Audiophilepure

https://www.theaudiobeat.com/equipment/dynaudio_evoke_50.htm

One final bit of advice is that the seating height is fairly critical. At 44″ from the floor, the tweeters are significantly higher than your ears when you are seated in a normal-height chair. If you have a low-slung couch, as I do, the tweeter develops a shelved-down response above 2kHz. The tweeter will sound nice and mellow, but will diminish the instrumental timbre I’ve discussed, due to the reduced level. I had to remind myself to sit up straight to get the best sound from the Evoke 50s.

https://www.stereophile.com/content/dynaudio-focus-10-active-loudspeaker

“We have definitely improved the Focus tweeter with a device called the Hexis. It’s a plastic shape that looks like the Death Star and sits right behind the dome of the tweeter, very close to the diaphragm itself. The Hexis helps control the resonant behavior of the diaphragm and extends and helps give character to the high frequencies. It also helps protect the tweeter so if you accidentally push it, it won’t tend to crinkle or squash, thereby limiting high-end performance.

“We’ve also improved the midwoofer’s voice-coil, magnet system, and surround. The midrange/woofer is composed of polypropylene with added MSP (magnesium silicate polymer).” Because of this additive, it “delivers a much more natural sound than you typically get from a polypropylene cone.”

https://www.hifinews.com/content/wilson-audio-alexia-v-loudspeaker

Recalling a mentor who said, ‘If the soundstage is correct, all else will follow’, as with the Wilsonian concern for coherent and correct time arrival, within the soundstage – thanks to its scale, width, depth and height – I could picture with ease the performers and the instruments, and their relative sizes. Retrieval of detail was of macro-lens precision, as was exact instrument positioning. Confirmed in part by images in the CD’s booklet, it occurred to me that use of the term ‘uncanny’ is actually an understatement.

What turned this into a life-affirming experience, after dozens of favourite test tracks including most of Lou Rawls’ At Last [Blue Note CDP 7 91937 2] and the most authentic reproduction and contrast between his growl and Dianne Reeves’ sparkle, as well as Keb’ Mo’s Peace… Back By Popular Demand [Okeh/Epic EK 92687] with its gorgeous piano passages, was a recording from the Age of Sibilance. I don’t know why so many 1980s recordings are the antithesis of those from the velvety 1950s, but too many nestle on a knife-edge between treble extension and torment.

https://www.audiophilia.com/reviews/2022/9/23/bsc-research-dundee-8-loudspeakers

After I was finished listening to my classical examples, Mark played moments from the 1979 progressive rock classic Pink Floyd CD The Wall, allowing me to hear the electrical instruments of the band in a state-of-the-art recording. The recording was made manifest in the most arresting way. You could not be indifferent to the sound pouring through these babies. There was immediacy and energy, forward energy, born on the wings of the directionality of the sound. Very impressive. As an aside, I must admit, and many of you will laugh at this, I am not that familiar with Pink Floyd. By 1970 I had stopped playing and arranging “covers” of early Chicago and Blood Sweat and Tears material, sold off my “ballsy” Hammond-L and 251 Leslie speaker, and started focussing on the classical repertoire. (Yes, I do yearn occasionally to return to this repertoire). But I digress. For the moment, allow me to make a few final comments on the details of the speakers and we will have more to say about their sound.

https://www.stereophile.com/content/dynaudio-focus-10-active-loudspeaker

Designed as a “complete wireless sound system,” the Dynaudio Focus 10 active monitors are the most musically satisfying one-stop playback solution I’ve had the pleasure of hanging with. Thanks to their wireless options, built-in upsampling DAC, multiple streaming options, DSP, and optional Dirac room correction (which I didn’t try), all you need supply is a Wi-Fi signal, a streaming subscription, a smartphone or tablet for control, and a little time to fine-tune everything. If you already have Roon, you’re ready to go; you can even skip Roon and stick with Tidal Connect. The Focus 10s are easy to set up and optimize, and they deliver all they promise.

If you want to rock out, or if your room is less than intimate in size, the more expensive Focus 30 and Focus 50 models will likely prove more satisfying. But within its limitations of image size and bass quantity, the Focus 10 is one of the most musically satisfying active loudspeakers I’ve had the pleasure to audition. Highly recommended

Clear plastic encases the WVL AMT tweeter; it stands upright at a slight angle. The tweeter mount sits fully across the top of the main cabinet, held in place with invisible magnets. Thanks to the magnetic hold-down the tweeter enclosure can move back and forth on the cabinet for time alignment and balance between upper and lower frequencies. The tweeter mounts off center allowing you to place it toward the inside or outside of the cabinet—closer to or further from a sidewall—just swap the pair across cabinets to change the orientation for best sound.

The Cryo Edition version is similar in construction to the standard version. Only in the Cryo version, all metal parts that can be found in the loudspeaker are cryogenically treated one piece at a time. The parts are cooled down to -196 degrees Celsius and slowly brought back to room temperature. As a result, the internal molecular structure changes, and the stress from the materials disappears. The cryo treatment is done in-house at Børresen Acoustics itself, it is an expensive process but yields a substantial gain in sound quality.

The Silver Supreme Edition is again the same as the Cryo version, however, this version utilizes hand-cast and CNC-machined pure silver induction rings in the drivers. These drastically change the properties of drivers, in a very positive way. The inductance is about 12 times lower than that of conventional drivers and the distortion is reduced by as much as about 40%.

The differences did not end there, however. On the Lumina V, the percussive tom-tom drums, which seem to talk during the chorus, had wonderful attack-to-body transition, and never got lost to the background of the lead instrumentation and vocals. This character was similar in all aspects on the Sonetto III, except the space between the instruments was far greater, and the start/stop speed of everything was more defined. There may have been a hint of congestion at times in the upper bass with the Lumina V, however the Sonetto III had none of it and were extremely accurate. I would classify the Sonetto III to be dead-pan neutral in timbre. This works for them in many ways, however there is no hiding harshness when it is present in the recording with the Sonetto III. As “Small Things” grew to its dramatic ending, the Sonetto III grew with it, and maintained their composure at volumes louder than I would expect. This got me thinking this is what Sonus faber meant when they stated not to be fooled by their size. They did not sound as of they had 8″ woofers for sure, however they did sound rock-solid and were surprisingly room filling for their slight size.