Test Reezoldini Jericho S4 and Master M4: big in small

Test Reezoldini Jericho S4 and Master M4: big in small

Test Reezoldini Jericho S4 and Master M4: big in small

Just a few years ago, no one knew what Reezoldini was. The idea of ​​\u200b\u200bacoustics and it itself, then still custom and non-serial, appeared before the name. And now the manufacturer shows new items every year. This year, several speakers were presented at the Moscow exhibition, and the first of our two tests is dedicated to junior bookshelf speakers. Moreover, these are, in principle, the first shelf speakers in the manufacturer's line.

Acoustics Reezoldini appeared on our market recently and quite effectively. Just a couple of exhibitions ago, the manufacturer presented a line of floor and conditionally shelf models - and with specialization. One is more for music, the other is more for cinema. And they turned out to be very attractive: beautiful finish, original shape and design, noticeable sound.

At first there were many questions: what is it and where does it come from? Many were surprised that this acoustics is Russian-made, designed and manufactured at a factory in St. Petersburg. There is a team behind it, headed by engineer Anton Yulin, and all developments are their own. Speakers are custom-made or serial Scan Speak, cases are made on their own and on their own equipment. All assembly is carried out here: and this is not a piece production, and even if not large, but serial - with a good material and technical base.

Test Reezoldini Jericho S4 and Master M4: big in small
Reezoldini Jericho S4 and Master M4 in the test system

Initially, all acoustic models from Reezoldini were either floor-standing or conventionally shelf-mounted, that is, rather, shelf-mounted in speaker configuration, but with cases turning into a stand-support. And the Jericho S4 and Master M4 shown this time are classic bookshelves in every sense.

One manufacturer - different acoustics

First of all, I will focus on the Jericho S4 model, which complements the main older Jericho line at the moment. A year earlier, floorstanders from this line were shown, and now shelf speakers. The Master line is older, but there were no classic shelf speakers in it either.

As already noted, the manufacturer has some specialization of the lines: there is, for example, the Cinema line - its purpose is easy to guess from the name. Master has always been a more musical line. Although the manufacturer focuses not so much on separation, but on the possibility of combining. This is confirmed by several central and rear models in different lines.

But the older Jericho line does not have a center, or perhaps not yet. But now there are classic shelf speakers. And I’ll say right away: these are not shelf speakers for rear channels. Of course, they can play this role, but literally one minute of listening is enough to understand that these models claim to be very serious acoustics.

Test Reezoldini Jericho S4 and Master M4: big in small
In comparison, the Reezoldini Jericho S4 and Master M4 have the same body base, the back panels are also identical, on which passive radiators are located.

Outwardly, both Reezoldini Jericho S4 and Master M4 are quite similar. Same cabinet sizes, similar speaker configuration. But the differences here are not cosmetic - they can be seen upon closer examination and can be heard quite clearly.

In general terms, these are small but heavy speakers, especially for their size. The cases are made of MDF, the declared thickness is from 25 to 43 mm. The execution is high-quality, accurate and not devoid of recognition and grace. Good proportions, without strange aspect ratio overstretching, good looks.

The finish is neat. There can be a lot of finishing options themselves - it was recently announced that the number of veneer variations instead of the basic 44 options will exceed a couple of hundred. Plus black and white matte or glossy piano lacquer and more than one and a half thousand variations of RAL enamels. Its production allows all this to be done. Even on exhibition and pre-series models, the veneer is laid quite neatly - there is not a hint of handicraft.

Test Reezoldini Jericho S4 and Master M4: big in small
Reezoldini Jericho S4 (left) and Master M4 (right)

Further finishing for Jericho S4 and Master M4 is different. The first on the front panel uses a solid aluminum overlay 16 mm thick with machined landings for the speakers. The manufacturer's machine tooling of aluminum is also its own and quite decent - this can be seen from the way the speakers fit into the landing, and along the edges, and by the milled logo. Up close, it looks a bit rough, but in combination with the general texture of aluminum, which is not polished to the usual smoothness, but left more like a veneer surface, it turned out quite nicely.

In Master M4, the front panel is made of MDF - with its triangular-rounded shape, it resembles the cases of older acoustic models from the Master line.

