AudioEnz

New Zealand’s hi-fi magazine www.audioenz.co.nz

June 2008
Web page printouts from
the latest issue of AudioEnz

http://www.audioenz.co.nz/acrobat/issues/2008/2008-06.pdf

AudioEnz editor: Michael Jones ph 09-478 1301

 Arcam Solo Mini
By Michael Jones
June 2008

Arcam Solo Mini. $1599.

“That sounds great,” I said, as soon as the music started.

Phil McIsaac, from new Arcam distributor Storm, had

popped around with a new product from Arcam. We
had just unpacked the Solo Mini, plugged in into the
power and into my Epos ES14 speakers. Pop in a CD,
press the go button and out came this engaging music.

The CD was James Hunter’s People Gonna Talk. It’s a

wonderful CD that manages to sound both old and
brand new at the same time. Hunter’s first song, the title
track, could have been a lost Sam Cooke classic but with
a hint of a reggae lilt. (The CD, on Rounder Records
through Elite, is readily available. You should buy a
copy. Thanks to Wellington muso and forum member
Darren Watson for recommending this CD to me)
Buttons on the top of the Solo Mini make control of the unit easy
My expectations for the Solo Mini weren’t high.
Experience has taught me not to expect that much from
a small, single box trying to do everything. Sure, a
mini-system like the Denon DM33 can offer a surprising
performance compared to many other minis. But it’s
still not real hi-fi.

But the Solo is different. It really does reproduce music,

The front of the Solo Mini. Below the display is a slot-loaded CD
rather than just sound. Back to that James Hunter CD. drive. A USB input is at lower right.
Through the Solo the music had momentum and a
sense of liveliness that was beguiling and made me want
to listen further. By now Phil had a big grin on his face.

Descriptive words
Arcam call the Solo an “All in one music system”. It’s a
mere 230mm wide (most hi-fi is around 430mm wide)
but is 350mm deep. Below the large display is a slot
loading disc drive, much like those found in car stereos Rear panel connections of the Solo Mini.
and many computers.

The front panel also has a mini headphone jack, a mini input jack (useful for MP3 players, perhaps) and a USB input.
The USB input can be used for playing music stored on USB memory sticks, in WAVE or MP3 format. Curiously, the
Solo doesn’t support music in the open source AAC format, the default format for iTune rips. USB memory sticks have

http://www.audioenz.co.nz/2008/arcam_solo-mini.shtml
 been increasing in size rapidly over the past couple of years. Indeed, you could store the entire output of the Beatles,
uncompressed, on a memory stick. (That sound you hear is the Beatles lawyers sending me a letter).

There’s an optional, extra cost iPod dock available for that ubiquitous device. The rDock costs $399 but promises
much, with its audiophile grade op-amps and regulated power supply. Despite being a long term Apple fanboy, this
writer owns no iPods, so couldn’t try it out.

All of the Solo’s controls are along the front of the top panel. They’re easy to access and easy to see. But you’ll probably
drive it from the supplied remote control.

On the back are four inputs, a tape output and a pre-out for connecting up a separate power amp. The latter seems a
curious choice, as it goes against the one-box idea of the Solo. There are also connections for radio aerials and binding
posts for speaker connections.

I never did try the USB input in the time that the Solo was in my procession. And, after packing up the Solo, I realised
that I hadn’t tried the tuner section either. Oops, sorry.

Back to the music

But back to the music. While playing further tracks from the James Hunter album and entertaining Phil with some of
my collection of clever cover tunes, I was delighted with the sound from the Solo.

A lot of what I found so great about the Solo was what it didn’t do. It wasn’t thin or lean sounding, like a lot of cheap audio
can be. Instead, it kept the natural warmth and body of voices and instruments. It wasn’t grainy, it wasn’t harsh and it
wasn’t tizzy.

It did bring out the sense of momentum in music that a lot of stereo systems reduce. This momentum, or pace and
rhythm, is what helps make music engaging and makes you want to continue listening. In fact, the Solo Mini does a lot
better in this regard than does many recent Arcam components!

The Solo Mini is rated at 25 watts per channel. That doesn’t sound like a lot and in reality it isn’t. With my 86dB Epos
ES14s and largish lounge, the Solo Mini struggled when I tried to achieve “listening from the kitchen” levels. When
pushed, the Mini compresses the volume and hardens in sound. In more normal circumstances (more efficient
speakers, smaller room and sensible expectations) the Solo Mini should be fine.

I was very impressed by the Arcam Solo Mini. It’s small, easy to use and, above all, really does play music.

http://www.audioenz.co.nz/2008/arcam_solo-mini.shtml
 Cambridge Audio TT50
By Michael Wong
June 2008

Cambridge Audio TT50 turntable. $899

Back in the 1990’s vinyl playback appeared to be on its
last legs. Now it seems vinyl records will outlive their
successor, the Compact Disc and its successors, the
ill-fated SACD and DVD-Audio. It’s hard to believe that
today’s buyer has never been offered a better selection
of turntables. From affordable turn-key models to the
exotics that cost more than a good luxury car. Into this
burgeoning market budget audio specialist Cambridge TT50 turntable, shown here without the perspex lid
(click for larger image)
Cambridge Audio has introduced the first turntable
in their 40-year history.

For assistance Cambridge Audio went to the established leaders in affordable turntables, Project Audio. This was a
smart move as using Project’s expertise in the field was more efficient and less of a drain on time and resources than
attempting a new ground up design solo.

Collaborative design
The result of this collaboration was the TT50, a basic manual turntable/arm/cartridge combination which bears a
strong resemblance to the recently reviewed Project 1Xpression 3. The Cambridge takes several Project design
features; the glossy piano finished plinth with removable clear perspex lid, rubber suspended belt drive motor and
stepped pulley for manual speed selection, outboard power supply, MDF sub-platter and power on/off switch tucked
under the left front corner of the plinth Project style.

From here the Cambridge takes a slightly different direction. Instead of the 1Xpression 3’s damped aluminium cones we
have the standard Debut type plastic feet. Replacing the carbon fibre tonearm is a Cambridge branded arm using
Project’s one-piece aluminium armtube with integrated headshell and removable fingerlift. The bearing assembly is
uniquely Cambridge with a magnetic anti-skate mechanism, whereas Project uses a thread and falling weight. Finally,
Cambridge chose a rubbery elastomer coated acrylic platter instead of the usual naked acrylic platter. This leaves the
platter grippy and not needing a mat but without a label recess some records may not sit flat on the platter. As with the
Project, a simple clamping system would be beneficial.

Setup
Following the clearly written and illustrated instructions, the initial setup was a matter of simply placing the turntable
on a level surface (I used a Linn turntable table), removing the transit screws, fitting the platter, balancing the arm and
setting vertical tracking force (VTF) and anti-skate. A check of the factory cartridge alignment showed it was spot-on.
Like the Project 1Xpression, the Cambridge does not have a captive arm lead, the plinth being fitted with RCA output
sockets, giving the user freedom in choice of interconnect. Diluting the experience is the omission of even a basic
interconnect, although a separate earthing cable is supplied.

As usual with turn-key turntables, the Cambridge was auditioned with the supplied cartridge, an Audio Technica
AT95E, a richer, warmer sounding cartridge than the usual Ortofon OM freebie. This fed my regular vinyl playback

http://www.audioenz.co.nz/2008/cambridge_tt50.shtml
 chain of the Plinius Jarrah phono stage, Krell integrated amplifier, Magnepan MG1.6 speakers. XLO cabling, including
a dedicated phono cable was used throughout.

