Given my experience, I wouldn't hesitate to go with the NAD 375 bee. Save a few extra dollars each month, and leave the amp on 24/7. Mine has lasted 6 years so far with no signs of failure yet. (fingers crossed)

The treble on this 12" cut was clean though perhaps a bit rolled-off. Very British polite, if I do say so myself. The brashness of the cymbals were muted, though to what degree would require further exploration. But the first impression was of a very listenable speaker that didn't sound forward or overly bright. That can be a difficult thing for many small speakers since the temptation for manufacturers is to make a speaker that has a lot of fake detail by having a tipped-up response. I need to find NAD dealer and listen to it again. In the mean time I have bought Pro-ject Pre Box DS2 Analogue (with walnut side panels to match Denton's) from a local HiFi shop and very strongly consider XTZ Edge A2-400 or less expensive A2-300 to pair with Denton's. The other option option that I am eyeing currently is Bruno Putzeys Eigentakt Purifi amp from VTV but still hesitant since I can not evaluate them in person prior buying it.The Denton's look and feel are miles ahead of the white Bowers & Wilkins 606 stand-mount speakers I auditioned in 2018 at the CNET office. Both speakers hail from UK-based manufacturers, and they're close to the same price, but the Denton looks a lot more expensive. As others have stated, the rosewood finish on these speakers is rather stunning, much more so in person that how they look on the web. The wood grain pops with wonderful vividness and depth. These speakers are lovely to look at and look "high end." My friend's KE Engineering KE-50A KT-88 tube mono amplifiers drove the Wharfedales flawlessly and they sounded best with more power.

The treble isn't rolled off, so much as there are frequencies of the upper audio spectrum that are missing (imagine listening to a recording with a clear plastic cup over each ear - that's a more extreme example of what these speakers sound like. They're just missing a lot of top end and some dynamic width. However, what they DO do, they do well. They open up a little with more volume, and become slightly more dynamic due to this). The LS50's, despite having metal drivers, are not really bright at all, but they definitely have more top-end clarity and extension than the Dentons, but still they capably reproduce whatever midrange lushness is in the source. Indeed, I find them perfectly smooth and 'musical' with tubes, and yet they were forward, crisp, and slightly strident with a (re-capped) '78 Yamaha CR-1020. Their presentation is very much source-dependent, whereas I would expect the Dentons to be more forgiving. (My plan is to eventually use the Dentons with a Pioneer SX-780 that is currently being serviced.) The midrange and treble, however, were still very pleasing but the muddiness of the bass did distract from the overall presentation. Depth was foreshortened compared to the best I've heard, but the left-to-right stereo spread was marvelous. The original Denton was known for its warm, rich sound and the 80th Anniversary Edition manages to retain the original character while giving a more detailed, seamless performance. Wharfedale successfully combines its strong history and modern technology in perfect fusion in this Denton 80th Anniversary Edition. Advanced Technology It was time to try an album that I am very familiar with, one that I have heard across several systems - a British pressing of Supertramp, Crime of the Century. The lead in song, School, is bombastic with very deep bass and explosive dynamic contrasts. How does the Wharfedale hold up compared to my departed UREI 813A speakers, which could really deliver the goods? In a word (or three), not so well.Further listening with a variety of records revealed a clean midrange with only some minor veiling - again, compared to the best I've heard. ie - there is an ever-so slight blurring of aggressive guitar work and the leading edges of high-hats. The treble is, however, extended with shimmer and shine but still not etched. I was expecting some overdone brightness from the aluminum tweeter but my (aged) ears weren't driven out of the room.

It has the same warmth and same quirk in sound improvements, as in that it performs a bit better with the grilles on. This is caused by the tweeter and woofer that are placed slightly in depth behind the edges of the cabinet. With the grilles kind of functioning as a corrector. Same as with the Lintons which are basically the giant version. Do anyone have any of the amplifiers or pre/power combinations mentioned above driving the Denton’s and if “yes” how is the synergy between them? These drive units are combined by a highly researched crossover that is near inaudible to the listener, resulting in a coherent, seamless musical output that is both thrilling and natural in its rendition of any source material. The new Denton 85th Anniversary Edition will sound lighter and brighter than the 80th, due to raised tweeter output. It has smoother bass that runs deeper and will sound controlled when close to a wall. Sensitivity is very high too. Very good, but with overly strong treble. The Dentons are noticeably more restrained on top, with a gentle roll-off that gives them their "touch of warmth," as their designer described it. In this respect they do remind me of vintage speakers from the '60s, which I believe was Peter Comeau's intention. What HiFi accurately summarized them thusly: "Smooth, rich and expressive presentation."Also just to mention, I have removed solid links at the speaker terminals and biwired the speaker with Canare 4S11 cables. Underneath the exterior, the Anniversary Edition is a perfect mixture of traditional and advanced technology. The bass unit features Wharfedale’s innovative woven Kevlar cone mounted on a rigid die-cast chassis. The drive units are combined with a highly researched crossover that blends the drivers perfectly. An amplifier's treble tone control generally works by boosting or reducing treble starting at a pre-set frequency. The pre-set frequency is determined by the amp manufacturer so there will be some variation between amps. Such tone controls add a peak (boost) or a trough (reduce) at set frequencies - the severity of the peak or trough is determined by the tone control "volume" setting. Adding a resistor in the way you plan reduces power fed to the tweeter so reduces output across the tweeters entire operating range and doesn't introduce significant peaks or troughs.

I like the character and the aesthetic of the 80s, but the misnomer about the 'treble roll off' kills it for me. I had anticipated finding the LS50's to be screaming bright after having been acclimated to the warm-voiced Dentons for the past couple of weeks. What I am finding is both speakers have comparably accurate mids and bass, and both speakers go approximately down to the same bass depth. Both speakers are approximately equal in their efficiency, and both are superb pairings for my 14wpc Fisher, in my 8' x 12' room. I have not been using my subwoofer, nor does one seem necessary with either set of speakers.In comes the Wharfedale Denton 85th Anniversary (of which 10 attemps to post different pictures of it here failed) The Dentons came with an introduction price of 750 euro which currently ranges between 599 and 650 Euro in retail.