{"id":30572,"date":"2022-01-24T15:33:37","date_gmt":"2022-01-24T13:33:37","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=30572"},"modified":"2024-02-25T10:39:43","modified_gmt":"2024-02-25T08:39:43","slug":"diptyque-dp-107","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/loudspeaker-reviews\/loudspeakers-passive-reviews\/diptyque-dp-107\/","title":{"rendered":"Diptyque DP 107"},"content":{"rendered":"

Review samples provided by Dimex
\n<\/a><\/h4>\n

Retail Prices:
\n6.050 euro per pair
\nSteel Paint option 160 RAL-colors 505 euro
\nCustom Textile 250 euro<\/h4>\n

Diptyque Background<\/h3>\n

The Diptyque company is born from the meeting between two men passionate about acoustics: Gilles Douziech and Eric Poix. From the first prototype made in 2001 as part of an exhibition of contemporary art, they experimented with materials, shapes, components, and assembly processes, to develop a high-end speaker in the service of musical emotion. As a result of their aesthetic and sound requirements, each Diptyque speaker is an artisanal handcrafted object. The loudspeakers are integrally manufactured in workshops in Montauban, the southwest of France.<\/p>\n

\"\"<\/p>\n

Gilles Douziech\u00a0and\u00a0Eric Poix<\/em><\/p>\n

Since his adolescence, Gilles Douziech is passionate about loudspeakers and high fidelity. At 19, during his studies of electronics, he decided to cross France to do an internship with Marcel Rochet, designer of Mulidine speakers. This passionate acoustician gave him fundamental notions about harmonic resonances and the design of distribution filters. Then, he continued his studies with an internship at the acoustic laboratory of the Toulouse University. Without ever ceasing to conceive loudspeakers, he realized a ten-year career in medical electronics in a hospital.<\/p>\n

Gilles specializes in ultrasound and is trained by the largest companies: Hewlett Packard, Siemens, Philips, and General Electric. Then he chose a teaching career and at the same time created his first ribbon loudspeakers to broadcast his sound creations in the context of contemporary art exhibitions. His meeting with Eric Poix would prove to be crucial in developing the high-fidelity Diptyque Audio speakers.<\/p>\n

As a lover of high-fidelity for more than 25 years, Eric Poix has never ceased to evolve his listening system, looking for great musicality without giving into fashions and tricks. His skills and know-how in mechanics and ironwork led him to create high-fidelity loudspeaker and electronics stands with great acoustic and aesthetic quality. Thanks to him, the Diptyque speakers are endowed with a very sophisticated mechanical structure that lends them extreme rigidity. The tension of the membrane is thus perfectly mastered, an essential point for the acoustic quality of these flat speakers.<\/p>\n

\"\"<\/p>\n

Diptyque speakers are optionally available with custom textile covers<\/em><\/p>\n

Sustainable and repairable<\/h3>\n

Diptyque speakers, with 5 years warranties, are made to last and give you a flawless listening pleasure over several decades. They are designed so that you can pass them on to your children to take advantage of this unique musicality. Diptyque speakers can be renovated at any time in our workshops.<\/p>\n

\"\"<\/p>\n

Local artisanal production<\/h3>\n

Diptyque speakers are fully manufactured in Montauban, the southwest of France. The company masters the entire production line: the melting by digital control, stamping, welding of metal elements, and the manufacture of membranes and circuits. The partners for thermosetting paint and laser cutting of steel parts are local businesses.<\/p>\n

The fight against waste<\/h3>\n

The best way to limit the impact of production is to minimize waste. Therefore, Diptyque reflects on optimizing the use of manufacturing materials. For instance, the timber leftovers from the speaker machining are used to make packaging elements. For all other waste related to the production, the company has set up rigorous selective sorting to give them a second life in recycling channels. The steel used for the speakers is 100% recyclable and the MDF Mediland\u00ae wood fibers are made from maritime pine from the southwest of France with classification E1: low formaldehyde content.<\/p>\n

\"\"<\/p>\n

Upon delivery, I was surprised to find that both speakers as well as the stands were packed in a single 17 cm thick carton (124 x 67 cm).<\/em><\/p>\n

