Monday, 06 June 2022 06:13

REVIEW: B&W Zeppelin - the airship that refused to land Featured

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Bowers & Wilkins' iconic Zeppelin was launched last autumn, and has evenutally also landed in Norway. We have had a test round to check if it is able to reach old heights in a new airspace.

The Zeppelin speaker, which was launched almost fifteen years ago, has undergone a development, from being perhaps the very first active design speaker with HighEnd ambitions, to the somewhat surprising one that was launched a few years ago. But then something happened….

A Zeppelin history

So let`s warm up this review with some Zeppelin history. No, we are not going back to the end of the 19th century, but will be limiting the story to B&W's dealings with Zeppelin. And the background for this product and not least the name is of course obvious. The shape has clear associations with the famous airship, which among other things played a role in World War I as a kind of German-registered bomber over England. But although this shape has a clear design element, there is also an obvious acoustic factor involved. This form, standing waves provide minimal conditions of existance.

We start in 2008, when the first generation Zeppelin was launched. It was initially given an identity that was quite inextricably linked to the wonderboy of music at the time, an iPod, that has otherwise just received a formal death certificate issued by Apple. Because even though it also had a 3.5mm Aux input, it was the docking station in front that was intended as the main source. In Audiophile.no we borrowed a sample for an editorial gathering one weekend at what was then my summer house, and for a review. The review article has unfortunately disappeared during a technical failure in our server more tham ten years ago, but an entire editorial staff got a jawdropping experience at the mentioned gathering. The only discussion was whether the bass was actually a little too dominant on this compact speaker. It also formed the school as a class-leading compact active speaker in surrounding editorial offices.

Original Zeppelin

Zeppelin Air came in 2011, and as the name suggests, this was supplemented with wireless features in the form of AirPlay. The dominant docking station in the front was retained, but was eventually upgraded to a lightning connector at a time when the iPhone had also managed to become a dominant smartphone. I myself have a Zeppelin Air stationed over my Korg Krome synth as a «piano speaker» at my summerhouse, and both Zeppelion Air and I are very happy with this arrangement. And the sound is experienced as significantly more balanced than on the 1st generation Zeppelin.

Zeppelin Wireles arrived in 2015, and in addition to the design being significantly refined and simplified by the removal of the docking station and associated vertical aluminum strips in the center, it received support for WiFi and Spotify Connect, AirPlay and Bluetooth with aptX.

When we were at a press launch under the auspices of B&W of the new wireless Formation series at the Hifi club in April 2019, we were told that Zeppelin had been in for a permanent landing. And that was obviously Bower & Wilkins' clear plan at the time. But to quote Robert Zimmermann - things have changed

Whether Sound United's acquisition of Bowers & Wilkins is one of the factors that led B&W to change plans for Zeppelin's fate is not known, nor is it in the long run plans to eventually integrate Denon / Marantz's streaming platform into the wireless B&W speakers . Anyway - when we were invited to a digital press launch with the theme Zeppelin from Sound United, the heart made an ever so small leap. Maybe Zeppelin had landed a couple of years ago, but it should turn out to be just a stopover.

The terrain

I always find it useful to take an overview of the terrain a product competes in when I perform a review. And for Zeppelin, of course, there must be some obvious requirements for quality, design and sound in order for any competitors to be allowed into the arena.

It's tempting to start with the Sonos Five (earlier Play:5) , which is admittedly both less expensive and has excellent functionality. But in terms of design, it could be rather challenging letting in passing a critical doorman. How it does performs soundwise against Zeppelin we will return to towards the end of the review.

Devialet is of course an interesting candidate, but is becoming significantly more expensive. And then we're still just in mono, unless you buy a two-pack. The same goes for Naim Mu-So Qb 2 , which admittedly also costs 3 bucks more. I reviewed the first generation 6 years ago, but have not tried Mk2 yet. And then of course we have Mu-So 2nd generation , which has a stereo concept with a bit of the same recipe as Zeppelin, and must be assumed to be a bit hard nut sonic for Zeppelin. But at more than double the price

A very different competitor is the Audio Pro C10 Mk II which I reviewed a year ago. It is a good deal less expensive, and it also has an elegance that plays on completely different and more clasical strings.

The Triangle AIO 3 that we also reviewed a year ago is also a more affordable alternative, and here you also get a compact stereo setup, which admittedly has less physical width than on the Zeppelin

Perhaps the most aggressive competitor we find in B&W's own ranks, in the form of Formation Wedge , which can be obtained for just under ten thousand NOK. It has a similar concept with a total of 5 drivers of the same size as Zeppelin, and with 5 amplifiers. This too can may a close-up stereo image. By the way, the formation series can be used in the same multi-room setup as Zeppelin, thanks to a software update that came after the speaker was launched.

