Integration of K15EX in your system shouldn't be too difficult. I have enormous expectation of K15EX because I followed Robert for many years. And I seriously wonder how it will fare against Cessaro's passive preamp in terms of macro dynamic capability.
I will do more vigorous listening in the coming weekend when I return back to HK. I talked to Ralph yesterday on his Cessaro preamp, I am getting more excited about having a big 'gala performance' of all the top preamps!!
To my ears, the jump from K15 to K15EX is much of a bigger improvement than the evolution of K10 to the K15. Music playing through my system with K15EX as a preamp has a “very open, fast and dynamic” character. And such resolution of openness so far is exhibited excellently by preamps like Dalby D7SE, Trinity Preamp and Lars Monica. I auditioned to all of them at AE in various occasions in the past 2 years.
Personally, I am now using Trinity DAC/PC, Takumi K15 and Trinity Stereo amp still driving the Tidal Sunray. In terms of measurement, I believe the Trinity preamp is perfect just like the rest of Trinity’s electronics. Because I bought the Takumi K15 first before the trinity amp, I had no urge to switch preamp. I personally also like the Takumi K15 very much. Upon further listening of a whole suite of trinity electronics, I have come to the conclusion that the Trinity preamp sounds more open and more resolute than my K15. But the latter sounds smoother at mid range and the top end. When it comes to orchestral recordings, however, the trinity preamp has the resolving power to delineate the tonality of individual violin within the mass string session. In comparison, the K15 sweetens the top end somewhat. Maybe, I am used to the transformer-based tonality of the K15. After all, ceramic drivers of Tidal Sunday sound a bit hard when volume really goes up to rock my room. A little coloration always helps under my prevailing system context.
The moment when I play the very first music after the K15EX was connected - I immediately concluded that it is a major departure from the original offering. Music sounds open, free, fast and delicate. In comparison, the original K15 is relatively timid. I moved on to test a few orchestral recordings with mass string sessions that I know extremely well. Yes, the resolution of the K15EX in on par with Trinity preamp. The “subjective” soundstage throws out by the K15EX is wide/spacious, and the Z-axis is much elongated than the K15. Music instruments within the soundstage are rich in texture, clear in contour, speedy in transients, voluminous in energy and articulate in rhythm. It is the most complete sound-staging experience ever at my own system. It is such a realistic sound-staging experience. The last time I experienced such walk thru sound-staging experience was via the almighty Dalby D7SE tube preamp.
I also wish to compliment particularly on its ultra speed when the Rossini vinyl recording was spinning. It is extremely fast but the texture of the violin is preserved. I did not detect any hardness even at loud volume (the K15EX is connected to the Troy signature with Thor signature ground wire). There is no more sweetening of the top end. Also, the rendition of double bass’ strings is very elastic co-integrating well with the resonance of the voluminous wooden body of the instruments. Again, I am pretty shocked by the contour resolution of the lower octaves. For example, when the pianist commands the left hand on the range of bass keys, the corresponding responses from the strings all the way to the hammer are simply kaleidoscopic in harmonic resolution, majestic in terms of energy delivery and organic in lyricism. Music is humanistic, period. It is a no brainer.
I believe this is Robert’s best work today. I dare even say it erects a clear benchmark in solid state preamp even within AE’s supreme offering in this category. I am also grateful that Robert offers upgrade service to existing K15 owners.
The last time you wrote something in such serious tone was the trinity dac almost 2 years ago! I am curious why you need an editor for your writing. This is not an academic forum. What the hack is inside your head?
Robert must have done a seriously great job this time.
…Last weekend, I had further opportunities to listen to K15Ex in my system on a wider variety of music and on those I use more regularly for evaluation.
