You will be a happy man. I was struggling to hijack your FMR from PT but in the end, the angel side of me won the battle. I want to have 2 FMRs to try on the mono block!
After a bit of drama, I finally landed a FR and a FMR. And without much a do, I plugged the FR into the ORB power bar (as I took delivery of the FMR a couple days later), and my old Aural Symphonics Missing Link Bus isn't much of a performer, but rather it stayed there because it didn't really annoyed me, unlinke other power cords. Knowing Argento cables, I expected all round improvements and I wasn't disappointed.
But I am ahead of myself. My system is as follows:
Goldmund 36+ transport, 20M DAC
Kondo Ongaku w/ RCA 211 and Cossor 53KU brown base
Kharma Exquisite Mini speakers
All cables are by Kondo LP and SPz, except stock Goldmund power cord to transport.
Now the thing that will make you laugh. All plugged into Aural Symphonic Missing Link Bus. I hear what you are saying, but I needed a power cord/bar combo that give my system a platform that's full of energy, or the dynamics will suffer badly. The AS pc/bar one-piece combo is not annoying, just badly lacking in resolution, and all the energy is in the mid-range, and lumpy lows. But overall, music still sounded like music, and so the AS bar stayed for a long time.
Now about the FR. First thing first, the engergy distribution across the frequency spectrum is now even, well, ok, so that's not much of a statement given the previous power bar/cable. In any case, I got my high back, in a good way, and faster, tighter lows, also in a good way. But if these are all I got, i wouldn't be posting here. The important bit is that as the name of the cable suggested, the music started to flow unimpeded. The structure of the decays, the relative energy levels between the main vocal and the supporting instruments is better porportioned, i.e. things are much more natural and at ease. No highlighting of certain area, and over energy level is good. Resolution is good as well. So I was happy.
Then I replaced the FR w/ FMR between the wall socket and power bar, and have the FR replacing the Goldmun PC to the transport. This is not the right way to compare cables, but I don't care. I am not a reviewer, and all I care is how my system sounds. Now, with thenew arrangement, the whole picture changed. It's not in a way of higher highs and lower lows, but things starts to "diffuse". Not quite like seeing thru a softar lens, but it's like previously the lyrics were printed by laser printer and now I am reading the hand-scribbed, ink on paper, lyrics. So diffuse is not the right word, but I can't quite pin down the exact nature. I will ned more time to adjust to new sound. And dynamics was dramatically improved versus using just the FR. I was playing this CD of solo Chinese string instrument Guzheng and the fingering was flowing and the notes where connected as described by others, this one note where the player plugged the string hard and then release it, the attack and release of energy was startling. So startling, as a matter of fact, it woke my baby. And I had to stop the music last night. Darn.
Matthew,
Glad to see you providing some feedback on FR and FMR. I know you will be a happy user of the Flow series. 20M take up a lot of electricity power and if you feed it with a(nother) FMR, I am sure you don't have to wait until 'Chor Yee' to see fireworks! I am not talking about FMR burning up your 20M but it would transform your 20M into a bigger beast with more authority and yet the rest of the GM key strengths are all remaining there.
Indeed I will try to do that. I am in the process of replacing my wall socket w/ a 4 US-type combo unit. That way, I can experiment have all 3 pieces plugged directly into the wall, with FR feeding the transport, FMR feeding the 20M and Ongaku directly plugged into the wall via Kondo KSL-ACz. As soon as I can find screws long enough to mount the darn receptacle box (long story ;-) Grrrrrrr.......
FR on power amp is a must try after a week of intensive listening. This may imply FMR on poweramp is even better, in particular with tube gears. The FR goes very deep down, missing bass notes are revived with vitality. The deep (maybe for the sake of accuracy, those around lower mid and below bass) bass harmonics of the piano even at loud passages are clearly delinerated from the sound of the violin. The separation is not clinical but lyrical. The songfulness of the melody is thoroughly delivered with ease without downplaying the speed of the leading edge of notes. I have no idea how the desinger can make a power cord achieving various musical goals.
Matthew, your description of the FMR using the analog of laser print versus handwriting is the closest description of what I feel in my heart. I am tempted to use words like soft (but it is actually not soft) or example like soft lens to convey my feelings. These are not accurate descriptions. It seems the contour of musical images that were once vague has better focus now BUT it is also not exactly the kind of FOCUS concept in Photography. Perhaps, I should say, the FLOW has profound ability to reveal the timbre of sound, which makes the objects real. The FLOW has the ability to reveal TIMBRE variation in a continous manner within the recorded acoustic space - that is why it makes the music flow. The gluing job amongst musical notes is not done by creaming the leading edges of the notes. It is rather the transition from the harmonic tails to the leading edge amongst musical notes are hitherto revealed with resolution and right timing. Repeat this process n times - then everything FLOWS.
