Audiophilepure

https://www.monoandstereo.com/2023/02/the-listening-room.html

“This setup was carefully curated to create a one-of-a-kind project. The room features a harmonious blend of bold configurations and intricate shapes, adding depth and dimension to the space. Every element in the room is meticulously crafted, culminating in an extraordinary design that is both visually stunning and acoustically pleasing. This Hi-Fi room stands out as a remarkable project that seamlessly integrates art and technology to provide an unparalleled audiovisual experience. Congratulations to AV Mat, HIFI Lausanne and HIFI Group for this fantastic setup.”

https://www.enjoythemusic.com/superioraudio/equipment/0223/Dali_Kore_Floorstanding_Speaker_Review.htm

Following that, we listened to “Carmen” under Lorin Maazel with Julia Migenes and Placido Domingo, a recording from 1984. Of course, dynamics, authentic reproduction of the entire frequency spectrum and presentation of details are important criteria for an orchestra as well. Here, however, high demands for credible, physical voice reproduction and high tonal fidelity of instruments as well as solo and choral voices were added to that. In addition, the voices are also supposed to be distinctly detached from the orchestra. The depicted stage was large and perfectly to scale in terms of width, height, and depth – broad grins and incredulous head shaking were unavoidable. It was like “taking a bath in the music” as might be experienced with a select few big line-source speakers, if you’re lucky. The release of happiness hormones occurred to a degree that is only rarely experienced; goosebumps, foot tapping, and occasionally watery eyes alternated.

https://www.stereophile.com/content/kef-ls60-wireless-loudspeaker

Some readers may be incredulous about my comments on the bass performance of the LS60s, which was in fact remarkable for their size and very good in absolute terms. But it’s true: As well as those four small woofers performed (supported by DSP), they could not equal the Blade Two’s larger drivers. Extension rivaled that of the Blade Two’s, but only at lower output levels. The LS60’s DSP progressively rolls off the lowest frequencies as you raise the volume, painlessly accommodating themselves to Hofmann’s Iron Law, pushing it to its limits. With tracks from Tierro Band, Alison Kraus, Sara K, and, to a degree, Dead Can Dance, all cited above, the LS60s had ample bass until they were turned up too loud for musical enjoyment and neighbor comfort. With big orchestras (Mahler, Holst, etc.), organ, and—just a guess here, since I didn’t listen to these genres—hard rock, techno, or electronica, a subwoofer or two would provide a simple solution.

Using subs with the LS60 was a piece of cake because the necessary tools are built into KEF Connect. I ran an RCA interconnect from the sub output of each LS60 cabinet to an SVS SB-3000, which, conveniently, were already sitting behind the little KEFs, and set them up as stereo subs. High Pass and Low Pass filters were set at 92.5Hz, sub gain at –9.0dB, with positive polarity—all determined by ear then checked with Room EQ Wizard. With the subs installed, the LS60s became monsters, their output capacity unleashed. The low bass was perfectly integrated, superior to that from the sub-less Blades. Ease and transparency increased in the lower midrange, marginally but meaningfully, best revealed by acoustic guitar, presumably due to the lightened load on the LS60’s woofers.

https://www.stereophile.com/content/alta-audio-adam-loudspeaker

I’ve long found the analogy between loudspeakers and musical instruments flawed. The reason is simple and, to me, obvious. The goal of a string-instrument designer is to create a device that transforms a string’s vibrations into rich and interesting sound, while the goal of a loudspeaker designer is to create a device that accurately reproduces a record of a sonic event. The loudspeaker designer has an obligation to fidelity that the instrument-maker doesn’t share. When a quality violin plays a G5, the second harmonic is down just 5dB or so compared to the fundamental.

There’s another part of me, however, that suspects that the very best components, including loudspeakers, manage to transcend mere fidelity and deepen our experience of listening. Whether that has anything to do with loudspeakers acting like musical instruments, I have no idea.

https://www.theaudiobeat.com/equipment/dynaudio_evoke_50.htm

Are there any real downsides to the Evoke 50’s performance? For the price and my listening preferences, the answer is not really, but there are a few things to consider when you audition the speakers. They are not audio extroverts in their presentation. Primarily due to the smooth blending of the midrange and the Cerotar tweeter, the Evoke 50 is neutral and balanced, so initial reactions may favor a flashier-sounding speaker. I’d urge you to audition the Evoke 50 a bit longer than normal and try a wide range of music in order for their special qualities to grow on you. Also, as a midline speaker offering, the Evoke 50 may be paired with less-revealing electronics and many of their special qualities may be masked. I tried the Evoke 50 with some moderately priced solid-state amps and the results were good but not up to my best electronics. My BAT VK-60 tube amp driven directly by the preamp section of a dCS Bartók 2.0 sounded wonderful, with the best presentation of voice and soundstage depth, but the Evoke’s low impedance caused that amp run out of steam at moderately loud listening levels. For more spirited sessions, I got good results from the Bartók 2.0 paired with my 300-watt Innersound ESL or a 500-watt Peachtree amp500 on loan from a friend.