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Exclusive interview with Peter Brem of DaVinci Audio

Exclusive interview with Peter Brem of DaVinci Audio. For all of you who respect his work. Interesting read, he reveals his latest view on Tube vs Solid State, what is better and why...

http://www.monoandstereo.com/2011/11/interview-with-peter-brem-of-davinci.html

Comments

  • Amongst all the brands carred by the AE, I like Da Vinci the most. The musicality is one of a kind. But I would like to express my slight disappointment with their delivery time. It is too long. I ordered the Virtu arm in April and now the answer is next year. I am glad that JLam refunded me.

    I hope the Nifty preamp is something that I can listen and be touched soon. The expensive CHF is making me difficult to taste da vinci.

    I am happy to see some real electronics picture here.
  • I agree. Delivery is too long.
  • KingPuyi,

    I even waited for a longer time than you plus the fact that I had sold my Grandezza in Jun after getting the info that it would be ready by then...so I have been away from vinyl for half a year already....

    Marvel
  • Peter told me to apolgize for the delay of Virtu arm on behalf of him. The delivery of Virtu arm could be a lot earlier according to Peter but he feels the improvement over Grandezza at that time was only marginal. From commercial perspective, he can just label it Grandezza MK2 with new cosmetics. He did not want customers to pay for another arm without dramatic improvement. As a result, he re-did the entire arm from scratch using his own original idea. That in turn requires complete re-tooling and finding new suppliers that can meet the precision of the new bearing.

    Once again, Da Vinci is sorry to keep everyone's waiting.
  • Please wait. Wait for the MASTER PIECE to come !You will be a very happy boy.
  • I am happy to wait, no worry! Watching the photo of virtual and PP, I am already a happy man!
  • AMONG the many debts which we owe to the supreme aesthetic faculty of Da Vinci Audio is that it was the first to teach us to define beauty in terms the most concrete possible, to realize it, I mean, always in its special manifestations.

    I call Nifty our DV Renaissance because it is indeed a sort of new birth of the spirit of high fidelity, like the great Italian Renaissance of the fifteenth century, in its desire for a more gracious and comely way of music, its passion for instrumental quality, its exclusive attention to form, its seeking for new subjects for music, NEW FORM OF ART, new intellectual and imaginative enjoyments: and I call it our romantic Sound because it is Da Vinci most recent product which expresses beauty.

    As I am the first one to listen to this little treasure, I had only one physical action – Stood Dead Still! For what, as Peter said, Nifty is the study of the past logic and knowledge but a return to the real world system.

    It is really crazy, in its breadth, its sanity of purpose, its calm possession of beauty, with the adventives, the intensified individualism, the passionate colour of the romantic spirit.

    We must always remember that art has only one sentence to utter: there is for her only one high law, the law of form or harmony. The experience of listening to the Niffy posed two essential technical merits, Rhythm and Density. With high speed and condensed music, you can easily, I mean really easily to distinguish the piano techniques. Particularly, you can hear Vladimir Samoylovich Horowitz‘s finger power, his technique and use of tone color and the excitement of his playing. Horowitz is best known for his performances of the Romantic piano repertoire. Romantic music from the pianist can be truly performed by this little but powerful Nifty. To cite a typical example, Horowitz's performing style frequently involved vast dynamic contrasts, with overwhelming double-fortissimos followed by sudden delicate pianissimos. He was able to produce an extraordinary volume of sound from the piano, without producing a harsh tone. Nifty “face punched me” with a perfect reproduction. The reason is the high density of sound can distinguish the use of ECHO PEDAL and the use of finger holding on a key. Horowitz’s extraordinary volume was produced by his supreme use of finger power and pedal mix. Piano tone from pedal is floating but the tone from finger holding is substantive.

    DV products always have great sensitivity to tone color. The new line of DV amplification system is a revolution for its brand.

    I am waiting ……patiently.
  • The Third Surprise: Durand Telea 2 tonearm + Kansui + Trinity Phono + Gabriel turntable
    I mentioned in another thread that in the past few days, I have had 3 pleasant surprises after visiting AE showrooms. Dalby feet and the full blown Chopin signature speaker system were the first 2. The last one was the resurrection of the Gabriel turntable system in AE showroom 1 using the Durand Telea 2 tonearm, Kansui cartridge and Trinity Phono. Our focuses were all put on the Vekian Opus CD combo whenever and whoever visiting AE Showroom 1 in the past several months only seeing the Gabriel turntable was laying on the floor disconnected. I cannot recall how many times I have been urging PT to set up the turntable under the Tidal+Analog Domain amplification and speaker system.
    Obviously for a highly anticipating user of the Virtu arm, I am very excited to see and hear Gabriel turntable back into action! PT said even AE needs to wait at the bottom of the list for the Virtu arm giving way to their customers and of course, one thing AE is never short of is ‘secret weapon’ and this time is the renowned Durand tonearms. The model that PT is using this time is called Telea 2 and I heard from him that there is a flagship model called Telos which has only a limited supply of less than 10 per annum.
    The setup of the tonearm was extremely delicate and it took almost 2 hours to complete the initial ‘draft’ setting by Master Chik, the house vinyl expert of AE. It is a single point floating design with a full wooden pole and a built in pair of balanced phono cable. I do not know the type of wood being used but the veneer is quite spectacular. Adjustment of the azimuth and VTA is however on a very user friendly design. Of course, no matter how the adjustment is made user friendly, the skill is to get it right!!
    The triangular shape of the Trinity phono was not only eye catching but also of practical necessity to house the full balanced design circuitry in a symmetrical and shortest path design. The input and output for the 2 channels have occupied 2 sides of the triangular chasis leaving the remaining one side for the power supply and the impedence adjustment.
    It required 2-3 rounds of fine tuning by Master Chik before we could listen to this combo. Both PT and myself were shocked by the speed, resolution, texture richness and dynamics produced. The soundstaging is wide and open with distinct spatial separation. It is not the kind of ‘contiguous’ one piece type of musical presentation depicted by many analog systems. Whilst Master Chik repeatedly said the setup would require some burning in and fine tuning, I was absolutely thrilled by this combo in producing a level of transparency and resolution rivaling the Vekian Opus CD combo but yet the richness in tonality, textures and shadings is something very unique to LP playback. What would a full suite of DaVinci cartridge+Virtu arm+Gabriel sound like? I hope I will have the answer in my system shortly, but in the meantime, the wonderful music that I have listened in the showroom keeps lingering in my ears and I really miss the vinyl music!!

    Marvel
  • The first Virtu arm in the world arrived!
  • I cannot express my feelings about it after waiting for it for so long.....
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