Audiophilepure

https://www.enjoythemusic.com/magazine/equipment/0823/Gold_Note_A6_Evo_II_Full_Range_Floorstanding_Loudspeaker_Review.htm

Though I did not find the low frequencies necessarily anemic or loose, I did experiment with placing a 16″ x 20″ oak platform underneath each cabinet to observe any contrasts in low-frequency focus vs my thick-pile carpeting. The boards did, in fact, provide a noticeable tautness in low frequencies, and at the same time, provide for enhanced definition of organic bass instrumental sources.

https://www.audiophilia.com/reviews/2023/1/11/retime-aarka-loudspeaker

Jacob was very proud of the responses he received with regard to the treble/mid performance of the speaker; unfatiguing and transparent. I can attest to this. The speaker, for all its demonstrative visuals, plays nicely with your room and presents a relaxed, musical picture from any repertoire. So the strings on the Argo Academy of St. Martin in the Fields LP of American music were controlled and balanced, especially in the thornier sections of Barber’s Adagio of Strings. Another Academy torture test, Alan Civil playing Mozart Horn Concertos was equally effortless, with the louder, brassier elements attenuated somewhat, but the conical bore of the horn and all its difficulties were handled pretty easily; no frequency shouts or other nasties.

https://www.enjoythemusic.com/superioraudio/equipment/0823/Linn_360_Floorstanding_Loudspeaker_Review.htm

Linn’s engineers are never happy; they are always improving things. And some audiophiles are never happy too, but for different reasons. There are going to be a lot of detractors. Those who spent decades building up top-end Linn systems will find the uprated price of admission hard to swallow. There will be those who think Linn should be trawling its past rather than building its future, and they will want an Isobarik because they always want an Isobarik. And there will be those with verysiloed thinking who can’t see past the LP12. Note that none of these ‘negatives’ relate to the product itself, except maybe that exposed midrange dome is a magnet for little fingers. But having sat and listened to the 360, there’s not much to dislike.

https://www.hifichoice.com/content/cabasse-pearl-akoya

The lack of support for AirPlay means The Pearl Akoya won’t fit into a multi-room setup with speakers from other manufacturers. It’s considerably more expensive than most of its similarly specced rivals, and the sometimes erratic app also proves frustrating at times. However, it delivers the goods with its rich, clear sound quality. It’s particularly effective with voices and lighter music. If you’re looking for a compact speaker that can really fill the room with its clear, detailed sound, The Pearl Akoya certainly deserves a listen.

https://www.hifinews.com/content/kef-reference-5-meta-loudspeaker

Succumbing to the temptation to hear the speaker’s quartet of bass drivers in real action, I steered my listening towards the ‘Cowboy Song’/’The Boys Are Back In Town’/’Don’t Believe A Word’ sequence from the 1977 Philadelphia set on Thin Lizzy’s remastered Live And Dangerous boxset [UMC 0819035]. Here I was instantly rewarded with Brian Downey’s powering drums, Phil Lynott’s voice and thundering bass focused dead centre, and the soaring interlocked guitars of Brian Robertson and Scott Gorham.

This is no-frills power rock done proper, and thrilling, as the band wraps one track and slams straight into the next. Sleek and elegant these big speakers may be, but they’ll take – and deliver – some serious level, too, making them just as adept when rocking out as they are portraying the most elegant of ‘audiophile’ recordings.