Acoustic Revive Lovers | SANTANA Lotus Full version

Mr. Tomoo Suzuki who recorded a legend of a lotus heard an analog record by Mobile Fidelity cut with the person himself.

A legend full version of this lotus had use a cable of ACOUSTIC REVIVE and an accessary for a mixed down and mastering fully, and it could be confirmed that vividness of the aerial feeling in a meeting place and the presence improves remarkably by an audition in a CD, SACD and a high-resolution, but anxiety of a touch was being held in the analog board which appeared in the end.

It's also because there were too much misses in the Rii shoe MoFi took charge of cutting, to say.

But the moment Hajime sound came out,

such anxiety has blown off.

This MoFi board is wonderful make.

Naturalness of the sound and vividness of the presence are another dimension by a comparative audition with a CD. An analog person even feels a ration of Central and Pacific Leagues of left and right as well as depth-cueing and the modelling widely.

Though digital should be predominant over a channel ration of Central and Pacific Leagues and D-range overwhelmingly by the physical property, indeed there is wordiness only with analog magic.

Clear sound image rich in a real sense has the high density without a strange boost and swell of sound image in the hollow in the center area common in former MoFi, and moves in a lively way.

May MoFi be its own best masterpiece for this?

You'd like to have many Juan Santana, musical fan and audiophile hear this by all means, right?

He had Mr. Tomoo Suzuki come hard, so Mr. Suzuki also had hear Miles Davis's AGHARTA where the person himself was recorded SANTANA Lotus Full version. Mr. Toshio Suzuki who recorded a legend of a lotus heard an analog record by Mobile Fidelity cut with the person himself. A legend full version of this lotus had use a cable of ACOUSTIC REVIVE and an accessary for a mixed down and mastering fully, and it could be confirmed that vividness of the aerial feeling in a meeting place and the presence improves remarkably by an audition in a CD, SACD and a high-resolution, but anxiety of a touch was being held in the analog board which appeared in the end. It's also because there were too much misses in the Rii shoe MoFi took charge of cutting, to say. But the moment Hajime sound came out, such anxiety has blown off. This MoFi board is wonderful make. Naturalness of the sound and vividness of the presence are another dimension by a comparative audition with a CD. An analog person even feels a ration of Central and Pacific Leagues of left and right as well as depth-cueing and the modelling widely. Though digital should be predominant over a channel ration of Central and Pacific Leagues and D-range overwhelmingly by the physical property, indeed there is wordiness only with analog magic. Clear sound image rich in a real sense has the high density without a strange boost and swell of sound image in the hollow in the center area common in former MoFi, and moves in a lively way. May MoFi be its own best masterpiece for this? You'd like to have many Juan Santana, musical fan and audiophile hear this by all means, right? He had Mr. Toshio Suzuki come hard, so Mr. Suzuki also had hear Miles Davis's AGARUTA where the person himself was recorded as expected. It's brought into conversation now here, I'm boiling, the difference in IKORAIJINGUKABU of (warai). This board is the American columbia original, so it should be cut with a Colombia coffee turn, but I have degenerated into the pitiable sound of which I can't think as a source of the same miles at all by a RIAA turn as expected. When a performance was impressed by something from which it itself is different, Mr. Toshio Suzuki who made the recordist real was being talked about, too, so that agreement of a EQ turn is important as expected seems apparent. By the way, an original board of Blue Note also felt uneasiness by a RIAA turn for Mr. Toshio Suzuki. When a band balance of a musical instrument is strange fatally. You were also saying that mistake agreement of a EQ turn was the level everyone ordinarily knows when music could ordinarily be understood, warai where I'll agree intensely, tooas expected.

It's brought into conversation now here, I'm boiling, the difference in EQ curve of This board is the American columbia original, so it should be cut with a Colombia curve, but I have degenerated into the pitiable sound of which I can't think as a source of the same miles at all by a RIAA curve as expected.

When a performance was impressed by something from which it itself is different, Mr. Tomoo Suzuki who made the recordist real was being talked about, too, so that agreement of a EQ turn is important as expected seems apparent. By the way, an original board of Blue Note also felt uneasiness by a RIAA curve for Mr. Tomoo Suzuki. When a band balance of a musical instrument is strange fatally.

You were also saying that mistake agreement of a EQ curve was the level everyone ordinarily knows when music could ordinarily be understood,

where I'll agree intensely, too