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  1. Impresiones sobre tres integrados de Allegro: 5si, 2010, A39

    Muy entretenida e informativa review. De esas que dan gusto leer Un par de cosas no más: 1- Siempre es importante poner qué ediciones de CD estamos escuchando. Todos ya sabemos que NO SUENAN IGUAL. Hay muchas diferencias entre las masterizaciones 2- jajajjaja los temas pa rebuscados po! Pa otra que se tire una banda de Kazajistán Como humirde sugerencia, es bueno poner música que pueda ser más conocida por los oyentes. Para así tener mejor punto de comparación Saludos!
  2. Deep Purple Concert for Group and Orchestra

    Un detalle no menor La edición original en CD suena como las reverendas. Pero trae la performance completa del Concerto. La edición remezclada en 2 CD que salió años después tiene el solo de batería cortado
  3. Próximos lanzamientos en la Música

    http://www.zappa.com/news/frank-zappas-legendary-1973-roxy-performances-captured-definitive-seven-cd-boxed-set STORE Frank Zappa’s Legendary 1973 "The Roxy Performances" Captured On Definitive Seven-CD Boxed Set Complete collection includes all four public shows, invite-only soundcheck, rehearsal and Bolic Studios session. Digital pre-order receives instant gratification download of “RDNZL.” Available On February 2 via Zappa Records/UMe. Pre-order Now! Fourty three years ago in December 1973, Frank Zappa played a series of legendary concerts at the famed Roxy Theatre on the Sunset Strip in Hollywood. Considered a high-water mark of his career, owing to the incredible, virtuosic performances of himself and his stellar band The Mothers, the five shows – across three nights – included a private invite-only performance/soundcheck/film shoot followed by back-to-back doubleheaders. A few days later, continuing this incredibly prolific week, Zappa brought his band and camera crew to Ike Turner’s Bolic Sound in Inglewood for a filmed recording session. In typical Zappa fashion, he recorded it all. On February 2, 2018, Zappa Records/UMe will release The Roxy Performances, a definitive seven-CD box set that collects all four public shows from December 9-10, 1973, and the December 8th film shoot/soundcheck, each presented in their entirety for the first time, along with bonus content featuring rarities from a rehearsal, unreleased tracks and highlights from the Bolic Studios recording session. This complete collection, totaling nearly eight hours, documents the Roxy shows as they happened and presents brand new 2016 mixes by Craig Parker Adams from new 96K 24 Bit transfers of the multi-track masters. The set is rounded out with a 48-page booklet that includes photos from the performances, extensive liner notes by Vaultmeister Joe Travers, essays from Zappa family friend, Australian writer Jen Jewel Brown, and American singer/songwriter Dave Alvin, who give their firsthand recollections about the shows, and a selection of archival press reviews. Those who digitally pre-order the box set will receive an instant grat download of “RDNZL.” Culled from the very first show on December 9, the track is a live version of the classic song featuring the never-before-heard 2016 mix that exemplifies the sonics of the new box set. Pre-order The Roxy Performances now: http://ume.lnk.to/FrankZappaRoxy “This is one of my favorite FZ line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at an historic venue," says Ahmet Zappa, who co-produced the collection along with Travers, “Hold on to your hotdogs people. This box is the be-all-end-all. This is it. This is all of it. It’s time to get your rocks off for the Roxy.” While portions of these concerts have been released in various formats over the years – first in 1974 on the album Roxy and Elsewhere, which mixed material from the shows with performances recorded in different locations months later, followed by 2014’s Roxy By Proxy, which featured Zappa’s 1987 digital mixes of tracks from various shows, and most recently the 2015 film Roxy The Movie and its accompanying soundtrack – the shows have never been released in their entirety until now. The Roxy Performances capture Zappa and The Mothers in peak condition as they play to rowdy sold-out crowds in the intimate, just-opened venue in their hometown Los Angeles following the release of Over-Nite Sensation. The extraordinary band was one of Zappa’s best with keyboardist George Duke, bassist Tom Fowler, trombonist Bruce Fowler, tenor saxophonist and vocalist Napoleon Murphy Brock, percussionist Ruth Underwood and drummers Ralph Humphrey and Chester Thompson all flawlessly in lockstep as Zappa led them through his musically adventurous compositions filled with complicated time signatures and sudden tempo changes. As the Los Angeles Times remarked in their review, “The content of any show starring Frank Zappa and the Mothers of Invention is unpredictable. But the quality of the show is predictable. I