Audiophilepure

What can I say more about these that I haven’t already covered in the Trio review? They are more of everything! Volume, heft, SPL, and stature. If that is what you’re looking for—you came to the right place. And don’t worry about your room size too much—honestly, due to them being dipoles, you can run them in awkward rooms and get very pleasurable nearfield listening out of them. I can say this with actual experience (they currently are living in a 22′ x 12′ room) so they are quite versatile. If you have the Trios, consider this a major upgrade (if your room allows it) or if you’re considering a PAP system then I say skip the smaller one and just go with these! I can’t recommend the company or the speakers enough. 

https://www.hifinews.com/content/perlisten-audio-s7t-loudspeaker

Surprisingly, however, I felt I was hearing it in a way I hadn’t before, not in terms of microscopic detail, but in imaging. And at this scale, this resolution and with this dynamic flavour, you remember why it’s a track destined to lurk in every audiophile’s collection. It was spine-tingling, emotional stuff, and I never wanted Gilmour to stop wailing.

As for getting a sense of the recording space, and painting a visual picture, the S7t doesn’t fail. Rogrido y Gabriela’s furious flamenco guitar jam ‘Terracentric’ [Mettavolution, Rubyworks; 44.1kHz/24-bit] had a degree of physicality that was tangible. The feeling of air being shifted by these speakers was palpable, as was the evocation of the duo on a small stage. Again, these speakers do ‘loud’ with real class so, naturally, you wouldn’t buy the S7t (or SE) to play them quiet. But you should definitely think about buying them.

https://www.soundstagehifi.com/index.php/equipment-reviews/1677-simaudio-moon-voice-22-loudspeakers

After a few weeks in the living room, I moved the 22s up to my main listening room, which is bigger—the ceiling is 8′ high again, but the main listening space is about 16′ wide by 18′ long. On top of that, the listening space behind my main listening chair opens into another 16′ by 18′ space that I use for storage. The speakers were atop the BBC stands, placed about 9′ apart from each other and 9′ from the listening chair, thus forming an equilateral triangle. The backs of the speakers were about 7′ from the wall behind them and 5′ to the walls beside them. This kind of setup puts small speakers at a severe disadvantage because they can’t benefit from room gain due to the significant speaker-to-wall distances, but it does allow me to hear more of the speakers and less of the room.

Powering the 22s through QED Supremus speaker cables was the Purifi Audio Eigentakt engineering-sample power amp I wrote about in September 2020. Driving the amp was an Anthem STR preamp-DAC (ARC room correction turned off), fed by streamed and SSD-stored digital music files from an Asus Zenbook UX303U laptop via a USB connection. Other cables and accessories were from Crystal Cable and Shunyata Research, as outlined in the equipment listing at the end of this review.

https://www.soundstageultra.com/index.php/features-menu/opinion-menu/1110-the-incredible-transparency-of-the-vivid-audio-g1-spirit-loudspeakers

My obvious conclusion is that the Vivid Audio G1 Spirit loudspeakers are capable of simply magnificent transparency. I’m completely convinced. Does this come down to the acoustically slick enclosure design that mitigates any edge diffraction? Is it the driver complement, purpose-engineered and built specifically for these Vivid speakers? Or is it the result of some kind of magic that Laurence Dickie himself has conjured like Harry Potter into his flagship product? I can’t give you the answers to any of those questions (although I know for a fact that Laurence doesn’t look much like Harry). What I can tell you is that Vivid’s G1 Spirit loudspeakers are equipped with a resolving capability that is truly groundbreaking. And gosh, do they ever make dissecting the differences between connected electronics an absolute cinch.

My takeaway on the Vivids is this: The G1 Spirits will allow anyone to hear the true stereophonic beauty of the equipment they’ve so carefully assembled in their listening room. And since that beauty is only displayed when a system is actually playing back music, it’s the music lover who ultimately wins when listening to Vivid’s G1 Spirits.

https://audiophilestyle.com/ca/bits-and-bytes/kef-ls60-wireless-hifi-system-r1106/

The digital part of the LS60 Wireless is very close to the LS50. The same input platform is used (my guess is StreamUnlimited card) and the same reasonable restrictions are in place. A wired Ethernet connection between the speakers enables up through 24/192 playback, while a wireless connection is good up through 24/96. The speakers support receiving 24/384 and DSD, but this will be not be played natively. 

