Audiophilepure

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.

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

With more intimate recordings, the ability of the towering Reference 5 Meta to sound small and precise, yet with plenty of weight, is again in evidence. Erin Bode’s cover of ‘In My Life’, from her YourSong Volume 1 album [Bandcamp download], was given a rock-solid stereo image, every breath clearly delineated, as was her version of ‘Happy Together’, where the presentation was like a high-definition version of something wonderfully old-fashioned, with every word crystal-clear. Rachael Price’s voice on ‘Join Me In A Dream’, from the Rachael and Vilray I Love A Love Song set [Nonesuch 075597909746], was equally lucid, bringing great vivacity to a piece with a deceptively simple – but gorgeous – arrangement. And with Thibault Cauvin’s acoustic guitar arrangement of the Bach ‘Toccata and Fugue’, from his Bach album [Sony Classical 19658784622], the Reference Meta’s superb resolution did a magnificent job of placing the solo instrument in an atmospheric, reverberant space, with laser-like focus and every touch of finger on string clear to hear.

https://6moons.com/audioreview_articles/kenaz/

https://www.stereophile.com/content/raidho-td38-loudspeaker

Next, I played “Chorale,” an Anthony Fiumara–composed tribute to Philip Glass performed by the Dutch ensemble Slagwerk Den Haag. It’s a hyperdynamic recording of rich sonorous bells and other resonant percussion instruments. The album is called Vitreous Body (24/48 FLAC, Orange Mountain/Qobuz), no doubt a reference to Glass’s oeuvre (vitreous means glass-like). The bells and their incredibly long reverb t(r)ails were, again, beautifully delivered, with a subtle, sumptuous shimmer.