have seen this satirical rock group many times and every show has been excellent. True to form, the group performed sensationally at the Roxy on Sunday night.” The (long-defunct) Los Angeles Herald-Examiner was equally impressed: “This time around Zappa, the counter-culture’s John Cage, has assembled a remarkable group of musicians. Tim Fowler on bass, his brother Bruce on trombone, Ralph Humphrey on drums, and George Duke, whose keyboard skills almost upstaged the leader himself. Percussionist Ruth Underwood kept up with the band’s frenetic pace without missing a single swat of the gong, and she was incredible.” The material expertly performed across the five shows consisted mostly of songs from 1969 and beyond and included a dizzying array of stylistic diverse tracks from Uncle Meat, Hot Rats, Waka/Jawaka and Over-Nite Sensation. The shows also include a number of live favorites like “Village Of The Sun,” “Pygmy Twylyte,” “Cheepnis,” “Penguin In Bondage,” “Echidna’s Arf (Of You),” and “Don’t You Ever Wash That Thing.” Many of these ended up on Roxy & Elsewhere. Jen Jewel Brown and Dave Alvin give a glimpse at what it was like to be at these historic shows in their richly detailed essays in the liner notes that accompany the recordings. Alvin reflects about meeting Zappa on the Isle of Capri in 1982 while on tour with his band The Blasters and how Zappa’s eyes lit up when he told him he saw him at the Roxy. “You were at a Roxy show?,” he beamed. He goes on to write, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor sharp humor with a touch of wild abandon.” In Brown’s reflection, Frank and Gail’s personal friend tells about what it was like for a young girl from Australia to witness Zappa on the Sunset Strip in the ‘70s and paints a vivid picture about what the shows were like. “This material shows an absolutely sleek beast at its prime,” she pens, adding, “This is a cultural record and there’s some prime Zappanalia here. Frank had put the crippling disasters of December ’71 behind him and was plunged headlong into some of the most beautiful music and zestful, open-hearted engagement with life imaginable.” DISC 112-9-73 Show 1 1. Sunday Show 1 Start 4:59 2. Cosmik Debris 11:33 3. “We’re Makin’ A Movie” 3:16 4. Pygmy Twylyte 9:08 5. The Idiot Bastard Son 2:19 6. Cheepnis 3:44 7. Hollywood Perverts 1:07 8. Penguin In Bondage 5:54 9. T’Mershi Duween 1:56 10. The Dog Breath Variations 1:44 11. Uncle Meat 2:29 12. RDNZL 5:14 13. Montana 7:49 14. Dupree’s Paradise 15:25 TT: 76:43 DISC 2 1. Dickie’s Such An Asshole 10:29 12-9-73 Show 2 2. Sunday Show 2 Start 4:08 3. Inca Roads 8:27 4. Village Of The Sun 4:19 5. Echidna’s Arf (Of You) 4:01 6. Don’t You Ever Wash That Thing? 13:22 7. Slime Intro :59 8. I’m The Slime 3:34 9. Big Swifty 9:01 TT: 58:25 DISC 3 1. Tango #1 Intro 3:50 2. Be-Bop Tango (Of The Old Jazzmen’s Church) 18:12 3. Medley: King Kong Chunga’s Revenge Son Of Mr. Green Genes 9:46 12-10-73 Show 1 4. Monday Show 1 Start 5:31 5. Montana 6:57 6. Dupree’s Paradise 21:26 7. Cosmik Intro 1:05 8. Cosmik Debris 8:05 TT: 74:57 DISC 4 1. Bondage Intro 1:52 2. Penguin In Bondage 6:54 3. T’Mershi Duween 1:52 4. The Dog Breath Variations 1:48 5. Uncle Meat 2:29 6. RDNZL 4:59 7. Audience Participation - RDNZL 3:08 8. Pygmy Twylyte 4:05 9. The Idiot Bastard Son 2:21 10. Cheepnis 4:49 11. Dickie’s Such An Asshole 10:2112-10-73 Show 2 12. Monday Show 2 Start 5:13 13. Penguin In Bondage 6:33 14. T’Mershi Duween 1:52 15. The Dog Breath Variations 1:46 16. Uncle Meat 2:28 17. RDNZL 5:11 TT: 67:50 DISC 5 1. Village Of The Sun 4:05 2. Echidna’s Arf (Of You) 3:54 3. Don’t You Ever Wash That Thing? 6:56 4. Cheepnis - Percussion 4:08 5. “I Love Monster Movies” 2:10 6. Cheepnis 3:35 7. “Turn The Light Off”/Pamela’s Intro 3:59 8. Pygmy Twylyte 7:23 9. The Idiot Bastard Son 2:22 10. Tango #2 Intro 2:01 11. Be-Bop Tango (Of The Old Jazzmen’s Church) 22:08 TT: 62:46 DISC 6 1. Dickie’s Such An Asshole 15:39Bonus Section: 12-10-73 Roxy Rehearsal 2. Big Swifty - In Rehearsal 2:50 3. Village Of The Sun 3:13 4. Farther O’Blivion - In Rehearsal 5:34 5. Pygmy Twylyte 6:17 Unreleased Track 6. That Arrogant Dick Nixon 2:19 12-12-73 Bolic Studios Recording Session 7. Kung Fu - In Session 4:50 8. Kung Fu - with guitar overdub 1:17 9. Tuning and Studio Chatter 3:38 10. Echidna’s Arf (Of You) - In Session 1:22 11. Don’t Eat The Yellow Snow - In Session 9:49 12. Nanook Rubs It - In Session 5:41 13. St. Alfonzo’s Pancake Breakfast - In Session 2:46 14. Father O’Blivion - In Session 2:31 15. Rollo (Be-Bop Version) 2:36 TT: 70:31 DISC 7 12-8-73 Sound Check/Film Shoot 1. Saturday Show Start 2:20 2. Pygmy Twylyte/Dummy Up* 20:25 3. Pygmy Twylyte - Part II 14:25 4. Echidna’s Arf (Of You) 3:42 5. Don’t You Ever Wash That Thing? 6:01 6. Orgy, Orgy 3:39 7. Penguin In Bondage 6:30 8. T’Mershi Duween 1:53 9. The Dog Breath Variations 1:45 10. Uncle Meat/Show End 4:01 TT: 64:46
  4. McIntosh MA8900

