nappet jo ut filtrene på ølmagene her om dagen, så de har fått seg en pause.
mine evner med blåselampa holder ikke mål, sliter med å lodde flere ledere på samme punkt.
blir bare klin og søl ut av det.
derfor ble filtrene sendt med hcs i retning fredrikstad og lassemann, han er hundre ganger mer stødig på hendene enn meg, så han skal fjerne sukkerbiter og få på plass nye filterkomponenter.
i mellomtiden får wharfedale diamond 225 gjøre jobben som sommerhøyttaler, og det er jævlig gøyalt å spille på de sammen med manley-blokkene.
ellers har du rett vedr. heteslag, orker ikke å skrive stort, så jeg lar heller stereophile (som jeg i dette tilfellet er enig med) få ordet:
Conclusions
Every day I listened to the Wharfedale Diamond 225s, part of me
wanted to write, "Hey, these new speakers are nice, musical, even-tempered, and easy to live with. But they're nothing special. They're not designed in a wizard's shack behind a British row house and manufactured in some quaint Station Road factory with a pub down the way." I almost wished I could say, "The 225s were created by some secret war-room consortium of
Dr. Strangelove imperialists," or to declare something like, "They play music
just pleasantly enough—in a general, average sort of way—to fool the scruffy underclasses."
But none of it was true.
Forget the Diamond's modest price. This humble wooden box is actually a connoisseur-level audio component. It could satisfy any sane music collector for decades. I liked the way the Diamond 225 played music more than I did the Elac Debut B6 (now $229.99/pair—reduced from $279.99/pair), which I reviewed in the
March 2016 issue. The Elac is extremely good, and it does many things, including soundstaging and resolution, better than the Diamonds. But the Diamond 225 played music with more blushes and warm-blooded charm than the Debut B6. The Wharfedale felt more soulful and relaxed.
The Diamond 225 had a pacey, easy-flowing transparency that made my KEF LS50s sound slightly thick, my
Technics SB-C700s sound slightly dry, my
Falcon Acoustics LS3/5as sound a mite bright. I was hoping I wouldn't have to say those things, but that's what I heard.
The Wharfedale's biggest faults seemed to be a modicum of puffy vagueness in the lowest and highest octaves, and a little recession in the presence region. Together, these traits robbed the Diamond 225 of some precision, sharp focus, and punch.
At the beginning of my listening, I was impressed by the easy-flowing naturalness of the Diamond 225's sound. Then I thought its Kevlar cone was too audible. Then, while playing Pepe Romero's album of Rodrigo compositions for solo guitar, it was as if the speakers had walked over and kissed me. And
then, when I played the Bartók piano concertos, I leaned back, smiled, and let out my breath. I've been smiling like that, and dreaming, ever since. Highly recommended.