Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1180-psb-synchrony-t800-loudspeaker

Moving into the midrange, things got a lot closer. The Sonus Fabers and PSBs both produced an essentially neutral midrange that did not color voices. Both models created good width and, when the music allowed, produced a soundstage that was both expansive laterally and precise. Vocalists that should appear dead center did exactly that. The one difference was that the Sonus Fabers had a slightly more dimensional midband whereas the PSBs could sound a touch flat by comparison. The SFs produced a soundstage that was deeper and more three-dimensional as a result. The upper frequencies were a bit surprising: I actually heard slightly more air and sparkle through the Sonus Fabers than through the PSBs. This may come as a surprise, as the SF contains a soft-dome tweeter and the PSB is equipped with a metal dome.

https://www.enjoythemusic.com/superioraudio/equipment/0423/Alsyvox_Audio_Design_Botticelli_X_Loudspeaker_Review.htm

Over our entire day of listening, the resultant degree of coherence the Botticelli effortlessly delivered, its ability to convincingly speak with one continuous voice, was simply extraordinary. That voice is full-bodied, replete with the complex harmonic structures of individual instrumental accents that it presents with an overall tonal balance that is as faultless as I’ve ever experienced from any ribbon driver-based loudspeaker. As such, the piano was superbly represented time and time again, and the Botticelli’s ability to convey micro-dynamic shadings, combined with its truthful depiction of timbre, was simply and convincingly real sounding. Tone color is richly vibrant and texturally complete. Instrumental decay is portrayed exceptionally faithfully, with a sense of unrestricted speed that allowed for a very natural interpretation of its natural linger and air, all attributes of their remarkable coherence and astonishing speed.

The Audiovector QR 7 is the best-sounding full-range loudspeaker I’ve heard at length in a familiar setting that costs less than $10k. Is it “better” than substantially more expensive products from Magico, Wilson, Von Schweikert, YG, Rockport or, for that matter, Audiovector’s larger R Series models? Probably not. But that isn’t, I feel, the question we should be asking. The QR 7 is an exceptionally overachieving product. By diligently developing alternative technologies and manufacturing practices, Audiovector provides entry to the most exalted level of performance that high-end audio has to offer. It’s a compromise…that isn’t.

Having apprised Karl-Heinz of the speakers’ arrival I was asked if I listened to digital audio and made use of Roon. When I responded in the affirmative, I was made aware that there are compatible DSP filters (delay-compensation) designed by FinkTeam that are works-in-progress. These filters compensate for group delay of the passive crossover in the upper midrange and, according to my research, the excess group delay can affect both the auditory image and spatial impression of sound as it is heard. A second set of filters compensates for overall group delay, which for Roon can drastically reduce delay to single rather than double digits in terms of milliseconds.

Note, the use of these filters is optional. I decided that since they were on offer I was going to listen to the speakers with and without them, if for nothing else a heightened sense of curiosity. It would be a crime not to. In my experimentation, I could hear the differences and the effects, but that does not mean they are suitable for everyone. In this new digital audio age, it makes sense for designers and manufacturers to extend themselves and make the most of what’s out there. If any of you are fortunate to acquire a pair for purchase or even a test drive, do avail yourself of the opportunity to experiment with these filters.