    Obvio Soy un senador de la república. Ahora vote por mí
  5. McIntosh MA8900

    https://www.stereo.net.au/reviews/review-mcintosh-ma8900-integrated-amplifier McIntosh’s new MA8900 integrated amplifier simply confirms the brand’s iconic status. Yes, I know, I know, it’s solid state. But trust me, it sounds so complete after an hour spent pleasurably in its company; you’ll want one. MCINTOSH MA8900 INTEGRATED AMPLIFIER McIntosh’s new MA8900 integrated amplifier simply confirms the brand’s iconic status. The Big Mc engenders a life-long loyalty as exemplified by an audio buddy of mine called, Ken who had to work hard for his first McIntosh, an MC275 valve amp. Back in 1993, McIntosh surprised the audio world when it re-released its legendary 1961 valve power amplifier called the MC275.This limited-edition production run was in honour of Gordon Gow, Mcintosh’s long-serving president. Subsequent reviews were not just glowing; they were hell-hot. So much so, the new MC275 became coveted and highly sought after for those that could afford the eye-watering $7000 or so price tag. In hindsight, the rereleased MC275 looked as good as the original, but the sound wasn’t. More than two decades since, my opinion hasn’t changed. The Gow commemorative MC275 had spongy bass. Later revisions of the MC275 put things right. So right, in fact, I bought one in 2009. In 1993, my mate Ken bought the Gow version. But not in Australia. It wasn’t available at the time, and the local distributor had a long waiting list. Ken was a long way short of the front of the queue. Ever resourceful, he bought his from a Hong Kong High-End audio store along with a return airplane ticket. With just a backpack on his shoulders, Ken carried a spanking new MC275, all 34.1 kgs of it, into Hong Kong’s airport terminal, and happily paid for the excess baggage. Arriving in Melbourne, he carried it all the way from the Tullamarine terminal, hailed a cab, put the new Mc in the back seat and made for home. He wasn’t the only one to go to elaborate lengths to own a spanking new MC275, proving the commitment of the fan base to McIntosh is unlike any other in audio. Ken went on to adore his MC275. So did the few of us who got to hear it and see its tubes reflected against its upper chrome chassis. A visual delight from its first release in 1961, the 1993 version looked as beautiful as the original and had that magic McIntosh liquid midrange, disinterested bass notwithstanding. The $14,995 MA8900 is a different beast visually, but allow me to share with you how lust engendering it is in the flesh. Yes, I know, I know, it’s solid state. But trust me, it sounds so complete after an hour spent pleasurably in its company; you’ll want one. It’s so formidable physically, and so pleasing aesthetically. It’s just so musical sounding that it makes me want to stomp all over anyone into the vows-of-poverty approach to life and the universe. While I genuinely, deeply respect those renouncing the material life and the world of the flesh to focus on the spiritual, I just wish they’d get on with it and leave me out of the loop. If a McIntosh amp the calibre and completeness of the MA8900 stand between redemption and me, I’ll take the Mc. As for spirituality, Van The Man belting out “Ballerina’’ aided by the grace, power, presence and dynamic clout of the MA8900 is as much “otherworldliness” as I need these days. Should I need more, I’ll press repeat on my Audio Research CD player or re-cue the SME V tonearm on my turntable. Piles of lucre aside, what you’ll also need to unbox and install an amp of this size and weight are forceps like a gorilla. Or in my case a dutiful son and a couple of audio buddies built like Tarzan. The Mc’s delivery driver was hairy but had neither the physique of ape or ape-man. As he told me that he had a “very heavy box on a pallet… to deliver”, I could sense his angst. No wonder, the MA8900 weighed 63.5 Kgs including pallet. Without the pallet, it was still a back torturing 43.5 Kgs. “What the bloody hell is in there, boat anchors?’’ he said, pointing to the very, very, large, black, shrink-wrapped MA8900 carton. “An American amplifier made by a brand that could be building Cadillacs,’’ I say back to him. With a little help from a compact forklift, he moved the big Mc from his truck, down my driveway and left it on the doorstep. Job done, he was gone. McIntosh doesn’t do small; I remember thinking after walking around a carton left on my porch that was big, bulky and heavy. So big, no one was going to cut it free from its pallet and make off with the 8900 down the street. Later that evening and with a cast of thousands on hand to move it to the listening room, the MA8900 was unpacked and loaded onto my audio rack. In situ, the MA8900 attracted plenty of admirers and accolades for its sheer, formidable presence, perceived build quality and that unique McIntosh styling. If the large, blue power output meters ring your bells, make haste for any Mc. The pair on the glass fascia and the two chrome outer edges on the front of the chassis are the standard style signature for most McIntosh models. So are large, visible transformers. The 8900 has three: a huge power transformer in the middle and either side hefty output transformers. This trio are built snugly just behind the facia. As for the monogrammed heatsinks? Two run either side of the chassis just behind the transformers. Their humongous size used to dissipate heat away from the high current output transistor signals. This is a seriously powerful amplifier rated at 200 watts per channel into an 8ohm load. And speaking of impedance, the rear of the MA8900 carries connection options for driving into 2, 4 and 8-ohm loads. The 4-ohm tap was tried with Yamaha NS1000s and Wilson Audio Sasha loudspeakers. 8 ohms sounded best. I’ve heard people describe the MA8900’s sound as “disinterested’’. My advice? Try the 8-ohm setting. Result? Plenty of life and verve to keep you entertained into the wee small hours. And speaking of connections, since sparse and minimalist isn’t the McIntosh way, options abound. MA8900 owners can knock themselves out choosing from six unbalanced and one balanced inputs, fixed moving magnet and adjustable phono stages, a pair of coaxial inputs, two optical inputs, one USB input, one unbalanced fixed output and two variable outputs. Yes, there’s also a headphone output, while the headphone amp is loaded with Mc’s patented technologies. The USB input processes signals up to 32-bit/384kHz and supports DSD256, DXD256 and DXD 384kHz. McIntosh describes the MA8900 as a “next generation’’ model. Meaning, when it comes to the ever-changing world of digital audio, it sports features that make it relatively future proof. Each digital input, for example, cohabits in a McIntosh developed DA1 Digital Audio Module that supports an 8-channel, 32-bit DAC used in Quad Balanced mode with six digital inputs. Owners can give each input a custom name and more importantly, the 8900 is Mc’s first integrated where its input works indecently. But here’s the thing. McIntosh is now using digital modules that are easy to replace. Design features that ensure the 8900 and like designed Mc models remain future proof. Elsewhere this amp is loaded with patented technologies including autoformer output stages and fuse-less protection circuits called ‘power guard’ and ‘sentry monitor’. BIG, BOLD AND BEAUTIFUL The MA8900 was inserted in a system comprising SME 20/11 turntable, SME V tonearm and Koetsu Rosewood cartridge, Audio Research Reference 7 MK2 CD player, Elektra Audio pre and power amplifier driving Wilson Sasha speakers. Cabling used was Inakustik throughout, including the tonearm cable. From the get-go, the new McIntosh drove the wicked Sasha speakers with arrogant ease. The sound was full-bodied, detailed, rhythmic, clear as a summer sky and effortlessly dynamic. My curiosity piqued when I replaced the Sasha with Yamaha NS1000 speakers followed by 1994/5 Rogers LS35/As and a pair of rare B&W 805 Matrix. Every speaker proved an effortless match for the MA8900, so I switched back to the Sasha to exploit its full-range sound and explosive dynamics. First port of call was the Mc’s built-in DAC using a MacBook Pro and my Tidal library as a signal source. My notes record the comment “quite enjoyable but lacking both the detail and transparency delivered via the moving coil phono stage’’. The CD was leap years ahead sonically, and analogue via the SME combination light years ahead of CD or DAC. Sounding like an audio dinosaur, I know. All I can do to assuage you I’m