Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0524/Linkwitz_LX521_Loudspeaker_Review.htm

Digging into my cabinet of tweaks I came up with enough 70mm square damping feet from Soundeck to put one under each corner of the subs and at each corner of the bridges. In the photo below you can see the footer excess protruding from the sides. The thickness of the sides of the bridge is only 18mm, so there is not much material to anchor a footer unless the sides are reinforced with additional material. Each Soundeck footer, however, could be cut to create three 70mm strips to attach under the length of the sides of the bridge. Even on the soft carpeted surface, this made a noticeable improvement with virtually no increase in speaker height.

The PS Audio aspen FR10 loudspeaker is a great-looking and serious audiophile speaker, capable of delivering wonderfully immersive aural experiences. Whether you’re into vinyl, streaming, digital file playback, or enjoying an HD show or movie over your HiFi system, the FR10s render it wondrously. They are very interior design friendly; unimposing in size, their sleek, contemporary lines fit nicely in homes with discerning tastes. Bottom line, if you have a budget for $10,000 speakers, the FR10s may be just for you! 

https://www.enjoythemusic.com/superioraudio/equipment/0420/Sonus_Faber_Il_Cremonese_Floorstanding_Loudspeaker_Review.htm

The real problem, and the one that was to dog the company for quite some time, was musical, not visual. The top of the lineup – the Reference line – maintained the exquisite aesthetics associated with the brand. But nearly everything that was distinctive of its musical presentation changed abruptly. Gone was the expansive musical envelope, glorious midrange, density in the higher frequencies, a warmish, full (sometimes too full) if not extended bass; if not lost entirely, the Sonus Faber signature sound had gone missing. Those seduced by Sonus Faber felt abandoned. Seduced then abandoned – and for what? Sonus Faber left its past behind in favor of pursuing what by then had become the modern sound: a musical presentation fueled by propulsive dynamics, leading-edge transients, sharply focused images, high resolution (in the audiophile sense of the term), and so on. In a phrase, Sonus Faber had gone all-in on becoming the Italian Wilson, Focal or Magico.

https://www.hifinews.com/content/franco-serblin-accordo-goldberg-loudspeaker

As cultured and refined as was Franco Serblin, the Accordo Goldberg standmounts sounded better the louder they were played. It reminded me, too, of another conversation with Franco, who was no head-banger. He posited that every CD, LP or tape has an optimum playback level, clipping, breakup or distortion notwithstanding. Listening to harmonica so life-like that the SPLs seemed merely incidental, I understood what he meant, grabbing a harmonica of my own to hear the reeds and the levels.

Steely Dan’s Can’t Buy A Thrill [Analogue Productions CAPP134SA SACD] turned the clock back to the first time I heard the saxophone break in ‘Dirty Work’, with just the right balance of rasp and honk. Likewise, pace/rhythm/timing junkies would revel in the opening bongo patterns of the same album’s ‘Do It Again’, delicious beats with the sounds of the heads almost shimmering. As for the vocals, I started imagining what an LS3/5A would sound like with a couple of octaves extending the bottom, and another 10dB added to the levels.