Audiophilepure

I cautioned him that I would vet the speaker first in demo before committing to an article, because I was not going to spend my time on an inferior speaker, and I did not intend to destroy a small manufacturer with a review seen globally if his early effort fell short. I have done enough reviews of ok but not scintillating products that I simply do not care to spend any more time on them. Reviewers can damn small enterprises with one article, and they need to be sensitive to the disproportionate power they possess over the welfare of a company. One component maker lamented to me that among several very positive reviews, a single one gone sideways due to what he felt was malfeasance on the part of the reviewer was a sticking point in the minds of many potential customers. They had no idea of the issues the manufacturer had to endure as a result of the reviewer and magazine not following the manufacturer’s advice in preparation and setup of the product. As another manufacturer of a preamp, who had brought it for me to hear, said out of the blue as we were listening, “If you don’t like it, I’m not going to give it to you to review.” I was taken aback by the comment. Is that collusion? Is it the evil industry? No, it’s self-preservation, as he said were I to have a negative disposition, “My family is on the street. I’m literally wiped out.” As it turned out, he was not able to leave the unit and never did send another.

http://www.theaudiobeat.com/equipment/vienna_acoustics_beethoven_concert_grand_reference.htm

The second movement of Peteris Vasks’ Concerto for Viola and String Orchestra (Maxim Rysanov and Sinfonietta Riga, [BIS-2443 SACD]) is both beautifully recorded and performed — and a one-stop shop when it comes to appreciating the qualities of the Beethoven Concert Grand. The dispersed, pizzicato phrases that scatter across the stage to create the staccato opening reveal the scale and nature of the church acoustic, the Concert Grands not just re-creating a coherent sense of that towering space, but locating each section of the orchestra precisely within it, defined in terms of height, lateral placement and depth, scale and specific tonal character. It’s a spatial tour de force, helped of course by the depth and transparency of the speaker’s bottom end. But that is only the start. The plucked notes have a real sense of life and attack, naturally rich harmonics and the size of the sound box behind them. There’s no confusing the violins and violas, or the identity and character of the solo instrument, with its plangent, almost melancholy tonality.

https://www.stereophile.com/content/dynaudio-confidence-30-loudspeaker

I continue to be impressed by how immediate and gripping the Dynaudio Confidence 30s make music sound. Their presentation with smaller-scale works is clear and lively. With larger ensembles in larger spaces, the C30 soundstage is wide and detailed. Across a broad range of styles and recording perspectives, they seemed balanced, neither bright nor muted, with, often, a comfortable warmth. As for dynamic range, I never approached their output limitations in my room.