I spent the weekend comparing the DCM CX-27 to the Time Frame TF-400/600 to the Time Window Surround Scape to the TF-2000. For the TF400/600 pair, I used the TF-600 for my left speaker and TF-400 for the right (I only have one of each, well had one of each).
CX-27 is a bookshelf speaker with two rear ports, CX-27 35Hz-20kHz
TF-400/600 are floor standing speakers with one rear port, in the Time Frame family, TF-400 40Hz-20kHz 38x15x8,
TF-600 30Hz-20kHz 41x17x9
Time Window Surround Scape is a floor standing speaker with one rear port, in the Time Window family, TWSS 41x16x12 35Hz- 20kHz
TF-2000 is a floor standing speaker with two front ports, in the Time Frame family. TF-2000 36Hz-18kHz + 2 db, 60x32x11
My receiver is a Sony STR-DA4ES.
My room is 17 X 30 and my chair is 20 feet from the speakers; 17 ft from the front wall.
The CX-27, TF-400, TF-600 and Surround Scape all share the same 3/4 in. tweeter and two 6.5 inch woofers. At the same power level, the CX-27, TF-400 and TF-600 produce almost the same volume, where the Surround Scape drops by about 3db. The Surround Scapes were played as stereo pairs and not in surround mode. The TF-2000 predates the others and use completely different drivers. The TF-2000 takes more power than the CX-27, TF-400 and TF-600, about 5db lower at same power setting.
Listening to Lady Gaga is about the same on all of these speakers; favor goes to the CX-27 for its deep close to the floor pounding bass.
My critical listening was using Dire Straits music: Your Latest Trick (for the trumpet and saxophone solos), Brother in Arms (Thunder), and Money for Nothing (electro-drums and guitar amp). Analog pass-through, no signal processing was used. I didn't experiment with speaker placement. This is my impression using my 51 year old ears:
Comparing CX-27, TF-400/600, and Surround Scape:
In general, the CX-27 sound extremely close to the TF-400/600 and Surround Scape. The attack of drum rim taps and cymbals are the same; very tight and crisp. The CX-27 produces more bass than the TF-400/600, maybe because the ports are closer to the floor. Surround Scapes produce the most bass due to their much larger cabinets, but the bass of the CX-27 can be exaggerated when placed on the floor, which can be great for home theater and dance music. I don't feel the need for a subwoofer for music on any of the speakers. Midrange and highs are essentially the same. The CX-27 produces a dryer sound, that is, less ambiance, more like a studio monitor, more like a small stage with foam on the walls. Front to back imaging is more flat. The soundstage is more constrained to between the speakers with less spaciousness outside the width of the speakers. Trumpet and sax sound really nice and intimate on all three speaker pairs. The Surround Scape produces the widest and deepest sound stage, with the TF-400/600 somewhere in between.
I favor the TF-400/600 over the CX-27 for the more spacious sound; wider and deeper sound stage. The TF-400/600 also seem to isolate the instruments better (the drums to the left, Mark Knopfler a little to the right of center and the guitar to the right. The CX-27's place more sound in the middle. The TF-400/600 and the Surround Scape are extremely close in sound qualities and if you didn't have them side by side you would be very happy with either. The Surround Scape has the potential of producing the widest sound stage if your room has smooth side walls to reflect the sound. They sound more like CX-27's if you have no side walls. Being taller than the TF-400/600, the height of the sound is larger with the Surround Scape.
On Your Latest Trick, the TF-400/600 provides vocals that remind me of being in a front row table at a small jazz club. If small intimate jazz clubs are your thing, these are your speakers. Same would go for acoustic music. The thunder of Brother in Arms is spacious if cranked up. I really like these speakers.
The TF-400/600 and the TF-2000:
Although they have very different speaker drivers, their mid and high frequency range are very close. The TF-2000 takes more power to get the same bass output as the TF-400/600, and they take more power period. The electric drums on Money for Nothing are stunning on the TF-400/600, greater impact and in your face than with the TF-2000. To get the same effect on the TF-2000 I have to really crank up the volume which makes the highs too loud. The spaciousness of the TF-2000 is nothing less than stunning; makes the TF-400/600 sound like studio monitors which they are not. The TF-2000 sound stage is extremely wide, way beyond the sides of the speakers, extremely tall, floor to ceiling, and extremely deep, from inside your head to 20 feet behind the speakers. It is as if my 17x9 foot front wall was one huge sound source. This spaciousness might be too exaggerated on some vocals, where on Your Latest Trick, the vocals are across the sound stage and very close rather than 20 feet back on stage right of center like with the TF-400/600. Interestingly, the instruments are extremely well defined, but the vocals are too spread out on this song. The TF-2000 sounds more like you are in the band instead of in the audience, at least on this song. For this song, I prefer the TF-400/600. The TF-2000 produces a wall of sound where the speakers completely disappear, where the TF-400/600 produces more of a portal of sound between and just beyond the speakers. The guitar sounds really good on the TF-400/600 but, if you had ever been in a band with the guitar amp right next to you (as I had), you would find the TF-2000 sounds just like you are standing next to the amp. It is like the difference between listening to a guitar amp and listening to a recording of a guitar amp. It is simply stunning and realistic on the TF-2000; the TF-2000 turns into a guitar amp. The drum kit in Your Latest Trick (to the left of stage center) sounds uncannily 3 dimensional like you are standing to the right center of the kit and you can tell where each of the drums and cymbals are in 3-D space. Not kiddin'. Now I realize why these were $2000 in 1987.
The thunder in Brother in Arms is in front of you, behind you, and inside of you with the TF-2000. In general the TF-2000 produces more ambiance than all the other speakers, more like you are in a very large room with reflective surfaces. Steve Eberbach once told me that the TF-2000 (no coaxial drivers) will be more sensitive to room acoustics as compared with the TF-400/600 with their coaxial drivers.
I like deep loud bass, so adding my two vintage HRSW10 Hsu sonotube subs with 10 inch woofers gives me back all the electro-drum punch that I need without tweeking the TF-2000. I am jealous of Jamie, though, with his SVS subs that I want for home theater to produce some very loud 15 Hz concussions, which my Hsu's can bottom out on.
I hope you find this info interesting. I would like to hear your comparisons.