Davone Eames

Gorgeous, retro/modern high-end speakers that pay homage to Charles & Ray Eames
Making High-End audio desirable for everyone
Davone is the brain-child of Paul Schenkel, a degreed aeronautical engineer with a masters in physics, a background in acoustics, and a deep passion for great industrial design. With full production and development based in Denmark, a country renowned for its design and acoustics, Davone stunned the High End Audio market with the Rithm, Ray , Mojo and new Grande loudspeakers

The Davone cabinets are hand crafted at a highly specialized manufacturer in Denmark. Here, the traditional Danish wood craftsmanship is combined with the most advanced CAD/CAM systems. Driven by competent employees with years of experience, the focus is on products where there are high demands for quality and finish. Both high-end loudspeakers and designer furniture are hand crafted side by side, like pieces of furniture art.

From GQ, to Vanity Fair, Davone loudspeakers seem to be taking the world by storm. Combining classic Danish Modern design sensibility with cutting edge sound engineering, Davone loudspeakers are writing the book on next generation speaker design. Best part is, they sound as good as they look!

Davone Audio is a fine specialty loudspeaker manufacturer from Denmark. If you love the famous Eames lounge chairs from the mid 1950′s then you’ll love the Davone “Rays”. Expertly crafted with bentwood cabinets and elegant metal stands, the Rays are high-end speakers with style and danish build quality. Their sound is as good as they look

Our Story:
Making High-End audio desirable for everyone. That is why we make loudspeakers. With Rithm and Ray being published by the likes of GQ, Le Monde, Vanity Fair, and even awarded with the highest marks by Wired, CNET and Fidelity, we know we are on the right track.

With Ray being the favorite of press and public, we have expanded the boundaries of High-End audio. And instead of the usual scaling and adding woofers merely to reduce cost, we design each product according to an entirely new concept. Thus maintaining both the integrity of each design, and staying innovative. Combine this with the use of authentic materials, craftsmanship and solid musicality-first acoustic design, and you have our strategy in a nutshell,

If you made it this far, chances are you might be interested in reading more about the driving force behind Davone; Born in 1971 with an unexplainable affinity for anything to do with sound, I unavoidably ended up in a professional career in acoustics. In spare time, I was frequenting concerts, building loudspeakers and admiring the best design and architecture. I designed the rithm already back in 1998, but not before I met the right people much later, this turned into a prototype. The rest is Davone history.

Some of the personal reactions on our speakers have been heart warming. So do not hesitate to contact me direct or via our facebook page, and share your thoughts or a picture of your room with one of our speakers. That is the true fuel for our business.
.............Paul Schenkel

Reviews

Testimonials

Reviews

There’s a lot to love about this speaker: Its small stature, unique styling, and the way its single driver presents an unusually transparent view of the music.
Steve Guttenburg

I smiled when I spotted the Davone Ray speakers at last year’s Rocky Mountain Audio Fest. On stands, the speakers didn’t come up to my waist, and their curvy styling, inspired by the iconic Charles Eames chair, stopped me in my tracks. Since the Danish-made Ray stands out in the overcrowded world of rectangular box speakers, I’m guessing non-audiophiles might be intrigued.

the Ray easily conveys the Dirty Dozen Brass Band’s meaty, big and bouncy rhythms. The swinging ensemble doesn’t have a bass player; instead, the sousaphone’s blatting bass lines provide the music’s pulse. Lesser speakers gloss over such contributions, but the Ray never misses the beat.

L ooking at speakers at high-end audio shows often gives one the impression that audiophile speakers are designed to exclusively appeal to audiophiles. I’m a cardcarrying audiophile, so sure, I think 73-inch tall, 600+-pound Wilson Alexandria X2 Series 2 speakers in “Fly Yellow” are drop-dead gorgeous. But the average dentist, business executive, or banker would probably think they’re monstrosities. Meaning that, even if they could afford to buy a pair, they wouldn’t consider living with them. Few “civilians” subscribe to high-end speakerdom’s form follows - function aesthetic.
 
