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De nitive Technology Demand D11 Loudspeakers(/index.php/reviews/125-de nitive-technology-demand-d11-loudspeakers) Print

Details Edgar Kramer Reviews (/index.php/reviews) 01 March 2018

While on a personal level I have a vibrant zeal for high-end audio and the results from the creativity and imagination

of talented designers with less restrictions in production budgets, I’m also fascinated by what is possible to achieve

when boundaries are tightly set on products aimed at the entry level. There have been many occasions where budget

fare has impressed me with a sonic performance that is way above the expected. I found myself in such a scenario

when I popped-in to Audio Connection, one of Sydney’s most respected and longest-established high-end audio

retailers, while there to collect a Gryphon ampli er (Diablo 120 soon-to-be-reviewed). A zigzagging multi-dimensional

conversation with affable proprietor Josef Riedeger on all things audio somehow wound up in the following scenario…

“Hey, while you’re here Edgar, have a listen to these speakers that have just arrived…” says a teasingly enthused ‘Joe’

Riedeger.

“Really Joe? My review schedule is busting. My writers and I have commitments for months!”

“C’mon, let’s have some fun” hints he, a mischievous grin pulling from the corner of his mouth.

We walk into the large open space that is the main showroom upstairs. Casually set-up among the extensively spread

out audio is an inconspicuous system featuring a pair of mid-sized standmounts – modestly attractive yet unassuming

enough. He res up a track. I listen… and I reach up to support my dropping jaw.

“Freakin’ awesome Joe! What are they and what are we looking at, $5K or up?”

“Brand new De nitive Technology Demand D11. Under $1.8K”.

“Whaaaat? On what planet?” I yell.

“Yes, we’re blown away too…”

And this is how I found myself making an uncommon deviation from my usual high-to-über high-end review fare to

what may be, from memory, the lowest cost speakers I have ever reviewed (as I wrote this I remembered the Andrew

Jones-designed Pioneer entry level 5.1 package that retailed for roughly the same price and was ridiculously good).

So having read thus far, you’ve gathered that this will be a positive review. Well, yes it will be but read on because the

details and reasons behind these budget speakers’ rather extraordinary performance are most interesting.

Demand Quality

The new De nitive Technology Demand series was launched towards the latter part of 2017. At this stage, the

Demand series comprises of three models – D7, D9 and the subject of this review, the range-topping D11. All are

standmount designs.

The range is very attractively styled and reeks of quality way beyond its price level. The speakers’ solid MDF cabinets

are nished in a beautifully-applied six-stage gloss black and feature accents by way of a beat-blasted aluminium baf e

and a top panel aluminium strip deeply-etched with the company name. Very classy.

Def Tech (for short) has developed bespoke drivers for the D11 by way of a 25mm annealed aluminium tweeter and a

unique-looking 165mm mid/bass driver. Further, the company has inset an oval 155mm passive radiator on the

enclosure’s top below a protective non-removable black grille-style cloth. The speakers’ front can be dressed with a

removable and acoustically transparent grille which attaches to the baf e via embedded magnets. Neat.

The 25mm dome tweeter features a ‘20/20 Wave Alignment Lens’ and has been off-set by ve degrees to an off-centre

position on the baf e. Def Tech claims better dispersion by way of a more controlled off-baf e diffraction pattern

resulting in a claimed improvement in imaging. Each speaker is labelled with a ‘Left/Right’ imprint on the rear, with Def

Tech suggesting a starting point of tweeter-on-the-outside con guration.

The unusual mid/bass 165mm polypropylene driver also features a form of dispersion/response control, termed a

‘Linear Response Waveguide’ which has been designed to smooth out on/off-axis frequency response and crossover

point notch irregularities. It’s a mushroom-like protrusion extending out from where the dust cap would be and is

designed with a number of radially-arranged slots. The driver is terminated via what Def Tech calls a BDSS (Balanced

Double Surround System) which is said to provide greater output via increased excursion. Of course, the large-spider

oval passive radiator provides further subjective output while extending the low frequency reach.

De nitive Technology speci es the D11 as having a frequency range between 48Hz and 24kHz (61Hz and 22kHz with

-3dB limits), a sensitivity of 90dB (1 watt/1m) and a nominal impedance of 8 ohms. This is one easy speaker to drive

and Def Tech suggests ampli ers capable of between 20 watts and 200 watts of output.

If you require speaker stands, Def Tech offers an optional pair of bespoke stands, the ST1 (AU$795), which have been

designed to elevate the D11’s tweeter (and the D9’s) to an optimal 32-inches. The stand features a steel column, a

heavy MDF base and a natural aluminium accent – matching the Demand series aesthetic – and they can be lled with

dry sand or lead shot for added mass.

While the performance assessments truly reinforce this, I should reiterate that the D11 is an extremely well-built and

engineered product which you’d swear is at least double the price. And I mean this in terms of overall construction t,

paint, aluminium trim quality and, most importantly, in terms of the high quality bespoke drivers. Decent binding posts

are also part of the package. As a bonus, remove the front grille and you’ll see a very attractive and modern styling… if I

owned them, I’d ditch the grilles; they’re quite beautiful sans.

