Floorstanding loudspeakers

The Raidho’s mastermind, Michael Børresen, made very deliberate choices in the D-speakers’ design not to lose the tinniest bit of speed and resolution. That’s why he banned large diaphragms and opted for slim, deep and rigid cabinets with multiple drivers, sacrificing the a bit of the ultimate sense of low-end weight and bass bloom in favor of tautness, control and miraculous top end.

100% reference

Funkce a forma


The magic of Raidhos lies especially in their tweeters. The company uses their proprietary ribbon tweeters with superlight (0.02g) aluminum membranes in a sealed chamber, driven by neodymium magnets. The sealing should provide extra damping, even higher speed without energy storing and easier matching with dynamic midrange and bass drivers. Other than that each D-3.1 is a 3-way loudspeaker, where the tweeter is complemented by a dedicated 100mm diamond deposited midrange and three 115mm diamond deposited bass drivers. For the new D-series Raidho worked on increasing the transient response to the maximum limit and the diamond drivers help reduce inductance, and they are stiffer than the ceramic that Raidho continues to use in other speakers. A patented Raidho neodymium magnet configuration leaves the rear of the drivers ´ventilated´ and thus the pressurized air behind the driver´s bounce from the magnet structure is minimized, which means less compression.

The D-3.1, alike the other D-series Raidhos, is not very user friendly in terms of loudspeaker cables: it only provides banana-terminated cables connection possibility as the binding posts are recessed into cabinets and there is no way of connecting spades or bare wires. Bi-wiring is not possible either. The speaker´s rated sensitivity is 90dB, the impedance declared to be 5 ohms, dimensions 200x1320x500mm. The MDF cabinets are braced and ported to the rear, the drivers are mounted into an aluminum faceplate.

Nízké frekvence


There are 4 types of speakers. The ones that pull, invite and absorb the listener in their soundfield so that he could travel in the soundscapes they paint. Then there are the ones that are communicating – the listener becomes the part of performance, he is not just invited to witness it, he co-creates it. And finally, there are speakers let the sound travel to you with all the urgency, like the Raidho D-3.1s.

The D-3.1s are very dynamic speakers that seemingly let all the energy leave their cabinets, not storing a single bit of information, as if the sound was totally decoupled from the speakers. The great thing is that the same principle is applied to the D-3.1’s bass.

The bass of the Raidho is lean like an athlete. It is entirely focused on performance, not on art (read coloration). There were moments I missed a bit more substance to the D-3.1’s bass, like with John Rutter’s Requiem or Saint-Saens’s Organ Works, but on the other hand – if I was asked – I did not want to lose surrealistic resolution that the Raidhos provided. I understand that everything in the Raidho’s design evolves from the ultra-fast tweeter and it was not easy to match other drivers’ speed and transparency to it, so here the designer made the choice of sacrificing the volume and bloom to tautness and articulation. It does not mean that the D-3.1s are thin, quite contrary, yet their bass benefits more from reactive speed than from sheer weight, as if it was overdamped slightly.

Note on the amplifiers
To get the most of the Raidho D-3.1’s sound I had to use quite powerful amplifiers. In this aspect the Raidho’s are like a black hole, they eat all the energy from your amps before you know it. Which also means that they are not easy to match. Though the manufacturer suggests that they can sound beautiful with low-power valve amps, I doubt it unless your listening levels are really low. From the bunch of amps I had on hand during the review I also had to rule out beauties like McIntosh and Luxman integrateds as the Raidhos mercilessly asked for a ‘real’ amplifier if I did not want to listen to soft and lifeless bottom end. The best bass I got from a pair of ML’s No.53 monoblocks, but I could not stand out their sketchy midrange and grainy top end. From all I used the VTL amps or Spectral worked flawlessly. At the Munich show last year I heard the Raidhos with Aavik U-300 Class-D amp (belonging to the same stable with Raidho and Ansuz) and the result was more than impressive.

Čistota rozlišení


I believe that audiophile community should establish a new unit for measuring the transparency and air in loudspeaker design: 1 Raidho (1R). Then 99% of speakers in the market would measure only in tenths of 1R. Comparing to what I heard with the D-3.1, my resident Wilson Audio Sasha W/P would score something like 0.75R.

