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The midrange here will fare well with any kind of music. The warm voice of Sinatra from Nice’N’Easy was warm and big, the fantastic harmony of the voices of the four gents from Four Freshmen and 5 Trombones was reproduced well and the succulent voice of Madeleine Peyroux on Standing On The Rooftop gushed from the Pearl like warm caramel. Everything was exactly as one would wish due to the very good tonal balance and outstanding internal coherence.

That said I can of course show that in absolute terms the treble was a bit laid back and that the proper reproduction of for example piano would require more energy in the upper registers. That’s a fact I won’t dispute. There are more aspects which clearly distinguish these loudspeakers from their more—or far more—expensive competition. I won’t pretend otherwise. But it is really worth looking at the overall context. For the money asked no other loudspeaker performs so well and has such a fine treble. Only the M4 showed something else that’s not really better but different.

Finally the bass. It is tight, very full and reaches low – perhaps not as low as the conceptually similar M4 but it seemed fuller and more concise. Taking into account what I saw after dismantling the loudspeaker, this is an absolutely amazing achievement. The lower octaves are a bit soft but in ‘good faith’, i.e. in the sense that prevents excessive edginess. The main discriminator is something that could be called minor overdamping.


This is no flaw or error. Overdamped is related to the sound not directly but to how the woofer behaves in a bass-reflex cabinet. When the designer correctly moves the frequency of the driver and bass-reflex port tuning relative to each other, we get the ‘overdamped’ implementation. This translates to a tempering of the bass port contributions (good!) as well as LF dynamics since any BR port is used not only to extend the frequency response but also its raw lower output (though not the impulse response). From time to time I have encountered such loadings and the overdamping of a BR port is not always bad for the sound.


True, it does not fully exploit the advantages of a large cabinet and reflex vent but that can be a very deliberate compromise to gain something else. In the Pylon loudspeakers this was pulled off really nicely to transfer the assets of such a solution into good sound whilst masking the flaws, usually the dynamic suppression of the bottom range. As the introduction mentioned, the designers intended to use a minimum amount of internal damping material. This you can hear. The bass is quite open and dynamic. It does not develop as fully as in bigger loudspeakers but reminds me—and I cannot disconnect from this comparison of timbre if certainly not extension—of the bass from the PMC OB1i: very well controlled but also nicely saturated to ideally combine with the midrange.


The analysis of individual frequency ranges is always helpful to define the tonal character of a given product. In well-made creations regardless of price other things become more relevant than the basics one expects covered. Then one looks for integration, coherence, the ability to convey emotions and the lack of irritating colorations. That we can have all that in the Pearls is something spectacular given their actual price of 980zł. It still would be amazing at 1800zł.