Their solidity and authority throughout the frequency range relies on placement near or against a rear wall: pull them out too far in the open and that sure-footedness is diluted slightly; bass notes are looser and vocals lose a bit of substance. We’re glad to report the Diamond 220s are much better in all respects. While still not the classiest speakers we’ve seen around this price (Q Acoustics and Monitor Audio set the standard), they’re good enough to avoid criticism.

Source – https://www.cnet.com/products/wharfedale-diamond-9-0-speaker/specs/ Similar Models of WharfedaleAs for the basic music genres, videos and movies, this is where the speakers continue to surprise me compared to their real price. You can also attach yourself to an amplifier where you can raise your treble a bit. Once this is done, the Wharfedale Diamond 9.0 looks very sharp and clean. But, you get more of everything with the Diamond 9.1, and not for a whole lot more money. The Diamond 9.1 and now the new Diamond 10.1 are world famous speakers. Excellent sound quality and value ... for the money. It is important to keep the "for the money" aspect in mind. More money will buy much better speakers than the Diamonds, but that "more money". The Diamond 9.1 also revealed gobs of detail in electric music. Listening to the opening guitar riff of Aimee Mann's "How Am I Different?," from Bachelor No. 2 or The Last Remains of the Dodo (CD, Super Ego SE-002), I could almost tell where the guitar amp's tone controls were set, could almost measure how far the mike was from the speaker cabinet. On Mighty Sam McClain's "Too Proud," from Give It Up to Love (CD, JVC 0012-2), it seemed I could ascertain the precise drawbar settings of Bruce Katz's Hammond B-3 organ. For the first guitar blast of "MovieTheater," from Ultra High Frequency's Sun Never Sets in Dramaville (CD, Mugshot MUG0001), my notes read: "Telecaster." The driving rhythm section gave me the same chills I remember from seeing the band live. It has a 100mm diameter cone made from woven Kevlar-in-polymer-matrix, while the tweeter has neodymium magnets and a soft 25mm doped fabric dome diaphragm. Twin terminal pairs are fitted on the rear.

The Diamond 9.0 is still a decent speaker, and certainly a full range speaker, though the depth of the bass is limited; limited but acceptable. Many people, especially those with casual listening requirements are overjoyed with the small compact Diamond 9.0. The little (125mm) main driver has a 'skeletal' cast alloy frame, to avoid reflecting the rearward radiation.

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So are the Wharfedale Diamond 9.0 speakers still worth looking into, or it is a waste of money in 2019? Let’s Find out. Performance & Sound

The Diamond 9.1 was an outstanding jazz speaker. Listening to the Jerome Harris Quintet's recording of Duke Ellington's "The Mooche," from Editor's Choice (CD, Stereophile STPH016-2), I noticed for the first time the way Steve Nelson's vibes play off Marty Ehrlich's alto sax as Harris's upper-register bass fingerings provide counterpoint. My notes: "Vibes are the acid test for a good tweeter, and this is a great tweeter." Following in the footsteps of my August 2005 review of the B&W DM603 S3, the second stop of the Bob Reina British Invasion Tour is the latest revamping of Wharfedale's affordable Diamond series.Looking at the drivers, we have the 130mm Kevlar bass/midrange unit and 25mm textile tweeter, which is another reason why the 9.1 is able to produce an enthralling balanced sound. This is certainly true of the enclosure, which has curved sides to add stiffness to the structure and disperse horizontal standing waves and reflections. Twin ports, claimed to reduce distortion by 40 per cent, are fitted into the front panel. The Wharfedale 9.1 is capable of playing songs when it comes to any music genre. Of course, you can also connect the speakers to your TV and use the speaker system when you’re watching films or videos.

The Wharfedale Diamond 9.0 are speakers designed for offices and smaller rooms. The truth is that those speakers are capable of punching out some warm tones, but it’s not substantial enough for all music genres. Some bass-demanding music genres might feel a little bit unbalanced and it may be missing a punch. Fig.2 Wharfedale Diamond 9.1, cumulative spectral-decay plot calculated from the output of an accelerometer fastened to the center of the cabinet's side panel (MLS driving voltage to speaker, 7.55V; measurement bandwidth, 2kHz). Fig.3 Wharfedale Diamond 9.1, acoustic crossover on tweeter axis at 50", corrected for microphone response, with nearfield responses of woofer and port, plotted below 300Hz and 1kHz, respectively. My experience with Wharfedale speakers is limited. In my college days, my old MIT fraternity house (think Animal House with differential equations) was fairly evenly split between the Advent (footnote 1) and JBL camps, save for one colleague's large Wharfedale bookshelf speakers, which played Emerson, Lake & Palmer quite nicely at earsplitting volumes at 2am.

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The Infinity Primus 150 was a bit cleaner in the midbass and upper bass, but with no more bass extension than the Wharfedale. The midrange was natural, the high frequencies more extended but less detailed and delicate than the Wharfedale's, which also had slightly better high-level dynamics. There’s an exceptional finesse to the delivery that rivals fail to match. Dynamic presence in even the quietest sections conveys the gradual swell of the piece. The 220s seem happy delivering the dramatic moments too – as orchestration gathers momentum, the speakers enjoy the ride.