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"Chiunque si occupi di riproduzione musicale ha qualcosa da comunicare agli altri "
( Alex Cereda )
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Groove Back Magazine recensisce la lacca Jiva
2024/20/09
Su Groove Back Magazine la mega recensione della prima lacca per elettroniche ad interazione elettromagnetica. Jiva Sublima nella sua ultima e piu efficiente versione.
Groove Back Magazine reviews the Jiva lacquer
Sublima’s Jiva lacquer: Through Hardships to the Stars
By Andrea Bedetti
I had the opportunity to apply and test a particular varnish designed and produced by researcher and designer Alex Cereda on my audio system. This varnish, applied with the set of brushes included with the product, drastically improves the sound performance of an audio chain. In a lengthy interview, the designer himself explains in detail where to apply the lacquer on the strategic points of the components and cables.
Anyone involved in the field of audiophilia (I know, I know, don't crucify me for stating that being an audiophile is a hobby when for many it's a genuine existential mission...) knows very well that to improve the quality of their audio system, it’s not just about acquiring new components over time (and with experience), which enhances the audio chain at the expense of one’s bank account. Rather, relying on a series of accessories, which help the hardware in our listening room to better express its potential, can be a decisive financial aid.
Having tested and purchased countless Hi-Fi accessories over three decades, I could easily open a small museum full of various items in this category. But if I’m honest (and anyone experienced in this field knows this as well as I do), many of the accessories on the market promise a lot, but deliver very little. Fortunately, within this vast sea (full of charlatans), there are exceptions. Among these, in my personal experience, is Alex Cereda, owner of a small Roman company called Sublima. Besides offering power, signal, and speaker cables under the Yasoda series and a unique cartridge called Sakura, Cereda presents a few accessories that he refers to as “necessories”—a term he coined—designed to reveal the true potential of audio systems. Over the years—more than a decade—I have had the chance to try almost all of his accessories, none of which are part of my virtual museum but are instead still "anchored" to my reference system, where they will remain until "death do us part."
Now, if you have the patience and curiosity to continue reading, I’d like to tell you a modern-day tale, which could have the famous Latin motto as its title: Per aspera ad astra—meaning "Through hardships to the stars." This title, as you might have already guessed, contains an allegory, as anyone involved in audiophilia knows that to reach the "stars" of a highly satisfying listening experience from your audio system, you must navigate the rough and winding path of "hardships"—often consisting of impulsive and disappointing purchases, endless swearing, and even sleepless nights in the futile attempt to achieve the most “faithful” sound reproduction possible. And, like in every good tale, at some point, a fairy arrives, moved by compassion (as in this case, at the sight of an audiophile on their knees before their system, overwhelmed by frustration and impotence after spending thousands upon thousands of euros, only to hear a sound that, if decent, isn’t much, and if bad, is literally unbearable). The fairy, after adjusting her undoubtedly blue hair, waves her golden wand, resulting in an unexpected "miracle" for the unfortunate audiophile.
Returning to Sublima's "necessories," this "miracle" has a name: Jiva lacquer (and I want to clarify immediately that this lacquer is not used to set the fairy’s long blue hair...). This lacquer, which comes in a plastic bottle with a safety cap, should be applied to various strategic points in the audio chain using a set of small brushes provided by Alex Cereda with the Jiva lacquer. Before I proceed with my tale, let me get rid of the fairy who is starting to protest, realizing she’s of no use, and I'll move on to discussing the "miraculous" Sublima Jiva lacquer.
The Product
To explain in detail how this lacquer works and where it should be applied, I did the simplest and most obvious thing: I asked specific questions to Alex Cereda, who kindly answered all of them. Below are my questions followed by his responses, as if in a proper interview, where the protagonist is Jiva. According to the brief presentation on the Sublima website, Jiva is a “non-conductive electromagnetic interaction/absorption varnish composed of various mineral and plant elements ‘activated’ by a proprietary process that ensures permanent effectiveness.” One last piece of advice: if you want the best results, follow the instructions and tips from Sublima's owner to the letter. I did, and I can guarantee that my reference system, as I’ll explain at the end of this article, now, as Dante's Inferno concludes, has returned "to see the stars again."
Q: Alex Cereda, what motivated you to create this particular lacquer?
Cereda: "The creation of Jiva is fundamentally one of the outcomes of my years of audiophile research. This research has its roots in the time when I worked in the television industry, where I noticed particular electromagnetic phenomena that severely affected both video and audio quality. Unfortunately, when I discussed this with my colleagues in an attempt to address the issues, I quickly realized I was hitting a brick wall—nobody was willing to analyze these damaging aspects.
I continued studying these phenomena over the years, particularly when I founded my company at the beginning of the new millennium. Plus, ever since childhood—because of my family—I’ve always had a great interest in minerals (my family included mining engineers, and we owned a quarry).
When I finally entered the audio world, bolstered by some experiments and my connections with technical experts and researchers, I realized, more and more, that we only hear a portion of what is actually recorded. This is because the electromagnetic phenomena distort the sound. This led to the creation of the first varnish I developed after various experiments and trials, which was initially applied in the field of violin making before being adapted for electronic devices. Jiva lacquer is an evolution of that first varnish, refined and improved over the years to be used in audio reproduction, addressing the electromagnetic disturbances I’ve mentioned."
Q: On what principles does this lacquer work? What "ingredients" is it made from?
Cereda: "First, I need to explain an important concept. An audio phenomenon, like many others, is created by the interaction of two elements that depend on each other for existence. This means that a 'positive' element, such as the information in the audio track, coexists with a 'negative' element, i.e., interference that inevitably affects the fidelity and quality of the sound. To address this, many have tried to create shielding to isolate the 'positive' from the 'negative.' While this might work externally, it cannot be as effective inside the device or cable because the interfering element already coexists with the 'positive' element. For example, if shielding protects against external interference, it can exacerbate problems inside the system, much like trying to play tennis in a small room—you’ll constantly hit the ball against yourself with no space to play properly. Thus, the audio signal doesn’t travel freely because it’s disturbed by an array of electrical, magnetic, and mechanical disturbances, all of which interact in ways that compromise sound reproduction. Yet, simply suppressing these disturbances could create further issues. Therefore, the solution is to interact with them rather than suppress them.
Through years of study and experimentation, I developed special pigments made from mineral and plant-based materials (Jiva lacquer is made up of about thirty different components). These pigments are processed in a laboratory using machinery that pulverizes them, ensuring they're decontaminated of anything that might reduce their effectiveness. They are then mixed with two particular adhesives—one of which is natural, used in specific restoration processes. However, the lacquer isn’t ready yet—it must be 'activated.' What does this mean? The lacquer's components need to be charged through a specific process, without which they remain passive, operating inefficiently. The activation process ensures the lacquer's effectiveness lasts for decades. The more efficient the activation, the longer-lasting and more potent the lacquer becomes." This is why, over the years, by improving the “activation” process, I’ve been able to improve the Jiva by thirty to forty percent, not only in terms of power, but also in terms of duration.”
