![]() It’s simply a certain attitude towards technology on a whole. Technophobia is a common issue which does not prove that somebody is dumb. After all, I began the review not by listening to the Embla but by handling it. If I start off by showing where other devices do better, it slams the door on how one should approach the Embla. Such an emphasis on one element of the sound implies a modification of others. There is no doubt that Mike Bladelius has this written in gold letters above his desk. Pearson, Wilma Cozart Fine: The Muse of Mercury, The Absolute Sound, January 2010, Issue199, p. I will merely quote Wilma Cozart Fine, responsible for the pearls in the Mercury Living Presence series, who claimed that the midrange was the critical range and the most difficult to reproduce (ref. It’s one of many possible approaches to sound and a very enjoyable one. Harbeth and Spendor pursued the same much earlier. The fight for the best midrange and building the whole sound around it is of course not new or exclusive to Bladelius. He is about reproducing the ‘human’ side of the music, about depriving the midrange-which we are genetically most sensitive to-of any trace of a digital signature or anything else that could be attributed to mechanical playback. Mike Bladelius gave his products a certain character, which, I think, reflects his biases. On discs like Chet Baker’s Strollin’ or e.s.t.’s Viaticum with their almost contemplative sound, it enchanted with its ability to fill out the lower registers and show off a strong organic midrange. This isn’t to be read as synonymous with best-it had its own issues-but in terms of sound and quality, it actually was closest to the Avid Acutus turntable for a very classy highly saturated sound. The digital Bladelius player was the most ‘analog’ sounding player I’ve hosted of late. This review page is supported in part by the sponsors whose ad banners are displayed below ![]()
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