Audiophilepure

https://www.whathifi.com/us/reviews/pmc-fact-fenestria

They image superbly for such large boxes – thanks no doubt to the well controlled cabinet resonances – delivering a huge and expansive presentation that still has instruments and other sounds locked solidly in place. These PMCs dig up so much in the way of low-level detail that it’s easy to hear the acoustic clues that describe the scale and characteristics of the recording venue, making it a breeze to place the orchestra within that space.

These floorstanders are astoundingly good in the way they render dynamic shifts too. Forceful crescendos are rendered with conviction, which is no surprise given the price level. More impressive and unusual is the way the Fenestrias handle the nuances, the slight changes in intensity that communicate, say, the emotion in a voice or change in emphasis in the way a piano key is played. This is brought home when we listen to Beethoven’s Moonlight Sonata and find it comes through with a level of authenticity that’s rare in hi-fi. We can’t recall testing another speaker that reproduces the harmonically rich sound of a full-size piano with such realistic dynamic expression and accurate sense of scale. There’s an authority in the Fenestria’s presentation that’s hugely appealing.

https://www.stereophile.com/content/fyne-audio-f500sp-loudspeaker

The F500SPs seem to be low in distortion, which allows them to place each record in its unique place in time. 1950s mono jazz records cut at Rudy Van Gelder’s Englewood Cliffs studio sounded zippy and energetic. 1990s electronic dance records pounded and pulsed, their spectral synths and robot drum machines sounding creamy and enveloping—almost feline. Modern rock records had plenty of bite and drive, with crisp snares and guitars, palpable vocals, and well-imaged, well-defined electric bass guitar. Reproduced by the F500SPs, music sounded meaty, visceral, and full bodied and proved capable of spinning a deep, wide soundstage with clear spatial relationships among instruments. It portrayed music with gobs of air and space when those qualities were on the recording, as on Frahm’s Felt.