Ian Hunter's string guitar sounded larger than life, but still, it was as if I could "see" behind it, as it formed a 3-D hologram of sound. It quickly turns to a typical Ian Hunter ballad, with the backing strings entering at the end of each line.
Dennis Elliot, the drummer for Foreigner, of all bands, forms a rock-solid beat behind it all for a track that I never thought I'd be talking about in audiophile terms. I would play all my favorite records and digital files through the Kharma Elegance dB7-S, and although I can't say it was "like I never heard them before", it certainly brought to light not only many "hidden" sounds, but hidden meanings behind the works I listened to.
The album was recorded in by Rudy Van Gelder in his New Jersey studio, and even though I might be exaggerating and using oft used phrases a bit here for effect, but when listening to the album I felt as if I was there in the studio's control room with them, listening to a live-mic feed. I could picture in my mind's ear the band in the same room, perhaps separated by some sort of baffles, but each of the musicians being about to see each other as they played.
As is the norm on these Blue Notes recorded by Van Gelder, the recordings are more like pure two-channel than stereo, as instruments are panned hard to one speaker or the other.
But this didn't negate the fact that I could easily hear the studio's ambience, that is, the sound of the room, or the air that surrounded each instrument. I didn't hear this happening with Bobby Hutchinson's vibes, but I definitely heard it happen with Jackie McLean's tenor sax, where I could even sense whether or not he was sometimes slightly further away from his microphone than others.
It was the same with Grachan Moncur III's trombone, who I could picture standing in front of his microphone, bobbing his head up and down to the music. Again, I might be exaggerating a bit, but I think I could also smell cigarette smoke. But to me, the star of the show on this album is drummer Tony Williams, who one this session might have been all of 19 years old.
As I played either the LP, or the digital file, I could still notice how the Kharma Elegance dB7-S could "hear" how the drums were set up, and via the speakers' drawn-to-scale soundstage let me imagine him interpreting what he heard, and turn it into one of the most engaging jazz recordings in my collection.
The Elegance dB7-S was able to take from the front-end and the associated equipment's retrieval of macro- and microdynamic cues, extremely lifelike frequency extremes, and unwavering midrange transparency and translate all of this into a lifelike sonic diorama of a drum-kit being played by an extremely talented musician.
My oft times used adage of a great high-end audio system becoming a time machine never rang as true. Regardless The takeaway with these speakers, regardless of the hyperbolic advertising and my hyperbolic description of their audible properties, is that they look as good as they sound, and they sound unshakable.
They are weighty both physically and sonically and reproduce music that sounds like music. Kharma's Elegance dB7-S speakers can handle any genre I played through them and were very good performers whether powered by solid-state or vacuum tubes.
They are also more sensitive than expected. Which means that most would say they'd be happy with an amplifier that puts out anywhere between and Watts per channel, although they performed wonderfully with my vacuum tube amps that are rated at 70 Watts per channel.
But by sensitive I mean that they are very susceptible to the equipment they are paired with, and in a good way too! Kharma Optionary Program The visual tuning in the Optionary Program will give the customer the opportunity to choose between special selected Kharma colours. These colours have a higher level of customization and therefore the delivery time is different than a Stock Program colour.
Products Amplification Kharma Elegance dB9-S Loudspeakers. Have questions about this product? The materials used increase the neutrality of the cabinet and the sound presentation, giving a very impressive detailed bass, which can be expected from a loudspeaker of this size.
In combination with the in-house developed Kharma Omega-7 driver as the midrange, the Elegance dB9-Signature becomes a class of its own. However as eager as Kharma is to strive to perfection in everything we do, Kharma already has developed a signature version of the dB9, called the dB9-S. This new dB9-S has amongst others our new Omega 7 driver for the midrange and extra cross section for the silver internal wiring.
System features One of the many redesigned parts of the Elegance is the grill of the dB9-S. This new improved grill is made detachable by embedded magnets to really have the freedom to adapt the Elegance dB9-S to your own style. Enhanced internal wiring: The cross-sectional conductive area of the internal wiring is increased to have a more refined signal transmission between the crossover and the drivers.
Vibration-reducing compound: The crossover and bas pipe on the back plate of the Elegance are treated with a special compound to bring mechanical vibration to an absolute minimum. Products Amplification Have questions about this product?
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