Fant dette nå på nettet.. så vis LM låter litt som PrimaLuna så kan det jo bli morro?
Venere 1.5 and PrimaLuna
After the 1.5s had demonstrated their abilities with the UnitiQute they remained in place while the amplifier was exchanged for the tube powered PrimaLuna DiaLogue Premium. The UnitiQute was used as a network player with its digital output connected to the Micromega MyDac, so I had exactly the same source (NAS) at my disposal. The cabling remained almost the same although I added a Stereovox digital interconnect and a Crystal Cable analogue interconnect to the PrimaLuna. Considering the Venere's six Ohm impedance I chose the PrimaLuna's 4 Ohm connection and before listening I gave the amplifier’s EL34 valves a 30 minute warm-up. With the Fledermaus this amplifier made a significant difference, for a start the spatial reproduction expanded and became three times bigger. The intensity of the impact and attack from the orchestra doubled and at the same time the subtlety and micro dynamics increased. It sounded as if the orchestra had twice as many musicians, all holding their breath in the soft passages. The music still escaped the speakers, the midrange was a little less heavy and the pressure in the bass increased without significantly altering the treble, which means that the overall picture remained neutral. Still, as the saying goes, the leopard doesn't change its spots and this applies to the Venere 1.5. The portrayal of the grand piano on the Patricia Barber CD was no different to my earlier observations. I would like it to have more body, more acoustic enclosure. The key-strokes are a little more intense and a little closer to the listener. If the 1.5s showed their smooth side when driven by the UnitiQute the PrimaLuna brought out a different aspect of their character. I think this is mainly due to the increase in power, although we should not forget the change in D/A converter, that certainly leaves its mark on the sound. The title song of Paper Airplane by Alison Krauss & Union Station is a nice track, the dynamics on this high resolution download are so big that in my smallish listening room I needed to reduce the volume in order to avoid being blown away. The Sonus fabers deal with increases in volume as easily as a dog chases a sausage. Allan Taylor's The Beat Hotel offers a lot of detail, deep bass and a stereo image that stands out especially in width and height. The bass was by far the most impressive aspect of this set-up and was unexpectedly powerful. One would never expect the 1.5, a neutrally voiced speaker, to go this low in the bass with its single small woofer. Taylor is perfectly intelligible although this is partly a result of attenuating a part of the frequency range that could have given more body to a grand piano. I had trouble remaining aware of the modest price-tag on these speakers, in many areas they perform so well that a small unevenness is immediately conspicuous. I needed to ground myself with a relaxed piece of Sunday music, Foreplay by Fourplay did the trick. With this the percussion is always present and tight, giving the music its rhythm; the bass is discreet and well defined and the lovely guitar cuts through the air. A set of KT120 valves was lingering on the shelf waiting to be inserted in the DiaLogue but I left the amplifier as it was and enjoyed the Venere 1.5 as Herman van Veen sang Anne. Believe me, listening to music is much more enjoyable than tube rolling!
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Sonus faber Venere 1.5 & 2.5 | The Ear