"Based on these minimal indications, it is obvious that its creation takes a lot of time and various phases, some of which are expensive, not to mention that this activation process also requires a 'maturation' period for the lacquer. Therefore, I always prepare batches of this product in advance because, if I don't have any available and a client calls me because they need it, I can't, for the reasons I just described, make it on the spot. One last very important thing: the activation process is essential because only through it can the interaction with electromagnetic phenomena be effective. Keep in mind that, obsessed as I am with measurements—since only these allow me to understand whether or not the lacquer is effective—I often measure samples of Jiva dating back to 2000, almost a quarter of a century ago, which still prove to be fully active. In light of this, I feel confident in saying that the activation process I use allows Jiva lacquer to remain effective for decades."
Q: On which surfaces, devices, and other components can Jiva be applied? And regarding valves, can it be applied to them as well?
Cereda: "I can confidently say that Jiva must be applied, using the small brushes included in the sales kit, to any element of our system, on any material, whether it's insulating, conductive, or semi-conductive. Therefore, we can use it, for example, on all components of our system—capacitors, resistors, transformers, coils, connectors, cables, even on the sheath of the cables—besides being incredibly effective in soldering, as the lacquer practically 'quenches' those galvanic microcurrents present in tin, brass, copper, and zinc when they are soldered. That’s why the lacquer firstly produces a very natural sound, while also retrieving a greater amount of sound information, thereby creating greater harmonic richness. Furthermore, Jiva is not hygroscopic; it doesn't absorb the moisture in the environment, which further protects the elements it is applied to. Another very important tip is to always apply two coats of lacquer on the same area being treated: the first coat provides a slight 'primer' layer, allowing the second coat to better deposit the active materials. It should also be applied to the frames, both externally and internally: just a drop, which then spreads and takes the size of a one-cent euro coin, is enough for it to act like a 'sponge,' ready to absorb the harmful charges infesting them. Don't forget that Jiva, being non-conductive, can be applied to an entire circuit. This thorough operation on the whole chain allows you to hear a sound that is cleaner, fuller, and with greater extension in both the high and low registers. Lastly, you asked me if Jiva can also be applied to valves. In this case, it is more than recommended because the result is truly incredible! In fact, do this experiment first: apply the lacquer to the valves of just one channel. What will happen? The sound coming from that channel will be stronger, richer, more dynamic, more natural, and more real compared to the other channel, whose valves haven't been treated yet. One more tip: first treat the preamplification valves and then the power valves."
Q: Besides the lacquer, you also include a set of small brushes in the package. How should they be cleaned to avoid damaging them?
Cereda: "First of all, I don’t recommend using trichloroethylene or other solvents to clean them, although nothing serious will happen if you do. After using the lacquer, if you place the brush under running water, you'll notice that the binding agents, which are not aggressive, will dissolve. So, just use a bit of water and gently flick the bristles with your fingers to make the remaining content vanish. The brush will return to neutral without any contamination. Why shouldn’t you use solvents? It’s simple: cleaning the bristles with trichloroethylene or similar products will inevitably leave some residue on the brush. When you dip it back into the lacquer bottle, those traces of solvent will mix with the Jiva. To be clear, if this happens once or twice, the lacquer won't be affected, but if solvents are used to clean the brushes every time, and then they are dipped into the bottle, there's a serious risk of progressively altering the lacquer, which would slightly diminish its effectiveness."
Q: Are there any areas where the lacquer shouldn't be applied?
Cereda: "There are no elements where Jiva cannot be applied because it brings improvements wherever it is used. I challenge anyone to prove that applying it anywhere doesn't have an effect, perhaps minimal, but always resulting in a benefit and an improvement, provided—and this is very important—that you wait for the lacquer to dry completely, so it remains non-conductive. I’ve even applied it inside transformers, and since I’ve had no shortcomings or issues with transformers, I believe there won’t be any problems with any other component. I’ve applied it everywhere: on the outside of power distributors, inside transformers, on capacitors, resistors, coils, frames, conductors, on soldered electrical joints, on insulators, on cable sheaths, on turntable motors, inside CD players near the laser assembly, on conversion chips, especially. It can be used anywhere, except for drinking it. It may sound like a joke, but it’s true. Once a client asked me what would happen if his child drank it, insisting that a material like this shouldn't be left within reach of a child! So, no, I don’t think anyone should be attaching themselves to a Jiva bottle—that’s not the use for which I designed and produced it!
Lastly, beyond the world of audio reproduction and electronics, Jiva is also used in car engines, as it’s applied to racing cars. I believe I have two or three clients who have used it where the distribution of spark plugs, coils, or control units is located, obtaining interesting results."
Q: So, over time, Jiva does not lose its characteristics and beneficial properties?
Cereda: "I confirm this once again. Over time, Jiva lacquer absolutely does not lose any of its characteristics, as long as it is not painted over—so no other paint or liquid is poured on it, because in that case, it would become contaminated, thus losing its effectiveness. I will go even further, in light of the continuous tests and measurements I've conducted: I can now guarantee it lasts forever, given that I have proof that after 20 years, it remains completely unchanged. Not to mention that my initial design for Jiva, over 20 years ago, was much simpler, while today's version is more sophisticated and complete, making the current Jiva even more powerful and effective. So, as long as no particular alterations occur and it is not contaminated for the reasons I’ve already explained, this lacquer doesn’t act like a battery that depletes, but rather as a product that is 'activated' through a process that I’ll have a chance to explain in more detail once all patents are finalized."
Q: After years of experience with this "necessity," what advice can you offer to enthusiasts to maximize its effectiveness?
Cereda: "I’ll take advantage of this question to provide a sort of summary, offering the most precise and targeted advice. The first fundamental tip is to apply at least two coats; don't stop at just one, because with the first coat, the pigments tend to settle and have a more subdued effect, even though you'll already notice an improvement in sound performance. With a second coat, however, the effectiveness increases exponentially, as the pigments from the second coat bind to those of the first (and a third coat can also be beneficial). Then, which components or parts should be treated first? Well, experience has taught me that the first thing to do is apply the lacquer to the connectors, both those inside and outside the frames, whether they are input, output, balanced, or unbalanced connectors. Next, you should apply it to the plugs, even if they have plastic or metal casings, adding a few drops of lacquer, always remembering that Jiva must be applied while the equipment is strictly turned off, and making sure not to turn it on until the lacquer has completely dried. Then, you can move on to the solder joints, as I’ve already mentioned, and the external parts of the frames, followed by the signal and power cable sheaths, and the connectors on the speakers. If you have them, apply the lacquer externally on the valves, on their bulbs, as well as on the grounding wires of turntables and the base of the tonearms, even on the edges of compact discs. The general rule, especially when you have a large audio system, is to take a little by little approach to applying it, as this allows you to better understand how Jiva’s benefits and effectiveness impact the entire setup."
