Audiophilepure

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.

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!