Srajan stressed to me that the DWX can take high power with dignity so I had to try that as the last item on my list. Now the Trilogy 995R/915R set landed another unexpected change. The sound grew more grounded, illuminated, open, controlled, deep and bold. These were pure gains, no losses. The sensation was that the DWX's paper membranes had grown in size to move still more air. Although this speaker doesn't need high power, it clearly thrives on it. It was either this or higher current from more paralleled output devices in my monos. Upon switching the 100W 995R towers to 55W class A bias, the gestalt drifted from authority and sun towards density and heft. The DWX enjoyed both power envelopes but the more visceral high-power option was my favourite. At this point I had no intention to return to the other two amps. I was as happy as a heavy-music enthusiast can be. Besides, three Carbide Audio Diamond isolators under each Sound Style Z1 stand injected extra body and backdrop blackness without tempering the Zu's bite, snap, ease, vitality and overall badassery. Lastly, in my room this speaker pulled stunts beyond reach of many far pricier arrivals I've guested in the past. This is excellent reason to call out terrific value. Let's wrap.

Although at first glance the Zu Audio DWX may look like yet another oversized monitor, a high-tiered performer tuned unlike anything else I've sampled at that size is all I see now. I'm simply not aware of another stand mount that blends the usual widebander aroma and expressiveness with a rock-star attitude and happiness to party this hard. Today's refreshingly different crowd pleaser runs on machined parts and boutique drivers. It's finely built, visually modest, unfussy to position and a breeze to drive. I honestly can't fault it for anything, not even its size. Shoppers into low synth beats may want to look elsewhere without a sub but if your room is far from ideal and instrumental, vocal and heavy genres make up your musical diet, Zu Audio's DWX is the answer. Considering its origins, build quality, pedigree and performance, it's worth every dime. Colour me impressed!

Sean Casey comments: "I listened to the Srajan/John podcast on the DWX and wanted to explain how we get the grain-filled finish they have on their Soul speakers.

  1. We first dye the wood veneers post sanding prep using combinations of PPG DMX metal dyes and Sherwin-Williams Sher-Wood Universal Dye but not to the final level of hue and saturation
  2. Solid 'top coats' are made from AcromoPro Amerivar post-catalyzed material blended for sheen and viscosity. This material can become brittle when too thick which we solve in the interstage sanding and also by altering chemistry on the interstage coats to get a more flexible interstage filler
  3. We then blend a candy coat (dye mixed into a sealer/finish mix) and apply three to four coats
  4. Interstage (1st) sanding at p400
  5. Another three/four coats of candy, arriving now at the desired colour and saturation
  6. Interstage (2nd) sanding at p400
  7. Four coats of Amerivar post-catalyzed sheen blended in-house for interstage
  8. Interstage (3rd) sanding at p400
  9. Four coats of Amerivar post-catalyzed,sheen blended in-house for interstage
  10. Interstage (4th) sanding at p400
  11. Four coats of Amerivar post-catalyzed sheen blended in-house for interstage
  12. Interstage (5th) sanding at p600
  13. Moved into the positive-pressure clean room
  14. Three coats of Amerivar post-catalyzed sheen blended in-house for final top coat.

"Things that hit me while listening to the podcast halfway through and yes, it’s excellent, much appreciated on speaking from the brain/mind and also the soul, searching/finding the path. Thank you for the efforts and experience. 'Flippin speaker' funny. Very useful info for people. Also yes, 100% on the nose about break-in. We have been addressing this in the new manuals (DW6 and Soul 6). We continue to refine this process. Fatigue profiles are presently being outlined. In a nutshell, experience and research where we can says that there are two main parts. The first is structural so static and dynamic changes from putting the membranes, spiders and surrounds into their functional, long-term dynamic behaviour profile. The second part is electrical. This is where things get less predictable and difficult. They fall outside our scope to investigate with models because they happen squarely in the quantum electrodynamics domain.

"And for sure I draw on big real sound from the 1930s through the mid 1970s. This goes back to my experience as a kid. I mentioned a few events and reasons with you over the years but my childhood exposure to sound was big and complex. The original pioneers of sound reinforcement and playback called this Theatrical Perfection where you had all the room, tools and resources to do what you needed to do to serve the sonic event, the soundfield and levels the creators and audience desired."