B&W 800 Diamond loudspeaker Specifications

Sidebar 1: Specifications

Description: Three-way, vented-box, floorstanding loudspeaker. Drive-units: 1" (25mm) diamond-dome tweeter, 6" (160mm) woven-Kevlar FST-cone midrange unit, two 10" (250mm) Rohacell-cone woofers. Crossover frequencies: 350Hz, 4kHz. Manufacturer's specifications: Frequency range: –6dB at 25Hz and 33kHz. Frequency response: 32Hz–28kHz, ±3dB on reference axis. Dispersion: within 2dB of on-axis response over 60° (horizontal) and 10° (vertical) arcs. Sensitivity: 90dB SPL (2.83V/m). Harmonic distortion (second and third harmonics, 90dB, 1m): <1.0%, 45Hz–100kHz; <0.5%, 80Hz–100kHz. Impedance: 8 ohms nominal, 3.1 ohms minimum. Recommended amplification: 50–1000W into 8 ohms with unclipped program. Maximum recommended cable impedance: 0.1 ohm.
Dimensions: 46.5" (1180mm) H by 17.7" (450mm) W by 25.4" (645mm) D. Weight: 225 lbs (102kg).
Finishes: Cherrywood, Rosewood, Piano Black Gloss.
Serial Numbers Of Units Reviewed: 0001013, 0001014, listening; 0000505, measuring.
Price: $24,000/pair. Approximate number of dealers: 250.
Manufacturer: B&W Group Ltd., Dale Road, Worthing, West Sussex BN11 2BH, England, UK. Tel: (44) 01903-221500.. Fax: (44) 01903-221501. Web: www.bowers-wilkins.co.uk. US distributor: B&W Group North America, 54 Concord Street, North Reading, MA 01864-2699. Tel: (978) 664-2870. Fax: (978) 664-4109. Web: www.bowers-wilkins.com.

COMPANY INFO
B&W Group Ltd.
US distributor: B&W Group North America
54 Concord Street
North Reading, MA 01864-2699
(978) 664-2870
ARTICLE CONTENTS

COMMENTS
AV-OCD's picture

While the driver motors have been changed in the new 800 series, based on the measurements of the 802D and 800 Diamond, it seems that the only significant difference, (relatively speaking) in the performance of these two speakers is in the FR balance.  Their sensitivity, impedance plots, cabinet resonances (or lack there of), are all VERY similar.  Even the general trends in the FR are remarkably similar.  In the range covered by the new and old diamond tweeter, they both have the same peak at 10K, followed by the dip at 5.5K and a smaller rise at 4K.  Raise the overall treble level 1dB on the 802D, and it would be virtually interchangable with the 800 Diamond.  Likewise, raise the midrange level 1-2dB in the 802D and lower the bass by 2-3dB, and you essentially get the graph for the 800 Diamond.  All of those things combined would certainly make the two speakers sound different, but is the new speaker actually "better"? I have to wonder if Kal would have used the EQ in the Classe prepro to adjust the bass/mid/treble levels of the 802D to mimic those of the 800 Diamond if he would have heard any meaningful difference?

Then again, in the purist world of 2CH audio, where the use of external EQ is often considered rape of the delicate audio signal, relying on the speaker maker to re-map the FR with passive crossover components is all you have.   All hail the new king in town!  Shhh... pay no attention to uncanny ressemblence to the old king, he's wearing completely different clothes, so it surely can't be him.....  ;-)

Here's a little photoshop magic to illustrate the very minor differences between these two speakers.  Red plot is 800 Diamond, with a trasparent layer of the 802D over top.  The bass / mid / treble have been shifted up or down to match the 800 Diamond plot.

JRT's picture

AV-OCD commented, "Then again, in the purist world of 2CH audio, where the use of external EQ is often considered rape of the delicate audio signal..."

While I agree that may be the attitude of some poorly informed "purists", that attitude is foolish nonsense. They cannot properly playback their vinyl LPs without suitable EQ, whether RIAA or otherwise. Their loudspeakers have crossover filters, and the drivers are loaded in alignments which impose specific forcing functions. The room has an alterable acoustic response, while also any changes in the positioning and alignment of the listener and loudspeakers will effect changes in the interaction of loudspeaker, room and listener. That too is a form of EQ.

There are very many forcing functions (combinations of acoustic, electronic, digital) in the recording and playback processes. At the front end of the process(es), consider the effects of choices in microphones, microphone preamplifiers, microphone cable, recording room acoustics, microphone placement, etc.

Improving playback response with suitable parametric EQ (using high quality gear) is something that should be embraced rather than eschewed.

amppeters's picture

@AV-OCD , posted a fine review here closly perfect  for pure audiophiles , but i am not have deep understanding such technical info thats why  my friend suggested audio solutions for help , I will appreciate your viewpoint on it.

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