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Aktualne novice s področja novih izdelkov in zastopstev.

TAS KUZMA STABI S

OdgovorNapisal/-a kuzma2 » Ne Jan 15, 2006 5:42 pm

V februarski številki revije The Absolute Sound-TAS 159, za katero veliko število avdiofilov po svetu še vedno meni, da je najboljša, je med drugim tudi test gramofona Kuzma Stabi S z ročico Stogi S in zunanjim elektronskim napajanjem.

Chris Martens ugotavlja, da je ena od lastnosti kombinacije globoko tiho ozadje iz katerega prihajajo toni podobno kot v koncertni dvorani. Npr. VPI ali Clearaudio gramofoni imajo podoben efekt, a ta tišina ni topla tako kot je pri Kuzma ali je npr. v dvorani. Tako iz te tišine prihajajo toni bolj naravno. Stogi S se obnese najboljše z najboljšimi glavami, kot npr. Shelter 90X. Ravno tako ima strašno zmožnost držanja prostorske trodimenzionalne stabilne zvočne slike.

Ugotavlja, da Franc Kuzma konstruira različne tipe gramofonov in ročic, in kaže ,da je eden redkih individualistov, ki vidi in rešuje probleme iz različnih zornih kotov.

V primerjavi z VPI Super Scoutmastrom skoraj prihranite denar za nakup vrhunske odjemne doze.

Užival sem ta test in v začetku sem bil skeptičen-kje je ostanek gramofona, toda zvok me je prevzel in v tem cenovnem rangu ostala konkurenca ne zna potegniti iz vrhunskih odjemnih doz toliko kot Kuzma .

V zaključku pravi:

" But mybe the most telling observation of all was that, when I started spinning LPs on the Kuzma, I never wanted my listening sessions to end, which is why I gave the Stabi S/StogiS a TAS Golden Ear Award in this issue."



[url]http://www.theabsolutesound.com/back_issues_159.html[/url]
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CES 2006

OdgovorNapisal/-a kuzma2 » Po Jan 16, 2006 3:29 pm

CES& THe SHOW 2006:

V sobi Elite Audio video distribution je bil sledeč sistem:

Kuzma Stabi XL+ Air line
ASR Basis Exclusive phono predojačevalnik
Plinius M-8 linijski pred.
Plinius CD-1-1 CD player
Muse Polyhymnia digital player
Eichmann kabli
Plinius SA -Reference ojač.
NOLA Viper Reference zvočniki in Nola Thunderbolt subwooferji


V Verity sobi:

Kuzma Stabi Ref+ Air Line
Nagra ojačevalniki
Verity Parsifals zvočniki


GTT soba:
Stabi ref + Stogi Ref je bil uporabljen v GTT sobi z Kharma zvočniki.


Triplanar:
V sobi proizvajalca ročic Triplanar se je ravno tako uporabil Stabi ref gramofon.
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OdgovorNapisal/-a kuzma2 » Če Jan 19, 2006 7:38 am

še nekdo, ki uporablja Stabi ref gramofon zase in za testiranja:
http://www.10audio.com/references.htm
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CES 2006

OdgovorNapisal/-a kuzma2 » Če Jan 26, 2006 5:13 pm

komentar na sobo GTT na CES na SOUNDSTAGELIVE:

http://www.shows.soundstagelive.com/shows/ces2006/standout_gtt.shtml

PS: lastniki Stogi Ref ročic si le preberite!
ASR pa lahko slišite v Kuzma demo salonu.
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OdgovorNapisal/-a kuzma2 » Pe Jan 27, 2006 7:21 am

komentar na CES 2006, precizneje na THE SHOW, ki teče vzporedno, za sobo:
Atma-Sphere/Classics Audio Reproduction/TRI-Planar:

http://72.14.203.104/search?q=cache:_c2sG_N2WxcJ:www.positive-feedback.com/Issue23/ces06rg.htm+kuzma+loudspeakers&hl=sl&ct=clnk&cd=8

PS: Lastniki gramofona Stabi Ref si le preberite!
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OdgovorNapisal/-a kuzma2 » So Feb 04, 2006 6:13 pm

Malce zapoznelo a vendarle: članek o XL & Air line gramofonu v lanskem letu v reviji ROBB REPORT v ZDA:
http://www.hemagazine.com/Finishing-Touches/Big-Brass-Sound.asp?ht=
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TEST STOGI REFERENCE

OdgovorNapisal/-a kuzma2 » Sr Feb 08, 2006 5:33 pm

HORERLEBNIS -Das HIFI Magazin št. 54/2006 je revija podobna kot nemški HIFI Image, ki se ukvarja z vrhunsko reprodukcijo glasbe.