Killing me softly with his song

The Cambridge reproduces music in a softly, softly fashion. Music is engaging, with good rhythm and punch.
Soundstaging was good with speaker to speaker width, good height and reasonable depth. There’s good presence and
palpability to the sound but the imaging is slightly out of focus and missing the three-dimensionality and immediacy of
more expensive turntables. Tonally, the Cambridge gets the basics right; in typical budget fashion the highs are rolled
off robbing music of air and sparkle but the all-important mids are smooth with a touch of lower mid warmth, the lows
don’t go very low or are all that well defined but satisfy thanks to help from those warmish lower mids. Dynamically the
Cambridge noticeably softens leading edges but maintains a good sense of timing with a variety of music. Detail and
transparency is a little less than the norm for this price point. Overall no real nasties, only relatively minor sins of
omission, make the Cambridge a musically rewarding turntable.

Comparatively, the Cambridge’s performance holds up fairly well with the other turn-key turntable systems I’ve
reviewed over the years. It betters the Project Debut ($499) and the original Project 1Xpression, being roughly on par
with a Rega P1 ($699). However it doesn’t do quite so well against the Project 1Xpression 3 ($899) or the
benchmark Rega P3 ($1249).The Cambridge sounding less refined and providing a more narrowly focussed band of
musicality.

It’s a fine plug and play turntable but it doesn’t offer the same class-leading performance or value for money as other
Cambridge Audio products.

For your nearest Cambridge Audio dealer

http://www.audioenz.co.nz/2008/cambridge_tt50.shtml
 KEF KHT 3005 SE
By Jamie Gemming
June 2008

KEF KHT 3005 SE satellite/subwoofer speaker system. $2999

Imagine an egg, not your usual size 6 or 7 but say,
around a size 30. Now cut said egg in half own its
vertical axis and finish in black high gloss. This is
basically what the speakers of the KEF Home Theatre
3000 series look like. Sounds kind of weird, though in
reality these speakers are a gorgeous contemporary
design.

This set of speakers contains four satellites, a centre

speaker and subwoofer. The four satellites stand on little
pedestals and are connected with a little ball joint,
allowing the speaker to be aimed precisely. If you’d like
to wall mount them, the pedestals can be removed and KEF's KHT 3005 SE (click for larger image)
reattached to the back of the egg-shaped enclosures.
Each satellite stands 245mm high and 125mm at its widest point. The tweeter is held in the centre of the 115mm driver
unit. The centre speaker is about twice the size of the satellites but still retains the same egg-shaped profile. The centre
speaker has the same driver tweeter unit as mentioned above, which is also flanked by two 75mm drivers for a bit more
oomph. The construction of these little beauties is Fort Knoxesque with the satellites and centre weighing in at 2.0 and
2.9 kilos respectively.

My favourite piece of the combo is the sub. It’s the same high gloss black, circular in shape, about two feet in diameter
and only about 150mm deep. One side of the enclosure has a 250mm (10 inch) subwoofer controlled by a 250 watt class
D amplifier. A 250mm (10 inch) passive radiator mirrors the woofer on the opposite side of the enclosure. The cool thing
about this sub is that has been designed to stand up vertically or lie down flat, allowing easy placement behind or under
furniture.

Love and attention

You always get a feeling about a product when you see care and attention to detail taken by the manufacturer. KEF
certainly go the extra mile, each speaker is shipped in a protective cotton bag to protect the high gloss finish, two
different Allen keys for removing the satellite stands or subwoofer feet and a non-scratch cleaning cloth is also provided.

Initially, the front speakers and sub were set up along a four metre wall of a room that measures four by five and half
metres, with a listening position about four metres back. The first thing that struck me was how good it actually sounded.
The treble is forward, nicely detailed, not rich, but certainly not harsh and there was good integration between sub and
the satellites, which is not always the case with sub-sat combos. However, this fairly seamless integration dissolves if the
sub is not placed up front and as centre as possible.

I’m home on paternity leave for six months and although it’s not the daily DVD watching and ESPN sports fest I had
imagined, I now listen to more music in a day than I used to in a month. My latest music purchase was the Live 8
concert and this received a good thrashing over the past fortnight. The KEF combo is very natural sounding in the way it

http://www.audioenz.co.nz/2008/kef_3005.shtml
 reproduces voices and has a surprising amount of depth to its midrange for such a small driver but it suffers the same
problem as every sub sat system and lacks mid-bass. I know its unfair to compare, but tracks like The Who’s Won’t Get
Fooled Again or the Kaiser Chiefs I Predict A Riot with powerful guitar and drum play just lack the drive and intensity
that even the smallest of floor standers would deliver. Following KEF’s instructions I set my Denon 3805 sub output to
120Hz and after trail and error I think their cross over point is the best compromise.

Sight and sound

TV and movies will more than likely be where this combo does most of its work and this is no bad thing. A huge
percentage of most movies are made up of talking and subtle effects and this is where the KEF’s excel with crystal clear
effects and realistic voices. While the sub doesn’t go ultra low in terms of response it has more than enough power to
really slam when required. I was very impressed with its control when faced with the multiple explosions in I Am
Legend.

This is not some pokey little cube speaker set which places small size over everything else including sound. The 3000
Series Home Theatre set is one of the best sounding sub/sat combos I’ve seen. It’s not quite the match of the über
expensive Castle combo I’ve had in the past but is appreciably better than any of the various Bose systems I’ve
encountered. It also has a modern, contemporary design. I mean it, they don’t just look good, they look superb! If your
viewing room is small or the missus hates the look of floor standers, then this KEF set is for you.

For your nearest KEF dealer

http://www.audioenz.co.nz/2008/kef_3005.shtml
 REL T2
By Brent Burmester
June 2008

REL T2 sub-bass speaker. $1599 in black or cherry

It is a great inconvenience that the human ear detects
sonic frequencies below 50Hz. If it were not so, there
would be no such thing as home theatre. Cars with
immense chrome-plated rims would be blinged-out
with dozens of tweeters. Most significantly, no one would
know the agony that is placing and tuning a subwoofer.

How hard can it be? If you want to know, you’re one of

three types. (1) You don’t have a sub; (2) you have a sub,
but your system resides in an acoustically perfect space,
or (3) you have a sub in an imperfect space, but you’re
happy because your chair jumps when the T-Rex goes
stomp. For the rest of us, the joy of full-range musical
reproduction is tempered by lumpy low-frequency
response and unsatisfactory integration with main
speakers, the unhappy product of having to listen to
audio equipment in a box never meant to be an
auditorium.

There are clever and not inexpensive subwoofers that REL T2 subwoofer. The driver on the front is a passive radiator,
can tune themselves to a system and room, but they with the smaller woofer underneath the subwoofer. Click for
larger image.
can’t walk, so they’ll only make the best of where their
owners leave them. Ultimately there is no substitute for careful experimentation with tuning and placement of main
speakers, subwoofer, and, of course, the listener, which never really ends. I’ve known experienced audiophiles to prefer
different sub settings for every track on an album.

Tiny dancer
So, here is the REL T2, yet another grumbling cube. REL, it must be said, knows about as much about bass
reproduction as can be known without recourse to supernatural intervention. Proof lies in the fact the T2 is very, very
small, yet claims a roll-off at 30Hz. Built with the robustness of a safe, it isn’t entirely pleasing to the eye – the wood grain
finish is okay, but those legs are a bit fourth-form metalwork. To be fair, they serve the utilitarian purpose of lifting the
unit the required distance from the floor to pressure-load the 200mm (eight-inch) driver on its underside. The 250mm
(ten-inch) diameter grill on the front panel actually obscures a passive cone that resonates so as to augment the driver
and deliver that surprising low frequency extension.

