| ELAC CL330JET Minimonitors by Constantine Soo April 5, 2004 |
Specifications:
Type: 2-way, bass reflex
Drivers: JET x 1, 180 mm AS cone x 1
Frequency Response: 40 – 35,000 Hz
Impedance: 4 Ohm, 3.2 Ohm/200 Hz (minimum)
Sensitivity: 88 dB/2.83 V/1 m
Crossover Frequency: 2,700 Hz
Power Handling: 80 W nominal, 120 W peak
Recommended Amplifier Power: 30 – 200 Wpc (at nominal
impedance)
Gross Volume: 14.4 liter
Speaker Dimensions: 10.8 (H) x 7.4 (W) x 14.2 (D)(inch)
Weight: 10 kg
Price: $3,299 a pair
LS 330 Stand
Height: 29 inches
Vertical projection angle adjustment: 6 degrees (+/-) via rear spike
Price: $1,539 a pair
Total system price: $4,838
Address:
Q-USA
462 N Baldwin St,
Madison, WI 53703
voice: 608-237-1726
fax: 608-237-1728
Email: info@q-usa.com
Website: www.q-usa.com
Type: 2-way, bass reflex
Drivers: JET x 1, 180 mm AS cone x 1
Frequency Response: 40 – 35,000 Hz
Impedance: 4 Ohm, 3.2 Ohm/200 Hz (minimum)
Sensitivity: 88 dB/2.83 V/1 m
Crossover Frequency: 2,700 Hz
Power Handling: 80 W nominal, 120 W peak
Recommended Amplifier Power: 30 – 200 Wpc (at nominal
impedance)
Gross Volume: 14.4 liter
Speaker Dimensions: 10.8 (H) x 7.4 (W) x 14.2 (D)(inch)
Weight: 10 kg
Price: $3,299 a pair
LS 330 Stand
Height: 29 inches
Vertical projection angle adjustment: 6 degrees (+/-) via rear spike
Price: $1,539 a pair
Total system price: $4,838
Address:
Q-USA
462 N Baldwin St,
Madison, WI 53703
voice: 608-237-1726
fax: 608-237-1728
Email: info@q-usa.com
Website: www.q-usa.com
FOREWORD
The increasingly popular application of minimonitors as main speakers in a home
theatre is understandably wife-decreed in many cases, with the exception of
readers who own very large family room fitting for a pair of the largest Apogees
and the likes. But minimonitors used to rule the industry.
A reign of the minimonitors took place in the early 90’s when high-end audio
makers explored the possibility of big sound in compact cabinets
unprecedentedly, and graced the high-end audio scene with a sudden
proliferation of minimonitors of exceptional calibers, such as the milestone,
$8,000 B&W John Bowers Silver Signature and the $3,000 Celestion SL700,
among competing models from Infinity, Monitor Audio, ProAc, Totem, etc.
These superb products accomplished important aspects of a full-range
loudspeaker’s performance envelope, bringing high-end experiences in the form
of bookshelf speakers to legions of audiophiles with small to medium sized
rooms for the first time.
I have been using Celestion’s SL700 as my reference minimonitor since 1992,
continuously amazed and mesmerized by its expansive dimensionality,
thunderous dynamics and fine tonal articulation. To date, its aerospace
industry-adapted Aerolam cabinet construction and its crossover and driver
designs brilliance are still among the most innovative and original, setting a
benchmark that renders even many designs of the day wanting. Along comes
ELAC with a statement product that is just as advanced as the aforementioned
forerunners in their days.
The increasingly popular application of minimonitors as main speakers in a home
theatre is understandably wife-decreed in many cases, with the exception of
readers who own very large family room fitting for a pair of the largest Apogees
and the likes. But minimonitors used to rule the industry.
A reign of the minimonitors took place in the early 90’s when high-end audio
makers explored the possibility of big sound in compact cabinets
unprecedentedly, and graced the high-end audio scene with a sudden
proliferation of minimonitors of exceptional calibers, such as the milestone,
$8,000 B&W John Bowers Silver Signature and the $3,000 Celestion SL700,
among competing models from Infinity, Monitor Audio, ProAc, Totem, etc.
These superb products accomplished important aspects of a full-range
loudspeaker’s performance envelope, bringing high-end experiences in the form
of bookshelf speakers to legions of audiophiles with small to medium sized
rooms for the first time.
