The Jazz Modules offer a somewhat unorthodox approach to realistically recreating natural timbre and dynamic contrast over a fairly wide listening area in a reasonably-sized package.
Natural timbre arises from smooth frequency response, but to really get the timbre right requires attention to both the on-axis response and the summed omnidirectional response. The summed omnidirectional response is often called the “power response” and is important because it dominates the spectral balance of the reverberant sound (which in turn dominates the perceived tonal balance in most in-home applications). It’s not enough just to get the first-arrival sound right. In the Jazz Modules we have gone to great lengths to also get the reverberant sound right, using a constant directivity waveguide crossed over to a 10" woofer where their directivities converge.
Dynamic contrast is maintained by using high quality prosound drivers that have negligible power compression at normal listening levels. Sound pressure levels up to 112 dB are reproduced with less than 1 dB of power compression. The woofer uses an alnico magnet and the compression driver uses a neodymium magnet, both chosen for their improved dynamic flux linearity over conventional magnet structures (which translates into less distortion and less power compression). The tradeoff is that alnico magnets can be damaged by overheating (neodymium also, but the limiting factor is the woofer’s magnet), so it is highly recommended that you not exceed the maximum input wattage figures for the Jazz Modules.
Note that power compression specifications are almost never reported for loudspeakers intended for home audio use. It’s a dirty little secret that many high-end loudspeakers are already compressing significantly at normal in-home loudness levels, such that what should be a 20-dB peak often ends up being no more than a 16-dB peak. This robs music of its liveliness and emotion, since performers often use variations in loudness to convey emotion.
Many people find it necessary to place speakers close to a wall, or even near a corner, which can result in boomy bass if the speakers weren’t designed for such placement. The bass tuning of the Jazz Modules is user-adjustable, which adds a lot of placement flexibility and amplifier compatibility. The treble can also be gently tilted to adapt to room acoustics.
The width of a loudspeaker’s sweet spot is a function of its radiation pattern, and the Jazz Modules have uniform radiation over a 90 degree arc. The recommended setup is with the speakers strongly toed in so that their axes actually cross in front of the listening area. This preserves good soundstaging for listeners seated well to either side of the centerline, and minimizes early sidewall reflections (which can be especially detrimental to imaging).
Unlike most earlier generation horns, the waveguide used in the Jazz Modules is a very low coloration device. A constant-directivity horn or waveguide is the most practical way to get the power response to closely track the on-axis response.
The net result is a loudspeaker that pays a lot of attention to getting the timbre and dynamics right without imposing distracting colorations.