Stereophile 2008-04

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Stereophile - 11/07
Sound & Vision - 03/07
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Modern recordings, for all their gloryhave conditioned audi-
ences to expect an inhuman degree of performance accuracy, com-
parable to what a recording studios editing team can produce by
patching together the best moments from multiple takes.
James F. Penrose, Wall Street Journal,
January 25, 2008
W
ell, color me conditioned
for perfection.
The January 25 edition
of the Wall Street Journal fea-
tured James F. Penroses
review (http://online.wsj.
com/article/SB120122345824015449.
html) of Kenneth Hamiltons book After the
Golden Age: Romantic Pianism and Modern Per-
formance (Oxford University Press, 2007;
hardcover, $29.95). Through analysis of
piano performance practice as it has
changed over the last century and a half,
Hamilton claims that the ubiquity of per-
fect recordings has coupled with critics
fanatical devotion to the urtextthe original
score that supposedly contains all of the
composers original intentions. Modern
recordings and overly revered scores have
created a climate in which classical musi-
cians are playing scared as they try to be as
perfect and faithful as possible. To quote
Penrose, Hamiltons book is a lament for
the loss of a passionate, individualistic, free-
form performance style in classical music.
It does not surprise me that modern
recordings have helped replace musicians
quest for excellence with an obsession for
perfection. As the artistic director and
record producer of the male vocal ensemble
Cantus (whose last seven CDs have been
engineered by Stereophile editor John Atkin-
son), I feel the simultaneous need to create
spontaneous and passionate concerts and
recordings as well as note-perfect perfor-
mances and immaculately sung CDs.
Recording is a problem. First and fore-
most, it removes the temporal aspects of
music. For thousands of years, music existed
only in the moment it was being per-
formed. Small glitches in intonation could
easily be forgiven and forgotten if the rest of
the performance was compelling. Recorded
music, on the other hand, must stand up to
repeated listening. What begins as a single
moment in time is turned into a permanent
document that can be dissected until the
end of days. To boot, modern audio equip-
ment captures and reveals not only the
beautiful nuances of a performance, but also
its flubs and farts.
A musicians goal for any performance is
to connect on a deeply emotional level with
the audience. In a live concert, performers
take their cues and inspiration from the
energy of the hall and the audience. Record-
ings, however, are mostly made in empty
studios void of applause or, often, of real
acoustics. If much of what inspires perform-
ers to make spontaneous and daring music
in the first place is absent during a record
session, perhaps it is only natural that we
turn to the musical score as the sole author-
ity and standard.
The predominant wisdom is that a clean-
ly performed work will satisfy most people
over repeated listenings. One of my favorite
songs is Cello Song, by Nick Drake. It
moves me, sometimes to tears. But damn, I
wish that cellist had played in tune at the
end! Sometimes it annoys me so much that
I have to skip ahead to the next track before
the end of this great song. Thats a shame.
One more take and a few edits could have
fixed it right up.
Given the ease of creating a perfect per-
formance, there seems to be no good reason
not to edit like crazy. A typical classical
recording can have as many as 25 edits per
minute of music, and todays software puts
high-quality splices within reach of even
amateur engineers. But if all we ever hear
from recordings is perfection, then perfec-
tion is what we come to expect in the con-
cert hallcleaner recordings lead to cleaner
performances lead to cleaner recordings.
Eventually, the music is scrubbed to death.
The roots of this idea go back to Felix
Mendelssohn and beyond. It is inartistic,
nay barbaric, to alter anything [composers]
have written, even by a single note, said
Mendelssohn. An argument could be made
that this is precisely the reason classical
music is unpopular with modern audiences.
A typical performance becomes more of a
museum exhibit than something vital.
Hamilton asserts that treating the score as
an ideal was not always the predominate
view in music. Virtuosos such as Franz Liszt
and Frdric Chopin, as popular in the 19th
century as rock stars are today, would often
improvise on a theme before busting into a
Beethoven sonata. Almost all early opera
arias included repeats during which the
soloist was expected to improvise, and
Mozart, Beethoven, and their contempo-
raries treated their concertos as vehicles for
original, spontaneous cadenzas.
Classical music used to be populated
with many musicians who strongly asserted
their own voices while performing com-
posed music. For them, the composition
was merely the vehicle for the performers
vision and talents. The danger is that some
performers put themselves before the com-
position, to the musics detriment. I came
across a disco version of Nessun Dorma
on YouTube thats particularly heinous
( www. y o u t u b e . c o m/ wa t c h ? v =
4y275vvxtPA). Good gravy, its bad.
For me, in the musical debate of compos-
er vs performer, the truth lies in the middle.
On one hand, it is the job of the per-
former to understand what the composer
was after. All glimmers of original intent
and aesthetic can be lost if the performer
doesnt take the time to care about the com-
poser or the composition. The performer
may lose track of what made the music
good in the first place.
On the other hand, a score is not music,
just as a map of Niagara Falls is not the falls.
The map shows us how to get there, but it
has no falling water, no ability to inspire or
awe. A good composer is able to create
within each piece a set of rulesharmonic
changes, development, architecture, etc.
The performer must read between the lines
and extract the pieces own interior logic.
Compositions require, as Hamilton puts it,
summarizing Liszts view, an inspired per-
former for realization. Historical research
can also give musicians good insight, but
again, worshiping conjectured performance
practices of the past can create cults too
wacky for even Tom Cruise to join.
And yet, for all of musics difficulties,
sometimes, in the concert hall and on disc,
the balancing act is managed. Sometimes, the
performer and the composition put down
their dukes and become a harmonious
whole. Sometimes, a performances calcula-
tion sets it free to form an ephemeral bridge
between musician and listener. In such
moments, we remember why music is a vital
part of our lives. And isnt that perfect?
www.Stereophile.com, April 2008 3
AS WE SEE I T
Er i ck Li cht e
Inhumanly Perfect Performances?
MODERN AUDIO EQUIPMENT CAPTURES AND
REVEALS NOT ONLY THE BEAUTIFUL NUANCES OF A
PERFORMANCE, BUT ALSO ITS FLUBS AND FARTS.
4 www.Stereophile.com, April 2008
AP R I L 200 8
VOL.31 NO.4
EQUI PMENT REPORTS
144 PSB Synchrony One loudspeaker
(John Atkinson)
155 Hansen Prince V2 loudspeaker
(Wes Phillips)
165 Triangle Esprit Comete Ex loudspeaker
(Art Dudley)
173 Silverline Audio Minuet loudspeaker
(Robert J. Reina)
183 Soundsmith SMMC1 moving-iron phono cartridge
(Michael Fremer)
189 Meridian F80 music system
(Wes Phillips)
FEATURES
60
Recommended
Components
The Stereophile writers rate
the gear theyve found to be the
best. Highly Recommended.
135
Anne Sophie Von Otter
Her personal journey through
making music of the doomed.
139
Big Dipper
The reunion craze has finally
found a worthy subject. The
happy return of Bostons
brightest stars.
FOLLOW- UP
161 Wilson Audio Specialties WATT/Puppy System 8
loudspeaker
(Wes Phillips) 183
37
I NFORMATI ON
208 Audio Mart
204 Manufacturers Showcase
206 Dealers Showcase
207 Advertiser Index
ST E R E OP HI L E
AP R I L 200 8
37
53
29
193
COLUMNS
3 As We See It
Erick Lichte holds forth on the untidiness of art as music.
11 Letters
This month, readers want Stephen happy, love Mikey, appreciate JAs efforts,
express themselves delicately, agree with Art, understand the need for convenience in
music playback but fear for audio quality, delight in Mikeys passion and wit,
and compare audiophiles to other niche hobbyists.
Get on your Soapbox! Visit www.stereophile.com.
17 Industry Update
High-end audio news, including dealer seminars, plus: A new Stereophile
recording, Rachmaninoff: The Piano Sonatas, available on our website; news
on the update of the LFD Zero; a visit to LP pressing plant, Record Technology,
Inc.; the updated Never-Connected Isolating Power Supply.
Want to know more? Go to the News Desk at www.stereophile.com for
up-to-the-minute info.
29 Sams Space
Sam Tellig visits with Triangle in France and listens to the Antal Ex and Titus Ex
loudspeakers.
37 Analog Corner
Michael Fremer brings us his views of the CES in Las Vegas this past January.
47 Listening
Art Dudley has a listen to the Rethm Saadhana loudspeaker.
53 The Fifth Element
John Marks listens to some great recordings and uses a Sony PS1 as a CD player.
131 Book Review
Kalman Rubinson reads and reviews Surround Sound: Up and Running
(Second Edition) by Tomlinson Holman.
133 Book Review
Art Dudley reviews Swiss Precision: The Story of the Thorens TD 124 and
Other Classic Turntables by Joachim Bung.
193 Record Reviews
Aprils Recording of the Month is The Third Man by trumpeter Enrico Rava
and pianist Stefano Bollani. In classical, we have reviews of new recordings by
Philip Glass and Huelgas Ensemble. In rock/pop, we have new recordings by
Ronnie Earl, Danny & Dusty, and The Heavy. In jazz, theres Pat Metheny, Ed
Reed, and Horace Silver.
201 Manufacturers Comments
This month, we hear from Wireworld, Fried, Triangle, Rethm, Silverline, and
Meridian on our reviews of their products.
210 Aural Robert
A legal bootleg? Youd have to be crazy, right? Meet the brave and talented David
Prinz.
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John Marks, Paul Messenger, Robert J. Reina, Kalman Rubinson, Markus Sauer, Jason Victor Serinus,
Peter van Willenswaard
Test & Measurement Consultant Paul Miller
CONTRIBUTING EDITORS (MUSIC)
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Matthew Fritch, Andrew Gilbert, Bob Gulla, Robert Levine, Fred Mills, Dan Ouellette, Leland Rucker,
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Cover Photo Eric Swanson
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Keep Stephen happy
Editor:
Stephen Mejiass blogs on your website
are a revelation (http://blog.stereophile.
com/stephenmejias). His insight, writing
ability, and humility show a grace and
respect for the subject matter and read-
ers that are welcome and rare. Keep this
guy happyhe is a valuable asset to
Stereophile and its website. Roger Vance
rocknrog@peoplepc.com
Mikey makes them happy
Editor:
I am 57. I have read Stereophile since it was
a staple-and-fold. I worked in high-end
audio for may years. My wife and I love
analog and vinyl. One of the main reasons
we continue to subscribe to Stereophile is
Michael Fremer. Thomas Stroud
Address withheld by request
JA keeps him reading
Editor:
I sincerely appreciate the effort that John
Atkinson puts forth to keep science alive in
our hobby. Whether through his equip-
ment measurements or providing an outlet
for Keith Howards most excellent articles,
its the only reason I continue to subscribe
to Stereophile. Please keep up the good and
worthy work. Bob Reynolds
Lafayette, LA
reynolds_bob@bellsouth.net
Ask Dima!
Editor:
While Im immensely enjoying the fact
that Sam Tellig introduced me to your
international readership in the February
issue of Stereophile (in his report on the
LFD Integrated Zero Mk.III LE integrat-
ed amplifier, p.19), my wife feels quite
uncomfortable with some parts of Sams
column. Heres one example: I want
sound so good I piss in my pants, say I.
Any other way to express yourself?
she asked me later.
So I would be grateful if Stereophiles
editor allowed me to express myself in
more delicate terms.
As your typical hi-fi consumer, I regard
you guys at Stereophile as a married man
regards the editors of Penthouse. While Im
happily stuck with my wife until the end
of my life, theyre trying something new
for every other issue! What a life!
The only thing an average reader can
hope for is to get a wife whose good
looks, temperament, and other charac-
teristics will make other men turn their
heads for many years to come. You
know, eventually one can get bored with
almost anything, but the positive reac-
tions of other guys at something in your
possession serves as the best confirma-
tion that youve made the right choice!
I use this analogy because Ive noticed
that I listen to my stereo system much
more critically in the presence of people
who deal on a daily basis with live and
recorded music. My work with Americas
major Russian daily newspaper, Novoye
Russkoye Slovo, has helped me befriend a
lot of Russian musicians who entertain
Americans in all kinds of venues, from
Russian restaurants in Brighton Beach to
Carnegie Hall. Some of them appreciate
my wifes cooking, accompanied by copi-
ous quantities of good wine of my choos-
ing. That gives me a fantastic possibility to
test my equipment with the best ears in
the Tri-State Area.
So far, the LFD integrated amplifier has
passed these tests effortlessly. The LFD
sounds so good its scary. This means that I
owe dinner (with copious amount of wine)
to Sam, who brought this amp to my house
last fall, then put me in touch with Fidelis
Audio, where I later bought one.
After all, maybe I owe Sam more than
one dinner. The thing is that my good
friend Vladimir Lamm, whose fascinating
amps and cellar Ive enjoyed for many
years, says that if one wants to build a good
stereo system, he has to spend close to half
a million bucks, and then some more to
build the right place for it. These numbers
sound okay when you are finishing off
another bottle of Chteau Margaux, but
next morning they are what they area
dream. According to Vladimir, theres a
very slim chance that you can assemble a
decent stereo system for less. With the
LFD I did exactly that, and my friends
envious Wow!s and Ah!s just prove that
there are some really affordable things
worth having for a long timeand possibly
for your entire life. Vadim Yarmolinets
vyarmolinets@nrs.com
Ask Art
Editor:
It is very tempting for audiophiles to forget
about the music and get wrapped up in the
technology. A number of audiophiles I
know are dumping their vinyl in favor of
lossless digital streamers or music servers.
I own one myself, and I understand the
convenience of the things, but the sound
quality doesnt come close to a decent ana-
log rig. We have been through this before
with digital technologyit was called the
CDexcept now we have WiFi and USB
connections involved!
As I told John Atkinson at the 2007
Rocky Mountain Audio Fest, I think it was a
smart decision to bring Art Dudley to
Stereophile. His recent articles discussing step-
up transformers and Shindo equipment have
been excellent. Art seems to understand
that, first and foremost, an audiophiles
equipment should serve the music, not our
desire for fast-and-convenient. Scott Bayne
Charlotte, NC
A different focus
Editor:
I would like to offer a few comments on
John Atkinsons editorial on CD Quality
in February 2008, particularly on Anthony
Tommasinis description of MP3 quality in
the New York Times as good enough.
My experience in postproduction
audioworking with musicians, composers,
and producersshowed me that their pro-
fessional focus is quite different from that
of a serious music listener. The profession-
als want to hear details of a performance
rather than a pleasing sound. There is a
story of a recording engineer who plays
back a take from a session to one of the
performers and forgets to switch the
Dolby-A processor to Decode. (For those
who never worked with these devices, the
Dolby-A noise-reduction system applied
compression and high-frequency boost to
low-level signals during recording and then
applied the opposite on playback. Unde-
coded Dolby was nasty-sounding because
the compression brought up noise during
quiet sections and brightened everything
painfully.) Much to the engineers surprise,
the musician is delighted with the sound
because it is so revealing; he can hear much
more detail in his playing.
I think it is much the same with produc-
ers and conductors. Many of them insist on
listening through loudspeakers that would
make an audiophile cringe. But that outdat-
ed device with its inaccurate reproduction
L E T T E R S T O T H E E D I T OR
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is their reference, and they know how they
want a performance to sound using that
reference. Again, they are not interested in
an ideal listening experience, but in specific
information from a recording.
Along these lines, I would also agree
with Tommasini that convenience or effi-
ciency can outweigh sound quality. When
digital audio recorders first became avail-
able, many in the audio business switched
to them because they eliminated the prob-
lem of generation loss. Unlike analog
tape recorders, their digital replacements
made copies without adding (significant)
distortion or noise. No more need for
Dolby noise reduction or painstaking cali-
bration and setup when copying. The
question of whether they added some
vague digital quality or sonic degradation
was entirely secondary to their enormous
advantages in everyday use. Vincent Gizzi
East Hampton, NY
vgizzi@optonline.net
A man can dream?
Editor:
I read February 2008s As We See It
with interest, then followed the link to
Anthony Tommasinis article in the New
York Times (so easy to do if youre reading
the digital edition of Stereophile, by the
way!) about the demise of the audiophile.
I worked for HMV Canada from 1986
to 2005, and it always amuses me when
people talk about the CD replacing the
vinyl LP. My own experience tells me that
the CD actually replaced the humble pre-
recorded cassette. In our small suburban
store, by 1989 our standard split for a new
release was 200 tapes, 50 CDs, and 25 LPs.
The LP was a distant second to tape even
before the CD was introduced.
Cassettes were popular then for all the
reasons MP3s are popular now. They
were convenient and portable. One cas-
sette could go from car to beach to Walk-
man to home. Also, like MP3s, cassettes
allowed you to make your own compila-
tions (now playlists in Applespeak). I
never bought a prerecorded tape in my
life because the sound quality was hor-
rendousmuch worse than even a
128kbps MP3 is todaybut lots of people
did buy them. Then the CD came along,
offering a combination of sound quality
and convenience, and that was that.
But the prime mover was always conve-
nience. Thats why, when MP3 came
along, CDs days were numbered. MP3s
would never win the battle on sound quali-
ty alone. My hope for the future is that, as
data storage gets cheaper and bigger, the
need to compress files will diminish. I also
hope that the music industry will abandon
digital rights management and make high-
bitrate downloads available for purchase,
with great incentives like liner notes, art-
work, etc. The potential is there for a
music-delivery system that will again com-
bine convenience and sound quality and
surpass anything that has come before. Of
course, I also hope for peace in the Middle
East and a Stanley Cup for the Toronto
Maple Leafs. One of these things has to
happen in my lifetime, right? Michael Quinn
michael.q@sympatico.ca
Sense will prevail?
Editor:
The February 2008 issue of Stereophile has
just dropped through my door. I thorough-
ly endorse the sentiments John Atkinson
expressed in his editorial, CD Quality:
Where Did the Music Go? (p.3). When I
was spending more time in studios, engi-
neers would regularly express frustration
with the level of compression that clients
demanded and the limitations of MP3s.
Hopefully, sense will eventually prevail,
because if it does not, the audiophile
industry will wither away. Robert Kelly
rkelly@r-k-kelly.freeserve.co.uk
Educate the kids!
Editor:
I heartily applaud Mikeys sentiments in
his February Analog Corner (pp.2433),
especially with regard to Anthony Tom-
masinis absurd piece in the November 25
New York Times, Hard Being an Audio-
phile in an iPod World. What puzzles me
most, however, is Apples failure to pro-
mote the high-end capabilities of iPods.
As a Mac fan, I keep abreast of Apple
news, and it appears that Jobsy wants to
upgrade iPods for online purchase of his
horrible reduced files on iTunes and
whatever other function he can dream
up to keep iPod sales up now that so
many have been sold.
Where is there ever a mention of the
joy of connecting a big iPod directly to a
good high-end rig and listening to WAV
files through it, when one is not on the
move in some uncomfortable aircraft or
lying in bed at night enjoying great music
through a good pair of headphones?
There is plenty of convenience
involvedI live for the moment in South
Asia, but have half of my Swiss homes
non-classical CD collection with me on the
iPod in WAV format to listen to here,
without the bind of transporting kilos of
discs. I cannot reasonably use my
Naim/Sonus Faber Cremona setup in a
tropical brownout environment, even with
occasional air-conditioning, so when I go
back to Switzerland I can listen to the discs
that I have bought here (which I enjoy here
on a robust little Rotel-Rega system with
voltage smoother and spike protection) and
dont want to carry back there yet.
How has this sort of information
escaped unrecognized? Many of my other
equally ancient friends (and some not
nearly so old) are totally unaware of the
hi-fi possibilities of iPods, and are aston-
ished when I show them how good they
can be. When they realize they are not
doomed to files with one-tenth the CDs
bitrate, they usually rush off to buy them-
selves the new toy! MP3s have their
uses for auditioning tracks online, and I
use them for meditation when I dont
want to listen, as such, to the music, but
they are not musical at all in themselves,
and at almost 60, I can still clearly hear
the difference between MP3, Apple Loss-
less (what a joke!), and WAV files. So can
our kids, so why the general ignorance?
Apple still has a substantial new mar-
ket there, if only they would realize it.
Why should young people be allowed to
kill off music? There will be no more
recorded music soon if nobody is inter-
ested in investing in it; ie, in occasionally
buying something! Pig ignorance.
I cannot believe that there are really so
few of us left who actually enjoy music
purely for itself. Kids need to be educated
and given the chance of hearing real music.
The good folk at Apple are not helping
themselves here. Kingsley Flint
Colombo, Sri Lanka
lintfam@sltnet.lk
Laying waste to evildoers
Editor:
Michael Fremer has again produced a bril-
liant counterstroke, laying waste to the
evildoers (February, p.24). Not only was
the Amazing Randi thoroughly bloodied,
but the entire staff of the Wall Street Journal
was sent reeling. I also appreciated his
ability to put the capitalist pigs at McDon-
alds in their place via metaphor. I also
agree wholeheartedly with his position
that besmirching an otherwise excellent
candidate with the truth is reprehensible.
Down with Swift Boaters.
This may be what your magazine truly
needs. Talking about etch and veils may
have a transitory effect, but lining up the
citizenry behind a true cause, the inerrant
views of Mr. Fremer, has a purer and tran-
scendental quality. Once again I must com-
mend Mr. Fremer on the fearless adher-
ence to his values, which he so nobly said
were absolutely correct. Harold Truman
haberdasher48@yahoo.com
Honesty and passion
Editor:
With great interest, I read Michael Fre-
mers Analog Corner in the February
2008 issue of Stereophile. After some
thought, I may be able to shed some
light on the apparent apprehension of
non-audio critics to accept audiophiles as
their peers. Perhaps some background
would be of use before I continue.
L E T T E R S T O T H E E D I T O R L E T T E R S T O T H E E D I T O R L E T T E R S T O T H E E D I T O R
The February 2008 issue of Stereophile is
the first audiophile magazine I have pur-
chased, and I am now a subscriber. For 15
years and counting, I have been fascinated
with automobiles, which will always be
my primary passion. However, through a
few chance encounters with true audio-
philes and their impressive systems, I have
been sucked into the world of high-end
audio. Suffering through Cleveland win-
ters while the back roads and tracks are
covered in snow should give me ample
time to feed my new interest.
Let me also state that I am not new to
high-quality music, though I am relatively
new to the systems and devices that repro-
duce it. I grew up hearing my fathers vinyl
records reproduce an array of Hendrix,
Herbert von Karajan and the Berlin Phil-
harmonic, Peter Green and Fleetwood
Mac, the Beatles, and many others. The
violin has been part of my life since I was
nine years old (and led me to a near-
unhealthy preference for Mendelssohn),
and has trained my ears well. Currently I
listen to a wide array of music and watch a
variety of movie genres.
So, what does my automotive back-
ground and just-joined audiophile rank
give me that allows an otherwise missed
observation to be expressed? In a word:
perspective. My automotive tastes lean to
the performance side. This niche within
the industry shares many qualities with the
audio world, particularly when it comes to
garnering respect from other critics. In
short, most other critics, including others in
the automotive industry, tend to turn up
their noses at the sports-car enthusiast.
Both industries also share the fact that there
are near-perfect examples for critics to refer
to. This perfection goes beyond absolute
performance and lies in an items ability to
align all necessary components so that the
effect of the whole is far greater than the
parts. Yes, that sounds like a clich, but it is
what makes the merely excellent a full-on
classic. Most important, though, the indi-
vidual elements can be measured, and are,
except in very rare cases, superior to the
competition. Many other disciplines can
claim there are perfect examples, but mea-
suring the differences between examples is
simply not possible.
It is this last element that draws fire
from other fields. How can you measure
the flavor of food? How do you define the
objective nature of a new song? How do
you quantify the impact of a piece of art?
Its possible that, over time, people may
develop ways of measuring these things,
but the fact remains: they are art, and are
subject to the reviewers preferences. Yes,
cars and speakers can be considered art as
well, particularly in appearance. However,
the goal of their use has a well-defined and
precise objective. A performance car has
several measurable criteria that ultimately
lead to the goal of a vehicle that is fast on
the road and track, relying on acceleration,
braking, grip limits, adjustability, surface
feedback, etc., to create that speed. For
speakers, the goal is to reproduce sound
exactly as it was recorded, with any
inevitable residual colorization comple-
menting (as opposed to degrading) the
recording. Ultimately, this can be mea-
sured. And, much like the best road edi-
tors, audio reviewers simply have a gift for
detecting the objective components while
still considering the subjective elements.
Other critics will not accept the audio-
phile into their fold because, quite simply,
most disciplines are not measurable and
do not have perfect artifacts by which
to judge other, newer items. The automo-
tive world has them, as does the audio
world. It requires a great deal of skill and
good taste to be a reviewer in such an
environment. I have a feeling I will enjoy
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learning the details and subtleties of the
audio world as much as I have come to
appreciate such things in the performance
automotive world.
Many thanks to Michael Fremer for an
honest and passionate column. Chris Doersen
csdoersen@aol.com
Cleveland, OH
The difference between the automotive and
audiophile worlds is that if you ask the average
non-enthusiast to name some hot cars, he might
answer Maserati, Ferrari, etc. Do the same for
hot audio and the answer is invariably Bose.
Michael Fremer
Get back to business
Editor:
Please tell Mikey:
1) Anyone who prefaces himself with
such monikers as Amazing or refers to
himself in the third person is a moron
and/or a blowhard.
2) It takes two people to have an argument.
3) He will only convince the ignorant of
his point of view, not the stupid.
4) His wife is correct in saying he is
grumpy. Id like to add whiny, too.
5) Stupid bets for large amounts of
money are too good to be true.
6) My favorite regular column is Analog
Corner. Get back to the analog busi-
ness, Mikey. Andy Gastwirth
Rockville, MD
gastwa@wirthware.com
Help needed
Editor:
For the last six months I have been sort-
ing out the personal files of the late
Richard Heyser. After Dick Heyser died
in 1987, Amy Heyser and John Prohs col-
lected his personal notes and test equip-
ment. Eventually they arrived at Colum-
bia University, under the watchful eye of
Doug Jones. Doug told me that he origi-
nally had six boxes of papers from Dicks
lab. He then sorted these six boxes
down to three or four boxes of informa-
tion that would have significance.
Around 2004, I started studying Time
Delay Spectrometry, the Audio Engineering
Societys anthology of Heysers writings
(available from www.aes.org/publica
tions/anth.cfm). I read it so many times
that I almost memorized it. I actually
started to understand some of it! I called
Doug and found out that Dicks papers
were being scanned. Unfortunately, they
were disorganized and were scanned in as
is. I offered to organize them for free if
he would send them to me. In June 2007,
Doug sent me a Mac mini with boxes
one, two, and three scanned in.
After sorting these files for about six
months, I have found that I need some
help. For example, I have found an article
written for The Abso!ute Sound. I am won-
dering if there are any other papers/arti-
cles that Dick wrote for other audio mag-
azines. Time Delay Spectrometry includes all
the papers Dick wrote for the AES and
Audio magazine, but not anything that he
wrote for the Journal of the Acoustical Society
of America (JASA). It would help me
tremendously if I could get a list of papers
Dick wrote for JASA.
My gut feeling is that Dicks heart leaned
more toward the audiophile community
than the technical community. Let me put
this another way, he wrote: You out there,
Golden Ears, the person who couldnt care
less about present technical measurements
but thinks of sound in gestalt terms as a
holistic experience. Youre right, you know.
(Time Delay Spectrometry, p.139)
If anyone can help, please send me an
e-mail and I will send you a complete
list of what I am looking for.
Bob Hagenbach
rc_hagenbach@yahoo.com
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THE WEB
J ohn At ki nson
It starts quietly enough, with a simple
falling-fifth motif, but the first move-
ment of Sergei Rachmaninoffs
neglected Piano Sonata 1 develops into
a work of epic proportions nearly 40
minutes in length, with haunting
melodies, massive dynamic contrasts,
and lush, sensual harmonies.
Back in 1990, when Stereophile first
recorded Canadian pianist Robert Sil-
verman (see www.stereophile.com
/musicrecordings/311), the repertoire
was Brahms. But during the sessions I
told Robert that someday Id like to
record him performing the two Rach-
maninoff sonatas. Ive already recorded
the first sonata, he said. It was released
as a Marquis LP in the early 1980s.
I looked up the Fanfare review of that
release: Silvermans performance [of
Rachmaninoffs First Piano Sonata in D
Minor] is a gradually expanding one.
His shaping of the multiple elements
that structure the first movement is
impeccable. The deeply resonant sound
of the piano enhances its great drama.
But wait till you get to the unspeakably
beautiful Lento. Few pianists can float
treble melodies as sensitively as Silver-
man can. Ive heard no other pianist
play this movement with such consum-
mate poignance. The tone bespeaks
regret and loss, but it is also phenome-
nally gorgeous. The sound of the
recording is spacious and full. Certainly,
this recording must be included in the
top two or three outstanding renditions
I have ever heard. This is the kind of
big, thunderous playing that makes
one want to hear more.
Sonata 1 was recorded on both ana-
log and early digital tape; Robert
recorded Sonata 2 in 1991 with the
intention of coupling it with the
recording of Sonata 1 on a CD. Unfor-
tunately, the digital master tape of
Sonata 1 was unusable, so the project
was abandoned.
Until a decade later, when David
Lemon of Canadian record label
OrpheumMasters, which in 2000 had
released my recording of Robert per-
forming the complete Beethoven
Piano Sonatas (now sold out; see
www.stereophile.com/musicrecord
ings/298), suggested that they issue a
CD mastered from the analog tape of
Sonata 1 and the digital tape of Sonata
2. According to Robert, David asked
what had happened to the earlier ana-
log master.
Well, it couldnt have been any
good by now. I kept it in my attic for
20 years, not in a climate-controlled
vault. Still, it was worth a try. I got out
my old half-track open-reel recorder,
found the two huge Ampex pancakes,
and plopped the first one onto the
machine. The tape was in pristine con-
dition, and the performance of the first
two movements was every bit as good
as the one that had been released on
LP. Unfortunately, time had not been
so kind to the second reel. There was
too much stretching, flaking, and
warping for the tape to be usable. We
were back where we started.
Then I remembered that, before
beginning the official recording ses-
sion, I had done a runthrough of the
entire sonata, which had been recorded
but not used in the final edits. Sifting
through my large stash of master tapes,
I found it and cued up the third move-
ment. Magically, the tape was in per-
fect condition.
The CD, issued a few years ago as
OrpheumMasters KSP 802, sold rela-
INDUSTRY UPDATE
CAL E NDAR
Those promoting audio-related semi-
nars, shows, and meetings should fax
(do not call) the when, where, and
who to (212) 915-4164 at least eight
weeks before the month of the event.
The deadline for the June 2008 issue
is April 1, 2008. Mark the fax Atten-
tion Stephen Mejias, Dealer Bulletin
Board. We will fax back a confirma-
tion. If you do not receive confirmation
within 24 hours, please fax us again.
Attention All Audio Societies: We
now have a page on the Stereophile
website dedicated entirely to you:
www.stereophile.com/audiophilesoci
eties. Check it out and get involved! If
youd like to have your audio-society
information posted on the site, e-mail
Chris Vogel at vgl@atlantic.net and
request an info-pack.
Please note that it is inappropriate
for a retailer to promote a new prod-
uct line in Calendar unless this is
associated with a seminar or similar
event.
CAL I F ORNI A
Sunday, April 6, 14pm: Signals
SuperFi, LLC will host a special event
for the Los Angeles and Orange
County Audio Society in the Buena
Park Holiday Inns Sierra Ballroom.
Chris Sommovigo, president of Signals
SuperFi, will present the German
Physics HRS-120 loudspeakers, Vitus
Audio SS-010 amplifier, and Stere-
ovox cables. Lunch will be served, and
there will be a raffle. Guests and new
members are invited. For more info,
visit www.laocaudiosociety.com or call
Bob Levi at (714) 281-5850.
Sunday, April 27, 25pm: The Los
Angeles and Orange County Audio
Society will hold its monthly meeting
at Evolution Audio and Video in
Agoura Hills. Audysseys room-EQ sys-
tem will be featured. Lunch will be
served, and there will be a raffle.
Guests and new members are invited.
For more info, visit www.evolution
hometheater.com, www.laocaudio
society.com, or call Bob Levi at (714)
281-5850.
Saturday, May 24, 58pm: The Los
I NDUST RY U P DAT E
tively well, but
Or pheumMa s t er s
then went out of
business. Stereophile
bought the remaining
stock of the CD in
summer 2006 to sell
on its website, and
they were all gone in
two weeks. When I
suggested to Robert
that it would be
worth reissuing the
recording as a
Stereophile CD, he
agreed. The result,
Rachmaninoff: The
Piano Sonatas (Stereo-
phile STPH019-2), is
now available for $12
plus S&H from our
websites secure e-commerce page:
http://ssl.blueearth.net/primedia/ho
me.php.
Robert Silvermans monumental
recording of the two Rachmaninoff
sonatas is a must-have for anyone who
loves the sound of the piano and appre-
ciates virtuoso performances of virtu-
oso works.
UK: CLACTON- ON- SEA
Paul Messenger
Coincidence is a remarkably effective
way of focusing the attention. Paul
Burton had brought the final version of
his radical Omnimon speaker for a
review to appear in a UK magazine. As
we chatted about this and that, he
described the strange circumstances
that, on Christmas Eve, had caused his
beloved LFD integrated amplifier to
expire. It wasnt the amps faulta
black neoprene washer used to insulate
a speaker terminal had, gradually and
entirely unexpectedly, been trans-
formed from insulator to conductor
over a 24-hour period, short-circuiting
the output and causing the amplifier to
overheat until a diode blew. Burton
took his amp back to LFDs factory in
Clacton-on-Sea, on Englands East
Coast, where LFDs Dr. Richard Bews
repaired it, then began telling Burton
about his latest product.
At that point in my conversation
with Burton, the doorbell rang. It was
UPS, delivering the February 2008
edition of Stereophile. I ripped open the
envelope, began flipping through the
issue, and almost immediately, on p.19,
at the head of Sam Telligs column,
stumbled on a picture of the LFD
amplifier Burton had just been talking
about. Sam and I often cross paths, in
both the companies we visit and the
equipment we write about, which
would be much less galling were he
not a far better writer than I. This time,
however, Im able to take one of his
stories a stage furtherbecause when
Burton visited Bews just after Christ-
mas, he discovered that the LFD Inte-
grated Zero Mk.III LE that Sam wrote
about will shortly be replaced by an
upgraded model that will look rather
different and cost rather more.
I rang Bews. It seems the current
model will be soon phased out
because the existing stock of casework
will soon be gone, and the supplier of
said casework has recently gone bust.
So it goes: the best of all possible rea-
sons for introducing a new model.
(The new version should be in pro-
duction about the time this present
issue hits the newsstands.) Besides
introducing a new case and feet, Bews
will also incorporate a number of
improvements in the integrateds
internal components. The changes
will involve an increase in price, in no
small part because of the cost of the
new front panel, which will be heftier
and prettier. Bews was dismissive of
the need for costly casework that
makes no contribution to perfor-
mance, but acknowledged that it has
become an increasingly unavoidable
aspect of the audiophile sensibility.
Bews has some interestingly forth-
right views on hi-fi and amplifier
design. He earned his doctorate at the
same time as Dr. Paul Mills (now at
Tannoy), working with Dr. Malcolm
Omar Hawksford at the University of
Essex, and founded LFD some 20
Society will hold its monthly meeting
at Brooks Berdan, Ltd. in Monrovia.
Featured gear will include McIntosh
electronics and Wilson Audio Spe-
cialties loudspeakers. Special guests
Bernie and Paul Grundman of
Straight Ahead Records will talk
about their audiophile recordings. A
software raffle is planned and dinner
will be served. Guests and new mem-
bers are invited. For more info, visit
www.brooksberdanltd.com, www.lao
caudiosociety.com, or call Bob Levi at
(714) 281-5850.
After eight years at their old location,
The Audible Arts has moved to a
much larger space at 412 E. Campbell
Avenue, Campbell. The Audible Arts
now offers nearly 3000 square feet of
space, with dedicated two-channel
and home-theater rooms, as well as
LP and CD sales. For more info, visit
www.audiblearts.com or call (408)
376-0861.
COLORADO
Saturday, April 19, 11am5pm:
Audio Unlimited will host an open
house with Atsushi Miura of Air Tight,
Art Manzano of Axiss Audio, and
Peter McGrath of Wilson Audio Spe-
cialties. Featured gear will include the
new Air Tight Reference System,
Accuphase DP700 disc player, and Wil-
son MAXX 2 loudspeakers. For more
info, call (303) 691-3407 or e-mail
john@audiounlimiteddenver.com.
WAS HI NGTON
SaturdayMonday, May 2426: The
Vacuum State of the Art Conference
(VSAC) will take place at the Vancou-
ver Hilton. For more info, visit
www.vsac2008.com.
CANADA
ThursdaySunday, April 35: Festival
Son et Image, co-sponsored by
Stereophile magazine, will take place
at the Sheraton Centre, 1201 Ren-
Lvesque Boulevard West, in Montreal.
The first day is for trade-only. For more
info, visit http://www.fsiexpo.com
/2007/b/index_EN.html.
CZ EC H RE PU BL I C
SaturdaySunday, March 2930,
10am6pm: High End Praha will take
place at the Corinthia Towers Hotel in
Prague. For more info, visit www.high-
end-praha.cz.
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years ago. He describes the art of
amplifier design as one of multi-
dimensional optimization, and if his
basic circuits are relatively convention-
al, his choices of specific components
and their implementation are anything
but. Bews is particularly critical of the
engineering approach to hi-fi, which
he believes is far too simplistic: audio is
not technically truly definable, requir-
ing the designer to have a feel for the
end result. Bews described himself as
more a scientist than an engineer: A
scientist is only as good as his last
approximation.
LFD amplifiers comprise a mix of
components and construction that
would probably puzzle most audio
engineers. Combining circuit simplici-
ty with the careful selection of passive
componentshe has much sympathy
with Japanese audiophile practice
Bews regards the holistic, subjective
performance of the whole sound as the
only true target. Bews is the Heston
Blumenthal of British hi-fi, for the
obvious parallels between the way he
cooks together an amplifiers various
ingredients, and chef/author Blumen-
thals molecular scientific approach
to gastronomic superiority.
I asked if the new integrated amp
would have a new name. Bews, slightly
bemused, clearly hadnt considered
this. He isnt into marketing, as you
might have guessed from the compa-
nys almost invisible profile. (Theres a
website, www.lfdaudio.com, but it isnt
much use; UK distributor Aanvil
Audio probably has rather more info at
www.aanvilaudio.com.) Lets make
one up, he suggested; something to
highlight the new casework. We set-
tled for Integrated NCSE, though I
doubt Bews will remember that next
month, or even next weekhes not
really interested in such trivia.
US: CAMARI LLO, CALI FORNI A
J ason Vi ct or Seri nus
Its said that your first experience on
entering a space sets the tone for all that
follows. At LP pressing plant Record
Technology, Inc. (RTI), that experience
is my encounter with veteran pressman
Richard Lopez, who responds to my
request for direction. As he leaves his
vintage record press to lead me to
owner Don MacInnis, Lopez reads
aloud the sticker on a box of recently
pressed LPs. WORLDS FINEST PHONO-
GRAPH RECORDS, he declares with
pride. As I reflect on how few workers
today feel so connected to the products
they make, I
sense that
something spe-
cial lies ahead.
Soon this
vinyl virgin is
sitting in the
cozy Acous-
Tech master-
ing facility in
Ca ma r i l l o ,
Ca l i f o r n i a .
Tucked into
the rear of one
of RTIs build-
ings, this hard-
ly prepos-
sessing space
one of perhaps
four rooms in
which vinyl is still mastered exclusively
in the analog domainis often consid-
ered the best-sounding LP mastering
and lacquer-cutting studio in the US.
Alongside me and MacInnis are the
designer of the facility, Kevin Gray,
almost 54, and his longtime partner in
mastering crime, Steve Hoffman, 54.
Between us, we have 108 years of
experience, Hoffman quips. Theyve
also mastered a good 10,000 albums.
Outside the room is an oft-pho-
tographed wall displaying covers of
some of the facilitys prized platters.
Seeing all those titles together might
reduce Mikey Fremer to jelly.
Soon among us is Chad Kassem,
whose Acoustic Sounds label is prepar-
ing to issue up to twenty-five 45rpm,
180gm LPs from prized Blue Note
master tapes. Not only are these boys
so accustomed to visitors that nothing I
ask distracts them, but Gray later
thanks me for not being a clone of one
self-assured reporter who challenged
his every move and decision.
Hoffman does most of the talking.
What were doing in here is basically
the same thing theyve been doing since
1887. The cutting process really hasnt
changed. You take some soft material
and make a record. Emil Berliner turned
it into a flat disc instead of a cylinder.
Our main concern is that when I decide
what I want the recording to sound like,
the lacquer should sound the same.
It helps that this may be the only
cutting room in the world that uses
pure class-A amplification, all the way
from the tape machine to the cutting
head. Gray began building the trans-
formerless room in the late 1970s, and
has recently installed top-of-the-line
AudioQuest cables. I stayed away
Above Jason Serinus shows off the Blue Note LP covers.
Below: Acoustic Sounds Chad Kassem (l) and RTIs Don MacInnis (r)
pose in the library.
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from this audiophile stuff until Joe
Harley convinced me to try it, and Ive
been very happy. Soon will come
aftermarket power cables. Citing my
own experience, I predict that Gray
will then be an even happier camper.
Hoffman explains that the leg-
endary Rudy Van Gelder created the
classic Blue Note sound. The beauty
of working with a Rudy Van Gelder
master is that hes a very predictable
engineer. Everything has a similar
sonic signature, which makes it very
easy for us. He favored a vibrant,
slightly over-the-top coloration. Its a
fairly bright sound. Even though he
had a very high ceiling in his cutting
room, he rode his equipment a little
harder than usual. If you remove the
signature, people feel youve lost the
magic. We have to be careful to retain
it while making the instruments sound
as neutral and lifelike as possible.
We have a diamond here. We pol-
ish it and put it in the best possible
light. Other mastering engineers have
their own ideas of what sounds best.
Our philosophy is not to play God.
Were not trying to reinvent history,
not trying to make something sound
modern. And were certainly not going
to resort to digital restoration, which
kills the life as it kills the hiss.
Out with Mono: Gray, Hoffman,
and Kassem soon launch into the first
of several intense spiels about the
stereo pedigree of these master tapes.
(Make sure your readers see this,
insist the latter two more than once.)
While many record collectors hold fast
to the belief that Van Gelders Blue
Notes were intended solely for mono
distribution, Kassem points to the
handwriting on each open-reel master
that clearly states that the recordings
are stereo.
They were released in mono
because stereo albums cost a dollar
more, he says. They felt there
wouldnt be enough interest to justify
the effort. Were not going to keep
anyone from enjoying the full sound
by collapsing the soundstage and hid-
ing their wonder. There arent many
10 to 20people on the planet who
have heard these master tapes. Any
critic who says that the only good Blue
Note is a mono Blue Note hasnt
heard the masters.
As Hoffman plays a reel, he points to
the oscilloscope on the board, which
shows energy in the center of the
soundstage. This is easily confirmed by
listening. While on most tapes some
instruments are positioned closer to
the left and right mikes, most place the
piano and bass in the center. To Hoff-
man, that sounds as if youre in a really
good seat in a club. And while the
ever-secretive, 85-year-old Van Gelder
has often insisted that he didnt pay
attention to such things, Hoffman
believes that you cant get sound like
this without really trying.
We give audiophiles the master-tape
sound, not the original Blue Note LP
sound. You cant tell me that the audio-
phile wants to hear sound as it was com-
promised back then. Youd have to play
it on a Zenith. They were very scared to
leave too much bass, treble, or dynamic
range on the record, because the tone-
arm would jump out of the groove.
Nowadays, we can finally accomplish
what Rudy Van Gelder would have only
dreamed of hearing 40 years ago.
Missteps and Triumphs: To learn
more about the Blue Note masters, I call
Blue Note authority Michael Cuscuna,
at Mosaic Records (www.mosaic
records.com), in Stamford, Connecticut.
Cuscuna has handled all Blue Note reis-
sues for EMI since 1984, supplying tapes
from the vault in Los Angeles.
In the 1970s, when Cuscuna began
working with Blue Note, one of the
engineers at the United Artists studios
noticed that oxidation had begun to
cause flaking on some of the masters
recorded in the 1960s. After convinc-
ing the powers-that-were to make
new, second-generation masters
from some of the masters, those origi-
nals were scrapped. The substitutes
used the early Dolby process, which
results in a loss of detail and openness.
Of 400 Blue Note masters recorded
between 1950 and 1970, no one now
knows for certain how many are origi-
nal masters and how many are second-
Steve Hoffman adjusts the equalization controls (above),
aided by Kevin Gray (right).
Tempting, but you wont hear this claim from us.
$VORQJDVORXGVSHDNHUVDUHGHVLJQHGE\KXPDQEHLQJVWKH\ZLOOSHUIRUFHUHHFWWKHSDVVLRQVWKHWDVWHV
and the biases of their maker. So it is with the new Alexandria Series 2. And, barring some single set of
objective criteria against which every loudspeaker on the planetincluding the new Alexandriacould be
measured, it would be, at best, disingenuous to suggest something so absolute.
The aim behind every product Dave Wilson has made is simple: create loudspeakers that sound to him
most like real music. Loudspeakers that re-createfor himas much of the emotional experience of live
music as possible.
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dria thrilled Dave and the hundreds of music lovers around the world who bought them. Dave was justly
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Hardly. So began a quest. The quest of the perfectionist who knows there never really is such a thing as
perfection. It involved taking a fresh look at what he knew. It also meant discovering what he didnt yet
know.
Listening to live music played in the worlds greatest concert halls has always been a major part of that
learning experience. As he listened, Dave formed a crucial new insight...
2233 Mountain Vista Lane, Provo, UT 84606
.
801-377-2233
.
wilsonaudio.com
Wilson Audio
.
Authentic Excellence
the worlds best loudspeaker?
generation copies. (While Im at
AcousTech, Kevin Gray and Steve
Hoffman identify a copy by its inferior
sound, set it aside, and inform Chad
Kassem that he must remove it from
his reissue list.)
When 12" LPs came out, Cuscuna
explains, labels needed to build up
large catalogs in order to make money.
There was a massive amount of record-
ing activity in all genres. An amazing
amount of independent labels popped
up to record massive amounts of mod-
ern jazz during its heyday in New York
City. Rudy Van Gelders studio, which
was owned by Alfred Lion, became the
studio of choice.
Other labels would hire musicians
to go into studios without planning
and rehearsals. Alfred invested in plan-
ning and paid pre-rehearsals, and care-
fully formed ensembles. By doing so,
he inspired musicians to create a lot of
original compositions that became
standards. He cites, as only three of
many examples, Horace Silvers Song
for My Father, Lee Morgans The
Sidewinder, and John Coltranes
Blue Train.
If youre an improvising musician
and you havent rehearsed, youre going
to play your best solo while everyone is
still working out the tune. By the time
everything is worked out, everyone is
burned out. Alfreds approach created a
more lasting body of work. It wasnt as
much a case of whom they recorded as
their methodology, which drew out the
best possible performances.
Master Masterers: As
much as Id love to relay all
kinds of anecdotes about the
challenges Steve Hoffman and
Kevin Gray encounter during
the mastering sessions, I wit-
ness none. These boys know
the sound of the facility and the
Van Gelder masters like the
backs of their hands. Decisions
are made fast, almost as second
nature. For Kenny Dorhams
Whistle Stop, they discover plen-
ty of headroom, so they add a
bit of excitement. (Earlier in
the day, they treated other titles
differently.) I leave for a while
to tour the facility, and
by the time I return
theyre working on
another tape. On the sec-
ond day of my visit, the
final session ends early.
When Kevin and I
work in this room, says Hoff-
man, I basically focus on the
sound I want to hear. I rely on
Kevin to perfectly translate that
sound to the phonograph record.
Kevin has been cutting records
since he was in high school, and
he knows what hes doing. We
know each others moves; we
finish each others sentences.
Our spouses are amused by it.
Back home a month later, I
unpack some test pressings Chad
Kassem has sent me. Though I
know I can never dare look
directly into Mikeys eyes until I
own a record-cleaning machine,
my Clearaudio turntable, solidly
supported by a Symposium platform, is
equipped with a brand-new The Voice
cartridge from Soundsmith thats raring
to sing. Bybee Golden Goddess speaker
bulletsyou need not genuflectbring
out all the detail that the rest of the chain
can possibly reproduce. Playing side B of
Dexter Gordons Dexter CallingI
have no list of track titlesI hear the
most realistic-sounding drums ever
reproduced by my system. Its as though
Im sitting at the point of creation, expe-
riencing the same high that brought
such gifted musicians together as one.
Steve Hoffman, Kevin Gray, Chad
Kassem, and Don MacInnis have done
Rudy Van Gelder and his Blue Note
artists proud.
Cutting the master.
Below: Note the word Stereo on the original master tape box.
Kevin holds the master.
Quite possibly.
The Musikverein in Vienna, Austria is certainly regarded in the handful of top halls in the world, halls that
listeners and musicians alike revere for their acoustic felicity. Whether by ingenious design or sheer luck,
the Musikverein is universally acclaimed for its ability to make the musical experience that much more
involving, more emotional, more right.
Several of Dave Wilsons most epiphanic musical experiences have taken place in this room.
So it was only natural that, as he began to develop the new Alexandria, he asked the question, Why?
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UHHFWHGVRXQGDGGVLVQRWGLVFRQWLQXRXVLQVWHDGWKHVHUHHFWLRQVDGGKDUPRQLFFRPSOH[LW\DQGGHQVLW\
Music springs off the stage with alacrity and nuanceeven at low volume. The Musikverein radiates dy-
namic intensity and a sense of musical intimacy, even though it seats 1600 people.
Dave knew thats what the new Alexandria needed to sound like. He embarked on a process that involved
countless hours of testing and listening trials. In the end, it meant designing an all-new midrange driver
and redesigning the tweeter. Finally, each crossover was meticulously tweaked to exploit these advances.
'LG'DYHDFKLHYHKLVJRDO"6XIFHLWWRVD\'DYHLVRQFHDJDLQWKULOOHG6XIFHLWWRVD\ZHUHH[FLWHGIRU
you to discover the emotional intensity of music heard through the Alexandria Series 2.
2233 Mountain Vista Lane, Provo, UT 84606
.
801-377-2233
.
wilsonaudio.com
Wilson Audio
.
Authentic Excellence
the worlds best concert hall?
UK: WORCESTER
Paul Messenger
The more I mess around with my hi-fi
system, the more important the role of
the power supply seems to become.
On the one hand, our system compo-
nents slowly but incrementally
improve as the years pass. On the
other, our supply of electricity slowly
but surely becomes more polluted,
either through acting as an antenna for
an ever-increasing amount of RF radia-
tion, or through the growth of high-
frequency switching power supplies in
many household devicesthese days,
even light bulbs. It would be simplistic
to say that the benefits of the former
tend to be canceled out by the effects
of the latter. Its just as likely that the
improvements in system components
are making limitations in and interfer-
ences with the power supply that
much more obvious.
To some, it seems an extraordinary
idea that the AC supply would have
any impact at all on the soundcer-
tainly, that used to be the orthodox
view. But anyone who has experi-
mented with their AC supply will
know, the reverse is true. After all, a
houses power supply is the sole
source of energy for the entire system;
the quality of the delivery of that
energy must in some way correspond
with the quality of the signal thats
ultimately reproduced by the system.
(Caveat: I live in the UK, the land of
230V/50Hz; circumstances in
110V/60Hz territories such as the US
might well be different, though Im
sure similar problems exist.)
Many different approaches to power
delivery have evolved in recent years,
with, in my experience, decidedly
mixed results. For example, filtering or
synthesizing the AC supply can clean it
up, but usually also leads to a higher
source impedance, which can slow
the sound and limit dynamic expres-
sion. The ultimate test came when I
tried a system of battery and inverter
that simulated the power supply. It
significantly lowered background hash,
but at the cost of some loss of speed
and attack. It all comes down to per-
sonal preferences and priorities.
In the October 2003 Industry
Update (Stereophile, Vol.26 No.10), I
described a much less extreme and
expensive way of completely isolating
a component from the power supply.
The Never-Connected Isolating Power
Supply, from Fenson & Co., Ltd.
(www.never-connected.com), is the
idea of British inventor Richard
George. I return to it now because it
has just undergone a major v.2
upgrade, and has been made rather
more flexible. Georges N-C approach
is founded on the fact that a power
supply draws AC from the main supply
only during the brief period of the
sinewave cycle, when the voltage on
the transformer secondary is higher
than that on the supply rail. The N-C
approach isolates the equipment from
the AC supply at this part of the cycle
by diverting incoming current into a
storage capacitor, then releasing it
when the supply stops flowing.
This unquestionably clever idea
has the fundamental practical disad-
vantage of operating on the rectified
DC side of the supply, after the indi-
vidual components transformer. And
because such a transformer is usually
part of the specific component, an N-
C supply usually must be fitted dur-
ing manufacture, or retrofitted by
someone skilled in DIY electronics.
N-C power supplies are now incor-
porated in the new products of sever-
al British brands, including Trichord
Research, J.A. Michell, AstinTrew,
and ECS, and are available from Tri-
chord as DIY kits.
However, an increasing number of
hi-fi components, such as phono
stages and other accessories, use wall-
wart power supplies that generate
already-rectified low-voltage DC,
and the output of these could certain-
ly be cleaned up by a plugnplay N-C
supply. Just such a standalone 5V sup-
ply, specifically designed to power the
popular Logitech Squeezebox wire-
less networkmusic player, is already
close to production; more flexible/
adjustable versions are planned.
No less significant are the N-Cs
v.2 improvements, the result of five
years of development work on the
original N-C. It was found that the
output regulator and switching cir-
cuits were critical determinants of
sound quality, and that even the best
integrated-circuit regulators had high-
er noise levels and lacked the sound
quality of the equivalents constructed
from discrete components. Compre-
hensive listening tests were then con-
ducted to find the best-sounding dis-
crete components. N-C v.2 is claimed
to deliver the best results when used
to power analog line-level stages,
especially those in CD players, pream-
plifiers, and the input and drive stages
of power amplifiers.
Finally,
An In-Wall
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Sam visits Triangles New Owner
SAM S SPACE
Sam Tel l i g
W
ho is George
S a n k ?
My wife,
Marina, want-
ed to know
why a posh
Paris hotel, the Four Seasons George V,
is named after a British monarch. And I
do enjoy lecturing.
George V (George Cinq en franais)
was King of England during World
War I, when Britain came to the aid of
its ally France. But following the Bol-
shevik Revolution, in 1917, George V
abandoned his cousin, Tsar Nicholas
II. Prime Minister Lloyd George
offered asylum to the Russian monarch
and his family, but George V torpe-
doed the idea. Some hold George
Sank partly responsible for what befell
the Romanoffs.
History of a more cheerful sort was
made last fall, when Triangle Electroa-
coustique held a major international
press event at the Four Seasons George
V Hotel, just off the Champs Elyses
the first such event since Olivier
Decelle took over the company in
2006. (Paul Messenger wrote about
the change in ownership in the Febru-
ary issues Industry Update.)
With some chutzpah, Triangle now
calls itself The French loudspeaker
company. Eh, bien. While Triangle is
actually Frances No.2 speaker manu-
facturer, they have a huge domestic
presence. France accounts for three-
fourths of their sales.
You trip over Triangle everywhere:
When you shop for books, CDs, or a
digital camera at fnac, the largest
French retailer of cultural and con-
sumer electronics products. When you
rent a video. When wifey wants a
washing machine. Good hi-fi is widely
available in France.
Maybe its because the French still
sit down to listen to music. There seem
to be plenty of melomanesmusic
loversin France, judging by the num-
ber of music festivals and the fact that
France supports two major classical-
music magazines.
Triangle makes budget models for
this broader domestic market, includ-
ing the floorstanding Thema, which I
heard in the fnac base-
ment. Through some
arm-twisting by
Richard Kohlruss, of
VMAX Services, Tri-
angles US and Cana-
dian distributor, the
Thema is now avail-
able in the US for
$1695/pair. I wonder
if it will run on my
flea-watt Sun Audio
SV 2A3 amplifier.
Well soon find out.
Triangle founder
Renaud de Vergnette
remains with the com-
pany. Olivier Decelle
describes him as a con-
cepteura superb idea
personand not just
for hi-fi. Renaud has
created some of his
own furniture, includ-
ing a dining table that
stores cutlery in drawers built into the
legs. No need to miss a beat if someone
drops a fork.
Renaud wasnt trained as an engi-
neer and doesnt have a business
degree, which make his accomplish-
ments all the more remarkable. The
French hi-fi scribes revere him. Hes
passionate about jazz and classical
music. He avoids e-mail and doesnt
have a cell phone. Born in Paris, he
now lives in the village of Droizy, near
Soissons, whose population, at last
count, was 79. People, that is. Probably
several hundred farm animals. Cows,
goats, pigs, chickens wander into the
lane, which is one vehicle wide.
I once told Renaud that my philoso-
phy of life was never to grow up.
Exactement, he replied.
Renaud did it the hard way. He didnt
stuff someone elses drivers into a box
and put his marque on it, but designed
and built his own drivers. If they are
not our drivers, these are not our speak-
ers, Renaud once told meor words to
that effect. While Renaud has handed
over the reins, he remains on board to
say Triangle ou pas TriangleTriangle or
not Triangle.
In the February issue, my colleague
John Marks cited examples of conspic-
uous production in hopes of conspicu-
ous consumption. I wish Id written
that. Triangle has done the opposite,
perhaps to the detriment of its balance
sheet. At Triangle, technology doesnt
trickle down from the flagship Magellan
lineit pours. The speakers in the Esprit
series come close to the performance of
the companys more expensive models.
All this might have been lost had
Triangle been taken over by a multina-
tional conglomerate, but Olivier
Decelle is determined to keep Triangle
French: French-owned, French sound.
The speakers have a Gallic personality
and flair. After all, someone has to
wrest good sound from the British.
(Thats a joke, JA.)
All loudspeakers are supposed to be
neutral, and Triangle has measure-
ments to show that theirs are. But thats
like evaluating wine by chemical analy-
sis. Great loudspeakers have personali-
ties behind them. They exhibit a house
sound, even as the manufacturers pro-
vide measurements to show that they
dont. Would you want a world in
which all speakers sounded [ahem]
British? (I do have to give the Chief
what to cut, as Marina says.)
Olivier and Anne Decelle at Chateau Jean-Faure.
P
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Triangle unveiled so many products
at the George V that there wasnt time
to hear them all. These included a
complete revamping of the best-selling
Esprit line, all clad in vinyl
($795$2895/pair). The new Gense
models are veneered in wood and sure
look nice ($2795$6595/pair). The
Magellan line has filled out, too. I have
my eye on the floorstanding Magellan
Cello ($12,900/pair).
Triangle does things in style. To help
calibrate everyones ears, they treated
guests to a concert at the Thtre des
Champs Elyses the evening before the
George V event: Zubin Mehta conduct-
ing the Israel Philharmonic in Mahlers
Symphony 7. Francophiles Paul Mes-
senger and Alvin Gold were invited, of
course. Alvin, an avid Mahlerian, was
ecstatic over the performance.
Renaud de Vergnette founded Tri-
angle in 1980, in the ancient city of
Soissons, in Picardy, 65 miles northeast
of Parisin the wrong direction. Thats
one reason Renaud loves the place:
There is a total absence of weekending
or summering Parisians. Lt? A Sois-
sons? But British retirees are moving to
the area. They think its warm here,
Renaud told me. He calls this la vrai
Francethe real France. Unchanged.
Unspoiled. Mostly untrampled by
Parisians like himself.
Ancient Soissons antedates Roman
times. Julius Caesar mentioned the
place when it was called Suessiones,
part of Long-Haired Gaul. An archaeo-
logical dig next door could stall anoth-
er expansion of Triangles facility. The
ruins may be pre-Roman.
Today, its a time warp. Theres no
direct motorway to Paris, only an indi-
rect two- or three-lane highway.
Theres no TGV high-speed train ser-
vice, only a lazy local from Paris that
stops running after 8pm.
Like Renaud, I love the place, the
people, the foodrobust and hearty,
nothing light and trendy. You know
how everyone is thin
in Paris? In Soissons,
lots of people are
BIG. Like me.
Richard Kohlruss of
VMAX loves the
place, too. The mis-
chievous Renaud put
quite a scare into
Marina by suggesting
that we might like to
live in drowsy
Droizy, where he
recently built a
house. The Dungeon
of Droizy is nearby,
where Renaud is
rumored to lock up
hi-fi critics who
c a u s e
h i m
grief.
I d
v i s i t e d
the Tri-
a n g l e
f a c t or y
t w i c e
before so
Ol i vi er
Decel l e
suggest-
ed that,
i ns t e a d
of north-
e a s t ,
Ma r i na
and I
m i g h t
s w i n g
s o u t h -
west, to
B o r -
deaux, where he pursues his main pas-
sion: viniculture. As mes confrres board-
ed the bus for the dank delights of
sooty Soissons, I laughed my evil laugh.
Oliviers father, Armand, established
the Picard chain of frozen-food stores
(the company used to deliver ice)not
ordinary, supermarket frozen food, but
gourmet entres and desserts that har-
ried housewives can defrost, heat up, and
pass off as homemade. Olivier told me
the secrets of Picards success: Sell noth-
ing you wouldnt eat and serve yourself,
and be fanatical about quality and fresh-
ness. Picards slogan: plus frais que frais
(fresher than fresh).
You can check out the website at
www.picard.fr and fret over the fact
that Picard stores are found only in
France and Italy. Couliabac (salmon in
a pie crust), escargot, crpes, quiches,
moules la marinireif they flew this
stuff to Manhattan, there would be
riots. I know exactly where to put
Picard: Grand Central Station. They
did try a shop in London, but you
know the Brits: fish and chips.
Renaud established Triangle in
1980. One of his first dealers was
Olivier, who then, not yet drafted into
the family freezer, ran a small hi-fi
shop in Paris. Renaud made a sales call,
speakers in tow. Olivier liked them,
became Renauds first Paris dealer, and
the two hit it off. In 1984, Olivier
closed the store and joined his father
and brother at Picard, but he and
Renaud remained fast friends. (As
Olivier told me, in France, dealer means
drug dealer ; the proper word is revendeur,
for reseller or retailer.)
The Decelles sold their majority
Triangle Electroacoustique,
Avenue Flandres Dunkerque, Z.I. les
Etomelles, 02200 Villeneuve Saint
Germain, France. Tel: (33) 23 75 38
20. Web: www.triangle-fr.com. US
distributor: VMAX Services, P.O. Box
570, Chazy, NY 12921. Tel: (800)
771-8279. Web: www.vmax-ser
vices.com.
CONTACTS
The historic center of Saint-milion (top), Chateau Jean-Faure, in Saint-Emillion,
near Pomerol.
Its Unanimous!
All of us associated with the Vienna Philharmonic Orchestra are extremely
pleased with the results gained from using the Shunyata Research Hydra
and power cords in our reference recording studios.
Peter Poltun, Manager, Vienna Philharmonic
The Anaconda PowerSnakes, have transformed our Sonoma system, used during
the mastering process for the new 5.1 SACD mix of The Dark Side of The Moon.
James Guthrie, Grammy award winning Producer/Engineer (Pink Floyd)
We now use the Hydras on our Model 2 converters, AES router and main
monitor system consisting of B&W 802 speakers and Chord Amps.
Clayton Wood, Senior Engineer, SkyWalker Sound
I could not recommend Shunyata Research products highly enough.
Rick Rubin, Five-time Grammy nominated Record Producer
With digital sources it was almost as if we had switched from 44.1k/16 bit to
96k/24 bit. We now run all our analogue machines, workstations and the mixing
console from the Shunyata equipment.
Andy Jackson, Senior Mastering Engineer, Astoria Studio UK
I would highly recommend Shunyata Research products to any professional
audio/video facility.
Vlado Meller, Senior Mastering Engineer, New York
I can honestly say that Shunyata Power Systems do contribute to a more solid,
focused and accurate sonic picture.
Tom Jung, President, Digital Music Products Inc.
The Shunyata products are the most effective AC products Ive had in my system.
Robert Harley, Editor-In-Chief, The Absolute Sound Magazine
Shunyata Researchs power distribution products have provided me with an extremely
clean and transparent foundation by which I can check test pressings with full condence.
Steven Epstein, Producer, 12 time Grammy winner
Fine layers of haze and noise vaporized with the Shunyatas feeding my components.
Paul Bolin, Stereophile Magazine
Ive run out of words to describe the profound effect Shunyata Research products have
had on the SACD experience in our studio.
Jon Truckenmiller, Sr. VP Engineering, Crest National Studios
Every power amp I plugged into a Hydra sounded noticeably better than when fed straight
from the wall.
Wes Phillips, OnHiFi.com
The way my Shunyata-powered system captured and reproduced the low-level resolution
of the nest recordings was stunning.
Jeff Fritz, Editor, SoundStage! Magazine
The Hydra 8 is an Amazing product!
Michael Fremer, Stereophile Magazine
The Python Helix offered a consistently clearer, more vivid view of the music.
Marc Mickelson, Editor-In-Chief, SoundStage! Magazine
interest in Picard 10 years later. The
company then switched hands almost as
often as has Stereophile. Weary of
Frances Wall Street types, Olivier
decided to pursue another passion.
Today he owns and actively runs three
outstanding vineyards, including Mas
Amiel.
His Bordeaux vineyard is Chteau
Jean-Faure, located in Saint-milion,
close to the boundary with Pomerol, in
the heart of Bordeaux red wine coun-
tryCheval Blanc abuts, Petrus is just
up the road. You pay a lot more for
Petrus than you do for Chteau Jean-
Faure. Thats why Russians love Petrus,
Olivier wryly observed. When he can
fetch three or four times the price for
Chteau Jean-Faure, Russians will love
his wine, too. (Stock your cellar now
with 2005.)
In the heart of the Bordeaux wine
region, all the famous vineyards are
close to one anotheryet a short dis-
tance can make a huge difference in a
wines quality, as Olivier was quick to
point out. Its mainly a matter of
terroirthe land, the earth, the place.
How much sun or shade it gets. Of
course, it matters greatly how good a
wine-maker you are: your skills, staff,
barrels, equipment, your weather-fore-
casting ability. Its not an occupation in
which you can let things slide. Mistime
the harvest by even a day and you
could wind up with sour grapes.
Chteau Jean-Faure had gone to
seed. The Chteau itselfa heartstop-
pingly beautiful buildingwas in ruins,
and the vines werent much better off.
Olivier gutted the building, saving the
walls. Now the Chteau gleams like a
precious gem, the vines are meticu-
lously manicured, and all the wine-
making equipment is up to date.
Olivier is ready to roll up his
sleevesliterally. I saw him do it. When
we visited, the harvest was just a few
days away. During the harvest, every-
one pitches ineven the accountants
and does whatever is necessary to bring
in the grapes.
Travel 20 miles northwest from
Saint-milion and you find yourself in
one of the most sparsely populated
departments of France, as well as the
home of expatriate British-designed
Audion amplifiers. Again, la vrai France.
But thats another column.
Triangle Antal Ex loudspeaker
Several months passed before two of
the new Triangle models found their
way chez nous: the floorstanding Antal
Ex and the stand-mounted Titus Ex. I
reviewed the previous Antal model,
the Esw, in Vol.29 No.4. (Dont tell my
daughter and her husband about the
new version. They have the Esw and
still think its the latest.)