REL strongly believes in high-level connection of amp to sub. That is, rather than feed the sub with a line-level signal
for amplication by the 200W onboard amp, the manufacturer recommends connecting the speaker terminals on the
amp to the T2 by the Neutrik Speakon connector. I concur that this gives faster sound, and one more like that of the
main speakers.

http://www.audioenz.co.nz/2008/rel_t2.shtml
 Right here, right now
I’ve heard a fair number of subs in my cursed room. They’ve all suffered to a greater or lesser degree, but quality shines
through. To my surprise the wee REL didn’t like the spot I normally sit the bass-boxes, including my own Audio-Pro. It
wasn’t possible to hear the main speakers and sub as a coherent whole, irrespective of cross-over and volume settings.
However, a bit of trial and error with placement led to the discovery of a quite different position nearby, under the arm
of a couch, where it played unobtrusively and evenly.

The overall effect was good. Like all RELs the T2 knows how to carry a tune and it gets off the line impressively quickly.
Properly located relative to the main speakers and the room boundaries, it passed the most stringent test, that of fading
away, leaving higher frequencies properly supported, and giving performers and instruments another layer of
corporeality.

What the T2 couldn’t do, however, was shift enough air to bring off the really deep stuff, at least not in the 33 square
metres of my living room.. I missed some of the fire and brimstone that larger RELs deliver – a bigger driver backed by
more watts in an infinite-baffle enclosure delivers more smack with less overhang.

The low-down
But here’s the thing, the T2 is dinky and cute, and remarkably competent in way that something so dinky and cute has
no right to be. For a higher terror-quotient you must pay a good bit more in terms of cash, real-estate, and aesthetics,
which is quite unnecessary if terror is not something you often demand from your music.

Who wants one? I’d recommend the T2 to folks who’ve been waiting on the sidelines for a while, unsure if another box is
really needed, people with a well-balanced system that sings to their liking and who’d like just a bit more authority,
especially during those stirring moments in the programme, without compromising their existing set-up.

For your nearest REL dealer

http://www.audioenz.co.nz/2008/rel_t2.shtml
 Rotel RA-1062 and RCD-1072
By Matthew Masters
June 2008

Rotel RA-1062 Integrated Amplifier and RCD-1072 CD Player. $1499 each.

Dogs. Hate ‘em. Noisy, smelly creatures that need
constant supervision to keep them from wrecking the
house and emptying themselves on the floor.

In the great pet schism, I can’t exactly be described as

dog-friendly. Which is odd really, as a child I adored Rotel RCD-1072 CD player (click for larger image)
them. We had a huge dopey Labrador called Bodger
that bounded around the house either barking at things
or licking them. Usually both. He wasn’t the brightest
dog in the world, but he was fun. Poor old Bodger’s fate
was sealed when he gained a reputation for devouring Rotel RA-1062 amplifier (click for larger image)
tennis and soccer balls. My parents made the mistake of compensating the first couple of victims and ever after they
became the local cash dispenser. Knock-knock – “Your dog ate our ball” – kerchingg – “thanks mister”. After a few
weeks of this Bodger was sent away to some canine gulag, and like a Soviet dissident written out of history, never to be
mentioned again.

It was about the same time an early Rotel integrated amplifier appeared at home. Like Bodger, it didn’t last long,
though I suspect that was more to do with its shouty performance than eating sports equipment. And that, I’m afraid to
admit, was my only experience of Rotel until last month.

More Dachshund than Dane

The 1072 CD player and 1062 amplifier sit at the upper end of Rotel’s range of otherwise ordinary two-channel audio
components, and probably suffer an unfairly poor image for that reason alone. The aesthetics don’t really help here,
with a plethora of knobs and buttons that eschew the arch minimalism of most similarly-priced components. Then there
are poorly thought out details such as a CD player display that’s green while all the other LEDs are blue.

The 1072 CD player uses a modified Sony transport and boasts HDCD compatibility, a Burr-Brown DAC and huge PSU.
There’s a plethora of pointless programming functions available from the front panel and annoyingly, that green display
can’t be dimmed.

Maybe a Boxer
While superficially similar, the 1062 amplifier is a far more substantial and well thought-out piece of equipment.

There’s a massive, custom-made power supply that helps deliver a claimed 60w per channel. Then there are a tone (or
contour) control, balance control, independently selected tape loop and headphone output. Of rather more importance
are two sets of speaker outputs and what turns out to be a surprisingly competent phono stage. So, maybe not best of
breed when compared with the more obvious pedigree pooches, but certainly up there with the multi-talented
Wonder-dogs.

So the first impressions are mixed. No obvious pedigree, average aesthetics but could be easy to train. Worthy, but

http://www.audioenz.co.nz/2008/rotel_1062-1072.shtml
 uninspriring.

Golden Retriever
Slotting a CD into the Rotel’s drawer and giving a firm instruction to go after some music quickly challenged the worthy
but dull view.

That first CD was an old faithful, John Eliot-Gardiner’s jaunty interpretation of Handel’s Messiah (Philips 434 297-2).
It’s a decent recording but can be trying for many mid-range systems. Surprisingly, the Rotel pair just bounded through
even the busiest passages, faithfully retrieving the intricate detail of both the Monteverdi Choir on top form, but also the
authentically sparse orchestration. It could have been simply aggressive, but there was real body and dynamism too.
Clearly there was more to the pair than I had suspected. Gardiner’s pacy performance romped along, driven by a
convincing sense of rhythm from the CD spinner and powered by those 60, rather large, watts from the 1062 amplifier.

Jack Russell
With more contemporary music it as a similar story. Listening to Morcheeba’s Rome Wasn’t Built in a Day from the
Fragments of Freedom album, the fabulously seductive voice of Sky Edwards is rendered in all its breathy glory,
existing on an almost tangibly different plane from the brass section and ludicrously infectious bass.

If I have a criticism it’s that the Rotel pair does tend to reveal the production habit of recessing brass and drums to avoid
overwhelming delicate vocals. It’s fine for lesser systems, but not needed here.

In fact, whatever I threw out there, the Rotel was bouncing around and retrieving all manner detail and fun I hadn’t
noticed before. There was a seemingly limitless energy to the presentation that just made me want to play more and
more music. The Fratellis’ Chelsea Dagger, hardly a subtle piece and possibly a little raucous, but just plain fun with
the Rotel jumping up and down to the chunky rhythm like a yappy little terrier desperate for a game or trick.

The real achievement is that the enthusiasm and drive is achieved with no apparent compromise in subtlety. Dagger is
just another quickly-produced indie rock number, but it sounded richer and more complete than I’d ever suspected.

The best kind of mongrel puppy

The Rotel 1062/1072 combination is a bit of a dog. But it’s the kind of dog that’s really hard to dislike. A bouncy,
loveable puppy that just wants to play. It’s old enough to be house-trained and (relatively) controllable but big enough
to knock you over if you’re not paying attention. You’ll be a bit shaken, but you’ll just want to play more.

It’s a grown-up version of Bodger; the only kind of dog I’d let into my house, and I’ll be very, very sorry when it has to go.

http://www.audioenz.co.nz/2008/rotel_1062-1072.shtml
 Linn go direct
By Michael Jones
June 2008

In a surprise move – but one indicative of

changing hi-fi retail patterns – Linn Hi-Fi
distributor Linn New Zealand announced that
they are now selling direct to the audio public.

“It’s to do with standards,” said Linn NZ’s Dean

Harnish. “The standards [of most retailers] are
not up to the quality that Linn expect to
demonstrate their products.”

“There’s not a single hi-fi store in the country that

does proper demonstrations,” adds Linn NZ’s
John Ellingham.

Linn NZ is established in Apollo Drive on One of Linn New Zealand's show rooms (click for larger image)
Auckland’s North Shore. The premises have long
contained two single system demonstration
rooms, used to support existing dealers and
installers in demonstrating Linn products in a
supportive environment.