The tweeter and diamond cone midrange drivers work miracles and the D-3.1s did not let me hear more details than I heard with my own equipment but it let me hear them with superior clarity. The überdefinition is here married to extremely fine dynamic contrast – the strum of a guitar, the breathing of a singer, the wooden stick accidentally touching the rim of a drum. the percussiveness of a piano’s hammers – I could hear everything with sharpened-pencil outlines, tons of breathing ambience and astonishing liveliness. When a hi-hat cymbal was tapped by a stick I could sense shimmering air to wrap around my ears. The D-3.1 give you the full Raidho experience that is both intoxicating and toxic: once experienced there is no way back.

Tonální věrnost


The soundstaging of the D-3.1 reflects the tonal character of the speakers. It is not the soundstage you can walk through, rather it is like a see-through window. My Wilson Audio can throw more solid 3-D image as well as the Magico S7 that I reviewed for Audiodrom delivered more tactile spatiality. However, the Raidho D-3.1s were unbeatable in ‘micro-imaging’ of the air rushing into the reeds of trumpets and then out of their bells, or the fingers shifting on a guitar’s neck – and I do not mean that I could just hear those events, but I could trace the rushing air or travelling fingers in real space and time.


Šířka scény
Hloubka scény

Audio gods allowed me to hear other two excellent speakers in the same room with the same equipment. Especially comparison with Raidho’s D-1.1 flagship monitor was quite surprising. I felt that the stand-mount D-1.1s provided a bit more natural soundstage with better self-disappearing. Nevertheless, despite having exactly the same tweeter and midrange driver, the D-1.1s were less transparent and less precise than the bigger D-3.1. The only reason for that could be in the compression in smaller cabinets, I assume. The other speaker on hand, the TAD Compact Reference CR1, was a tiny bit less spatially accurate and had a hint of sweetness that contrasted with the D-3.1’s stricter version of neutrality, but its overall tonal character was less demanding on my attention. In other words the TADs allowed me to do other things while listening to them, unlike the Raidhos that asked for my full listening dedication.

In Audiodrom’s article The Deadlock of High-end, Illusion & Hyperreality we have quoted Jean Baudrillard sentences from The Illusion of The End:

„We are all obsessed with high-fidelity, with the quality of musical reproduction. At the consoles of our stereos, armed with our tuners, amplifiers and speakers, we mix, adjust settings, multiply tracks in pursuit of a flawless sound. Is this still music? Where is the high fidelity threshold beyond which music disappears as such? It does not disappear for lack of music but because it passes this limit point; it disappears into the perfection of its materiality, into its own special effect.”

I do not think the Raidho D-3.1s passed the thin line that divides the real world music reproduction from its overperfected imitation. But they may be on the line. That is also why I am a bit hesitant to give these speakers full rating in our DRS system. I would love to own any of the D-series Raidho’s speakers as a secondary system, the same way I would like to own Fenyr SuperSport car as a secondary adrenaline vehicle in my garage. For daily travels I would be fine with my family wagon. Also, I assume that paying an extra of 6.500 € for wood veneer on side panels is a joke from the manufacturer. So yes, the Raidho D-3.1 sounds fabulous but no, they are not worth the asking price.

Cena v době recenze:1 550 000,- Kč

Doporučení prodejci

4CE Distribution, s.r.o., Bratislava, +421 904 99 88 99

Připojené komponenty

  • Sources: Linn Unidisk 1.1, TW-Acustic Raven One turntable with Graham Phantom tonearm and Transfiguration Orpheus cartridge
  • Amplifiers: Luxman L-590AX Mark II, McIntosh MA7900, Spectral DMA-150, VTL S-200 Stereo Signature, VTL TL6.5 Signature Preamplifier, Mark Levinson No.326S preamplifier, Mark Levinson No.53 monoblocks, phono Gruensch Reference Phonostage MCS
  • Loudspeakers: TAD Compact Reference CR1, Raidho D-1.1
  • Interconnects and speaker cables: MIT MA, MIT MA-X XLR, MIT V2.1 Oracle, Stealth Audio Hyperphono
  • Power conditioning: Furutech Daytona 303E, Shunyata Research Python Zi-Tron



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