Regis
05-05-2005, 12:48 PM
Is the excellent separation and detail a function of the components, the crossovers or both? Is it a function of design as well? Case in point; I hadn't heard the L-110's for many months and brought them downstairs for a test listen. These are such great little speakers and I wonder how they'd stack up against the L-96 (which I've always wanted to hear...) but sitting there, I loved how beatifully they separated the various instruments and the nice detail to them. Time to pack up and go spend a night at the ex's, so I can go visit my dogs. She wasn't home, so I cranked up the 4628 Cabaret's and feed the CD player a few CD's. I couldn't help but notice that while the volume output was certainly powerful, they lacked the clear separation of differing instruments that you'd expect from a home speaker. It was almost like listening to music out of a 4 foot diameter concrete tunnel, as it was pretty much blended together. The drums lacked the crisp percussive, the cymbals while noticable, certainly didn't sparkle in the foreground like the home speakers.
I gave it some more thought today. Is it possible that the 4628 being a 'keyboard reinforcement' speaker is set up specifically to smoothly produce an organ or synthesiser output to an audience? Did the JBL engineers desire that 'blended' sound out of all three transducers so that a keyboard piece travelling across the sonic range had no separation? Thus my question as I'm admittedly somewhat ignorant in this area and I'd certainly like to know.
I gave it some more thought today. Is it possible that the 4628 being a 'keyboard reinforcement' speaker is set up specifically to smoothly produce an organ or synthesiser output to an audience? Did the JBL engineers desire that 'blended' sound out of all three transducers so that a keyboard piece travelling across the sonic range had no separation? Thus my question as I'm admittedly somewhat ignorant in this area and I'd certainly like to know.