Kronos SCPS

Kronos Pro Ltd Super Charged Power Supply (SCPS)

The Story of Greek God, Cronus
As most whom are interested in the Greek Mythology may have known that the Greek supreme God ‘Cronus’ was dethroned and killed by his sons, led by ‘the son, Zeus’, whom later assumed the throne. Kronos Audio was named after that Greek God ‘Cronus’ whom was believed to be the Master of Time. In addition, music was all over the Greek Gods’ mythology. Many songs were sung and music were played of Their legends and exploits. Therefore, Mr. Louis Desjardins, the founder, chief designer and owner of the brand, decided to name his company and brand, Kronos Audio.
Kronos Audio’s flagship turntable, the Pro Ltd has been reviewed very positively by a number of prominent analogue audio reviewers around the world including yours truly. I went further to declare that the Kronos Pro Ltd turntable as the very top and best turntable that I have heard (then). As most whom have followed my audio journey and (part time) audio journalism, knew that I bought that turntable. I am happy to report that the Pro Ltd still stand tall among its peers and competitors in my audio den. There are quite a few prominent analogue audiophiles here and audio distributors whom have asked me to play out the comparison of the Pro Ltd with the other turntables in my audio den. Most of them agreed with my review and the other argued that it was not fair enough but later agreed that the Pro Ltd at its price point truly has its advantages over the other turntables costing much more.
The Kronos Pro Ltd has been in my play for more than 6 months and remained the “star” of my listening sessions here. I think you could feel my skepticism when founder and designer of Kronos Audio, Louis Desjardins told me in confidence that he would have a new and optional power supply that would truly push up the performance of the Pro Ltd to a whole new level. It is a game changer! My reply to him was “Wow!”. But in my mind then was the question, “is the Fate of Cronus coming into play?!”

“Cronus was defeated, killed and dethroned by his family”…(the Fate)

I travelled to Munich, Germany to attend the High End Audio 2016 show to witness the first public appearance of the new and option all power supply for the Kronos Pro Ltd turntable. There was no price and no release date for that new power supply that was named “Super Charge Power Supply” (hereinafter named SCPS). There, I listened to that new combo of the Pro Ltd turntable with the SCPS. Knowing the fate of the Greek Mythological God, ‘Cronus’, my question then was am I seeing the unveiling of Zeus? Then and there, I knew I was hearing something special but I could not be sure that it was the “Zeus” for the (Cronus) Pro Ltd turntable. In that given audio system at the show; Gobel loudspeakers system (a pair of loudspeakers and a subwoofer) and cables system, and CH Precision electronics, which I have only prior little experience, then and there I told Louis my finding that the addition of the SCPS, the noise floor went lower and that improved the transparency to the source music, which allowed more detail, texture and completeness to the tone in the music. To be frank, at that show, I acknowledged that the SCPS did improve the performance of the Kronos Pro Ltd, but it was not its ‘Zeus’ (hope you got my drift).

Another Ceremonious event for the possible ‘Zeus(?)’

A few months after the Munich High End Show 2016, we have the Malaysia’s KLAV (Kuala Lumpur Audio Video) show 2016 at early July which was another opportunity to showcase the SCPS for the Kronos Pro Ltd turntable. We have quite a few Kronos Pro Ltd owners in Malaysia whom have asked me about that optional SCPS and what to expect of it. Finally, when they have the chance to hear it at the KLAV 2016, their question changed to when could we have it. As far as I was concerned, the optional power supply enjoyed another successful ceremonious unveiling event. After that show, a full analogue Kronos Pro Ltd turntable with Black Beauty tone arm and ZYX Universe Premium 2 MC phono cartridge, and the SCPS were sent to a close friend of mine for a brief demonstration and listening session. I was invited to join that listening session but I was not in that “listening mode” to gauge the difference of ‘with and without the new power supply on’ the Kronos Pro Ltd, since that SCPS would be going to my audio den later. Surprisingly, that close friend of mine whom was not a “fan” of Kronos Audio turntables was ecstatic about that difference and even went as far to say that the SCPS was necessary. That whole chapter may sound like an advertisement for the SCPS but I could assure you more to follow…enjoy.