Q: Speaking of turntables, you didn’t include the cartridge in your list of components. Can’t Jiva be used there?
Cereda: "On the contrary, the results on turntable cartridges are nothing short of outstanding! The issue, and I’ll clarify this right away, is that applying the lacquer to the cantilever is not easy and requires an absolutely steady hand! So, this is an operation that each person undertakes at their own risk. For example, I use a Jiva with a different density, specially formulated for this type of component, which is not for sale. Additionally, I have at my disposal a digital microscope, an analog microscope, a powerful magnifying glass, and special tools that I had custom-made for this purpose. Now, I will explain in detail how to apply Jiva to the phono cartridges, and if these instructions are followed precisely, there won’t be any issues. These are the same instructions I have already given to several of my clients, and as far as I know, none of them have had problems or sustained any damage.
So, to recap, shake the bottle well and pour a very small amount of lacquer into a small container. Mix the Jiva well without creating bubbles, dip the tip of a toothpick without soaking it, so it doesn’t drip during this delicate operation. The lacquer should remain solely on the exterior of the cantilever, both on the lower and upper parts. I repeat, the amount of Jiva to use should be very minimal, making sure it doesn’t seep into the cartridge body! Naturally, to perform this operation, the cartridge must first be removed from the tonearm, taking care to place it in a horizontal position to prevent the lacquer from coming into contact with the coil. Keep in mind that if you want a more thorough and systematic process, I can have the cartridges shipped to me by anyone interested, so that I can treat them in my lab with my specific Jiva formulation for cartridges."
"The first thing you need to do is to get at least a good quality magnifying glass. Then, in this case, you shouldn’t use brushes, at least not the ones I supply, but use a very fine one, the kind used in model-making. If you don’t have a brush of this type, you can safely use a wooden toothpick. The area where you should apply a small amount of Jiva is on the underside of the cantilever, the part underneath where the diamond is located, obviously making sure that the lacquer does not touch either the diamond or the stylus! You only need to apply it lightly on the underside, regardless of the material it’s made from, whether it's boron, aluminum, or any other imaginable alloy. Due to the constant vibrations caused by the rotation of the disc, surface charges form on the cantilever, which consequently cause micro-distortions. Moreover, it’s important not to forget — and I mention this to make it clearer how delicate the reading of a phonograph cartridge is — that, in addition to these charges or currents, others are generated, caused by the so-called ‘capacitive biscuit’ created by the cartridge, which is a mechanical/electrical transducer. This means, as I have outlined in one of my technical/scientific studies titled PSC Phantom Signal Correlator, that due to the inter-electrode capacitance, the signal being captured becomes compromised. This manifests itself as contrary vectors between the vinyl and the turntable's mass, generating interference signals. In short (simplified), it behaves like a variable capacitance oscillator. By applying Jiva to the cantilever, the lacquer absorbs these types of surface charges, allowing the stylus to be much faster and more neutral, enabling it to capture sound information more faithfully. Thanks to Jiva’s action, the stylus penetrates deeper into the groove, reproducing the low and high frequencies with greater fidelity, fullness, and naturalness, making the sound timbre more natural."
Q: Finally, what is the retail price of a bottle of Jiva lacquer, including VAT?
Cereda: "The final price of the Jiva is 290 euros, including the brush set. At first glance, it might seem expensive, but it’s not; in fact, it's quite reasonable considering the effect it has on the system, as anyone who buys it can verify. The quantity is 50 ml, more than enough if well distributed. Another important detail is to shake the bottle vigorously and for a long time before applying the lacquer, then pour a minimal amount of the product into a small cup or container, and mix the Jiva with the brush just before applying it to the selected area. If the application process exceeds twenty minutes, it’s advisable to continue stirring the poured lacquer and shake the bottle again if you need to add more. By following these precautions, you'll notice that the lacquer will begin to lighten, facilitating the activation process of the pigments."
The Listening Test
I won't hide the fact that to follow Alex Cereda's Jiva instructions to the letter, applying the lacquer point by point to the relevant components of my reference system and waiting for it to dry completely took me ten days, including the various listening sessions. It was during these ten days that the title of this article came to mind, as during this period, coinciding with the progressive work done by the lacquer, my system’s sound changed time after time, bringing me progressively closer to the stars. Since I’m the type of person who calls a spade a spade, I want to be even clearer: listening to those reference records, both digital and analog, which I know like the back of my hand — even better, in fact — I wondered how many times an audiophile or a music lover, dissatisfied or unconvinced by the sound of their audio system, decides they need to change a specific component, make an expensive cable upgrade, continually adjust the angle of their speakers, or come up with other schemes to get a more realistic, true-to-life sound. Of course, each of us, as the categorical imperative of Kantian memory states, is the master of our own destiny and, therefore, our own choices. But if you want my honest advice, based on those ten days of applying the lacquer to all the points recommended by Sublima’s founder and the subsequent listening tests, before draining your bank account, buy a bottle of Jiva lacquer and do as I did.
As for the benefits my system has achieved, I can only say that now the sound coming from the speakers breathes. I know, it’s a strange term, a strange comparison, but it's the only way to explain the total, global involvement that has enveloped all the components and cabling of the audio chain. Greater transparency, a naturalness of tone for both voices and instruments that wasn’t there before, faster transients that now allow you to better appreciate the magic of the bow attacking the strings, the quicker decay of harmonics in brass and percussion, and, above all, the three-dimensional physicality of the space where the sound event took place, whether live or in the studio, becoming more palpable, as if it suddenly materialized in my listening room. This is why, to summarize all these changes, the common denominator, the only term that connects them all, is the sound of music finally breathing.
Conclusion
Usually, the conclusions at the end of an article analyzing an audio component or accessory should weigh the pros and cons of the product in question. In this case, at least as far as I’m concerned, this is one of those very rare cases where conclusions are entirely unnecessary, as there are absolutely no cons to report based on what I’ve observed. No side effects, no disappointments in comparison to what Alex Cereda claimed, no exaggeration that could refute the results obtained. The only thing that requires attention, and this doesn't depend on Jiva lacquer itself, is the careful handling of the turntable cartridge, but that’s entirely up to whoever decides to perform the operation under their own responsibility.
For the rest, I can only add my final impression: given such a result, 290 euros is really nothing. I am confident that no one will tell me otherwise.
Andrea Bedetti
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Jiva Lacquer by Sublima of Alex Cereda
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A 50 ml bottle and brush set: 290 euros including VAT
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Sublima Audio Research – Rome
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E-mail: sublima@libero.it
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Website: http://www.sublimaresearch.com
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Mobile number: 3475800299
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Facebook: Sublima Audio Research
Stereophile consiglia Super Mat Chakra Limited LP
2024/03/09
L'autorevole rivista STEREOPHILE ha inserito il Super Mat Chakra Limited LP nella lista "COMPONENTI CONSIGLIATI EDIZIONE 2024 ACCESSORI PHONO".
