Jean Marie Reynaud


On the one hand I like the English very much, and on the other hand I don’t think that I should ever feel at home in England, as I do for instance in France. Perhaps I admire the English more in some ways but find the French more congenial. I should always, I should think, be aware of a certain sense of confinement in England, and repression. T.S. Eliot

Jean Claude Reynaud and the late Jean Marie Reynaud.

JM Reynaud speakers are the most congenial, least confined, least repressed speakers I know of. They pursue the natural warmth, body, and immediacy that give many listeners their chief emotional charge from music. They are naturally warm and robust but there is also, especially with the latest generation of Reynauds, greater transparency and sense of spatial magic.

Reynaud speakers have a way of providing the perfect marriage of sonic information and musical expressiveness that seems to elude so many other designs. My zig-zag to Reynaud began with Kefs, proceeded to Meridian M-2 actives, Linn Saras and DMS Isobariks, B&W Matrix speakers, Spendors (BC1’s and 1/2’s), and on to Harbeths. The arrival at Reynaud was both satisfying and definitive. No speaker I have heard does as well at getting the elemental emotional feel of a live musical performance into our living room, which is their designer’s express goal. In contrast to the vivid kind of clarity that distinguishes some of the most popular contemporary ‘for a clear day you can hear forever’ speakers, Reynauds offer a natural but also spirited and energetic version of transparency, resulting in a physical immediacy that can take your breath away. To my ears, had the Spendor BC-1 evolved in a straight line rather than thinning out its heritage into the Classic line, it would have turned into a Reynaud.


Again, for more detail and a look at the full JMR line, go to the manufacturer’s website, All JMR equipment is available through Amherst Audio. Amherst Audio is the US sales agent for JMR  as well as a retail dealer.  A list of U.S. dealers appears at the end of the JM Reynaud section.

Below are subjective descriptions of my favorite Reynauds.

Folia Jubilee

Well guess who’s back and better than ever? I would not have guessed this from talking with Jean Claude during the early/mid part of 2017, but folks, in the person of the new Folia Jubilees, the Twin and Bliss are back in new clothing (and with an advanced design) and sounding better than ever. The Folias are not quite as open sounding as the Bliss Silver (at twice the price) but they definitely sound like better Blisses…and Twin Signatures. The warmth we remember is there but also, depending on what electronics you use, more clarity in and amongst the warmth. And more excitement. Great energy and a wonderful firm sense of body. It’s not exactly a throw-back to the earlier JMR sound but there’s plenty of that there — along with greater definition. I started them out on my new Blue Circle 002i 80 watt solid state integrated and I heard notably better Blisses. Then I hooked up the BC amp’s optional EPS external power supply and on CD’s that wanted it, these little kids bloomed — from the inside out. A cello took on greater presence and reality. You don’t need an EPS — the 002i and Folias already sing the same song. But it does show you what they are capable of.

So we have a stand-mount entry level speaker back in the JMR line. I’ll say more as they settle in.  $1200 in black or white. Magic Stands, $450. 




The ideal for JMR has always been that elusive marriage of warmth and clarity we hear in the concert hall and jazz venue and that has eluded speaker designers for years. Over the dozen or so years that I have been listening to Reynauds, father and son, have steadily and conspicuously moved closer to this goal. But in the latest speaker iterations they have taken a giant step.

So what happens when you put a Bliss Silver in a larger box, with a properly tuned bass cavity (and a new crossover, Jean Claude reminds me — see below)? What is gained? Lost? According to the European audio market, a lot and, depending on taste, nothing. So they have driven the Blisses off the market, ending a long JMR tradition that began with the Twins many years ago. I understand why they did this. In my house, on a Resolution Audio Cantata 3.0 digital front end, a 120 watt Blue Circle 022i solid state integrated amp, and Crimson cable, these new Euterpe Supremes have the essential qualities of the Bliss Silvers with notably more bass authority. Articulate through the middle, especially noticeable with voices and guitars. Clear, crisp, and present. “The crossover for the EUTERPE Suprême is different than that in the BLISS Silver: the crossover point is a bit different and phase at the crossover point is much better, so normally it is more accurate and more precise in the high mid frequencies.” The result here is that the new latest High Kings (Irish folk band) leaps into the room. In addition to whatever the new crossover contributes, the extra bass seems to add energy the Bliss Silvers didn’t quite have. These are Bliss Silvers with more chutzpah.