Which is why I smiled when I spotted the Davone Ray speakers at last year’s Rocky Mountain Audio Fest. On stands, the speakers didn’t come up to my waist, and their curvy styling, inspired by the iconic Charles Eames chair, stopped me in my tracks. Since the Danish-made Ray stands out in the overcrowded world of rectangular box speakers, I’m guessing non-audiophiles might be intrigued.
 
Moreover, the sound did not disappoint.
 
MA Recordings’ Todd Garfinkel used a pair to demo his music, and I was totally smitten. The Rays projected a deep and wide soundstage, and the bass was more potent than I’d have expected from such a modestly sized speaker. I returned to listen again and again, so I was curious about how the sound would hold up at home.
 
Unique Design
 
Coming in at just 28.5" high mounted on its stand, the Ray is small in stature. Granted, its modern styling won’t be a great fit with all decors, but its spouse-acceptance factor should be well above that of most full-range audiophile speakers.
 
The Ray sports a black cloth grille mounted on a plywood frame — something you won’t find on many speakers. Remove the grille, and you’ll see the front baffle is covered with nicely finished real black leather (the rear panel is leather-clad, too). I asked company founder and aeronautical engineer Paul Schenkel about why he opted for genuine leather. He said he prefers natural materials — not for sonic reasons, but for the quality they impart.
 
The Ray boasts just one (coaxial) driver, and it’s unique to this design.
 
The driver incorporates a 1" Illuminator silk-dome tweeter that sits in the center of an 8" Volt woofer. No wonder the Ray produces a more coherent soundstage than speakers with a row of drivers arrayed over their front baffles. I’m sure other high-end speakers utilize a single coaxial driver, but the only one that immediately comes to mind is the Thiel SCS4. I remember being knocked out by the SCS4’s precise imaging, but the Ray is a more full-range design. 
 
The powdercoat-blackfinished solid-steel stands are also works of art. 
 
Their curves perfectly complement the speakers, and while I first thought the stands looked too spindly to securely support the Davone, there’s almost no give when I nudge the speaker with my finger.
 
The Ray’s curved, walnut-veneered, sixteenply beechwood cabinet is fitted with mediumdensity fiberboard front and rear baffles. Impedance is listed at 7.5 ohms, yet it gets down to 4.1 ohms at 20kHz. A Cardas speaker-wire clamp accepts spades, bare wire, and, in a pinch, banana plugs. The backside also sports a large bass port, so don’t even think of placing the Ray near a wall. This speaker needs room to breathe.
 
The Joys of Cooking
 
The Ray’s even-tempered balance is its prime virtue, but its big-as-life imaging is what kept me grabbing records. Older 1960s recordings, like the live Modern Jazz Quartet works with Jimmy Giuffre, sound wide-open. There’s a lot of “leakage” between mics on these albums, so when you play speakers as time-coherent as the Rays, you feel like you’re in a huge sound space. The solidity/presence of Guiffre’s clarinet, as well as that of the drums, bass, and piano, is nothing less than thrilling. 
 
The Rays more completely conjure the recording venue—not so much in the look-at-me, highresolution sense—but in a manner that relates to the soul of the music and how live instruments actually sound.
 
These characteristics account for why the Ray’s midrange glories don’t require agonizing analysis. “Homeless,” from Paul Simon’s Graceland CD, elicits goosebumps. The track is almost a capella, with Ladysmith Black Mambazo’s vocals recorded at Abbey Road Studios. The voices sound strikingly human, an increasing rare quality on contemporary recordings. And on Simon’s “My Little Town,” from Still Crazy After All These Years, I hear aspects of the mix I’ve never noticed before. Consider the opening solo piano, occupying an actual acoustic space. As acoustic guitar, horns, bass, and drums enter, the tune starts to sound like a standard 1970s multitrack pop recording. Listening over the Rays, you genuinely hear the mix evolve.
 
