Audiophilepure

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

The mid/bass driver and tweeter work together using a custom-designed crossover from the same team behind Dynaudio’s Heritage Special and Core speakers. The Emit 20 use a hybrid first- and second-order design for the tweeter and woofer respectively.

On the back of the Emit 20 you’ll find single-wired connections and a new dual-flared bass-reflex port. A rear-firing port arrangement makes speakers more sensitive to placement, so we’d try to refrain from tucking the ’20s up against a rear wall or into the corners of a room. We also found a little toe-in towards our listening position helped give the stereo image greater focus.

https://www.hifinews.com/content/system-audio-legend-402-silverback-loudspeaker

In addition to onboard amplification, the introduction of the Silverback module (the passive Legend 40.2 can be upgraded if desired) replaces binding posts with a USB service port and IEC mains socket, plus an XLR input for wired connection to a balanced preamplifier. Around these are a series of status LED lights that signify the channel position of the speaker when used with the wireless Stereo Hub. For a two-channel set-up, it’s just a case of assigning one as right and one as left, but it also caters to multichannel installations (centre, surround back, etc), if the speaker is paired with the eight-channel Surround Hub.

System Audio’s hubs use wireless WiSA technology to stream a 96kHz/24-bit signal direct to the Silverback speaker, and both models are well endowed in terms of source connectivity. USB-B, HDMI ARC, coaxial and optical (x3) digital, plus RCA and 3.5mm analogue, and Bluetooth, Chromecast, Spotify Connect and Apple AirPlay wireless hook-ups should be enough for anyone using these speakers.

In practice you’ll utilise the hub to stream music direct from your home network or streaming service, and SA’s RAM Tweaks to massage the sound. But the flexibility doesn’t stop there. The company’s app-based EQ facility, Room Service, which aims to smooth in-room response below 300Hz is now integrated into the comprehensive SA Cockpit app. This includes a three-preset manual parametric EQ adjustment with gain and Q value control across the full spectrum. It’s a powerful tool, but with power also comes responsibility

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.