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Luisterreakties
K100
Sigiswald
Kuijken
Marleen
Thiers
www.lapetitebande.be
Foto: Annemie Augustijn
I'm not a listening specialist who dissects all the
characteristics ... I can only testify that the sound is beneficent-living
and direct, with a very faithful sense of color and space; listening to a
good recording here is a real experience.
Because of the quality of the reproduction you paradoxically forget the
medium, I would dare to say (comparable to a musician who, when he is doing
well in a certain way, has to 'disappear' behind the music he plays ...).
Together with friends we had some very penetrating silent moments of
listening;
Had Bach been there himself, I would certainly have forwarded his
comments to you....!
Rob Van Bergen
Saxofonist
<< What an experience. I have listened with
Wim to numerous recordings, of very diverse nature; classical
piano music, Sonny Rollins, Kooyanisqatsi, old recordings and
new ones, vocals, double bass, percussion. Wim wanted to know
what I think of his loudspeakers as a musician.
So I listened attentively, critically, almost looking for
deviations. As a musician you hear instruments all day long and
there is always a difference between a live sound and a
reproduction of a sound, I'm not fooled in that respect. I
always hear if someone is honking in my ear or if there's a
sound system in between, or more. A sound system, an amplifier
can color sound quite often, vinyl crackles of course, the
speakers color or usually limit the flow of sound. I didn't
notice any of this during our listening session. I got the
strange sensation that the music was behind a half permeable
screen.
We can hear the musicians but they can't hear us, we can't see
them, but they are very close. But not really in this space.
What is the difference ? I once heard tape noise, that must be
an old recording, not digital. A few times I heard the
limitations of the microphone used in the recording. As if you
look through a keyhole, not everything is on the tape. With some
instruments I heard the limiters, the sound pressure was not
right of course. When Sonny is honking his horn two meters away
from you, you can feel your glasses shaking on your nose of
course.
After some time I started to notice that the imperfections I
heard, the anomalies compared to the real instruments, were
actually all at the back of this imaginary screen. The
loudspeaker ruthlessly exposed everything, the limitations were
actually always in the recording technique.
The speakers are good, very good. When can you use the word
perfect? ..>>
Stefaan Baert
"You may have already experienced
looking out through a large window
and feel like there's no window at all between you and
the outside world.
Well, for me that feeling corresponds to listening to
music through the K100.
speakers by Wim.
This creates contact with the performer(s) themselves.
You hear the slightest inflection of the voice, change
of timbre,
and the admiration for technique and quality of the
performer increases enormously.
Also, listening through the K100 speakers makes it clear
what quality recordings can do to a human being.
If it can be described in words, "Pristine" (pure,
untouched) comes to me.
Thank you Wim!
Peter P. , Kortenberg
Less than a month ago I became the
happy owner of a set of beautiful K100s.
After the installation Keith Jarrett put in his Bye Bye
Blackbird and I was immediately overwhelmed. I got tears
in my eyes and, just to be clear, not from misery. What
a difference with the Regas. I had drawn the curtains
behind the speakers and asked my wife what she thought
of them. Her answer: it looks like the musicians are
behind the curtains! Although I thought I saw them
before the curtains.
Moments later I had Melanie De Biasio perform a few
songs. In short: pleasing to the ear, it almost seemed
like a live performance in our living room.
Is this the virtual reality for audio?
In the meantime, the speakers have reacted with some
remarkable experiences. In a previous life I played the
piano. As an amateur it is true, but I know what a piano
sounds like. I was always disappointed when I heard
piano work through a sound system. It almost seemed as
if the proper reproduction of the typical timbre of a
piano was an impossible task. Recently I heard Abdullah
Ibrahim's "The song is my Story" at work via my K100's:
improbably true to nature! With our eyes closed, there
was another piano in our living room. Finally the timbre
of a piano. I gladly took the sounds of Ibrahim's
efforts.
Another surprise was Grieg's Peer Gynt Suite. I still
had an old recording (1972) that I had put aside after
purchasing a recent recording. With the K100 I have to
turn it around. The old recording sounds incredibly
beautiful.
