Audiophilepure

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“I’m a drummer. Percussive sounds always capture my attention. I’m aware, for example, of the difference in sound between felt and lamb’s wool bass drum beaters. Felt beaters create a harder, more direct bass drum sound, while lamb’s wool is like soft cotton swooshing the head, moving its internal air more gently to create a softer sound. On Jersey’s title track, I heard the soft, warm sheen of a bass drumhead being driven by a lamb’s wool beater. The Forte was wonderfully transparent to this detail buried deep within the music.”

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What surprised me was that the two feeds sounded equally clean — I’d thought that the higher resolution via Tidal might result in cleaner sound than an MP3 via Bluetooth, but it didn’t. The Bluetooth stream had none of the objectionable artifacts highly compressed digital sound is often known for. But when it came to dynamics, bass punch and weight, spaciousness, and reproduction of detail, the Tidal stream mopped the floor with the MP3-Bluetooth — Winston’s piano sounded much more like a real piano in a real room. The fact that the Monitor SE 3000Fs — and the rest of this edition of System One — could do this speaks well for the quality of reproduction this system was achieving.”

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“The Prime Pinnacles managed to keep all of the various aural events clear and distinct even during a complex action scene. The sound never became confused or muddled, and dialogue was clear and succinct always. I always caught the one-liners, even if I didn’t think they were all funny. Some bombed jokes aside, I enjoyed ‘Thor: Ragnarok,’ and the Prime Pinnacle speakers turned out to be an excellent platform to reproduce this epic soundtrack.”

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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.”