Audiophilepure

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

It pains me to say, but as much as I love the original Olympica IIIs that have anchored my media room setup for four years now, the new Olympica Nova Vs are superior in every way imaginable. The three woofers on the Olympica Nova Vs offer a significant improvement in bass output as well as depth. More surprising is that even with the additional bass, the Olympica Nova Vs were less sensitive to positioning in my room. This bass also seemed to blend better with the midrange, creating a more cohesive experience. The Olympica Nova Vs sound phenomenal with well-recorded classical and jazz yet can totally rock out if you prefer more dynamic styles of music, like EDM or Metal. The larger cabinet and improved construction seem to have made a fuller-bodied sounding speaker as well. Male and female vocals are handled with equal aplomb

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 will be entertained.

https://www.soundstageultra.com/index.php/equipment-menu/1182-t-a-elektroakustik-solitaire-s-530-loudspeaker

Once again, the T+As seemed to disappear from my room, so convincing was the Lyndhurst Orchestra before me. The gentle strumming of Heitor Pereira’s guitar at the 1:25 mark belied the orchestral violence that backed him, starting with the string section. At the 3:20 mark, when the solo trumpet pops to the fore, it was incredible to hear how well articulated the instrument was among the rest of the performers, who continued to paddle the melody along. “Uncanny” is the word that jumps to mind, such was the jump in perceived two-dimensional and three-dimensional resolution over any other pair of loudspeakers I’ve heard in recent memory. I was awestruck as the track crescendoed into a manic frenzy and my Hegel’s volume readout hit 75—nearly as high as it has ever been—and the S 530s remained nonplussed. There is colossal deep bass energy on the track, and the T+As kept the rhythm without any hint of compression or chuffing. Dead Can Dance’s Lisa Gerrard is heavily featured on the album. Her weighty contralto closed out proceedings on “Now We are Free,” seemingly mourning those lost during the film’s major battle scene. Her voice was supremely supple and present with the Hegel on the conductor’s podium. The big floorstanders’ handling of this dynamic and complicated recording was perhaps the most impressive I’ve ever heard.