not anti-digital is ask you take yourself to any decent audio store and A/B digital versus analogue audio. If you come down on the side of digital, you’ll have my commiseration. Though I played dozens of vinyl and CD albums via the MA8900, one feature stood out whatever the source: a sense of cohesiveness that highlighted the way the MA8900 presented a highly detailed and clear sonic message without scrambling or pulling apart each element. With John Lennon’s Steel and Glass filling my room with its sense of outrage, I felt I could lean over and touch the guitar or cheekily give the high hat a good tap. This sense of realism made possible by the MA8900’s ability to conjure fine detail out of complex mixes was allied to a realistic soundstage with realistic depth, lateral spread, and height. So “realistic” is an appropriate word to describe the sound of the MA8900 driving the Wilson Sasha. But the speaker brand I kept imagining would sing with the MA8900 is, Martin Logan. Intuition and years of grinding away at this hobby suggest a magical synergy between a Hybrid Logan and this doozy of an integrated model. Logan owners, please take note. So, the Mc could dish out the dynamic stuff, but feeling mischievous I played the Sinead O’Connormasterpiece called Streetcars. WOW! DOUBLE WOW! I had the sense this woman troubled by inner demons, but gifted the voice of an angel not only appeared in my room but was urging me to walk into the studio and hold her recording notes. Streetcars is sparsely scored, mainly Sinead’s soaring voice accompanied by synthesiser. More a prayer than a song, by the time the lyrics got to the part where she intones, “There’s no safety to be acquired/riding streetcars named desire’’, I knew I was in the presence of one of pop music’s most unique and enduring voices. And I had had a great-integrated amp as the conduit into her music. Speaking of great voices, the pairing of Simon and Garfunkel and their music helped to shape it has to be said, the vibe of a generation. So, I pulled out a vinyl copy of, you guessed it, 'Bridge Over Troubled Waters'. I played the track the Only Living Boy In New York which is a song about friendship and the things that matter. Insistent drums, muscular bass, and forceful guitars merge with otherworldly vocals replete with a multitracked chorus, on this superbly produced track. So beautiful I went on a bit of an S&G vinyl binge. When I heard the slightly out of tune guitar on the track For Emily Wherever I May Find Her, performed live and pressed on the Simon And Garfunkel 'Greatest Hits' album, I understood just how much of a detail maestro the MA8900 is. To prove I’m far from anti-digital, I closed the last listening session of a three-week review period with the 'Elbows' CD track called The Everthere. Sure enough, the skin folds on the Manchester group’s kick drum are tight and taut. I was listening for an instrument that sounded like a wailing mandolin somewhere to the rear of the mix. It emerged from a moveable feast of instruments carrying the music to the listener on a complex weave of rhythm and timing. And it was clear and insistent, wanting a good amp to make it heard above the raucous din of instruments and vocals. It isn’t hard to fall head over heels with an integrated amp with the sonic prowess of the MA8900. The technology and feature count also must be factored in to the eye-watering price tag. Those that can afford the MA8900 will not all be wealthy. I imagine most audiophiles and music lovers are ordinary people who must save long and hard to shop for a model in this category. And the category least you haven’t noticed is a high-end integrated amp. A perch on the top of the audio ladder where exotic rivals from Mark Levinson, Krell, and Gryphon abide alluringly but mostly unaffordable. The MA8900 takes them all on and adds McIntosh’s legendary reliability and the newly derived nod to future proofing. The MA8900 doesn’t sound good- it sounds marvellous, on all types of music. It engenders a sense of pride of ownership, has Cadillac build quality, intelligent user features, and it’s bloody heavy. A good thing, because once it’s brought home, unlike my review sample yours won’t be going back. For more information visit McIntosh.
  6. Próximos lanzamientos en la Música

