OFF THE CUFF,…
I remembered having heard a special pair of loudspeakers with all the prized ‘audiophile’ attributes, used at the main audio system for the recent DS Audio (from JAPAN, that specialised in Optical Phono Cartridges, their dedicated Equalizers and analogue source’s Accessories) launch event at Audio Perfectionist, MALAYSIA. I investigated and discovered they were a pair of the Audiovector R8 loudspeakers from DENMARK. Coincidently, my reference loudspeaker was also from DENMARK, the Gryphon Audio Designs‘ Flagship Kodo loudspeakers System (four [4] towers loudspeakers designed by the Gryphonist, Mr.Flemming Erik Rasmussen), and maybe…just maybe,…
I was easily attracted to the Sound Quality of the Danish designed loudspeakers?
That ‘off the cuff’ encounter with the Audiovector, prompted me to investigate and discovered that the Danish High End loudspeaker company (based in Copenhagen, DENMARK) was founded by Mr.Ole Klifoth (Father, and Head Designer) in 1979, and that till today the company’s original vision remained unchanged but to ‘produce High Quality, Natural Sounding loudspeakers for Music Lovers and Audiophiles around the world‘,…currently, under Mr.Mads Klifoth (Son), CEO and owner,…
and still stubbornly a Family-Owned Company – with Family Value.
At the event, Audio Perfectionist‘s Mr.Issac Ho saw my interest and enthusiasm for the Audiovector R8 loudspeakers, hence teased me that they would be bringing in the brand’s latest flagship, the Audiovector R10 Arreté loudspeakers (the said loudspeakers retail at Ringgit Malaysia RM826,000/ UK £127,500 / Euro €147,500 / US $165,000 per pair) in time to exhibit at the local audio show, the WAVE AUDIO & VISUAL EXPERIENCE 2025 (MALAYSIA). That they did and at that audio show, I got to hear the said loudspeakers fresh out of their freight boxes. Then and there, I knew the Audiovector R10 Arreté loudspeakers were ‘Danish Made Special‘ and I asked if possible, to send them into my Audio Den for a full review?!
Unexpectedly soon, I took delivery a pair of flight cases and within them, the pair of Audiovector R10 Arreté loudspeakers of ‘Teardrop-shaped cabinet which were vacuum-formed of High-Density Hardwood Fiberboard and featured Precision-Milled CNC 6061 Aircraft-Grade Aluminum Baffles for structural integrity and vibration control. All that were supposedly to eliminate internal standing waves, control resonance without heavy damping and preserve the dynamics of the music’.
The team from Audio Perfectionist carefully unloaded the said loudspeaker of the dimensions 156 cm H x 36.5 cm W x 62.7 cm D (without spikes) and at 95kg each from its respective flight case to my Audio Den. Then they installed the included four [4] sets of ‘spike and shoe/ FPU‘ (Floor Protection Unit) per loudspeaker and roughed into position the said loudspeakers in my Audio Den.
Then the team introduced me to some of the Design Features and Key Technologies of the Audiovector R10 Arreté loudspeakers, started with the (a) Freedom Grounding which was the ‘second-generation grounding system that routes away motion-induced distortion from all thirteen [13x] drivers chassis per said loudspeaker, contributing to a lower noise floor and a quieter background for the music‘. They pointed out to me that there was a dedicated Freedom Grounding post per loudspeaker (below the loudspeaker binding posts), and included a pair of dedicated grounding cable to ground the said loudspeakers directly to the main (which was my choice for the review – I tried not to introduce additional unknown factor that may affect the result of the review of the said loudspeakers) or power conditioner/ distributor (which they believed may yield better result/ sound quality).
Second, I was pointed to the (b) Damping Factor Adjustment‘s rear-panel switch (next to the Freedom Grounding post) that allowed the users to tailor the speaker’s damping to match different types of amplifiers (Position 1: Medium for typical transistor amps, Position 3: Low for tube amps, and Position 2: High for powerful solid-state amps). Here, I was recommended to set it at Position 2 for my Vitus Audio Masterpiece MP-M201AF (Analogue Fellowship Limited Edition) mono amplifiers (However, I did try Position 1 and 3, but I still preferred the recommended Position 2).
