In še eno...
“I am excitedly writing this post as a Maggie fan from more than 20 years ago, a hobbyist who organised a group buy for Hovland caps from Alex Crespi and Alphacore copper foil inductors to build 17 sets of external crossovers DIY kits for other Maggie 1.6's owner's.
There was gorgeous tonality for female vocals but the big negatives were the large size of the singers mouths and lack of bass. I then moved on to stand mount monitors for the pin point imaging they could deliver, and tried my best to integrate them with a subwoofer.
Now the Botticelli X's have taken center stage on my audiophile journey. They exhibit such a well defined soundstage, that I had come up with a new term in my audio vocabulary "Spatial Resolution". The standard description of depth and layering does not adequately describe the sonic landscape of instruments and singers which is painted by the Botticelli X.
Whenever I audition a new piece of gear, the first track I always play is Miles Davis Time after Time, the live version. A somewhat challenged recording with sound system hum at the venue and other problems. As I listened to Miles playing, the beautiful tonality of his trumpet made me search for words to describe the experience. What came to mind was "harmonic canvass" and how the system presented richness, texture and above all sheer beauty of Miles' trumpet performance. The decays had a clarity and naturalness that had me ooing and arrghing.
I have always suspected from the soundstage spatial cues that the venue space was pretty large. The spatial resolution of the Botticellis convinced me more than ever that the venue was very large. A quick Google search listed the concert venue as a 2,500 seat cinema / theatre in Milan, confirming the spatial resolution was indeed delivering an accurate depiction of hall size
Then came Eva Cassidy's Fields of Gold vocal check. The texture of the voice, the harmonic tones of the guitar breathtakingly beautiful. The thought that I could not get out of my mind, was "Beam me up Scotty", I have been teleported through time and space and inserted into the recording venue, up front and center.
Glen Gould, Goldberg Variations, BWV 988 - a great performance but a so so, somewhat muffled recording. Good tube amps driving horn speakers can really bring this recording to life. In my experience very good solid state amps driving conventional speakers often struggle to deliver the attack needed to make the performance exciting. Here the Botticelli's were delivering attack at a level competitive with good horn systems I have heard.
The tonality of Glen Gould's piano reminded me of a day about 30 years ago when a Steinway trained piano tuner came to my previous home in New York to tune a very consumer / hobby grade baby grand piano. After tuner was done, the piano sounded like a Steinway for the next six months. The Botticelli to my ear is able to carry out a similar harmonic enhancement and sonic alchemy.
Large orchestral pieces are truly an experience to behold. The separation of the instruments, you think that you are hearing and seeing the movement of the bows over the strings. No instrument is attached to the speakers, the level of distortion is that low. Each section of the orchestra is communicating its distinct musical motif with emotion, drive and clarity to their fellow players, PRAT in spades !
For bass drum depiction, my go to track is Jamie Cullum's "If I rule the World" When I heard the tightness and texture, I called out to the others in the room, "Absolutely no subwoofer needed"
For any audiophile interested in planars, the Botticelli X is a must audition
My personal thanks to Daniele for creating a planar that is so musically satisfying that it has propelled my listening enjoyment to levels beyond my expectations.”
Originalni prispevek je na isti strani kot prejšnji.