The test
Time for some music. Jason Mraz’ Coyotes (CD Beautiful mess – Live on Earth) gives you a real live sensation: there is sensible depth nad space, and Jason’s voice is positioned right in the middle, clear and without any stress. The bass drum in ‘Only Human’ sounds powerful and controlled, but never takes over. I noticed the lower end performes the best at sufficient power. At lower listening volumes it tends to trail a bit. Kingsize by Tricycle offers micro detail, a nice rolling acoustic bass and ritmic hand claps presented at the ideal height. Also the number ‘Epilogue’ is at it’s best on the C2’s: the concertation of trumpet and accordion gives musicality and melancholics, the harmonic chords flow into each other and are accompanied with light footed piano. The C2’s help the record to reach a level of absolute beauty.
I also notice a uncoloured piano (Joe Jackson, Not Here Not Now) and a subtle play between open singing and a warm trumpet glow. The C2’s discretely efface themselves and blend into the whole sound image. The high and mids (at ‘You can’t get what you want’) is fast and accurate. The tweeters to me are sublime. No traces of hardness or sharpness, the sound pleasantly ‘clean’. The spaciousness rules at ‘Al Di Meola’ (Casino, 1978). The C2s have fun in the strong pacechanges and give a lot of depth at the layered guitar recordings.
Maybe a woman’s voice this time? A youthful Laura Pausini shows herself enthusiastically and the singer is projected nicely in the center and in front of the speakers. Powerful where needed, reserved where meant to. Beautiful! S-sounds are very natural and never hiss (‘Strani Amori’) and the C2 is again relaxed, unforced and inconspicuous. The C2 can go very low (28Hz) but is not inclined to show this permanently. Percussions are airy, fresh and transparent.
Dee Dee Bridgewater’s voice (‘Tribute to Horace Silver’) is highly-articulated with micro details which never enerves. On the contrary, this level of detail assists in a very pleasant and full music experience. The C2 did not really like John Scofiel. I had the impression the low end was pushed away by the midlow or vice-versa (maybe because of the 2-way design or lesser quality recording?). At Marcus Miller however the C2 managed to build enough pressure, which was a guarantee for a great musical image of the bass guitar-virtuoso that once stood besides late Miles Davis. Dynaudio offers it’s customers no bi-wiring possibility, and with reason. The importer: “Dynaudio uses only 6dB (first order) filter networks to get a perfect phase reproduction. This voices itself in a fast piano and percussion reproduction and a fluent and coherent sound. The filter is impedance corrected which aids in easier driving of the speakers. It results in a single-wire connection (Dynaudio’s philosophy), which makes a single set of speakers and amplifier possible instead of 2 or 3 identical sets”.
