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On track 2 of Chet Baker's music from the film Let's Get Lost (Novus 3054-2-N), I felt I had opened a door into the recording studio, entered, and stood quietly in a corner, privy to all going on within. It swelled up like some giant tidal wave threatening to engulf all within its reach, surrounding my listening seat and leaving me, jaws askew, disbelieving what I was hearing. My speakers met the challenge, and I was rewarded with some of the most coherent, focused low-bass I've heard. Low pedals were reproduced with weight, body, and pitch definition, offering a challenge to my Acoustats. Inner voices only hinted at in past listening sessions came to life on the Tercet Mk.III, becoming vital elements in the performance of, and my appreciation of, the music. In fact, I don't believe I'd ever heard as much music in this piece before. Chapuis causes it to sing, and so did the Tercet Mk.III. Whoops! Let me rephrase that one: On track 8, the organ of the Basilique of St. On track 8, Michel Chapuis's organ sings. The music of Louis Couperin came to life on the Tercet Mk.III, resulting in a totally enjoyable and involving musical experience. The strings "buzzed" as they should (which, in this music, is most of the time).
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Inner harmonics, hanging on their own cushions of air and well-separated from the fundamentals, were captured exquisitely, lending an often-missed depth to the music. Listening closely, I sensed the entire instrument vibrating from the floor up. The resonating capacity of the instrument is fully explored in this fiery performance, and the sound did not disappoint. The tonal balance was excellent, with no register calling attention to itself. Blandine Verlet's Hans Ruckers II harpsichord (track 7) never sounded better.