Wim had warned me: I will have to do a re-evaluation of
my CD collection.
Another remarkable thing with the "The Organ of Bach" by
Blindman. The organ music here is played by a quartet of
saxophones (soprano, alto, tenor and baritone). In a
neighbouring room I noticed how these 4 saxophones still
sounded perfectly as individual instruments and created
the illusion that, although of course there was no
stereo image, I thought I could hear the instruments
playing on different positions in the living room.
Where with the previous speakers the sounds flowed into
each other earlier.
Besides the ears, the eyes are spoiled as well. However,
my wife was a bit surprised about the dimensions when
she took them out of the car. Indeed, when viewed from
the side, they are impressive. I saw a "as long as it
comes right in the sitting area" in her eyes.
Once placed she talked about decoration.
They give me the impression of a beautiful instrument.
Wim, you have made another customer happy, thank you for
that!
Luc Struyven
When I first listened to the LINK K100 speakers
at Wim Vanderstraeten's home, I didn't know what I heard, and especially
what I didn't hear.
Compared to the K100, the music reproduction of other speakers is simply
reduced to a single mash.
With the K100, the music sounds like a lively, full and coherent interplay
without any blurring between the sounds of the different instruments. I now
realize that I have been listening to music recordings for years where the
musicians were, as it were, hidden behind a thick curtain without being
aware of it. With the arrival of the LINK K100 speakers, someone has finally
had the ingenuity to slide the curtain completely aside so that the
musicians' play can be heard in all its splendor.
Another wonderful sensation is that each voice or instrument is reproduced
with the liveliness, power and intensity that the musicians put into the
live game during the performance in the recording studio. The music doesn't
sound sterile or flat, but animated, organic and warm (which doesn't alter
the fact that when listening to certain compositions there are chills
running down your spine). The sound dynamics of the K100 are truly
phenomenal; instruments sound loud or soft depending on their natural nature
and the way they were played during the sound recording. Listening to the CD
Balades éphémères by Massot-Florizoone-Horbaczewski, with its unusual
combination of tuba, chromatic accordion and cello, nicely illustrated this
for me (Tuur Florizoone had indicated to me earlier that this music is not
easy to listen to optimally). It has to be said, though, that I had the most
intense goosebumps when the CD Donnersöhne - Music For St. James The Apostle
by ensemble Sequentia, a series of polyphonic chants of the 12th century
Codex Calixtinus from the cathedral of Santiago de Compostela, was imposed
on me: at night in pitch darkness with all the lights extinguished and the
volume knob wide open I experienced egg so after a transcendent sensation. I
imagined myself on the spot in the cathedral while the music was omnipresent
and at the same time seemed to come from nowhere; I really felt immersed
in heavenly atmospheres.
In addition to their sublime reproduction characteristics, the LINK K100
speakers also have a striking compactness and unparalleled aesthetic design.
One last remarkable fact is that the LINK K100 speakers are an entirely
traditional and Belgian product. It's hard to believe that with the LINK
K100 in our relatively insignificant country, such a world-class product in
the field of hi-fi audio has been developed and is being built!
As far as I'm concerned, the K100 speakers are the nec plus ultra in the
field of acoustic experience in the living room ...
Johan Vandendriessche
(http://www.johanvandendriessche.be)
mp3
Jazz In The Rain.mp3
Jazz musician
If you close your eyes when listening to a good sound recording, the K100's
disappear, they don't seem to be physically present anymore....
When you close your eyes, a three-dimensional sound image appears that in no
way betrays the physical presence of speakers, let alone their positioning.
At most, the brain, which is always and everywhere turned on by the rational
human being, starts to reason that at a height of about 80 cm two objects of
the size of a pea could be responsible for the diaphragmatic, plastic,
space-filling, deep sound, which negates any further reference to those two
peas....
Musicians don't usually have speakers like the k100's, mostly because they
don't have the time or money for, and "no need" for, these kinds of luxuries.