And we must not forget Denon's largest model 350 in the Home series which has good functionality and nice clothing. But even that might have bribed the doorman at a restaurant where you need to wear a tie.

Klipsch The Three can be an interesting alternative, and has a slightly lower price tag, and a very different design. And if we take a look at Bang & Olufsen's range, Beosound Emerge is the one that matches in terms of price. It's hard to imagine that it can provide a sound experience that matches Zeppelin. On the other hand, Beosound Level can be thought of as an interesting alternative, but at a much higher price, depending on the finish.

Design and finish

The refinement of the design that started with Zeppelin Wireless, has taken a quantum leap forward with the latest generation Zeppelin. And it is especially the chassis that has received the most significant upgrade. An aluminum base gives it literally a big lift, both visually and from the ground. And it is more than the design that benefits from this, because it appears to be an obvious acoustic gain to be able to lift the speaker from the surface. And in my an equally important design upgrade are the LED lights that are located just below the speaker, and which light up when the Zeppelin power up. In addition to these tools, there is a very restrained minimalism that prevails, both in the design and in another sector that we return to.

Zeppelin 2021 comes in two different colors, and I have made up a crystal clear idea of ​​what is my favorite. The review sample to my great satisfaction arrived in Midnight Gray, which is a gray-black color that may go by the name anthracite, even among verbal perfectionists. And then you may also get it in Pearl Gray.

A bit "over the hill" at the top, we find five discreet buttons for operation, which invite more to tactile than visual naviogation. Probably the right choice, but maybe we could have had both? But then there was this with elegance and design… And then I just have to mention that there is no hw-remote with Zeppelin 2021

Zeppelin definitely deservs a lot of air around it, both for sound and for elegance. If you're looking for a speaker you can squeeze into a free hatch in the bookshelf, you may have landed on the wrong globe.

If, on the other hand, if you need a wall mount, this can be purchased separately for NOK 798.

 

Construction

Inside this unique cabinet, we find five drivers, which together provide a stereo reproduction from this speaker. We start with the woofer, a 6-inch driver configured as a subwoofer in mono. This is powered by an 80 watt amplifier, and the signal over the crossover frequency of this, and which is not stated, gets a full stereo reproduction limited only by physikal laws and the natural width of the stereo image.

The midrange is taken care of by two 3.5-inch drivers, while at the far end we find two 25mm double dome drivers taken from B&W's anniversary 600 series. Each of the four drivers are powered by a separate 40 watt amplifier, providing active multi-amping. It gives an amount of 5 amplifiers with a total power of 240 watts with unspecified measurement conditions.

The stated frequency response is 35 - 24,000 Hz within a tolerance of -6dB. This is quite impressive from a compact speaker, and it is reflected in the listening impressions that we return to.

Completely wireless

B&W has also practiced very restrained minimalism when it comes to physical inputs. And a count is done quickly, because the only input that could initially be suspected of being able to receive an audio signal is a USB-C input. And it's just for service use, so the number is 0. This is a bit of a parallel situation to som premium wireless headphones dropping the analog 3.5mm input, as both Apple AirPods Max and Huawei FreeBuds Studio have done.

B&W sends a clear signal here that we are now in a wireless age, and that streaming rules. Music or radio comes to Zeppelin either via integrated streaming services or internet radio services. Or you can send the sound from a mobile via AirPlay 2 or Bluetooth 5.0. And unlike some other devices in the higher price range we have been dealing with lately, Bluetooth is equipped with both SBC, AAC and aptX Adaptive. This is very good, and provides fairly optimal bluetooth conditions for both iOS with AAC and Android users, who often will have better use of aptX. The only codec I could wish for in addition is LDAC, but it is only exceptionally supported by competing products.

Support for Chromecast / Google Cast could also be nice to have in the portfolio. And then I can not free myself from the idea that it would have been useful with an optical input for some flexibility. Not to mention an HDMI-ARC

Soundbar for AppleTV

It is worth noting that it is possible to set up Zeppelin as a TV speaker via AirPlay 2 in the app for AppleTV 4k. Thus, Zeppelin will function as a Soundbar, but I learned that it must be set up in the menu of AppleTV every time the system is turned on. That is, You may turn the AppleTV off and on, but not the AirPlay-unit

Streaming services

B&W's Musc app has integrated a series of streaming services. The services covered are:

  • Spotify
  • TIDAL
  • Deezer
  • Qobuz

In addition to the internet radio TuneIn and Soundcloud, these services constitute the most important services available in Norway in my opinion. And then it can be nice to know that you also have the option of Last FM and NTS.