De nitive Power

As mentioned above, Def Tech suggests setting up the tweeters on the outside for a larger soundscape and claimed

improved imaging. While I agree with the company’s assertion that the presentation is somewhat more expansive in

that con guration, I preferred the more precise image focus I achieved in my room context (with minor sacri ce in

lateral sound stage spread).

D11 launch at Kramer’s was reminiscent of my rst impression at Audio Connection’s establishment. There – and here

– the D11s immediately impressed with their extremely dynamic and seemingly almost full range sound. This is scale

way beyond the size; I’m talking small oorstander-like here.

Yes, despite the contrary tweeter con guration, the D11s projected an enormous soundstage in all perspectives, even

the tricky-to-reproduce height perception. And because of my contrary con guration, in my room, the imaging of

appropriate recordings was exemplary too. Instrument placement within the large sound stage was accurate and

realistically proportioned.

Some aluminium tweeters can be a tad abrasive, especially with compressed or closely-mic’ed recordings. Not this

baby. Yes, there was stunning detail retrieval, and by no means would I suggest this is a mellow tweeter, but its

integration and overall balance between detail and resolution has been thoroughly accomplished. The complexities

and demands of Yello’s “Drive/Driven” from Essential Yello were clearly resolved – every nuance and electronic trick

dispensed by this Swiss duo was clearly discernable via the D11s, while the synth low end punched hard.

And that bass… it’s a deep bass register subjectively way beyond what’s suggested by the speci cations. “Sergio Leone”

from Jackson Browne’s The Naked Ride Home had much of what I hear with small oorstanding speakers I’ve had in-

house. But in the case of the D11s, it’s not the bass you hear in small standmount speakers. You know, the ones have

been pushed within an inch of their life in the mid-bass in order to trick the listener. This is surprisingly linear bass with

punch, detail and scale. The kick drum intro in “Casino Nation” from the same Browne album was textured, tight and

impressively potent while the D11s demonstrated superb control and pace to the electric bass line that follows.

Vocals were clear, nuanced and accurate. No syrup here, however. Lively recordings such as Ryan Adams’ Live at

Carnegie Hall have Adams placed in a large hall with his image locked in centre stage. As he strums the D11s resolve

the complexities of string, nail and vocal sibilance – this last being calmly reproduced without harshness but with the

accuracy and immediacy of the close-mic’ed live-to-mixing-desk signal ow.

Even large orchestral works come across with superb scale and dynamic expression. Several samplers I have residing

permanently on the coffee table feature a whole variety of recordings from a multitude of composers, orchestras and

conductors. All recordings displayed these speakers’ extreme capabilities juxtaposed with their size. Cue Lawrence ofArabia’s Overture, Cincinnati Pops’ orchestration and movie soundtrack, and the enormous drum rolls and big

orchestral sections can be mesmerising in their expanse and muscular scale.

Conclusion

As I mention in the introduction, these are among the lowest priced speakers I’ve actually formally reviewed (I’ve had

plenty in-house for evaluation and playground duties). But don’t let the Def Tech’s affordability fool you – the D11s are

a stunning achievement and clearly show that when a large company goes all-out to produce a value proposition, it

doesn’t mean the end result has to be crippled by compromise.

In fact, De nitive Technology’s engineering chops have produced somewhat of a rare freak: a truly affordable, high

performing, beautifully nished, constructed and styled speaker that possesses the indisputable inherent cachet a

sizable speaker-producing concern can provide. The D11 has oored me… colour me conclusively and de nitively

impressed.

…Edgar Kramer Editor-in-Chief

edkramer@soundstageaustralia.com (mailto:edkramer@soundstageaustralia.com)

(mailto:edkramer@soundstageaustralia.com)

Associated Equipment

Speakers— Wilson Audio Alexia Series 2, Axis Loudspeakers VoiceBox S (near eld monitor)

Ampli er— Gryphon Audio Antileon EVO, Gryphon Audio Diablo 120 (in for review)

Preampli er— Supratek Cortese, Lightspeed Attenuator LDR passive

Sources— Digital: Yamaha CD-S2100 used as transport, Totaldac d1-core DAC, MacBook with BitPerfect

software, AIFF les. Analogue: Michell Engineering Orbe with Gert Pedersen Level 3 modi cations and Origin

Live Ultra upgraded motor, Trans-Fi Terminator air bearing linear-tracking arm, Grado Reference cartridge,

REDGUM Audio RGPH2ENR phono stage

Processor— DEQX PreMate

Cables— sILENzIO loom, Vermouth Audio Black Pearl Mk.II loom

Audio Rack — SGR Audio Signature

Miscellaneous — Les Davis Audio Viscoelastic CLD discs, Nordost Sort Kone BC

De nitive Technology Demand D11 Loudspeakers

Price: AU$1795

Warranty: Five Years

Australian Distributor: Advance Audio Australia

+61 2 9561 0799

www.advanceaudio.com.au (http://www.advanceaudio.com.au/)

De nitive Technology

1 Viper Way, Vista, CA 92081

United States of America

+1 410 363 7148

www.de nitivetechnology.com (http://www.de nitivetechnology.com)