active noise reducing cabinet technology, using specially developed, custom-built drivers from Accuton and ScanSpeak. The result really speaks to me, setting new benchmarks in its price class for resolution, transparency, and room integration.
Sonus faber • Olympica III Loudspeakers
October 12, 2015 Comments Off on Sonus faber • Olympica III Loudspeakers
What was also immediately apparent with this choice of music was how well the speakers performed at low volume levels. There is a tendency to crank up the volume on orchestral music to achieve concert hall levels, which is often an unintended antidote for speakers that do not perform well at low levels. Concert-hall volume for baroque music is actually quite modest, and many speakers stumble achieving a sense of detail and pace at such levels. Not so with the Olympica IIIs, which were lithe and nuanced at the appropriate low levels
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