Audiophilepure

https://www.soundstagehifi.com/index.php/reference-components/1861-recommended-reference-component-goldenear-t66-loudspeaker

Other musical selections Philip played demonstrated again the T66’s balanced sound and ability to reveal details. The sonic characteristics that Philip discerned in the T66 were also revealed in our measurements. The on- and off-axis frequency-response plots, from the bass through to the treble, are quite flat and consistent, which corresponds to that evenhandedness Philip heard—a neutral sound, in other words. The level of distortion the T66 induces across much of the audioband is laudably low even at a high output level (90dB, in our testing, at a distance of two meters under strict anechoic conditions, which is equivalent to more than 96dB at one meter in a room).

Comparing the T66 with his own reference loudspeakers, the Monitor Audio Gold 300 5G floorstanders ($9500/pair), which are also a three-way design with an AMT tweeter, Philip found that apart from their markedly different appearance, the two pairs had quite a different sound. Listening to “Hold On,” from the CD release of Tom Waits’s album Mule Variations, he noticed that the GoldenEar pair “delivered more weight from the upright bass, and their fuller, warmer demeanor made [the song] sound bigger.” But, as clean as the T66s were, the Gold 300s were a touch more revealing. Waits’s baritone is the focal point of his recordings. It is rough and well worn, and the Gold 300s better exposed its full hoarseness, delivering it “like a coarser-grit sandpaper,” Philip writes.

Still, the T66 and Gold 300 had a lot in common, which is unexpected given how different they look. In fact, listening to Tori Amos’s “Caught a Lite Sneeze,” from her Boys for Pele, on CD, Philip found the two pairs “incredibly similar” tonally, both being so well-balanced. “Where they differed was in the scale of presentation, which is where the GoldenEars distinguished themselves,” he writes. “This was particularly evident with the percussion, and was apparent from the opening drum sounds, which were more propulsive and powerful through the T66 speakers. They imparted a sense of impact that the Monitor Audios were unable to equal.” Philip’s main takeaway from this comparison is that the T66 offers a better value: “for $2300 less, the pair of T66s came close to matching the resolution of the Gold 300s, while producing far more bass.”

https://www.soundstageultra.com/index.php/equipment-menu/1228-naim-audio-nac-332-preamplifier-and-npx-300-power-supply

The substitution of Naim’s new NAP 350 monoblock pair ($8499 each) for my resident NAP 250 power amplifier brought more bass slam, improved dynamism, and a sense of greater ease. Drums and percussion hit harder, and the tom-tom drums and bass guitar had greater solidity. Bass was frequently more tangible, and at times seismic. After gunning the Naim combo on “Need You Tonight,” from the INXS album Kick (16/44.1 FLAC, Rhino Atlantic / Tidal), the drums and bass were really moving air in the room through my ATC SCM40s. This is an infectiously danceable track, and it had absolutely superb rhythm, timing, and groove via the all-Naim system. It was hard to resist the urge to slip into full Michael Hutchence mode and start pouting and gyrating across the room. I’ve had the experience of doing just that during a review, only to turn around and see three of my daughter’s friends, faces pressed to the glass, watching me through the window with a look of amusement. That was no big deal when they were kids, but now that they’re uber-cool young women, I fear all dignity would be lost.

I also heard and enjoyed all the ambiance of the venue. Take “Solar” as one example. Not only can you hear the audience noises, but I also hear the lifelike sound of Scott LaFaro’s fingers on the strings across a backdrop of sweet drumming and the “inconsiderate” audience making audience noise (and talking!) All this came to the fore on the bass solo.

Did I mention Evans’ piano yet? Well, it’s a versatile instrument: Bill Evans was a jazz virtuoso, and the RP-5 allowed all this to be front and center. So, the piano was melodic and percussive in equal parts. The Rogue provided a very natural representation of a real-world instrument. “Alice in Wonderland” was another standout where the piano in particular had a starring role throughout the forte passages during which the bass really anchored the ensemble. The Rogue RP-5 v2 made it all sound so musically satisfying.