Audiophilepure

https://www.enjoythemusic.com/magazine/equipment/0125/FiiO_S15_Music_Streame_Hi_Res_DAC_Bluetooth_Receiver_Review.htm

When hearing Blue Trane played back, the sound of Coltrane’s piercing tenor sax was accompanied by a level of talent that other musicians rarely matched. And I was having the FiiO’s reproduce what I can only describe as severely lifelike sent shivers down my spine. I was also in awe that I heard this sound sourced by a $999 streamer. After this album streamed through the Moon 681, it had a bit more body and drew me into the music better. But no way did it sound 12 times better!

And it wasn’t only the sound of Coltrane’s sax that amazed me, but the sound of the other instruments played by the other musicians that he assembled for this session. This included Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew playing piano, Paul Chambers on bass, and Philly Joe Jones behind the drum kit.

The varying styles the band played on this album ranged from mellow blues, ballads, and upbeat bop; holding all this together was the Coltrane’s fantastic stream of consciousness solos, along with the FiiO S15’s transparent signal that it sent to the linestage, and eventually through my speakers. There is a reason why this album is beloved by so many, even more than 65 years after it was released.

Even though this album wasn’t the best one to judge the soundstage and image talent of the FiiO S15, as I said, I listened to all types of music through this streamer, and both the vast, layered soundstage and pinpoint imaging were present, but only when the recording had these characteristics.

https://www.stereophile.com/content/ps-audio-aspen-fr5-loudspeaker

With the volume up, as the event deserves, the FR5s did a fabulous job. The large orchestra was spread deep and wide, and the solo voices were up across the front from speaker to speaker and a bit beyond. Each voice was clearly defined and naturally balanced, and the FR5s had no problems with the wild dynamics. My only cavil is the lack of impact of the low bass—which is hardly surprising, and I was never aware of any tonal imbalance.

I could not resist another guilty/not guilty pleasure: Andreas Vollenweider’s White Winds (16/44.1 CD rip, Columbia MK-39963). Again, the FR5s created a vast soundstage with immaculate detail, evidenced by the water drips and splashes that pass from left to right on the opening track. Everything seemed open and spacious, and the impact of Vollenweider’s low strings was solid and weighty. The acoustic and synthesized lows were full, too, but they lacked weight and definition. Of course, that judgment comes from experience with larger speakers. I wonder if people without such prior experience would miss it.