Description

Excite X14

You know what they say about good things and small packages…

The X14 brings extraordinary sophistication and refinement to the compact category

The X14, has been fitted with a new 14cm long-throw mid/bass driver for greater depth and power (we think you might be surprised by its punch), while the short distance between it and the 28mm coated soft-dome tweeter offers improved timing. The X14 is versatile enough to put on stands (we recommend the Dynaudio Stand 3X), bookshelves or sideboards (check out the SF 1 speaker foot for an elegant way to place them there).

Specifications

 
Sensitivity: 85dB (2,83V / 1m)
IEC Power Handling: 150W
Impedance: 8 Ohm
Frequency Response (±3dB): 50Hz–23kHz
Box Principle: Bass Reflex Rear Ported
Crossover: 2 way
Crossover Frequency: 1900Hz
Crossover Topology: 1st/2nd order
 
Woofer: 14cm MSP
Tweeter: 28mm soft dome
Weight: 6.5kg / 14lb
170 x 285 x 255 mm6.7 x 11.2 x 10″
Dimensions (W x H x D): 170 x 282 x 246mm
6.7 x 11.1 x 9.7in
Dimensions with feet/grill (W x H x D): 170 x 282 x 262mm
6.7 x 11.1 x 10.3in

Reviews

Finally, the Excite X14 was able to unravel a considerable amount of bass detail from difficult recordings. On Last Exit’s first eponymous live recording (LP, Enemy EMY 101), contains many busy passages in which bass saxophonist Peter Brotzmann and bass guitarist Bill Laswell play rapid-fire improvisations in the same register while guitarist Sonny Sharrock and drummer Ronald Shannon Jackson thrash about in full throat. The X14 was able cut through the instrumental density to clearly delineate and separate Laswell’s and Sharrock’s riffs.

And for its price, the Dynaudio did a spectacular job of laying out inner details. It unfurled the blockbuster recording of Krzysztof Penderecki’s Polskie Requiem, with Antoni Wit conducting the Polish Radio Symphony Orchestra (LP, Polskie Nagrania Muza SX2319/20). In the mid-1980s, a year after this recording was made, I heard, from a choice seat at Carnegie Hall, the composer and the Cracow Philharmonic perform it in what became one of the three best concerts I’ve ever heard (footnote 1). This long work features dense, complex vocal and instrumental textures replete with subtle dynamic inflections and dissonances that resolve into beautifully simple sonorities. Throughout, some of the hairier choral parts are very difficult for a speaker and/or phono cartridge to make sense of. (My Clearaudio Virtuoso Wood perfectly tracked the entire LP.) But the Dynaudio was able to precisely resolve each nuance of even this work’s most complex passages.

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