I have been using Celestion’s SL700 as my reference minimonitor since 1992,
continuously amazed and mesmerized by its expansive dimensionality,
thunderous dynamics and fine tonal articulation. To date, its aerospace
industry-adapted Aerolam cabinet construction and its crossover and driver
designs brilliance are still among the most innovative and original, setting a
benchmark that renders even many designs of the day wanting. Along comes
ELAC with a statement product that is just as advanced as the aforementioned
forerunners in their days.
CL330JET
Low-profiled on the American scene, ELAC is among a group of European hi-fi
companies with a rich heritage and significant market reaches in Europe and
Asia. ELAC’s legacy was described summarily in my 2002 Review of its 518
floor-standing, full-range loudspeaker.
Priced above the $4,119, 3-way 518, the subject of this review, the CL330JET,
is introduced in August, 1999, and has been ELAC’s top-of-the-line, 2-way
compact minimonitor equipped with the Jet Emission Tweeter and one of the
two twin-magnet, TT180AS woofers used by the 518. At this review goes
public, ELAC will have introduced a magnetically shielded edition, the CL330.2
JET.
Constructed with a single piece of extruded aluminum 7.5mm thick, the
supposedly inert cabinet is further enforced by an internal, central crosspiece,
creating a claimed resonant-free enclosure. While Celestion invented the
visually distinctive, front wave-diffusing front baffle ridges using aerospace
industry metal, ELAC created a cabinet out of the similar aluminum that begins
with a small rectangle at the top for housing the JET, morphing on both sides
fluidly downward into a large, rounded shell that encapsulates the high-
excursion woofer. With the automotive paint, the ELAC minimonitor appeared
highly sculpted and graceful.
Contrasting the Celestion SL700’s acoustic suspension design with a cabinet
depth of 9.75 inches, the ELAC’s is a 13.5 inches deep cabinet with an
oversized flare port at the upper rear. Visual inspection into the flare port
revealed the Jet Emission Tweeter at the far end as a front-firing only design
with a sealed back plate.
The JET is a concertina-like membrane energized by a strong, patented
neodymium (NeFeB) rod magnet system. The tweeter is claimed to have
superior mechanical stress endurance, while possessing 40% less in volume
and weight than a conventional cone, and yet capable of exciting the air faster
than ordinary pistonic tweeters. The minimonitor‘s JET is specified to handle a
considerably wider frequency range of 2.7k Hz to 35k Hz, in contrast to the 3.8
k Hz crossover point demanded of the floor-standing 518’s JET.
The aluminum foil-impregnated 7-inch woofer is also given the task of covering
a much wider range of 40 Hz to 2.7k Hz, while the two woofers of the 518 has
only to cover the range of 28 Hz to 500 Hz. A pulp fiber cone in double
asymmetrical rubber surround, ELAC claims the woofer has an maximum
excursion range of 1.5 inch. A fiber-reinforced polyamide custom basket
houses the singular TT180AS.
Raising the CL330JET to listening heights is the matching, sizable LS330 all-
aluminum stand, which also offers 6 degrees of vertical angle adjustments via a
rear, upward-pointing spike in conjunction with 2 front stationary spikes, being
coupled to the speaker through specially provisioned coupling notches at the
bottom of each speaker. The hollow stand has openings beneath the top
platform and bottom plate for cable management.
In compliance with EU standards, the CL330JET’s bi-wiring terminals are fitted
with blind plugs identical to the 518’s which inadvertently accepts banana plugs
only through the side.
Low-profiled on the American scene, ELAC is among a group of European hi-fi
companies with a rich heritage and significant market reaches in Europe and
Asia. ELAC’s legacy was described summarily in my 2002 Review of its 518
floor-standing, full-range loudspeaker.
Priced above the $4,119, 3-way 518, the subject of this review, the CL330JET,
is introduced in August, 1999, and has been ELAC’s top-of-the-line, 2-way
compact minimonitor equipped with the Jet Emission Tweeter and one of the
two twin-magnet, TT180AS woofers used by the 518. At this review goes
public, ELAC will have introduced a magnetically shielded edition, the CL330.2
JET.
Constructed with a single piece of extruded aluminum 7.5mm thick, the
supposedly inert cabinet is further enforced by an internal, central crosspiece,
creating a claimed resonant-free enclosure. While Celestion invented the
visually distinctive, front wave-diffusing front baffle ridges using aerospace
industry metal, ELAC created a cabinet out of the similar aluminum that begins
with a small rectangle at the top for housing the JET, morphing on both sides
fluidly downward into a large, rounded shell that encapsulates the high-
excursion woofer. With the automotive paint, the ELAC minimonitor appeared
highly sculpted and graceful.
