Nango
Major Contributor
Maybe @amirm some of those pure chinese speakers factory (analog to Topping & SMSL dac-wise) on that site:
https://hifi-exquis.com/en/230-actif-speakers
https://hifi-exquis.com/en/230-actif-speakers
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What budget speakers you like to see reviewed?
- Thread starter amirm
- Start date
Nango
Major Contributor
Nango
Major Contributor
HB-1 MK2I bring attention again to HSU:
HSU's offering look interesting.
HB-1 Horn Speaker: http://www.hsuresearch.com/products/hb-1.html
$160 + $30 shipping per speaker for black:
More expensive model CCB-8: http://www.hsuresearch.com/products/ccb-8.html
$370 + $50 per speaker for black.
http://stereomojo.com/HSU HB1 Mk2 Speaker Review/HSUHB1Mk2SpeakerReview.htm
0° & 15°:
0° & 30°:
0° & 45°:
CCB-8
https://www.audioholics.com/bookshelf-speaker-reviews/ccb-8-bookshelf
Neither are designed for 0° axis toe-in, so keep that in mind. That said, I’d much rather see Chane & HTD L3 speakers measured over an HSU one.
posvibes
Senior Member
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- Jul 4, 2020
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I purchased the Mistral Audio LS3/5a knock off a couple of years ago.
I have never heard an original LS3/5a.
The Mistral is to my ears a very nice and competent sounding speaker, not just for its price.
I'd be interested to know how it measures in it's own right, how it measures against an original LS3/5a.
The price seems to have gone through the roof of late, crazily.
I have never heard an original LS3/5a.
The Mistral is to my ears a very nice and competent sounding speaker, not just for its price.
I'd be interested to know how it measures in it's own right, how it measures against an original LS3/5a.
The price seems to have gone through the roof of late, crazily.
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The MKII measure and sound surprisingly well for their small price https://www.hifi-selbstbau.de/testberichte/fertiglautsprecher/418-alesis-monitor-one-mkii
Is the smaller/cheaper Tannoy Gold 5 within your budget?
OP
- Thread Starter
- #891
Seeing how it costs $250 for just one it is outside of my budget. They don't seem very popular. Is it because they are new?
Fairly new, yes. Here in Europe, it costs 166 € per piece.
RCF Ayra Pro 5 (157 € per piece) also looks good on paper, they are advertised as "0° phase response" monitors/speakers, like the Tannoy Gold coaxials as "class-leading phase coherence".
If you're interested both company provides Frequency Response, Beamwidth and Polar measurents about their products:
https://mediadl.musictribe.com/media/PLM/data/docs/P0C2B/Tannoy_GOLD 5 P0C2B_Product Information Document.pdf
https://www.rcf.it/c/document_libra...00a-00a8-4d18-9c62-c67c065db75a&groupId=20195
There is Thomann in the US too: https://www.thomannmusic.com/tannoy_gold_5.htm 155$ per piece and 145$ for the Ayra Pro 5: https://www.thomannmusic.com/rcf_ayra_pro5.htm
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https://www.jbl.com/loudspeakers/CONTROL+X.html
If this turns out good, could be good for Auro 3D heights (over say LSR308 base layer) ?
Update : Looks like out of stock on many sites, except amazon
If this turns out good, could be good for Auro 3D heights (over say LSR308 base layer) ?
Update : Looks like out of stock on many sites, except amazon
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+1. Since we have the reviews for M16 and M106, it would great to get an idea of what the M126Be brings to the table given it is priced at 2X of M106.
tecnogadget
Addicted to Fun and Learning
I've heard a few including the Charge and a Bose (yes a Bose) and been impressed. Are they high fidelity? Of course not! My impression is that they have a boosted mid bass (150-300hz?) which leave an impression of bass similar to what the English used to do with minispeakers. However the portability is an important factor for those who want to take the music with them.
Of the three portable/BT speakers I own (Anker Soundcore Mini, JBL Charge 3, JBL Xtreme), all three have 3.5mm aux input. I think most of them do.
The mid-bass boost on the Xtreme is insane - to the point where it's uncomfortable indoors. It sounds fine outdoors, though. For indoors, I actually prefer the sound of JBL Charge 3 as the bass sounds a lot more natural.