\"\"<\/p>\n

Technology<\/h3>\n

Diptyque loudspeakers work according to the Magnetostatic principle, referred to by the company as Isodynamic Technology, which was developed in 1970 in the United States. Through numerous tests and experiments, the Diptyque has sought solutions to improve this technology and push back its limits, particularly for bass reproduction.<\/p>\n

In their basic principle, Diptyque speakers work similarly as the speakers by Magnepan, Analysis Audio, Clarisys and long-gone Apogee Acoustics: a large tensioned planar membrane with aluminum traces suspended in front of a magnet array for the bass and a narrow foil (either a composite with aluminum traces or a pure aluminum ribbon) suspended on the top and bottom hanging freely between side-mounted magnets for the midrange and treble. But that’s where the similarities end. While all the aforementioned designs use ferrite magnets positioned only behind the woofer membrane, Diptyque employs large ferrite “plastolamine” magnets in a Push-Pull configuration.<\/p>\n

\"\"<\/p>\n

Diptyque’s “PPBM” Push-Pull Bipolar Magnet technique is an innovative patented architecture that uses large section bipolar magnets manufactured to specification, located at the front and rear of the 12\u00b5m thin Mylar membrane. This allows the membrane’s aluminum coil to remain in a constant magnetic field while it moves, allowing a much higher level of control than with a single-ended construction. In addition, the exact same type of diaphragm is used for both bass and treble in an effort to closely match the speed and dynamic behavior across the spectrum.<\/p>\n

Like the bass panel, the Ribbon Tweeters are proprietary and made from mylar film with an aluminum coil on it. The tweeter ribbon moves in an intense magnetic field comprised of neodymium magnets positioned on the sides. A simple crossover (6 dB per octave) allows a perfect fusion of the registers, allowing the tweeters to operate over a wide frequency range and mate perfectly with the isodynamic woofers.<\/p>\n

Diptyque speakers provide high reliability over time, they are not sensitive to dust or humidity and, unlike electrostatics, they do not have a high voltage circuit. And, importantly, they have a regular impedance (6 Ohms for the DP-107) that does not present a complex load to the amplifier.<\/p>\n

Next: System Context, Preface, and Listening<\/p>\n

<\/p>\n

System Context<\/h3>\n

For this review, I used my main system<\/a>, consisting in the basis of the CH C1<\/a> DAC, CH L1<\/a> preamp, and CH A1.5<\/a> power amp, and normally used with Magico S1 MkII speakers. The main digital sources are the Aqua La Diva M2<\/a> CD transport and the Grimm MU1<\/a> music server. Additionally, I will use the Antipodes K50<\/a> Music Server, the Aries Cerat Impera Reference<\/a> preamp, and the NuPrime AMG-STA<\/a> power amp.<\/p>\n

\"\"<\/p>\n

Preface<\/h3>\n

Regular readers know that I was a huge ribbon and dipole fanatic for over a decade. It started with Martin Logan SL3’s, then Magnepan MG3.6R’s<\/a>, and then a seemingly endless supply of Apogee speakers, most notably the Centaur<\/a>, Duetta Signature<\/a>, and Diva<\/a>, before returning to Martin Logans<\/a> once more and finally moving in a different direction. In 2020, I reviewed the Analysis Audio Epsilon<\/a> which sparked fond memories, and meanwhile, three of my friends never stopped using Apogees, assuring that I am still getting my ribbon-fix on a regular basis. Ultimately, my own quest led me to Magico and for the past two years, I have been very happy with the S1 MkII’s. Although these were at that time the brand’s entry-level speakers, they still cost a whopping 23.000 euros, so they better<\/em> deliver the goods, right?<\/p>\n

This is where planar dipole speakers come in. I’ve always felt that Magnepans offers great value for money and to some degree, the same can be said of Apogee when they were still in business. Unlike Magnepan, Apogees were never truly cheap,<\/em> but still, better performance routinely came at much higher prices. As I would soon learn over the course of this review, the very same is true for Diptyque. And at a price that makes the competition look rather expensive!<\/p>\n