As one would expect, the improved bass has an effect on the speaker’s overall presentation. These are Bliss Silvers with not just mouth but chest: you can hear that immediately in the added natural richness of the saxes and the baritone voice of Matthias Goerne. And they have viscera: you can hear that in low brass and organ. Five more Hertz of bass information and three times more cabinet volume to increase bass energy make the overall presentation of the Euterpes considerably weightier than that of the Bliss Silvers. Bass was distinctly impressive on Bliss Silvers, coming almost as a surprise. Some of my customers were looking around for the subs. Here with the Euterpes deep and solid bass feels more expected: it is less a specific attribute than a natural completion of the musical presentation.

I said that “depending on taste” nothing is lost moving from Bliss Silvers to Euterpes. A richer and deeper bass can create the impression of a slight loss of speed. But when you hear the defining snap and snarl of a solo cello as it attacks a piano in a Schnittke cello sonata, you are right to question whether anything has appreciably slowed down! Still the kind of audiophile who prefers the lighter overall presentation of stand-mounts will be free to demur here. We remember that the classic Trentes were preferred by some to their floor-standing big brothers, the Evolution Threes, a decade or so ago. Designers make choices about what is most important and so do we listeners.

I have always felt that floor-standing versions of stand-mounts had trouble getting out of their own way as imagers. Ever since JMR introduced their tension rod technology to reduce driver/cabinet interaction, this ‘problem’ has disappeared, at least with Reynauds. Euterpes (and Cantabile Jubilees and Abscissa Jubilees) image just fine. And with the introduction of the Euterpe Supreme, the upper bass hump and resulting thickening of the lower midrange in stand-mounts that JMR had to design the Magic Stand with a Helmholtz Resonator to get rid of, has also disappeared. The Magic Stands were magic indeed but I (and Bliss Silver owners with cats and children) am not sorry to see them go.

So my lament for the loss of  Bliss Silvers has been short-lived. I now consider the Euterpe Supreme a fine entry level speaker if the new Folia Jubilees aren’t enough for you. And now, since I wrote this, we have the new (and more affordable) Blue Circle 80 watt 002i integrated to pair them with. That should be an ideal combination. My O22i is almost overkill here.

What do we get when we move up to the new Cantabile Jubilees? A more open and refined sound. Five more Hertz of bass and 3000 more on in the treble. Worth the additional $1300? Sure, if you have it. But if you don’t, stay here with the Euterpe Supremes and count your blessings, which are many. Bliss Silvers with chutzpah. For now, the price in the U.S. is $3150…and single wired!

CANTABILE JUBILE Toutes couleurs


For all of its obvious appeal, I found the previous edition of the Cantabile, the Supreme, somewhat on the light side, a lyric speaker: a cantabile, a singer. Like the 6SN7 based Blue Circle DAR amplifier with which I often paired it, it was an extremely pleasant, dulcet speaker. Sometimes lovely but never quite exciting enough for my taste. I preferred it on Symposium Sveltes rather than on its own spikes: the Sveltes seemed to add a necessary bit fullness and weight. They bloomed a bit on the Sveltes. In re-reading what I wrote about these speakers here, I feel I may have over-sold them a bit in an effort to be fair. I knew they were extremely popular in Europe: they were loved for what they were, not what I wanted them to be!

Paired with the new Blue Circle O02i solid state integrated amplifier and sitting on their own spikes, the new Cantabile Jubilees just here (and with fewer than 20 hours on them), make an absolute virtue of what I felt was the characteristic shortcoming of the Cantabile Supremes. Their lightness, which is still there, now feels like grace; and it is accompanied by wonderful, liquid clarity. These new Cantabiles are more agile, articulate, and ever so slightly sweet. They have an utterly natural clarity throughout their range (they go to 35 Hertz) that the Supremes couldn’t really approach. They are still absolutely Cantabiles — they still sing. But where the earlier speakers blended things a bit for affect, the Jubilees have no need for that. Their beauty strikes me as totally unaffected. These Cantabiles now have a distinct identity of their own that some listeners may find is exactly what they’re looking for in a speaker, something larger speakers for all of their other qualities may not have. That is exactly what I’d hoped for.