MAT CHAKRA LIMITED LP: €350
Questo mat, sottile, rigido, leggero, e moderatamente flessibile, è realizzato con un materiale non rivelato con una finitura simile alla carta vetrata. Con il Chakra in posizione, Michael Fremer ha scoperto che, rispetto al mat in grafite policristallina di OMA, il suono aggressivo dell'LP di The Age of Gold Ballet Suite di Shostakovich (RCA LSC-2322) offriva un palco più profondo, le corde ammassate avevano un tocco di calore in più, e i fiati erano un po' meno stridente. "La prima grande esplosione orchestrale, dopo pochi minuti, era molto meno aggressiva", ha scritto l'autore, ed era "presentata con maggiore realismo e sopratutto controllo: non saltava in avanti sul palco." (Vol.45 No.5 WWW)
Stereophile recommends Super Mat Chakra Limited LP
The authoritative magazine STEREOPHILE has included the Super Mat Chakra Limited LP in the list "RECOMMENDED COMPONENTS 2024 EDITION PHONO ACCESSORIES"
MAT CHAKRA LIMITED LP: $350
This thin, stiff, lightweight, moderately flexible platter mat is made from an undisclosed material with a sandpaper-like finish. With the Chakra in place Michael Fremer found that, compared with OMA's polycrystalline graphite mat, the aggressive-sounding LP of Shostakovich's The Age of Gold Ballet Suite (RCA LSC-2322) offered a deeper stage, the massed strings had a touch of added warmth, and the woodwinds were a bit less shrill. "The first major orchestral explosion a few minutes in was far less aggressive," he wrote, and was "presented with greater realism and especially control—it didn't jump forward on the stage."
(Vol.45 No.5 WWW)
Nuovo Distributore per il Nord America
2024/12/08
la Sublima Audio Research è lieta di comunicare il nuovo distributore per il Nord America, la Chisholm TV e Stereo di Peter Lane:
CHISHOLM TV & Stereo by Peter Lane
36 West Street
Goderich, Ontario
N7A 2K3
(519) 524-9576
info@chisholmtv.com
https://www.chisholmtv.com
New Distributor for North America
Sublima Audio Research is pleased to announce the new distributor for North America:
CHISHOLM TV & Stereo by Peter Lane
36 West Street
Goderich, Ontario
N7A 2K3
(519) 524-9576
info@chisholmtv.com
https://www.chisholmtv.com
Sublima Liutherie
2024/24/05
Alex Cereda e la Sublima Audio Research sono lieti di comunicare la nascita di un nuovo prodotto della sezione Sublima Liutherie…la pece per archetto.
– Non produce polvere nociva (le classiche peci sono addizionate alla calce e diluite in solventi!!!) e si compone principalmente di Colofonia iper pura che viene bidistillata e addizionata ad altri elementi con un procedimento controllato e costantemente filtrato.
– Aumenta enormemente l’attrito tra corda del violino e crini dell archetto rendendo il suono piu potente,materico e con maggiore controllo delle arcate.
-La prima pece al mondo che possiede un polarizzatore interno che assorbe la piezoelettricita e diminuisce le cariche di superficie a tutto vantaggio della qualitá sonora.
– Totale assenza di elementi chimici e la caratteristica di non caricare elettrostaticamente i crini dell’archetto che spesso portano a un perdita di controllo soprattutto nei passaggi veloci e dinamici.
-Lunga durata dell’ applicazione e costanza nelle prestazioni.
S.A.R. è studio a 360° nella Musica con progetti proprietari e con ricerca unica nel proprio laboratorio di Roma.
Sublima Liutherie
Alex Cereda and Sublima Audio Research are pleased to announce the launch of a new product in the Sublima Liutherie section … the bow rosin.
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It does not produce harmful dust (the classic pitches are added to lime and diluted in solvents!!!) and is mainly made up of hyper-pure rosin which is double-distilled and added to other elements with a controlled and constantly filtered process.
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It enormously increases the friction between the violin string and the bow hair, making the sound more powerful, more textured and with greater control of the bows.
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The first pitch in the world that has an internal polarizer that absorbs piezoelectricity and reduces surface charges benefitting sound quality.
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Total absence of chemical elements and the characteristic of not electrostatically charging the hair of the bow which often leads to a loss of control especially in fast and dynamic passages.
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Long-lasting application and consistent performance.
S.A.R. is a 360° study in music with proprietary projects and unique research in its own laboratory in Rome.
Mat Chakra CD
2024/07/05
Un cliente ci invia questo testo a proposito del MAT CHAKRA CD:
“Ho conosciuto Alex Cereda in una cena fra amici comuni e devo dire , chiaccherando con lui, che mi ha subito appassionato la sua filosofia di approccio all’ HIFI’ , molto diversa da quella dei più, e che nell’essenza io condivido pienamente. Ho così deciso di provare ed in seguito acquistare il Mat Chakra per CD nella versione “base”. Tralascio le descrizioni di tipo visivo o sensoriali. Per quelle tecniche chiedete allo stesso Alessandro.
Il mat è stato provato a lungo in tre contesti differenti. In primis a casa mia, e non avendo purtroppo in questo momento un pre, ho usato il mio sistema cuffia composto dal cd player Onix XCD-50, ampli Audio GD Master 19, cuffia HiFiMan Ananda collegata in bilanciato, in secundis in un impianto di assoluto riferimento composto da cdplayer Rega Isis, pre AM Audio A-3 RX, finali AM Audio A 60 Reference S4 e diffusori AM Audio Supreme Improved. Per ultimo nell’impianto composto da lettore Naim CDX-3, Integrato Aloia 100w x 2 con pre su base Yepun e diffusori Dynaudio focus 360.
In tutte le circostanze il Mat Chakra ha lasciato gli ascoltatori piacevolmente sorpresi per non dire di più…la prima parola che mi viene in mente è : grande senso della musica, molto più che la semplice espressione musicalità. Si ha netta la sensazione di un aumento della presenza di armoniche , con una conseguente cadenza degli strumenti e delle voci molto più vicina alla realtà. Tutto questo a creare una ricostruzione timbrica fedelissima degli strumenti e delle voci stesse, con un aumento del silenzio (o nero come lo si voglia chiamare) fra di essi, un microcontrasto elevato nel contesto del singolo strumento o della singola voce ed un macrocontrasto generale.
