Audiophilepure

https://www.stereophile.com/content/voxativ-ampeggio-2024-loudspeaker

At that task, the Ampeggios excelled. Out of the gate, the combination of the two PrimaLuna components—the EVO 100 phono stage and EVO 300 integrated—pushed a vast soundstage out from the Ampeggios, with the best low-end slam I’d hear in my Ampeggio listening sessions.

The Ampeggio 2024s were unique in their ability to remove themselves from my listening space while filling it with physical, natural-sounding music, from delicate vibraphones and glistening guitars to punchy vibrating drum skins and vocals that were spookily real. Repeatedly, I relaxed into the music and forgot about my reviewing task. When I did manage to focus on the sound, I marveled at how the Ampeggios transmitted sound in the upper mids through the treble with such fine layering, lucidity, tonal keenness, and textural precision that the sum bordered on holographic. These characteristics joined with a low end delivered with oceanic impact while remaining consistent with the natural-sounding fluidity of the higher frequencies.

https://www.enjoythemusic.com/superioraudio/equipment/0624/Acora_Acoustics_QRC2_Floorstanding_Loudspeaker_Review.htm

The music completely escaped the speaker and was spread over a soundstage that was as wide and deep as the Kharma. The outer edges of that soundscape, particularly toward the front corners of the stage, were even more transparent than any speaker I’ve had in-house. I found my head turning to those extremes when a musician on either side broke into a solo. Overall, it was a very fine presentation but I still felt a gnawing sense of disappointment that they didn’t sound as good as I heard them at the shows. Was it just the much more expensive rigs that achieved such greatness?

https://www.soundstagehifi.com/index.php/equipment-reviews/1862-amphion-argon7ls-loudspeaker

Unsurprisingly, given the difference in size and driver complement between the two models, the Argon7LS floorstanders could play far louder and far deeper than the MG-10 minimonitors. When the Esoteric speakers were asked to play loudly, they didn’t misbehave in any egregious way, but they did compress the signal and, more problematically, shifted the frequency balance toward the treble. The Amphions simply got louder.

The MG-10 has average bass depth for a speaker of its size, but I’ve always been impressed with the cleanliness and articulation of that bass. When driven by the NAD, however, the Amphions matched the Esoterics in bass articulation and thoroughly trounced them in both depth and impact. Bass performance was closer when driven by the Graaf, with the Argon7LS speakers still leading on depth and impact, but slightly trailing the MG-10s on articulation. When driving the speakers with either amplifier, however, the MG-10s rendered Christian McBride’s bass on “Armando’s Rhumba” with a little more tonal specificity. Both speaker models energize the same bass modes in my room—that’s just physics—but the significantly greater bass capabilities of the Amphions meant they benefited more from equalization; the Esoterics simply can’t overload a room with bass.

https://www.stereophile.com/content/audiovector-r-3-arret%C3%A9-loudspeaker

Despite the similarities, the R 8 and R 3 Arretés are very different speakers. Start with the fact that the R 8 Arreté is much larger, has several additional drivers, and weighs three times as much. The R 8 is a complex speaker, which, as I wrote in my review, “sends energy out into the air via no fewer than nine sound-radiating openings, only four of them—the three midwoofers and the tweeter—firing forward. The others are the down-firing woofer (which radiates through those base slots to the back and sides), the rear-firing midrange driver (diffracted through those five horizontal grooves), the vent that allows the tweeter’s back wave to emerge from the rear, and the two aforementioned ports.” That’s a lot for a designer to integrate, though with the R 8, Ole did a superb job: As I wrote in the review, “what I heard from the R 8s was anything but complicated: It was pure and coherent and easily grasped.”

https://www.hifichoice.com/content/triangle-borea-br08

No less importantly, it demonstrates that the Triangle is usefully sensitive as the 50W of the Brio is more than enough to drive it to any level you might want to achieve in a normal room. The rest of testing takes place on the considerably more powerful (and expensive) Cambridge Audio Edge A, which delivers some commensurate gains to the performance, but the fundamental positive qualities of the Triangle remain unchanged throughout.

You can take this to mean that the BR08 won’t necessarily elevate every single system it’s connected to but a rather more positive view would be to see this as a fine speaker to upgrade a relatively affordable existing system.