B&W 705 S2.
There's a review posted on Soundstage, which includes a direct comparison to the Revel M106. The reviewer, Diego Estan, liked the B&W's so much he bought a pair for himself:
"The biggest difference was in the treble. Through the Revels, the cymbal crashes in “Hells Bells” sounded recessed and timid; through the B&Ws, they sounded more forward, free, and alive. With the Revels the treble also had less presence and extension. These differences weren’t subtle.
Differences in the midrange, as I focused on voices, were less obvious. The lead vocal in Blue Rodeo’s “Bad Timing” had slightly more presence through the M106es, but wasn’t as smooth as through the 705 S2s. In this track, there are a couple of moments when Jim Cuddy, perhaps leaning in too close to the mike, belts out a lyric that gives the sound an edge or glare that makes me wince, no matter what speakers I hear it through. I’m not sure why this occurs (it may be exacerbated by the size of my room), but what I am sure about is that the Revels made me wince quite a bit more than the B&Ws did. The Revels did, however, manage to score a point against the B&Ws. This and other recordings I played sounded a bit sibilant through the B&Ws, but the Revels had this aspect of the sound completely under control, with no sibilance to speak of.
The M106’s midrange had a bit more body with Colin James’s cover of “These Arms of Mine,” but the B&W’s midrange had more detail in James’s upper vocal register. The realism of the plucked acoustic guitar was slightly greater with the B&Ws, the guitar sounding smoother while providing more sparkle, presence, and structure. I also give the nod to the B&Ws with women’s voices -- with the Revels, the extra body I’d heard in James’s voice came across as a small degree of chestiness in Tracy Chapman’s voice in “Give Me One Reason,” reminding me that the sound was indeed coming from speaker cabinets. But the B&Ws “disappeared” again, reproducing Chapman’s voice with no hint of congestion, chestiness, or nasality. All I heard was a beautiful female voice, floating freely between the speakers. All in all, unless the singer was recorded in a way that emphasizes sibilants, I give the edge to the B&W in the midrange. But with sibilant-sounding recordings, give me the Revels -- listening to excessive sibilance can be grating."
There's a review posted on Soundstage, which includes a direct comparison to the Revel M106. The reviewer, Diego Estan, liked the B&W's so much he bought a pair for himself:
"The biggest difference was in the treble. Through the Revels, the cymbal crashes in “Hells Bells” sounded recessed and timid; through the B&Ws, they sounded more forward, free, and alive. With the Revels the treble also had less presence and extension. These differences weren’t subtle.
Differences in the midrange, as I focused on voices, were less obvious. The lead vocal in Blue Rodeo’s “Bad Timing” had slightly more presence through the M106es, but wasn’t as smooth as through the 705 S2s. In this track, there are a couple of moments when Jim Cuddy, perhaps leaning in too close to the mike, belts out a lyric that gives the sound an edge or glare that makes me wince, no matter what speakers I hear it through. I’m not sure why this occurs (it may be exacerbated by the size of my room), but what I am sure about is that the Revels made me wince quite a bit more than the B&Ws did. The Revels did, however, manage to score a point against the B&Ws. This and other recordings I played sounded a bit sibilant through the B&Ws, but the Revels had this aspect of the sound completely under control, with no sibilance to speak of.
The M106’s midrange had a bit more body with Colin James’s cover of “These Arms of Mine,” but the B&W’s midrange had more detail in James’s upper vocal register. The realism of the plucked acoustic guitar was slightly greater with the B&Ws, the guitar sounding smoother while providing more sparkle, presence, and structure. I also give the nod to the B&Ws with women’s voices -- with the Revels, the extra body I’d heard in James’s voice came across as a small degree of chestiness in Tracy Chapman’s voice in “Give Me One Reason,” reminding me that the sound was indeed coming from speaker cabinets. But the B&Ws “disappeared” again, reproducing Chapman’s voice with no hint of congestion, chestiness, or nasality. All I heard was a beautiful female voice, floating freely between the speakers. All in all, unless the singer was recorded in a way that emphasizes sibilants, I give the edge to the B&W in the midrange. But with sibilant-sounding recordings, give me the Revels -- listening to excessive sibilance can be grating."
