W8 a minute
10+ year member
CarAudio.com Elite
This review is so full of crap you can almost smell it oozing out of the pictures:
http://www.sixmoons.com/audioreviews/sra/craz.html
If that wasn't **** enough for ya:
And:
http://www.sixmoons.com/audioreviews/sra/craz.html
//content.invisioncic.com/y282845/emoticons/rolleyes.gif.c1fef805e9d1464d377451cd5bc18bfb.gifI often described a smoothing extension of the upper treble alongside a woody midrange sweetness. Many musicologists however describe the tonality of Arthur Grumiaux as crisp and light without self-indulgent romanticism.
If that wasn't **** enough for ya:
//content.invisioncic.com/y282845/emoticons/wow.gif.23d729408e9177caa2a0ed6a2ba6588e.gifThe cello's generous sonic flood is expansively rich and resonant even during fortissimo passages from the piano. The spontaneity of rhythmic piano attacks in the low registers are presented with full clarity without causing ear/brain fatigue over a long listening session. The communications between cello and piano are subtle at times but mostly expressive. Prior to the Craz, the subtle, extremely small micro details in the dynamics were absent. The delivery of eloquence, tenderness and lyricism from the cello now constantly evokes awe.
And:
DFD can easily imbue whatever shading he desires from his sonic palette between medium loud and medium soft. Before the Craz arrived, most of the steps/shades were missing and the delivery in his low register over-dominated the upper octaves. Hence I was not able to discern the full artistic differences between Dietrich Fischer-Dieskau and Hermann Prey until now.