The two streaming services available in Norway that are not integrated in the B&W Music App are Apple Music and Youtube Music. These can also be played on a Zeppelin, but then you have to stream from a device via Bluetooth or AirPlay 2.

If, on the other hand, you use one of the streaming services that are integrated in B&W's system, you may stream with a resolution of up to 24 bit / 96kHz.

Bowers & Wilkins Music app

Bowers & Wilkins has created a great app, which works both for Zeppelin and for the new power speakers in the Formation series that were launched in 2019. It is believed to have been further developed through updates these years, and now appears as a complete offer to operate power speakers. Here you can configure the devices in the system, and set up a possible multi-room system.

There are three streaming services that are integrated in the app, in addition to Spotify with their Connect, that always works with by the music being controlled via Spotify's original app. There is still a difference in how the three streaming services TIDAL, Deezer and Qobuz work in the Music app , and it's an issue I recognize from other product lines' dedicated apps. Because while TIDAL unfortunately sorts your stored favorite albums alphabetically, you get them presented chronologically by the storage date at Qobuz and Deezer. And then it is conceivable that the alphabetical storage order is correct for many of you, but for me who goes through all the presented new music-launches every Friday afternoon and save my favorites, it is a must that they are presented chronologically.

There is a rumor that B&W is working to eventually integrate even more sgtreaming services in the menu. And most likely other updates as well.

Roon

Zeppelin is neither Roon Ready nor Roon Tested. But it is still compatible with Roon playback via AirPlay 2. In addition to the flexibility this provides for music playback, it also allows you to use Roon's popular and flexible parametric equalizer, which allows for a significantly more accurate adjustment of the sound in Zeppelin. It works as usual otherwise only when music is played via Roon. For other playbacks, an integrated tone control is available via the B&W Music app

Playlist

Playback setup:

Bowers & Wilkins Zeppelin, played from Roon via Airplay 2 with a listening distance of approx. 1.4 meters. Zeppelin placed approx. 70 cm from the back wall, and placed on a surface with a height of 74 cm above the floor. The short distance to Zeppelin was essential for the perceived stereo perspective.

For more than a year now I have used a standard playlist as part of the listening session on my tests in Audiophile.no. The purpose is to have a reference both for the listeners and not least for myself which provides a good basis for comparison between different products. The test track is primarily developed in TIDAL, and it is the latest revision of the TIDAL edition that has been used in this test. The test list is under continously revision.


You can get to the playlist by clicking on the image 

  1. Odin Staveland. Parade - Sillajass
    There is a lack of openness compared to the best setups , but the precision of the bass is great.

  2. Erik Friedlander. Bohemia After Dark - Oscalypso
    A very pleasant surprise. The bass is well reproduced, and there is a surprisingly large soundstage considering the narrow layout. The sound balance works well here.

  3. Nigel Kennedy. Vivaldi: The New Four Seasons: Summer: 8 Fear - Vivldi: The New Four Seasons.
    This is a demanding track, not least due to the hefty passages with a lot of distortion in the soundscape. I still think that Zeppelin handles this well, and the calm passages have a nice sound.

  4. Louis Armstrong. St. James Infirmary - Satchmo Plays King Oliver
    Not the same precision and openness as in the best setups, but it works well. Nice sound both on the muted trumpet and on the clarinet.

  5. Arild Andersen. Patch of Light - Hyperborean
    Nice and warm sound in this string-based track. The perspective is also useful, but of course limited compared to a normal stereo setup.

  6. Arild Andersen. Hyperborean - Hyildborean
    The bass of Arild Andersen is surprisingly beautifully reproduced, and with at least as good a downward extent as some tripod speakers I have run in the test track. Maybe I miss some air around Paolo Vinaccia's whisks, but it's not noticeable.
  7. Frank Zappa. Rubber Shirt - Sheik Yerbouti
    Here Zeppelin excels and shows that it masters bass. Maybe not as dynamic rendering as on the best layouts, but better than many

  8. Frank Zappa. Debra Kadabra - Bongo Fury
    This track is demanding, and is tackled better by a number of other setups in the opening. It gets better in the part that starts a minute and a half out in the song, although this part is basically a bit "dirty". At the same time, there is a slight emphasis on Beefheart's vocals.

