Audiophilepure

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“Loudspeakers are often described as being a window on the performance. The best of them remove the window (and walls) entirely in an effort to place you within the performance, capture you, and let you explore—holistically or analytically—the essence of the composition as well as the individual musical lines. The Berlina RC 9 fits the description of the best of them. This is not because of its price (which is in part the result of using incredibly expensive pure-diamond midrange and tweeter drivers); it is because of the consistently stable pianissimo-to-fortississimo resolution, clarity, and dynamic capabilities methodically crafted into its DNA. This loudspeaker plays like a chameleon to music reproduction, says AJ, as well as to the source and amplification components in front of it.”

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“Second, the 2.2 is a decidedly full-range and full-throated loudspeaker that is capable of terrific extension at both high and low frequency extremes, while also delivering premier league dynamics—subject only to the constraint that the 2.2 works best in medium-to-medium large listening spaces (whereas the larger Sonja 2.3, Sonja XV Jr., and Sonja XV models offer progressively greater dynamic clout and lower distortion when used in large-to-very-large listening rooms). But heard in its proper context, which includes rooms that would be regarded as relatively large lounge spaces in typical European or British homes, the Sonja 2.2 lacks for nothing. Bass depth and definition? Check. Explosive dynamics on demand? Check. Subtlety and nuance to die for? Check.”

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“What about the really big stuff—orchestra and chorus, mebbe a pipe organ? I chose something that had it all—Mahler’s Symphony 2, “Resurrection,” in an underappreciated performance by Andrew Litton and the Dallas Symphony Orchestra and Chorus (SACD/CD, Delos SA 3237)—and found out that the 702 S2s liked to be played loud. Throughout this masterpiece, but especially in the long final movement, the sound was glorious, the experience overwhelming. The bass was full and firm, and the orchestra balanced across the soundstage. The solo singers were a bit closer, almost in the plane of the speaker baffles, but the chorus was spread wide and extended to the back of the hall, and I could hear nearly every voice, All of the recorded dynamics were delivered, including the foundational organ-pedal notes at the end.”

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If you seek a new set of speakers in this price range, be sure to put the Dynaudio Special Forty on your audition list. I offer sincere kudos to Dynaudio for putting this level of sonic performance, build quality, and beauty within the financial reach of so many who prioritize music in their lives. Given this benchmark of performance, I cannot wait to hear what Dynaudio has up its sleeve to celebrate their golden anniversary a decade from now!”

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“This last, however, is a not without a penalty. The rationale behind the curved panels is to overcome the high-frequency beaming of most panel speakers. And to some extent this works surprisingly well, not so well as the omnidirectional Muraudio ESLs, but those who find Quads of any vintage entirely too directional will find these more satisfactory or at least much less unsatisfactory. The sacrifice, however, is less precise imaging. One member of my listening group was driven crazy by the Impressions in this regard (and also by other MartinLogans) because he felt that things never occupied a precise and defined place. I personally feel he is overreacting here. I like precise imaging but I don’t have a fetish about it, and while I’m aware of what my buddy is talking about, I didn’t find that it much impaired my enjoyment of the Impressions. But he does have a valid point: There’s always a very subtle vagary about the positional placement of solo instruments and vocal soloists within the soundstage.”