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FMR - The Lady Wears Mikimoto
A string of Mikimoto will endear any fine lady.
Each Mikimoto pearl represents a life of its own with a radiating lustre that nutures and warms the heart of the beholders. Diamonds and gold are wordly, but pearls are part of Mother Nature. It has neither the blinding flash nor the sheer opulence that creates the "wow" among the crowds but its presence is always calm and soothing. Woman wearing them will immediately bring about an image of warmth, sophistication and cultured maturity. The FMR is a creation in the same class as Mikimoto. It does not have the heightened energy and sparkles bestowed by SMR EE, but through the FMR, each note becomes more plump and enables me to enjoy the gravity of each note being played. The source of its appeal is not about high drama and passion but a poetry of heritage and finesse.
In Harmonia Mundi (HMC 901919), I found Beethoven well and alive on the fortepiano playing his sonata No. 4, Op.23 and accompanied by the gift from Prince Lichnowsky. The interplay between the fortepiano and the violin brings about a spontaneous burst of energy and passion that calls for the love of Giulietta and yet maintains the frustration and controversy of a deafening genius that stimulates even the sterile minds of the Viennese patrons and aristocracies. On the night of that 1802 evening, they sat absolutely mesmerized by the maturing Beethoven. It is a demanding piece to deliver and requires the system to have the ability to articulate the delicate nuances. In this respect, FMR is a wonderful addition to my playback chain which gives each note the gravity and character it was meant to be.
I am also thrilled by the Accardo virtuosity in playing the cadenza in the first movement of Paganini violin concerto # 1 (POCG-3542/4). Under the reign of FMR, I, for the first time, can peek into the fathoms of delicate tonal expression that would be overshadowed if one were to play it through an otherwise energized system. After spending the seasonal holiday glued to my listening chair, I suddenly realized for the first time the meaning of musical coherency as opposed to sound coherency. In terms of technical difficulty, I give it a 9. However, a perfect 10 for artistic expression!
For that, I want to thank Ulrik for bringing an absolutely delightful tool to the universe of music lover. You have one fine piece of Mikimoto lady under your belt.
Each Mikimoto pearl represents a life of its own with a radiating lustre that nutures and warms the heart of the beholders. Diamonds and gold are wordly, but pearls are part of Mother Nature. It has neither the blinding flash nor the sheer opulence that creates the "wow" among the crowds but its presence is always calm and soothing. Woman wearing them will immediately bring about an image of warmth, sophistication and cultured maturity. The FMR is a creation in the same class as Mikimoto. It does not have the heightened energy and sparkles bestowed by SMR EE, but through the FMR, each note becomes more plump and enables me to enjoy the gravity of each note being played. The source of its appeal is not about high drama and passion but a poetry of heritage and finesse.
In Harmonia Mundi (HMC 901919), I found Beethoven well and alive on the fortepiano playing his sonata No. 4, Op.23 and accompanied by the gift from Prince Lichnowsky. The interplay between the fortepiano and the violin brings about a spontaneous burst of energy and passion that calls for the love of Giulietta and yet maintains the frustration and controversy of a deafening genius that stimulates even the sterile minds of the Viennese patrons and aristocracies. On the night of that 1802 evening, they sat absolutely mesmerized by the maturing Beethoven. It is a demanding piece to deliver and requires the system to have the ability to articulate the delicate nuances. In this respect, FMR is a wonderful addition to my playback chain which gives each note the gravity and character it was meant to be.
I am also thrilled by the Accardo virtuosity in playing the cadenza in the first movement of Paganini violin concerto # 1 (POCG-3542/4). Under the reign of FMR, I, for the first time, can peek into the fathoms of delicate tonal expression that would be overshadowed if one were to play it through an otherwise energized system. After spending the seasonal holiday glued to my listening chair, I suddenly realized for the first time the meaning of musical coherency as opposed to sound coherency. In terms of technical difficulty, I give it a 9. However, a perfect 10 for artistic expression!
For that, I want to thank Ulrik for bringing an absolutely delightful tool to the universe of music lover. You have one fine piece of Mikimoto lady under your belt.
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Comments
VR
The power amps are fed by run of the house power cables. I have previously served them by SMR H but found the rendition to be too overwhelming for my taste.
.
Kingston
I think that is a very plausible permutation for solid state power amps.
Thanks.
I thoroughly enjoy reading your comment on the FMR. I am not as lucky as you to have the FMR, but Szymon Goldberg sounds alive with a FR on the Zanden phono tonight.
Patrick