It's true that many real musicians transcend the limitations of an
inadequate music installation, extrapolating their musical-analytical
ability, which allows them to hear harmonies, musical texture, mode of
interplay, etc. through a speaker that is too clearly physically present (to
express it euphemistically).
But a transparent and clear reproduction with depth of music makes the
physical act of listening, and the aesthetic contemplation of the material
as well as the abstract aspect of a musical event a very beautiful and
metaphysical event.
In other words: if you close your eyes, the K100's disappear, they don't
seem to be physically present anymore...
Desmond Van Weddingen
drummer Tom Helsen (www.tomhelsen.be)
It is very difficult to add anything to what has already been said about
this speaker.
I have had a lot of speakers in the past (Etude Rea, mission, B&W matrix
803, leak, phonar p5 edma modified etc).
Was never really satisfied and kept looking, until I heard the LINK K100.
Most musical speaker I've ever heard.
Got it for a few months now and the result is breathtaking.
It's really like being there. It brings you to the soul of the music and
that's all there is to it.
There are some drawbacks that are not discussed.
- I hadn't heard Chet baker's fart on that live recording of 68 on my former
speakers and maybe I would have preferred to keep it that way.
- I've had my fries burned three times already because I just keep sticking
to it every time I walk into the living room and there's music on it.
- Don't get anything done lately because every time I have some free time
and have to choose between doing something useful or lying on my couch
listening to the k100 I choose the k100 again.(Music)
Jan Vandenborre
, Gent
https://ilgardellino.be
I've listened quite a lot, to different kinds of music
(Bach, Jarret, JL Hooker, Talking Heads, Nina Simone,....) and my first
reaction is mainly a rediscovery of that music. It's like I have a new pair
of ears. Not only do I rediscover all those things, but I also notice that
it pays to take time for it (finally). What is very important to me is the
same reaction I had with you. I could immediately make abstraction of the
physical speaker and concentrate on the music. This is definitely what I
was looking for.
B.D. Blanden
First of all, not a day has gone by without an intense musical experience.
The music installation sounds downright beautiful and the Links are gems.
Last night I installed myself, turned out all the lights and listened to the
Requiem of G.Fauré with La Chapelle Royale conducted by Philippe Herreweghe
on Harmonia Mundi, recording of 1988.
What's going on in you is impossible to describe in words, exactly whether
the Chapelle Royale played at home in our listening room, unbelievable.
So I am very happy to have met you!
The Stax SR4040/SR006/2 headphones at no time overload the LINK k100, it is
once again striking how it is completely in the same sound image, clarity
and transparency.
Rudi Vermeulen , Sint-Amands
drummer Moonfire,
www.myspace.com/moonfirebelgium
Ik
heb nu een aantal weken de K100’s bij mij thuis staan, gecombineerd met
de Gracedesign M902 DAC/preamp en de Hexateq Reference 4.0 klasse-D
monoblokken, alles aan mekaar gelinkt met Link Velox en Vortex interlink
en luidsprekerkabels… en elke dag geniet ik er mateloos van!
Het
is een hele zoektocht geweest om een waardige (en betaalbare) vervanger
te vinden voor mijn uitstekende actieve ATC SCM50-ASL luidsprekers, die
te groot waren voor mijn living.
De
K100’s zijn zeker zo muzikaal, transparant, dynamisch, enz. als de ATC’s,
maar ze hebben er bovenop een bredere en diepere soundstage en zijn veel
makkelijker te plaatsen.
Ik
ben een zeer tevreden muziekliefhebber!
Doe
zo voort!
Vincent Goris, Leuven
Pianist and Composer KLARA (www.klara.be)
"Music begins where the word ends". I don't remember where this statement
came from, but it is apt to describe the K100 speaker.
Words are just not enough to list all the positive features of this speaker,
and I can say nothing more than to listen to this speaker first.
One of those positive qualities I do not want to withhold from the reader:
from the first listening I noticed that this speaker succeeds with a natural
ease not to put itself in the foreground, but to leave the word to the
music.
