Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1274-audiovector-trapeze-reimagined-loudspeaker

Danish loudspeaker manufacturer Audiovector, launched by Ole Klifoth in 1979, introduced an audacious wedge-shaped cabinet that year that broke away from the conventional boxy designs of the time. Unlike rectilinear cabinets, which are susceptible to internal standing waves, Audiovector’s design had no large parallel surfaces, thereby effectively eliminating this problem. It also had a back-leaning baffle that ensured phase alignment of the drivers. While tilted baffles have been featured in speakers from other brands, the Trapeze design was unique and remains unparalleled.

Audiovector’s first model, a large eight-driver speaker, was quickly followed by a more compact three-way speaker called Trapez, which was distributed in Scandinavia and became an instant success. (Trapez is the Danish word for trapezoid, or trapezium in the UK, which is a quadrilateral with two parallel sides—the speaker cabinet’s profile.) It wasn’t a particularly handsome loudspeaker, Klifoth is the first to admit, but it sounded superb. Over its decade-long production run, from 1979 to 1989, the Trapez sold over 25,000 pairs.

https://www.hifichoice.com/content/svs-ultra-evolution-nano

There will continue to be arguments about what constitutes the ideal compact standmount speaker. Prioritising accuracy, something as much imagined as achieved in hi-fi, has its advocates and then there’s the Ultra Evolution Nano, a small speaker with a big heart that merely wants to give its listeners a good time, even if it means taking a few liberties. Can’t say I mind in the slightest.

https://pt.audio/2025/05/23/kalista-dreamplay-x-transport-and-mantax-dac-review/

One of the strengths of this duo was the ability to soften the blow of some of the more typically aggressive, more strident sounding, early ‘80s all digital (SPARS Code, DDD) CDs in my collection, titles like my UK Deutsche Grammophon copy of Beethoven: Symphonien 1 & 2, by the Berliner Philharmoniker under Karajan, or the original US Warner issue of Donald Fagen’s, The Nightfly. Employing some combination of either the “Corrected Minimum Phase Fast,” or “Minimum Phase Slow,” along with the AKM chipset and the tubed output options, rendered such titles not only less harsh, edgy, or strident sounding, but imbued them with a “warmer,” more analog feel or flavor, very closely approximating an LP playback experience.

As a specific example, my Redbook CD of the reading of the Hungarian Rhapsody No. 13, by Franz Liszt, with Alfred Brendle on piano, was utterly captivating. Here, this system’s ability to bring this performance to life, especially its ability to recreate the nuance and power of its dynamic prowess, made for a stand-out presentation. This is a recording that I’ve often heard sound too energized above about 3000 Hz with many digital front ends. Yet this presentation was balanced with remarkable tonal honesty, an engaging vibrance, and an amazing sense of harmonic bloom. Suffice it to say that, depending on the variation of combinations of title, label, mastering, and production values found within my disc collection, the Mantax was able to deliver the musical goods on so many different levels that I simply fell in love with the surprisingly impressive and resultant enveloping tapestry of sound it routinely created for me.