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

What the Alexx V represents, to this veteran Wilson listener, is the utopian midpoint between the WATT’s focus and scale of the Chronosonic XVX. This enormous system delivers the soundstage and presence expected of a coffin-sized construct, yet it produces detail and precision to rival any point-source. It’s dangerous to say these words, but here goes… the Alexx V is the best damned speaker I have ever heard.

https://www.whathifi.com/us/reviews/pmc-fact-fenestria

They image superbly for such large boxes – thanks no doubt to the well controlled cabinet resonances – delivering a huge and expansive presentation that still has instruments and other sounds locked solidly in place. These PMCs dig up so much in the way of low-level detail that it’s easy to hear the acoustic clues that describe the scale and characteristics of the recording venue, making it a breeze to place the orchestra within that space.

These floorstanders are astoundingly good in the way they render dynamic shifts too. Forceful crescendos are rendered with conviction, which is no surprise given the price level. More impressive and unusual is the way the Fenestrias handle the nuances, the slight changes in intensity that communicate, say, the emotion in a voice or change in emphasis in the way a piano key is played. This is brought home when we listen to Beethoven’s Moonlight Sonata and find it comes through with a level of authenticity that’s rare in hi-fi. We can’t recall testing another speaker that reproduces the harmonically rich sound of a full-size piano with such realistic dynamic expression and accurate sense of scale. There’s an authority in the Fenestria’s presentation that’s hugely appealing.

https://www.stereophile.com/content/fyne-audio-f500sp-loudspeaker

The F500SPs seem to be low in distortion, which allows them to place each record in its unique place in time. 1950s mono jazz records cut at Rudy Van Gelder’s Englewood Cliffs studio sounded zippy and energetic. 1990s electronic dance records pounded and pulsed, their spectral synths and robot drum machines sounding creamy and enveloping—almost feline. Modern rock records had plenty of bite and drive, with crisp snares and guitars, palpable vocals, and well-imaged, well-defined electric bass guitar. Reproduced by the F500SPs, music sounded meaty, visceral, and full bodied and proved capable of spinning a deep, wide soundstage with clear spatial relationships among instruments. It portrayed music with gobs of air and space when those qualities were on the recording, as on Frahm’s Felt.

https://www.soundstagehifi.com/index.php/equipment-reviews/1653-monitor-audio-silver-500-7g-loudspeakers

I compared the 500 7G with another British speaker: KEF’s R11 tower ($5999.98 per pair). At just over 41″ tall, the Monitor Audio is of average height for the floorstanding models I’ve reviewed, but standing alongside the flagship tower from KEF’s venerable R series, it looked stout. At 49″ tall, the KEF is one of the tallest speakers I’ve ever had in my room, and its substantial height is needed to accommodate a total of four 6.5″ woofers. Furthermore, the R11 boasts the latest version of the company’s Uni-Q driver, a coaxial design that positions a 1″ tweeter at the center of a 5″ midrange driver. Additionally, the KEF weighs 83 pounds, or over 60% more than the Monitor Audio. While they might share basic DNA in that both are bass-reflex designs, there are more than a few factors that differentiate these speakers.

https://www.hifinews.com/content/paradigm-founder-120h-loudspeaker

While far from the largest speakers to have graced the room in recent times, the 120Hs did a more than fair job of both filling the space with sound and conveying hugely exciting and involving music. The crystalline recording quality of Anna Fedorova’s Shaping Chopin recital [Channel Classics CCS 43621; DSD128], rewarded us with the familiar combination of beautifully-realised instrumental timbre and a good sense of the concert-hall acoustic.

Yes, we’ve heard this set rendered with slightly more solid imaging, and an ever-greater impression of the ambience, but the 120Hs still deliver that winning mixture of substance and detail required for a convincing picture of a large instrument being played in a generous space.

https://www.soundstagehifi.com/index.php/equipment-reviews/1652-stenheim-alumine-two-loudspeakers

Below about 100Hz or so, I found the Alumine Twos’ bass output to be seriously lacking in my room—especially given the speakers’ high asking price. So, if you expect and demand that your two-way standmount speakers have good bass output and extension, then, unless you have a very small room and are willing to place the Twos quite close to the wall to leverage some bass boost from the room, I must urge you to look elsewhere—either that or consider matching these speakers with one or two subs.

That recommendation for the sub(s) is something I hope you might take seriously, because the Alumine Twos’ midrange and treble reproduction was, without question, the finest I’ve ever heard in my room, providing spot-on tonal accuracy combined with transparency that was second to none—I could hear the recordings so clearly it was uncanny. Song after song, the solidity of the aural images and their 3D precision placements as they emerged from an empty space in my room consistently left me mesmerized. Those sounds, so sharply and expertly carved into tall, wide, deep soundstages, were so utterly devoid of even the subtlest cues that they were emanating from the utilitarian-looking square-ish boxes I knew were reproducing them, I found the sound of the Twos difficult if not impossible to find fault with. Except for the bass, that is.

http://www.enjoythemusic.com/magazine/equipment/0122/Bowers_Wilkins_805_D4_Standmounted_Monitor_Speaker_Review.htm

This speaker is more than another helping of ‘worthiness from Worthing’: it’s still supremely accomplished, and if I were to be remunerated for the number of times ‘unflappable’ made it into my listening notes, this would have been a very lucrative listening session indeed. You can buy the 805 D4 secure in the knowledge that every aspect of its engineering is ‘just so’ and that the measured performance is likely to be exceptional: there’s not a single regressive aspect of the design from their predecessors and – in pure engineering terms at least – not a great deal of competition at the price.

More than this, though, it delivers levels of emotional engagement and enjoyment that have never featured in my past experiences of the 800 Series. It’s forgiving, both of less than pristine recordings and the equipment with which it’s partnered, and commendably unfussy about placement, too. The latest 800 Series seems to set to do all the things we expect better than ever before, but do them with a level of unbridled fun, too – and that makes this the most appealing iteration yet.

The EJ Jordan Marlow Speakers

If you aren’t paying careful attention, the BBC inspired styling cues of the EJ Jordan Marlow speakers might fool you into thinking you were looking at another LS3/5A. Yet these small British speakers couldn’t be more different. Because they are not under license from the BBC, the Marlows are not held to the same design constraints.

They are meticulously made, yet these compact speakers utilize a single 3.93 inch (100mm) full range Eikona driver. If you click here to go to the EJ Jordan site and poke around a bit, you’ll find out that their designer, Ted Jordan is a powerhouse of speaker engineering. The Eikona driver is assembled at Scan Speak with critical parts originating in the UK.