Part III: The Sound
With around 200+ hours on the speakers I began to listen in earnest. I’ll try to summarize my findings in general terms but my commentary will also provide comparison with the outgoing DA-1.1s, which were among the best speakers I have heard in my audio lifetime and certainly the best I have owned. It should also be noted that the Apollo’s were driven by my 20wpc Linear Tube Audio “Ultralinear” amplifier, which is an exceptional match for high efficiency speakers like those from Daedalus Audio. While Lou’s designs are known for their ability to play well with lots of different designs, both solid state and tube, there is IMHO a special magic to be found in pairing Daedalus speakers with the LTA UL. Finally, I should qualify the remarks that follow by noting the insertion of Daedalus/WyWires SE speaker cables into the system after the break in period was complete. I plan to dedicate Part 4 of my review to the dramatic impact these cables had on the overall sound quality of the system--I now consider them essential to getting the best out of Lou’s designs.
The first thing which struck me about the Apollos is how similar they sound to other speakers in the Daedalus lineup. These include the Ulysses, which a friend owned for a time before going to a full tilt horn system from Wheelfi, and the Zeus, which is Lou’s two box per side statement speaker that I was fortunate to hear at 2018 CAF. I also had a chance to hear the Apollo 11 and the Poseidon side-by-side while visiting Lou in Ferndale last October. Now hearing the Apollo in my own system confirmed there is definitely a “house sound” that is consistent across the entire range--generally the sign of a designer who knows the sound wants and how to go about getting it. To my ear the Daedalus sound begins with accurate tonality--instruments and voices have all the warmth and harmonic richness of the real thing. Much of this has to do with getting the midrange right and IMHO Daedalus speakers are among a small, elite group of loudspeakers that get this critical frequency band correct--Harbeth and Quad ESL’s come to mind as members in good standing. Daedalus speakers also feature nimble dynamics and the ability to play loud without strain or listener fatigue. Lou’s designs are somewhat unique in combining high efficiency, stable impedance and high power handling in one package. Daedalus speakers can play very loud with super low distortion, even when driven by relatively low power amplification. Finally, all Daedalus models are very coherent from top to bottom--there are no frequency aberrations that draw the attention of the listener, owing to scrupulously designed crossovers (Lou builds these in collaboration with guru Guy Veralrud). These are the qualities I loved about my DA-1.1s and that I have heard in every other model in the Daedalus Audio lineup--including the new Apollos that were now playing in my living room.
However, as I began to listen critically following the break in period, I began to notice several characteristics that clearly distinguished the Apollo’s from the outgoing DA-1.1s and vaulted their performance into the very top echelons of loudspeaker performance, regardless of cost. For example, it quickly became apparent that the Apollo’s were revealing the presence of more notes--lots more notes. The Apollo’s did a much better job of unraveling complex musical passages than my DA-1.1s, revealing to a much greater degree the artistry of the performers. For example, complex guitar, mandolin and dobro passages found in recordings by AKUS, Nickel Creek and Nick Drake were a revelation. I began to gain new appreciation for recordings I have listened to for years, as guitar riffs took on increasing sophistication due to enhanced clarity and inner detail. Where notes had run together like a fresh painting exposed to a misty rain, each note was now distinctly portrayed against those that preceded and followed. This increased inner detail was present through the entire range. For example, listening to “Never Let Me Go” from the “Standards Vol. 2” LP you can hear the way Gary Peacock bends the strings on his upright bass to shape the notes. I have listened to this cut dozens of times--it’s one of my favorite jazz trio recordings--and while I have heard Peacock’s fingers on the strings I never heard him stretch the notes in this way. I can tell you it added significantly to the performance and made it feel much more “live”. It is fascinating to hear something new in recordings you know so well and the Apollo’s enhanced inner detail comes without any unwelcome side effects, such as tipped up highs or a more forward presentation. In fact, I found the Apollo’s to be slightly less up front sounding than my DA-1.1s, and yet much more revealing of the recording venue, performance, and preferences of the studio engineers. So what you have with the Apollo’s is gobs of inner detail along with a more refined presentation that lays back just a little, particularly when the recording heads in that direction.
In addition (and clearly related), the new Eton tweeter is a much faster, more extended and accurate transducer than the model it replaced. The high frequency extension of the Apollo is striking, as is the delicacy and accuracy of reproduced cymbals, bells, and triangles. For example, the opening of Cassandra Wilson’s spellbinding version of “Wichita Lineman” from her “Belly of the Sun” CD features a variety of delicate percussion sounds that are portrayed with startling realism by the Apollo’s. By comparison, other similarly priced speakers that I have heard can have “papery” quality that diminishes realism, or tipped up highs that introduce a slight hardness or glare to some recordings. With the Apollo’s, the percussion sounds correct in terms of tone, transient attack and decay--put simply, there is a “you are there” quality that is very compelling. Again, this is a welcome improvement over the DA-1.1s and one that comes with zero downsides.
