In dem angesehenen polnischen Onlinemagazin „High Fidelity“ berichtet der sehr kritische Wojciech Pacula über seine Erfahrungen mit dem PowerHarmonizer H3.1 des italienischen Herstellers Cammino und beurteilt die klangliche Wirkung – nach meinem Dafürhalten – sehr positiv:
„[…] the Cammino Harmonizer will introduce order to your system and it will open the sound. […] Introducing order means better definition of the sounds, and of music sounding nicer. Both range extremes benefit from that particularly – the treble is more vibrant, vivid, more sophisticated, less ‚hard‘, and the bass is more tuneful and is better differentiated. This results in a more meaty and richer presentation, as if someone had released the ‚brake‘ prohibiting color saturation before.
I did not notice any major changes in the dynamics, and if there were any I considered them positive. […]
Also the soundstage is differentiated in a better way – I mean first of the depth of the stage was amazing. Whatever was placed far away from me now seemed set even further, and the foreground is also moved a bit further away from the listener. It affects vocals most. With Cammino they are presented further away, deeper, are not that palpable as without this conditioner. The bigger distance between them and listener is a result of a more open perspective. When you listen to the music for some time in this way and get used to this new perspective, we shall realize that it is much more natural presentation and that before the sound was given in a more direct, more into-the-face way. As I wrote once, I’m a fan of up-close presentation, but in this particular case presenting vocal from a bigger distance but in a better acoustic environment, in a better interaction with other instruments – that I liked more.
[…] Cammino’s influence on tonality, timbre is much more subtle, which does not translate into simple zero/one or black/white choices. Anyway, it seems to me that with this conditioner sound was slightly darker. The impression was based mainly on a better expression of the sound’s attack and did not have much to do with the level of treble, but rather its presentation. Harmony offered a richer version of the presentation, and therefore less ‚unambiguous‘, and thus not as obtrusive/aggressive.“
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