Then to my audio den, the possible “Zeus(?)”

I have arrange a small gathering of a few analogue audiophiles at my audio den to witness the installation and operation of the SCPS on my Kronos Pro Ltd turntable. The whole exercise was conducted by Louis Desjardins, since it also involved the installation of the 12″ tonearm, The Black Beauty. The cartridge used throughout this review is my Koetsu Blue Lace Platinum MC. The whole exercise took him less than an hour to install and complete.
I decided to play a familiar record that the attendees and I were most familiar and comfortable, “Kit Chan” (New Century Workshop Records NCKCLP001), a famous Singaporean Chinese diva with more than a decade of experience, performance and recording. A good analogue source with that LP would bring out her voice as intended. A better analogue source would showcase her artistry and performance. A great one would bring out the ‘presence’ of the artist’s voice, artistry and performance, and the recording venue. The Kronos Pro Ltd turntable with its standard power supply is already the turntable ‘Titan’ that was above most great turntables’ performance (considering that I have not heard all the great turntables, and my review at Mono & Stereo). The standard Kronos Pro Ltd turntable “is able to allow the retrieval of that extra detail at subsonic low, and at a much lower noise floor than the other turntables in my keep. In addition, it does ‘bass’ at a whole new improved level that have a positive attribute to the actual presentation of the “wholeness and completeness” of the musical presentation, at a soundstage that represent the venue of recording” (quote from my review of Kronos Pro Ltd at Mono & Stereo).
In addition, it made each listening session of even familiar records afresh or anew. There were times that I liked to say out loud (by myself in my audio den) that that was not what I have heard earlier. What I wanted to emphasize here was that the diva’s true recorded performance and presence were presented with such fluidity and at the highest fidelity with the standard Kronos Pro Ltd alone in my audio den, and what I have at hand comparatively.
That was what I thought until the SCPS was plugged into the Kronos Pro Ltd turntable. The reaction from the attendees were a surprise! Each started to identify the discrepancies in the playback, and some asked Louis to do something about the VTA and VTF on the tonearm. Louis accommodated their requests and played with those parameters until a consensus was made. I did not see that as a negativity, instead I saw and heard a whole new level of transparency and clarity that the SCPS brought to the Kronos Pro Ltd turntable. It took only some minutes to get the cartridge and tonearm to sing to the satisfaction of the audience. They started to sing the importance of the SCPS and its contributions to the ultimate performance of the turntable. But I reserved my comment then. I preferred to listen to a new set up by myself and in private. Furthermore, I believed that the SCPS required some time to charge up to perform its best (my habitual belief). Louis assured me that it was not necessary for it to charge for days to perform its best, but it’s better to leave it on continuously.
After the KLAV show 2016 and the above mentioned introduction of the SCPS event at my audio den, I felt tired and decided to take a break from any serious listening. In the meantime, I asked HiFi Creations’ Victor (the Malaysia distributor of Kronos Audio) to prepare my Kronos Pro Ltd for photo shooting for this review. He cleaned and shined the turntable. I believed he has added some oil into the bearing wells for both platters at the turntable…all in the hope to improve the performance (Those guys at Kronos Audio sure are busy to up their game!).
Now that everyone has left, I could really sit down on my listening sofa to take a sip of tea and listen to the SCPSed Kronos Pro Ltd turntable. I played the one album that I was extremely familiar, “Shin Miyashita”(JVC SGS-21) played traditional Japanese strings. Upon hearing the first “musical note”, I had the impression and feeling that I was transported elsewhere. The sensation was very different from what I am used to hearing in my own audio system in my audio den. It was as if I was hearing that “musical note” for the first time and at a very different room or space. I have been living with my audio set up in the same audio den for years and no introduction of any new audio component(s) {including the standard Kronos Pro Ltd} has ever brought about such impression, feeling and experience. Literally, I put down my cup of tea, and went over to the turntable to re-cue the track. I wanted to re-listen what I have just heard. Again, I was struck with that “musical note”! My next reaction was to go for my iPad to note down what I was listening. I am not accustom to start noting down what I have heard from a new audio component upon first hearing. I preferred to do so only after two months of exposure to that audio component. I was inspired and motivated, as if an artist stumble upon an inspiration.