Another thing about the Apollo’s that jumped out at me was the soundstage. With my DA-1.1s the presentation was more holistic, providing a more diffuse stage with more generally localized performers. With the Apollo’s, the stage is presented with more precision and multiple layers, with gobs of air and space around instruments and performers. This has been pretty exciting development, and has left me chuckling to myself on more than one occasion as the relative positioning of the performers is magically recreated in my living room. For example, while listening to Mozart’s “Haydn Quartets” (Phillips Quartetto Italiano) during a passage where each member takes a brief solo turn I could precisely locate each instrument across the stage and their relative distance to each other and to my listening chair, noting how the two violins were positioned quite closely while the viola and cello were equally spaced from each other and from the violins. I’m guessing one of the violinists was a lefty which put their instrument in close proximity to the other or they simply sat closer to each other and away slightly from the rest of the group. In any case the net effect was to bring the whole performance to a new level of realism that comes with instruments that are appropriately scaled and placed on the stage. The Apollo’s also do an incredible job disappearing as a sound source in the room--the layers of sound and precision placement of instruments render the speakers completely invisible--eyes open or closed. While soundstage precision and expansive layering are not particularly high on my short list of system must-haves, I know there are many others will find this a very welcome characteristic of the new Apollo series.
The Apollo’s are also an incredibly low distortion transducer. While my DA-1.1s could play loud without strain, the Apollo’s are capable of going VERY loud with absolutely zero distortion. I have only heard a handful of speakers that can thunder like the Apollo’s without losing their cool or driving me out of the room. The other day I spent about three hours in front of the Apollo’s, listening to a wide range of recordings at volume levels much higher than usual--yes, the family was out--and I never once felt an ounce of fatigue. If you want a speaker that is easy to drive--again, I am using the excellent 20wpc LTA Ultralinear--that can play really loud (and yet retains body and dimensionality at low volumes as well) the Apollo’s may be your ticket--particularly if you are seeking electrostatic-like purity but also want a system that rocks. Just for fun I cranked up MOFI’s One Step “The Nightfly” and was just blown away at the power and drive of these speakers. “Morph the Cat” provided a similar opportunity to shake the walls and rattle the windows while Leland Sklar’s bass in “She’s Already Made Up Her Mind” and “North Dakota” off Lyle Lovett’s “Joshua Judges Ruth” CD had extraordinary heft and control. Yes, these are excellent recordings, but to play them at volume like this without losing any of the subtle nuances further up the spectrum is pretty exciting stuff. This ability to play loud without distortion also renders the Apollo’s capable of projecting the power of the human voice in an unbelievably realistic manner. Just a few examples--listening to the normally whisper quiet Jacintha belt out “Our Love Is Here To Stay” at the very end of that track rocked my world. Or Linda Ronstadt with Nelson Riddle (MFSL “What’s New”) launching into “When You Wish Upon a Star” her voice rising to a crescendo like a Ferrari V-12 that just keeps pulling harder as the revs go higher holding the note without a hint of distress.
Speaking of “Morph the Cat”, I may have saved the best for last in discussing the bass response of the Apollo’s. This may be where the sound departs most significantly from my wonderful DA-1.1s and the area of performance that I am still coming to fully appreciate. Like the Apollo 11s I heard in Ferndale, (and unlike most other speakers I have auditioned), the bass response of the Apollo’s with the new ten inch driver is much more integrated into the overall musical landscape. Initially, the Apollo’s came across a bit lean in comparison to my DA-1.1s. However, as I listened more I began to appreciate the seamless coherence of the bass. Clearly the bass went considerably deeper than my DA-1.1s, with greater weight and impact--I could feel “Morph the Cat” in my chest. But with the additional depth and weight came an increase in clarity and articulation, with slightly less midbass bloom. At the end of the day the Apollo’s do have an ever so slightly leaner balance in the midbass than my DA-1.1s, but one that sounds more correct top to bottom, with more extension on both ends. For listeners who want to follow AND feel the bass line, the Apollo’s are going to be hard to beat. One recording that particularly stood out was Janos Starker’s performance of Bach’s Cello Suites on Mercury Living Presence (SACD). Again, here was a recording I have listened to dozens of times yet with the Apollo’s Starker’s artistry was much more apparent, as well as the unique subtle qualities of his instrument. I have never heard a cello so realistically portrayed, in any system, ever.
