Another recording from the CD which showcased the Kimber's qualities was "Across the Universe" sung by Mr. Noel Bridgeman and recorded direct to DAT with presumably minimal processing. As Mary Black puts it in the liner notes, "... I remembered that night in the Olympia clearly – he stepped out from behind his drums and belted it out". And belt it out he did with a vocal performance full of character and confidence, every intonation perfectly reproduced in a believable acoustic.
Increasing your system's resolution gives a clearer window on the performance. In my experience, adding silver wiring wherever possible is a virtually fail-safe way to increase resolution- provided materials and design are of sufficient quality. It's important to note that increasing resolution should not result in a more analytical sound. When resolution increases across the board, bass becomes more defined and gains more character to add a more musical foundation. The quality of bass also impacts ambience and acoustics, which in turn impact soundstaging which affects depth and ultimately realism. It goes without saying that the better your components, the more you will benefit from good cables. You won’t know what
influences your copper cables are having until you substitute them with silver. As you can tell, I like silver and love the Kimber KS-1030. And now, back to the Artisan Silver Dream.
Despite owning most of the usual suspects when it comes to 'reference' recordings, one of the finest I have for evaluating vocal quality, fine detail retrieval and the ability to reproduce piano is the live recording For All We Know
[Black Box BBJ2013]. Jacqueline Dankworth—daughter of Cleo Laine and Johnny Dankworth and perhaps not as well known as her talent suggests she should be—is here accompanied by James Pearson on piano. The venue was The Stables, Wavendon in Milton Keynes, an auditorium selected for its compact size to showcase the intimacy of voice and piano. There isn’t as much sense of audible acoustics but every single shift James Pearson madeon his stool and every press of a pedal were captured on the recording. Perhaps the microphones were placed too close to nullify the influence of any real hall sound?