Most audiophiles want to assemble their systems themselves, to match components in the hope of maximizing performance. Since a system built around passive loudspeakers requires an amplifier, hi-fi enthusiasts have traditionally favored passive loudspeakers over active models, which have built-in amplifiers.

On the other hand, there are many music lovers who prefer a more curated and, dare I say, more elegant approach, one that eliminates the trial and error involved in matching passive loudspeakers with the right amplifier. This might be what Dynaudio is aiming for with the first active model in its flagship Confidence line, the standmount, two-speaker Confidence 20A system (US$24,000, CA$33,500, £18,500, €20,000, including stands). Can this active design provide high-end performance deserving of audiophile attention? I devoted some time to carefully listen to the 20A and find out.

A passive twin

The Confidence 20A bears a close resemblance to the Confidence 20, Dynaudio’s flagship passive standmount speaker, but it includes the active DSP circuitry, connections, and room-position controls from its Core series of professional studio monitors. Each speaker measures 19.7″H × 8″W × 15.6″D, excluding the stand, which is slightly smaller in every dimension than the 20A, and weighs 62.8 pounds, just slightly more than the passive model. It is offered in two gloss finishes, black and white, unlike its passive sibling, which is available in four finishes.

The differences between the Confidence 20 and 20A become more apparent when inspecting the speakers from the rear, as there are no binding posts on the 20A. In fact, there are no connectors at all on the 20A speakers. All connectors, as well as the amplifiers and DSP circuitry they interface with, are on the matching stands, which are bolted to the speakers at the factory. Housing the electronics in the vented aluminum stands allows for efficient heat dissipation. It also allows the speakers to be considerably smaller. With the stand, feet, and grille, each Confidence 20A speaker measures 44.1″H × 14.5″W × 18″D.

Technical and design features

The Confidence 20 and 20A differ in many aspects unrelated to being passive or active. In fact, the only parts the two have in common are the 1.1″ (28mm) Esotar3 soft-dome tweeter (Dynaudio’s flagship high-frequency transducer) and the spikes for the stands.

The 20A’s Esotar3 tweeter is mated to a 7.1″ (18cm) NeoTec MSP (magnesium silicate polymer) woofer derived from the one used in the Confidence 20, but optimized for the active design.

The Confidence 20A is a bass-reflex design with a port that vents downward into the attached stand. According to Dynaudio, the 20A’s cleverly shaped dual-flared (ESDF) bass-reflex port delivers “vastly improved low bass performance by virtually eliminating any noise or turbulence.”

As with all active speakers, the crossover of the 20A comes before the amplifiers in the signal path. Two discrete class-D amplifier modules, sourced from Denmark’s Pascal Audio, power the 20A: a 400W amp for the woofer and a 150W amp for the tweeter. These amplifiers are derived from the ones used in Dynaudio’s professional studio monitors, and are said to provide sufficient headroom for effortless high SPLs.

The input and DSP sections of the Confidence 20A were designed in-house. Each speaker has a balanced analog input, an AES3 digital input, and an AES3 digital output for sending digital audio to the other speaker (all XLR). A rotary switch on the rear of each stand lets users assign the correct channel to the attached speaker when using the digital input.

The Confidence 20A lacks a built-in volume attenuator and must therefore be controlled by a preamplifier or a source component with variable output. It powers up on detecting an audio signal on its analog or digital input, and it powers down after 20 minutes of inactivity. As the 20A has only XLR inputs, you’ll need an RCA-to-XLR adapter (not included) if your source has only RCA outputs. Dynaudio would do well to include this adapter with the 20A for the benefit of buyers who don’t already have one. I used my own.

After digitizing an analog input, the 20A routes it to the DSP engine for crossover and other functions. Dynaudio does not specify the sampling frequency or word length of the A-to-D converter. The 20A processes digital signals at their native resolution, which is unusual. Most active speakers with digital processors resample digital bitstreams to the DSP engine’s default sample rate. But resampling can have a worse effect on sound quality than analog-to-digital conversion does, as noted by Otto Jørgensen, Dynaudio’s product training manager, in a SoundStage! InSight video.

Implementing the crossover in DSP, he explains, allows for more precise filtering than can be achieved with a conventional analog crossover. The woofer and tweeter cross over at 2500Hz, with different slopes at different stages of the rolloff. This allows very close phase alignment between the drivers, Jørgensen says. The result is that the 20A delivers a much larger soundstage, more precise imaging, superior impulse response, and greater clarity than a comparable analog design, according to Dynaudio.

