interesting about the slow part...would not have expected that about Koda from what I have read about it. I am not surprised about your comments based on people I have spoken with about Trinity...fantastic transients, detail and dynamics. Flow was a indeed a questionmark.
Koda K10 preamp in my home for evaluation
- Thread starter jfrech
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interesting about the slow part...would not have expected that about Koda from what I have read about it. I am not surprised about your comments based on people I have spoken with about Trinity...fantastic transients, detail and dynamics. Flow was a indeed a questionmark.
As a owner of the k10, I don't hear the slowness. I can only guess it's system matching or warmup issues the others have had. The k10 in my system takes a few days to settle down and emerge to its glory after transport. I can only guess the transformers (input or output) don't like being jiggled around. None of the reviewers mention this ... I don't mean to say the others are off base.
I have a lightning fast system with the k10 as the pre...
That sounds more like the description I have heard before from people who've auditioned it and/or own it. What I CAN say with my own system is that as things have quieted down (simply reducing distortion...not introducing new equipment or anything)...is that some music that seemed to go by in a flash...for example, the first 30 seconds of an opening track which are 'nothing'...now suddenly seem so long because there is a mood setting, pauses in between the opening notes...and it can be quite startling.
And I suppose I could also say...much 'slower' but I never thought of it this way...I always felt so much of the music has so much more meaning now with articulate pauses, etc. This is just what happened in my system the last several months as more and more has become isolated, quieted, etc.
For example, Rachel Podger Vivaldi Extravaganza (Channel Classics)...always very 'bracing' music...has kept the same pace, but as instrument separation and generally the system distortion removed...it has kept the PACE and vibrancy...but seems less like the whole ensemble was 'rushing'.
I heard this same piece on a massive Genesis 1.1/DCS Scarlatti/all-Kondo all out assault system and was absolutely AMAZED to hear it sound so calm sounding, and suddenly it occurred to me...is THIS the way it actually SHOULD sound? I obviously don't know.
...but what I DO know is that as mechanical distortions, etc have been reduced in my own system, this particular piece has definitely moved in the direction of the SOTA Genesis system...which leads me to believe that the big Genesis systems interpretation of the music might possibly be 'correct'...and thus, 'slower' in this case for Rachel Podger or certainly 'calmer' may be correct.
interesting...
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or perhaps I should say that each note now feels not so much slower...but MUCH more 'deliberate'...and THAT can make things feel like someone is now really taking their time in the particular musical passage...
This "speed" issue needs some explaining from me. I was really impressed w/the K10 in it's ability to be "in the moment", almost like each quantum of musical info was suspended in time. This gave the impression of a subjective slowing of musical flow, in my system somewhat a mixed positive - the polar opposite of the Naim/Krell sound which have more lightning responses, but an almost rushed nature to timing. I struggled mainly w/an overwarm/lush balance to the music which w/this perceived slowness meant a colouration was noticeable at home.
My new Audion Quattro is nowhere near as technicolor as the Koda, but it's ability to get out of the way is well in advance of the K10, and is as such a better all 'round performer than the K10, or my previous Hovland HP200.
And I really shake my head that the nearly 2x pricier K15 gets a volume control w/more graduations than the K10, which I've found the worst ever auditioned in terms of graduations.
My new Audion Quattro is nowhere near as technicolor as the Koda, but it's ability to get out of the way is well in advance of the K10, and is as such a better all 'round performer than the K10, or my previous Hovland HP200.
And I really shake my head that the nearly 2x pricier K15 gets a volume control w/more graduations than the K10, which I've found the worst ever auditioned in terms of graduations.
I don't supposs u have tried the ultra expensive Audio note M10 / M10 signature volume pot ? Prob worst that koda K10. I have tried the K15 at audioexotics & it's definitley v good
No Audioblazer, Audio Note is prohibitively expensive, and even the less expensive K10 would have been a big stretch had I fallen in love w/it. I just don't get the volume control. From what I gather the K15 has 48 steps as opposed to the K10's 24. I could never get the right level.
Redsquare's comments on Koda, Dartzeel, Trinity etc are v. interesting, if you were to believe the acolytes of these brands, they can't be faulted - evidently not true!
Redsquare's comments on Koda, Dartzeel, Trinity etc are v. interesting, if you were to believe the acolytes of these brands, they can't be faulted - evidently not true!
