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Still, once you hear this sound, you will try to rediscover it in other devices which after the Sindre will sound a little dull. Take for example the last recording by Tori Amos, Abnormally Attracted To Sin. This double 180g issue is surprisingly well recorded and pressed. But it still has problems with a somewhat mechanical midrange. The Sindre unfortunately didn’t miss a beat and ‘squeezed’ the slightly lower midrange and upper bass. This affected the vocalist's voice as coming more from the throat and less from the diaphragm to seem a bit higher than it really is. But even though “Curtain Call” gave me some thrills—there was beautiful strong compact bass with amazing warmth—certain things were missing. After I cooled down, I realized the flaws but had also gained a new perspective. A similar response came from Nat King Cole’s Just One Of Those Things and Old Blue Eyes’ Sinatra & Strings. I wondered how male voices would sound like. Very professional, big yet focused and just like Tori Amos before – coherent, strong and rich.


Electronic music was a different story because it sounded better over the Sindre than it ever did before in my listening room. I played Kraftwerk's Tour The France while writing the review of the Argos and after I did, I no longer could write. I was compelled to move to the sweet spot on my couch. It was a real feast of emotions, with unexpected discoveries and pure pleasure coming from the fact that something worked as well as it was supposed to. I obviously wasn't thinking clearly because Depeche Mode’s Ultra followed and I had to remain on the couch instead of returning to work. This doesn’t imply that all records will sound that great. If the recording is not very good like DM’s Some Great Reward, you will miss something, usually a problem with timbre. Something similar goes for Rock. ELO sounded amazing but I still had some problems with a correct perception of it - and with the reissue of Pearl Jam's Ten. The first lacked a bit of bass extension, the second in dynamics.


The Sindre had me prefer the classic mix to this new one. I further must admit that I liked the original issue with the dark red cover even better. The new one sounds lighter. Perhaps they managed to clear the tracks of unwanted noise but they scrubbed off emotions mostly by decreasing dynamics. Many turntables I used on this record didn't show the difference in dynamics as intensely, hence the new Pearl Jam issue sounded better and more detailed. With the Bergmann, I definitely preferred the warmer more organic sound of the original. I can't firmly say which is better. I don't know what the mike feed sounded like. Each issue has advantages and disadvantages. With the complete box set of The Doors which includes the mono version of their debut album, I had absolutely no doubts at all. This is definitely the best pressing, the best version of this music I know. The Sindre teleported the guitars into my room and there no longer was a curtain between me and them which usually remains with software of any medium. For the first time I encountered that with the mighty Argos but this Danish turntable gave me a similarly fabulous impression.


Before I get to the summary, I need to mention one other aspect of the Bergmann's sound that differentiates it from any other turntable – its presentation of the space. The Sindre's placement of instruments on the stage in space is just perfect. You couldn't wish for more. It’s the ability to show all instruments next to each other such that not only don’t their sounds blend together but one can also clearly see the contours of each plus enjoy the impression that these instruments push each other away like two magnets of opposite polarity in a kind of hyper space. Where regular sound is somewhat soft, the Sindre sound has you feel the tension between the instruments but doesn't artificially boost the soundstage. You have to hear that for yourself to get the point but I’ll describe it as best I can.


A soundstage is wide or narrow depending on the particular recording. Each instrument or group of associated instruments takes up less space than it would in real life. That is why most of what is happening on the soundstage happens in front of the listener. It is easily audible on albums which were created with multiple microphones or multi-track recorders. Such recordings are in fact multi-mono and all their spatial effects are artificial. The Sindre will show the difference between such recordings and those with real recorded space very clearly. Hence you will find some recordings to be less spacious than you thought. Perhaps this is the true sound and other turntables artificially enhance dimensionality. On the other hand, you might find the more realistic presentation less involving. I can't tell you which one is better. That you must judge for yourself.