    http://stevenwilsonhq.com/sw/porcupine-tree-classics-absentia-deadwing-reissued-vinyl-2018/ PORCUPINE TREE CLASSICS ‘IN ABSENTIA’ AND ‘DEADWING’ TO BE REISSUED ON VINYL IN 2018DECEMBER 7, 2017Two of the most popular Porcupine Tree releases, In Absentia and Deadwing, have been acquired by Kscope and will be given long awaited reissues on vinyl in February and March, with new CD editions to follow later in 2018. For the first time since their original release, both albums have also been remastered with considerably less compression / limiting, and consequently the albums are now a more dynamic listening experience.In Absentia was the band’s seventh studio album, first released in 2002, and the first in a run of 3 albums that for many represent the pinnacle of the band’s artistic achievements (myself included). Following on from 2000’s Lightbulb Sun it had a distinctly heavier tone, partly due to a shift in musical interests, but also the addition to the line-up of the exceptional Gavin Harrison on drums. It was our first for major label Lava / Atlantic Records and features several of Porcupine Tree’s most loved songs, including “Trains”, “The Sound of Muzak” and “Blackest Eyes”.The follow up album Deadwing from 2005 was based on a film screenplay written in collaboration with my friend, director Mike Bennion. About half of the songs were started with a view to being part of the score to that film, but when it failed to move into the production stage, they instead became the foundation for the next PT album, with additional material written in collaboration with the band. The album features some of my favourite PT songs, including “Lazarus”, “Mellotron Scratch” and “Arriving Somewhere But Not Here”.These new vinyl editions will be released on double heavyweight audiophile 180g vinyl presented in gatefold packaging. Deadwing has been out of print on vinyl for many years, so I know that one will be particularly welcome.Both albums are available to pre-order now from Burning Shed. Headphone Dust will also stock them nearer the release dates. In addition to regular black vinyl, special limited coloured vinyl editions will be exclusive to both mail order outlets. Deadwing is released on 23rd February 2018, and In Absentia on 9th March 2018.
  7. Opiniones upgrade amplificador Arcam A19