I was shown the throne…(or stage)

Upon the first musical note struck, I realized that it came out at me from a ‘stage’ and not the playback of a recorded soundstage that I came to expect or prepared to accept. I am used to a soundstage that have depth, width and height and even one with boundaries that may be beyond my own physical listening audio den ( ,that some may term as even ‘border less’). Instead, I was treated to that musical note from a soundstage that was reminiscent to an actual stage or recording venue where Shin Miyashita performed. I know that readers of audio journals may have read of certain audio components that were able to bring the listener (closer) to the recording venue, and thus ‘the sensation of jamming with the band and etc’. Some may even believe that I am trying to describe a jet black or dark soundstage. I assured you that I am not. I have heard of such presentation through my audio system too. (But) That was different. I believed that I was hearing for the first time, to a fusion between the (playback of the) recorded venue and my listening space. Alternatively, the whole recording venue ‘came out’ or ‘extended’ into the listening space of my audio den.
Thus, it made me felt as if I could walk through time and space between my listening space to the recording venue. It’s my personal belief that that was achieved when the noise level of the playback was so low that it reached (near) the extreme low noise level of ‘real live’. I am not stating that it was dead quiet that you would not hear the background hiss in the recording, instead I point to the noise level in term of resolution or veils to the source of native recording. Alternatively, this scenario may be termed as extreme high transparency to the source.
At that level of extreme low noise floor or high transparency, I noticed that each musical note was surrounded by its own space and that space was backed by ‘another layer of depth’. Imagine that musical note was standing in its own space, in a bigger space of a hall. To illustrate this further, I played one of my favorite album, “Nah Youn Sun’s Voyage” (Silk Road Music SRM008LP), where our lady vocalist was the centre of attraction. Here, for the first time I noticed that her voice was surrounded by a space and that voice and body was backed by a depth that reached to a wall (or boundary of the recording venue). I knew of my previous experiences and I had written in previous reviews of hearing the recording venue. But I doubt I have write about having heard the back wall of the recording booth. In other words, if the recording permits, I believed that the SCPSed Kronos Pro Ltd could bring the listener to the inner depth and ultimately to the boundary of the actual recording venue. To me, that was a new definition of soundstage that reminiscent to the actual stage of the actual performance.
That ‘another layer of depth’ behind each musical note also allowed me to visualized its position within the (sound)stage. If I may be so bold, I would said one was able to experience and hear each musical notes coming out from different area or spot of even the same musical instrument, as it was supposed to be. Thus, one is able to experience the full size, depth, weight, presence and location of each musical instrument and each musical note played, within the (sound)stage.
In my previous review of the standard Kronos Pro Ltd, I commented that “there are more separation among the performers and also with their respective choice of musical instrument” comparatively. There, the presentation was spacious and that each artist, musician and performer enjoyed his or her space and enough separation with his or her musical instrument. There in my review of the standard Kronos Pro Ltd, I have stated that I could “hear more into the musical instruments played. It’s not just the performance but the actual material of the musical instrument. Each musical instrument enjoy a certain ‘wholeness’ and each note played has its ‘completeness’ through this turntable”.
Here, SCPS added ‘another layer of depth’ into the presentation that allowed me to identify the location of each artist, his musical instrument and the spot where the musical note emanate from the instrument, within the sizable three dimensional (sound)stage. To illustrate further my amazement , I used The Syd Lawrence Orchestra “Big Band Spectacular!” (Disc 1, Chasing The Dragon VALDC002), where the identifiable location of the musicians, their musical instruments, musical notes and the recording venue (which was a church) involved presented the grandeur, size and depth of the big band playing in a grand hall of an old English church. I would add that the more complex the musical passage be, the more amazed one would be at the SCPSed Kronos Pro Ltd.