As a musician who sees himself and his instrument as a means to let the
music speak.
Pure class for me, not to mention the incredible design...
Pierre Jolie, Destelbergen
Wim Vanderstraeten has put together a complete installation for us,
including cabling and even an FM antenna (as the signal from the
teledistribution is of questionable quality). This installation can't be
compared to anything else we've heard so far.
It is lifelike!
You hear everything. It displays mercilessly correctly everything that was
recorded (also via FM radio). You hear a clear difference between the
quality of the various recordings, not only that signal but also in terms of
placement of the microphones etc..... Each instrument comes into its own and
you hear things on your recordings that you never heard before (some
pizzicato's, triangle,...). The dynamics are also impressive. The percussion
in symphonic works is phenomenally lifelike and powerful. It makes you jump
off your chair! There is never any distortion, no matter how loud you set
the installation. One tends to set the music just as loud as the experience
in the concert hall. The other day I had a visit from my brother-in-law. He
is a horn player in a large internationally renowned symphonic orchestra. He
has spontaneously set the music as loud as it sounds inside the orchestra.
For a layman it did not harden, but even then no distortion at all! Also in
the other places of the house you can hear the music crystal clear.
It is as if music is really being played. It is unbelievable what comes out
of those relatively small K100 boxes with only two speakers and I can
hardly think how it can be improved....
Wim Joos, Drongen
After your very valuable help in putting
together and upgrading my entire setup, it was finally the turn of the
speakers.
After years of listening to man-sized hi-fi speakers, I decided to go for
music.
Since a few weeks I have my own K100's. Although I had heard the K100 and
K50 several times during the selection of my other equipment, the K100s
still exceed my expectations. The musicality and neutrality with which
everything is reproduced is truly unsurpassed. The exact placement of the
music in 3D borders on the unbelievable. I no longer listen to woofers and
tweeters, but to instruments, vocals,... music. I would rather label the
K100 as an instrument, not a loudspeaker.
The K100, an instrument that succeeds in reproducing the emotion and
music of the recording. A gift that few speakers have in them,
regardless of the price range.
The reproduction is so precise that you can really perceive the timbres of
the instruments. This is the first time I have experienced this with a
speaker. Such characteristics are world-class. As far as I'm
concerned, the bar for the competition is a bit higher again.
Dirk Nemegeer, Huldenberg
<<When putting together a set I was always looking for a musical set.
I forgot what the music really sounded like... With the LINK k100 in
combination with the Velox and Vortex, everything just falls into place!
This combination sounds very realistic and is very musical.
The choice of other equipment is now much easier because you don't have to
take into account the coloring of the cable or speaker.
When listening you forget the technical part of the set, and the urge for
better is no longer there>
>
Jo Goossens , Bierbeek
“It
is about two years since I started to look for a more than serious upgrade
of my music installation. Coming across the LINK K100 about a year ago, I
was right away impressed with its clean, transparent and very neutral sound,
not to say with the fact that it all came out of such a small instrument.
Being quite concerned about making too quick a decision then and especially
about how it all would sound at my place, I tested several medium to high
end solutions at home. However I always felt that something was missing,
either transparency, depth or width of soundstage or a comfortable listening
range and I kept coming back and comparing to my first listening experience
with the K100.
Now,
in combination with the AA406 power amp and Vortex and Velox cables, I have
what I was looking for: pure music. The K100 is amazingly transparent (one
forgets that there are speakers in the room) and all what is left are
‘tangible musical instruments’ each with their fine harmonic reverberations,
be it flutes, violin, snare drums, bass guitar or synthesizers. I have since
rediscovered older recordings and I don’t get tired of listening to them
because it sounds all so natural and uncomplicated.
Finally,
a minor issue but fine to have, they blend also nicely with the interior…”
Joris Geysens
Tenor saxophone player
cherrypie_sample.mp3
www.sevensoulmotion.be
"The K100 is a speaker that
meets my expectation of what a speaker should be able to do: reproduce
the recorded music as naturally as possible.
