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

It’s been quite the six months in Serinusland. First the Stromtank, then the Nordost QNet and QSource, and then one of the finest DACs I’ve been privileged to enjoy, the dCS Rossini Apex. I never fully appreciated how good each of those components is until Wilson Audio’s new Alexia V loudspeaker let me hear so much more of what they can deliver.

All these changes and improvements can be summarized in one sentence: Assisted by first-rate amplification and source components, the Wilson Audio Specialties Alexia V presented the entirety of the musical argument more completely and satisfyingly than its predecessor did. And its predecessor was very fine.

The notion that the loudspeaker is the most important component in an audio system is hogwash, although that conversation may be more semantic than substantial. What’s the point of being able to hear more of what your system can deliver if all you hear is more distortion or mediocrity?

https://www.hifinews.com/content/avid-reference-three-loudspeaker

The (Le) Concert Spirituel recording of Handel’s ‘The King Shall Rejoice’ [Coronation Anthems; Alpha ALPHA868] sounded magnificent, complete with powerful drums and a fine unforced sense of live performance. There was nothing artificial or studio-y here, but instead a real impression of experiencing the music in a live space. It was a big, exuberant sound, but one with bags of detail to back it up, and those very ‘Handel’ vocal flourishes had a glorious ringing quality.

With the unusual instrumentation of Sachse’s ‘Concerto In F major’ from Clare Farr’s Loudmouthed Beauty recital [Lawo LWC1242, see p94] – bass trombone accompanied by church organ – the AVID Reference Threes delivered a persuasive impression of the two instruments in a church acoustic. Both the low-frequency power and harmonic richness of each was evoked, their notes ringing through the space. In the theme and variations of the third movement the effect was even more striking, with the extraordinary power of Farr’s instrument holding its own against the mighty organ.

KEF Reference 5 Meta

Back with solid state power and the Weather Station’s mumblings on ‘Marsh’ and other tracks where it’s not clear what is exactly being said but the feelings behind it are transparent in the hands of these KEFs. With an older favourite in Talk Talk’s New Grass where the vocals are quiet but easy to follow and the nuances of the performance are clear thanks to the transparency on offer. These speakers are borderline explicit when it comes to detail resolution, they really drill down into whatever you put through them and deliver the musical treasure that other speakers fail to expose. It gets the micro dynamics, the differences between the volume of notes, spot on and this brings a variety and colour to subtle pieces that often gets lost. It does the macro too of course and I thoroughly enjoyed Led Zeppelin’s ‘Killing Floor’ where they managed to give the bass a thickness that Metallica would have killed for, and  were clearly attempting to emulate on the Black album

With various inputs on the right speaker’s back panel, you can access your wired or wireless network. You can plug in your source components, and even a TV using the HDMI port. As I reviewed this unit and listened carefully, I could think of many uses for this system around my home, putting it somewhere where I didn’t have any music or replacing some other system that wasn’t as good, like my office speakers. Without a subwoofer, I don’t think this system is designed for, or at its best, in a large room. But in an office, bedroom, or small family room, this system is hard to beat in sound quality.

In the right room, or with a subwoofer added, something like the SVS 3000 micro, you’d have a great system with minimal investment at this quality level. I think you’d be hard-pressed to find individual components of this quality that can beat the SVS Prime Wireless Pro Speakers at the price.

https://www.soundstagehifi.com/index.php/reference-components/1748-recommended-reference-component-dynaudio-focus-30-active-loudspeaker-system

At the end of Gordon’s exhaustive review, he concluded that the Focus 30 system “deepened” his “admiration for Dynaudio’s active speakers,” and that he was “won over by the Focus 30’s transparent presentation, effortless dynamics, pinpoint imaging, and bass extension.” Gordon added that he “loved the look of the speakers” in his living room, but the support for Dirac Live is “the clincher” when it comes recommending this speaker system to readers. Gordon’s praise in his review earned the Focus 30 speaker system a Reviewers’ Choice award at the time it was published—and that same praise has now earned it a Recommended Reference Component award. Suffice it to say, DSP-based active speakers have come of age for those who are serious about sound—and Dynaudio’s Focus 30 has the features to optimize that sound, too.

https://www.hifinews.com/content/lowther-almira-loudspeaker

Rawls’ and Dianne Reeves’ voices retained much of their correct textures, hers clear and his raspy, but the absence of deep bass created an imbalance. It was more like listening to a small two-way speaker, despite ample levels which would destroy such systems. Yes, these go loud, but even with plenty of volume in hand I didn’t even bother to try and see how far I could go. It reminded me why horns were the default choice for cinemas back in an era when 5W amplifiers were considered powerhouses.

What caused enough concern to make me question the voicing of the Almira was the Platinum SHM CD of Blind Faith’s lone, self-titled album [Polydor Japan UICY-40013]. As trivial as this may seem, it was the simple cymbal crash that punctuates ‘Can’t Find My Way Home’, a specific crunch which sounded papery rather than metallic. That version of Blind Faith is one of the best I’ve heard, and my trusty Marantz CD12/DA12 in balanced mode is as sweet as CD sound gets. Not this time.

Covering the supertweeter to see if it was responsible merely proved that it added little to the sound. The edginess came from the main driver, making me wonder if the phase plug should be returned to its rightful place, and the LPFRCB removed. One suspects that Chave, Voigt and the rest knew exactly what they were doing a few lifetimes ago.

That last sentence is important as it describes the Q Acoustics Concept 50 perfectly; it passes every test with flying colours. It’s a £2,000 loudspeaker that sounds almost like a £4,000 loudspeaker. The design isn’t just ‘another box’ but nor are the innovations that go into the design merely there for their own sakes. A loudspeaker that is easy to drive and possessed of a classic sound yet isn’t so ‘classic’ as to be boring and isn’t undemanding of electronics in quality terms. With Concept 50, Q Acoustics more than earns a place at audio’s top table.