Audiophilepure

I have had the luck and honor of being one of the first reviewers with these speakers (counting my blessings here) and they have been very patient with me while I build my business, be a husband and a father, and listen to these magnificent speakers. What I’ve done is put them in my listening room/office and I leave them playing music almost 15 hours a day. They are quite broken in, so I can safely say they are going to sound as good as they ever will, which is fantastic!

You see another shortcoming of ribbon woofers (well, magneto-static) was their SPL. You could get reasonable bass from them if placed properly, but nothing like a cone driver. What you got was realism and tonality, timbre that was unmatched. But it was a compromise. Sometimes I liked bass-heavy music. I feel a large part of listening to music is feeling it, too. When Florian told me that I could listen to these as loud as I wanted to, I knew he wasn’t joking. He’s not your typical audiophile listening at <90db to classical music. He listens to everything, and he isn’t afraid to turn the volume up. Sometimes you just need that cathartic experience (for those that say you don’t, you’re lying) and finally, Clarisys delivered a speaker that can provide that with aplomb. Dynamics galore! LOW bass (we’re talking high 20s low 30s in the frequency range) and just magical mids and highs that only a properly designed ribbon speaker can provide.

https://www.hifichoice.com/content/bowers-wilkins-705-signature

B&W’s 705 Signature standmount faces up to its price rivals very well; it’s there or thereabouts on pretty much every performance metric. It has been carefully voiced to appeal across a wide range of music types, and delivers the sonic goods in everything from a small space to a medium-to-large sized listening room. Factor in excellent build and attractive styling, and a lot of people are going to like it. Despite the very stiff competition in this hotly contested market sector, it should fare very well indeed. Consequently, it comes warmly recommended.

https://www.stereophile.com/content/harbeth-super-hl5plus-xd-loudspeaker

The SHL5plus XD may, as Shaw said, be tuned to modern tastes interested in a wider range of music, but I found it less than ideal for rock. It’s hard to explain. They worked extremely well with electronic music (like Fuse, the new album by Everything But the Girl) and the rowdier tracks listed in my listening notes above. They’re tailor-made for well-recorded classical with its grandeur, spaciousness, and separation, and I very much enjoyed jazz through these Harbeths, especially female vocals. But when I played anything that required major boogie factor—ZZ Top, Led Zeppelin, Mastodon—I found I wasn’t satisfied. They seemed to lack the drive needed to fill my small room with convincing rebel sounds

https://www.hifinews.com/content/martinlogan-motion-xt-f200-loudspeaker

With its sizeable heavyweight cabinet, five-strong driver complement and striking looks, the F200 clearly offers plenty of bang for your buck. Mirroring this is a performance that really comes alive with dynamic, bass-rich music, but one that’s equally adept at extracting fine detail when you switch tempo. Feed MartinLogan’s floorstander plenty of power, and you’re ready to sit back and enjoy the show.

With their high style and wonderful sonic performance, I was very impressed with the MartinLogan XT F100 towers and highly recommend them to anyone that is ready to take their music experience to the next level without sacrificing their kid’s college tuition.

It is not hyperbole to say that companies that make speakers that cost more than an automobile should be concerned that MartinLogan had designed a speaker that is sonically excellent yet costs thousands of dollars less. I know a few $10K pairs of speakers that don’t perform as well as the XT F100s. These speakers are an amazing bargain from a cost/performance ratio. I loved them. Highly recommended.

https://www.hifichoice.com/content/duevel-venus

As mentioned earlier, the resulting soundstage is less ‘pin-point’ meaning that rather than the vocals on The Highwoman’s eponymous album being centre stage in front of you, there’s more of a sense of the whole band just being ‘there’ in the room. The result is that you can’t accurately locate definite positions for the multiple layers of instrumentation, and once you get used to this different way of listening the effect becomes addictive.

No matter what we play – and believe us, the volume is cranked up and a good time is had by all – the treble remains insightful and detailed with vocal sibilants being a particular highlight. The precision and crispness is incredible and the way that it arrives at the listening position before swiftly vanishing again is astonishing. Similarly the low end is impressively deep, while remaining taut and precise throughout. From the banging beats of Jamie XX’s Gosh to the more subtle, fruity warmth of Julianna Raye’s Indigo River, the results offer the same jaw-dropping encounter.