The Ex series is new from the
ground upnew drivers, new
crossovers, improved cabinet bracing.
Credit to Renaud for recognizing from
the start that cabinet vibrations were to
be [ahem] evacuated. A Triangle trait:
mort les vibrations!
Gone are the Celius and several
other Esprit models. The Antal Ex tops
out the line at $2895/pair. If this seems
a steep increase over the Antal Esw,
last seen selling for $2249/pair, it is.
Blame the Bushwhacked dollar. The
good news is that the Antal Ex is a
much improved speaker, easily sur-
passing the old Celius, which sold for
the same price when first offered.
All models in the Ex seriesinclud-
ing the Comete, which AD reviews
this monthuse the same horn-loaded,
1" titanium-dome tweeter. The horn-
loaded enclosure is deeper now and is
made of PVC rather than metal. Trian-
gle has played around with the phase
plug, too. To my ears, the new tweeter
is an advance in terms of smooth,
fatigue-free extension. The sound is
sweeter, more refined. (Marina says I
should be, too.)
The single 6.3" midrange driver has
a cellulose-fiber diaphragm (in plain
words: a doped paper cone) and a new
double-fold fabric suspension system.
Then there are les boomers (French for
woofers): two 6.3" bass units, each with
a fiberglass diaphragm (new for Trian-
gle). The crossover frequencies lie at
250Hz and 2.5kHz. The frequency
response is given as 40Hz20kHz,
3dB. The sensitivity is said to be
91dB/W/m, the nominal impedance
8 ohms, with a minimum of 3.4 ohms.
The Antal Ex measures 44.9"
(1060mm) high by 14.6" (370mm) wide
by 15" (380mm) deep, including its
integrated plinth, which now comes
already attached. Thats a good thing:
dealers and buyers (distributors, too,
like Richard Kohlrusss VMAX) often
put the plinth on backward. The Antal
Ex weighs 50 lbs (23kg) and comes with
twin binding posts for biwiring or
biamping. The vinyl-clad finish is
Cognac, as in Courvoisier. After all, this
is The French loudspeaker company.
The redesigned plinth remains
unusual. It gives the speaker stability,
making it hard for kids or pets to tip
over. A large cone-shaped foot at the
bottom center is said to drain away
cabinet vibrations. A cup for this cone
is provided to protect delicate floors.
But if youre a real Triangle buff, youre
sure where to place the speakers, and
your wife wont kill you, you could
drive a Phillips-head screw into the
floor and sink the large cone into that.
The Antals front panel is curved to
break up reflected soundwaves and pre-
serve the imaging. You could leave the
grille in place, but the speaker sounds
better and looks okay naked. Triangle is
now better able to design its cabinet
bracing, thanks to its investment in new
equipment, including a laser accelerom-
eter, which you can think of as a super
stethoscope. This has ratcheted up the
speakers resolution.
In my listening room, at my listening
levels, I easily got by with last months
Melody Audio I2A3 push-pull integrat-
ed tube amplifier, rated at 18Wpc into 8
or 4 ohms. I also tried the 60Wpc, solid-
state LFD Integrated Zero Mk.III LE
integrated amp that I used in February.
And I used the 9W Quicksilver SET
Mono Amps with various preamps,
including the Audio Electronics AE-3
Mk.II line-level. I judged the Antals to
be very amplifier friendly, as Ive come
to expect from Triangle. Dont tell Mike
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Class A Recommended Component
Sanders, of Quicksilver, but in a smaller
listening room, listening close-in, 9W
might suffice.
Or, if youre my son, maybe not. He
knows I like Tom Waits, so he gave me
a copy of Mule Variations. Try this with
your favorite flea-watt amp, he snort-
ed, rather like John Atkinson. Yes, its
true: This was a no-go.
A slow-healing shoulder injury kept
me from moving the speakers around,
so they stayed where Richard Kohlruss
had placed them: in the nearfield,
about 7' from my listening throne. As
per Richard K.s suggestion (and that of
French hi-fi scribes), the speakers were
aimed to cross well behind the listen-
ing position; ie, with a slight toe-in. As I
recall, the Antal Esws liked to be a little
farther back for the drivers to fully
integrate. This was not an issue with
the Antal Exes: the drivers blended
seamlessly, and the entirely coherent
soundstage went deep and wide
behind the speakers.
You want me to write more than
five sentences about the sound? (Some
readers want me to drone on like an
audiophile.) You know the recording
of J.S. Bachs violin concertos by the
Akademie fr Alte Musik? (CD, Har-
monia Mundi France [heh-heh]
HMC901876). This is a Sam Tellig CD
tre la mortea disc to die for.
All right. If you love Bach, get it, go
to track 7, and hit Play. Listen as the
woodwind players inhale. Breathtak-
ingliterally. Plus frais que frais. Plus vrai
que vrai, peut-tre. There it was: proof of
single-ended triodes superiority to
push-pull, and a tribute to the Antal Exs
resolving ability, as well as its ability to
get by with a minimum of watts.
I played this disc with the Quicksil-
ver SET monos for our
friends Lev and Soniano
audiophiles they. Their jaws
dropped. Sonia: Why
would you ever leave the
room?
The Triangle Antal Ex is
a must-hear: the best afford-
able floorstander yet from
one of my favorite loud-
speaker manufacturers. Its
also one of the most tube-
and SET-
friendly loud-
speakers on the
planet.
I wrest my
case.
Triangle Titus Ex
loudspeaker
You do know that Triangle is
pronounced TREE-on-gle in
French, right? And that Titus
is not TIE-tus but TEA-tous.
Say it: TREE-on-gle TEA-
tous. Fun, nest-ce pas?
An earlier version of the
TEA-tous, the Titus 202,
wasand still isa favorite
of mine, because of its abili-
ty to soundstage like mad
in the nearfield, and its way
of running on flea powera
mighty 3.5Wpcfrom my
Sun Audio SV-2A3 amp.
Alas, I did not have the
chance to raise the Sun
from the basement. But I
can tell you that 9Wpc from the Quick-
silvers did just splendidly in my listening
room, nearfield. How nearfield? Try 6'.
I still got splendid sound when I
used the Titus Exes in the farfield in
the living room, about 15' from my lis-
tening chair, but they sounded a little
lost in this larger chambernot surpris-
ing. Consider these speakers for a
smaller room and close-in listening.
Then, the soundstaging effect, as one
French hi-fi scribe noted, is hallucino-
genic. I mean the speakers completely
vanisheda tribute, in part, to the
drivers beautiful integration.
The Titus Ex ($995/pair) measures
12.6" (320mm) high by 7.5" (190mm)
wide by 11.8" (300mm) deep and weighs
14.3 lbs (6.5kg). Theres that tweeter on
topsame one as in the Antal Ex. The
5.1" bass/midrange driver has a doped
paper cone. The Titus Exs frequency
response is given as 55Hz20kHz, its
nominal impedance as 8 ohms with a
minimum of 3.8 ohms; the sensitivity is
specified as 91dB/W/m. The crossover
is at 2.5kHz. Cognac finish only. There
are two pairs of binding posts, for biamp-
ing or biwiring.
Stands are necessaryfigure 20" high
or so, and you may want to angle the
stands up. I recommend Triangles own
oddly attractiveand great-sounding
Boomerang stands. Theyre expensive at
$495/pair, but almost obligatorytheyre
that good. The big cone in the center
acts like the big cone on the plinth of the
Antal to evacuate vibrations. Ive tried
the Boomerangs with numerous speak-
ers, always with excellent results. With
them, the Titus costs roughly half the
price of the floorstanding Antal.
My gosh, I need to write more than
five sentences about the sound.
Like other Triangle models, the
Titus Ex was fast. Fleet of foot. It
soundstaged and imaged like crazy, and
lent itself to nearfield positioning. If
you set them just right, you might be
surprised by their bass response. (You
could always fill in with a subwoofer or
two.) And, as in the Antal, the Titus
Exs new tweeter is smoother, more
refined than before.
You can find good minimonitors for
less, but they probably wont have such
sophisticated drivers. Their in-house
drivers are why Triangle rules. Like the
Antal Ex, the Titus EX is a must-hear.
If you dont believe me, ask Artie Dud-
leythe Comete EX is cut from the
same cloth.
SAM S S PAC E
Triangle Titus Ex presents an almost hallucinogenic soundstage.
Triangle Antal Ex bass driver
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The 2008 Consumer Electronics Show
ANALOG CORNER
Mi chael Fr emer
W
ill the current vinyl
bubble suddenly
burst, as
m a n y
L P
o b s e s -
sives fear? Hell, no. In
fact, the 2008 Consumer
Electronics Show deliv-
ered the message that the
waters of a new analog
age have just broken. At
CES 2008,
1
there were
more new turntables and
associated gear, and more
interest in vinyl play-
back, than at any show I
can recall since the early
1990s. LPs were being
spun all over the show,
which was also dominat-
ed by an unmistakable
trend back toward two-
channel stereo.
Even plasma-display
maker Pioneer has made
a serious commitment to
high-performance stereo, by better inte-
grating its TAD speaker division into the
parent company. They showed a proto-
type of the TAD Compact Reference
Onean excellent-sounding, two-way,
stand-mounted speaker designed by
Andrew Jonesdriven by new Pioneer
monoblock amplifiers. A demo using the
big, full-range TADs demonstrated that
open-reel analog tape still smokes even
high-resolution (24-bit/192kHz) digital.
In 1993, Kavi Alexanders Water
Lily Acoustics label released A Meeting
by the River, the extraordinary impro-
vised collaboration of guitarist Ry
Cooder and mohan vina player V.M.
Bhatt (you can spot Bhatt in the DVD
of Concert for George). There was never an
LP edition of this purist, tube-based,
analog recording, which Kavi produced
using custom Tim de Paravicini gear.
Now, 15 years later, there ison two
180gm, 45rpm discs from Analogue
Productions. Thanks, Chad Kassem!
Lets stick with the software news
for a minute, because surely that and
the sound are whats driving the move
back to vinyl. All leading indicators
point to
an even
st ronger
2008.
D o n
Ma c I n -
n i s ,
owner of
LP press-
ing plant
RTI, told
me that
R h i n o
Records
h a s
or de r e d
5 0 , 0 0 0
sets each
of Led
Zeppelins The Song Remains the Same
and Mother Ship, both of which are
being released in 4-LP boxesin all,
200,000 LPs. They only order what
theyve already sold, MacInnis told
me. Thats for worldwide distribution,
but still, given that the CD editions
have been out a while now, the num-
bers are amazing. When I asked Don
when the last time was that hed seen
such numbers for LPs, he said, Ive
never seen numbers like thatand Ive
been making
records at RTI
for 25 years!
Then there are
the 12,500 copies
of the Doors Per-
ception, a 7-LP
boxed set. (Its
been held up
because of print-
ing problems,
according to
MacInnis: the
entire run of
jackets for the
Morrison Hotel
cover wasnt to
the producers
liking, so he
ordered them
scrapped and
redone.) Add
those to the Led Zep boxes and you
have a total of 287,500 LPs, which will
take the plants four 180gm presses
months to stamp. Everything else
including the new Blue Note 45s from
Music Matters and Analogue Produc-
tions, and a big ramp-up in vinyl from
Warner Bros.will have to wait. Such
problems we can live with. MacInnis
said that expanding the RTI plant
1 You can find Stereophiles overall coverage of the 2008
CES at http://blog.stereophile.com/ces2008. Ed.
Above: Andrew Jones with his Compact Reference Ones driven by new Pioneer monoblocks;
Below: Mikey with jazz great Lee Konitz.
ANALOG COR NE R
would be difficult, but that running
two shifts would not. Those presses
are warhorses, he said.
Events at CES: Mark Levinson (the
man) has teamed with LG to design a
line of 5.1-channel speakers and elec-
tronics. To publicize it, Levinson per-
suaded jazz giant Lee Konitz to perform
a short improvisation at CES, which he
recorded on the spot and played back for
the 50 or so lucky attendees. The room
was hardly an ideal recording venue, and
playing back the recording in the same
room disastrously doubled that
acousticI wont be able to tell you how
good the recording is until I get the
promised CD. But it was a kick to hear
Konitz playing just a few feet away, how-
ever briefly. As for the larger and more
serious of the two Levinson-LG 5.1-
channel systems shown, the sound
seemed promising and the price surpris-
ingly low. But while the build quality
was impressive, the appearance of both
the receiver and speakers was dated and
mundane. Sound quality alone is unlike-
ly to reverse the unfortunate trend
toward hiding speakers inside walls.
The second event of interest was a
lend us your
ears test at
the Alexis
Park (now a
venue for
T . H . E .
Show), set up
by the Wall
Street Jour-
nals Lee
G o m e s ,
whose Por-
tals column
I mentioned
in the last
A n a l o g
Co r n e r .
Gomes had
set up two
pairs of Totem Forest floorstanding speak-
ers side by side, behind which were hid-
den the source and electronics. The idea
was to switch between Pair A and Pair B
and then say which, if either, sounded
somewhat better, much better, or
pretty much the same as the other.
Before handing me the A/B switch,
Gomes primed me with talk of MP3 vs
Red Book CD and CD player vs iPod.
The differences between the sounds
from the two pairs of speakers was
unmistakable, but I didnt hear the usual
telltale hints of MP3 sound, nor did
either sound as if it was reproducing the
output of an iPods earphone jack. Pair
A sounded hard, flat, constricted in
depth, and harmonically bleached,
while Pair B sounded warmer, richer,
deeper, and better-textured, though the
Thorens TD 550
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bottom end was a bit bloated and soft
and the top slightly dipped. I chose Pair
B as being somewhat better, not
much better, mostly because while I
much preferred B, neither pair sounded
particularly good. Gomes took me
behind the speakers, where he revealed
that Id just participated in a test of cables.
Gomes wrote up his experience at
http://online.wsj.com/article/SB12004
4692027492991.html, in which he
wrote he was struck by how the
best-informed people at the showlike
John Atkinson and Michael Fremer of
Stereophile Magazineeasily picked the
expensive cable. Wheres Randis mil-
lions when you need them?
I was part of another challenge, this
one mounted by Shure, who, much as I
hate the term, flattered me into being the
golden ear for a test administered to
CES attendees via Shures best head-
phones. I took the test first and scored
100%, despite my encroaching aural
decrepitude. In one test I was asked to
identify which of four snippets of the
same (poorly recorded) U2 song was a
.wav file, and which was which of three
MP3 compression ratios. I was particular-
ly impressed with myself for identifying
all four correctly, and Im modest, too.
A World of Analog
At CES 2008, the move toward analog
was pleasantly countered by a trend
toward high-quality, server-based digi-
tal playback systems. Why access CD
data the old-fashioned way, given how
tiny and pitiful is most CD packaging,
when you can do it via a far more con-
venient and, usually, better-sounding
hard-drive-based system? Data?
Servers. Music? Turntables!
And there were plenty of turntables
at CES 2008. Despite the poor 2:1
ratio of the dollar to the pound, both
Creek and Revolver decided to bring
new UK-built tables to the US.
Creeks Wyndsor turntable ($4500)
comes complete with one of Pro-
Jects carbon-fiber tonearms. The
Wyndsor has a 28mm-tall, four-point
acrylic plinth that sits on four tall,
spiked aluminum feet; a nested, iso-
lated, low-voltage AC synchronous
motor made in Europe; a 24V DC,
oscillator-based, speed-adjustable out-
board power supply; and a 38mm-
thick acrylic platter driven by three
thin O-rings and rotating on a magnet-
ically levitated bearing.
Revolver, a UK turntable brand
familiar to older audiophiles, has
returned to the market with the attrac-
tive-looking Replay ($3499), which has
a marble base, a platter of polyester resin,
an AC synchronous motor, and a famil-
iar-looking, Japanese-built tonearm.
The analog revival has inspired
Helius Designs to resurrect and
upgrade their line of tonearms (now
imported by Musical Surroundings),
including the Omega, which has been
way upgraded in terms of build quality
and fitnfinish compared to the one I
reviewed in the November 2003
Stereophile (Vol.26 No.11). The Omega
costs $5000 for the deluxe model,
$3500 for the standard version; a
$2500 edition will arrive soon.
Thorens introduced the new, luxu-
rious-looking TD 550 turntable,
which has a carbon-fiber version of the
companys classic suspended subchas-
sis, a 15-lb platter of damped ferrous
material, singled-ended and balanced
outputs, and an Ortofon tonearm, all
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for $12,925. One of a half-dozen
optional finishes can push the price
higher, though the jewel-like finish of
the standard model on display was
impressive enough.
The German turntable manufacturer
JR Transrotor, imported by Axiss Dis-
tribution, made a larger-than-usual
splash at this CES that included an
appearance by Jochen Rke himself (the
JR in JR Transrotor). The company
builds a dizzying number of turntable
models, many of which were on display,
including the massive new Enya 12,
whose 12" tonearm is made by SME to
JRs specifications. The price is $12,000
without arm. Also on hand was Trans-
rotors busy-looking, magnetic-drive
Artus turntable ($150,000).
The Swiss-based DaVinciAudio
Labs, imported by Tangram Audio,
introduced the $37,000 AAS-
Gabriel/DaVinciAudio turntable in Fer-
rari red. This massive three-piece design
has separate arm, motor, and platter
components. The platter is driven by an
electronically controlled stepper motor.
Mounted on the arm pod was DaVinci-
Audios new Nobile tonearm, which has
a 10" carbon-fiber armtube and a
mounting system much improved over
that of the original Grandezza arm,
which I reviewed in this column in
March 2006, and which has also under-
gone a series of upgrades. DaVinci-
Audios Reference moving-coil cartridge
($6300) weighs 20gm and outputs an
unusually low 0.16mV.
The Thales tangential-tracking piv-
oted tonearm ($12,000) made its US
debut in the private room of importer
Half Note Audio, with designer Micha
Huber on hand to demonstrate it in
conjunction with the Pythagoras
turntable ($80,000 with Thales arm
and integrated Audio Stone rack). The
Pythagoras is a slick-looking design
fully integrated within and totally
decoupled from the massive Audio
Stone rack, which is built of Norwe-
gian granite. The turntables O-ring
drive system includes an optical reader
that calculates the correct speed on
turn-on, then removes itself from the
system. It was shown in conjunction
with the lust-inspiring EMT JPA 66,
an every EQ curve preamplifier
(+$25,000) with four phono inputs,
imported by Tone Imports. Dont look
for a review anytime soon, as every sin-
gle unit is already spoken for well into
the future. Damn.
Designer Allen Perkins, of Immedia,
was spinning production models of both
of his Spiral Groove turntables. The SG-
1 ($20,000) features a bayonet armboard
mount for easy and precise swapping of
tonearms, and a stainless-steel platter
rim, feet, and clamp; the SG-2 ($15,000)
uses aluminum and lacks the bayonet
mount. Perkins hasnt yet finished his
new tonearm design, so there was a Tri-
Planar on the SG-2 and a Continuum
Audio Labs Copperhead on the SG-1.
Perkins said that using such arms indi-
cates that his table plays well with oth-
ers, a term he should trademark before
Amar Bose does. Perkins also told me
that some new technology recently
incorporated into the SG-2 will soon
appear in the costlier SG-1 and raise the
latters price, and that older SG-1s will
be able to be upgraded. Immedia also
now imports the full line of Lehmann
phono preamplifiers.
Speaking of upgrades, V.Y.G.E.R.s
new version of its air-bearing, tangen-
tial-tracking Atlantis turntable
($40,000) solves all the major issues I
complained about in my July 2003
review, including a much-improved
arm-mounting system, carbon-fiber
armtube and bearing.
Ayre Acoustics has entered the
new analog age by importing from
Germany the well-regarded DPS
turntable from Bauer Audio,
designed by Willibald Bauer. The
acrylic platter of the DPS (for Die Plat-
tenspieler, German for the record player)
rides on a tungsten shaft, which rests
on a ruby bearing in an oil bath. To the
three-phase AC synchronous motor
Ayre adds a sophisticated outboard
power supply with a three-phase ana-
log oscillator and three zero-feedback
mini MX-R amplifier circuits, all in a
hefty aluminum box. The DPS comes
with a Rega 250 arm that uses a side-
mounted grub screw instead of Regas
large mounting nut, but its armboard
can be drilled for your choice of arm
Above: AAS-Gabriel/DaVinciAudio Labs turntable and DaVincis Nobile tonearm;
Below: New Pro-Ject PerspX turntable.
Exquisitely engineered, self-amplified, speaker systems.
salagar.com
W
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i
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y
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ANALOG COR NE R
when you buy itor later, assuming the
original hole doesnt create a problem.
If it does, youll need a new top plate.
The DPS has a stone base and an elas-
tomer isolation system, and will cost
between $8000 and $9000. The Ayre
power supply will be sold in Germany
as well, as part of Ayres agreement
with Bauer. Welcome aboard the ana-
log express, Ayres Charlie and Steve!
At T.H.E. Show, Frank Schroeder of
Galibier Design, best known for his
wooden-tubed tonearms, exhibited the
prototype of a new turntable (ca $6000)
that, like some other tables, including
those from Teres, uses magnetic tape to
drive the platter. As Schroeder points
out, tape has uniform thickness, a good
grip on its ferro-magnet particle side,
and, unlike O-rings or belts, is noncom-
pliant. Schroeders new wrinkle is a ten-
sion arm, like those on tape recorder
transports, to provide greater and more
uniform contact of tape and pulley, and
counteractive force vectors to greatly
reduce the side pull on the platter bear-
ing, and the motor vibrations from
reaching the platter. Why didnt anyone
think of this before? The new table fea-
tures a motor thats unusually costly for a
$6000 table, a large-diameter spindle
and bearing that creates drag through
hydrodynamic turbulence, and an elec-
tronic system that measures eddy cur-
rents and then modulates the current fed
to the motor to ensure the correct platter
speed. The new tables rigid, well-
damped plinth is made of a composite of
three layers of bamboo and ebony, and
its platter of aircraft-grade aluminum is
available with a variety of mats. Another
cool feature is a platter spindle thats
wider at the top than at the platter sur-
face. This centers the record on the plat-
ter while isolating it from the bearing for
lower noise. It also gives eccentrically
punched records some wiggle room.
Schroeder said he welcomes the tables
use with other brands of tonearms so
that he can have a lifehis own tone-
arms are constantly backordered.
Perhaps the most interesting new
vinyl-playback product at CES was Franc
Kuzmas 4 Point tonearm, whose
unique and devilishly ingenious zero-
play, four-point bearing is neither a unip-
ivot nor a fixed-gimbal design, and avoids
the negatives of both while retaining
their advantages. A full review will be
required to explain just how the 4 Point
operates. In brief, it has a rigid, remov-
able headshell (you need to remove and
reinsert the cartridge clips, which is a
good thing because it avoids an electrical
break in the line); separate, removable
horizontal and vertical troughs of damp-
ing fluid; the same rigid and precise sys-
tem for adjusting vertical tracking angle
(VTA) that Kuzma uses in his Airline
arm; and an aluminum armtube similar
to the Airlines. Plus, the 4 Point is
biwired: one set of wires terminates in
RCA plugs, the other in junction boxes
fitted with RCA plugs, thus allowing you
to choose output wires and run two sep-
arate phono preamps simultaneously.
(Youll need to compensate loading val-
ues for the dual setup.) The price will be
around $7500. Two years ago it would
have cost $5000 in the US, thanks to cur-
rency fluctuations, sighed Kuzma.
The most interesting new product in
the Sumiko suites was the new Pro-Ject
PerspX turntable, which uses a Corian-
like subchassis thats suspended by mag-
nets instead of springs. The platter is an
MDF sandwich construction with a sur-
face of recycled vinyl. Pro-Jects new 9CC
carbon-fiber tonearm represents a big
upgrade in their line: It has a far more
massive and stable bearing clamp, better
bearings, and a Sorbothane-decoupled
counterweight. The price has yet to be set,
but it will be under $2000. The PerspX
looks like a really swell table. Sumiko
also introduced the production version of
their Celebration II MC cartridge (ca
$3500), which has, among other changes
from the original Celebration, a new gen-
erator mounting cradle and a smaller sty-
lus for lower tip mass. The cartridge rides
higher than the original and is now open
on the bottom, but retains the boron can-
tilever and alnico magnets.
I missed Cambridge Audios bud-
get-priced TT500 turntable, manufac-
tured in conjunction with Pro-Ject and
sold complete with Audio-Technica AT-
95E cartridge and Nagra VPS phono pre-
amp, but one will soon arrive here for
review. I also missed VPIs rim drive
Scoutmaster turntable in the Herron
Audio room, though I did get to see and
hear the McIntosh Laboratory MT10
turntable, which is finally in production.
McIntosh president Charlie Ran-
dall told me theyve already sold
hundreds of them to McAddicts (as
opposed to MacAddicts).
There was plenty of news in
analog electronics too, including
the snazzy-looking AMR PH77, a
tubed phono stage built in the UK
with equalization (selectable by
remote control) for every kind of
vinyl ever pressedincluding
Columbia, Decca ffss, etc.as well
as four pairs of inputs, three of
which offer remote control of gain
and loading, and built-in USB
ports for both A/D and D/A con-
verters. The PH77 will have bal-
anced and single-ended outputs, and
come pre-programmed for most major
cartridges, based on their manufacturers
recommendations for load and gain. Price
will be around $9500.
Aesthetix exhibited new cosmetics
and component upgrades for its I/O
Eclipse phono stage ($14,000, or $18,000
with dual power supplies) and Rhea Sig-
nature phono stage ($7000), whose
capacitors are individually fine-tuned.
The Concert Fidelity SPA-4B phono
preamplifier ($14,000), built in Japan by
the designer of Silicon Arts products,
looked intriguing for its spare, elegant cir-
cuit design, which produces up to 65dB
of gain. So did the Venture VP100P
phono stage ($24,500), from Belgium.
The DeVore Fidelity/Tone Imports
room had a production version of EMTs
12" Banana tonearm ($4500) and an
EMT cartridge driving a pair of Sentech
ANALOG COR NE R
You could even say it glows.
M
M
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The best loudspeaker on Earth. Period.
Prepare to be shocked!
Why dont others do the same?
2
Other manufacturers do not have access to YG
Acoustics proprietary optimization software,
developed entirely in-house. Typically, it takes them
months of trial-and-error to design a crossover. At
YG Acoustics it is a well-defined technological process
from start-to-finish - a matter of hours.
Have you ever purchased a speaker which
failed to perform as well as the dealers demo?
You were probably given excuses: the room,
the setup, the system There is another
reason, far more common than most realize:
YG Acoustics Unique Solution
First, YG Acoustics matches drivers in pairs with
utmost precision. Next, Mr. Geva himself designs a
custom crossover for each and every pair of speakers,
using cutting-edge proprietary technologies. Each
set gets the same attention as the reference
prototype. Here are the two pairs, each with a
crossover matched to its individual drivers. Both
are virtually identical.
1) YG Acoustics uses proprietary drivers developed in cooperation with Scan-
Speak (Denmark), one of the finest manufacturers worldwide. Lesser makes
typically exhibit worse behavior.
2) Others do try to mitigate the problem some match drivers to pre-
designed crossovers; others tighten tolerances of circuitry, to at least prevent
the problem from getting worse. However, it is not feasible for them to
attempt YG Acoustics thorough methods.
The Ugly Truth
Here are measurements of the drivers (without
crossover) of two pairs of Anat Reference Main
Module. Supposedly-identical units have considerable
tolerances
1
. Manufacturers know this, and many
reserve the best for shows/top-dealer-demos. After
all, these are the rainmakers. If your speaker doesnt
sound as good, chances are it deviates considerably
from the factorys reference.
Mid-woofers: Pair #1 (Green) / Pair #2 (Red) Tweeters: Pair #1 (Green) / Pair #2 (Red)
Completed Speaker: Pair #1 (Green) / Pair #2 (Red)
2dB 1.5dB
1dB
1dB
Thanks to our uniquely comprehensive
solution, we are confident that with a
correct system and setup, every set of
Anat Reference II Professional is
indistinguishable from live sound. Period.
Contact factory/showroom:
YG Acoustics LLC
4941 Allison St. #10, Arvada, CO 80002, U.S.A. Tel. 720-840-6441
E-mail: usa@yg-acoustics.com Web: www.yg-acoustics.com
Designed by Yoav Geva (Gonczarowski),
winner of the Japanese audio Grand Prix
(nearly unheard-of for a foreigner).
EQ 10 phono preamps ($3000 each)
from Sweden, capable of reproducing
every phono-EQ scheme known to man.
New to the US from Greece was the
TruLife Audio (TLA) line of tubed
electronics, including the Reikon mov-
ing-magnet phono preamp with dual-
mono, tube-rectified power supply and
an outboard moving-coil step-up trans-
former. TLA began building trans-
formers 40 years ago, and moved into
audio in the 1990s, making extensive
use of its transformer knowledge in
what is now a full line of products.
Then there were the new cartridges:
a new lineup from Benz-Micro, the
Oracle Thalia, the Magic Diamond
Silver Spirit ($12,000), Soundsmiths
The Voice (see my review of the
Soundsmiths SMMC1 elsewhere in
this issue)I could go on, but Ive run
out of space! Id hoped to squeeze in a
review of the new and special-sound-
ing Ortofon Windfeld MC cartridge
($3400), but that will have to wait till
next time.
Indulge Yourself in the Obbligato Renaissance Edition, our limited production
Obbligato Series that commemorates our 30 years as one of the worlds premiere
designers of high-performance loudspeakers. From our tri-composite mass loaded
cabinets, proprietary glass-bre pentacone drivers, and unique 2.5 cross-over de-
sign, the Obbligato Series features world-class components and engineering found
in only the worlds most expensive loudspeakers. Whether you are a two-channel
buff or a home theater enthusiast, the Obbligato Series offers a full line of compli-
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Tel: 905-294-9383
www.angstromloudspeakers.com
To learn more about Obbligato and
our full-line of high-performance
loudspeaker product, please visit
our web-site or call us today.
1) Ry Cooder/V.M. Bhatt, A Meeting
by the River, Water Lily
Acoustics/Analogue Productions
180gm, 45rpm LPs (2)
2) Richard Thompson, Sweet War-
rior, Diverse 180gm LPs (2)
3) Suzanne Vega, Beauty and
Crime, Blue Note/Classic 200gm
Quiex SV-P LP
4) Rickie Lee Jones, Its Like This,
Analogue Productions 180gm,
45rpm LPs (2)
5) The Eagles, Long Road Out of
Eden, ERC 180gm LPs (2)
6) Buddy Emmons, Steel Guitar
Jazz, Euphoria/Mercury/Sun-
dazed 180gm mono LP
7) Hugh Masekela, Hope,
Triloka/Analogue Productions
180gm, 45rpm LPs (2)
8) Beethoven, Violin & Piano
Sonata 9, Kreutzer (Jascha
Heifetz, Brooks Smith), RCA Liv-
ing Stereo/Cisco 180gm LP
9) Max Roach, We Insist! Freedom
Now Suite, Candid/Pure Plea-
sure 180gm LP
10) Roy Haynes Quartet, Out of the
Afternoon, Impulse!/Speakers
Corner 180gm LP
Visit www.musicangle.com for full
reviews.
I N HE AV Y ROTAT I ON
30 years of refinement.
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model? It becomes a jewel: The new Dynaudio Sapphire. A unique limited edition model
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gloss lacquered wood veneer. Be fascinated by the refinement of the Sapphire and experience
a completely new, authentically natural sonic masterpiece.
Back in the Saadhana
LI STE NI NG
Ar t Dudl ey
T
oday, as every Saturday, I
brought my daughter to the
stables where she has her rid-
ing lessons. But this time was
different. As we pulled up
the long gravel driveway, we
found ourselves dodging a riderless
horse, moving at a trot across our path.
It turned out that the very cold weath-
er had caused a latch to malfunction
gate wont close, railings frozeand
five horses had gotten loose.
The situation was messy but not
unpleasant. I had fun catching one of
the older horsesa small, good-natured
Arabian who apparently wanted to go
back insideand within a few minutes
the stable hand and the adult riders
had rounded up the others. Then,
because the five escapees celebrated
their short-lived freedom in that most
elemental of ways, I grabbed a shovel
and went to work mucking the yard
in front of the barn.
To view the scene with the jaun-
diced eye of some audiophileselderly
train-whistle recordists, for the most
partwould be to wonder why horse
enthusiasts go to such trouble just to
travel from point A to point B and back
again. As far as it goes, they have
apoint. Automobiles, which I also
enjoy, require less work, less training,
less exasperation, and a great deal less
expense per mile traveled. And after a
ride in the car, you dont have to clean
up a lot of excrement. (Thats for the
next generation to do.)
But people who ride horses dont
love it because its easy or unexasperat-
ing or economical. They love it because
they love itbecause its a process that
gives them something they need. Those
who would disdain horseback riding as
impractical or uneconomical are rightly
seen by the rest of humanity for what
they are: pedantic, unimaginative
killjoys who have some degree of intelli-
gence, yet whose character flawsincul-
cated, no doubt, by painful adolescent
years of not fitting in with others
reduce them to drooling pinheads when
confronted with pleasures, usually of
the aesthetic variety, that they cant
understand. Not to put too fine a point
on it or anything.
A simple love for doing things in a
certain well-worn way: That drives
those old nerds right around the bend
and over the cliff. And Im here to help.
SET in my ways
Fly-fishing, haiku, quilting, caning,
canning, writing letters with pen and
ink, hunting with a muzzle-loader, hot
hide glue, dovetail joints, waxable skis:
Its not that these cultural artifacts are
superior in every way to their more
modern counterparts (though they
often are), but rather that they engen-
der the kind of love to which phospho-
rescent plastic worms, e-mail, white
glue, and waxless skis cant aspire. Ill
let you in on a secret: The people who
love those things tend to be happier,
not to mention a lot damn smarter,
than everyone else. (No condescension
intended: I prefer Smuckers blackberry
jam to all else, I can barely get around
on even waxless skis, and if I had to
hunt for my own meat Id probably
choose an assault rifle.)
Why would anyone want to play an
LP record instead of an MP3 file? Nei-
ther you nor I will ever convince the
world of the formers technical superi-
ority, so lets just say: We do it because
we love it.
Analog isnt that hard a sell, especial-
ly to audiophiles with a materialistic or
The Rethm Saadhana, seen from
the side.
I
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L I ST E NI NG L I ST E NI NG
fetishistic streak. (Never a shortage of
those, is there?) But other things cer-
tainly aresuch as horn loudspeakers
and low-power amplifiers, which tend
to require a great deal more patience,
understanding, and involvement on
the part of the hobbyist than anything
short of wax cylinders and windup
gramophones.
Thus, in recent years, have we gained
an entire new class of manufacturers. I can
think of at least a dozen loudspeaker
companies in particular that started
when a lone tinkerer was bit so hard by
the single-ended-triode bug that he felt
the need to deliver the flame to the rest
of us, Prometheus-like. Im thinking of
people like Eric Thomas of Beauhorn,
Ed Schilling of the Horn Shoppe,
Tommy Horning of Horning, Bruce
Edgar of Edgarhorn, and Jacob George
of Rethm.
Rethm, which takes its name from
the Sanskrit word for harmony, is an
especially interesting case. Founder
and chief designer George is a native of
southern India who lives and works (as
an architect) in the US, and who has
elected to slay more than one bird with
a single stone: bringing a practical full-
range loudspeaker of very high sensi-
tivity to the marketplace, while also
bringing a few jobs to the people of the
area he calls home.
His first commercial loudspeakerthe
Second Rethm, which debuted in 2000
used a Lowther full-range driver in a rear-
wave horn made of a combination of
wood and PVC, in which the labyrinth
also functioned as a tuned, quarter-wave
pipe. All subsequent Rethm models have
been variations on that theme, up to and
including the new Saadhana ($7850/pair;
see www.rethm.com).
Yet the floorstanding Saadhana breaks
from Rethm tradition in two significant
ways: Its front-firing driver is a Lowther
DX55nearly 2" smaller in diameter
than the English companys standard-
bearing full-range modelsand it gains
bass reinforcement from a pair of 6" non-
Lowther drivers, driven by a built-in
solid-state amplifier. Well!
PVC and parchment
Although the enclosure of the Saad-
hana seems deep, the speaker is actual-
ly supplied as two separate cabinets,
arranged front to back. Each of the four
cabinets in a stereo pair is also marked
left or right, although this is less a matter
of sonic performance than of
ergonomics and dcor: the routing of
the signal wires, the placement of the
speaker-cable connec-
tors and power switch-
es, the positioning of
the Rethm logos on the
speakers side panels.
The frontmost enclo-
sure for each channel
contains a three-part
labyrinth intended to
augment the low fre-
quencies. The Lowther
drivers rear wave is
channeled into a curved
PVC pipe, from
whence it travels down
for about 30", then
turns around and goes
back up for another 30"
through a PVC pipe
with a mild flare and an
opening at the top.
Because the flared pipe
is contained within a
larger tube of constant
cross-sectionwhich is
the part you can actually
see from the front of the Saadhanathe
last portion of the labyrinth also takes the
shape of a mildly flared horn, enhanced
by a wedge-shaped diffuser just below
its mouth. Jacob George says that the
overall effective length of the Saadhanas
loading labyrinth is about 7'.
The single Lowther DX55 is modi-
fied in a number of ways. A cone-
shaped plug of expanded polyurethane
covers the whole of its rare-earth mag-
net at the rear, giving the miniature
Lowther a somewhat papal look and
shaping the throat of the horn for the
right amount of compression (and pre-
vention of backwave interference). A
ring of very light foam batting is tucked
between the frame and the perimeter of
the backside of the cone, to help tame
the drivers upper-midrange peakiness.
And the DX55s stock phase plug is
replaced with a much longer one,
machined from a light hardwood and
ringed with a perforated paper diffuser
cone that resembles the Lowthers own
treble whizzerand the headgear worn
by dogs whove just had their ears
bobbed. Again, the aim is to tame:
There are peaks in the smaller
Lowthers, George says, occurring
between 3.5 and 5.5kHz. I wanted to
minimize their impact upon the music,
and the only way I could determine
what was right was to make a bunch of
cones and measure their effect. I made
six different cones every day and mea-
sured themthat went on for several
weeksusing different combinations of
three variables: cone length, cone angle,
and perforation pattern. George says
he made and auditioned over 125 differ-
ent cones before settling on these.
The Saadhanas rearmost enclosure
is home to a pair of 6" paper-cone dri-
vers, mounted in a plywood labyrinth
and connected together in an isobaric
loading scheme: One driver con-
tributes to the loudspeakers output,
while the second driver, moving in
response to the same signal, acts on the
volume of air inside the otherwise
sealed cabinet, effectively fooling the
first driver into thinking its loaded
with a cabinet of infinite size and thus
allowing it to function down to its free-
air resonant frequency. The bass dri-
vers, which have paper cones and
impregnated cloth surrounds, are cus-
tom-made for Rethm by Peerless of
India, and driven by an onboard
75Wpc power amplifier of proprietary
design. George describes the low-pass
filter as a simple passive circuit that
introduces no more than 15 of phase
shift. There are control pots on each
Saadhana bass cabinet for crossover fre-
quency and bass level, hidden beneath
a removable cover that contributes to
the visual illusion that the Saadhana,
like earlier Rethm loudspeakers, has a
second tuned pipe coming straight off
the back of its main driver.
One pipe or two, the Saadhana carries
on the Rethm tradition of distinctive
styling. Looking more like a domestic
periscope than a loudspeaker, it mixes
Does the Lowther wear a funny hat?
straight lines and curves for a light, ele-
gant effect, and the visual lightness is
enhanced by the diffusers at the enclo-
sures base, over which the rest of the
thing seems to hover: The Saadhana
appears lighter than it really is. The mold-
ed surfaces of my review pair were
sprayed a deep shade of copper, and while
the sides of the first Saadhanas were clad
in a veneer of padauk wood, Rethm has
made the change to soft, acoustically
absorptive side panels covered in silk.
A final touch: The internal wires are
all Rethms proprietary flat, thin, single-
conductor copper, cryogenically treated
for enhanced conductivity. I was skep-
tical, initially, of the cryogenic treat-
ment, George says, but a friend in
Madras said, Look, its simple: Just try
it. I did, and when I compared the treat-
ed and the untreated, I was impressed
by the difference between them.
Dido and Aeneas
Ive owned Lowther drivers for a dozen
years, and during that time a goodly
number of Lowther-specific enclosures
have impressed me. But my Lowther
experiences have mostly been with that
companys 7" driverfrom which
Rethm designer Jacob George has now
moved on.
For its part, the Lowther DX55 has a
cone only 5" in diameter, and its free-air
resonance is specified as 80Hz. The
lower limit of its power response is also
specified as 80Hz: approximately the
lowest note that can be played on that
most visceral of all rocknroll instru-
ments, theer, the trombone. Which is
to say: A loudspeaker that depends sole-
ly on that driver, howsoever cleverly
loaded, will have its work cut out for it.
Happily, the Saadhana scheme seemed
to work well. Before first measuring its
in-room performance with my Audio
Control spectrum analyzer, I turned the
Saadhanas woofer levels all the way
down, after which it was easy to get near-
ly flat response from 160Hz to 10kHz,
with only a 4dB notch at 2.5kHz (possi-
bly the aftereffect of Rethms various
Lowther treatments). Using the controls
to blend in the low-frequency modules, it
was similarly easy to achieve good, flat
bass performance at the listening area
although I never quite shook a small
response peak at 31.5Hz. (The best posi-
tion for the Saadhanas in my listening
room proved to be 22" from the sidewalls
and 50" from the wall behind them.)
Jacob George, who came by for a visit,
recommended that I adjust the angles of
the cabinets to get the spatial presentation
I prefer; I did, and settled on having the
loudspeakers aimed straight ahead.
The capsule review: The Rethm Saad-
hana may be the perfect loudspeaker for
audiophiles who want the presence,
immediacy, and musicality that the best
low-power amplifiers are known for, but
who dont want to give up the sound-
staging that most of us associate with
high-end audio in the more traditional
sense. The pair of them had some of the
best, most convincing image placement
and wholeness Ive heard from a SET-
friendly speaker, not to mention wonder-
ful stage width, depth, even height. The
Saadhana was a bit more forward-sound-
ing than the other Rethms Ive heard,
with trebles distinctly more substantial
than airy. Instruments had excellent tex-
ture and lots of realistic bitebut no
more than the music called for. The
Saadhana was notably more sensitive
than the Audio Note AN-E/Spe Ive had
the pleasure of using lately, being com-
patible with even my 3Wpc Fi Stereo
amp, andperhaps best of allit played
deep-bass notes with good impact and
drive. It was, in short, a SET-friendly
speaker that needed no excuses.
I could write an entire column about
how the Rethm Saadhanas reproduced
one LP in particular: the Anthony Lewis
recording of Purcells Dido and Aeneas,
with the English Chamber Orchestra
and Dame Janet Baker in the title role
(LOiseau-Lyre SOL 60047, reissued on
CD as London/Decca 466 387)prob-
ably the finest Dido on record, notwith-
standing an unnamed Sorceress whose
over-the-top performance brings the lis-
tener closer to the borscht belt than the
Royal College of Music. From the first
notes of the overture, the Saadhanas
loaded my medium-small room per-
fectly, and presented the small orchestra
with a sense of scale that I found almost
startlingly believable: bigbut not too
big. And, as with most competent
Lowther applications, the music was
right there: tangible, whole, believable.
The sounds of the musicians stood out
in a manner that caught my attention
immediately and thoroughly, much as a
living human voice might startle a per-
son who thought he was alone. (And
really now: Arent we all?)
The Saadhanas ability to convey
human touch was also noteworthy
Thurston Darts harpsichord continuo
became more than just sonic wallpaper,
catching and holding my attention more
effectively than usualand its pacing was
faultless. Some two dozen bars into Dido,
when the tempo really picked up, the
Saadhana followed lines of notes with
ease, allowing the lively performance to
sound lively on playback. Yet, again, it
was in the spatial domain where the
Saadhanas stood out from the pack, said
pack comprising the current crop of
loudspeakers that can be driven by very-
low-power amplifiers. It proved itself an
emotive, engaging, and altogether musi-
cal speakeryet with very good stereo
imaging capabilities.
Truth and taste
From the folder labeled Duh: Various
loudspeakers can present certain types
of information very differently from
one another, yet still be considered high-
fidelity products. The most obvious
example is that of perspective: Weve all
heard any number of forward-sounding
speakers, and a comparable number of
very laid-back speakersyet even in the
eyes of the spottiest old gurus, we are all
(I think) still free to choose the perspec-
tive that we prefer, and that accordingly
complements our favorite music, with-
out having to be so foolish, so nave, or
so downright wrong as to say that one is
more accurate than the other.
So it goes with other, arguably less
tangible qualitiesthe airy top end of
one speaker vs the chunkier, more sub-
stantial trebles of another, or the man-
ner in which various speakers seem
capable of portraying physically small
sounds more believably than larger
ones, or vice versa
So, too, do different loudspeakers
strike me as having different bass quali-
tieswhich can be maddeningly diffi-
cult to describe. I remember thinking
that the superb Lamhorn 1.1 had a
pleasantly puffy-sounding bass register,
while the superb Linn Sizmik sub-
woofer that I owned for a while played
the same notes with a little less air, and a
little more effort and grunt. Each sound-
ed more correct with certain recordings
than the other, and both will please dif-
ferent listeners for different reasons.
Describing the Rethm Saadhanas bass
quality is similarly difficultand best
accomplished by observing the records it
seemed to favor. Overall, it had more of a
flair with pop recordings. It suited the
electric bass and kick drum on Bryan
Ferrys In Your Mind (Atlantic SD
18216)my favorite of his solo albums
with a snappy and colorful sound, and
worked equally well in getting across the
deep-bass pedals throughout Classic
Records LP reissue of Genesiss The
Lamb Lies Down on Broadway (Atco SD 2-
401). On the other hand, while I enjoyed
L I ST E NI NG
the Saadhanas contributions to orchestral
music, and appreciated the fact that it
found some notes that other speakers
miss, I noted that those notes occasional-
ly seemed a bit more forced than the real
thing, and didnt emanatedidnt simply
occurin quite the same manner as I hear
from the corner-loaded Audio Note
AN-E/Spes. And while the Saadhana
had an excellent sense of scale overall,
and was capable of sounding either small
or large as appropriate, the spatial scale of
the bottom octaves was smaller than that
of the rest of the spectrum.
To simplify: The Saadhanas werent
as good as some loudspeakers at mak-
ing, say, the orchestral bass drum in any
recording of Elgars The Dream of Geron-
tius sound as naturally, organically huge
as the rest of the ensemble; yet those
other loudspeakers werent as good at
propelling a song such as the Moves It
Wasnt My Idea to Dance. (That was
the song I played over the Saadhana the
first time I heard it, in New York City,
at Primedias 2007 Home Entertain-
ment Show.)
Perhaps less significant but equally
obvious is the matter of aesthetics: As
with every other Rethm loudspeaker Ive
seen, the Saadhanas very Bauhaus design
gives it a distinctive appearanceone that,
again, youll either like or dislike. It has
an undeniably modern look, yet I found
myself more drawn to it than I am to
most modern furnishings. In my smallish
listening room, the predominantly red-
dish-brown Saadhana jelled nicely with
my cherry floorboards, blue walls, and
Indian Mahal carpet. I wouldnt expect it
to work equally well with all dcors, but
thats not for me to say.
When I asked Jacob George to
explain the speakers name, he told me
that the life of an Indian classical musi-
cian goes through three stages: Maarga,
during which the musician searches to
determine what his or her musical voice
shall be; Saadhana, the years in which
the musician devotes the most time and
effort to perfecting the craft; and Mok-
sha, which is the attainment of artistic
salvation and enlightenment.
Appropriately, Rethms current entry-
level loudspeaker is named Maarga
($4250/pair). Just as appropriately, Jacob
George has yet to achieve his Moksha
the realization of which will take him a
good deal more time. Meanwhile,
George and Rethm are working on still
other projectsincluding a turntable with
a drive system the like of which has never
been seen in domestic audioand slowly
but surely perfecting their craft.
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Two Questions
One Answer
U
S composer Morten Lau-
ridsens Lux Aeterna is one
of the indisputable master-
pieces of the 20th century.
John Atkinson has record-
ed the male vocal group
Cantuss performances of Lauridsens
O Magnum Mysterium (on Comfort and
Joy: Volume One, Cantus CTS-1204)
and Ave Maria Dulcissima (on Cantus,
Cantus CTS-1207). (And great record-
ings they areone engineer chum
thinks JAs Cantus recording of OMM
is the single best-engineered choral
recording hes ever heard.)
In a White House ceremony on
November 15, 2007, Lauridsen was
awarded the National Medal of the
Arts. He won that honor, according to
the official citation, for his composi-
tion of radiant choral works combining
musical power, beauty, and spiritual
depth that have thrilled audiences
worldwide. Other 2007 recipients
included Les Paul and Andrew Wyeth.
Lauridsen is only one of eight classical
composers, including Aaron Copland
and Elliott Carter, ever to receive the
National Medal. Bravo. It couldnt
happen to a nicer guy.
If you havent yet heard what all the
fuss is about, at least buy the Los Ange-
les Master Chorales Lux Aeterna (CD,
RCM 19705), probably the best one-
disc introduction to Lauridsens small
but spiritually compelling oeuvre. If
the 15 bucks or whatever daunts you,
Im sure your local public library has it,
or can get it for you in a few days. No
excuses!
Flashdancin?
By now youre probably wondering
just who is the comely lass lounging
around, seemingly waiting for the cast-
ing call for the remake of Flashdance.
Glad you asked! Because youll need
her name in order to buy her CD,
which I think youll want to do.
Shes Danielle de Niese, a dynamic
young operatic soprano whose career
has really taken off. Decca has recently
released her dbut recording, wittily
titled Handel Arias (CD, 475 8746). Im
so relieved they called it that, and not
Acid Thrash That Rocks Like a Beast.
Because its all Handel arias,
all the time. But its a very
well-chosen program that
balances familiar and more
obscure works, and is also
quite well recorded. And
with Les Arts Florissants,
led by William Christie, I
dont think you could do
better in terms of accompa-
nying.
De Niese was born in
Australia, but her parents
relocated to California
when her musical talent
became obvious. She stud-
ied at the Colburn School
of the Performing Arts, and
was accepted at Tangle-
wood when she was 13. By
the age of 15 she had made
her professional dbut at
Los Angeles Operain a
leading role. She then
became the youngest person accepted
into the Metropolitan Operas Linde-
mann Young Artist Development Pro-
gram. Yikes. In recent years she has
made big splashes at Glyndebourne,
Opera de Lyons, the Barbican, and
elsewhere, so this is probably the opti-
mal time to release a recordingno one
can claim that shes being pushed or is
not ready.
De Nieses voice is powerful, bright,
clear, and very agile. She writes many
of her own ornamentations, and seems
to have a lot of fun singing themno
wallflower she. On this recording she
comes across as a lively, spontaneous,
but intense singing actressa different
kind of intensity from that manifested
in Lorraine Hunt Liebersons Handel-
aria recital on Avie SACD. Hunt
Liebersons intensity was an intense
stillness; de Nieses intensity almost
bursts out of the speaker cabinets.
Just listening to the CD, I came to
the conclusion that de Niese could be a
bit of a charge-taking arm-waver, and
when I finally got around to watching
the making-of DVD included with the
press kit, that impression was con-
firmed by the video clip of her cavort-
ing at Glyndebourne as Cleopatra. Pay
no attention to the battleships and
Zeppelinsif Cleopatra wants Zep-
pelins, Zeppelins she shall have, thats
my attitude.
Despite the slight touch of cognitive
dissonance the staging gave me, de
Nieses performance is tremendous,
and tremendously assured, with energy
left over for the occasional inviting
glance or saucy smirk. And yes, it seems
she can dance (at least a bit). So lets get
that Flashdance remake in the works.
Getting back to the CD, de Nieses
traversal of Lascia chio pianga, from
Rinaldo, is absolutely hypnotic in effect.
You must hear it. Her voice is seduc-
tively rich (reminiscent of Kiri te
Kanawas at about the same age), her
sense of timing is perfect, and her
meshing with the orchestra is all you
could ask for. The orchestra through-
out is crisp and clear without ever
being rushed or stridentthis is histori-
cally informed performance I cant
imagine anyone objecting to.
Ive listened to this CD quite a bit,
and it wears very well. If I need to note
a quibble to retain my critics creden-
tials, here it is: de Niese was miked
somewhat close-in for my tastes. On
the making-of DVD, the microphones
(at least there were two, for stereo) are
at about her chin level and not much
Music, Mostly
F I F TH E LE ME NT
J ohn Mar ks
D
E
C
C
A
/
L
O
R
E
N
Z
O

A
G
U
I
S
cardas.com
CD-2
As close as youll get
without buying the ticket.
CD-2 CD Turntable
Get Closer.
www.bel cantodesi gn.com
Mow l or 200Z
more than 2' away. (She was at the rear
of the orchestra, so I assume the mikes
were cardioid in pattern.) So the per-
spective is rather close-up, but I adapt
to it fairly easily. On the laments, she
can be heard breathing perhaps more
than she would be in an opera house. I
realize that many listeners will say,
Bring it on. The orchestra and harp-
sichord miking I have no such reserva-
tions about.
Im trying to set things up so we can
host a sound clip when this column is
posted on www.stereophile.com. In
the interim, you can visit www.
denielledeniese.com or just buy the
CD. Highly recommended.
More great recordings
(and recording gear)
Any time there is a new recording of
anything by Morten Lauridsen, I try to
get it. I was particularly moti-
vated when I saw that the
Norwegian chamber chorus
Grex Vocalis had recorded O
Magnum Mysterium, because
for more than 20 years, Grex
Vocaliss Renessanse for Kor
(Kiku FXCD 39) has been
one of my all-time favorite
CDs of any kind. Their per-
formance of Innsbruck, ich
muss dich lassen on that disc
is one of my desert-island
tracks.
1
So I requested Grex
V o c a l i s s
recent Christ-
mas - t hemed
CD, O Mag-
num Mysterium,
from their
new label, 2L
(which stands
for the corpo-
rate name
L y n d b e r g
Lyd.). In reply,
I received half
a dozen 2L
CDs. Ill tell
you about the Christmas CD closer to
Christmas; for now, I have to tell you
about a truly fabulous Bartk CD.
First, some background. 2Ls website,
www.2L.no, is worth checking out.
They seem to have some time ago
switched from releasing CDs to
SACDs, and it looks as though they
now have as many SACDs (all both
hybrid and surround, as far as I can tell)
as CDs in their catalog, which is impres-
sive for its eclectic but non-superficial
nature. I first encountered 2L by word
of mouth; mastering engineer Alan Sil-
verman was knocked out by a 2L
Mozart SACD that had been recorded
using DXD technology, and Kalman
Rubinson named this SACD one of his
Records to Die For in February. By
coincidence, Enjoy the Music scribe Rick
Becker was knocked out by the same
SACD, and sent me a copy of it.
DXD? I hear you mutter. Right. All
we need now is another audio initialism to
cope with. I feel your pain. But Digital
eXtreme Definition (DXD) is a rather
rational response to the loose ends Sony
left when it pretty much dropped the
SACD ball. Direct Stream Digital, aka
DSD, is the very fast one-bit recording
method that is the delivery
system for SACD; in other
words, the pits on an SACD
represent a one-bit DSD
datastream. For many propo-
nents and adherents, DSD is
the preferred recording medi-
um as well. The big problem
is that few pro-audio produc-
tion tools are available for
DSD, and none are what
youd call affordable. The
less-big (for the moment) problem is
that DSD is not exactly what youd call
future-proof.
DXD is a PCM-based system that
can take advantage of many existing
production solutions, such as ProTools
HD and the Pyramix DAW, and offers
data density claimed to be four times
greater than DSD. DXD runs at a
352.8kHz sampling rate and 24-bit
resolution. It appears to be the brain-
child of, or has been codeveloped by, a
company that is new to me, Digital
Audio Denmark (www.digitalaudio.
dk). They make a modular unit, the
AX24 Converter System, which can be
optioned as anything from two chan-
nels with line inputs, running at
48kHz, to eight channels with mike
preamps, running at DXD, DSD, or
Double-DSD (128Fs rather than 64Fs,
ie, 5.645MHz). US prices run from
about $5000 to around $20,000. Telarc
outfitted one of its recording rigs with
AX24s, for their re-recording in
Atlanta of Brahmss Ein deutsches
Requiem. Perhaps JA can assign some
other Stereophile scribe to evaluate the
AX24 when optioned as a stripped-
down, playback-only (DAC) device. It
sure looks handsome.
Of late, 2L has been recording with
DXD, with gear from Merging and Pyra-
mix, then downconverting to DSD for
SACD production. The Mozart SACD
did sound very, very clean, and if Id heard
that performance at a concert, I would
have considered the time very well spent.
But I didnt feel a need to keep hearing
the recording, pleasant as it was.
However, 2Ls Bartk SACD
(2L28), by violinist Annar Folles,
pianist Christian Ihle Hadland, and
clarinetist Bjrn Nyman, struck me
altogether differentlythis is one of the
most attractive Bartk releases I have
come across in years. A close perusal of
the liner notes reveals that it was
recorded in 2003 and 2004, before 2L
went ultra-hi-rez; the master recording
is 24-bit but only 44.1kHz. Fear notit
sounds very good, even as a CD.
I had never heard of Annar Folles.
The liner notes say he studied at
Bloomington, Indiana. The cover
photo does him no favors; he looks
deranged. I was apprehensive that I
was in for some scenery chewing
before I consigned the SACD to the
donate pile, but I was wrong.
5T H E L E ME NT
1 There was an LP too, but I never snagged it. I bought
my CD from Hart Huschens of www.audioadvance
ments.com. Perhaps he has some CDs, or perhaps even
LPs, salted away.
Digital Audio Denmarks modular AX24 Converter System.
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Stereophile, September 2007 (Fathom f113)
Best Sound in Show
Home Theater Magazine, September 2006 (CEDIA Demonstration)
Product of the Year
Home Theater & Sound, January 2007 (Fathom f113)
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Folless traversal of Bartks techni-
cally and musically daunting Sonata for
Solo Violin is entirely musicianly.
Folles is poised and confident but not
cocky. There is no showing off, no exag-
gerated gestures. He plays the work as
though it belongs to the great tradition
that predated and encompassed Bach,
while giving due weight to its folkloric
strains. Very quietly, Folles makes the
technical challenges go away. I am
impressed. Some might find his tempos
a bit on the measured or careful side; I
prefer to think he is avoiding coming off
as rushed or frantic.
Folles plays a different violin for each
work on this SACD, the other composi-
tions being a very fine Sonata 2 for Violin
and Piano and, you guessed it, Contrasts
for Clarinet, Violin, and Piano, in a spirit-
ed performance. None of the violins is a
top-shelf choice; the solo sonata was per-
formed on a 1921 Paolo de Barbieri, the
sonata with piano and most of Contrasts
on a ca 1870 Rocca, and the scordatura sec-
tion of Contrasts on a 1919 Bla zek. Folles
makes them all sound major-league.
As does the recording, at Oslos
Sofienberg Church. A photo in the
booklet suggests that for Contrasts, the
violinist and clarinetist stood on risers on
either side of the piano, a Bsendorfer
whose lid had been removed. To para-
phrase Oscar Wilde, thats a temptation
Ive never had the courage to give in to.
But listening to the recording before I
noticed that, I heard nothing amiss.
To sum up: We have a hybrid
SACD/CD, the master tape of which
was higher-rez but not DSD-rez, let
alone DXD-rez, of comparatively
unknown musicians playing repertoire
for which there is no shortage of world-
class competition, the violinist playing
not even a name-brand violinyet the
result is an engrossing and completely
artistically successful chamber-music
program. Most highly recommended.
Relaxese com uma cerveja
If the foregoing has been a little too
highfalutin for you, relief is at hand.
Perhaps not in the form of a relaxing
cold beer, but maybe the next-best
thing: a very mellow CD of (mostly)
Brazilian bossa nova played on classical
guitar. The collection, Deve ser Amor (It
Must Be Love), features guitarist
Michael Andriaccio (Fleur de Son
FDSJ 57977; www.fleurdeson.
com). Pieces are from the pens of
Baden Powell, Astor Piazzolla, Anto-
nio Carlos Jobim, and Luiz Bonf
what could there be not to like?
Bonfs Manha de Carnival, the
famous Theme from Black Orpheus, is
hereof course.
This is a very nice, low-intensity
programno glimpses of the cosmos,
no holy-this or holy-that moments of
virtuosity-induced stupefaction. Andri-
accio has a very pleasant way with this
music on classical guitar. Is his playing
on the same level of technical accom-
plishment as, say, Gran Sllschers?
Nope. Is the audio engineering up to
the level Deutsche Grammophon has
provided for Sllscher? Double nope.
I found the sound somewhat lacking
in sparkle and hall ambience, and even
in the solidity of the center image. But
the music was so agreeable, I refused to
let Audiophilia nervosa get in my way.
Next time around, though, the engi-
neer might want to try an M-S mike
array, perhaps with figure-8 ribbons
such as can be had from Crowley and
Tripp. Perhaps in a livelier hall.
But dont let my quibbles stop you
from picking up this CD. It might be just
the ticket if youre a fan of classical guitar
or bossa nova, or simply want some mel-
low music to zone out to. Beer from
Brazil is optional. A nice little album.
Barking up the wrong tree
Ill soon return to the project of assem-
bling systems based on one-box CD
receivers, but I first want to vent a bit
about some of the more enthusiastic
denizens of AudioLand. I had heard sev-
eral hymns of praise sung to the notion
of using a first-generation Sony Play-
Station (SCPH-1001) as a CD player.
Okay, I bit. Hope sprang eternal that if
the PlayStation proved a giant-killer, I
could then recommend an alternate sys-
tem, cutting a couple hundred dollars or
more off the price.
I looked on eBay, where people were
repeating the shibboleth that what they
were offering was as
good as $6000 audio-
phile CD players. I
ended up paying $25
in person at my local
Salvation Army for a
PlayStation, one con-
troller, a power cord,
and a multi-output
cord set. Within a few
hours of setting it up,
I was asking myself:
What planet are these
people from? Remulac????
I admit that the PS1
didnt sound at all bad
playing CDs through
its RCA analog outs. Rather good, in
fact. Compared directly to the CD sec-
tion of the Music Hall Trio CD receiver
($999), and using Cardas Neutral Reference
interconnects ($525/meter pair) to carry
the PS1s output to the Trios Aux input,
I found the sound using the PS1 and the
Cardas cable to be noticeably more
extended, open, and agile, and at the
same time slightly more rich in the
midrange, with a greater sense of hall
sound. No question: definitely more to
my tastes, but no revelationjust a wel-
come upgrade.
Substituting a molded cable set
grabbed from my personal Graveyard of
the Giveaway Cables, there was less of a
difference. The not-quite all-important
but nonetheless hugely important
midrange was a tad threadbare via the
giveaway cables, compared with the
Cardases; the treble was a trifle thin,
too. In short, and considering only
sound: With the Cardas cables, the
PS1s audio improvement compared to
the Trios stock CD section was worth-
while (and must be taken into account
in ones estimation of the Trio on the
whole); but with the molded generic
cables, the PS1 just wasnt worth mess-
ing with.
So, based on several days on-and-off
listening, I am in no position to say that
you dont get at least $25 worth of
sound quality from a Sals Boutique
PlayStation Oneassuming you hook it
up with excellent and somewhat
expensive interconnects. The draw-
backs: everything else, starting with:
The PS1 has a power switch. When
you power up the unit, it outputs a loud
trademark sound that I call the Buun-
nggg sound (thats what it sounds like). I
have never before dealt with a CD player
that made its presence known that way.
And, lets not forget, theres a pushbutton
to activate the top-cover disc-access
5T H E L E ME NT
Good sounds, but forget about
ergonomics or user-friendliness.
M
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The slmplest and least expenslve way tc fre up ycur desktcp ls tc
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mechanism. Nothing else, except a Reset
button youll never use to play CDs.
All the other controls are on the con-
troller, which is hardwired to the box.
And which assumes that the box is con-
nected to a TV. I can imagine that some-
one could learn to navigate the PS1 by
trial and error, then remember which
controller button does what. I figured
out track forward, but not track back. But
theres no display on the PS1 that tells
you what track youre onor anything
else, for that matter. No conventional
controls and no conventional display are
pretty much deal-killers for me.
However, I didnt even have to get
that far. The PS1s architecture has a
cutout on the top panel for the disc
mechanism. Like the first Magnavox
CD player, the PS1s lid toggles open to
allow you to press the CD onto the
transport spindle, which has little catches
to hold the disc tightly. Problem was, on
my unit at least, the spinning of the disc
and the functioning of the tracking servo
could be heardsubliminally with most
music, I admit, but once I was keyed in
to the sound, I could hear it between
tracks: a slight whirring, augmented on
many discs by a subtle tick-tick-tick. Per-
haps not quite as dementia-inducing as
the offending organ in Poes The Tell-
Tale Heart, but not nuttin, neither.
Now, I am the first to admit that
perhaps my unit had had a hard life.
Perhaps, with the luck of the draw, I
could find a PS1 that makes no more
disc-spinning noise than my old Mag-
navox did, about 25 years ago. But its a
path I choose not to tread. Oh, by the
way, no S/PDIF output.
So, this one will go on eBay, and
most likely has been and gone by the
time you read this. Im not going to try
to discourage anyone from playing with
a PlayStation. For $25, it sounds won-
derful. Any given person may prefer its
flavor of ice cream to something costing
more, but only up to a pointI am
totally unsold on the claim of as good
as $6000 audiophile CD players. But
for all the non-sound reasons, I just
cant recommend it as part of a real-
world solution for a music lover.
Work on sizing up the modern suc-
cessor to Frieds Model Q speaker was
delayed by some shipping damage one
new contender suffered, my barking up
the PS1 tree, and some unforeseen and
uncontrollable circumstances. Ill rejoin
that quest next time. In the meantime,
check out all this great music!
Questions or comments: stletters@
sourceinterlink.com.
Going... to the JPS Aluminata
made for one of the most
remarkable differences I can
remember hearing between two
non-defective audio cables.
Silences and spaces between
notes and sonic images
werent even black: They were
just dead-empty.
...the improvement wrought by
the JPS cable combination was
downright amazing.
Taken together, these unusual
interconnect, loudspeaker, and
AC cables brought a new
measure of spaciousness,
scale, smoothness, heretofore
unimagined detail, and overall
musical ease and naturalness to
my music system.
The differences made by the JPS
Aluminata products were by far
the most drastic changes Ive
ever heard when going from one
interconnect, speaker cable, or
AC cord to another. Put a little
more bluntly, Ive never heard
wire do this before.
Art Dudley
Stereophile Magazine- April 2007
n mzing review...
Tel 716-656-0810
Email info@JPSLabs.com
www.JPSLabs.com
Listen, Clearly, Always
TM
Visit our Reviews webpage for more
R E C O M M E N D E D
COMPONENTS LI STED HERE have been formally reviewed in Stereophile and have
been found to be among the best available in each of four or five quality classes. Whether
a component is listed in Class A or Class E, we highly recommend its purchase.
Each listingin alphabetical order within classesis followed by a brief description
of the products sonic characteristics and a code indicating the Stereophile Volume and
Issue in which that products report appeared. Thus the September 2007 issue is indi-
cated as Vol.30 No.9.
