Wow, I mean really, really, really, really, really WOW!
A week ago I converted one of the Super Milqs to 5:1 loading and yesterday I converted another one. I loved what the last week converted amp did. It was very nice but today I put the entire system back together and recalibrated everything with the new HF channels loading. Wow! I knew that it moved me to the correct direction but I honestly did not anticipated that it will be so stunningly good!
The Vitavox S2 driver like went crazy and suddenly begin to throw such amassing effects that my jaw dropped. It always was kind of super fast driver with amassing, unique among all other drivers tone and very high contrasts. However, now, driver with overloaded output stage it suddenly reduced its speed to a civilized rate but instead it bloomed with beyond belief colors and ability to glide within those colors with amusing faintness, softness and neutrality. It is truly stunning?
It’s is frankly speaking a little freaky to almost painful to experience. The driver not juts produces those very reach tones but it almost anticipate what will happen next and kind of repair air around itself before burst with new color. Still here is what even MORE amassing. By heavier loading of the output stage I increase power, harmonics and distortions for this driver. Among with it the driver should become “sallower” and it did in a way. However it at the very same time the driver becomes even more intelligently (!!!) contrasty and eave way more discriminating WITHIN own shades of colors. This I did not even predicted but it is an incredible triumph.
To me, one of the most complex tests during my “target listening” when I need a playback to do certain “tricks” in a very certain way is very specific requirement that I have to playback while a playback trying to render a very good performance of very ambianic recorded cello. In real live a single cello playing in 150 feet away among the noise of the full Grand Station still maintains an identity of “performing event”. Out listing alertness acknowledging the cello is able to accommodate out hearing to the performance and tune our awareness from the ambiance noise of the Grand Station to the details of the cellos sound. This “distance tunneling” is wonderfully difficult to replicate by playback, particularly across a wide spectra and preserving the “tone”. The Morons usually love to love those strings recordings with up-close microphones where the strings’ schmaltz-quality hits them right into their faces. The strings in ambiance they do not find worthy… because their playbacks can not handle it. However, the real richness of Amati, Gagliano, Tecchler and Strads, in the hands of a good player, opens itself up ONLY in ambiance environment…
So, what Vitavox S2 driven by over-dumped stage doe sis in a way tune itself to “tunneling”. It links of play the unclosed tones slightly softer (in color sense, not in dynamic sense) but into the far-located tones it injects a new colorful life. That all crates amazing “chromatic dynamics” when the bubbles of imagined sonic clouds fry within listening space like birds, flopping with winds and teasing with their chameleonic unpredictability….
I do not know… I’m listening not and am wondering…either I east something very “special” today at lunch or I really hit something devilishly fantastic!Rgs,
Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche