Arnaldo
100+ Head-Fier
- Joined
- Apr 24, 2009
- Posts
- 232
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I have been using an Ultrasone Edition 10, which seems targeted to an audience that listens mostly to classical on SACD, usually recorded with no EQ or compression. Whatever compromises made by Ultrasone over its measurements, which have been criticized elsewhere, were made with this kind of music in mind. And as per some of my impressions from posts on other threads:
"The horn section in the first movement of Bartok's Concerto for Orchestra - on a Philips SACD with Seiji Ozawa - displays the Edition 10's control over those full-metal blasts. Its precision when handling powerful horn bursts is on par with concert-hall realism. Actually, maybe the issue with the Ed 10 is that its presentation is so very un-headphone like, and instead, more like a concert-hall perspective. Basically, its soundstage is as expansive as one can get without a surround simulator."
"The SACD of pianist Vladimir Tropp playing Schumann's Fantasiestücke, Träumerei and Etudes symphoniques, is a hard to find but trilling DSD recording by Acoustic Revive, a Japanese company known for their audio hardware. What sets this disc apart is the employment of different recording techniques for each piece, with the one-point microphone system for the Fantasiestücke and the Philips system for the Etudes. In turn, Träumerei is played three times in a row, each time with a different mic arrangement. And through the Edition 10, one can precisely hear minute differences between each recording perspective. The Ed 10 offered as well an astonishingly detailed presentation of the overtones and the transients of the sparkling piano sound."
"The Pentatone SACD of Stravinsky's Histoire du soldat and other small ensemble pieces conducted by Paavo Järvi, contains a lot of percussion and plucked counter-bass. And via the Edition 10, it sounds perfectly balanced over the entire frequency range. The texture of individual strings instruments was viscerally realistic - you can literally feel the friction of the arch scratching the strings. Was it bright? Most certainly so. Actually, gloriously so!"
"The horn section in the first movement of Bartok's Concerto for Orchestra - on a Philips SACD with Seiji Ozawa - displays the Edition 10's control over those full-metal blasts. Its precision when handling powerful horn bursts is on par with concert-hall realism. Actually, maybe the issue with the Ed 10 is that its presentation is so very un-headphone like, and instead, more like a concert-hall perspective. Basically, its soundstage is as expansive as one can get without a surround simulator."
"The SACD of pianist Vladimir Tropp playing Schumann's Fantasiestücke, Träumerei and Etudes symphoniques, is a hard to find but trilling DSD recording by Acoustic Revive, a Japanese company known for their audio hardware. What sets this disc apart is the employment of different recording techniques for each piece, with the one-point microphone system for the Fantasiestücke and the Philips system for the Etudes. In turn, Träumerei is played three times in a row, each time with a different mic arrangement. And through the Edition 10, one can precisely hear minute differences between each recording perspective. The Ed 10 offered as well an astonishingly detailed presentation of the overtones and the transients of the sparkling piano sound."
"The Pentatone SACD of Stravinsky's Histoire du soldat and other small ensemble pieces conducted by Paavo Järvi, contains a lot of percussion and plucked counter-bass. And via the Edition 10, it sounds perfectly balanced over the entire frequency range. The texture of individual strings instruments was viscerally realistic - you can literally feel the friction of the arch scratching the strings. Was it bright? Most certainly so. Actually, gloriously so!"
Cool to chat with Gary Green though. Long Live Gentle Giant.