Not only are the two models very nearly identical in build and looks, but they also sound very nearly identical.
In many ways, this review is a carbon copy of the initial Stilla review. The Aequo Audio Auditorium in Eindhoven is open by appointment for prospective buyers who are interested in hearing a pair of Aequo Audio loudspeakers in an inspiring environment. The quest for creating the ideal cabinet- and driver material is also ongoing at the company’s Diluvite Nanotech Composites branch that focuses solely on developing and marketing the Diluvite material to serve numerous applications, among which the fabrication of proprietary tweeter diaphragms. Ivo and Paul can’t make any hard promises but as things are progressing now, they have high hopes of being able to present a functioning model in the course of this year. Alas, the pandemic has caused a big delay but the development is ongoing. But implementing all of the knowledge gained in the acoustic field and being cast from a new and proprietary Nano-Tech-based material called Diluvite, the Adamantis promises unprecedented low resonances and a level of sound quality that belies their price tag. Without the ARPEC system and associated onboard amplification, these speakers will require more care in positioning and a serious external amplifier.
Positioned neither below nor above the Ensis or Stilla, it is in a different category altogether. In fact, when compared under identical circumstances using my regular setup, the Tambaqui shares a lot of similarities with the considerably more expensive Aqua Formula xHD while seriously challenging it in certain aspects.Īs mentioned in the initial Stilla review, Aequo Audio is working on a visually striking new speaker, the fully passive Adamantis. While I don’t feel that the match with the Stillas mandates this, it does work much better with the Magico S1 mk2’s. I have no doubt that the Mola-Mola Makua preamp will do the same while further upping the performance. With its volume control disabled and its output level set to 6V, and used with the Audio-GD Master 1, the DAC gains fluidity and refinement while retaining all of its precision and transparency. Second, the Tambaqui perform best when used with an analog preamp. First, the Vermeer has nothing to gain by using an external preamp.
Although it falls entirely outside of the context for this review, it’s worth noting two things.
0 kommentar(er)