By contrast, Leonard Cohen’s Live Songs is a sparsely populated, purely acoustic affair. And Cohen is right there, between the Rays, as live as can be. This illusion is what high-end audio is about. It’s supposed to generate these epiphanies. Satisfied the Rays can sound sweet, I pulled out the Black Keys’ Attack & Release CD to indulge my blues-rock fantasies. No worries—the Rays can boogie when the urge strikes. But if you live on a steady diet of high-decibel tunes, the speaker will not provide the necessary impact—certainly not like the kind you get from a pair of heavyweight towers. That said, the Ray easily conveys the Dirty Dozen Brass Band’s meaty, big and bouncy rhythms. The swinging ensemble doesn’t have a bass player; instead, the sousaphone’s blatting bass lines provide the music’s pulse. Lesser speakers gloss over such contributions, but the Ray never misses the beat. Indeed, the Dirty Dozen Brass Band’s Mardi Gras in Montreux LP could have been called The Joy of Cooking, New Orleans Style. There’s no Pro Tools messing with the sound, so the music speaks for itself.
 
Truly Original
 
Listening over the long term, the Rays constantly surprise me, with every record sounding different from the last—always a good sign. All LPs and CDs are recorded under wildly different circumstances, and the Ray made these facts abundantly clear.
 
There’s a lot to love about this speaker: Its small stature, unique styling, and the way its single driver presents an unusually transparent view of the music. I just wish more speaker companies were coming up with such truly original designs.

...........Steve Guttenburg

the sound is distinctive enough to knock out anyone who comes within spitting distance. Yes, it’s that good!
Steve Guttenberg

The Davone Mojo is exactly the sort of speaker the high-end industry needs to make more of—and stat. It’s small enough to appeal to non-audiophiles, and Audiphiles alike.....

Davone Audio Mojo Loudspeaker - Major Moxie

Let’s face it: The big problem with most small speakers is that they sound small, unless they happen to be Davone Audio Mojos. How compact are they? Just twelve inches tall, yet the Mojos have a habit of repeatedly defying expectations. They project a soundstage nearly as big and spacious as that produced by my six-foot-tall Magnepan 3.7 panels.
 
For this, we can thank Davone’s founder and former aeronautical engineer, Paul Schenkel. He’d been sending his US importer, Chris Sommovigo, a series of drawings for a proposed small-box monitor. But Sommovigo suggested something entirely different—a truncated cone speaker. Schenkel then experimented, revised, and ultimately hatched this nifty little omnidirectional speaker.
 
Mojos come sheathed in black, white, blue, green, or brown cloth, and a solid-wood dispersion cone sits directly over the up-firing 3" “fullrange” driver (the cones are available in walnut, cherry, or maple). The 3" driver allegedly provides response out to 20kHz, so there is no crossover to a tweeter—or any sort of tweeter, for that matter. The speaker’s
entire output is omnidirectional, something that isn’t even the case with most so-called omnis.
 
The Mojo has three rubber feet. There’s a small bass port on its bottom, next to the binding posts and 5.25" woofer. The connectors’ awkward placement doesn’t leave room for thick audiophile cables or banana plugs, so skinny, flexible wires are
mandatory. No, the Mojo is not all that efficient. But the 50 watts per channel supplied by Wadia’s 151 PowerDAC desktop amp (also consider the excellent Bel Canto C5i / C7R All-In-One units too) gets the job done.
 
Setup is super-easy, and since the Mojo is an omnidirectional speaker, “toe-in” isn’t required. However, I recommend keeping the top of the speakers near the height of a seated listener’s ears. Speaker stands aren’t the best way to go. The Mojo wants to be on something with a bigger base. I used a pair of kitchen stools.
 
In truth, the speakers will be equally happy resting on a desktop, credenza, dresser, or end table(s). Placement options are lifestyle-oriented, but moving the speakers out into the room opens up the sound, especially compared with near-wall placement results.
 
Bass? This isn’t the ideal speaker for dubstep, but the 5.25" woofer is smooth down to the high 50Hz range, and rolls off
below that. I never lamented not pairing a sub with the Mojos, but adding one will only help. Upper treble is shelved down,
so the Mojo lacks the clarity of, say, a Magnepan 1.7 panel speaker.
 
