{"id":120063,"date":"2021-02-05T09:16:15","date_gmt":"2021-02-05T09:16:15","guid":{"rendered":"https:\/\/www.techweekmag.com\/?p=120063"},"modified":"2024-02-24T15:32:14","modified_gmt":"2024-02-24T15:32:14","slug":"dynaudio-confidence-30-review-the-perfect-balance-between-everything","status":"publish","type":"post","link":"https:\/\/www.stereoindex.com\/tech\/speakers\/dynaudio-confidence-30-review-the-perfect-balance-between-everything\/","title":{"rendered":"Dynaudio Confidence 30 : The perfect balance between everything"},"content":{"rendered":"

Dynaudio has released more than one line under the name Confidence.\u00a0If you count, then the current one is already the third updated version.\u00a0And the series as a whole is more than a dozen years old.<\/p>\n

The first versions of the Confidence were designed in closed enclosures – they had an eerily low sensitivity and very high gain requirements.\u00a0However, I myself am very fond of the Confidence 5 from the first line – it was an excellent acoustics, with whose help I conducted a lot of tests.<\/p>\n

In the second generation, the Confidence speakers became phase-inverted in design, more models were developed (at first there were one variant of shelf and floor speakers), then the use of d’Apolitto designs and a proprietary circuit with a pair of Esotar tweeters appeared.<\/p>\n

And now – the third, current current line.\u00a0It has one 2-way model, which can be called conditionally a shelf, and three models of 3-way floor standing units of different scales.<\/p>\n

Younger “shelf speakers” are not the subject of our test, but I must explain why I put the word “shelf speakers” in quotation marks – their phase inverter is brought out to the bottom surface, and the whole structure works only in tandem with proprietary specially designed stands.\u00a0Three models of floorstanding speakers, of course, do not have racks, but there is a lower base and ports of phase inverters also brought out into it.<\/p>\n

However, the solution is good – when looking for the correct arrangement with columns of this design, it is somewhat easier to cope with than when the port is brought back.\u00a0And the potential gain looks a little lighter than for a closed box.\u00a0But about strengthening – a little later.<\/p>\n

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Another important feature of the new Confidence line is that the tweeters are no longer doubled here.\u00a0All models have only one Esotar3 with 28mm soft dome.<\/p>\n

It is worth mentioning separately that in the Dynaudio concept, only soft dome tweeters are used as a high-frequency radiator and nothing else is the manufacturer’s rule.\u00a0And different versions of Esotar in different years were recognized by many as one of the best dome emitters in principle.<\/p>\n

The updated Esotar3 has a number of important differences from its predecessor.\u00a0Inside, under the soft dome, at some distance from it, there is a plastic hemisphere covered with recesses – it was called Hexis.\u00a0The purpose of this part is to optimize airflow and stabilize the canopy.<\/p>\n

It would seem that such a trifle: the part itself costs almost nothing, but for its development, and then for its introduction into production, which required a lot to be redone in the tweeter and manufacturing processes – for all this, the manufacturer required a lot of intellectual, time and financial resources …<\/p>\n

Dynaudio Confidence 30 is a 3-way acoustics with a pair of low-frequency radiators with 18 cm cones and 15 cm mid-frequency. Traditionally for the manufacturer, the diffusers are made of MSP polymer, and the speakers are equipped with powerful magnetic systems with the most elaborated air flow system without unnecessary resistance.\u00a0Crossover frequencies: 290 and 3 700 Hz.<\/p>\n

Freedom of placement<\/h2>\n

The next major change to look out for is the complex-shaped front fascia, which is especially noticeable closer to the tweeter.\u00a0In fact, this is an acoustic lens that corrects the directional pattern.<\/p>\n

The whole panel on which the speakers are fixed is also not simple.\u00a0It partly continues the shapes given by the acoustic lens, but its main task is both the continuation of the lens and the decoupling of the mutual influence of the speakers on each other.<\/p>\n

