The Igniculus (🔥火花）phono stage by Synaestec Audio of Germany is formally a permanent member at Divin Lab for its extraordinary achievement to the service of vinyl playback championed by a record breaking signal to noise ratio of more than 105db. It is likely to be the most quietest phono stage in the world even the gain is set at 78db (max).
The Igniculus is partnered with Thales Extreme Exotics cartridge with Thales Statement arm mounted on the Hartvig Statement turntable. Impedance is set at 470 ohm, gain at 67db, with RIAA curve selected (EMI, Columbia and Decca also available). Tone arm cable is Skogrand Beethoven from the arm to the phono stage. From the phono to Robert Koda K15EX pre is Skogrand’s flagship - Stravinsky.
I have no words to describe the spatial/transient resolution of any symphonic score because I am in constant awe. The Igniculus name is best exemplified by playing the Inferno Dance of Stravinsky’s Firebird. Brass and wind instruments drove full orchestral power to crescendo with ease. Tonality of brass/wind instruments remains extremely stable at crescendo. Transient behaviour of every instrument (should your mind want to focus on any in the suite) is vividly portrayed with a musician behind it.
The Mercury recording of Henry Synerg's interpretation of Krisler's violin pieces simply blow me away. The realism of violin is attributed by precise tempo in the time domain alongside “depth” resolution of the whole frequency range. The “elasticity of string" showcases once again the transient resolution. That is important because it demonstrates the articulation of the violinist. They execute staccato, spiccato and pizzicato differently with respect to their style and character of the violin.
I further stress test this superb phono stage by listening to Side 7 - 劍合釵圓 - of 紫釵記, which is a famous Chinese opera (with acting). If the phono carries the signature of analytical sharpness, there is no way to play this Chinese classics properly.
It turned out I was “watching” a performance instead of listening. The shape of vowel polished by each performer was so vivid. The 唱腔 of 白雪仙 and 任劍揮 are uniquely differentiated. I could visualise the stage extending beyond all the walls. That is quite a “scene”.
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