One may use word like "Density" to describe it but I don't think it is the right description either because many other cable achieve this by fixing the image on the virtual space with only the mid range singing, highs and lows are cut, and the objects in the musical scene is basicaly dead. The Flow brings life, true color, and melodic tune to the music.
You should try FMR on Ongaku. They are heavenly made pair, at least in my own system. It does not change the Kondo character, rather, the FMR reveals more of the amp's inherent strength.
I would love to try that, but my current rack doesn't have enough space :-( As is the front two legs of the Ongaku are already sticking out of the rack :-O and if I stick a FMR on the back and pushing it further ouf the rack, the Ongaku will be, um, unstable.....
One of these days, if I move apartment, I will reorg the support rack (Finite Elemente maybe?) and hopefully I will have more space... I can definitely use a bit more oomph given the Minis aren't the easiest to drive.....
But I do have the ACz plugged into the power bar which is in turn fed by the FMR.... not too shabby, but can be better.....
What speakers are you using, Ken?
I am waiting for the Horning Eufrodite. At the moment, I am using Avantgarde Duo. I was poisoned by the Horning after an hour audition there last month. The Duo sounds broken in comparion to the Horning. If you stick with the kondo, high efficiency is the way to go.
I don't buy the idea kondo cables match kondo gears. The speed is quite slow, highs and lows are cut. The mid-range sounds like Monet painting. Many told me this is the Kondo sound. I think it can be better and still preserving the Kondo character.
I am not sure I completely agree w/ you on the Kondo cables. While they are definitely not balanced, with lows particularily lacking in punch, I do feel that for KSL-LP and SPz, the highs are very good, and the cabels are terrific in resolving microdynamics and tonal shadings. The lesser Kondo cable (AN-Vz, AC-c and the like) are several classes below and really shouldn't be called Kondo cables.
Cables aside, I do agree high-efficency is that way to go. I used horn speakers previously as well, but for practical reasons, I probably won't be getting another pair for a few more years..... and my place can't fit the Eufro either due to placement restrictions....... oh well.
The Kharma is not too difficult to drive (Charles von Oostrum, designer of Kharma, did say the Ongaku and the Mini should be perfect match). And the pair is performing ok right now, but obviously the dynamic isn't anywhere dear horn speakers.
I had Shindo 300B Limited driving TAD 2402 previously. I was contemplating getting Rey Audio RM-11BC this time around, but then it's a pretty daunting proposition to order from Japan (or Taiwan), and won't solve the original problem I had that caused to to sell my TAD in the first place (kids climbing on to the speakers....)
But back to the original topic, what happened when you plugged the FMR into your Ongaku (is it the KSL version?)
But then, after
I used to be a mid range freak, that's why I picked the Kondo. I love the artisitic coloration. Over time, I get bored with the sound as I listent to more and more classical. The ongaku has good dynamic in the mid-range but not more at both end. All violin sounds the same, sweet and smooth. Staker's ballistic bow movement is there, but bass subsonic is missing. Missing are also piano's leading edge notes, always rounded off. My frustration grows over time, everything sounds very Kondo. I know that's what I like in the first place but something is not right. I had tried several Kondo's amp, it sounds more or less the same. Maybe, presentation is different, energy varies, the dynamics at both end, especially the top end, is very dull.
Now, back to the FMR with the Ongaku. I don't want to be over-exaggerate but the FMR takes care a lot of the problems just mentioned. The kondo character is stil there, but dynamics at both end are revealed with finesse and strength at the same time. Like many has written here, the attack, decays are very naturally rendered. There is more life, not so boring to listen to. I almost put my ongaku on audiogon but the FMR saves his fate. The AcZ cable reinforces the kondo coloation, I think it is not necessary. Over the years, I learn to trust my ears not collective norm. KSL-LP cable is good at the price, but like I say, it is not doing anything wrong, it just reinforces the kondo coloration, many seem to like it, but not me. The shadings you refer to mostly concentrate in the mid-range, the upper trebel is nice to listen but nowhere I can say dynamics excels there.
Comments
You will be a happy man. I was struggling to hijack your FMR from PT but in the end, the angel side of me won the battle. I want to have 2 FMRs to try on the mono block!
Marvel
志雄對不起，我出賣了你，是我買了拿去你家試FLOW的，不要怪我：人不為己，天誅地滅。
But I am ahead of myself. My system is as follows:
Goldmund 36+ transport, 20M DAC
Kondo Ongaku w/ RCA 211 and Cossor 53KU brown base
Kharma Exquisite Mini speakers
All cables are by Kondo LP and SPz, except stock Goldmund power cord to transport.