The power and energy from the throne…

So far, the SCPSed Kronos Pro Ltd have brought down the noise level so low or heightened the transparency so high that I am able to discovered the above and I would coined the above as the title suggested, the throne.
Here, at the throne, the SCPSed Kronos Pro Ltd did present the tonality similar to its standard brethren. You would not hear any exaggeration on any particular frequency, unless it was in the recording. If stressed be, I would add that it’s tonality was cleaner, not analytical, comparatively. I found that the SCPSed Kronos Pro Ltd did have better imaging with better delineation and boundary. I also noticed that the image have improved vividness, palpability, density, tangibility and weight that was almost touchable and three dimensional. Add such strong and rich image with enough separation of space within a (sound)stage that was of extreme low noise, which I believed resulted each image enjoyed a “pop out from or within the (sound)stage”. I believed that the first musical note that pop out from a stage from the above mentioned Shin Miyashita album was what surprised me. I felt the impact of that “musical note”. That experience continued with each and every musical note and combined with the sensation of it popped out from different location and depth in that same (sound)stage. The heightened  level of transparency allowed the musical notes and their intended energy to travel from the recording (venue) to my listening space and touched my soul, as if they shared the same space and time.
The standard Kronos Pro Ltd would have satisfied the most avid analogue audiophile with its three dimensionality, weight, presence and vividness of tones and the ‘wholeness’ of the musical instrument. In addition, it was famed being able to bring out and present that energy and life stored in any recording. Therefore, it presented the music with an unprecedented dynamism and low bandwidth energy through my audio system in my audio den then. As I have stated above, the SCPSed Kronos Pro Ltd have elevated the level of transparency to another unprecedented level, which brought us to the next point. The heightened transparency brought about an additional fourth element to the three dimensionality and ‘wholeness’ above. That was something I have not experience with my other analogue sources. To me, I could better describe that fourth element as ‘vibrational energy’. It presented the musical note as lively tone(s) that was not only floated with an appropriate ‘anchor or leg’ and ‘feet’ into that soundstage, but vibrated with a differing level of energy, as if that tone has a life of its own. That vibrational energy has allowed me to better recognize even the material(s) used in making the musical instrument involved. I could testify that wood have not sounded so organic, metal so shimmering, and different strings vibrate so differently through that SCPS Kronos Pro Ltd than any I have yet heard, comparatively.
Another very familiar album that was dug out for its well recorded piano notes was “Fairytales” by Radka Toneff (vocalist) and Steve Dobrogosz (pianist) [Odin LP03]. The artistry of the pianist include among others, the art of pressing or playing each key at the right tempo, force or pressure. Here, each piano key and note floated out at different location and depth within the soundstage. You could hear each note coming out from different part of the piano thus allowed the listener to appreciate each key, better and clearer. The tempo of the pianist was never so clearly presented as if he was showing and teaching the listener. I did not feel that the tempo was purposefully done slower but each key’s life and destination became clearer. You have that feeling that your ear and mike were placed in the same location in that piano at the recording venue. In addition, each piano note was so vivid with weight and value, and has that ‘vibrational energy’ which allowed the listener to feel the vibration and energy cutting across the string attached to the particular piano key or paddle.
My next album at play was not one that I am familiar with but highly recommended by my audiophile friend, the original motion picture soundtrack of “Memoirs of a Geisha” (Sony Classical, Music On Vinyl, At The Movies MOVATM074). That was a powerful play of orchestra music that represented well the tough journey of a geisha. As I heard that album for the first time, I knew it was not just the grandeur of the presentation alone that captivated me nor was the dynamic and attack of the orchestra. It was how well the sum of all that represented the power of interpretation and presentation of the movie character’s (geisha acted by ZiYi Zhang) journey. The SCPSed Kronos Pro Ltd brought in the fourth element into the presentation, that was the vibrational energy unto every note’s tone. You realized that each note was alive with energy, and with a beginning and an ultimate ending. Here, take any musical instrument in the complex play and direct your attention to the lifespan of a note from it, you can experience its most vibrant stance that easily capture your attention and when it reach its near end, you will realize that it will be missed, as if life itself.
The realization of that vibrational energy from each tone of a note brought about the better appreciation of the musicians artistry of control over their respective musical instrument. You realized that in a musical play, it was not just for the musicians to play each note at the right time and tempo correctly but at the ‘right energy’. That ‘right energy’ brought in the desired vibrational energy that touched the listeners’ soul that impacted an emotional reaction.

