Wharfedale Diamond 220 Bookshelf speakers

The effect? A fantastic-sounding loudspeaker using a fantastic layout that also became an Award-winner, stopping the two-year reign of the Q Acoustic 2020is. They have come since our first review down GBP20, also.

The composite cupboard of MDF and chipboard stays in the 121s, but the smoother MDF panels are transferred to the surface, therefore the vinyl paste on better.

In addition, the uncommon slot-loaded interface, first seen around the 100 series, continues to be tweaked to lessen distortion. Rather compared to the popular bass reflex design, this port fires downwards into a tiny air gap between plinth and the cupboard beneath, making the loudspeakers fussy about positioning and helping interface efficiency. Bass is agile and deep also.

There is a feeling of scale and power we had typically expect from a bigger box as opposed to 32cm Diamonds that are tall. Power and their solidity through the entire frequency range relies on positioning near or against a back wall: pull them out too much in the open and surefootedness is diluted somewhat - bass notes are freer and vocals lose a little material. Speaking of vocals, the 220s' upfront and clear delivery is quite expressive - run through Eminem's Relapse record and his raps that are choppy are conveyed effortlessly. Where integration is worried, with everything tying the great news continues.

It is the Diamonds' degree of penetration and dynamic aptitude that actually lifts them. In Grieg's Piano Concerto, instruments are packaged with subtlety and version - piano sequences are telling and fluid textured. Dynamic existence in the most quiet sections helps share the slow build of the piece. The 220s look not as unhappy giving play - combined with the ride, they just go as the orchestration increases impetus.

Would we go as far as saying they are among the top hifi products you can find below GBP200? With no doubt.