Loudspeakers

Raidho claims a sensitivity of 89dB although in practice, and in keeping with KH's Lab Report, it seemed to need a power amplifier with real heft – the £24k Constellation Taurus Stereo used in editor PM's listening room proving a great partner. The D-2.1 is also a little trickier than you would expect to position, and warrants a good bit of trial and error before everything makes musical sense. This is largely due to the tweeter, which appears more directional than most. The design seems to suit an equilateral triangle between the two speakers and the listener, with the speakers toed in just a touch. In terms of the bass, a good half metre or so from the boundary wall is preferable to avoid boom. This done, things snap into focus and you really begin to hear how special the big D-2.1 truly is.

Blistering Speed
One thing we can say about the D-2.1 is that it's emphatically not bland, but brings its own distinct qualities to the great pantheon of high-end speakers. The D-2.1 is smooth to the point of being laid-back, and as soon as you set your ears upon it, you can't help but notice that much of the presence region and lower treble is recessed. I couldn't really discern the rising treble above this, noted by KH – only those young enough to hear it will react differently.

That's the headline news. When you've got used to the midband tapering down, you begin to peer into its sound a little further. At this point the qualities of that lovely planar unit begin to hold sway. It may be a little dull lower down but it's extremely fast. Transients are blisteringly quick, urging the music along with pace and fantastic definition, despite that rather unusual tonal balance. Many speakers give the illusion of speed by being falsely bright and forward, whereas this is the precise opposite – it is neither, but still seriously swift in its handling of transients.

Delving Deep
Cue up Grant Green's beautiful 'Ease Back' [Carryin' On; Blue Note CDP 7243 8 31247 2 5] and you're wowed by the amazing speed of the hard-struck guitar. The sound zings around the room faster than a bullet, even though the overall balance is very slightly dull – it's a slightly odd yet far from unpleasant combination.

Despite this, the midband really does have great clarity. ABC's 'Date Stamp' [The Lexicon Of Love; Mercury 514 942-2] proved quite an arresting listen. It's possible to peer right into the mix – the expansive soundstage doesn't push out at you, rather it hangs back to let the listener delve deep inside. The more you listen, the more there is to hear, with instruments well defined and accurately located. I was struck by the way it was able to separate out all the different strands of the mix, making the keyboard overlays so easy to discern, while you could hear the individual instrumental parts start and stop with surgical precision. The same went for Gregory Isaacs' 'Night Nurse' [Island Records 254 846] – here every strand was laid out on a plate, to reveal bass guitar, bass drum, keyboard, snare, hi-hat, ride cymbal and maracas.

There were stark spaces between the notes but the ensemble was still strung together coherently. This very open and agile sound made listening to individual instruments and voices fun! There was a lovely timbre to the track's analogue synth noodles and glides, for example, often hidden by lesser loudspeakers. Vocals had a purity that could seem spookily realistic. Other details, such as the exquisitely fast, filigree detailing on the hi-hats was very satisfying, while the D-2.1's inherent smoothness ensured tracks like The Beatmasters' 'Rok Da House' [Anywayawanna; Rhythm King Records LEFT CD10] – often a little uncouth with other speakers – fell into place beautifully.

Propulsive Bass
A 'badly done' bottom end would certainly have spoiled the speed of this Raidho loudspeaker, but while it's not as vast and all-encompassing as many cost-no-object designs, it gets the job done in a professional way. So the bass proved highly propulsive, integrating very well with the mid and treble. That Beatmasters track showed it to be fast, firm and crisp, with no tendency whatsoever to lag.

I loved the way the bass synthesiser line syncopated with the electric piano track, which was playing on and off the beat in a James Brown kind of way. Things were so fast and propulsive that the song almost sounded as if it had been speeded up. Once again, the D-2.1's bass, like the speaker as a whole, is both smooth and quick.

Hi-Fi News Verdict
This is a distinctive sounding speaker all right, at a price point that includes many grand designs offering all the musical flavours you could wish for. Although not quite as neutral as it might be, the Raidho D-2.1 nevertheless proves to be a highly enjoyable and sophisticated sounding floorstander, with its own unique character. However, an extended audition is mandatory to confirm if it will truly satisfy your soul.