…at the right time!

I still remember the advertisements of the famed Linn turntable that emphasized (still do) the importance of pace, rhythm and time or tempo (PRaT). Ultimately, it said when a turntable rotates at the right speed will result in you hearing each note’s beginning and end, and follow on to the next note. Thus, you be following the music as intended. Nowadays, most high end turntables including the standard Kronos Pro Ltd, come with electronic speed control that ensure rotation speed accuracy. The SCPS does not add any additional electronic to better monitor the rotation speed on the standard Kronos Pro Ltd. It only provide ‘better power supply’ to the already installed two motors system and electronic rotation speed monitor system in the standard Kronos Pro Ltd.
The SCPSed Kronos Pro Ltd, has that level of transparency to time, that allowed tempo to take on prominency like no other analogue source that I have heard of (of course, I have not heard them all). Tempo is something we can easily take for granted in a live musical presentation. If a missed note does played out, we can easily identify and blame on the musician(s)…”there is a mistake!” (But) For an audio system to play back pitch accurate note, it is no easy feat. I would qualify that the standard Kronos Pro Ltd was great at exacting the tempo of the recording. I am sure you realized that it is named after Cronus, the Greek God whom was Master of Time. There, you already  be able to follow and hear the life (beginning and end) of each musical note at its intended tonality from the high to the very subsonic low frequencies. It was until the introduction of the SCPS into the standard Kronos Pro Ltd that opened up a new horizon of detail in the form of ‘vibrational energy’ within each musical note, that brought about a new meaning to tempo, that include being able to follow the beginning and end of that energy which could be heard and felt. Alternatively, the SCPSed Kronos Pro Ltd proved that tempo is not only able to hear and follow the life of a note, but also able to experience and feel the differing value of energy from the life of a note, and unto the next note.
To illustrate this point, I played another favorite soundtrack of mine from the motion picture “The Man from U.N.C.L.E” (Sony Classical, Music On Vinyl, At The Movies MOVATM056). Here, the orchestra would be at high octane and energy, with most musicians at play in one instance, then the next moment could be drums on solo and the next would turned to be a solo blow of a flute. The amazing thing was that the SCPS Kronos Pro Ltd was able to maintain that intended level of excitement and energy and without losing its grip and transparency over the minute details of each musical note’s life from every musical instrument in the entire play. The recording venue of such soundtrack is usually big and most definitely bigger than most audio room.
The SCPSed Kronos Pro Ltd was able to bring that sensation, presence and scale of that orchestra in its recording venue into the presentation. I believe that the right tempo or time accuracy in playback is crucial to the ultimate transparency for such above mentioned detail. In the same album, there were mixes of some songs that were taken from elsewhere. This turntable would present them as per their recordings, ie: at the tempo throughout the record but clearly the difference in recording time, space and method. The other analogue sources that I have at hand could showcase such differences too, but not as apparent and as quick. Both the Clearaudio Statement and TechDas Air Force One turntables have speed adjustment feature, “Pitch Control”. That feature allow the user to manually better obtain accuracy in rotation speed and/or manipulate the rotation speed to obtain the desired pitch enhancement (thus the name of the feature). I have tried Sutherland Time Line to fine tune or adjust the rotation speed of both turntables. I have to admit that all three turntables were not having the same cartridge, tonearm and phono cables. In addition, they were not on the same audio rack, but they were connected to the same audio system, fed by the same electrical phase and in the same audio room. All three turntables rotated as perfect rotation speed as could be gauged, but I found the SCPSed Kronos Pro Ltd has the higher level of transparency to minute detail and so forth. If I may, rotation speed accuracy of a turntable is very important but other design issues may be as nearly important toward the ultimate performance, and that the SCPSed Kronos Pro Ltd have proven to me to be the case.

