(Part 1 of Matej Isaks review)
Paul Fowler and his team designed their vibrational feet without compromise and within their out-of-the-box specter of understanding and know-how. The result is not something I’ve expected to be honest. Yes, I was triggered by the technical approach and Fowlers background. Yet, you never know what to expect performance-wise until the product is used in real-world applications and I’m glad I’ve kept the mind open. (November 2020)
Amazing, I genuinely cannot believe the difference they actually make.
This is the best sound I’ve ever had from my system, ultra-clean, ultra-clear, ultra-detailed but smooth and refined. More importantly is the harmonic richness and fullness of the sound and then a phenomenal full and big base. A big full and rich sound wow how fantastic are they, what a difference they make. An incredible and amazing product genuinely they have exceeded my expectations! 😉
I woke up early to find the conclusion of Terry’s three-part review. I sat down tentatively with a cup of tea to watch the review. I have to say, I couldn’t be happier, I’m so pleased. Three year of hard work has paid off for us. It’s one thing to think you possibly have a good product but totally another to give it to professional reviewers to make up their own minds. Was I nervous waiting for this review, you bet I was! 😉
15 May 2020
The difference in audio quality is huge! They work, they work extremely well. They have a lot going for them, both in their design and their performance, the difference is massive!
I really love Terry’s channel. Best in the world? That’s a controversial statement. 😊
At the very least I hope this makes people think about HiFi and music reproduction in new ways. I hope our products challenge peoples ideas, to think differently and evolve HiFi in positive creative ways. Lets challenge what’s possible!
We designed our feet without compromise, using the best materials available to us. Our aim was to build something special, something that would allow someone at home to hear how equipment sounded in the lab and studio.
Listening to Crescent, Jimmy Garrison’s bass is way more revealed to me, but the proportionate relationship with McCoy Tyner’s piano is as it always has been, those piano harmonics feel natural, and the air as Coltane’s sax rises and Elvin Jones’s cymbals resonate is unrestrained
I know vinyl compared to cd is anathema, but these Tungsten Grooves are combining the full tone, rising energy of great analog with solidity and stability of fantastic digital. I’ve heard Crescent many times, from my dodgy 80s reissues, to originals, and 30 years of improving playback. These Tungsten Grooves are nailing things.
My fave album of all time, Stomu Yamashta/Go/Island UK pressing. I’ve played this 00s of times. It remains a landmark in terms of prog/orchestral crossover. Just touches my soul everytime. Now I dont rave about extra resolution often…this can be showy for showy sake. But I’ve never run a tweak that has so opened things up that my most familiar album has hidden orchestral runs I’ve really never been aware of before. This album is chock full of brooding ambient synths, spacey drums, manic percussion, amazing vocals, incendiary guitar, and some of the best orchestral arrangements. And I’ll swear whole strings lines I’m now hearing for the first time. But again, critically with mids palpability and bass texture unaffected.
Addendum, picked a handful of cds w challenging bass, and totally in control.
So, there you have it. They work here spectacularly, in their broadband evenhandedness with resolution upticks.