Now the thing that will make you laugh. All plugged into Aural Symphonic Missing Link Bus. I hear what you are saying, but I needed a power cord/bar combo that give my system a platform that's full of energy, or the dynamics will suffer badly. The AS pc/bar one-piece combo is not annoying, just badly lacking in resolution, and all the energy is in the mid-range, and lumpy lows. But overall, music still sounded like music, and so the AS bar stayed for a long time.
Now about the FR. First thing first, the engergy distribution across the frequency spectrum is now even, well, ok, so that's not much of a statement given the previous power bar/cable. In any case, I got my high back, in a good way, and faster, tighter lows, also in a good way. But if these are all I got, i wouldn't be posting here. The important bit is that as the name of the cable suggested, the music started to flow unimpeded. The structure of the decays, the relative energy levels between the main vocal and the supporting instruments is better porportioned, i.e. things are much more natural and at ease. No highlighting of certain area, and over energy level is good. Resolution is good as well. So I was happy.
Then I replaced the FR w/ FMR between the wall socket and power bar, and have the FR replacing the Goldmun PC to the transport. This is not the right way to compare cables, but I don't care. I am not a reviewer, and all I care is how my system sounds. Now, with thenew arrangement, the whole picture changed. It's not in a way of higher highs and lower lows, but things starts to "diffuse". Not quite like seeing thru a softar lens, but it's like previously the lyrics were printed by laser printer and now I am reading the hand-scribbed, ink on paper, lyrics. So diffuse is not the right word, but I can't quite pin down the exact nature. I will ned more time to adjust to new sound. And dynamics was dramatically improved versus using just the FR. I was playing this CD of solo Chinese string instrument Guzheng and the fingering was flowing and the notes where connected as described by others, this one note where the player plugged the string hard and then release it, the attack and release of energy was startling. So startling, as a matter of fact, it woke my baby. And I had to stop the music last night. Darn.
Glad to see you providing some feedback on FR and FMR. I know you will be a happy user of the Flow series. 20M take up a lot of electricity power and if you feed it with a(nother) FMR, I am sure you don't have to wait until 'Chor Yee' to see fireworks! I am not talking about FMR burning up your 20M but it would transform your 20M into a bigger beast with more authority and yet the rest of the GM key strengths are all remaining there.
Marvel
Indeed I will try to do that. I am in the process of replacing my wall socket w/ a 4 US-type combo unit. That way, I can experiment have all 3 pieces plugged directly into the wall, with FR feeding the transport, FMR feeding the 20M and Ongaku directly plugged into the wall via Kondo KSL-ACz. As soon as I can find screws long enough to mount the darn receptacle box (long story ;-) Grrrrrrr.......
Matthew, your description of the FMR using the analog of laser print versus handwriting is the closest description of what I feel in my heart. I am tempted to use words like soft (but it is actually not soft) or example like soft lens to convey my feelings. These are not accurate descriptions. It seems the contour of musical images that were once vague has better focus now BUT it is also not exactly the kind of FOCUS concept in Photography. Perhaps, I should say, the FLOW has profound ability to reveal the timbre of sound, which makes the objects real. The FLOW has the ability to reveal TIMBRE variation in a continous manner within the recorded acoustic space - that is why it makes the music flow. The gluing job amongst musical notes is not done by creaming the leading edges of the notes. It is rather the transition from the harmonic tails to the leading edge amongst musical notes are hitherto revealed with resolution and right timing. Repeat this process n times - then everything FLOWS.
One may use word like "Density" to describe it but I don't think it is the right description either because many other cable achieve this by fixing the image on the virtual space with only the mid range singing, highs and lows are cut, and the objects in the musical scene is basicaly dead. The Flow brings life, true color, and melodic tune to the music.
You should try FMR on Ongaku. They are heavenly made pair, at least in my own system. It does not change the Kondo character, rather, the FMR reveals more of the amp's inherent strength.
KC
I would love to try that, but my current rack doesn't have enough space :-( As is the front two legs of the Ongaku are already sticking out of the rack :-O and if I stick a FMR on the back and pushing it further ouf the rack, the Ongaku will be, um, unstable.....
One of these days, if I move apartment, I will reorg the support rack (Finite Elemente maybe?) and hopefully I will have more space... I can definitely use a bit more oomph given the Minis aren't the easiest to drive.....
But I do have the ACz plugged into the power bar which is in turn fed by the FMR.... not too shabby, but can be better.....
What speakers are you using, Ken?
I am waiting for the Horning Eufrodite. At the moment, I am using Avantgarde Duo. I was poisoned by the Horning after an hour audition there last month. The Duo sounds broken in comparion to the Horning. If you stick with the kondo, high efficiency is the way to go.