Percussion, brass, winds are all dramatically and brilliantly present, but without a hint of over-assertion or stridency. Their trace of sweetness is especially audible in trumpets, for example. It gives both Iris Dement and her piano a wonderful smidgen of personality.

The tension-rod technology, which now exists throughout the speaker line, enables these speakers to image like stand-mounts, even more impressively than the Supremes which also had that innovation. I will not miss the Bliss Silvers (or their need for Magic Stands) any longer, having heard these new Cantabiles, though I realize the Euterpe Supreme is the fairer comparison. Let’s just say, I will now be likely to push customers toward these speakers where before I did not. The Cantabile Jubilees have a level of refinement that I’m finding irresistible.

Bass is better here (especially with an 022i in place of the 002i) than in the Cantabile Supreme. Not dramatically deep — their size would seem to preclude that; but solid and clear. Its notable clarity compensates considerably for absolute depth. Once I adjusted to their presentation, I didn’t find myself missing that. And as woofers are the last drivers to break in, I’m expecting more avoirdupois later on. 35 Hertz is 35 Hertz. As I say, if you want more bass, which often comes with more power, try the 002i. As I say in my description of the new 002i, that amp with its available EPS power supply makes an interesting comparison with the 022i. More warmth and conspicuous bass with the more powerful amp, more midrange clarity and grace with the 002i. The new Cantabiles go fine with both.

The speaker’s main attributes that I hear are speed and openness: everything is immediate and spread out before us in an open space. The top mounted tweeter clearly has a lot to do with this.  Speed, openness… and grace!

I am coming to love these little (and they are little — just 40 inches high) floor-standers. In a modest sized room (though mine is 5000 cubic feet!), they may well be all some customers ever need. They do not quite rock out: they can do rock fine, but they won’t slam you in the solar plexus with enriched upper bass punch. They sing like birds — when called for, substantial birds. I’m sitting a room away as I type this and they still sound beautiful playing Jordi Savall’s Saint Colombe on bass viol. The late Jean Marie would be weeping. There is a lot of him in these speakers, though the clarity is all Jean Claude…Easy to drive at 91 dB, $4500.

Cantabile Jubilee


The Abscissa, the first JMR speaker from Jean Claude Reynaud’s hands alone, is now in its second edition, called the Abscissa Jubilee. The Abscissa is designed to bring some of the fullness and low end authority of the Orféos into smaller rooms. There is a new heill transformer tweeter with a silicon diaphragm that audibly faster and more dynamic than the former speakers’s ribbon; and, of course, there is the pioneering driver tension technology already in force in most of the rest of the line.

While I was especially pleased to see that the Cantabile has matured into a distinct sounding speaker in its Jubilee edition, I am even more pleased to report that the new edition of Abscissa Jubilee has achieved an even greater breakthrough. To my ears Jean Claude has turned a corner in his pursuit of a sound that while keeping the core of his father’s sound takes us closer to the the truth of what’s going on in the recording venue.

The initial Abscissa was designed to be an Orféo for a smaller room.  The Abscissa Jubilee appears to me to have been designed to outperform the Orféo in one particular and perhaps essential respect.

One of the hardest things for a speaker to do is achieve realistic ‘life-like’ (both clear and deep)  bass without losing speed, immediacy and articulateness in the overall presentation. The larger enclosures and larger woofers usually needed to get the bass authority we want give away a little speed, ‘jump’, and immediacy, thus moving us farther back in the concert hall than some of us really want to be. The Orféos do that and for those who want to sit “mid hall,” they do it admirably well.

But the new Abscissas give away nothing! They keep us in the fifth through the tenth row we paid dearly for and give us ‘life-like’ bass to boot. How they achieve the bass weight and bass clarity they do with a cabinet only a hair larger than that of the Cantabile and with the same size woofer/midrange drivers is beyond me but that’s clearly where the design genius lies.  The overall balance of the Abscissas is both deeply satisfying and exciting. There are precious few speakers we can say that about.

