At their well-organised press conference on the occasion of this year's High End in Munich, the Danish loudspeaker company Raidho presented the X1t Super Mini Monitor, the successor of the X1. Dirk Sommer and I spontaneously decided to order the speaker for a review.

I don't know whether it was due to the likeable and successful presentation conducted by Morton Nielsen, the Sales & Marketing Director of Raidho, or the convincing sonic performance of the X1t, or both. Even during the High End, I was asked several times by colleagues and acquaintances about the X1t: "Have you already been to Raidho, did you listen to the little Raidho there?" Quite obviously, Raidho must have struck a nerve with many visitors there with the X1t: An exceedingly compact two-way speaker system that not only claims that a superior performance at the highest sonic level is not a question of size alone, but that can be integrated into normal living rooms with the elegantly designed curved speaker stands and that is located in a price region that still seems affordable, especially in comparison with the other Raidho speakers. Even though the X1t "only" marks the entry into the world of Raidho speakers, don't be fooled, this is a "real" high-end product through and through.

As Raidho manufactures everything in-house, the X1t does not go without exquisite ingredients, that you can't get off the shelf around every corner. Of course, the X1t is based on the legendary Raidho ribbon tweeter, which has become a characteristic feature of all Raidho speakers. Strictly speaking, this is a "semi" ribbon or magnetostat driver. The foil that forms the basis for this type of ribbon is said to be only 11 microns thick, weighing just 20 milligrams, making it many times lighter than conventional designs. In conjunction with powerful magnets, the result is said to be a clear and natural sound that is unparalleled and outstanding in this price range. In this context, Morton Nielsen revealed to me that the version installed in the X1t does not differ significantly from the types installed in their top-range models.

Another highlight is the newly developed midwoofer, a 5.25 inch driver that relies on a cone made of aluminum. Raidho says that one of the challenges of using aluminum as a diaphragm material is that it can have an inherent sound that must be avoided by all means. Therefore, all diaphragms are coated with a thin ceramic layer on both sides. The coating is applied by a plasma process that bonds the ceramic coating to the aluminum. In the X1t, a further layer of tantalum is added, which is also the reason for the affix "t" in the name of the new model. Tantalum impresses with its particularly high resistance to heat and wear and is said to make the diaphragm even stiffer and harder than would be possible with a combination of aluminum and ceramic coating alone - and without any harmful increase in weight either. Powerful neodymium magnets with an optimised magnetic field pattern provide a powerful drive with high dynamics and low distortion. The midwoofer operates on a bass reflex system, with Raidho having positioned the flow-optimised bass reflex port at the baffle's bottom side. The corresponding opening at the cabinet's bottom is a striking detail in the design of the X1t, but it also has tangible acoustic advantages when it comes to placing the speaker close to the rear wall, for example.

Compared to its predecessor, the interior of the X1t's enclosure has been redesigned with the aim of offering significantly better bass performance and bass quality. To achieve this goal, the cabinet has been partially reinforced, the application of damping material has been optimised and the bass reflex port has been extended. In addition, better components in the crossover are intended to help the X1t sound more open and clear. Despite its modest dimensions of just 320 millimetres in height, 145 millimetres in width and 230 millimetres in depth, the X1t weighs in at a hefty eight kilograms. For my taste, the X1t comes with a very stylish and filigree stand that tilts the speaker backwards by a few degrees, which is supposed to improve the sound dispersion. The plinth and centre section are made of MDF, the stand being one of the lightest of its kind. The idea behind this design is that the stand should store as little energy as possible. In keeping with this concept, there are no spikes, but feet that shall decouple the stand effectively from the floor. The centre part of the stand is sturdily screwed to both the plinth and the speaker. The method of screwing, which does not show any screws on the outside, is cleverly done and contributes to the speaker's attractive appearance.

The placement of the X1t is basically uncritical, it can even be positioned near the side walls. Incidentally, we have to get away from the usual methods and empirical values concerning the placement of loudspeakers. Instead, the guideline here is: set them far apart from each other and angle them in sharply. In my listening room, this results in an astonishingly large base width of almost three metres, considerably more than, for example, with my Audioplan Kontrapunkt, which has similar dimensions. The relationship between the X1t and its big sister, the TD1.2, which has recently been my guest, is quite obvious in this respect. As far as the distance from the listening position to the speakers is concerned, after a few attempts I end up with about three metres as well, resulting in the classic equilateral triangle of speaker placement. The X1t rewards my efforts with an impressive balance between wide imaging and precise focus without the dreaded hole in the middle. I give the X1t a good break-in period and then I'm ready to go.