When contrasted with that belonging to direct-radiating box speakers, the Mojos’ omnidirectional dispersion can sound recessed. On many (but not all) recordings, the soundstage is set back behind the plane of the speakers. Sure, you might assume that an omnidirectional speaker creates a diffuse sound cloud. But play a mono recording, and the Mojos develop a fairly tightly focused center image. With well-recorded stereo tunes, you might feel like the Mojos liberate the soundstage, especially when compared with most box speakers.
 
The Mojos put you inside the recording venue. 
 
Take Janis Joplin’s recently released Live at the Carousel Ballroom 1968 CD. It may have an amateurish stereo mix, but even so, the Mojos cut loose the hippieinfused, psychedelic blues-rock in all its glory. The MTV Unplugged Collection disc is even better, with the Paul Simon, Rod Stewart, and Paul McCartney tracks eerily realistic.
 
The Davone Mojo is exactly the sort of speaker the high-end industry needs to make more of—and stat. It’s small enough to appeal to non-audiophiles, and the sound is distinctive enough to knock out anyone who comes within spitting distance. Yes, it’s that good!
The Neoteric Listener - Let's give a hand for the Mojos, everybody!

These omindirectional design loudspeakers look like they should be ensconced on the taupe credenza in some ad from Architectural Digest , and, truth be told, the Mojos are somewhat of a lifestyle choice. But it's a lifestyle for audiophiles hip enough to dig the sound radiating from the chic exterior of these Danish standmounts. The Davone Mojos love to fill any small to medium sized room with sound that is open and engaging. They may not have the hyper-accuracy of a traditional monitor nor the low frequency oomph of their floorstander competitors, but the Mojos trump them both by enticing you to toss aside the audio clipboard and revel in the music permeating throughout the room. An innovative product for listeners who value both style and substance

Now appearing in your listening room, straight from their whirlwind west coast tour, the brand new, omnidirectional Davone Mojos! 
 
Who doesn't have a summer memory of the coolest person ever showing up out of nowhere, dazzling the neighborhood with personality and style... and then leaving? I grew up on the edge of a public park where the influx of visitors each June deposited all manner of characters and once-in-a-lifetime personages: The the teenage runaway who could sing any song note perfect––when he wasn't stealing Coors six packs from the local liquor store. The Italian tennis player who bragged about his yacht in the harbor, only to bolt (to his native Iran, it turns out, and nary a boat to be found) after an ugly scene with somebody's angry husband. The studio musician who really did tour with Elton John and Alice Cooper, when he wasn't reading books about particle physics (he told me that neutrinos were the name of a breakfast cereal). Of course, most of time, it was just the usual crew, staring at the same faces we'd known for a billion years and counting down the days until we had to go back and serve out our scholastic sentence. But every now and then, something or someone extraordinary would appear, and for that brief period... well, there's just nothing better than unlooked for summer encounters. This summer, in fact, has been blessed by my fortunate acquaintance with the Davone Mojos Compact Monitor Loudspeakers.
 
For those not familiar with Davone of Denmark, they describe themselves as makers of "gorgeous objects that happen to be High-End loudspeakers." Hard to argue the gorgeous part, as the stunning moulded wood paneling and cabinetry of their Rithm and Ray loudspeaker models exemplify some of the finest modern aesthetic you're likely to find in audio. The Mojos continue this design expertise by sporting a uniquely truncated cone fabric covered base that is topped by a smaller inverse wooden cone to produce something that reminds me of a brown fez (because I'm weird) but I suspect most people will judge them to be wonderfully quirky and stylish. Both cones come in a goodly number of fabrics and woods, respectively, which is mighty convenient when you consider that these speakers would work equally well placed on a pair of dedicated stands or on a pair of end tables at both ends of the divan.
 
