Przedwzmacniacz ma niewątpliwy talent do pokazywania emocjonalnej strony muzyki różnych epok i różnorodnego repertuaru. A wygrzany i rozgrzany, po minimum 30-40 minutach grania, wypełnia muzyką już całą przestrzeń przed słuchaczem. W sumie to nie mam podstaw do wskazywania słabych stron, bo ich nie odnotowałem. To podsumowanie zamieszczone na wstępie pokazuje Air Tighta ATC-5 jako urządzenie o uniwersalnych zaletach i bez wad. A wynika ono z dość długiego z nim kontaktu i sprawdzania w nie zawsze oczywistych dla hi-endu zestawieniach sprzętowych i repertuarze.

Muzykę akustyczną i instrumenty klasyczne odtwarza bajkowo. Wiele potrafi także powiedzieć o zaangażowaniu wykonawców, ich maestrii czy przysłowiowym flow. Jednym z przykładów był materiał z fragmentów finałowego koncertu Festiwalu Chopin i Jego Europa. Julianna Awdiejewa, wykonując u mnie w pokoju „Życie maszyn” Szpilmana, miała właśnie flow, a fortepian brzmiał jak zaczarowany. Dźwięczny, zwinny, szybki jak błyskawica, jaśniał blaskiem i wirtuozerią. Rozlewał wokół siebie fale czystych dźwięków, momentalnie odczuwalnych uderzeń, harmonicznych wybrzmień i delikatnego pogłosu sali koncertowej.

Air Tight ATC-5 startuje w swoich zawodach i swojej klasie. Jego brzmienie jest zestawieniem kultury, elegancji oraz emocji. Jest obiektywnie dopracowane, a w słuchaniu – bezpretensjonalne, przyjemne i naturalne. Niby dopieszczone i wycyzelowane, ale zrelaksowane, a nawet jakby skrojone lekką ręką. Bez wątpienia to ręka mistrza. Tak potrafi tylko mistrz.

Link do recenzji: Air Tight ATC-5s – Hi-Fi i Muzyka

The AIR-TIGHT combo’s volumetric cube—its soundstage—was wide and deep, with good height. Spatial recreation—horizontal positioning, layering, relative space, air and ambiance—was on par with some of the best amplifiers that I have reviewed.

Delfeayo Marsalis, “Secret Love Affair,” (The Last Southern Gentleman, Troubadour Jazz Records) via the AIR-TIGHT combo brought forward a tight, deep and rousing bass (30Hz-20kHz). There was also great texture and dynamics, while the horns demonstrated exceptional timbre, tone, and bite. There was an aliveness that in truth was startling, fresh, and engaging. Should the Devore Orangutan 0/96s (26Hz-31kHz) arrive in time for a few sets with the AIR-TIGHT combo, I’m certain that bass response would be plumbed to even greater depths and dare I say beautifully so, given the combo’s performance with the Raven IIIs, the best to date.

First up was Andy Bey's “Angel Eyes” (American Song, Savoy) via the AIR-TIGHT ATC-5s and the ATM-1E, which delivered a textured, in-room palpability of Andy’s beautifully aged gravel-rich voice that made listening the sole order of the day. Note-taking was quickly put aside as I just listened with a growing smile and rapt engagement. Branford Marsalis’ “Gloomy Sunday” (Eternal, Marsalis Music) cued next, and its portrayal was rich, textured, beautifully resolved, three-dimensional, and haunting in a “gloomy Sunday”sort of way. There was no floating apparition in regard to Branford’s horn, it had entered the room. Did I mention the strength of the AIR-TIGHT combo’s exceptional and absolute way with regard to its portrayal of the midrange? Are “delicious” and “edible” apt descriptors here? Indeed. Bravo.

My go-to pieces for “sussing out” the treble strengths of a given component’s ability to resolve Joe Morello’s drum kit cymbals are Dave Brubeck’s “Take Five” (Time Out, Columbia-Legacy), or the resolution and clarity of Ysabel’s castanets on Charles Mingus’ “Ysabel’s Table Dance” (Tijuana Moods, RCA-Legacy). Well, the castanets were leaping out at me, as if they were thrown into the room with Ysabel attached and leaping in with them! Surely, this was the work of a rather potent combo, with the Grimm Audio MU2 leading the charge, but the ability of the AIR-TIGHT combo in rendering the stream of the MU2’s technical and musical wherewithal presented a holographic presentation that was absolutely compelling. Joe Morello’s drum kit and the attendant resolution was right up there with the best and better than most. Whether the Franco Serblin Accordo Essence or the Fern & Roby Raven III speakers were in play, there was great continuity, though the Accordo Essence’s separate treble nicely extended the range and resolution of those “higher bits” of musical information.

Link do recenzji: Air Tight ATM-5s – AudioKey Reviews

Similar to the photography, where some people prefer to savor the minutiae, colors etc. over the moment’s aura being captured, some audiophiles will adopt the details over the music’s and musician’s message. ATC-5 was made for the music lovers that acknowledge the later and cherish the music for what it is.

The music just seems to possess the right amount of anchor points when being played through the Air Tight ATC-5 preamplifier. The music message is not lost in translation and this is the major thing. ATC-5 deserves to be appreciated for its sonic potency and value. That’s why I’m giving out the Mono and Stereo 2018 Highly Recommend Product Award to this Air Tight tube preamplifier.

In the era of globalization, one can too quickly fall into a generalization. Even when it comes to such a delicate topic as the sound.

Yes, Air Tight ATC-5 owns the intricate Japanese spirit. Then again, with its sonic performance, it rises above the typical precognitions. ATC-5 clearly builds upon the Air Tight’s rich legacy DNA, but also transcends any attributes that would keep it in the trap of the past.

Make no mistake. This is the 21st-century preamplifier, that is proud of its profound roots and happily explores and take advantage of the modernity when it’s needed.

The preamplifier can perform well on so many stages, yet when it comes to the orchestral music all develops into the much more difficult challenge. Big orchestra reproduction serves as a preeminent challenge for any high-end audio component and preamplifier will either make it or break it. Handling (or lack) of the complex music arrangements and thunderous dynamic shifts can quickly bring to shame even many of so-called top high-end audio preamplifiers. Like with amplifiers, the preamplifier can literally collapse under the music’s overload.One of such compositions is Modest Mussorgsky’s Night On Bald Mountain. The ever varying and evolving tempi, firework alike dynamic, and tense drama literally cries for the preamplifier that can relentlessly carry the ecstatic and potent essence of this classical masterpiece where constant-changing momentum builds up from the tinnies dynamic subtleness to the submarine-like depths. Air Tight’s flagship preamplifier inner heart was no stranger in captivating my attention and creating lasting shivers and thrills even under such heavy league orchestral impact.

Link do recenzji: Air Tight ATM-5s – MonoandStereo

Link: Air Tight ATC-5s – Hi-Fi i Muzyka – Wyróżnienie Roku 2024

Link: Air Tight ATC-5s – AudioKey Reviews – Gold Keynote Award

Link: Air Tight ATC-5 – MonoandStereo – Highly Recommended