V zadnji številki revije je test ročice Stogi Reference ,ki zaključuje test takole:

"Ich habe den Kuzma Stabi behalten, weil er fur mich ein idealer und in der richtigen Kobination nahezu fehlerloser Spielpartner ist. Er ist in jeder Hinsicht jenseits von Gut und Bose. Man kann ihm beim besten Willen nichts am Zeug flicken. Er ist unproblematisch in der Handhabung und spielt sicherlich problemlos mit allen Tonabnehmern, die fur mittelschwere Tonarme gebaut sind-und das ist die Mehrzahl der auf dem Markt befindlichen Tondosen. Er sieht nicht nur ausserst robust aus,ich glaube er ist es auch. Ein Tonarm ohne Schnickschnack, aber viel technischem Know how, der mich in jeder Hinsicht uberzeugt hat."

RLB

Tisti, ki znate nemško boste že izluščili za kaj gre.
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OdgovorNapisal/-a kuzma2 » Sr Feb 15, 2006 11:34 am

HIGHEND HIFI SHOW SHANGHAI- Kitajska 21-23/ 4- 2006:

Kuzma izdelke bo na sejmu predstavil zastopnik in med drugim tudi Kuzma Stabi XL gramofon z dvema stolpoma z VTA regulacijo z ročicama:
Stogi Reference in Ikeda 407.
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TAS KUZMA STABI S

OdgovorNapisal/-a kuzma2 » To Feb 21, 2006 1:39 pm

Tekst iz letošnje februarske številke revije THE ABSOLUTE SOUND: test Stabi S & Stogi S kombinacije:

Kuzma Stabi S Turntable with Outboard
Power Supply and Stogi S Tonearm

Chris Martens

A soul-satisfying turntable and arm from Slovenia’s Kuzma.

a b s o l u t e a n a l o g

The single quality that most defines the Stabi S
is its ability to produce deep, quiet, ever-soslightly-
warm-sounding backgrounds.
My dad, now retired, is a
mechanical engineer,
and from looking over
his shoulder throughout
his career I learned
that the field could be a strange and
wonderful marriage of art and science.
Great designers have a flair for creating
solutions where practical mechanics and
pleasing aesthetics become one, and
where invention flows freely from a
seemingly endless river of fresh ideas.
Such is the case with the turntable and
tonearm designs of the Slovenian engineer
Franc Kuzma. In fact, if you lined
up Kuzma’s products in a row they
would seem so different in concept and
execution that you might think each was
the brainchild of a different man.
Plainly, Kuzma is one of those rare individuals
who can see and solve problems
from many different angles.
Interestingly, though, it is one of
Kuzma’s least costly and most deceptively
simple designs that first catches
many enthusiasts’ eyes: the minimalist
Stabi S belt-drive turntable and Stogi S
hydraulically-damped unipivot tonearm
.
This elegant turntable and arm
look quite striking, but their appearance
gives only a hint of what’s in store when
listeners hear them in action.
The mission of any turntable is to
rotate records at precise and stable
speeds without introducing (or sustaining)
noises or vibrations that could disrupt
the playback process. We want
turntables to be dead quiet, and yet veteran
analog enthusiasts recognize that
there are subtle yet audible tonal-quality
differences in the background
silences that various turntables produce.
About now, you might be wondering if
silences can even have tonal qualities,
but I would argue they can and do.
(Picture in your mind the difference
between, say, the quiet of a church sanctuary
at midnight and the interior of a
warehouse at that same hour, and you’ll
grasp my point.)
The single quality that most defines
the Stabi S is its ability to produce deep,

