Also, the grilles are cut so as to add a gas-flowed extension to the ports, albeit as deep as the thin slice of MDF used. Whether this adds to the effect of the port I couldn't guess, but I do know that using MDF – instead of taking the costly step to tool up for a single injection-moulded plastic frame to put the grille cloth over like everyone else – is a bit poor.

The grilles are easier to break than eggs, and after one hi-fi show and one careful photography shoot, I still got two broken ones delivered. They were snapped at an obvious weak point at the edges by the biggest round holes.

Also, while I'm dishing it out, I'll mention that I hated the ugly big Eelon clips used to hold them on. They help to explain why the grilles are so thick. Remove them and the Eelon bases look huge. Rather sad when compared to the absolutely class-leading use of Neodymium magnet-adhered side cheeks.

Monstrous mayhem

I have a new Harman Kardon DC 250 multi-format deck with upscaled output via HDMI – which was excuse enough for me to revisit Pixar's Monsters, Inc and its glorious visuals and surround sound.

The first thing my ears noticed was the DLS's efficiency – or rather lack of it. The normal serious testing level on the system I have is fifty out of a possible seventy notches in the display. To get the same decent level with these, I had to crank it to 58. And at that point I could perceive the noise floor. The resolution and power remain but dynamics are a little truncated at this level.

On the other hand, the sound was astonishing for the size of the speakers. The tweeters are what really make it happen and the detail is tremendous. I heard background diners for the first time ever in Harryhausen's sushi bar (24m 25s). Imaging and placement was excellent. This DLS system worked as well as speakers with five times the cubic space. There's nary a hint that the drivers are so small.

Even the sequence where the little girl blows up most of the electrics in the city of Monstropolis, with what I can only describe as, erm, a great big fizzing zoomy throb (29mins 29secs) is handled with aplomb.

This is a truly dynamic effect and the D3 speakers didn't turn a hair. All except for the subwoofer, that is. It had to be set so low and gently that it really wasn't providing a service much of the time, or would otherwise overdrive.

That said, the 'booooom'! that you hear as the secret tunnel closes at 48m 44s is surprising in its lowness and scale, so the DLS system isn't ineffective. It just needs a bigger sub.

Ups and downs

I have mixed feelings about this DLS array. Looks-wise, I think the D3 towers are gorgeous and I love those cheeky bits, but would like to see bushings and brackets for the little DCS3 centre/rears and magnet-fixed skinny grilles rather than MDF and Eelons on the front.

In performance terms, the soundstage created is massive for the size of the cabinets and the tweeters deliver excellent detail, but the subwoofer feels out of place. My advice is to track down a set for an audition and see if it meets your specific aural requirements.