Clique aqui para ler em português
I arrived at the latest Ultimate Sessions in Porto with a certain level of expectation. The “stars” of this session were the Colibri C2, the speakers with which Avantgarde seems to be aiming for a more accessible market (the pair of speakers and subs with stands are priced around €18,000) – a territory already hinted at during the 14th anniversary celebration of Ultimate Audio in November, when I heard them paired with the Perlisten Subs.
Setup
This time, we found the Avantgarde Colibri connected to the C18 Subs, which were specifically developed to pair with the C2. This C18 (the “18” comes from the diameter of the drivers – 18 inches, like the wheels of sports cars before SUVs started filling our roads) were connected directly to the Western Electric 91E amplifier via Line-out. These subwoofers allow tuning via DSP and crossover adjustment through the German brand’s software. Digital source? The Aurender A15 network player. Turntable? Torqueo T34 Exclusive, with the DS Audio W3 optical cartridge. For system support, a Keces P8 linear power supply and the Isotek Aquarius V5, and the wiring was handled by Crystal Cables.
The Colibri, with a horn-loaded tweeter and a sensitivity of “only” 98 dB, delivered the speed, dynamics, and transparency that Avantgarde is known for. The 91E, despite being a single-ended design with 300B tubes, delivers 20W per channel – numbers that promise much, but those of you who follow me know how I feel about numbers when it comes to musical reproduction… Zero!
Right from the start, I could tell the system had the typical speed and attack of horn speakers, but without the aggression. The sound exhibited a remarkable balance across the entire range, surprisingly controlled for this type of amplification, with fast transients and a soundstage focus that, interestingly, didn’t funnel too much into the sweet spot as is often the case with horns – without limiting the ideal listening experience to this exact spot. It felt as though all that “horn goodness” had been extended into a broader range, not only in the listening room but also in terms of wallets and tastes range. The clarity and “meaty” mids were also evident, resulting in a sound signature that was less fatiguing.
The Music
With Francisco Monteiro at the helm, the playlist was a true journey through the unexpected and the memorable. “Long After You Are Gone” by Chris Jones, followed by “I Know What I’ve Got” by Johnny Adams – with Ed Petersen’s saxophone giving a smooth, woody texture that built a bridge between tradition and modern sound. “Wicked Game” by Lusaint, and “You and Me” by Wynton Marsalis demonstrated the attack and dynamics of the system, while “St. James Infirmary Blues (Live)”, by The Stimulators guitar delicious transients, made the strings seem to snap, earning applause from both the live recording audience and mine (at least I should).
The highlight? There were several. If I had to pick one, it would be the rendition of “Porto Sentido” by Carlos do Carmo & Bernardo Sassetti. The piano, always a challenging reproduction, was handled with aplomb by the subs, giving the sound a rich, “meaty” character. The weight and emotion of Carmo’s voice filled the room – from the back to the front, with the determination characteristic of both the performer and Carlos Tê’s poem.
The journey continued with the delicacy of “Hibusi” by Masako Ohta, and the visceral connection of “Canto de Oxum” – here, Maria Bethânia connected directly with the heart, and the bass gained a physicality that gave the reproduction credibility and realism. And on a rainy day, “C’est Magnifique” with Melody Gardot and António Zambujo bathed the session in honey, with percussion once again feeling realistic and the orchestra stitching together every musical thread.
Each track was an invitation to explore the sonic richness the event provided. From “My Funny Valentine (feat. Sting)” by Chris Botti – where the trumpet cuts and tears, but in a gentle manner – to “A Trace of Grace” and the majestic “Nessun dorma!”, and the delightful violin of Salvatore Accardo in “La campanella“, joyfully leaping between notes in perfect synergy with the London Philharmonic Orchestra. Also worth mentioning is “La Cienega Just Smiled” by Ryan Adams, where the clarity of the voice and guitar blends with deep bass that enriches the performance; “Bright Horses” by Nick Cave & Warren Ellis, here Francisco hit the jackpot – in terms of my musical taste; and “INFERNO” by HEDEGAARD, delivered with swift attack with speed, transients, power, and scale that makes you question: 20W of power… really?!
What About Vinyl?
On the analog side, the combination of the sculptural Torqueo turntable with the DS Audio W3 optical cartridge gave this performance a more organic touch – a must-hear for any vinyl collector! Including, among others, “Bye Bye Blackbird” by Tsuyoshi Yamamoto Trio and “Un Vecchio Errore” by Musica Nuda, culminating with the classic jazz of “Freddie Freeloader” by Miles Davis.
Conclusion
Another Ultimate Session, another sonic journey. The star? It was the music, as it should be! The equipment played its proper role – not in the middle, between us and the music, but bridging the gap. There, I felt the “horn goodness” without the usual “harshness” of this type of speaker.
Pingback: Horn Goodness, Ultimate Sessions Março, Porto - MoustachesToys