Audiophilepure

https://www.stereophile.com/content/klh-model-five-loudspeaker

The M5s let me hear all the differences between amplifiers and recordings via its clean treble, open midrange, and controlled, authoritative bass. The M5 was a forensic instrument when needed and an audiophile speaker capable of reproducing rich, true-to-the-source sounds when desired. For not a lot of money. The KLH M5s are intoxication kings, urging me to hear my most beloved vinyl via its big personality and well-scaled dimensionality.

I thought, “If only I’d kept that pair of original M5s I found uptown!” But the revived KLH Model Five turned any regrets into a hearty smile of satisfaction.

https://www.whathifi.com/us/reviews/dynaudio-emit-20

Venture higher up the frequency range and the Dynaudios show they’re also seriously sophisticated speakers. Highs are a particular highlight when we play the end credits from Pirates Of The Caribbean: On Stranger Tides. String instruments sound sweet and refined with it. You’re left in no doubt these are a serious step up from entry-level, budget speakers. 

We switch electronics and swap out our Burmester amplification for something a little more price comparable. In this instance, it’s the Naim Nait XS3. We also move on to Mountains by Bat For Lashes and the Dynaudios surf that retro ’80s synth wave effortlessly. The highs, the lows, the sweeping vocal and the crisp chimes all pique our interest. The speakers dig out an impressive level of detail across the board and manage to balance analysis and entertainment. They’re capable of presenting you with plenty of information without sucking the life out of the music.

https://www.stereophile.com/content/klipsch-forte-iv-loudspeaker

The 3 Sounds are perhaps Blue Note’s only lost jazz act. No one cares for them outside of rappers looking for samples; their records go for a pittance. But between 1958 and 1971, pianist Gene Harris, bassist Andrew Simpkins, and drummer Bill Dowdy performed and recorded with an old school swing pulse that was engaging and relentless. They recorded nearly 20 albums for Blue Note and more for the Riverside, Mercury, and Limelight labels.

Feelin’ Good is prime 3 Sounds. Through the IVs, it captivated with rich, sparkling piano, tactile, snappy drums, and deep-rumbling acoustic bass. The IVs were coherent from midrange through the treble; the IIIs sounded more disconnected. Gene Harris’s piano sounded harder through the IIIs, and if Bill Dowdy’s drums seemed more integrated with the soundstage via the III, it was because the snare drum and cymbals were pushed forward and not because the drums were deeper in the stage.

 At first, you don’t think that the bassline is that complex, but if you listen closely, you can hear that there are a lot of notes in there. The tight bass response of the Lumina’s made it very easy to hear each and every note that made up the low end of this classic song. The drums are not as present in early ZZ Top recordings, but they still hit nice and tight. The Lumina Vs presented ZZ Top’s “Texas boogie” with flair and I wound up listening to quite a few more tracks, really enjoying the experience. While Dusty Hill will be greatly missed, I hope that ZZ Top can find a way to continue on.

https://www.hifinews.com/content/pmc-fact-fenestria-loudspeaker

As far as the listening position is concerned, things are similarly simple – just ignore that big bass-box on the top, and sit with your ears on the same level as the Nest midrange assembly, and you won’t go far wrong. In that position the fact fenestrias sound similar to, but rather better than, a good two- or three-way speaker from the company’s main fact range and with a hefty dose of bass to underpin goings-on. We’ve had some big speakers through our hands demonstrating much more ‘character’ – for good or bad – than the fact fenestrias make obvious, but there’s little chance you’ll consider these speakers to be inauspicious or just plain ordinary on your first acquaintance with them.

https://www.whathifi.com/us/reviews/dynaudio-confidence-20

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The downward-firing port makes the Confidence less fussy about placement relative to walls than a rear-firing port design would be, but these Dynaudios still sound more balanced when placed well away from all walls in our test room. We angle them slightly towards the listening position to firm up the stereo image but don’t feel the need to play around more than that, given the impressive focus of the nicely layered, expansive soundstage.