Nell’ascolto con i diffusori il palco sonoro appare più “pulito” e la dislocazione degli strumenti più precisa ed identificabile. In sostanza posso dire, supportato dall’opinione degli altri presenti agli ascolti, che questo MAT dà una sferzata di significativo miglioramento all’ascolto audiofilo, e significativo, credetemi, non è poco, tirando fuori il meglio o quasi di quello che lo stesso lettore è in grado di proporre, nel rispetto delle sue caratteristiche, fra l’altro con lettori di caratteristiche soniche di base molto differenti…..Complimenti ad Alessandro Cereda…”
-Vincenzo Garofalo
Mat Chakra CD
A customer talks about the MAT CHAKRA CD:
“I met Alex Cereda at a dinner among mutual friends and I must say that chatting with him, I was immediately passionate about his philosophy of approach to ‘HIFI’, very different from that of most people, and that in essence I fully share. So, I decided to try and then purchase the Mat Chakra for CD in the “basic” version. I leave out the visual or sensory descriptions. For the technical specifications, ask Alessandro himself.
The mat was tested at length in three different contexts. First at home, and unfortunately not having at this time a preamp, I used my headphone system consisting of the Onix XCD-50 cd player, Audio GD Master 19 amplifier, HiFiMan Ananda headphones connected in balance. Second, in an absolute reference system consisting of Rega Isis cd player, AM Audio A-3 RX preamp, AM Audio A 60 Reference S4 power amplifiers, and AM Audio Supreme Improved speakers. Last, in the system consisting of Naim CDX-3 player, Integrated Aloia 100w x 2 with Yepun based preamp, and Dynaudio focus 360 speakers.
Under all circumstances, the Mat Chakra left listeners pleasantly surprised to say the least…the first word that comes to mind is: great sense of music, much more than just musical expression. There is a distinct feeling of an increased presence of harmonics, resulting in a cadence of instruments and voices much closer to reality. All this to create a very faithful timbral reconstruction of the instruments and voices themselves, with increased silence (or blackness, whatever you want to call it) between them, a high micro-contrast in the context of the individual instrument or voice and an overall macro-contrast.
Listening through the speakers, the soundstage appears “cleaner” and the separation of the instruments more precise and identifiable. In essence I can say, back up by the opinion of others at the listening sessions, that this MAT gives a lash of significant improvement to audiophile listening, and significant, believe me, is no small thing. It brings out the best, or almost the best, of what the same player is able to propose, in respect to its characteristics, among other things with players of very different basic sonic characteristics…..Congratulations to Alessandro Cereda…”
-Vincenzo Garofalo
Sublima's Day
2024/24/03
La Sublima Audio Research è lieta di invitarvi al Sublima’s Day che si terrà venerdi 29 Marzo al The Music Loft in via Carlo Conti Rossini 55 a Roma.
Dalle 15 alle 20 nella sala principale Alex Cereda e Marco Giorgi vi aspettano insieme a 50.000 Vinili e 30.000 CD per essere ascoltati con la rivoluzionaria Time Machine, ovvero la Macchina del Tempo un nuovo necessorio che permette di riprodurre con realismo e fedelta qualsiasi incisione.
In ascolto tutta la linea degli accessori Big, Maxi e Mini Stones – Mat Chakra Limited Edition , Correlatori Armonici Ipertono/Fase e la nuova testina Sakura costruita usando legno stagionato e con i dettami della migliore liuteria per un suono senza eguali!
Sublima's Day
Sublima Audio Research is pleased to invite you to Sublima’s Day, which will be held on Friday 29 March at The Music Loft in via Carlo Conti Rossini 55 in Rome.
From 3 pm to 8 pm in the main room, Alex Cereda and Marco Giorgi await you together with 50,000 vinyl records and 30,000 CDs to be listened to with the revolutionary Time Machine, a new tool that allows you to reproduce any recording with realism and faithfulness.
The entire line of accessories will be available for Listening: Big, Maxi and Mini Stones accessories – Mat Chakra Limited Edition, Harmonic Overtones/Phase Correlators and the new Sakura MC Cartridge built using seasoned wood and with the dictates of the best luthiery for an unparalleled sound!
Testina Sakura MC
2024/08/02
Dopo una lunga riflessione e una lunga serie di esitazioni ho deciso di cambiare la testina del mio impianto. Nel mio locale della mia associazione culturale, The Music Loft, ho una sala d’ascolto dove i soci possono ascoltare i dischi che ho in esposizione. Avevo una testina della Sublima, una Denon 103 modificata da Alex Cereda, che mi aveva dato grande soddisfazione ma che, dopo 7 anni di utilizzo, cominciava a mostrare i segni dell’etá. Così sono tornato da Alex che nel frattempo aveva sviluppato una nuova testina, di nuova concezione, che oltre le modifiche apportate da Alex, si faceva notare per un elegante guscio di ulivo bicentenario con accordatura magneto meccanica una novità assoluta! La mia priorità era quella di avere un suono che riproducesse fedelmente la timbrica originale degli strumenti e che mettesse in evidenza la distanza prospettica tra gli stessi.
A livello di costi cercavo qualcosa che avesse un costo “abbordabile”, se paragonato a quello delle testina di fascia medio alta. L’ascolto di prova l’ho effettuato utilizzando vari dischi, di genere diverso cercando di verificare la duttilità della testina. Pike’s Peak del vibrafonista Dave Pike è un disco “difficile” da riprodurre. In BesMe Mucho, il suono del vibrafono sul canale destro nasconde gli appoggi del pianoforte di Bill Evans situato sul canale sinistro che di fatto si palesa solamente al momento dell’assolo. Con la nuova testina, invece, il flebile fraseggio del pianoforte è chiaramente distinguibile e il dialogo tra i due strumentisti si palesa. Il piacere dell’ascolto è massimo.
Il secondo disco è l’Holberg Suite di Grieg diretta da Willi Boskovski. Il turbinoso inizio del brano con il pieno orchestrale, le violente arcate dei contrabbassi e il dolce pizzicato dei violini è risultato emozionante. In particolare le arcate dei contrabbassi si distinguono chiaramente, al di sotto dei violini e il dettaglio è tale da evidenziare l’attacco con la risonanza della nota che giunge un attimo dopo che l’archetto tocca la corda. I diversi piani orchestrali sono chiaramente distinguibili e l'orecchio può scegliere liberamente quale sezione orchestrale.
Il terzo disco di prova è stato Gaucho deli Steely Dan, uno degli album la cui resa acustica è leggendaria. La scelta è stata motivata per “mettere” in crisi la testina. Spesso mi è capitato di essere soddisfatto dall’ascolto di musica acustica e di rimanere insoddisfatto della performance sull’elettrico. Il brano scelto è stato Hey Nineteen. Nonostante conosca il brano alla perfezione, l’impressione è stata quella di ascoltare la canzone “realmente” per la prima volta. Ho potuto godere di una miriade di dettagli, che non avevo mai notato in precedenza e che arricchiscono e rendono ancora più sfiziosi brano. La trasparenza degli strumenti è massima così come lo è definizione delle voci di soprano, contralto, tenore e controtenore in The Second Booke of Songs di John Dowland nell’edizione de L’Oyseau Lyre. Le linee melodiche del canto sono perfettamente distinguibili ma l’esile delicatezza dell’accompagnamento del liuto non ne viene penalizzato.