22
quiet, ever-so-slightly-warm-sounding
backgrounds that remind me of the profound
hush you hear in a concert hall,
just before the music begins. While the
Stabi S may not be quite as quiet as toptier
Kuzma models such as the Stabi
Reference or Stabi XL, it makes a highly
satisfying alternative, and at a price
point normal mortals can handle.
Performance is no doubt helped by the
outboard power-supply/speed-control
box supplied with the deluxe version of
the Stabi S that I tested. If the Stabi S’s
background silence were a color, I’d call
that color a “warm black.” By contrast,
most Clearaudio ’tables I’ve heard, and
many recent-generation VPIs as well,
seem to produce an equally deep but
colder silence that I would characterize
as an icy “blue-black” background
behind the music.
One could probably build a case for
either background color, but I prefer the
Stabi S’s rendition of silence for two
musically defensible reasons. Its warm
black backgrounds are strongly reminiscent
of those you might hear in live
music venues. I find this quality helps
promote listening for the overall gestalt
of the music, which—in my book—is a
good thing. And this is really important:
I find that the way individual notes
emerge from and then decay back into
the Stabi S’s noise floor sounds much
more natural and continuous than does
the notes-stand-out-in-sharp-relief presentation
of the colder-sounding ’tables.
Does this mean the Stabi swallows or
obscures transient information or fine
details? Certainly not. It’s just that the
Stabi S lets the information in the record
grooves unfold in a natural way, without
imparting even a hint of momentarily
exciting, but ultimately fatiguing transient
zing. There are more “lively-sounding”
’tables than the Stabi S on the market,
but in many cases I can’t reconcile
their sound with that of live music.
The Stogi S is a highly cost-effective,
hydraulically-damped unipivot tonearm
that has the ability to unleash the
strengths of top-tier cartridges such as
Shelter’s 90X—cartridges that cost many

23
times what the arm does. It enables cartridges
to produce bass that is energetic,
deeply extended, and yet tightly focused.
For instance, near the opening of
“Overture—Cotton Avenue” from Joni
Mitchell’s Don Juan’s Reckless Daughter
[Asylum], Jaco Pastorius strikes a subterranean,
thunderclap-like note on an open
bass-guitar string, and the Stogi
S/Shelter combo captures everything that
note has to offer, including its fierce
attack, richly modulated envelope, and
long, slow decay that rings with sustained
low-frequency energy. Other good
arm/cartridge pairs I’ve heard typically
can’t produce bass like this—bass that
hits with sledgehammer force, yet speaks
with vox humana expressiveness.
At midrange and treble frequencies,
the Stogi S facilitates the cartridge’s precise
and invigorating retrieval of transient
and harmonic details, while at the
same time fostering an overall sound
that is graceful and smooth. I attribute
this elusive combination of detail and
smoothness to the Stogi S’s damping system,
and it is pure magic. For me, it was
a revelation to revisit classic CTI jazz
recordings from the 1970s, such as
Freddy Hubbard’s Red Clay or Jim Hall’s
Concierto, and the Stabi S/Stogi S pair
proved a perfect “time machine,”
unlocking incredibly fine timbral and
textural details in those old records in a
way no analog rig from the ’70s could
have done. Hubbard’s trumpet and
Hall’s guitar just sound so right through
the Stogi S/Shelter pair, with details
pouring forth as from a natural spring,
without any artificial edge enhancement
to mar the presentation.
Finally, we come to my personal
favorite of the Stogi S’s characteristics;
namely, it ability to help cartridges create
rock-solid images and spectacularly
three-dimensional soundstages. Where
some otherwise good arm/cartridge
combos struggle to produce images that
stay focused or soundstages that break
* from the speakers or the dimensions
of the listening room, the Stogi
S/Shelter pair makes both tasks look
easy. I almost fell off my couch when I
first heard the huge soundstages the
Stogi S produced, and then experienced
the illusion of the near-physical presence
of instruments and performers
upon those stages.
This quality proved especially
gripping on the Quartetto Italiano performance
of the Dvorák American String
Quartet in F, Op. 96 [Philips], where
the voices of the individual instruments
rang true, not just because timbres were
accurately reproduced, but also because
the sizes (and shapes) of the instruments
were rendered with almost
sculptural precision. The sense of being
transported to the recording site was
compelling thanks to a myriad small

"""""""""""""""""""""""""""""""""""""""""""""""""
More on the Stogi
The Stogi S arm is a simple yet
effective unipivot design with
a downward-facing spike that
rests in a bearing cup whose pivot
point is located in the plane of the
record, minimizing warp-induced wow.
The bearing cup is positioned in the
center of a basin that gets partially
filled with silicone-oil damping fluid
upon which the understructure of the
arm “floats.” The arm features two
brass counterweights slung beneath
a small tail-shaft; users rotate one or
both of the eccentrically mounted
weights for basic azimuth adjustments,
or adjust a weighted trimscrew
for finer azimuth tuning. The
Stogi S provides a simple anti-skating
mechanism that audibly improves
cartridge tracking. CM

""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
The Stogi S is a highly cost-effective, hydraulicallydamped
unipivot tonearm that has the ability to
unleash the strengths of top-tier cartridges.







