Do you know what lies behind the term »Futhark«? It’s the oldest runes series that comprises 24 symbols. Translated the fifth rune means »ride« oder »riding«. So whoever gives his brand the name »Raidho«, will thus certainly assume that these loudspeakers can safely gallop even through the densest of frequency structures. Which is only possbile in the premium sector, and this is exactly where the TD2.2 floorstanders are at home. From the 1.15 m (3 ft. 9 in.) high vertex down to the spike-loaded sole, these transducers are a model example of elegance. While the soundboard with its three drivers always comes in black, one can choose between black high-gloss and walnut finish for the body. Yet on request Raidho can offer way more versions. After all, the Danes are as autonomous in respect of their production as they can be.

Owing to its exquisite base design, the TD2.2 that tips the scales at 45 kilos (99.3 lbs) has a floating light appearance. On the ends of the outriggers we see height-adjustable spikes the precision of which also reveals the class we find ourselves in: luxury. Each driver is mounted on an extremely stiff aluminium frame which is fixed to the soundboard with four screws. Only the tweeter made of an aluminium-polyamide foil sits in a propriety chamber; the woofer and midrange chassis work on the two rear ports. While the lower 16.5-centimetre (6.5 in.) bass is faded out at 400 hertz, its midrange partner goes up to 2.4 kilohertz. Above the elaborately crafted ribbon tweeter takes over. Some impressions from the meticulous manufacturing process can be gathered in this »Behind the Scenes« report.

Raidho doesn’t buy any chassis from other suppliers. They are all produced at the Danish factory in Pandrup, about 20 kilometres (12 miles) northeast of Aalborg. This opens up a multitude of possibilities. On the one hand, computer-simulated drivers can be quickly converted into physical form; on the other hand, there is also the option to do experiments. The latter has brought success e.g. in the field of the drive magnets. These turned out to be significantly stronger than normal. The reason given by the developers is that they now have an even more precise transient behaviour and, above all, a once again lower distortion spectrum. The same is true for the titanium voice coils the electrotechnically induced braking effect of which in the air gap is smaller than is the case with pure copper windings. The core material of the cone is made from aluminium because it’s a light and rigid stuff. But this metal also carries an intrinsic sound which the designers tackle by a high level of constructive effort. At first a thin layer of tantalum is applied to both the front and rear side. This material is extremely hard and provides additional stiffness; what follows is a razor-thin diamond coating. This five-layer diaphragm is ultra light and extremely stiff, plus it’s supposed to colorate less. However, what makes Raidho special to me, beside the obvious effort, is the expensive material usage even in places that we will not see as customers, but can hear indeed: the TD2.2 is equipped with an internal wiring from US specialist Nordost. Such an example is welcome to become the norm.

One will, of course, now wonder how a small, fine high-end manufacture can operate with such great effort. The secret is soon disclosed: Raidho belongs to the Dantax group. Under their roof also the less expensive ScansonicHD speakers are produced. Hence the efforts made are resting on more than one pair of shoulders. Speaking of shoulders, Production Manager Freddy Andersen has set up a highly competent team in terms of craftsmanship where everybody agrees hundred per cent on one thing: perfection. And this can be felt throughout the factory, from the application of super thin glue lines to the setting of the screws. During the production of »musical instruments« nobody will allow themselves to make a mistake.

A feel-good ambience

The sound quality of a loudspeaker stands or falls with its placement, and with Raidho some advice should indeed be observed. For instance, the extended axis of the ribbon should pass a fair way past the head. That’s the springboard suggested in the descriptive manual, and we can definitely confirm it. Here one needs to spend time, because only then the sweetspot can be located where the TD2.2 seemingly loses all spatial limitations. For the excellent imaging of the stage width is also complemented then by the proportionally fitting depth into the room, and I am sure that only very few have heard that in this quality so far. Precision in craftsmanship pays off with these sound transducers; this goes even so far that they can showcase marked acoustic differences between various mains supplies.

The same holds true for the electronics. Such a pair of TD2.2 can already deliver a decent performance on a Canor AI 2.10, but when fired by the Luxman pre-/power amp C-900u and M-900u vertiginous heights are within reach with almost impudent ease. Regarding other parameters, e.g. the choice of the speaker cable, one has pretty much free rein, for the Raidho shows a tendency towards horizontal sound differences. What does that mean? In a direct comparison there will be not necessarily a winner; it’s rather a matter of taste. Thus the Nordost wiring delivers a sound marked by great palpability and clarity, and with the HMS Suprema connections the timbres show a gain in intensity. So at this point one can experiment with enthusiasm, and this with the comforting certainty that you can’t do anything wrong.