Audio processing

The DSP enables other functions as well. One of these is what Dynaudio refers to as a look-ahead processor. Audio flows into a 1ms buffer, and the processor monitors the data to prevent the drivers from exceeding maximum excursion (at 119dB) on peaks and from suffering a power overload during extended loud listening sessions. This active protection is claimed to be minimally intrusive, allowing the speakers to sound natural and smooth up to 103dB, at which point compression becomes noticeable.

Thanks to the active design and use of DSP, each Confidence 20A speaker has unusually deep bass response for a standmount design. Specified frequency response is 33Hz–25kHz (±3dB) at 85dB. By contrast, the −3dB point of the passive Confidence 20 is 42Hz.

Two configurable DSP functions are available, set by control knobs on the back of each stand, to optimize the 20A’s sound according to its position in the room and the acoustic nature of the listening space as set by the user.

The first function compensates for proximity to a wall. Three settings are possible: the first (Wall) indicates to the DSP engine that the speaker is within 20″ of a wall, the second (Corner) that it is within 20″ of two walls, the third (Free) that it is beyond 20″ of any wall. These settings can be different for the left and right speakers, if appropriate.

The second function compensates for overly reflective or dull acoustics. If the room has lots of sound-absorbing materials (e.g., heavy drapes, thick carpets, densely upholstered furniture), the Bright setting can restore lost high frequencies. In sparsely furnished rooms with lots of hard surfaces (e.g., plaster walls and tiled floors), the Dark setting can make the sound less aggressive. A Neutral setting is used for a tonally balanced room.

Three other controls are available on the spine of each stand. The Light control (Off/Dim/On) sets the illumination of the Y indicator on the front of the stand. The Sample Rate Conversion control (Off/On) can be set to leave the source sample rate intact and thus obtain the highest sound quality, or to convert the incoming sample rate to the DSP engine’s default. On albums or playlists with tracks with different sampling rates, momentary gaps are heard between tracks as the speaker adjusts to the different sample rates. Sample-rate conversion eliminates these gaps but detracts slightly from the sound quality. The Analogue Sensitivity control (Low/Mid/High) lets users match the speaker sensitivity to the output voltage of analog source components.

Setup

For this review, Dynaudio provided me with a Confidence 20A system in the gloss-white finish. My review pair arrived in two birch plywood crates, securely packed with foam inserts. Cloth slip bags and plastic tweeter caps provided additional protection. The speakers were fully assembled and came with an instruction sheet, magnetically attachable grilles, power cables, white gloves, aluminum floor spikes and floor protectors, as well as an excellent bubble level. Given the weight and size of the loudspeakers and stands, unpacking is a two-person job. The 20A pair felt sturdy, as befits a product of this caliber. I found the fit and finish of the loudspeakers to be excellent and the gloss-white look stately and stylish.

I used the power cables supplied with the Confidence 20A. Most of my listening was from my Bryston BR-20 streaming preamplifier (US$6795), which I connected to the 20As’ balanced analog inputs using Audio Sensibility Statement XLR cables. For vinyl playback, I used my Rega P10 turntable, Rega Apheta moving-coil cartridge, and Gold Note PH-10 phono preamp with a PSU-10 power supply. I connected the phono stage to one of the BR-20’s balanced input pairs using Audio Sensibility Statement SE XLR cables. For digital playback, I streamed to the BR-20 from my Roon Nucleus One server. To test a digital input, I connected the coaxial S/PDIF output of a WiiM Ultra streaming preamp (US$329) to the 20A’s AES3 digital input using a Van Damme XLR cable and the coax-to-XLR adapter that I purchased for this review. The WiiM Ultra is Roon Ready and has adjustable volume for both its digital and analog outputs.

I conducted all my listening in my acoustically treated listening room, which measures 13′W × 18.5′L ×7.75′H. The speakers were 36″ from the front wall and 20″ from the near side wall, so I set the Position control to Free. After some experimentation, I set Analogue Sensitivity to Mid with my BR-20 and Sound Balance to Neutral. I left Sample Rate Conversion in the default Off setting for optimal performance; interruptions between tracks with different sample rates were a non-issue for me.

Listening

I began my audition of the Confidence 20A by streaming via Roon, using the WiiM Ultra as a digital preamplifier. With this digital input, I was bypassing the speakers’ analog-to-digital converters. I was amazed at how well the 20As performed with such a modest digital front end. On “Galaxia” from Fourplay’s 2002 album Heartfelt (24-bit/88.2kHz FLAC, RCA Bluebird / Tidal), the opening water-stream effect was fluid and smooth, albeit somewhat recessed within the mix.