Tirando le somme il mio impianto ha sperimentato un tremendo upgrade utilizzando la duttile testina Sublima. La sua precisione e delicatezza mi ha fatto venire alla mente l’armonia dei ciliegi in fiore nei giardini giapponesi, per cui mi sono permesso di suggerire ad Alex il nome di Sakura, per la sua creazione.
Marco Giorgi - The Music Loft
Sakura MC Cartridge
After a long reflection and a long series of hesitations I decided to change the cartridge of my system. In my local cultural association, The Music Loft, I have a listening room where members can listen to the records I have on display. I had a Sublima cartridge, a Denon 103 modified by Alex Cereda, which had given me great satisfaction but which, after 7 years of use, was starting to show signs of age. So I returned to Alex who in the meantime had developed a new head, of a new concept, which in addition to the modifications made by Alex, stood out for its elegant bicentenary olive shell with magneto-mechanical tuning, an absolute novelty! My priority was to have a sound that faithfully reproduced the original timbre of the instruments and highlighted the perspective distance between them.
In terms of price, I was looking for something that had an "affordable" cost, compared to that of medium-high range cartridges. I carried out the listening test using various records of different genres, trying to verify the ductility of the cartridge. Pike's Peak by vibraphonist Dave Pike is a "difficult" record to play. In BesMe Mucho, the sound of the vibraphone on the right channel hides the supports of Bill Evans' piano located on the left channel which in fact only reveals itself when the solo starts. With the new cartridge, however, the faint phrasing of the piano is clearly distinguishable and the dialogue between the two instrumentalists becomes clear. The pleasure of listening is at a peak.
The second disc is Grieg's Holberg Suite conducted by Willi Boskovski. The whirlwind beginning of the piece with its full orchestra, the violent arches of the double basses and the sweet pizzicato of the violins was thrilling. In particular, the arches of the double basses are clearly distinguishable below the violins and the detail is such as to highlight the attack with the resonance of the note that arrives a moment after the bow touches the string. The different orchestral levels are clearly distinguishable and the ear can freely choose among the orchestral sections.
The third album to test was Gaucho by Steely Dan, one of the albums whose acoustic performance is legendary. The choice was made to really put the head to the test. It has often happened to me that I was satisfied by listening to acoustic music and remained dissatisfied with the performance of the electrical one. The song chosen was Hey Nineteen. Even though I know the song perfectly, it felt like I was "really" listening to the song for the first time. I was able to enjoy a myriad of details, which I had never noticed before and which enriched and made the song even more extravagant. The clearness of the instruments is at its best as is the definition of the soprano, contralto, tenor and countertenor voices in The Second Booke of Songs by John Dowland in the edition of L'Oyseau Lyre. The melodic lines of the song are perfectly distinguishable but the subtle delicacy of the accompanying lute is not penalized.
All things considered, my system experienced a tremendous upgrade using the adaptable Sublima cartridge.
Its precision and delicacy made me think of the harmony of cherry trees in bloom in Japanese gardens, so I took the liberty of suggesting to Alex the name Sakura for his creation.
Marco Giorgi - The Music Loft
Innovativi Trattamenti di Liuteria
2023/12/10
Sublima Audio Research va oltre la riproduzione musicale studiando nuove tecniche e migliorie anche per gli strumenti che la Musica la producono. Una serie di innovativi trattamenti di liuteria e l' uso di speciali vernici di nostra creazione che stimolano il legno ad una migliore deformazione quando sottoposto a forza di sollecitazione ed interagendo con la piezo elettricitá e le cariche di superfici delle vernici.
Ma le novitá continuano con i ponticelli trattati con le lacche Sublima e al trattamento elettro/magnetico delle corde. Il tutto si traduce in una maggiore estensione dello strumento e della musicalitá che rendono il suono di ogni violino trattato unico ed estremo..... per il piacere della Musica .
(In foto il fondo di un antico violino Haamiah in corso di restauro/upgrade)
Innovative Violin Making Treatments
Sublima Audio Research goes beyond musical reproduction by also studying new techniques and improvements for instruments. A series of innovative violin making treatments and the use of our own special varnishes which stimulate the wood to reduce deformation when subjected to stress, interacting with piezoelectricity and the surface charges of the varnishes.
But the innovations continue with the bridges being treated with Sublima lacquers and the strings with electro/magnetic treatment. All this results in a greater instrument expansion and musicality which makes the sound of each treated violin unique and exceptional.....all for the pleasure of Music.
(In the photo the back of an ancient Haamiah violin being restored/upgraded)
Time Machine - Macchina del Tempo
2023/05/09
Macchina del Tempo un "necessorio" che supera le convenzioni sulla riproduzione audio, uno studio sul comportamento e il degrado delle alimentazioni sul segnale. Da anni la Sublima studia il comportamento delle (PSC) Phantom Correlator Signal e l'effetto sulla Musica. Ascoltiamo solo una parte del segnale inciso a causa di un deficit del trattamento del segnale e una alimentazione che lo altera fortemente e ne cancella i Suoni Correlati e le Microinformazioni.
La Time Machine della Sublima Audio Research permette a qualsiasi impianto audio di piccolo o grande livello di riprodurre con maggiore qualità e completezza il segnale musicale che diventa reale, completo, emozionante come dal vivo perché proietta l'ascoltare nell'evento!!
Si inserisce in qualsiasi linea di alimentazione a cui sono collegate le elettroniche audio e ne cambia il risultato musicale con maggiore realismo, ambienza e contenuto armonico negli inviluppi e transienti.
Non esistono parole per descrivere ciò il nostro orecchio percepisce in diretta correlazione con la mente e il cuore.
Un'esperienza da vivere per apprezzare il Realismo Sonoro!
Sublima Audio Research vi da il benvenuto nella realtà sonora!
Time Machine è un progetto di Alex Cereda per la S.A.R.
Time Machine
Time Machine, a must-have accessory, a "necessory" that goes beyond the conventions of audio reproduction, a study on the behavior and degradation of power supplies on the signal. For years, Sublima has been studying the behavior of the (PSC) Phantom Correlator Signal and its effect on music. We hear only a part of the recorded signal due to a signal processing deficit and a power supply that strongly alters it and cancels the correlated sounds and the microinformation.
The Sublima Audio Research Time Machine allows any small or large level audio system to reproduce the musical signal with greater quality and completeness which becomes as real, complete, and moving as hearing it live because it projects you into the event!!
It fits into any power line connected to the audio electronics and changes the musical result with greater realism, ambience and harmonic content in the envelopes and transients.
There are no words to describe what our ear perceives in relation to our mind and heart.