Third, the team pointed me to the said loudspeakers’ (c) Dual AMT Tweeter System that featured ‘a primary Air Motion Transformer tweeter (3kHz-53kHz) and a dedicated hyper tweeter (20kHz-53kHz) to enhance spatial detail and provide a three-dimensional soundstage‘.
Fourth, I was brought to the back of the said loudspeaker and was shown, behind the 6061 A-Grade Aluminium Baffles, the (d) Line Array Bass System that consisted of ‘eight [8x] rear-mounted 5-inch long-throw bass drivers that worked in concert to provide the surface area equivalent to a single 15-inch woofer to ensure deep, controlled, and evenly dispersed bass without cabinet compression effects‘. There were altogether thirteen [13x] drivers; – including the dual [2x] AMT tweeters, [3x] midrange and [8x] lower-midrange units, mounted in each said loudspeaker.
Fifth, I was introduced to the (e) Accelerated Force Concept (AFC) technology employed in the the Audiovector R10 Arreté loudspeakers. A technology applied to the Bass/ Midrange Custom drivers that used a Custom Concertina Suspension ( or “Concertina Surround” is of a special Corrugated Rubber/ Neorene Suspension) and Carbon-Fibre/ Titanium Cones to ‘Accelerate and Decelerate the drivers with Exceptional Precision for Fast Transient Response and Low Distortion‘.
Finally, the team shared to me that the Audiovector R10 Arreté loudspeakers employed an (f) Advanced Crossover with ‘Double Cryogenically treated Capacitors combine Polypropylene Dielectrics with Tin-Flashed Copper Foil, Distortion-Optimised Copper Coils in a Dynamic Feed Forward (DFF), bypass capacitors and integrate precision film resistors for best possible sound quality‘.
Then the time came to connect (with the Skogrand Cables‘ Silverspine SC for the treble and Beethoven SC for the bass) and power (with the Vitus Audio Masterpiece MP-M201AF mono amplifiers) the Audiovector R10 Arreté loudspeakers,…hearing the said loudspeakers for the first time through my own audio system (FM Acoustic 268C preamplifier, HiFiRose RS150B Server/ Streamer, Vitus Audio Masterpiece MP-T201 CD Transport and MP-D201 DAC, etc),…immediately from the projected music presentation, I could recognise and acknowledge their Quality, Resolution/ Detail and Presence,…and that further exploration in loudspeakers positioning in my Audio Den.
Therefore, I requested a different set of shoes for the installed spikes at the said loudspeakers to avoid scratch and damage to the supplied shoe/ FPU (as I move to position the said loudspeakers). Then Issac Ho recommended and installed four [4] pieces of the Ansuz Darkz (retail at Ringgit Malaysia RM1,920 per piece) adjustable resonance control devices/ shoes per loudspeaker, for ease and safe movement of the said loudspeakers on ‘uneven floor’.
ALL GOOD THINGS COME IN TIME.
After a decisive positioning for the Audiovector R10 Arreté loudspeakers in my Audio Den, mind you that it took some days of constant positioning for the said loudspeakers, I was rewarded with…
an Open and almost Borderless Soundscape.
Literally, the resulted Soundscape was Massive, Enveloping and Surround-Like,…
that Dwarfted the (slightly above) Five Footer [>5′] Loudspeakers.
Surprised I was that that result was from my heavily played Digital orchestra track (I thought that nothing could surprise me there), “Hedwig’s Theme‘ (from the movie, Harry Porter and the Philosopher’s Stone). I was captivated by that…
Vast Soundscape, with a ‘Humbling’ sense –
(due to a major disconnect between the actual size of the said loudspeakers and the perceived Grandeur of the Sound,…here proved their effectiveness or impressiveness as the audio transducers that defied expectations of physical scale), that was immersive and spacious,…
coupled with the High-Quality Stereo Imaging, Surround Sound, and specific Acoustic Effects/ Reverb as per the recording.