Rather than saying K15Ex is significantly better than K15, I believe the technical challenge to make such a noticeable improvement from the already superb K15 is even more significant! In hindsight, K15 would still leave a slight scene of coloration ‘sweetening’ the tonality of the music produced. Such sweetening is not a heavy dose but it is there to create the seduction for one to indulge and get addicted to. K15 is more inclined to the ‘warm’ side of the musical manifestation and presentation.
K15Extreme, however, thins out further such sweetening coat leaving almost zero trace of the signature sounding of the Takumi siblings. Is it a good evolvement or a bad one? From an ultra end component standpoint, it should have (1) no coloration; (2) no compression on amplitude at any volume; (3) no noise distortion. With these objectives in mind, K15Ex is a clear advancement from K15.
On music demanding a lightning response on transient attacks and stress free dynamic swings, K15Ex meets the expectation with flying colors. Instead of using bursting fireworks, I would like to use another new analogy, it is like firing balls filled with oil paint into a wall where one can see the balls splashing into the wall radiating the harmonics out simultaneously like the split of the paints. Both the bursting and trailing are fast with all the details kept intactly clear on the wall. The LP I heard in Ralph (Cessaro) place called ‘The Manne We Love’ by Shelly Manne carries an abundance of fast and rhythmic drums music. Under K15Ex, every percussion can be heard with distinctive slams and rhythm of its own.
Cello music is also one of my favourite as it bears a ‘story telling’ charisma resembling a human voice. The resolution and balance between the string and the cello chamber is of utmost importance to transpire the passion and touching of the performer in conveying the original message of the composer. K15Ex taken for grantedly exceeds my expectation on both resolution and balance in the ambience. Surprisingly in its endeavor to squeeze out the last bit of the musical details, K15Ex lets the cello stands in front of my listening position holistically and solidy surrounded by a soundstage wildly extended deep into the depth. Separation of the cello from the piano can virtually be measured literally by ‘feet’ instead of ‘inches’!!
When listening to the Mozart piano sonata by my favourite pianist Maria Joao Pires, the joyfulness and youngness of Pires can be felt thru her pair of 17 years old hands dancing magically across each bar chord of the keystrokes. The sensational feeling of watching the pianist play in addition to listening is the first time ever in my system although I can recall once when listening to Dalby D7SE in AE showroom. Scale of the piano and the physical length of the keyboard are so vividly presented across the space between the speakers. K15Ex opens up the palatable freshness when new keynote burst out one after another in a musical chain with a natural lust!
On orchestral music, due to the much improved sound depth, the engulfing feel of being there in the venue is more apparent and alleviate the enjoyment in the virtual concert hall.
For existing K15 users, K15Ex will deliver pleasant surprises that one will never imagine the relatively small upgrade cost. For those who still have a slightest doubt on the worthiness of venturing into the Takumi camp, I offer a home audition to get yourself convinced.
K10 vs k15 ex 首先多謝marvel 兄帶同k15ex 到訪，讓我可更具體實試此前級之實力，在此之前巳在marvel 家感受過，但由於他家中好東西太多，vertere LP set, wadax trio, trinity dac, lars power amp.....1時3刻較難分辦，今次在自己熟悉的系統中，更能體會k15 ex 所起之作用。 以我慣用之人聲參考開始，rebecca pidgeon 的spanish harlem ，開首之double bass 已說明k15ex 解像度更高，人聲表現更線性，弱音更多更細緻，音色上亦比較k10厚潤。 再試Theme from Schindlers list , k15 ex 輕易就重現出電影內之滄凉及無耐，不論音量大小，均可準確重現音樂氣氛，而音場更加3D濶銀幕，就此點k10 亦輸得頗明顯。 對於大音壓之控制力，k10 在1般家居絕對(夠用)，k15ex 播Jeff Beck Live Plus, 必定引誘你越開越大聲，挑戰你房間及耳朵承受力，巨大音壓下依然穩如泰山，當然k70g2 及chopin sig 亦合作愉快，遇強越强。 K10 vs k15ex 其實可比性不高，始終係另1層次產品，如同其他前級比較，monica 的透明，trinity pre 的準確，我更喜歡k15 ex 的真實而富人情味。
Comments
Integration of K15EX in your system shouldn't be too difficult. I have enormous expectation of K15EX because I followed Robert for many years. And I seriously wonder how it will fare against Cessaro's passive preamp in terms of macro dynamic capability.
