Djescribing and Djudging
The Django XLtweeter is one of the finer ones Iheard.
It sounded far more extended and airy than the tweeter in my Revel Pcrfomia F30s ($3500/pair when last available), and exliibited all the signs of being wide in dispersion and low in distortion, grain, and hardness.
With naturally recorded music, the Djangos presented one of the most revealing, open, and uncolored trebles especially with the Audio Research Refl50 in the mix.
When I listened to Trio Me-diaevalFolk Songs (CD, ECM New Series 2003), each of the singers’sibilants and upper formants were in perfect balance with the core of her tone.
The Djangos presented the music with an extra amount of air around each voice, as well as rendering the full sliimmer of the surrounding acoustic.
Sibilants lacked any hint of the grain or hardness that many tweeters add, wliile still presenting an honest window on the recorded event On Femdotf, Hausclikaprepared piano tinkled all over the stereo soundficld with frightening immediacy and extension (CD, Fat Cat CD1308). I wouldnbe surprised if JAmeasurements reveal that the Djangotweeter is dialed in a bit hot However, the tweeterlack of grain and hardness, coupled with the rest ot the speakerneutral voicing, never made the Django sound bright or fatiguing.
On a recent guest-conducting trip to Vancouver, British Columbia, my wife and I rented a car and spent most of our days driving around that incredible city. I hadnbrought any CDs along, so we listened to the radio and quickly fell under the spell of That I Used to Know,”from GotycMaking Mirrors (CD, Samples ’Seconds BOO16449) —a song whose content, performance, and production made me believe in pop music again. Of course, when I got home I bought the CD and listened to it on the big rig through the Django XLs. Most pop music isnrecorded very well; usually, too much compression ruins any real chance of its sounding great through a revealing hi-fi. Gotyesong sounds better than most, but the telltale sound of compression and slightly hashy treble arc still vaguely present. But through the Djangos, overcompressed, grainy, aggressive-sounding recordings were far more listenable than through any other speaker Ilived with.
Javelinsuperfiin No Mas (CD, Luaka Bop 8089 90074 2) ranges from 8-bit pop to layered sampling to cinematic moodiness. Through the Djangos I couldnget enough of this record, which I normally play only in the car because of its lack of an audiophile pedigree. I believe that the combo of the Bel Canto DAC 3.5 VB D/A audio converter, Audio Research Refl50, Sain Line Systems cables, and Marten Django XLs was so free of grain, hash, and hardness that recordings such as No Mas didn make me cringe, as I usually do when listening to badly recorded music on a good system. Ita rare thing to hear treble this revealing and this forgiving.
The Djangomidrange was superb, marked by an openness, speed, and evenness rarely heard even in a $15,000/
pair speaker. In fact, the only other speaker that has offered my ears as open and neutral a midrange is the Revel Ultima Salon2 ($22,000/pair), which I find unparalleled in neutrality and coherence.