Some products listed have not yet been reported on; these are marked (NR), for
Not Reviewed. Others have received coverage in our free monthly eNewsletter
back issues are archived at www.stereophile.com/enewsletters. We recommend that
you read any products entire review before seriously contemplating a purchase (prod-
ucts without reviews should therefore be treated with more caution)many salient
characteristics, peculiarities, and caveats appear in the reviews, but not here. To obtain
back issues of the magazine, visit our website: www.stereophile.com. We regret that
we cannot supply photocopies or e-mail copies of individual reviews. Some reviews
are reprinted in our website Archives Section: these are marked WWW. More are
added each week, so check the on-line listing.
In general, components do not remain listed for more than three years unless at
least one of the magazines writers and editors has had continued experience with
them. Discontinuation of a model also precludes its appearance. In addition, though
professional componentsrecorders, amplifiers, monitor speaker systemscan be
obtained secondhand and can sometimes offer performance that would otherwise
guarantee inclusion, we do not generally do so. Stereophiles Recommended Com-
ponents listing is almost exclusively concerned with products currently available in
the US through the usual hi-fi retail outlets.
C O M P O N E N T S
Seeking a new system?
Cant decide which products
offer the best balance
of sound and value?
Look no further as Stereophile
editors reveal the industrys
best audio gear.
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How editorsrecommendations
are determined
The ratings given components included in
this listing are based entirely on perfor-
manceie, accuracy of reproduction
and are biased to an extent by our feeling
that things added to reproduced sound (eg,
flutter, distortion, colorations of various
kinds) are of more concern to the musi-
cally oriented listener than are things sub-
tracted from the sound (eg, deep bass or
extreme treble). On the other hand, com-
ponents markedly deficient in one or more
respects are downrated to the extent that
their deficiencies interfere with the full
realization of the program material.
We try to include in Recommended
Components every product that we have
found to be truly excellent or that we feel
represents good value for money. Bear in
mind that many different tastes are rep-
resented. The listing is compiled after
consultation with Stereophiles reviewing
staff and editors, and takes into account
continued experience of a product after
the formal review has been published. In
particular, we take account of unreliabil-
ity and defects that show up after extended
auditioning. The fact that a product
received a favorable review cannot there-
fore be regarded as a guarantee that it will
continue to appear in this listing.
The prices indicated are those current
at the time the listing was compiled (Feb-
ruary 2008). We cannot guarantee that any
of these prices will be the same by the time
this issue of Stereophile appears in print.
Where we have found a product to per-
form much better than might be expected
from its price, we have drawn attention to
it with a $$$ next to its listing. We also indi-
cate, with a , products that have been on
this list in one incarnation or another since
the Recommended Components listing
in Vol.28 No.4 (April 2005). Longevity in
a hi-fi component is rare enough that we
think it worth noting (although it can also
indicate that the attention of design engi-
neers has moved elsewhere).
We are not sympathetic toward letters
complaining that the Symphonic Bombast
A-123 that we recommended heartily two
years ago no longer makes it into Recom-
mended Components. Where deletions
are made, we endeavor to give reasons
(there are always reasons). But remember:
Deletion of a component from this list does not
invalidate a buying decision you have made.
Individual reviewers mentioned by
their initials are: John Atkinson, Jim Austin,
Paul Bolin, Lonnie Brownell, Martin Col-
loms, Brian Damkroger, Robert Deutsch,
Art Dudley, Michael Fremer, Larry Green-
hill, Fred Kaplan, John Marks, Paul Mes-
senger, Thomas J. Norton, Wes Phillips,
Bob J. Reina, Kalman Rubinson, Markus
Sauer, Jonathan Scull (J-10), Chip Stern,
Sam Tellig, and Barry Willis.
TURNTABLES
A+
Continuum Audio Labs Caliburn: $125,595
with tonearm and stand
Part New Jersey diner, part Wurlitzer jukebox, the
160 lb Caliburn is the brainchild of Mark Doehmann,
whose clever, purposeful design is based on rigorous
scientific methodology using finite-element analysis
computer programs. While the only serious competi-
tion for the Caliburn is the Rockport System III Sir-
ius, MF decided, The Caliburn beat the Rockports
overall performance by a considerable margin, adding
an emotional majesty that made the Rockport seem
analytical. Better than sex! cried Mikeys wife. The
ultrarigid Castellon stand, made of chromed, aircraft-
grade aluminum, costs $25k on its own (pheww).
Stereophiles 2006 Analog Source Component and
Overall Product of the Year. (Vol.29 No.1 WWW)
A
Brinkmann Balance: $18,550
The ready-to-play Brinkmann Balance is a plinthless
table with an attractive, low-profile base available in
a variety of sizes and configured for specified tonearm
masses. Its high-tech feet are designed to effectively
isolate the supporting base from horizontally and ver-
tically induced vibrations, and its platters speed can
run at precisely 33.3 and 45rpm. Combined deep,
tight, articulate bass performance with the lightest,
airiest, purest soundstages to breathe new life into
MFs favorite LPs, adding greater holography of
imaging but without etch. With the exception of the
Rockport System III Sirius, the Brinkmann combo
was the best turntable system Mikey had ever heard.
Brinkmann 10.5 tonearm adds $5350, Brinkmann
EMT cartridge adds $3675. (Vol.28 No.5)
Continuum Audio Labs Criterion: $49,995
without tonearm
Incorporates much of the technology and design of the
$125,595 Caliburn-Cobra combo, but lacks the dedi-
cated Castellon stand. Like the Caliburn, the Criterion
can be simultaneously fitted with two tonearms, and
uses Continuums armboard isolation system. Its self-
Cl ass A
Best attainable sound for a component of its kind, almost without practical considerations;
the least musical compromise. A Class A system is one for which you dont have to make a
leap of faith to believe that youre hearing the real thing. With Super Audio CD, 24/96 DAD,
and DVD-Audio now available, we have created a new Class, A+, for the best performance
in those digital categories. Class A now represents the best that can be obtained from the
conventional 16/44.1k CD medium. We also created Class A+ categories for turntables and
phono preamps, to recognize the achievements of the Continuum Caliburn and Boulder
2008, respectively.
Cl ass B
The next best thing to the very best sound reproduction; Class B components generally cost
less than those in Class A, but most Class B components are still quite expensive.
Cl ass C
Somewhat lower-fi sound, but far more musically natural than average home-component
high fidelity; products in this class are of high quality but still affordable.
Cl ass D
Satisfying musical sound, but these components are either of significantly lower fidelity than
the best available, or exhibit major compromises in performancelimited dynamic range,
for example. Bear in mind that appearance in Class D still means that we recommend this
productits possible to put together a musically satisfying system exclusively from Class D
components.
Cl ass E
Applying only to loudspeakers, this Entry Level classification includes products that may
have obvious defects, but are both inexpensive and much better than most products in their
mid-fi price category.
Cl ass K
Keep your eye on this product. Class K is for components that we have not reviewed (or
have not finished testing), but that we have reason to believe may be excellent performers.
We are not actually recommending these components, only suggesting you give them a lis-
ten. Though the report has yet to be published in certain cases, the reviewer and editor
sometimes feel confident enough that the reviewers opinion is sufficiently well formed to
include what otherwise would be an entry in one of the other classes, marked (NR).
HOW TO USE THE LI STI NGS
The classes each cover a wide range of performance. Carefully read our descriptions here,
the original reviews, and (heaven forbid) reviews in other magazines to put together a short
list of components to choose from. Evaluate your room, your source material and front-
end(s), your speakers, and your tastes. With luck, you may come up with a selection to
audition at your favorite dealer(s). Recommended Components will not tell you what to
buy any more than Consumer Reports would presume to tell you whom to marry!
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RECOMMENDED COMPONENTS
Stereophile editors reveal the industrys best audio products
Powerful Simplicity.
While NAD AV receivers and tuner preamp may appear
conservative enough, their designs reect a philosophy
altogether distinct from that reected in todays typical mass-
market receivers. NAD skips the heavily hyped, me-too
features and concentrates on functions and technologies
that really make the difference in picture and sound. For
example, rather than succumbing to the lure of the wattage
wars, weve focused on meaningful goals: real-world sonics
and power; pristine, non-degraded video, and genuinely
ergonomic designs. Some of our forward-thinking features
include: uniquely enhanced Audyssey MultEQ XT room
correction technology, enabling you to experience sound the
way it was intended in every seat of your room by removing
distortion caused by room acoustics; auto set-up and the
latest HDMI connectivity for simple setup; and a unique
modular construction that helps protect your investment
from becoming obsolete. NADs belief is that home theater
products have grown far too complex. Our latest designs
were guided by simplicity of operation to maximize your home
theater enjoyment. Audition our new NAD AV systems with
proprietary PowerDrive amplication and experience the
NAD difference for yourself. We think youll be amazed!
For more information or to nd your nearest dealer visit:
www.LenbrookAmerica.com
The Finest Selection of Audio Components in the World.
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damping magnesium-alloy chassis is a bit smaller and
lighter than the Caliburns, however, resulting in a
sleekly proportioned design that makes the Cal-
iburn-Cobra look a bit boxy. Though the Criterion
couldnt match the Caliburns low-frequency weight
or tonal complexity, its rhythmnpacing abilities were
punchier and more exciting. . . . The Criterion-Cop-
perhead quickly had me forgetting what was sitting on
the next stand at twice the price, said MF. Copper-
head tonearm adds $6500. (Vol.31 No.3)
Grand Prix Audio Monaco: $19,500
Conceptually audacious, elegantly designed, executed
with space-age precision, and remarkably compact,
the Grand Prix Audio Monaco is a direct-drive, sus-
pensionless turntable with a DSP-controlled, brush-
less, 12-pole DC motor. The carbon-fiber plinth and
magnesium-alloy platter worked to control outside
energy and contributed to the turntables impressively
black backgrounds. The Monacos exceptional orga-
nizational skills, crystalline clarity, clean transients, and
superb rhythmic swagger were offset by a somewhat
cool, aloof personality and less-than-generous har-
monic and textural presentation, concluded MF. Price
includes pre-drilled armboard; dedicated stand adds
$4981.78, as reviewed. (Vol.30 No.11 WWW)
Kuzma Stabi XL: $18,975
As much a work of visual art as it is a thoughtfully
designed, precisely engineered record player, the
mass-loaded Stabi XL sports a 48.4-lb platter of alu-
minum and acrylic, two 15.4-lb brass motor assem-
blies, and a 30.8-lb, height-adjustable brass tonearm
tower. Because it has no suspension, the Stabi XL
requires an especially stable, perfectly flat and level
platform in order to deliver its rock-solid, open, clean,
and effervescent sound. Tended toward an overag-
gressive attack and truncated sustain, but nevertheless
proved to be among the best turntables currently avail-
able, decided MF. Air Line tonearm costs $8000. Price
is for fixed VTA tower; adjustable VTA tower version
costs $20,475. (Vol.30 No.4)
Kuzma Stabi Reference: $8000
A genuine bargain, according to MF, the 88-lb Stabi
Reference is a split-plinth, two-motor design that lacks
sex appeal but offers rugged build quality and exquis-
ite machining. Its performance was rock-solid,
dynamic, stable, and dramatic, with authoritative bass
extension and control. Some may prefer a lighter, airier,
more delicate sound, but not Mikey: Compact, easy
to set up, well engineered, and beautifully built, the
Kuzma Stabi Reference is a relatively affordable, non-
tweaky, no-nonsense Class A turntable that does just
about everything correctly except excite the eyes.
(Vol.27 No.9)
Linn Sondek LP12, with Lingo power supply:
$4600+, depending on finish and options
Compared with Linns Valhalla, the Lingo-equipped
Sondek minimizes the LP12s propensity toward a
slightly fat midbass, subjectively extending the low fre-
quencies by another octave. The Lingo upgrade alone
costs $1550. The Trampolin suspension reduces the
effect of the support. Cirkus bearing/subchassis, fitted
as standard, costs $645 including labor as an upgrade
kit, and further extends and tightens the tables bass,
leading to a borderline Class A rating, according to MC,
JA, AD, and LG (as long as a good support is used, adds
MC). A deeper, more profound silence, enthuses WP
over the Cirkus mod, adding that what stunned him
was the extent to which surface noise receded into
insignificance. MF agreed: Everything its fans say
about it is true: It can carry a tune, its well-paced, and
it has impressive bass extension and supple, believable
bass transients. Superbly low measured rumble and
excellent speed stability reinforce the feeling of maxi-
mum musical involvement offered by this classic belt-
drive turntable. Good isolation from shock and
vibration. While the felt mat doesnt offer the greatest
degree of vibration suppression within the vinyl disc,
what absorption it does offer is uniform with frequency.
The Lingod Linn was a big-sounding, wildly dynamic,
faultlessly tuneful player that held me utterly rapt, said
AD. In direct comparison, the Lingo-Ekos combina-
tion sounded more dynamic than the Naim Armaged-
don-Aro combo, AD added. The Naim Armageddon
was easy to listen to. The Linn Lingo was hard to ignore.
The Keel one-piece subchassis, tonearm board, and
Linn-specific tonearm mounting collar ($3250) main-
tained the sonic character of ADs LP12 while adding
size, richness, and detail. To the person who under-
stands what the player is all about, this very expensive
upgrade could border on being essential, said Art, rec-
ommending a promotion to Class A for the Keel-
equipped LP12. Effects of the Trampolin base ($250)
were not as pronounced. Despite flirtations with other
decks, JA remains true to the basic design he has used
now for more than a quarter century. Version with inter-
nal Valhalla power supply costs $2275$2350, gives
Class C sound; with the Basik power supply it costs
$2070. (Vol.7 No.2, Vol.13 No.3, Valhalla; Vol.14 No.1,
Vol.16 No.12, Vol.17 No.5, Vol.19 No.2, Vol.26 No.11,
Vol.28 No.2 WWW; Vol.30 No.10 WWW)
Merrill-Scillia Research MS21: $24,000
Though boxy and plain, the spring-suspended, belt-
driven MS21 is cleverly designed and expertly built,
with a one-piece subchassis and a proprietary 24-pole,
high-torque, synchronous AC motor. Its soaring sense
of musical flow was complemented by a smooth, sat-
isfying, essentially neutral tonality that was just slightly
on the warm side. Though it lacked the bass attack
and bottom-end extension of the Grand Prix Monaco,
the MS21 offered superior texture and greater overall
suppleness, said MF. (Vol.30 No.11)
SME Model 30/2: $36,000
In addition to audio engineering, SME also does pre-
cision CNC machining and measuring for Formula
One race cars and for the medical, aerospace, and avi-
ation industries. That prowess was evident in their
Model 30/2, according to MF: Dense, compact, and
built to run O-rings around the competition, SMEs
flagship turntable makes every other design Ive encoun-
teredwith the possible exception of Rockports Sys-
tem III Siriuslook almost homemade. . . . I dont think
anyone else building turntables today is capable of this
level of construction quality, never mind design inge-
nuity and fitnfinish. . . . The SME Model 30/2s pre-
cision-machined parts, its superb damping and isolation,
its high-mass, low-flex plinth, its accurate, stable drive
system, and, most of all, its sound or lack thereof, might
just make it the finest turntable in the world. Price
does not include tonearm. Mikey preferred the Gra-
ham 2.2 arm with the 30/2 in his system, rather than
SMEs own Model IV.Vi. Stereophiles Analog Compo-
nent of 2003. (Vol.26 No.3 WWW)
TW-Acustic Raven AC: $12,800
With a pedestal of machined stainless steel and a com-
posite platter incorporating a thick brass bearing sleeve
and a Teflon thrust plate, the mass-damped Raven mea-
sures only 18" by 16" but weighs nearly 200 lbs. The
Ravens rock-solid construction resulted in remarkable
weight and solidity, an unshakable foundation, and
incredibly effective isolation, all working to create a
marvelous three-dimensional presentation with jet-
black backgrounds. Its clean, deep bottom end never
sounded too heavy or thick, but the table lacked some
transient sparkle and top-end air. One of the worlds
top turntables, MF deemed it, adding a best buy in a
top-shelf table. (Vol.29 No.12)
VPI HR-X: $11,000, with tonearm
Harry Weisfelds efforts to produce the ultimate TNT
turntable include a plinth of acrylic-aluminum-acrylic
laminate, an inverted bearing assembly, the addition of
a perimeter clamping ring, and replacement of the out-
board motor and flywheel with a single unit. Simpler,
smaller, more luxuriously appointed, and better built
than the TNT, the HR-X also eliminates the TNTs
pervasive warmth and softened dynamic transients, to
offer a much more neutral overall presentation. BD:
The HR-X struck me as a stable, inert, and nearly neu-
tral platform that simply supports a cartridge and lets
it do its job. Price includes VPIs JMW-12.6 tonearm
(see Tonearms). (Vol.29 No.5 WWW)
B
Funk Firm Vector: $1449, without tonearm $$$
Designed by Pink Triangle founder Arthur
Khoubessarian, the whimsical Vector uses an irregu-
larly shaped plinth for fast energy transmission, sits
atop three clear plastic globes decoupled with Sorboth-
ane, and has a DC motor. Its relative lack of dynamics
was offset by its tonal neutrality and excellent rhyth-
mic capabilities. Fun to use and to look at, said MF.
Incognito-wired Rega RB300 tonearm adds $600.
(Vol.29 No.10)
Origin Live Resolution Modern: $2970
The plinthless Resolution Modern is a very compact,
very low-mass, and very ingenious design featuring
a complex, single-spring, semi-suspended dual sub-
chassis. Excellent speed stability. To ensure that the
outside world does not impinge on the Origin Lives
performance, you should have a good stand and a solid
floor. When auditioned with Origin Lives Encounter
tonearm ($1495), the Resolution combined the airy,
light-on-their-feet performance of the best sprung
designs with the rock-solid stability of mass-loaded
designs. . . . Music emerged from dead silence to cre-
ate coherent, delicate sound, said Mikey. One of the
truly special products Ive reviewed in the past 18
years. (Vol.27 No.7)
Pro-Ject RM-10: $2599 $$$
Pro-Jects statement RM-10 has a magnetic-repulsion
system for its all-acrylic platter and an impressive 10"
carbon-fiber tonearm. Impressively well balanced and
free from any overt colorations, the RM-10 leaned
slightly toward the rich, warm side, with bass output
that was somewhat restricted but very well controlled.
Easily the best product yet to come from the Czech
factory, said MF. Price includes Pro-Jects Ground-It
platform. (Vol.29 No.11)
Rega P7: $2695, with tonearm $$$
One step up from Regas Planar 5, the Planar 7 uses the
same RB700 tonearm and 24V, 50Hz motor, but its
outboard TT PSU power supply is standard, and its
ceramic record platter features 18 discs for optimizing
weight distribution. AD found that the P7 simply built
on the P5s strengths, showcasing an even greater mea-
sure of musical insight. AD used the Linn Speed-
checker strobe to determine that the P7 ran just 0.075%
fast at 33.3rpm and 0.3% fast at 45rpm. (Vol.27 No.12,
Vol.28 No.3 WWW)
Scheu Analog Das Laufwerk No.2: $5995
Bearing a striking resemblance to the Metronome Gaia
Excellence, the Laufwerk No.2 uses an acrylic platter
and an inverted bearing of hardened steel fitted with
an aluminum-oxide ceramic ball. The Laufwerks
slightly soft, somewhat ill-focused, drummy quality
was offset by its smooth, well-detailed, solid overall
sound. Though it couldnt match the slam and focus
or airy transparency of much more expensive tables,
the Laufwerk offered a rich midrange with reasonably
solid, well-controlled, pitch-sensitive bass, said MF.
(Vol.30 No.12)
Simon Yorke Series 9: $8250
The Simon Yorke Series 9 record player is a highly
individualistic, almost idiosyncratic turntable, both
physically and, to some degree, sonically, said MF. Its
compact, belt-driven, non-suspended design includes
a unipivot tonearm and a DC motor. Adjusting its tone-
arm was tricky, but once the player was properly set
up, the S9 was simple to use. Though it lacked the res-
olution of the Simon Yorke S7, the S9 produced a rich,
generous, and enveloping sound and excelled at repro-
ducing instrumental touch, textures, and harmonic col-
ors. (Vol.30 No.12 WWW)
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Thorens TD 350: $5825, with SME M2 tonearm
The TD 350 revives Thorens suspended-subchassis
design and delivered that classic suspended-turntable
sound done to perfection, without the soft, bottom-
end discontinuity and bloat, said MF. With the SME
M2 tonearm and Clearaudio Maestro cartridge, the
TD 350 produced a relaxing yet stimulating sound
marked by a harmonically rich picture and velvety
image physicality, but lacked some speed and detail.
(Vol.30 No.5)
VPI Aries Scoutmaster: $2500 $$$
The Scoutmaster has a rigid, compact plinth compris-
ing a 12-gauge steel plate sandwiched by two MDF
layers, an inverted bearing with Teflon thrust plate,
and an outboard 300rpm motor in a solid aluminum
assembly. Optional SDS motor-controller adds $1000,
an outer record clamp adds $500, and a second arm
assembly adds $400. Driven by the SDS, the Scout-
master ran precisely on speed with improved stability,
bass solidity, and sense of musical flow. Offered impres-
sive transient clarity and speed, low-level resolution,
and rhythmic authority, yet with a lighter, airier
touch than the Kuzma Stabi Reference. Has the
rhythm, pacing, drive, and fitnfinish that makes it the
best VPI table Ive heard, MF sums up, though he
admits he hasnt yet heard the TNT-HRX. A genuine
bargain. (Vol.27 No.9)
Well Tempered Record Player: $2950 $$$
The WTRPs holistic approach to turntable design
includes a plinth constructed of three sheets of MDF
separated by layers of an elastic sound-deadening
material; hollow feet said to function as resonance-
control devices; a machined acrylic platter intended
to act as a sink for unwanted vibrational energy; the
WT Tonearm, which has an armtube filled with sand
for further elimination of unwanted energy; and a
five-point bearing in a silicone bath. An exception-
ally musical product, said AD. It combined realistic
momentum and flow with superb control and stable
spatial placement. Depending on the recording, the
WTRPs tendency to tame instrumental and vocal
sibilance was either good or bad. Inverting the WTRPs
concave platter set ADs mind at ease and maintained
the players wonderful sound. Solid Class B, sums
up AD. (Vol.29 No.11, Vol.31 No.1 WWW)
C
Marantz TT-15SI: $1600
Marantzs first turntable in 20 years, the attractive, quiet,
well-damped TT-15S1 is built to Marantzs specifica-
tions by Clearaudio, whose Virtuoso Wood Ebony MM
cartridge is included. Basically an upgraded Clearau-
dio Emotion, per MF, the TT-15S1 features a taller
acrylic platter, differently shaped acrylic plinth, and
three substantial aluminum feet. The Virtuoso Wood
cartridge offered the TT-15S1 a startlingly full, coher-
ent, dynamic sound. Given Marantzs extensive dis-
tribution network, said MF, the TT-15S1 should serve
as a goodwill ambassador for analog. (Vol.29 No.6)
Michell TecnoDec: $1695, with tonearm
J.A. Michells entry-level turntable features a vinyl-
damped acrylic platter, a robust inverted-ball main
bearing, an outboard DC motor with adjustable
speed, and uses a Rega 250 arm modified with
Michells TecnoWeight. Setup was a snap. Turn-
tables dont get much simpler than the TecnoDec,
said Mikey. MF installed a Lyra Helikon cartridge
and was especially impressed by the resulting size,
precision, focus, and stability of aural images. And
though the TecnoDec lacked the transient speed,
macrodynamic swings, microdynamic nuances, and
bass slam and control of more expensive tables, MF
was still pleased: Easy to recommend. (Vol.29 No.5)
Rega P5: $1395, with tonearm
This two-speed belt-drive turntable with glass record
platter, Rega RB700 tonearm, and 24V, 50Hz motor
offered the sort of emotional and intellectual involve-
ment that comes only when a hi-fi component gets the
musical essentials down right, said AD. Compared
with Regas Planar 3, the new Planar 5 was more explic-
itly detailed and significantly better at putting across
soundfield depth and image placement. Buyers can
upgrade at any time with the addition of Regas TT
PSU power supply ($345), which made music perfor-
mance more convincing overall. Using the Linn Speed-
checker strobe, AD found that the P5, without its TT
PSU power supply, ran 0.1% fast at 33.3rpm and 0.15%
slow at 45rpm. With the TT PSU, the P5 ran an imper-
ceptible 0.025% fast at 33.3rpm but 0.2% fast at 45rpm.
(Vol.27 No.12, Vol.28 No.3 WWW)
Roksan Radius5: $2195, with tonearm
The Radius5 features a motor that rocks like a clock
pendulum for improved isolation, an unstable platter
designed to prevent damage to the main bearing, and
the Nima unipivot tonearm with acrylic headshell. A
quirky combo, declared MF. He questioned the players
stability, and would have preferred a different headshell
material and locking armrest. With the Roksan Corus
or Lyra Helikon cartridge, the Radius5 delivered a
relaxed sound marked by slow, fat bass and large, round
images. Despite careful grounding, an audible buzz was
emitted whenever MF touched the armtube. An
upgrade is available. The buyer should make sure to
buy a current-production unit. (Vol.29 No.5)
D
Pro-Ject Debut III: $299$329 $$$
Every aspect of earlier Debuts is taken a step up in the
Debut III, which comes equipped with an Ortofon
OM-5E MM cartridge. It offered surprisingly quiet
backgrounds, along with impressive image stability
and dynamics. Its slightly loose bass was tightened
considerably by the addition of the Speed Box Mk.II
($119), which allows for electronic switching between
33
1
3 and 45rpm. The inexpensive Debut III suddenly
had swagger, said MF. The combo is laughably
good. (Vol.29 No.7)
Rega P1: $395 $$$
The purposeful, unfussy P1 is a two-speed, belt-
driven turntable with synchronous AC motor, MDF
platter, pivoted RB100 tonearm, and Ortofon OMB
5E moving-magnet cartridge. Setup was quick and
easy, and platter speed was accurate at 45rpm, but
over 1% high at 33.3rpm. The P1s somewhat dark
sound was especially forgiving of poorly recorded
material and worn-out LPs, and though it lacked the
deep bass and rich textures of much more expensive
players, it succeeded at communicating the tension,
momentum, and flow of music. Its only consistent
flaw was a lingering trace of pitch instability. Some
reviewers, ST and MF for example, express concern
over the P1s build quality, hence longevity, but AD
dismisses such comments: It sounds good, the price
is right, and Rega stands a better chance than most
companies of being here tomorrow. The first time
in my experience that a designer whose work some-
times ranks with the very best has created an audio
component this affordable, said AD. Very highly
recommended. (Vol.30 No.5 WWW)
Deletions
SOTA Cosmos Series III, T+A G10 R, Clearaudio
Emotion, all not auditioned in too long a time; Rega
P3 replaced by new version not yet auditioned.
TONEARMS
A
Brinkmann 10.5: $5350
A Breuer-like gimbaled-bearing design that features
an armtube described by the designer as a high-
speed, double-concentric, ceramic-plated, self-
damping transmission device. See Brinkmann
Balance turntable. (Vol.28 No.5)
Continuum Audio Labs Cobra: $15,595
The Cobras odd shapeits wider and higher in the
middle is designed to make the center of the arm as
stiff and free of resonances as possible. The Cobra
also includes original and ingenious methods for
azimuth stabilization and adjustment. The Cal-
iburn-Cobra produced the most convincing, believ-
able, solid, and alive sound picture Ive heard, said
MF. (Vol.29 Nos.1 & 6, WWW)
Continuum Audio Labs Copperhead: $6500
The Copperhead shares with the Cobra arm Contin-
uum Audio Labs Reshape Shape Optimized Reso-
nance Tuned Compound Curve technology, and is
made of the same proprietary woven fiber in a mono-
coque design. Though the two arms share the same
geometric specs, the Copperheads narrower body
allows for greater compatibility with non-Continuum
turntables. MF preferred the Copperheads mechani-
cally grounded posts to the Cobras cantilever bearing
platform system. While the Criterion-Copperhead
combo sounded slightly faster, leaner, and brasher
than the Caliburn-Cobra, it lacked the latters nuance
and complexity. (Vol.31 No.3)
Graham Engineering Phantom B-44: $4300
Designed to be a drop-in replacement for the Graham
1.5 and its successors, the Phantom uses much of the
original tonearms technology and design but is big-
ger and more massive, and features Grahams new
Magneglide system, which acts to laterally stabilize the
arm at the pivot point and give it the feel of a tradi-
tional gimbaled arm while providing an easy means
of adjusting both azimuth angle and antiskating force.
The Phantom combined technical expertise with
emotional intensity, delivering lightning strikes of
deep, fast, ultratight bass and a greater expression of
bloom and air, with no loss of detail or control. MF:
The Graham Phantom is a tonearm whose pure,
effortless sound I can respect and love. Compared to
the Caliburn Cobra, the Phantom was a bit less airy
and effusive, slightly more reserved and grounded.
Gold trim adds $90. (Vol.28 No.9, Vol.29 No.1 WWW)
Kuzma Air Line: $9000
The Air Lines linear-tracking design screams rigidity,
security, and repeatability, and uses a porous-wall air
bearing. The lack of a damping trough, combined with
a high horizontal moving mass, means that the arms
stability and tracking effectiveness will depend on its
being absolutely level. When conditions were ideal,
however, the Air Line was a a major league home run
sonically. MF: Ultra-black backgrounds; enormous,
airy, startlingly stable soundstages; palpable images per-
fectly placed and sized; ear-popping harmonic,
dynamic, and transient complexity. . . . With the addi-
tion of a damping trough, the Air Line could very well
be the finest tonearm ever built. In combination with
the $7000 Kuzma Reference turntable, MF found top-
shelf performance at mid-level price. However, with
the Simon Yorke System 7 turntable, the Air Line arm
seemed to have a slightly more romantic and airy upper
midrange, but not quite the same bottom-end heft and
weight. Works best with more forgiving phono car-
tridges, MF feels, who also that when it was partnered
with the ultra-revealing Kuzma Stabi XL, the Air Line
exhibited a rather bright, icy overlay. Mikey recom-
mends use with a warmer, less revealing turntable or
cartridge. Current-production models include a damp-
ing trough. (Vol.27 Nos.8 & 9; see MFs Reference XL
review in Vol.30 No.4 WWW)
Linn Ekos SE: $4950
Outwardly identical to the original Ekos in all but color,
the Ekos SE is machined from a titanium tube in an
effort to smooth out resonant peaks, while its stain-
less-steel main pillar and bearing cradle work to main-
tain perfect bearing adjustment in the face of
temperature extremes and user abuse. The beauti-
fully finished SE comes packaged with a selection of
tools, a Linn T-Kable interconnect, and a new itera-
tion of Linns cable clamp. With its strong, tight bass
and solid aural images, the Ekos SE produced a cleaner,
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more dramatic, and more enjoyable listening experi-
ence, said AD. Other, more exotic arms may give bet-
ter results in some settings, but I cant think of a more
consistentand consistently recommendabletone-
arm. Its a Martin D-28, a BMW 3-series, a bottle of
Bombay Sapphire: It will please any sane, reasonable
person, he sums up. (Vol.30 No.10 WWW)
Naim ARO: $3300
An inner balance and harmony consistent with the
musical message, says MC of this unipivot design. MS
found the ARO to offer superb timbral accuracy, sound-
staging, dynamics, and rhythmic integrity. He also
found it less bright than the Linn Ekos, and better bal-
anced in the bass than the SME V. WP concurs, rank-
ing it high among the arms hes auditioned, but cautions
that the lack of any overhang adjustment dictates care-
ful cartridge matching, or the ability to drill new arm-
boards with different radii from the spindle for each
new transducer. ADs long-term reference. Additional
arm tops cost $1350. (Vol.16 No.6, Vol.19 No.2 WWW)
VPI JMW-12.6: $2400 $$$
Unipivot tonearm features vestigial antiskating, which
disconcerted MF. Nonetheless, he enthused over its
lush midrange, ultra-smooth top end, and rock-solid
imaging and soundstaging: Subjectively, it seemed to
have lower distortion than any other pivoted arm Ive
heard, but part of that might be the result of its
smooooth frequency balance. Inner detail was out-
standing. However, he added of the original 12.5 ver-
sion, I think theres a slight midbass exaggeration that
may be part of the spreading warmth above this range,
and which gives this arm its inviting midrange. BD
says of the 12" version, lowers the originals already
low distortion. The background is blacker and the arm
seems to float an infinite well of inner and low-level
details. The tonal balance is more neutral, but com-
bined with the TNT III or IV, is still warm and invit-
ing. With the 12.5, Harry Weisfeld made small but
important modifications to the 12" JMW that resulted
in heightened rigidity, a reduced center of mass, and
improved damping. What BD found most impressive
was the obvious-once-you-see-it touch of the small
V groove machined into the top of the headshell. This
allows the user to more easily gauge headshell tilt while
setting azimuth. Neat! MF adds: Luxurious
midrange, low distortion, and ease of setup and use
make this a very attractive arm if your table can han-
dle the length. Additional arm assemblies cost $400.
(Vol.20 No.1, Vol.24 No.12, Vol.25 No.3; See BDs
review of the VPI HR-X in Vol.29 No.5 WWW)
B
Hadcock 242 Integra: $1259
Recently upgraded with a stainless-steel armtube,
higher-quality internal wiring, and better fitnfinish,
the 242 Integra is an unusual unipivot design in which
a pivot spike rests in a ball-race bearing in the arm hous-
ing. Mated with the London Reference cartridge, the
Hadcock produced a sweet, rich midband, and com-
plemented the Nottingham Decos jet-black back-
grounds with stunning sound, said MF. (Vol.28 No.7)
Rega RB300: $395 $$$
The Rega offers very good detail, depth, midrange neu-
trality, ambience, and precision of imaging, almost
creeping into Class A. Works well with the Rega and
Roksan tables. Audio Advisor also offers it as a pack-
age with the VPI HW-19 Mk.III and Jr. turntables.
Lacks any form of height adjustment, howeverVTA
can be adjusted only by adding spacers under the base.
(Vol.7 No.7, Vol.10 No.1, Vol.19 No.12)
SME M2: $1595
The SME M2 worked with the Thorens TD 350
turntable to produce, in MFs opinion, an extraor-
dinarily well-balanced musical experience. Recent
evaluation of the M2 showed no evidence of the
loose bearing and mispunched alignment-gauge
problems that had bothered him with the early sam-
ples of this English tonearm that he had tried with
turntables from Musical Fidelity and T+A. (Vol.27
Nos.3 & 11, Vol.30 No.5)
VPI JMW-9: $900
The newest and shortest of Harry Weisfelds JMW
tonearm line, the JMW-9 comes standard with the
Aries Scout turntable. (AD enthused about the com-
binations sound.) It uses a reverse-missionary bearing
with a hardened tungsten-carbide point and a machined
and hardened-steel set-screw for a cup. A quick-con-
nect plug makes for easy removal and easy cartridge
swapping, but as with all Harry Weisfeld designs, there
is no antiskating mechanism. MF auditioned the 9"
version of the JMW Memorial tonearm with VPIs
Scoutmaster turntable. Unlike the original JMW
Memorial, the 9" arms main bearing is directly
grounded to the plinth and the stabilizing ring sur-
rounding the arms bearing housing is fixed. The lack
of a damping well results in a Parkinsons-like trem-
bling of the JMW when you use the finger lift or lower
the arm via the cueing mechanism, which MF found
disconcerting. Nevertheless, the arm appeared to be
extremely stable: The taut, focused, remarkably
coherent performance of this table-arm combo is tes-
tament to a fundamentally solid, well-grounded sys-
tem that deals effectively with energy created at the
stylus/groove interface. Some disagreement between
AD and MF over the overall rating, but Class B seems
appropriate. (Vol.26 No.2, Vol.27 No.9 WWW)
Editors Note: There are currently no Class C & D
tonearms listed.
Deletions
Expressimo Audio Mongoose, Graham Robin, not
auditioned in too long a time.
PHONO CARTRI DGES
A
Air Tight PC-1: $6000
A remarkable blend of science and art, the PC-1
weighs 12gm, has an output of 0.6mV, and uses a
semi line-contact stylus attached to a boron can-
tilever. Its tonal balance was ever so slightly bumped
up in the bass, for a rich, generous, extended foun-
dation and a feeling of overall musical generosity,
said MF. An excellent and quiet tracker offering con-
vincing transient attack and superior harmonic
expression, the PC-1 ranked among the top five car-
tridges in Mikeys experience. (Vol.30 No.6)
Allaerts MC2 Finish Gold: $7500
The MC2 Finish Gold is a low-output (0.2mV),
medium-compliance cartridge with a solid-boron can-
tilever and a Fritz Geiger Signature High Tech diamond
stylus. The connector pins and hand-wound coils are
of solid gold. The MC2 delivered a distinctly smooth
and natural sound with rhythmic performance that
offered satisfying weight and sufficient speed. Its warm,
burnished overall balance seemed best suited for
acoustic music, decided MF. (Vol.30 No.5 WWW)
Brinkmann EMT Titanium: $3675
This nude medium-compliance, low-output design
(0.21mV/cm/s) is rebuilt by Brinkmann Audio from
an MC model supplied by EMT, features an alnico
magnet and a silver-colored body bonded to a solid-
titanium mounting structure for greater intrinsic
mechanical rigidity and the ability to securely mate with
the headshell.The Titanium showed excellent tracking
capabilities and mated well with ADs Naim Aro tone-
arm. It sounded slightly warmer than average and very
nicely textured, with a fine balance of bass and treble.
AD loved it: The Titanium goes beyond merely sound-
ing good: It actually makes music. Its the sort of pur-
chase you can imagine a person caring about. Careful
setup is necessary to prevent the exaggeration of vocal
sibilants, however. (Vol.28 No.5, Vol.29 No.8 WWW)
Clearaudio Stradivari: $3500
The low-mass Stradivari has a body of aged ebony and
coils wound with 24K gold. Its low-to-medium-com-
pliance boron cantilever, fitted with a micro HD sty-
lus, tracks at about 2.8gm. The Stradivari traded the
Koetsu Vermillions lush, romantic sound for a leaner,
smoother, more literal translation of the recorded
event. Its decidedly smooth, liquid sheen produced
a satisfying sense of musical relaxation without induc-
ing boredom, said MF. Just squeaks into Class A.
Required 60 hours of break-in. (Vol.31 No.1)
Clearaudio Concerto: $2400 $$$
The relatively light (4.4gm) Concerto has an output
of 0.6mV at 5cm/s and a recommended vertical track-
ing force of 2.8gm. It features a multi-finger reso-
nance-control body, a solid boron cantilever, and a
low-mass Micro HD stylus. MF was very impressed:
It combined a rich harmonic palette, refined transient
performance, excellent tracking, and outstanding res-
olution of low-level detail to produce an inviting,
detailed, three-dimensional picture with all genres of
music. Required well over a month of constant use
to fully break in. (Vol.29 No.7)
Dynavector DRT XV-1S: $4250
One of a handful of thoroughly special cartridges
available, the DRT XV-1S uses eight small magnets
in a configuration designed to produce an excep-
tionally linear magnetic field. Excelling at reproduc-
ing voices and at offering buttery, ultrapalpable,
three-dimensional images with a rich presentation,
the DRT XV-1S created eerily real sound, said MF.
Because the line-contact stylus and solid-boron can-
tilever are unprotected, extreme care must be taken
in mounting. (Vol.29 No.3)
Koetsu Urushi Vermillion: $4300
The red-lacquered Urushi Vermillion uses a low-capac-
itance cantilever and a Quadrahedron stylus. Its samar-
ium-cobalt magnet and silver-clad six-nines copper
coils produce an output of 0.4mV. Though it was
slightly polite on top and lacked some air and space,
its rich and colorful sound was never soggy or too
romantic. The artfully voiced Vermillion proved to
be one of a handful of the most musically engaging
cartridges in MFs experience. (Urushi, Vol.21 No.10;
Vol.24 No.10; Urushi Vermillion, Vol.31 No.1 WWW)
Lyra Titan: $5200
The Titans body is machined from a single piece of
titanium alloy to minimize standing waves, internal
reflections, and resonances. Two symmetrical disc mag-
nets create a symmetrical magnetic field that is said to
eliminate distortions common to conventional pole-
piece designs. MF: The Titan is the least mechanical-
sounding Lyra Ive heard, and one of the most lyrical
and liquid-sounding cartridges Ive heard from anyone
at any price. And it delivered that musical ease without
sounding dull or closed-in. . . . [Its] dynamics, sound-
staging, depth, detail resolution, bass definition, and all
other parameters of cartridge performance were the
state of the art or close enough. . . . The Lyra Titan
seemed to sail through the grooves, ignoring or mini-
mizing wear, scratches, and other defects, while retriev-
ing and delivering a level of musical nuance that set it
apart from any other cartridge Ive heard. BD seconds
the Class A rating. (Vol.26 No.6, Vol.30 No.3)
Lyra Skala: $3200
The Skalas narrow mounting plate is designed to con-
strain resonances while giving the cantilever assembly
a more direct mechanical path to the tonearm. Because
the Skalas polymer base compresses under pressure,
care must be taken to tighten its screws slowly and
evenly. The Skala matched the Helikons speedy tran-
sient attack, finely detailed textures, three-dimensional
spatial presentation, and tonal neutrality, but added a
touch of warmth and smoothness, said MF. Low Class
A, compared with the Lyra Titan. (Vol.30 No.3 WWW)
Lyra Helikon: $2300
Lyra Helikon SL: $2500
Lyra Helikon Mono: $2500
MF says that, even at the price, the aluminum-chassis
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Helikon from Scan-Tech is a steal. A well-balanced
performer with little character of its own compared to
most other cartridges. . . . Not as fast and exciting as
some, but smooth, transparent, and ultra-detailed. He
also noted an addictive, plush, creamy midband and
total freedom from edge, grain, and mechanicalness.
Detailed and seamlessly articulate, with unrivaled
palpability. Mono version uses two separate coils
wound on the two sides of a former thats oriented par-
allel to the records surface, making the generator elec-
trically insensitive to vertical modulations of any sort.
(Vol.24 No.6, Vol.28 No.6) Opened MFs eyes to what
treasures had been captured on single-channel record-
ings. For its consistently colorful, dramatic, and involv-
ing performance, the Lyra Helikon Mono is one of my
most cherished audio toys, said AD. A high-gain, low-
noise phono section is mandatory for the high-resolu-
tion, low-output (220V) SL version of the Helikon.
Offers more detail, spatiality, and focus than the orig-
inal, says Mikey, but all will be lost if your phono
section isnt up to the job. With the Helikon, Scan-
Tech has come up with its most cleverly balanced car-
tridge yet. Not the ultimate, but for most analog lovers,
and with most associated equipment, ultimate enough!
Retipping, $1995. (Vol.23 Nos.8 & 11, Vol.24 Nos.6 &
12, Vol.28 No.6, Vol.30 No.3 WWW)
Miyabi/47 Laboratory: $3950
The polar opposite of the Clearaudio Goldfinger in
both construction and sound, the Miyabi/47 Lab car-
tridge has an old-fashioned design with a plastic body,
and provided a warm, weighty tonal character. Its lack
of top-end air and detail was balanced by its surpris-
ingly rich and nuanced midrange. A vision fulfilled,
said MF. (Vol.29 No.10, Vol.30 No.10 WWW)
Transfiguration Orpheus: $5000
Dramatically different from earlier Transfigurations,
the Orpheus uses an angled top plate and a squared-off
body to better expose the cantilever and ease align-
ment. Compared to the Temper W, the Orpheus offers
lower compliance and impedance, higher mass and
tracking force, and greater output. The Orpheus
retained the smooth, meaty midband and overall coher-
ence of earlier Transfigurations, but added greater tran-
sient snap, clarity, and three-dimensionality. Easily
Immutable Musics best-performing, most exciting-
sounding cartridge yet, said MF. (Vol.29 No.12)
B
Cartridge Man MusicMaker: $995 $$$
Loosely based on the Grado Signature series, the Music-
Maker uses a proprietary grain-oriented, high-contact-
area stylus profile and a multipiece cantilever thats
damped inside and out. Mounted on the Hadcock 242
tonearm, and after a lengthy break-in, the MusicMaker
impressed MF with its dynamic resolve, crystalline clar-
ity, and silent backgrounds. Subtle textural shadings
were sacrificed in favor of outstanding resolution of
low-level detail and ambient cues. If you like your
transient attacks right there and your top end slightly on
the sharp side, but without etch or smear, youll prob-
ably like the MusicMaker, said MF. (Vol.28 No.7)
Clearaudio Maestro: $1000
A bold creation in a somewhat neglected territory,
said MF of this boron-cantilevered moving-magnet
cartridge. Paired with the Graham Phantom tonearm
atop the Continuum Audio Labs Caliburn, the Mae-
stro produced remarkably rich, round orchestral col-
ors, impressive dynamic swings, and big, ballsy images,
but lacked the detail retrieval of the best low-output
moving-coils. In combination with the Thorens TD
350 and SME M2 tonearm, the Maestro offered a
well-balanced, relaxed, and enticing sound. Its the
best-sounding MM cartridge Ive heard, decided MF.
(Vol.30 Nos.5 & 6)
Clearaudio Virtuoso Wood: $875 $$$
BJR couldnt come up with even one criticism of this
wooden-bodied version of the excellent Aurum Beta
S. It shares that cartridges transparency, midrange nat-
uralness, extended treble and bass definition, and
dynamics, but adds an additional layer of detail resolu-
tion, sweetness, and subtle low level articulation, BJR
decided that the Virtuoso Wood might be the afford-
able cartridge for lovers of jazz, classical, androck music.
The performance of the Clearaudio Virtuoso Wood
was so ear-opening that I recommend that anyone
thinking of spending up to $2500 on a moving-coil car-
tridge consider buying the [$800] Wood instead.
(Vol.25 No.12 WWW)
EMT Jubilee Series JSD 5: $3495
Released to celebrate EMTs 66th anniversary, the JSD
5 is a moving-coil design with a gold-plated generator
system in an open enclosure milled from solid alu-
minum. It uses a nude Gyger S-shape stylus, weighs
11gm, and offers a generous 1mV output. The JSD 5
sacrificed some extension, dynamics, and soundstage
width for an enticing sense of top-to-bottom musical
continuity and liquidity, said Mikey. The best EMT
cartridge Ive heard. Borderline Class A. (Vol.30 No.6)
Koetsu Black: $1600 $$$
Koetsus entry-level model and best-known cartridge
is an impressively built, aluminum-bodied oblong
block painted black and with integral, unthreaded
holes for the mounting bolts. The Black has a low out-
put of 0.6mV, despite its use of a samarium-cobalt mag-
net. It was smooth, textured, exceptionally colorful,
and just a little rolled off in the treble for a tonal bal-
ance that was a mite huskier than neutral, said AD.
Though it lacked the Miyabi 47s ability to make sense
of poorly recorded material, the Black nevertheless
proved a lovely, musical product, concluded Art.
(Vol.30 Nos.7 & 10 WWW )
Lyra Dorian: $995 $$$
The budget-priced Dorian offers 0.6mV of output
and a recommended tracking force of 1.82gm. MF:
The Dorians transparency, transient speed, rhythmic
solidity, resolution of low-level detail, and taut, well-
extended bottom end brought an overall balance and
musical excitement that Ive yet to hear from any car-
tridge competing at this price. (Vol.28 No.3)
Soundsmith SMMC1: $750 $$$
(See MFs review in this issue.)
Zu Audio DL-103: $399 $$$
Zu improves on Denons original design by trading the
DL-103s plastic body for one built of 6061 aircraft
aluminum and then binding the magnet, base, and pole
piece with a ferrous-based epoxy. This consistently col-
orful-, well-textured, engaging-sounding cartridge
built on the Denons sense of impact while taming its
forward presentation. AD: The Zu doesnt just slay
giants: It rips their beating heart from their chests,
shows it to them, finishes them off, then chases their
souls and drags them down to hell. Recommended.
(Vol.30 Nos.10 & 12 WWW)
C
Benz MC20E2-L: $250 $$$
The MC20E2-L is a low-output (0.5mV) moving-coil
cartridge. Though it lacked extreme bass depth and
weight, it proved impressively smooth-, tuneful-, and
present-sounding, and was especially dramatic and
involving, said AD. The Benz-Micro MC20E2-L is a
wildly good value for the money. . . . Very strongly rec-
ommended. (Vol.30 Nos.9 & 10 WWW)
Denon DL-103: $229 $$$
In production since 1962, the DL-103 is a resolutely
old-fashioned cartridge with a two-piece plastic body.
It uses a two-piece aluminum cantilever to drive a cross-
shaped armature wound with several turns of fine-
gauge copper magnet wire. Its square-shank nude
diamond stylus is ground to a spherical tip. Though the
Denon offered excellent bass depth and impact with
an overall exciting and pleasantly forward presenta-
tion, its high-frequency response peak made bright
recordings sound a bit more forward than ideal.
Nonetheless, AD deemed it a superb cartridge and a
remarkable buy. (Vol.30 Nos.10 & 12 WWW)
Grado Reference Sonata: $500 $$$
Grado Reference Sonata Mono: $500
Represents a leap of performance beyond the [Grado]
Platinum, and hints at what an expensive MC can do,
said BJR, listing its advantages as less upper-midrange
forwardness and a more seductive midrange.
Improved detail, transient speed, and decay, and
improved hall sound were very noticeable. . . . No car-
tridge reproduces a female voice better than this. . . . It
may be difficult to rationalize spending much more for
a cartridge. He adds that it competes with all but the
best of todays moving-coils. On some turntables, hum
may be audible at the end of recordscheck before
buying. A wonderfully human-sounding cartridge
with a somewhat soft, warm presentation and impres-
sive spatial performance, said AD of the dedicated mono
version. His only disappointment was that it didnt track
loud singing voices and loud piano chords quite as
cleanly as did the Benz ACE and Lyra Helikon. (Vol.21
No.6, Vol.23 No.4, Vol.28 No.6 WWW)
Editors Note: There are no Class D phono cartridges
currently listed.
K
Clearaudio Maestro.
Deletions
Graham Engineering Nightingale II, Linn Akiva, van
den Hul Condor Gold, Shelter 501 Mk.II, Sumiko
Blue Point Special Evo III, Benz ACE Mono, all not
auditioned in too long a time to be sure of rating; Lon-
don Reference pending audition of a current sample;
Clearaudio Goldfinger and Ortofon SPU Meister by
new versions not yet auditioned.
PHONO ACCESSORI ES
& RECORD CLEANERS
Acoustic Revive RL-30 Mk.3 record demagne-
tizer: $1975
The RL-30 Mk.3 removed the high-frequency glaze
from harsh-sounding LPs to make a believer out of
Mikey. Im sorry to report that demagnetizing LPs
worksconsistently and decidedly, he said. Its con-
servative looks and useful dustcover give it an edge over
Furutechs De Mag, in MFs opinion. (Vol.29 No.10)
Audio Intelligent record-cleaning fluids
MF: The AI fluids are reasonably priced, easy to apply
and (especially) to spread, clean extremely well, and
leave no audible residue. Prices are for 16-oz bottles:
Enzymatic Formula, $18; alcohol-free Premium
Archivist Formula, $18; Super Cleaning Formula with
research-grade isopropanol, $18; Ultra-Pure Water
(claimed to be 50 times purer than distilled water), $10.
Distributed by Missouri-based Osage Audio Products,
LLC. (Vol.30 No.12)
Benz/Aesthetix MC Demagnetizer: $199
Battery-powered, reasonably priced, seems to do the
job as well as any of them, decided MF. (Vol.25 No.7)
Blue Note Kymyas Hi End LP Treatment: $75
This LP treatment is composed of a cleaning fluid and
a restorative polymer coating thats claimed to cure
scratched LPs for up to six months. Though records
were made far more musically palatable, the scratches
were still present and annoying, and, even after long
drying periods, MF found that a single play left a large
ball of Blue Notes polymer coating on the stylus. If
you have irreplaceable scratched records that you trea-
sure, use this expensive stuff carefully and transfer the
music to CD-R, he advised. (Vol.29 No.6)
Clearaudio Outer Limit Turntable Ring: $1250
Heavy, stainless-steel ring acts as a speed-stabilizing

flywheel, damps the record, and flattens outer-groove
warps. However, MF cautioned, its weight means that
you can use it only with turntables with massive plat-
ters and/or very powerful motors. MF also noted that
0ERFECTFORMANDSOUND
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a centering template would be a happy addition to the
package. The Outer Limit was a pain to center.
Nonetheless, it blackened backgrounds, solidified
images, and made them pop in three dimensions.
(Vol.24 No.10)
DB Systems DBP-10 protractor: $49
Fiddly but accurate guide for setting cartridge tangency.
JAs preferred alignment protractor. (NR)
Expressimo Audio Micro-Tech digital stylus
force gauge: $95
This low-cost stylus-force gauge can measure 0.1gm to
120gm in increments of 0.1gm, and proved to be as
accurate as and far less delicate than the $800 Winds
ALM-01. MF: It places the stylus very close to the
record surface to measure the tracking force with
greater accuracy, its easily self-calibrated, and it appears
to be bulletproof. (Vol.27 No.10)
Feickert Universal Protractor: $250
Rather than taking a one-size-fits-all approach, the
Feickert Universal Protractor takes into account the
distance from the tonearm pivot to the platter spindle,
as well as the tonearms effective length, making it truly
universal. Ruggedly built and an ingenious design,
said MF. Proper overhang and zenith angle were eas-
ily and reliably set. I highly recommend the Feickert
Universal Protractor, MF concluded. Current pro-
duction is easier to read and provides an improved
instruction manual. For accurate readings, care must
be taken to ensure the precise placement of the Pro-
tractors needle tip on the tonearms pivot point, cau-
tioned MF. (Vol.29 No.10, Vol.30 No.10)
Funk Firm turntable modifications: $3159
Pink Triangle founder Arthur Khoubessarians new
company, The Funk Firm, offers a modification kit
for the Linn LP12. It incorporates the Funk Link, a
carbon-fiber top plate and an ironless-rotor DC
motor with an outboard power supply. the Vector
Link, an upgraded DC motor, an upgraded power-
supply PCB, an entirely new subchassis, and the
Achromat platter mat. ADs fully modded LP12
sounded brilliantFunk Firms mods completely
removed the LP12s upper-bass emphasis and warmth
while providing better musical timing and trans-
parency. AD preferred the sound of the Funk Link,
which preserved the Linns innate upper-bass
warmth. (Vol.29 No.12, Vol.30 No.1 WWW)
Furutech deMag record demagnetizer: $1800
Who knew?!? Like the Acoustic Revive RL-30 Mk.3,
the deMag removed glare and enriched the midband
of edgy-sounding LPs. Users should make sure the
Furutechs uncovered surface is clean before putting
freshly scrubbed vinyl on it, warned MF. (Vol.29 No.10)
Furutech deStat SNH-2: $360
Furutechs deStat static-discharge device simultane-
ously generates positive and negative ions and fans the
balanced ion flow across the records surface. Proved
easier to use than the much less expensive Milty Zero-
Stat 3, and eliminated static cling uniformly and in
grand style, said MF. Requires four AA batteries.
(Vol.30 No.10)
Furutech DFV-1 Disc Flattener: $1480
The DFV-1 stands upright and has a footprint of only
17" W by 7" D. Its heating-and-cooling cycle takes
about 2
1
2 hours and resulted in flat surfaces with no
deformed grooves. The DFV-1 worked perfectly,
said MF. Like the more expensive Air Tight disc-flat-
tener, however, the DFV-1 wont cure serious press-
ing defects. (Vol.30 No.10)
Hannl Aragon LP-cleaning machine: $3299
Hannls beautifully built, attractive, and quiet Aragon
is functionally very similar to the VPI 17.5F, capable of
spinning records in both directions, and equipped with
a fluid well and built-in pump. In addition, the Aragon
lets the user vary the amount of suction and the speed
at which the platter spins. The awkward placement of
its On/Off switch and its variable vacuum pressure and
platter speed took some getting used to, but If you
treasure quiet, cost isnt an object, and you want to keep
your cleaning machine next to your turntable in your
elegant listening room, the Hannl Aragon is worth con-
sidering, said Mikey. (Vol.29 No.1)
K-A-B SpeedStrobe Digital Phonograph Speed
Readout: $99.95
Easy-to-use strobe disc simplifies precision adjustment
of turntable speeds from 33
1
3 to all of the variations on
78. Its just fantastic, effused J-10. It looks cool, and
its a snap to perfectly set the speed. (Vol.19 No.2)
Kerry Audio Design F2 Titanium tonearm coun-
terweight: $129
Titanium replacement counterweight for Rega tone-
arms. Machined with three sets of thin contact rails that
ride on the Rega arms counterweight stub. The sonic
improvement was amazing, thought MF; he found
the F2 gave better bass response, greater low-frequency
extension and control, and an improved sense of over-
all weight and tonal richness. (Vol.26 No.5)
LAST Power Cleaner for LPs: $40/
3
4-oz bottle,
with applicators
This small bottle of Freon-free cleaner is enough to
treat 75 LPs. JE found just three drops sufficient to
remove dirt, dust, and grime from garage-sale records,
though he discovered that a subsequent wash with his
VPI HW-17 was still required to reduce groove noise
to acceptable levels. A worthwhile companion to
LASTs wonderful Record Preservative. (Vol.17 No.5)
LAST Record Preservative: $41/2-oz bottle
Significantly improves the sound of even new records,
and is claimed to make them last longer. I unhesi-
tatingly recommend LAST Record Preservative, said
Mikey, whose records sound as quiet now as they did
when he first started using the treatment, over 25
years ago. $148.50/8oz, $246/16oz. (Vol.5 No.3,
Vol.30 No.10)
LAST STYLAST Stylus Treatment: $33/
1
4-oz bottle
Stylus treatment designed to reduce friction between
groove and phono cartridge. Some manufacturers cau-
tion against it, claiming it migrates up the cantilever
and attracts dust, thus clogging the armature. One
reader suggests applying treatment to brush rather
than stylus, which would reduce the possibility of
over-applying. MF has found STYLAST effective, but
expresses concern over possible cartridge damage.
(Vol.18 No.12)
Locus Design Group DampClamp: $399
The DampClamp comprises two record weights, both
CNC-milled from billet aluminum and constrained-
layer-damped with a layer of visco-elastomer com-
pound, and is designed to cover most of the record label:
if you dont lift the stylus at the end of the side, youll
get an ugly grinding noise and possibly worse, depend-
ing on the width of your cartridge and headshell. Use
with wide-bodied cartridges should be avoided. In
Mikeys rig, the DampClamp overdamped, creating
a sound that was too thick and heavy. Bright setups,
and those in need of some rhythmic discipline and bot-
tom-end weight, however, may benefit greatly. The
$99 BasiClamphalf a DampClamp with no elas-
tomer damping sandwichoffered a lighter, airier,
more natural sound with MFs rig. (Vol.28 No.10)
Loricraft PRC-4 record-cleaning machine:
$2745
The PRC-4 now features a cabinet with an attractive
veneer of English ash, and a vacuum pump thats 40%
more powerful than the one in the PRC-3 and is even
more immune to overheating. The PRC-4 has proven
so effective that its gone beyond its predecessor in com-
pelling me to clean virtually every record I playand
the results are sometimes stunning, said AD. Com-
pared to other record-cleaning machines, Its easier to
use. Its quieter. And its a hell of a lot of fun to watch.
(Vol.23 No.11, PRC-3; Vol.28 No.3, PRC-4 WWW)
Lyra SPT: $45/5ml bottle
Includes a small, wedge-shaped applicator with which
MF brushed a drop of this fluid carefully, back to front,
along the stylus. Dont get any on the cantilever, he
warned, and wait 10 seconds before playing a record.
Pricey fluid said to lubricate the stylus, to improve S/N
ratio and trackability, and to last for one sides playing
time. Mikey thinks he noted a slight sound-softening
effect, but wouldnt bet the farm on it. (Vol.23 No.11)
Milty Zerostat 3: $75
The gold standard of static-discharge devices, the
ZeroStat is a gun-shaped gadget with two heavy-duty
piezo-electric crystals and a patented compression trig-
ger. Slowly squeezing and releasing the trigger pro-
duces a neutral static condition, thus removing static
cling from record surfaces. Said to be good for at least
10,000 squeeze cycles. (Vol.30 No.10)
Nitty Gritty Mini Pro 2 record-cleaning
machine: $1109
Nitty Gritty 2.5Fi Vacuum record-cleaning
machine: $779
Nitty Gritty 1.5Fi record-cleaning machine:
$709
The Mini Pro is a semiautomatic machine that cleans
both disc sides simultaneously. The 1.5 is identical to
the 2.5 but substitutes black-vinyl woodgrain for the
latters genuine oak side panels. Instead of a vacuum-
ing tonearm, as on the professional Keith Monks
machine, the NG cleaner uses a vacuum slot, with the
record cleaned by fixed, chassis-mounted lips. Gunk-
laden fluid is vacuumed off. Cleaning is efficient and
as good as Nitty Grittys Pro, at a significantly lower
price, though it takes twice as long, cleaning each side
of an LP in turn. Dont smear the schmutz from one
record to another, MF warned; he suggests manual pre-
cleaning of records for best results. While the vacuum-
cleaning Nitty Gritty does a job on dusty albums nearly
equivalent to that of the similarly priced VPI HW-16.5,
CG felt that the VPIs hard-bristled brush did better
with really dirty LPs than did NGs velvet one. He found
the effect of both was to produce a less colored, more
detailed midband sound from LPs, as well as provide
the expected reduction in surface noise. (Vol.8 No.1,
Mini Pro; Vol.7 No.5, Vol.8 No.1, Vol.23 No.6, 2.5Fi;
Vol.17 No.5, 1.5Fi.)
Nitty Gritty Model 1.0 record-cleaning
machine: $335 $$$
Audio Advisor Record Doctor III: $299
Both of these machines (the latter is manufactured for
Audio Advisor by Nitty Gritty) are manual units that
offer the least expensive way to effectively clean LPs.
Record Doctor II differs from the original in that it has
a roller bearing to make turning the LP easier when
the vacuum-cleaning motor is on. The earlier model
can be fitted with a roller-bearing accessoryavailable
for $15 including S&H from K-A-B Electro-Acoustics,
P.O. Box 2922, Plainfield, NJ 07062-2922which fits
beneath the existing platter. The Nitty Gritty 1.0 is also
available as the oak-finished 2.0 for $329. (NR)
Onzow Zero Dust: $69
A circular mound of semi-gelatinous goop in a box,
onto which you gently lower your stylus, said MF.
Use is simple: After a few seconds, you lift the sty-
lus, and its as clean and residue-free as the proverbial
whistle. . . . Upside: no potentially dangerous brush-
ing, and no fluids. Downside: if you like to leave your
platter spinning, youll have to stop it each time, or
find another steady surface upon which to perform
the operation. (Vol.25 No.3)
PremierRecord cleaner: $19.95/can;
$179.40/12 cans
Great for removing mold-release compound from
new LPs, says MF of this spray-on cleaner from
www.microcare.com, and for quick cleaning of used
LPs to see if theyre worth a full-blown vacuum clean-
ing. Contains DuPonts Vertrel CF, which is said to
be ozone-friendly. (Vol.25 No.10)
Rega cartridge torque wrench: $245
Expensive, but a must, MF felt, for serious analog
Bryston is pleased to introduce our new
C-Series BCD-1 CD Player developed for
those who know how extraordinary a great
stereo system can sound.
bryston.ca
)
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BRYSTON BCD-1 CD PLAYER

5.1 minus 3.1 =
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addicts and professional installers. Agreed, sez ST, but
for Gods sake be careful with this thing, especially
with the new Grado wooden-bodied cartridges. . . best
used with very strong-bodied cartridgessuch as
Regas. (Vol.19 No.11)
Shun Mook record clamp: $2000
The best record weight J-10 has used on his Forsell
turntable, bar none. Michael Fremer agrees Im
sorry to say that everything positive Ive ever read
about it is absolutely true. Ridiculously expensive,
however. This things lame, snorts BD. MF admits
the opposite: Im sorry to say that everything posi-
tive Ive ever read about it is absolutely true. . . . It pro-
duced a richness, clarity, three-dimensionality, natural
liveliness, and harmonic rightness that must be heard
to be appreciated. (Vol.17 No.2, Vol.28 No.10)
The Disc Doctors Miracle Record Cleaner:
$25.00/pint plus $8.50 S&H
The Disc Doctors Stylus Cleaner: $26.50/18ml
plus 3.50 S&H
Chemist Duane Goldman, the Disc Doctor, claims
that his Stylus Cleanera mixture of sub-micron fil-
tered water and separately sub-micron filtered
+99.5% 1-propanol alcoholleaves no residue on
the stylus or cantilever. Comes with a stiff brush for
the first wet cleaning of the stylus. After that, the
good Doctor recommends a natural-bristle artists
brush thats been cut down at an angle or been given
a crew cut, as Mikey put it. Quart of fluid, $37.75/$9.00
S&H; half gallon, $60.00/$9.75 S&H; size A for LP
brushes, $42/pair/$5.00 S&H; size B for 45s,
$30/pair; replacement pads for brushes, $14/4;
QuickWash solution, quart, $25; half gallon, $41.
(Vol.20 No.3, Vol.23 No.11, Vol.24 No.7)
VPI HW-17 record-cleaning machine: $1300
VPI HW-16.5 record-cleaning machine: $500
Clearly an industrial-quality machine of reassuring
quality, the VPI 17 cleans one side at a time, semiau-
tomatically, and is slower than the Nitty Gritty. Best
Ive used, says LA. Latest version has a heavier-duty
vacuum system. The 16.5 is a manually operated ver-
sion with a noisier motor. Adjusts automatically to
thickness of record; gets hot quickly. Of the HW-17F,
MF says, Fast, convenient, beautifully constructed, and
can be used indefinitely without overheating. The fan
version of the 17 is well worth the extra money for
those postgarage-sale/record-convention analog
orgies when only cleaning the whole pile will do. The
17F is probably the best record-cleaning machine avail-
able, MF concluded; a true workhorse. (Vol.8 No.1,
Vol.19 No.6, Vol.23 No.6, HW-17F; Vol.5 Nos.7 & 9,
original HW-16; Vol.17 No.5, Vol.19 No.6, HW-16.5.)
VPI HW-27 Typhoon record-cleaning machine:
$2000
The Typhoon is smaller, quieter, and more attractive
than earlier VPI record-cleaning machines, with the
look and feel of a turntable. Its vacuum pump, twice
as powerful as that used in the HW-17, proved capable
of drying an LP in a single rapid revolution. The
Typhoon is a clean, efficient record-cleaning machine
thats almost fun to use, said MF. (Vol.30 No.5)
VPI VTA adjuster for Rega tonearm: $150
Seems to maintain the desired rigidity while allowing
for about a full inch of vertical adjustability. Its nicely
machined from aluminum and has a sturdy mounting
collar. Its only downside, reported MF, is that it wont
fit into a standard Rega opening. Drill it out yourself
or send your armboard to VPI. (Vol.23 No.6)
Wally Phono Tools
Makes cartridge installation in these do-it-yourself
days, fast, easy, and ultra-reliable, says MF. Custom
laser-cut WallyTractor is indispensable. Other tools
for VTA, antiskating, and azimuth are merely
supremely useful. My job has been 100 times easier
since Wally came on the scene, sums up the Analog
Guru. A new WallyTractor is now available for tone-
arms whose effective length is unknown or that have
a limited range of cartridge adjustment. AD found its
tracking-angle alignment guides easy to use and inter-
pret. (Vol.25 No.5, Vol.28 No.12; see Analog Cor-
ner in Vol.30 No.10.)
