Kondo's Ongaku (Music) expander, which has been set to be aristocratic since its

inception, was listed for $100,000 in 1980. Each Ongaku uses more than 20 pounds of
sterling silver to make resistors, capacitors, wiring and, most critically, transformers, so
even though most enthusiasts recognize ongaku as having given birth to a new life in
music, few can enjoy it. While there are cheaper equipment in the Kondo family, the
KSL-M7 front is undoubtedly the easiest product to get close to. The earliest member
of the

Kondo family

Today's Kondo is famous for its vacuum tube machines, but many people don't know
that one of their earliest products was the M7 front stage. Surprisingly, Kondo's first
front stage did not use an electronic tube, but was developed by Shigeru Trerada and
Shindengen for anti-high voltage FETs. Field-effect crystals are often used as voltage
amplification, and FETs have properties similar to vacuum tubes, producing rich even
harmonic distortion, but their low pressure resistance (about 50V) makes them
difficult to exploit. Terada's FETs are resistant to 200V voltages, making design easier
and reducing distortion. Kondo's predecessor used this FET called Meister-7, or M-7.
This was followed by a cleaner M-7 II, which used the Cascode circuit for lower
distortion in most of the releases, using oil-immersed capacitors as a cross-link
coupling. The M-7 was discontinued after producing 100 units, and it is said that some
products are still in storage.
Kondo later introduced a higher-order predecessor named M77, and the
current president, Yasser Ao, explained that the Japanese liked the number 7. The 7th
Chinese in Japanese pronunciation is "happy"; the child's birth is named after the
seventh day as the "Seven Nights of the Royal Palace"; and this is also the lucky
number of Christianity - It took seven days for Christianity to believe that God was
created. In short, the Japanese least favorite number is 2, 4, 6, in Japan to see the tail of
a string of "6" license plates, will not be a good number of local bidding, the opposite of
3 and 7 is Geely's good color head, gift-giving mostly send three pieces. Kondo
superstition cannot be said, the M7 and M77 pre-levels only reflect the japanese
preferences.
The second generation of the M7 pre-series, called the M7 II K, was introduced in 2000
and looks the same as today's KSL-M7, with only the english number
in the middle. But from this point on, the M7 front stage was enlarged with tubes and
subdivided into four different models, namely, M7 Phono (only the head is enlarged,
using 5751 tubes 2, 12Au7 tubes 2, 6X4 rectifiers 1), M7 standard version (with singing
head and High-power input using 5751 tubes 2, 5687 tubes 2, 6X4 rectifier tube 1), M7
Line (only high-level input, using 5687 tubes 2, 12AT7 tubes 2, 6X4 rectifier 1), The M7
Signature Edition (also with a head and high-level input, using precious antique vacuum
tubes and better volume potentials).

The latest KSL-M7 first generation M7 pre-level to second generation reform, during
which after 20 years, on the one hand, koondo founder Hiroshi Ito's conservative style
in the world, on the other hand, it can also be seen that Kondo has always only a very
small number of cutting-edge guests to buy, so he can remain unchanged
Since Luzeyaki took over as president, Kondo has shown a younger energy, launching a
heavyweight vinyl disc, with four Western Power 300B magnified Kegon expanders,
four 2A3 output power only 10 watts of Souga expanders, etc., the third generation of
KSL-M7 pre-class was born in this context. The biggest improvement is the tube, the
KSL-M7 also has Phono, Line, standard version of the three, the use of electronic tubes
are also different. KSL-M7 Phono head amplification using 12AX7 tube 2, 12AU7 tube 2,
6X4 rectifier 1; KSL-M7 Line uses 12Au7 tube 2, 6X4 rectifier 1; standard version uses
12Au7 tube 2, 12 Axe7 tube 2, 6X4 rectifier 1 tube. The second generation of M7 front-
level use 5687 double tripode (E182CC), according to Kondo is 5687 tube sound is not
so bright, with CD source hearing "digital sound" is less obvious. But with the
emergence of new digital carriers such as SACD and Blu-ray, Kondo can no longer stand
still, so it is replaced by a new, more versatile tube.

A friend asked why the Kondo products they bought sometimes had different vacuum
tube brands. It's also a very helpless thing to say, good vacuum tubes are getting fewer
and fewer, although Kondo tries to stock some antique tubes, but one day will run out.
In the case of (Gakuon II mono rear, using 2 older new GE 211s per channel, who knows
how many of these old tubes are there?) Kondo, however, has a bad temper, and even if
you switch to different brands of vacuum tubes or parts, they will require fine-tuning to
make the final sound look the same. Take Ginga Galaxy vinyl disc as an example, the
motor and the turntable driven by the seamless line, only a few companies in Japan can
produce, Kondo needs a small number of manufacturers simply do not want to produce,
in this case, Kondo would rather temporarily shelve this vinyl disc is not listed, rather
than compromise. Take Kondo is developing the horn, silver high-pitched diaphragm
nowhere to help, can only be produced by hand, and the bass monomer's special
diaphragm is also facing production difficulties, Kondo look around for results, the final
combination of sound must meet Kondo's aesthetic standards to launch.
 Kondo KSL-M7 is made slowly by hand

