Audiophilepure

https://www.soundstagehifi.com/index.php/equipment-reviews/1582-triangle-40th-anniversary-comete-loudspeakers

I investigated the bass further by taking an in-room averaged frequency-response measurement of the Comètes using my calibrated miniDSP UMIK-1 microphone and Room EQ Wizard, and I compared the results directly with my earlier measurements taken with Triangle’s Borea BR03s in the same positions. I found that, relative to 2kHz, the BR03s not only had 2dB more output than the Comètes at 50Hz, but also a measured -3dB point of 33Hz compared to the Comètes’ 38Hz. As a matter of comparison, most two-way standmounts with 6.5″ midrange-woofers that I measure in my room (always in the same positions) yield -3dB points around 32-35Hz. These measurements confirmed what I was hearing, or rather missing, in the bass with the Comètes—they lacked some extension not only in comparison to the BR03s, but to other speakers that had been in

The new sound of Wilson is warm, but not in a bad way. Think warm as a result of energy—like molecules being excited, not like sitting by a fireplace drinking scotch on the rocks with a blanket over your legs. The SabrinaX’s ability to convey weight and impact, with surprising power and depth, is wonderful for its size. But I will warn that ¼” movements in placement have dramatic effects on these qualities, and on timbre, as well, harkening back to my set-up warnings above. These things demand meticulous placement, but, boy, do they deliver when everything’s done right. I found that the SabrinaX played all genres of music well, without softening, cleaning, or warming anything up. It was quiet and nuanced, but bold and powerful when called upon. At the same time, it also allowed me to resolve the smallest details and easily identify upstream changes. I was constantly searching for new music, different music than my routine listening lists. And listened to it not just for a song or two, but for entire albums. I have to specifically highlight vocal transitions as exceptional, and the driver integration left this 3-way sounding like a 2-way bookshelf speaker. Cohesive and seamless. And with proper power, it can play loud without losing its composure

https://www.soundandvision.com/content/psb-synchrony-t600-loudspeaker-review

I suspect this is because the speaker, which has a 4 ohms minimum impedance rating, presents a relatively challenging load to an amplifier. I also heard a trace of overload in the right channel on a few challenging cuts. But this was barely audible and never alarming, and it may have resulted from less than earth-shattering power of the Denon AVR, which is rated at 140Wpc into 8 ohms, two channels driven. There was also the matter of the right speaker’s physical location: While the left speaker in my setup sits about 4 feet from the wall, the right one adjoins a fully open kitchen and dining area, a room-related factor that makes its job more challenging.

Adding a pair of SVS PB-3000 subwoofers to the PSBs and crossing them over at 80Hz (both high- and low-pass filtered) extended the bass in my room with specific, highly challenging material. But the improvements weren’t always dramatic. Organ went deeper, with that quietly played 16Hz pedal note in the Saint-Saëns symphony mentioned above now just barely sensed. Drums were more powerful withthe subwoofers connected though minor reductions to the Denon’s Bass control and/ or the subwoofer level were necessary to keep the result from sounding overcooked.

https://www.stereophile.com/content/canton-reference-7k-loudspeaker

If recorded piano can reveal problems, the same can be said about the marimba. One of the things I love about Roon is its integration with streaming radio stations. A favorite is Linn Classical, which plays tracks from the Scottish label’s expanding catalog of well-engineered recordings. One evening, before I started some Canton critical listening, the Linn station streamed the Allemande from the Cello Suite No.5 in C Minor, BWV1011, performed on marimba by Kuniko Kato. Immediately impressed by the Japanese percussionist’s empathetic approach to this work, I found the album, J.S. Bach: Solo Works for Marimba, on Tidal (16/44.1 FLAC, Linn Classical CKD 585) and listened to the entire suite. The Reference 7Ks faithfully reproduced the delightful balance between the direct sound of the instrument and the ambience behind it. The Cantons’ transparency allowed me to hear clearly how the attack on each note lit up the reverberation in St. John’s Church in Estonia. No specific notes seemed emphasized, though the instrument’s lower registers did sound very rich.

The R200 has very good inter-driver coherence—genuine, of-a-piece comradery between the tweeter and mid/bass transducers. This is confirmed by the focused, rock-stable images the speaker conveys. This image focus benefits backup harmonies and larger vocal groupings, which are reproduced with great articulation. The backing synth drums during Linda Ronstadt’s “Poor Poor Pitiful Me” were revealed with all their tuneful electronic timbre intact. Even the insistent clang of the cowbell during the song’s intro registered with naturalism. Orchestral layering, inner detail, and low-level cues were reasonably well resolved, as well. Overall, these fine-tuned aspects of the performance weren’t quite on a par with the transparency or sense of dimension of a Magnepan or an MBL, but this elite company didn’t embarrass the R200, either.

The Stenheim Alumine 2 Speakers

The all-aluminum enclosure is beautiful to behold, and the level of execution is terrific. If you are a qualityphile and an audiophile, you will completely geek out on the absence of fasteners and the perfectly seamless assembly of the enclosure. The textures and finsh on both the front baffle and the rest of the case is equally flawless. Stenheim’s Jean-Pascal Panchard tells me that even though it looks like anodizing, they use a fine-structure powder coating process. This is an incredibly durable way to coat aluminum, assuring that these speakers will look like new 30 years from now.

https://www.audiophilia.com/reviews/2021/5/19/amphion-argon-loudspeakers

A well designed wave-guide will control the directivity of the tweeter at this critical crossover point, narrowing the dispersion of the lower end of the tweeter to accept the narrowing upper dispersion range of the woofer. This increases the area that the tweeter couples to the ‘air width’ of the woofer, expanding the area of commonality between both speakers. Voila, an ultimately smoother coherence of transition and ranges of sound. Much closer to how humanity hears sound. This is the theory. Easy to describe; inherently difficult to construct. Amphion, however, has mastered the theory and its practical application. Wave-guides and lower crossover points have been part of Amphion’s tradition right from the beginning and their experience clearly shows.

http://www.theaudiobeat.com/equipment/gobel_divin_noblesse.htm

Along with that low-frequency speed and definition come transparency and dimensionality. Anybody who has worked with positioning their own speakers will know what that means. Bringing clarity to the bottom end automatically declutters the midbass, midrange and on up. I differentiate midbass in this instance because that’s the range that imbues music with so much of its drive and energy, life and vitality. Gaining that clarity at source (as it were) even before you work with room placement is fundamental to the Divin Noblesse’s overall sound, its lucid presentation and coherent sense of musical energy and presence. You’ll often hear speakers described as well integrated or contiguous, seamless or even-handed, but in the case of the Göbels that goes well beyond the absence of tonal discontinuities and deep into the realm of musical energy and projection. The same substance that imbues Michael Kiwanuka’s kick drum with such solid impact applies right up the range, whether it’s cello, a pianist’s right hand, violin or bells. There’s no wispiness or thinness at the top, no pared-away or etched quality to the midrange