Brinkmann Audio

Brinkmann Tonearm 12.1

Brinkmann Tonearm 12.1

Recenzje

Recenzja Brinkmann Tonearm 12.1 w Highfidelity.pl

Położyłem więc na talerzu Soular energy Raya Browna i po dłuższej chwili stwierdziłem, że chyba faktycznie coś w tym jest. Mistrzostwo Raya Browna prezentowane było pięknie – kontrabas w jego rękach wydawał się być żywą, zwinną bestią, oferującą nadzwyczajne bogactwo dźwięków, szybkość ataku, długie, „drewniane” wybrzmienia i tylko... w kilku momentach znowu miałem to uczucie, że: o tu właśnie powinno być jeszcze ciut niżej, jeszcze mocniej. Pozostało mi poczekać na zmianę ramienia i wkładki i sprawdzić, czy i wówczas owo wrażenie pozostanie, czy może zniknie. Gdy więc przyszło do zmiany powtórzyłem sobie Patricię Barber jeszcze na ramieniu 10.0 z Π, a kilkanaście minut potem zagrałem ją znowu już na 12.1 z wkładką EMT-ti. Jeszcze lepsza stabilność całego obrazu, precyzyjniejsze umieszczenie każdego elementu w konkretnym punkcie sceny, nieco żywsze, jeszcze bardziej skrzące się dźwięki na górze pasma i... Tym razem już brak owego wrażenia, że na samym dole nie wszystko jest aż tak dobrze, jak być powinno.

Trudno nazwać propozycję Helmuta Brinkmanna tanią, ale w porównaniu do produktów innych marek Bardo, nawet z ramieniem 12.1, nie jest aż tak drogi, oferując brzmienie, któremu nawet wielu maszynom droższym od niego trudno będzie dorównać. Jeśli gotowi jesteście Państwo wydać na gramofon sporo, ale nie szalenie dużo, to Bardo wydaje się być jedną z najciekawszych propozycji na rynku, taką, z którą można spędzić resztę audiofilskiego życia. Bezwzględna rekomendacja z mojej strony!

Link do recenzji: Brinkmann Tonearm 12.1 – Highfidelity.pl

Recenzja Brinkmann Tonearm 12.1 w Highfidelity.pl

I wszystko to Taurus zrobił bezbłędnie, a ja siedziałem przykuty do fotela chłonąc, doskonale mi przecież znane, nagranie i wstrzymując oddech, by nie zgubić ani jednej nuty. W TAKI sposób ten krążek został u mnie zagrany do tej pory ledwie kilka razy, zwykle źródłem był mój J.Sikora, a towarzyszyły mu najlepsze systemy, jakie u mnie gościły. Taurus z ramieniem 12.1 i Air Tight Opus 1 nie tylko odczytywał wszystko, co zapisane jest w rowku, najdrobniejsze nawet detale i subtelności, ale i prezentował je w nadzwyczajnie czysty, klarowny, poukładany sposób.

 

Link do recenzji: Brinkmann Tonearm 12.1 – Highfidelity.pl

Brinkmann Tonearm 12.1

Nagrody

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2021

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2021

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2020

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2020

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2020

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2020

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2019

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2019

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2019

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2019

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2018

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2018

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2018

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2018

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2017

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2017

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2017

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2017

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2016

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2016

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2016

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2016

Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2015

Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement, and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1's "lusciously velvet midrange."

Link: Brinkmann Tonearm 12.1 – Stereophile – Recommended Components 2015

Brinkmann Tonearm 12.1

Galeria

Zobacz także

Wzmacniacze / Źródła

Brinkmann Audio

Brinkmann

Cennik

Cennik Brinkmann Audio

Link: Cennik Brinkmann Audio

Brinkmann

Dealerzy

Dealerzy Brinkmann Audio

Link: Dealerzy Brinkmann Audio

Ta strona korzysta z ciasteczek aby świadczyć usługi na najwyższym poziomie. Dalsze korzystanie ze strony oznacza, że zgadzasz się na ich użycie. Dowiedz się jak używamy plików cookies w naszej Polityce Prywatności.