Dźwięk prezentowany przez Unity określiłbym jako wypełniony i rozbudowany. Łączówka świetnie podkreśla stereofonię systemu oraz nieco powiększa dźwięk. Słuchacz odnosi wrażenie, że jest niemal otulany przez muzykę. Dzieje się tak między innymi za sprawą wyeksponowanego i wysuniętego w jego kierunku pierwszego planu. Średnica jest mięsista i masywna, ale raczej dzięki wspomnianemu powiększeniu dźwięków niż ingerencji w temperaturę barw. Pod tym względem neutralność Jormy zasługuje na bardzo wysoką ocenę.

Unity nie należy do łączówek, które cyzelują ostrość konturów. Zarówno w średnicy, jak i dole pasma koncentrujemy się na płynności brzmienia, a nie na jego rozdzielczości. To sprzyja muzykalności i przyjemności ze słuchania.

Być może lekkie rozmycie konturów mogłoby stanowić obiekt krytyki, ale Jorma ma coś, co równoważy tę cechę: fantastyczną dynamikę, szczególnie w sferze mikro. Dopełnione jest to świetnym wyczuciem rytmu. Przez cały czas miałem wrażenie, że szwedzki przewód tylko czeka na możliwość zaakcentowania uderzeń w bębny.

W dole pasma Jorma Unity pozostaje obiektywna – po prostu przekazuje to, co przysyła źródło. Niczego nie dodaje ani nic nie ujmuje. Góry jest sporo, ale ze względu na fizjologiczny charakter nie przeszkadza w odsłuchu. Nie odciąga też uwagi od wydarzeń w średnicy. Jorma Unity to przewód do uniwersalnego zastosowania. Jest neutralny, świetnie się wczuwa w „ciężar” muzyki oraz kapitalnie operuje dynamiką. Pomimo wysokiej ceny, jest wart odsłuchu. Sprawdzi się w niejednym systemie.

Stereofonia, bogata średnica i dynamika – łączówka Jorma Design Unity z pewnością może się podobać.

Link do recenzji: Jorma Unity XLR – Hi-Fi i Muzyka

With the Marten speakers still in the system, the Unity Interlink made a superb impression right away. Used in place of the Driade Flow Link Reference 808 and connected between the C1.2 DAC and L1 preamp, the Unity sounded simultaneously more robust and more articulate, while remaining propulsive, expressive, and dynamic. In fact, the Jorma was more articulate as well as more expressive! Clearly, I was wrong in assuming a certain sound for the entire Unity range.

To my further astonishment, the Unity XLR interlink managed to sound earthier and more grounded, and more realistic, while remaining as refined and free-flowing as the Driade cable. The latter is more light-footed and remains a little airier in the upper treble but both provide an essentially neutral, natural, and very linear rendition of anything you play. Perhaps the Driade appears slightly more transparent but I’m not sure if that is induced by its slightly leaner tonal balance. In any case, both cables refrain from imposing any particular character on the sound. Nevertheless, there was an additional quality to the Jorma’s delivery that was hard to pin down. Even if both cables were admirably well-balanced and equally transparent to the source, I felt that the Jorma was creating a more vivid and convincing rendition of the performers being in the room, playing real instruments.

Even within the first minutes of the first track that I played, it dawned on me that the Unity interlink was something extraordinary. Of course, I played more tracks and swapped back and forth more times than I can count, but my preference for the Jorma cable only got further cemented. Sure enough, there was a particularly strong system synergy with the Unity interlink, CH equipment, and the Marten speakers.

Given the affiliation with Jorma cable being used in Marten speakers, one might assume a natural synergy but as I have sometimes come across, this is not a guarantee. In this case, however, as could be read above, the cables worked absolutely synergistically with the Marten Parker Trios.

But I was in for another surprise, as the cables’ superb qualities were not limited to the combination with the Marten loudspeakers. As soon as I moved my Magicos back in position and connected them with the Unity speaker cables, the Unity interlink and speaker cables turned out not only to work superbly synergistically with the Parker Trios but also proved a smashing success by further elevating the overall quality of the entire system.

Link do recenzji: Jorma Unity XLR – Hifi-Advice

With the Unity cables in my system, the sound was very transparent, remarkably natural, and had richer detail with slightly improved timbre accuracy, as compared to my reference ASI cables; it’s quite amazing that the Unity cables are a touch better regarding the already excellent timbre accuracy which I love so much from the ASI cables.

It didn’t matter what type of music I played; it all sounded superb. Whether it be chamber or orchestral classical music or Jazz. It just sounded better. The Unity has an extraordinarily natural sound that is easy to hear and it thrilled me with its unusual realism. It was like listening to live unamplified music. I knew right away that me and my bank account were in trouble.

The Bill Evans Trio’s Waltz for Debbie[Riverside RPL 9399], which was recorded live at the Village vanguard. This amazing recording sounded remarkably natural and the musical flow was unmatched and moved freely like a smooth operator throughout all the frequencies. And yes! I do prefer the vinyl over digital, especially on this recording. “My Foolish Hearts” was rendered beautifully with emotion and vitality. The realism was quite amazing and the ambience retrieval was extraordinary. The trio was in perfect harmony; it was absolutely outstanding and it was music to my ears. Bill Evans’ piano was absolutely stunning and had a wonderful richness with gorgeous harmonics. Scott LaFaro, who was one of the supreme jazz bassists, was amazing, unstoppable, and his virtuosity was just incredible. The cymbal work of Paul Motian was top notch. The cymbals had life in them, with delicate, sweet and very detailed information that lit up the room. I was transported back to the Village Vanguard in New York City in 1961 (Yes, I know I was an infant but you get my meaning). 

Listening to “When I Fall In Love” was absolutely breathtaking. It made me feel like I was in the Philharmonic Hall in Munich. The Trio was in motion and they were communicating beautifully. The timbre and harmonic structures were conveyed masterfully. The piano, drums and double bass were presented naturally and Keith Jarrett’s piano exploded with richness and a gorgeous presence. The brushwork of drummer Jack DeJonette was delicate and crisp and had vivid life. Finally, Gary Peacock on the double bass was articulate, organic and powerful.

Link do recenzji: Jorma Unity XLR i RCA – The Stereo Times

Link: Jorma Unity Interconnect – Hifi-Advice – Highly Recommended Award

Link: Jorma Unity Interconnect – The Stereo Times – Most Wanted Components 2011