Contrasting the Celestion SL700’s acoustic suspension design with a cabinet
depth of 9.75 inches, the ELAC’s is a 13.5 inches deep cabinet with an
oversized flare port at the upper rear. Visual inspection into the flare port
revealed the Jet Emission Tweeter at the far end as a front-firing only design
with a sealed back plate.
The JET is a concertina-like membrane energized by a strong, patented
neodymium (NeFeB) rod magnet system. The tweeter is claimed to have
superior mechanical stress endurance, while possessing 40% less in volume
and weight than a conventional cone, and yet capable of exciting the air faster
than ordinary pistonic tweeters. The minimonitor‘s JET is specified to handle a
considerably wider frequency range of 2.7k Hz to 35k Hz, in contrast to the 3.8
k Hz crossover point demanded of the floor-standing 518’s JET.
The aluminum foil-impregnated 7-inch woofer is also given the task of covering
a much wider range of 40 Hz to 2.7k Hz, while the two woofers of the 518 has
only to cover the range of 28 Hz to 500 Hz. A pulp fiber cone in double
asymmetrical rubber surround, ELAC claims the woofer has an maximum
excursion range of 1.5 inch. A fiber-reinforced polyamide custom basket
houses the singular TT180AS.
Raising the CL330JET to listening heights is the matching, sizable LS330 all-
aluminum stand, which also offers 6 degrees of vertical angle adjustments via a
rear, upward-pointing spike in conjunction with 2 front stationary spikes, being
coupled to the speaker through specially provisioned coupling notches at the
bottom of each speaker. The hollow stand has openings beneath the top
platform and bottom plate for cable management.
In compliance with EU standards, the CL330JET’s bi-wiring terminals are fitted
with blind plugs identical to the 518’s which inadvertently accepts banana plugs
only through the side.
SETUP AND AUDITION
The CL330JET was able to load my 12 by 27 by 8 feet listening room
impressively without inducing driver distortions even at very high level, a
particularly noteworthy feat the Celestion SL700 was known for. At 4 feet 10
inches away from the front wall and 3 feet 6 inches away from each side wall,
the ELACs were 10 feet away from the listening position, which had another 7
feet of space away from the rear wall. Moving the speakers closer to the
listening position made the presentation progressively less dimensional and less
integrated.
Both horizontal and vertical dispersion of the ELAC’s JET tweeter were more
directional than my Celestion SL700’s dome tweeter. Hence, to obtain the
most dimensional soundstaging, the LS330 stand’s vertical adjustment option
became most indispensable as the speakers were found to perform most
optimally when toed-in completely and tilted slightly upward to fire at the
listening position. Although application of ASC Flat traps along side walls was
unnecessary, placements of my pair of 20-inch ASC tube traps at corners
behind the ELACs improved textural articulation around mid-bass.
47 Laboratory’s $8,100 4713 Flatfish CD Transport & 4705 Progression DAC
with Power Humpty served initially as the primary digital front end, supplanted
afterwards by the company’s $26,500 PiTracer and Audio Note’s $30,000 DAC
5 Special. Harmonix Reimyo’s DAP-777 20bitK2 solid-state DAC also provided
additional insights.
In the order of price, amplifications used included 47 Lab’s $7,100, customized
Gaincard S in dual mono configuration as the least expensive, and Harmonix
Reimyo’s $17k CAT-777 preamplifier and the matching $27k PAT-777 power
amplifier as the costliest. Audion‘s $15,995 pair of 23 Wpc, volume control-
equipped Level 6 Golden Dream 300B monoblock, Loth X’s 9 Wpc, $15,000
JI300 300B integrated amplifier, and the $19k amplification system of Audio
Note’s $10k phono M5 and Linn’s $9,000 Klimax Twin stereo power amplifier
were also rotated with the ELAC minimonitors. Digital and interconnect cables
were Audio Note’s Sogon, and speaker cables were AN’s bi-wiring SPx.
In dynamics, the 47 Lab Gaincard S-driven CL330JET depicted soprano
Kathleen Battle’s extravagant, majestic vocalization in Johann Strauss’ “Voice
of Spring” (New Year’s Concert, Deutsche Grammophon 419 616-2) without
sounding compressed. Scale and volume of Dame Battle’s intonations also
took on very finely detailed texturing via the JET tweeters with tremendous
upward frequency extension, and were meticulously sustained in their vitality
even at insane volume levels.