  9. Frank Zappa. The Purple Lagoon - Zappa In New York
    Here you might miss a bit of the with in the soundscape that you get with an ordinary stereo setup.

  10. David and Susanna Wallumrød. Chelsea Hotel - Chelsea Hotel (Live)
    The sound and Susanna's vocals work well on Zeppelin, although Susanna may sound a bit sharp in some parts.
  11. Helene Grimaud. Silvestrov: Bagatelles I - XIII: Bagatelle I - Memory
    Nice rendition of the Ukrainian pianist and composer Valentyn Silvestrov's lyrical Bagatelle, although perspective and air may be better in other setups.

  12. Kleive, Reiersrud, Dissing. Kimer I Klokker - Den Signede Dag
    Also on this track, Zeppelin surprises, even though I so far out in the test track might need to stop being surprised. Zeppelin eats the bass tones from the organ in Odense Cathedral for breakfast, and then serves them on to us. The crescendo at the end is also tackled with a moderate pulse. It is actually in the higher octaves that it may blunt a bit played at high volume.

  13. Reiersrud, Kleive. Track 12 - Himmelskip
    A great rendition, but not a leading one.

  14. Jan Garbarek. Mission: To Be Where I Am - It`s OK To Listen TO The Gray Voice
    This is one of the best stages in the test track for Zeppelin, and despite the fact that the track has no deep bass tones this active speaker can excel with.

  15. Jimi Hendrix. Red House - Hendrix In The West
    This old Hendrix track basically has some limitations in, among other things, the distortion of Jimi's guitar. But there may be a very good dynamic, and here Zeppelin certainly plays on a team. And Noel Redding's bass is very nicely reproduced, also with Zeppelin.

  16. John Abercrombie. Red And Orange - Timeless
    Jan Hammer's synth bass is reproduced with the amount of punch that this track deserves.

  17. John McLaughlin. Every Tear From Every Eye - Electric Guitarist
    A rendering a little in the middle of the road, or maybe a tad below. But the bass of Alphonso Johnson works very well and so does Patrice Rushen's electric piano

  18. Joni Mitchell. Overture / Cotton Avenue - Don Juan`s Reckless Daughter
    Jaco's bass excels, and this time I was not surprised. We are talking about a combination of good depth and high precision. Joni Mitchell's vocals and guitar are also well reproduced, although some tendencies towards hardness occur in some places. This also happens on other setups to varying degrees, so B&W is in good company.

  19. Kari Bremnes. Kanskje - Det vi har
    The Bass is great and precise. On the other hand, there is a hint of sibilant reproduction in Kari's vocals, along with an emphasis in the upper midrange. I have also experienced this on other setups, but not on all.

  20. Kari Bremnes. Like før dagen går ned - Og så kom resten av livet
    Also here Kari's vocals are not optimally reproduced. Some hardness occasionally.

  21. Kari Bremnes. BNarn av blå krukke - Blå krukke
    This track has a bit of a V-shaped sound characteristic, and it strikes me that this suits Zeppelin perfectly. This means that the speaker thrives with and not least handles this lift well, and that it can generally be given a small lift in the treble. On the other hand, it can be tamed a bit when the treble changes to the upper midrange. Not because it is overexposed there, but because sometimes a little suboptimal rendering is exposed in that area.
  22. Kari Bremnes. A Lover In Berlin - Norwegian Moods
    Fine bass and dynamics. But also here some aspects of Kari's vocals that are not optimal are exposed.

  23. Kari Bremnes. Du har sett dem - Månestein
    Here the vocals work great, and so do the rest of the frequency ranges. The rawness in both the sound image and text that this track should have is beautifully reproduced.

  24. Keith Jarrett. For Miles - Bye Bye Blackbird
    Here I had sincerely expected a setback in the form that the airiness of Jack DeJohnette's drumming would not get the space it deserves. This setback was canceled. And  Gary Peacock's bass being beautifully reproduced was as expected. Keith Jarrett's piano also has a nice sound, and is reproduced with good microdynamics.

  25. Sigmund Groven, Knut Buen. The Sound of Telemark - Myllargutens Bruremarsj
    This magnificent acoustics should preferably have been experienced in Dolby Atmos, and not on a narrow stereo setup. But it still works well even with a spread angle of 10-15 degrees.

  26. Ketil Bjørnstad. Land - Odyssey
    On this track, for some reason, the narrow spreading angle becomes a very clear limitation. But the sound balance works well.