WallyTools WallyTractor Universal protractor:
$320
Wally Malewiczs new universal protractor is preci-
sion-cut to his specs and has 13 laser-cut arcs to
accommodate tonearms from over a dozen different
manufacturers. I love using the WallyTractor, said
MF. When Im finished, I know the stylus is where
it belongs anywhere in its travel across the record
surface. (Vol.30 No.10)
K
Record Research Labs LP#9, Clearaudio Diamond
Cleaner stylus cleaning fluids.
Deletions
Air Tight AT-LCE-1 Cartridge Enhancer and
Gryphon Exorcist discontinued; Naim NAPSA2
Armageddon turntable power supply no longer in
use by any reviewers; Hagerman Technology Uni-
form Frequency Orbiter Strobeclamp (UFO) half-kit
no longer available.
PHONO PREAMPS/
MOVI NG- COI L
STEP-UP DEVICES
A+
Boulder 2008: $33,250
Despite everything else he had ever heard or reviewed,
MF could never have been prepared for what the 2008
offered. He was taken to a higher level: What the 2008
delivered was the musics meaning. . . . It was like ana-
log on acid. Every note, every musical gesture became
the most important, most profound note ever struck
ntil the next one. . . . The 2008 gripped, mesmerized,
suspended time, and communicated profoundly. The
sound, MF raved on, was faultless in every area of per-
formance: soundstaging, imaging, dynamics, harmon-
ics, frequency extension, solidity, bloomyou name
it. MF had no complaints: As with the Continuum
Caliburn turntable, the 2008 belongs in Class A+ by
itselfthe single most impressive electronic audio
component Ive heard. (Vol.25 No.7 WWW)
A
Aesthetix Saturn Rhea: $4000
Direct descendent of the Io and Io Signature phono
stages, using five tubes per channel in a three-stage,
full dual-mono configuration. While it couldnt match
the dynamic range of the Io or the speed and resolu-
tion of the Manley Steelhead, the Rhea was never
embarrassed by the comparison. PB: Its spatial expan-
siveness and timbral richness were unmistakably close
kin to the Io Signatures. . . . Its presentation was fast,
with a wideband, consistently full-bodied harmonic
presentation. . . . Imaging was expansive, solid, and pre-
cise. . . . Soundstaging was invariably good. . . . The
Rheas most remarkable accomplishment is to put
together an extraordinary combination of sonic per-
formance and useful features at a price that is within
reach. With its quiet, silky-smooth, ultrarich sound,
the Rhea represents one of the best values in phono
preamps now available, proclaimed MF, though he
doesnt rate it quite as highly as PB, commenting on
its reduced dynamics and somewhat soft bass com-
pared with the best. (Vol.26 No.9, Vol.28 No.6 WWW)
Art Audio Vinyl Reference: $4500
The exquisite internal construction of the Vinyl Ref-
erence hybrid features a FET/triode input, a MOS-
FET/triode output, a massive Lundahl power
transformer, and a large Lundahl power-supply choke.
Though the Vinyl Reference produced a distinct and
attractive sound with an ultradetailed and lush
midrange, MF was concerned about its overload mar-
gin. Plugging any of the newer, higher-output moving-
coils into the Vinyl References stock 63dB-gain input
may result in mildly distorted sound. (Vol.29 No.2)
Artemis Labs PH-1: $3500
The PH-1 employs one 6N1P, two 12AX7, and two
5687 tubes, and offers 52dB of gain. It combined excel-
lent build quality with impressive stereo imaging, real-
istically rendering the size and placement of instruments
within a performance space. Easily among the best
phono preamps in ADs experience. Its high gain and
limited linearity at high frequencies make it much more
suitable for low-output MM or moderately high-out-
put MC cartridges, JA found. Faces tough competition
from less expensive designs, such as the EAR 834P and
Linn Linto. (Vol.29 No.11 WWW)
ASR Basis Exclusive: $7900
The battery-powered Exclusive is made of two com-
plete, fully balanced stereo phono preamplifiers on a
single chassis, entirely independent except for a shared,
switchable outputa major convenience for audio-
philes with more than one turntable or with two ton-
earms mounted on a single table. MF listed the
Exclusives strong suits: rhythmic snap; among the
deepest, cleanest, most dynamic bass; and midrange
and high-frequency transparency and clarity without
etch, grain, or brightness. Revised 2007 edition oper-
ates at slightly higher voltages, and remains one of the
top phono preamps in Mikeys experience. (Vol.26
No.10, Vol.30 No.2 WWW)
Audio Note AN-S8: $9500
The humble-looking AN-S8 transformer is built into
a simple copper chassis and comes in three single-pri-
mary versions: 1, 16, and 64 ohms. Its wound with
Audio Notes custom-drawn, 99.9%-pure silver wire
on a large, fully interleaved mu-metal 250 core, and
has an input resistance of 0.4 ohm and output resistance
of 270 ohms. The Audio Note was unique in its abil-
ity to imbue mere sounds with real body and color, said
AD. If youre into trannies, this is one youve got to
hear. (Vol.30 No.10 WWW)
Auditorium 23 Hommage T1: $4495
Over twice the size and weight of the less expensive
Standard transformer, the Hommage T1, designed as a
companion to Auditorium 23s Solovox loudspeaker,
is a statement product. It has a textured-paint finish,
attractive white-oak endcaps, and input and output
resistances of 3 and 2530 ohms, respectively. The Hom-
mage T1 shared the Standards excellent timing, flow,
and overall drama, but produced a much larger sound-
stage; and while the Audio Note AN-S8 was slightly
richer, the Hommage T1 proved more exciting, said
AD. (Vol.30 No.10 WWW)
Balanced Audio Technology VK-P10SE with
Super Pak: $8500
The P10 never failed to deliver the musical goods, was
J-10s assessment of the standard version of this tubed
phono stage. The Super Pak option replaces the elec-
trolytic power-supply capacitors used as bypasses in the
first and second stages of the original VK-P10SE with
additional paper-in-oil coupling capacitors, creating
an arsenal of giant oil cans. Like the earlier model, its
user-selectable cartridge loading, high and low gain set-
tings, and built-in transformers attest to the Super Paks
flexibility. Eerily transparent, superbly silent, and with
extraordinarily good soundstaging and imaging, the
Super Pak found its place alongside the Boulder 2008
and Manley Steelhead as one of the top phono preamps
Mikey has heard. (Vol.20 No.6, Vol.28 No.1 WWW)
Einstein Audio The Turntables Choice: $5400
Housed in a tubular casing, The Turntables Choice
uses 24 discrete transistors per channel to produce a
fixed gain of 68dB, and offers two pairs of RCA inputs
on one side, a pair of outputs on the other. The
Turntables Choice provided impressive detail, crys-
talline transparency, limitless dynamics, mouthwater-
ing delicacy, effortless transient speed, and deep,
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controlled, supple bass, all combining to produce what
was among the most mesmerizing analog playbacks
Ive yet heard, raved Mikey. Proved ruthlessly reveal-
ing of poorly equalized recordings and was sensitive
to cable choice. Balanced version: $8200. (Vol.29 No.7)
Ensemble Fonobrio: $5280
The MM/MC Fonobrio produced solid, tightly focused
images on a huge soundstage and displayed superb
detail resolution, fast and articulate transients, and clear
and coherent pitch definition. BD noted a slightly too
light tonal balance that was never intrusive but always
present. Other than its slightly nonflat RIAA equal-
ization, said JA, the Ensemble Fonobrio measures
superbly well. (Vol.29 No.4 WWW)
Graham Slee Era Gold Reflex: $1390 $$$
The Era Gold Reflex is slightly longer and wider than
the diminutive Era Gold Mk.V. Partnered with the
Graham Slee Elevator EXP moving-coil head amp, the
Era Gold Reflex produced a solid, well-organized
sound, with impressive rhythmic authority, image
solidity, and dynamic punch, said Mikey. Though it
couldnt match the performance of the much more
expensive BAT VK P-10SE or Manley Steelhead, the
little Era Gold Reflex was among the most well-bal-
anced phono preamps Ive heard of any technology at
any price, MF decided. (Vol.30 No.9)
Graham Slee Elevator EXP: $1150 $$$
The Elevator EXP is a moving-coil head amp with
22.5dB of flat gain (no RIAA equalization) and two
convenient, front-mounted toggle switches offering
seven loading options. In combination with the Gra-
ham Slee Era Gold Reflex moving-magnet phono pre-
amp, the Elevator EXP matched its speed, clarity, and
definition with an extremely well-organized physi-
cal picture for a convincing sonic presentation. At
this point, said MF, the Graham Slee Era Gold Reflex
and Elevator EXP together are, by far, the best $2300
phono preamp Ive heard. (Vol.30 No.9)
Linn Linto: $2000 $$$
This solid-state, direct-coupled MC phono preamp,
a JA fave, doesnt offer a loading networkyour sole
input impedance choice is 150 ohms. Nor does it offer
much in the way of gain matching54dB and 64dB
are your only options. But WP thought it was about
the quietest phono section hes heard to date, and raved
about its natural timbre and powerful bass. PM cites
its sheer emotional impact and comments, It really
does sound direct-coupled, with an immediacy thats
quite different from in-yer-face exaggeration, and its
super-quiet too. Even so, he reports, hell stick with
his reference Naim. MF was less impressed than JA,
though he wrote its a major accomplishment in terms
of dead quiet, timbral neutrality, frequency extension,
and overall tunefulness, though I found it slightly
prominent or over-extended on top without sound-
ing exactly bright. An AD long-term re-
ference.(Vol.21 No.6, Vol.26 No.11 WWW)
Manley Steelhead: $7300
The transformer-coupled Steelheads multiplicity of
gain, loading, and other options prompted MF to
deem it the most flexible, user-friendly phono sec-
tion hed ever encountered. While its almost impos-
sible to categorize the specific sound of the Steelhead,
MF noted a few constants: unusually low noise, spec-
tacular transient speed, rhythmic certainty, clarity of
musical line, breathtaking transparency, and positively
astounding dynamics. Though its flexibility is per-
haps its most striking feature, it might also be the Steel-
heads flaw: Some audiophiles might be left forever
wondering whether their chosen setting is the correct
one. Nevertheless, the fast, fast, fast, ultra-quiet
Steelhead is a MFs reference. Compared to the ASR
Basis Exclusive, the Steelhead had a more mellow
overall balance, softer transients, and greater empha-
sis on midbass warmth. . . but it couldnt match the
ASRs sheer excitement, or its ability to resolve the
lowest-level detail in stark relief, all without sound-
ing bright, etched, or hyper-detailed, said MF. (Vol.24
No.12, Vol.26 No.10, Vol.30 No.2 WWW)
Musical Fidelity kW: $3500
An extremely quiet, incredibly dynamic, and muscu-
lar phono preamp from which music erupted as from
jet-black backdrops, the kW includes separate cir-
cuits and input jacks for moving-magnet and moving-
coil cartridges, and features both RIAA and IEC
equalization. The kW proved to be a ruthlessly reveal-
ing phono preamp that could also provide a robust
and musically involving performance with great bass
extension and taut control. Some audiophiles, MF
warned, may find this phono preamp cold: Its tran-
sient delivery could sometimes edge toward harshness,
and its harmonic development seemed to stop at the
waters edge compared to a tubed design. While cable
choice is critical, this first work of phono-preamp art
from Musical Fidelity is easily a Class A pick for Rec-
ommended Components. (Vol.28 No.6)
NAT Audio Signature Phono: $7500
The Signature Phonos zero-feedback design uses pas-
sive RIAA equalization, runs in pure class-A, and does-
nt invert phase. Six military-grade 66N23P-EV
dual-triode tubes provide 40dB of gain, with an addi-
tional 20dB available via a pair of Jensen transformers.
Its recessed, rear-panel DIP switches offer a multitude
of choices for resistive and capacitive loading but proved
difficult to access. Set at 47k ohms, the Signature Phono
put out deep, nimble bass and a big, spacious sound-
stage, these offset by a spotlit and icy overall sound.
Adjusting the loading to 30 ohms removed etch and
grain while providing top-notch clarity and transient
speed, found Mikey. (Vol.30 No.7)
Ray Samuels Audio Emmeline XR-10B: $4500
Unlike the Ray Samuels XR-2, the sensational
dual-mono XR-10B offers almost unlimited flexi-
bility on the fly, including three switchable phono
inputs, with six loading, capacitance, and gain options
independently adjustable for each channel via rotary
switches on the front panel. Lightning-fast, trans-
parent, clean, quiet, and extended on top, with awe-
some dynamics and subwoofer-like bottom-end
extension and control, the XR-10B seemed ideal
for sluggish systems. MF noticed instantaneous short
volume increases while switching through gain and
loading positions, so turn down the volume before
making such changes. (Vol.28 No.10)
Sutherland PhD: $3000
The PhD runs on 16 alkaline D-cell batteries and uses
a power-management system that awakens the unit
only when it senses stylus output. MF noted its strongest
suits: luscious, liquid, velvety midband response, and
ultra-pure, non-edge-enhanced 3D images set against
dead-black backgrounds. . . Its ability to resolve low-
level detail with unforced precision was uncanny.
With its general delicacy and liquidity, however, came
a tendency toward soft, somewhat overripe bass and
an overall rhythmic softness. Dynamics were not as
extended as with some other more expensive phono
preamps. Still, MF called it a monumental achieve-
ment that sets new standards for the cleanness and
transparency possible in a phono preamp. BD said
that the PhDs purity and freedom from electronic
haze is quite specialsomething that every analog
lover should hear for him- or herself. JA cautioned
the user to set the PhDs gain to the lowest level that
will be compatible with the cartridge output, the need
to keep the noise floor below audibility, and the amount
of gain applied by the system preamplifier. (Vol.27
No.1, Vol.28 Nos.5 & 12 WWW)
B
Audio Research PH-5: $2495
The PH-5s hybrid design uses five JFETs per channel
in a non-phase-inverting, zero-feedback input stage,
and four 6922 twin-triodes in the gain and output stages.
With its light, delicate, inviting, and nonfatiguing
sound, the PH-5 offered long-term enjoyment. Its only
shortcoming was a lack of bass control and solidity.
Among the best-balanced, most listenable phono pre-
amps Ive heard, said MF. (Vol.29 No.2)
Auditorium 23 Standard: $975 $$$
Designed and voiced for use with Denons DL-103, the
Auditorium 23 Standard uses two sealed trannies in a
nondescript aluminum case, and offers input and out-
put resistances of 7.8 and 505 ohms, respectively. With
Denon, Zu, EMT, and Benz cartridges, the sound was
dramatic without being brash, and consistently full-
bodied and colorful, said AD. The Auditorium was
slightly coarser than the Audio Note AN-S8, lacking
some sweetness and color, but a bargain neverthe-
less, AD sums up. (Vol.30 No.10 WWW)
Ayre P-5xe: $2500
This zero-feedback, FET-based, MM/MC preamp
offers two sets of inputs and gain levels of 50, 60, and
70dB. A refinement of Ayres house sound, offering a
richer sonic palette, improved three-dimensionality
and body, greater bass texture, and a smoother sound
overall, with less noticeable dryness, said MF. Required
a long break-in period to provide dead-quiet, jet-black
backgrounds with outstanding microdynamic shad-
ings. The P-5xe offered a softer ride than the Musical
Fidelity kW, but without the kWs thunderous dynamic
performance. Mikey likened it to the Whest Phono-
Stage.20: Its a bargain more for its overall pleasing
balance than because it does any one thing extremely
well. ST loved it: With the P-5xe in his system, he sud-
denly found himself listening to lots of vinyl: An excel-
lent, neutral, highly versatile phono stage that doesnt
cost a crazy amount of dough, ST sums up. (Vol.27
No.10, Vol.28 No.6, Vol.29 No.5)
Bellari VP129: $300 $$$
This one-tube wonder, made in the US by the Rolls
Corporation and distributed by Music Hall, packs a
moving-magnet phono preamp and a headphone ampli-
fier into a single chassis. It surprised MF with its
golden-sweet midrange, nicely extended, fast, and
clean top end, and satisfyingly punchy bass. The
Bellari VP129 gets my highest recommendation, and
is the budget phono preamp I will now enthusiastically
recommend for every genre of music. (Vol.29 No.2)
Chord Symphonic: $5500
Conservative-looking by Chord standards, the Sym-
phonic is a compact, moving-coil phono preamp built
with high-tech surface-mount circuit boards, relay
control, and all discrete components. Its top panel has
two domes of magnifying glass that facilitate moni-
toring of loading and gain settings via a series of bright
red LEDs. Compared to the ASR Basis Exclusive, the
Symphonic offered more bottom-end weight and con-
trol while matching the ASRs texture and harmonic
completeness. It lacked the ASRs overall musical flow,
however, and could sometimes sound too warm and
rich. Nonetheless easy to recommend, said MF,
adding sweet and refined. Just a shade below Class
A. (Vol.30 No.3)
EAR 834P: $1595
Tim de Paravicinidesigned, three-tube (12AX7) MM
stage that also offers, for MC use, a pair of step-up
transformers (350 ohms). MF: The 834s sound was
absolutely gorgeous in the midband, with a touch of
golden glow, and an overall spaciousness and entic-
ing musical wholeness. . . . The 834Ps bottom-end
delivery was well-extended though a bit loose, if only
slightly so. . . . [Its] high-frequency extension and tran-
sient performance perfectly balanced its bottom: not
sharp and etched. . . but not soft or overly romantic.
A slightly sharp, fast-sounding cartridge should really
get this thing singing. Compared to the GSP Audio
Era Gold Mk.V, BJR found that the EAR 834P exhib-
ited more detail, air, delicacy, and body in the midrange,
with more detailed and extended highs, but with
rounder, slower bass performance. Add $600 for
chrome Deluxe version. (Vol.20 No.7, Vol.26 No.8,
Vol.28 No.1 WWW)
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Eastern Electric MiniMax: $1495
The MiniMax is a tubed moving-magnet/moving-coil
unit designed in Hong Kong and built in China with a
fitnfinish and parts quality that belie its price. MF:
The MiniMax is on the mellow side, addictive in the
midrange, rhythmically together, reasonably extended
and fast on top in MC mode, and just plain fun to lis-
ten to and look at over the long haul. In MM mode,
the MiniMaxs high-frequency performance was
slightly muted with somewhat soft transients, but main-
tained its special midrange glow. (Vol.28 No.10)
North Star Phonostage: $2500
The Phonostage is housed in a sturdy, rack-sized metal
enclosure and offers one pair each of chassis-mounted
RCA WBT inputs and outputs. It produced a more
diffuse, warm, and romantic-sounding picture than
that of the Graham Slee Era Gold Reflex/Elevator EXP
combo, for a relaxed and graceful listening experience,
with a bigger, more voluptuous stage populated by
larger images, said MF. The Phonostage couldnt
match the Graham Slees rhythmic focus or soundstag-
ing detail, however. (Vol.30 No.9)
PS Audio GCPH: $995 $$$
Like the rest of PS Audios current line, the GCPHs
design is based on the proprietary Gain Cell module.
It runs in fully differential mode and accommodates
moving-coil and moving-magnet cartridges. It has
Mono and Phase buttons, single-ended inputs, single-
ended and balanced outputs, and offers variable gain
and output options. The sound had the same sort of
tonal neutrality, combined with high resolution of
detail, that characterized the GCC-100, said RD.
While it sacrificed some midrange transparency for
image solidity and overall richness, the result was a
coherent top-to-bottom balance that revealed the
GSPHs limitations only in comparison to much more
expensive phono preamps, felt MF, who concluded that
the GCPH is one of the best values in under-a-grand
phono preamps, and easy to recommend. (Vol.29
Nos.1 & 7 WWW)
S.A.P. Anniversary: $4950
The slick-looking Anniversary sports a chassis of
stainless steel with a thick, brushed-aluminum face-
plate fitted with red LEDs. It uses four hand-selected
Electro-Harmonix 6922 tubes with gold pins, and has
a transformer-based MC input. The Anniversary sac-
rificed macrodynamic slam and taut focus for a relax-
ing musical flow with vivid tonal colors and textures.
MF found its big, warm, and seductive sound espe-
cially suited to classical and acoustic jazz. (Vol.30 No.9)
Simaudio Moon LP 5.3: $1500
Silly good and easy to recommend, applauded MF.
The LP 5.3 moving-magnet/coil phono preamp has
single-ended RCA inputs, both single-ended and true
balanced-differential outputs, and offers a wide range
of adjustments for gain and resistive and capacitive load-
ing. Though it lacked the macrodynamics of much more
expensive phono stages, it excelled at providing the
nuanced microdynamic shadings that create a consis-
tently engaging sonic picture. At [$1500], its a steal, a
bargain, a best buy, and a no-brainer. Measured per-
fomance was excellent in many ways, including very
low noise, but JA was bothered by limited overload
margin at 20kHz. An early sample revealed an RIAA
channel mismatch above 1kHz, but further testing of
a third sample under identical conditions found signif-
icantly better results, suggesting that the earlier sam-
ple was a rogue. (Vol.30 Nos.3, 10, & 11 WWW)
VAS Audio MC One: $795 $$$
This beautifully built step-up transformer provides
11dB of gain into its high-impedance tap and 17dB of
gain into its low-impedance tap while never sounding
bright or hard. Compared to the Manley Steelheads
built-in transformer, the MC One was harmonically
richer and somewhat more supple, while having no
deleterious effects . . . at all, said MF. Proof that trans-
former step-ups dont have to impart a hard, ringing
quality to low-output, moving-coil cartridges. Though
the MC-One offered clear bass and fine spatial presen-
tation, the Auditorium 23 Standard was significantly
more open, dramatic, and involving, said AD. An over-
warm balance keeps this unit from Class A, felt MF.
C
K&K Audio transformer: $275 $$$
The K&K trannie is built into an aluminum-alloy box
with a black powder-coat finish, with rhodium-plated
Cardas connectors and silver hookup wire from DH
Labs. It uses Lundahls amorphous-core LL9206
shielded transformers.Its primaries are tapped for three
different gain configurations (14, 20, and 26dB), and it
has respective input and output resistances of 2.5 and
720 ohms. While the K&K couldnt match the perfor-
mance of other, more expensive trannies, it was per-
fectly tuneful and offered good timing and a fine,
natural sense of note-to-note flow, said AD. Its sound
was dynamic as all hell, he added, with an impres-
sively clean and richly textured midrange. Very high
Class C, he sums up. Price is for kit; fully assembled
version costs $335. (Vol.30 Nos.9 & 10 WWW)
Sutherland Ph3D: $1000
Like Sutherlands more expensive PhD, the Ph3D uses
16 D-cell batteries instead of a mains-driven power sup-
ply. High-value storage capacitors help maintain low
power-supply impedance, ensuring consistent sonic
performance throughout the life of a set of batteries.
The Ph3Ds well-balanced sound was marked by a
slightly soft, polite, top end and an overall pleasing
liquidity. Like the PhD, the 3D trades dynamic slam
to achieve its mesmerizing flow, said MF. (Vol.30 No.3)
D
Pro-Ject Phono Box II: $129 $$$
Powered by a wall wart, the compact Phono Box II is
sensibly designed to offer 40dB (MM) or 60dB (MC)
of gain, with loading at 47k ohms/12pF (MM) or 100
ohms/120pF (MC). MF: While it didnt give a partic-
ularly warm or supple rendering of the signals it
processed, and its dynamics were somewhat limited, its
clarity, focus, and pacing were impressive for a phono
preamp costing so little. (Vol.29 No.7)
TerraTec iVinyl: $230
The versatile, well-built, decent-sounding iVinyl
comes complete with software for both PCs and Macs,
offers Line and Phono inputs, two input levels, and
three capacitance values, and can convert analog to 24-
bit/44.1kHz, 24/48, or 24/96 PCM. The iVinyls pre-
amp was impressively quiet, with a moderately
detailed, velvety character, while its A/D converter
was more than good enough to get your vinyl into
iTunes for casual listening, Mikey said. Considering
the iVinyls price, performance, and functionality, its
easy to recommend. (Vol.30 No.7)
K
Aesthetix Io Signature, Audio Research PH7.
Deletions
GSP Audio ERA,NAD PP-2, Parasound Zphono all
not auditioned in too long a time; Pro-Ject Tube Box
SE replaced by new model not yet auditioned.
SACD, DVD-A, &
CD PLAYERS, &
TRANSPORTS
Editors Note: SACD and DVD-A player ratings are
based on how they sound with their respective hi-rez
media, not CD.
A+
Ayre C-5xe: $5950
An impressive hunk of audio jewelry, the C-5xe is a
music-only, two-channel-only disc player that uses a
Pioneer universal transport, a Burr-Brown DSD1792
DAC chip, and a Sony CXD2753R SACD decoder. No
video output of any kind. In combining musical integrity
with true audiophile precision, the C-5xe was not only
a fabulous CD player but a revelation with hi-rez
media, finally introducing WP to the higher aspirations
of SACD and DVD-Audio. So this is what all the fuss
has been about, he marveled. The Ayre C-5xe has
proved to be the best-sounding product Ive heard all
year. JA agreed: A nicely engineered piece of kit! and
he bought one for his system. Even ST was impressed:
Excellent sound, flawless operation. AD, however,
was less enthusiastic, preferring Ayres CX-7e on CD
a lot better. Directly comparing the C-5xe with the
Muse Polyhymnia, WP felt the Ayre traded the Muses
slam and impact for greater breath and coherence.
Stereophiles joint Product of 2005. (Vol.28 No.7,
Vol.29 No.5, Vol.30 No.10 WWW)
Class cdp-202: $7000
The cdp-202, which plays all current disc formats,
including DVD-A but not SACD, is Classs attempt to
bring to market a true reference CD player with bet-
ter audio circuitry than the older cdp-102. Like its pre-
decessor, the cdp-202 features stunning looks, with a
front panel that curves gracefully around its sides. Only
three discrete black buttons are found on its faceplate;
the cdp-202s color LCD display functions as a touch-
screen to control playback or conveniently navigate
DVD menus without an external display. The cdp-202
presented music with a rich, compelling sound, offer-
ing a sweet, grain-free high end coupled with weighty
though slightly limited bass. Very nice, Class, said
JA. Very nice. (Vol.29 No.8 WWW)
Esoteric X-01 Limited: $14,100
One-box SACD/CD player supports multichannel
playback but no video-based formats, and uses a new
generation of Esoterics VRDS disc-clamping transport.
It intensified all of the qualities JM heard in the D/70-
P/70 to offer the most musically satisfying CD play-
back in his experience. While the Esoteric X-01
performed in an exemplary manner on all the tradi-
tional measurements, JA was bothered by its restricted
ultrasonic response on SACD playback and the mod-
ulation of its high-frequency noise floor. Nevertheless,
JA echoes JMs enthusiastic rating: A superb player.
(Vol.28 Nos.2 & 5 WWW)
Muse Polyhymnia: $7150, as reviewed
Kevin Halversons sixth-generation take on DVD uses
24-bit/96kHz conversion and a passive reconstruction
filter for DSD and PCM. Solidly built and meticu-
lously designed, the Polyhymnias modular platform
allows users to specifically configure the player to their
needs. With exceptional slam and impact, the brisk and
powerful Muse provided impressive performance with
all digital disc formats. Though it demonstrated good
measured performance, JA was puzzled by its slightly
worse low-level linearity with LPCM data as compared
with SACD data. Wes had some trouble with the com-
plicated 64-button Remote-2. The simpler Remote-1
controller is available as a $375 option. Price is as
reviewed, with optional multichannel module and A/V
output module; Standard stereo model costs $6400.
(Vol.30 No.10 WWW)
Sony SCD-XA9000ES: $2999
Sonys third-generation, multichannel SACD flagship
adds time-delay adjustment for its multichannel ana-
log outputs and is clothed in Sonys new Silver Cascade
styling. Right away, JA was struck by the Sonys big pre-
sentation: There was a wealth of detail. . . . There was
a sweep of sound. . . While the Sony and the Linn
Unidisk were virtually indistinguishable in the mid-
range and treble, the Linn was very slightly drier over-
all. And, though the Sony and the Krell SACD Standard
sounded extraordinarily close to one another, the
Krell had a slightly more robust presentation. Ulti-
mately, JA felt the Sony just edged ahead. One of the
best SACD players that KR has auditioned. Compar-
ing the 9000 with the SCD-XA777ES, which it
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replaces, KR felt it had a slightly smoother top end,
microscopically tighter bass performance, and a lit-
tle airier and more spacious soundstage than in its pre-
decessor. Speaker-distance compensation, however,
resulted in a greatly improved illusion of a seamless,
stable acoustic environment, which, KR said, set the
XA9000ES apart from every other multichannel SACD
player. (Vol.26 No.12, Vol.27 No.5 WWW)
A
Ayre CX-7e: $3500
In his measurements, JA concluded that the original
CX-7 CD player was a model of modern CD-play-
ing design. . . . [It] sounds as clean as it looks. Its bal-
ance is vibrant, its bass well-defined and deep, its highs
clean, detailed, and well-resolved. He was impressed
by the way the original CX-7 preserved the fragile
sense of an acoustic around recorded instruments. . . .
Nothing sounded confused or obscured via the CX-7.
While appearing physically unchanged, the CX-7e has
undergone several upgrades, including a new FPGA
chip. Sounding superbly rich, smooth, and detailed,
with velvety highs and an enormously deep bass, the
CX-7e fully deserves a Class A rating in Stereophiles
Recommended Components, decreed JA after audi-
tioning an early version of the E revision. The
improved Ayre offered a more vivid and tactile presen-
tation, distinguishing itself as an almost aggressively
rhythmic player, yet one with a wide open and trans-
parent view of the sound, said AD. Taut and tuneful,
much better than original CX-7, adds WP. RDs new
reference for high-end CD players. (Vol.26 No.5,
Vol.27 No.12, Vol.29 No.2, Vol.31 No.1 WWW)
Cary Audio Design CD-303/300: $4000
Solidly build and fairly priced, the CD-303/300 uses
Carys proprietary DSP-300 upsampling digital filter
module, and features tube and solid-state analog out-
put stages, both of them always active. The Cary
matched the snappy drive and pace of the Naim CD5x
while offering an even more extended top end with a
distinct and weighty bottom end. Art was impressed
by the Carys ability to achieve good, colorful, dra-
matic, wide-open sound. While AD preferred using
the Cary in non-upsampling mode, noting a more
involving, less rhythmically ambiguous musical perfor-
mance, BD favored maximum upsampling for the
cleanest, most refined handling of details and tran-
sients. Either way, they ultimately agreed: an easy
Class B recommendation. Borderline Class A, accord-
ing to JA. (Vol.28 No.10 WWW)
Chord Choral Blu: $10,400
The gorgeous Choral Blu CD transport is milled from
a solid billet of aluminum and measures a compact 13.1"
W by 4.1" H by 6.6" D. It uses a Philips CD2 transport
powered by a switch-mode power supply with its own
AC filter, and upsamples digital signals to 88.2 or
176.4kHz before sending them to a Watts Transient
Aligned filter. Combined with the Choral DAC64, the
Blu excelled at delineating minute dynamic shadings,
giving it the ability to portray sounds body and com-
municate the life essence of music, said WP. JA was
similarly impressed by the Blus excellent measured
performance. Choral 2High rack for Blu transport and
DAC64 adds $2100. (Vol.30 No.8 WWW)
Denon DVD-5910CI: $3800
The DVD-5910 will play almost any 5" disc, and it has
analog and S/PDIF outputs in addition to Denons
proprietary D-Link and the more-or-less standard-
ized IEEE1394 encrypted digital audio outputs. Its
video features include a plethora of outputs and the
first consumer-product implementation of Silicon
Optixs Realta-HQV video processor. KR auditioned
the 5910 in conjunction with Denons AVR-4806
receiver: While this zaftig pair offers no savings in
size or weight over separates, together they comprise
a complete system, communicating with each other
through a single audio cable (D-Link or FireWire).
(Vol.29 No.1 WWW)
Esoteric DV-60: $5600
The video version of Esoterics potent SA-60 univer-
sal player, the DV-60 includes an option for convert-
ing PCM sources to DSD and permits DVD playback,
video upsampling, and HDMI output. With DVD,
SACD, and DVD-Audio, the DV-60s sound was the
cleanest and least characterful in KRs experience.
Converting PCM to DSD tended to homogenize the
sound of DVD-As, however, leaving them a bit soft
and gauzy in comparison to SACD. Nevertheless, KR
was impressed: The Esoteric DV-60 is outstanding by
not standing out. (Vol.31 No.3 WWW)
Esoteric SA-60: $4600
The SA-60 universal player offers the choice of 8x-
oversampling FIR and upsampling RDOT low-pass
digital filters, as well as PCM-to-DSD upsampling. Eso-
terics Vertically Aligned Optical Stability Platform
(VOSP) transport, trickled down from the companys
more expensive players, is claimed to reduce tracking
error and jitter. With all formats, the SA-60 exhibited
a sound that was pristine and delicate, with impressive
transient clarity and precision. Given its high build
quality, versatility, ease of use, and distinguished sound,
the Esoteric SA-60 universal player is one of the best
audio bargains Ive come across in a long time, said
MF. Other than its puzzling high-frequency intermod-
ulation, JA noted criticism-free measured perfor-
mance. (Vol.30 No.10 WWW)
Linn Unidisk SC: $5510
The SC suffixfor System Controlleris appropri-
ate: this universal player can decode and play back vir-
tually any 5" consumer media, and is also a full-function,
five-channel preamplifier and a digital processor com-
patible with Dolby Pro Logic and DTS surround-sound
software. Brilliant with CD material and stunningly
effective with hi-rez data, the SC proved to AD that
its a fun product, a good product, and a product some
people can afford without robbing a bank. Im impressed,
and tempted as hell. JA agreed: One of the most ver-
satile components I have encountered. Hi-rez SACD
and DVD-Audio performance was beyond reproach,
but the measured performance of the Unidisk SC for
playback of both CDs and external digital data was
sometimes inconsistent. WP preferred the Ayre C-5xe,
noting that the Linn exhibited less bass slam, drive, and
drama within a less convincing soundstage. (Vol.28
Nos.6 & 7 WWW)
Marantz SA8001: $900 $$$
The two-channel-only SA8001 uses a 24-bit/192kHz
upsampling design based on a Cirrus Logic 4397 chip,
and played SACD, CD, CD-R, and CD-RW without
a hiccup. Its a solid, unpretentious, reliable player that
does what its supposed to do at a reasonable cost,
praised Jim Austin. While the SA8001s CD playback
was about as good as Red Book gets, SACD perfor-
mance was marked by a lovely, smooth presentation
with significantly more body, naturalness, and ease.
The other JA, too, was impressed: It may be afford-
ably priced, but the Marantz SA8001s measured per-
formance is beyond reproach. (Vol.30 No.10 WWW)
Musical Fidelity kW DM25: $7000
A lovely, sunny thing, the combination of the DM25
CD transport ($3500) and DAC ($3500) reads virtu-
ally any Red Book disc, increases its sampling rate to
96kHz, then bumps it up to 192kHz. The transport
employs a three-beam Philips VAM1202 and Cirrus
Logic Crystal CS8420 sample-rate converter, while the
DAC features a Crystal CS8427 clock recoverer. One
of the most dramatic pieces of gear in ADs experience,
the DM25 combo exposed the smallest dynamic surges
and offered stellar stereo imaging for spatial presenta-
tion that was detailed and organic. AD: Ive never heard
regular CDs sound more involving overall than they
did through this combo. JA agrees with AD about the
DM25s sound quality but found the DACs digital
input very fussy about the quality of double-sample-
rate data, however. (Vol.29 No.7 WWW)
Nagra CDP: $13,495
The CDP is a compact (12.2" W by 3" H by 10" D) and
versatile front-loading player with an outboard 12V DC
power supply. In addition to coaxial S/PDIF, AES-
EBU, and TosLink digital outputs, it accommodates
both balanced XLR and RCA analog connections.
Though Nagra feels the single-ended outputs are the
better-sounding, WP heard little difference between
the two. The CDPs wide, forward soundstage and great
dynamic contrasts produced a tightly focused, phe-
nomenally detailed musical image. Switching the out-
put gain from 3.5V to 1V produced more spatial detail
in WPs smaller office system. Compared to the Chord
Blu-DAC64 combo, the CDP sacrificed some breath
and heft for snap and sparkle. The CDPs ability to cope
with data errors and its rejection of jitter were among
the best JA has measured. (Vol.30 Nos.5, 7 & 8 WWW)
Naim CD555: $30,850 including 555PS power
supply
Naims new statement CD player is encased in a dense,
sharp-edged brick of black, brushed aluminum. It uses
a Pacific Microsonics PMD200 digital filtering chip, a
low-jitter clock circuit with its own multistage regu-
lated power supply, and vintage Burr-Brown PCM 1704
DACs environmentally shielded from varying electri-
cal and magnetic fields. It displayed taut, punchy bass,
rhythmic agility, transient clarity, exceptional resolu-
tion of low-level detail, and overall transparency, with-
out sounding etched or bright. Compared to the
twice-as-expensive Zanden 2000P, the CD555 offered
a cooler, less voluptuous tonal signature, with deeper,
more controlled bass extension. Over time, the CD555s
subtle charms became staggering, felt AD, revealing
a sense of force and dynamic nuance in the playing
that left him all but stunned. JA found measured per-
formance on Red Book CD data that was beyond
reproach. (Vol.30 Nos.2 & 10 WWW)
Naim CD5X: $3250
Descended from Naims original entry-level CD3, the
CD5x is an upgrade of the CD5 that now includes a
Philips VAM1202 transport, adds a dual-mono 24-bit
Burr-Brown chip, and is the first entry-level Naim player
to use a Pacific Microsonics digital filter. While AD
appreciated the CD5xs fine spatial performance, con-
vincing timbres, and surprisingly good stereo imaging,
he was most impressed by its rhythm, pacing, and knack
for preserving the original meaning of all music. AD:
On the CD5x, the music was obviously, appropriately
more relentlessall dah dah dah dah dah dah dah dah! in
the best possible way. Its decidedly chunky sound
could have benefited from a little more air and trans-
parency, however; JA wondered if Naims FlatPack
power supply might have helped. Adding Naims Flat-
cap 2X power supply ($1050) didnt achieve more air
or transparency, but did result in an uber-tightening,
solidifying bass, cleaning note decays, and deepening
the blackness between notes. No mere tweak, said
AD, and a rare instance of spending a little money for
a lot more value. (Vol.27 No.11, Vol.28 No.11 WWW)
Primare CD31: $2295 $$$
An evolution of Primares D30.2, the CD31 uses a DVS
DSL-710A ultra-silent transport, adds optical and
AES/EBU digital outputs to the TosLink S/PDIF, and
replaces the D30.2s Fixed Power switch with a Power
switch in the AC cord receptacle. With a slightly warm
tonal balance and a perspective that favored subtle
nuance over hi-fi hyper-reality, the CD31 imparted
a natural, vinyl-like feel to a variety of recordings. The
CD31 isnt perfect but its sublime, said BD. JA was
similarly impressed by its state-of-the-art Red Book
CD performance. (Vol.30 No.7 WWW)
Rega Saturn: $2595 $$$
The Saturn looks identical to the less-expensive Apollo
and both players share the same Sanyo laser and drive
mechanism and the same servo and data-control
chipsets. However, with its two superb Wolfson
WM8740 DACs and its much improved power-sup-
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ply regulation, the Saturn proved to be a superior
machine. It was faster and more open, and delivered a
more detailed, more delicate sound, with greater tre-
ble extension and tighter bass. The Saturn, said ST,
is what you get when you build an Apollo without
compromise. (Vol.30 No.3)
Simaudio Moon Andromeda: $13,500
The two-chassis, top-loading Andromeda is Simau-
dios flagship CD player. It provides internal 24-
bit/705.6kHz upsampling and 24-bit D/A conversion
via four matched Burr-Brown PCM-1704U-K DACs
in a fully balanced configuration. With powerful,
articulate, and deep bass, a delicate, shimmering, and
airy top end, and superb ambience retrieval, detail
resolution, and temporal precision, the Andromeda
outclassed its predecessor, the Moon Eclipse, in every
way. Its digital input allows owners of music servers
to take advantage of the Andromedas excellent DAC
and output stage. JA noted excellent measured per-
formance. For BD, the Andromeda was as good as
it gets. (Vol.31 No.1 WWW)
Simaudio Moon Evolution SuperNova: $6200
The SuperNova employs a Philips transport and
upsamples the 16-bit/44.1kHz audio signal to 24-
bits/352.8kHz before sending it to differentially bal-
anced Burr-Brown PCM1798 DACs. It has one pair
each of balanced and unbalanced analog outputs along
with a very useful hi-rez digital input, which sounded
very much better than the internal DAC when WP
used the SuperNova with his Slim Devices Squeeze-
box. Right out of the box, the SuperNova proved allur-
ing and addictive, offering upfront acoustic
excitement, said WP. Its great low end and crisp top
end resulted in an overall direct and grain-free pre-
sentation. JA was impressed by the players superb
DAC linearity, low distortion, and error correction.
(Vol.30 No.1 WWW)
B
Atoll Electronique CD200: $2400
This CD player uses a Philips disc transport with spe-
cial vibration damping and a Burr-Brown PCM 1794
DAC with 24-bit/192kHz, 8x oversampling. In com-
bination with the Atoll PR300 preamp and AM200
amp, the CD200 offered a sound that was sweet and
harmonically richnever threadbare or hyperanalyti-
cal. Compared with the Rega Apollo ($1195), how-
ever, the CD200 lacked air, ambience, space, and
low-level detail. (Vol.29 No.9)
Cambridge Audio Azur 740C: $1099 $$$
The 740C uses an Adaptive Time Filtering system to
upsample 16-bit/44kHz CD data to 24/384. While it
lacked the Rega Apollos full, rich sound, the 740C
offered greater low-level resolution, ambience, air, and
openness. With its precise and certain timing and
exceptional bass authority and dynamic range, the 740C
was close to the best CD player Ive heard to date,
said ST. Exceptional value for money. (Vol.30 No.9)
Cary Audio Design Concept CDP 1: $2000 $$$
Part of Carys new Concept series, the fully balanced,
HDCD-compatible CDP 1 uses the same transport
and digital signal processor found in the more expen-
sive CD 303/300. User-selectable upsampling to 96,
192, 384, 512, or 768kHz is made possible by three 48-
bit Motorola DSP chips. The CDP 1 offered definition
and detail comparable to those of the Rega Saturn and
Musical Fidelity X-Ray
V8
, thought ST. Low-level res-
olution and transient attack were enhanced when part-
nered with the matching Concept CAI 1 integrated
amp. Makes a strong case for not paying more than
$2000, summed up ST. (Vol.30 No.4)
Cayin CDT-23: $1695
The magnificently made CDT-23 uses one Electro
Harmonix 6922 tube per channel, a Sony transport and
laser mechanism, and a Burr-Brown PCM 1792 DAC
and SRC 4192 upsampling chip. While it didnt quite
match the performance of the more expensive Cary
CDP 1, the Cayin CDT-23 excelled at resolving low-
level detail and preserving ambient information. In its
own right, concluded ST, the CDT-23 is a very fine
CD player. (Vol.30 No.8)
Cyrus CD 8x: $2199
A refinement of Cyrus entry-level CD 6, the CD 8x
uses two Burr-Brown D/A chips with a power supply
that features two power toroids and a more extensive
approach to DC regulation. Any CD 6 can be upgraded
to CD 8x status for little more than the difference
between the models retail prices. The CD 8x offered
a sound remarkably similar to the Ayre CX 7es, with
good tonal balance, texture, and imaging, but lacking
in emotional involvement. A respectable performer
and a pretty good value for $1995, concluded AD, sug-
gesting low Class B as a suitable rating. Optional PSX-
R power supply adds $795. (Vol.29 No.1 WWW)
Linn Majik CD: $3500
The Majiks metal chassis has a modular design, with
provisions for installing a presumably wide selection of
front panels and double-sided circuit boards. Its innards
include a DVS DRL-210 transport and Linns propri-
etary Brilliant switch-mode power supply. The Majik
matched tonal neutrality with excellent pacing while
sacrificing neither richness nor texture to provide a
clean, pure sound. Recorded music had flesh and blood
through the Majik, said AD. JA noted state-of-the-art
measured performance for a 16-bit device. Very close
to Class A. (Vol.30 No.3 WWW)
McIntosh MS750: $6000
The MS750 is built on an Escient platform but employs
a different software interface, CD burner, front-panel
display, and 750GB mission-critical hard drive. It
offers RS-232C connectors, video outputs, analog and
digital inputs and outputs, and an Ethernet Web inter-
face for remote control and music streaming. Though
it offered a fast, clean, and powerful presentation, the
Mac couldnt match the Bel Canto e.One DAC3s lev-
els of articulation, clarity, or frequency extension, and
ultimately failed to emotionally involve WP in his
music. JA was similarly disappointed by the Macs mea-
sured performance. To take advantage of its superb
features, he advised, the MS750s owner will need to
use its digital output to feed an A/V receiver or sepa-
rate D/A processor. Recommended only for its superb
user interface and use as a transport with an external
DAC. (Vol.31 No.1 WWW)
Music Hall cd25.2: $599 $$$
ST was surprised by this overachieving CD player.
Using a Philips VAM 1202/19 transport and a Burr-
Brown PCM 1738 24-bit/192kHz DAC, the cd25.2
had life, light, air, delicacy, smoothness, resolution, and
excellent dynamics. Though it didnt offer the top-
level performance of more expensive players, it had
no serious flaws, and admirable fitnfinish. ST: Roy
Halls Music Hall cd25.2 CD player is an excellent
buy. (Vol.29 No.4)
Musical Fidelity X-Ray
V8
: $1500
A great little CD player for $1500, said Sam. The X-
Ray
V8
uses the same Philips drive mechanism found in
Musical Fidelitys A5CD, while its Delta-Sigma DAC
offers 8x oversampling and upsamples to 24 bits/
192kHz. ST wished for more low-level resolution, more
space, and tighter, more assured bass, but concluded:
Excellent sound. Excellent value. Price includes Triple-
X outboard power supply; sold as a package with the X-
T100 integrated amp for $3000. (Vol.30 No.2)
Onkyo DX-7555: $699 $$$
Designed to complement Onkyos A-9555 integrated
amplifier, the DX-7555 CD player has an antiresonant
chassis with a brushed-aluminum front panel and uses
Onkyos Vector Linear Shaping Circuitry (VLSC),
claimed to remove digital noise from the analog signal.
D/A conversion is handled by a Wolfson WMA8740
24-bit/192kHz DAC with switchable Slow and Sharp
reconstruction filters. Though it lacked the detail and
precision of much more expensive players, the Onkyos
laid-back demeanor provided a very comfortable sound
that was simply very pleasant to listen to, said RD. WP
found the Onkyo to be more engaging and less fatigu-
ing than the Oppo DV-970HD. Both RD and WP pre-
ferred the enhanced focus and detail of the players
Sharp setting. JA noted excellent measured perfor-
mance. (Vol.31 Nos.1 & 2 WWW)
Quad 99 CDP-2: $1350
The 99 CDP-2 provides variable and fixed analog out-
puts, six S/PDIF digital inputs, a TosLink optical dig-
ital output, and functions as a 2x-upsampling D/A
processor specified to handle 24-bit/96kHz PCM sig-
nals. Using the CDP-2 as a preamp-player combo
resulted in music that was less than involving, said
WP. When used as a dedicated CD player, however,
its sound was refined, extended, smooth, detailed,
and listenable. With the exception of its lack of de-
emphasis, said JA, the Quad 99 CDP-2 pretty much
offers state-of-the-art performance for CD playback
at a relatively affordable price. Versatility and value
make it the perfect CD player to recommend to folks
who might have audiophile ears but who dont con-
sider themselves audiophiles, concludes P. Wessy.
(Vol.29 No.1 WWW)
Rega Apollo: $1195 $$$
Built into the same casework as the earlier Rega Planet,
the Apollo CD players transport holds discs with a
three-point ball chuck rather than a magnetic puck
and sports a lid that is a single expanse of smoked Plex-
iglas. A new chipset, incorporating more than 20MB
of memory and true 32-bit processing capabilities,
reads each CDs subcode, analyzes it, and selects the
most appropriate of four levels of error correction. The
Apollos most striking characteristic was the cleanness
of its sound: electrical grunge is stripped away from
the spaces between notes, allowing musical meaning
and texture to shine while removing the stress of lis-
tening. Very strongly recommended, said AD,
squeaking into Class B. Smokes players that sell for
twice the price! adds ST. The Rega Apollo offers far
more value, in sound-quality terms, than anything else
Ive heard at or near the price. One of Stereophiles
Joint Budget Components for 2006. (Vol.29 Nos.6
& 9, Vol.30 No.3 WWW)
ReQuest F2.400: $3000
ReQuests F-series audio servers represent their cur-
rent high-end option, with higher-quality audio out-
put stages, better DACs, and digital output
capabilities. The original F2.250 could hold approx-
imately 250 CDs worth of music in uncompressed
WAV files (current F2.400 holds considerably more)
and features FreeDB, an open-source metadata
lookup database, which painlessly tags ripped tracks
for instantly accessible but endlessly configurable
playback. WP appreciated the F2.250s full-bodied,
musically satisfying, goosebump-producing, sit-
back-with-a-big-ol-grin listening pleasure, and
loved it for letting him to listen to more music more
often. However, he does feel the user interface (espe-
cially for iTunes users) has been surpassed by those
of other servers. (May 2006 eNewsletter)
C
Oppo DV-980H: $169 $$$
Like its predecessor, the DV-970HD (Vol.30 No.5
WWW), the DV-980H universal player comes impec-
cably packaged, and its light weight, small size, and
minimal controls belie its versatility and performance.
It offers better audio processing and devices than the
DV-970HD, and can output multichannel SACD via
HDMI not only by converting it to PCM, but directly
as DSD. Compared to the much more expensive
Denon DVD-3910, the Oppo lacked a bit of image
stability and was consistently a little forward in its pre-
sentation. Class C from its analog outputs, decided
KR, but SACD and DVD-A via HDMI from the Oppo
to the Integra DTC-9.8 sounded palpably vibrant.
For multichannel SACD and DVD-A playback, I
would take the Oppo-Integra combo over anything
swiss made
www. nagraaudio.com
Nagra VPS valve phono preamplifier
Discover the full potential of your LPs
Nagra USA, 31 years at your service Tel. 800 813-1663
- Modular, highly configurable input boards for
optimal load-matching to any MC or MM cartridge
- Two selectable RIAA curves
- Selectable output level to facilitate system matching
- New, custom input transformers made by Nagra
- External power supply to ensure dead-quiet operation
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else Ive had in this system, raved KR. (Vol.31 No.1
WWW)
D
Apple iPod: $249 as reviewed
This sleek and sassy data-storage unit offers a hard drive
with up to 40GB capacity, and is capable of playing
lossy compressed (MP3, AAC), lossless compressed
(ALC), and uncompressed (AIFF, WAV) digital audio
files delighted JA and WP. WP was surprised to find
the iPod worthy of serious audiophile consideration:
The open nature of the iPods playback formator,
more properly speaking, its lack of a single playback
standardmeans that the player can offer the sound
quality its owner demands of it. Files ripped in AIFF
were indistinguishable from the original CD, with
impressive dynamics, detailed imaging, and extended
frequency extremes. JA: Excellent, cost-effective audio
engineering from an unexpected source. Stereophiles
Editors Choice and Budget Product of the Year for
2003. Current version significantly revised and offers
up to 160GB capacity drive. (Vol.26 No.10 WWW)
K
Cary CD-306SACD, Krell Evolution 505, Bryston
BCD-1.
Deletions
Meridian Reference 800, Ensemble Dirondo, McCor-
mack UDP-1, Simaudio Moon Orbiter and Moon
Equinox, dCS Verdi Encore, all not auditioned in too
long a time; Olive Symphony replaced by new model not
yet auditioned; Oppo DV-970HD no longer available.
DIGITAL PROCESSORS
Editors Note: The sound of any particular CD trans-
port/digital processor combination will be dependent on
the datalink usedsee Bits is Bits? by Christopher Dunn
and Malcolm Omar Hawksford, Stereophile, March 1996,
Vol. 19 No.3 (WWW). Unless mentioned, processors
are limited to 32/44.1/48kHz sample rates. To be included
in Class A+, a digital processor must be capable of han-
dling DSD or 24/96 LPCM data.
A+
Chord Choral DAC64: $5000
The DAC64 applies 64-bit, seventh-order noiseshap-
ing and 2048x oversampling using Chord-specified
Gate Arrays. JA decided that the sound of the original
version of this eye-poppingly gorgeous component
was fairly ordinary without its RAM buffer engaged.
However, switching the buffer in circuit both sweet-
ened the tonal balance and made the perceived stage
deeper, he found, concluding that the DAC64 should
be ranked highly. . . . Many listeners should find its silky-
smooth highs seductive, as well as its slightly larger-
than-life lows. Of the 2007 Choral version, WP noted
that To my mind, the Choral Blu and DAC64 are,
together, the CD player we music lovers have long
prayed for. The Choral DAC64 performed very much
better than earlier production samples, offering superb
results in every aspect of performance, found JA. (Vol.25
Linn Klimax DS: $18,500
This network-connected digital-to-analog converter
receives digital data through an Ethernet connection,
handling 192kHz sample rates and upconverting to
384kHz or 352.8kHz. Machined from a solid billet of
aluminum, the Klimax DS shares the slimline chassis
style of the Klimax amplifiers. Due to the complexity
of its setup, which requires a network-attached stor-
age (NAS) drive and wired network, Linn specifies
that the DS be installed by an authorized dealer. WP
had a difficult time navigating the DSs minimal graphic
user interfaceLinn recommends one of the third-
party GUIs that are widely availablebut, when han-
dling hi-rez files, the DS offered spectacularly good
sound. Every aspect of the Linns measured perfor-
mance was superb. This is one great-sounding com-
ponent, said JA, particularly in its freedom from high-
frequency grain and its low-frequency definition.
(Vol.31 No.3 WWW)
A
Bel Canto e.One DAC3: $2495
The half-width DAC3 is built into a handsome steel
chassis and offers five digital inputs, two pairs of ana-
log outputs, and a volume-control knob. Its excellent
reproduction of soundstage depth and width, silky-
smooth treble, and sweet midrange resulted in an en-
hanced accuracy that allowed JA to hear deeper into
recordings. The sound quality from the DAC3s USB
input, however, was flatter and less involving overall.
Still, JA was impressed: Other than the jitter perfor-
mance via its USB input, the Bel Canto e.One DAC3
is the best-measuring digital component I have encoun-
tered. Compared to the McIntosh MS750s analog out-
put, the Bel Canto offered a much more compelling
sound, with greater clarity, articulation, and depth,
thought WP. Fed hi-rez digital via the Oppo DV-
970HD, the Bel Canto outperformed the Musical
Fidelity X-DAC
V8
, presenting instruments and voices
with more body and sparkle. Boderline Class A+.
(Vol.30 No.11, Vol.31 Nos.1 & 2 WWW)
Benchmark Media Systems DAC1 USB: $1275
Benchmark Media Systems DAC1: $975 $$$
Features two front-panel headphone jacks, RCA single-
ended and XLR balanced analog line outputs that are
switchable between line level, trim-pot set, calibrated
level, and variable level. Compared to the three-times-
more-expensive Marantz SA-14, JM found the DAC1
to be slightly more articulate in the musical line, and
slightly more detailed in spatial nuances, particularly
the localization of individual images in space, and in
soundstage depth. A terrific value, feels JA, thinking
the DAC1 is a great way of getting modern sound from
a DVD player or an older CD player. JA discovered
superb measured performance in both the DAC1s dig-
ital and analog domains, and decided, Whether con-
sidered as a standalone D/A converter or a versatile
headphone amp, Benchmarks DAC1 is an audiophile
bargain. The USB version adds a USB 1.1 port to take
audio data directly from a computer at sample rates up
to 96kHz and bit depths up to 24. Additional improve-
ments over the standard DAC1 include: two gain set-
tings for the headphone amp, a defeatable muting of the
line outputs, and high-current output drivers for the
XLR and RCA outputs. Used as the primary digital
source in JAs system, the DAC1 USB offered a very
appealing sound, with smoother highs and less grain
than the original DAC1. Problems arose, however,
when using the Benchmark to play back 16-bit files
from either a PC or a Mac via the USB connection. 24-
bit files were fine; he will be investigating this anomaly
in a Follow-Up. (DAC1, Vol.26 No.7, Vol.27 No.5,
Vol.29 No.4 WWW; DAC1 USB, Vol.31 No.1 WWW)
Grace Design m902: $1695
Headphone amplifier with an onboard DAC han-
dling sampling rates up to 192kHz. See Headphones
& Headphone Accessories. (Vol.28 No.6, Vol.29
No.4 WWW)
Logitech Transporter: $1999 $$$
Well built, easy to use, and capable of accommodating
just about any kind of connection an audiophile might
require, the Logitech Transporter (originally called the
Slim Devices Transporter) does an excellent job of defus-
ing an audiophiles resistance to the world of audio
servers. It uses AKM AK4396 multibit Sigma-Delta
DACs; a word-clock input allowing users to sync it to
an external clock source; and decodes WAV, AIF, MP3,
WMA, and FLAC files with 24-bit resolution at sam-
pling rates of 44.1kHz, 48kHz, or 96kHz. (But not
88.2kHz, snorts JA.) Its slick two-part display is almost
infinitely configurable and has faux-analog VU meters
to monitor the output. Though it lacked some shim-
mer, physical presence, and dynamic contrast in com-
parison to WPs reference Ayre C-5xe, the Transporter
provided effortless musicality marked by taut bass, an
unforced midrange, and a smooth top end. Compared
to Slims SB3, the Transporter set music against a darker
background, providing more contrast and detail. JA was
impressed: Even when receiving audio data over a Wi-
Fi network, the Transporter offers state-of-the-art D/A
converter performance, he summed up, emphasizing
the point by buying a sample. (Vol.30 No.2 WWW)
Musical Fidelity X-DAC
V8
: $1500
The X-DAC
V8
is a solid-state D/A processor with a
switchable tube buffer stage (which adds 1dB gain).
It provides three S/PDIF RCA inputs, a USB 1.1
input, S/PDIF and stereo RCA outputs, and two
four-pin DIN power-supply sockets for MFs X-
Ray
V8
and X-Plora
V8
. WP consistently preferred the
X-DAC
V8
over his
V3
, especially in his office system,
where the
V8
provided a bigger soundstage, greater
depth of field, and deeper silences. Fed hi-rez digi-
tal via the Oppo DV-970HD, the
V8
couldnt match
the performance of the more expensive Bel Canto
e.One DAC3, however. JA was impressed: Used
with its solid-state outputs, the X-DAC
V8
is one of
the best-measuring D/A processors that has passed
through my hands. (Vol.31 No.2 WWW)
Wavelength Brick: $1750
A simple but nice-looking black box with an out-
board power supply, the Brick is a perfectionist-qual-
ity D/A converter made specifically for use with
personal computers. It works straight from a USB con-
nection to a Phillips TDA1543 chip, requires no spe-
cial drivers, and functions with any computer using a
1.1-spec or better USB audio connection. The Brick
squeezed a bit more rhythm and emotion from com-
pressed files and, when playing songs burned onto a
Mac Mini, offered performance comparable to CD
playback via the Linn Unidisk SC: Both were accept-
ably good, said AD, who argued strenuously for a Class
A rating. (Vol.28 No.9 WWW)
Editors Note: There are no Class B Digital Proces-
sors listed.
C
Bardaudio Bardone wireless system: $825
A good-sounding, versatile system that allows you to
set up a wireless network thats not tethered to a com-
puter. The small, egg-shaped Bardone transmitter
converts the signal from a portable player to digital
and sends it, wirelessly and uncompressed, at 2.4GHz
to the accompanying receiver. The optional 25Wpc
Bardthree digital amplifier-receiver ($1295) resem-
bles a large wall-wart, plugs directly into the wall, and
can easily drive a pair of efficient loudspeakers. A
really smart, handy system, said MF. Surprisingly
decent sound, he sums up. Expensive, however, for
a gadget. (Vol.29 No.11)
Digital Audio Labs CardDeluxe: $399
PCI-interface computer soundcard that JA described
as smashing the boundaries between component cat-
egories. Handles two channels of balanced I/O on
TRS
1
4" phone jacks and two channels of S/PDIF dig-
ital on RCAs. Offers up to 24-bit word lengths and
sample rates of up to 96kHz, and has extension port
to sync with other CardDeluxe cards to assemble a hi-
rez, inexpensive multi-track digital recorder. Saves
music data as two-channel PCM WAV files, so use fast,
big-gig hard drives. JA thought it sounded full-bod-
ied, with good low-frequency extension and defini-
tion. Astonishing performance for the money
(especially at the new lower price): the most cost-
effective way of making a PC an integral part of a high-
end system. Ultimate sound quality will very much
depend on the host PC. Optional AES/EBU adapter
costs $50, but lowest jitter and noise floor with exter-
nal DACs will be achieved with a TosLink connection.
(Vol.23 Nos.9 & 11 WWW)
Sonos ZP80 & ZP100: $748$898
More sophisticated than the Squeezebox, said JA. The
user-friendly Sonos system sets up its own proprietary,
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encrypted audio network and can even dispense with
the partnering computer if necessary, working with a
network-attached storage hard drive that can operate
as a standalone source of media files. In addition, Sonos
very attractive CR100 controller ($399) has a full-color
3.5" LCD screen, allows quick and simple navigation
of music files on up to 16 network devices, and pro-
vides all the metadata associated with each track. Instal-
lation couldnt have been easier, said JA. While he
found the ZP80s analog outputs to be adequate for use
in noncritical applications, JA felt the Sonos performed
best with its digital output feeding an external DAC.
Rating refers to the performance of the ZP80s analog
outputs. (Vol.29 No.10 WWW)
D
Apple AirPort Express: $99 $$$
While the Airport Express works only with iTunes v4.6
or later (running on both PCs and Macs), is limited to
16-bit data, and functions only at a 44.1kHz sample
rate, the combination of iTunes and the Airport Express
offered an easy way to pipe CD-quality music around
the entire home. The beauty of this unassuming com-
ponent, said JA, is its S/PDIF data output, which
allows the Airport Express to assume a respectable role
in a true high-end audio system. However, its lack of
an internal clock can lead to the first couple of seconds
of songs being missed with DACs that are slow to lift
their mutes. (Vol.28 No.5 WWW)
Echo Indigo IO PC soundcard: $199 $$$
Easy to install and use, this CardBus-format soundcard
for PCs and Macs has one set of stereo outputs, a two-
channel analog input, and features a 24-bit, 128x-over-
sampling A/D converter running at sample rates from
32kHz to 96kHz. It offers a 24-bit Motorola DSP for
mixing and monitoring, a headphone amp with vol-
ume control, and, if your music-production software
supports multiple discrete outputs, the Indigo will
appear as though it actually has eight separate outputs.
While it lacks the sound quality of high-end separates,
especially in terms of imaging and soundstage, JA found
it perfect for turning a laptop into a portable, high-
quality test system. (Vol.27 No.11 WWW)
iPort FS-2: $150
This simple dock can accommodate any newer iPod,
including the Nano, and terminates in convenient
RCA jacks. The FS-2 charges the iPods battery and
provides two illuminated buttons for scrolling and
volume control. A much better-sounding and . . . ele-
gant solution to running your iPod into your stereo,
said MF. (Vol.29 No.11)
Logitech Squeezebox: $299 $$$
The size and shape of a digital alarm clock, finished in
white or black with an easy-to-read display, the Log-
itech Squeezebox (originally the Slim Devices Squeeze-
box) can be networked to a PC system and lets you
select songs from your listening seat via remote con-
trol. In addition to its volume control, headphone jack,
and coaxial digital and optical digital outputs, the
Squeezebox features a Burr-Brown PCM1748 24-bit
DAC and two dedicated crystal oscillators driving its
S/PDIF output and DAC clocks. Installation in JAs
system was seamless and fast. With the Squeezeboxs
digital output feeding an outboard DAC, JA noted a
cleanness to the sound that easily surpassed the per-
formance of the Apple Airport Express driving the
same DAC. Analog outputs are only okay, however,
hence the Class D rating. The Squeezebox handles a
wide range of 16-bit/44.1kHz file formats and can rec-
ognize and play files encoded with Apple Lossless
Compression, but DRM-wrapped, AAC-encoded
songs downloaded from iTunes are not an option. Eth-
ernet version: $249. JA bought the review sample.
Stereophiles Editors Choice and one of Stereophiles
Joint Budget Components for 2006. (Vol.29 No.9
WWW, March & April 2006 eNewsletters)
K
M-Audio USB Transit.
Deletions
dCS Elgar Plus, dCS Verona, 47 Laboratory 4715, all
not auditioned in too long a while.
CD ACCESSORI ES
Audience Auric Illuminator $39.95
According to LB, Its two CD tweaks in one, with a
black felt pen that you apply to the edges and a gooey
fluid that that you spread on the playing surface and
buff off with the supplied cloth. The fluid is claimed to
improve the optical properties of the surface. Maybe
so, given that treated CDs have greater focus and clar-
ity (sonically, that is). Application resulted in subtle
improvements in sound quality, including faster, cleaner
transients, sharper image edges, and a more precise
overall presentation, said BD. Combo of pen and gel
was messy, however. WP praises its restorative proper-
ties: Certainly has saved some damaged discs I had
thought lost, he chimes in. (Vol.30 No.11)
Nordost Eco 3 antistatic spray: $39.99/
8-oz bottle
Spray it on, wipe it off: a shot of this on CDs, elec-
tronic equipment, and cables will clean up a surprising
amount of sonic smog, claims BW. BD concurs. WP
adds, Frustratingly audible when applied to the label
side of CDs. He hates when that happens. Simpler to
use but less effective than the Disc Doctor CD-clean-
ing system and Audience Auric Illuminator pen-gel
combo, concluded BD. (Vol.30 No.11)
The Disc Doctors CD cleaning system: $55/kit
Compared to the Audience Auric Illuminator pen-gel
combo and Nordost ECO3 CD cleaner, The Disc Doc-
tors cleaning system produced the best results, decided
BD, removing electronic haze and taming overheated
sibilants. Its application process was the most involved,
however, and its positive effects seemed the least per-
manent. (Vol.30 No.11)
MUSIC
SURROUND-SOUND
COMPONENTS
(other than speakers and disc players)
A
Audio Research MP1: $7495
The no-nonsense MP1 is an all-analog preamp with
balanced and unbalanced inputs and outputs, capable
of handling three multichannel inputs as well as four
stereo inputs. The MP1 made KRs entire system seem
more dynamically alive, with a warmth and mor-
dancy that were especially appropriate for large-scale
orchestral music. Kal praised the MP1 as an ideal
choice for a single system with both multi-channel
and stereo duties. It does it all, and it does it all so well,
he said, adding Clean, balanced sound with a bit more
warmth and distance than my reference Bel Canto
Pre6. (Vol.30 No.9 WWW)
Bryston 9B-SST: $6495
The 9B-SST power amplifier (called 9B-THX at the
time of the review) boasts five channels, 120Wpc into
8 ohms, and is built like pro gear; ie, like a tank. Hand-
soldered, double-sided glass-epoxy boards and elabo-
rate grounding scheme front special-grade steel
toroidal transformers. According to JA, the excellent
set of measurements indicates solid, reliable engineer-
ing. LG was impressed by this amps speed, power,
extension, its tightness and definition in the bass, and
its excellent midrange. Fully the equal of more costly
amps, with wide dynamic contrasts and involving
vocals, and sonically similar to previous Bryston ST
amps. THX conformance, a 20-year (!) warranty, and a
reasonable price make this beefy, reliable amp an
attractive packagea perfect choice, suggests LG, for
home-theater and multichannel music systems. KRs
long-term multi-channel reference. (Vol.23 No.9
WWW)
Bryston SP2: $6295
A contender for audiophiles who want the best of both
worlds, the SP2 mates a topflight analog preamp with
a flexible, state-of-the-art digital processor, and adds an
outstanding stereo DAC. Without conflict, complex-
ity, or compromise, the SP2 offered sound quality that
was as good as it gets. KR: For performance and
value, its hard to fault. An audiophile pre/pro, he
sums up. (Vol.29 No.9 WWW)
Cary Audio Design Cinema 11: $3000 $$$
A real sweetheart of a preamp in the guise of a digi-
tal audio (and no video) processor. says KR. Remark-
ably open and transparent, yet completely lacking in
tizz or glare, the Cinema 11 combined the finesse
and clarity of the Bryston SP-2 with the smoothness
and depth of the NHT Controller, leaving KR thor-
oughly infatuated with its sound. However, its Auto
Setup and EQ programs proved confounding.