Hooked up to either a Peachtree iNova integrated or to the Sophia Electric integrated recently reviewed in this column, the Mojos add a little Danish class to our tattered beach shack. It would have been better had the 10' by 11' listening room been at least a third bigger, of course, but I made due fairly well. I simply pulled my TV. trays (bona fide audiophile models, treated with Tallahassee pill bug oil guaranteed to reduce vibration down to the Higgs boson level) and placed them well into the room. The secret to the Mojos omnidirectional sound is a five and a quarter inch woofer (bass reflex system) engineered with a 2.5" wideband driver operating from below 200Hz to 20kHz to produce a 360 degree sound radius throughout the listening area. It should be noted that those not familiar with this design may need some time getting accustomed to a speaker that largely avoids the boxiness of traditional standmounts. It's kind of like the difference between sitting in front of a cozy fireplace or sitting around a cheery campfire: one's comfortably and predictably controlled while the other's thrillingly alive. I should also point out that, at 4 ohm and 86 dB sensitivity, the omnidirectional Mojos prefer amps that have a fair amount of watts to spare, so little engines that could, shouldn't. In any event, I immediately appreciated what the Mojos do with recorded music.
 
The Mojos deliver a ridiculously palpable soundstage-in-the round that present music with startling presence. To illustrate, at the 2:10 mark in "Dub Revolution, Pt. 1" by Lee "Scratch" Perry and the Upsetters, the song's vocals (previously mixed well in the rear of the soundstage) are suddenly brought right to the front. When I first heard this shift via the Mojos, I literally blinked because the singers seemed so close to me. What's more, the soundstage stays fairly constant whether you're standing or sitting, moving side to side, or listening before or behind. Naturally, I preferred sitting in the usual center position, but it was nice not having to drag around the listening chair to chase after some elusive sweet spot. Much of my listening was done utilizing my Macbook Pro and, alternately, the CEntrance DACmini PX DAC or Audioengine D2 DAC. Lately, I've been playing the hell out of the wonderful MA Recordings Hi Resolution WAV file DVD-ROM Sampler for computer audio and High Resolution Audio playback (given to me by the personable Todd Garfinkle of MA Recordings when I picked up the Mojos, although I confess, I already had a copy) "Gitana," is one of my favorite tracks from that sampler, and features Silvia Perez Cruz's shimmering Flamenco inspired vocal and Ravid Goldschmidt's masterful hang drum (kind of like a low octave steel drum) accompaniment. The combination of human voice and ringing drum as they hover and fall in the acoustic space truly shows what the Mojos offer that other speakers cannot. The Mojos may not have the pinpoint accuracy and resolution of some traditional speakers at this price point, but neither can the latter produce the intoxicating feeling of being in a Brazilian lounge, listening to the sumptuous reverb guitar and woodblock combination weaving throughout Cibelle's masterful "Luisa."
 
Most recordings with any kind of space (real or engineered) will benefit from the Mojos' qualities, even a modern radio darling like Maroon 5's "One More Night." Of course, this dance club single can only get so bumpin' with a 5" woofer, but the Mojos give you way more low bass than you'd expect. Spinning the uptempo rocker, "Static" by the Bouncing Souls, it was clear that blazing drum fills, yowling rectifier amps, and full tonsil rock vocals are well within the Mojos' provenance. I don't know how hard it is to blow these things up, as I didn't try, but they were loud enough for my purposes. Just don't try to blast their reflector through the ceiling by cranking your Rise Against album, and you'll be all right. Besides, I don't think anyone will buy these speakers to slam hardcore in their homemade mosh pit, at least, I hope not, because the Mojos are epitome of taste and refinement. They really shine on a track like world music musicians Fiamma Fumana's "Bella Ciao." Although this song suffers from a ham-handed mix, the performances are so strong that it's entertaining to enjoy the Mojos' prowess as the song unfolds in all its jumbled glory. The unifying synthesizer drone permeates the soundfield at varying locations, while a series of vocal performances (some solo, some in ensemble) emerge in the foreground. When the somber bagpipe solo ends (quickly followed by a powerful choral lament), the beautiful lead vocal that terminates the song stands just as dead center in the listening space as it must have done in the "engineer's" headphones. It's an effect, but a fortuitously lovely one. Only the unique properties of the Mojos enable this song to be heard in such an advantageous manner, and how many other omnidirectional speakers can you name that are affordable and sound this nice? Me neither.
 
