It’s the last few percent of the recording that it captures so well. Lesser speakers may give a good account of this, yet the Sonus Faber Serafino Tradition goes right in and get the last nth degree of detail out.
At the same time, it keeps the music lilting and melodic – so i loved the superb string timbres and tone (alwasy a Sonus Faber speciality) in the Mahler, the delightful handleiding of the flute trills and the great sense of all component parts of the orchestra playing together in the Barbican Hall in 2011.
There’s so much right with this speaker that is almost churlish to complain, and if you want a really capable big box that covers all the bases, there’s little to compare.
That said, even though the Serafinos were overloading that open room in the bass range by just a little bit and were resonant sounding in the vocal range, I absolutely loved the way they sounded there, despite the flawed room acoustics.
When I played a favorite track of mine, Cowboy Junkies’ “Misguided Angel,” from The Trinity Session (16-bit/44.1kHz FLAC, RCA), I could see jaws dropping all around me when the speaker end of the room was swamped with the sound of the recording space (this recording has a huge soundstage).
When Margo Timmins’s lead vocal came in, it hung center stage with a fully fleshed-out, tangible quality coupled with loads of detail. Yeah, it was a little too resonant because of the room, but no one said a word while it was playing — they simply listened all the way through.
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