It's a must-have experience to appreciate Sound Realism!
Sublima Audio Research welcomes you to the reality of sound!
Shell per bracci
2023/20/03
Shell per bracci con attacco SME in pregiato legno di ulivo con oltre 150 anni di vita ed essiccato 5-10 anni all'aria aperta per stabilizzarne le fibre e portare in superficie i minerali.
Corredato del sistema a cavità elettromagnetica e verniciato con lacche di liuteria create e brevettate da Sublima Audio Research per sollecitare il legno ed interagire con le sostanze di cui è composto, il legno cosi trattato restituisce la vera dinamica e l'inviluppo armonico della testina oltre a una presenza fisica e ambientale della registrazione.
La costruzione è quasi totalmente manuale usando attrezzi e tecniche di liuteria.
Il suono che avrete è difficile da spiegare, bisogna provare l'esperienza di un ascolto per capire l'effetto e il realismo.
Sublima Audio Research è innovazione, realismo e studi proprietari al servizio della Musica.
Shell for Arms
Shell for arms with SME connection, made of fine olive wood aged more than 150 years and dried in the open air for 5 to 10 years to stabilize fibers and bring the minerals to the surface.
Equipped with an electromagnetic cavity system and varnished with lutherie lacquers created and patented by Sublima Audio Research to stimulate the wood and interact with its substances. The wood treated in this way restores the real dynamics and the harmonic envelope of the head, as well as the recording's physical and ambient presence.
The construction is almost entirely by hand using lutherie tools and techniques.
The sound you'll hear is difficult to explain. You have to hear it to experience and understand the realism effect.
Sublima Audio Research is innovation, realism, and proprietary studies at the service of music.
Nuovo Laboratory MC Cartridge
2023/31/01
Recensione di Nuovo Sublima Audio Research Laboratory MC Cartridge di Mono & Stereo
Leggere
New Laboratory MC Cartridge
Review of New Sublima Audio Research Laboratory MC Cartridge by Mono & Stereo
Read
Michael Fremer di Stereophile recensisce il Mat Chakra Limited
2022/27/04
Il NUOVO MAT CHAKRA EDIZIONE LIMITATA
Mi è stata inviata di recente una nuova rondella larga e piatta per il clamp OMA K3 da collocare sul giradischi, sotto il disco. Il concetto è abbastanza chiaro: la rondella lavora insieme al clamp che si avvita sul disco, il quale viene pressato sul piatto, sino all'orlo. Il risultato è una maggiore adesione fra i due, che riduce le vibrazioni del vinile, migliorandone la qualità sonora e contribuendo anche a spianare eventuali ondulazioni.
La nuova rondella è leggermente più alta, il che significa una maggiore aderenza del clamp. La differenza sonora si avverte subito: un evidente aumento della ricchezza in gamma media, è il principale (ma non l'unico) miglioramento, sottile, ma significativo.
Il nuovo Mat Chakra, della Sublima Research in Italia, è un sottodisco sottile, leggero, moderatamente flessibile, realizzato in un materiale sconosciuto con una finitura simile alla carta abrasiva ed altre tre cose misteriose. La prima è un ritaglio di circa 1/2" x 1/16" dalla parte dei solchi del disco, distanziato di circa un pollice dal bordo esterno. Le altre due sono macchie di vernice grigia, piatte e rotonde (che pare agiscano come "un' interazione elettromagnetica") che a loro volta riempiono piccoli fori circolari del diametro di circa 1/4", uno situato nel campo dell'etichetta, l'altro vicino o all' interno del solco di uscita di molti dischi, a seconda della velocità e/o del taglio degli stessi.
Il design del Mat Chakra è il risultato di "10 anni di sperimentazione e miglioramento su interazioni di elettromagnetismo, mai state spiegate, quindi poco conosciute. Secondo il sito Web dell' azienda, il Mat si basa su tre principi "fondamentali" descritti sul sito Web di Sublima, come "interazione elettromagnetica", "accordatura e attenuazione di risonanza”, e “ disaccoppiamento meccanico”.
Per “accordatura e attenuazione di risonanza”, presumo che il progettista intenda dire che il Mat è “ accordato” per ridurre la risonanza del vinile. Il disaccoppiamento meccanico è abbastanza semplice da capire: la finitura abrasiva potrebbe disaccoppiare il disco dal Mat in una certa misura.
La lettera che ho ricevuto con il Mat Chakra, afferma che “permette di ottenere maggiori informazioni dal vinile diminuendone l’usura!” Secondo il sito web, la riduzione dell’usura si ottiene “riducendo il carico di contatto, consentendo alla puntina una lettura molto più naturale e completa.”
Gli studi effettuati nel laboratorio di ricerca Sublima di Roma, hanno rivelato che la lettura degli LP risulta continuamente errata, poiché questi disturbi generano un degrado sonoro e uno spostamento dei timbri originali, cambiando i toni e riproducendo un suono di diversa altezza (frequenza). Il Mat Chakra Limited “agisce sul comportamento capacitivo/meccanico tra la testina sul vinile e il giradischi.”
Anche tenendo conto della chiarezza della traduzione, qui abbiamo una certa quantità di termini indecifrabili. Non so cosa siano “questi disturbi”. Non v’è alcuna spiegazione di cosa sia esattamente il “comportamento capacitivo/meccanico” tra la testina e il giradischi, o ciò che lo causa. Né v’è alcuna indicazione su cosa sia il Mat che lo riduce. Inoltre, che cos’è il materiale abrasivo sulla superficie del Mat? Di cosa è fatto lo stesso Mat? Qual è la funzione dell’apertura e dei due fori e di cosa sono fatti? Tutti interrogativi ai quali non so dare risposta.
Quello che so è questo: ho riprodotto alcuni dischi posizionandoli direttamente sul piatto in grafite policristallina OMA, usando il sistema di bloccaggio. Dopodichè ho ripetuto il tutto, posizionando stavolta il Mat Chakra sul piatto in grafite , bloccando il tutto con l’apposita rondella.
Mi piace molto The Age of Gold Ballet Suite (RCA LSC – 2322) di Shostakovich, con Jean Martinon alla direzione della London Symphony Orchestra, registrata in stereo nel 1957 alla Kingsway Hall, probabilmente dal team di registrazione della Decca Records, ma non pubblicata sino al 1959. E’ un brano spettacolare, che può suonare un po’ brillante nei “pieni orchestrali”, specialmente nello “scrosciare” dei piatti e nell’insieme degli archi. Posizionato il Mat, la scena sonora si è fatta più ampia e profonda, il complesso degli archi aveva un tocco di calore in più e i legni erano un po’ meno penetranti. Il primo grande “scroscio” dei piatti aveva un suono più naturale, con un miglior controllo e un rumore meno aggressivo, il “pizzicato” delle corde degli archi, era più elastico. Il primo grande “pieno orchestrale” dopo pochi minuti, è stato molto meno invasivo presentato con maggior realismo e soprattutto controllo: non si è evidenziato eccessivamente sulla scena. La registrazione, per quanto mostrasse una qualche aggressività in alto, si è rivelata molto più piacevole da ascoltare con il Mat che senza di esso. Ho sentito questa differenza con ogni disco, ma si è rivelato più significativo con la musica orchestrale e acustica in generale. L’effetto sonoro è molto simile alla “smagnetizzazione”della registrazione, cosa che come ovviamente si sa, è impossibile, anche se tutte le persone che sono venute a trovarmi hanno sentito la differenza. Io non scrivo di cose del genere a meno che non le senta, e parlo sul serio!
