Wharfedale Diamond A2
FOR Big, authoritative, solid sound; expressive, fluid mids AGAINST Treble needs refining; timing isn’t great
Not many floorstanders can claim to stand on their own two feet (well, in this case four) quite as independently as the Wharfedale Diamond A2s. These speakers are as qualified as any to be considered as a just-add-a-source hi-fi system.
Only an ashtray-sized control hub, the H1, stands in the way of total autonomy. It’s what your sources connect to, via the hub’s coaxial, optical or RCA inputs, or aptx Bluetooth. The H1 then wirelessly sends the music signal to the speakers over the 5.8GHZ frequency band rather than the often-crowded 2.4GHZ in a drive for less interference.
The hub of all things
The H1 is also your go-to for software updates and, if the remote is lost down the sofa, changing volume and input too. It simply needs to sit within 20m of the speakers – and as both the speakers and hub are mains-powered, they’ll need to be within reach of power sockets. Otherwise speaker placement is at your liberty – they can be connected as a stereo pair (there’s a switch on each for left and right channel assignment) or used individually in mono mode, for example in different rooms.
Good integration
These are 2.5-way, bass reflex-ported towers with 25mm fabric-dome, wave-guide-incorporating tweeters and twin 16.5cm woofers.
With help from a specially designed crossover, the drivers’ union is a happy one: frequencies are well integrated, and produce a nicely balanced soundstage. But it’s the Wharfedale’s authority and expanse, which passive oorstanders and a separate amplifier totalling the same money would struggle to match, that leaves the more lasting mark. Indeed, the 50W-per-channel amplification inside each cabinet proves plenty.
Playing Robert Wyatt’s Shipbuilding, we’re treated to a full wall of sound and a believable stereo image that’s as open and spacious as it is involving. Within that, the piano, cello and cymbal are presented in precise layers, while the vocal oozes through the middle resolutely and with focus.
The balance here is about as middleof-the-road as it gets – and we say that in a positive way. There’s natural warmth and fullness to the presentation – a trait we’ve come to expect from Wharfedale hi-fi. Though not the liveliest of characters, the A2s scoot through the brisk orchestration of Miles Davis’ Deception (from our Naim server via coaxial) with agility.
Exuberant and perceptive
At no point do the instruments sound routine – instead they are exuberant and full of varying textures. The trumpet solos are sweet, musical and indicative of the A2’s impressive dynamic ability.
We wish the level of refinement and detail in the midrange would extend to the treble though. Slight hardness taints the edges of the cymbal-tapping – something that removing the tweeter’s grille emphasises – and seems more monotonal than it ought.
The depth and agility of the speakers’ low frequencies means the tuneful bassline underpinning Kendrick Lamar’s King Kunta moves along eagerly, but these Diamonds aren’t the sharpest tools when it comes to rendering its funky rhythmic cadence, and they don’t always hit the mark with timing. Without greater precision, instrument cohesion isn’t all that convincing.
Visual clues
“The trumpet solos are sweet, musical and indicative of the A2’s impressive dynamic ability”
The 91cm-tall towers look exactly as they sound: muscular and brawny. Their appearance is similarly characterised by a top-heavy driver configuration, silver driver surrounds and a glossy black (or white, if you’d prefer) baffle.
Instead of speaker terminals around the back, there’s a panel for the switches, which include bass adjustment and channel assignment.
Easy to set up, well equipped and authoritative performers, the Wharfedale A2s epitomise a good concept pretty well executed.