The facilities “allow the customer to listen in

ideal conditions to a range of products” from
Linn, said Dean Harnish. “We want to set high
standards for our customers.”

Dean and John are hardly strangers to hi-fi retail.

They set up Absolute Sound in Newmarket in Dean Harnish (left) and John Ellingham (right)

1983, long thought of as one of New Zealand’s

more successful hi-fi stores. In 1996 the store
moved to Parnell and was sold to the current
owners in 2004.

With Linn’s range moving further upmarket over

recent years many dealers simply have been
unwilling to invest in the range. Linn NZ has sold
several of the $30,000 Klimax DS digital
stream players, but none of these sales have

http://www.audioenz.co.nz/2008/linn_direct.shtml
 come through dealers.

Linn’s showroom in Apollo Drive is available to

demonstrate a large part of Linn’s range of audio
and custom installation range. Demonstrations
are strictly by appointment only – proper setup
of quality hi-fi equipment takes time.

Linn NZ also offer servicing for all Linn products,

including a full range of turntable upgrades.
Since gaining the Linn distributorship in 1984,
Dean Harnish estimates that he and John
between them have set up over 1500 LP12
turntables.
The Linn building in Apollo Drive
Linn New Zealand
Unit 6, 31 Apollo Drive, Mairangi Bay
North Shore

Phone: 09-966 1020

Website

http://www.audioenz.co.nz/2008/linn_direct.shtml
 Michael on the podium: Electrostatic
adventures
By Michael Jones
June 2008

Audio thoughts and ramblings from AudioEnz editor Michael Jones

I’d been longing have a decent listen to the new Quad
ESL2905 electrostatic loudspeakers for some time, but
I’d been stymied at every turn. There was no dealer in
Auckland and a request to the distributor for a review
pair was returned with the useful answer “You’re
welcome to listen to them here next time you’re in
Christchurch.” Hmm, not quite the answer I was after!

Fortunately, a couple of months later Soundline Audio

in Auckland received a pair. Making full (mis)use of the
good nature of Soundline manager Palmer Baines, I
invited myself and an audio buddy (AB from now on) in
for a couple of hours of listening.

Quad ESL2905’s are very different from your typical

box speaker. For a start there’s no box! The speakers are
wide (695mm) and tall (1430mm) and being a dipole
(equal amounts of sound are radiated behind the
speaker as is forward) they require a lot of space behind
them. This is no “stick them in the corner or behind the
couch” speaker.

Palmer already had the pair set up and playing in his

large demo room. The source was a Marantz SA7 CD
player with a large Marantz PM11 integrated amplifier
driving the Quads.

AB and I played a wide variety of jazz, classical and rock

music through the Quads. What struck both of us was
the sheer ease of the sound. This was not surprising
really. The spec sheet of the 2905 contains a
specification that you rarely see published for
loudspeakers – that of speaker distortion. Quad claim a
distortion level of a mere 0.0015% above 100Hz, and at a
high 100dB level. Most conventional speakers you’d be
looking at 1-3% distortion, which explains why that
specification is usually absent.

http://www.audioenz.co.nz/2008/motp_electrostatic.shtml
 The results are audible. There’s a grain-free sound to the 2905, just as there was in the original Quad, now unofficially
known as the ESL57 – no wonder people hang on to
their old firescreens!

We heard detail, lots of it, but in an easy, unforced way.

AB, an experienced listener, said that he heard things
on his CDs that he hadn’t heard elsewhere. I suspect that
some people hearing the Quads for the first time will
think that they’re dull, mistaking the cone and dome
breakups of conventional speakers for real detail. But
it’s all there with the Quads.

I’d love to hear them some more, so I’m off to pester the
distributor yet again. Maybe I can get a pair in my
lounge.

The second electrostatic adventure I’ve had recently

was with the Stax SRS-2050II electrostatic headphones
(or “earspeakers”, as Stax prefer to call them). John
Groom had recently written about them in his
Private Ear column on headphone listening, so I
invoked editor’s privilege in grabbing them before they
disappeared back to their distributor. I refer you to Quad ESL2905 electrostatic loudspeaker
John’s review for a rundown on the 2050s.

I have a love/hate relationship with headphones. I love

the way that they can lay open a wealth of detail in an
intimate way – a friend once described a pair of
headphones as “the best $10,000 speaker you can buy
for under $1000”. But listening to the Stax reminded
me of the almost subliminal annoyance of the cones and
dome sounds from conventional loudspeakers – or
headphones.

There was a “rightness” to the sound through most of the

spectrum that was very alluring. That lack of normal
driver sounds allowed a wealth of detail to be presented.
This detail wasn’t thrust into your face, the way that can
happen with products that people describe as
“ruthlessly revealing” – usually more ruthless than
revealing, in my experience. Instead, the detail was
available, if you chose to listen into it.
Stax 2050 electrostatic "earspeakers"

For example, string tone on well recorded chamber

music CDs was spot on, with that slight edge to the sound without being artificially edgy. The behaviour of the Stax made
for a great LP listening experience too. The inevitable surface noise from LPs was there, but not thrust forward as can
often happen with headphone listening.

Like John, I felt that the bass end of the Stax let them down. My aging Sennheisser 580s give me a lot more information
on what’s happening in the bottom end of my rock CDs.

But they are very moreish headphones.

Michael Jones has published audio magazines and web sites since 1986

http://www.audioenz.co.nz/2008/motp_electrostatic.shtml
 Private Ear: The Journey So Far
By John Groom
June 2008

Okay, I know that we have to be obsessional to follow

this hobby. However, when I agreed to do this column
on the headphone experience I still had no idea how
addictive and fascinating the journey would be. The
truth is I have been spoilt. The exploration has exposed
me to a level of auditory resolution and intimacy that I
could never afford in a main system and which few of
the world’s ‘best’ system even come close to. Nowadays
my capable lounge system (Cyrus/Royd/Chord and
Naim) spends lonely weeks being ignored.

For all occasions

Of course convenience is part of it all. I often have my
‘sports’ headphones at the gym to drown out the sonic
gunge they promote. A quiet moment at the office
means I can slip into some comfortable blues via
modest headphones without bothering anyone. When flying the first thing that I throw into the bag now are the sound
cancellation headphones from Phitek. It is the best and cheapest travel ‘upgrade’ that I have found. At home is the real
‘killer’ however: where I spend hours on the computer and find it is a wonderfully intimate way to enjoy music during
the time spent cruising the web. Yes, you could say I am hooked.

Pick of the bunch

With all this gear to review, what do I chose to listen with? Well, even though I am very impressed by the liquid quality
of the Stax and the dynamic impact of the Grado headphones for long term listening up close and personal, I have
stuck with the Sennheiser HD 650s. They are on the soft side: not as ‘sharp’ as the Grado or as valvelike as the Stax but a
good all rounder and with a strange ability to resolve remarkable detail while still being very forgiving. To top it off I use
a Cardas cable brought in from Australia and well worth the extra $300. The standard cable sounds hard, electronic
and fatiguing in comparison.

Bang for your buck

The next step in my journey was to upgrade the CD input. The trusty ‘stable platter’ Pioneer CD player has now been
relegated to the garage where it serves duty ‘running in’ new equipment. In its place is the Quad CD player. This was
chosen as ‘life is too short for boring hi-fi’ and the Quad is far from boring. It is also something of a sonic bargain as with
its solid bass, intimate midrange and smooth tops: - it is hard to believe that this is a mere $2,000 worth. What clinched
the deal for me however was the variable output.

