Audiophilepure

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“Once you start listening to really big recordings, from the largest orchestral or choral works to the most extravagant soundtracks, the Kodo system’s characteristics really start to emerge, along with the way they shape the overall character of the sound. That planted sense of musical authority and absolute stability is key, but so too are other aspects of the performance. I’ve already talked about the natural perspective and dimensionality that the Gryphon speakers bring to the soundstage, a soundstage that can extend well beyond the width of the cabinets when called upon to do so, and is both beyond and utterly divorced from them. The Kodo towers stand as if mute and immobile, the music occurring in the space beyond them, but that very separation of speakers and sound imposes its own character on proceedings. Listen across a range of material and it soon becomes apparent that there’s a pervasive warmth to the Kodo’s acoustic that invests it with an inclusive sense of presence but also limits its internal spatial separation. While the stage is wide and deep, and it possesses both a tremendous sense of air and a firmly defined height for the band within it, the warmer balance and the overall perspective are both consistent with a midhall listening position — and a midhall position that’s more Disney or Musikverein than the more structured delineation of Davies or London’s Festival Hall.”

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