Given that these speakers have internal digital signal processing (KEF calls its DSP suite the Music Integrity Engine), the input of anything above 24/96, or even DSD, is likely going to be downconverter anyway for processing. Not a big deal at all because the benefit of this DSP will greatly outweigh any real or perceived benefit of the higher resolution music. 

https://www.enjoythemusic.com/superioraudio/equipment/0522/Von_Schweikert_Audio_Endeavor_SE_Floorstanding_Loudspeaker_Review.htm

This would result in several patented innovative technological applications that continue to evolve and be employed in practically every Von Schweikert Audio speaker design, among them the Global Axis Integration Network (G.A.I.N.) and Acoustic Inverse Replication (A.I.R.) or “Inverse Microphone” concepts, all furthering the sonic objective of realism. Secondly, and in a word, I say again – Space. Beyond their truthfulness to pitch, intensity, duration, and timbre, the ESE authentically recreates the performance space in a manner and scale I’ve never before experienced from a full-range speaker of this footprint or price point. A presentation that envelopes the listener with all the excitement and visceral energy of the performance venue, off- and on-axis. It is indeed, “The Sound of Reality” — That sonic hologram we all strive to create.

https://www.whathifi.com/us/reviews/kef-ls60-wireless

We’re keen to hear just how the KEF LS60’s Uni-Core drivers handle low frequencies so we switch to the Jauz Remix of Shaed’s Trampoline. Before the dubstep element has a chance to muscle in, we’re drawn to the detail in the midrange. There’s an impressive level of detail in and space around the lead vocal. It’s surrounded by an echo that floats effortlessly in the ether.

The vocal then rises and tees up a brief but perfectly executed moment of silence before the KEFs plummet to follow the track’s deep, dirty bassline. It’s dispatched with intent and force – edges are sharply drawn and there’s so much texture to the notes the speakers almost fool you into thinking you can reach out and feel them. There’s so much weight and power on display, you wouldn’t believe a cabinet that slim could produce such an impactful sound.

The vanishingly low cabinet coloration not only acts to keep the BC150 fast, it keeps it extremely detailed too. This is a loudspeaker that throws the window wide open on your music. Pick an instrument, preferably a solo instrument on a well-recorded album; that instrument sounds detailed, articulate, and physically ‘there’ in the room, solidly placed within a wide soundstage that projects slightly into the room, but not so much as to be intrusive. It’s detailed and precise enough that colorations are more likely to be to do with the room than the speaker, and many of those are ‘nailed’ thanks to the rear-firing tweeter. The BC150 loudspeaker is an audio reproduction instrument of high-precision, and as such if your room has a bit of a mid-range hump, you’ll notice it more immediately here. Given the BC150 and the company it keeps, that’s no bad thing, as room acoustics should be a strong consideration at this level. But, regardless, listening to something like ‘Love in Vain’, by the Rolling Stones [Stripped, Polydor] and you get to hear Jagger’s voice unsullied by the speaker itself; other speakers seem to play something more like an impression of Mick Jagger by way of comparison.

https://www.audiophilia.com/reviews/2021/12/8/wrsuv6go9jr7h6dowbmfos4l1r132k

Harbeth is proud to advertise the ‘use anywhere’ adaptability of the speaker. As such, I’m guessing the P3ESR would be the dream desktop loudspeaker, taking convenience with superior sound to the nth degree. But there’s no doubt situated in a well treated room of appropriate size on the suggested stands is the way to go. I’d say the quality and adaptability of these bookshelf beauties would make the ideal entry level high end loudspeaker for budding audiophiles with catholic musical tastes who save a little and want to take a serious step forward in building a quality system. I know many companies attempt to manufacture such a speaker but I’ve not heard one in the size and at the price of the P3ESR XD that matches it for refined, musically immersive sound. They are a remarkable value. Also, their superior fit and finish belies their $3290/pair MSRP.