Keep trim
The Quad has an internal, modest but very capable digital volume control. I am very fortunate that the Sennheiser HD
650 is a high impedance headphone, which can handle high line voltages. By using an adapter cable that plugs into the
two RCA outputs I can drive the headphones directly out of the back of the Quad. This ‘mainlining’ removes an

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 additional power supply, interconnect cable and associated connections.

This also removes some of the warmth, forgiveness and extra weight that the Stealth cables and Perreaux headphone
amplifier were adding. What it does give though is a remarkably direct and honest window into the recording with more
of a sense of ‘being there’ than I have experienced for many a long year.

Learn acceptance
This spartan set up has also highlighted for me that yes, headphone listening is also affected by all of those tweak factors
that besot so many listeners to conventional systems. Like all hi-fi equipment the headphones sound best when they
have had a few weeks to run in and when the cable is not lying on the floor. I even persuaded myself that the whole
system benefited when I ‘zapped’ it with a demagnetising gun.

The CD players and headphone amplifiers all benefited from careful attention to supports (I use a dedicated solid
wooden stool). Experimenting with interconnects is well worthwhile; I settled on the Stealth for now as I liked the
compromise between detail and warmth. My playing with various contact cleaners suggests they are best left alone as
they ‘smear’ the sound.

No panaceas
Headphone listening is not the answer to all hi-fi ills. Power supply is a big issue at the moment. Even with the
wonderful resolution of good quality headphones, this does not solve the problem. Much of the Auckland power
currently gives a harsh, glassy sound to CD. An experiment with an inexpensive power supply simply changed the
problem to one of rounding off the sound. Having a heavy-duty dedicated spur simply means when the power sucks you
can hear the defect more clearly. Experiments with ‘piggy back’ plugs and various mains cables suggest that these two
elements are important. It has been argued that much of what we are listening to is the impact of the power supply. My
own experimentation supports this view and in future I would like to try a power regenerator.

In July I head for Europe via Hong Kong. The latter is a ‘hi-fi’ stop- off where I hear rumours of a whole building full of
top quality second hand gear. If the rumour is true then I am likely to think that I have died and gone to heaven. Who
knows what headphone related gems this might unearth. I might even be tempted yet to go for a valve headphone
amplifier or quality DAC.

John is an executive coach and mentor who lives on the North Shore of Auckland

http://www.audioenz.co.nz/2008/privateear_journey.shtml
 The Vinyl Anachronist: Stepping Into the
Light
By Marc Phillips
June 2008

I've owned my Technics SL1200 for close to a year now,

and I honestly have to admit that I've put less than 50
hours on it. I had all these grand ideas of tweaking it to
perfection and turning into a 'table that even I could
love, but every time I put it into my system, I can't wait
to get it out. To my ears, the 1200 is one dark, lifeless
sounding 'table, and even though I took a drubbing
from the so-called 1200 Army over the last couple of
years for being biased against it, I have to admit that up
until now, owning one has not changed my opinion of it
one bit.

I've been told, however, that there are three distinct

ways to elevate the performance of the 1200, which is
the best-selling turntable of all time (over 3 million
have been sold since its introduction in 1972). First, you
can employ a series of mods from KAB Electro
Acoustics, including fluid dampers, new rubber feet
and tonearm wiring. Many fans of the 1200 swear by the
KAB mods. Second, you can replace the tonearm. Many
people feel that the stock arm is the weak link in the
1200, and by replacing it with a Rega RB-250 or an
SME 3009, you can make the 1200 more competitive
with the some of the better belt-drive designs.

Finally, you can throw a killer cartridge on the 1200.

Last year, I was able to hear an SL-1210MK5SE with an
Ortofon Kontrapunkt B cartridge, and was mildly
pleased with the results. It may not make sense to put a
$1200 cartridge on a $500 turntable, this does prove to
some extent that the 1200 is a better platform than I
previously believed. I achieved a big improvement on
my 1200 by replacing the Ortofon OM-10 that came with
Zu DL-103 – a reworking of the classic Denon cartridge
it with the new Ortofon 2M Blue cartridge, which wound
up alleviating about 50% of the darkness and compression. In other words, the 2M was a step in the right direction, but I
still wasn't convinced.

It's Zu to the rescue!

http://www.audioenz.co.nz/2008/vinyl_light.shtml
 I think I may have finally found the perfect cartridge for the Technics SL-1200, and it comes from a very unlikely
source. Zu Audio, makers of the fabulous Druid speaker (which I previously reviewed for AudioEnz a couple of
years ago), have expanded their product line to include a wonderful new cartridge which is basically a modded version
of the venerable Denon DL-103. Zu has taken the Denon and removed the plastic body, substituting an amazing-looking
aluminum housing that makes this cartridge look more like a $4000 cartridge than a $400 one. That's right, Zu charges
only US$400 for their DL-103, which isn't that much more than a stock Denon.

There are some caveats to strapping the Zu DL-103 onto your 1200. First of all, the 103s are low-output moving coils,
and I suspect that many 1200 owners may not have a phono stage that will handle 0.3 mV. So while you're buying
cartridge that sounds absolutely incredible for the money, you may have to lay down a bit more green to everything
rolling. Secondly, the Zu is heavy at 13.6 grams, and you'll find that you have to move the counterweight on the stock
1200 arm almost all of the way back to achieve the rather heavy 2.3 to 2.8 recommended tracking force. You might want
to consider a heavier counterweight (or one of those little discs that some 1200 owners stick at the back end of their
tonearms) for a little piece of mind.

Hold onto your seats...

So what does this cartridge do for the 1200? Well, it removes even more of that dark, compressed 1200 sound that vexes
me so. It's like someone took that nifty little pop-up light next to the platter and turned it into a spotlight. The Zu DL-103
gives the 1200 an air and a delicacy that it previously lacked. Individual instruments are fleshed out and seem to
occupy more realistic spaces within the soundstage. I've always had reservations about the overall size of the 1200
soundstage, that everything always seemed to be a ¾ scale of the real thing. The DL-103 helped the 1200 to open up and
fill my listening room with a more realistic presentation.

More than anything else, I simply felt that the 1200 was more fun with the Zu installed. That's why I've also been so hard
on the 1200... it's a chore to listen to at times. Now, I think the 1200 is more competitive with other 'tables in its price
range. No, I'm not saying that the 1200/DL-103 combination is as good as a Rega. But if I was trying to decide between a
Rega P2 with a Bias cartridge and the Technics mated with the Zu, I'd go with the latter in a heartbeat, much to my
surprise.

I can't resist...
I think this experience says more about the Zu cartridge than the 1200. My first instinct is to try the Zu on a Rega P2 or,
even better, a new P3-24. I know that many Rega users are starting to mount the stock Denon 103s on the ends of their
RB-300 tonearms with excellent results. Something tells me that the Zu will soon replace the Dynavector 10X5 as THE
cartridge of choice for P3s.

So yes, I still believe that the Rega P2 and P3 are better-sounding turntables...by far. But it's nice to know that you can
extract this kind of performance from the SL-1200. It's left me wondering about how the KAB mods would take this
performance even further, or what would happen if I did replace the stock arm with an RB-250.

In other words, I have a feeling this 1200 experiment is going to take years!

Marc Phillips has been writing about hi-fi and music under the Vinyl Anachronist banner since 1998. His
earlier columns can be found on the Perfect Sound Forever website. You can discuss vinyl with Marc at
Vinylanach@aol.com

http://www.audioenz.co.nz/2008/vinyl_light.shtml
 Dealer recommendations: amplifiers
By Michael Jones
June 2008

This month AudioEnz asks New Zealand’s hi-fi dealers for their choices in amplifier. Whether integration amps or
pre-power combinations, there are a number of choices here.