Imagine that the Cinema 11 lacks those features, and
it represents an excellent choice at $3000, said Kal.
About to be replaced by new version not yet aud-
tioned. (Vol.30 No.7 WWW)
Class CA-3200: $6500
A beautifully shaped piece of audio art, the 200Wpc
CA-3200 is cloaked in satin silver, and its gently curved
front panel is effectively reminiscent of the companys
current line of disc players. The neatly arranged rear
panel offers an outlined area for each of the amps three
channels. The CA-3200 sounded very similar to Classs
more expensive, more powerful Omega Omicron.
Clarity and openness were complemented by a sweet,
extended midrange and sure-handed bass. I find it
impossible to suggest a better three-channel power
amplifier, said KR, feeling the CA-3200 was a per-
fect match with his B&W 802Ds. The ever-fussy JA
was a little concerned by the amps increase in high-
order THD at high current levels, but found excellent
measured performance overall. (Vol.30 No.2 WWW)
Linn Majik C3100/C4100: $3080/$3470
Using technology trickled down from Linns Klimax
line, the 56Wpc Majik multichannel power amplifiers
(originally called Chakras) feature highly efficient
switching power supplies, and a monolithic amplifier
module that handles all low-level signals all the time,
calling on a discrete, external power stage to minimize
heat when required. Their svelte, sexy appearance, low
weight (13 lbs), and relative small size make them ideal
for multichannel systems. With the right speakers
and/or bass management, they proved muscular enough
for the most demanding material, and offered nearly
unparalleled transparency and soundstaging. The
potency of these small amps knocked me out, said KR.
(Vol.28 No.11 WWW)
Mark Levinson No.433: $10,000
Three 200W channels, each supported by its own
power supply, are fitted into the sleek, compact No.433.
Each channel has balanced and unbalanced inputs, is
fully balanced through all voltage-amplification stages,
and is built on its own Arlon PC board. Though it could
sound a bit bright in comparison to other amps, the
No.433 offered excellent midrange clarity and low-
level detail retrieval, along with dynamics and tran-
sients that were beyond reproach. Partnered with his
B&W 802Ds, the No.433 proved extremely satisfy-
ing, said KR. His final verdict: Pure and liquid through
the mids and highs. A lean and clean powerhouse.
(Vol.30 No.5 WWW)
Meridian Reference 861: $17,000$19,000,
depending on options
Multimedia controller with video, DSP-based decod-
ing for matrixed and discrete multichannel audio
sources. Functions as analog preamplifier-controller,
digital and video controller, and A/DD/A converter.
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Built-in, reprogrammable decoding of multichannel
sources (Dolby Pro Logic, Dolby Digital, DTS,
Ambisonic, etc.), plus THX and Trifield output from
two-channel sources. All inputs digitally processed. Of
Trifields synthesized front-three-channels output,
KR observed, I came to regard the loss of air and the
narrower soundstage as acceptable concomitants of the
richer, tighter, better-defined central images. Audio-
phile air began to seem an artifact rather than an
enhancement. DTS and Dolby Digital 5.1 music
recordings injected ambiences whose acoustics
superseded his rooms. Multichannel is immersive, but
our KR would rather not sit in the middle of a string
quartet or orchestra. For two-channel, equal to the
best. . . beyond significant reproach. Multichannel, he
declared, is the future, and Meridian is ready now. Log-
ical but complicated setup and option procedures
entered via PC; heavy dealer involvement is key to get-
ting the best from this ultimate component. But when
the 861 is programmed for precise time alignment and
amplitude balance among the speakers, and the
crossover and bass management adjusted indepen-
dently for the main, center, and rear channels, every-
thing seemed just right, and it made for consistently
satisfying listening, he decided.The TriField DSP is
a greatly advantageous feature that deserves more
recognition. I felt confident that whatever little silver
disc I put into the 800-861, it would sound superb.
Meridians new MConfig program replaces pages of
configuration options with a drag-and-drop graphic
user interface, and offers guided channel-level settings
and room-correction setup routines. KR: The
upgraded 861 References sound was delightfully and
characteristically transparent. . . . Still Class A after all
these years. Price varies with options chosen. (Vol.23
No.2, Vol.26 No.8, Vol.29 No7 WWW)
B
Atoll Electronique PR5.1: $2500
At its heart, the PR5.1 is a pure analog preamplifier
with two six-channel and four two-channel inputs.
However, Atolls DSP option ($375) adds three digital
inputs and one digital output, three video inputs and
one video output, and the software required to inte-
grate these functions, all without disturbing the PR5.1s
basic analog operation. The PR5.1 produced a slightly
relaxed and forgiving sound with surprisingly good
spectral balance and a wide, deep soundstage. If youre
basically a two-channel audiophile but want to add an
SACD and/or DVD-Audio player for multichannel,
the PR5.1 is an attractive and obvious choice, KR con-
cluded. (Vol.30 No.11 WWW)
Denon AVR-4806CI: $4000
The AVR-4806 multichannel receiver has myriad
inputs and decoding modes (including HDCD), 24-
bit/192kHz Burr-Brown DACs, seven 130W amps,
and can receive XM satellite radio with the addition of
a Connect&Play antenna. In addition, since the DVD-
5910 player can pass all audio to it in digital format, the
AVR-4806s format-decoding and bass-management
facilities are accessible for DVD-Audio and SACD play-
back without redigitizing. The sound was detailed and
dynamic, with only the slightest veiling. KR: Denons
top-of-the-line DVD-5910 universal disc player and
nearly-top-of-the-line AVR-4806 A/V receiver are as
talented as any, and are representative of good-quality,
mainstream home theater gear. About to be discon-
tinued. (Vol.29 Nos.1 & 3 WWW)
Integra DTC-9.8: $1600 $$$
The DTC-9.8 multichannel preamplifier/processor
decodes and processes all current digital music formats,
including DSD, Dolby True-HD, and DTS-HD Mas-
ter Audio. It can apply bass and channel management
and room equalization to all formats without redun-
dant A/D/A conversions, has a 7.1-channel analog pass-
through with volume control, provides both RCA and
XLR outputs, and includes a phono input. It combined
an open, seamless soundstage with tonal accuracy, clar-
ity, and tight, potent bass. However, compared to much
more expensive pre-pros, the Integra lacked some trans-
parency and upper-bass weight. The Integra DTC-9.8
sets the bar with its unique combination of talent, per-
formance, and value, said KR. (Vol.31 No.1 WWW)
NHT Controller: $2750
This preamp-processor provides an outstandingly clear
and communicative front-panel display with proxim-
ity-detection sensing, and a Touch Wheel for easy vol-
ume adjustment and menu navigation. Though the
Controllers menu hierarchy is heavily skewed toward
the convenience of NHT speaker owners, setup was
easy, and all functions proved extremely logically struc-
tured. KR most appreciated the Controllers 7.1-chan-
nel Analog Direct input, which uses the channel-balance
adjustments specified for the digital inputs and adds
analog bass management. Offers a unique combina-
tion of intelligent design, audiophile considerations,
and outright good sound far better than youd expect
at the price, he concluded. (Vol.30 No.1 WWW)
NHT Power
5
: $2000
This five-channel, 200Wpc power amp was the per-
fect match for NHTs Controller, rivaling the best
processor-amp partnerings in KRs experience. The
sound was delightful and addictive, combining
impressive power with a subtlety and delicacy that
stretched across the entire audible spectrum. (Vol.30
No.1 WWW)
NO CLASS RATING
Harmonic Technology Harmony Rainbow :
$310/1m with RCAs or BNCs, $40/additional
meter
Six individual color-coded cables in a single bundle for
multichannel systems, this was KRs salvation from
Cable Hell. (See Cable Hell in Vol.25 No.7)
RS Audio Cables The Solution $179/1m,
$20/additional 0.5m
Another excellent 6-conductor multichannel cable at
a competive price. Uses Canare RCAs (like the Rain-
bow Harmony) but with a slightly brighter sound,
according to KR. Choose between them depending on
room and speaker. Available from www.rscables.com.
(Vol.26 No.6)
Zektor MAS7.1: $599
The Swiss army knife of audio input switchers, the
MAS7.1 is capable of switching 7.1 channels. It offers
three coax and three TosLink inputs, as well as coax
and TosLink outputs, and can function as a three-way
HDMI switcher with HDMI V1.3a capability. The
MAS7.1 can handle the job with all sources analog, coax-
ial digital, TosLink, or HDMI, praised KR. Subjec-
tively transparent as an HDMI switcher or 7.1 audio
switcher, it is an ideal choice if you need one or both
functions. (Vol.30 No.11 WWW)
Deletions
Linar Audio Model 10 not auditioned in too long a time.
TWO- CHANNEL
PREAMPLI FI ERS
Editors Note: Apart from the Conrad-Johnsons,
Musical Fidelity, Nagra, Shindo, and Placettes, all the
Class A preamplifiers offer balanced inputs and out-
puts. And unless noted, the preamplifiers listed do not
have phono stages.
A
Aesthetix Saturn Calypso: $4500
A beautifully built, smartly designed, crisply function-
ing, versatile, and sonically brilliant preamplifier, the
Saturn Calypso is a single-box, tubed unit that borrows
technology from the more expensive, two-box Jupiter
Callisto to offer an attractive combination of couch-
potato convenience without compromising its tweaky
audiophilic performance potential, thought MF. It
lacked the last bit of expansive air and resolution found
in more expensive preamps but never sounded bright,
hard, or artificial, and provided one of the best-bal-
anced sounds of any audio component Ive come across
at any price. (Vol.28 No.7 WWW)
Audio Research Reference 3: $9995
The single most impressive and thought-provoking
piece of electronics Ive heard since the Halcro dm58,
raved PB. Updates over the long-running Reference 2
Mk.II include four new circuit boards, two new tran-
sistors, and a graceful, minimalist faceplate marked by
a large vacuum-fluorescent display. The Ref.3s neu-
trality, resolution, and timbral generosity and accuracy
worked together to convey music with an almost
witchily organic sensuality. The best I have heard,
summed up PB. JA cautioned that the Ref.3 would
work best in full balanced mode and into higher imped-
ances, but shares PBs enthusiasm for the preamps
sound quality, as do WP and BD. BJR said he was
astounded by the Ref.3s high-frequency presentation
and tremendous sense of ease. A stunning achieve-
ment, he summed up, adding that the preamp offers
outstanding detail resolution, ambience retrieval,
soundstaging and dynamic envelope replication.
(Vol.29 No.12, Vol.30 Nos.5 & 6 WWW)
Ayre K-1xe: $8950
The x upgrades to the original K-1 include a com-
pletely reworked ground-partitioning scheme, addi-
tional RF filtering, and new high-density polymer feet.
PB found that low-level details emerged effortlessly,
transients were tracked like radar, and the overall pre-
sentation was sharp and deep-focused. Due to the
absence of noise and distortion, PB was brought far
closer to the truth of the music than hed ever imag-
ined possible: The K-1x provided a rather disturbing
exhibition of how much subliminal-level grunge, hash,
and noise is taken for granted as a part of the sound of
even top-level high-end components. . . . Does the
Ayre K-1x belong in Class A? Are there bears in the
woods? The xe iteration includes additional RFI fil-
tering on the AC mains, increased peak current deliv-
ery, and better filtering of rectifier noise. The K-1xes
excellent abilities to convey mood and handle dynamic
shadings offered a captivating listening experience.
Still a world-beater, said WP. Phono section adds
$2600. (Vol.20 No.3, K-1; Vol.25 No.6, K-1x; Vol.30
No.6, K-1xe WWW)
Balanced Audio Technology Rex: $18,500
The two-chassis Rex is a fully balanced, tubed, remote-
controlled line preamp with two pairs of user-selec-
table current-source tubes. BAT provides five XLR
inputs and two main XLR outs, along with excellent,
full-featured ergonomics. Set to its 6H30 position, the
Rex was rich, warm, midrangey, somewhat soft over-
all, sluggish and thick in the bass, thought MF. Set to
its 6C45 position, however, the sound was fast, prop-
erly stiff, taut, and responsive, with a wide soundstage
and solid images. Utterly quiet and soulful, the Rex
is among the most beguiling-sounding control pre-
amplifiers yet devised, said MF. Easy to love! he
summed up. (Vol.31 No.2 WWW)
Balanced Audio Technology VK-3iX: $2995 $$$
The tubed VK-3iX features an improved appearance
and a classier fitnfinish over its predecessors, and
includes four RCA inputs, two XLR inputs, and one
RCA and one XLR output for compatibility with a
wide range of associated equipment. RD noted a well-
balanced sound when the VK-3iX was combined with
a VK-55 power amp, with a good sense of rhythmic
ebb and flow and convincing imaging. Its incompati-
bility with low-impedance loads will not be a factor
when used with BATs own power amplifiers. Phono
card and remote add $500 each; add $1250 for SE ver-
sion. (Vol.28 No.11 WWW)
Boulder 810: $6900
The 810 is a two-channel, solid-state, programmable,
remote-controlled line-stage preamp with all-balanced
inputs and outputs, built on and housed in a chassis of
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anodized, aircraft-grade aluminum. Designed with an
emphasis on keeping noise to a dead minimum, the
810 uses short signal paths, surface-mounted circuits,
shielded power supplies, four-layer damped feet, and
two separate toroidal transformers: one for the audio
signal, one for the displays digital logic control. It
offered a very neutral sound with only a slight soften-
ing in the bass and an even slighter rolloff in the upper
octaves, said FK. JA noted superb measured perfor-
Burmester 011: $21,995
This single-box, full-function, solid-state design with
integral MC phono stage, combines brilliant function-
ality, ease of use, and efficient packaging with the kinds
of luxurious user interfaces and construction quality
one might expect from its price. The Burmesters
sound was big and vibrant, said BD, with an imme-
diacy that re-created the feel and presence of a live per-
formance. JA concurred: The Burmester 001s overall
measured performance is superb, with very low levels
of distortion and noise and a very high dynamic range.
The limited HF overload margin of its phono stage,
associated with its high gain, will preclude its use with
high- or even moderate-output MC cartridges. BD con-
cluded: A wonderful preamp . . . built by music lovers
for music lovers. (Vol.28 No.7 WWW)
Cary Audio SLP 05: $7500
The positively stunning two-box SLP 05, Carys
newest line-level preamp, is dressed in Jaguar automo-
tive paint and boasts eight 6SN7 dual-triode tubes. The
power supply uses a hefty R-core mains transformer
with two sets of secondaries and features a pair of Eng-
lish Sifam meters for monitoring rail voltage and rail
current. The SLP 05s superb detail retrieval allowed it
to communicate the sense of force behind the music,
for a sound that was clear and unambiguous and mean-
ingful. AD: The SLP 05 is beautifully built, fun to
look at, and sounds amazing. (Vol.29 No.9 WWW)
Conrad-Johnson ACT2 Series 2: $16,500
A work of art as beautiful to behold as it is to listen
to, the ACT2 employs four 6N30P dual triodesa
higher-gain, lower-noise design than the ten 6922 tri-
ode sections found in C-Js ARTand fits into a sin-
gle chassis. While it performed imaging, soundstaging,
and other audiophile tricks extremely well, the ACT2s
real strength was presenting music as a whole, trans-
porting the listener to the musical event, said WP of
the orginal version. ST agrees. The preamp Id buy if
I had the dough, he adds. In the Series 2, single-stage
regulation derived from C-Js CT-5 is used in place of
the original ACT2s cascaded power-supply regulators.
Higher-quality Teflon capacitors replace the originals
polystyrene capacitors, while an internal mechanical
shield has been added to further reduce residual noise.
The result was a lower noise floor with a more dynamic
overall presentation, which allowed WP to discern lev-
els of detail that had previously been obscured. One of
Stereophiles Joint Amplification Components for
2006. (Vol.28 Nos.3 & 12, Vol.30 No.11 WWW)
Conrad-Johnson CT5: $8500
The remote-controlled CT5 is essentially a simplified
version of the highly regarded ACT2, employing a
single 6N30P twin-triode tube per channel and fea-
turing a revised power supply with fewer regulators
and greater storage. The CT5 proved comparable to
preamplifiers twice its price in offering no sound of
its own, simply enabling recordings to be themselves.
WP: The CT5 wasnt wimpy, it wasnt heavy-handed,
it wasnt delicate, it wasnt bombasticexcept when
it was. JA noted respectable measured performance,
typified by high dynamic range and a distortion sig-
nature that will never be found offensive. (Vol.29
No.7 WWW)
darTZeel NHB-18NS: $26,250
The stunningly transparent darTZeel offered spec-
tacular transient speed, resolution, and decay, while pro-
viding an overall coherence that made recorded music,
analog or digital, sound much closer to live, said MF.
Bass lacked some authority, and the sound sometimes
had a slight velvety finish. With its warm, vivid com-
bination of red chassis and dark gold front and rear pan-
els, the NHB-18NS looks like it sounds. Its fully
dual-mono design, lack of global negative feedback,
and ultrawide bandwidths are meant to eliminate phase
shifts at the frequency extremes. JA was puzzled by
some aspects of the darTZeels measured performance,
particularly the much poorer performance through the
balanced inputs and outputs, but was overall impressed
by the level of audio engineering. (Vol.30 No.6 WWW)
EAR 912: $11,000
The full-function EAR 912 offers uncommon func-
tionality and flexibility, featuring two pairs of config-
urable phono inputs, internal MC step-up transformers,
a mono switch, six pairs of line-level inputs, two pairs
of outputs, and two VU meters. Of all the top-class pre-
amplifiers AD has auditioned, the EAR 912 proved the
most dramatic, offering a big sound with undeniable
intensity and nuance. A Class A preamplifier in every
sense, said AD, and an heirloom-quality instrument
that represents the apex of both build quality and design
ingenuity. JA noted excellent audio engineering, but
was a bit concerned by the 912s disappointing chan-
nel separation, which was marred by capacitive cou-
pling. (Vol.28 No.12 WWW)
Halcro dm10: $18,990
The dm10s performance might best be summed up
with PBs simple statement, The music sounded glo-
rious. Its supernatural quiet allowed for an almost
unbelievable level of detail retrieval coupled with
true transparency. Its ability to respond instanta-
neously to transients gave the sense of an action done
in perfect consonance and in real time. . . Transient
speed plus silence and harmonic bounteousness here
equaled virtual reality. PB: A paradigm of genuine
high fidelity. . . The Halcro dm10 is not only a superb
line stage, it stands alone as the everything-included-
for-one-price preamplifier. JA: Halcros dm10 offers
measured performance that is both beyond my ability
to fully characterize and beyond reproach. MF also
recommends the dm10, but agrees with JA that the
dm10 is neutral to the point of being slightly dry,
mandating care with system matching. ST is not a fan
of the Halcro sound, however. (Vol.27 No.4 WWW)
Krell Evolution 202: $16,500
Beautifully assembled and jam-packed with technol-
ogy, the two-chassis Evolution 202 incorporates Krells
Current Audio Signal Transmission (CAST), which
involves driving a low-impedance load from a high-
impedance source, essentially eliminating the cables
effects on signal transmission. Along with the Evolu-
tion 600 monoblocks, the 202 provided a vanishingly
low noise floor, immersing WP in performance and
performance space. Accordingly, JAs measurements
found very wide bandwidth and very low distortion.
A pleasure to measure, he said. WP noted very sub-
tle differences between the Evolution 202 and Ayre
K-1xe. Though they matched one another in terms of
dynamic range and the ability to convey subtle tonal,
harmonic, and spatial information, the Ayre may have
been just a bit more euphonic. I guess I vote for the
Krell with my head, which says that one of these pre-
amps must be right, said Wes. CAST interconnects add
$500/m. (Vol.29 No.12, Vol.30 No.6 WWW)
Lamm Industries LL2 Deluxe: $4990 $$$
Line-level preamp with one 6X4, two 12AU7A, and
two 6DJ8 tubes. AD was most impressed by the Lamms
ability to remain free from overhang and distortion
while remaining true to the color, texture, and body of
recorded material. He explained that, because of the
LL2s speedthe things ability to respond to a sig-
nal, amplify it with great faithfulness, then get the hell
out of the wayit gave music more body, more feel,
and especially more movement. It seemed as if per-
formances were actually taking place in the listening
room rather than simply being retold. AD: Judged for
its musicality, the quality of its parts and construction,
and its sheer design ingenuity, the Lamm LL2 is worth
every penny. (Vol.28 No.9 WWW)
Mark Levinson No.32 Reference: $15,950
J-10 loved this line-level preamp with optional phono
modules, the first to carry MLs Reference moniker.
Future-forward design stuffs the power supply, control
circuitry, and display into one chassis, with the ultra-
sensitive audio circuits in a separate, clean box. AC
power regeneration feeds the voltage gain stages, micro-
processor controls offer lots of flexibility, and a new
high-tech attenuator and a wonderfully ergonomic user
interface make life easy. You can change cartridge load-
ing on the fly! The totality of music as presented. . .
was astonishing. . . engaging, rich, rife, extended, airy,
smooth, and oh so palpable. He was also floored by. . .
the enormous amount of unforced information passing
through its circuits. . . . The enormous level of utterly
natural detail was evident throughout the audible fre-
quency range. He went on: the sound was not analytic,
you understand, or dry, just there. It delivers on that
promise of More and Better like nothing Ive heard to
date. . . . Bravo. LG breathlessly adds, The sonics with
a Levinson reference system on the Dynaudio Evi-
dence was tops. JA was sorry when he had to bid adieu
to the review sample, but PB is less impressed, find-
ing that when the No.32 was set against the Halcro
dm10, VTL TL-7.5, and BAT VK-51SE, it couldnt
seem to generate as spacious a soundstage as the com-
petition, and it consistently put me farther away from
the music. Optional phono modules add $2500. Still
a JA favorite. (Vol.23 No.1, Vol.27 No.4 WWW)
Mark Levinson No.326S: $10,000
The No.326S offered neutrality that allowed JA to hear
deeper into the mix, and presented subtle details with
greater contrasts against a quieter background. Switch-
ing the No.326S out of the system flattened the image
depth and increased the overall grain. The No.326Ss
measured performance was beyond reproach. For
now, said JA, the No.326S offers all I want from a
preamplifier. (Vol.29 No.1 WWW)
McIntosh C1000 system: $17,000$26,000
The C1000 preamp system consists of the C1000C
controller/power supply ($8000) and two separate,
fully balanced preamplifiers: the solid-state C1000P
($9000) and the tubed C1000T ($9000). The C1000C,
which can be used with each or both preamp chassis,
has controls for Volume, Balance, Source, and Record
Out, and provides power and control signals to one or
both preamplifiers via individual cords for each chan-
nel of each preamp. The C1000T and C1000P are iden-
tical, with nine sources each, and sounded remarkably
similar: the tubed unit produced the tonal balance and
neutrality commonly associated with transistors, while
its solid-state partner delivered a bloom usually asso-
ciated with tubes. MF was impressed by the C1000s
complete quiet, most obvious in the utter ease of the
overall sound. Though its flexibility is almost unlim-
ited, configuring the C1000 was complicated and occa-
sionally frustrating. Superb audio engineering, said
JA. LG was also taken by the C1000T. One of Stereophiles
Joint Amplification Components for 2006. (Vol.29
No.8 WWW)
Musical Fidelity kW Hybrid: $5000
With its handsome brushed-aluminum faceplate, black
faux rack-mount handles, and single large volume con-
trol, the kW Hybrid represents a huge cosmetic
improvement over the Tri-Vista kWp, and, with an on-
board power supply, is only half as bulky. A preamp
capable of producing nearly 20W RMS into 8 ohms
(!), the kW Hybrid is almost impossible to overdrive,
and, with ultralow noise and distortion, it aspired to the
proverbial straight wire with gain. Driving the kW750
power amp, it produced a rich, full-bodied, and sweet,
yet detailed and reasonably fast sound free of etch,
grain, or hardness, but lacking a bit of agility and snap.
PSB Synchrony
Synchrony yields sonic performance that pushes the boundaries of the possible, whether judged
by way of close technical analysis, or by rigorous subjective evaluation. The seven elegant,
small-footprint Synchrony models integrate quietly into todays most sophisticated listening
rooms and home theaters. Synchronys designs feature a consistent gracefulness of form that
pleases the eye, and natural, superbly nished surfaces that reward the touch.
A Symphony for the Senses
see . hear . touch
y a
r S s
p
The Synchrony Two is at-out the best PSB speaker Ive reviewed. How
good? Even if youve allotted up to ten grand on a pair of speakers, youd be
making a serious mistake if you didnt audition this exceptional product
thats how good.
Neil Gader, The Absolute Sound, December, 2007
For more information or to nd your nearest dealer visit:
www.LenbrookAmerica.com
The Finest Selection of Audio Components in the World.
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An extraordinary preamplifier, said JA. An easy call,
agreed MF. (Vol.28 No.12 WWW)
Nagra PL-L: $8495
With its inputs on the left and outputs on the right, the
PL-L offered KR some setup problems, but he found
it practically impossible to criticize the PL-Ls sound.
The PL-L was absolutely satisfying and enjoyable.
Noise was never noticeable. . . and all controls worked
silently and smoothly. . . . The PL-L was revealing and
natural, imparting little personality or coloration of its
own. KR commended it not only for professional
monitoring, but also for home systems of the very high-
est quality, and JA found superb measured perfor-
mance. . . . Another Swiss jewel of a product from
Nagra. JA is working on a Follow-Up; his prelimi-
nary auditioning continues the recommendation.
Remote control adds $1000; balanced outputs add $500.
(Vol.25 No.11 WWW)
Parasound Halo JC 2: $4000 $$$
Styled to match the JC 1 power amplifier and finished
in the same brushed, natural aluminum, the JC 2
exhibits a high standard of construction. Each channel
of the fully balanced JC 2 is on a separate PCB, with
the audio and control power supplies on separate cir-
cuits, isolated from each other by
3
8"-thick aluminum
partitions. ST was impressed by the JC 2s noiseless
operation and excellent reproduction of space, which
allowed music to emerge intactwith body, bloom,
and dynamics, with definition and detailfrom an
utterly silent background. JA agreed, but decided the
JC 2 sounded best with warmer-sounding amplifiers
and speakers, when it excelled in the areas of images
and dynamics. Perhaps the finest solid-state line stage
I have heard, sums up ST. This is what a great line
stage does: lets all the other components perform at
their best. (Vol.30 No.12, Vol.31 No.3 WWW)
Placette Audio Active Line Stage: $6995
The Active Linestage is intended to combine the trans-
parency of Placettes purist Remote Volume Control
with a usable level of functionality, providing five sets
of unbalanced inputs, two sets of outputs, and a tape
loop. Its absolute clarity, focus, solidity, and trans-
parency were unrivaled in BDs experience. Highly
recommended. Sold direct, with a lifetime warranty
and 30-day refund policy. (Vol.30 No.11 WWW)
Placette Audio Remote Volume Control: $1000
A paperback-sized black box with one set of unbal-
anced inputs and outputs, a toggle switch and remote,
a row of LEDs that light up to indicate the relative vol-
ume level, and a 125-step attenuator built entirely with
super-premium Vishay S-102 foil resistors. The
Placette centered and locked images into place,
improved transparency by removing grunge, and
snapped sonic pictures into focus. BD: The result was
stunning. Against the Sonic Euphoria PLC, the
Placette was better at resolving fine-scale and inner
detail, adding complexity, texture, and volume to notes
while providing a larger, deeper soundstage. It lacked
the PLCs dynamics and solid, dense images, however.
Comes with a 30-day, money-back guarantee. (Vol.27
Shindo Masseto: $11,500
Like the Aurieges, the Masseto is a full-function pre-
amplifier, but adds a selectable choice between mov-
ing-magnet and moving-coil phono inputs. The
dual-mono power supply is based on a pair of Philips
6X4WA rectifier tubes, the phono stage uses one
Philips 6189W and one Philips 12AT7 per channel,
and its line stage uses a single LCP86 triode/pentode
per channel. With a stunningly low noise floor, the
Masseto consistently conveyed music in a way that
allowed Art to become fully immersed in the perfor-
mance. Time after time, he said, I found myself
responding to my hi-fi the way I respond to real music.
The Massetos stock input MC transformer was quiet
in every way, and worked especially well with Arts
Miyabi cartridge, providing loads of texture, and
enough drama to keep me happy indefinitely, he said.
(Vol.30 Nos.7 & 10 WWW)
Simaudio Moon P-8: $13,500
This dual-mono, two-chassis preamp is as imposing and
impressive as Sims W-8 power amp. While the Pre-
amplifier chassis contains all the audio circuitry, the
Controller chassis includes a power supply capable of
driving the preamplifier and an additional device, such
as a phono stage or DAC. Setup was simple, and from
first power-up, the P-8 performed faultlessly and
impressively. KR described it as being by far, the qui-
etest preamp hed ever heard, detecting only a slightly
mellow tonal character in comparison to other com-
ponents. JA admired the P-8s excellent linearity and
superb channel matching. A superbly engineered com-
ponent, he said, and is planning on doing a Follow-
Up. (Vol.29 No.11 WWW)
VTL TL-7.5 Series II Reference: $16,500
With both delicacy and power, the VTL TL-7.5 com-
bined a seemingly molecular level of resolution with
an agile, flowing facility at presenting context, mean-
ing, and emotion. The overall sound was entirely grain-
less and transparent, with true, deep, and tight bass, and
incredibly fast, smooth, and open treble. PB: It is, by
no small margin, the finest line stage I have ever heard
at length. MF found that the TL-7.5 was a smooth
operator, with a sumptuous but not excessive mid-
band glow and smooth overall musical flow. It may
have sacrificed dynamic expression, but it offered long-
term listenability, tunefulness, and emotion. For JA, the
TL-7.5 was a delight to test; it displayed virtually
bombproof measured performance. PB chose the TL-
7.5 over the Halcro dm10, BAT VK-51SE, and Levin-
son No.32: [Its] strongest suit remains its complete
lack of discernible sonic character. . . . Its the finest pure
line stage I have heard, barely nipping the Halcro by a
few thousandths of a second at the finish line of this
Grand Prix. Slightly soft on the bottom, adds MF.
One of Stereophiles Joint Amplification Components
for 2003. BD decided that the TL-7.5 removed a slight
dulling and veiling of the sound in his system, creating
a larger, airier soundstage with improved clarity and
transparency. The Series II replaces the original models
12AX7 tube with a 12AU7, and reconfigures the sur-
rounding circuit to run the tube at a substantially higher
current. Sonic benefits included increased speed, open-
ness, and improved dynamics at the frequency extremes.
Its slightly cooler tonal balance and forward presenta-
tion sometimes bordered on hardness, however. While
the original TL-7.5 didnt soundat all, the Series II sounds
better, mused BD. His Follow-Up determined that,
despite the manufacturers concerns, the TL-7.5 was
only slightly affected by the use and choice of power
conditioning, sounding cleanest, fastest, and most
detailed with the Audience AdeptResponse, said BD.
Upgrade of Series I TL-7.5 to Series II costs $4500.
(Vol.26 No.10, Vol.27 Nos.1 & 4, Vol.28 No.12,
Vol.30 Nos.5 & 6 WWW)
VTL TL-6.5 Signature: $9500
The TL-6.5 uses two 12AU7 tubes and MOSFET out-
put devices. It is derived from the cost-no-object, two-
chassis TL-7.5 Reference, but uses only two power
transformers rather than the TL-7.5s three, and has
smaller output capacitors and a higher output imped-
ance. It offered battleship reliability, faultless micro-
processor control of tube operation, and extraordinary
switching control as well as first-rate sound, said
LG. He was bowled over by the VTLs dramatic dynamic
contrasts, clear and open midrange and treble, and solid,
tuneful bass, but only after two weeks break-in. JA was
similarly impressed by the VTLs overall excellent
measured performance. WP is working on a Follow-
Up. (Vol.30 No.6 WWW)
B
Atoll Electronique PR300: $2400
The PR300 offers five line inputs and a bypass for a
surround-sound processor, Atolls only concession to
home theater and multichannel sound, and uses a gain
section based entirely on discrete transistors. In com-
bination with the Atoll CD200 CD player and AM200
amp, the PR300 offered a sound that was sweet and
harmonically rich-never threadbare or hyperanalyti-
cal, with a slightly laid-back overall presentation. Oth-
erwise smooth, clear, and quiet, the PR300 sounded a
bit congested and hard during heavy-going orchestral
passages. But Very quiet, nicely detailed, hard to name
another solid-state preamp at the price which outper-
forms the Atoll, he sums up. (Vol.29 No.9)
Audio Valve Eclipse: $4499
The Eclipses clear acrylic top plate is machined to
include two rounded ventilation slots for its four Elec-
tro-Harmonix 12AU7A tubes. Its neutral tonal balance,
clear and forward sound, and wide dynamic range cre-
ated a musical presentation that matched drama with
good senses of size and scale. It lacked, however, the
Shindo Massetos ability to closely follow melodic lines.
A lovely product, and a decent value for the money,
concluded AD. BJR agrees, describing the Eclipse as a
liquid, dynamic, and colorless tube preamplifier whose
strengths are many and flaws nonexistent. Ruggedly
constructed, visually gorgeous, and a superb value.
Though he was unimpressed by this preamps imple-
mentation of different input sensitivities, JA decided
the Eclipse measured well for a tube design. For best
results, the Eclipse should be used with a power amp
having an input impedance of at least 30k ohms, he
cautioned. (Vol.30 No.8 WWW)
Ayre K-5xe: $2950
Like all of Ayres 5-series products, the K-5xe uses the
Ayre Conditioner, a built-in RFI filter that works in
parallel with the AC line to reduce background noise,
grain, and hash. The K-5xe added nothing to the orig-
inal signal and had no sonic signature of its own. ST:
It just got out of the way subsequently adding that
this superb solid state line-stage preamp is everything
you could ask for: neutral, detailed, dynamic, excep-
tionally low noise, fun to use. JA is working on a full
review, but feels high Class B is a fair rating. Black fin-
ish adds $250. (Vol.29 No.5)
DNM 3D Primus: $7995
Housed in a distinctive plastic case, the 3D Primus is
physically identical to its predecessor, the 3C. The 3D
has upgraded power supplies and, in an effort to reduce
back-EMF effect, its slightly larger motherboard is held
in place with only nylon nuts and bolts. In addition, the
3D has phono-selector and mono switches and a head-
phone jack. Mated to the DNM PA3S amplifier and
driving his Quad ESLs, the Primus produced some of
the purest and altogether most listenable playback Ive
enjoyed at home, said AD. Listenability. Smoothness.
Detail without fuss. Openness without brightness.
High Class B was his rating, cautioning for special
tastes only. (Vol.31 No.3 WWW)
JuicyMusic BlueBerry Xtreme: $1795 $$$
Made in the US and designed by industry veteran Mark
Deneen, the BlueBerry is a full-size, all-tube preamp
with line and phono sections, balance controls, a mono
switch, and an attractive solid-wood cabinet. Used as a
line-level preamp with CD players or external phono
preamps, the BlueBerry Xtreme provided realistic tex-
tures, good rhythmic performance, and chunky, three-
dimensional images. The timbral balance of its phono
section, however, sounded slightly tipped-down in the
upper bass. A great-sounding, well-engineered pre-
amp with styling that pretends the last 25 years didnt
happen, said AD. Cream option adds $500. (Vol.29
No.10 WWW)
PrimaLuna ProLogue Three: $1599
Built by hand with point-to-point wiring, the beauti-
ful ProLogue Three has a fully vented chassis of heavy-
gauge steel with five coats of hand-rubbed finish, and
a removable metal cage that fits over the tube compart-
ment. Typically tubelike, the Three was smooth,
open, transparent, and easy on the ears, but lacked some
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presence in the upper midrange and treble. Pairing it
with the ProLogue Seven power amp, however, pro-
vided a more optimal combination of accuracy and
musicality. Outstanding value, said RD. JA advised:
The Threes decreasing linearity at low frequencies
means that it should not be used with power amplifiers
whose input impedance drops much below 50k ohms.
The matching Prologue Sevens 77k ohms will be fine,
he notes. (Vol.29 No.12 WWW)
Promitheus Audio TVC: $680, as reviewed $$$
Built to order and evincing meticulous craftsmanship
and impressive fit, finish, and appearance, the TVC pas-
sive preamp is sold direct to customers from the
Promitheus factory in Kuala Lumpur, Malaysia, and
comes with a 30-day money-back guarantee. It uses
only wires, connectors, and two balanced transformers
to provide a pure, clean, smooth presentation, taking
the electronic edge off everything without dulling the
sound, said ST. In addition, Sam found it utterly trans-
parent at any volume setting as it delivered superb
detail and dynamics. Solves the usual problems of a
passive preamp via transformers, he sums up. But will
you have enough gain? he wonders. Prices start at $320,
shipping adds $60. (Vol.30 No.7)
Shindo Aurieges: $3895
The handmade, limited-edition Aurieges is built into
a steel enclosure and beautifully finished in metallic-
green lacquer. It uses four NOS tubes in the preamp
section and a 6X4 rectifier tube in its external power
supply. With an extremely low noise floor and excel-
lent sense of momentum and flow, the Aurieges offered
a sound that was wonderful and engaging. Above all,
it emphasized the ideal of making music and in
doing so came closer to re-creating great art than any-
thing else, said AD, though he cautions that its high
output impedance mandates care in system matching.
Line-only version: $2995. (Vol.30 No.6 WWW)
Sonic Euphoria PLC: $1295
BD was impressed by this autotransformer-based pas-
sive line stages overall presence and excellent dynam-
ics, and by how it produced solid, dimensional images.
While BD had no trouble integrating the PLC into
his system, JAs measurements indicated that careful
consideration should be taken in matching source
components and power amp. Otherwise, a well-engi-
neered piece of kit, JA concluded. AD noted accu-
rate pitch relationships, and excellent musical flow
and momentum, with absolutely no dynamic com-
pression or bass attenuation. Consider the PLCs
$1295 price to be the audio equivalent of the Bank
Error in Your Favor card in Monopolyand jump on
it. Price is for single-ended version. Balanced version
adds $700; remote control, $250; WBT RCA upgrade,
$40/pair; additional inputs/outputs, $40/pair. (Vol.29
Nos.1 & 2 WWW)
Sutherland Direct Line Stage: $3000
The sturdy, versatile, and simple the Direct Line Stage
(originally called the Director) features substantial case-
work, offers four RCA line-level inputs and two RCA
outputs, and automatically selects source components
as soon as it reads a signal at the RCA input sockets,
something ST loved. ST: The Director did what an active
preamp should do: it provided enough voltage gain,
with the attendant better dynamics and superior
dynamic shading, compared to most passives. Head-
to-head against the Music First Passive Magnetic, the
Director gave more extended highs, giving music more
get-up-and-go and making the Passive Magnetic seem
a tad dull. But avoids the solid-state nasties, he sums
up. Offers excellent build quality, an imaginative and
intuitive user interface, and cosmetics rare at its price,
decided BD. Though the DLS lacked spatial and tem-
poral precision when compared to much more expen-
sive preamps, felt BD, it offered extraordinary clarity
and dynamics. The Direct gets you into the upper-
most echelon of current audio gear for a relatively sane
price, he summed up. (Vol.29 Nos.1 & 9 WWW)
C
Audio Electronics AE-3 Mk.II: $1500
A fast little line stage that doesnt hold the music
back by its own tonnage, Dennis Hads AE-3 is half-
width, lightweight (12 lbs), and uses two 6SN7 tubes
and one 5AR4 rectifier tube. While it lacked the
authority and dynamic thrust of larger preamps, the
AE-3 brought the sound of tubes to Sams system.
Fast and fun, easy on the ear and on the wallet, con-
cluded ST. (Vol.30 No.11)
Editors Note: There are currently no Class D pream-
plifiers listed.
K
NHT PVC.
Deletions
Musical Fidelity X-10
V3
discontinued; Viola Cadenza
and Sugden HeadMaster not auditioned in too long a
time; CAT SL-1 Ultimate replaced by SL-1 Renais-
sance not yet auditioned.
TWO- CHANNEL
POWER AMPLI FI ERS
Editors Note: Because of the disparity between typ-
ical tube and solid-state sounds, we have split Class A
for separate power amplifiers into two subclasses. Nev-
ertheless, even within each subclass, Class A amplifiers
differ sufficiently in character that each will shine in an
appropriate system. Careful auditioning with your own
loudspeakers is therefore essential. Except where stated,
output powers are not the specified powers but rather
those we measured into an 8 ohm resistive load. All ampli-
fiers are stereo models, except where designated.
A (SOLID-STATE)
Ayre Acoustics MX-R monoblock:
$18,500/pair
Relatively small (11" W by 18.75" D by 3.75" H) for a
300W monoblock, the MX-R is carved out of a 75-lb
billet of aluminum, and uses a zero-feedback, discrete
design with a dual-transformer power supply whose
custom-made trannies are built to fit the MX-Rs
unique shape a shape that provoked WPs audio
lust: a hunka hunka shiny, anodized audio presence,
as he described it. Its too physical to look cute and
too sleek to look like a monster amp. Though the
MX-R exhibited a clangy opacity when cold and
required break-in to reach maximum performance, its
unrivaled presentation then captured the clarity of
individual instruments as well as the musical whole.
Second to none, said Wes. Comparing the MX-R
with the Krell Evolution 600s, the sonic differences
between the amplifiers were extremely subtle, said
WP. However, while the Krells drew Wess attention,
especially with superbly recorded material, the Ayres
inspired him to deeply mine his entire music collec-
tion. (Vol.30 No.4 WWW)
Ayre V-5xe: $4950 $$$
The compact, beautifully built V-5xe delivers 150Wpc
into 8 ohms and features single-ended and balanced
inputs and speaker-wire terminals made by Cardas.
Though it lacked some power in the bass and sacrificed
a little of that you-are-there-ness produced by the
best single-ended-triode amps, the V-5xe offered a
highly resolving, dynamic, harmonically pleasing sound
that was never fatiguing. Open, airy, and sweet, said
ST. What more do you want? (Vol.29 No.5)
Bel Canto e.One Ref1000 monoblock:
$3990/pair
The 500W e.One Ref1000 and 150Wpc e.One ($1495)
are the successors to Bel Cantos TriPath-based eVo
line, are based on Bang & Olufsens ICEPower mod-
ules. Bel Canto treats the B&O modules with a viscous
material to damp and stabilize the capacitors, relays,
and other components on the printed circuit board. Kal
connected a Ref1000 monoblock to each of his three
B&W 802Ds and used a 150Wpc S300 for his pair of
804Ss. Though physically small, the e.One Ref1000s
provided tight and well-delineated bass without any
power limitations. The Bel Canto e.One amps make
it possible to have multiple dedicated amps without
compromise in sound quality or power output, said
KR, deciding on Class A for the Ref1000 but Class B
for the S300. (Vol.29 No.11 WWW)
Boulder 860: $8500
Like the 810 preamplifier, the 150Wpc 860 is built into
an anodized, aircraft-grade aluminum chassis, stands
on four-layer damped feet, and boasts the same empha-
sis on short signal paths, low noise, and isolation of com-
ponents. Though the 860 proved superb at capturing
harmonic overtones and at placing images precisely on
an illuminated soundstage, FK noted an upper-
midrange glare that lent a veiled quality to voices
and a steely edge to violins. Though WP heard this
same character in FKs listening room, the Boulders
performance in his own system was revelatory, sug-
gesting a compatibility issue with Freds speakers
and/or cables. JA agreed with WP about the Boulders
overall quality and was impressed with its silky high
frequencies and superb soundstaging. He also agreed
with FK that the low frequencies lacked ultimate def-
inition but noted superb measured performance.
(Vol.30 No.12 WWW)
Bryston 28B-SST monoblock: $16,000/pair
One of the most outstanding amplifiers at any price,
the 28B-SST boasts a 1kW power rating (no fewer
than 1300W at clipping), includes an enormous
toroidal transformer rated at 2000VA continuous
power, and applies Brystons thermal monolith
design, with 38 heat-radiating fins on each side of its
rugged chassis. The Bryston had the raw power to
reproduce HUGE dynamic contrasts, as well as the
delicacy and sweetness to reveal emotionally evoca-
tive musical details, said LG. Brystons 28B-SST
joins that select group of very-high-powered ampli-
fiers that have sufficiently low noise and distortion to
reproduce high-resolution digital recordings without
compromise, praised JA, though he warned that the
big Bryston was at its best driving high-impedance
speakers. (Vol.31 No.1 WWW)
Chord SPM 14000 monoblock: $94,500/pair
Specified to deliver 1000W (only 525W at actual clip-
ping), the insanely expensive SPM 14000 has exquis-
ite fitnfinish and clean, minimalist styling. Its
performance was marked by utter effortlessness, with
unnatural background silence, superlative transparency,
and endless power equally capable of blowing down
walls or re-creating the intimacy of small-scale music.
If exclusivity, massive power, sterling sonics, and
utterly bombproof construction are what you seek, you
may find different, but you wont find better, said BD.
Other than the shortfall in power delivery, the Chord
SPM 14000 delivers excellent measured performance,
JA concurred. (Vol.29 No.3 WWW)
darTZeel NHB-108 Model One: $21,181
This Swiss-made, 100Wpc, solid-state design uses just
six active devices per channel, but no global feedback,
DC servo circuitry, or current limitation of any kind.
(An internal switch adjusts the operating parameters
for high- or low-impedance speakers.) Visually and
sonically, what a gorgeous machine! exclaimed JM,
who enthused over its sonic transparency and excel-
lent dynamics. Quite the sweetest-sounding solid-
state amplifier I have heard, added JA, though he
found the NHB to be very fussy about how it is used,
likening it to a Shelby Cobra, a handbuilt, high-per-
formance design that makes demands on its always
gratified owner. WP concurred: A pure performance
device designed without compromise. . . . You can get
phenomenal performance if you play by the darTZeels
rules. Stereophiles Amplification Component of
2005 and joint Product of 2005. (Vol.26 No.9, Vol.28
Nos.4 & 5 WWW)
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DNM PA3S: $7195
The DNM PA3S is sufficiently idiosyncratic that it is
only recommended in combination with a DNM pre-
amplifier. When he paired it with DNMs C3 preamp
(no longer available), Art heard superb rhythm and flow,
along with a smooth, clean, dead-quiet presentation.
The system excelled at highlighting distinct musical
images while reproducing the entire musical event. The
PA3S drove Arts Quads to satisfying levels without a
single instance of mushiness, bad scale, spatial blur, or
fuzz, though the sound was never quite as big and
coarse and melodramatic as I wanted it to be. AD: If
you want an amplification system that, above all, can
put across every nuance of the composers and per-
formers ideas, this may be it. With the DNM com-
ponents at the heart of his system, Art discovered the
best combination of musical accuracy, color, drama,
scale, and texture hes ever heard in his home. It was
all framed with superb stereo imagingand all quite
fun to use. (Vol.27 No.5, Vol.28 No.3 WWW)
Halcro dm88 monoblock: $44,900/pair
The dm88 has the same size, weight, chassis, cosmet-
ics, user interface, four-compartment configuration,
and power-factor corrected mains supply as its revo-
lutionary predecessor, the dm68. Changed from the
dm68 are modifications to the voltage-amplifying and
power amplifier stages, improved magnetic shielding
between input and output stages, new power-supply
circuitry, and revised power generation. The dm88
exhibited all of the lower-powered dm58s strengths
while adding just a touch of warmth and sweetness.
The dm58 was Kansas, the dm88 was Oz, said BD.
Offers the superb measured performance that JA has
come to expect from Bruce Candy designs. One of
Stereophiles Joint Amplification Components for
2006. (Vol.29 No.8 WWW)
Halcro dm38: $22,990
The 180Wpc dm38 is basically the circuit of the dm58
monoblock, duplicated for stereo but with reduced out-
put power. JA heard exemplary macro- and micrody-
namics, iron-fisted bass control, and a superbly
transparent soundstage. While the treble was grain-
free and the midrange was silky smooth, JA felt that
the amplifiers tonal balance was on the lean, cool side.
Though the dm38s overall measured performance was
superb, JA advised, Loudspeaker loads that dip signif-
icantly below 4 ohms are best avoided if the amplifiers
dynamic range is not to be compromised. There were
some measured problems in the original review, which
Halcro explained was due to a manufacturing problem.
THD was still higher than specificd, however, and fur-
ther investigation of a second sample uncovered the
source of the observed distortion to be one of JAs test
fixture wires, not the load resistors or the amp itself!
Redoing the distortion tests with the repaired connec-
tors showed that the dm38 conformed to its specified
low distortion at high powers. The second sample, with
an in-spec capacitor, shifted the amps tonal balance
from cool to slightly warm, but JA continues to regard
the dm38 as one of the finest-sounding amplifiers he
has experienced. (Vol.27 No.10, Vol.29 No.11, Vol.30
No.1 WWW)
Krell Evolution 600 monoblock: $33,000/pair
Extraordinary dynamic range within a velvet glove,
read our December cover. This 600W powerhouse
marries superb fitnfinish to extremely advanced think-
ing that includes Krells Current Audio Signal Trans-
mission (CAST) and Active Cascode Topology (ACT).
Combining low-level detail, sinuous pacing, and sheer
power, the 600s reproduced music in a way that was
scary real, said WP. CAST interconnects add $500/m.
(Vol.29 No.12, Vol.30 Nos.3 & 4 WWW)
Lamm Industries M1.2 Reference monoblock:
$21,690/pair
The 110W M1.2 with tube front end and MOSFET
output stage, comprehensive short-circuit protection,
and high/low impedance settings, offered unflinch-
ing honesty in conveying the true nature of the music
that passed through it, said PB. Utterly continuous
and coherent from top to bottom, the M1.2 combined
resolution and transparency with harmonic complete-
ness, timbral richness, and glow. JA concurs. (Vol.28
No.2 WWW)
Mark Levinson No.33H monoblock:
$24,000/pair
If I go on at length about how great the [150W] 33H
sounds, Im forced to admit it has a sound, kvetched
WP. Soundstaging. . . was phenomenaldeep,
detailed, holographic. Tonal balance was natural, and
possessed purity and clarity galore. Low-level detail
never leapt out at me, but existed naturally within the
musical gestalt. . . . Paradoxically, the No.33H exists on
a plane where the news isnt about more, its about less.
It had no grain, no grit, no electronic character that I
could detect. It had no warmth.. . . no MOSFET blur,
no transistor etch, no tubey euphony. . . . It was practi-
cally nonexistentexcept that it did what it did better
than anything else Ive ever heard. JAs reference (he
bought a pair). (Vol.21 No.1 WWW)
Mark Levinson No.431: $7000
The 200Wpc, two-channel No.431 is shorter, deeper,
wider, and 7 lbs lighter than its predecessor, the No.334,
but is rated to deliver almost twice the power into 8
and 4 ohms. LG: There was a slight reduction in bass
solidity and punch when the slim No.431 was com-
pared with the massive No.334 through the Revel
Ultima Salons, but there were also improvements in
midrange detail and treble extension through the
Quads. Despite running very warm, the No.431
proved to be a well-engineered powerhouse of an
amplifier, said JA. (Vol.28 No.5 WWW)
mbl Reference 9007 monoblock: $27,660/pair
The 440W Reference 9007 can be used as either a bal-
anced monoblock or a single-ended stereo amplifier
and has provisions for biwiring and biamping. It uses
mbls Direct Push/Pull circuitry design and Isolated
Gain Cell technology, and its gleaming black exterior
is decorated by a large, gold mbl logo. Sacrificing bloom
and suppleness for crystalline transparency and offer-
ing tightly focused imaging, shimmering highs, and
well-damped bass, the 9007 was one of the most excit-
ing and engaging amplifiers in MFs experience. His
recommendation only concerns the 9007 used as
monoblock pairs, however. JA was thrilled by the mbls
superb measured performance. (Vol.29 No.9 WWW)
Musical Fidelity kW750: $10,000
Designed to complement the kW Hybrid preampli-
fier, this 750Wpc powerhouse has an attractively under-
stated look and is remarkably compact for its power
rating. With the kW Hybrid, the kW750 offered a
rich, buttery musical presentation that was not at all
smothered or starved on top for air or transient speed,
and produced believable weight, texture, and control.
Those seeking a faster, tighter, or brighter sound might
look elsewhere, MF warned. The kW750 exhibited
exemplary behavior on JAs test bench. JA feels this
to be the best-sounding of MFs current range of ampli-
fiers. Single-ended inputs only. (Vol.28 No.12 WWW)
Musical Fidelity Supercharger 550K mono-
blocks: $5000/pair $$$
The 550K Supercharger employs the same 550W
monoblock amplifier circuit found in Musical Fidelitys
kW550 integrated amp, but implements it in a low-
gain configuration so that your existing amplifier can
be used to drive the 550K, preserving its sonic signa-
ture but greatly increasing dynamic range capability.
Adding the 550K to MFs system gave Music Refer-
ences RM-200 100Wpc tube amp greater dynamic
range for a more realistic overall presentation, with-
out changing the RM-200s rich, airy sound. You can
have your cake and make it rock, too, said Mikey.
The Supercharger should have no problem perform-
ing as promised, said JA, citing a superb set of test
results. (Vol.30 No.9 WWW)
Parasound Halo JC 1 monoblock: $7000/pair
$$$
MF heard exactly what this high-power400Wpc
specified, 586W at clipping!John Curl-designed
amps specs showed: ultra-wide bandwidth, high-cur-
rent capability, low, low noise, a high S/N ratio, and a
fast slew rate, among many other indicators of outstand-
ing amplifier performance. . . . There was an honesty
to the overall tonal and harmonic presentation that tran-
scended technological stereotypes. MF found the
overall sound to be powerful, refined, smooth, orga-
nized, dynamic, transparent, and rhythmically supple,
if a little on the subtly warm and rich side of the sonic
spectrum, but decided that this not at the expense of
transient speed and resolution of detail. Perhaps some
listeners will find the JC 1 too refined and perhaps a tad
polite, but I didnt. Rocks for sure, says ST, adding
that with the amp driving the Triangle Magellans, he
found the bass firmed up, the sound wasnt strained in
any way, and there was an overall sense of ease. Dynamic
ease. Listening ease. Just ease. Compared to the Hal-
cros, the Parasound JC 1s brought the soundstage for-
ward. Tonally, the Parasounds were magnificent. . .
with no trace of solid-state hardness. And the amps
werent even broken in. The Parasound JC 1 is one of
the finest high-powered solid-state amps Ive heard,
said ST. Think of it as a 25W class-A amp that does
400W class-A/B when pushed. Matched with the JC
2 preamp, the JC 1s presented even greater holographic
detail and transparency. A favorite of JAs, who was
equally impressed by how the JC 1 performed on the
test bench: This is excellent measured performance.
The Halo JC 1 is not only the best amplifier to come
from Parasound, it ranks up there with the best high-
end heavyweights. Stereophilesand Sam Telligs
Joint Amplification Component for 2003. (Vol.26
Nos.2, 6, & 12, Vol.30 No.12, Vol.31 No.3 WWW)
Plinius SA-Reference: $15,195
An update of the Plinius SA-250 Mk.IV and using tech-
nology derived from the modular, multichannel Plin-
ius Odeon home-theater amplifier, the 300Wpc
SA-Reference represents Plinius latest thinking on
solid-state circuit design. The SA-Reference exhibited
outstanding bass performance, an unfailingly even-
handed and sweet-tempered midrange, and unac-
cented and grainless highs. PB: Combining
brute-force power, world-class finesse, superb build
quality, and a genuine and engaging musicality, the
Plinius SA-Reference is one hell of an amplifier.
(Vol.29 No.5 WWW)
Simaudio Moon Rock monoblock:
$50,000/pair
This 1000W, 220-lb behemoth presented music with
a relaxed, effortless feel that was sometimes decep-
tivelike a quiet, stable car thats a lot faster than it
feelsand communicated emotions appropriate to
the source material. BD: With dynamic program mate-
rial, the music was vivid and explosive. With soft, inter-
woven lines, I was touched by the delicacy and sweetness
of the musics detail. BD sometimes sensed a slightly
warm tonal balance and a faint liquid texture, and was
surprised by the Rocks tendency to squeeze images
closely together. Nevertheless, he concluded, Simau-
dio set out to build an amplifier as good as any out there,
and theyve done it. JA: Simaudios Moon Rock offers
both superb measured performance and enormous
capabilities of dynamic range. (Vol.28 No.9 WWW)
Simaudio Moon Evolution W-8: $13,500
An outstanding amplifier, the 250Wpc (310W at
actual clipping), dual-mono W-8 is the first of Simau-
dios Moon series to incorporate the new Evolution
cosmetics and Lynx circuitry, which eschews any over-
all feedback loop. KR described it as powerful, clean,
and transparent with all sorts of music, and only some-
times noticed a slight midbass warmth with certain asso-
ciated equipment. An almost perfect amp, he sums
up. JA was happy to place the W-8 in that select com-
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pany of modern amplifier designs that offer high power
combined with a very low noise floor and excellent lin-
earity. (Vol.29 No.3 WWW)
A (TUBE)
Audio Research Reference 110: $9995
This 110Wpc amplifier is based on a fully balanced
push-pull circuit using two matched pairs of 6550C
output tubes per channel. With an ability to unravel
layers of inner detail and an organic presentation of
dynamics, the Ref.110 rendered all good recordings
with startlingly lifelike realism, said BJR, adding that
it shares the extraordinary high-frequency purity of
the Audio Research Reference 3 preamp. Its other-
wise flawless sonic performance was only slightly
marred by a touch of warmth or roundedness in the
midbass region. JA noted respectable measured per-
formance, especially considering the amps low level of
loop negative feedback. (Vol.30 No.8 WWW)
Audiopax Model 88 monoblock: $14,990/pair
This 30Wpc single-ended pentode with Perfect Tri-

ode Simulation uses two KT88 tubes. Timbre Lock
bias settings are claimed to fine-tune the amps distor-
tion spectrum to produce more optimal cancellation
of the speakers distortion. RD was first impressed by
the absence of noise coming through the speakers, and
by the absence of mechanical noise from the trans-
formers. RD: The music just seemed to be there, the
amplifier (and the rest of the system) getting out of
the way. . . . [It] seemed to reduce much of the harsh-
ness and edgy quality that Id assumed was simply a
characteristic of certain recordings. . . . Resolution of
detail was in the top class. . . . The tonal character. . .
was fundamentally neutral, leaning perhaps in the
direction of a little top-end sweetness. Bass extension
and power were sometimes lacking, and high-level
dynamics could be on the subdued side, with some
negative effect on the perceived pace of the music. JA
recommended using this Brazilian monoblock only
with horn speakers that have powered woofers, such
as Avantgardes. The Audiopax sacrificed the accuracy
of the PS Audio GCC-100 for greater musicality,
imparting a more convincing in-the-room quality to
voices and instruments, found RD. (Vol.26 No.5,
Vol.29 No.1 WWW)
Balanced Audio Technology VK-55: $3995 $$$
Like its preamp partner, the VK-3iX, the tubed,
55Wpc VK-55 features improved fitnfinish and
ergonomics over its predecessors. In combination
with the VK-3iX, the VK-55 gave RDs system a van-
ishingly low noise level and produced music that was
convincingly real. On its own, the VK-55 delivered
firm, extended bass and presented high-level dynam-
ics with ease. The BAT VK-3iX and VK-55 are exem-
plars of the best that specialist home audio has to offer,
said RD. (Vol.28 No.11 WWW)
Joule Electra VZN-80: $12,000
The big and beautiful VZN-80 is a handcrafted,
80Wpc, output-transformerless (OTL) tube amp in a
wooden chassis. Despite its 14 potentiometers, 14
pushbuttons, and two toggle switches, for various
amounts of negative feedback and channel selection,
the VZN-80 proved remarkably stable not to men-
tion noiseless, humless, and unfailingly reliable, said
AD. Its neutral and textured sound was downright
dreamy when driving his classic Quad ESLs, and its
lack of tightness and timing accuracy in the bass was
somewhat offset by a believably fleshed-out mid-
range. A heavenly experience, said Art. Price is for
standard finish. Musicwood chassis adds $2000. (Vol.30
No.5 WWW)
McIntosh MC275: $3900 $$$
The revived 75Wpc MC275, preserves the look of the
original while adding modern innovations. Chimneys
are used to cool the tubes by convection, and three
circuit boards have been replaced by a single board on
which are mounted all components, tube sockets, and
power-supply parts. ST: I heard all the dynamic qual-
ity, all that aliveness of the original, plus a level of
transparency that brings the MC275 definitely into
the 21st century. Sam bought the review sample.
(Vol.27 No.7 WWW)
Music Reference RM-200: $4200 $$$
Fully balanced, 100Wpc, hybrid design uses a bipo-
lar transistor input stage with tube driver and output
stages. In terms of overall presentation, MF was greatly
impressed by how close the RM-200 came to his ref-
erence Nu-Vista 300: Its spatial presentation and
overall transparency were exemplary. . . . It was espe-
cially adept at layering 3D images in three-dimen-
sional space without spotlighting or tacking on
artificial edge definition. . . . Its a real sleeper at a
real-world price. ST concurs: Class A for this baby.
I wish I had got my hands on it first. A beautifully
built, beautiful-looking amp that sounds as good as it
looks. MFs long-term reference for tube amplifier
performance. (Vol.25 No.4 WWW)
Shindo Cortese: $9500
The Cortese is built around a Siemens F2a tube and
uses the same tube-and-diode power supply as the
Shindo Montille, but sends the output of the full-wave
rectifier to a single large choke instead of two very small
ones. It offered a sound much bigger than the Mon-
tilles, with bass performance that was quick, clear, and
tuneful, with extraordinary depth and power. In addi-
tion, the Cortese excelled at communicating both the
meaning of the music and the emotional subtleties of
a particular performance. There was no sound that
didnt sound like music, said AD. (Vol.30 No.7 WWW)
VTL S-400 Reference: $25,000
With choices of unbalanced and balanced inputs and
triode or tetrode output-stage operation, the 300W S-
400 is four amplifiers in one. An RS-232 connector on
the rear panel allows you to control all of its many diag-
nostic and programming functions from a computer,
and should ensure many years of service. With absolute
transparency, neutrality, and clarity, the S-400 proved
a stunning achievement, said BD. Its lack of overall
coloration, however, sometimes suggested a politeness
or softening of transients. KT88 output tubes add
$1000. (Vol.28 No.12 WWW)
VTL MB450 Series II Signature monoblock:
$13,500/pair
The MB-450 Series II Signature delivers 350W into 8
ohms (Tetrode mode, 25.4dBW) or 195W into 8 ohms
(Triode mode, 22.8dBW). The rack-mount handles
and dark industrial look of the original MB-300 and
MB-450 have been replaced by an elegant brushed-
aluminum faceplate. The Series II incorporates VTLs
auto-biasing circuitry, and uses eight 6550C output
tubes, and one each 12AT7 and 12BH7 tube for the
input and driver stages. Though MF thought the Series
II lacked some power and control in Triode mode, he
was impressed by the amps surprisingly deep, tight,
robust bass performance in Tetrode mode. Despite a
slightly splashy quality to transients, the VTL exhib-
ited an airy, extended top end and generously propor-
tioned soundstage. (Vol.31 No.1 WWW)
B
Atoll Electronique AM200: $2400
The 120Wpc AM200 has two pairs of MOSFET out-
put transistors and can be reconfigured as a mono power
amp to deliver 360W into 8 ohms by throwing an inter-
nal switch. In combination with the Atoll CD200 CD
player and PR300 preamp, the AM200 offered a sound
that was completely free from fuzziness and phasiness,
with a slightly softened overall presentation and tight,
tuneful bass. (Vol.29 No.9)
Bryston 7B-SST monoblock: $7595/pair
The 7B-SST raises the power rating of the ST version
from 500W to 600W, and features standard SST-
upgraded power transformers, bipolar output transis-
tors, and power-supply filter capacitance. LG: The
older amplifier was slightly brighter and more forward,
the newer was more neutral. . . . I came to rely on the
7B-SST as a courteous guest who didnt impose but
always had clear, unbiased opinions. . . . The 7B-SST
retains the 7B-STs incredible deep-bass abilities, mak-
ing it the obvious match for bass-shy floorstanding
speakers. It also has terrific soundstage depth and mid-
bass punch. (Vol.26 No.4 WWW)
Bryston 4B-SST: $4095
The 4B-SST has remained in the companys product
lineup for over 30 years. LG found the ST update of
the venerable 4B a marked improvement. Still a bass
master, it also delivered ample pacenrhythm. . . nat-
ural bite, and an. . . open and transparent midrange,
making it Brystons best 4B yet, and definitely recom-
mended for auditioning. ST agrees: Another terrific
bargain. Solid-state sound doesnt get much better than
thisand if it does, it costs a lot more money. 20-year
warranty. Dont assume you have to pay more money
for great solid-state sound. . . . Sound engineering. Real-
istic prices. The 2007 iteration is rated at 350Wpc into
8 ohms, 350Wpc into 4 ohms, and more than 1000W
bridged into 8 ohms. Over the years, this amplifier has
proven to be ultra-reliable, both in home and pro audio
applications, capable of driving a wide variety of loads
with minimal distortion. Compared to the versatile
B100-DA, the 4B exhibited similarly extended highs
and an equally smooth midrange, thought LG, but with
deeper bass and better dynamics, especially when driv-
ing power-hungry loudspeakers. (Vol.15 No.5, 4B;
Vol.22 No.10, ST; Vol.30 No.4, SST WWW)
Channel Islands Audio D-100 monoblock:
$1599/pair $$$
This 100W, class-D monoblock offered sound that
belied its relatively small size (6.25" W by 5.5" H by
8" D and just 15 lbs). There was superb separation
between the channels, deep, taut bass, and lots of airy
detail, said WP. Even at less than half the price, the
D-100 faired comparably against the Coda S5, lacking
just a bit of the latters slam and control. A nifty little
amplifier that is extremely well-built. JA thought it
had Good measured performance for its relatively
low price. His first experience with the D-100 indi-
cated that it shouldnt be paired with speakers whose
impedances dip below 4 ohms, but JA withdrew this
caveat after testing a production model with adjusted
current limiting. The D-100 now meets its specified
output power into lower impedances. (Vol.28 Nos.8
& 9 WWW)
Coda S5: $4900
The 50W (65W at actual clipping) S5 is a solid-state
stereo amplifier with class-A output. Its DC-coupled
and uses a FET input, MOSFET voltage-gain stage,
high-speed bipolar current-gain stages, and no overall
feedback. The S5 sacrificed tonal accuracy and nuance
for the physical power of rhythm and pace while offer-
ing a remarkably clear, detailed, and full-bodied sound.
