A calm sea, distant sounds of birds, a gentle breeze as the soft waves hit your feet on the sand... You hear your breath, feel the beats of your heart, while someone caresses your back. The world keeps sounding in every known way, through your ear, your skin, your bones, ..., silence absolutely does not exist, and with the Jazz II series, you will hear it all!! And up close.
Since the launch of the Jazz series, 4 years have passed, a necessary time for the study and development of a new evolution (or revolution) that is now finally at your disposal. We had DUALBOX, an exceptional acoustic enclosure design due to its mechanical capabilities, Accuton drivers with superior electromechanical parameters, so how to improve the existing to a new standard? There remained the unmentioned element: the crossover filter.
And we got to work on it, first doing simulations, then auditions, and more simulations. And along the way, the key appeared: the response had to be ultra-flat in combination with precise transition points between drivers, all with minimal use of components. That could only be done with software that had the precise parameters of the different elements that make up the speaker. In the end, the listener could only confirm the advancements; the Golden Ear was not an option.
The results on paper were promising, a significant increase in the speaker's sensitivity, in line with what we were initially looking for: absolute definition, where everything in the recording had to flourish.
The days of the final assembly arrived, the first to be modified was the Jazz, and we began taking impedance and frequency response measurements; everything was in its place, the response was linear (around ±1dB), and the impedance curve of the set matched the simulation. That day was historic, and a few tears were shed while listening to baroque music and solo piano, a lot of solo piano. At that moment, Jazz II (as we called it during the excitement of the auditions) was already surpassing its older brother, Big Jazz.
Honestly, it was a bit daunting to start working on the evolution of the Big, what if we don't get it right? If we ultimately didn't succeed with the challenge, it would be a failure. Naturally, this did not happen; the Big Jazz II rose to the occasion and set the bar at the highest level of all our designs to date.
But something was different; while Jazz II still had the same character with much greater clarity and sensitivity, Big Jazz II was something else, something we personally had not perceived before. Before your eyes, an ethereal atmosphere enveloped the room, with the tiniest details coming to the forefront, regardless of the type of recording and quality being played. That sound hurt, excited, thrilled, and at other times relaxed, everything in its place.
A new way to enjoy music had been born; at the moment of writing this review, "Dark Island" by Mike Oldfield is playing on the Big, and the mandolins seem to come from the sky, that sky over the blue sea full of sound, identified at the beginning of these lines. After 12 years of work in the development of Hi-End loudspeakers, the circle has finally closed with this Jazz II series.project.
