The JBL studio 4365 is a real hurricane. The clarity and dynamics of the sound quality is excellent. We have looked at more closely the Floorstanding speaker.
End of 2010 9900 had stereoplay with JBL K2 a speaker in the test (booklet 1/11, 64 points, 39 000 euro, sales: Sun audio), with which we were at first not really warm. He sounded at times very directly with the 15-inch bass and the great mid-range Horn at small and medium-sized levels slightly full in the bass and treble range. Actually, the thing was already ticked, but then we tried it with greater distance. That was much better.
And when then test laboratory director Peter Schuller announced that this was the loudest of all transducers measured in stereoplay with distance, we tried it very loud. From then on, we sat every night (at a safety distance of four metres!) in the listening room and gave us the shot. This virtually distortion-free playback were great, fascinating these evenings. We gave back this box only with a heavy heart.
Since last year, now has Harman Germany (makes the JBL sales up to the Studio-line) with the studio 4365 a speaker in the offer, which the younger, uglier twin sister comes along like: also a 15 inch woofer, the same 2.5 inch medium sound pressure driver with magnesium Cone and a very similar Superhochtöner. Above all – and that gives you admission to this Tube special the 4365 – slipping their impedance in the performance-relevant range up to 2000 Hertz never under 10 ohms and the efficiency is (like the K2 9900) more than 88 decibels.
JBL studio 4365 construction:
JBL here a miracle box wants to sell us? The same engine in cheap housing for less than half of the price? Basically Yes. Although the ‘big’ K2 in the bass has a sinfully expensive AlNiCo magnets (4365: iron) and in the super high frequency a beryllium-Dome (4365: Titan), but the biggest differences are in the housing – both from veneered, 25 mm strong MDF board.
Access to the Horn is at 4365 on a screwed Service Board, as we know from the Klipschorn dating back to 1946. Also the gap between Horn and housing are more in the 1980s than in the 21st century. You can not sell especially actually that the perfectionist German – for 16,000 euro -. Or?
Yet. Because the technical values are trendsetting. The “small 4365” comes, after all, on a maximum sound pressure level of about 120 decibels (K2: 124 decibels). She has an absolutely linear frequency response (also via the angle) and many competitors can only dream of their low distortion levels.
How the clarity and dynamics of the sound image. However you no less than a distance of three meters with him, or the Center to directly. Regardless of the distance, the bass at low levels is too juicy. Here, the developers had to decide clearly: you want a crisp bass at 120 decibels, it must be abundant forcibly at 90 decibels. Because the character of this image changed with a strong spin on the volume control : the formerly too rich bass was absolutely right.
A direct comparison with the big sister was not possible. But the K2 at the time had to compete with the working reference B & W 802 diamond, against the even. And also the 4365 could not compete with the immense wealth of detail B & W: you reached neither this incredible lightness with the high resolution even at the depth of illumination. Yet somehow “right” sounds sieauf right off the bat. Rarely I’ve heard Markus Schirmer’s “GNOME” as authentic, so powerfully and concisely, the authority of the grand piano so physically directly perceived.
The Piano stops sounded out completely, of course. This clarity is probably a result of the extremely low distortion of the Horn; of course also the 38-cm – contributes bass with his immense cone surface area of nearly 900 square centimeters. But the 4365 dominates also the fine, represents more precisely about the phase shift as on Madonna’s “Ray Of Light” as the B & W and can be part of the audience to the work of sound engineer.
And it harmonizes better with tubes. To them, the 4365 sounded yet enchanting, no longer quite so directly. For the timbres were richer and finest treble ramifications (as in Monty Alexanders “Hurricane Come And Gone”) still freely reproduced.
However, I must admit that it would be waste Monos Ayre MX-R to run these speakers to small tubes, not Watts cars such as the reference. Is an experience that you so quickly does not forget and that addictive – and that is not possible with classic HiFi and tube even the 100-Watt class to hunt “The race” by Yello with 120 decibels by the listening room.