Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1259-borresen-x6-loudspeaker

For a large portion of my time with the Børresen X6s, I was conscious of the speakers themselves as large, ominous, monolithic presences in my room. I mean this in only the best way possible, as their physical appearance spoke to me in a deeply appealing manner. They were science-fiction-solidified, large wedges of carbon fiber that looked like they were approaching warp speed while standing still.

Initially, the contrast between the X6s’ dramatic appearance and their aural disappearing act imposed a disconnect on my reaction to the speakers. As time went by, though, it got to the point where I could focus my attention on those huge, alien cabinets ready to destroy my world, or throw a switch in my brain and have them disappear completely, leaving only free-floating, disembodied music.

https://www.hifinews.com/content/vivid-audio-kaya-s12-standmount-speaker

Finally, at the end of long listening sessions, I found myself winding down with Brad Mehldau’s recent Après Fauré album [Nonesuch Records; 96kHz/24-bit download], featuring arrangements of works by the French composer. Here, the jazz pianist gives delicate, detailed readings that the Vivid Audio speakers translated into one of those ‘piano in the room’ experiences so, er, vivid was their sound. This wonderful, dreamy music proved these unusual and remarkable speakers can do everything from the massive to the minute with equal excellence.

https://www.enjoythemusic.com/magazine/equipment/0125/PureAudioProject_Duet_15_Loudspeaker_Review.htm

For designers who have a developed musical point of view, the choice among speaker categories is thoughtful and intentional. That makes reviewing their products particularly enjoyable and educational for me. For it is their musical point of view as well as the extent to which they can realize their vision that drives them and interests me. Every familiar speaker type has desirable characteristics – from a particular musical point of view – as well as those that present challenges to realizing their vision in practice. Unsurprisingly a conventional ‘wisdom’ appears to have developed regarding both the virtues and vices associated with each speaker type.

For example, conventional wisdom has it that because planars, electrostatics, and open baffle designs lack enclosures they cannot fully pressurize the drivers and thus lack ultimate dynamics and are limited in their capacity to play at significant volumes that some music calls for. On the other hand, horns and enclosed boxes are commonly criticized for their ‘honking’ and box colorations, respectively.