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First Listen: 2011 Jaguar XJL & The B&W 7.1-channel System

First Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

The XJ is the final jewel in the crown of Jaguar’s fully redesigned stable of motorcars. Stately, definitive, and powerful, its interior bedecked with wood accents and the sweet bouquet of leather the XJ is the iconic auto maker’s largest and most luxurious sedan (XJL, suggested retail $90,500). For the audiophile it is also the beneficiary of Bowers & Wilkins finest car audio effort yet. And most sophisticated. The 7.1-channel surround based system deploys twenty transducers, with B&W’s characteristic yellow Kevlar® speaker cones discretely peaking out from behind bespoke grills. They are in turn driven by 1200 Class D watts of DSP distributed power courtesy of Harman. Behind the menu-heavy, 12.3** TFT touch screen are some fairly advanced components and technologies which include the first applications of Audyssey MultEQ and in a first for car audio Dolby Pro Logic IIx, together with DTS Neo:6, The touch-screen, which also handles navigation, climate and a myriad of other deluxe functions operates with all stereo sources including the single disc CD changer, tuner, satellite radio and new for the XJ, HD radio. Connectivity is remarkable and hard drive capable of uploading ten CD which replaces the six disc changer that the XF uses. It can stream audio and video via  iPod and USB memory stick,  and stream audio via Bluetooth. You can even watch a DVD movie provided you leave the vehicle in Park. In addition to the cabin audio, this system features three additional audio channels accessed through Unwired’s Whitefire® digital wireless headphones.First Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

Given the larger interior volume of the XJ “listening room” versus the midsize XF meant that the system had to be adjusted and augmented accordingly. Translation, more and larger drivers and much more power.  Out went the XF’s Alpine-sourced Class AB amplification–enter Harman Class D units for a total of 1200W distributed to fifteen channels. The front doors utilize a fully active three-way array. The distribution of loudspeakers is as follows; center coaxial 4** mid/1**tweeter; front doors, 8** woofer, 4** mid, 1** tweeter; rear doors,  coaxial 4** mid/1** tweeter and 6.5** woofer; parcel shelf; dual coaxial 4**mid/1* tweeters. All four 8** woofers use 140W per channel. However there is a big change in the XJ– this isn’t a subwoofer/satellite system in the conventional sense like the XF. It is more akin to a fully integrated large 3 way system with all four long throw bass drivers firing directly into the cabin and able to reproduce sub bass frequencies as well as upper bass. However, B&W points out that “when you turn up the sub on the interface it does boost sub bass level to the parcel shelf bass speakers which, they admit, are under utilized most of the time because the door bass drivers are so potent. They point out and I concur that “the system goes quite ridiculously loud but more importantly is never stressed”.First Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

There are two key reasons why the B&W system scores so highly. The first is how quiet the cabin is–eerily so. Even at higher speeds and I admit to nothing, the XJ carves through the air as silently as a ghost. The other reminds me of the old cliché in the real estate game. That it’s all about location. For car audio the same could be said about localization. When you can ascertain the location of a given speaker or channel the illusion of a performance is destroyed. Within the platform of the XJL, the B&W system has produced the most impressive illusion of a performance in a large sedan than anything I’ve heard before. There is genuine image clarity, timbre sophistication and distinct soundstage information. Is it a match for my listening room or make me think I’m at Abbey Road for a B&W family reunion, not hardly. But more often than ever before music playback strikes a chord of familiarity It has moments often-beautiful ones where high end criteria like transparency and midrange dynamics and presence really register. It doesn’t have an edgy tilt rather there’s a significant amount of warmth. Rear seat passengers benefit even more with some deep hall ambience that almost makes you want to give up the wheel to someone else (I said almost). I’ll have more specifics in an upcoming edition of TAS but that’s all for now. Tragically the car was returned a couple days ago and to be honest,  I haven’t quite been myself ever since. bowers-wilkins.comFirst Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

For Winding Road magazine’s review of the car itself, click here.

windingroad.com also did an interesting piece on the XJL versus the Panamera which you can read here.First Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

Perhaps the best seat in the house;First Listen: 2011 Jaguar XJL & The  B&W 7.1-channel System

Tags: BOWERS & WILKINS

Neil Gader

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

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