In fact, the Apollo’s so effectively communicate the artistic qualities of each performer that I found myself falling both in and out of love with musicians whose work I thought I knew like the back of my hand. I now find Starker’s playing style a bit too flamboyant for my tastes, and I will look for other interpretations of these great works as points of comparison. The same is true for Diana Krall, who I held in moderate esteem before the Apollo’s, and whose vocal technique I now find more than a little irksome. On the other hand, the musicianship of Quartetto Italiano, particularly on Mozart’s “Haydn Quartets”, is peerless while the fingerwork of Nick Drake on “Pink Moon” and the vocal phrasing of Frank Sinatra on the LP “Only the Lonely” (MOFI) are intoxicating. Bottom line--the Apollo’s simply put you at the recording venue in the best seat and let you hear what is going on in the most intimate way possible.
Today marks the two month anniversary with the Apollos. I still catch myself taking a spin through the living room just to take in the design and craftsmanship that went into building these transducers. I am a longtime fan of Lou Hinkley’s work--those who follow the forums might call me a “fanboy”--so be it. I’m no impartial reviewer, I’m a Daedalus lifer, and I’ve been at this long enough to know that audiophiles have many different sonic and aesthetic preferences and that the Daedalus sound and look won’t strike everyone’s fancy. However, for those folks who are interested in handcrafted loudspeakers that look at good as they sound, want natural sounding transducers that are easy to drive, never wear on your ears, and yet somehow convey all of the emotional power of a great live performance, the Daedalus Apollo series should be at the very top of your list of possibilities--regardless of price.
Working with Lou was a pleasure. He patiently helped me to choose the correct model for my listening room, eagerly embraced the challenge of using quarter sawn oak on the baffle and rear panel, produced an inlay design that captured our design aesthetic, and worked through the stain formula to match our existing furnishings. The result is a pair of Apollo’s like no others--ones that reflect the thoughtful selection of materials and painstaking labor of a master craftsmen, musician and audiophile. When I sit down to listen I also get to look--and I love what I see and understand what I’ve got--and that means a lot. With the Apollo series Lou Hinkley has once again elevated his game. I think you will be hard pressed to find speakers that sound better, look better and make you feel better about your audio aspirations.
Next up….what a difference a cable makes!
With around 200+ hours on the speakers I began to listen in earnest. I’ll try to summarize my findings in general terms but my commentary will also provide comparison with the outgoing DA-1.1s, which were among the best speakers I have heard in my audio lifetime and certainly the best I have owned. It should also be noted that the Apollo’s were driven by my 20wpc Linear Tube Audio “Ultralinear” amplifier, which is an exceptional match for high efficiency speakers like those from Daedalus Audio. While Lou’s designs are known for their ability to play well with lots of different designs, both solid state and tube, there is IMHO a special magic to be found in pairing Daedalus speakers with the LTA UL. Finally, I should qualify the remarks that follow by noting the insertion of Daedalus/WyWires SE speaker cables into the system after the break in period was complete. I plan to dedicate Part 4 of my review to the dramatic impact these cables had on the overall sound quality of the system--I now consider them essential to getting the best out of Lou’s designs.
The first thing which struck me about the Apollos is how similar they sound to other speakers in the Daedalus lineup. These include the Ulysses, which a friend owned for a time before going to a full tilt horn system from Wheelfi, and the Zeus, which is Lou’s two box per side statement speaker that I was fortunate to hear at 2018 CAF. I also had a chance to hear the Apollo 11 and the Poseidon side-by-side while visiting Lou in Ferndale last October. Now hearing the Apollo in my own system confirmed there is definitely a “house sound” that is consistent across the entire range--generally the sign of a designer who knows the sound wants and how to go about getting it. To my ear the Daedalus sound begins with accurate tonality--instruments and voices have all the warmth and harmonic richness of the real thing. Much of this has to do with getting the midrange right and IMHO Daedalus speakers are among a small, elite group of loudspeakers that get this critical frequency band correct--Harbeth and Quad ESL’s come to mind as members in good standing. Daedalus speakers also feature nimble dynamics and the ability to play loud without strain or listener fatigue. Lou’s designs are somewhat unique in combining high efficiency, stable impedance and high power handling in one package. Daedalus speakers can play very loud with super low distortion, even when driven by relatively low power amplification. Finally, all Daedalus models are very coherent from top to bottom--there are no frequency aberrations that draw the attention of the listener, owing to scrupulously designed crossovers (Lou builds these in collaboration with guru Guy Veralrud). These are the qualities I loved about my DA-1.1s and that I have heard in every other model in the Daedalus Audio lineup--including the new Apollos that were now playing in my living room.