24
spatial cues that suggested I was in a
space whose acoustics differed from
those of my listening room. And the
performers sounded eerily present and
alive, in part because the arm/cartridge
caught subliminal details that captured
the players moving in their chairs as the
performance progressed. The point is
that the Stogi S helps cartridges do
many small things well, and that
together those small things add up to a
heightened sense of musical realism—a
greater willingness on the listener’s part
to suspend disbelief and simply get lost
in the music.
Where does the Stabi S/Stogi S fit
in the broader spectrum of available
’table/arm combos? At $3300, the
Kuzma slots in neatly between two
likely competitors, VPI’s $2500
Scoutmaster and $5500 Super
Scoutmaster. Because the Stabi S ’table
and Stogi S are minimalist designs it’s
easy to miss their underlying sophistication,
but a side-by-side comparison
between the Scoutmaster and the
Kuzma pair proves revealing. The
Scoutmaster starts out with a price
advantage, but to get it to match up
evenly with the Kuzma rig you’d need
to add VPI’s $999 outboard SDS power
supply (the Kuzma comes with an outboard
supply), an aftermarket “drop
counterweight” for the VPI arm (the
Kuzma has “drop counterweights”), a
dust cover (the Kuzma has one), and
interconnect cables to connect the VPI
to your phonostage (the Kuzma features
generously long cables whose
“wires run in one uninterrupted piece
from the headshell to the RCA plugs”).
The closer you look the more value
you’ll see in the Kuzma combo. And
consider this: If you set aside the
$1900 you’d save by buying the Stabi
S/Stogi S instead of VPI’s brilliant but
costly Super Scoutmaster, you’d be well
on your way toward the price of a statement-
class phono cartridge such as
Shelter’s 90X.
I thoroughly enjoyed the time I
spent with the Kuzma Stabi S/Stogi S,
and I’m not looking forward to the day
when it must be returned to its U.S. distributor.
I’ll admit that I was skeptical of
the design at first (I kept look at the
’table and thinking, “Where’s the rest of
it?”), but the Kuzma’s quiet, clear, and
natural sound soon won me over, as did
its ability to tap the enormous performance
potential of top-tier phono cartridges—
something not all ’table/arm
combos in this price range can do. But
maybe the most telling observation of all
was that, when I started spinning LPs on
the Kuzma, I never wanted my listening
sessions to end, which is why I gave the
Stabi S/Stogi S a TAS Golden Ear Award
in this issue. &


D I S T R I B U TO R I N F O R M AT I O N
THE MUSIC.COM

(800) 457-2577, Ext. 22
kuzma.si
themusic.com

Prices:
Stabi S turntable, $2400;
Stogi S arm, $900


SPECIFICATIONS
Kuzma Deluxe Stabi S turntable
Description: Suspension-less belt-drive
turntable with outboard power supply
Speeds: 33.3 and 45rpm, electronically
controlled
Kuzma Stogi S tonearm
Description: 9" hydraulically-damped unipivot
tonearm with adjustable VTA,
azimuth, and anti-skating mechanism


ASSOCIATED EQUIPMENT
Linn Sondek LV-12/Ittok LVII
turntable/arm; Shelter 90X and Benz
Micro ACE “L” phono cartridges; Musical
Surroundings Phonomena phonostage;
Supex SDT-722 cartridge step-up transformer;
Musical Fidelity kW500 integrated
amplifier; Rogue Audio Metis preamplifier;
NuForce Reference 9 and Channel Islands
Audio D-200 monoblock power amplifiers;
Magnepan MG1.6 and Monitor Audio
Silver Series RS6 loudspeakers; Cardas
Neutral Reference and PNF Audio
Icon/Symphony interconnects and speaker
cables; RGPC 1200S power conditioner
FK
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OdgovorNapisal/-a kuzma2 » Po Mar 13, 2006 1:58 pm

