I am running a pair of these Behringer Truth B2031A active monitors.
Now modified, these are one of the best loudspeakers I have heard.
As standard they were sending me out of the room, now they are pin sharp in clarity/detail, centre, width and depth imaging.
These loudspeakers are both clinically detailed and perfectly musical, and go pretty loud.
These are seriously good fun, and at their price point quite unbeatable.
Dan.
Now modified, these are one of the best loudspeakers I have heard.
As standard they were sending me out of the room, now they are pin sharp in clarity/detail, centre, width and depth imaging.
These loudspeakers are both clinically detailed and perfectly musical, and go pretty loud.
These are seriously good fun, and at their price point quite unbeatable.
Dan.
Hello, i been searching forum for posts about DTQWT, found your question and thought i should reply. Maybe other people will find this description usefull as well.
I have DTQWT (T35 variant) and been tuning it for a year now, and it's best speaker among those i built or had. I also built/have Zaph SB12.3, SR71 and various stuff from internet as well as my own, but these finally got me settled.
I guess i should characterise their sound briefly, so:
- Very fast and punchy. The dynamics, bite and attack is their main thing. The closest thing to isodynamics i have.
- Very uniform crossover and dispersion. Tweeter and mid work as one and they measure and sound uniform at very wide angles.
- Very fast, punchy, dry and deep bass, free of "boxiness". Although i prefer Beyma bass drivers - i have Eminence as well, but Beymas go lower with better attack. The bass is among best and most lifelike i heard yet and as deep as i ever wanted (with Beyma) in my room (19 sq.m.) getting in that "seismic" low-end territory.
- overall sound is very non-fatiguing, musical, very neutral, dynamic. Soundstage is precise and holographic.
Although one thing need special notice - DTQWT is a burn-in monster which will turn any burn-in unbeliever into a cultist, such a great the difference there is. At first the sound is dark, somewhat dull, muddy hence some of the misleading impressions on this forum. They will also have resonances at different frequencies while burning-in. But in month or two it is a totally different speaker, free of all problems mentioned and with a amazing sound.
Alexander, I read that waveguide loaded tweeters exhibit very solid, unwavering imaging, even if one moves off axis. Do you experience this with the DTQWT mkII?
I can't think of anything I've heard that wasn't seriously flawed in one way or another, don't know that I've ever heard one loudspeaker system that really "put it all together". Probably the ones that came the closest for me were large electrostatics such as the Dayton Wrights, big Sound Labs, or even early Acoustats.
If one could combine that open, seamless window on the sound type presentation with the effortless dynamics of a Klipschorn or big blue JBL monitors, I think I'd start to be happy.
If one could combine that open, seamless window on the sound type presentation with the effortless dynamics of a Klipschorn or big blue JBL monitors, I think I'd start to be happy.
Yes, compared to traditional speakers i had they are much less sensitive to listener angle/position due to very uniform directivity, especially when compared to something like Tony Gee "Soup Sandwich" (although these have great imaging if you listen on-axis)
It's also different from wide baffle speakers which have constant "spaceiousness" around them, but it often stays same for all recordings, like a certain echo/reveb added to everything, making singers or instruments "big". DTQWT is more of a "window into the music" type of speaker and i think one can hear as much soundstage as recording has and equipment is capable.
Here's picture of mine. I used velvet fabric (used for expensive clothes) on the front panel to minimise whatever diffraction left and it looks nice in RL. Rest of enclosure is covered with leather, top is a solid stone plate.
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Best I've heard so far...
Hmmm.
For home use, my 2-ways. Beyma 15P1200Nd crossed to an EV DH1a at 1.3kHz. EV on a HP64 horn. With some EQing and messing around, the drivers integrate nicely. They're both very good PA drivers, so there's dynamics to die for, and enough detail to keep me happy.
Chris
Hmmm.
For home use, my 2-ways. Beyma 15P1200Nd crossed to an EV DH1a at 1.3kHz. EV on a HP64 horn. With some EQing and messing around, the drivers integrate nicely. They're both very good PA drivers, so there's dynamics to die for, and enough detail to keep me happy.
Chris
Thank you for further elaborating Alexander, I appreciate it. Your speaker looks very nicely done! First time I seen velvet fabric being used to minimise deffraction. Btw, Troels just launched the DTQWT MKIII, looks pretty cool with the new driver & stepped baffle.
I never thought that I will fall in love with just one set of speakers in my entire life.
Got the PHILIPS FB815 at 90s and in 2014 I repaired them with new foam surrounds, and rebuilt also the crossover networks with original parts.
