Your listening room is bigger than mine and I am sure the Q7 should sound great.
These LS3/5a or variant like the Q7 speakers are bizarre… it’s almost like listening with quality headphones on… they really are very addictive with great imaging even off axis. Sure not first choice for high sound pressure levels for parties (though they do pack a punch), but I’ll keep my larger ported speakers for that and bring out of storage when the need arises… but for immersive listening and even other room listening they are simply fab. … and they communicate all genres well.. from EDM, electronica, 70s punk rock, ska and reggae, American rock, country and western, bluegrass, English and British folk, symphonic, film score, pop, Dixie jazz, swing jazz, soul jazz, funk, experimental, choral, religious and piano concerto.. you name it.
counter intuitive to me to put domestic tweeters on springs - I could see it could cause all sorts of problems but clearly it worked. I wonder how resonances and horrible inter modulated refraction and HF smearing was avoided? I assume it was.
Indeed some properties of springs were used in early audio effects such as delays and reverb systems to modify and process the sound.
Now I understand springs for mounting car hifi tweeters is popular - but I think more for shock protection of delicate drivers rather than acoustic reasons.
This is one explanation : The Naim DBL’s sprung tweeter is a mechanical decoupling system
designed to isolate the tweeter from vibrations generated by the other drivers in the cabinet. By mounting the tweeter on a spring plate, Naim aims to prevent the driver’s frame vibrations from interfering with the midrange and treble, resulting in a cleaner sound.
sure but what about the resonance of the tweeter mounting system.. surely for it to decouple it must be under damped which means it could resonate or oscillate - and would not movment of the driver axes with respect to each other on the front baffle cause intermodulation distortion of the high frequency audio…
Be interested to see how that was avoided - or perhaps it was the lesser of two perceived evils?
I’ve been enthralled by Falcon Q7 gold badge and the N50 for about a year now. Incredibly immersive is right, for those who enjoy to really listen. So many layers to the music this combo produce.
Out of a curiosity to hear the Nait with something else, and on the strength of recommendations on this forum I’ve picked a pair of Neat petite classic. Giving the Falcons a serious run for their money. There’s the same addictive detail and immersion, but with a fullness and beautiful tone. Treble is noticeably sweeter, bass deeper and faster.
I’d suggest a trial if possible, given your budget and descriptions of what you like about the Falcons and the RK 50. I’ve not heard the RK but based on your posts and reviews elsewhere the Neats may be a nice hybrid of the Falcon and RK 50.
I can understand this, I thought so too readjusting from the more brightly lit Q7. The Neat AMT tweeters are definitely not as hotly tuned as the Falcons. That combined with lighter bass of the Falcons could combine to initially makes the petites seem a bit closed in. They certainly aren’t though with persistence, just different.
Definitely different I will agree on that. I am though a bit of a detail fan both in the mids and the highs so the Neats were probably never going to hit the spot for me.
Interesting discussion and info thanks all three of the speakers have been on my own of interest list for some time and more recently the Alchris TX1 or TX5s
I’m looking to build a small stand mount second system that excels in true out of the box holographic soundstaging (if present in the recording) Its something I’ve had before in my room that I’ve never managed to get my main system big open baffle speakers to do as well as a small smaller speaker but they do excel in other areas.
Ok thanks to Signals now home auditioning the Gold build Falcon LS3/5a..
these are brand new and am running in.. however there is a noticeable uplift from the Silver builds.. the treble seems really quite improved in terms of detail and resolution and interestingly is more accommodating of poor recordings and less forward or bright. Things like sibilance which sometimes came slightly noticeable on the silvers is totally in check with golds with poor recordings.
Now these are exactly the same drivers and I understand the only key difference is the crossover.
so I’ll see how it goes as they burn in..but so far very encouraging.
This really shows what the ls3/5a is about with the N50 in my opinion… deep tight non lumpy bass you can feel (yep bizarre from such a small speaker), mid vocal you can almost sense is in your room… with loads of atmosphere and ambience…
Nope none…. The high mids seem to be spot on and appear lifelike. .. so far .. hope it doesn’t change with burn in.
The Golds are more resolving than the silvers which might help? Also using SS60 stands with speaker decouplers in the corner of the platforms… I think that really helps the cab to fully breath from the base plate.
But I would not call ls3/5a speakers relaxed if the content isn’t , they appear very focused and engaging
still very happy with mine….with my Aethos….in 20 m2
Forerunner to Naim DBL,IBLand NBL spring mounted tweeter 
. Hope things only continue to get better.