I carefully matched the volume level of the Bryston BR-20 to that of the WiiM Ultra and listened to this track again through it. The BR-20 provided a more detailed, more convincing rendition. Through the WiiM Ultra, the opening bell chimes had less presence, shimmer, and definition. They were noticeably more delicate, detailed, and textured through the BR-20. Nathan East’s five-string electric bass sounded rich and full when streamed to the WiiM. But through the BR-20, it sounded denser, more articulate, and rhythmically bouncier. Harvey Mason’s drumming was well presented by both the WiiM Ultra and the BR-20. The latter, however, provided superior edge definition, more dramatic transients, and greater dynamic punch. The BR-20 portrayed Bob James’s piano with greater realism and impact; it had superb tone and lifelike presence and scale.

As a digital preamplifier, the WiiM Ultra performed surprisingly well with the 20A system. As good as it was, however, the BR-20 revealed more of the speaker system’s true potential, and I therefore kept it in the system for the remainder of my audition.

Turning to vinyl, I played LongGone, a 2022 album by saxophonist Joshua Redman, pianist Brad Mehldau, double bassist Christian McBride, and drummer Brian Blade (Nonesuch 075597910018). The title track is laid-back and sultry, with a touch of swing. I relished the delicate, satin-like sheen of the cymbal splashes, which through the 20A system sounded ever so smooth yet wonderfully detailed. The transitions from brush to stick were striking, the latter exhibiting a stronger metallic quality and impressive dynamics and clarity. Redman’s sax was infused with a buttery, warm timbre. The 20A delivered his quick fingering with clear definition and engaging dynamism. The 20A’s dynamic realism was most evident with the percussion. It was well articulated but still weighty. McBride’s full, fleshy double bass was thoroughly enjoyable; the 20A maintained ironclad control over the low register.

Staying with vinyl, I played GoGo Penguin’s A Humdrum Star (Blue Note B00278060). The opening piano notes in “Raven” were stunningly vibrant and possessed a lovely bell-like quality. The 20A speakers completely vanished on this track, creating an expansive soundstage that reached out beyond the speakers’ positions and past the front wall. The sonic image of the piano, positioned on my right just beyond the front wall, was remarkably convincing. The cymbals were imaged well within the soundstage and sounded crisp and clear. The double-bass plucks were tight and sinuous, their string texture vividly revealed. The visceral bass notes had weight and punch with a good measure of athleticism. On “Bardo,” the piano notes were arrestingly realistic as they swirled around the vivacious bass and cymbals. Finally, on “A Hundred Moons,” the opening castanets and bongo were palpable, stunningly realistic in tone and timbre.

When streaming Imelda May’s “Call Me,” from her 2017 album Life, Love, Flesh, Blood (24/96 FLAC, Decca Records / Tidal), the 20A rewarded me with the most transparent rendition of this song I have ever heard. The guitars emerged with thrilling physicality, closely flanking the speakers. The electric guitar on the left possessed a sweet, mellifluous bloom, while the acoustic guitar on the right was detailed, textured, and lithe, with authentic body resonance. May’s vocals, emerging clear and natural from her diaphragm, sent chills up my spine. Her singing was rendered so realistically I could just about see her facial gestures, heartfelt and absent of artificiality. The 20A reproduced the reverberant quality of the recording venue most authentically, transporting me beyond the confines of my listening room. The pattered texture of the brush on the snare came through distinctly, and the bass-drum thumps were dense and resounding, which I found surprising given the size of these loudspeakers. The bass guitar was delivered with richness and texture and a beautiful bloom.

Comparisons

I compared the Confidence 20A system with two passive speakers: my reference Focal Electra 1008 Be 2 standmount speakers (discontinued; US$5499/pair when available) and my Dynaudio Confidence C2 Signature floorstanders (discontinued; US$15,000/pair when available). To power these speakers, I connected my BR-20 preamp to a pair of Bryston 7B³ monoblocks (US$7495 each) using Audio Sensibility Statement XLR cables. I also used a set of Statement speaker cables.

On “Nothing Can Come Between Us” by Sade, from The Ultimate Collection (24/88.2 FLAC, RCA Records / Tidal), cymbal strikes were clear and convincing through the Focals, but they sounded noticeably crisper and cleaner, and even more authentic, through the 20A system. The bass guitar sounded deep, solid, and textured through the Focal speakers, but the 20A provided greater tightness and articulation, though with slightly less weight. The guitar sounded less metallic through the 20A system, and the drum strikes had a more authentic timbre. The Focal speakers presented Sade’s vocals with impressive realism, highlighting the raspy quality of her voice. But the 20A system revealed finer details in her singing, such as her whispery breath amid that rasp. Despite being a little thinner in the midrange, the 20A’s rendition was more realistic—more open and precise, with greater definition, harmonic nuance, and fine detail.

