TVAD, I thussly confess that I am one of the doodes that buzzed around BabyBear during his analysis. I concur with all his findings. I should only like to add the following: One of the chords he lists is the Kimber Palladium, which we found to be extended but also having a lot of harsh upper glare, so much so that in works having legato treble lines, such as Violins, flutes, etc. . . the treble was so glaringly prominent to hide the detail of midrange and bass.
BabyBear's characterization of the Tara The One is right on. in addition, with that PC on the amp, Jean-Pierre Rampal's flute in J. S. Bach Flute Sonatas sounded somewhat unnatural and bloated/boomy, more like a trumpet than a flute. Nordost Valhalla was delicate and extended, but trim to the point of sounding anorexic in the midrange. Conversely, a phenomenally graceful result, having controlled top to bottom extension, just the slightest tuneful bloom in the midrange, and a vast and tightly-defined stage was finally achieved with an Epiphany on the digital source, Anaconda Alpha on the linestage and Elrod Statement on the amp. Needless to say. . . your mileage may vary
BabyBear's characterization of the Tara The One is right on. in addition, with that PC on the amp, Jean-Pierre Rampal's flute in J. S. Bach Flute Sonatas sounded somewhat unnatural and bloated/boomy, more like a trumpet than a flute. Nordost Valhalla was delicate and extended, but trim to the point of sounding anorexic in the midrange. Conversely, a phenomenally graceful result, having controlled top to bottom extension, just the slightest tuneful bloom in the midrange, and a vast and tightly-defined stage was finally achieved with an Epiphany on the digital source, Anaconda Alpha on the linestage and Elrod Statement on the amp. Needless to say. . . your mileage may vary

