With ASL Twin-Head i Croft cont.
A nob for regulating trebles is hidden in one out of two bass-reflex channels of each loudspeaker. Thanks to that nob trebles are adjusted within a relatively wide range and as for me, the best option was setting them at a minimum. I have listened to it very carefully and I have no doubts as to my choice. Setting them to minimum does not mean that trebles were withdrawn or in any way softened. They had a phenomenal extension and on top of that, wonderful multi-dimentionality. As it is known, ribbon loudspeakers can reproduce high tones in an amazing way, however, it is not a simple matter to ensure that that occurs. In case of the tested system the trebles sphere and space were more-so of a show off in the performance. It does not mean though, that there was a shortage of base. It was taking a widespread position at the base of the band and in right moments rumbled powerfully when the entire band, just as the whole scene, created one perfect unity. It was clearly felt and I really enjoyed it myself.
Another excellent issue was the way measures of reverberation were balanced. Perfection. There was zero of it in the recordings, so appropriately for the name of loudspeakers, and it should have been somewhere there – in both sacral and electronic music – it would vigoriously show and played the main role. It resulted in an excellent atmosphere, completely different depending on recordings, it all created a beautiful refreshing change from the usual situation present during the Audio Show, where the system would add extra reverb to everything, or simply there was no reverb at all.
As for general remarks – the sound was not prolonged. It sounded fast and was cut as evenly as a lawn. However, when natural long sounds came, they were presented in their whole length. There was also no extra air pumped. At the Audio Show, especially in that aspect, famous Sonus Fabera loudspeakers failed to pass, whereas in case of Zetas it did not take place. They presented true naturality, and the winds were reproduced just fantastically with a large measure of gust and their own features.
It is also important to mention that the sound system based on Zetas very clearly scaled the quality of performed recordings. It is not a surprise in the situation where I have described it as playing naturally. Since nothing was beautified, and at the same time it presented generally excellent level, it could not have been any other way. Not only did it differentiate the teachnical background itself – any noises, colour saturation, number of details, depth of sound – but also the lighting. Some recordings were completely bright, while others entirely dark. In other words, it was transparent.