The very long research and development work carried out for VOCEGRANDE has provided us with a set of innovative and particularly effective technical solutions, so it was logical that the flagship model of our range should also benefit from them.
This is how ORFÉOGRANDE was born, it is positioned above the current ORFÉOJUBILE in our range without replacing it.
Its silhouette, a visual signature of JMR models for years, is now highlighted by its two-tone finish that lightens and draws its curves with great elegance. The use of noble materials such as aluminum accentuates its sculptural aspect and it is a remarkable object in a contemporary or classic interior.
The sobriety of its design is an assumed choice, it allows to create simple and beautiful objects at the same time, anchored in their time, which will keep for a very long time a valorizing aspect with cleverly chosen proportions. Thus ORFÉOGRANDE will cross the times and the fashions without aging.
Genesis:
Taking over the work on the basis of an existing model as powerful as ORFÉOJUBILE is not an easy task.
All its infrastructure has been completely revisited, its cabinetry, its filtering, its speakers have been improved. VOCEGRANDE, with its extreme delicacy and its unique finesse of restitution, has significantly raised our standards. It was necessary to find in ORFÉOGRANDE all these qualities by adding the force and the energy of a column loudspeaker, while respecting its character and its personality so attaching.
It will have taken months and months for the research in laboratory and especially in listening, to lead to the expected result. This is why ORFÉOGRANDE is now the most successful passive loudspeaker ever made by JMR in the 55 years of its existence.
Results:
Brighter, quieter, more delicate and at the same time stronger than ever, ORFÉOGRANDE concentrates all the JMR know-how. It synthesizes the essence of the sound philosophy of JMR products, and once again, it pushes the performance limits of a loudspeaker of this size.
The sound image is truly spectacular, extending naturally and consistently beyond the system in width, height and depth and offering a scrupulous respect for the sound spaces of each recording.
The timbres are of extreme refinement and accuracy, without false light or coloration.
She plays complex music with an utterly insolent ease and never seems to struggle to reproduce the dynamics. Whether it is extreme on large orchestral formations, or subtle and perfectly nuanced on small formations or voices. The latter are carnal, but also perfectly articulated with an almost palpable presence. The diction, the articulation of each word, the breaths, the diphthongs, all that seems perfectly natural and integrated, never artificially put forward, that allows a perfect comprehension of the texts and better still of the intention and the meaning of an interpretation.
The music is expressed without constraint, with force and authority, but in a perfectly relaxed way, without any phenomenon of projection or hardness. Its precision allows an excellent readability of the phrasing and the intention of the musicians and yet one never has the feeling of deconstructing or overplaying the details. The sound message is full, fluid in the extreme, rich on all the audible spectrum and of constant density, that gets during the listening a feeling of permanent well-being that facilitates the musical emotion.
Its middle register is both rich and transparent, it depicts in a very natural way all the complex sonorities with a scrupulous respect of the harmonic gradation, essential parameter to fully identify each type of instrument. The harmonic friction of stringed instruments, the extreme complexity of the timbres of a piano, the resonance of a guitar note, everything seems more ample. The end notes last longer with a natural and very regular decay and never seem to be truncated. The superposition of the different timbres which form an expressive picture with very varied colors, provide a real auditory jubilation.
Thanks to the adoption of the polymer decoupling system of its base, the lower part of the spectrum from the low midrange to the extreme bass is sensational. Perfectly articulated and very dense, it expresses itself with an enthusiastic dynamism, giving a very frank and well controlled sensation of impact. He never overplays, yet he knows how to make himself particularly impressive when the music demands it. This decoupling principle allows the last octaves not to resonate with the floor material, which translates into a bass that is naturally positioned within the sound image and never gives the impression of crawling before it. Cleared of any parasitic vibration, it underlines, when necessary, the feeling of presence and gives the musical message a very realistic dimension and proportions. A kick drum, an organ pedal, a synthesizer pad or any other percussion instrument reaching the deepest part of the spectrum is then reproduced in a full and complete way to the extreme low end. Never does the message seem bloated or confused, on the contrary, one finds oneself detailing elements that are usually melted in the fog of these frequencies so difficult to reproduce with acuity.
ORFÉOGRANDE plays with all difficulties with agility and serenity, all musical styles find the right tonal balance and are reproduced with a scrupulous respect of their specific sonorities.