Personally, I am now using Trinity DAC/PC, Takumi K15 and Trinity Stereo amp still driving the Tidal Sunray. In terms of measurement, I believe the Trinity preamp is perfect just like the rest of Trinity’s electronics. Because I bought the Takumi K15 first before the trinity amp, I had no urge to switch preamp. I personally also like the Takumi K15 very much. Upon further listening of a whole suite of trinity electronics, I have come to the conclusion that the Trinity preamp sounds more open and more resolute than my K15. But the latter sounds smoother at mid range and the top end. When it comes to orchestral recordings, however, the trinity preamp has the resolving power to delineate the tonality of individual violin within the mass string session. In comparison, the K15 sweetens the top end somewhat. Maybe, I am used to the transformer-based tonality of the K15. After all, ceramic drivers of Tidal Sunday sound a bit hard when volume really goes up to rock my room. A little coloration always helps under my prevailing system context.
The moment when I play the very first music after the K15EX was connected - I immediately concluded that it is a major departure from the original offering. Music sounds open, free, fast and delicate. In comparison, the original K15 is relatively timid. I moved on to test a few orchestral recordings with mass string sessions that I know extremely well. Yes, the resolution of the K15EX in on par with Trinity preamp. The “subjective” soundstage throws out by the K15EX is wide/spacious, and the Z-axis is much elongated than the K15. Music instruments within the soundstage are rich in texture, clear in contour, speedy in transients, voluminous in energy and articulate in rhythm. It is the most complete sound-staging experience ever at my own system. It is such a realistic sound-staging experience. The last time I experienced such walk thru sound-staging experience was via the almighty Dalby D7SE tube preamp.
I also wish to compliment particularly on its ultra speed when the Rossini vinyl recording was spinning. It is extremely fast but the texture of the violin is preserved. I did not detect any hardness even at loud volume (the K15EX is connected to the Troy signature with Thor signature ground wire). There is no more sweetening of the top end. Also, the rendition of double bass’ strings is very elastic co-integrating well with the resonance of the voluminous wooden body of the instruments. Again, I am pretty shocked by the contour resolution of the lower octaves. For example, when the pianist commands the left hand on the range of bass keys, the corresponding responses from the strings all the way to the hammer are simply kaleidoscopic in harmonic resolution, majestic in terms of energy delivery and organic in lyricism. Music is humanistic, period. It is a no brainer.
I believe this is Robert’s best work today. I dare even say it erects a clear benchmark in solid state preamp even within AE’s supreme offering in this category. I am also grateful that Robert offers upgrade service to existing K15 owners.
Thank you PT for editing my English
The last time you wrote something in such serious tone was the trinity dac almost 2 years ago! I am curious why you need an editor for your writing. This is not an academic forum. What the hack is inside your head?
Robert must have done a seriously great job this time.
I am anticipating your in depth report too because you had been listening to K15EX for quite awhile.
How does Jeff's generosity relate to this?
…Last weekend, I had further opportunities to listen to K15Ex in my system on a wider variety of music and on those I use more regularly for evaluation.
Rather than saying K15Ex is significantly better than K15, I believe the technical challenge to make such a noticeable improvement from the already superb K15 is even more significant! In hindsight, K15 would still leave a slight scene of coloration ‘sweetening’ the tonality of the music produced. Such sweetening is not a heavy dose but it is there to create the seduction for one to indulge and get addicted to. K15 is more inclined to the ‘warm’ side of the musical manifestation and presentation.
