10/13/2023 0 Comments Dark darker yet darker virtual pianoIt was lovely in its own right but the Dane's take on the vocals, soft yet remarkably pronounced edges and hefty treble that decayed for ages had me sold. The C-MARC was as shout-free as its rival but cloudier and less developed on image specificity to steer the song into a somewhat distant, darker, rounder, dreamier and more picturesque direction. The D-TC Supreme sounded properly full to make the usually thin piano pleasantly gravitational. Most components won't tolerate these flaws. These are the reasons why I don't listen to it often. Once more the Ansuz rendered the singer more specific, direct and lifelike yet wasn't stingy on heft and color and kept at bay sharpness in the upper vocal range which is typical for this track. The voices of Veloso and Cohen introduced a firm spatial pattern which Lorde's "Writer in the Dark" from Melodrama reinforced further. If the C-MARC prioritized textures over image outlines and ambient complexity, the D-TC Supreme had everything under its scope and in that sense profiled more evenly. His virtual silhouette felt more vivid and greater insight into layers behind him made space deeper, more organic and tactile. The former simply took a firm turn towards extra radiance, openness and hydration which rendered Cohen's voice more distinct and suspended within more tangible breathing space. Leonard Cohen's "Nevermind" mostly features a calm perfectly articulated vocal line which neither the Ansuz nor C-MARC had difficulties portraying as such.
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