I saw this panel in the form of a semi-finished product: it is some kind of composite, sintered from powder, and then processed and painted.\u00a0The material is very interesting in terms of properties – you can literally feel it with your fingers, especially if you pay attention to the behavior of the material at the moment when the acoustics are playing at a fairly decent volume.<\/p>\n

Mid-range speaker Dynaudio Confidence 30<\/figcaption><\/figure>\n

The connection here is only two-wire – the manufacturer did not provide other options.\u00a0The terminals are excellent in WBT quality.\u00a0Internal wiring with Van den Hul cable.\u00a0The grills are included: they are very graceful, thin, partly following the curves of the front panel.\u00a0Well, the magnetic mounts come in very handy here – everything looks very good with them.<\/p>\n

If we ignore the details, then personally to me all the acoustics of the new Confidence line seems unconditionally beautiful and solid.\u00a0And in the details I just don’t want to find fault with anything: neither to the finish, nor to the forms, nor to the quality of materials and workmanship.<\/p>\n

There was a couple who had worked for some time on the test.\u00a0I can’t say exactly how the acoustics sound out of the box, but from my experience with Dynaudio products, I will assume that some time will be required for running in.\u00a0The placement of the acoustics was some pre-checked reality, and during the test, I did not notice any supercriticality or narrow radiation pattern.<\/p>\n

On the contrary, the sound is good both at the listening point and when you deviate enough from it.\u00a0Although it is clear that this is a different sound, even the “background” sound does not feel in any way flawed.<\/p>\n

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However, it is imperative to pay attention to the arrangement – the acoustics will not really like the cramped or pressed against the walls.\u00a0It is more logical to compare the model with the room.<\/p>\n

I\u2019ll add on my own: I\u2019m just delighted with the junior shelf units of this new line, and somehow I don\u2019t even want to talk about them as a junior model.\u00a0Confidence 30, on the other hand, can feel confident enough in rooms over 30\u201335 sq.\u00a0m. And a free arrangement, as well as a sufficient margin for gain, will definitely not be superfluous here.<\/p>\n

Gain<\/h2>\n

As part of the test, I tried several options: an integrated\u00a0Esoteric F-05\u00a0amplifier, a\u00a0Gryphon Essence\u00a0preamplifier\u00a0and a stereo version of an Essence Stereo power amplifier, and the\u00a0Esoteric K-03XD\u00a0SACD player was the only source\u00a0.<\/p>\n

According to formal criteria, both amplification was sufficient in power and current – no problems with acoustics control were observed.\u00a0But the different style of presentation of different devices was also unmistakably guessed.\u00a0And in general, using this acoustics, it would be possible to carry out almost any experiments and tests – everything was perfectly audible, noticeable and clearly.<\/p>\n

At the beginning, we launched a system with Esoteric amplification.\u00a0Objectively read the exact cool analyticity in sound, detail, sometimes reaching mathematical precision and rigor.\u00a0And also everything else that could be heard from Esoteric in those conditions when the devices are fully disclosed in their handwriting and character – without embellishment or alteration.<\/p>\n

Put on Nils Landgren’s “Sentimental Journey” CD.\u00a0The sound is calm, balanced, accurate, but not squeezed.\u00a0Rather cool – in the sense that it is definitely not warm.\u00a0But also no coldness or detachment.\u00a0Neat confident restraint and precision.<\/p>\n

Emotionality is very natural, color is not felt.\u00a0The feed is not imposing, and even more so not lax – everything is very accurate and neat, without fuss.\u00a0The dynamics and detail were completely enough – there are no reservations or conventions.<\/p>\n

Using this particular recording and publication as an example, I heard everything that I used to hear there – and with a very high-quality, detailed study.\u00a0There are also no questions about the frequency range – everything is smooth and complete.\u00a0If something is a little bloated somewhere, I totally attribute it to the recording, to the way it was made, or even to the manner of performance.\u00a0Everything was conveyed accurately and accurately.<\/p>\n