However, as I began to listen critically following the break in period, I began to notice several characteristics that clearly distinguished the Apollo’s from the outgoing DA-1.1s and vaulted their performance into the very top echelons of loudspeaker performance, regardless of cost. For example, it quickly became apparent that the Apollo’s were revealing the presence of more notes--lots more notes. The Apollo’s did a much better job of unraveling complex musical passages than my DA-1.1s, revealing to a much greater degree the artistry of the performers. For example, complex guitar, mandolin and dobro passages found in recordings by AKUS, Nickel Creek and Nick Drake were a revelation. I began to gain new appreciation for recordings I have listened to for years, as guitar riffs took on increasing sophistication due to enhanced clarity and inner detail. Where notes had run together like a fresh painting exposed to a misty rain, each note was now distinctly portrayed against those that preceded and followed. This increased inner detail was present through the entire range. For example, listening to “Never Let Me Go” from the “Standards Vol. 2” LP you can hear the way Gary Peacock bends the strings on his upright bass to shape the notes. I have listened to this cut dozens of times--it’s one of my favorite jazz trio recordings--and while I have heard Peacock’s fingers on the strings I never heard him stretch the notes in this way. I can tell you it added significantly to the performance and made it feel much more “live”. It is fascinating to hear something new in recordings you know so well and the Apollo’s enhanced inner detail comes without any unwelcome side effects, such as tipped up highs or a more forward presentation. In fact, I found the Apollo’s to be slightly less up front sounding than my DA-1.1s, and yet much more revealing of the recording venue, performance, and preferences of the studio engineers. So what you have with the Apollo’s is gobs of inner detail along with a more refined presentation that lays back just a little, particularly when the recording heads in that direction.
In addition (and clearly related), the new Eton tweeter is a much faster, more extended and accurate transducer than the model it replaced. The high frequency extension of the Apollo is striking, as is the delicacy and accuracy of reproduced cymbals, bells, and triangles. For example, the opening of Cassandra Wilson’s spellbinding version of “Wichita Lineman” from her “Belly of the Sun” CD features a variety of delicate percussion sounds that are portrayed with startling realism by the Apollo’s. By comparison, other similarly priced speakers that I have heard can have “papery” quality that diminishes realism, or tipped up highs that introduce a slight hardness or glare to some recordings. With the Apollo’s, the percussion sounds correct in terms of tone, transient attack and decay--put simply, there is a “you are there” quality that is very compelling. Again, this is a welcome improvement over the DA-1.1s and one that comes with zero downsides.
Another thing about the Apollo’s that jumped out at me was the soundstage. With my DA-1.1s the presentation was more holistic, providing a more diffuse stage with more generally localized performers. With the Apollo’s, the stage is presented with more precision and multiple layers, with gobs of air and space around instruments and performers. This has been pretty exciting development, and has left me chuckling to myself on more than one occasion as the relative positioning of the performers is magically recreated in my living room. For example, while listening to Mozart’s “Haydn Quartets” (Phillips Quartetto Italiano) during a passage where each member takes a brief solo turn I could precisely locate each instrument across the stage and their relative distance to each other and to my listening chair, noting how the two violins were positioned quite closely while the viola and cello were equally spaced from each other and from the violins. I’m guessing one of the violinists was a lefty which put their instrument in close proximity to the other or they simply sat closer to each other and away slightly from the rest of the group. In any case the net effect was to bring the whole performance to a new level of realism that comes with instruments that are appropriately scaled and placed on the stage. The Apollo’s also do an incredible job disappearing as a sound source in the room--the layers of sound and precision placement of instruments render the speakers completely invisible--eyes open or closed. While soundstage precision and expansive layering are not particularly high on my short list of system must-haves, I know there are many others will find this a very welcome characteristic of the new Apollo series.
