Audiophilepure

https://www.stereophile.com/content/jbl-4367-studio-monitor-loudspeaker

Yet the 4367s deliver more of what I love about the Altecs than more conventional designs do. They don’t deliver it all, but they deliver what they do with fewer sonic tradeoffs. And even more than the Altecs, they largely free the listener from the mental calculus of deciding which types of recordings will sound good on their hi-fi: Unlike most contemporary audiophile speakers, the JBLs are at home with anything from solo harpsichord to the loudest EDM single. When called upon to do so, they can play back music at sound levels that rival a live performance. Besides their imposing size and appearance there’s not much you have to give up for these abilities. Sure, the 4367s will not sound quite as airy and holographic as some rivals, but, at least for me, the tradeoff is more than fair.

The JBL 4367 Studio Monitors provide a lot for your $16,500. They effortlessly fill the largest living spaces with loud music, don’t require mammoth amps (though at least 50W is recommended for all but the smallest spaces), and most importantly will play your whole record collection well. For listeners who want to hear every detail on their favorite recordings at lifelike volumes, these may be just right.

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

Staying with events in that county, the Fours do a fine job with the 2020 Bergen Philharmonic/Edward Gardner recording of Britten’s Aldeburgh-set Peter Grimes [Chandos CHSA 5250; DSD 64]. Yes, in absolute terms I could have done with a little more bass growl and weight for that celebrated ‘Storm’ interlude, but for speakers so small what’s on offer is still mighty impressive. In the context of an unfolding drama whose every nuance and twist is illuminated by the levels of insight these loudspeakers deliver, the loss of that last iota of room-shaking ability is a very minor concession.

In practice, those crashing, wind-tossed waves are certainly tumultuous enough considering the diminutive size of the speakers unleashing them, as is the way the Reference Fours portray the unearthly nature of the despairing conclusion to the piece. These are speakers to grab the listener and command attention, and they do that regardless of the musical genre being played.

Finally, VSA’s revolutionary Room Adjustment Control Suite. Von Schweikert Audio’s designs are 100% analog and achieve reference flat frequency response shipped from the factory. Yet they understand the real-world challenge of getting flat response in the various listening room By utilizing our Room Adjustment Control Suite consisting of autoformers with induvial signal paths for each level selection, they can adjust the Main Tweeter, Super Tweeter and Rear Ambient Array independently by 1/2 dB increments allowing us to achieve much greater reference performance in your room than any other analog loudspeakers available. This is one of the key factors that led to our unprecedent number of Best in Show awards over the years.

TAD has put a lot of R&D into creating a compact stand-mount speaker. The ME1s look high quality and sound remarkable for their size. If you don’t like larger towers in your media room, these might be what you are looking for. When mated with a small sub, you have a two-channel music system that sounds amazingly large. I can only imagine what the ME1s larger brothers sound like!

https://www.enjoythemusic.com/magazine/equipment/0422/Canton_Vento_100_Floorstanding_Loudspeaker_Review.htm

To test its competence in the field of coarse dynamics, we of course listened to the legendary “TriCycle”, with which the Vento skillfully pins you into your seat. Tori Amos with her Montreux debut and the delicate sounds therein however also enchants the listeners, while the changing tempos in “Music” by the sadly recently deceased John Miles, for example, just pull you along with them. And cantatas from Bach are presented with a filigree lightness that provides sheer pleasure. The aspect of agility has increased even more in the new Vento, that’s for sure. A possible tonal weakness can also simply not be detected in the speaker, especially since the measurement diagram once again almost perfectly looks as if it was made with a ruler and thus stands to certify the highest possible balance.

It might sound obvious, but of course this Vento is the best of all time thus far – excluding the Reference K models, from which its development unquestionably benefited, for obvious reasons. Titanium graphite marks a further step towards the ceramic cone materials, that’s also for sure. It is a kind of intermediate step in making the membrane even better compared to the preceding generation. The difference in sound quality compared to the Reference is certainly no longer as great as the difference in price.

https://www.soundstageultra.com/index.php/equipment-menu/1092-focal-scala-utopia-evo-loudspeakers

During my listening tests, I found that several subtle nuances distinguished each speaker’s sound signature, but the two characteristics that most differentiated the Scala Evo and 7F were bass reproduction and cohesiveness of sound. The Scala Evos consistently revealed punchier, weightier, and richer bass notes with greater volume and impact, despite the use of only one 10 5/8″ driver per speaker compared to the 7F’s twin 8 1/2″ drivers. This made the Scala Evos unequivocally more fun to listen to, particularly at low-to-medium volume levels. But—and this is a big but—the bass note delivery through the 7Fs was unfailingly more resolved, tuneful, and deeper when called for, and it ultimately felt as if this part of the frequency range was communicated through a clearer lens with the Paradigms. To give an example, after queuing up Boz Scaggs’s 2001 album, Dig (16/44.1 FLAC, Virgin), and focusing on the deep and rhythmic bassline on “Thanks to You,” I found that the Paradigms cleanly laid bare all of the bass notes contained within this track, whereas the Focals rolled them off more quickly and at times failed to illustrate the deepest notes altogether. In terms of resolution, the bassline through the Scala Evos was less articulately defined.