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Zitate von Erfahrungsberichten verschiedener Autoren des amerikanischen
Online-Magazins 6moons über unsere Lautsprecherkabel in
unterschiedlichen Anlagen und unserem Transformator für das Denon
103.
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jeweiligen Artikels.
Devore Fidelity Silverback review - on A23 cables:
Just
a word, actually two, about these speaker cables: buy them. Whatever
else you purchase for your system this year, do yourself a favor and
purchase these speaker cables. They are the most balanced, natural yet
revealing speaker cables I have ever owned or heard. They are at home
in every system I have ever heard them in - regard-less of price. And
by high-end standards, they are not just a bargain but a steal.
Jules Coleman, 6moons.com
http://www.sixmoons.com/audioreviews/devore2/silverback_2.html
Jeff Day on Omega speakers:
For
cables I used a Nirvana Transmission Digital Interface between
transport and DAC, Nirvana S-X interconnectsbetween DAC and
preamplifier; Nirvana S-L interconnects between preamplifier and
amplifiers. My usual Nirvana S-L speaker cables between amplifiers and
speakers weren't a particularly good match with the Omegas. Instead I
used a very interesting pair of LS Auditorium 23 speaker cables ($880
for a 2.5 meter pair) designed and manufac-tured by Keith Aschenbrenner
in Germany. Keith handcrafts the LS cables rather than cutting 'em off
a roll. The cable consists of two different (and secret) twisted leads
with differing cross sections wrapped in a soft green outer cotton
sleeve. Beryllium copper bananas terminate both ends. Germans consider
Keith their Tube Pope and resident audiophile guru. Besides his
Auditorium 23 business, Keith is also known for his large collection of
Klangfilm,Westrex and Siemens gear. In case you haven't already
guessed, the 23s are designed specifically for tubes and high
efficiency speakers. Jonathan Halpern of Shindo USA is smitten enough
by them to have become the US im-porter. The LS cables are somewhat
expensive in the context of today's $749 Omega/Skylan combo but they
did sound very good indeed. The LS cables allowed the Super 3s to
develop a warmer and more natural tonality than the Nirvanas while
maintaining a sense of speed & transparency, excellent detail
recovery and a huge billowing soundstage.
Jeff Day, 6moons.com
http://www.sixmoons.com/audioreviews/omega2/super3_2.html
Giant killers and heebie jeebies
Up
until now, I'd had the Luminous Audio Synchestra Signature speaker
cables in the rig so I replaced them with the Auditorium 23 speaker
cables. I don't know much about those except that they are manufactured
in Germany and sold by Tone Imports in NYC. For $880/2.5m/pr, they are
true giant killers, producing a coherent, dynamic, ear-friendly
transmission that is unobtrusive and musical. The Synchestra Signature
cables held their own but it was a close call. The 23s were more
revealing, with greater bloom and less etch. The Massive Attack track
had a better sense of depth and dynamics, sounds popping out of blacker
space. Bass drums had more resonance, vocals were more present and
tactile. I don't know if these judgments are absolutes or if it is just
how these German cables operated in my system with my listening
preferences. All of my gear is very revealing and neutral save for the
BAT amp, which tends toward the warm end of things. If a cable is
tipped up or etched, I automatically hear it in my small room. That was
my problem with the Omega Mikro cables: extremely musical and
transparent but lacking true bass and warmth. When they shouted, my
head started to hurt. If you can read between the lines of my personal
jargon, you hopefully will understand my listening Jones and better
comprehend my biases and interests - for better or worse.
Ken Micallef
http://www.sixmoons.com/audioreviews/luminous/synchestra.html
Soap Bubbles: Their Colors and the Forces that Mold Them: PHY + PHY + Auditorium 23
After
a number of days and CDs with the Auditorium 23s back into the mix, I
hit on the PHYs' somewhat elusive quality that was causing a subtle and
relative uneasiness. While their somewhat shy bass had been obvious but
not particularly bothersome, the PHYs control the music - hold onto it,
shape it some and only then release it. This isn't a restriction in
dimension or scale and it's certainly subtle and difficult to get hold
of but what it amounts to is less sparkle.
One of the most
effervescent recordings I own is Kulanjan by Taj Mahal and Toumani
Diabate [Hannibal HNCD 1444]. This album was recorded live over a few
days with one or two takes per song and the energy can be infectious.
Toumani Diabate is the world's premier kora player (the kora is a
21-stringed lute/harp) and Taj plays one of his steel-bodied guitars on
the entire recording. They are joined by a group of Malian musicians
all playing traditional instruments. The kora can send its notes into
the air to reverberate unlike Taj's dobro which projects its sounds
from a steel body - controlled and restrained by comparison. That's
part of the beauty of this recording, the interaction of these distinct
and beautiful sounds and the way each instrument deals with the plucked
or strummed string. On the track "Atlanta Kaira", a single kora opens
and is soon joined by the other musicians and finally Ramatou Diakite
& Kassemady Diabate on vocals. "Kaira" means peace and happiness
and from the opening notes of the kora, there is no doubt that the
listener is going be treated to a celebration. Does the PHYs' control
ruin this party? No - and I doubt that without the Auditoriums as a
reference, one would be left wanting. However, within this context,
that last bit of sparkle and abandon is held back. It's as if you've
finally had that perfect soapy bubble detach from the wand but then it
never breaks. Wow. But soon enough, you realize part of the fun is in
the pop.
Spinning Percy Grainger's In a Nutshell [EMI 7243 5
56412 2 9] with the PHY/Auditoriums, you are immediately struck by the
emotional qualities of this recording. The performers are given more
space, a deeper and quieter stage to perform on and effectively have
sounds emerge from silence and resonate in a very natural way. The
juxtaposition of Grainger's tuneful percussion set against the more
traditional instruments speaks more about a place and mood. My only
complaint is that these two pieces, Debussy's Pagodas and Ravel's La
Vallee des cloche, are only just over 5 minutes apiece and with the
PHY/A23s, I'd be tempted to stay within them longer.
What I've
come to realize is that the Auditoriums are largely responsible for
that uncanny representation of the place in the recording. Spatial cues
between performers are so palpable that you can actually listen in to
the performance. The Auditoriums also provide more bass heft than the
PHY speaker cables while holding onto the PHYs' detail and
differentiation, something the Nirvanas did not do. Inserting the
second PHY interconnect imparted a more subtle change than the first
but a change for the better none the less. A bit more air and detail,
another layer of haze removed, more of the music revealed. As a system,
the PHYs deliver all the details and the A23s supply the bloom.
Michael Lavorgna
http://www.sixmoons.com/audioreviews/phy/cotton_3.html
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