K15Extreme, however, thins out further such sweetening coat leaving almost zero trace of the signature sounding of the Takumi siblings. Is it a good evolvement or a bad one? From an ultra end component standpoint, it should have (1) no coloration; (2) no compression on amplitude at any volume; (3) no noise distortion. With these objectives in mind, K15Ex is a clear advancement from K15.
On music demanding a lightning response on transient attacks and stress free dynamic swings, K15Ex meets the expectation with flying colors. Instead of using bursting fireworks, I would like to use another new analogy, it is like firing balls filled with oil paint into a wall where one can see the balls splashing into the wall radiating the harmonics out simultaneously like the split of the paints. Both the bursting and trailing are fast with all the details kept intactly clear on the wall. The LP I heard in Ralph (Cessaro) place called ‘The Manne We Love’ by Shelly Manne carries an abundance of fast and rhythmic drums music. Under K15Ex, every percussion can be heard with distinctive slams and rhythm of its own.
Cello music is also one of my favourite as it bears a ‘story telling’ charisma resembling a human voice. The resolution and balance between the string and the cello chamber is of utmost importance to transpire the passion and touching of the performer in conveying the original message of the composer. K15Ex taken for grantedly exceeds my expectation on both resolution and balance in the ambience. Surprisingly in its endeavor to squeeze out the last bit of the musical details, K15Ex lets the cello stands in front of my listening position holistically and solidy surrounded by a soundstage wildly extended deep into the depth. Separation of the cello from the piano can virtually be measured literally by ‘feet’ instead of ‘inches’!!
When listening to the Mozart piano sonata by my favourite pianist Maria Joao Pires, the joyfulness and youngness of Pires can be felt thru her pair of 17 years old hands dancing magically across each bar chord of the keystrokes. The sensational feeling of watching the pianist play in addition to listening is the first time ever in my system although I can recall once when listening to Dalby D7SE in AE showroom. Scale of the piano and the physical length of the keyboard are so vividly presented across the space between the speakers. K15Ex opens up the palatable freshness when new keynote burst out one after another in a musical chain with a natural lust!
On orchestral music, due to the much improved sound depth, the engulfing feel of being there in the venue is more apparent and alleviate the enjoyment in the virtual concert hall.
For existing K15 users, K15Ex will deliver pleasant surprises that one will never imagine the relatively small upgrade cost. For those who still have a slightest doubt on the worthiness of venturing into the Takumi camp, I offer a home audition to get yourself convinced.
Marvel
I am moved by your review. I can feel you wrote it with your heart.
Thanks for the in depth review of K15EX. Uncle Ray shall ship it to me after a few more days of audition.
Good writeups cheer me up while I am staying at hospital.
首先多謝marvel 兄帶同k15ex 到訪，讓我可更具體實試此前級之實力，在此之前巳在marvel 家感受過，但由於他家中好東西太多，vertere LP set, wadax trio, trinity dac, lars power amp.....1時3刻較難分辦，今次在自己熟悉的系統中，更能體會k15 ex 所起之作用。
以我慣用之人聲參考開始，rebecca pidgeon 的spanish harlem ，開首之double bass 已說明k15ex 解像度更高，人聲表現更線性，弱音更多更細緻，音色上亦比較k10厚潤。
再試Theme from Schindlers list , k15 ex 輕易就重現出電影內之滄凉及無耐，不論音量大小，均可準確重現音樂氣氛，而音場更加3D濶銀幕，就此點k10 亦輸得頗明顯。
對於大音壓之控制力，k10 在1般家居絕對(夠用)，k15ex 播Jeff Beck Live Plus, 必定引誘你越開越大聲，挑戰你房間及耳朵承受力，巨大音壓下依然穩如泰山，當然k70g2 及chopin sig 亦合作愉快，遇強越强。
K10 vs k15ex 其實可比性不高，始終係另1層次產品，如同其他前級比較，monica 的透明，trinity pre 的準確，我更喜歡k15 ex 的真實而富人情味。