Hier habe ich noch einen englischen Test gefunden, der bedeutend besser ausfällt und der neuen Version den Vorzug gibt. Einmal eine Frage in die Runde: Welcher euch bekannte Lautsprecher soll denn bitte die 801 D4 schlagen können. Die Technologie, überhaupt die des neuen Mitteltöners, ist einfach großartig. Es ist und bleibt ein grandioser Lautsprecher.
The 800 D3 could often become a tad etched across the upper mids and into the highs when playing lesser quality productions and/or with upfront-sounding electronics. No more. The 801 D4s’ highs are agile, tonally correct, balanced and well-integrated but yet, they’re no shrinking violets. If, for example, exaggerated highs or excessive compression are there in the recording, 801 D4 will serve that without prejudice. So it’s totally evident – and understandable – why a renowned studio like Abbey Road would use these super-revealing speakers as a key part of its main monitoring system (I’m told it has recently received an 801 D4 shipment). These are revealing, tell-it-like-it-is speakers.
The bells, metallic props and percussive instruments on the intro and mid-section of “Nihavent” on Jöel Grare’s Paris, Istanbul, Shangai CD sounded so pure and authentic that it was almost in-room (I did try to avoid that cliché but alas). Guo Gan’s Chinese violin plucks and strokes sounded dynamic, with the proper attack and with a generous offering of bow and string detail.
Patricia Barber’s “Shall We Dance” from her latest Clique! album on Tidal has a nimble bass line which propels the soft easy-Jazz track along. You’ll want to finger-click à la Sinatra while you listen to this track via the 801 D4s. Ditto for the album starter “This Town” where both the acoustic bass and short drum solo punch hard with rhythmic excellence. Barber’s vocals are clear and beautifully-placed centre stage and slightly forward of the speaker plane. In fact, the 801 D4 addresses an opinion by many that the 800 D3 midrange was a tad dimensionally laid back when compared with the highs and lows. So now with the 801 D4 there’s an enhanced sense of overall coherence, a presentation which is noticeably more balanced and even-handed.
I loved the dynamic power across the entire bandwidth of these wonderful transducers. I found myself being constantly surprised (sometimes even jolted, actually) by bursts of snare whacks and tom poundings… the sort of stuff that is pure pleasure with rock, blues and jazz. I was startled a couple of times through the masterpiece that is The Doors’ “The End” (from the LP The Doors – The 50th Anniversary Deluxe Edition) where sporadic tom-tom hits towards the end of the track (as Jim Morrison’s alter-ego visits his family to commit dastardly deeds) jump forward with stunning force. It is literal dynamic evidence of the 801 D4s’ drivers having near-zero limitations other than those imposed by the mechanics of driver architecture (and the abilities of the driving amplification). Mind you, said architecture is at the cutting edge of driver design. The 800 D3 could often become a tad etched across the upper mids and into the highs when playing lesser quality productions and/or with upfront-sounding electronics. No more. The 801 D4s’ highs are agile, tonally correct, balanced and well-integrated but yet, they’re no shrinking violets. If, for example, exaggerated highs or excessive compression are there in the recording, 801 D4 will serve that without prejudice. So it’s totally evident – and understandable – why a renowned studio like Abbey Road would use these super-revealing speakers as a key part of its main monitoring system (I’m told it has recently received an 801 D4 shipment). These are revealing, tell-it-like-it-is speakers.
The bells, metallic props and percussive instruments on the intro and mid-section of “Nihavent” on Jöel Grare’s Paris, Istanbul, Shangai CD sounded so pure and authentic that it was almost in-room (I did try to avoid that cliché but alas). Guo Gan’s Chinese violin plucks and strokes sounded dynamic, with the proper attack and with a generous offering of bow and string detail.
Patricia Barber’s “Shall We Dance” from her latest Clique! album on Tidal has a nimble bass line which propels the soft easy-Jazz track along. You’ll want to finger-click à la Sinatra while you listen to this track via the 801 D4s. Ditto for the album starter “This Town” where both the acoustic bass and short drum solo punch hard with rhythmic excellence. Barber’s vocals are clear and beautifully-placed centre stage and slightly forward of the speaker plane. In fact, the 801 D4 addresses an opinion by many that the 800 D3 midrange was a tad dimensionally laid back when compared with the highs and lows. So now with the 801 D4 there’s an enhanced sense of overall coherence, a presentation which is noticeably more balanced and even-handed.
I loved the dynamic power across the entire bandwidth of these wonderful transducers. I found myself being constantly surprised (sometimes even jolted, actually) by bursts of snare whacks and tom poundings… the sort of stuff that is pure pleasure with rock, blues and jazz. I was startled a couple of times through the masterpiece that is The Doors’ “The End” (from the LP The Doors – The 50th Anniversary Deluxe Edition) where sporadic tom-tom hits towards the end of the track (as Jim Morrison’s alter-ego visits his family to commit dastardly deeds) jump forward with stunning force. It is literal dynamic evidence of the 801 D4s’ drivers having near-zero limitations other than those imposed by the mechanics of driver architecture (and the abilities of the driving amplification). Mind you, said architecture is at the cutting edge of driver design.
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