Gideon Kramer at Audio Arts downtown imports Trinity.
That's Gideon Schwartz I think
With that as a segueway, just a note on some trinity experience (with alt end).
I took a flight from vancouver to nyc to hear the trinity 8 months ago. Its taken me this long to process what I heard. The set up was: trinity pre, phono with ch precision everything else. Zellaton spkrs, sperling tt. The room was acoustically superb. We listened at 75-85 db. I brought vinyl and cd, and schwartz obliged: mozart oboe concerto (kv314), orff comoedia, brandenburg concertos, dire straits love over gold, and dylan's latest album. First, it was lightening fast. Sustain and decay were full but not bloated. The closure of each acoustic envelope was so succinct that I had a feeling that there was some resolution enhancement going on. I had never heard that much detail extending to, and resolving the completion of, each musical quantum. At first it was unsettling because it forced a different form of active listening onto me for music so well known. When the consistency and correctness of this finally sunk in after about 30 min, and the analytical side of my listening receded in favour of musicality, the overall tonal accuracy was astounding. Oboe is especially tough to reproduce, as are Dylan's mature intonations and syncopations. I left, slightly haunted. My home rig had the tonality but admittedly not the speed. Everything else fast that I've heard surrendered some tonality and layering of, especially, massed strings. I knew information was being left on the table in my set up, what with the steeply sloped cut off at 22k of my dac, and the high noise floor of my pre. But the silence from which the trinity and ch positively erupted was other worldly. Blackness can be considered thin and inky from which music is drawn. But the trinity and ch blackness was thick and seismic, an active force that propelled the music out. Trinity and ch 's blackness was as much a palpable part of the music as the music itself that was produced. It was with this in mind that I returned to reality test. My speakers went lower, my monos were comparable (to the ch a1), and tt were more or less equal. Back to the music academy performances, orchestra, and ultimately: dylan. I flew to tokyo feb 2014 to see multiple shows in a small venue (2400 cap). Zepp Divercity had wonderful acoustics and the soundboard tech (in a tube depot t shirt) was happy he'd optimized by show #2 at 75 db at midfloor. We were standing 2 persons back from stage for a 5 show run. The trinity and ch had nailed it. I purchased the ch c1 because it conveyed the air pushed out of dylan's larynx in a more verrucal way than trinity, that I found correct. Phono board coming soon,
