Diptyque Audio DP 160 Mk II Loudspeaker

• A sandwich mechanical structure. Composed of the assembly of chassis in MDF and 2mm steel sheets maintained tight by many mechanical screws. This set is perfectly rigid. It is a mechanical reference which guarantees the absence of coloration and the preservation of timbres.

• Proprietary ribbon tweeters. The ribbon is produced as an isodynamic cell (mylar film and aluminum conductor). It moves in an intense magnetic field made from neodymium magnets. These tweeters operate over a wide frequency range and mate perfectly with isodynamic cells. A simple crossover (12dB peroctave) allows a perfect fusion of the registers.

In essence, with more space between the magnets, the Mylar film has greater excursion and thus greater extension. While some of the general principles sound like their U.S. competitors, I can say without hesitation, before even getting to any listening notes, that the Diptyque’s low-frequency extension is something unique and that the company has accomplished its goal of extending bass response.

The $30k DP 160 Mk II reviewed here features panels that measure 63.4″ tall by 20.9″ wide and a svelte 1.85″ thick, while weighing a not so svelte 110 pounds per panel. The design cues are very modern and quite attractive; accented with leather edging and supported with a subtle cross-footer and three cones to stabilize and isolate. The standard color choices are black or white for the metal finish (or pay a bit more and select one of 160 RAL colors) and black, white, caramel, or chocolate leather finish for the edges. The speaker utilizes two bass/midrange cells using Diptyque’s PPBM technology and a 21.65″-long wideband ribbon tweeter, crossed over at 1600Hz. Described as a 2-way system (I would call it 2.5), it has a sensitivity of 87dB/1W/1m. It definitely appreciates some amp juice to make it sing, but with a 6-ohm nominal impedance, it is not a challenging load for your amplifier. Diptyque suggests amps greater than 60Wpc, but I wouldn’t match DP 160s with anything less than 100Wpc to get the bass flowing the way it can and should. The spec’d frequency response is 30Hz to 22kHz, and from what I heard I have no reason to question that. Just to be thorough, there are three smaller models and one larger model to choose from, ranging in price from $5k to $50k; so pick the size that fits your needs, your room, and your budget. The larger Reference is a 3.5-way panel that implements a crossed push-pull technology and a more defined bass extending down to 22Hz.

The ribbon tweeter side was set up on the inside, and each panel had a slight toe-in. If setting up for a living room experience and more listeners, you may want to flip the tweeters to the outside to widen that sweet spot or keep them inside and move the speakers farther apart. My room allows what I would consider the minimum 20-24″ from the front wall and minimum 8–10″ off the side walls to get the most out of a dipole design. The size of the stage and the image specificity shifted significantly based on distance apart and toe-in, so it took a bit of time to optimize performance. Anyone who knows what planar-magnetic speakers do, knows they do big. Image specificity takes a step back to stage size, depth, and density; and there is no other way to say it than “Wow!” Floor-to-ceiling, wall-to-wall? Fwah! (Is that a word? It is now.) I was taken aback by the density and dynamic scale that this essentially diminutive panel could produce. All the typical magnetostatic planar characteristics were there, like lightning speed, amazing transient shifts, midrange palpability and realism, transparency, resolution without stridency or sterility, and those characteristics extended down to the low mids and then down to the midbass and then down to the real bass—honest and true, palpable, impactful, tenacious low-frequency extension that you could hear and feel. I was impressed.

For those who know my writing, on occasion I talk about the listening reset needed when changing between speaker designs—dynamic to planar, planar to electrostat, even dynamic ported to sealed, or dome tweeter to ribbon tweeter. So, when listening to planars, you need to adjust to what they do and how they do it. It’s about painting in bigger strokes on a larger canvas. Think IMAX for audio. While you don’t perceive a loss in image specificity (to me the biggest downside to planar speaker) while you’re enjoying them, it becomes much more apparent when switching back to dynamic transducers. It wasn’t until I went back that, while I lost the panoramic performance, I regained a more palpable sense of the subtlety of the venue and the space occupied by and between and around the performers and instruments. As a completely personal opinion, I would prefer the panels in a family room or living room where I was listening with others, maybe doing double-duty for a surround system. That expansive experience is luscious and captivating and (to me) suits a more casual listening environment. For a dedicated listening room, I want to hear further into the music and the venue by increasing resolution of image, not by making the screen bigger.