Through the Audiovector R10 Arreté loudspeakers, Ms.Anne-Sophie Mutter‘s instrumentation (play and instrument) was well imaged;- Focused, Textured, Weighted, Palpable, Dense, Delineated, and in three [3] Dimensions. And her ‘Dazzling Artistry and Nimbleness across the strings, thus referred to as the Golden Sound at the Violin‘ were…
Artfully Highlighted and Convincingly Projected.
Although, Ms.Anne-Sophie Mutter‘s instrumentation was closely miked where any lesser/ lower quality loudspeaker would project it with an ‘Exaggerated Prominency‘ – ‘disproportionately large and dominate the entire soundstage’ (overwhelming, sound of the solo violin). However, the Audiovector R10 Arreté loudspeakers managed to…
project that Closely-Miked instrumentation with Scale and Realism –
(integrated it into the soundstage correctly), and thus showcased their Differing Dynamics (Macro and Micro) and Resolution,…that Spaced her instrumentation from the rest of the individual group of musicians in the entire orchestra.
And that contributed to the enjoyment of the intended Flow of the Music.
Then, I listened to one (digital remastered) of the glorious recording of the 1970s, where Mr.André Previn’s performances of the three [3] ballets of Tchaikovsky with the London Symphony Orchestra (LSO), were some of the ‘Most Successful Classical Recordings‘. Again through the Audiovector R10 Arreté loudspeakers, I could easily appreciate the entire Flow of the Orchestra,…
with each Group of Musicians being Spaced and Segregated.
Thus each group’s…
Play, Pace and Participation in the presentation were easily marked.
Hence, through the said loudspeakers,…
I could appreciate the Resolution, Detail and Nuances of Previn‘s Conductorship –
the ‘nuance of affection, persuasive pacing, vivid characterisation, colourful incident, and, at times, the required passionate responses‘ (at Act II’s ‘Pas de deux’).
In addition, the said loudspeakers were even transparent to the ‘Hallowed Acoustic’ of the Kingsway Hall (the acoustic of the recording venue),…
hence they projected the recording venue’s known “Big, Open, and Transparent Soundfield“, with “Wall to Wall and Floor to Ceiling Spaciousness” in my Audio Den.
Recently, the Canadian Cellist and Composer Mr.Vincent Bélanger sent me the Hi-Res Digital copies of his latest audiophile album, ‘Songe‘ (from his label, VBMP). I listened to the whole album,…three [3] times within the day. Obviously, it was for me,…Musically Entertaining, Enticing, Engaging,…(with much) Warmth, Emotion, Soul,…Humanistic music,…and definitely, an Audiophile Recording of the First Rate, Natural and Accurate!
Here, the Audiovector R10 Arreté loudspeakers were…
Transparent and Articulate in projecting the different Instruments and their respective Differences –
(1st. Cello, 2nd. Harp, 3rd. Violin, 4th. Double Bass). Therefore at the track ‘Comme un Tango‘, they projected the instruments‘ respective Play at their differing Frequency Bandwidth –
at differing Dynamic Power/ Energy from each Note,…
and the instruments‘ respective Dimensions, Delineation, Weight and Placement.
Eventhough the Soprano Ms.Amélie Moïse‘s natural Voice and Volume (5th. Instrument) were surrounded by the ‘Dynamic‘ instrumentations at the track ‘Songe‘, but yet the said loudspeakers were able to…
segregate her Humanistic Vocalisation and Contribution throughout the presentation.
Hence, I could even hear and appreciate her individual Presence, Performance and…
even the Nuances in her Vocalisation and Breathing amidst all.
As stated earlier, the Audiovector R10 Arreté loudspeakers’ transparency and clarity into the soundstage not only allow me to easily appreciate the segregated and delineated Image of each Instrumentation (and each Note emitted thereof) and Vocalisation,…
but also the Layers of Ambience and Air that surrounded and spaced them,…
contributed/ resulted from the spacious and airy recording venue, the Église Saint-Benoît de Mirabel, Québec, Canada (considered as the 6th. Instrument). In other word, the said loudspeakers…
Made Audible every Element in the Recording,…
including the intended Natural and “Live” Acoustical Sound.