For me, the outstanding feature of the X1t is its exceptionally high intelligibility of human voices, which establishes a special bond with the listener. This commences with the fact that the X1t carves out the characteristic features of each individual voice with captivating clarity. Let's take a listen into the opera "Carmen" (Bizet: Carmen - Herbert Von Karajan / Vienna Philharmonic - The RCA Opera Treasury 74321 39495 2): on the one hand, we have the wonderful Leontyne Price, whose dark, smoky timbre is perfectly suited to the role of the fiery Carmen, and on the other, there is Mirella Freni, who performs the role of Micaela in a crystal-clear, intense and beguiling manner. The X1t reproduces these very different voices phenomenally well. But this holds not only true for voices in the classical field. Just as impressive is how the X1t brings out the differences in the voices of Holly Cole, Amanda Martinez or Jill Barber in the sampler Jazz Ballads (Jazz Ballads - 2xHD 24/44.1), with the singers standing exactly between the speakers at all times. In addition, there is an amazing ability to resolve complex choral passages. Thus, in the famous opening "O Fortuna" from Carl Orff's Carmina Burana (Carmina Burana - Seiji Ozawa / Boston Symphony Orchestra), the X1t conveys just the right sense of implacability and a palpable hint of menace with the fresh-sounding and literal chorus. This ability to reveal even the finest details within the midrange also benefits the reproduction of acoustic instruments in a special way. It's captivating how in "Galicia Flamenco" with Gino D' Auri (Flamenco Passion - FIM XRCD) small details such as the creaking of the cello or a tap on its body are exposed by bestowing the whole presentation that certain something.

I was also impressed by how harmoniously the highs can follow up with this outstandingly performing midrange. In the "Divertimento K. 136" by W.A. Mozart in the recording with the Academy of St. Martin in the Fields conducted by Neville Marinner (FIM Supersounds! II), the sound of the strings is soft, fluent and brilliant, but entirely free of any signs of harshness. The music flows with great harmony in all registers. At the other end of the frequency spectrum, the X1t - not really surprisingly - has its clear limits. Below about 70 Hertz, the frequency response drops rapidly. True lows are not possible here, but anyone who opts for a mini monitor like the X1t should in fact be aware of these limitations. More important is what happens in the frequency areas above that. And what the X1t is able to deliver here sounds clean and crisp. Dee Dee Bridgewater in "Memphis...Yes, I'm Ready" can rely on a solid tonal foundation. Only at very high volume - far above my normal listening level - or with music involving extreme low frequencies, the small midwoofer starts to limit audibly. In addition to the excellent tonal qualities, the sound is completely detached from the speakers at any time and has a great spatial depth that goes far beyond what one would generally expect from such a small transducer. When playing the excellent recording of "El Baile De Luis Alonso" by Giminez (Music of Spain - Rafael Fruhbeck De Burgos Conducts the National Orchestra of Spain - HDTT 24/192), the sound reaches far into the depth of an imaginary space, but remains clearly structured and transparent, while the speakers "disappear" completely. The soundstage created by these tiny monitors in this recording is astonishing.

Concerning my enthusiasm, you will rightly ask at this point where the differences lie in comparison to the much more expensive Raidho TD1.2. For me, one of the main differences is that the X1t shares their fascinating "edge definition" when it comes to the rendering of voices or instruments, which does not allow anything to fade or appear slightly out of focus. But in the end it lacks somewhat a bit of the "third dimension", which lets voices or instruments stand out so sharply drawn from the background that you think they are physically standing in front of you. In addition, the X1t's charm and melodiousness of the high frequencies is not fully carried over into the mid-range. It's not a matter of the mids being overcooled, but I miss a tad of emotionality here. With orchestral music, especially in tutti passages, the virtual soundstage doesn't extend quite as far into the virtual depth, and this may have something to do with the limits in the low frequency range, especially at higher volumes. Please don't get me wrong: At this point, we are talking about differences at the highest level compared to an absolute top speaker - also in terms of price. But the longer I listen to music through the X1t, the more fascinated I get. Although the X1t entails the limitations I just described in the bass range and misses the ability to play loud without effort, it delivers a sound quality especially in the mid- and high-frequency range that is simply outstanding. My experience with the power source, i.e. the connected amplifier, also fits quite well at this point. With my Omtec CA 25, which delivers about 25 watts per channel in pure Class A operation, the X1t runs comfortably. I was a little surprised, however, when I swapped to a newly restored Stax DA-80M, which provides about 80 watts per channel in Class A mode. The extra power leads to a more spacious sound in all dimensions and to a more powerful bass than I had expected. The increase in authority and sovereignty simply cannot be ignored. As far as the selection of amplifiers is concerned, the X1t is more demanding than it might seem at first glance.

The limitations of the X1t in the low frequency range "cry out" for a good subwoofer. Out of curiosity, I combined the X1t with my two Velodyne DD10+ subwoofers - and the result is truly amazing. This liaison creates a full-fledged system that certainly would cause considerable problems for many a mature floorstanding speaker. The strings and the accompanying harp at the beginning of "Pas de Deux" from the Nutcracker Suite (Op. 71a) (Tchaikovsky: The Nutcracker, Op. 71 - Suite from the Ballet - Hi-Q Records xrcd24) sound sublime and majestic, while the piece successively increases into an expressive, intense conclusion in the fortissimo of the entire orchestra. Resting on a rich bass foundation, the X1t's excellent transparency now really comes into its own. This result can be further enhanced if the X1t is not driven in full-range mode, but via a crossover that relieves the midwoofer of the lowest frequencies. This way there will remain hardly any questions unanswered. It's really remarkable how far you can get with such a solution and how relaxed and homogeneous all musical material is reproduced from the lowest to the highest registers. You may have already noticed that the X1t - combined with the right team players - can make you lose your heart and make you become very happy for a long time. Especially in small and medium-sized rooms, the X1t can be a perfect start into a sophisticated high-end system. On top of that, the X1t is a real eye-catcher with its elegant design.