The JET membrane’s dispersion method created a sound highly conducive in
soundstage delineation. There was a wealth of information in depicting depth
of stage and Dame Battle’s intonation amidst a stage-full of players. Listening
to this CD via the Gaincard S-driven CL330JET would give any listener a better
dimensional sense of the event than watching the DVD version. Granted that
the Redbook CD contained no ultra-sonic materials for the JET to expound
upon, the airy, dimensional presentation imparted unmistakable sonority to the
vocalization nonetheless.
Changing to the amplification of the M3/Klimax Twin yielded a dynamic potency
from the CL330JET that my Celestion SL700 also exhibited but at probably
75% of the ELAC’s vigor.
For instance, while in portrayal of the aforementioned vocal passages the
Celestion was no less dynamic in comparison, the pair of ELAC when driven by
the AN/Linn system was substantially more overwhelming in rendering the
accompanying Berlin Philharmonic by way of its powerful, ported woofers. The
bottom-end vigor that transpired from the woofer’s cone excursions could
actually be felt in both the listening position and the speaker’s rear flare port,
by pressing the hand against the exporting rush of air.
Propelled by the same partnership of Audio Note preamplifier and Linn power
amplifier, the DSD heritage of the hybrid SACD Des Lied Von Der Erde, or
“Song of the Earth” (Duetsche Grammophon 471 635-2) received due homage
when the JET tweeter reenacted the extremely resolute upper midrange and
above, while the 7-inch, twin-magnet woofer empowered the most impressive
scaling agility I’ve heard in a minimonitor.
On vocals, the concertina-like JET tweeter as powered by its neodymium
magnet engaged the differing characteristics of the mezzo-soprano and the
tenor in a showcase of tonal openness and responsive, expeditious transients.
Successive tests of volume increase did not cause the German speaker to
distort at the slightest extent. Pierre Boulez’s Mahler with the Vienna
Philharmonic was an occasion for celebration in its enduring originality as well as
evocative performance, and the German minimonitor’s exacting stance served
the music well.
Yet, the best vocal realization was to stem from a freshly available, JVC
XRCD24 in the presence of admittedly expensive tube amplifications, such as
Harmonix Reimyo‘s $44k system.
Sounding dynamically liberated and tonally pristine, the latest 24-bit super
analog XRCD24 , Jheena Lodwick’s All My Loving… , exhibited an
unprecedented level of fidelity that made the CL330JET sound larger, and
portrayal of double-bass plucking in track 7, "Are you Lonesome Tonight", and
track 13, "By The Time I Get To Phoenix", was of such distinction in articulation
and fidelity that the instrument sounded resolute and tight via the ELAC’s
seemingly disproportionate woofer, according a most convincing testimony for
the agility as well as sensibility of the soloist. In addition, ability of the range-
extended lone woofer in agitating air must be experienced in person to be
appreciated, as volumes of air thus generated evoked a realism rich in details
and formidable in force. Most remarkably, in songs produced with a minimum
assortment of instruments, such as "Emerald City" and "It’s Now or Never", Ms.
Lodwick’s voice had a transcending elation via the wide-banded JET, as if the air
was energized by an Apogee-like full-size tweeter panel in the abundance of
nuances and vitality. In this regard, the CL330JET far surpassed any 1-inch
dome tweeter I’ve experienced.
Having resorted to a wide variety of music with diversified origins and quality in
this review, I feel that the XRCD24 Super Analog disc was most conducive in
exploring the potentials of the minimonitor.
The CL330JET was able to load my 12 by 27 by 8 feet listening room
impressively without inducing driver distortions even at very high level, a
particularly noteworthy feat the Celestion SL700 was known for. At 4 feet 10
inches away from the front wall and 3 feet 6 inches away from each side wall,
the ELACs were 10 feet away from the listening position, which had another 7
feet of space away from the rear wall. Moving the speakers closer to the
listening position made the presentation progressively less dimensional and less
integrated.