There are both similarities and differences in the dynamics of these two models. MF / LF - already familiar from other models, custom-made Scan Speak with paper cones of a recognizable color. Passive radiators installed on the rear surfaces look exactly the same - in fact, they are based on exactly the same designs as for midrange / bass, but only without coils and magnets. In fact, according to the assurances of the developers, this has a good effect on the consistency of work and simplifies the process of coordination itself.

Test Reezoldini Jericho S4 and Master M4: big in small
Mid/bass driver is the same for both models

But the tweeters for Jericho S4 and Master M4 are different. In both cases, these are Scan Speak domes from the Relevator line, but Jericho has a smaller dome, and the moving system is with a neodymium magnet. The Master also has a dome, but larger, recessed into a kind of horn, and with a ferrite magnet.

Crossovers differ purely technically, but they are built according to the same principles and on the same quality element base. So I would probably not say that one speaker is younger than the other, although formally one is more expensive, and the second is cheaper. It's just different acoustics. But, looking ahead, I will say that character recognition and continuity are at a very high level. A friend of mine made the following comparison at the exhibition: “These are two wines from a very good winery, but only from different grape varieties.” This metaphor seems to me quite appropriate here.

Correctly prioritized

Now about custom functions. Both models have four M6 threaded mounts on the bottom, which allows you to use spikes and all kinds of legs for decoupling or in order to firmly attach the acoustics to the stands. The manufacturer does not have its own racks, but it is quite possible to pick up and adapt something serial - besides, I believe that racks must be selected not only for acoustics in size, but always taking into account the optimal height for specific conditions.

The overall directivity of this acoustics is not the highest, but the level is such that it is worth getting confused with the nuances. And, as I see it, a well-chosen infilled rack with a rigid mount will be optimal here. However, the design does not prohibit other options.

Test Reezoldini Jericho S4 and Master M4: big in small
Tweeter Reezoldini Jericho S4

Connection is provided only for the classic two-wire - using a pair of universal WBT terminals. Grills, covered with fabric and mounted on inconspicuous studs, are provided for both the front panel with speakers and the rear panel with passive radiators. True, I did not manage to evaluate them, because in the bustle of pre-show preparations they forgot to take them with me. But from observations of previous models, I do not see any potential difficulties here.

We listened to acoustics in the same conditions - in combination with Tarim Audio amplification and Aesthetix Romulus as a digital source. And with partial cable piping, Reezoldini is a new direction, but the speaker cables from the manufacturer have taken on a completely serial look and appeared in the catalog. In the full test format, I listened to the Reezoldini Jericho S4, and then switched to the Master M4 to understand the difference and compare the impressions.

There are two main first impressions. Firstly, the volume, scale and bass are completely unexpected for small acoustics. And this is not a forced sound, but quite full-bodied, full-sized and dynamic.

The second thing I immediately noticed was very good legibility and detail, and not only on the example of familiar recordings from a personal record library. In pitch, I could effortlessly hear the sound of familiar components and Tarim amplification, as well as the well-known Aesthetix Romulus. The feeling that everything is transparent, understandable and illustrative. But at the same time - without excessive disassembly into components.

Test Reezoldini Jericho S4 and Master M4: big in small
The front panel of the Reezoldini Master M4 is not aluminum, but made of MDF

I started listening to Thelonious Monk's "Standards". Good detail and emotional presentation are immediately noticeable. The character of the acoustics is expressive, moderately forceful, but at the same time neat. The dynamics are clearly felt, but there is no sense of haste or simplification for the sake of expression. By nature, the sound is moderately light, without warmth, but without distortions or obvious coloring.

At a low volume, the midrange / treble range stands out a little more clearly, but even then the acoustics play very well - the sound not only does not become flat, but does not show any obvious flaws at all. However, it is difficult to judge by the example of this record, and these are only the first conclusions. Later, the ability to play quietly on some kind of orchestral recording will need to be assessed.

In the general character of the sound, it is noticeable that the acoustics accentuates the main tones. However, she does not neglect the overtones, which are also given their due. But sometimes there is an audiophile effect, when the main tones are faded, and the overtones are dragged out and savored - there is none at all. So we can say that in this regard, the priorities are set correctly.

