Meanwhile, the Diptyque speakers demonstrated not only the transparency, speed and naturally spacious, expressive presentation I’ve come to expect, but a revealing insight into both the nature and changes in the driving electronics (we didn’t start with the Kora system). It speaks volumes about their lack of distortion and the absence of a dominant colouration or character. Those earlier panel designs I spent so much time discussing, each had their own identifiable sonic signature, but I’ve yet to pin down any such character for the Diptyques. I’m guessing it will emerge over time – and once the speakers are in a familiar environment/system – but it’s clearly at a far lower level than with those previous designs. An additional, sonic benefit of the sophisticated sandwich construction and superior materials? Who knows, but it’s something else that the Diptyques share with the Clarisys speakers. Having the two side by side is a fascinating proposition.
If panels are indeed making a come-back, it’s in part because materials and manufacturing technology have caught up with the engineering and design demands of what is essentially a simple construct. But good engineering is all about elegance and even a cursory glance at the way that the Diptyque speakers are built will show just how far the design and construction has come – and how effectively the company has leveraged both the machinery it’s invested in and the range of local suppliers available. Eight-years young now, Diptyque the company is going from strength to strength: its products are following suit.