Both horizontal and vertical dispersion of the ELAC’s JET tweeter were more
directional than my Celestion SL700’s dome tweeter. Hence, to obtain the
most dimensional soundstaging, the LS330 stand’s vertical adjustment option
became most indispensable as the speakers were found to perform most
optimally when toed-in completely and tilted slightly upward to fire at the
listening position. Although application of ASC Flat traps along side walls was
unnecessary, placements of my pair of 20-inch ASC tube traps at corners
behind the ELACs improved textural articulation around mid-bass.
47 Laboratory’s $8,100 4713 Flatfish CD Transport & 4705 Progression DAC
with Power Humpty served initially as the primary digital front end, supplanted
afterwards by the company’s $26,500 PiTracer and Audio Note’s $30,000 DAC
5 Special. Harmonix Reimyo’s DAP-777 20bitK2 solid-state DAC also provided
additional insights.
In the order of price, amplifications used included 47 Lab’s $7,100, customized
Gaincard S in dual mono configuration as the least expensive, and Harmonix
Reimyo’s $17k CAT-777 preamplifier and the matching $27k PAT-777 power
amplifier as the costliest. Audion‘s $15,995 pair of 23 Wpc, volume control-
equipped Level 6 Golden Dream 300B monoblock, Loth X’s 9 Wpc, $15,000
JI300 300B integrated amplifier, and the $19k amplification system of Audio
Note’s $10k phono M5 and Linn’s $9,000 Klimax Twin stereo power amplifier
were also rotated with the ELAC minimonitors. Digital and interconnect cables
were Audio Note’s Sogon, and speaker cables were AN’s bi-wiring SPx.
In dynamics, the 47 Lab Gaincard S-driven CL330JET depicted soprano
Kathleen Battle’s extravagant, majestic vocalization in Johann Strauss’ “Voice
of Spring” (New Year’s Concert, Deutsche Grammophon 419 616-2) without
sounding compressed. Scale and volume of Dame Battle’s intonations also
took on very finely detailed texturing via the JET tweeters with tremendous
upward frequency extension, and were meticulously sustained in their vitality
even at insane volume levels.
The JET membrane’s dispersion method created a sound highly conducive in
soundstage delineation. There was a wealth of information in depicting depth
of stage and Dame Battle’s intonation amidst a stage-full of players. Listening
to this CD via the Gaincard S-driven CL330JET would give any listener a better
dimensional sense of the event than watching the DVD version. Granted that
the Redbook CD contained no ultra-sonic materials for the JET to expound
upon, the airy, dimensional presentation imparted unmistakable sonority to the
vocalization nonetheless.
Changing to the amplification of the M3/Klimax Twin yielded a dynamic potency
from the CL330JET that my Celestion SL700 also exhibited but at probably
75% of the ELAC’s vigor.
For instance, while in portrayal of the aforementioned vocal passages the
Celestion was no less dynamic in comparison, the pair of ELAC when driven by
the AN/Linn system was substantially more overwhelming in rendering the
accompanying Berlin Philharmonic by way of its powerful, ported woofers. The
bottom-end vigor that transpired from the woofer’s cone excursions could
actually be felt in both the listening position and the speaker’s rear flare port,
by pressing the hand against the exporting rush of air.
Propelled by the same partnership of Audio Note preamplifier and Linn power
amplifier, the DSD heritage of the hybrid SACD Des Lied Von Der Erde, or
“Song of the Earth” (Duetsche Grammophon 471 635-2) received due homage
when the JET tweeter reenacted the extremely resolute upper midrange and
above, while the 7-inch, twin-magnet woofer empowered the most impressive
scaling agility I’ve heard in a minimonitor.
On vocals, the concertina-like JET tweeter as powered by its neodymium
magnet engaged the differing characteristics of the mezzo-soprano and the
tenor in a showcase of tonal openness and responsive, expeditious transients.
Successive tests of volume increase did not cause the German speaker to
distort at the slightest extent. Pierre Boulez’s Mahler with the Vienna
Philharmonic was an occasion for celebration in its enduring originality as well as
evocative performance, and the German minimonitor’s exacting stance served
the music well.
Yet, the best vocal realization was to stem from a freshly available, JVC
XRCD24 in the presence of admittedly expensive tube amplifications, such as
Harmonix Reimyo‘s $44k system.
