Bill Baker of Response Audio, who sells Jolida and other brands, was furious with me when I confronted him with the same criticisms you lay out . He yelled at me, You are just the latest to bring me the bad news about their new Jolida 100, and that is after I implicitly told you to play the unit for at least fifty hours before calling me! I didnt buy the unit from Bill, but Im glad I gave him a call before I sent the 100 back to Jolida Inc. I would have never known the joy I have listening to my system for hours a day.
I never was a believer in breaking in times. I always thought it was just another Audio neurosis. My experience with the Jolida has convinced me of the importance of breaking in Jolidas anyway. This Jolida certainly did respond to a lengthy break in. Thanks for reminding me how bad a green Jolida sounds like.
At least that explains the shallow and pinched stage. Many of your other complaints are the usual negatives surrounding a lot of 12AX7 tubes. I am no fan of those tubes either. The ones I choose to use are devoid of any of your criticisms.
The other major components in my system are Apogee speakers and Pass Labs X-600 monos. The Apogee Scintilla blows depth through the wall. It layers players from foreground to background as only the equally venerable Quad 63 can. The Jolida fully accommodates these delightful attributes. The Stage naturally extends the full width supplied by the speakers, with each player accurately situated.
Contrary to your review, my Jolida excels on female vocals, and males, babies, and cybers.
You are right, proper strike decay is essential to believability. I cant say I have ever heard a straight solid state system get it right. There is always that digital brake at the end. Glad you like solid state.
The bass is as full and articulated as far as tubes go that Ive ever heard. It satisfies my deep desire for good bass. The mids are to die for. Eva Cassidy never sounds brittle as she so often does on solid state players. Jane Monheit is as clear as a bell. Krall has that bit of smokiness, and Barber is so brooding.
Detail is all there, but fully integrated within the music, and not zippered out like many high end players. I hear all the breathiness of singers, individual beads rolling in a rattle, pipes that sound like pipes, wood, wood.
As for mechanical, it is a $900 machine for crying out loud. I am puzzled at your report of hearing transport noises during play. Neither I nor anyone else have heard anything of the like. Of course, none of us are sitting with the Jolida in our lap. The door is noisy and quick. I give it a demerit for that. I have seen cheaper machines that do that better. Those machines do not have a tube out stage. That, along with its linear Phillips chips raise it to a level that leaves so little for improvement. I know Wadia and Musical Fidelity owners that see the worthiness of this player. Yes, I said Phillips as do all sellers, and Jolida itself. I looked under the hood too.
I know I cant expect you to take in a Jolida and keep it for an extended break in period, but I can tell you from having the same poor initial experience, you are wrong, so wrong. Here is some good advice: Give Bill Baker a call and tell him what you have told us.....then hang up quick before the lashing begins.
