December 9, 2017 § Leave a comment
“I’m sure, that by now, you really had quite an insight into the Luca’s and Riviera Audio Labs mind set. While they’re avidly following the technical aspect of the design, unlike many on the market, they’re willingly taking the very different and bold steps needed to enter the “uncharted” territories. Well, not exactly completely unexplored. Vladimir Lamm is certainly most prominent one, that had publicly declared the implementation of the pyshoacoustic model of the human ear in his designed. The other prominent name that pops up is the legendary FM Acoustics, that also supposedly uses something very unique within their own propriety circuits.
December 8, 2017 § Leave a comment
“During his auditioning of the XA60.5s, JA listened to a high-resolution recording of Mahler’s Symphony 2, “Resurrection,” with Benjamin Zander conducting the Philharmonia Orchestra and Chorus (24-bit/192kHz ALAC files, Linn CKD 452). It was, he noted, “recorded by the team responsible for some of Telarc’s great-sounding orchestral recordings, including Elaine Martone as co-producer and Robert Friedrich of Five/Four Productions.” He went on, “The ‘Resurrection’ is an enormous, episodic work with huge orchestral climaxes contrasted against chamber-scaled sections in which a single solo instrument, a violin or a woodwind, takes the lead. Despite their modest power rating, the XA60.5s had no problem coping with the work’s huge dynamic range.” In my room, with this system and the XA60.8 monoblocks, the orchestra was huge, even as voices and solo instruments were reproduced with impact, sweetness, body, and texture. There was no hint of hardness.”
November 21, 2017 § Leave a comment
“It is vitally important that the music’s inherent harmonic colors are fully fleshed out. The music’s true colors demand accurate reproduction of the harmonic palette. With the JA 200s, the upper mids turned slightly gray and dull, as if a dark cloud were blocking out the sun. The sweetness and sheen of violin overtones and soprano voice were blunted, at least to the point of fuzzing over some harmonic nuances. The vitality with which these instruments sang was subdued. But it doesn’t take much of a swing of the harmonic compass from sunny and sweet to overcast and gray to tick me off.
November 14, 2017 § Leave a comment
‘The Elysium feather like lightness ability was quickly revealed with the wonderful Hans-Martin Linde & Konrad Ragossnig: Musik für Flöte und Gitarre. As non-complex as baroque music might seems, its not! There is always a hidden mosaic structure behind the baroque’s modesty. Its actually the purity, that is never easily chased within the high-end audio reproduction realms. Especially in the ultra-fi domain fortitudinous nature is more then desired and Trafomatic Audio Elysium managed to act homogeneously within baroque elementariness. The interplay of guitar and flute creates particular vibrancy and note overlapping, that demands more then typical high-end audio amp’s gestalt in order to form the objective and fully believable illusion. Elysium remarkable straightforwardness and naturalness, had encapsulated naiveté and sophistication with impressive classicality, that not only heavily stood out of the crowd, but have also created a norm of itself.”