Sounding dynamically liberated and tonally pristine, the latest 24-bit super
analog XRCD24 , Jheena Lodwick’s All My Loving… , exhibited an
unprecedented level of fidelity that made the CL330JET sound larger, and
portrayal of double-bass plucking in track 7, "Are you Lonesome Tonight", and
track 13, "By The Time I Get To Phoenix", was of such distinction in articulation
and fidelity that the instrument sounded resolute and tight via the ELAC’s
seemingly disproportionate woofer, according a most convincing testimony for
the agility as well as sensibility of the soloist. In addition, ability of the range-
extended lone woofer in agitating air must be experienced in person to be
appreciated, as volumes of air thus generated evoked a realism rich in details
and formidable in force. Most remarkably, in songs produced with a minimum
assortment of instruments, such as "Emerald City" and "It’s Now or Never", Ms.
Lodwick’s voice had a transcending elation via the wide-banded JET, as if the air
was energized by an Apogee-like full-size tweeter panel in the abundance of
nuances and vitality. In this regard, the CL330JET far surpassed any 1-inch
dome tweeter I’ve experienced.
Having resorted to a wide variety of music with diversified origins and quality in
this review, I feel that the XRCD24 Super Analog disc was most conducive in
exploring the potentials of the minimonitor.
OTHER PERSPECTIVES
In contrast to what tube amplifications were able to induce from the CL330JET,
there were moments when the $7.1k 47 Lab integrated and the $19k
tube/transistor system of AN and Linn would heighten the singular
characteristics of the JET appreciably and debatably.
More frequently with regular CD than with audiophile recordings, the potent
woofer as effected by the solid-state amplification sounded strangely
discordant with the JET, developing a more indulgent, self-conscious sound
that would rather detach itself from overall coherency, as opposed to imposing
over the tweeter, resulting in a less involving presentation. Concession must
be given here that just as not all tube users will prefer his music the way I do
mine, neither is the case with solid-state aficionados.
With that said, corroboration of ELAC’s JET and twin-magnet woofer as
supported by either the $15k Loth X JI300 or the $44k Harmonix Reimyo CAT-
777 preamplifier and PAT-777 amplifier attained such increasingly concerting
unity, that tonal signatures of instrument and vocals alike was infused with a
high-end quality embodied with the luminance of live sound. It was as if
oxygen was purer in the listening space from the air and top-end extensions
produced.
In contrast to what tube amplifications were able to induce from the CL330JET,
there were moments when the $7.1k 47 Lab integrated and the $19k
tube/transistor system of AN and Linn would heighten the singular
characteristics of the JET appreciably and debatably.
More frequently with regular CD than with audiophile recordings, the potent
woofer as effected by the solid-state amplification sounded strangely
discordant with the JET, developing a more indulgent, self-conscious sound
that would rather detach itself from overall coherency, as opposed to imposing
over the tweeter, resulting in a less involving presentation. Concession must
be given here that just as not all tube users will prefer his music the way I do
mine, neither is the case with solid-state aficionados.
With that said, corroboration of ELAC’s JET and twin-magnet woofer as
supported by either the $15k Loth X JI300 or the $44k Harmonix Reimyo CAT-
777 preamplifier and PAT-777 amplifier attained such increasingly concerting
unity, that tonal signatures of instrument and vocals alike was infused with a
high-end quality embodied with the luminance of live sound. It was as if
oxygen was purer in the listening space from the air and top-end extensions
produced.
CONCLUSION
Via the CL330JET’s, foundation of all music types connoted substance, and
although the larger, full-range 518 with its twin woofer system had sounded
decidedly communicative and powerful, I found the CL330JETs’ performance
eminently admirable. Subjectively, the CL330JET’s dynamic tweeter/woofer duo
surpassed my Celestion SL700’s prowess in dynamics and frequency extension,
sounding even more remarkably like a full range unit.
Reproducing the frequency range of 2.7k Hz to 35k Hz, the smallish JET
tweeter radiated a sound even more expansive in scale and more agile in
transient response than my Celestion SL700’s renowned 1-inch metal dome
tweeter. The JET tweeter also sounded consistently richer and more opulent
than the Celestion with the same amplification. Moreover, the fact that the JET
tweeter was able to transpire all the glories of the frequency range of 2.7k Hz
to 35k Hz single-handedly, with densely delineated tones and orderly images,
convinced me of the greatness of this technology and the recognition it should
receive.
The CL330JET’s ported 7-inch woofer, the twin-magnet TT180AS, also did
ELAC tremendous pride by commanding a disproportionately exerting bottom-
end louder and more open than the SL700’s. Given the considerable range of
50 to 2.7k Hz, the twin magnet unit single-handedly traversed the entire range
assigned to it with punctual transients and solid slam.
