But even then, the underlying evaluation system can't be completely switched off - not even when a record is on the turntable that already thrilled us in the mid-80s: musically, not necessarily sonically. Yes, you guessed correctly that a double bass plays an important role on it, namely the one played by Eddy Gomez, who recorded Music For Flute And Double Bass with Jeremy Steig at the end of 1978. The CMP record is so dear to me that I've had a second, brand-new copy on my shelf for some time now, just in case something happens to the copy that's been played for over 40 years.

The rhythmically and harmonically nuanced interplay between these contrasting instruments, in which additional voices also participate thanks to studio technology, is what makes the album so appealing. While the use of numerous effects such as octave divider, Mutron Bi-Phase, Echoplex, and ring modulator for the flutes provides variety, it often lends the sound a somewhat inorganic quality. Eddie Gomez's basses, including a 5/8 model, were recorded via a pickup. When the Wilson Benesch takes over the recording, additional micro-details suddenly become apparent here and there; the flute's sound isn't masked by the effects, as the instrument's tone and the layers of effects above it are simply more clearly differentiated, and even the less-than-ideal bass sound becomes more realistic and grounded. I haven't heard the album sound so finely detailed and emotionally engaging in over 40 years. The transients, which now come remarkably close to those of a live acoustic instrument, certainly contribute to this. The interaction of flute and bass with the virtual space was also previously not so clearly perceptible. I'm really not exaggerating when I say that I've never experienced the LP as intensely as with the Prime Meridian system.

Naturally, after my initial, overwhelmingly positive experiences with the Wilson Benesch, I was curious to see what other unheard-of details it might reveal from the familiar test records. The answer is simple: more information. Sometimes it's a handling noise, sometimes a bit more air surrounding an instrument, sometimes a more lingering reverb tail, sometimes a touch more depth to the soundstage – and all this without ever sounding even remotely cold or analytical. The Prime Meridian system seamlessly integrates these sonic nuances into the musical flow: they are present when listening critically, but never intrude when you primarily want to focus on the music itself: simply perfect! However, I'll spare you and myself the trouble of assigning these new discoveries to specific test records. There simply isn't a single record where the Wilson Benesch didn't offer a little something extra compared to all the other turntables in my listening room.