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High Fidelity English Review
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JEDNĄ Z RZECZY, KTÓRĄ MOŻNA o testowanej platformie powiedzieć od razu, bez długiego wsłuchiwania się w szczegóły jest to, że zmienia dźwięk w znacznym stopniu. Nie – „trochę”, „być może”, „ale”, „w pewnych aspektach”, a po prostu – znacznie. Siadamy, włączamy płytę, dowolną, naprawdę nie ma znaczenia, jaki to rodzaj muzyki czy jakie tłoczenie, i momentalnie słyszymy zmianę.
Platforma Wojtka Padjasa zmienia nie tyle nawet dźwięk – choć o to ostatecznie chodzi – a coś głębszego, jakby potrafiła wpłynąć na coś podstawowego, na czym dopiero dźwięk jest budowany. Nie mamy więc wrażenia, przeprowadzanej na naszych oczach, korekty a otrzymujemy zupełnie nowe granie, w którym zmiana o której mowa zaszła gdzieś wcześniej, dzięki czemu my otrzymujemy zupełnie nowe przedstawienie.
Ostatecznie jednak chodzi o zmiany i korekty i jako takie muszę je przedstawić. A zmianą fundamentalną, którą platforma All You Need wnosi do dźwięku jest uporządkowanie jego struktury. Chodzi mi o to, że choć zmieniają się elementy, o których zwykle mówimy, to jest barwa, dynamika itd. – do czego za chwilę wrócę – to są to, moim zdaniem, zmiany wtórne. Uporządkowanie o którym mowa powoduje, że muzyka płynie lżej, płynie też gęściej, płynie swobodniej.
ONE OF THE THINGS that can be said about the tested platform right away, without listening to the details for a long time, is that it changes the sound significantly. There is no question of - "a little", "maybe", "but", "in some respects", but simply - significant. We sit down, cue in a record, any one, it really doesn't matter what kind of music or pressing it is, and we immediately hear the change.
Wojtek Padjas's platform does not even change the sound itself - though that is what it is all about - but something deeper, as if it could influence something fundamental that the sound is built upon. So we do not actually have an impression of a some sort of correction being carried out in front of our eyes/ears, but rather what we get is a completely new presentation, in which the change in question has happened somewhere earlier, thanks to which we receive a completely new performance.
Ultimately, however, it is about changes and corrections and I have to present them as such. And the fundamental change that the All You Need platform brings to the sound is bringing order to its structure. My point is that although the elements we usually talk about do change, such as timbre, dynamics, etc. - which I will come back to in a moment - they are, in my opinion, secondary changes. The order in question causes a better flow of music, it also flows in a denser, more freely way.
The Pro-Ject turntable acquired some sophistication with the tested platform, and its sound was smoother. The double bass from the THE MONTGOMERY BROTHERS Groove Yard without it was a bit stronger in its mid-range, which made it seem bigger. After decoupling the turntable, this "protuberance" - as it turned out - disappeared, and its place was taken by a much more tonally balanced image of this instrument - its attack had a less "square" cut and more natural softness, hence the sustain and the elements that make it rich were heard more clearly.
The change was transformative, that is, from a very good reproduction - the Pro-Ject turntable is excellent - it transformed into almost refined one, which does not happen at this price level. It seems to me that the scale of changes brought about by the platform was greater than if we changed the turntable or cartridge to a higher model. What turned out even better with two albums in which the bass creates the "presented world", and is not just an addition to what is happening in the band above - with BRENDAN PERRY’s Ark and KRAFTWERK’s Tour De France. Soundtracks.
In both cases we deal with a very low, electronically generated bass of constant intensity, which is much more difficult to control than the sound of natural instruments, which has an impulse character varying in time. The tested platform resulted also in a much deeper image in terms of tonality, also in the low range. The bass was softer with it, and at the same time better defined. As paradoxical as it may seem, it is not - I get something like this every time the resolution of the sound increases.
And that's what All You Need does, otherwise I can't explain it. The sound with it is richer with sounds that build a more nuanced, truer, and thus emotionally deeper presentation. That is why listening to the FRANK SINATRA’s The Voice, released in 1955, which collected the artist's recordings from the 1940s was so pleasant. Originally recorded on 16" transcription discs and then re-recorded on a tape from which the aforementioned album (first it was released on two 10” discs) was prepared, sounds incredibly good.
The platform gave these recordings the depth they need, opened them up, but also blocked the slight brightening of the upper midrange, which the Pro-Ject itself didn’t do, because it could not cope - even several times more expensive turntables could not do that. The platform did not change the basic features of this design, and yet Sinatra sounded more natural, more credible with it. It was as if I was one step closer to the source of the signal. Once heard, it stayed with me until the end of the test, and it turned out to be particularly strong with the unusual, 78 RPM record Oh Lady Be Good/Smile pressed in current times.
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