Seeing it yesterday, I was scarred because of the amount of money but really reassured even before plugging it in with the weight, design and finishing. The box, the documentation, the rubber feet, the weight of the power supply is huge —everything was very reassuring.
Saturday night, around 6:00 PM, I finally connected it to my system. It took just one track for me to rejoice in the space between the instruments. Every instrument breathes, each holding its own distinct place. Every nuance in the attack of a bass kick, a piano, a guitar, or a cymbal is incredibly detailed and sings. The acoustic guitar that comes in during the solo reprise in Dire Straits’ “Tunnel of Love” is beautifully present. The velvet in Knopfler’s voice is sublime. His left-hand vibrato is magnificent. Three records went through it.
A change of style with Avishai Cohen and his last three albums. The double bass is precise, and the entire score feels natural. It’s alive and wonderfully musical.
I also tested some metal (Ne Obliviscaris) and metal prog tracks (Tool, Dream Theater). I realized the orchestral density. Speaking of orchestras, I don’t have many high-quality Deutsche Grammophon recordings. In fact, I only have Mozart’s Requiem that’s well-pressed (Karl Bohm in Original Source). The others are old and haven’t received the care they deserve. The male voices have never sounded this good. The female voices are clear and full of emotion. I can truly feel the distress that I never experienced before—except maybe at live concerts, which are far too expensive and therefore too rare.
I played a lot of classic and contemporary jazz again. Turentine has never been so generous in my apartment.
I am delighted and only 2M bronze owner.
Can’t wait to add an MC! No money for the moment but a lot of pleasure.
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