These speakers succeed in this with brilliance. Detailed and correct
reproduction, transparent, vivid are words that come to mind.
You forget that you are listening to a piece of technology : the focus
is on the music. Instruments are played with the right timbre, as it
should be.
The spatial reproduction is also beautiful: good depth and placement of
the instruments....
Less important to me, but they also look very good: beautiful design! In
short, fantastic acquisition and I am going to have a lot of fun for a
long time.
Peter and Wilma Baudoin
Kaulille
After some searching thanks to a diversion arrived to listen to the
k100, were warmly received by Mr. Vanderstraeten and were first given an
excellent explanation of his vision of hi-fi, and about his speakers.
Since we had listened to all the many speakers my wife wanted to hear
them as well, she is usually very critical when it comes to more
expensive speakers.
After a few songs to have heard we looked at each other so << wow>
this is very good!
The speakers sound at good recording so spacious that it is as if the
singer is actually in the room.
Furthermore, the speakers are incredibly neutral and show exactly how
the recording is.
I would recommend anyone who wants to upgrade his set to listen to them
once..
Tom Callens
Tenorsaxofonist
http://www.artet.be
http://www.ladylinn.be
Het was
een zeer interessante dag bij Wim Vanderstraeten van Link Audio. Wat
normaal een ophaling van mijn pas herstelde luidsprekers moest
voorstellen draaide uit tot een heuse namiddag muziek beluisteren en
uitwisselen van elkaars meningen over muziek en muziekbeleving.
Bij het binnenkomen vlogen we er onmiddellijk in.
We luisterden naar een opname van aRTET (groep waar ik in speel) op de
K100's om daarna over te schakelen op Wim's collectie jazz- en klassieke
muziek.
Indien de opname zo natuurlijk mogelijk verlopen is, door middel van
goeie plaatsing van micro's en zo weing mogelijk tussenkomst van
effecten of processing, heb je met de K100's het gevoel echt bij de
performance van een orkest, band of solist aanwezig te zijn.
Het timbre van ieder instrument, de vibraties en de 'ziel' zijn te
horen. Bassen zijn niet moeilijk of modderig maar helder en
verstaanbaar. De plaatsing in de ruimte en het stereobeeld is zeer
duidelijk én genietbaar.
Van de K100's verplaatsten we ons naar een andere ruimte met iets
moeilijkere akoestiek om naar de compactere Cubes te luisteren. Deze
zijn geen kleinere K100's. Het is een ander design van op de grond
hertekend en het doel van deze Cube is een kleinere, meer betaalbare
luidspreker aan te bieden die hetzelfde doel nastreeft, de
waarheidsgetrouwe weergave van muziek.
Deze spraken mij ten zeerste aan daar zij net zoals de K100's
sprankelden, het timbre en de dynamiek van de muziek zeer goed weergaven
en bovendien in mijn optiek betaalbaar zijn! Het zijn luidsprekers waar
je naar wilt blijven luisteren.
De Cubes geven meer dan voldoende definitie en output in de basregionen
zodat een subwoofer bij jazz en klassiek niet nodig is, misschien wel
voor pop of rock, maar dat kan ik niet zeggen want dat hebben we niet
getest.
Voor wie een eerlijk, neutraal en vooral levendig en natuurlijk geluid
wil en die op een krap budget zit zijn deze luidsprekers een must.
Wim sprak bevlogen en vol passie over zijn queeste naar een zo eerlijk
mogelijke klankreproductie met zijn luidsprekers.
Daar lijkt hij volgens mij zeer goed in te slagen.
Ik had er spijt van dat ik mijn Mission 753's en niet de Cubes moest
meenemen :)
Tom Callens (1982) studeerde
saxofoon aan het Gents Conservatorium bij Frank Vaganée en daarna aan
het Koninklijk Conservatorium Brussel bij Jeroen Van Herzeele en John
Ruocco. Gaandeweg is hij zich gaan toespitsen op de tenorsaxofoon en
dwarsfluit waarmee hij in stijlen zoals traditionele jazz, bebop,
moderne jazz, funk, soul en chansons zich als een vis in het water
voelt. Hij won tweemaal de "Jong Jazztalent Gent"-wedstrijden en
andermaal de Brusselse "XL-jazz" wedstrijd met verschillende ensembles.