Audio Analogue Pucinni

“It stands at the very least equal to, and in our view better than most amplifiers, either integrated or pre/power to the
NZ$5,000 mark,” says Totally Wired’s John Ransley. John loves the way the Pucinni looks and is built. “All this makes
the Puccini rather seductive to live with, and the sound quality is almost a reflection of this simple, yet sophisticated
design. If you value transparency and ease of musical reproduction, we think you’ll find what you are after. I should also
point out there is no lack of power or bass extension either.” Neil Young from Newmarket’s Eastern Hi-Fi is very
impressed with the Pucinni. “Very refined sound, and the consensus here is that this out performs its more expensive
brothers.”

Cambridge Audio A840 $2499

Cambridge's top integrated amplifier is an immediate pick for Romesh Anandaraja of Hamilton’s The Listening Post.
“For sheer value for money this is a hard act to beat. The sound is powerful, open, and surprisingly "real" for such a well
priced product.”

AudioEnz review

Cyrus Integrated 6vs2

“A charmer,” says Jeff Clark from Hamilton’s The Audio Consultant. “Compact, simple to use, punches well above its
weight. Great integrated that will fit into most peoples budget. No fuss, smooth and detailed. Great for the "modern
style" home or apartment without compromising sound quality.”

Marantz PM6002 ($999) and PM7001 ($1299)

Romesh from Hamilton’s The Listening Post likes the smaller Marantz 6002,describing it as “a stellar performer for the
money. It's relatively neutral, will drive most budget speakers with ease, and is surprising musical & enjoyable. It's a
great starting point for some one wanting to put together an enjoyable system on a budget.” Living Sound recommend
the 7001: “A smooth presentation with good dynamics and current delivery make this our choice for driving
floorstanders in the $1000 - $2000 price bracket.”

NAD C315BEE
Easily the cheapest amplifier in this article, the little NAD “it easily able to resolve the delicacy of Bob Dylan's lyricism
and guitar work, with the weight and dynamism of Black Sabbath's Electric Funeral,” says Christchurch’s The
Listening Post. “Soundstaging was transparent and nicely timed, with plenty of space and sheen around instruments
and voice alike. Bass was taut and lively, and balanced well with the intimacy of the top-end. All up this little entry level
amp is a true king-spitter in it's price class. The 315BEE strikes the perfect balance between price and quality.”

Naim Nait 5 $2500

“Often described as one of audio's great bargains the latest incarnation is the best yet,” says The Real Music Company’s
Allan McFarlane. “Timing, timing, timing, that is the ability to knit received signals together in an integrated (no pun

http://www.audioenz.co.nz/2008/dealers_amps.shtml
 intended) way and convey a sense of involvement at an emotional level. An awesome performer given its crazy current
price of just $2500.”

Naim pre-power amplifiers (from $5350 to $90,500)

Three dealers recommended Naim pre-power combinations. Allan McFarlane from The Real Music Company loves the
“controlled musicality, effortless phrasing, power in reserve - that is the audible belief that the power amplifier will
easily deliver any signal the pre-amplifier passes through. As you go up the range the truly astonishing Naim
pre-amplifiers "open the window" to a beguiling level of assurance that is unequivocally awe inspiring. As you progress
up the power amplifier range you are immediately stuck by new levels of authoritative control.” Living Sound raved
about the 552 pre and 500 power amps, each with their respective separate power supplies: “Attributes at this end of the
scale include a total lack of grain, effortless dynamics, both macro and micro, an inky black background during silences
within the music, accompanied by much more retrieval of low level detail. The music takes on another dimension with
favourite recordings sounding fresh and much more real.” Jeff Clark from Hamilton’s The Audio Consultant likes the
Naim 202/200 pre power combo: “Great combination, beautiful control, simple to operate – what more do you need!”

Perreaux SXP2/SX60M $2697.00

Perreaux’s combination of a passive preamp and mono power amps, all housed in their slim Silhouette chassis, has
many excited. “Miniature purist,” says Nelson’s Living Sound. “That sound is all Perreaux, detailed, and well balanced
through all octaves.” John Ransley from Dunedin’s Totally Wired says “In our opinion this is the most balanced and
satisfying design Perreaux have ever produced - and certainly the best value for money. The combination is at once
detailed yet relaxed - we attribute this to the passive preamplifier. The power amplifiers are dynamic without being
aggressive.”

Perreaux SM6Mk2 ($4699) and 350p ($8199)

“This is a formidable combination,” says Eastern Hi-Fi’s Neil Young. “Not many amps can deliver the power and
delicacy that this can. True world class performance at a realistic price and will happily drive any speaker you want with
no problems whatsoever. The revised SM6 has layers of detail that the original didn’t quite reach. The remote is a work
of art! Either of these products in isolation is fantastic, but together it’s a whole other story. Obviously designed to work
together, realistically the only way to do better is to go up to the 750 monoblocks. Unreservedly recommended!”

Plinius Tautoru ($8680) and SA Refernce ($19,665)

“Plinius's new reference products have once again lifted the bar for New Zealands premier manufacturer,” says Romesh
Anandaraja of Hamilton’s The Listening Post. “They compete head on head with reference offerings from the big boys
overseas. What makes them one of our favourites, and a favourite with our clients is the pricing in New Zealand, which
is substantially under international pricing. The sounds is big and effortless with fantastic dynamics and clarity.

AudioEnz review of the Tautoro

Project Pre-Box and Amp-Box ($499 each)

Very small cases for this Project's pre and power combination. Christchurch’s The Listening Post recommend the
Project as its “bottom end is well proportioned and deep; delivered with real gutso. Imaging is remarkably coherent
(especially for a pre-power combo under $1000). Midrange is warm and lively, easily resolving the rugged yet delicate
melodies of Nina Simone for example. Stringed instruments have a rich texture, horns are not too bright and bass
woody. Very impressive for such a junior combination.”

Rega Brio 3 $1075

“Two knobs-volume and source select with no remote keep things simple with all the goodies inside the box,” says Living
Sound about this popular UK amplifier. “The music swings along with lively rhythms, good detail and an all round
believable presentation.” “Music in abundance,” says Allan McFarlane from Wellington’s The Real Music Company.
“Timbral accuracy, accurate timing and a good sense of the musicians having fun. And a Rega phono stage built in.”

Rotel RA-04 ($699) and RA-05 ($999)

These two amplifiers from Rotel are very similar, with the major difference being remote control. The cheaper RA-04 is
recommended by Nelson’s Living Sound, who say that it “delivers a punchy sound with good pace to the music”. John
Ransley from Dunedin’s Totally Wired says “it opens the door to real high fidelity at an affordable level, but without

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 compromising musical quality.” John adds “the RA05 simply sounds demonstrably better than any other amplifier
under NZ$1000 when hooked up to similarly priced and conceived speakers.” Strong words!

VTL TL6.5 Preamplifier ($18,995) and S400 power amplifier ($49,995)

Romesh Anandaraja of Hamilton’s The Listening Post says that “the TL6.5 & S400 deliver a substantial portion of VTL's
reference combinations performance, making them one of our dream products. They have the liquidity, harmonic
richness, and musicality usually associated with good tube equipment, but they also have resolution, speed, dynamics,
and authority, making them incredibly involving with any music. They are among the finest tube products we've
heard.”

Also recommended:
Sugden A21SE $5699 (recommended by Eastern Hi-Fi Newmarket)
Tri- TRV35SE $3499 (recommended by Eastern Hi-Fi, Newmarket)
Fatman iTube 252 $2,499 (recommended by Hamilton’s The Listening Post)
Yamaha A-S2000 (recommended by The Listening Post, Christchurch)

http://www.audioenz.co.nz/2008/dealers_amps.shtml
 June music reviews
Aaradhna: Sweet Soul Music
Dawn Raid Entertainment

We are taken on a trip down the streets of soul music courtesy of the beautifully
stunning Aaradhna. One of Dawn Raid’s shining stars over the last few years, her
strong and silky voice blends in wonderfully with some soul classics over the last
three decades.