The Abscissas are wonderfully smooth but do not have the Cantabiles’ hint of sweetness. If you can live without that (Is ‘live’ music sweet?) in exchange for considerably more and clearer bass and a dramatically clear and spacious high end which clarifies the soundstage, you will be more than satisfied. Having that bass affects everything, even the sound of a chorus. Mahler’s Second is a good deal more monumental on the Abscissas than on the Cantabiles. Foundation is foundation. But without a wide open high end like the Abscissas’, forget it.

The Abscissa Jubilees are probably the most truthful speakers I’ve heard. And by that I don’t mean ultra transparent and uncomfortably detailed, I mean accurate to timbre. Every instrument sounds absolutely like itself. A solo violin sounds exactly like a violin, in all respects: it is physically present before us: its body of rich wood, its strings firm, clear, and exquisitely beautiful. As a solo violin climbs into the stratosphere, at least as far as my aging ear can follow it, it can take your breath clear away. These speakers will have a tendency to make many others sound limited and colored. And once my Abscissas were fully broken in, they passed the Iris Dement test! I have yet to hear Iris sound this clear and present: her piquance is not short-changed but like a woodwind’s it’s as beguiling as arresting. A proper speaker needn’t roll her off if it’s got the chops.

The comparison with the Orféos is logical and obvious. Besides being $3000 cheaper, the Abscissa are clearer from top to bottom, more immediate, more room friendly, and easier to drive. Where the Orféos are fuller and denser, the Abscissas are more articulate and exciting. A comparison many will also make is with the recently departed Offrandes. The Abscissas have more conspicuous bass, provide a more highly detailed and broader spatial presentation, and are more literally truthful from bottom to top. The Offrandes felt as if they were focussed more narrowly and closely and were a touch sweeter, sharing some of the spirit of the new Cantabiles. (A customer friend of mind considers his Offies romantic, a view I did not understand until I heard the new Abscissas.)

To use a photographic metaphor, where the Offrandes felt like a portrait lens, maybe a 100 mm, the Abscissa feels like a wide angle, but 35 mm — not 28mm or 24 mm. I don’t mean to exaggerate the differences. The Offrandes had plenty of detail and there is plenty of emotion in the Abscissa Jubilees. You would never mistake an Abscissa for anything but a Reynaud!

$6000 in black, grey, or white. Jean Claude likes these “modern” finishes, so there we are…



THE PERFECT MONITOR…has left the stage.

Jean Claude Reynaud has kept what many of us consider the perfect monitor in production for several years now since the death of this father, whose spirit inhabits it. But in a recent conversation with JC at the Son et Image audio show in Paris, he told me that time has finally run out on this fine music machine. They cost an increasingly prohibitive sum to build, the only builder he has who can build them right is retiring, and while people all over the world love the speaker, very few are still buying it, preferring large floor-standers and the greater bass foundation that comes with them. He sold the last two pairs of Offrandes this week, to me.

This will change the focus onto the Abscissa, which to be fair is a more complete and less ‘colored,’some would say less romantic speaker. I do understand that once you hear a good organ on Abscissas, it is hard for some people to go back to the sexier, more intimate sound of the Offies. And I guess the numbers don’t lie: that’s exactly what’s happened to the Offies. The people have voted. Times they are a changin’.


With the Orféos, we move back another 8-10 rows from the Offrandes, where the instruments begin to blend, where immediacy is down around 10%, fullness, and air up 20%. You are now listening to the Supreme V2 version of the Orféo, the complement to the new Offrandes Supreme, V2’s for larger rooms.  Predictably, there is a bit more warmth and fullness. Also weight. The Offrandes have body but the Orféos have body and weight. The woofer tension system, meticulous balancing of parts, and silver capacitors do as much for the Orféos as they do for the Offrande Supreme V2’s, most dramatically in the area of imaging, which is startlingly good. Some will hear these floor-standers as Offranded Orféos.


  • My favorite seat in the hall is around Row M or N, fourteen rows or so from the stage. I want to relish the timbre of each instrument but I want a bit of the hall too: I want the coherence and weight of an orchestra. And finally, I want a hint of the sweetness that the air adds to sound as it travels those extra ten rows. To my ears, the Orféos have always achieved am impressive balance of “live” music’s wonders. They are not as immediate and exciting as Offrandes; they are not as grand, full, easeful, and authoritative as the Concordes. (Stay tuned.) They give away a little of both perspectives to give us the savor of everything. They are not a compromise. If anything, they may be for many of you, who have a large room and at least 150-200 watts of power, the golden mean, the possible best of all worlds.
  • Orféos are the reference speaker for David Elrod of Elrod Power Systems: “To me, the Orfeos are far more than a well designed loudspeaker. They are a finely tuned musical instrument that will thrill and astonish you. They are a masterpiece.”