The Apollo’s are also an incredibly low distortion transducer. While my DA-1.1s could play loud without strain, the Apollo’s are capable of going VERY loud with absolutely zero distortion. I have only heard a handful of speakers that can thunder like the Apollo’s without losing their cool or driving me out of the room. The other day I spent about three hours in front of the Apollo’s, listening to a wide range of recordings at volume levels much higher than usual--yes, the family was out--and I never once felt an ounce of fatigue. If you want a speaker that is easy to drive--again, I am using the excellent 20wpc LTA Ultralinear--that can play really loud (and yet retains body and dimensionality at low volumes as well) the Apollo’s may be your ticket--particularly if you are seeking electrostatic-like purity but also want a system that rocks. Just for fun I cranked up MOFI’s One Step “The Nightfly” and was just blown away at the power and drive of these speakers. “Morph the Cat” provided a similar opportunity to shake the walls and rattle the windows while Leland Sklar’s bass in “She’s Already Made Up Her Mind” and “North Dakota” off Lyle Lovett’s “Joshua Judges Ruth” CD had extraordinary heft and control. Yes, these are excellent recordings, but to play them at volume like this without losing any of the subtle nuances further up the spectrum is pretty exciting stuff. This ability to play loud without distortion also renders the Apollo’s capable of projecting the power of the human voice in an unbelievably realistic manner. Just a few examples--listening to the normally whisper quiet Jacintha belt out “Our Love Is Here To Stay” at the very end of that track rocked my world. Or Linda Ronstadt with Nelson Riddle (MFSL “What’s New”) launching into “When You Wish Upon a Star” her voice rising to a crescendo like a Ferrari V-12 that just keeps pulling harder as the revs go higher holding the note without a hint of distress.
Speaking of “Morph the Cat”, I may have saved the best for last in discussing the bass response of the Apollo’s. This may be where the sound departs most significantly from my wonderful DA-1.1s and the area of performance that I am still coming to fully appreciate. Like the Apollo 11s I heard in Ferndale, (and unlike most other speakers I have auditioned), the bass response of the Apollo’s with the new ten inch driver is much more integrated into the overall musical landscape. Initially, the Apollo’s came across a bit lean in comparison to my DA-1.1s. However, as I listened more I began to appreciate the seamless coherence of the bass. Clearly the bass went considerably deeper than my DA-1.1s, with greater weight and impact--I could feel “Morph the Cat” in my chest. But with the additional depth and weight came an increase in clarity and articulation, with slightly less midbass bloom. At the end of the day the Apollo’s do have an ever so slightly leaner balance in the midbass than my DA-1.1s, but one that sounds more correct top to bottom, with more extension on both ends. For listeners who want to follow AND feel the bass line, the Apollo’s are going to be hard to beat. One recording that particularly stood out was Janos Starker’s performance of Bach’s Cello Suites on Mercury Living Presence (SACD). Again, here was a recording I have listened to dozens of times yet with the Apollo’s Starker’s artistry was much more apparent, as well as the unique subtle qualities of his instrument. I have never heard a cello so realistically portrayed, in any system, ever.
In fact, the Apollo’s so effectively communicate the artistic qualities of each performer that I found myself falling both in and out of love with musicians whose work I thought I knew like the back of my hand. I now find Starker’s playing style a bit too flamboyant for my tastes, and I will look for other interpretations of these great works as points of comparison. The same is true for Diana Krall, who I held in moderate esteem before the Apollo’s, and whose vocal technique I now find more than a little irksome. On the other hand, the musicianship of Quartetto Italiano, particularly on Mozart’s “Haydn Quartets”, is peerless while the fingerwork of Nick Drake on “Pink Moon” and the vocal phrasing of Frank Sinatra on the LP “Only the Lonely” (MOFI) are intoxicating. Bottom line--the Apollo’s simply put you at the recording venue in the best seat and let you hear what is going on in the most intimate way possible.
Today marks the two month anniversary with the Apollos. I still catch myself taking a spin through the living room just to take in the design and craftsmanship that went into building these transducers. I am a longtime fan of Lou Hinkley’s work--those who follow the forums might call me a “fanboy”--so be it. I’m no impartial reviewer, I’m a Daedalus lifer, and I’ve been at this long enough to know that audiophiles have many different sonic and aesthetic preferences and that the Daedalus sound and look won’t strike everyone’s fancy. However, for those folks who are interested in handcrafted loudspeakers that look at good as they sound, want natural sounding transducers that are easy to drive, never wear on your ears, and yet somehow convey all of the emotional power of a great live performance, the Daedalus Apollo series should be at the very top of your list of possibilities--regardless of price.
Working with Lou was a pleasure. He patiently helped me to choose the correct model for my listening room, eagerly embraced the challenge of using quarter sawn oak on the baffle and rear panel, produced an inlay design that captured our design aesthetic, and worked through the stain formula to match our existing furnishings. The result is a pair of Apollo’s like no others--ones that reflect the thoughtful selection of materials and painstaking labor of a master craftsmen, musician and audiophile. When I sit down to listen I also get to look--and I love what I see and understand what I’ve got--and that means a lot. With the Apollo series Lou Hinkley has once again elevated his game. I think you will be hard pressed to find speakers that sound better, look better and make you feel better about your audio aspirations.
Next up….what a difference a cable makes!