If your response to music, or life, is to dance, swing,
and sway, then the S5 just might be the power ampli-
fier youve been looking for, concluded WP. JA had
some advice: The Codas low input impedance in bal-
anced mode mandates that care be taken in choosing a
partnering preamplifier. Compared to the CIA D-100,
the S5 offered a more convincing soundstage, with
slightly tauter, better-defined bass. As good as Class B
gets, summed up P. Wessy. (Vol.28 Nos.5 & 8 WWW)
First Watt F2: $1595
Unlike Nelson Passs earlier F1, the F2 uses a single-
ended topology with only three active devices in each
channel: a MOSFET configured as a constant-current
source, a bipolar transistor used to regulate it, and
another MOSFET used as a current-gain transistor.
Like the F1, the F2 was uncommonly quiet but
offered a meatier and more colorful sound, all the
while preserving the F1s good way with pitches and
rhythms, its ability to convey musical nuance, and its
utterly remarkable sonic clarity, said AD, deciding on
high Class B as the appropriate rating. Class A, but
STRAVI NSKY S FI REBI RD SUI TE NEVER SOUNDED SO GOOD.
Visit www.rivesaudio.com or call 800-959-6553 and learn
about acoustical engineering for the home environment.
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very limited applicability, sez ST, but with the right
speakers, magic. (Vol.28 No.12 WWW)
Halcro Logic MC20: $4990
A magnificent-sounding amplifier, said AD of the
400Wpc (into 4 ohms) MC20, which offers unbal-
anced and balanced inputs, a proprietary switching out-
put stage, and current-sensing and thermal-protection
circuits, in addition to Halcros Reliability Assurance
Service. Sounding immediately and significantly dif-
ferent from most other amps in ADs experience, the
MC20 had an enormous sense of clarity and was
exceptionally, conspicuously uncolored and unsoiled
by noise or textures that didnt belong. It combined
poise and forcefulness with the ability to capture sonic
subtleties, resulting in an emotional or even physical
response. Proved just a bit mechanical-sounding com-
pared to ADs reference Lamm ML2.1 monoblocks.
(Vol.29 No.4 WWW)
Luminance Audio KST-150: $3000
Dressed in a plain black box and designed by Steve Keiser,
the spartan KST-150 is more for sound than for show,
said ST. The 150Wpc solid-state design uses a 56,000
F power supply distributed among six capacitors
connected in parallel, and uses four MOSFET out-
put devices per channel. It descends from B&Ks ST-
140, with which it shares accurate harmonics, a rich and
natural midrange, and an overall musical presentation.
Focus was slightly soft, but with no lack of definition or
low-level detail, and transient response was nothing
short of phenomenal. A B&K ST-140 for today, said
Sam. A little gem, he sums up. (Vol.30 No.5)
Moscode 401HR: $6495
An ode to the late Harvey Rosenberg, the 200Wpc
401HR marries a tube driver stage to a MOSFET power
output and comes with pairs of 6H30Pi and 6GU7
dual-triode tubes, although many other small triodes
can be used. Tubes are inserted into clearly labeled sock-
ets behind a flip-down door of etched glass thats
adorned with a glowing blue Moscode logo. An amp
that prefers passion to reason, the Moscode offered
remarkable dynamic range into higher-impedance
loads, creating a deep, continuously unfolding sonic
universe that not only sounded but felt real. What
separates the Moscode 401HR from the pack, said
WP, is that it is different. . . . [I]t is unapologetically and
enthusiastically what it is. (Vol.29 No.6 WWW)
Portal Audio Paladin monoblock: $3500/pair
This 200W monoblock uses a power supply based on
a custom-built 800VAC toroidal, has 16 high-speed
bipolar power transistors and extremely short signal
paths, and features selectable input impedance. The
Paladins offered a surprising balance of power and grace,
along with immediately apparent clarity and focus, for
a fluid, natural sound. Lacked some of the liquidity, air,
and low-impedance drive of more expensive ampli-
fiers, thought WP. (Vol.29 No.9 WWW)
PrimaLuna ProLogue Seven monoblock:
$3149/pair
The 70W ProLogue Seven, PrimaLunas top-of-the-
line amplifier, uses Adaptive AutoBias, which allows
its four stock KT88 power tubes to be swapped with a
variety of other tubes. With KT88s in place, however,
RD noted a greater sense of depth, more extended
highs, and superior dynamics. The Seven proved a per-
fect match for PrimaLunas Three preamp, comple-
menting the latters tube sound with added excitement
and drama. Very high source impedance, especially
from the higher-impedance transformer taps, will lead
to some severe response anomalies with many speak-
ers. For optimal tradeoff among nonlinearity, noise
floor, and maximum power, JA advised using the Pro-
Logue Sevens 4 ohm tap with 8 ohm speakers. (Vol.29
No.12 WWW)
Quad II Classic monoblock: $2700/pair $$$
With the new 15W Classic, Quad didnt set out to
improve on or update the original Quad II, but to
remanufacture it the way it had originally been made
50 years before. The circuit remains unchanged, and
details of its construction have been modified only
where mandated by law or in cases where certain types
of parts are extinct. Exhibiting timbral beauty, spatial
honesty, and deep emotional involvement, the II Clas-
sic had AD feeling nostalgic: There isnt a sweeter
amplifier on earth. . . . Its beautiful, its true to the orig-
inal, and it has more than a little soul. Its lack of speed
and focus in the bass region made it less than optimal
with rock music but perfect for small-scale classical.
While JA also found it difficult to resist nostalgia, he
was pleased to note that, Despite its design vintage,
the Quad II Classic offered quite respectable measured
performance. Loads below 8 ohms are to be avoided.
(Vol.28 No.8 WWW)
Quicksilver SET Mono monoblock: $2800/pair
This single-ended-triode design is rated to deliver 9W
into 4 or 8 ohms, and uses a KT88 output tube, a 6H30
driver tube, and a 5AR4 rectifier tube. While it exhib-
ited the clarity, purity, and immediacy commonly asso-
ciated with SETs, it proved leaner, more incisive, and
less romantic than those using a typical 300B output
tube. A 21st-century SET? It does have its flavor, said
ST. (Vol.30 No.11)
Quicksilver Audio Mid Mono monoblock:
$1895/pair $$$
Beautiful without being showoffish, the Mid Mono
offers 50W into 8 or 4 ohms with its standard Tesla
EL34 output tubes. ST noted very good resolution and
convincing harmonics, but felt the Mid Mono was a
little shy in dynamics. The Quicksilvers traded solid-
state speed and clarity for tube sweetness and warmth.
Chrome option adds $300/pair. (Vol.28 No.8)
Shindo Montille: $3995 $$$
The 15Wpc push-pull Montille offers retro styling in
a determined-looking steel chassis. Under its cover,
AD found superb craftsmanship characterized by
painted and polished surfaces, neat point-to-point
wiring, and vintage American parts, including Allen-
Bradley carbon-composition resistors and Sprague
Orange Drop capacitors. With a muscular but silky-
smooth presentation and an expert grasp of pitch rela-
tionships, the Montille followed music with crazy
ardor, said AD. Judged for its superior musicality,
engaging sound, superb build quality, and the undeni-
able cool factor of a handmade, limited-edition amp,
the Shindo Montille may be the most recommendable
amp on earth, he enthused. Very high Class B!
(Vol.30 No.7 WWW)
Yamamoto Soundcraft A-08: $2250
A fine alternative to dense, boring, unmusical high-
end audio products, this 2Wpc (!) two-channel, sin-
gle-ended-triode design features serene, elegant, and
eye-catching styling with a wood chassis accentuated
by a champagne gold-colored alloy screen for the
transformers. The Yamamoto A-08 was fun to have,
fun to use, fun to swap tubes in and out of, and, most
of all, fun to listen to, said AD, though he cautions
that its system requirements will rule it out for most
audiophiles. With its high levels of distortion, mea-
suring the A-08 proved an exercise in frustration for
JA. He conceded, however, that It does look very
handsome and it is beautifully made. (Vol.29 No.3
WWW)
C
Rogue Audio Atlas: $1395 $$$
Sleek and streamlined, with slightly rounded, elegant
edges, the 55Wpc Atlas is a two-channel, vacuum-
tube, push-pull amplifier. While it excelled at handling
dynamic contrasts and conveying textural details, the
Atlas suffered from lightweight bass and rolled-off high
frequencies. In light of its very affordable price, JA for-
gave the Atlas poor linearity into high frequencies.
Similarly, FK concluded, The Rogue Audio Atlas is
a spectacular successlively, enjoyable, an ideal entry
to the High End for someone on a budget. (Vol.30
No.3 WWW)
D
Sonic Impact 5062 Super T: $159 $$$
This 6W wonder measures just 7.5" H by 3.25" W by
7.5" D and weighs a handy 2 lbs. It uses a class-D Tri-
Path TA2024 output module and has a clean, modest
faceplate dominated by a large, central volume knob.
While the Super T was totally outclassed in WPs main
rig, it proved fully convincing in his smaller listening
room, offering a surprising amount of bass impact. As
a bonus, it impelled WP to tweak in ways hed long
forgotten. Placing a Shakti Stone atop the amp resulted
in more clarity and focus. If youre an old fart like me,
it might reconnect you to the time when hi-fi was fun.
And if youre a youngun, it just might persuade you
that it is, he said. KR adds: The Super T wasnt up to
driving most of the speakers I have, but mated with a
pair of Celestion MP-1s, it made for a very sweet desk-
top system. Despite the Super Ts poor HF linearity,
JA concluded that the amp should provide acceptable
performance when matched to high-sensitivity speak-
ers. (Vol.29 No.10 WWW)
K
Music Reference RM10 Mk.2.
Deletions
Class Omega Omicron monoblock, Lamm M2.2,
Yamaha MX-D1, all not auditioned in too long a time;
Lamm ML2.1 no longer available.
I NTEGRATED AMPLI-
FI ERS & RECEIVERS
A
ASR Emitter II Exclusive: $27,900
The 250Wpc Emitter II Exclusive consists of a large,
heatsink-capped main chassis, two massive outboard
power supplies, and an optional battery supply for the
driver stage. Its four boxes300 lbs totalprovided
logistical problems for MF, but the Emitters perfor-
mance was worth the necessary experimentation with
placement, cable runs, and passive switchers. The amp
produced the most natural and realistic sonic pictures
Ive yet heard in my listening room. . . One of the most
enticing pieces of electronics Ive ever heard. JA found
the Emitters measured performance to be beyond
reproach, and was similarly impressed by its sound:
The sound of MFs big Wilson speakers had an ease
and a dynamic sweep that I had not experienced before
from his system. (Vol.29 No.10 WWW)
Audionet SAM V2: $4500
The 110Wpc SAM V2 features construction quality
beyond its price point and offers several upgrade
options, including remote control, a phono module
for MM and MC cartridges, and a DAC module. JM
was struck by the SAM V2s enviable imaging and
dynamics and very impressive bass control. Compared
to the very much more expensive darTZeel NHB-108
($21,181), the SAM V2 offered a very similar sound but
could not quite match the darTZeels refined sweet-
ness. Nevertheless, a really fine job, he concludes.
(Vol.29 No.6 WWW)
Ayre AX-7e: $3500
The success of this 60Wpc, solid-state, two-channel,
fully balanced, integrated amplifier depended on the
associated sources. Used from balanced output to bal-
anced input, It was brilliant. Amazing. Stirring, even,
said AD. However, used as an unbalanced amp, The
AX-7 still sounded good, but its musical performance
lacked momentum and, ultimately, excitement. Over-
all, the Ayre was colorful, clear, well-textured, and spa-
tially convincing. It seemed sensitive to the type and
length of speaker cable AD used, and seemed more
sensitive to AC power quality than average. I strongly
recommend the Ayre AX-7 for use [only] in an all-bal-
anced system. The 7es power supply now includes
greater filtering of the AC mains, increased peak cur-
In the pursuit of excellence, it is necessary to set aside
perceived limitations and obstacles, apply all available
resources and eliminate compromise at any cost. This is
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The optics are then controlled on a horizontal sled assembly,
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The DV-60 is designed for high end audio, video, and custom
home theater. The DV-60 includes 14 bit video processing and
a proprietary video output stage. This design combined with
the new up-conversion technology provides high definition
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The SA-60 is designed for universal audio playback, from any
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Both models include Esoterics 24 bit 32x D/A converter
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Esoteric technologies are not based around
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meet the twins...
2008 Teac America, Inc. All rights reserved.
For locations and more information about these evolutionary products visit: www.teac.com/esoteric
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rent delivery, and filtering of the rectifier switching
noise. In addition, the AX-7es gain stages now use two-
stage voltage regulators in place of the earlier versions
single-stage regulators. The sound now combined clas-
sic Brit-style pacing and tunefulness with near-SET lev-
els of presence and a fine sense of musical flow, a
combination that allowed AD to become emotionally
involved in the music. The AX-7e is the best integrated
Ive ever heard, endorsed WP. One heck of an involv-
ing amplifier, he summed up. Original AX-7s can be
fully upgraded for $250$350, depending on the age
of the unit. (Vol.26 No.10 AX-7; Vol.29 No.1, Vol.31
No.3, AX-7e WWW)
Creek Destiny: $2495
The Destiny marks a giant step forward in design and
sound from its predecessor, the 5350SE ($1595). The
spartan, minimalist aesthetic of earlier Creek gear has
been replaced by sleek, modern styling, and the com-
panys discrete MOSFET circuitry has been refined
and upgraded with separate power-supply and volt-
age-referencing circuits for each channel. BJR noted
pristine high frequencies, organic low-level dynamic
articulation, and superb inner detail across the fre-
quency spectrum, and decided to make the Destiny
his new reference for affordable integrateds. The
detailed, dynamic, and delicate Destiny creates an over-
all musical presentation that competes with much
more expensive separates, both tube and solid-state,
he concludes. Because of its protection circuitry, the
amp shouldnt be asked to continuously drive high sig-
nal levels into loudspeakers that drop to 2 ohms or
below, warned JA. The Destinys plug-in moving-mag-
net phono board ($500) uses a split-rail power supply
with twice the usual number of pins to allow for sep-
arate left and right connectors with both positive and
negative phase. It enhanced the performance of BJRs
analog system, providing deeper bass, airier highs, and
greater detail. (Vol.30 No.1, Vol.31 No.1 WWW)
Exposure 2010S: $1395 $$$
A positively magnificent little amp, the 75Wpc
2010S astounded AD with its ability to communicate
music with an unusual intensity that invariably pulled
him down into his listening chair. While it didnt sound
as liquid as a good tube amp or retrieve instrumental
textures as well as a good SET, the 2010S offered trans-
parency, tunefulness, and timing that were beyond
reproach. Jim Austin loved the 2010Ss rich, full low
end, but noted a slight de-emphasis of transients. JAs
measurements uncovered a sensible set of engineer-
ing compromises, but nothing that indicated why the
amp should sound as good as it did. Optional MM or
MC phono-preamp card adds $195. (Vol.28 No.11,
Vol.29 No.2 WWW)
Krell FBI: $18,000
The 300Wpc Fully Balanced Integrated combines
Krells FPB-300cx power amp with their KCT line
stage in one beefy, 104 lb aluminum chassis. It uses sep-
arate circuits and toroidal transformers for the preamp
and amp sections, which are united by Krells CAST
technology. The FBI shared the 300cxs tight deep
bass, thunderous dynamics, and snappy transients, but
added greater detail, even delicacy, in the timbres and
textures of instruments, said FK. JA was absolutely
pleased: Quiet, powerful, stable, and well-behaved
even into low impedances, it is a paradigm of what an
integrated amplifier needs to do. The CAST inputs
get the best sound quality from the FBI, concluded
Fred. (Vol.30 No.7 WWW)
Lavardin Technologies IT: $7495
The 50Wpc IT is a no-frills design that, according to
ST, doesnt try to approximate the sound of a tube ampli-
fier, but in fact surpasses tube performance, being
quicker, cleaner, clearer, quieter, not to mention more
reliable. Its extraordinary resolution brought ST to the
live performance in a way that came very close to sin-
gle-ended triode at its best. Among the finest I have
heard, he said. (Vol.28 No.8)
LFD Integrated Zero Mk.III: $2695
A direct descendant of the LFD Mistral, the Integrated
Zero Mk.III LE uses a single pair of MOSFET out-
put transistors per channel to deliver 60W into 8
ohms. Its minimalist design emphasizes simple cir-
cuits and passive component selection. With excep-
tional detail, delicacy, definition, rhythm, and pace,
the LFD proved to be the best-sounding solid-state
integrated amplifier in STs experience. The out-
board phono stage ($600) sounded detailed, dynamic,
rhythmically right. . . . Get it, ST advised. The LFD
has a direct, immediate, alive sound. Proof that sim-
pler is better, he sums up. No remote, if that matters
to you. Phono section adds $600. (Vol.31 No.2)
Magnum Dynalab MD-208: $2975
Remote-controlled 100Wpc solid-state receiver with
all-analog FM tuner section, five line-level inputs, and
separate record and preamp outputs. The MD 208
took forever to burn in and open up, said CS, but once
it had warmed to its task it was a no-compromise
high-end design that I could easily live with over the
long haul. Accommodated any number of musical
styles, though it really shone on acoustic music. He
also noted a sweetness and grace to its laid-back
style of music reproductionsmooth and refined,
though not without guts and gusto. A lot of bang for
the buck, he decided. LG checked out its RF perfor-
mance: Its FM tuner section was surprisingly sensi-
tive and quite selective, though it didnt handle
multipath in the upper part of the FM band as well as
some more expensive tuners, without quite their trans-
parency and bass response. Thoroughly musical per-
formance nonetheless, he decided, and an excellent
value. JM: The MD-208 quietly exudes class and is
a delight to listen to. LG: The MD-208 receivers
FM section produces excellent Class B sonics. (Vol.24
Nos.1 & 3, Vol.28 No.10 WWW)
NAD Masters Series M3: $2799
The superbly finished 180Wpc M3 sports a chassis
made of 2mm-thick milled steel plates with smoothly
rounded contours and heatsinks, a front panel of
extruded aluminum and diecast zinc, and a finish made
of a brownish powder coating and advanced automo-
tive paint. Seven custom-nameable inputs (including
one balanced XLR) are provided, and NADs Power-
Drive technology is used to maximize the dynamic
power sent to the speakers. Though overall dynamics
were sometimes muted, resolution of low-level detail
was superb. MF: The combination of its smooth,
sophisticated sonic balance, exceptionally silent back-
ground, overall musical coherenceand, especially, its
freedom from obvious sonic glitchesproduced con-
sistently attractive and musical sound. In his own audi-
tioning, JA was struck by how smooth the M3 sounded:
as smooth as silk. Class A, he feels, though MF
demurs, finding the M3 too smooth-sounding for Class
A. (Vol.30 No.1 WWW)
Naim Supernait: $4950
The 80Wpc, solid-state Supernait has a built-in 24-bit
D/A converter addressable through any of five S/PDIF
inputs: two RCA coaxial jacks, two TosLink optical
jacks, and one front-mounted 3.5mm mini-TosLink
jack (analog and digital) for portable media players.
Though it lacked some air and delicacy in the higher
frequencies, the Supernait presented a rich, detailed
view of the music, preserving texture and color with-
out compromising the signature Naim strengths of
good pitch accuracy and timing, said AD, who thought
that, when coupled with a good datastream source, its
hard to imagine a $5k investment delivering more gen-
uine musical involvement and satisfaction. JA was
impressed by the Supernaits overall measured perfor-
mance, but was bothered by its higher-than-necessary
gain and a residual 60Hz hum. (Vol.31 No.1 WWW)
PS Audio GCC-100: $2795
Although the 100Wpc GCC-100 can function as a con-
ventional integrated amplifier, it is capable of being dri-
ven by an outboard preamplifier or surround pre-
amplifier-processor. Uses a class-D output stage. The
GCC-100 combined resolution and transparency with
an almost total lack of sonic character, with no part of
the frequency range slighted or overemphasized. A
superb-sounding product, said RD. While it couldnt
match the Flying Mole CA-S10s level of detail, the
GCC-100 avoided the CA-S10s clinical, ultrasharp
presentation. (Vol.29 No.1, Vol.30 No.6 WWW)
Unison Research Performance: $12,845
The 40Wpc Performance is a single-ended design that
uses three KT88s per side and has four line-level inputs,
a tape monitor loop, and a special input for using a Uni-
son Research Simply Phono stage. It combined a tac-
tile soundstage with an unusually sweet midrange and
treble to present a more robust, strong, and dynamic
sound than ST has heard from other integrateds. There
was an ease about the Performancea flow, an excep-
tional dynamic quality, both microdynamic and macro-
dynamic. Though bass was ample, it was not as muscular
or as tight as with Unisons Unico SE. (Vol.28 No.5)
Unison Research Unico SE: $3995
The Unico SE uses four pairs of MOSFETs per side
to deliver 140Wpc into 8 ohms and, like the standard
Unico, has four line-level inputs and a tape monitor
loop. ST was captivated by the SE: Its sweet, open,
transparent, and powerful. Its fast and responsive.
Transients are clean, clear, crisp. As for harmonic pre-
sentation, the Unico combines the magic of tubes with
the controland economyof solid-state. STs 2005
pick for Component of the Year. Price includes
phono stage. (Vol.28 No.5)
Viva Solista: $9950
The 22Wpc Solista uses single-ended topology, direct-
heated output triode tubes, zero feedback, paper-in-oil
capacitors, and custom-wound transformers, and its
gorgeous metalwork showcases an M-shaped chassis
decorated in glossy automotive lacquer. Thick, solid
images were brought forward and spread across a larger-
than-usual soundstage, and small details sparkled with
life for a consistently, impressively dramatic sound.
ADs only complaint was that the amps bottom two
octaves were too resonant, not quick enough in going
from note attack to note attack. (Vol.28 No.11 WWW)
B
Ars-Sonum Filarmonia: $4400
The Filarmona is a drop-dead gorgeous 30Wpc inte-
grated amplifier reminiscent of the classic Dynaco ST-
70, with a 6922 double-triode input driver tube, two
JAN5814-A double triodes, and two pairs of E34Ls.
However, the Filarmona departs from Dynacos design
in several important ways: The input is screened and
transformer-coupled, the circuit design is not ultralin-
ear, global feedback is a low 6dB, and it operates in
class-A for most of its 30Wpc output. JM was surprised
by its modern sound. The Filarmona SE proved
itself extremely coherent, and to have wide bandwidth,
exceptional low-level resolution, and nonexistent
fatigue factor. Positively engaging, he said. Sounds
as good as it looks, adds ST. Immediate, sweet, spa-
cious. Borderline Class A, recommends ST. (Vol.30
No.10 WWW)
Bryston B100-DA SST: $5095
The rugged and reliable B100-DA SST combines a
100Wpc power amp section based on Brystons 2B-
SST with a high-quality DAC for convenient partner-
ship to a CD transport or network music player. The
B100-DA shared the 300W 4B-SSTs bass definition,
wide soundstaging, and open highs, but lacked some
deep-bass punch and dynamics, thought LG. Provided
impressively broad functionality at no cost to perfor-
mance, said JA. Basic B-100DA: $3895. Optional
DAC: $1200. Optional MM phono board: $500.
(Vol.30 No.4 WWW)
Cary Audio Design CAI 1: $2000
The 125W CAI 1 uses two B&O ICEpower modules,
each partnered to two pairs of MOSFET transistors in
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a balanced bridge configuration, with RF filtering on
the AC line for further noise reduction. It consumes
just 29W at idle and a mere 5W in standby, and always
ran cool and quiet. Its clear, clean, crisp sound was
somewhat offset by a certain dryness at higher fre-
quencies and treble that lacked light and life, said ST.
(Vol.30 No.4)
Cayin A-300B: $3495
Intelligently designed, reassuringly well made, and
achingly musical, this single-ended-triode amplifier
boasts a lushly chromed chassis with a terraced alu-
minum-alloy faceplate, sculpted housings for the mains
and output transformers, and a thickly enameled pro-
tective cage. The primary and secondary windings of
the output trannies are coated and sealed in vacuum
chambers prior to being potted in order to prevent
vibrations and enhance consistency, longevity, and
noiselessness. More refined and more extended than
the typical 300B SET, said AD, with all of the pres-
ence, drama, and textural richness the genre has to
offer. BD and ST were less stricken by the Cayins
sound, though ST notes its excellent build quality. Class
B, decides WP. JA admired the Cayins output-trans-
former design, and noted surprisingly good measured
performance overall, for a SET. (Vol.30 No.2 WWW)
Cayin H-80A: $3295
The large and heavy (17" W by 8" H by 19" D, 80 lbs)
H-80A sports retro styling with twin backlit VU meters,
and offers exquisite fit and finish. Its hybrid design uses
two 12AU7 input tubes and six pairs of NPN MOS-
FET transistors per channel in the output stage. The
H-80As sound combined the best of tube designs with
the best of solid-state, producing smooth and extended
treble and an overall plump, tender, and juicy pre-
sentation, said ST. Though the H-80A lacked balls-to-
the-wall bass, Sam nevertheless decided, For a $3000
integrated amplifier, this kind of performance is phe-
nomenal. Put it in Class A, ST demanded, but perhaps
Class B is this amps natural home, at least until a Fol-
low-Up review can be organized. (Vol.30 No.8)
Cayin A-88T: $2395
The Chinese-made A-88T delivers 22Wpc in triode
mode or 45Wpc in ultralinear, and offered a lifelike
quality that was nearly like the sound of a single-ended-
triode amp, said ST. Bass was exceptionally well con-
trolled and extended, but transparency fell short of the
very best. An excellent value nonetheless. Value,
value, value, he repeated. Electro-Harmonix 6550 out-
put tubes add $100. (Vol.28 No.12)
Cayin A-50T: $1395
The A-50T has two push-pull pairs of Mullard EL34
tubes that can be operated in 35Wpc Ultralinear or
16Wpc Triode. It features point-to-point wiring, a
toroidal power transformer, and two EI audio output
transformers. Fitnfinish were stunning. The Cayin
presented a richly holographic soundstage and an
uncolored midrange while combining pure, extended
highs with lightning-fast transients. BJR was most
surprised, however, by the Cayins ability to produce
uncolored, extended, and forceful bass. JA was
impressed by the Cayins build quality and measured
performance. (Vol.31 No.3 WWW)
Creek Classic 5350SE: $1595 $$$
Now called the Classic 5350SE, this solid-state, remote-
controlled 85Wpc integrated features a passive preamp
stage and extensive switching capability. Headphone
output, but no balance control. BJR found the SE neu-
tral throughout the frequency range, with lifelike, del-
icate, yet forceful transient articulation. . . organic
reproduction of low-level dynamic nuances and subtle
ambient cues, and a degree of bass definition, artic-
ulation, clarity, and bottom-end extension unlike any
Ive heard from any amplifier in this price range and/or
power rating. ST thinks the little integrated is just as
transparent and, subjectively, almost as powerful as the
Musical Fidelity A3
CR
. Borderlne Class A. Non-SE ver-
sion has 75Wpc and some lower-quality parts for $250
less, and offers solid Class B performance. Four optional
plug-in phono boards available: MM for $130 or $80
(SE and non-SE, respectively), MC for $150 or $100.
Using the MMSE phono board ($130) to compare the
Creek with the GSP Audio Era Gold Mk.V and the
EAR 834P, BJR noted a beautifully colorless midrange
with excellent resolution of detail. While the Creek
offered more extended high frequencies, more refined
transients, and cleaner bass, the GSP and EAR topped
the 5350SE in low-bass extension and high-level
dynamic slam. (Vol.24 Nos.3 & 4, Vol.28 No.1 WWW)
LSA Standard: $3200
Originally called the VS.1 Reference Mk.III, this large,
sleek, visually stunning, 150Wpc integrated, features
a line stage and an MM phono stage, using 6922 tri-
ode tubes, and partially dual-mono amplifier circuitry
with Solen output devices. The Mk.III improves on
the Mk.II with Cardas wiring used to pass AC and
DC between the amp and preamp stages, and uses
higher-quality speaker posts. While the Mk.IIIs
midrange, like that of a high-quality tube amp, proved
silky, rich, uncolored, and captivating and its imag-
ing holographic, its high-frequency performance
seemed to lack air and was a bit opaque, mused BJR.
Tube rollers should notice slightly more open and
detailed highs when switching out the VS.1 Mk.IIIs
stock Chinese tubes for NOS Siemens bottles. Cur-
rent version supplied as standard with Electro Har-
monix 6922s. (Vol.29 No.6 WWW)
Mastersound 300 B S.E.: $6095
The 12Wpc Mastersound has a single-ended, class-A
output stage and four line-level inputs. With an unusu-
ally wide bandwidth for a single-ended design, the Mas-
tersound produced an enjoyably open sound, with a
better-than-average degree of realistic detail and tex-
ture. Though it lacked the rhythmic nuance of ADs
Shindo separates, the musically expressive Master-
sound had a satisfying sense of flow and was surpris-
ingly uncolored overall. However, the 300 B S.E.s
measured performance couldnt escape its single-ended
provenance. Both its response variations and its level
of distortion are large enough to have audible conse-
quences, concluded JA. (Vol.31 No.2 WWW)
Melody I2A3: $2999
The Chinese-made I2A3 uses two Sovtek 2A3 tubes
in push-pull configuration to deliver 18Wpc into 8 or
4 ohms. Offers no remote control, balance control, or
preamp output, but its fitnfinish were impressive, with
high-quality components and sumptuous looks.
Though it lacked some bass control, the I2A3s sound
was warm, rich, harmonically right, extended in the
highs but never over the top, said ST. No other ampli-
fier Ive seen surpasses its beauty, and it sounds almost
as good as it looks. (Vol.31 No.3)
Musical Fidelity X-T100: $1800
The half-width X-T100 replaces Musical Fidelitys
A1000. Rated to deliver 50Wpc into 8 ohms, it uses
one 6922 tube per channel, and has a built-in moving-
magnet phono stage, three RCA line-level inputs, and
a mini-jack input for portable devices. While its phono
stage proved quite capable, the X-T100s line stage
sounded sweet, detailed, delicate, and tonally right.
Just a touch on the romantic side, said ST. The X-
T100 sounded colorless and utterly unstirring
when paired with ADs Audio Note AN-E/SPe HE
speakers, but was a good match with his Quad ESLs,
exhibiting compelling momentum, rhythmic nuance,
clarity, and presence. Required at least 30 minutes
warmup before sounding its best. Price includes Triple-
X outboard power supply; sold as a package with the
X-Ray
V8
CD player for $3000. Triple-X170 power sup-
ply adds $500. (Vol.30 Nos.2 & 11 WWW)
NAD C 372: $999 $$$
The 150Wpc C372 strengthens and refines NADs ear-
lier C 370 by upgrading the power supply, enhancing
the preamp and driver-stage modules, and improving
the layout of the circuit boards. With seven line inputs,
two sets of speaker terminals, two preamp outputs, and
a clean, elegant design, the C372 offers flexibility with-
out complexity. It also includes a Soft Clipping option
and NADs PowerDrive technology, which alters cur-
rent delivery to match load impedance. The amp pro-
vided a dead-quiet, neutral sound and delivered music
with plenty of power and resolution. Its all business,
said Jim Austin. Well sorted, enthused the other JA.
Pathos Acoustics Classic One Mk.III: $3000
The Mk.III uses new ultra-low-noise op-amps, a vol-
ume control with a Burr-Brown IC, a power trans-
former thats less sensitive to voltage variations from
the AC mains, and a circuit that protects the output
transistors against a short circuit on the speaker con-
nectors. The Mk.III partnered the sweetness and trans-
parency of the Mk.II, found ST, with a cleaner, clearer,
faster overall sound. A little on the lean side of neu-
tral and not the most powerful amplifier around. Still,
Class A for delicacy, definiton, detail. . . and industrial
design! Sounds like Class B would be the fair rating,
feel JA and BD. (Vol.29 No.12)
PrimaLuna ProLogue One: $1375 $$$
A 35Wpc tube design with four single-ended inputs,
the nicely engineered ProLogue One features a chas-
sis that straddles the breach between vintage and
modern in a way that little else does. Though it lacked
the bounce and momentum of other amps, it added
pleasant warmth and thickness while preserving tex-
ture and timbral complexity. This chunky little tube
amp sounded like a chunky little tube amp, for bet-
ter and for worse, AD said. Lustily, heartily, and
enthusiastically (if conditionally) recommended.
(Vol.28 No.2 WWW)
Rega Mira 3: $1195 $$$
Sam said of the original Mira integrated amplifier that
its finish was smooth as a fine watch. Rega really has
improved the fit and finish of their electronics: out-
standing without being ostentatious. Good taste,
dammit! Remote control, of course, and a moving-
magnet phono stage as standard equipment. The 61Wpc
Mira is a purist design: no tone or balance controls, no
speaker selector switch, no headphone output. Warm,
rich, full-bodied sound, with lots of dynamic drive,
reported ST, and very smooth and sweet through the
midrange, with no grain. Gad, I loved it, he gushed.
He felt the phono stage was killer, considering the price:
excellent detail, great dynamics. Its something of a
small miracle! he concluded. Jim Austin admired the
Mira 3 for being potent but reserved and, above all,
controlled. An initial edginess to the highs was soon
replaced by detail and balance. Excellent sound, nice
features, and outstanding value. (Vol.24 No.4, origi-
nal; Vol.29 No.9, Mira 3, WWW)
Simaudio Moon i-7: $7200
A marvel of beauty and usefulness, the fully balanced,
dual-mono i-7 offers four single-ended and one bal-
anced input, a pair of auxiliary line-level outputs, spe-
cial jacks for communicating with other Simaudio
products, and a nine-pin RS-232 port. After sufficient
break-in, the amps impressive clarity and neutrality
uncovered layers of detail in densely recorded mater-
ial and provided sufficient rhythm, pacing, and momen-
tum for a physically involving musical presentation.
However, it could be surpassed, AD felt, in the ability
to convey a sense of flow and humanness from recorded
music. (Vol.30 No.6 WWW)
Sugden A21SE: $3995 $$$
ST loved this 30Wpc, class-A, single-ended integrated.
Revisions to the A21a include a bigger power supply,
shorter signal paths, and newly designed line-stage cir-
cuitry. While it may sound dark, with a soft treble and
warm, rich bass, resolution and detail were excellent.
Rock music suffered, while opera and jazz were pre-
sented with ease. I consider this an exit product: some-
thing of quality, something that should last, that wont
weigh you down or bring on a case of Audiophile nervosa,
Wilson Audio WATT/Puppy 8 Speakers
Price/pr: $27,900
McIntosh C2300 Tube Preamplifier
Price: $6,000
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Clear Audio Day Sequerra era Grado Graham Engineering Harmonic Resolution Systems Integra JL Audio Kaliedescape Leon Lexicon
Magnepan Magnum Dynalab MartinLogan McIntosh Labs Meridian MIT MIT MA Orpheus Quad Rega Rotel* Runco Shunyata Research
Spectral Steinway Lyngdorf Theta Digital Transfiguration VPI Wilson Audio Yamaha... and many more *no mail order
components
OVERTURES
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Meridian 808.2 Reference CD Player
Price: $14,995
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preserves what matters most, faithfully revealing the full grandeur
of music. It is a superb overall performer, combining unfailing
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product in every respect.
All Verity Audio designs are crafted with a balance of science
and art. It is only through this tradition that the spirit of
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said ST. His only quibble: the A21SE runs very hot.
Extremely high value, adds AD. Wish I had heard it,
grumbles JM. Class B but wow! adds WP. (Vol.29 No.4)
Unison Research Preludio: $4000
One of the most beautiful amplifiers in the world,
said ST of the 14Wpc Preludio, the smallest in a new
series of amplifiers from Unison Researchit uses just
one KT88 output tube and one ECC82 input tube. Its
exquisite looks, sound, and operation provided a sen-
sual experience. Midrange and treble were sweet with-
out obscuring detail, thickening bass, or romanticizing
the overall sound. Bass was tight and controlled, but
lacked some authority. Required 100 hours of break-
in. Ive fallen in love with this thing, sighed ST; its
looks, its sound, its utter simplicity. (Vol.30 No.1)
C
Arcam Solo Music: $1999
The Solo Music (originally just Solo) is a simple, styl-
ish, single-box CD player, DAB/FM tuner, line-level
preamplifier, and 50Wpc (69Wpc at actual clipping)
amplifier that provides some quirky nonaudiophile
features such as a pair of Zone 2 preamp-out jacks and
an alarm clock. The Solo combined good clarity and
pitch definition with just decent weight and scale
while never compromising the musical message.
Offered truly good performance in one fairly priced,
reliable, ergonomically intuitive, beautifully designed
package. Strongly recommended, said AD. While
the Solo exhibited overall excellent measured perfor-
mance, JA cautioned that Owners should steer clear
of speakers with impedances that dip below 4 ohms.
(Vol.28 No.7 WWW)
Audio Analogue Primo Settenta: $995
Now called the Primo Settenta to distinguish it from
the Primo CD player, this 70Wpc integrated features
five line-level inputs in a small, 16.5-lb package. Each
channel uses two National LM3886T integrated cir-
cuits to provide power. The Primo sounded tubelike
to a remarkable degree, with very good resolution and
exceptional tonality. Perhaps best used with a pair of
Italian, French, or other easy-to-drive European speak-
ers. While JM ultimately enjoyed his time with the
Primo, he questioned its user interface and modern
styling: If your weekly load of junk mail includes invi-
tations to join AARP, perhaps the ergonomics of this
otherwise fine amp will exasperate the dickens out of
you. Optional MM/MC plug-in phono card adds
$100. (Vol.27 No.6, Vol.28 No.10)
Cambridge Audio Azur 740A: $1099
The 100Wpc 740A provides six RCA line-level inputs
plus one tape input, and two preamp outputs, for use
with additional power amplifiers or a powered sub. Sam
wasnt especially impressed by its overall lack of warmth.
Austere might be the right word for the Azur 740A.
Cold might be another, he said. Nevertheless, it offered
a lean, clear, open, very detailed sound. High Class
C, he sums up. (Vol.30 No.9)
Linn Classik Music: $1875
Remote-controlled 75Wpc (into 4 ohms) CD receiver
with MOSFET output stage, clock, AM/FM tuner,
three line-level inputs, tape loop, and headphone jack.
A neat and complete all-in-one Linn system, enthused
CS. High-density surface-mount PC boards keep it
petite as well. On FM, CS found very good stereo sep-
aration and imaging, freedom from crosstalk, a very
musical depiction of dynamics, a warm and open
midrange, a lack of top-end sibilance, and no apparent
honkiness in human voices. The CD section impressed
with a very clear, deep midrange, with remarkable bass
extension and a smooth, open top endvery detailed
without being edgy or italicized. Little to gripe about,
he summed up: in combo with a decent power cord,
some better speaker cables, and a good pair of loud-
speakers, for $3000$4000 you have a serious, no-com-
promise high-end system. JA shares the Chipsters
enthusiasm, though he feels Class C is the Classiks nat-
ural home. Runs hot. (Vol.23 No.11 WWW)
Music Hall Trio: $999
The Trio combines a CD player, AM/FM tuner, and
50Wpc integrated amplifier in one tidy box. Though
its sound was quite smooth, it lacked low-level reso-
lution and deep bass, and AM reception was poor. The
Trio tries to do everything and manages to do it rea-
sonably well, said ST. Just dont expect the superior
performance of good separates. (Vol.30 No.10)
Music Hall a25.2: $599 $$$
A lovely piece of gear, the 50Wpc a25.2 comes
equipped with four line-level inputs, preamp output,
tape loop, and headphone jack. Though the a25.2s bass
was somewhat weak, its midrange was excellent and
its top end was nicely extended. While the Sugden
A21SE ($3495) offered more detail and spatial resolu-
tion, the a25.2 delivered an easy, sweet, smooth sound
without the slightest suggestion of listening fatigue.
Avoids the clinical, sterile sound of so much cheap solid-
state. A very pleasant surprise, said ST. (Vol.29 No.4)
Omaha Audio OD-300B: $1400
The OD-300B is rated to deliver 10Wpc into 8 or 4
ohms, and uses one 300B-98 tube per channel. Its sim-
ple design incorporates just two line-level inputs and a
volume knob. Though bass was somewhat loose and
slow, and focus was slightly soft, the OD-300Bs
midrange and treble were simply glorious, said ST.
This is what SET sound is all about. To get it for $1400
is nothing short of phenomenal. Borderline Class B
in the right system. (Vol.30 No.9)
Onkyo A-9555: $799 $$$
The 85Wpc A-9555 uses Onkyos Wide Range Ampli-
fier Technology to provide low negative feedback,
closed ground-loop circuits, and high instantaneous
current capability. In addition, Onkyos Vector Linear
digital technology works to reduce switching noise
generated by the amps class-D operation. The A-9555
had a smooth, easy-on-the-ear character with just
a touch of warmth overall, and slightly soft highs.
The A-9555 can be the heart of an audio system that
is both accurate and capable of providing musical plea-
sure, said RD. JA felt the A-9555s measured perfor-
mance was quite respectable for the price, but noted
its preference for driving higher impedances. (Vol.30
No.9 WWW)
Outlaw Audio RR2150: $649 $$$
This 100Wpc, two-channel receiver showcases stylish,
deco-like looks and a full range of features that include
line, iPod, phono, and USB digital inputs, tape and
processor loops, tone controls, headphone output,
speaker equalization, bass management, and a mono
line-level subwoofer output. JA was astonished to dis-
cover what the bargain-basement-priced RR2150
offered, both on the test bench and in the listening
room. The RR2150s self-explanatory setup, versatility
and convenience, and open, focused, and well-orga-
nized overall sound (though somewhat opaque and not
fully fleshed out) make it a great intro to hi-fi for a
younger generation, said MF. Problems with produc-
tion led to delivery delays through July 2006, but the
situation is now resolved. Current production samples
(made in a different factory) offer the same excellent
measured performance as the original, but the RR2150s
USB digital input, marred by limited resolution and
high jitter, should be regarded as being for convenience
only, advised JA. (Vol.29 No.3, Vol.31 No.1 WWW)
Rega Brio 3: $695 $$$
The tidy little Brio 3 is rated to deliver 49Wpc, uses a
single pair of Sanken output transistors per channel,
and comes equipped with a moving-magnet phono
stage. It lacked low-level detail retrieval but proved
harmonically rich, providing full-bodied bass, a smooth
midrange, and sweet treble. When driven hard with
large-scale material, the small Brio ran out of power,
as expected. The Rega Brio 3 offers excellent build
quality and exceptional value for the money, said ST.
I know of nothing better at anywhere near the price.
(Vol.30 No.3)
Shanling MC-30: $999 $$$
Designed and manufactured in China, the MC-30 com-
bines a superb-measuring CD player, AM/FM tuner,
and iPod dock with a 3Wpc single-ended integrated
amplifier. Fitnfinish were jarringly high, and the
Shanlings unique ergonomic interfaces were remark-
able. Though the MC-30 exhibited a shortage of very
deep bass and a trace of lightness, it possessed very
good musical timing and tunefulness, with a surpris-
ingly good sense of scale and spatial detail. AD raved:
The Shanling MC-30 is obviouslyobviouslyan
extraordinary value for the money. Buy this. Thats it
just buy it. For a single-ended design, the MC-30 pro-
duced pretty good performance overall, conceded JA.
(Vol.31 No.3 WWW)
K
Jeff Rowland Design Group Concerto.
Deletions
Krell KAV-400xi, Lavardin Technologies IS Reference,
Music Hall Maven, all not auditioned in too long a time
to be sure of rating.
LOUDSPEAKER
SYSTEMS
Editors Note: Class A Loudspeakers are sufficiently
idiosyncratic and differ enough from one another that
prospective customers should read Stereophiles original
reviews in their entirety for descriptions of the sounds.
I have therefore just listed every system or combination
that at least one of Stereophiles reviewers feels, as a result
of his or her experience, approaches the current state of
the art in loudspeaker design. (Note that, to be eligible
for inclusion in Class A, the system must be full-range
ie feature bass extension to 20Hz. It must also be capa-
ble of reaching realistic sound-pressure levels without
any feeling of strain.)
For those unconcerned about the last few hertz of
low-bass extension, we have created Classes A, B, and
C (Restricted Extreme LF) for those speakers that are
state of the art in every other way. Candidates for inclu-
sion in this class must still reach down to at least 40Hz,
below the lowest notes of the four-string double-bass
and bass guitar.
In addition, such has been the recent progress in loud-
speaker design at a more affordable level that we have
an extra class: E, for Entry Level. Someone once asked
us why Stereophile bothers to review inexpensive loud-
speakers at all: In effect, arent we insulting our read-
ership by recommending that they buy inexpensive
models? Remember: Its possible to put together a musi-
cally satisfying, truly high-end system around any of
our Class D and E recommendations. Thats why theyre
listedand why you should consider buying them.
AFULL-RANGE
Avantgarde Uno 3.0: $18,500$22,000/pair,
depending on finish
Includes SUB225 powered woofer modules.
Stereophiles Joint Loudspeaker of 2000. RDs long-
term reference. (Vol.23 No.9, Vol.25 No.8 WWW)
B&W 802D: $14,000/pair
(Vol.28 No.12 WWW)
Canton Vento Reference 1 DC: $30,000/pair
Dynaudio Confidence C4: $18,000/pair
Hansen Prince V2: $39,000/pair
(See WPs review in this issue.)
KEF Reference 207/2: $20,000/pair
(Vol.31 No.2 WWW)
Revel Ultima Studio2: $15,998/pair $$$
(Vol.31 No.3 WWW)
Sonus Faber Stradivari: $45,000/pair
One of Stereophiles Joint Loudspeakers of the Year
for 2005. (Vol.28 No.1 WWW)
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Sonus Faber Amati Anniversario: $30,000/pair
for 2006. (Vol.29 No.5 WWW)
Sonus Faber Cremona Elipsa: $20,800/pair
(Vol.30 No.12 WWW)
Wilson Audio Specialties MAXX Series 2:
$48,900/pair
for 2005. (Vol.28 No.8, Vol.29 No.6, WWW)
ARESTRICTED EXTREME LF
DeVore Fidelity Silverback Reference:
$16,800/pair
This three-way floorstander resembles an Audio Physic
Virgo III on steroids and uses a 0.75" silk-dome tweeter,
a 6.5" midrange unit, and two long-throw, 8" woofers.
The Silverbacks pulsed with musical life, producing
an enormous, wall-to-wall soundstage with vivid
images, and continuously provided a clear, clean, trans-
parent view into the musical event, said MF. Though
the Silverback offered excellent bass extension and an
even response in-room throughout the midrange and
treble, JA was disappointed by the speakers low-fre-
quency performance. Nevertheless, Class A, say WP
and MF. (Vol.29 No.3 WWW)
Dynaudio Confidence C1: $6500$7000/pair,
depending on finish (stands necessary)
This two-way, stand-mounted loudspeaker surprised
WP with its ability to perform well in both small and
large rooms. In smaller spaces, the pair combined slam
and power with the ability to clearly define sonic
images, while in larger spaces they excelled at re-cre-
ating the soundstages of small-ensemble recordings.
The Confidence C1 delivers world-class perfor-
mance in a real-world package, said WP. Other than
its rather resonant stand, which needs to be filled with
sand, JA noted measured performance that was
beyond reproach. Price is for standard veneers; pre-
mium gloss black or rosewood lacquer finishes add
$500/pair; matching Stand4 stands add $450/pair.
(Vol.30 No.11 WWW)
ESP Concert Grand SI: $40,000/pair
The unusual-looking Concert Grand stands 64" tall,
weighs about 330 lbs, and its upper-frequency drivers
are mounted in a DAppolito array on its angled front
baffle. The SI version employs isobaric loading for the
woofers and compound loading for the midrange dri-
vers. The Concert Grands arrestingly coherent
midrange, seductive and beguiling in its tonal rich-
ness, was enough to fool jazz legend Max Roach into
believing hed heard a live soprano, related JM. JA, too,
was impressed: The sound was indeed superb, with
solid stereo imaging, impressive soundstage depth, a
richly detailed midrange, and very-well-defined low
frequencies. Lacked the lowest bass; setup proved crit-
ical; restricted high-treble dispersion will make the
speaker sound too mellow in large, over-damped
rooms. (Vol.29 No.4 WWW)
Harbeth Super HL5: $4995/pair (stands
necessary)
A classic for more than a quarter of a century, the lat-
est version of the HL speaker uses a 8" injection-molded
polymer bass/mid driver, a 1" aluminum-dome SEAS
tweeter, and a 0.8"Audax titanium-dome supertweeter.
If the glory of the Super HL5 is its neutral midrange,
the treble is exceptionally well presentedextended,
open, and sweet. Give it a good amount of power, space
to breathe, and sit down for a long run, relax . . . lis-
ten. Then listen some more, ST advised. Sams son
bought the review pair. (Vol.28 No.2)
Klipsch Heritage La Scala II: $5500/pair
Originally designed in 1963 as a public-address speaker
and available only in a plain plywood cabinet, the La
Scala II now has a cabinet of 1" MDF covered with a
lacquered, real-wood veneer. The large (38.5" H by
24" W by 25" D) La Scala has three horn driversa
1" tweeter and 2" midrange in its top cabinet, and a
15" woofer in the bottom, folded-horn cabinetand
a rated sensitivity of 105dB. ST had no trouble driv-
ing the IIs with his 3.5Wpc Sun Audio amp, and was
surprised by the speakers exceptionally smooth
midrange and treble and spacious soundstage. Over-
all, ST found them to be rich, warm, a tad overripe
in the bass, reticent on top. Adding a pair of super-
tweeters, however, brought forth a sense of the air and
detail that had been missing. Sam kept the Klipsches.
This speaker is dynamic as all get out (on very low
power) and images suprisingly well. Very pleasant to
listen to, if a little old-fashioned (lacks deep bass, rolled-
off on top). But, taken on its own terms, for what it is,
Class A, he sums up. (Vol.29 No.11)
Legacy Audio Whisper: $15,750$18,500/pair
depending on finish
Standing over 60" tall and weighing 210 lbs, the large,
unusual-looking Whisper is a four-way, biampable
design employing 10 drive-units (including four 15"
woofers mounted in a dipole array) and Legacys Step
One external bass processor. Combining the tight, fast
bass performance of a panel speaker with an even, bal-
anced midrange and slightly forward top end, the Whis-
per offered a laid-back presentation that was
extraordinarily faithful to the sounds of all types of
music, marveled PB. Though toe-in proved critical,
the Whispers combination of open-air woofers and
external bass processing makes it relatively immune to
room interaction. Provisional rating until JA can get a
sample on the test bench. (Vol.29 No.8 WWW)
Lipinski Sound L-707: $4990/pair (stands
necessary)
Originally conceived for use as a studio monitor, the
L-707 features a 1" Vifa ring-radiator tweeter and two
7" glass-fiber cone woofers in DAppolito configura-
tion, and is shipped in carrying cases of rugged black
nylon. The portable L-707 excelled at communicating
the drama of music and exhibited characteristics of
expensive audiophile loudspeakers: great dynamic
range, detail, pace, three-dimensionality, imaging, and
the ability to reproduce instrumental and vocal tim-
bres, said LG. Its lack of extreme low bass was com-
pensated for by good pitch definition and ample weight.
More revealing, and detailed than speakers three times
the price, sums up LG. JA shared LGs enthusiasm for
the L-707: Simply superb measured performance.
(Vol.28 No.12 WWW)
Merlin Music Systems VSM-MX: $10,500/pair
Strip away its exotic accoutrements, suggested MF,
like the automotive clear-coat finish and the metal
inlay strips, and the VSM is your basic two-way vented
boxa floorstanding minimonitor. Outboard BAM
bass equalizer, available in both single-ended and bal-
anced configurations, applies 5.2dB boost at 35Hz. A
chamber at the bottom of the cabinet is filled at the fac-
tory with 23 lbs of sand, and, unusually, an outboard
Zobel network consisting of a series Hovland capaci-
tor and a resistor is placed across the speaker terminals.
Sound? MF: What drew me in first was [the VSMs]
smooth, airy, graceful top end, delicate yet detailed. It
sounded downright luxurious without being syrupy or
unctuous. The VSMs retrieval of microdetails was
among the best Ive ever heard from any speaker at any
price. And with no glare or congestion. Dynamics? It
conveyed plenty of macrodynamic punch, though it
didnt pack a really big wallop, decided MF. MFs audi-
tioning of 2006 production samples continues the rec-
ommendation. The MX edition boasts improved floor
coupling and stability, a revised port said to minimize
turbulence, and new proprietary conductors for lower
distortion and a cleaner, more organic sound. The
speakers Super BAM bass-enhancement module has
also been upgraded to draw 20% more current from
the battery pack. MF noted an added weight that gave
the VSM-MX a greater sense of authority than earlier
versions. (Vol.24 No.9, Vol.30 No.1 WWW)
NHT Xd: $6000/system
The spectacularly finished Xd system includes: the XdS
two-way acoustic-suspension, magnetically shielded,
stand-mounted loudspeaker with molded composite
enclosure and fitted stand; the XdW acoustic suspen-
sion powered bass module, with two side-mounted 10"
aluminum-cone woofers; and the dedicated XdA, a
150W RMS DEQX-based DSP crossover, equalizer,
and four-channel class-D power amp. Setup was quick
and simpleall cables and parts are included, as well
as properly preprogrammed EQ. A felicitous marriage
of amplifiers to speakers resulted in a balanced, open
sound that complemented the speakers physical beauty
and encouraged the illusion of musical transport. KR
couldnt have been more impressed: The NHT Xd is
the best thing to come down the pike in a long time,
and a harbinger of speakers to come. Revised crossover
software and stereo subwoofers increase the system
price to $7200 but make this excellent-sounding sys-
tem almost beyond criticism, said JA, but points to
limited dynamic range and a lack of ultimate trans-
parency as being the systems Achilles Heels. High
Class B would be his rating, but he demurs to KRs
Class AWelcome to the new century! he declares.
Penaudio Serenade: $9500/pair
The three-way, floorstanding Serenade is a very spe-
cial loudspeaker that delivered the midrange and highs
with a delicacy that never palled, said WP. Optimal
placement and, consequently, performance were
never achieved, however, as the speaker did not mesh
well with Wess room. JAs measurements revealed a
paradox: A small speaker with somewhat limited
dynamic range that will sound its best at low levels in
large rooms. (Vol.29 No.2 WWW)
Pioneer S-1EX: $9000/pair $$$
Designed by Andrew Jones using technology derived
directly from more expensive TAD products, the S-
1EX uses Pioneers Coherent Source Transducer, a
beryllium-dome tweeter that shares a dual-gapped
neodymium magnet with a magnesium-coned
midrange unit. Once properly positioned, the S-1EX
was simply outstanding, offering neutral tonality,
great transparency, and a planar-like ability to throw
music into the room. Its only flaw was a slightly pud-
dingy reproduction of bass drums and low electric bass,
KR noted. A lot of excellent speaker engineering at a
very competitive price, said JA. (Vol.30 No.3 WWW)
PSB Synchrony One: $4500/pair $$$
(See JAs review in this issue.)
Quad ESL-2805: $9000/pair
An ESL-988 with a sleek new appearance, the ESL-
2805 features a rounded, steel top plate finished in
piano-black lacquer, a stainless-steel base, improved
spikes and speaker terminals, and a brace that extends
from top to bottom and can be adjusted to make the
speaker absolutely rigid. Supremely transparent,
absolutely free of coloration, phenomenally quick,
and utterly nonfatiguing. If the 2805 had a limitation,
it was its lack of deep bass and its inability to play very
loud. ST was unequivocal: I know of no other speaker
Id rather own, regardless of price. I think its the finest
hi-fi purchase you could ever make in terms of per-
formance and value. One of the worlds greatest
speakersmaybe the worlds greatest loudspeaker
ever made even better. Moving production to China
has improved quality immeasurably over earlier slip-
shod, flimsy, ugly British build, he adds. Stereophiles
2006 Joint Loudspeaker of the Year. (Vol.29 No.7)
Quad ESL-989: $8700/pair
The electrostatic ESL-989 adds two bass panels to the
988, which is the current version of the classic ESL-
63, and is said to have higher power handling. Nonethe-
less, LG found that music that exceeded peaks of 94dB
triggered the speakers protection circuit. Still, the ESL-
989s shook LGs listening room with lots of satisfying
bass, and added outstanding midrange response, top-
notch imaging, wall-to-wall soundstaging, smoothness,
focus, low distortion, and low listening fatigue. While
Zu products are designed and manufactured in Ogden, Utahreal innovation
requires in-house production. Zus efforts to make playback real and accessible are realized in its
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voices sound human, instruments are genuine, impact and resolution of musical details are consistent from extended treble
through deep bass. Zu is about tone, texture, and realism. Captured color and shading are unmasked and music becomes alive
and compelling. Together or apart, Zu loudspeakers and cable take you back to a time when there was urgency
about music, and music was the centerpiece in your life.
www.ZuAudio.com
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the speaker rolls off sharply below 30Hz or so, during
his listening sessions, LG couldnt think of another loud-
speaker hed rather own. By contrast, PM couldnt get
the 989s mid-bass integrated at all in his solid-walled
UK room, preferring the smaller ESL-988 (as does ST).
Typical US dry-wall construction will probably better
match the speakers bass tuning, therefore. AD added
that The 989 played music with as much tunefulness,
drama, and scale as Ive ever asked for or heard from
other speakers. . . . And not only was its bass extension
perfectly satisfying, but, with the exception of the speed
of bass fundamentals. . . the bass quality of the Quad
989 was astoundingly good. Unlike LG, AD never
heard a hint of strain or distress, even when playing the
Quads at extremely loud volumes (though it is fair to
point out that his room is smaller). JA was impressed
by how well the 989 handled the midrange and by its
superbly stable imaging, but found problems with
positioning the speakers to get the low-bass/upper-bass
transition optimized. Price depends on finish. Stereo-
philes 2003 Product of the Year and Loudspeaker
of the Year. (Vol.25 No.11, Vol.26 No.5 WWW)
Sonus Faber Guarneri memento: $15,000/pair
(stands necessary)
The beautiful Guarneri memento uses two new cus-
tom drivers set into a gracefully shaped cabinet, and
includes Column stands mounted on wedge bases of
stone. Though it lacked the extension, dynamics, and
top-end air of a good floorstander, the Guarneri
memento delivered transparency, delicacy, and detail
within a surprisingly deep soundstage, and exhibited
midbass and lower-midrange performance that were
beyond reproach, said MF. With its wide and even
lateral dispersion and clean cumulative spectral decay,
the Guarneri memento offered excellent measured
performance, said JA. Price includes Column stands.
(Vol.30 No.8 WWW)
Wilson Audio Specialties Watt/Puppy 8:
$27,900/pair
While the meticulously constructed WATT/Puppy
8 retains the W/P7s two 8" woofers and 7" midrange
driver, it employs a new 1" inverted-dome tweeter of
titanium, derived from Wilsons MAXX 2. Compli-
ance with RoHS regulations, use of an anti-jitter
crossover circuit, and a change to Wilsons M com-
posite material all work toward controlling the release
of stored energy. With an immense soundstage and a
big overall sound, the W/P8 may appeal more to those
who have traditionally resisted the WATT/Puppy.
What was a very good speaker to begin with has got-
ten better, said WP. The WATT/Puppy 8 lacked the
Dynaudio Confidence C1s round, full midbass,
instead providing superior slam and low-end exten-
sion. Compared to the Vandersteen Quatro Woods,
the Wilsons offered a larger, more immediate and for-
ward presentation. A difficult load to drive, and its
idiosyncratic low-frequency behavior will require
careful setup, determined JA. (Vol.30 Nos.6, 11, & 12
WWW)
Wilson Audio Specialties Sophia 2: $15,600/pair
JA said about the original Sophia that this three-way,
floorstanding, reflex-loaded loudspeaker had a way of
reproducing the wide dynamic sweep of a symphony
orchestra in full measure that left him captivated. The
wide dynamic range was complemented by extended
lows; high frequencies were delicate, the midrange
was neutral, and the bass region laid bare every lit-
tle inflection. JA had only one minor criticism: The
speakers tonal balance was slightly forward in the mid-
treble, leading to a soundstage that was not as deep as
he might have liked. The midbass might also be a bit
excessive in some rooms, he warned. PB echoed JAs
enthusiastic recommendation, noting exhilarating
bass performance with a giant, wraparound sound-
stage and freakish dynamic range. The Mk.2 updates
of the earlier Sophia include a reengineered tweeter,
Wilsons new M3 cabinet material, a reworking of the
crossovers, and a new diffraction-absorbing pad con-
figuration. Better than the original in nearly every
way, said BD. The Sophia 2 offered larger dynamic
transients, clearer and more detailed bass, an airier
soundstage, and a slightly more laid-back sound. Not
quite the scale, dynamics, or bottom end of the MAXX
2, but definitely Class A, he sums up. (Vol.25 No.7,
Vol.28 No.10, Mk.1; Vol.29 No.11, Mk.2 WWW)
BFULL-RANGE
Audio Physic Scorpio: $6995$7495/pair,
depending on finish
Intended to bridge the gap between AudioPhysics larger
Avanti III and smaller Tempo, the handsome Scorpio
employs four 7" coated-paper-cone woofers, two 6"
coated-paper-cone midrange drivers, and a 1" soft-
dome tweeter. The Scorpio excelled at placing tightly
drawn, optimally proportioned, three-dimensional
images within a believable space, and Mikey appreci-
ated its exciting, involving sound. JAs measurements
indicated that the unconventional arrangement of the
speakers drive-unit polarities will result in fussy setup
and a sensitive listening axis. (Vol.29 No.6 WWW)
Audio Physic Tempo IV: $4495/pair
The handsome, slim Tempo IV features faultlessly
applied, high-quality, bookmatched veneer, and a 1"
soft-dome tweeter time-aligned to its 5" metal-cone
midrange unit. It exuded lively timbres and offered a
detailed, dynamic presentation with superb imaging.
Careful attention to setup and associated equipment
is required, advised JM, who decides that low Class B
is the correct rating. (Vol.29 No.6 WWW)
BC Acoustique Act A3: $7000/pair
The proprietary drivers of the floorstanding, bass-
reflex, A3 include a horn-loaded, 0.67", titanium-dome
tweeter, a 7.1" polypropylene-cone midrange unit, and
a 10.25" side-firing paper-cone woofer. A convenient
jumper on the rear of each speaker allows for treble
adjustment. On certain less-than-ideal recordings, this
very resolving loudspeaker exhibited a certain insis-
tence in the upper midrange. Nonetheless, ST was
pleased by its beautifully extended treble, tight and
tuneful bass, and excellent imaging. (Vol.31 No.1)
Canton Vento 809 DC: $5000/pair
The product of a concerted engineering effort that has
paid off in real-world performance, the 809 DC is a
three-way, bass-reflex design with a slender, curved,
monocoque cabinet made of six layers of laminate.
Drive-units include a 1" aluminum-manganese dome
tweeter, a 7" aluminum-cone midrange, and two 8"
aluminum-cone woofers. WP was most impressed by
the Cantons tweeter, which put out an unusual amount
of sparkle and air and contributed to the speakers
overall light, agile, and accurate character. Though it
could sound a tad lightweight, the 809 DC offered
excellent clarity and detail, and delivered powerful bass
when properly set up. A lot of speaker for the money,
said WP. (Vol.28 No.6 WWW)
Canton Vento Reference 9 DC: $4000/pair
(stands necessary)
The 9 DC is the newest and smallest loudspeaker in
Cantons Vento Reference line. Looking like the upper
16" of the flagship 1 DC, the 9 DC uses the same
tweeter, crossed over at 3kHz to a single 7" mid-
woofer in a ported enclosure. KR placed five 9 DCs
around his Connecticut listening room. Used with
Audysseys MultEQxt signal processor, the array pro-
duced a perfect timbral match, with superior midrange
and treble transparency and stable imaging. Remark-
ably full-range, says KR. Would be Class A, save for
a less than ultimate degree of midrange detail, as exem-
plified in their big-brother, the 1 DC, he summed
up. (Vol.31 No.3 WWW)
DALI Helicon 400 Mk.2: $6300/pair
An extensive reworking of the original Helicon 400,
the Mk.2 is a three-and-a-half-way, floorstanding,
ported, bass-reflex loudspeaker with a 2" ribbon tweeter,
a 1" silk-dome tweeter, and two new 6.5" wood-
fiber/pulp-cone woofers. Its graceful cabinet and
upgraded real-wood veneer suggest those of a more
expensive speaker. Though the 400 Mk.2s lacked some
body and solidity, they offered an enormous spatial
presentation that wows at every listen, said MF. The
speakers slightly hot overall balance sacrificed har-
monic richness for transient attack. The Helicon 400
Mk.2s balance will require careful matching with sys-
tem and room to get the best from it, concluded JA.
(Vol.31 No.3 WWW)
Focal Electra 1037 Be: $10,995/pair
The three-way, bottom-ported Electra 1037 Be is
essentially a larger, more powerful version of the 1027
Be, and uses a 1" inverted beryllium-dome tweeter, a
6.5" W-cone midrange unit, and three 7" W-cone
woofers. It sacrificed ultimate bass and soundstage
width for top-to-bottom speed, transparency, resolu-
tion, and cohesiveness. Though its overall presentation
was somewhat dry and reserved, its sound should sat-
isfy over the long run, said MF. With a remarkably
smooth and even in-room response, the Electra 1037
Be exhibited superb measured performance, per JA,
who noted that the Focal was the best-performing he
had encountered when it came to integrating with MFs
room acoustics. (Vol.30 No.7 WWW)
Mordaunt-Short Performance 6: $6000/pair
The most striking feature of the Performance 6, said
PM, is its enclosure, with its glossy metallic finish and
artfulindeed, beautifulshape. A full three-way
design with a molded composite cabinet, the M-S uses
four aluminum-diaphragm drive-units, the most inter-
esting of which might be its tweeter assembly, which
runs 9" deep and forms an elegantly tapered rod that
extends a few inches out through a hole in the back of
the speakers enclosure and is intended to create a flat
acoustic impedance while allowing noncoherent tre-
ble output to add air and spaciousness. The Perfor-
mance 6 combined unusually smooth and impressively
neutral tonal balance with superb imaging; a slight
lack of dynamic expression might be explained by the
speakers complex crossover network. Its slightly light-
weight, dry bass can be handled with careful selection
of ancillaries, said PM. JA was pleased: A beautiful-
looking speaker that is equally beautifully engineered.
(Vol.28 No.9 WWW)
Opera Quinta: $4695/pair
Highly recommended, said ST of this soulful three-
way floorstander. He was most impressed by the inte-
gration of the three drivers: The operative word here
is balancethis is a successful full-range floorstander
with extended, tight, well-defined bass, an excep-
tional midrange, and treble that was sweetly extended,
if perhaps ever so soft. Lots of bang for the buck, he
sums up. Though the Quinta did well with all types of
music, a heavy rocker might want to look elsewhere.