The scene is correct, the proportions are as they were recorded, nothing has been added or subtracted.\u00a0Some of the features worth mentioning are a little more rigor in the sound, a little more restraint than you sometimes wanted.<\/p>\n

Reality<\/h2>\n

The next disc is Angelo Badalamenti “Evilenko”.\u00a0The sound isn’t just detailed or dynamic – it’s realistic.\u00a0On the one hand, I hear almost all equipment with its features in the path, but nevertheless, first of all, I hear music and recording, although even here the plausibility of the sound of all components is very noticeable – right down to artifacts.<\/p>\n

This is definitely not a sound for a home disco – it is too restrained and accurate.\u00a0But for everything else – from listening carefully to testing something or selecting musical material – this sound is fine.\u00a0And if there is a desire to listen attentively to the nuances and shades, but not to lose the feeling of integrity, this is definitely a suitable option.<\/p>\n

Listening here is like a perfect dialogue with music that you don’t want to pull or push away.\u00a0Formally, it is a very correct top, without coloring or distortions;\u00a0the middle that passes exactly into this top;\u00a0solid, correct bass.<\/p>\n

Still, we must pay tribute: given the manufacturer’s capabilities for measuring and testing prototypes, it is not surprising.\u00a0Although it is very pleasant, because few people can offer such an even feed and stitching in strips – even for a significantly higher price.<\/p>\n

Bottom woofer<\/figcaption><\/figure>\n

Another entry: Psapp “The Only Thing I Ever Wanted”.\u00a0Excellent rhythm and volume of sound, and at the same time – excellent detail and transparency.\u00a0Features of the recording are read at a time, easily and naturally.\u00a0True, a little sharp and somewhat pedantic in presentation.\u00a0But I would not even say that it is tough.\u00a0And in the presence of dynamics and pressure, I did not notice any unnecessarily, artificially forced sound.<\/p>\n

Velvet<\/h2>\n

Then I tried acoustics with a different amplification – with Gryphon Essence.\u00a0For the control of impressions, this is never superfluous, and from what was at hand, it was no less interesting.\u00a0Changing the amplifier (with the same source in the form of the Esoteric K-03XD player) is perfectly audible.\u00a0Another sound, less mathematical-strict, more velvety, with more emphasis on release and atmosphere.<\/p>\n

But the acoustics both played cleanly, accurately and neutral, and continued in the same spirit.\u00a0The emphasis in the presentation has changed, but not the result.\u00a0The feed did not become clearly softer – just with the first and second amplification options, one interesting effect was clearly manifested here.<\/p>\n

The feeling that “a lot of sound” is being produced is not due to the large shapes, but due to the very detailed presentation.\u00a0Due to the amount of information, and not due to the ability of acoustics to “shout out” a certain form.\u00a0However, if there is something on the record that needs to be \u201cshouted out\u201d, then we will hear it.\u00a0But categorically without rudeness or simplification.<\/p>\n

Anorexia Nervosa’s New Obscurantis Order album never surprised me.\u00a0Reference intelligibility, no distortions, no mess.\u00a0So that all this sounded in the same detail – I heard, but that at the same time it sounded so natural, without tension and without tedious importunity – this is something I have met very rarely.<\/p>\n

You can immediately make out and hear literally every part, and at the same time without losing the sense of integrity.\u00a0Although on many systems, this recording would be just a roaring mess and nothing more.\u00a0And emotionally the sound does not become disassembled – everything is in its place.<\/p>\n

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If so, something very complicated is possible.\u00a0Verdi’s Requiem is fine.\u00a0This material is at the limit of recording as such, and not even at the limit of playback capabilities.\u00a0But everything is fine: there is no porridge, good elaboration and articulation of instruments and parts, honest timbre presentation, a good large-scale scene with a decent layout in depth.\u00a0There is plenty of air and everything is fine with the choral parts.<\/p>\n

Specification<\/h3>\n