From the Indian influenced Didn’t I blow your mind to the Jackson’s I want you
back, a distinct New Zealand/Pacific Island soulful sound comes through as
smooth as silk. Favourite track for the iPod is an upbeat version of Al Green’s 1971
gem Let’s stay together followed closely by Stevie Wonder’s Sunshine of my life.

If Aaradhna can follow up with an album of originals of similar quality, we’re in for
a real sexy and soulful experience! Ants Fong

Billy Bragg: Mr Love & Justice

The album cover presents this statesman of baby boomer socialism in pensive
profile against a skyline of looming heritage urban facades, but it sounds more like
Billy’s bailed out of the hurly-burly and retired to the coast to ruminate, or mark
time. What else do we expect? Sustaining poetic and public political indignation
through the softening belly of middle age is never going to be easy.

The predictable themes are here – commercialism, terrorism, war, homelessness –

but without much sting in the tale. In The Johnny Carcinogenic Show Bragg
strikes out at the “contaminating” media, though the targets (products that “take
your money and your soul”, or the fat controller’s hook-line of “I’m not responsible
for the lessons children learn… just for giving my investors some return”) are obvious and trite. He does hit
characteristic narrative stride in O Freedom, which applies the baleful appeal of “…what liberties are taken in thy
name?” to the issue of extraordinary rendition, yet the song is weakly wound down and the brimming impact falls away,
as though he’s lost confidence in his purpose. In this piece, at least, the band seems tonally integrated with the voice and
lyrics; elsewhere, for instance in Something Happened which is ambushed by overkill grunge guitar and wailing
harmonica, the backing arrangements are often overstated or unconnected.

With most of the songs dogged by plodding progressions, repeatedly reprised choruses and meandering conclusions,
there’s a prevailing sense of lack of conviction. Paul Green

Jackson Browne: Solo Acoustic vol. 2

Inside Recordings

One song. That’s all I recognized when I looked at the track-list on this solo live
album from the Southern Californian singer songwriter. Like many, I admit to not
being familiar with much of Jackson Browne’s music. But, deter me it did not. In
fact, the curiosity of getting to know 12 Browne originals – selected from his vast

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 catalogue spanning a 36 year recording career – was both enlightening and most
rewarding.

Solo Acoustics Vol.2 was recorded live in the US, UK and Australia and is released
on the artist’s own label Inside Recordings. Tracks which appeal most to this
listener include Something Fine (1972), the opening tune Never Stop (2002), Sky Black and Blue (1993) and the
familiar Somebody’s Baby (1982). The entire album is well recorded and includes a balanced level of crowd
interaction and story-telling to place the listener in the crowd. The quality of the songs is evident, and I am taken by
Browne’s ability to portray his music through such fine guitar playing and expressive singing.

For some readers, Jackson Browne may only be known as co-writer of the Eagles anthem Take It Easy. Or, for the title
track and hit tune Stay featured on the 7x platinum selling Running On Empty album (1977). It didn’t bother me (and
it shouldn’t trouble you) that the better known Browne tunes aren’t on this album. Buy Solo Acoustic Vol. 2 because it’s
the album you choose to “take a risk on” this time ‘round. Buy it, for your love of acoustic guitars (JB certainly has plenty
of them!). Buy it, because you owe this musician the courtesy of sampling his craft after being in the shadows for so, so
long.

To paraphrase other music lovers from the 1970s, Rolling Stone magazine wrote in its original review of the artist’s debut
album, "Jackson Browne's sensibility is romantic in the best sense of the term: his songs are capable of generating a
highly charged, compelling atmosphere throughout, and - just as important - of sustaining that pitch in the listener's
mind long after they've ended." I couldn’t have said it better and, by hokey Selwyn, I tried! Lloyd Macomber

Eric Clapton: Complete Clapton

Polydor

This is a two disk set that covers Eric Clapton’s career from 1966 to 2000. There are
36 tracks with a helpful booklet that explained which band Eric was in when each
song was performed and there were quite a few bands! Of course the big hits such
as Layla, Wonderful Tonight and Tears in Heaven are all there. But it was some of
the late 60’s and early 70’s rock such as I Feel Free and White Room, which I
particularly enjoyed. Many Clapton’s cover versions of songs such as Cocaine (by
JJ Cale) are also included on the collection.

Most people who have followed Eric Clapton realise that he started his career as a
member of several different bands and continued working by moving to a solo
career. What becomes more obvious when listening to a career retrospective like
this the progression that Clapton has made from being a guitarist to a songwriter. Many of the later songs have great
guitar pieces but the guitar parts are simpler and there is more emphasis on vocals or the overall melody of a piece. This
is comes through in many of the tracks from the hugely popular Unplugged album.

In summary, this is a great collection from one of the masters of rock. Essential listening. Matthew Strack

Elbow: The Seldom Seen Kid

Polydor

This is the fourth album by Manchester band Elbow. I own their first album but
haven’t kept in touch with their work in the intervening period. However this is a
definite progression from the debut and displays increased confidence and
maturity. It’s like they’ve grown into their skin and feel more comfortable doing
what they do.

One of the very distinctive elements of the band’s work has always been the vocal
styling of lead singer Guy Garvey who at times has a bit of Peter Gabriel about him.
Garvey is backed by a traditional set up of guitar, bass, drums and keyboards
supplemented now and again with brass and strings to add a bit of colour.

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 The material is generally slow to mid paced and the opens up with repeat listenings. It’s one of those albums that you
notice new things on as you get more familiar with it – for me a sign of an album that has some staying power and you’ll
want to come back to.

Words like atmospheric; moody; heartfelt; passionate; dark; uplifting; orchestral; complex and yet not overblown come
to mind at different times to describe the album.

Elbow are a bit like what I’d call a grown up Coldplay – lyrics that are sufficiently obscure to allow for a variety of
interpretations, and songs that are varied enough to keep you interested for the duration of the whole album. This is a
disc that you can happily put on from the start and just let it run. There is no bad material on here – it’s strong
throughout.

Some of the track titles may give you a sense of the material – The Loneliness of a Tower Crane Driver; An Audience
with the Pope; Grounds for Divorce.

Personal favourites include opener Starlings which starts quietly and then gets your attention with blasts of brass before
segueing into a perfect platform for Garvey’s expressive vocals. One Day Like This is the closest Elbow get to a big
stadium anthem – uplifting strings; big chorus; emotion-drenched vocals – one of those tracks that sends shivers down
your spine (at least mine anyway). The album closer Friend of Ours is a memorial to a fellow Manchester musician
(Bryan Glancy) – solo guitar, strings and a haunting vocal – a perfect end to a pretty well perfect album.

This is highly recommended to those who like their rock a little understated; reflective and well played. Fans of The
Blue Nile; Radiohead and Coldplay should check it out. Douglas Lang

Ella Fitzgerald: Forever Ella

Verve

Forever Ella is an 18-track reissue of some ultra-classic Ella material from the
Universal vaults. Any excuse to re-listen to these glorious settings of mainly now
legendary settings of various American songbook composers is a bonus. A few
surprises turn up such as the “Brand New Version recorded with the London
Symphony Orchestra’ of Cry Me A River, and a couple of remix tracks popped on
the end as a bonus tracks. They are no bonus for me but thankfully are placed at the
end.