The stage is bigger, wider and deeper than expected. The effect of filling the room with sound is very good, but at the same time (adjusted for the specifics of the room) you still get not a certain volume, but a scene with a completely correct layout. There is not much air, but here I would not rush to conclusions. It is not the first time that our Moscow exhibition has been held in rooms where the feeling of air in the sound is weaker even in the acoustics that can guarantee it.

Test Reezoldini Jericho S4 and Master M4: big in small
Reezoldini Master M4 tweeter

The scale exceeds all expectations

The next record is Hank Jones, The Great Jazz Trio "Last Recording". The sound is confidently dynamic, detailed, without warmth or impressiveness. Moderately dry, maybe even pedantic in a monitor way, but not simplistic and not too straightforward. On the example of this recording, it also seemed to me that the sound is rather light, but there is absolutely no loudness or excessive brightness in it.

The emotional message of the music is conveyed in full weight, but without hypertrophied sweetness or excessive unambiguity. Here everything turns out to be quite balanced, and, moreover, unobtrusively. Listening does not tire, but also does not give a chance to get bored or distracted from the music. Probably, you can also listen in the background, but for the most part, the sound attracts and focuses attention on itself for a long time.

The scale here remains more than expected, and the bass is larger than one might expect. And it doesn't buzz, it doesn't blur, but it is delivered clearly and legibly, without falling out of the rest of the frequency range. All instrumental parts are well read both in terms of detail and in terms of presentation in a general and integral scene.

The sound is well traced and the music itself, and the technical quality of the recording, and the nuances of the performance. The analytical abilities of acoustics are evenly directed at different qualities and components, and not focused on individual properties or parts of the range. And this analyticity does not contradict the music. And emotionality and assertiveness do not outweigh, but only complement the other qualities.

Test Reezoldini Jericho S4 and Master M4: big in small
Mid/bass speakers and passive radiators have the same appearance: the radiators are made on the same basis, with the same diffusers and suspensions.

Another recording is Toshinori Kondo & IMA ‎"Brain War". The system and acoustics do not mask the specifics of the recording and the nature of the sound at all. Everything is heard objectively and in detail, but at the same time it is interesting. Saturation and fullness are pulled out of the recording, although, I repeat, its shortcomings are audible. And one more thing: acoustics does not soften or round anything. It turns out, on the one hand, in a monitor way honestly, on the other, it is not at all boring.

Then he put the album No-Man "Speak". The atmosphere, the texture of the air and the volume of the recording can be heard well. Even with the adjustment for the fact that a certain amount of air and volume was eaten by the room, the result is much better than expected.

There is good detail in the sound, musicality slightly accentuated on the power delivery and a fairly honest presentation in terms of tonal balance. The volume is definitely not chambered, and what is even better - not lubricated. Against the background of all electronic effects, vocal parts, quiet sounds, and after-sounds are well read. As it seemed to me on the example of this and the previous recording, the acoustics are quite suitable for electronic music - I did not notice any attraction, for example, only to pure instrumental music or vocals.

In general, the presentation turned out to be confidently strong, clean, a bit dry and neat and moderately light. Rhythm is conveyed very well by acoustics - both fast and slow.

Test Reezoldini Jericho S4 and Master M4: big in small
The acoustics have a classic two-wire connection, high-quality terminals

The next album is My Dying Bride "The Light at the End of the World". At a very low volume, the bass is a little less thorough, but if you add a little, not even to the average level, then the questions disappear. By the way, just loud acoustics also play easily and assertively, but not loudly at all. From such babies it is completely unexpected to get such a sound. For overloaded metal, intelligibility and dynamics are enough, I did not notice any difficulties here.

At the same time, I decided to measure the work on test signals with improvised means - it turned out that from the 45 Hz declared in the passport, the acoustics (in a particular room) play smoothly and honestly, but lower, of course, there is a decline. What you see on the screen here is fully consistent with what you heard.

As for orchestral music, I first listened to Stravinsky's Kiss of the Fairy. High detail is no longer surprising, as well as the absence of distortions. The sound is still rather light, unified, volume and scale are present. Quick moments win back confidently. Sometimes there is a feeling that, after the main tones, the overtones fade a little faster and a little more distinctly, but they do not cut off, they do not disappear - there is no feeling of simplification. The stage is well-proportioned, wide and deep, but not very airy. Even at a very low volume, the acoustics play the classics well.