  27. Ketil Bjørnstad. Moren - Sunrise
    This track often tends to distinguish the layouts whether they focus on details, or on visual images of the stairwell with furniture and personnel described in Edvard Munch's text. And in this case, it is undeniably the images that dominate.

  28. Kolbjørn Falkeid. Alt - Solskinnsdypet
    The vocals of the late Kolbjørn Falkeid are beautifully reproduced on Zeppelin. This also applies to Arve Henriksen's trumpet, and of course also Bjørn Kjellemyr's bass.
  29. Ketil Bjørnstad. Sylveline's Hus - Berget Det Blå
    It's almost a bit ironic, but here what is basically a narrow stereo setup with a small distance between L/R channel benefits from the fact that this mix has a hyperstereo perspective that is far too much of a good thing, with Arild Andersen completely out on the right side, and Pål Thowsen correspondingly far out on the left edge. Zeppelin pulls the picture more together. The sound balance is never good on this release, and it does not change on Zeppelin.

  30. Leonard Cohen. Happens To The Heart - Thanks For The Dance
    Leonard Cohen's vocals rasp as it should when he half sings and half recites "I got my shit together, meeting Christ and reading Marx"

  31. Leonard Cohen. The Story Of Isac - Songs From A Room
    Here the focus is more on storytelling than on details. And then of course there is a fascinating story, not least when it culminates in "When it all comes down to dust I will kill you if I must, and I will help you if I can", which is immediately corrected to "When it all comes down to dust I will help you if I must, and I will kill you if I can ».

  32. Lynni Treekrem. Sjalu type - Storm
    Great rendition with good dynamics and hefty and raw bass

  33. Lynni Treekrem. Veslemøy - Haugtussa
    Zeppelin plays this track well which is often very detail focused. Here it is more the whole picture that is emphasized, and it is a nice change. Lynni's fine vocals are well reproduced both on this track and also on the previous one.

  34. Mari Boine. Chasing Myself Into Reality - See The Woman
    This track with Mari Boine has a pretty hefty bass that easily gets vampy and imprecise on some setups. But not on Zeppelin. However, a small emphasis is revealed further up in the register in the reproduction of Boine's vocals.

  35. Marianne Baudouin Lie. Many Thousands Gone - Atlantis, Utopia And Wolf Dreams
    A magnificent rendition of Marianne's Cello.

  36. Mats Eilertsen. Endless - Reveries and Revelations
    Although other layouts reveal a more detail-focused rendering, there is nothing missing in Zeppelin's bass and dynamics. Brilliant.

  37. Mats Eilertsen. Signal - Reveries and Revelations
    Pretty impressive perspective from such a narrow stereo setup. And great microdynamics

  38. Siri Svale Band. Don`t Explain - The Blackbird
    Bass in the intro is formidable. And Siri's vocals are incredibly good, and almost free of sibilant reproduction. Almost…

  39. Beyoncè. DONT HURT YOURSELF - LEMONADE
    Hefty punch as expected. The raw atmosphere in this track is also well conveyed.

  40. Øyvind Kristiansen, Jonas Kilmork Vemøy. Forsaken - Hymns of Compassion
    This track is well reproduced, and Beate's vocals work well, without sibilant reproduction.

  41. Radka Toneff. The Moon Is a Harsh Mistress - Fairyytailes
    Radka is clearly better rendered on other setups.

  42. Erlend Apnaseth Trio. Vake - Lokk
    This mysterious trail by Erlend Apnaseth is demanding, and Zeppelin passes the test.

  43. Angermanlandsmorgon - Past Present Future
    Nice rendition, and with a singing bass.

  44. Maria Joao. We`ll Be Just Begining - Undercovers.
    Here are some challenges at the top of the middle that are pretty well exposed on Zeppelin.

  45. Lill Lindfors. Ankomst til Hades - Et Liv
    This magical track is well rendered on Zeppelin

  46. Billie Eilish. Your Power - Happier Than Ever
    Here, some high notes are a bit emphasized in Billie Eilish's vocals, including the opening note. Otherwise, this is a parade march. And the bass in Your Power has more than enough… ehhh… Power.

  47. Marc Johnson. Freedom Jazz Dance - Overpass
    As we now approach the end of the test track, it is of course no surprise that Zeppelin excels in bass on this great track with 60s and 70s inspiration. Perhaps more specifically recording summer '69, and released in 1970 after a painstaking process by Teo Macero, although this title is a few years older.