\"\"<\/p>\n

Listening<\/h3>\n

Listening to the DP-107’s for the first time, I am transported right back to when I first heard Apogee Centaurs a couple of years after the change of the century, in a work colleague’s system. At that time, I was still using B&W Nautilus 804’s and was amazed to hear how much less colored and how much more open the music could sound. That colleague was Jan Willem, who went on to become one of my very best friends. The Centaurs are a hybrid design with a closed “acoustic suspension” cabinet and a large midrange\/treble ribbon. The Centaur sprung to mind because, like the DP-107, it had highly revealing and very open treble and the kind of delicacy, resolution, and transparency that most regular tweeters simply can’t manage. But the Diptyques are not just about the treble, it’s the entire picture. They possess this immediately gripping, beautifully linear, open, and transparent sound that has always pulled me toward ribbon dipoles and often away from dynamic speakers.<\/p>\n

Not only are they open, fast, and articulate, they prevent falling into the “overdamped” trap. Rather than sounding dry or too controlled, the DP-107’s also excel in sustain and decays and they are ever so fluid.<\/p>\n

Besides sounding fabulously open, the compact DP-107 is able to produce bass that will come as a shock to anyone unfamiliar with this breed of loudspeakers. The speakers actually go very deep but they do it very cleanly and with precious little coloration. While the DP-107’s cannot equal the S1 MkII’s in terms of punchiness and slam, and no full-range ribbon speaker would be expected to, they do actually extend deeper than the Magicos when you allow some room-induced bass lift. And while the much bigger Apogee Duettas do manage fuller and more voluminous bass, the DP-107’s sound considerably more linear and precise throughout their entire bass range.<\/p>\n

Taking their bass and superb coherence into consideration, on the whole, the DP-107’s are actually more reminiscent of the full-range Apogee Dueatta ribbon speakers than of the hybrid Centaurs. And, for that matter, they are also more akin to the Magnepan MG3.6R’s that I owned long ago and I have the strong feeling that the relatively small DP-107’s extend just as deeply as the much larger MG3.6R’s. The DP-107’s also have the kind of super-airy and ethereal treble that the MG3.6R’s achieved with the aid of their true pure aluminum ribbon tweeter and that the Apogee Duettas never quite equaled.\u00a0But besides similarities, there are also obvious differences.<\/p>\n

As one of their strongest suits besides transparency, the DP-107’s also have great coherence and sound very much as one driver, whereas the MG3.6R’s three drivers all possessed different characters that were discernible, especially when sitting close to them. With the DP-107’s you can sit as close or as far away as you like and they will always sound coherent. In addition, their transient behavior is absolutely impressive, bordering on what the Magicos can do and certainly not what I am accustomed to hearing from Magnepan or Apogee.<\/p>\n

There’s one caveat that must be taken into account, which is the treble output, and by extension, the speaker positioning and toe-in.<\/p>\n

Just like the Apogee Centaurs, the DP-107’s are a little hot in the treble. Mind you, it’s not that the treble is hard or edgy, the treble is actually of fantastic quality but there’s just a lot<\/em> of it. More precisely, while the DP-107’s sound fantastically flat with no bumps, valleys, or phase shifts to speak of, I do note that their curve is gently tilted. Imagine a straight line from the lowest bass to the highest treble and then tilt that curve right in the middle so that the bass end goes down while the treble end goes up by maybe a dB or two. I have no truly professional measuring equipment but what I do have seems to corroborate with what I am hearing.<\/p>\n

The treble output can be ameliorated somewhat by slightly toeing in the speakers and this also helps the focus. But no matter the amount of toe-in, the DP-107’s remain quite exposed. They are most definitely not obscuring, smoothing, or blurring anything! Of course, in my opinion, at least, this is precisely why you would get magnetostatics and the DP-107’s big upside is that this amazing level of insight extends from the uppermost treble all the way to the deepest bass.<\/p>\n