I got this standard version of the KSL-M7 front-level singing head put most of the 12Ax7
double triodes, using the Yugoslav JJ's ECC803S, the high-level part of the 12Au7 with
sylvania products, 6X4 rectifier is Philips ECG products. In addition to vacuum tube
differences, KSL-M7 front-stage materials maintain Kondo's consistently high
standards, such as tantalum silver wire pin resistance, silver foil capacitors (a total of
10), silver machine wiring, ALPs top potentials, etc., these are other special accessories
not seen by the expansion machine. The power structure is very simple, first a 6x4 tube
rectifier, then CRC filtering, but four electrolytic capacitors with Kondo were previously
expensive Black Gate-WKZ, now estimated to be replaced by M-cap or JENSEN
(judging from the pin). It is said that DIY friends on the replacement of four 100 100
100/350V BG-WKz, the sound immediately changed. High frequency becomes more
rounded and smooth, medium frequency full density is high, low frequency is very
stable, the sense of hierarchy is obvious, strong enough, burst music more relaxed. I
don't encourage enthusiasts to do this, but the KSL-M7 pre-grade is the only one of
Kondo's products that can be "upgraded" because of its flat price, and you're afraid to
take the M1000 pre-level. But don't forget, there used to be a saying when reading, from
50 points to 90 points is not difficult, 3 months of effort may be OK: from 90 points to
98, 99 points is very difficult, perhaps a year; The KSL-M7 has 95 points in its front, so
it's not easy to get it to the next level.

Fresh and pleasant sound The audition was not accompanied by Kondo's co-factory

expansion machine, originally equipped with a Kondo KSL-ACz power cord, which looks
good

The rear stage uses the Swedish Bladelius Ymer Jumbo (300 watts of output power) and
the Musical Fidelity M6 (260 watts of output). Push the Italian Sonus Faber Liuto horn,
the French Cabasse i02 bookshelf horn, the Swedish XTZ99.38I landing horn. The feed
is connected by a Music Fidelity M6 CD disc, all connected by a Crystal silver signal line.
Both rear-stage expanders are brave and powerful types, Bladelius Ymer is fairly neutral
and warm in sound quality; the Musical Fidelity M6 is straightforward and undecorated,
and they can all drive these pairs of horns, and what role can the KSL-M7 front stage
do?
Let me start by saying that Kondo's sound aesthetics, before and after the second visit to
kondo factory, with President Luzeyaki to enjoy Toscanini's "New World Symphony",
very impressed. Simply put, Kondo's pursuit is "light and elegant", whether it is the
expansion machine, singing head, wire, are with a rhyme to impress people. The line is
not important, parts can not be bound, Kondo can always let the audio equipment to
express the elegant innocent and elegant noble temperament. And we also found that
only a single Kondo equipment still can not reach the highest level, the best from the LP
disc, expander, speaker to wire a full set of their products, that sound is enough to keep
people connected. I have said that this sound is like a light ink painting, but also coated
with a layer of vitality and vitality, a little more gold shines, as if it is Japan's shida
floating world painting. Ito is particularly fond of Toscanini's conductor, perhaps we can
understand that Kondo's sound equipment is also like Toscanini's music passion, but at
the same time not flashy, concise and bright, singing, with a distinct personality and
vitality.
With this understanding, take a look at the sound performance of the KSL-M pre-level,
which includes the Musical Fidelity M6 pre-class and the Bradelius Saga class. The M7's
most attractive aspect is its unique luster and brightness, its wonderful musical taste
and two crystal reference machines, transparent and wide space performance is quite
rich, low-audio segment compact lines clear. Strictly speaking, M7 has a bit of
beautification components, but how, it sounds very natural tone and strong infectious
force, let people's eyes for one of the bright clarity and sharpness, super audio-visual
resolution, with a fairly abundant output strength, no matter what kind of music can be
properly replayed, string ensemble texture soft and natural, this beautiful natural
reality, like vacuum pipe taste but not rich light elegant performance is not heard!
I've heard the Kondo M1000 MK II front stage with the Swiss Tianqin Orpheus' most
advanced Privilege mono rear (output power 350 watts) to push the Dutch Kharma
horn, which plays back the orchestra with a huge sense of energy balance, open and
stable comfort,
The tone makes people feel very detailed and noble and beautiful, everywhere beautiful,
transparent space reproduction has become the greatest advantage. The KSL-M7 front
stage has a slightly lower sense of scale and energy than the M 1000 front stage, but
their transient response is very agile, with the general vacuum tube machine lack of
living sense and rare sharpness. Whether it's the singer's ability to outline, the subtle
message of the instrument playing, the KSL-M7 is unstinting. Sound quality in the
refreshing mix of aromatic fragrance and elegance, which should be common to all
Kondo products, the tone bright smooth smooth, medium and high frequency of light
and elegant, and the spatial level of the effect of no bit of phase confusion, proved Kondo
"simple is beautiful" sound philosophy.

In low frequencies Kondo's pursuit is natural without exaggeration, with enough

strength and control, lines cleanly condensed and fast, rather than, spreading mud
there. Compared to the reference machine Bladelius saga, it is no less fast and explosive,
but Kondo bass is a little more elastic and soft, not so masculine and reckless. Kondo
can't talk about the momentum or the shock of the bass, it is replaced by another way,
with a lifelike sense of sound field space to attract people, in the bass rapid and agile
portrayal, the phase of the sound field is correct and undisturbled. The playback of the
strings is very natural, and the loose scent of the strings seems to surface. This pre-grade
engraved vocal and musical instruments like three-dimensional and realistic, no fat fat,
nor lean ribs, in a few pairs of floor-to-ceiling boxes can present the correct proportion
of human voice and musical instruments. The degree of silence in the background is also
one of the advantages of the native praise, the maximum volume noise is almost unsung.
The KSL-M7's full-frequency coherence is perfect, especially from high frequency to very
high frequency extension, all fully the "pure silver spirit" at a glance.
High frequency is charming, many enthusiasts like Kondo's medium frequency, that
kind of light and relaxed, effortless, more than a point too
thick, minus a point tasteless characteristics, in KSL-M7 body also get very good
embodiment. Detailed, soft, distinct, permeable, three-dimensional and other adjectives
can be used in its performance. Replay of the vocal changes in the singer's mouth, the
tone of the song mood, the melody of the leaping motion will make people give a thumbs
up.