Designed for the Mother’s Day market this release assumes Mothers have no need of
comprehensive liner notes or any kind of introduction to the grand lady herself.
Mothers will have gained some of the finest ever performances of such gems as
Don’t Fence me In, I Get A Kick Out Of You, Summertime, Night and Day, A Fine Romance – you get he idea of what to
expect. A welcome compilation for those of us with extensive Ella collections wanting to play through a well thought out
compilation into a spinner, have a ready made list of gems to drop on the iPod or accompany that well earned gin. Bliss.
Allan McFarlane

Jack Johnson: Sleep Through The Static

Brushfire Records

For those that have somehow missed the phenomenon that is Jack Johnson he is
best described as guitarist who sings, writes about global and personal issues with
equal ease and is at home as much in the corner bar as a stadium. He’s an artist that
sees songs as a lyric/poem that happens to be sung. That is the delivery is second to
the message. This is not to say that either approach is the correct one.

Personally I have always enjoyed a track from here and there without needing to
collect every utterance. Sleep Through The Static does nothing to change my view.
I can hear why others adore this artist, I would go to see him live in a flash, but for
me this album remains a dipper, something I will continue to dip in to but find the

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 whole event doesn’t captivate me as a must listen-through. Note that if you don’t you will miss the captivating last track
Losing Keys, a little gem. And then there’s the equally beguiling bonus track - an acoustic version of Home Stay. I
suspect I’ll keep on listening and suggest you do exactly that as well. Allan McFarlane

KD Lang: Watershed
Nonesuch

It’s actually taken me longer to get into the latest KD Lang offering than would
normally be the case. Not because there is any radical departure in content but
because there isn’t. Some eight years have passed since the last release of new KD
material – not to disparage the quintessential covers album Hymns of the 49th
Parallel – and perhaps I was expecting a new direction. Hey with a voice like hers
why reinvent the wheel? Sultry songsmith she is. If you want bluegrass these days,
you’ll need to shell out for a glimpse in her live set.

Watershed sees her taking the production credits herself for the first time, with
near complete mastery. Delivering a wonderful set of songs that only disappoint in
their 11-track brevity. (This is compensated a little by the additional five tracks on the limited release version of this CD).

The apparent sparseness of the arrangements is filled with some skilful string writing, occasionally too much so, this was
not missed in her live set in Wellington recently, but will possibly add to the durability of each tack as they are revisited
and revisited. I have to say my understanding and subsequent enjoyment of this album was helped in no small measure
by the live experience. Upon reflection I remind myself that lyrics have never been the reason to treasure KD’s own
material and nothing has changed that view here. I am left urging the release of a live set of this material featuring the
recently toured band. Then we will get past the studio-ness of the tracks and inject that next level of spontaneity and
musical interaction that is missing from this nearly magical release from an artist of true genius. Allan McFarlane

Matt Costa: Unfamiliar Faces

Brushfire Records

The fact that this is released on Jack Johnson’s Brushfire Records will give you an
idea of the overall feel to the album – generally laid back; guitar based; three
minute pop songs. Having said that there is a bit of an edge to some of the material
that differentiates Costa from Johnson and some of his label mates.

Emergency Call moves along at a sprightly pace and has some added colour
courtesy of some brass and shuffling drums. Vienna is reminiscent of Paul Weller
in his Style Council days. Costa’s vocals remind me on occasions of Ben Watt of
Everything but the Girl (EBTG) fame and the pace of the album is not too different
from EBTG’s earlier work – before they got a bit more ‘funky’.

The album is an interesting blend of pop styles including some 60s type stylings on the title track and the likes of Miss
Magnolia which sounds very like Mungo Jerry’s In the Summertime.

Cigarette Eyes shows a bit of a darker side and is a bit more indie than some of the other tracks - but never too difficult.

I don’t think he’ll ever set the world on fire but Costa comes across as an honest musician making genuine music. My
advice - Try before you buy! Douglas Lang

Willie Nelson: Moment of Forever

Lost Highway

Prolific is the understated summary of this true legend who keeps ‘em coming some
50 years after his debut release. Motivation? I guess Willie just enjoys what he does
and what he does he does so well. I have often argued that a student of singing can
do no better than to listen to Ella Fitzgerald or Willie Nelson to learn about the

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 subtleties of how to interpret, things like just hold the phrase back a little, or don’t
be afraid to bend the pitch or the rhythm. Little things that come naturally to so few
that separates them from the robots of the studio and the concert hall.

Moment of Forever is simply a new album of his latest material, superbly recorded
with some excellent collaborators. Reflection, romance, relationships and humour
are all covered. This man has no right to be doing this at his age. Zimmer frame maybe. Not a Guest appearance on
Ellen with his latest single. Awesome. The man’s a true legend.

PS It’s well worthwhile “YouTube”-ing the videos Gravedigger and the oh so odd You Don’t Think I’m Funny Anymore.
Allan McFarlane

U2: The Joshua Tree Deluxe Edition

Island Records/Universal Music

This is a reissue of the famous 1987 U2 album. Over 20 years, the USA sales alone
are said to be more than 10 million. It is such a well known album that it can be
hard to make a sensible review comment. Simply saying that you like it is like
saying many women like chocolate (no – they love it!). My dilemma was solved for
two months when one of my children (yes, you know who you are) made off with the
CD. I did not want to search their bedroom; there are many things that a parent
does not want to know.

This gave me some time to think about this album and why I like it. Officially, the
album is meant to be a tribute to America and the Joshua tree meant an actual tree
– which was covered on one of the early album issues. Evidently these trees are very slow growing and can live for
hundreds or even possibly a thousand years. The original Joshua tree from the album cover died in 2000. There is also
a New Zealand connection, the track One Tree Hill refers to a New Zealander known to the band. My favourite tracks
would be Where the Streets Have No Name and I Still Haven't Found What I'm Looking For. Musically, many of the
songs have less complicated structures than U2’s earlier work and this is probably a reflection of U2’s growing
confidence as a band. The “less is more” approach paid off and results in an album that is still enjoyable 20 years later.
The guitar pieces are wonderful and just seem to keep on going.

While I like The Joshua Tree a lot, I probably would not put it on and listen to the whole thing from start to finish.
However, it has tunes and melodies which stick in your mind and you find yourself listening to one or two songs “one
more time”. Now if only I could find which bedroom my children have spirited the Joshua Tree off to this week, I might
be able to listen to it again! Matthew Strack

Elgar: Cello Concerto

EMI Classics
Natelie Clein, Vernon Handley (Conductor), Royal Liverpool Philharmonic Orchestra

Elgar seems to be one of those composers you love or hate. In his lifetime the
reaction was similar. Nowadays he would be regarded by many classical music
lovers as one of the greatest British composers. In addition, his profile has been
raised by Nigel Kennedy who did a lot in the 90’s to popularise Elgar’s violin
concerto. I was lucky enough to hear Nigel Kennedy play the violin concerto and
the experience changed my thoughts about Elgar.

This is a very good recording of Elgar’s cello concerto with some shorter pieces
thrown in for extra measure. I enjoyed the recording because a strong sense of
emotion comes through with the complex and sometimes sad feelings that
characterise the early movements. There is also an uplifting sense of triumph in the
last movement. Natelie Clein plays in a restrained yet sensitive way. It is quite different to that of the more flamboyant
style of Jacjueline Du Pré, but none the worse for this and captures some of the early movements in a very effective way.

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 The sound recording is pleasingly clear and there is good balance between the soloist and orchestra. The shorter works
are pleasant cello pieces, nothing with quite the substance of the “main course” though. I was lucky enough to hear
Natelie Clein during her New Zealand tour recently and her live performance was also excellent.

If some of the early classical composers such as Vivaldi and Mozart are beginning to tire, then a dose of Elgar might be
in order. This is a first rate interpretation and performance of one of the “classic” cello concertos. Matthew Strack

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