When set up ideally, the DP-107’s have comparable focus precision as the Magicos in the horizontal width plane and they can sound similarly as spaciously and room-filling to the sides and around the listening position. They do not, however, extend the soundstage very deeply, and for the record, neither did the Magnepans or Apogees. The Magicos are not even true masters in this area but they do sound considerably deeper than the DP-107’s, and so do many other dynamic cabinet speakers. But as mentioned, cabinets do introduce several other issues which makes this a very personal consideration.<\/p>\n

Like other magnetostatic dipoles, the bass is not hugely authoritative, visceral, or particularly full, but it is reaching very deeply and is of such superb quality that probably the best way to describe the bass behavior is to compare it to a very good pair of headphones. And just as headphones are not muddled or colored by room acoustics, the DP-107’s have the same precision, speed, and lack of overhang and are much less affected by room boundaries than non-dipoles, especially ported designs.<\/p>\n

While my listening to the DP-107’s progressed, the next points of attention were the effortlessly non-constrained and free-flowing delivery, that fabulously pure and clean midrange, and the overall lack of coloration. Yup, it was easy to see why I fell for ribbons for so long! There’s just this purity to magnetostatic speakers that is very hard to equal by dynamic speakers. Of all the speakers that I have owned, so far only the Magicos come close to sounding like magnetostatics in the midrange and treble but at what cost… And the more I listen to the Magicos and the aforementioned classic Apogees, the more I am astutely aware of colorations in cabinet designs. With the DP-107’s there’s a refreshing lack of boom and other colorations, or, for that matter, any spurious noises. The speakers sound fabulously crisp and detailed when playing at low levels but they are just as happy cranking out Deep House, in fact, they seem to thrive with it!<\/p>\n

By the way, for those who are unfamiliar with ribbon radiation patterns, I’m happy to note that the horizontal spread is fantastic and similar to a dome tweeter. It’s in the vertical plane that they are quite beamy. Basically, the treble will roll off very noticeably whenever you place your ears above the speaker’s edges. When seated, however, the spread is more than enough to allow one to either sit up straight or be sagging on the couch while retaining all of the treble extension. For those cases where the seating position is very low or very high, the speakers can simply be tilted in any position.<\/p>\n

\"\"<\/p>\n

Positioned 1,5 meters behind the Magicos proved to be ideal for the DP-107’s in my room. And, although they weren’t nearly as bothered by the speakers in front of them as one might assume, they did sound more spacious when the Magicos were moved away, and of course, that is how I reviewed them. Incidentally, for the eagle-eyed among the readers, indeed, the CD racks are growing;-)<\/em><\/p>\n

Next: Positioning<\/p>\n

<\/p>\n

Positioning<\/h3>\n

Positioned further toward the back wall of my room, more or less in the same spots where I used the Apogees, they still sound open and communicative, rather than drowning in room-induced midbass as it happens with most cabinet speakers in these positions unless I readjust the listening position accordingly. Set up like this, the room actually aids the bass response and -power, and also reduces the treble output but without diminishing the resolution or the immediacy. The midrange also becomes a little less forward in the process, but no detail is lost, nor are the speakers any less linear or transparent when they are placed nearer the front wall like this. In my case, in a room measuring 7 meters deep, the closest I placed them to the front wall was 160cm, but honestly, that doesn’t really say anything about these speakers’ overall preferred positioning because every room is different.<\/p>\n

The manufacturer specifies a minimum distance of 1 meter from the rear wall and provided that the room is fairly normal, I have no reason to doubt this. Typically, placement further into the room aids the spaciousness and can reduce bass issues, but in my experiments, besides boosting the low bass and extending the range but without ever becoming boomy, these speakers seem to be decidedly non-picky with regards to placement. Apart from the distance from the rear wall, the manufacturer also recommends placing the tweeters on the insides and to apply some toe-in, which I can both confirm. Using the tweeters on the outsides could potentially work in some circumstances but you’d need to give the speakers considerably more toe-in and place them closer to achieve good coherence between the drivers.<\/p>\n

As my review progressed, I found that the speakers were so consistent and even-handed that it took me very little time to get accustomed to them. For days on end, I have listened to them, oftentimes momentarily even forgetting that I was not listening to the Magicos.<\/p>\n

