Audiophilepure

https://www.soundstagehifi.com/index.php/reference-components/1861-recommended-reference-component-goldenear-t66-loudspeaker

Other musical selections Philip played demonstrated again the T66’s balanced sound and ability to reveal details. The sonic characteristics that Philip discerned in the T66 were also revealed in our measurements. The on- and off-axis frequency-response plots, from the bass through to the treble, are quite flat and consistent, which corresponds to that evenhandedness Philip heard—a neutral sound, in other words. The level of distortion the T66 induces across much of the audioband is laudably low even at a high output level (90dB, in our testing, at a distance of two meters under strict anechoic conditions, which is equivalent to more than 96dB at one meter in a room).

Comparing the T66 with his own reference loudspeakers, the Monitor Audio Gold 300 5G floorstanders ($9500/pair), which are also a three-way design with an AMT tweeter, Philip found that apart from their markedly different appearance, the two pairs had quite a different sound. Listening to “Hold On,” from the CD release of Tom Waits’s album Mule Variations, he noticed that the GoldenEar pair “delivered more weight from the upright bass, and their fuller, warmer demeanor made [the song] sound bigger.” But, as clean as the T66s were, the Gold 300s were a touch more revealing. Waits’s baritone is the focal point of his recordings. It is rough and well worn, and the Gold 300s better exposed its full hoarseness, delivering it “like a coarser-grit sandpaper,” Philip writes.

Still, the T66 and Gold 300 had a lot in common, which is unexpected given how different they look. In fact, listening to Tori Amos’s “Caught a Lite Sneeze,” from her Boys for Pele, on CD, Philip found the two pairs “incredibly similar” tonally, both being so well-balanced. “Where they differed was in the scale of presentation, which is where the GoldenEars distinguished themselves,” he writes. “This was particularly evident with the percussion, and was apparent from the opening drum sounds, which were more propulsive and powerful through the T66 speakers. They imparted a sense of impact that the Monitor Audios were unable to equal.” Philip’s main takeaway from this comparison is that the T66 offers a better value: “for $2300 less, the pair of T66s came close to matching the resolution of the Gold 300s, while producing far more bass.”

And true to my experience when I swapped in new premium capacitors in several equipment mods, after sounding nice initially, the presentation briefly took a turn for the worse as the caps settled in; the FR10s didn’t sound quite as well defined. However, after maybe 20 more hours of listening to music and watching high-definition TV and movies through them, that passed, and as the American reality singing competition show, The Voice, hit full stride, my wife and I were amazed at the detail in their highs, clarity through the midrange, and the surprising fullness and depth of their bass response. Voices were rich and natural, acoustic guitars well-articulated through their leading edges, transients, and decay, drum kits punchy and well-delineated, and the bass guitar deep and impressive. And while watching a movie, we were transplanted to a dance club with the throbbing thumps of electronic dance music!

https://www.hifinews.com/content/ps-audio-aspen-fr10-loudspeaker

Where the music is inherently more restrained, however, the level of low-end detail, generous weight and enveloping warmth offered by the FR10s is hugely appealing. Relaxed and with my eyes closed, the double bass on the Holly Cole Trio’s version of ‘I Can See Clearly Now’ from Don’t Smoke In Bed [Manhattan Records CDP 7811982] seemed right in front of me, its performance deep, rich and deliciously resonant. Add in Miss Cole’s exquisite vocals, and I was one very happy listener.

https://www.hifinews.com/content/sonus-faber-lumina-v-amator-loudspeaker

The drivers here are the same as those found in the standard Lumina models: the tweeter is the company’s 29mm DAD (Damped Apex Dome) unit, derived from the Sonetto range [HFN Nov ’18] and with its hand-coated silk diaphragm damper carried on the vertical crossbar in front of it. Meanwhile, the 150mm midrange driver blends fibre and paper, also used in the Sonettos, while the twin 165mm bass drivers employ a sandwich paper cone and were designed specifically for the Lumina.

While Sonus faber’s floorstander looks imposing in the pictures, the speaker is neither huge nor massively weighty, standing just under 105cm tall and, at 22.5kg, about light enough for one-person set-up, adding convenience to the room-friendliness. Positioning is no trickier, in no small part due to that downward-firing port. I spent some time moving the Lumina V Amators backwards and forwards in the room, finding very little difference wherever I placed them, and concentrated instead on experimenting with toe-in for the most coherent stereo image. Again, I was unable to effect any huge changes in this department, so stuck to my usual positioning with the cabinets aimed just slightly in front of the listening position.

https://www.soundstagehifi.com/index.php/opinion/1860-subwoofers-speakers-and-the-sonus-faber-suprema

The system’s imaging was outstanding too. I often gauge imaging with Ani DiFranco’s “Everest.” Unusually, DiFranco’s voice images way over, just short of the left speaker, a couple of feet back. The Suprema system nailed this position unambiguously. On this and other tracks, it presented a properly scaled, well-proportioned soundstage, with all the spaciousness captured in the recording, never expanding it. The soundstage ventured just beyond the left or right speaker on occasion—on the two Cowboy Junkies songs, for example—but that was supposed to happen; it’s in the recording.

An important, though not surprising, observation I made during my two listening sessions is that the Suprema subwoofers, while prominent visually, were sonically indistinct: they never sounded detached from the main speakers. Had I not seen the subwoofers in the room, I wouldn’t have been able to tell where they were. Subwoofers do blend seamlessly with main speakers on good stereo systems. I’ve witnessed this many times. The Suprema system just demonstrated how complete such integration can be. Don’t let anyone convince you otherwise.