Eggleston Viginti

Recenzje

Recenzja Eggleston Viginti w Stereophile

I cranked up Tommy, expecting to like the IBC studio drum sound as I always have. But, texturally and physically, this was probably the best I'd ever heard Moon's drums—elastic, well textured, gut-punching. His tom fills were so slammingly perfect and believable that the only thing to do was to turn up the volume until it was at the level of live drums. Moon's cymbal splashes shimmered and rang convincingly—they don't on any of the many digital versions of Tommy I own—and the attacks of Townshend's strummed acoustic guitar and the following sustains were as perfectly natural, satisfying, and physically impactful as I've ever heard them.

I knew it was coming, as it has a hundred or more times, but this time when Townshend let loose with "Captain Walker didn't come home, his unborn child will never know him," it startled me enough to make me jump and start my adrenalin flowing. Yet his voice wasn't harsh or bright. It was just sounded more spectacularly transparent and real than I'd ever heard it. Which was why I jumped. That 49-year-old LP's top end was entirely intact. It had never sounded as round and three-dimensional as it did that night through the Vigintis. I played all four sides of Tommy and went to bed with a smile on my face, 100% satisfied and transported.

That experience made me a believer in two things: 1) Records properly cared for and properly played do not wear out, even after a hundred or more plays; and 2) The EgglestonWorks Viginti may be the most enjoyable, most-fun-to-listen-to full-range speaker I have ever reviewed.

If the Viginti could effectively deliver singer Johnny Hartman's baritone from his Once in Every Life without sounding congested (LP, Bee Hive/Analogue Productions AAPJ-105)—an album I've been playing since 1981, when the original edition was released—it would pass the test. It did. What's more, Joe Wilder's horn in "Easy Living" has never sounded less like a trumpet and more like the flugelhorn it actually is.

Every time I thought of a recording or musical genre that might not work well with the Viginti, it surprised me. I thought its slightly soft transients would make Julian Bream's lute recordings sound too soft, but damned if I didn't sit through every note of the Julian Bream Consort's An Evening of Elizabethan Music (RCA Victor Soria LDS-2655) and enjoy every pluck.

Of all the speakers I've reviewed, few, if any, have come close to matching the Viginti's long-term listenability. It is both a relaxing speaker and an exciting one—it lets me lie back and just enjoy the music, and engages me fully when that's appropriate. I guess you could say I like the EgglestonWorks Viginti.

Link do recenzji: Eggleston Viginti – Stereophile

Eggleston Viginti

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Eggleston Viginti – Stereophile – Recommended Components 2025