\"\"<\/p>\n

Cables<\/h3>\n

With speakers as neutral, transparent, linear, and delicate as these, many cables will work well and the decision is more up to the user than dictated by synergy. I found the speakers to perform admirably when connected with the most strictly neutral and direct-sounding cables that I have which are the AudioQuest Fire<\/a> interlinks and the Jorma Trinity<\/a> speaker cables. But for those who don’t want to spend more on cables than on the speakers, as well as for those who wish to make the speakers sound just that little bit smoother and friendly but without sacrificing any detail, the Driade Flow 405<\/a> speaker cables worked remarkably well, as did the Driade Flow Link Reference 808<\/a> interlinks.<\/p>\n

\"\"<\/p>\n

A change of power amp<\/h3>\n

Prior to doing the review, Distributor Ren\u00e9 Degens of Dimex told me in advance that the Diptyque speakers work very well with the NuPrime AMG-STA<\/a> power amp, and having tried this myself, I can only concur. As described in detail in the amp’s review, this little beauty possesses some qualities that are unusual in its price range and some that are unusual for typical Class-D altogether. Suffice to say that the AMG-STA drove the DP-107’s with more than enough power to play as loudly as I wanted while eliciting a highly detailed, utterly linear, and superbly refined sound from them.<\/p>\n

\"\"<\/p>\n

A change of preamp<\/h3>\n

While I love the direct output of the CH C1 DAC as well as the non-sound of the CH L1<\/a> line stage, the Aries Cerat Impera Reference<\/a> does things for the sound that are beyond the capabilities of any transistor preamp that I have heard so far. Either with the CH A1.5 or the NuPrime AMG-STA, this preamp throws the soundstage open in a way that I have not heard other preamps do and it does favors for the staging in all dimensions, including the depth plane. Additionally, and rather unusually for a tube preamp, the Impera Reference adds a welcome amount of bass heft which, along with its magic midrange makes the DP-107’s turn in an even more alluring performance. Of course, I realize that precious few people will combine 6000-euro speakers with a 22.000-euro preamp, let alone a 33.000-euro power amp but the important lesson to take away from my experiments is that the speakers have absolutely no issue revealing precisely what is going on upstream. They possess a level of transparency that is absolutely rare at their price point.<\/p>\n

Neighbors<\/h3>\n

This section was not intended as a serious part of this review but given the surprising results, I felt compelled to include it. Every now and then, my neighbors, Bart and Jessyca, come over and listen to my system or review components. They consider music lovers and not audiophiles. As such, they may lack the audiophile jargon but I found that Jessyca, in particular, is highly perceptive and has a keen ear. And it has proven interesting, reaffirming, and fun to have her assess things without explaining what to listen for, and subsequently finding that she often hears the same differences as I do. This also goes to substantiate my belief that one does not need “golden ears” or years of training, to hear the differences about which I tend to write on this website. All one needs is a willingness to be perceptive and not dismiss things that “should not matter”. Then, it becomes more a matter of differentiating, perspective, and indeed, of experience and vocabulary.<\/p>\n

The neighbors have heard some of the aforementioned Apogees at my place years ago but they have never had such a product in their own living room. With the DP-107’s being as portable as they are, I decided to make that a reality.<\/p>\n

\"\"<\/p>\n

The speakers that Bart and Jessyca normally use are the rather unusual Duevel Planets, chosen mostly for their spacious sound. Their amplifier is nothing esoteric: a Marantz NR1710 but speaking as the owner of one of its forebears that is still used in my media room, and even having used it with the Duettas at some point, I know that this is a great performer at its price. It may be the brand’s cheapest cinema model but it has a linear power supply and a true class AB power section and it is highly musical.<\/p>\n

\"\"<\/p>\n

Interestingly, upon hearing the FoilFlex<\/a> cables in their system, they were so impressed with the improvements that they decided to buy the cables for themselves. Although the cables cost three times as much as the amp, their logic was simple in that no matter what upgrades would come, the speaker cable would be set for some time.<\/p>\n