L’inventore Alex Cereda, afferma che questi Mat sono prodotti uno alla volta e costano €350, ovvero $398. Con una demo ad un Audio Show, potrebbe venderne un bel po’. Altrimenti, il Mat Chakra si può acquistare direttamente da: www.sublimacables.com
Analog Corner - Stereophile #321
Stereophile's Michael Fremer reviews the Mat Chakra Limited
The New Limited Edition Mat Chakra Review
Correlatore Armonico Ipertono/Fase
01/06/2020
La Sublima Audio Research é lieta di annunciare la sua nuova e rivoluzionaria invenzione nella riproduzione Acustica, un idea nata a Roma da Alex Cereda. Il Correlatore Armonico Ipertono/Fase ovvero come passare da una riproduzione a un evento live!
Vantaggi:
- Esatta ricostruzione armonica e dei timbri degli strumenti,voci riprodotte nel corretto contesto di frequenze senza variazioni tonali
- Dinamica piu ampia e differenziata per ogni strumento
- Emissione del suono tridimensionale
- Maggiore realismo nella ricostruzione dell' evento e minore criticità del posizionameto diffusori/ascoltatore
- Maggiore estensione sonora e macro/microdinamica a tutte le frequenze anche a basso volume. Ascoltare il proprio sistema audio con i Correlatori Armonici é una esperienza che non lascia indifferenti e ti trasporta come una macchina del tempo nell evento della registrazione
- Compatibili con qualsiasi tipo di diffusore acustico
- Facilissima installazione
- Finiture e colori a scelta
- Garanzia a vita per difetto di costruzione
- Disponibile in versione violino o viola
- Possibilitá di avere i successivi upgrade
Sublima é Realismo Sonoro!!
The Harmonic Overtones/Phase Correlator
Sublima Audio Research is proud to announce its new revolutionary invention in nonconventional acoustic studies, an idea born in Rome, Italy from Alex Cereda, audio engineer with over 30 years of experience in music reproduction. With the Harmonic Overtones/Phase Correlator, the reproduced sound is as if being at a live concert!
Advantages:
-Precise harmonic reconstruction and timbre of the instruments, vocals reproduced in the correct frequency context with the right tonality
– Extended frequency, greater dynamics and each instrument clearly distinguishable
– Three-dimensional sound produced
– Greater realism in the event reproduction and the position of the loudspeakers/listener is less critical
– Greater sound reach and macro/micro dynamics in all frequencies, even at a low volume. Listening to the audio system with the Harmonic Correlator is a profound experience that takes you back, as if with a time machine, to the recorded event
- Compatible with any type of acoustic loudspeaker
– Easy installation
– Different finishes and colors available
– Life warranty for defects due to construction
– Available in violin or viola versions
Sublima is sound realism!!
Nuovo Mat Chakra Limited Edition
27/1/2020
Nuovo Mat Chakra Limited Edition il richiestissimo Mat Sublima rivisto e largamente migliorato ora disponibile in poche decine di pezzi.
Primo Mat al mondo che funziona su 3 unici e singolari principi:
- Interazione Elettromagnetica
- Accordatura a cavita risonante
- Disaccoppiamento capacitivo/meccanico
Abbiamo scoperto dopo numerosi test e misure che la lettura del vinile é disturbata da tante problematiche che vanno ben oltre i problemi elettrostatici.
Sublima ha analizzato a 360° le problematiche di lettura e propone la sua soluzione in questo prodotto che parte dal gia vendutissimo Mat Chakra ma ampliandolo cambiando alcuni materiali,trattamenti e aggiungendo delle piccole cavita ad assorbimento elettromagnetico e risonanti.
Il suono che riesce ad estrapolare dai vinili non si puó descrivere ma va ascoltato! Inoltre riduce l usura del vinile abbassandone le cariche di contatto e permettendo alla testina una lettura molto piu naturale e completa.
Prezzo: €350
New Mat Chakra Limited Edition
New Mat Chakra Limited Edition, the highly requested Sublima Mat, revised and greatly improved, is now available as a limited edition.
First Mat in the world that works based on only 3 unique principles:
-Electromagnetic interaction
-Tuning and resonant recess
-Understood/mechanical decoupling
After numerous tests and measurements, we’ve discovered that the sound of vinyl is disturbed by so many problems that go well beyond electrostatic issues.
Sublima has conducted a 360-degree analysis of the problems of playing vinyl and proposes the solution with this product - starting with the Mat Chakra, a product that has already been sold extensively, and expanding on it by changing some of the materials and treatments and adding small cavities to absorb electromagnetism and resonance.
The sound that is reproduced in this way cannot be described but must be listened to! Additionally, it decreases the vinyl’s wear and tear by reducing the contact charge and allowing the needle a much more natural and complete reading.
Price: €350
Il primo Correlatore Armonico Ipertono/Fase
29/09/2018
La Sublima Audio Research è lieta di presentare in anteprima mondiale la sua nuova invenzione, il primo Correlatore Armonico Ipertono/Fase progettato da Alex Cereda con la collaborazione del CSMR (Centro Studi Magnetici Roma). Nato dallo studio non convenzionale sulla liuteria e sull'analisi del comportamento riproduttivo elettro/magneto/acustico dei violini permette un deciso miglioramento del suono in tutti i parametri.
- RIproduzione più fedele e reale degli strumenti e delle voci
- Maggiore ambienza con una distribuzione 3D come dal vivo
- Maggiore timbro con armonici perfettamente in fase che permettono un suono molto più ricco di informazioni e reale
- Fluidità del messaggio sonoro che perde l'effetto riproduttivo a favore del realismo sonoro.
Marie Christine
29/09/2018
La Sublima dopo anni di test liver/recorder è lieta di annunciare la Marie Christine una etichetta discografica che avvicina ancora di più l'ascoltatore all'evento reale.
Utilizzando un sistema di ripresa unico al mondo sviluppato in casa Sublima (YRS) e i necessori della serie Stones ,che hanno avuto successo in tutto il mondo , si offre la possibilità di un ascolto realmente non convenzionale e frutto di vera ricerca nel campo dell'acustica ,della ripresa sonora e dell'elettromagnetismo. Restate sintonizzati!