The Voice of Temptation…

I still believe that most audiophile, especially more so among the Asians, love to use the human voice to gauge the performance of an audio component. It is the most recognizable tone and sound since we are exposed to it so frequently. I think another reason is that we are looking for that emotional content in the artist voice. The better or higher the resolution of an audio component, the more emotional content will be presented. To me, higher resolution is achieved when an audio component, being a conduit allow more of the native recording, its detail and color to be presented with the least amount of adulteration. Ideally, I am sure most artist, recording engineer and producer of a recording want their original content with all the emotional and other details to reach their listeners or fans unadulterated. Some claimed that they can be a better judge because they knew the native recording as they were present at the recording, and/or heard the master tape. If I might argue, what one heard at the recording studio may be very different from the master tape since it involved another hand or person, the recording engineer and the electronics. Alternatively, hearing the master tape involved very different electronics and transducers. To me, if I may suggest, is to compare all in your audio system that you have better familiarity and whichever give you more in term of resolution will be the better conduit to the native recording, even if you may not be agreeable with the color of presentation. In other words, I do not use the color of presentation as the ultimate gauge factor.
In comparison, the standard Kronos Pro Ltd has brought about a “fluid, natural, vivid and detail vocal presentation with additional depth, breath, palpability, energy, and dynamism. Next, I found the legibility of each word in the lyric to be of great pronounce, and with it a tail to an end. You are able to follow the last word’s exaggeration to an end. The full stop at that sentence is clearly sang out” (review of Kronos Pro Ltd at Mono & Stereo).
The SCPSed Kronos Pro Ltd have brought out in me a hunger for more music in the music that I have known very well. Yes, I admit that ever since the SCPS came into my Kronos Pro Ltd, I have been listening to music or records that I am most familiar. To be frank, I am amazed that I missed out so much in these records. So, like any other Asian audiophile trying to gauge a new audio component, I picked back another very familiar vocalist album, “Nah Youn Sun’s Voyage” (Silk Road Music SRM008LP). Here, I was used to a presentation of high level of transparency to her voice, presence, emotion and artistry.  As suspected, the SCPS’ new height of transparency thus the ‘additional layer of depth’ have brought me to notice that the artist’s voice was backed by a certain space behind her that presented a level of realism of a ‘full person standing in a recording booth’. That was not just space surrounding her voice to better separate the vocal from the accompanying musicians, but more so a clearer vision of the artist’s body or her ‘fullness and essence’ in my listening den and space. Alternatively, the presentation was Ms.Nah Youn Sun ‘popped out’ and stood out from the accompanying musicians (whom enjoyed the same effect too) within a (sound)stage. What further surprised me was that her voice shifted from what I am used to. She sounded more relaxed in her expression or the way she sang the lyrics. The words did not sound as congested and the control of breath was not as haste comparatively. The presentation shifted to her being more ‘whisper-ish’, and intimate and personal to my ears. If I may be so bold, I found her voice to be so intimate as if she was breathing to my ear, and to the extend that the nuances of fluctuation in her voice was clearly presented and at a melodic tone too. Henceforth, I noticed that there were details in that very familiar recording that eluded me. For example, at the first track, “Dancing With You”, I discovered that her whistling was so clear and at a recognizable melody compared with what I was used to hearing a ‘struggle to whistle’ (sorry Ms.Nah Youn Sun).