\"\"<\/p>\n

The decision of introducing the Diptyques in their system was made because Jessyca was keen to hear what this would do in their own room, not because I expected to obtain a great synergy. But we certainly got more than we expected! Not only did the humble Marantz drive the Diptyques with absolutely no issues, but we were also presented with an unprecedented level of transparency and precision. I enjoyed seeing Jessyca’s jaw slowly drop while she uttered sounds of disbelief. It was one thing hearing more resolution in my system but it was something of a revelation to experience this in their own system. As in my room, the speakers were not particularly fussy in terms of placement even though their room is not acoustically optimized in any way. However, with their chosen listening position, more or less in the middle of the room, the Diptyqes did sound a little too lean in the bass with many tracks.<\/p>\n

\"\"<\/p>\n

Given a music diet such as my own, this was not a problem but while exploring Bart & Jessyca’s super-eclectic taste in music, the speakers proved less proficient with the rawer styles such as rock and metal (for instance Idles, Eminem, and Slipknot), in part, because such music requires a certain amount of rawness and in part, because compared to their own ported speakers, some bass and authority were missing.<\/p>\n

While the Marantz is a great little amp, the DP-107’s would likely have sounded fuller and more muscular, and thus more suited to Bart & Jessyca’s heavier music, if given a bigger and more potent amplifier, and of course, the balance can also be addressed by rearranging the listening position but in this case that wasn’t an option.<\/p>\n

What sounded particularly great in this context were MOID, Big Thief, and Massive Attack. Jessyca mentioned Nils Frahm in particular for the delicate and precise impact of the piano keys. What’s also worth mentioning is that the speakers were positioned no more than one meter from the rear wall, and yet, there were absolutely no signs of the speakers sounding boomy or in any way colored.<\/p>\n

\"\"<\/p>\n

Although Bart & Jessyca were hugely impressed with the DP-107’s abilities and their price actually didn’t scare them, the speakers were not a step in the direction that Bart & Jessyca wanted to take given their musical diet and the desire not to change the room setup. But still, I thought this was a nice experience to share.<\/p>\n

Conclusion<\/h2>\n

The DP-107’s sure surprised me in a very positive way. Not only do they excel in the areas where magnetostatic dipoles tend to be brilliant such as resolution, precision, transparency, purity, and lack of distortions and colorations, but they never sound dry or overdamped and they have impeccably natural timbre. Their transient behavior is absolutely impressive, bordering on what the Magicos can do and certainly not what I am accustomed to hearing from Magnepan or Apogee. And in addition to sounding technically impressive, they also move me emotionally. <\/em>So what’s missing, one might ask. Well, that would be bass impact and overall slam, and to a lesser extent, soundstage depth. But do note that it’s not bass depth<\/em> that is missing, only the kind of “kick” that you get with cone drivers.<\/p>\n

But for a speaker costing 6000 euros, I’d say that is a major achievement. There’s no such thing as the perfect speaker and there will always be lesser aspects. Certainly with cabinet speakers. So, if you are in the market for an ultra-revealing speaker and your musical diet does not lean very heavily on metal or hard-rock, the DP-107’s could be ideal.<\/p>\n

No doubt, the DP-107’s owe a good deal of their fantastic performance to the tweeter’s Neodymium magnets and the woofer’s Push-Pull Bipolar Magnet technique. For one, this makes it possible to produce bass of this quality and depth from a relatively small panel, and second, it enables a level of expression and immediacy that I have not yet heard from other ribbon speakers.<\/p>\n

\"\"<\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer’s website: diptyqueaudio<\/a>
\n<\/a>Distributor for the BeNeLux: Dimex<\/a><\/p>\n

\r\n
Related Posts<\/div>\r\n
\r\n\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Final Model 15+ <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Clarisys Audio Basel Showroom Visit <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Ayon Scorpio III and AudioSolutions Figaro B2 <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Driade Premium Model 9 <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Velikinac Audio Lab Sirius <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Clarisys Audio Minuet Plus <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Diptyque DP 140 MkII <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Reference Sounds – Wilson Sasha V with Wadax Atlantis Reference and D’Agostino <\/a>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n\r\n