Luckily the new foam surrounds did not degrade the high performance of these speakers.
And I am continuing feeling the magic at any volume level.
Got the PHILIPS FB815 at 90s and in 2014 I repaired them with new foam surrounds, and rebuilt also the crossover networks with original parts.
Luckily the new foam surrounds did not degrade the high performance of these speakers.
And I am continuing feeling the magic at any volume level.
Definetly Rethm speakers
Hi,
I had my magic moment long time ago in 1999 I think at the Frankfurt High End fair (when it was still in Frankfurt - now its in Munich).
I listen to the new Rethm 2 speakers with DNM electronics. The Rethm had the best speaker choice built in - I remember the Supravox field coil 8".
When we entered the official Reson room my friend and me were pretty bored by Krell, Burmester and many other (smaller) "softy" high end systems which really couldn't perform anywhere near a true high end system. It was my first fair and I felt disappointed. I knew a lot about great dynamics due to my professional speaker back ground - and I was building up my knowledge towards High End phrases like "staging" & "micro dynamics".
My friend was already 30 years into High End - went through all fashions from 70's to 90's.
Back: We entered the Reson door and listened to a dark Cello playing frightening melancholic "riffs". Directly both of us knew "here is something differnet". The first time our ears were attracted by a real time - coherant sound "near a real acoustic signature". We sat down and I guess it was the Indian developer of the Rethm smiling at us and asked as the Cello piece faded out what we would like to listen to?
We agreed to a piece of Steve Ray Vaughn"Tin pan alley". The intro started and wide stable staging effect opened up. Rain dropping down, Steve started singing and then a Hi Hat came in - followed by snare drum. Bamm!!! My eyes couldn't stand still by the impulsive snare beat. I felt a totally dry clean base drum in my stomach and so on. Staging was a paradise! Voice - Guitar was near real AND that at quiete high speaker volume!
Looking back to that scene: Today I'm listening to fullrangers sometimes loaded in horns like the lowther - sometimes older Alnicos. Some of them joined by fancy Ripol sub woofers. I have nice tube amps and so on....
but to be honest: I never established a sound like in 1999 back. The Rethm was so rock solid between a wonderful real staging and live like dynamic that everything I owned - or my friend owned - were simple child toys.
The coherance of this Supravox speaker joined by the wonderful designed bass horn (back loaded) simple hit the spot in precision, speed without letting me have a "horn feeling" like all my horn speakers had up to date.
The supreme qualities of the field coil is simply inherant - it reminds me that sometimes "more is more"
However this moment was surely also an effect of my brain and listening for long time would have resulted in a more diversive review. But I can still recall the Rethm sound in my memory and since I had listen to many speakers before that day I'm sure that this speaker regards the trophy of my "best speaker ever".
Maybe someday I have the chance to listen to Voxativ speakers. I guess these are pretty fine too.
Regards Jochen
Hi,
I had my magic moment long time ago in 1999 I think at the Frankfurt High End fair (when it was still in Frankfurt - now its in Munich).
I listen to the new Rethm 2 speakers with DNM electronics. The Rethm had the best speaker choice built in - I remember the Supravox field coil 8".
When we entered the official Reson room my friend and me were pretty bored by Krell, Burmester and many other (smaller) "softy" high end systems which really couldn't perform anywhere near a true high end system. It was my first fair and I felt disappointed. I knew a lot about great dynamics due to my professional speaker back ground - and I was building up my knowledge towards High End phrases like "staging" & "micro dynamics".
My friend was already 30 years into High End - went through all fashions from 70's to 90's.
Back: We entered the Reson door and listened to a dark Cello playing frightening melancholic "riffs". Directly both of us knew "here is something differnet". The first time our ears were attracted by a real time - coherant sound "near a real acoustic signature". We sat down and I guess it was the Indian developer of the Rethm smiling at us and asked as the Cello piece faded out what we would like to listen to?
We agreed to a piece of Steve Ray Vaughn"Tin pan alley". The intro started and wide stable staging effect opened up. Rain dropping down, Steve started singing and then a Hi Hat came in - followed by snare drum. Bamm!!! My eyes couldn't stand still by the impulsive snare beat. I felt a totally dry clean base drum in my stomach and so on. Staging was a paradise! Voice - Guitar was near real AND that at quiete high speaker volume!