Another album at play was Lyn Stanley “Interludes” (A.T. Music LLC 3104), where her voice was easily recognizable due to my recent chat with her, in person, at the Munich High End 2016 show. Recently, she has been doing some appearances and presentations at audio shows (United States, Europe, Japan and etc). Here, I wanted to know if her voice would sound different from what I heard her in real live. To me, Lyn knew her voice well and talented enough to present the songs in the album without much act on her voice but sang out in the most natural manner, (to me) that was intimate, emotional, soulful and playful. I have heard that album through the standard Kronos Pro Ltd and have discovered how accurate Lyn’s voice was presented. What more could I have with the addition of SCPS? The addition of SCPS did not change her voice, but brought about ‘more’ into her voice that reminded me of our little chat. Alternatively, I could put it that the SCPS brought her ‘closer’ into my listening den. There was more nuances, fluctuations and the clarity in all of her expression and singing of the words in the lyrics. The weight and way in her breath(ing)  while she sang became more apparent in the presentation thus lent more realism.
Another recent shows favorite was Vanessa Fernandez “Use Me” (Groove Note GRV 150-1). I could easily appreciate the reason behind that selection. Here we have a wonderful lady vocalist that has some originality in her artistry and voice, and backed by wonderful and energetic music. Through an appropriate analogue player, you could easily enjoyed that album. It was recorded with an atmosphere of ‘listening live at a pub’. Through the SCPSed Kronos Pro Ltd, the sensation of ‘listening live at a pub’ was never more real (even when compared with standard Kronos Pro Ltd). It was that extreme low noise that brought the sensation of the pub into my listening room. Here, the presentation was so real that as if both recording and listening venues shared the same air, atmosphere and noise level [of course, no listening space is of 0dB]. I must qualify that the addition of SCPS did not make the background hissing noise embedded in the recording disappeared but presented it at a constant and stable manner, and at a lower level. Thus, I believed, resulted the heightened transparency to the source. I have spelled out above that the SCPS introduced the fourth element, ‘vibrational energy’ unto the tone(s). In that fine recording, I discovered that the recorded human voice could have that same property as any musical instrument’s tone. Here, Ms. Vanessa Fernandez’s voice have a presence and vibrational energy that could be felt even over at my listening seat. Alternatively, her voice was thrown at me with all the details of weight, energy, emotion, artistry and soul. The whole presentation was not veiled in anyway recognizable, therefore most enjoyable. I could say the same for the accompanying musicians too; they played with full of energy and dynamism that was refreshing and alive (thus the ‘live at the pub’ feel). Here, we have a fantastic vocal type album, with a ‘rock feeling’ in the music. The problem for some inadequate turntables was that the music could easily overwhelmed the vocal (to say the least). The SCPSed Kronos Pro Ltd maintained that presentation well as intended by the artists, recording engineer and producer. The vocal took the lead in her own spacious space, and the accompanying musicians played in their respective spacious space within the same time and space. Thus, each artist enjoyed his or her identity, entity, energy and presence. To me, that was as real as it got for a playback recording.

The Proposal.
The SCPS entered into my audio system through the Kronos Pro Ltd. It came with a supposed simple proposal to supply better power to my turntable ‘Titan’. To my surprise, it did more than I could ever anticipated. The SCPSed Kronos Pro Ltd showed me the new ‘throne’, and that the ‘throne’ have so much more ‘power and energy’. It educated me that at the ‘right time’, all will be in hand, thus the ‘voice of temptation’.
I realized that I have entertained ‘Zeus’ into my audio system and he had proposed a new Titan. The SCPSed Kronos Pro Ltd is in every way imaginable superior to that of the standard brethren. At the total asking price of the Kronos Pro Ltd and the SCPS, they remained the ‘no brainer’ choice for those who seek the best. I would submit the SCPSed Kronos Pro Ltd as the Analogue Fellowship Ultimate Analogue Source 2016!