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This took quite some time to finalise, but its finally ready. My interview with Robert Koch of Robert Koda about the Robert Koda Takumi K-15 preamplifier and his brand. Enjoy…
http://www.monoandstereo.com/2015/03/interview-with-robert-koch-of-robert.html
Are you in the military or in a jail cell? That room must have terrible acoustics.
With which (power)amps and other equipment did you combine the mentioned pre’s before you reached your apodictic ‘smoke conclusion’? Without any context your statement means little to nothing.
And what kind of tubes were being used in the M1000 mk ii? Although I have never been an ultimate fan of the m1000 mk ii - I clearly prefer the M-1000 mk i and the Kondo G-1000 - you can only judge the real quality of it by using high quality (nos) tubes in stead of the stock Kondo tubes. And what kind of ic’s, isolation, fuses, etc were employed?
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I like the Takumi K10. I agree on the fact it has an outstanding sense of pace and rhythm.
It needs imo to be associated to tube power amps as it remains sonically a solid state gear.
Compared to the Ypsilon PST-100, I prefer nevertheless the dynamics and the precision of the soundstage delivered by the Greek.
It would be a great achievement to concentrate speed and precision of the Ypsilon and tones and delicacy ( transparency ?) of the Japanese...
It needs imo to be associated to tube power amps as it remains sonically a solid state gear.
Compared to the Ypsilon PST-100, I prefer nevertheless the dynamics and the precision of the soundstage delivered by the Greek.
It would be a great achievement to concentrate speed and precision of the Ypsilon and tones and delicacy ( transparency ?) of the Japanese...
Audiocrak,
What a troubling and thought inducing post. You are absolutely right staying that context is needed. But then you add that unless we listen to a component with a particular selection of NOS tubes, that IMHE are most times in the zone of almost unobtainium and personnel choice, we can not judge on the real quality of a component.
It is a subject that is currently in my agenda of concerns. We are valuating the so called tweaks and tube selection to a level that makes our opinions on equipment almost useless for other users.
Audiocrack, I’m surprised you didn’t add the need to identify grounding to your exhaustive list of things that Amadeus needs to clarify to make his opinion “valid”.
He liked the Koda better, that’s all that’s needed to comprise his opinion.
That’s why it’s his opinion.
Maybe all that smoke obscured his vision to identify ics, isolation, fuses LOL.
He liked the Koda better, that’s all that’s needed to comprise his opinion.
That’s why it’s his opinion.
Maybe all that smoke obscured his vision to identify ics, isolation, fuses LOL.
I agree that you have a point, albeit imho to a certain degree, Micro.
First of all, the main point I wanted to make was my ‘context argument’ as regards equipment: if this evaluation for example took place with (only) Koda (power)amps in the chain, the ‘smoke argument’ is not very convincing.
My (second) point as regards the tubes being used: the various Kondo components I have worked with the last fifteen years or so - two Kondo m1000 mk i preamps and G-1000 linestage, two KSL dacs, Gakuoh pp and Gamuoh se 300B amps and lastly the Kagura se 211 amps - make abundantly clear that the Kondo stock valves really hold their equipment back (in a quite significant way I would say). These Chinese made tubes are ‘ok’ but nothing more more than that. Even not (very) expensive ‘middle of the road’ nos tubes sound clearly superior. So in my view the real potential of the Kondo (pre)amps - and I suppose the same applies to many other audio brands but I do not know for sure because I miss experience with these brands - can only be heard if you replace the stock Kondo tubes. Therefore my remark regarding the tubes. Or to put it in other words: I am not sure that replacing the stock Kondo valves can be considered as a tweak.
That said, you are (also) right that selecting nos tubes is always a very personal choice; such a choice depends in a large part on personal taste and the avalibility (as well as pricing) of these valves. So in the end all our comments on WBF are subjective: apart from personal taste we - and of course you know all this - have to take acoustics, power regulation, grounding, isolation, etc into account.
But bold - or should I say reckless? - ‘smoke statements’ require at least some kind of context because otherwise they are in my view meaningless.
Agree. Personally, I have no problem with 'smoke statements' providing the person has put them in context (which frankly is always interesting to read/learn) and also (in the context of plain decency) presents it with some modicum of politeness to avoid wasting more space from bickering/insults from injured parties.
In fact, I quite like hearing about detailed discussions where someone has found that one product (in his system and to his ears) has 'smoked others'...after all, that is what most of us here are all about...'whats best'.
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