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The Plural Evos, the first in Zellaton’s brand new Evo line of speakers, arrived here on Tuesday. (Read more about Zellaton speakers and their special and unique drivers here: https://www.zellaton.de/de/)
These three-way Plural Evos from Germany tip the scales at 209 pounds each and their sexy looking Porsche finish is something to behold. Zellaton, in fact, recommends using Wolfgang Discourse-Series Fuzion Spray Wax from Germany to polish the speakers every week to maintain the finish.
We initially set the speakers up “roughly” until they break-in. I reckon 350 hrs gets you 75% of the way and 500 or so finishes burning in the specially made Duelund caps and wire as well as loosening up the drivers. Probably in two weeks or so will work a little more on positioning and adjusting the bass port/bass performance.
But so far these speakers have done nothing but impress me in their first 20 or so hours they’ve been residing in my listening room. The Plural Evos are decidedly, even remarkably, un-Hi-Fi-ish and their resolution and speed is eerily reminiscent of electrostatic speakers. (Using the latest Fuuga Mk. 2 cartridge with either the Goldmund 3.8 or Doshi phonostages.) Instruments are enveloped in a light and airy cloud of sound; the tone of instruments just lacks added tension and sound so realistic. So musically involving. They’re also crazy transparent with a huge soundstage. Joe LaBarbera’s drums on the 45 rpm ORG reissue of the live Bill Evans The Paris Concert have never been more open, palpable or possessing that sense of the drum head/internal volume. I’m hearing so many more things—particularly of the subtle persuasion or decays—on albums such as the Chick Corea Tone Poet reissue! You can hear so much more of Cassandra Wilson’s technique on another Tone Poet reissue. Kimio Eto’s koto on Art of the Koto possesses more incisiveness/transient control and control as well as recovering more of that envelope of air of any speaker I’ve had here/hear.
I will have more to say as time goes on.
These three-way Plural Evos from Germany tip the scales at 209 pounds each and their sexy looking Porsche finish is something to behold. Zellaton, in fact, recommends using Wolfgang Discourse-Series Fuzion Spray Wax from Germany to polish the speakers every week to maintain the finish.
We initially set the speakers up “roughly” until they break-in. I reckon 350 hrs gets you 75% of the way and 500 or so finishes burning in the specially made Duelund caps and wire as well as loosening up the drivers. Probably in two weeks or so will work a little more on positioning and adjusting the bass port/bass performance.
But so far these speakers have done nothing but impress me in their first 20 or so hours they’ve been residing in my listening room. The Plural Evos are decidedly, even remarkably, un-Hi-Fi-ish and their resolution and speed is eerily reminiscent of electrostatic speakers. (Using the latest Fuuga Mk. 2 cartridge with either the Goldmund 3.8 or Doshi phonostages.) Instruments are enveloped in a light and airy cloud of sound; the tone of instruments just lacks added tension and sound so realistic. So musically involving. They’re also crazy transparent with a huge soundstage. Joe LaBarbera’s drums on the 45 rpm ORG reissue of the live Bill Evans The Paris Concert have never been more open, palpable or possessing that sense of the drum head/internal volume. I’m hearing so many more things—particularly of the subtle persuasion or decays—on albums such as the Chick Corea Tone Poet reissue! You can hear so much more of Cassandra Wilson’s technique on another Tone Poet reissue. Kimio Eto’s koto on Art of the Koto possesses more incisiveness/transient control and control as well as recovering more of that envelope of air of any speaker I’ve had here/hear.
I will have more to say as time goes on.
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