8 Ohms, 92 dB. Again, while you can run Orféos on as modest and versatile as amp as the new 120 watt O22i Blue Circle integrated,  they give you much more on separates, like the Blue Circle BC107 and new 300-watt 2K4 stereo amp.  $9500.

Great review from Tom Campbell on Positive Feedback.


With the Concordes we are moved still farther back,  farther still if you lower the volume. We are in the rear of the orchestra section, nearing mid-hall. Everything on the stage is marvelously clear but so is the room. There is ‘room presence’ not just musician and instrument presence. We are as much aware of what is around us as before us. And there is an ease to the proceedings as suits their perspective, the gift of a true three-way speaker design with a dedicated midrange driver. With Offrandes and somewhat with Orfeos, there is the greater intensity that comes from their closer perspectives. With the Concordes, there is more ease, fullness, and authority.

Authority. While the Concordes have essentially the same bandwidth as the Offrandes and Orfeos, their presentation is weightier, more impactful, and fuller: there are three large drivers to move more air and the cabinets are considerably larger (over one and a half times as much volume as Orféos) and heavier (nearly twice as heavy as the Orféos). We are acutely aware of the physicality, the body of instruments, and of orchestras. And everything feels as if it’s life-size. What keeps this quality in natural balance is the dedicated midrange driver at exactly ear-height assuring a marvelous clarity to the territory where cellos and human voices live. I hear things in women’s voices especially I’ve not heard before, tiny but essential inflections. The new midrange and woofer suspension technology and silver capacitors, here appearing in the Concordes for the first time, also contribute to the clarity in the midrange; but in addition improve the accuracy of sound-staging and the tightness of bass. Concordes can now work well in smaller rooms than before, though the height of the ribbon tweeter assembly (around six inches higher than on the Orféos) rules out nearfield listening. I find that around 12-13 feet is an ideal listening distance: at that distance, treble/bass balance is ideal and instruments begin to float free of the speakers — another contribution from the new technology!

I expected these speakers to present a spectacular listening experience, which is why I leapt at the opportunity to hear them. They do not do that. Rather, and this may be the most important thing to say about them, they offer an utterly natural and whole presentation. Everything is just effortlessly there, solid and in its place. Everything. There. Nothing is projected or emphasized. The Concorde Supremes are not sensational or overwhelming, they are simply true to the experience of live music heard from what many listeners, especially those who favor orchestral music, consider the perfect location.

The Concordes are 4 ohms, 93 dB, providing an easy load to amplifiers. That said, the Reynauds urge us not to scrimp on power or current in order to let these speakers do all they can do. I auditioned them here on a Blue Circle 150 watt hybrid BC 204. $14,000.










MAGIC STANDS.JM Reynaud has resumed production of the famous Magic Stands, designed specifically to improve the performance of stand-mounted speakers, the Bliss and Bliss Silver in particular, though some customers use them with other manufacturers? speakers. Making use of the principle of the Helmholtz Resonator, Magic Stands not only clarify low end performance dramatically, they also have the effect of evening up response in the midrange. Price, $450 plus shipping if ordering without speakers.For a definitive presentation of the theory behind the Magic Stands, go to:


We are saddened to report the news that Craig Jensen of
Great Plains Audio in Chaska, Minnesota has passed.


John Geisen

Wellington Audio

West Palm Beach, Florida
561-389-3455 cell

Chris Russo
East End HiFi
Coram, NY 11727

Jim Pendleton
Osage Audio Products
P.O. Box 232
Hallsville, MO 65255

Bob Neill
Amherst Audio
164 Red Gate Lane
Amherst, MA 01002
(413) 549-6171


There is now a Canadian importer for JMReynaud speakers and will soon be a Canadian network of retail dealers.

Samuel Furon
10950 Av de l’Esplanade
Montreal, QC, H3L 2Y6
Tel : 514 658 4894
E-mail :
Web site :