I don't buy the idea kondo cables match kondo gears. The speed is quite slow, highs and lows are cut. The mid-range sounds like Monet painting. Many told me this is the Kondo sound. I think it can be better and still preserving the Kondo character.
KC
I am not sure I completely agree w/ you on the Kondo cables. While they are definitely not balanced, with lows particularily lacking in punch, I do feel that for KSL-LP and SPz, the highs are very good, and the cabels are terrific in resolving microdynamics and tonal shadings. The lesser Kondo cable (AN-Vz, AC-c and the like) are several classes below and really shouldn't be called Kondo cables.
Cables aside, I do agree high-efficency is that way to go. I used horn speakers previously as well, but for practical reasons, I probably won't be getting another pair for a few more years..... and my place can't fit the Eufro either due to placement restrictions....... oh well.
Is the Kharma difficult to drive? Which horn spk you had before, Avangarde too?
KC
The Kharma is not too difficult to drive (Charles von Oostrum, designer of Kharma, did say the Ongaku and the Mini should be perfect match). And the pair is performing ok right now, but obviously the dynamic isn't anywhere dear horn speakers.
I had Shindo 300B Limited driving TAD 2402 previously. I was contemplating getting Rey Audio RM-11BC this time around, but then it's a pretty daunting proposition to order from Japan (or Taiwan), and won't solve the original problem I had that caused to to sell my TAD in the first place (kids climbing on to the speakers....)
But back to the original topic, what happened when you plugged the FMR into your Ongaku (is it the KSL version?)
But then, after
1. Goldmund 38 CD/DVD 轉盤
2. Goldmund 20M 解碼
3. Goldmund 22M 前置
4. Goldmund 29.4M
5. Kharma Midi Grand
我覺得這套糸統可以說得上是清甜類形，但我始終不能太投入於音樂裡，我換過好多線如Siltech，有時變了厚聲，但有時又太慢，又曾換過Valhalla，但聲心又走得太急太快，最後用番高文線，但分析力又唔夠。花了錢得不到滿意效果可為痛心疾首。在巧然下認識了AE，負責人PT認為有可能是房間問題，於是老遠走到沙田幫我看看。我並不清楚他幹了什麼，衹可見他用一些木仔和數粒銀色杯貼在後牆不同位置，但後果確是連我太太也嚇。原有的壓迫感一去不返，換來的是自然輕快的聲音，立體感進步了好多，可以用飛躍來形容，PT完全冇有換個半條線，Room Acoustic真是影響十分大嗎？我不明白了，但同時不能不信。這已是數月前的事了，自些對AE有了無比信心。
好不容易才能一嘗FLOW的滋味，一插落高文轉盤後，鋼琴聲音的流暢度是我從來未感受過，高低好似多了但又來得不刻意，音律不快也不慢，個音場變得好透明清澈，發燒友常說的好味道它卻沒有，但好自然，應收則收，應放則放，總之我最近數天買多了CD，聽多了音樂。這才是我本來目的。可是我貪念又起，用多條在解碼又點呢？貪字得得貧，FLOW因為用在解碼後是如虎添田翼！十分奇怪的是能量冇被倍大，但流暢度再上一層樓，寧靜中有生氣，生氣內有佈局，而局內的音樂細節是好豐富，而又不致於滿瀉迫過來。
我十分滿意，希望盡快有機會FLOW起對29.4M。
Dick
I used to be a mid range freak, that's why I picked the Kondo. I love the artisitic coloration. Over time, I get bored with the sound as I listent to more and more classical. The ongaku has good dynamic in the mid-range but not more at both end. All violin sounds the same, sweet and smooth. Staker's ballistic bow movement is there, but bass subsonic is missing. Missing are also piano's leading edge notes, always rounded off. My frustration grows over time, everything sounds very Kondo. I know that's what I like in the first place but something is not right. I had tried several Kondo's amp, it sounds more or less the same. Maybe, presentation is different, energy varies, the dynamics at both end, especially the top end, is very dull.
Now, back to the FMR with the Ongaku. I don't want to be over-exaggerate but the FMR takes care a lot of the problems just mentioned. The kondo character is stil there, but dynamics at both end are revealed with finesse and strength at the same time. Like many has written here, the attack, decays are very naturally rendered. There is more life, not so boring to listen to. I almost put my ongaku on audiogon but the FMR saves his fate. The AcZ cable reinforces the kondo coloation, I think it is not necessary. Over the years, I learn to trust my ears not collective norm. KSL-LP cable is good at the price, but like I say, it is not doing anything wrong, it just reinforces the kondo coloration, many seem to like it, but not me. The shadings you refer to mostly concentrate in the mid-range, the upper trebel is nice to listen but nowhere I can say dynamics excels there.
Mine is the KSL version.
KC