In 2006 nam hij deel aan een Europese tournee met Guru's Jazzmatazz.
Hij speelde op het Montreux Jazz Festival, Blue Note Records festival te
Gent, North Sea Jazz en tal van andere festivals, en dit met mensen
zoals Koen De Cauter & zonen, Tcha Limberger, Fapy Lafertin, Jimmy
Molière (Fats Domino), Joris Decock, Robert Veen, Harry Kanters, Dirk
Van der Linden, Kris Defoort en Hans Van Oosterhout.
Hij heeft in 2009 zijn eigen band "South
of the Border" opgericht waarin
instrumentale souljazz gespeeld wordt. Daarnaast is Tom vooral actief in
Lady Linn & her Magnificent Seven (pop, soul en jazz), aRTET
(hedendaagse jazz), the Whodads (surf, mambo, latin) en de Vindaloo Five,
New Orleans Jazzband met Joris Decock, Karel Algoed, Bruno De Groote en
Frederick Van den Berghe
LUC GEETS
Leuven
Na meer dan twintig jaar veel luisterplezier was
uiteindelijk de tijd gekomen om mijn oorspronkelijke geluidsinstallatie wat
nieuw leven in te blazen.Deze was samengesteld uit de Link M21 en Art Audio
Quintet buizenversterker.
Alzo kwam ik weer bij Wim Vanderstraeten in Rotselaar terecht.
Na enkele uitgebreide luistersessies bij Wim, werd duidelijk dat mijn
cd-speler het meest een vervanging toe was.
Maar het geluid van vooral de K100’s, gekoppeld aan een Grace design M902 /
Bryston combinatie, liet mij niet meer los.
En nu, na nog enkele luistersessies meer staan ze hier uiteindelijk.
Het is een herontdekking van gekende muziek geworden
Als de opnames goed zijn dan werken de K100’s zeer verslavend. Dan volgt de
ene cd na de andere en is het moeilijk om te stoppen.
Mijn “oude” M21’s hebben dezelfde signature, met dezelfde tonaliteit en zijn
duidelijk van dezelfde familie.
Maar de nieuwe K100’s zijn op alle gebied een verrijking voor de
natuurgetrouwe weergave van de muziek: Prachtig gedetailleerd en met een
indrukwekkende impuls weergave, waardoor elk instrument ten volle wordt
weergegeven.
Hierdoor, en wederom met de betere opnames, wordt een
enorm geluidsbeeld gecreëerd waarbij de luidsprekers verdwijnen.
Het is duidelijk dat ook het combo van Gracedesign en Bryston hiertoe zijn
bijdrage levert.
De weergave is misschien op het eerste gezicht droger dan de Art Audio, maar
juister, met meer informatie en toch heel zacht in het hoog.
Dimitri
Asselman
passief en actief muziekliefhebber
Naar aanleiding van een technisch
probleem met mijn huidige luidsprekers, kwam ik bij Link audio terecht.
Sinds een aantal jaren ben ik ook overgestapt naar het digitaliseren/streamen
van mijn cd collectie: gezien mijn audio set op Digitaal/Analoog omzetter (dac)
en pre-amp gebied zeker nog een upgrade kan gebruiken, kon ik van mijn
bezoek aan Link audio gebruik maken om te kijken welke oplossing men daar in
dat opzicht voorhanden had.
In de luisterkamer stonden de
Link K100 speakers opgesteld,
aangestuurd door een nieuwe reeks Hifi componenten van Onkyo: de P-3000R
voorversterker, de M-5000R eindversterker en C-7000R cd speler. Bijzonder
aan deze voorversterker is dat deze zowel analoge als digitale bronnen voor
zijn rekening neemt: een dac van hoogwaardige kwaliteit werd geïntegreerd.