There is no way to report on a magnetic-planar loudspeaker without addressing the elephant in the room and comparing to that U.S. brand that makes magnetic planar speakers. Overall, the similarities are there presentation-wise, so, comparing apples to apples, we are at Magnepan’s $22k MG20.7—a 3-way design that goes down to 25Hz, has a nominal impedance of 4 ohms, a sensitivity of 86dB, and is 79″ tall by 29″ wide. 63″ x 20″ is smaller than 79″ by 29″, but only you can decide if it is a lot smaller or not so big a deal. I have a pair of LRS (not the newer LRS+) at my office, driven by a Hegel integrated, which makes a fantastic combo, and I have enjoyed them for years without ever thinking of replacing them. My impression of the Diptyques is that they are somewhat easier to drive both impedance-wise and wattage-wise, which the specs bear out. I also felt the DP 160 Mk II felt small and performed big for a planar, although that is an observation, not a comparison.

I refuse to tell you which is better, because neither is. They have different flavors and different auras. And you need to listen to both, if you can, to make that decision. And to confuse things further, Clarisys is another newcomer that hit the ground running; and some of my colleagues have spoken very highly of its performance. It’s an exciting time for planar-magnetic fans.

Sonically, the DP160s are simply exceptional. They provide clean, resolute, highly dynamic reproduction with a midrange warmth and low-frequency palpability that put a smile on my face and got my foot taping. High-frequency extension was wonderful, full-bodied (yes, high frequencies were full bodied) and natural with zero offense given. The midrange retained a constant energy, exuding pace, rhythm, and timing, while holding onto realistically complex harmonic structure—something that good panels excel at. And, as mentioned, the bass was class-leading for the technology, delivering speed and dynamics down to depths they had no right to tickle.

I admittedly found myself leaning to my classical and jazz listening lists, but not because the Diptyques couldn’t rock. In fact, their low-frequency palpability and midrange performance lent themselves to a bit of AC/DC and Meatloaf. Yet I was constantly drawn to the combination of stage and depth that made classical and jazz tracks stand out and grab me. The Diptyque’s capacity to encompass the room and seamlessly merge with it, as opposed to fighting it, made my listening sessions long and wondrous. Orchestral scale and dynamics pressurized the room when called upon to do so. And then instantly de-energized to render the subtlest of passages with grace and refinement. You just have to love the speed and resolution of a panel.

Obviously, the planar style and design is a potentially polarizing point visually, yet in this case the 160 Mk IIs are not so tall or wide that they become obtrusive in their environment. I did not find them difficult to match with associated components, but they appreciated the slightly more laid-back and flexible presentation of the T+A electronics to the more meticulous Gryphon Diablo 333 integrated amp. Your mileage will vary, but I see them playing well with both tube and solid-state gear if you feed them decent power.

I liked them. A lot. I felt the heart and soul Diptique put into its designs and fabrication. I understand what the company does and what it is trying to accomplish.

I thoroughly enjoyed my time with the Diptyques and was sad to see them go. Yet I know what most reading this review want to know above all else is if they are worth considering over the American option. I can no more tell you that than tell you whether you will prefer the filet mignon over the rib-eye. What I can say is that they are worthy contenders and offer qualities you may not be able to find elsewhere. If you are in the market for flat-panel speakers, you would be doing yourself a disservice not to make a strong effort to hear the DP 160 Mk IIs.   

Specs & Pricing

Type: 2-way planar-magnetic loudspeaker
Crossover: 1600Hz
Sensitivity: 87dB/1W/1m
Impedance: 6 ohms
Bandwidth: 30–22,000Hz
Power handling: 200W max (suggested amplification >60W)
Dimensions: 530 x 1610 x 47mm
Weight: 50 kg
Price: $29,999 in standard colors (custom colors are a $920 upcharge)

d&p Audio
7 rue du Génie
Montauban
82000
France
+335 63 64 56 69
diptyqueaudio.com

Fidelity Imports (U.S. Distributor)
7 Crown Ct.
Manalapan Township, NJ 07726
fidelityimports.com