Test Reezoldini Jericho S4 and Master M4: big in small
Rear panel with passive radiators. There are no differences between the two models

I liked Mahler's First Symphony more on the stage, but here the recording itself suggests this difference. And then it all depends on the path: is it able to convey this difference or not. This one was capable. Otherwise, the music seemed a little brighter in color, in the most minor nuances, but that's just what I would rather attribute to the effect of amplification and the ability of acoustics to show this effect in the big picture. First of all, it is important that even for such music there is enough dynamics, detail, and timbre authenticity. And the scene turns out to be not formally averaged, but, on the contrary, clearly different from record to record.

Then I listened to the Reezoldini Master M4 on the same material. I will not give a detailed description of listening, but will focus on the difference - especially since it is obvious. Although, of course, there is a similarity: when listening, you understand that before you are the acoustics of one manufacturer with a common character. The scale, drawing of the scene are present, although the scene is a little more intimate. Moderately strong, confident handwriting is also there. The sound did not become soft or, moreover, uncertain. But at the same time, it turned out to be more rounded and slightly warmer on the tops.

The difference in tweeters is obvious, but the stitching across the range is equally high quality. Someone will like the same jazz or vocals in such a presentation more. There is a little less nerve in the sound, but there is harmony. Slightly lower detail, but there is velvety and melody. However, the same detail and dynamics, which seem to have changed qualitatively, have not changed much quantitatively: you can put on at least metal, at least classical music and listen without a hint of a sense of deprivation - this is just a slightly different nuance of the musical material.

Conclusion

Simply beautiful bookshelves - with unexpectedly big sound. There is a character and style of presentation, there is an obvious integrity. Perhaps one of those rare cases when there is nothing to seriously complain about. Can it be better? Perhaps, but not by an order of magnitude and for completely different money, which would be enough for several pairs of Jericho and Master. Besides, it would be better not in all at once.

Such a small speaker with a similar scale and bass is not easy to find. And if you count all the factors and components of sound, then the task will become even more difficult. So we can safely say that Reezoldini has excellent acoustics. Outstanding in sound, not over-capricious in room operation, and not over-demanding on amplification.

Separately, I liked that the acoustics are also beautiful and made at the proper level of quality, which is a rarity for Russian developments and production.

musical material

Hank Jones / The Great Jazz Trio ‎—Last Recording / Eighty-Eight's VRCL 18846 / SACD Stereo

Igor Stravinsky - Le Baiser De La Fee - Great Symphony Orchestra All-Union Radio and Television, G.Rozhdesvensky / Melody MEL CD 10 01833 / CD Stereo

Mahler - Symphonie No. 1 - Klaus Tennstedt, Chicago Symphony Orchestra / EMI - Esoteric ESSE90068 / SACD Stereo

My Dying Bride - The Light at the End of the World / Peaceville CDVILED 79 / CD Stereo

No-Man ‎– ((Speak)) / Snapper Music ‎– SDPCD 194 / CD Stereo

Thelonious Monk ‎—Standards / Columbia CJ 45148 / CD Stereo

Toshinori Kondo & IMA ‎—Brain War / King Records KICS 107 / CD Stereo

OFFICIAL SITE

Reezoldini Jericho S4 and Reezoldini Master M4

    Specifications

Reezoldini Jericho S4

Number of stripes: 2

Acoustic design: passive radiator

HF driver: 30 mm soft dome with neodymium magnet

MF/LF driver: paper, 110 mm

Passive radiator: paper, 110 mm x 2

Crossover frequency: 2.4KHz

Impedance: 4 ohm

Frequency response: 45 Hz - 32.5 kHz

Sensitivity: 88 dB

Recommended Wattage: 20-200W

Dimensions (WxHxD): 180x360x252 mm

Weight: 11.4 kg (single speaker)

Reezoldini Master M4

Number of stripes: 2

Acoustic design: passive radiator

HF driver: 33 mm soft dome with ferrite magnet

MF/LF driver: paper, 110 mm

Passive radiator: paper, 110 mm x 2

Crossover frequency: 2.4KHz

Impedance: 4 ohm

Frequency response: 45Hz - 28kHz

Sensitivity: 88 dB

Recommended Wattage: 20-200W

Dimensions (WxHxD): 180 (front panel - 239) x360x252 mm

Weight: 10.1 kg (single speaker)

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