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REVIEW<br />
However, in a larger room, when<br />
the sound level comes up and dynamic<br />
expectation increases exponentially, the<br />
Evidence Platinums justify their price<br />
tag. Queuing up the Stereophile test<br />
CD reveals solid bass performance at<br />
25 Hz, which is lower than what you’ll<br />
need for most program material. Playing<br />
Mickey Hart’s “The Eliminators” at high<br />
volume confirms the measurement;<br />
these speakers can punch you in the<br />
chest—hard. The four 7-inch woofers<br />
move more air than a single 12-inch<br />
unit; yet, because of their small size,<br />
they are faster, providing mega bass<br />
with maximum tone and definition.<br />
The Evidence Platinums make it<br />
a breeze to discern between bass<br />
players and their respective styles: The<br />
difference between a Hartke bassguitar<br />
amp with aluminum cone drivers<br />
and a vintage Ampeg amp with paper<br />
cones is now easily apparent. This is<br />
what adds so much to the musical<br />
experience, making your music so<br />
much more immersive. And that’s<br />
what you should get when you write<br />
the big check.<br />
Top-of-the-Line Technology<br />
Dynaudio has left no stone unturned<br />
with the Evidence Platinums, taking<br />
advantage of the company’s top<br />
technological advancements. Relying on<br />
silk dome tweeters since the beginning,<br />
Dynaudio’s design requires a very laborintensive<br />
process that involves shaping<br />
the fine-fabric dome and treating it with<br />
a specially formulated coating. Their<br />
new “Precision Coating” is Dynaudio’s<br />
latest refinement to that process. The<br />
higher uniformity of the dome’s shape<br />
results in a smoother high-frequency<br />
response and even more dispersion<br />
of mid and high frequencies.<br />
REVIEW<br />
This is clearly evident when comparing<br />
female vocals through the Confidence<br />
C1s and the Evidence Platinums.<br />
A quick spin of Ella and Louis Again<br />
uncloaks the difference in the timbre<br />
of Ella’s voice, which is already silky<br />
smooth and convincing when played<br />
through the C1s. By comparison, the<br />
Evidence Platinums dematerialize completely,<br />
even though they are so much<br />
bigger physically. This is truly the magic<br />
of these speakers: They vanish like a<br />
mini monitor and are transparent like an<br />
ESL, yet they have the drive of an enormous<br />
cone speaker.<br />
The Evidence Platinums throw a<br />
soundstage that is staggeringly wide<br />
and deep, but they also get the height<br />
aspect right—probably due in part to<br />
their physical height. While playing the<br />
MoFi copy of Frank Sinatra’s Nice And<br />
Easy, I feel as if Sinatra is standing right<br />
in front of the speakers, with his voice<br />
coming from where his mouth would be.<br />
Custom drivers, check. Precision<br />
optimized crossover network, check.<br />
Premium electrical and mechanical parts<br />
throughout, check. The combination of<br />
all these technologies is certainly present<br />
in most flagship loudspeakers, but<br />
Dynaudio’s DDC (Dynaudio Directivity<br />
Control) system is the heart of what<br />
makes these speakers perform the way<br />
they do.<br />
The combination of the finely<br />
shaped front baffle, driver placement<br />
and matching the phase response of<br />
the individual drivers makes for a more<br />
focused dispersion pattern that does not<br />
require nearly as much room treatment<br />
to sound their best as do many large<br />
speaker systems. This is all trickle-down<br />
technology from Dynaudio’s professional<br />
division, taking advantage of what the<br />
company has learned building studio<br />
monitors. (continued)<br />
164 TONE AUDIO NO.64<br />
July 2014 165
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