Lastly, the CL330JET’s one-piece, extruded aluminum cabinet with automotive-
like finish and the equally attractive, customized LS330 stand entices eyebrow-
twitching fingerprinting from its owner, while its overachieving sonics
significantly advances the state-of-the-art in floor-saving minimonitor designs.
Summarily, the ELAC CL330JET sounded more full-range than the Celestion
SL700, outperforming it in significant areas and magnitude, and the German
minimonitor’s MSRP was actually highly competitive against the Celestion SL700
when adjusted for differences in cost of living. Retrospectively, although I
thought the CL330JET was more deserving of tube amplification for the sound I
favored, many readers will undoubtedly be astounded by what the CL330JET
will do in a quality, solid-state system as well.
The fact that neither the tweeter nor the woofer of the CL330JET showed the
slightest sign of overload when playing orchestral passages at full force
convinced me that ELAC had developed a magnificent woofer and a tweeter of
wonder that have matured to the point where relevance for the optimization of
its drivers can well be taken to a higher level, in which further development in
their own role as full-range units is merited.
Being an Apogee user, I will be very excited if ELAC would exploit the JET
technology into introducing an Apogee-like full-range model, one that will
certainly make Dr. Oskar Heil’s invention another milestone in audio history.
The ELAC CL330JET’s were the most dynamic and resolving minimonitors I
have used to date.
Via the CL330JET’s, foundation of all music types connoted substance, and
although the larger, full-range 518 with its twin woofer system had sounded
decidedly communicative and powerful, I found the CL330JETs’ performance
eminently admirable. Subjectively, the CL330JET’s dynamic tweeter/woofer duo
surpassed my Celestion SL700’s prowess in dynamics and frequency extension,
sounding even more remarkably like a full range unit.
Reproducing the frequency range of 2.7k Hz to 35k Hz, the smallish JET
tweeter radiated a sound even more expansive in scale and more agile in
transient response than my Celestion SL700’s renowned 1-inch metal dome
tweeter. The JET tweeter also sounded consistently richer and more opulent
than the Celestion with the same amplification. Moreover, the fact that the JET
tweeter was able to transpire all the glories of the frequency range of 2.7k Hz
to 35k Hz single-handedly, with densely delineated tones and orderly images,
convinced me of the greatness of this technology and the recognition it should
receive.
The CL330JET’s ported 7-inch woofer, the twin-magnet TT180AS, also did
ELAC tremendous pride by commanding a disproportionately exerting bottom-
end louder and more open than the SL700’s. Given the considerable range of
50 to 2.7k Hz, the twin magnet unit single-handedly traversed the entire range
assigned to it with punctual transients and solid slam.
Lastly, the CL330JET’s one-piece, extruded aluminum cabinet with automotive-
like finish and the equally attractive, customized LS330 stand entices eyebrow-
twitching fingerprinting from its owner, while its overachieving sonics
significantly advances the state-of-the-art in floor-saving minimonitor designs.
Summarily, the ELAC CL330JET sounded more full-range than the Celestion
SL700, outperforming it in significant areas and magnitude, and the German
minimonitor’s MSRP was actually highly competitive against the Celestion SL700
when adjusted for differences in cost of living. Retrospectively, although I
thought the CL330JET was more deserving of tube amplification for the sound I
favored, many readers will undoubtedly be astounded by what the CL330JET
will do in a quality, solid-state system as well.
The fact that neither the tweeter nor the woofer of the CL330JET showed the
slightest sign of overload when playing orchestral passages at full force
convinced me that ELAC had developed a magnificent woofer and a tweeter of
wonder that have matured to the point where relevance for the optimization of
its drivers can well be taken to a higher level, in which further development in
their own role as full-range units is merited.
Being an Apogee user, I will be very excited if ELAC would exploit the JET
technology into introducing an Apogee-like full-range model, one that will
certainly make Dr. Oskar Heil’s invention another milestone in audio history.
The ELAC CL330JET’s were the most dynamic and resolving minimonitors I
have used to date.
---------------------------------------------------------------------------------
Distributor's Response:
Dear Constantine,
Thank you for such a wonderful review of the ELAC CL330JET speaker system.
We are extremely happy that you liked what you heard and appreciated the
technology incorporated into the system.
The only comment that we can make is that unfortunately due to the very weak
US dollar, the current retail price for the speaker is $3,900.00 per pair and the
stands are $1,700.00 per pair, for a total system price of $5,600.00.