I could say more, but the Mojos have already left me and gone to a trade show to dazzle other listeners. I wish they could have stayed all summer, but how could I begrudge such an enjoyable time of listening? Right now, the Mojos are probably creating new admirers, especially those who are looking for something novel to replace the same old standmounts they've been listening to for...well, maybe not a billion years, but pretty long. It's easy to understand why Davone is so proud of this newest addition to their product line, and why the Mojos are such an exciting summer find. Highly recommended.
CES 2014 SHOW REPORT: LOUDSPEAKERS $15-$25K - show report - DAVONE GRANDE: EURO-CHIC MEETS DIVINE MUSIC:
Spencer Holbert

"Another room that just blew me away was the Davone / Rogers  tubd (try VAC or AYON as alternative) setup, which was an all-tube / analog system....  

The Davone Grande (US$19,800/pr excl sales tax) is not really a floorstander, and definitely not a bookshelf; whatever you call it, it’s beautiful, and the sound is intoxicating.  

When we played the aforementioned 45rpm test pressing of Midnight Blue, the raucous chatter immediately ceased; after side one had finished, the room was stunned.

Yes, the speakers are that good: lush, full soundstage; deep, tight bass (27Hz); crystal clear highs; and a rightness that shined on every track we played. SiIMPLY AMAZING .......reviews are definitely in order"
.......Spencer Holbert - Jan 22nd, 2014

This could be the one: Davone Grande speaker
Steve Guttenberg @ AudiophiliacMan
Denmark may be a small European country, but it makes a lot of spectacular high-end speakers, like the Davone Grande.

I remember hearing the first Davone speaker , the Rithm, at a hi-fi show in 2008. The small, 31-inch tall floor standing speaker looked and sounded like nothing else. I've heard hundreds of speakers since then, but the Rithm stands out from the pack.

The Davone models that followed -- the Ray , the Mojo, and now the Grande -- are all unique, and they're all bona fide audiophile masterpieces. The company steers clear of boring, flat-sided boxes. With Davone, it's all about the curves.

So when the Grande arrived at Davone's New York City dealer, In Living Stereo, I just had to check it out. The Grande is a somewhat more conventional looking design, but only relative to other Davone speakers.

I started listening to the Grandes with Pink Floyd's "Obscured By Clouds" LP, and the first thing I noticed was how much bass these relatively small speakers can generate. The soundstage was gigantic, and as I listened I couldn't stop thinking that Thom Yorke of Radiohead must be into pre-"Dark Side of the Moon" 'Floyd. The first two tracks of this LP have a strong Radiohead flavor, but "Obscured" was recorded in 1972!

I next played jazz pianist Bill Evans' live album, "Waltz for Debbie," which I've listened to on countless systems. With my eyes closed, the Grandes all but disappeared. The piano, bass, drums, and the atmosphere of the club materialized in the store's sound room. I could hear the three players working off each other's moves, just as I would at a real jazz concert.

The Rolling Stones' "Let It Bleed" LP elevated the energy level, and I listened louder than I normally would, but the Grandes seemed to encourage that sort of intensity. Again, I know this record really well, but the Grandes' scale was indeed grand; instruments appeared life-size, both on the album's acoustic and electric cuts.

As high-end speakers go, the Grande isn't all that big -- it's just under 3 feet tall and weighs 105 pounds. It will sound fine in average-size living rooms; I like that you don't need a huge room to unlock its full potential. The complex cabinet panels are constructed from 16 layers of curved beech wood veneered in walnut, and the central part of the front baffle is covered in real leather. The speaker is hand-crafted in Denmark, and has a 10-inch aluminum woofer, a 6.5-inch Egyptian Papyrus midrange driver, and a 1-inch dome tweeter.

The Grandes' NZ retail price is NZ$28,500/pr. That's expensive, but on the low end for exotic high-end speakers.

Testimonials

....very happy customer

Hi Terry,
Just to say, the Davone Mojo speakers (and dac-amp), have arrived and sound spectacularly much better than what I'm used to - music like it's being played on real instruments.....very happy customer.

Best wishes,
Ben