    Tengo unas Jamo Classic 8, de cuando eran Made in Denmark =) Escucho en general mucho rock y pop clásico, bastante jazz fusion, algo de jazz clásico (acústico), electrónica, world music, etc. Me gusta muchísimo el rock progresivo. Me fijo mucho en las ediciones en CD. A lo largo de estos años he hecho investigación exhaustiva para conseguir las mejores ediciones en sonido. De partida no tengo ningún "Industria Argentina" (a menos que sean artistas argentinos, claro está) ni "Feria del Disco No Mates la Música". Evito a toda costa los remasters "Loudness Wars". Lo que NO escucho en absoluto es metal tipo bbbbrrrruuuuuuuoooo de esos que no cantan sino puros gritos guturales , rap o hip hop, y por supuesto reaggeton Las mejorías más notorias son en el soundstage, el peso del sonido, todo suena más llenito, grande y real, la definición sin sonar analítico ni frío, la presencia de los bajos, la emoción en el rango medio, y que realmente pueda darle volumen casi que me llamen a los pacos los vecinos sin cansar el oído. Además la entrada de audífonos es notable (era muy buena en todo caso en el Arcam).
  8. Opiniones upgrade amplificador Arcam A19

    Hola! En lo particular, tengo una historia bien similar a la tuya amigo Tenía un Arcam A19, el cual me dió muchísimas horas de buen deleite. Pero me faltaba ese "que se sho viste", algo con más cuerpo, más emoción, un sonido más grande, más rico, más llenito, con más peso. Y buscando y leyendo reviews por aquí y por allá, y teniendo en cuenta que para mí el sonido brillante, cansador al oído es un deal breaker (de hecho, eso me hizo cambiar mis audífonos también), finalmente llegué al Roksan K3. Como soy de Viña del Mar City y acá no hay nada de nada, y nica me iba a pegar el pique a Santiasco lo compré a buenas y primeras no más, tirándome a la piscina! El resultado? ... ME FASCINÓ el Roksan. No sólo se siente la diferencia en su wattage (3 veces más que el Arcam) sino en sonido mismo. E X Q U I S I T O, sin ser para nada frío, analítico ni menos chillón o fatigante. Todo lo contrario, más cálido que el Arcam. Le puedo dar volumen MUY FUERTE, y no cansa el oído. Me decidí por el K3 y no el M2 una por las lucas, y segundo por que necesitaba sí o sí que tuviese entrada de audífonos. No hay nada como recostarse en la noche a escuchar con unos buenos audífonos y la luz apagada. Una delicia de amplificador.
  9. Spendor D7

    Santiasco no es Chile !!!! Ahora que ha ido en aumento el número de audiófilos acá en la V región, sería genial que vuelvan las míticas audiciones de Allegro a Viña. Y mejor aún, una tiendita por estos lados, ya que no hay lo que es NADA DE NADA. CERO. Y na de que "Viña está al lado de Santiago". Entre pito y flauta, son a lo menos 2 horas y media de ida y otras 2 horas y media de vuelta
  10. The Beatles, Kiss, Yes y Big Big Train

    Vamos vamos! Quién dijo yo?
  11. R.I.P Malcom Young

    Today it is with deep heartfelt sadness that AC/DC has to announce the passing of Malcolm Young. Malcolm, along with Angus, was the founder and creator of AC/DC. With enormous dedication and commitment he was the driving force behind the band. As a guitarist, songwriter and visionary he was a perfectionist and a unique man. He always stuck to his guns and did and said exactly what he wanted. He took great pride in all that he endeavored. His loyalty to the fans was unsurpassed. . As his brother it is hard to express in words what he has meant to me during my life, the bond we had was unique and very special. He leaves behind an enormous legacy that will live on forever. Malcolm, job well done.
  12. Rock Progresivo

    Amigos Escuchen lo nuevo de los Noruegos Wobbler Un discazo! como esos de la era dorada de los 70s. Realmente un trabajo exquisito
  13. Las 10 mejores canciones para probar parlantes

    Hay un tema que es un clásico de las juntas acá en la V Región: 'Cathedral in a Suitecase' de Pat Metheny, del exquisito álbum Secret Story. Con el cual se puede probar, entre otras cosas, la extensión en los bajos de los parlantes. Pero si hay un tema que puede poner al máximo de prueba a cualquier sistema (no sólo parlantes) es 'Finding And Believing', del mismo disco. De hecho, es el tema que sigue en el álbum. 10 minutos que no dan compasión alguna a ningún sistema. TODO lo imaginable que se les venga a la mente se puede testear: los rangos de frecuencias, profundidad, imagen stereo, organización, timbre sonoro, dinámica, etc.
  14. The Beatles, Kiss, Yes y Big Big Train

    Vendido el de YES
  15. Hola amigos! "Pongo a disposición" material de The Beatles, Kiss, Yes y Big Big Train. Todos de mi colección personal y en excelentes condiciones. Como están botados de precios, van con cláusula Maxnova 1- The Beatles 1+. 2DVD + CD. $20.000 2- Kiss: Kissology Vol 1, 1974 - 1977. 2 DVD + DVD Exclusivo concierto Largo 1977. $20.000 3 - Yes: The Yes Album CD + DVD. Steven Wilson remixes. $10.000 4- Big Big Train. English Electric Full Power. 2 CD. $10.000 Cualquier cosa MP, o a mi celu 981519403 Soy de Viña del Mar City