Regards,
Dick Ravich/ELAC
Distributor's Response:
Dear Constantine,
Thank you for such a wonderful review of the ELAC CL330JET speaker system.
We are extremely happy that you liked what you heard and appreciated the
technology incorporated into the system.
The only comment that we can make is that unfortunately due to the very weak
US dollar, the current retail price for the speaker is $3,900.00 per pair and the
stands are $1,700.00 per pair, for a total system price of $5,600.00.
Regards,
Dick Ravich/ELAC
Associated Equipment:
Digital Front End
47 Laboratory 4705 Progression DAC
47 Laboratory 4705-G Gemini Progression DAC
47 Laboratory 4707 PiTracer CD Transport
Audio Note DAC One 1.1x Signature
Audio Note DAC 5 Special
GW Labs DSP Engine
Harmonix Reimyo DAP-777 20bit K2 DAC
Sony SCD-777ES SACD/CD player
Amplification
47 Laboratory 4706 dual mono Gaincard S with DACT24 & Cardas
posts
Audion Golden Silver Night 300B monoblocks
Decware SE84C
GW Labs 270 tube power amplifier
Harmonix Reimyo CAT-777 preamplifier
Harmonix Reimyo PAT-777 300B stereo amplifier
Linn Klimax Twin
Loth X JI300 integrated amplifier
Reference Line Preeminence Two passive preamplifier
Reference Line Preeminence One Signature power amplifier]
Z-systems RDP-1 Reference Digital Preamplifier
Speakers
Apogee Duetta Signature
Audio Note AN-E SEC Silver
Celestion SL700
ELAC CL330JET
Genesis VI
Loth-X BS1
Rethm 2nd
Tannoy Churchill Wideband
Tannoy TD10
Cabling
Audio Note Sogon digital cable (1m, RCA)
Audio Note Sogon interconnect (2m pair, RCA)
Audio Note AN-Vx interconnect (1.5m, RCA)
Audio Note AN-V silver interconnect (RCA 1m, 2 pairs)
Audio Note AN-SPx speaker cable (2m, bananas, bi-wired)
Audio Note AN-La copper speaker cable (8 feet, bi-wired)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8 feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains (2)
Harmonix Reimyo Studio Master AC cord (2)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Loth X
Van den Hul MCD-352 (8 feet)
Accessories
ISO, Salamander Synergy 20 (2), ASC Tube Traps and Flat Traps
Digital Front End
47 Laboratory 4705 Progression DAC
47 Laboratory 4705-G Gemini Progression DAC
47 Laboratory 4707 PiTracer CD Transport
Audio Note DAC One 1.1x Signature
Audio Note DAC 5 Special
GW Labs DSP Engine
Harmonix Reimyo DAP-777 20bit K2 DAC
Sony SCD-777ES SACD/CD player
Amplification
47 Laboratory 4706 dual mono Gaincard S with DACT24 & Cardas
posts
Audion Golden Silver Night 300B monoblocks
Decware SE84C
GW Labs 270 tube power amplifier
Harmonix Reimyo CAT-777 preamplifier
Harmonix Reimyo PAT-777 300B stereo amplifier
Linn Klimax Twin
Loth X JI300 integrated amplifier
Reference Line Preeminence Two passive preamplifier
Reference Line Preeminence One Signature power amplifier]
Z-systems RDP-1 Reference Digital Preamplifier
Speakers
Apogee Duetta Signature
Audio Note AN-E SEC Silver
Celestion SL700
ELAC CL330JET
Genesis VI
Loth-X BS1
Rethm 2nd
Tannoy Churchill Wideband
Tannoy TD10
Cabling
Audio Note Sogon digital cable (1m, RCA)
Audio Note Sogon interconnect (2m pair, RCA)
Audio Note AN-Vx interconnect (1.5m, RCA)
Audio Note AN-V silver interconnect (RCA 1m, 2 pairs)
Audio Note AN-SPx speaker cable (2m, bananas, bi-wired)
Audio Note AN-La copper speaker cable (8 feet, bi-wired)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8 feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains (2)
Harmonix Reimyo Studio Master AC cord (2)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Loth X
Van den Hul MCD-352 (8 feet)
Accessories
ISO, Salamander Synergy 20 (2), ASC Tube Traps and Flat Traps
| Reviews of Other Equipment used: |
