Audiophilepure

https://www.stereophile.com/content/bowers-wilkins-705-s3-loudspeaker

 Considering my well-established predilection for large speakers with extended bass, I didn’t expect that much from these small standmounts. I should have expected more. Even though my listening room was not as favorable to the 705s as a smaller, more damped room would be, their performance was rewarding and enjoyable—no apology need be made on account of their size. Their midrange and treble resolution is outstanding, and their bass is musically satisfying. When properly set up, they will readily pull off that little trick and disappear into their own soundstage.

https://www.stereophile.com/content/tad-ce1tx-loudspeaker

My definition of the word “best,” as applied to audiophile speakers, would include expressions like “extremely well-sorted” and “exposes everything” and “flawless tone.” This thought struck me now because exactly these words passed through my head over and over during the hundreds of hours I spent listening with the TAD CE1TX’s. These luxuriously appointed standmounts specialize in converting tiny signal currents into moving air with atomic-clock precision—all by itself, a captivating phenomenon to witness. But what elevated these new TADs to a level of performance I’ve rarely experienced from any speakers, anywhere, at any price is the coexistence of that atomic-clock precision with an innate ability to present instruments and voices in a most agreeable, seductive manner.

https://www.hifinews.com/content/ps-audio-aspen-fr20-loudspeaker

The industrial design is by Canadian-based Studio 63, which also penned the FR30. In this case the main enclosure is a one-piece design, with none of the adjustability of the two-piece FR30, and is built from heavily-braced MDF finished with 20 coats of hand-rubbed piano-grade lacquer. There’s a choice of Pearl White or Sable Black finishes, incidentally. The planar magnetic tweeter is attached to the rear of the thermoset resin front baffle, the latter with a shaped waveguide to control the dispersion of the midrange driver mounted, like the woofers, to the main structure.

Separate magnetically-attached grilles are provided for the top and bottom portions of the cabinet, as illustrated in our pictures, while the substantial alloy base comes with a set of adjustable milled brass feet. These include detachable spike tips and plastic inserts for use on hard surfaces, plus a set of sliders for ease of movement while the speakers are being set up. PS Audio provides a set of nifty Allen keys for adjustment in addition to a set of jumpers for single-wiring the bi-wire terminals on the rear of the speakers.

https://www.whathifi.com/reviews/kef-r3-meta

That the new R3 Meta allow us to park our analytical observations after a while and simply enjoy listening to our music collection really says it all. To confirm: these are hugely enticing speakers in design and in performance. 

We haven’t come across many stereo speakers at this price point in recent years that are so accomplished in all the ‘hi-fi’ ways and fun to listen to in the same breath. If your system and budget allow it, the new KEF R3 Metas are worth the plunge. We promise you’ll be entertained.

With the impressive level of bass I experienced with the Signature 60 in the large room, I’ll admit that I was a bit concerned that they might overpower the smaller dimensions of the analog room. As it turned out, no worries—the room is fairly well-damped, and the bass level was absolutely perfect! Again, the imaging of the Signature 60 was spot-on, and as in the larger room, they simply vanished during playback, giving me a really great illusion of being live in Glasgow with Travis at this incredibly entertaining concert. The Signature 60 projected a stereo image with a greater degree of scale than one might expect from a standmount monitor; I was constantly amazed by this. My PrimaLuna EVO 300’s EL34 output tubes were an excellent match for the Signature 60, and helped imbue their sound with a very liquid and lush character. And the AMT driver presented a top end that was supremely musical, with incredible clarity and transparency—this really took me back to my first truly high-end loudspeakers, a pair of ESS AMT 10b that I was totally smitten with back in the late seventies.

https://www.soundstagehifi.com/index.php/equipment-reviews/1773-mission-770-loudspeaker

From its deep bass to its extended highs, the 770 proved commendably neutral, which is quite an achievement if it was truly designed more by ear than by measurements. But perhaps the ear-tuning is what instilled the performance aspects I liked most—the rich, powerful bass combined with a midrange that blossomed with realism with all the music I played, yet still provided detail akin to the best speakers I’ve heard. I was also surprised how well the 770 gets the sound out into the room, without those telltale big-box colorations that can make old-school speakers sound muffled rather than open and spacious. That sort of thing is tough to suss out with measurements, so maybe that’s what Comeau and crew used their ears for. That could be a lesson for those who rely more on charts than their ears.

https://www.soundandvision.com/content/jbl-4329p-powered-studio-monitors-review

I streamed a live reading of this memorial to the Ukrainian victims of Nazi genocide by Muti and the Chicago Symphony and Chorus, which won a best-engineered Grammy a couple years ago, from Qobuz as a 96/24 FLAC. Via the JBLs this very naturalistic recording stunned me with the great definition of instruments and voices, letting the ear pick out individual voices from the (mostly) men’s choral parts, and the dense, dark woodwinds—the bass clarinet, for one example—of the dark, somber opening. The brasses were plangent and sparkling, the choral consonants crisp and, where appropriate, realistically sibilant, yet the Chicago’s warm and gooey string sound was well evident