Figure 1 shows the complex sum of the nearfield tweeter, midrange, woofer and port outputs. The Double Bass response seems rather flat with two minor dips in the crossover frequencies of 150Hz and 1'800Hz which should however be viewed with caution due to nearfield measurement techniques. The peak at 10kHz seems to be real and was measured with the rear HF switch set to its minimum. This measurement also corresponds with my listening impressions of a very high-precision detailed sound.

The impulse response of Figure 2 is superbly clean... is the waterfall plot of Figure 3.
The ribbon drivers surely contribute much to such an accurate pulse response and freedom from resonance. The superbly clean decay in the treble gives an idea of their overall performance.
The Double Bass impedance curve is relatively steady and should not create undue difficulties for well-designed amplifiers. Its measured performance indicates that the Double Bass is a well-engineered design but also suggests that careful system matching will be necessary to get the best sound from it.

Sound. I’m starting to believe that there is some kind of relaxation genie kept prisoner inside each Lawrence Audio enclosure. After the Violin and Cello, the Double Bass provided me with the same very relaxed yet direct sound that had already characterized prior encounters with these musical instrument models. It’s not a typically laid-back sound in the sense of being lazy or lacking speed with transients and dynamics. It’s related to something more difficult to articulate because one ends up forgetting technical features during a musical journey or even a few brief moments of listening pleasure. There are of course many differences between this $28’000 speaker and the $7’500 Violins which I had opportunity to play with for nearly an entire year. Bass extension between these is incomparable and the mid/high registers of the Double Bass play in different league. But whatever one might say about these full-range speakers considering their elevated price, one hopes to be sure that one couldn’t experience equal joy after spending less. And that’s only possible once one considers rather more technical and precise parameters than the very common listening pleasure notes one may easily share in a review of a few pages.
Beyond the original enclosure design and typical Asiatic fingerprint, the Double Bass is an impressive technical achievement. Marrying ribbons with cone drivers is usually a complicated option and Lawrence Liao has definitely not signed on for the easiest way to go about his full-range multi-way. His choices led to a highly resolved sound and a rather linear response. As for many high-end realizations, the Double Bass requires careful setup and skilled companions. Even so it seemed able to convey very involving readings in various circumstances and partnerships likely due to its good sensitivity and steady impedance plot. Its ribbons make the Lawrence speakers more suited to acoustic music than electric fare or heavy metal. That’s due to the limitations imposed by the ribbons. The Double Bass won’t rock and slam like a JBL from the K2 lineup or a big Wilson. The Double Bass also generated less kick than my current Vivid Audio K1 references. But that didn’t imply that the Double Bass suffered depressed dynamics. These big Asians showcased better dynamic range in fact than most big Proacs I have heard and eclipsed the big Maggies yet ultimately won’t compete with the very best in class. The Double Bass strengths reside more in its deep soundstaging and precise layering that always remains behind the speakers. Another great feature was their outstanding clarity expressed without any listening fatigue even at high SPL over extended auditions. The sweetness and extension of the treble was comparable to the Magnepan 20.7. It was highly detailed, extended and smooth all at once. The 20.7 might perhaps have enjoyed a bit more density and an even more seamless transition between the mid/high frequencies but the Double Bass really wasn’t far apart.