  48. Irmin Schmidt. Piano piece I - 5 Piano piece
    A formidable track that is well reproduced on Zeppelin, also the deepest piano notes that seem to have an origin to the left of the deepest keys on my piano.

  49. Jeff Reily and Peter Anthony Togni. Ave Verum - Blackwood
    A formidable bass clarinet that is masterfully reproduced by Zeppelin.

  50. Anette Askvik. Liberty - Liberty
    Great rendition, which is hampered a bit by some emphasis on Anette's vocals in the upper register

  51. Chiaroscuro Quartet. String Quartet No. 1 - Beethover: String Quartets
    Fine sound balance. Here, of course, I could wish for a little more with in the soundscape, and the ability to define the location of each instrument is not as good as on good stereo setups.

 

Summary listening impression

We start at the bottom of the frequency spectrum. This is perhaps the strongest area in Zeppelin`s reproduction. It plays a bass that not only goes surprisingly deep, but also has very good control and precision. Purely subjectively, it can be confirmed that it goes down to 35dB, even though this is at -6dB. That does not really matter, because the rounding is perceived as unproblematic, and gives a much deeper bass than you can expect from a compact speaker. But it may well harmonize with the general impression from bookshelf speakers with a 6-inch driver or larger in the bass, in contrast to similar speakers with e.g. five inches. And we must not forget that Zeppelin's 6-inch has active operation with its own amplifier. And maybe a DSP attached also for correction?

The midrange works well. It is not particularly warm, but gives a nice presentation of strings and also most voices. The only clear exception I experienced was on some of the tracks with Kari Bremnes, especially on the tracks Maybe , Just before the day goes down and Lover in Berlin in the test track.

The treble is also good, and provides good information at the top, without protruding in an unpleasant way. It still lacks some air compared to good stereo setups, and it was noticed on some tracks in the test track. But still I want to say that this balances well against the whole in the sound of Zeppelin.

Microdynamics are moderately good, and were highlighted on some tracks, and experienced as slightly below par on others.

What is perhaps the biggest surprise is that the stereo perspective is so good in a setup where you sit a little close. In the critical listens on the test track and other plays, Zeppelin was lined up 1.5 meters from the listening position, and this of course gave a narrow stereo perspective, but still good. And this is undoubtedly B&W Zeppelin's biggest advantage over most competitors. A stereo playback is usually a game changer for power speakers. Also with Zeppelin, and it therefore of course contributes to a more engaging listening session.

And now that we have unveiled the sound performance, we can take a look back at how Zeppelin plays in relation to some of the competitors. Sonos Five (or earlier Play: 5) is less expensive, but the sound is not quite on par with Zeppelin, and this actually also applies to a two-pack with Sonos Five in stereo configuration if compared to a distinct near-field listening on Zeppelin. First generation Naim Mu-So Qb can not claim against Zeppelin, while I have not heard the sequel. The full version in the 2nd generation, on the other hand, gave a very good listening impression in the hectic exhibition environment in Munich three years ago, and must be suspected of beating Zeppelin in a direct comparison in a review. It also costs approx. 10,000 NOK more than Zeppelin, but at the same time has greater flexibility and better functionality.

Both Audio Pro C10 MkII and Triangle AIO 3 are good and attractive candidates at a significantly lower price than Zeppelin. But they can not compete, neither in sound reproduction nor in design.

It is a bit demanding to find at least as good sound at the same or lower price compared to Zeppelin in the near field. Then we probably have to switch to stereo setups in the budget class of power speakers, such as. Triangle AIO Twin , which we reviewed last year. But this is of course a completely different concept.

Conclusion

Zeppelin was a very unique speaker when it arrived almost fifteen years ago. And even though there has been a revolution in that sector over the years, this is still the situation. And of course it is primarily the design that makes it unique, a design that is significantly more refined now than on the first model. And the assessment of the Zeppelin can hardly be detached from the fact that this is an iconic design speaker.

But make no mistake - Zeppelin certainly defends the price as an active, powered speaker alone. Actually, it is demanding to find a competitor that provides equally good sound for the money, at least if you have the opportunity to give it a location that enables a near-field listening with an associated stereo perspective. Then Zeppelin gives full value based on the sound alone, and the unique and elegant design is a pure bonus.

 

Price for B&W Zeppelin is NOK 7.998, -

Bowers & Wilkins is imported to Norway by HiFi Klubben

Read more about Zeppelin at HiFi Klubben
Read more about Zeppelin at Bowers & Wilkins

Read 257 times Last modified on Monday, 06 June 2022 09:00
Karl Erik Sylthe

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