Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0721/Verdant_Audio_Blackthorn_1_Monitor_Speakers_Review.htm

The above suggest an ongoing commitment to growth and innovation in high-end audio, whose objective remains focused on developing speakers that deliver extraordinary listening experiences. One can of course argue the perspective and attainability of a $6000 to $10,000 speaker budget relative to the average audiophile consumer. Perhaps more relevant however is to note the impressive and over-achieving musical presentation offered within the context of this price range.

As the flagship model, the Blackthorn 1 is truly an over-achieving monitor design, offering a massive and articulated stage to musical performance well beyond its modest size.

With the integration of a fine subwoofer, they offer an amazingly full-range presentation with fantastic imaging, rivaling my Daedalus Athena v.2 full-range reference speakers. Anyone seriously considering monitors that will serve a variety of high fidelity applications (and even those who thought a monitor would not be enough) should make every effort to audition these fine speakers. Highly recommended!

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.