Stereophile April 2006: glej Recommended components ter novosti: Kuzma izdelki v A klasi!
FK
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OdgovorNapisal/-a kuzma2 » Po Mar 27, 2006 12:02 pm

ZANDEN-JAPONSKA:

Za njihov laboratorijski studio-poslušalnico bomo konec aprila dobavili:

Kuzma Stabi XL gramofon z Air Line tangencialno ročico!
FK
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OdgovorNapisal/-a kuzma2 » Sr Mar 29, 2006 9:37 am

Glej novice na tem webu:
Reportaže iz CES 2006 v zadnji številki revije The Absolute Sound ( TAS 161), kjer se omenjajo Kuzma izdelki, ter na strani 62 je barvna slika iz demo sobe XL+ Air line.

Zaradi kršnja avtorskih pravic ne objavljam tekstov in slik kot so v reviji!
FK
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OdgovorNapisal/-a kuzma2 » Sr Mar 29, 2006 4:01 pm

Moskva show 2006: glej reportažo na Sixmoon: Kuzma z Wavac.
[url]http://www.sixmoons.com/industryfeatures/moscow2/moscow_2.html[/url]
FK
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American Wired- March 2006

OdgovorNapisal/-a kuzma2 » Sr Maj 03, 2006 7:55 am

Test Stabi S&Stogi S v US reviji AW:

[url]http://www.americanwired.com/audio/kuzma/kuzma.html[/url]

kjer je zaključek:

"
The Kuzma Stabi S/Stogi S combination is a hands-down winner, and in my opinion, one of the world’s great turntable bargains. It played every piece of vinyl put to it with a welcome wink-wink nod-nod and proceeded to reveal the record’s true nature, good, bad or glorious. In case you find one tone arm and cartridge boring, this table has the special ability to accept a second tone-arm. The table performed flawlessly, ran up to speed quickly, and was relatively easy to set up. And I liked its streamlined dust cover the most. Ignore this Slovenian mini miracle at your own peril and be forever doomed to the trash heap of lousy digital. Now you don’t want to do that do you?

Ken Micallef

"
FK
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OdgovorNapisal/-a kuzma2 » Po Jul 03, 2006 3:57 pm

Preskakovanje igle v brazdi?

Air line ročica je zaradi svoje velike horizontalne efektivne in dejanske mase bolj občuljiva na sledenje brazd. Lahko se zgodi, da tu in tam preskoči brazdo oz. se zatakne v isti brazdi. Toda, ali je res tako?

Oni dan sem poslušal neko ECM ploščo Jack De Johnetta,katera že dolgo časa ni bila na gramofonu. Nekako 10 mm pred koncem je začela plošča preskakovati.

Mislim si, verjetno je neka velika smet v brazdi. Uporabim ščetko, očistim površino in spustim iglo nazaj v brazdo. Popolnoma isti problem. Preverim horizontalnost ,ki je pravilna, ravno tako sledilno silo, če je slučajno ni kdo na pikniku premaknil.

Mislim si, mogoče se na tem mestu zatika zračni ležaj oz. os ležaja, saj je nisem že očistil preko enega leta in ročica nikoli ni pokrita. Premaknem ročico parkrat iz ene v drugo skrajno lego in spustim iglo. Še vedno isti problem. Zapomnim si pozicijo napake, pogledam ploščo pod močno lučjo, kjer ne vidim nobene napake ali vtisnjene smeti.

Mislim si, mogoče se pa le pozna to, da je plošča dokaj ekscentrična in mogoče skupaj z napako v plošči onemogoča igli, da gre skozi.

Zato prestavim ploščo na gramofon s klasično ročico pričakujoč, kako bo sedaj igla šla brez težav skozi in mogoče očistila tudi brazdo. Toda isti problem. Igla se tudi sedaj zatakne. Še enkrat pregledam ploščo in nič ne opazim.

Zato se odločim, da na hitro očistim ploščo na vakuumski čistilni napravi.

Vrnem ploščo na gramofon s klasično ročico in čakam. Igla gre skozi brez težav. Oddahnem si. Nato postavim ploščo na gramofon z Air line ročico ter čakam kaj se bo zgodilo. Igla odčita brazdo brez težav!Sedaj se šele oddahnem.

Kdo bi si mislil!
FK
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