Next, I switched to one of my ANALOGUE source that consisted of the HYPER Sonic X-4 MC cartridge, the VERTERE Reference tonearm, the TECHDAS AIR FORCE ONE turntable, the MASSIF AUDIO DESIGN Brazilian Rosewood Record Weight and the FM ACOUSTICS 223 Phono Master, to play the recently received double vinyl album, The Paul Sawtelle Big Band Live at Pacific Audiofest, Vol.2 (One Step, 45rpm, Hyper Analogue Production).
As could be expected, the Audiovector R10 Arreté loudspeakers’ projected all the ‘Liveliness‘, Resolution, Layered Dynamic and ‘Energy‘ from the said ‘Live‘ recording of the Big Band at the spacious venue (Pacific Audiofest),…also with all the (intended) Ambience and Reverb,…the Clarity, Delineation, Segregation, Individuality, Density, Presence and Weight of each instrument and vocalist (either Ms.Bethany Wilson or Mr.Jeff Carter).
From the instrumentation, especially at the ‘Bass Notes‘, I was impressed to…
hear the Clarity, Articulation, Definition and Density –
(distinctly I could hear individual sounds and layers in the ‘Bass Notes’ without them blurring together), and…
feel the Intimacy, Power and Weight of such Bass Notes from the designated Instrument –
(ability to reproduce dynamics—from the softest details to the powerful impacts—making the instruments feel Physically Present and Impactful!).
Hence, at the track, ‘Sing, Sing, Sing‘, the drumming by Mr.Peter Buck was…
so ‘Intimate, Up Close and Personal‘…
that I could quite literally not only Hear the instrumentation, but able to Feel and Differentiate the ‘Kick‘ from each ‘Bass Hit‘. Similarly, at the track, ‘Pennies from Heaven‘, each piano note (typically from mid to low frequencies) played by Dr.Lillian Wu was so Articulately and Fully projected,…throughout the intended bandwidth,…
that I thought to myself that it could not be any more Realistic and Present than that.
That proved that the said loudspeakers were designed to…
project each Bass Note ( Mid to Low) as Accurate, Right, Realistic and Full,
…without unnecessary volume at the lower region of the frequencies (no bloated and clouded bass note), but only Articulated, Cleaned, Defined, Delineated and Fulled bass, all the way down to the intended region (as per recording).
Here and again, the Audiovector R10 Arreté loudspeakers proved their Clarity into the Soundstage, and Highlighted the individual artist/ musician, instrument, play and voice, led by Mr.Eiji Kitamura. The said loudspeakers were able to perform not just audibly, but also able to project the Energy, Engagement and Vibe at the track ‘Ice Cream‘ (by Howard Johnson),…
therefore allowed me to ‘Mentally Present At‘ and Visualized the Musical Presentation (‘Visual Imagery‘).
An audiophile friend who happened to visit and heard the said loudspeakers, expressed that listening to the Musical Presentation through them was like…
Watching a ‘Musical Drama‘, with ‘Very Little Mental Convincing‘.
As the title of the above vinyl album suggested ‘Excitin’ Latin‘, it was fair assumption that there be ‘Latin Music‘ with ‘Excitement, Dynamic and Energy‘. However, through the Audiovector R10 Arreté loudspeakers being played ‘loud‘ (not at AV loudness!) at the track, ‘Brazil‘ (by A.Barroso), I was Awe-Struck, Excited and Taken In (‘amazement, enthusiasm, and a feeling of being completely captivated‘) into a Pronounce (extreme control over the extreme high and low bandwidths), Intense, Powerful, Engaging and Immersive ‘Visual Imagery‘,
as if (Mr.)T.Misago and his Tokyo Cuban Boys were ‘Alive‘ and performing ‘Lively‘ in my Audio Den.