Luisterervaringen thuis en op
verplaatsingen (bij ander hifi dealers, kennisen en vrienden) hebben mij
nooit kunnen ontdoen van het speaker idee: ‘size does matter’, maw, een
speakerkast moet ‘volume’ hebben, wetten van de natuur? Eerlijkheidshalve
stond ik dan ook ietwat sceptisch tegenover de k100 speakers aan te kijken.
Ze ogen modern: strak met een zeer mooie lijn, de ogen worden inderdaad
verwend. Samen met de voorgestelde Onkyo set, eentje die eenzelfde strakheid
geniet maar toch een retro touch integreert, staan de luidsprekers echt uit
te nodigen om muziek te gaan spelen. Gedaan met kijken dus, wat doet deze
set op muzikaal vlak?
De manier waarop de man achter Link
audio, Wim Vanderstraeten, de vele muziekgenres presenteert in de
luistersessie bevalt mij enorm. Korte fragmenten, toch lang genoeg om een
goed idee te krijgen van hoe de set klinkt/overkomt met dit of dat genre
muziek. Het gaat vooruit en het verveelt nooit. De interesse wordt al na de
eerste minuten gewekt: hier klinkt échte muziek. De muziek lééft en er is
geen sprake meer van een audioset.
Wat mij onmiddellijk opvalt is de
“ruimte” dat deze set afstraalt: ik kan het niet beter vergelijken dan met
een top notch 3D beeldervaring. Alsof de muziek uit laagjes bestaat: links,
rechts, boven, onder, verder; dichter... instrumenten, stemmen, geluiden
zijn overal in de kamer aanwezig. Dat geheel klinkt ook ‘luchtig’, het wordt
nooit een ‘zwaar’ geluid, het wordt nooit té, het klinkt met een bepaalde
eenvoud en toch is het detailrijk. Dit smaakt echt naar meer.
Door de jaren heen viel het mij op dat onder de noemer ‘high end’ veelal
wordt begrepen dat alles strikt afgepolijst, nog fel afgetekend en
schel/vermoeiend overkomt, althans, dat is mijn persoonlijke indruk - alsof
men een chirurgisch mes door het beste stukje wagyu vlees haalt. Veelal
krijgen we dan ook nog op het bord dat dit de afspiegeling is van wat er in
de concertzaal zou gebeuren: een “natuurgetrouwe” weergave.
Ik moet bekennen: dit is voor mij
de eerste luisterervaring sinds de aankoop van mijn hifi set, nu meer dan 18
jaar terug, waarvan ik denk ‘wow, machtig’. Vooral het gegeven ‘ruimte,
space, 3d’ blijft serieus hangen, iets dat ik nog maar zelden mocht ervaren
in speakerland. Ik heb geproefd en ik wil teruggaan om nog meer te proeven.
Wat het nog interessanter maakt is dat het prijskaartje van ‘de hardware’
eigenlijk zeer gunstig valt tov het mainstream High End materiaal op de
audiomarkt.
Elk zichzelf respecterend muzikant,
op zoek naar een écht goede audioweergave - een weergave dat trouw blijft
aan het samenspel/de klankleur van de instrumenten/geluiden waaruit de
muziek werd opgebouwd - mag het niet nalaten een bezoekje te brengen aan
Link audio.
Puntje van kritiek? Jawel: de
allerdiepste regionen in het laag mogen aangevuld worden met een échte
subwoofer. Sommige genres/passages muziek kunnen net dat tikkeltje extra
laag gebruiken. Als het een troost mag wezen voor mezelf: op deze manier
houdt mijn stelling ‘size does matter’,toch nog wat stand. Ik besef dat de
eventuele aanvulling in lage passages wellicht een puur subjectief gegeven
is.
Bedankt aan Link audio voor de
aangename luistersessie en audio ontdekkingen die ik mocht ervaren.
Puresound.be
http://www.puresound.be/made-in-belgium-link-audio/
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