The 2007 version of the Quinta employs technology
found in the much larger Caruso. ST was again impressed
by the integration of the drivers, and found the speak-
ers to be very flexible in terms of placement. Marble
platforms are optional. A Tellig fave that should get
100% wife acceptance. (Vol.27 No.4, Vol.30 No.1)
Opera SP Callas: $3500/pair
At just 5.75" wide, the super-slim SP Callas was made
to take up less floor space than a two-way stand-mount
design, and uses a twin-symmetric cabinet chamber to
derive deep-bass response from its two 4.5" mid/bass
drivers. Despite its size, the SP sounded big, with gen-
erous bass extension down to 40Hz, thought ST. Below
40Hz, however, the bass fell off very rapidly, while deep
bass fell apart at higher volumes: The cabinet may be
ingenious, but its still small. Recommended for rooms
of small to medium size, and especially with jazz and
classical music. (Vol.28 No.9)
Rethm Saadhana: $7850/pair
(See ADs review in this issue.)
Revel Concerta F12: $1498/pair $$$
A low-cost parallel to Revels venerable Ultima Stu-
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16736 West Bernardo Dr., San Diego, CA 92127
Tel: 8S8.+87.1988 Fax: 8S8.+87.+088
www.acousticzen.com . infozen@acousticzen.com
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dio, the Concerta F12 sports a small dome tweeter, a
midrange unit, and two 8" woofers in a ported enclo-
sure, all integrated with high-slope crossovers. KR was
immediately taken by the F12s marvelous midrange,
which was especially ideal for female voices and quite
revealing of male voices, as well as its outstanding bass
clarity and extension. JA was very impressed: The
Revel Concerta F12s measured performance gives no
hint of the speakers very affordable price. One of
Stereophiles Joint Budget Components for 2006.
(Vol.29 No.7 WWW)
Totem Acoustic Forest: $3195/pair
Two-way, 3-high tower loudspeaker. The Claw is stan-
dard; a self-centering ball-bearing support is available
separately for $395/set of 6, as is the optional Beak Tun-
ing Pod ($100/pair). LG found that the Forest produced
clean bass down to 40Hz in his room. The sound was
generally solid, transparent, and dynamic without
being edgy, and the bass response was controlled and
eminently detailed. He also thought the midrange was
very seductive; it excelled with vocal, clarinet, and
piano recordings, voices and instruments floating free
of the speaker positions. . . [and] provided a wealth of
musical detail, making it easier to delineate spatial posi-
tions. The Forests imaging, LG found, was first-rate,
with a wide, deep soundstage, even though the sweet
spot was small. JA noted an occasional lack of clarity in
the lower midrange that was easily corrected by filling
the speakers lower compartment with damping mate-
rial. Its sonic performance is simply superb. . . . A con-
tender for audiophiles with smaller listening rooms.
Vandersteen Quatro Wood: $10,700/pair
Like the standard Quatro, the Wood is a first-order,
four-way design that includes an internal subwoofer
with a 250W amp and two 8" carbon-loaded cellulose-
cone drivers. It has the same woofer found in the stan-
dard Quatro, but uses a tweeter and midrange unit
derived from those found in the Vandersteen 5A. The
Woods handsome cabinet is available in several
veneered finishes. Though a slight tonal shift in the
Woods lower-midrange/upper-midbass region con-
tributed to a loss of propulsion in male vocals, female
vocals and stringed instruments were presented with
purity and transparency. When the speakers were prop-
erly positioned, WP felt they offered deep, tight bass
and a huge, detailed, transparent soundstage. That
anomalous lower-midrange performance keeps this
otherwise fine speaker from Class A, feels JA. Manda-
tory in-line, high-pass filter adds $695/pair single-
ended, $795/pair balanced. (Vol.30 No.12 WWW)
Vandersteen Quatro: $6995/pair $$$
The modest-looking Quatro, clad in a black sock, is a
four-way design using a subwoofer system of two 8",
long-throw, carbon-loaded cellulose cones powered by
a 250W class-B amplifier. While MF admired the Qua-
tros outstanding imaging and soundstaging capabili-
ties, he had a difficult time becoming emotionally
engaged, at times finding the speaker offered too much
information. When properly set up, the Quatro will
offer a neutral sound balance, but JA was puzzled by
its lack of lower-midrange energy in-room. Mandatory
in-line high-pass filter costs $595/pair unbalanced,
$795 balanced. One of Stereophiles Joint Loudspeak-
ers of the Year for 2006. (Vol.29 No.7 WWW)
Vandersteen 2Ce Signature II: $1995/pair $$$
(stands optional)
An unambiguously fine loudspeaker, mused AD
about the latest iteration of one of high-end audios
longest-lived designs. The three-way 2Ce Signature IIs
cabinet is capped on top and bottom by MDF plinths
and framed by four wooden dowels cloaked in a black,
double-knit grille sack. The speakers purposeful design
incorporates rear-mounted level controls for the
tweeter and midrange driver, and temperature-sensing
protection circuits for the woofer. Consistently clean,
uncolored, and enjoyable, the Vandersteen lacked some
immediacy and presence but proved extremely well
balanced. The speakers greatest strength was an aggre-
gate strength, said AD. JA was puzzled by a lack of
integration between its low-frequency and midrange
units, however. Recommended stands add $150/pair.
(Vol.16 Nos.4 & 9 WWW, 2Ce; Vol.23 No.10 WWW,
2Ce Signature; Vol.30 No.1 WWW)
Verity Audio Rienzi: $8795/system
The Rienzi system consists of a monitor with a 0.75"
soft-dome Scan-Speak tweeter, and a bass module
whose 7" woofer can be faced to the rear or the front.
An exceptionally revealing speaker, the Rienzi com-
bined tight, tuneful bass with an exceptionally pure
midrange and treble that was ever so slightly soft to
STs ears. The excitement, he said, is about the fact
that there is no excitement. Rienzi monitors can be
purchased alone for $3795/pair. The combination of
the monitors speed, lean or muscular tonality, and
sealed bass loading added up to a speaker that could
be a tad frustrating for its bass reticence, concluded
JM. In lieu of adding the bass modules, JM recom-
mends careful auditioning and system matching.
(Vol.30 No.10 WWW)
Vienna Acoustics Beethoven Concert Grand:
$5500$6000/pair, depending on finish
Meticulously built, the Beethoven Concert Grand
boasts a handsomely veneered and lacquered cabinet
housing five drivers: a 1.1" hand-coated, silk-dome
tweeter, a 6" X3P-cone midrange driver, and three
transparent, 7" XPP Spidercone woofers. Mikey noted
a carefully and pleasingly balanced set of sonic attrib-
utes, an overall smooth, detailed, rich sound that,
though sometimes slow and soft, was never boring. An
outstanding value, he declared. JA, however, was dis-
appointed in the Beethovens measured performance,
noting resonances in the upper midrange that could
add nasal coloration and low-treble hardness to the
speakers balance while contributing to its limited
dynamic range. Choice of finish can bump price up to
$5000/pair. (Vol.29 No.5 WWW)
BRESTRICTED LF
American Acoustic Development Silver Refer-
ence-1: $1550/pair $$$ (stands necessary)
The smallest speaker in AADs Reference line, the two-
way, stand-mounted Silver-1 offers impressive fit and
finish and employs two high-tech drivers a 1" horn-
loaded, flat-diaphragm Helical Conductive Trans-
ducer tweeter and a 5" honeycomb-cone woofer. An
occasional congestion in the lower midrange and the
lack of the deepest bass were relatively minor flaws in
light of the speakers superbly clean upper midrange,
delicate treble, and solid stereo imaging. The Refer-
ence Silver-1 costs less than youd expect for a speaker
of this sonic quality and appearance, said JA. Match-
ing stands add $300/pair. (Vol.30 No.7 WWW)
DeVore Fidelity Nines: $6500/pair
The 2.5-way, bass-reflex Gibbon Nine is a narrow,
medium-size floorstander (38" tall) with a nominal
impedance of 8 ohms, 91dB sensitivity, bass extension
down to 31Hz, and a relatively high degree of place-
ment flexibility. Though they lacked the size and impact
of ADs Audio Note AN-E/SPe HE speakers, the
DeVores were wonderfully nuanced and delivered
an enjoyably human and non-mechanical sound. Said
Art, The Nines greatest strength was its multitude of
strengths, and It had more drama and sheer human-
ity than Ive ever heard from such an outwardly con-
ventional loudspeaker. (Vol.30 No.12 WWW)
Dynaudio Special Twenty-Five: $5200/pair
(stands necessary)
The Special Twenty-Five borrows technology from
Dynaudios top loudspeakers. JM: How do they sound?
Fabulous. . . . But with high-quality parts, conservative
(first-order crossover) design, and flawless execution,
whats not to like? (Well, okaythe Euro-nanny speaker
terminals are not to like.) [$5200/pair] is admittedly
rather stiff, but the audible family resemblance to the
Evidence and Confidence goes a long way in justify-
ing that. Although further evaluation convinced JA
that the Twenty-Five is a superb loudspeaker with a
grain-free treble, a natural-sounding midrange, excel-
lent soundstaging, and well-extended bass response
down to 25Hz, its forward-leaning treble balance con-
fines it to Class B, a rating shared by JM. While the Spe-
cial Twenty-Fives lacked the seamless top-to-bottom
balance and impressively deep soundstage of Dynau-
dios less-expensive Focus 140s, WP found that the
Twenty-Fives were better at transporting him to the
musical event, if less precise at placing instruments
within that space. Though they couldnt quite match
the Sonics Animas three-dimensional presentation, the
Special Twenty-Fives offered fleshier bass and greater
volume for a more lifelike sound, said WP. While the
Special Twenty-Five shared the Dynaudio Confidence
C1s full-bodied sound and solid, detailed soundstage,
it couldnt match the C1s top-to-bottom coherence,
however. (Vol.26 No.1, Vol.28 No.6, Vol.29 No.5,
Vol.30 Nos.7 & 11 WWW)
Dynaudio Focus 140: $1800/pair (stands
necessary)
Designed to bridge the gap between Dynaudios entry-
level Audience and higher-priced Confidence lines, the
Focus series features asymmetrical cabinets with real-
wood veneers, first-order crossovers, and proprietary
Esotec+ drivers-a 1.1" soft-dome tweeter and a 6.5"
woofer in the Focus 140, the larger of the lines two
stand-mounts. The Focus 140 proved solid and true
and very physical, offering a vivid and mighty sound
with tonal consistency and sure-footed rhythmic
stomp that belied its small size. WP found that about
250 hours of break-in time were required for an astound-
ing enhancement in sound quality. Despite the 140s
low price, JA noted excellent measured performance.
(Vol.29 No.5 WWW)
Focal Electra 1027 Be: $7995/pair
The Electra 1027 Be strikes me as great, said ST, not
something that was built down from Utopia standards,
but built up to nearly reach those standards. The beryl-
lium-dome tweeters that were once reserved for Focals
flagship line are now found in their Electra series, but
without the formers samarium-cobalt ring. The 1027
Bes open and extended treble was matched by excel-
lent bass response that only began to fall off below
38Hz. With the 1027 Be, Sam was able to transcend
the shortcomings of his favorite old recordings and not
only appreciate the subtle details of the playing, but also
to feel the magic and historic importance of the musi-
cal moments captured. Focal has raised the bar at
$7500/pair. Can be a little lean. . . but thats how
French loudspeakers are, he cautions. (Vol.28 No.11)
Focal Electra 1007 Be: $4495/pair (stands
necessary)
The superbly finished Elektra 1007 Be has a black-and-
aluminum front baffle, gloss-black top, polished
wooden side cheeks, a 1" beryllium inverted-dome
tweeter, and a 6.5" W-cone woofer. Its rich, brilliant
character produced a grain-free, transparently balanced
sound that allowed music to communicate effectively.
Its ripe upper bass occasionally made the Elektra 1007
Be sound relentless with overcooked recordings, But
fed high-quality program and driven by a muscle amp,
said JA, the Elektra 1007 Be will convey the musical
message in a most satisfying manner. A slightly ele-
vated mid-treble will make the speaker intolerant of
inadequate electronics and over-reverberant rooms
alike. (Vol.29 No.6 WWW)
Fujitsu Ten Eclipse TD712z: $7000/pair (stands
included)
A single 4.7" driver with a glass-fiber cone is mounted
in an egg-shaped enclosure of artificial marble with a
1.5" rear-firing port. The ovoid shape is designed to dis-
tribute mechanical stresses, and its lack of parallel walls
functions to minimize cabinet sound. Though the
TD712z wouldnt play very loud and didnt go very
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deep, it had clarity, transparency, resolution, timbral
accuracy, and image specificity that were simply
breathtaking, said RD. JA was impressed by the
speakers time-coincident presentation and freedom
from cabinet resonances, though he was more both-
ered by its distinctly non-flat frequency response.
(Vol.30 No.1 WWW)
Harbeth Compact 7ES-3: $3495/pair (stands
necessary)
Bigger than a minimonitor but smaller than a floor-
stander, the third iteration of the Compact 7 is 20.3" H
by 10.6" W by 12.3" D. It uses the traditional BBC-
style thin-walled cabinet, and is tuned to deliver a rich,
full-bodied sound at the lowest frequencies. Refine-
ments over previous Compact models include improved
cabinet wall damping and a completely redesigned
crossover. With phenomenally precise focusing and
crazy imaging, the Compact 7 was one of the most
musically satisfying loudspeakers in STs experience.
A treat for sore ears and one of Sams favorite speak-
ers ever, he tells us. Damn those audiophiles. This
Harbeth is for music lovers! (Vol.30 No.6)
Harbeth HL-P3ES-2: $1950/pair (stands
necessary)
Harbeths drop-in replacement for the BBCs LS3/5a
broadcast monitor combined elegant size, first-class
fitnfinish, and the sense of participating in the con-
tinuation of audio history to achieve a high gotta-
havvit quotient, said JM. If not for their lack of low
bass, hed live with them indefinitely. JA agreed : not
quite as detailed as the similar-sized and similar-priced
Stirling LS3/5a V2, but better balanced overall in JAs
room, with a more natural upper-bass presentation.
The Harbeths magic was most readily apparent when
JAs ears were level with the speakers tweeter. (Vol.16
No.12, original version; Vol.28 No.10, Vol.30 No.4,
ES-2 WWW)
Joseph Audio RM7XL Special Edition:
$2299/pair (stands necessary)
This updated version of the celebrated RM7si Signa-
ture Mk.2 includes fully revised drivers, including a
tweeter assembly trickled down from Josephs flag-
ship, the Pearl, and a completely reengineered
crossover. BJR was most impressed by the RM7XLs
ability to dig deep into each recording, giving a dis-
tinct holographic presence to the most subtle sonic
details. The speakers very revealing tweeter, however,
required careful equipment matching. Must be paired
with revealing and neutral associated gear to fully real-
ize the speakers strengths, decided BJR. The XL
continues the tradition of excellent measured perfor-
mance established by earlier versions of Joseph Audios
RM7, said JA. (Vol.30 No.3 WWW )
Monitor Audio Silver RS6: $999/pair $$$
This two-way, ported floorstander uses a refined 25mm
C-CAM Gold Dome tweeter with extended frequency
response (to 25kHz), and offers superbly extended bass
despite its conveniently small footprint. BJR was sur-
prised by the RS6s dynamics and bass extension, lack
of coloration in the midbass, and low overall distortion.
He raved, The flawless and exceptional Silver RS6 gave
me more listening pleasure than any other loudspeaker
I have reviewed. (Vol.29 No.3 WWW)
Opera Mezza: $1495/pair (stands necessary)
Operas smallest loudspeaker, the two-way Mezza
uses a 1" silk-dome SEAS tweeter and a 5" SEAS
woofer. Though it lacked deep bass, the Mezza
impressed ST with its pinpoint imaging, superb focus,
and truth of timbre. They offer delicacy, detail, sub-
tlety, andnot to stretch too farhumanity, praised
ST. The Mezza has a soul. Matching stands add
$695/pair. (Vol.31 No.3)
Sequerra Metronome 7.7 Mk.6: $850/pair
(stands necessary)
Currently only sold direct (with free shipping), the Met
7.7 uses two treated-paper cone drivers: a SEAS woofer
that juts out from the speaker cabinet for time-align-
ment, and a modified Foster Electric tweeter. Its MDF
cabinet is clad in attractive African bubinga veneer, and
each speaker has a convenient tweeter-level control
with range of adjustment of 1.75dB. The Met 7.7s
offered superbly focused sound with pinpoint imag-
ing and top-notch resolution. The speakers lack of
deep bass may benefit from a subwoofer, and its sensi-
tivity to placement may be offset by height-adjustable
stands, advised ST. (Vol.30 Nos.7 & 9)
Snell LCR7 XL: $5000/pair (stands necessary)
The LCR7 XL, intended for left, right, or center use,
is the flagship of Joe DAppolitos Series 7 speakers
and houses twin 5.25"magnesium-cone SEAS woofers
and a 1" SEAS Millennium tweeter. Other than its
limited low-frequency extension and ultimately lim-
ited maximum volume, the LCR7 XL was almost
flawless, thought JA. He admired its impressively neu-
tral balance, overall grain-free presentation, and out-
standing imaging and soundstaging capabilities. Even
with the price drop to $5000/pair from the original
$6000/pair, however, its lack of low bass is a concern,
and the sound will be a bit in-your-face in under-
damped acoustics. The standard LCR7 ($2000/pair)
sounds similar but its leaner LF balance makes use of
a subwoofer mandatory. (Vol.29 No.6 WWW)
Sonics by Joachim Gerhard Anima: $2600/pair
(stands necessary)
The small, two-way, ported Anima uses a new 0.86"
SEAS metal-dome tweeter and a 5.9" anodized-alu-
minum woofer, and sports a very attractive cabinet of
marine-grade plywood and HDF. Carefully placed
and with their grilles removed, the Anima revealed
detail and sizzle galore, with lifelike dynamic impact
and energy, for a tantalizing experience that kept
WP listening late into the night. Though they didnt
go exceedingly deep, their bass performance was taut
and true. JA deemed the Anima a worthy successor
to Gerhards popular Audio Physic Step minimonitor.
(Vol.30 No.7 WWW)
Spendor S8e: $3299/pair
Spendor S6e: $2599/pair
Marked by simplicity, the S8e uses just two drivers: an
8" polymer bass/midrange cone with a synthetic rub-
ber surround, crossing over at 4kHz to a 1" Sonolex-
dome tweeter. Its especially seamless sound was never
exaggerated but always honest and convincing. Though
a sub would be needed to reach any deep lows, the S8es
bass was always well-defined, precise, and fast. A glo-
rious midrange combined with stunning harmonic pre-
sentation to give the illusion of live music. ST summed
up simply: Resolution. Focus. Coherence. The sim-
ilar S6e features a 6.5" woofer and a 1" soft-dome
tweeter, compared with the S8es 8" woofer and a cab-
inet thats an inch or two smaller in all dimensions. Even
so, the S6e produced only a bit more bass than the much
smaller Harbeth HL-P3ES-2. JM felt that the dramatic
improvement in bass offered by the S8e made it the
better value. (Vol.28 Nos.6 & 12 WWW)
Stirling LS3/5a V2: $1695/pair$1845/pair,
depending on finish (stands necessary)
Manufactured under license from the BBC, the cur-
rent V2 version uses SEAS and Scan-Speak drive-units
rather than the original KEF models, and employs a
SuperSpec crossover said to be of higher quality. The
V2 showed no sign of the originals nasal midrange, and
a noticeable lift in the V2s treble region was carefully
balanced at lower frequencies by a rich-sounding upper
bass. Lives up to the reputation of its illustrious ances-
tor and even, perhaps, improves on what the original
LS3/5a had to offer, said JA. Demands more care in
system matching than the similar Harbeth HL-P3ES-
2. (Vol.30 No.4 WWW)
Teresonic Integrum: $7995/pair
Teresonics entry-level speaker is equipped with a
Lowther DX3 driver as standard, leaving little room
for driver experimentation, and uses a 70"-long quar-
ter-wave pipe for loading. Every inch a Lowther, the
Integrum offered tunefulness and pitch certainty with
clean and clear stereo imaging, but lacked deep bass.
A superb product, said AD, especially for the SET-
curious audiophile to whom music and sound are
higher priorities than Lowtherisms hands-on, DIY
aspect. Adds AD: For special tastes only. (Vol.30
No.2 WWW)
Thiel CS2.4: $4900/pair, depending on finish
An awful lot of speaker for $4400/pair, the CS2.4 has
a 1" tweeter mounted coaxially inside a 3.5" midrange
cone, both driven by a single voice-coil, and a first-
order crossover between the woofer and midrange unit.
While WP felt that the speaker was fairly easy to drive,
JAs measurements showed that the CS2.4 demands a
lot of current from an amplifier; a good 4 ohmrated
amp is recommended. Though the considerably more
expensive Peak Consult Empress offered greater top-
end extension and a richer tonality, WP admired the
Thiels ability to bypass intellect for an almost emo-
tionally crippling reproduction of music. Compared
with the Penaudio Serenade, the CS2.4s sheer power
and physicality were more exciting, but it lacked the
Serenades smooth upper midrange and ultra-high fre-
quencies. (Vol.28 No.11, Vol.29 No.2 WWW)
Triangle Antal EX: $2895/pair
(See STs review in this issue.)
Wilson Benesch Arc: $5450/pair (stands
necessary)
The Wilson Benesch Arc matched well with the Ars-
Sonum Filarmona integrated amp, producing a sound
that was beguilingly smooth and easy to listen to, said
JM. Stands included in price. (Vol.30 No.10 WWW)
CFULL-RANGE
Aperion Audio Intimus 533-T: $750/pair $$$
The magnetically shielded 533-T is a 2
1
2-way ported
floorstander with a 1" silk-dome tweeter and two 5.25"
mineral-filled, polypropylene-cone woofers. Its small
footprint and attractive cabinet should provide flexibil-
ity in most domestic situations. Though it exhibited
some midbass warmth and lacked ultimate low-bass
extension, the 533-T reproduced music with organic
ease and provided surprisingly wide, natural dynamic
contrasts. It just sits there, plays music, and plays it
well, said BJR. Class C, recommends BJR, though WP
argues for a higher rating. Sold factory-direct with a
30-day audition and full money-back guarantee, includ-
ing shipping both ways. (Vol.30 No.4 WWW)
DALI Ikon 6: $1750/pair
This attractive 3
1
2-way, bass-reflex floorstander uses
two 6.5" woofers, each housed in a diecast aluminum
chassis. Its unique hybrid tweeter, comprising a 1.1"
cloth-dome unit and a 0.7" ribbon, is trickled down
from DALIs more expensive Euphonia and Helicon
lines. The Ikon 6 captivated BJR with its rich,
detailed, holographic presentation of vocals, and
offered well-extended, grain-free highs and fast tran-
sients. Though some compression and confusion
became apparent when the Ikon was pushed to high
volumes, it seduced BJR with its uncolored detail and
sweet sound, though he does note a slight warmth in
the midbass. (Vol.29 No.7 WWW)
JBL Studio L880: $1400/pair
JBLs Studio L880 is a four-way floorstander featuring
a supertweeter in addition to the tweeter, midrange,
two woofers, and a single front-loaded port. Though
its natural-sounding midrange and treble lacked some
detail, the L880s low-bass extension and high-level
dynamic realism were superb. BJR fell in love with it
as a home-theater speaker. Sets a new benchmark for
low bass extension and definition and high level dynamic
slam within the realm of affordable speakers, he adds.
JA was impressed by its sophisticated engineering.
(Vol.29 No.9 WWW)
KEF iQ9: $1300/pair
The three-way, front-ported iQ9 is the top model of
KEFs Q line, and features KEFs unusual Uni-Q coin-
cident-driver array: a
3
4" aluminum-dome tweeter
WBT-0681
The New Sandwich Spade
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nextgen principle of less material
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EP patent no 1 066 660, US patent no. 6,319,078
801.621.1500
www.wbtusa.com
Inner beauty
Today the ACT line of speakers from
BC Acoustique is seen as a reference in
French Hifi. Reknown internationally, the
ACT line is the result of many years in
development with thorough and repeated
testing by engineers, acousticians and
designers. With new technical solutions,
the ACT line is an acomplishment with
remarkable sound qualities. Now, let
technology disapear and enjoy the
best of what music and sound can offer.
Srie ACT
G
A3
US Importer: Musical Sounds (203) 877-7776 www.musicalsounds.us
Canada: Audio Dream (403) 280-5894 www.audiodream.ca
International: BC Acoustique +33 (1) 43 68 25 00 sales@bc-acoustique.com
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placed at the center of a midrange cone. While the
iQ9 offered a detailed, transparent, colorless midrange
with a particularly breathtaking lower midrange,
the speaker suffered from a heavy midbass warmth
that proved most problematic with rock musics elec-
tric bass guitars and kick drums. But Overall, an
impressive performer for its size and price, said BJR.
(Vol.29 No.2 WWW)
MartinLogan Montage: $1295/pair
The beautifully crafted Montage mates two 6.5" elec-
trodynamic aluminum cones with a 1.5" by 2.25" dipole
film tweeter. With the right amplification and source
material the Montage presented a seamless response, a
wide and credible soundstage, and accurate reproduc-
tion of voices and instruments. However, when driven
moderately hard with music of any significant weight,
the speaker exhibited an upper-bass emphasis that KR
couldnt ignore. JA identified two major resonances in
the 200400Hz octave and a third at around 500Hz,
which left him conflicted: Taking its affordable price
into consideration, the Montage is a well-balanced
design. . . . However, that lively cabinet works against
a strong recommendation. After further investigation,
he decided that In smaller listening rooms, its limited
dynamic range may well not be an issue. KR disagrees,
feeling that a recommendation is inappropriate. (Vol.28
Nos.5 & 6 WWW)
Silverline Audio Technology Prelude:
$1200/pair
This slim, light, two-way floorstander has drivers
mounted in a DAppolito array but uses a second-order
crossover with the tweeter wired in inverted phase.
Considerable revisions to the Preludes design were
made during the review process, requiring RD to offer
his opinions on what were, essentially, two different
speakers. However, both versions excelled at produc-
ing a big sound with a dynamic ease uncommon for a
small speaker. The revised models thicker cabinet walls
tempered the Originals box colorations, and its new
tweeter relieved the Original of some of its treble
emphasis. The Preludes excessive upper-midrange
energy will either be heard as enhanced musical detail
or a touch of nasal coloration, depending on room fur-
nishings and size. (Vol.30 No.3 WWW)
CRESTRICTED LF
Amphion Helium
2
: $1350$1450/pair, depend-
ing on finish (stands necessary)
The Helium
2
is a small, two-way, reflex-loaded, mag-
netically shielded, rear-vented satellite with a 1" tita-
nium-coated aluminum-dome tweeter and a 5.25"
Nomex-cone woofer. With rich and vibrant lower-
midrange tones, perfect transients, extended highs, and
the bass extension and high-level dynamics of a floor-
stander, the Helium
2
conveyed a sophistication, artic-
ulation, and resolution of detail that BJR found simply
intoxicating. A classic, he decided. JA discovered
some midrange resonance problems that may have con-
tributed to BJRs feeling that the speaker was some-
times hooty. (Vol.28 No.1 WWW)
BG Corp. Z-1: $599/pair (stands necessary)
This rear-ported, two-way, shielded bookshelf loud-
speaker uses a ribbon tweeter coupled with a 5.25" alu-
minum-cone woofer. While BJR felt the Z-1s tweeter
offered very fine levels of detail, delicacy, and imme-
diacy, the speaker lacked low-bass extension when
pushed hard with complex material, when it could
sound a little hard. Experimentation with speaker place-
ment was required to achieve a well-balanced midbass
presentation without sacrificing too much soundstage
depth. Overall, BJR summed up, the BG Z-1 was a
top performer on a wide range of music. JA recom-
mends using the Z-1 with a subwoofer, or at least close
to the room boundaries to counteract its lightweight
sound. (Vol.29 No.10 WWW)
Epos M5: $650/pair $$$ (stands necessary)
The nicely finished M5 is a shielded, biwirable, two-
way bass-reflex design using a 5.4" mineral-loaded
polymer-cone woofer and a 1" dome tweeter with a
gold-anodized aluminum-alloy diaphragm. Offered
midrange naturalness, detailed and delicate highs, per-
fectly reproduced transients, uncolored midbass, and a
high-level dynamic presentation. Epos has established
a new benchmark at the very affordable price of
$650/pair, said BJR. ST35 dedicated stands add
$200/pair. (Vol.28 No.4)
Epos ELS-3: $329/pair $$$ (stands necessary)
This Chinese-made 10"-tall, 10-lb speaker uses Epos
proprietary 1" aluminum-dome, neodymium-magnet
tweeter and a 5" polypropylene-cone woofer. The
ELS-3 had superior midbass definition and realism
on a wide range of program material; high-level
dynamic bloom beyond what Id reasonably expect
from a speaker of its size; a level of detail resolution I
normally associate with speakers approaching
$1000/pair, said BJR. For its size, the ELS-3 exhib-
ited well-extended mid- and upper bass, high-level
dynamic slam, and startling detail resolution. Deep
bass lacked drama, and when pushed to high volumes,
the ELS-3 compressed the sound. Nonetheless, I can
think of no speaker that produces greater sound qual-
ity for the dollar, said BJR, who uses the Epos as one
of his long-term references. JA concurred: The Epos
ELS-3 is a nicely engineered little speaker that its owner
neednt apologize for. (Vol.27 No.1 WWW)
Era Design 4: $600/pair (stands necessary)
Designed by SignalPaths Jim Spainhour and David
Solomon, engineered by Aerial Acoustics Michael
Kelly, and made in China, this two-way, reflex-loaded,
stand-mounted speaker offered a sound that belied its
diminutive size. The Design 4 produced an enormous,
stable soundstage that re-created performance spaces
with wide, deep, tangible realism. Though low treble
was a little exaggerated, making the speaker intoler-
ant of poor source quality, images were never flattened.
Adding the Era SUB10 subwoofer bolstered the
speakers limited dynamic range. The Era Design 4s
offered much better sound quality than you have a
right to expect for just $600/pair, concluded JA.
(Vol.30 No.1 WWW)
Focal Chorus 807V: $995/pair $$$ (stands
necessary)
The Chorus 807V is a front-ported, two-way speaker
with a 1"TNV aluminum-magnesium, inverted-dome
tweeter and a 7" Polyglass-cone woofer. Its attractive
V look was developed by the Parisian design house
of Pineau & Le Porcher. A natural, holographic
midrange was matched by clean, tight, uncolored bass.
However, the 807Vs fast, detailed, and well-extended
high-frequency performance was sometimes ruth-
lessly revealing, said BJR; careful matching with other
components and recordings is recommended. (Vol.30
No.11 WWW)
Infinity Primus P162: $298/pair (stands
necessary)
The Primus P162, the largest bookshelf model in Infin-
itys new 160 series, uses a 0.75" Metal Matrix Dia-
phragm tweeter and a 6.5" woofer. It produced an
uncolored, detailed, and holographic midrange and
surprisingly convincing and powerful bass. Though the
treble was sometimes grainy at very high playback lev-
els, BJR decided that The Primus P162 did not sound
like a bookshelf speaker. JA agreed: Its generous low
frequencies and high sensitivity are bonuses for cash-
strapped audiophiles. (Vol.30 No.10 WWW)
Monitor Audio GS-10: $1499/pair (stands
necessary)
The GS10 is a two-way, stand-mounted, reflex-loaded
loudspeaker with a 1" gold-anodized dome tweeter and
a 6.5" metal-cone woofer. Its beautifully finished cab-
inet has radiused edges for an elegant look and feel.
The sound was marked by clean, detailed treble, weighty
and reasonably extended low frequencies, and a dynamic
range that belied the speakers modest size. A slight
propensity to brightness, however, will require care-
ful system matching, cautioned JA. Matching stands
add $399/pair. (Vol.30 No.9 WWW)
NHT Classic Three: $800/pair $$$ (stands
necessary)
This acoustic-suspension, three-way bookshelf replaces
NHTs excellent SB3. The Classic Three is smaller,
more elegant, less boxy, and outperformed its prede-
cessor in every sonic parameter. Its ability to render
low-level dynamic information, its resolution of detail,
and its extended, airy high frequencies combined to
create a startling level of realism with well-recorded
acoustic works, said BJR, who rates the speaker high
Class C, adding sounds like a much larger speaker.
JA noted superb measured performance for such an
affordable speaker. (Vol.29 No.11 WWW)
Pioneer Pure Malt Speaker: $598/pair (stands
necessary)
The cabinet of this small, limited-edition, two-way
loudspeaker is made entirely of wood salvaged from
Suntory whisky barrels. It has a 4" woven-fiber mid-
woofer and a 0.75" soft-dome tweeter, while bass load-
ing is via a small port on the rear panel. Though it offered
excellent imaging and produced very pleasant,
engaging sounds with pop, rock, and jazz, it lacked the
bass extension required to adequately reproduce clas-
sical music, decided JM. (Vol.30 No.12 WWW)
Silverline Audio Minuet: $600/pair (stands
necessary)
(See BJRs review in this issue.)
Totem Rainmaker: $950/pair (stands
necessary)
A beautiful and sophisticated loudspeaker crafted
with an attention to detail uncommon in its price range,
the two-way, reflex-loaded Rainmaker uses a 1" alu-
minum-dome tweeter and a 5", four-layer, paper-cone
woofer. BJR noted extraordinary detail, transparency,
and lack of coloration in the lower midrange, along
with lightning-fast articulation of transients at all
dynamic levels. JAs measurements found cabinet res-
onances in the upper midrange that correlated with a
slightly nasal quality BJR heard in his auditioning.
Highly recommended T4S stands add $525/pair.
(Vol.27 No.11 WWW)
Triangle Esprit Comete Ex: $12959/pair (stands
necessary)
Triangle Titus EX: $995/pair (stands necessary)
(See STs review in this issue.)
(See ADs review in this issue.)
D
Almarro M0A: $1200$1800/pair, depending
on finish
A relative newcomer to the US, Almarro has produced
an attractive, engaging speaker thats a superb value
and performs well with a wide range of musical pro-
gramming, said BJR. The M0As unique two-way
design features a full-range 4" midrange cone, a 6.5"
honeycomb-cone woofer, and integrated stands that
function as part of the woofer cabinet. Like a SET ampli-
fier, the M0A offered a combination of wide, deep
soundstage and continuous, organic low-level articu-
lation. High-level dynamic capabilities were limited.
You can ask for only so much from a 4" drive-unit run
full-range, said JA. Price includes steel stands; add $150
for aluminum stands. (Vol.28 No.9 WWW)
Audioengine 2: $199/pair $$$ (stands necessary)
The powered, reflex-loaded Audioengine 2, designed
for use on desktops and in offices and bedrooms, can
fit in the palm of one hand. It uses a 20mm silk-dome
tweeter and a 2.75" Kevlar-cone woofer in a black or
white gloss cabinet measuring just 6" H by 4" W by
5.25" D. Its small size made it extremely versatile,
portable, and fun. At reasonable volume levels, both
indoors and out, the Audioengines provided a wide,
deep soundstage with impressive image specificity and
drama. BJR raved: The level of sound quality produced
by this uncolored, detailed, articulate, and dynamic
speaker, in all situations, was beyond reproach. Though
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JA noted some distortion on high-level tones at low
frequencies, due to the built-in equalization causing
the woofer to work hard, he was impressed by the
Audioengines level of engineering and the quality of
its fitnfinish. (Vol.30 No.12 WWW)
Paradigm Atom v.5: $249/pair $$$ (stands
necessary)
The Atom v.5 is the latest version of Paradigms bar-
gain-basement, two-way, bass-reflex bookshelf design.
It uses a 1" high-purity titanium-dome tweeter and a
5.5" copolymer-cone bass/midrange driver with a
diecast chassis. WP was most impressed by the Atoms
glorious midrange and ability to sort out instrumen-
tal dynamics and acoustic interactions. The speakers
full-bodied overall balance compensated for its lack of
bass slam, Wes felt. According to JAs measurements,
however, the Atom will require care in system match-
ing to offset its slightly excessive treble and slightly loose
upper bass. The v.5 outclassed the v.3 in every sonic
parameter, promoting the Atom into competition with
designs in the $300$500/pair range, said BJR. (Vol.30
PSB Alpha B1: $279/pair $$$ (stands necessary)
The unassuming B1, the latest version of PSBs best-
selling Alpha speaker, has molded plastic front and rear
baffles connected by an MDF sleeve, and combines a
5
1
4", injection-molded, polypropylene-cone woofer
with a
3
4" ferrofluid-cooled, aluminum-dome tweeter,
both sourced from India. Low-bass extension was lim-
ited, and the speakers otherwise clean, clear bass tone
became muddied at very high volumes. Though high
frequencies were slightly veiled, the B1s midrange was
superb. JA was most impressed by the Alphas talent
for orchestral music: If you are a classical-music lover
with a small room and an equally small budget, a pair
of PSBs Alpha B1s is just what you need. . . Extraor-
dinary value. Though the B1s lent more drama to bass
and drums, they couldnt quite match the Paradigm
Atom v.5s treble performance, felt WP. JAs feels the
PSBs treble to be more naturally balanced, however.
(Vol.30 Nos.5 & 9 WWW)
Usher Audio Technology S-520: $400/pair $$$
(stands necessary)
The two-way, front-ported S-520 has a 1" silk-dome
tweeter and a 5" polypropylene midbass cone, and is
available in colorful glossy finishes (add $25/pair) or
standard birch. BJR noted some highlighting of the
lower highs and a lack of upper-octave air, but admired
the S-520s midrange and high-frequency resolution.
Low-end clarity and articulation were especially impres-
sivethe deepest bass notes were produced with strik-
ing realism. The Usher exhibited some solid audio
engineering for its bargain-basement price, said JA.
(Vol.28 No.11 WWW)
Wharfedale Diamond 9.1: $350/pair (stands
necessary)
This tiny, attractive two-way offered midrange and
high-frequency resolution commonly found in speak-
ers costing three times as much. A slight thickness that
ranged from the upper bass to the lower midrange indi-
cated the LS3/5a British upper-bass bump trick, used
to give the impression of greater bass extension. That
caveat aside, BJR was deeply impressed, calling the 9.1
a superb value. Likewise, JA found superb measured
performance, considering the speakers very modest
price. (Vol.28 No.11 WWW)
E
Apple iPod Hi-Fi: $349
The shiny, white, 15-lb Hi-Fi is Apples one-piece iPod
music system comprising dock, battery charger, and
speaker. It has four class-D amplifiers, two 3.14" tre-
ble-midrange drivers in separate sealed internal enclo-
sures, and a 5.1" woofer in a dual-ported internal
enclosure. An optical S/PDIF input allows users to
integrate the Hi-Fi into a WiFi network using Apples
Airport Express. The iPod Hi-Fis slick industrial design,
simple user interface, extralong power cord, internal
power supply, and battery compartment make compa-
rable desktop music systems seem chintzy, said WP.
It sounds pretty good, toobetter than any other iPod-
aimed boombox Ive heard, he adds, but it can sound
shouty at higher volumes and we dont give Mulligans
for ambition, just results. Even so, I love mine for
what it is, he concludes, adding that it offered deeper
bass, a far more articulate midrange, and nonscreechy
highs. MF agreed: As another goodwill ambassador
for the hi-fi world, it cant be beat. (April 2006
eNewsletter, Vol.29 No.5)
DV Forge ProSticks: $372
This PC speaker system uses a 7" sealed-box sub-
woofer for superbly tight and tuneful bass that sur-
passed the performance of the sometimes thumpy
Acoustic Energy AEGO2. While the ProSticks could-
nt match the expansiveness of the AEGO2s sound-
stage, they provided slightly better focus and
transparency. An easy recommendation for computer
listening, said MF. (Vol.28 No.7)
K
Magico V3, Revel Ultima Salon2, Totem Model One
Signature, Avantgarde Uno nano, Audio Note AN-
E/SPe, Paradigm Reference Studio 20 v.4, Usher V601
and Be718, Dali Ikon Ii, Renaissance Audio MLP-403.5.
Deletions
Aerial Acoustics Model 20T, Focal-JMlab Nova Utopia
Be, mbl 101E Radialstrahler, Linn Akurate, Mrten
Design Coltrane, Opera Callas Divina, Wilson
Benesch A.C.T., Shahinian Acoustics Hawk, BG Corp.
Radia 520i, Spendor S5e, Magneplanar MMG, MC1,
and CC3, PSB Image B25, ZVOX Audio 315, all not
auditioned in too long a time; Verity Audio Sarastro,
Sonus Faber Cremona, and Horning Perikles replaced
by new versions not yet auditioned; Omega Grande 6
and Triangle Comete Anniversaire no longer avail-
able; Peak Consult El Diablo and Empress not cur-
rently distributed in the US.
SUBWOOFERS
A
JL Audio Fathom f113: $3400 $$$
The f113 is a small, sealed cube featuring a 13" drive-
unit with a prominent OverRoll surround that permits
huge cone excursions. All controls and connections for
JL Audios Automatic Room Optimization are conve-
niently located across the front of the sub, beneath the
removable grille. Setup was simple and sophisticated.
Small as it is, said KR, the f113 makes a powerful
and musical contribution to the bottom end, even in
the context of an already full-range system. Remark-
ably powerful and clean by any standards, it is all the
more so considering its compact dimensions, he sums
up. When passing his systems low-end signal to the
f113 below 80Hz, KR also noted a dramatic expan-
sion of the entire soundstage. Though installing two
f113s in his system required more care and time than
LG had anticipated, the improvements in soundstag-
ing and deep-bass reproduction were worth the effort.
My entire system achieved its best performance to
date, he said, also noting that the JL Audios Automatic
Room Optimization circuit enabled him to tune out
an annoying 50Hz mode in his room acoustics.Price is
for Gloss Black finish. Black Satin costs $3200. (Vol.29
No.11, Vol.30 Nos.5 & 9 WWW)
REL Studio III: $9995
This powered sub-bass system has an adjustable high-
pass filter and a DC-coupled 300W amplifier. It truly
lives up to its billing as a sub-bass system, WP said about
the earlier Studio II. And it seems to do so with speak-
ers that I thought needed little or no bass reinforce-
ment, as well as with those that benefit from an extra
half (or even whole) octave of bottom end. But it does
more than that. It also makes your primary loudspeak-
ers possess even more of those magical qualities you
bought them for: more airiness, more sense of space,
more magic. LG was equally enthusastic about the 205
lb Studio III, which uses two downward-firing, long-
excursion, 10" paper-cone woofers made by Volt. The
Studio III conveyed ambient cues and enhanced imag-
ing and portrayal of space while increasing the dynamic
range of LGs system. It offered a softer, airier quality
than LG is normally accustomed to, but still produced
deep, tuneful bass while moving lots of air in his large
listening room. And though it delivered ample snap, pace,
and drive, it always remained true to the music. Lacks
a high-pass filter; for optimum results, must be installed
and tuned to your room by the dealer. (Vol.21 No.7, Stu-
dio II, WWW; Vol.27 No.10, Studio III WWW)
Velodyne Digital Drive DD-18: $4999
The servo-driven DD-18 has a built-in spectrum ana-
lyzer and eight-band digital equalizer, which allow the
subs performance to be optimized for its owners lis-
tening room, and is one of the most expensive sub-
woofers on the market. LGs system gained tight, solid,
bass reinforcement with jaw-dropping increases in
definition in the deepest notes. The soundstage also
gained width and depth, while spatial perspective was
enhanced. LG: The combination of its computer
installation program and its first-rate servo-controlled
drive-unit make it a true breakthrough for aftermarket
subwoofers. (Vol.27 No.6 WWW)
B
Bryston 10B-SUB crossover: $3050
The 10B features three balanced configurations
stereo two-way, monophonic two-way, and mono-
phonic three-wayand proved extraordinarily
versatile in managing crossover slopes and frequencies.
LG heard no electronic edginess and noted only the
slightest loss in soundstage depth. I found the 10B-
SUBs sound clear, transparent, and neutralas good
as Ive ever heard from an outboard crossover. (Vol.18
Genelec HTS4B: $3999
This powered sub uses a magnetically shielded
12"driver on the front and one 12" passive radiator on
each side panel, all sharing the same internal cavity.
An outboard crossover is necessary if the Genelec is to
be used in a two channel high-end system. Once cor-
rectly level-matched and equalized, the HTS4B pro-
duced solid, tight, deep bass and delivered dynamics
with suddenness and impact without altering the pitch,
timbre, or quality of the main speakers midrange.
(Vol.28 No.11 WWW)
Paradigm Reference Servo-15: $2500
This compact, self-powered, servo-corrected sub-
woofer has multiple control settings, and so offers
numerous setup options. LG says it is well-engineered
and gives no sign of the distortion, overload, or bloat
that is heard with so many subwoofer units. He also
says, Combined with dynamic loudspeakers or
dynamic satellite speakers, it delivers borderline Class
A sonics; Class B with electrostatics. KR is currently
using the Paradigm with great success in his multichan-
nel system. Price is for black ash laminate; light cherry
or rosewood adds $250. (Vol.22 No.8 WWW)
Thiel SmartSub SS1: $2900
Typical of all Thiel models in featuring Thiel-designed
and -built high-excursion, aluminum-cone drivers
with the firms short-coil, long-gap motor system, the
SmartSub SS1 also has a single 10" driver and a 500W
linear class-A/B amplifier with a tracking switching
power supply. Coupled with the PX02 dedicated pas-
sive crossover ($350), everything just sounded bigger
and better. Bass was tauter, deeper, and perfectly in
sync with the rest of the music, benefiting Thiels CS2.4
not only in the low frequencies, but in the midrange
and top end, too. Adding the infinitely flexible S1
line-level crossover ($4400) resulted in a remarkable
enhancement in a loudspeaker I was already pretty
besotted with, said WP, and pushes the SS1 almost to
Class A. (Vol.28 No.11 WWW)
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Era SUB10: $1000
The SUB10 is a hefty sealed subwoofer weighing 65
lbs and standing nearly 19" high on its spiked feet. It
uses a 300W amplifier to drive a downfiring, 10" min-
eral-loaded polymer-cone woofer. Adding a pair of
SUB10 to Eras Design 4 minis created a genuine full-
range system that provided the necessary weight and
impact. Though very low bass always lagged a bit behind
the musical pulse, JA never detected the one-note bass
too often heard from satellite-subwoofer systems. Sams
got one of these and likes it, too. Compact, versatile,
he adds. Can be used with other speakers, not just Eras.
Warmly recommended. (Vol.30 No.1 WWW)
K
SVS PB13-Ultra Subwoofer.
HEADPHONES &
HEADPHONE
ACCESSORI ES
A
AKG K 701: $450
The K 701 is a large, open-back, circumaural, dynamic
design with a neodymium magnet system. It features
wire frames, a leather headband, white porcelain-like
rims and motor housing, and extremely comfortable,
velvety ear pads that make a dashing retro-futuristic
fashion statement. While the K 701s were not exceed-
ingly difficult to drive, a headphone amp is recommen-
ded. The K 701s coupled an unmatched sparkle and
life in the high frequencies with a full bottom end for
a truthful, involving sound that defied simple back-
ground listening. WP: The AKG 701s have raised the
bar for natural-sounding headphones. Sams reference
phones: Why mess around with speakers costing tens
of thousands of dollars when you can have this? he
asks, summing up Beautiful to look at, comfortable to
wear. Worth every Pfenig! JM agreed: The 701s exhib-
ited clarity and detail in abundance, as well as bass that
was powerful and well defined. A bit forward-sound-
ing, warns MF, however. Stereophiles 2006 Joint
Accessory. (Vol.29 No.8, Vol.30 No.12 WWW)
Benchmark Media Systems DAC1: $975 $$$
DAC1 USB: $1275
Two headphone jacks but only digital inputs rather
than analog. See Digital Processors. (Vol.26 No.7,
Vol.27 No.5, Vol.31 No.1 WWW)
Grace Design m902: $1695
This revision of the Grace 901 headphone amplifier
includes an onboard DAC that now handles sampling
rates of up to 192kHz, unbalanced analog outputs con-
trolled by the front volume control, and a cross-feed
processing circuit to provide a headphone-listening
experience more akin to listening with loudspeakers.
Additionally, unlike the 901, the m902 can be used as
a DAC-preamplifier. A great, high-resolution DAC in
a very cost-effective package offering remarkable clar-
ity and continuity and a roundness of tone, especially
to the midrange, thought JM. In JAs listening room,
the m902 stood its ground against the Mark Levinson
No.30.6 processor ($17,500) and the more closely
priced Benchmark DAC-1 ($975). Using the m902 as
a headphone amp via its USB input, WP found the
sound murky. Connected via TosLink, however, the
Grace offered solid bass with punch and immediacy.
Pretty miraculous, said WP, who also recommended
auditioning the m902 as a preamplifier or as a work-
horse in a prosumer digital workstation. Highly rec-
ommended, summed up JM. (Vol.28 No.6, Vol.29
No.4 WWW)
HeadRoom Desktop: $1895, as reviewed
The Desktop is a hi-rez DAC, a digital switching sta-
tion, a preamp, and a headphone amp rolled into one
small, easy-to-use, relatively affordable package for
true geek fun. WP loved it: The reason I immedi-
ately began missing deadlines was that I was so
entranced by the music. JA was equally impressed:
HeadRooms Desktop offers excellent measurements
in both the analog and digital domains. The upgraded
Home module employs HeadRooms version of Walt
Jungs Diamond Buffer discrete transistor design, forc-
ing all active circuits into class-A bias using constant
current sources. WP noted improved clarity and grain-
less musicality, allowing him to form a stronger emo-
tional connection with the music. Standard version,
$599; Options: Home module, $99; Max module,
$399; DACs: Desktop, $249; Home, $299; Max, $399;
volume controls options: nobel volume pot (stock),
stepped attenuator ($99); power supply, $399. (Vol.29
Nos.4 & 11 WWW)
Ray Samuels Audio Emmeline II The Raptor:
$1175
The small (5.6" W by 4" H by 4.25" D) Raptors out-
put-transformerless design uses a single 12AU7 triode
tube for input gain and two 5687 driver tubes. The parts
are of very high quality parts and include Holco resis-
tors, Hovland MusiCaps, and Vishay resistors, for a
sound that can transport the listener to headphone
heaven, said ST. The presentation was nothing short
of outstanding: dynamic, wide, with superior defini-
tion and detail. Requires break-in; sounded best after
about an hour of play. (Vol.30 No.6)
RudiStor RPX-33 mk2: $1799
The utilitarian RPX-33 mk2 is a dual-mono class-A
headphone amplifier with two RCA preamp outs. It
offered a noticeable step up in dynamics, bass drive,
and resolving power over the Benchmark DAC 1 and
Grace m902 D/A headphone amps, felt JM: A phe-
nomenal headphone amp. (Vol.30 No.6 WWW)
Sennheiser HD650: $600
The HD650s are an evolution of Sennheisers very suc-
cessful HD600 open-back dynamic headphones,
claimed to provide superior results due to hand-selected
parts with closer tolerances and the use of a specially
developed acoustic silk for the driver diaphragms.
Compared to the Grado SR325i, the Sennheisers
sounded richer but slightly darker. JM found that their
very effective seal created a resonant cavity that pro-
duced bass that is both quite deep and a trifle indis-
tinct. JAs new reference cans. (Vol.28 No.6 WWW)
Sennheiser HD600: $500
WP, KR, and ST are unanimous in calling these the
best dynamic headphones theyve ever heard. The only
ones with which I have ever been physically or soni-
cally comfortable, says KR. Sennheiser has kept all
of the qualities that made the HD580 among the best
of its breed, and in several areas has even managed to
better it impressively, according to WP. Says ST, The
magic of the HD600s is their midrangea purity of
tone, especially when driven by tubes, that is quite spe-
cial. Astonishingly transparent when driven in bal-
anced mode by a HeadRoom BlockHead, found J-10
in July 2002. (Vol.21 No.2 WWW)
Shure SE530: $450
Shures top-of-the-line in-ear headphones, originally
called the E500PTH, include two woofers, a tweeter,
and a crossover network, but are actually smaller and
lighter than the E5c they replace. While retaining the
E5cs deep bass and extended top end, the SE530 offered
a smoother, richer midrange. At the slide of a switch,
the useful Push To Hear (PTH) module mutes the
music and activates a microphone, allowing the user to
hear ambient noise. MF bought the review sample.
Recent upgrades of the SE530 include modular cables,
a standard Push To Hear (PTH) in-line volume atten-
uator, and new isolating sleeves of black foam. In addi-
tion, the SE530 comes with an airplane attenuator, a
two-prong converter, and a handsome aluminum case.
With the proper ear fit, WP noted extended bass and
a smooth, soaring top end. The SE530s reliability and
versatility made them an easy choice for everyday use,
and their sound proved better than that of any other
in-ear headphone in WPs experience. An MF fave.
(Vol.30 Nos.1 & 12 WWW)
Stax SRS-007II Omega II System: $3895
The SR-007 Omega II Earspeaker electrostatic head-
phones can be powered with either of two energiz-
ers: the newer, solid-state SRM-717 or the
similar-looking tubed SRM-007t. The 007t was a bit
more immediately colorful, with softer and rounder
bass and not as extended a top or bottombut was
sweeter and more engaging. The solid-state 717 also
displayed a full tonal palette: its bass was tighter, its
highs more extended and, yes, less sweet. But it was
quite good in the midband, which was something of a
welcome surprise. J-10 summed up: The Omega II
headphone system is an outstanding choice for those
who want clean, clear, fast, revealing sound. If I have
to go through life with only one of the Stax amps, give
me the tubed SRM-007t. Soften the sound slightly by
going for the tubes, or keep the greater extension and
lovely midrange of the solid-state SRM-717. With the
headphones powered by the tube amp, MF commented
that the SR-007 Electrostatic Earspeaker had all the
pluses and minuses of electrostatic loudspeakers, said
MF: they were open, fast, and transparent, but with
limited dynamics and somewhat soft bass. The com-
bination of tube warmth and electrostatic transparency,
plus superb build quality and a very comfortable fit,
added up to a Class A listening experience, he decided,
though he feels that the Stax is ultimately better suited
to classical and jazz than rock. (Vol.18 No.3, original
Omega; Vol.24 No.7, Vol.30 No.5 WWW)
Ultimate Ears UE 10: $900
These discrete in-ear monitors, designed especially for
use in professional applications, are custom-molded to
your ear by an audiologist and provide superlative sound
isolation. They have three balanced armature drivers,
a passive crossover, and a
1
8" stereo minijack. The UE
10s excelled at providing accurate sound across the sonic
spectrum, and most impressed WP with their natural,
ungimmicky presentation of voices. Their high sensi-
tivity makes them compatible with typical portable
players, but their low impedance at low frequencies
may produce lean-sounding bass with earlier iPods,
warned JA. Price does not include custom ear-mold
fee. Stereophiles 2006 Joint Accessory of the Year.
(Vol.29 No.10 WWW)
Ultimate Ears UE 5: $700
These lightweight, sound-isolating, in-ear headphones
feature dual balanced armatures, a passive crossover,
and
1
8" stereo mini-jack. Their use of custom-fitted ear-
pieces make it important to have a mold correctly
crafted for each of your ears. Insertion and removal of
the earpieces was initially problematic, but soon became
second nature. They offered excellent isolation from
external sounds, were easily comfortable for long lis-
tening sessions, and combined a smooth midrange and
mellow highs with addictive, larger-than-life bass.
highly recommended, concluded JA. Soft material
option adds $50; metal carrying case adds $20. (Vol.27
No.12 WWW)
Ultrasone Edition 9: $1499
The extremely comfortable Edition 9s are dynamic,
closed-back headphones sporting a headband and ear-
pieces of exotic leather. They use a hinge-and-pivot ear-
piece arrangement with nondetachable Y cord running
to both sides. Ultrasounds S-Logic spatial-effect
enhancement technology seemed to increase out-of-
the-head imaging, found JM. The sound was ultra-
rich, lush, and seductive, while sacrificing some
sharpness in the treble. When paired with the RudiS-
tor PRX-33 mk2, the Edition 9s provided extraordi-
nary performance. (Vol.30 No.6 WWW)
B
Cayin HA-1A: $875
While first and foremost a headphone amplifier, the
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HA-1A can also serve as a line-stage preamp with a sin-
gle pair of inputs, or as a flea-watt integrated tube amp
offering 1.2Wpc in single-ended triode mode or 2.2W
in ultralinear operation. The Cayin provided the SET
experience, sounding immediate, intimate, and alive
while expanding the soundstage to float beyond the lis-
teners headspace. The HA-1A may be the best thing
that ever happened to headphones, raved ST, though
he finally decides that high Class B is a where the Cayin
rightfully belongs. WP compared the HA-1A to Head-
Rooms Desktop/Home. While the Cayin provided a
tube three-dimensionality that the HeadRoom lacked,
it couldnt match the Homes bottom-end definition.
(Vol.29 Nos.6 & 11)
Channel Islands Audio VHP-2: $399
Though tiny (4.4" W by 2.6" H by 4" D), the dead quiet,
warm, and detailed VHP-1 managed to impress WP
with its bass power and extension, and offered enough
gain to handle the Sennheiser HD-650s. A heck of a
good headphone amplifier, he remarked. Adding the
VAC-1 power supply ($159) resulted in better bass
response and greater dynamic contrast, and made the
VHP-1 a serious rival for best of class in its price range.
Product is now RoHS-compliant and called the VHP-
2. Rating is thus provisional until further auditioning
has been performed. (Vol.28 No.10 WWW)
Future Sonics Atrio Series: $199
These full-range, in-ear headphones use a single pro-
prietary driver to deliver exceptionally smooth perfor-
mance from top to bottom of the audioband: powerfully
fast, tight bass; clean, extended, transparent highs; low
distortion; and lots of detail, said MF. Accessory pack-
age includes several sizes of ear inserts. (Vol.31 No.3)
Grado SR325i: $295
Compared to the Sennheiser HD-650s, the Grados
gave the sense of greater treble extension and were
more efficient. Their generally forward sonic presen-
tation, however, left JM wondering if long listening
or editing sessions would prove fatiguing. The Gra-
dos use round earpieces that, unless your ears are very
small, will perch on rather than around them. (Vol.28
No.6 WWW)
Grado SR125: $150 $$$
BJR: The SR125 is a neutral, detailed, and warm-
sounding headphone. . . with extended frequency
extremes, wide dynamic range, and the ability to sound
natural at a wide range of volume levels. It was in their
use as playback monitors that BJR found how truly spe-
cial they could be: Not for one instant were they aurally
or physically fatiguing. They were simultaneously
musical and revealing of every nuance I recorded, but
were amazingly comfortable on my headmore so
than any headphone Ive ever used. In BJRs opinion,
the highest bang for the buck in the Grado line. (Vol.25
No.6 WWW)
Ray Samuels Audio Emmeline SR-71: $395
At just 3.5" by 2.5v by 1.5" and weighing 11oz, the tiny
battery-powered Emmeline SR-71 is the portable
equivalent to a class-A power amp, said WP. Despite
its being a bit too bulky to easily slip into your run-
ning shorts, the SR-71s sound proved so fine and addic-
tive that WP was happy to invent new uses for it,
hooking it up to his main review system as well as in
the bedroom. Playing uncompressed AIFF files through
an iPod, the SR-71 gave music body and a detailed
individuality that the portable player palpably lacked
on its own. JAs experience using the Emmeline to
drive his Ultimate Ears UE-5Cs echoed WPs enthu-
siastic comments. Held its own against the Musical
Fidelity X-Can
V3
, but lacked the latters bass extension
and attention to detail. (Vol.28 No.9 WWW)
Ray Samuels Audio Emmeline The Hornet:
$350
A marvel of a miniature, the portable Hornet (3" L
by 2" W by 1" H) comes in six colors, runs on one
rechargeable 9V battery, uses high-quality capacitors
and resistors, and offers a mini-plug line-level input
and mini-plug headphone out. The Hornet was a joy
to use, and proved superior to the headphone output
of the Atoll PR300 preamp. ST: Im in headphone
heaven. . . . How does Ray do itbig headphone sound
from a portable amp about the size of a matchbox?
Sam takes his to the library to block out the noise of
chirping children and nattering librarians. To get the
maximum performance, JA advised, Hornet owners
should use the lowest Gain setting that gives accept-
able levels with their preferred headphones. (Vol.29
Nos.9. & 12, see also June 2006 eNewsletter WWW)
Ultrasone PROline 2500: $399
The open-backed 2500s offered a spacious and airy
sound with a slight prominence in the articulation or
detail-frequency ranges, said JM. (Vol.30 No.6
WWW)
C
Goldring DR100: $99.95
Goldring DR150: $149.95
Designed and engineered in the UK but made in
China, these circumaural, open-back phones have
well-cushioned cups and headband and a 3m detach-
able cable. The DR150s provided a rich, full sound
with a smooth midrange, silky treble, and warm bass.
These cans appear to have a little boost in the upper
bass, adds ST, I welcomed this, even with classical
those cellos and double basses sounded swell. The
less refined DR100s maintained most of the 150s bass
performance but lacked detail in the midrange and tre-
ble. An outboard headphone amp should be used to
achieve best sound, suggested ST. (Vol.29 No.12)
Grado SR60: $69 $$$
The SR60 offers a rather dark-toned balance, with a
full bass and excellent resolution of detail. A more for-
ward midrange, however. Uncomfortable. (Vol.17
Nos.6 & 10 WWW)
HeadRoom Total BitHead: $149
A black plastic box weighing about 5.5oz with its four
AAA batteries, the Total BitHead measures just about
the same as a standard-size iPod, uses Burr-Brown
OPA4743 quad op-amp chips, and features two inputs:
a
1
8" stereo mini-jack for analog drive and a USB port
for digital feeding a Burr-Brown PCM2902 DAC.
MF: The Total BitHead seemed to equip the music
with heavy-duty shocks and springs, giving it a tighter,
more muscular drive. Rhythm, pacing, and musical
flow improved significantly. There was greater deli-
cacy and image three-dimensionality. Quite nice,
agrees ST, who uses a BitHead with his favorite Sony
portable CD player. BD likes using his with his PC.
(Vol.27 No.12 WWW)
NO CLASS DISTINCTION
Westone UM56 custom earmolds: $112/pair
Westones earmolds are made from silicone material
impressions taken by an audiologist. When Jim Austin
used the UM56s with his Shure E4s, he noted strong
bass response and excellent sound isolation. A posi-
tive, secure fit requires an open-jaw ear impression.
Initial moldings, formed from a relaxed-jaw impres-
sion, resulted in poor isolation and a loose fit. Highly
recommended but open wide, said Jim. (Vol.30
No.5 WWW)
K
Sony MDR-7506 headphones, Ultimate Ears UE-11
in-ear headphones.
Deletions
Musical Fidelity X-Can
V3
replaced by new model; Sug-
den HeadMaster not auditioned in a long time.
FM TUNERS
A
Day-Sequerra FM Reference Signature Modifi-
cation: $1680 (+ cost of tuner)
David Days Signature Mod effectively addresses this
ultimate FM tuners cathode-ray tubes tendency to
burn out. Switching circuitry has been added to allow
the CRT to turn off when not needed. The Signature
Mod also replaces the tuners incandescent bulbs with
longer-lasting LEDs, and uses hand-matched, low-
group-delay filters for lower distortion and better chan-
nel separation. LG noted punchy, quick bass response,
a deeper soundstage, and a more transparent midrange.
The new CRTs greater range of brightness and longer
life expectancy makes the Signature Modification
essential for owners of the DaySequerra FM tuner.
(Vol.12 No.6, Vol.14 No.12, Vol.21 No.6, FM Refer-
ence; Vol.29 No.9, Signature Modification WWW)
Editors Note: There are currently no Class B FM
tuners listed.
C
Music Hall RDR-1 Table Radio: $200
RDR stands for Radio Done Right, and Roy Halls
table radio, made in the same factory as the Sangean
WR2 and based on that model, features a 3" horn-
loaded speaker and 7W amp. Relatively large (9.4"
W by 4.5" H by 7.1" D), the RDR-1 offers FM and
AM presets (five each), an Aux input, and doubles as
a clock radio. Its many features take some getting used
to, but ST loved the RDR-1 for its exceptionally
quiet AM reception, an area in which the Music Hall
trounced the Tivolis. Highly recommended, he said.
(Vol.29 No.8)
Outlaw RR2150: $649
One of the few low-cost, high-performance, two-chan-
nel receivers still available. See Integrated Amplifiers
(Vol.29 No3, Vol.31 No.1 WWW)
D
C. Crane Model CCRadio SW table radio:
$149.95
Resembling a classic military shortwave receiver, the
CCRadio-SW comes with an AC wall wart but can
also be powered by four D or four AA batteries. It has
two RCA line inputs, and offers fast and slow tuning,
50 memory presets, and a timer and alarm. Offered
superb AM and FM reception, and played louder than
the Tivoli PAL, said ST. For casual listening, especially
news and talk, this is just fine. (Vol.30 No.12)
Cambridge SoundWorks Radio 820HD: $300
The 820HD is a splendid little FM radio, said ST. It
could play surprisingly loud, and was surprisingly good
at pulling in weak analog FM signals. HD reception
remains a question, As does its limited bit-rate, adds JA.
But HD Radio does sounds good when it comes in,
better than satellite. Either it comes in or it doesnt. Fig-
ure no more than 30 miles from a transmitter, maybe
less for AM. This is a fine sounding radio (on FM) with
plenty of features, many of them confusing but some
of them useful (like the ability to program the alarm to
go off only on weekdays). Analog AM reception was
not so hot at Sams place, however. (Vol.30 No.8)
Sangean HDT-1X HD radio tuner: $250
The HDT-1X provides an optical digital output, the
ability to bypass HD reception, a force-mono position,
and 20 memory presets each for AM and FM. ST was
generally pleased with the Sangeans analog FM
reception, but analog AM was just okay. Though HD
sound had greater clarity than analog, it lacked air, ambi-
ence, and low-level detail. MP3 quality sound from
your FM radio, anyone? rhetorically asks ST. HD pro-
gramming options fell far short of whats available on
the Internet. Considering the low price of the Sangean,
this is a buy if you want to receive HD broadcasts
that arent otherwise available, decided ST, Terrific
value for money in terms of a conventional FM tuner
alone. (Vol.31 No.1)
Tivoli Audio Model One table radio: $120
The Tivoli Model One is a radio stripped to its essen-
tials: no stereo, no station memories, no remote con-
trol, no tone controls, said ST. This design from the
late Henry Kloss didnt like being played very loud, ST
discovered, but was plenty loud for a typical office,
and, ultimately, loud enough for me. He heard a rich-
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ness, a warmth, a generosity of tone, and a clarity that
made for enjoyable listening. I was never fatigued. A
bit boomy, says JA, but pleasantly so. AD connected
the Model Ones record-out jack to his preamp inputs,
then muted its speaker. Matching the Tivoli with a
RadioShack 15-2163 FM antenna, he found that the
combination has been nothing short of wonderful in
my system: a flexible, great-sounding monophonic
source for a combined price of only $124. (Vol.24 No.3,
Vol.27 No.7 WWW)
Tivoli Audio Model Two stereo table radio: $200
Just like the Model One, but on stereo-oids, the Model

Two uses the same 3" speaker and the same vernier
tuning dial, but adds a dedicated Aux position. Its AM
reception is slightly better than the originals, though
still not great. ST: If you want the best AM radio pos-
sible, you should probably tune elsewhere. He sums
up: Non-fatiguingperhaps contoured to boost the
upper bass a little and roll off the treble, but okay by me.