Looking back to that scene: Today I'm listening to fullrangers sometimes loaded in horns like the lowther - sometimes older Alnicos. Some of them joined by fancy Ripol sub woofers. I have nice tube amps and so on....
but to be honest: I never established a sound like in 1999 back. The Rethm was so rock solid between a wonderful real staging and live like dynamic that everything I owned - or my friend owned - were simple child toys.
The coherance of this Supravox speaker joined by the wonderful designed bass horn (back loaded) simple hit the spot in precision, speed without letting me have a "horn feeling" like all my horn speakers had up to date.
The supreme qualities of the field coil is simply inherant - it reminds me that sometimes "more is more"
However this moment was surely also an effect of my brain and listening for long time would have resulted in a more diversive review. But I can still recall the Rethm sound in my memory and since I had listen to many speakers before that day I'm sure that this speaker regards the trophy of my "best speaker ever".
Maybe someday I have the chance to listen to Voxativ speakers. I guess these are pretty fine too.Regards Jochen
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Funk Audio Speaker - 8.7P [Powered] - Funk Audio
I have nothing more expensive to compare it to, but it was mind blowing
I have nothing more expensive to compare it to, but it was mind blowing
Hi,
I had my magic moment long time ago in 1999 I think at the Frankfurt High End fair (when it was still in Frankfurt - now its in Munich).
Agreed, these are really something special in regards to soundstage. I remember beeing impressed by Rethm too
The full range tractrix synergies I built sound amazing. One of those moments where you say Wow! and cannot stop listening.
http://www.diyaudio.com/forums/full-range/261427-presenting-trynergy-full-range-tractrix-synergy.html
http://www.diyaudio.com/forums/full-range/261427-presenting-trynergy-full-range-tractrix-synergy.html
My last model T101's "Antique" in unfinished, but standalone full frequency configuration still lacking the '15 bass bins (haven't transported tgem from the garage of the summer house.
Per side they consist of:
- a pair of Bulgarian VKN 12311, a 25 Hz fs, sub 2 Qms, 0.5 Qts '12 drivers - licensed Kelly Bulgarian made drivers (known as Gamma 1231),
- single neodimium Qts 0.46, Qms ~1.6, TB 1757 sb flat aluminium honeycomb membrane and
- a Bulgarian ARL NdRL 81 - neodimium ribbon driver that is remotely but directly related to the Decca ribbon tweeters (Gamma VLD 13 / 40 and Gamma VLD 80);
They are open baffles with LX monitor inspired crossover in several denominations from first to fourth order between 85 and 1250 Hz, all tested and simulated with the MJK's Mathcad OB three drivers both passive and active sheets. Some version of the crossover include massive adjustable BSC and some do not. All versions are flat on axis and all observe the 100 Hz +3 db, 10.000 Hz - 3 db rule for the summed emitted acoustical energy.
Made for about three and a half years so far by an attorney at law
Addition:
All thanks to:
- Mr. Martin King, his Mathcad sheets and his enormous cintribution to the internet audio society common knowledge through his web site: http://www.quarter-wave.com,
- Mr. Siegfried Linkwitz, his designs and shared knowledge http://www.linkwitzlab.com,
- and the present really great forum.
And the ribbon crossover as shown is LR-2@10 kHz (-6 db@10 kHz).
Best regards!
Per side they consist of:
- a pair of Bulgarian VKN 12311, a 25 Hz fs, sub 2 Qms, 0.5 Qts '12 drivers - licensed Kelly Bulgarian made drivers (known as Gamma 1231),
- single neodimium Qts 0.46, Qms ~1.6, TB 1757 sb flat aluminium honeycomb membrane and
- a Bulgarian ARL NdRL 81 - neodimium ribbon driver that is remotely but directly related to the Decca ribbon tweeters (Gamma VLD 13 / 40 and Gamma VLD 80);
They are open baffles with LX monitor inspired crossover in several denominations from first to fourth order between 85 and 1250 Hz, all tested and simulated with the MJK's Mathcad OB three drivers both passive and active sheets. Some version of the crossover include massive adjustable BSC and some do not. All versions are flat on axis and all observe the 100 Hz +3 db, 10.000 Hz - 3 db rule for the summed emitted acoustical energy.
Made for about three and a half years so far by an attorney at law
Addition:
All thanks to:
- Mr. Martin King, his Mathcad sheets and his enormous cintribution to the internet audio society common knowledge through his web site: http://www.quarter-wave.com,
- Mr. Siegfried Linkwitz, his designs and shared knowledge http://www.linkwitzlab.com,
- and the present really great forum.
And the ribbon crossover as shown is LR-2@10 kHz (-6 db@10 kHz).
Best regards!
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