For me, it was slightly more than just the above mentioned ‘Visual Imagery‘,…at that moment, I did not feel the need to judge the fidelity (as a critical audiophile/ audio reviewer) of the said loudspeakers, but allowed myself to just immerse into the Room(Audio Den)-Filling Emotion, Atmosphere and Energy of a ‘Thunderous Musical Drama‘. Hence with the right recording of the right media, the said loudspeakers reminded me of…
the difference between Listening Critically and Purely Experiencing Music.
The above vinyl album has been used in a number of my reviews, therefore I could say that I know what to be expected from it. Every track was of a simple composition, a vocalist backed by a few instruments,…some argued that such would not pose much of a challenge for most audio systems/ setups. In my experience, after listening to the above vinyl album in my audio system/ setup and compared with others’, I found some audio systems/ setups failed to project the necessary Naturalness, Nuance, Emotion, Density, Weight, Palpability and,
ultimately the almost tangible ‘Realness‘ of the Human Voice and the Instrumentation of the recording,
…eventhough those audio systems/ setups managed to project (quite) well the level of Tonal Balance, Delineation, Articulation, Resolution, Soundstage and Soundscape/ Ambience.
Here, at the Japanese track ‘Snow Flakes‘, I found the Audiovector R10 Arreté loudspeakers were able to project not only the entire ‘Soundstage and Soundscape’ (the ‘Big Picture‘), but also the above mentioned “almost tangible ‘Realness‘ of the Human Voice” –
the very expressiveness of Ms.Masako Kunisada‘s Vocalisation, and her Artistry, Emotion, Weight, Energy and Strength poured into her rendition (the ‘Small Picture’/ Highlight) of the song.
So much so that I could visualise her Individuality, and feel her Presence and Emotion at the Soundstage throughout the presentation. Thus, the said loudspeakers projected…
a Believable, Emotional and Soul-Stirring presentation,
that reminded me of the performance and transparency…
Exclusive only to the Very Best of Ultra End Loudspeakers,
but at few folds the asking price of the Audiovector R10 Arreté loudspeakers.
ALL GOOD THINGS COME AT A PRICE!
Colored me Impressed(!) with the Audiovector R10 Arreté loudspeakers. For me, they are not a heavily or unreasonably priced, but Premium Priced Ultra End loudspeakers in the current audio market (they are cheaper than most Ultra End loudspeakers, therefore, the question was never the price but the depth of the wallet). They are of the Ultra End Danish Loudspeakers that embodied Forty Five [45] years of meticulous speaker design by the Founder and Head Designer Ole Klifoth, and packed with…
some New, Innovative and Expensive; Designs, Technologies, Components and Materials.
More importantly, that culmination of the Danish High Fidelity, Efforts and Expenses paid off with the resulted Sound Quality that (I believe) would impress even the Most Discerning/ Critical Audiophile (who wants to Listen, Feel and Immerse into their music), and they would agree that the Audiovector R10 Arreté loudspeakers should be…
the Benchmark and Standard of Ultra End Loudspeakers at that Price Point!
SPECIFICATIONS.
- Type: 5-way Floorstanding Loudspeaker
- Frequency Response: 21 Hz – 53 kHz
- Sensitivity: 90 dB/W
- Impedance: 8 Ohms nominal, 5 Ohms minimum
- Drivers:
- Bass: 8 x 5” long-throw, low-distortion
- Lower Midrange: 2 x 6.5” AFC Carbon Sandwich
- Midrange: 1 x 6.5” AFC Carbon Sandwich
- Tweeters: 1 x 3800mm² AMT N51 (Main) + 1 x AMT N51 (Hyper/Extended)
- Crossover Frequencies: 180 Hz, 450 Hz, 3,000 Hz, 20,000 Hz
- Terminals: High Current Nextgen Bi-Wire (4mm plugs or spades)
- Dimensions (H×W×D): 156 × 36.5 × 62.7 cm (without spikes)
- Weight: Approx. 95 kg per speaker
- Cabinet: High-gloss piano lacquer or premium hardwood veneers