Dynaudio’s Confidence C2 Signature, though a couple of generations old, remains a first-class speaker even by today’s standards. Its superb design offers fine detail, timbral accuracy, and rich harmonic color. I have yet to audition a speaker that surpasses the C2 Signature in midrange and treble performance.

One of the tracks that I used to compare the two Danish speakers was “Silver Coin” from A Book Like This, the debut album by Australian brother-and-sister duo Angus & Julia Stone (16/44.1 FLAC, Nettwerk Music Group / Tidal). Again, the 20A pair did their vanishing trick, casting a wide soundstage that extended just beyond the front wall. I could hear every last detail in the opening violin notes: the clean, pure tone as well as the underlying grippy resinous friction of the bow across the strings and the woody resonance of the instrument body. The acoustic guitar was also presented with tremendous detail. It had natural resonance and realistic timbre. Angus’s voice had lifelike body and presence that I found enthralling. The slap of the brush on the snare drum had wonderful texture, and the bass guitar sounded solid and very articulate. Through the Confidence C2 floorstanders and Bryston monoblocks, the strings were a shade less clear, the guitar strings a little less incisive and a little more laid back, with a softer and warmer presentation. The piano sounded less focused through the C2 Signature speakers than through the 20A system, and the drums were not as well textured—the patter of brushes was less distinct and nuanced. But sonic images were larger with the C2. The C2s were less revealing of the drum-skin textures. The patter of brushes was less distinct and nuanced. Bass was noticeably deeper and fuller with the C2s, but the 20A system sounded a little more articulate in the mid bass.

On Imelda May’s “Call Me,” guitar notes and chords had less definition and micro-dynamic variance on the C2 Signatures, and the brushes were less crisp. May’s voice was a little larger in scale through the C2s, but there was less separation between her image and the bass notes behind her. The C2 floorstanders created a slightly higher and larger stage, yet I was amazed with the size of the soundstage, and the images within it, presented by the Confidence 20A system, which came close to (but just shy of) the scale of my larger C2 Sigs. The Confidence 20A system exceeded the performance of my own Confidence C2 Signature loudspeakers in all ways but deep-bass extension and weight. Overall, the active system provided greater neutrality, transparency, harmonic complexity, and realism. I can confidently say that the Dynaudio Confidence 20A is the highest-performing loudspeaker system that I’ve auditioned in my room.

The final word

Dynaudio’s Confidence 20A is an incredible loudspeaker system. It performs exceptionally well in all respects, delivering true high-end sound, top-to-bottom. Anyone considering a high-end active loudspeaker system would be foolish not to audition it. And audiophiles who are convinced of the superiority of conventional amp-plus-speaker systems might reconsider their preferences after hearing the Confidence 20A. If I didn’t need a passive loudspeaker–amplifier combo for my audio review side hustle, I’d be sorely tempted to purchase the Confidence 20A system. For sure, I’ll miss this system when it goes back to its rightful owner. Not only is the Dynaudio Confidence 20A a true high-end loudspeaker system, it might also be a trendsetter.

. . . George de Sa
george@soundstage.com

Associated Equipment:

• Streaming preamplifiers: Bryston BR-20, WiiM Ultra
• Analog source: Rega P10 turntable, Rega Apheta 3 cartridge, Gold Note PH-10 phono preamp with PSU-10 power supply
• Music server: Roon Nucleus
• Loudspeakers: Dynaudio Confidence C2 Signature, Focal Electra 1008 Be 2
• Power amplifiers: Bryston 7B³ (monoblocks)
• Foundations: Quadraspire SV3T audio rack; Target MR-24 sand-loaded loudspeaker stands
• CD player: Rega Apollo
• Cables: Audio Sensibility Statement speaker cables, interconnects, and power cables; Pangea AC-9 Mk 2 power cables; Furutech ADL Formula 2 USB cable; Van Damme XLR

Dynaudio Confidence 20A active loudspeaker system
Price: US$24,000, CA$33,500, £18,500, €20,000 per pair, including factory-mounted stands
Warranty: Two years, parts and labor, on purchase; five years on electronics and eight years on drivers, with registration

Dynaudio A/S
Sverigesvej 15
8660 Skanderborg
Denmark
Phone: +45 8652-3411
Fax: +45 8652-3116

Website: www.dynaudio.com

North America:
Dynaudio North America
500 Lindberg Lane
Northbrook, IL 60062
Phone: (847) 730-3280
Fax: (847) 730-3207

Email: sales@dynaudiousa.com