Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1225-dali-epikore-11-loudspeaker

The Epikore 11 is near-as-dammit the same price as the Estelon, but these are wildly different speakers. Both are wonderful in their own way, and visually it’s no contest—the Estelon is a Jaguar E-type while the Epikore 11 is an AMG G-Class wagon. You want to sit and stare at it? The Estelon melts the soul. But if you need to get stuff done, call on the DALI.

I loved the Epikore 11s and was very sad to see them go.

Here’s my hope: Given that DALI has leveraged the Kore’s technologies into a smaller, more affordable package, and given that the Epikore has a suffix of 11, I’m thinking that there may be more Epikore speakers yet to come down the pike. If there’s gonna be, say, an Epikore 7 that has two 8″ woofers per speaker, and employs the same midrange, tweeter, and ancillary infrastructure, I think it would make an honest man of me.

https://www.hifinews.com/content/bw-805-d4-signature-loudspeaker

Through the 805 D4 Signatures, the well-recorded (and blissfully short) jazz/blues fusion songs of Dominique Fils-Aimé’s new Our Roots Run Deep release [Ensoul Records; 44.1kHz/16-bit download] appeared grandiose but lost none of their authenticity. Layering Fils-Aimé’s smooth voice with background vocals during the title track, the speakers proved adept at handling complex compositions, keeping the trumpet clean and non-sibilant when it appeared. Furthermore, as with the Zelmani and Anna B Savage pieces, ‘Just Let Me Go’ really demonstrated that Bowers & Wilkins has mastered the art of uncovering the finest sonic detail without losing track of the musical picture as a whole.

If this Signature upgrade of the company’s 805 D4 does something well, it’s getting you closer than ever to the artist’s intent.

Though I consigned the T66s to a rug in my media room, I placed the rubber feet on them because I could slide them into position more easily. I placed the T66s about eight feet apart with toe-in to cross about one foot behind my head. This provided me with the best imaging, but experimenting was easy with the rubber feet. My amplification was from my Emotiva UPA-1 200-watt monoblocks, and most of my music listening consisted of high-resolution Qobuz streams run through my PS Audio Perfectwave Directstream DAC, via my Marantz SR 6015 receiver with Audyssey XT32 room correction software. My subs, when used are the SVS Micro 3000 and an RSL Speedwoofer10. Now, let’s dive into the GoldenEar T66’s performance.

https://www.soundstageultra.com/index.php/equipment-menu/1225-dali-epikore-11-loudspeaker

Here’s my hope: Given that DALI has leveraged the Kore’s technologies into a smaller, more affordable package, and given that the Epikore has a suffix of 11, I’m thinking that there may be more Epikore speakers yet to come down the pike. If there’s gonna be, say, an Epikore 7 that has two 8″ woofers per speaker, and employs the same midrange, tweeter, and ancillary infrastructure, I think it would make an honest man of me.

https://www.enjoythemusic.com/superioraudio/equipment/0324/Avantgarde_Acoustic_UNO_SD_Hornspeakers_Review.htm

I’ve been reviewing high-end audio equipment for over 35 years and have been fortunate enough to hear many different types of speakers – large, small, dynamic, electrostatic, horned, bi-directional, omnidirectional… you name it. One of the luckiest I’ve ever felt was when reviewing the Avantgarde UNO SD speakers.

Yes, the Avantgarde UNO SDs are large, and they might not fit every room’s decor. Plus, one’s spouse or partner might need some convincing before these speakers become part of one’s system. But, if I were in the market for a new pair of speakers and could raise enough funds, I’d purchase the UNO SD (or a model higher up in Avantgarde’s line). I’d have no problem making the UNOI SD my new reference loudspeakers… that should say hornspeakers.

The presentation is Marcus Miller’s ‘Power,’ which is performed live. A toe-tapping bass track leads to lots of percussion, more guitar, and lots of brass. It’s a massive sound and requires a lot of effort for any speaker to handle all these instruments with credibility. Once again, the 140s were more than up to the task. It was in this song that another notable trait emerged. These speakers are so clear and so distortion-free, that adding to the equation their lightning-fast reflexes, one might think it isn’t loud. My wife stopped in the listening room and started to talk. It was at that moment that it became clear these speakers have a lot of capacity for SPL. I could not hear her voice at all.

https://www.hifinews.com/content/gershman-acoustics-grand-studio-ii-loudspeaker

The speakers were much more at home with André Previn and His Pals on their improvisations on West Side Story [Contemporary Records S-7572]. Admittedly there’s not much to go wrong, with Previn’s piano and Red Mitchell’s bass on the left channel, and the drums of Shelly Mann on the right. Similarly, the very different Art Of Noise live recording of ‘Moments In Love’, from the Noise In The City set [Music On CD MOCCD14069], at last delivered a central soundstage image from the simple mix. But, again, the oh-so-polite Tokyo audience seemed rather more reticent than usual as there was not much live ambience.

This same tendency to dryness also affected Anna Lapwood’s arrangement of the Britten ‘Sea Interludes’, played on the organ of Ely Cathedral on her debut solo album, Images [Signum Classics SIGCD688]. There was good tonality to the instrument, and plenty of power for the room-shaking ‘Storm’ interlude, but the space of the cathedral was a tad diminished and there was less ambience than this music usually delivers.

https://www.hifichoice.com/content/jbl-4349

We were initially a little concerned that the 1.5kHz crossover between the high-frequency driver and bass unit (admittedly a little high for a 300m unit) would see the different frequencies passing like ships in the night, but given care with setup – with the cabinet placed perhaps a little further back than normal – things thankfully mesh together well enough. Ostensibly, the 4349 is happy enough running off low-power sources, but not having a SET tube amp available, we instead settle upon a modest but capable Cambridge Audio AXA35 (see p27). With its quoted 2x 35W power output this is hardly a beast of an amp and yet it comes as a pleasant surprise just how easily the JBL hangs off it. Admittedly, when pushed a little harder, the cracks start to appear as a brash edge becomes evident and the notes start to sound as though they’re being squeezed out rather than dancing into play under their own steam – but this is perhaps forgivable given its modest power output.