Audiophilepure

https://hometheaterreview.com/focal-chora-826-three-way-floorstanding-loudspeaker-reviewed/

“Each Chora 826 sports one pair of binding posts, so bi-wiring isn’t accommodated. Overall, I really love the quality of the binding posts, as they’re easy to loosen and tighten and look quite lovely. If I have one concern, it’s that tightly fitted black and red caps will need to be removed if you intend to use banana plugs (as I always do), and these caps do put up a good bit of a fight. I had to end up resorting to needle-nosed pliers to extract them, and it felt a bit like pulling a tooth. By the time I had them out, the caps were more than a bit mangled.

From there, though, setup is a breeze. Due to the front-ported design of the speaker, you don’t have to be quite as concerned with distance from rear boundaries. In my relatively small two-channel listening room, this is a blessing. Being able to position a pair of speakers six inches from the wall rather than eighteen definitely leaves me with more breathing room and affords a wider soundstage, since there’s more distance between me and the speakers.”

https://www.whathifi.com/us/reviews/sonus-faber-electa-amator-iii

“A carefully calibrated crossover, packed with high-quality parts such as ClarityCap capacitors and Jantzen inductors, links the two drivers. The crossover frequency is an entirely conventional 2.5kHz. Connection to the speaker is via two pairs of rather lovely multi-way speaker terminals. These are beautifully made and thoughtfully shaped to make handling easier.

Being a Sonus Faber speaker, we’re not surprised to find that the cabinet is made of solid walnut rather than the usual veneered MDF. The 25mm thick panels use a damped, sandwich construction to help rigidity and resonance behaviour, and once the 30mm thick Carrera marble base and thin brass plate are added, the result is an impressively sturdy structure. High quality, soft leather covers both of the front and back panels, which feels lovely to the touch.”

https://www.hifinews.com/content/paradigm-persona-9h-loudspeaker

“That said, the speakers can be sweet and light on their feet with Copland’s own recording of ‘Billy The Kid’ [Copland Conducts Copland; Sony Classical SS 89041] and then deploy their immense power and speed with Frankie Goes To Hollywood’s ‘Welcome To The Pleasuredome’ from the Rage Hard compilation [ZTT 177SACD]. It’s a track I have used often, both as a stern test and an absolute riot, but I don’t think I have ever heard it as clean and hard-hitting as it did via these Paradigm flagships, even with my phone’s VU SPL meter suggesting we were peaking at around 105dB some 4m from the speakers.

Scale back the musical forces, or at least the complexity, and the Persona 9H ‘sound’ showed itself well-suited to the cleanly-recorded interplay of the Oscar Peterson Trio’s A Jazz Portrait Of Frank Sinatra set [Verve 0602498625750], with subtle drumming from Ed Thigpen, Ray Brown’s bass with great snap and resonance, and of course Peterson’s delicate touch on the keyboard much in evidence. It was one of those times when you fire up one track just to have a listen, and then find yourself still gripped when the album finishes.”

http://av2day.com/2020/01/elac-vela-bs-403-speakers-outstanding-tweeter-good-sound/

The speakers were versatile in that both listening positions provided very satisfying experiences, but I felt that the equilateral triangle method provided a more intimate experience with the singer placed just in front of the listener and the musicians spread out behind the speakers.

Compared with the resident ATC SCM50 floorstanders, the soundstage and images were noticeably smaller and the BS 403’s bass could not reach to subterranean levels. This was to be expected given the size of the ELAC speakers.

However, the bass that was present was rhythmic and lively. Imaging was solid and stable and the sheer transparency of the tweeter resulted in a very detailed sound. Overall, the sound quality was more on the neutral side of the spectrum and the star component was the JET 5 tweeter which created high notes that soared effortlessly into the blackness.