High-quality floor speakers Edgar Audio.

@Bullterrier Yes of course, no problem, I'll be glad to see you at my place, with your amplifier. Write me a private message.

Sorry for the long text, it was difficult to answer your question briefly))
Type in Google "Audio Note AN-E Lexus Signature loudspeaker Measurements" and at the first link you will be able to see these measurements and comments on them.

@Bullterrier: Hi. You have correctly noted that there is indeed some similarity in design and characteristics with the Audio Note AN-E, but conceptually it is a different system. What unites them is, first of all, high sensitivity, pliability when working with low-power amplifiers with high output impedance (low damping coefficient), for example, tube or transistor with low negative feedback, the use of a large woofer for a two-way system, natural materials of emitters - paper and fabric dome, as well as the use of low-order crossovers. In the world of High End, there are several concepts or, in other words, philosophies of sound. The most noticeable and radically different are the concepts of the so-called "beautiful" and "monitor" sound. Peter Qvortrup from Audio Note, as well as a number of other well-known companies, profess the first. They focus mainly on the beauty and emotionality of the sound, while they are not particularly concerned about the reliability of the transmission of information contained in the recording. In particular, they use mainly tube amplifiers, which are known to have an increased level of harmonic distortion (especially odd orders in single-ended ones), as well as an increased "microphone effect" - the metal elements of audio tubes vibrate in time with the sound in the room, creating the effect of additional reverberation, the bodies of their speakers intentionally have relatively thin walls made of more sonorous materials (birch plywood), and actively "sing along" with the main emitters. They also (in particular Audio Note), recommend placing their speakers closer to the walls, and better in the corners of the listening room (an audiophile's nightmare)), to enhance the bass, while the listening room also begins to actively accompany the sound. This concept sometimes has a right to exist, especially in our era of digital sound, when many digital recordings really look "emasculated", skeletal, sterile. Among the disadvantages of this concept, one can note the high dependence of the final result on the compatibility of all system components, cables, and the listening room. In particular, Audio Note speakers, in my experience, can have an acceptable sound basically only with amplifiers of the same company, practically refusing to work not only with transistor amplifiers, but also with many tube amplifiers of other manufacturers. In addition, on such systems, basically only acoustic music, vocals, jazz and better chamber music, better with a small cast of performers, as well as a narrow dynamic and frequency range, can sound good.
On the other hand, there is the concept of "monitor" sound, where the emphasis is on the reliable transmission of what is in the recording. Here everything is the other way around - high power and vanishingly low distortion of amplifiers, powerful heavy multi-band speakers with low sensitivity, monolithic blind cases, complex high-order crossovers, etc. These systems are much more universal in terms of component compatibility, and show a more predictable result in various conditions, and are also more universal in terms of the genre diversity of the music being reproduced. The downside of such systems is often the formality and detachment of the sound, tightness, lack of "air and breath", poor microdynamics and fine detailing. All this especially affects music with natural acoustic instruments and vocals. The speakers presented in this ad were developed to combine the advantages of these two concepts and avoid the disadvantages. Firstly, they are very universal in terms of musical genres, not only acoustic music sounds great on them, but also Yello, Madona, dance, hip-hop and techno music are no less impressive. In addition, these speakers work great (due to a very linear impedance that fits into the range of 7-9 Ohms in the entire range of audio frequencies, above 120 Hz and really high sensitivity) with both tube and transistor amplifiers. The 10" bass speaker, unlike Audio Note with their 8", gives a deeper and smoother bass with better microdynamics. At the same time, they have a very linear frequency response, again not like AN-E, which have a serious dip in the middle, as well as at the highest frequencies. You can see the measurements of John Atkinson AN-E in the stereofile magazine at the link below.
But the main value of my speakers (all, not just these), for which I especially appreciate them, is in my crossovers and their incredibly careful tuning, which is expressed in a special integrity and seamlessness of sound, which is almost impossible to find in multi-band systems presented on the market, regardless of cost. This is also the reason for the special volume, the so-called 3D effect, the silence of pauses, the naturalness of all sounds of natural and synthetic origin, natural micro and macro dynamics. Again, because of this naturalness, the speakers do not tire at all even with prolonged listening.