Horn Acoustic Kolumny Vivo
“Pepper’s album also showed me something that I expect from horn loudspeakers, ones of high sensitivity, but which is not imposed by Vivo, but appears only when it should: dynamics. These designs hide that feature a bit, but when needed they do hit listener quickly, accurately, with a dry slam, immediately encapsulated by “body” of sustain and decay.
That’s what happened on Pepper’s album, and that’s what I also heard on Diana Krall’s The Girl in the Other Room. Krall’s album is definitely not as good in terms of sound quality as the Intencity, but it is still a good recording. Vivo presented the internal tension between the instruments, built a large, dense and deep soundstage and fantastically conveyed the Antony Wilson’s guitar. The vocal was presented in the front, quite close to me, just like Sinatra’s before.
Only once I heard something like that at home also with horn loudspeakers, large, floor-standing JBLs, namely they took out the room from the equation offering a sound as if I was sitting with big headphones on. It was the same sensation of tangible sound pressure, as opposed to “interior sound”, as is usually the case. Interestingly, these loudspeakers do not require listener sitting still in optimal position – they kept a stable soundstage even when I was moving my head left and right. The center of the stage moved when I was doing it and the edges remained stable – really cool!”
Horn Acoustic Vivo Loudspeakers
“Miroslav Tadic’s “Duerme Negrito” from the album Spavati, Možda Sanjati at once reveals any speakers’ ability to reveal a distinctive drama was impressive. The sense of scale and weight at the very intro of the alone pushes any speakers to serious stress. On this album, Tadic shows his mastery to embrace different genres and styles regardless of origin by playing la puerta del bajo, fretless baritone guitar, electric and acoustic, classical baritone guitar, etc.
Mono And Stereo