Nuts to neutrality, especially in what is basically a
radio. He admires the Model Two for what it is, and
for not pretending to be what it isnt. (Vol.25 No.4)
Tivoli Audio PAL portable radio: $200
Designed by the late Henry Kloss, the PAL, measur-
ing 6.2" H by 3.6" W by 3.6" D, is a Tivoli Model One
FM/AM table radio in a plastic case with a recharge-
able onboard NiMH battery to make it all portable.
Sound quality through the built-in 2.25" speaker was
very good, though not quite up to par with that of the
Model One, which has a 2.75" speaker and a wooden
cabinet. ST uses his PAL in the backyard or when vis-
iting in-laws, and has also used it as a tuner. Replace-
ment battery costs $25; carrying bag adds $29.99.
(Vol.27 No.12)
K
Magnum Dynalab MD-206.
FM ANTENNA
Editors Note: No indoor antenna can compete with
a good roof or mast-mounted outdoor antenna, but
because apartment dwellers often dont have a choice,
we list the following indoor models that we have found
to work well: AudioPrism 8500 ($499.99, Vol.14 No.6),
AudioPrism 7500 ($299.99, Vol.12 No.5), Magnum
Dynalab 205 FM Booster ($399, Vol.10 No.6),
RadioShack amplified indoor FM antenna ($31.99, Vol.19
No.11), RadioShack 15-2163 FM antenna (Vol.27 No.7),
and Fanfare FM-2G ($99, Vol.20 No.12). Outdoor anten-
nae we have reviewed and recommended are the Antenna
Performance Specialties Sniper ($595) and Antenna Per-
formance Specialties APS-13 FM ($199), the original ver-
sions of which were reviewed in Vol.19 No.3.
COMPLETE AUDIO
SYSTEMS
A
Meridian F80: $3000
(See WPs review in this issue.)
K
Primare DVD 110, Sooloos Music System.
SIGNAL PROCESSORS
A
Audyssey Sound Equalizer: $2500
The standalone Sound Equalizer with MultEQ Pro
software canbe inserted into any system that has line-
level access between its sound processor and power
amp. No longer tethered to a mass-market A/V
receiver, the Sound Equalizers more powerful digital
signal processing is entirely dedicated to equalization.
In addition, the full-range Sound Equalizer offers twice
the resolution of built-in versions of MultEQxt over
most of the audioband, and eight times as much in the
bass. KR heard a subtle but significant improvement
in the overall sound of his system. Mid- and upper-
bass emphases were removed, images were more pre-
cisely placed, and low bass was tightened. Requires
professional installation for initial use and any subse-
quent system updating. Given a decent installation,
concludes KR, it will provide the finishing touch, opti-
mizing room-response, tonal balance and soundstag-
ing. (Vol.30 No.3 WWW)
Meridian 861 with MRC room correction:
$17,000$19,000
The MRCs correction scheme is based on calculating
and inserting multiple narrow notch filters for each
speaker in each of the 861s applications (see Music
Surround Components). In order to reduce the decay
time of each strong resonant mode with respect to the
average decay time for the room, the notch filters are
configured to match the frequency and time parame-
ters of the resonant modes. In addition, the MRC lim-
its the amount of correction to avoid making an audible
change in the immediate sound from the speakers. KRs
system gained seamless wraparound imaging and sig-
nificantly tighter and surprisingly powerful subwoofer
performance. Perhaps the most customizable and
effective multichannel room correction system for
below 200Hz. I am continuing to discover more about
it with each use. Stereophiles 2006 Multichannel
Music Component. (Vol.29 No.7 WWW)
Rives Audio PARC analog parametric equal-
izer: $3200
Of this two-channel, three-band parametric equalizer
with Parametric Adaptive Room Compensation
(PARC), KR said, the PARC was completely trans-
parent in both the critical midrange and the revealing
treble range, while in the lower midrange and bass,
the PARC was changing the sound, as intended. Deep
male voices were always firmer, better defined har-
monically and spatially, and easier to distinguish musi-
cally. Large and complex passages of music were also
improved: I realized that, although there was no sap-
ping of energy, there was a greatly enhanced facility to
hear more of what was going on within the orchestra.
PRaT (Pace, Rhythm, and Timing) fans will appreci-
ate what PARC does to delineate the pulse and meter
of the music. One of Stereophiles 2003 Joint Acces-
sories. (Vol.26 No.7 WWW)
Velodyne SMS-1: $749
This little box is at once an equalizer to be connected
between a preamplifier-processor and subwoofer, a
test-signal generator to be connected to a pre-pros line
input, a display device to be connected via composite
or S-video to your monitor, and all the interactive com-
putation power needed. KR found that subwoofers
benefited from the SMS-1, which linearized and flat-
tened the bass. (Vol.28 No.11 WWW)
Z-Systems rdp-1 reference: $4000
A digital preamp, but, as KR points out, a flexible and
friendly parametric equalizer as well. The best way
to correct tonal imbalance in speakers and source mate-
rial. The tone control for the digital age. However, he
cautioned, it is not a universal Band-Aid. While the
rdp-1 can modify the amplitude response of [a] speaker,
it cannot correct phase interactions between drivers,
nor can it change the radiation pattern of [a] speaker.
But used judiciously, it is a valuable tool. After mak-
ing it his 1998 Editors Choice, JA bought one of the
review samples and uses it to apply judicious EQ when
he masters Stereophile recordings. (Vol.21 No.7 WWW)
C
C. Crane FM Transmitter: $69.95
Sleeker than the TAW~Global Whole House that he
wrote about in the same issue, the C. Crane FM trans-
mitter uses two AA batteries, comes in black, white, or
silver, and features a telescoping swivel antenna. It has
a tuning range of 88.3107.7MHz, and its built-in input-
level control works to avoid overloading the transmit-
ter. Sold direct with free UPS shipping; car
cigarette-lighter adapter adds $29.95. (Vol.29 No.8)
Deletions
Automated Controlled Environments Subwoofer
Optimization System.
RECORDI NG
EQUI PMENT
A
Alesis MasterLink ML-9600 hard-disk/CD-R
recorder: $1699
With the ML-9600, MF was thrilled to be able to
record to its hard drive at any combination of 44.1, 48,
88.2, or 96kHz sample rates and 16-, 20-, or 24-bit
word lengths, create his own specialized Playlist, and
record 16-bit/44.1kHz Red Book CDs at his choice
of speed. As a reviewers tool, the ML-9600 proved
invaluable: LPs as played through different phono sec-
tions, turntables, and cartridges can be archived to
24/96 discs and be compared later with new products
being reviewedthe MasterLinks fidelity is that
good. But its functions run far beyond that of the audio
reviewer, and for only $1699 (street price as low as
$1000), its a bargain: The MasterLink has to be one
of the greatest values in audio as a CD burner, an
archival tool, or a mixdown recorder. . . . Once you
understand how to use it, it makes creating CD com-
pilations a blast. Highly recommended. JA enthusias-
tically agrees, using a MasterLink as a backup on his live
recording dates. Balanced Power Technologys modifi-
cations of the MasterLink resulted in a sound that was
warmer, less edgy, more smooth, yet with more appar-
ent detail; in short, more analog-like, said Mikey. New
modified units cost $1799; old units can be upgraded
for $1000. (Vol.25 No.6, Vol.29 No.2 WWW)
Sound Devices Model 722 portable audio
recorder: $2775
JM raved: The coolest, most desirable piece of audio
hardware I have encountered in a dogs age. The Model
722 is designed as a rugged, high-performance, fool-
proof, battery-powered portable stereo recorder for
electronic newsgathering and video- and film-sound
recording. However, with its line-level XLR analog
inputs, onboard A/D converters, 40GB hard drive, and
headphone amp, the 722 can also serve as a personal
stereo. Offers 24-bit recording at up to a 192kHz sam-
ple rate. The apotheosis of the iPod, said JM. iTunes
be damned. JA notes that the 722s pre-roll feature
it starts recording five seconds before you press
Recordsaved his bacon on a live session. (Vol.29
No.10 WWW)
TASCAM DV-RA1000: $1500
The DV-RA1000 is a component-width, two-rack-
unithigh professional recorder that records Red
Book 16-bit/44.1kHz CD data to conventional CD-
Rs, or hi-rez audio directly to DVD+RW blanks, all
the way from 24/88.2 PCM up to DSD. Dilettantes
can have fun with the DV-RA1000s capabilities, while
professional users will have to bounce its hi-rez tracks
to computer-based music-production programs. JM:
The TASCAM DV-RA1000 sounds great and is a
screaming bargain. (Vol.29 Nos.8 & 10 WWW)
MI SCELLANEOUS
ACCESSORI ES
Audio Research Tube Damping Rings: $3.95
each
Damping rings for all AR products are now available
conrad-johnson It just sounds right.
!`` Mcrrilcc Dr - Iairlax, VA !!0`1 - honc 0`6-SSS1, lax 0`60`60 - vvvconraJjohnsoncon
Actually
,
you CAN have it
both ways.
The lucidity and harmonic rightness of a tube amplier
and the muscle and control of a solid-state amplier.
Introducing the conrad-johnson ET250S enhanced triode amplier. The sole source of voltage gain, a single
ended triode establishes the harmonic character, while a high-current, high damping factor transistor output
stage produces the muscle (250 watts/ch) and control. Hear one for yourself at your nearest conrad-johnson
dealer.Write or visit our web site for more information.
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to the public at large. Theyre made of a proprietary
polymer material that converts kinetic energy to
heat, and their improvements are not subtle, exclaims
BJR: tighter, cleaner, deeper, more dynamic bass;
more coherent transient attacks; crisper, more
extended highs; plus improvements in the repro-
duction of subtle gradations of low-level dynamics.
Give em a whirlthe cost is minimal. (Vol.23 No.2,
Vol.26 No.8)
AudioPrism Noise Sniffer RFI/EMI detector:
$249.95
An electronic detective in the campaign to eliminate
noise, said Chief Barry Willis. Simply plug it in and
turn up the volumeits small built-in loudspeaker will
reveal where your problem outlets are. Then you can
turn to AudioPrisms QuietLine Parallel AC line filter
for a cure. A must-own product, period, says BD. 10-
4, adds J-10. (Vol.21 No.12)
AudioQuest binding-post wrench: $10.00
A great idea improvedsimilar to the original Post-
man, but with a metal sleeve reinforcing the sockets.
(Vol.20 No.9)
CAIG DeoxIT GOLD Wipes: $18.75/25ct
$35.50/50ct
For cleaning electrical connections, available from
www.markertek.com. JM: A small but powerful stock-
ing-stuffer. . . . Youll feel like a pro! (Vol.25 No.12
WWW)
ETI Bullet Plugs: $56 in copper (set of 4), $138
in silver (set of 4)
Originally called the Eichmann Bullet, this RCA con-
nector uses a clever design in which the hot signal is
conducted by a hollow rather than a solid pin, and
where a smaller, solid pin at the connectors periph-
ery takes the place of an unnecessarily massive ground
sleeve. AD heard a more open and explicit sound
with a deeper, more open, and more inviting sound-
field. Silver Bullet Plugs made the difference clearer,
more explicit, and even smoother. (Vol.27 No.12
WWW)
Sound Alignment Systems by American
Recorder Technologies, P770 laser alignment
tool: $250
The ideal device for positioning speakers, RD said
energetically, agreeing with LB that it should be in
the tool chest of every audiophile who wants to get
the best sound from loudspeakers. Its easy to use
just turn it on, hold it against the speakers front panel,
then adjust the speakers position until the appropri-
ate toe-in and vertical orientation are obtainedand
is much more effective than eyeballing the speaker
from the listening position. (Vol.21 Nos.1 & 11, Vol.24
No.8 WWW)
Stabilant 22 contact enhancer: $55/5ml bottle,
with 5ml concentrate, 15ml mixing bottle,
applicator, microbrush
Used to increase the reliability of contacts, avail-
able from www.posthorn.com. JM: An initially
nonconductive complex block polymer liquid
that, under the influence of electricity, becomes
conductive. Furthermore, it does not cross-link
to form sludge. Pretty nifty! (Vol . 25 No.12
WWW)
WBT Nextgen Signature phono plugs: $57 each;
$232/4
A breeze to install, these phono plugs feature reduced
conductor mass in an effort to create a true 75-ohm
RCA connector, and have a two-part polymer struc-
ture that, when snapped together, holds the machined
central plug and partial outer sleeve tightly in place.
The Nextgen Signatures had a nice effect on my sys-
tems high-frequency performance in particular, said
AD. (Vol.29 No.3)
Deletions
Townshend Audio Maximum Super Tweeter not audi-
tioned in a long time; original WBT RCA plugs in favor
of WBT Next-Gen plugs.
POWER-LI NE
ACCESSORI ES
Acrolink 6N-NCT 30A Isolation Transformer:
$10,950
The expensive dual-transformer 6N-NCT effectively
isolates components from the outside world and can
also isolate one component from another, allowing
users to plug in both analog and digital devices. Adding
the 6N-NCT to his suburban system, MF heard a
somewhat deeper, richer, and more solid sound. A
more profound difference might be heard in an urban
apartment complex. (Vol.29 No.6)
American Power Conversion S15: $1499
The S15 is a comprehensive power source, conditioner,
and controller that features extensible external power
and isolated EMI/RFI filtration for each of its outlet
banks. Voltage regulation is accomplished electroni-
cally and without the hysteresis or rebound problems
of slower, motor-driven compensation. Protected even
the heaviest of KRs loads while also eliminating gray
colorations and intermittent chassis vibration. The S15
made the bridged eVo6 into an even better power ampli-
fiera super amp. (Vol.28 No.9 WWW)
Audience Adept Response ar12 AC power con-
ditioner: $4100
The Adept Response provides power-factor correction,
RF noise filtering, transient suppression, and 12 Hubbell
high-conductivity power outlets. Each outlet is isolated
from its input by one filter, and further isolated from
the other outlets by a combination of two additional
filters, allowing an entire audio system to be plugged
into a single AR. BD noted a profound overall improve-
ment in his systems performance, characterized by
enhanced clarity, precision, low-level detail, image def-
inition, soundstage size and depth, and tonal density.
A thoroughly thought out, well-designed, nicely exe-
cuted manifestation of all thats currently known about
power conditioning, said BD. (Vol.30 No.4 WWW)
Ayre L-5xe power distributor: $1500
In an attempt to dissipate unwanted high-frequency
energy riding on the AC line as heat, the L-5xe uses a
coil of wire wrapped around a nonferrous core for each
of its four AC jacks. Its slight softening effect seemed
to improve image palpability, three-dimensionality,
and midband texture, said MF. However, the Ayres
pleasing romanticism lacked the believability of the
faster and more detailed Shunyata Hydra 2, he felt.
(Vol.30 No.7)
Belkin PureAV Home Theater Battery Backup
AP30800fc-10-BLK: $400
Offers sinewave battery backup, surge protection, auto-
matic voltage regulation, and surge-protection in/outs
for three A/V coaxial lines, a phone line, and a network
connector. Total capacity is 1200VA/640W with a
backup time of up to 40 minutes, depending on load.
KR: Belkins HTBB looks good, does the job, and,
with a little Googling, can be found for less than its ask-
ing price. Emitted an audible hum, however, that
became louder when on battery power. Current ver-
sion has black finish. (Vol.28 No.9 WWW)
Brick Wall PW8R15AUD surge protector: $259
This small, solid, black block is a series-mode surge
protector rated for 15A loads and comes equipped
with eight outlets in four filtered banks and a captive
14-gauge AC cord. Gave KR the sense that his equip-
ment was safe from catastrophic insult without chang-
ing his systems performance whatsoever. (Vol.28
No.5 WWW)
CablePro Noisetrapper NANA power strip:
$350
Manufactured by Wavelength Audio Video and avail-
able at most Naim Audio dealers, the Noisetrapper
NANA is an eight-outlet power strip featuring 12-
gauge silver-plated OFC internal wiring, silver-sol-
dered connections, and a hardwired, shielded power
cord, all built into a nonmagnetic enclosure, and devoid
of LEDs, MOVs, and filters which might corrupt per-
formance. Plugging his entire system into this one strip,
Art found unambiguously good performance: My
system was simply easier to listen to, and required less
nervous energy on my part in order to convince myself
I was hearing music. (Vol.29 No.3 WWW)
Cardas Golden Reference AC cable: $525/5ft
One conductor group in the Golden Reference cord
contains 119 high-purity copper strands, arranged in
eight layers, and utilizing the golden-section ratio to
cable design, ensuring that the mass of one strand in a
bundle is precisely 1.618 times that of its nearest neigh-
bor in order to dampen out-of-band information. AD:
Silences were silenter, sonic events were clearer, and
the whole music-making shebang had an altogether
more natural feel. . . . Virtually essential. (Vol.29 Nos.1
& 3 WWW)
Empower EM2100 surge protector: $1799
The Empower can be programmed to power up dif-
ferent components in sequence to meet specific needs.
Having four outlets in each isolated bank, the user is
able to efficiently organize various components, sepa-
rating digital from analog and audio from video. In addi-
tion, KR found that the EM2100 lowered the quiescent
noise level of his system by a small margin. An extremely
sophisticated and flexible power control center for a
very large and complex system, he said. (Vol.28 No.5
WWW)
Environmental Potentials EP-2450 Home The-
ater Power Supply: $800
Environmental Potentials EP-2050 Waveform
Correction Absorber: $750
The EP-2450, a lightweight, full-size chassis, has eight
unisolated AC outlets that can pass 20 amperes of HF-
filtered, ground-filtered, surge-protected AC, and
comes equipped with a filtered and surge-protected
coaxial line. KR used the EP-2450 to rid his system of
noise generated from other surge protectors, including
the noisy Belkin HTBB. Reduced amp noise to effec-
tive inaudibility! The E-2050 provides protection from
AC-borne noise by means of a tracking filter, and uses
a metal-oxide varistor to clamp and absorb surges. KR:
Examination of my houses line voltage on an oscillo-
scope revealed a smoother, cleaner 60Hz signal than
before. (Vol.28 No.9 WWW)
Furman IT-Reference 20i power conditioner:
$3499
Furman Sounds top-of-the-line power conditioner
provides four duplex outlets offering balanced and
power-factorcorrected AC, as well as two duplex out-
lets offering unbalanced power for high-current-draw
power amplifiers. JM: The IT-Reference 20i is built
like a tank, and worked flawlessly. It brought a slight
lowering of the noise floor without any reduction in
dynamics. (Vol.30 No.10 WWW)
HiFi-Tuning Silver/Gold fuses: $29.95$34.95
each
These German fuses, distributed in the US by The
Cable Company, have silver filaments, ceramic bodies,
and gold-over-silver terminations. Mikey replaced the
cheap fuses in his Musical Fidelity kWP preamplifier
and was rewarded with a subtle but noticeable improve-
ment in smoothness and coherence. The HiFi-Tuning
fuses worked well with both the Onkyo A-9555 and
PS Audio GCC-100, imparting a clearer, more dynamic
sound, with crisper transients, said RD. Go figure!
Available in various sizes. (Vol.30 Nos.2 & 9 WWW)
JPS Labs Aluminata AC Cable: $3499
The Aluminata AC has three 8-gauge Kapton-insu-
lated conductors and uses a Wattgate plug and IEC con-
nector, both with gold-plated contacts. Along with the
matching interconnects and speaker cables, the Alumi-
natas brought a new measure of spaciousness, scale,
smoothness, heretofore unimagined detail, and overall
musical ease and naturalness to my music system, AD
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enthused. KR agrees with AD that the expensive Alu-
minata lowers his systems noise floor. (Vol.30 No.4
WWW; also see CSs VTL review in Vol.25 No.11)
JPS Labs The Digital AC Cable: $349
Uses very-high-purity stranded copper conductors,
insulated to a 300V rating and said to contain a special
compound that absorbs and dissipates high-frequency
energy. AD: The Digital AC endowed the music with
a better sense of flow and a smoother, more liquid
presentation. . . . The sound was more open. . . with
an easier, more natural sense of movement from note
to note. . . . The performance as a whole also seemed
more dramatic and, in some spots, downright louder.
He purchased The Digital AC to use with his Sony
SACD player. (Vol.26 No.4 WWW)
Kimber PowerKord 10: $15/ft, plus $120 for ter-
mination
ST uses Kimber Kords throughout his system, and
noted tremendous differences with a Jadis Defy-7. But
try before you buy, he warns. (NR)
Kubala-Sosna Emotion AC cable: $950/m
A KR favorite. See Loudspeaker Cables. Add $250
for each additional meter. (Vol.29 No.7 WWW)
Panamax Max 2 Sub: $50
This tiny, inexpensive and unobtrusive surge protec-
tor plugs directly into an AC outlet, protects its own
two outlets with a protect or disconnect function, and
has two sets of similarly protected RCA input/output
connections, as well as LEDs that indicate the AC sta-
tus. KR: Together with the Environmental Potentials
EP-2050 whole-house protector and the APC S-15, the
Max 2 Sub makes another small contribution to my
peace of mind. (Vol.29 No.1 WWW)
PS Audio Power Port Classic AC receptacles:
$50 each
Uses terminal screws made of silicon bronze and inter-
nal contacts made of high-purity brass plated with 15
coats of polished nickel. All of the AC receptacles in
ADs home that feed hi-fi components have been
upgraded to PSA Power Ports. He heard stronger
music and blacker silence, with a slight, overall improve-
ment in listening ease. BJR agreed: The system repro-
duced far more midrange inner detail and delicacy. The
improved dynamic range of the system was staggering.
The systems noise floor seemed to have been lowered
significantly. . . . High-level dynamic slam seemed
effortless. . . . The lower bass seemed extended by
another half-octave. And JA: The apparent lowering
of the electrical noise floor [from clean AC] is addic-
tive. (Vol.26 No.11, Vol.27 No.3 WWW)
Shunyata Anaconda Helix Alpha: $2000
Shunyata Anaconda Helix VX: $2250
The top models in Shunyatas PowerSnakes line, the
Anaconda Alpha (7 gauge, 45A) and the Anaconda VX
(9 gauge, 35A) use cryogenically treated CDA-101 cop-
per, a patented winding geometry, and hand-braided
conductors. The VX, intended for use with digital and
visual electronics and recording equipment, fills the
jacket with Fe-Si-1002 noise-reduction compound for
the absorption of electromagnetic noise. Vaporized
fine layers of haze and noise, thought PB, while pro-
viding greater dynamics and detail resolution. MF is
also a big fan: connected to the Ayre MX-R monoblocks,
the Helix version of the Anacondas noticeably black-
ened the backgrounds, created more silence between
notes, removed a milkiness . . . and improved the MX-
Rs already superb purity of textures and timbres.
(Vol.27 Nos.1 & 8, Vol.30 No.7 WWW)
Shunyata Hydra Model 8: $2495
The Hydra Model 8 is an entirely passive device that
has eight cryogenically treated, silver Shunyata Venom
outletstwo digital-specific, two analog-specificon
the rear panel of its hermetically sealed, box-within-a-
box aluminum case. Fe-Si-1002 noise-reduction com-
pound fills the space between the two boxes and is said
to absorb electromagnetic noise. With the Hydra 8 in
his system, PB noted quieter backgrounds and inter-
transient silences, and a more relaxed and organized
presentation. The best Ive heard! adds MF, finding
in his review of the Musical Fidelity kWP-kW combo
that the Hydra 8 proved to be the real key to musical
satisfaction, smoothing out the highs, tightening the
bass, and adding cohesion to the overall presentation.
An amazing product, he concluded, mysteriously
good. PB agrees, adding that he wouldnt be without
his Hydra 8. (Vol.27 Nos.1 & 8 WWW)
Shunyata V-Ray power distributor: $3995
With the Hydra V-Ray in MFs system, jet-black back-
grounds were accompanied by a musical transparency
and transient purity free from any filtery softness.
Compared to the Shunyata Hydra 8, the V-Ray offered
a slight improvement in low-level dynamic contrasts.
(Vol.30 No.7)
Power-line Accessories
Siltech SPX-30 Classic G5 Mk.2: $700/m; $225
additional 0.5m; $112.50 additional 0.25m
PB: All of the Siltech cables are beautifully made and
finished and, hallelujah, are flexible, slim, and easy to
dress. See also Interconnects. (Vol.27 No.10 WWW)
Torus Power RM20 AC power isolation unit:
$3000
Torus Powers Power Isolation Units (PIUs) combine
surge suppression with massive toroidal transformers
to provide AC power conditioning and protection from
voltage surges. The RM20 uses a single 2400VA toroidal
transformer to supply 120V and 20 amperes to the 10
AC outlets on its rear panel. It has a 20A circuit breaker
for its On/Off switch and uses a 14AWG detachable
AC cord rated at 15A/125V. The PIU greatly enhanced
subtle details of tone, timbre, and imaging when dynam-
ics were extreme or volume was loud, said LG. (Vol.31
No.1 WWW)
K
Furutech FP-20, e-TP80, and e-TP60.
Deletions
Synergistic AC Master Coupler replaced by new model
not yet auditioned.
STANDS, SPI KES,
FEET, & RACKS
Good Speaker Stands: There are too many possi-
bilities, but, briefly, a good stand has the following
characteristics: good rigidity; spikes on which to rest
the speaker, or some secure clamping mechanism;
the availability of spikes at the base for use on wooden
floors; if the stand is steel, provision to keep speaker
cables away from the stand to avoid magnetic inter-
action; and the correct height when combined with
your particular speakers (correct height can be any-
thing from what you like best to the manufacturers
design height for best drive-unit integration). Though
Stereophile hasnt reviewed speaker stands, its not
because we think theyre unimportantfor speakers
that need stands, every dollar spent on good stands is
worth $5 when it comes to sound quality. Brands we
have found to offer excellent performance are Arcici
Rigid Riser, Merrill (see Vol.18 No.1, p.39), Sound
Anchor, Sanus Systems Steel and Reference, and Linn.
(Sound Anchor also makes an excellent turntable
stand, reports TJN.) Interface material between the
speaker and the stand top plate is critical: Inexpen-
sive Blu-Tack seems to reduce the amplitude of cab-
inet resonances the most (see Vol.15 No.9, p.162
WWW)
Audio Points by Star Sound Technologies:
$55.49$119.49/set of 3
Highly polished point of solid milled brass, claimed to
have been developed along the theories of Coulomb
Friction, transfer resonant energy through the virtual
point away from the component. 28 sizes and thread
combinations available. (NR)
AudioQuest SorboGel Q-Feet: $125/4
Now in a more reactive formulation in bright blue,
these feet are the best means of isolating components
from vibration. (NR)
Aurios MIB component supports: $199/3
RD highly recommends these footers. Of the latest 1.2
version, he writes, Do everything the originals did, but
leveling is much less critical. (Vol.24 No.5)
Ayre Myrtle Blocks: $5 each
Designed and made by Cardas Audio, each Myrtle
Block measures 0.618" by 1" by 1.618", in accordance
with the golden-section ratio. Myrtle Blocks are meant
to be placed beneath the actual structure of a compo-
nent in groups of three. AD heard subtle but unam-
biguously nice things when he placed them under
most components. Beneath speakers, however, they
robbed the music of so much of its emotional wallop
that it was downright creepy. In a properly run uni-
verse, these wouldnt work at all, sez WP. In this
oneand assuming every other sonic hiccough is
attended tothey do help, though he refuses to spec-
ulate why. (Vol.29 Nos.1 & 3 WWW)
Black Diamond Racing Pyramid Cones: $20
each
Expensive, but very effective, according to J-10. WP
and JA, who generally use these whenever they need
to support electronic components, agree. (Vol.21 No.6)
Boltz CD 600 storage rack: $229; expansion kits,
$179
Boltz LP shelves: $529 for a three-shelf unit; each
additional shelf: $149
Surfing the Net (www.boltz-usa.com), MF found these
do-it-yourself racks: each is 48" high, 24" wide, just 6"
deep, and holds 600 CDs! You can double or triple the
capacity with the expansion kits, and the racks are now
available pre-assembled. Now available as equipment
racks, TV stands, and LP shelves. MF bought the LP
rack, which consists of a heavy base and three shelves;
additional shelves (3' wide by 10" deep) run $149 each,
and you can stack em to the ceiling! Really well-made
and incredibly sturdy, reported The Analog One. Free
shipping. (Vol.22 No.11, Vol.24 No.1)
Bright Star Air Mass 3: $218
Ingenious, inexpensive, and effective air-bladder
product that damps out floor and air-borne vibrations,
MF said. WP agrees. Originally called Air Mass 1.
(Vol.20 No.2)
Bright Star Audio Rack of Gibraltar 1 equip-
ment stand: $2150
Bright Star Audio Big Rock 1.1: $299
Bright Star Audio Little Rock 1 Isolation Pod:
$179
Bright Star Mini-Rock F VPI isolation base:
$199
Bright Star IsoRock 6.3S: $388
A very effective isolation system for control of unwanted
vibrational energy. Individual components float on a
sand bed for energy dissipation, and are weighted down
with the Little Rock to minimize spurious vibrations.
The payoff is enhanced resolution of the musics
nuances, says DO. RN adds that this system consis-
tently tightens the bass, increases sonic transparency,
and smooths treble hash and grain. The Bright Star
TNT Big Rock is a $275 sand table specially sized to
support the TNT. MF, BD, and BJR all use one under
their VPIs, as they provide a stable surface and offer
such sonic benefits as a lower noise floor and increased
bass. The Mini-Rock F is specially sized for use under
the TNTs flywheel. KR placed each of his Bel Canto
e.One amplifiers atop an IsoRock and encased it within
a Little Rock for a belt-and-suspenders setup that had
the amps almost glued to the floor, creating as optimal
an environment as possible. If you are concerned about
RF and other nasties thrown off by digital amps, he
notes, these little guys will let you rest easy. (Vol.16
No.5; Vol.18 No.11, Mini-Rock F; Vol.20 No.4, TNT
Big Rock; Vol.29 No.11 WWW IsoRock, Little Rock.)
Introducing the Tiny Dancer Be-718, the new
Usher with beryllium-dome tweeters and the finest
hand-picked components. Theyre mesmerizing
to hear, beautiful and easily integrate into your
system and your lifestyle. Experience the Be-718 at
a dealer near you, visit usheraudiousa.com today!
STATE- OF-THE-ART SOUND FROM SPEAKERS THAT
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3,000THE USHER Be-718 IS
NOW THE REFERENCE IN THIS CATEGORY.
DOUG SCHNEIDER, SOUNDSTAGE.COM
U.S. DISTRIBUTOR: MUSIKMATTERS, INC.
1303 Motor Street, Dallas, Texas 75207 USA
Tel/Fax: (214) 638 3500 / (214) 722 0325
$
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PAIR
immedia
Sound Refinement
immedia
Sound Refinement
I consider the
Spiral Groove SG-1 turntable
to be on par with the top-of-the-line,
cost-no-object agship models from
any manufacturer in the world today when
it comes to rotational stability and sound.
In addition the SG-1 is easier to carry, install,
and operate than other top-end models.
I have ordered one.
Takahito Miura, Reviewer
Stereo Sound
Japan
www.i mmedi asound.com

510.559.2050
Finite Elemente

Sonics

Lyra Connoisseur

Lyra

Spiral Groove

Lehmannaudio
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Bright Star Rack of Gibraltar 2 equipment stand:
$2650
Rigid, super-stable platform for audio equipment, and
the carrier for the Ultimate Isolation System: air-base
(Air Mass) and sand-filled damping platform (Big
Rock) makes a sandwich of sorts. The Gibraltar 2,
with its two-wide, three-high, widely spaced, large
shelves, isnt quite ready for MoMA and boasts no neon
lights, but in its simplicity and quality its attractive,
even elegant, said BD. He recalled Louis Henri Sulli-
van, who immortalized the phrase form ever follows
function. Suitable for turntables, superbly built, and
the best BD has ever used. (Vol.23 No.5 WWW)
Bright Star Ultimate TNT Isolation System
$2397
Simple, affordable, effective isolation system for the
VPI TNT that combines a static pneumatic isolation
mount with mass loading. WP noted that high fre-
quencies seemed clearer, less smearedharmonics
leapt off strings and floated independent of the fun-
damental. . . Bass sounded more deep and taut, espe-
cially sustained notes or anything in the bottom two
octaves of the piano. BD agrees, finding that the Iso-
lation System lowers the TNTs (already low) back-
ground noise, resulting in subtle but noticeable
improvements in image dimensionality, ambience,
and inner detail. (Vol.20 No.7)
Finite-Elemente Pagode equipment rack: $6675
This stylish, well-built, four-shelf audio equipment
rack with integral vibration damping uses high-strength
aluminum uprights, shelves and supports of Canadian
maple, and stainless-steel hardware. Placing compo-
nents atop the HD07 resulted in slightly but consis-
tently improved focus, resolution, and dynamic
precision. Installing a set of Finite-Elementes Cera feet
beneath a component, however, resulted in huge, jaw-
dropping improvements in the same areas of sonic per-
formance. Adding a set of Cerabases ($795/4) to the
HD07 increased overall performance throughout. Cera
component feet: Ceraball, $135/4; Cerapuc, $450/4.
(Vol.29 No.2 WWW)
Gingko Audio Cloud 11 isolation stand: $419
The Cloud 11 uses up to ten rubber-like balls strategi-
cally placed between two slabs of acrylic. Mikeys sam-
ple was configured for use with the VPI Scoutmaster
turntable. MF: Putting the Cloud under the Scout-
master resulted in a dramatic lowering of the noise floor
and an improvement in the blackness of the back-
ground. Images stood out in clarified relief, bass tight-
ened, transients sounded sharper and more natural. The
differences were not at all subtle. (Vol.27 No.11)
Golden Sound DH Cones, Squares, and Pads
With the Cones alone, J-10 noted a lift in overall trans-
parency, with a slightly tighter focus. Using the
Squares alone, the sound was softer than the
Cone/Square combo. . . but nevertheless got high
marks for a sweet and pleasant presentation. And in
combination? The highs and upper midrange were
beautiful and open, the midrange had just the right
amount of juice, the lower midrange wasnt boomy at
all, and the bass extension was excellent. ST is also a
fan, particularly of the Pads, which wrought quite an
improvement in sound under my Cary SE300Bs.
Super Cones, $120/set of 3; Jumbo Cones, $90/set of
3; Large, $60/set of 3; Medium, $50/set of 3; Small,
$30/set of 3. Squares, $36/set of 3, $48 set of 4; Super
Pads, $270 (19" by 17" by
1
2" thick); Golden Sound Pads,
$170 (12
1
2" by 17
1
2by
1
2" thick); Acoustic Discs, $140/set
of 12. (Vol.20 Nos.11 & 12, Vol.24 No.5)
Grand Prix Audio Monaco equipment stands:
$1499$5999
Despite their stylish, lightweight design, a four-shelf
Monaco stand can carry up to 150 lbs per shelf, for a
maximum total load of 500 lbs. PB: More than any-
thing else, the Monaco brought a sense of focus and a
difficult-to-explain sense of calm to the sound of every-
thing he placed on them. Loading the hollow stainless-
steel columns with lead shot produced another incre-
ment of improvement: Backgrounds became quieter,
low-level detail retrieval improved markedly, and
dynamic contrasts took on greater subtlety and sharper
contrasts. Using separate isolation footers under com-
ponents only muddled things, providing evidence of
the fundamental soundness of the GPA approach to
vibration control. The amp stand is expensive but
works as promised and looks cool too, decided MF.
A 3-shelf system costs $3284; 4-shelf system, $4750; 5-
shelf system, $5999; base module, $2250; short or tall
module, $1499; amplifier stand, $1499; Formula Shelf
Carbon-fiber/Kevlar composite shelf, $950. (Vol.24
No.7, amp stand; Vol.25 No.12 WWW)
Halcyonics Micro 40 Active Vibration Isolation
System: $8500
The laboratory-grade Micro 40 uses eight coaxial piezo-
electric acceleration sensors and electrodynamic actu-
ators to provide more than 40dB of isolation at 10Hz
and above, and more than 25dB of isolation to as low
as 5Hz. It can support up to 220 lbs, automatically
adjusts to its load, and, with a platform 16" W by 17.5"
D, is ideal for use with a small-footprint turntable. MF
found that the Micro 40 made a dramatic improvement
in the soundstaging and imaging capabilities of suspen-
sionless turntables. Expensive. (Vol.29 No.6)
Music Direct record rack: $299$499; add
$125$175 for additional shelves
Sturdy, attractive racks with modular shelves of
3
4"
MDF in lengths of 31" and 59". Steel backsplashes keep
records lined up evenly, while a series of hidden sup-
port rods make sure they never fall over or bend, even
when the rack is only partially filled. Available in maple
with silver uprights or cherry with black uprights. Add
$125$175 for each additional shelf. MF: Designed
by vinyl enthusiasts for vinyl enthusiasts. (Vol.27
No.6)
S.A.P. Audio Relaxa magnetic levitation plat-
form: $795
Uses pairs of opposing magnets in each of four feet that
are stabilized using a bearing/shaft mechanism designed
to minimize mechanical contact. MF: The Thorens
850s sonic charms only improved with the better iso-
lation provided by the Relaxa. Image focus, and the
subtlety and clarity of musical transients, seemed to be
rendered more cleanly. Compared to the Gingko
Audio Cloud 11, the Relaxa demonstrated less effec-
tive attenuation overall, but did a much better job of
dispensing with motor noise. (Vol.27 Nos.2 & 11)
Sound Anchors Cone Coasters: $16 each
These discs, machined from a sandwich of stainless steel,
Kevlar, and polyester, are designed to prevent speaker
spikes from ruining your floors and to prevent vibra-
tions from being transmitted through wooden floors.
BJR found that using them with his Al;aon Vs resulted
in greater perceived detail and faster bass. (NR)
Sound Quest Isol-Pads: $25/4
Each 2"-square-by-
7
8"-thick pad consists of two slabs
of ribbed rubber sandwiching a layer of isolation cork,
and is said to support 75 lbs. ST is in the process of
putting them under everything. Im no tweaker, but
they did clean up the sound wherever I used them.
(Vol.28 No.12)
Symposium Energy Absorption Platform:
$659
Symposium Ultra Isolation Platform: $659
The top and bottom of the Ultra platform are alu-
minum, while the middle is made up of several unequal-
thickness layers of vibration-damping material designed
primarily to drain vibrational energy away from your
component, rather than to provide isolation from exter-
nal vibrations or footfalls. It succeeded at lowering noise
and enhancing resolution, while bringing an entirely
subjective sense of ease to listening, said JM. The less-
expensive platform jazzed MF with the top-to-bottom
authority, focus, and slam that his system gained when
the platform was installed under his turntable. Prices
are for 19" by 14" size; 19" by 21" costs slightly more.
(Vol.20 No.5. Vol.26 No.3 WWW)
Symposium Rollerblock Series 2+: $399/set of
3, $499/set of 4
For improved resolution from your CD player (or any
other digital equipment), ST recommended these pre-
cision-machined items, which consist of a block with
a ball bearing set in a hemispherical depression. Once
theyre in place, he said, the sound just tightens up,
cleans up, clears up. I hear more low-level informa-
tion. Imaging improves. Timing, too. . . Transients are
crisper. I hear improvement in just about every
respect. The only drawback (outside of cost) is that
the player might roll around a little when you load
a disc or hit Play. SD concurs with STs enthusiasm;
MF became a believer in the high-roller phenom-
enon when he put his Virgos on the similar Yama-
mura speaker bearings. (Vol.22 No.4)
Vibrapods: $6 each; available packs of 4
KR: Placed under CD players/transports, DACs and
preamps, the small (1"x3" diameter), formed Vibrapods
isolate and enhance performance. Five different mod-
els rated for loads of 228 lbs; match the quantity to
the component. I keep a box of them around so that
no component goes without. A KR favorite. (NR)
Walker Valid Points: $350/set of 3 large cones
and 5 discs; other sizes available
Heavy brass-alloy-and-lead cones, with points that
rest atop large, brass-ringed, lead-filled tuning discs.
Definitely worth checking out, said MF, and Walker
will refund your money if youre not satisfied. (You
must return the set within 30 days in the original con-
dition.) MF adds that not only do I like them a lot,
theyre well worth the priceas I clearly found when
I put a set under the Ayre K-1 and added a few of the
discs on top. Combined height may be too tall for
some racks. Super Tuning Kit ($525) includes three
large cones, five discs, and four 1" discs. (Vol.20 No.5,
Vol.21 No.11)
K
Bright Star IsoNodes, Composite Products CF-1000-
5 equipment stand, Composite Products amp stands.
ROOM ACOUSTICS
TREATMENTS
ASC Studio Trap: $379
Adjustable tripod-mounted room-tuning device that
represents the latest in TrapThink from ASC, accord-
ing to J-10, who uses an array of Studio Traps to great
effect in his Manhattan loft. The front half is treble-
reflective for a brighter sound, while the back side is
treble-absorptive for a drier acoustic. He highly recom-
mended the Traps for anyone whose family will allow
them to populate the listening room with gobos.
(Gobos are sound-absorbing panels used to surround
performers in recording studios.) Stereophiles Acces-
sory of 1999. (Vol.21 No.12 WWW)
ASC SubTrap: $438 as reviewed
This big, chunky black box sits under a subwoofer to
attack acoustic problems caused by the interactions of
a subwoofers output and the rooms modes. Improve-
ments in room acoustics were immediate, thought KR,
even with the subwoofer disconnected: There was less
apparent energy from clapping, loud conversation, or
just stomping around. With the system turned on,
there was less apparent bass energy from all widerange
signals. With a Paradigm Servo-15 sub sitting atop a
SubTrap, bass was deeper and more detailed: Ah, yes
glorious bass without the boom! Available in three
sizes: 15", 18", and the 22" square model reviewed.
(Vol.27 No.9 WWW)
ASC TowerTrap: $832
Originally called the Cube Tower, the Tower Trap is a
smaller, more cosmetically acceptable, more afford-
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able version of the classic Tube Trap, writes BJR. Very
effective at taming mid- and upper-bass room anom-
alies. Looks like an attractive Vandersteen speaker sit-
ting there in the corner. Price is for 78" version;
Standard 48" version costs $512. (NR)
ASC TubeTraps: $401$798, depending on size
and style
Relatively inexpensive but remarkably effective room-
acoustics treatment. Tube Traps soak up low-to-high
bass standing-wave resonances like sponges. WP agrees,
using Traps to optimize the acoustics of his room for
MartinLogan SL3 electrostatics, while BD used em to
optimize his room while auditioning the Thiel CS7.2s.
Using the Music Articulation Test Tone (MATT) from
Stereophiles Test CD 2(STPH004-2), he first positioned
them for smoothest overall response and articulation,
then dialed-in depth, dimensionality, and ambience.
A chart recorder graphically showed the changes. In
the end, The sound was fantastic, quoth BD, who rec-
ommends them unconditionally. (Vol.9 No.3, Vol.15
No.2, Vol.16 No.12, Vol.19 No.1, Vol.20 No.5, Vol.23
No.2 WWW)
Auralex SubDude: $59
An MDF platform 23" long by 15" wide, covered with
a carpet of thick felt and supported by two risers of
high-density isolation pad, the SubDude has a rated
load capacity of 300 lbs. KR found that the SubDude
significantly isolated his Paradigm Servo-15 subwoofer
from the live wooden floor, and made the sound tighter
and fuller, but, conversely, less obtrusive. When used
under full-range speakers, the SubDudes offered sim-
ilar bass results while affecting high-frequency perfor-
Echo Busters Decorative Room Treatments
Echo Buster Phase4: $395 each
Bass Buster: Helmholtz quarter-round bass absorber,
wood-framed with foam core, $325 each. Echo Buster:
flat-panel, high-frequency absorber, wood-framed
with foam core, $220 each. Double Buster: flat-panel,
mid-to-high-frequency absorber, wood-framed with
rigid convex panel core, $225 each. Echo and Double
Busters can stand free or be hung on a wall. Effects were
often subtle, but worth the effort. With the Bass Busters,
BD found, The room had gone from essentially unlis-
tenable to having excellent bottom-end balance and
articulation. Of the Echo Busters, he said, Improved
image focus was probably the biggest benefit, mani-
festing itself most obviously in an increase in the dimen-
sionality and tangibilitythe densityof images.
Double Busters improved soundstaging, expanding
and opening up the stage, increasing the space between
performers, and creating around them a coherent, live-
feeling space. CS and KR are also fans of the Buster,
KR recommending the $395 Echo Buster Phase4. This
12" by 12" by 48" column has four sidestwo perfo-
rated, two solidand is filled with foam. Placing the
Phase4s on the sidewalls with their perforated sides fac-
ing the main speakers, KR was able to tame a bass hot
spot while mitigating pesky short reflections that had
impaired lateral imaging, all without sucking the life
out of his system. Stereophiles 2003 Joint Accessories.
(Vol.26 No.9 WWW)
RealTraps MondoTrap: $300
Corner MondoTrap: $350
The MondoTrap is a large (57" H by 24" W by 4.25"
D) acoustic absorber built from double-density rigid
fiberglass and covered in a sound-transparent fabric. In
addition to imparting to bass instruments a fuller,
clearer, more palpable sound, the MondoTraps seemed
to reduce a glaze, allowing Jim Austin to hear deeper
into the music. Far from deadening the room, he said,
the MondoTraps made the music more involving. I
really liked what the Mondo Traps did in my room,
adds KR, although I have to agree with Jim (and my
wife) that their appearance better suits a studio or ded-
icated audio room than a regular persons lifestyle.
Corner MondoTrap, designed to fit unobtrusively into
a corner of a room, costs $350. (Vol.30 No.8 WWW)
RealTraps Tri-Corner Trap: $250 each
These small equilateral triangles, 32" on a side, were
the perfect fit for the lower rear corners of KRs week-
end room, and increased bass response dramatically.
What a great idea! Completely inconspicuous bass
trapping that made a noticeable and measureable
improvement in my already well-treated room. A
notable product for those with spousal and decorative
restraints, he decided. (Vol.29 No.11 WWW)
RealTraps: $110$500, depending on size
With these fiberglass panels set up across the junction
of room boundaries and in corners, KR heard major
improvements in imaging, detail, and soundstage width:
Every sound in the room, real or reproduced, is more
defined in character and location. While KR was
greatly satisfied with the results, he admitted that the
panels were visually imposing: The stand-mounted
HF MiniTraps are in the way all the time. MiniTrap,
$200; HF MiniTrap, $180; MondoTraps, $300; stands,
$60. (Vol.28 No.1, Vol.29 No.11 WWW)
RPG Diffusor Systems Acoustical Tools for
Home Theater
Effective method of adding diffusive and absorptive
treatment to a listening room. RPG Diffusor Systems,
Inc. offers a complete line of room-treatment products
and packages called CineMusic(TM). Web:
www.rpginc.com. (Vol.11 No.4, Vol.16 No.5; see also
TJNs article on listening rooms in Vol.14 No.10
WWW.)
Sensible Sound Solutions Fabric-Wrapped 2"
Fiberglass Panels
Neat and effective sound absorbent panels, according
to KR. Wall-mounted or constructed into corner/sof-
fit bass traps, these come in a variety of GOM fabrics
for high WAF. Other sizes and configurations are avail-
able. (Vol.29 No.7 WWW)
K
Furutech RWL-1 Room Tuning Panels.
LOUDSPEAKER
CABLES &
I NTERCONNECTS
Editors Note: Rather than place cables in the usual
Recommended Components classes, weve just listed
those cables that members of the magazines review team
either have chosen to use on a long-term basis or have
found to offer good value for money. They are therefore
implicitly recommended. Where a cable has been found
to have specific matching requirements or an identifi-
able sonic signature, it is noted in the text. Try before
you buy is mandatory with cables; many dealers have a
loaner stock to make this easier.
I NTERCONNECTS
Audience Au24: $602/1m pair, unbalanced,
$336/additional meter; $1025/1m pair, bal-
anced, $672/additional meter
The Au24s had a neutral, relaxed sound, said BD,
with good extension at the frequency extremes and a
wide, deep soundstage. However, they did not reach
the density of tonal colors and the extreme inner detail
of the expensive Nordost Valhalla. Nor could they
match the Nirvana S-X Ltds. incredibly natural sound-
stage reproduction. Nevertheless, The Au24s were no
slouch, just a bit off the standard set by the very best
Ive heard. (Vol.25 No.8 WWW)
Empirical Audio Holophonic-XPC: $630/1m
pair; Holophonic-PC, $620/1m pair
BD was initially underwhelmed by these interconnects:
There seemed to be some life and pizzazz missing
from the music. However, after sufficient time with
the Holophonics in his system, instrumental tones
seemed purer and more direct, while low-level sub-
tleties were more accurately portrayed. Empirical offers
a 30-day money-back guarantee. (Vol.28 No.4 WWW)
JPS Labs Aluminata: $2999/1m pair RCA or
XLR, $600/additional 0.5m
This unusual and expensive interconnect, comprising
a quartet of 15-gauge solid-core Alumiloy conductors
insulated with Kapton and terminated with WBT lock-
ing phono plugs, made ADs system sound larger, with
a more convincing gradation of scale between the
extremes. See also Loudspeaker Cables. (Vol.30
No.4 WWW)
Kubala-Sosna Anticipation: $350/m pair;
$125/additional meter
Like the K-S speaker cables (see Loudspeaker Cables),
the K-S interconnects are based on a low characteris-
tic impedance and solid construction. The results are
uncolored sound and extremely low noise pickup.
(Vol.29 No.7 WWW)
MIT MI-350 Twin CVTerminator Series II:
$1495/1m pair
BJRs reference interconnect for many years. Trans-
parent, dynamic, and impressive performance at fre-
quency extremes, says he. (NR)
Nordost Valhalla: $4330/m pair, with WBT
Nextgen RCA or XLR; additional length,
$1200/m
Although these cables are insanely expensive, BD was
sure that youll love what they do for your system. Images
were detailed, distinct, and densely filled-in and three-
dimensional. The soundstage moved out farther than
BD had ever experienced. However, while it was obvi-
ous that the Valhallas were special, it was also obvious
that they had a distinct tonal signature. BD wrote, The
system always had a lighter, drier sound with the Nor-
dostthe tonal balance was shifted slightly upward, and
the overall presentation was a touch cooler than with
other wires. RD: Expensive, but, boy, are they good!
ADs long-term reference. (Vol.24 No.11 WWW)
Nordost Heimdall: $670/m with RCAs or XLRs
+$170/0.5m
The Heimdall interconnect uses four 26-gauge Micro
Monofilament conductors, wrapped with a braided
shield and covered with an FEP jacket. AD found the
Heimdalls, used in generous lengths between preamp
and power amp, to be the biggest bargain of the Nor-
dost line. They preserved his systems sense of pres-
ence, kept spatial, timbral, and textural realism intact,
and were worth every penny, and then some, he said.
(Vol.29 No.10 WWW)
Pure Silver Connection (PSC) PST 8: $450/1m
pair
Balanced interconnects featuring solid, silver-plated
6N copper and round conductors. LG reported that
they reduced system hum problems and were highly
recommended! (NR)
Siltech SQ-110 Classic Mk.2 G5:$2900/1m pair,
$500 additional 0.25m
The G5 Classic cables evolved from Siltechs highly
regarded G3 series, and are designed to minimize the
pickup of RF and EM interference while maintaining
low inductance, low capacitance, and low resistance.
The wires were open, extended, and smooth, with a
voluptuous and rounded midrange, beautifully
extended top end, and well-controlled, deep, and pre-
cise bass. Due to their slightly more laid-back pre-
sentation and mellower overall character, PB suggested
they be used with components that are a bit forward.
(Vol.27 No.10 WWW)
Silversmith Audio Silver: $1400/3ft unbalanced
pair; $1450/3ft balanced pair
Silversmith Audios purist approach to interconnect
design features two conductors (three for balanced) sus-
pended in individual Teflon tubes and bundled into a
single larger tube and a mesh shield of silver-plated
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copper. The Silvers occupied a great middle ground
between the Nirvana SX-Ltds and Nordost Valhallas,
combining tonal neutrality with well-defined images
and a slightly laid-back presentation to provide a nice
combination of strengths and weaknesses that will
make them a solid performer no matter the situation,
said BD. (Vol.28 No.6 WWW)
Stereovox Colibri: $650/1m pair
Flexible and relatively affordable with tons of detail and
no etch in the high frequencies. Yes, Ive heard better
cables, including Stereovoxs flagship SEI-600, sez
WP, but the Colibri interconnects balance performance
against price superbly. (NR)
Stereovox SEI-600II: $1995/1m
A BD favorite that WP and JM also like (although JM
points out that he still prefers the more expensive orig-
inal). See Stereovox LSP-600c loudspeaker cables.
(Vol.30 No.2 WWW)
TARA Labs The Zero: $14,900/1m
The Zero is an air-dielectricevacuated interconnect
with noninsulated conductors. (The air pressure inside
the cable is nowhere near a vacuum, however.) Because
neither end of The Zeros shield is attached to ground,
TARA employs the Floating Ground Station, a heavy,
black box containing Ceralex, a combination of ceramic
materials and metallic compounds that absorbs RFI and
EMI. MFs system benefited from an enormous addi-
tion of lushness, texture, and warmth, along with major
extensions of air, detail, and transparency. Due to The
Zeros ultrawide bandwidth, some outside transient
noise can leak into the system when nearby appliances
are activated. But True vacuum or not, Ive heard noth-
ing like it, he declares, adding a genuine breakthrough
though hideously expensive. A few readers with F. . .
You money took a chance and thanked me. Names
available upon request. (Vol.29 No.12 WWW)
K
AudioQuest William E. Lowe Reference, Stealth Indra,
Stealth Nanofiber, Crystal Cable, DiMarzio, Acrolink
7N-DA6100 Mexcel.
LOUDSPEAKER
CABLES
Audience Au24: $1445/3m pair, single wire,
$337/additional meter; $2672/3m pair, biwire,
$675 additional meter
It was as a speaker cable that the Au24 really shone.
BD actually preferred the Au24 to his reference Val-
halla in terms of tonal balance, imaging, resolution of
inner detail, and soundstaging. (Vol.25 No.8 WWW)
AudioQuest Gibraltar: $1300/10ft pair, single
bi-wire configuration, spade-lug or banana-
plug termination
Each half of the twin lead houses a helical wind of four
solid ultra-pure copper conductors with one set for bass
signals, the other for treble, while the overall twin-lead
layout keeps the two sets magnetically separated in a
true biwire design. BD found that the flexible Gibral-
tar was easy to run and accommodated most extreme
bends and crinks. . . . The Gibraltars caught me off-guard
with their subtlety and nuance, and even by sounding
slightly muted at times. . . . Tonally, the AQs were slightly
to the warm side of neutral and a bit bigger on the bot-
tom than my other cables. . . . Their soundstage was a
little narrower than that produced by my other cables,
with images concentrated between the speakers and, if
anything, slightly recessed. . . . [They] also didnt seem
to produce quite as much air, or reproduce the space
around the images as well as Im used to. Neverthe-
less, KR has settled on a 6' double biwire run of Gibral-
tar as his standard cable for speakers that permit
biwiring. The set consists of two full-length runs shar-
ing only the amp-end terminals and is priced, appro-
priately, at twice the price of single runs. JA also finds
the Gibraltar an excellent value. (Vol.26 No.6 WWW)
AudioQuest Mont Blanc: $2200/10ft pair,
single-wire, spade-lug, or banana-plug termina-
tion
Like the Cheetah interconnects, the Mont Blanc cables
use AudioQuests Dielectric Bias System (DBS), which
AD didnt find affected the cables behavior. The cables
use pure-surface copper (PSC), single-conductor, solid-
core stranded wires and AQs Counter-Spiraling Earth
Feature Geometry, in which conductors in the posi-
tive bundle are wound in one direction while conduc-
tors in the negative bundle are wound in the opposite
direction, to minimize electromagnetic interference.
Compared to ADs homemade cables, the Mont Blancs
sounded deeper, bigger, blacker, stiller. . . albeit by a
small margin. However, KR loves them (though he
notes that its not a lifetime commitment). (Vol.27
Nos.8 & 11 WWW)
DNM Stereo Solid Core Precision: $12/ft pair,
plus termination
Each conductor comprises a single solid wire molded
into the dielectric so that the positive and negative runs
are spaced precisely and consistently from one another.
The four connectors required for a stereo system are
molded together, side by side, for greater control over
spacing and, consequently, electromagnetic interfer-
ence with the audio signal. Compared to the Nordost
Flatline, the DNM cable sounded ever so slightly
smoother, with a not-so-slight improvement in spatial
focus, said AD. When used with his Shindo Cortese
amp and Audio Note AN-E/SPe loudspeakers, how-
ever, the DNMs smoothness sounded a bit uninter-
esting and lacking in texture, he decided. (Vol.31 No.3
WWW)
Empirical Audio Clarity-7: $1512/8ft pair
Single-wire configuration, terminated in gold-plated
OFC spade lugs for
1
4" or
5
16" speaker lugs. Very, very
goodand well worth a listen, said BD. Empirical
offers a 30-day money-back guarantee. See Intercon-
nects. (Vol.28 No.4 WWW)
JPS Labs Aluminata: $8499/8ft pair,
$1200/additional 2ft pair
The Aluminatas insulated conductor cores are sur-
rounded by a thick blanket of granulated aluminum,
densely packed and held in place with a polymer jacket.
The 6" leads at the ends of the cables are 8-gauge
stranded alloy wires insulated with Teflon and termi-
nated with the buyers choice of WBT spade lugs or
locking banana plugs. The Aluminatas offered superb
tunefulness, rhythm, and musical flow, along with a
spacious, smooth, and noiseless presentation. With-
out a doubt and by a significant margin, the best audio
cables Ive used, raved AD. Somewhat unwieldy.
(Vol.30 No.4 WWW)
Kubala-Sosna Fascination: $800/m pair;
$250/additional meter
Kubala-Sosna claims that their OptimiZ technology
results in a lower characteristic impedance and a higher
ratio of capacitance to inductance than any other cable.
Each cable consists of a hefty pair of conductors twisted
around each other, sheathed with a knitted cover, and
solidly terminated in thick spade lugs. The current ver-
sions have sleek, tight jackets that make them easy to
snake and arrange. With the K-S cables in his system,
KR noted a decrease in overall residual hiss and softer
but more precise highs. I cant say that the change is
substantial, but it is definable. Further auditioning with
his multi-channel system completely wired with K-S
cables led him to describe these cables as among the
quietest and most transparent cables he has encoun-
tered: Overall, they seem to get out of the way of every-
thing else and let the system do its thing. (Vol.28 No.3,
Vol.29 No.7 WWW)
Nirvana Audio S-X Ltd.: $2780/2.5m pair
A dynamite speaker cable, the S-X Ltd. was tonally
neutral and produced well-defined images, powerful
and fast transients, and incredible transparency. The
only nit BD could pick was a slight compression of
front-to-back soundstaging depth. A big jump in per-
formance from the companys SL. Add $50/pair for
biwire configuration. (Vol.28 No.10 WWW)
Nordost Valhalla Speaker Cable: $5200/m pair,
with banana-plug or spade termination; addi-
tional length, $2200/m
The Valhalla contains 40 silver-plated copper micro-
monofilament conductors, each polished and wrapped
with a monofilament spacer prior to encapsulation in
the Teflon ribbon. Similar to the Valhalla interconnect,
the speaker cables overall presentation was clean, airy,
and detailed, according to BD, without ever being
over-etched or harsh. . . . The portrayal was incredibly
compelling from top to bottom, but the midrange. . .
seemed almost holographic. . . . [They] sounded almost
relaxedbut still clean and preciseand their images
were dense, detailed, and dimensional. An AD favorite.
(Vol.24 No.11 WWW)
Nordost Heimdall: $1650/2m pair (+$195/0.5m
pair)
The Heimdall incorporates the same Micro Monofil-
ament technology found in the much more expensive
Valhalla, but contains only 24 air-insulated conductors
compared to the Valhallas 40. The Heimdall exhibited
all of the Valhallas good sonic traits, allowing ADs sys-
tem to breathe freely and naturally, but added the slight-
est bit of artificial texture. (Vol.29 No.10 WWW)
Pure Silver Connection (PSC) R50: $1250/3m
pair
Features biwiring via silver-plated, solid-copper spades
in tandem with gold-plated banana plugs. Optimized
speaker response in LGs system. Theyre solid-silver
ribbons, incorporating Cuiletto 1 ribbon for the highs
and R30 ribbon for the lows. Again, highly recom-
mended! (NR)
Siltech LS-188 Classic G5 Mk.2: $5600/2m pair,
$600 additional 0.25m
Truly excellent cables, said PB. See Interconnects.
(Vol.27 No.10 WWW)
Silversmith Audio Silver: $2950/8ft pair
The Silver cables consist of completely separate units
for plus and minus, each composed of a silver ribbon
suspended in a mesh-covered Teflon tube and termi-
nated with spade-type cutouts sized to match speaker
binding-post diameters. See Interconnects. (Vol.28
No.6 WWW)
Stereovox Firebird: $800/8.2ft pair
Like Stereovoxs Colibri interconnect, these flexible,
versatile speaker cables get you most of the way to cost-
no-object land, without sacrificing convenience (best
spade/banana solution ever) or esthetics, according to
WP. Did I mention they have detail, detail, and
detail? (NR)
Stereovox LSP-600c: $3295/2m
These silver-conductor cables are small, flexible, easy
to route, and make getting a solid connection nearly
idiot-proof, said BD. Compared to the Nordost Val-
halla, the Stereovox cable exhibited a warmer tonal bal-
ance, while matching the Valhallas speed and clarity.
(Vol.30 No.2 WWW)
K
AudioQuest William E. Lowe Reference, Crystal Cable,
Wireworld Gold Eclipse 3+, Harmonic Technology
Improved Magic Woofer/Tweeter cables, Acrolink
7N-S20000 Mexcel.
DIGITAL DATA
I NTERCONNECTS
Apogee Electronics Wyde-Eye: $59.95/0.5m;
$69.95/1m; $79.95/2m; $89.95/3m; $99.95/
5m; $109.95/10m $$$
If you havent heard this 110 ohm balanced data cable,
youre missing out! crows LL, adding that its more
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Pure
Listening
Pleasure
Vincent CD-S1.1
Tube Hybrid CD Player
$999.95
Vincent SV-226 MK II
100 WRMS Hybrid Tube
Integrated Amp
$1,499.95
transparent, more musically honest than any Ive heardand its ridiculously cheap!
JA is also impressed, and uses 50' lengths for his Stereophile recording sessions. KR,
however, while agreeing that Wyde-Eye is an excellent value, notes that it is less
transparent-sounding than the (much more expensive) Illuminations from Kim-
ber. Also available for the same price in a 75 ohm version for S/PDIF applications,
using Canares true 75 ohm RCAs. (NR)
Canare DigiFlex Gold model RCAPOO3F: approx. $12.52/3ft s $$$
Before you try any of the expensive coaxial links, CG advises trying this inexpen-
sive, true 75 ohm cable with Canare crimp RCA connectors. He rates it as his first
choice in a digital cable at any price, even preferring it to the Kimber AGDL. JA
uses the 110-ohm version in various lengths for CD mastering. (Vol.16 No.7)
Kimber Orchid: $595/1m
Expensive, but the best AES/EBU link JA has used. J-10 loved the Orchids midrange
liquidity and detail, but preferred Illuminations S/PDIF cable overall. SD (almost)
doesnt equivocate: Probably the best out there for now. . . . A stunner! RH and
RD are also fans. New lower price usefully brings this cable in reach of more music
lovers. (Vol.19 No.5)
Kubala-Sosna Expression: $650/m, $180/additional meter
A KR favorite. See Loudspeaker Cables. (Vol.29 No.7 WWW)
Stereovox HDXV2: $200/m
Chris Sommovigo does it again with another and better and cheaper digital coax!
cries KR. This BNC-BNC S/PDIF cable comes with RCA adapters and is sturdy
enough for a reviewers constant reconnecting and neutral enough to reveal the
subtleties of the connected equipment. $100? I cannot imagine spending more!
decides Dr. Kal. JA agrees. (NR)
K
AudioQuest Optilink-5, Audience Au24, DH Labs Silver Sonic D-110.
BOOKS & COMPUTER SOFTWARE
David Moultons Playback Platinum Test CDs: $44.95 each if purchased
separately, $159.80 for the set of 4
Four-volume lecture series that covers the fundamentals of audio from a popular-
music production standpoint: Vol.1, Loudness, Compression, Distortion; Vol.2, Stereo
Miking; Vol.3, Equalization; Vol.4, Digital Audio: Sensory Listening Tests. Each volume
is on a separate CD, which comes in a hardbound, textbook-sized book that includes
about 50 pages of additional text keyed to each track of each lecture. JM: Im
impressed with how Moulton & Co. take material that has the potential to be daunt-
ingly dry, and make it enjoyable and memorable by adopting at times a radio drama
approach. (Vol.26 No.5 WWW)
Digital Recordings Audio-CD Hearing Test: $49.95
This system permits useful evaluation of hearing thresholds with only a CD player
and a pair of headphones. KR reported that it reveals any significant gaps in your
hearing. (His own results were close to ideal, especially considering my age and
usual haunts. Whew.) Ever wonder why others dont hear what you do? This sim-
ple test will tell you, even though you may not like the answer. Such a card. (Vol.23
No.1 WWW)
ELAC Technische Software CARA REL 2.1 Plus program: $74.95
To use CARA, one must create a full three-dimensional model of the listening
room, using the programs CARACAD module. KR: By full, I mean that all room
dimensions and surfaces are defined: doors, windows, furniture, soffits, bays, etc.
Kal found it time-effective to reduce the complexity of the model (eg, remove smaller
objects) and the order of reflections (34) for the early iterations, at which point
the number of possible speaker and user positions is largean 800MHz Pentium
III can take 48 hours or more to run even that modest a set of variables. Several
simplified runs will tell you which arrangements deserve more investigation. After
that, you can limit the range of positions for speakers and listener while progres-
sively increasing the number of reflections and adding more feature details, as a
confirmation of the optimum arrangement. Checking predictions against the
results with ETF or with TacT RCS measurements confirmed CARAs conclusions
to an amazing degree. KR: Wouldnt you like to know how well a speaker might
work in your room before you buy it? I would. Runs under Windows. Web:
www.cara.de. (Vol.24 No.9 WWW)
RPG Diffusor Systems Room Optimizer Software: $99.99
When MF moved to a new home with bare, reflective walls, he was faced with the
problem of where to plunk the speakers? RPG Diffusor Systems Room Optimizer
Softwareavailable from, among others, Audio Advisorto the rescue. Plug in
the rooms dimensions (they must be rectangular) and the program will output the
location where the modal response is flattest and the speaker-boundary interfer-
ence is minimized. Itll also tell you where to sit! (Vol.22 No.11)
K
FuzzMeasure Pro, SignalScope, and SignalSuite for Mac OSX, TrueAudio spec-
trum analyzer for Windows.
HIGH END
2008
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Prelude Deluxe
Record Cleaning Kit
Swiss Precision: The Story of the
Thorens TD 124 and Other Classic
Turntables
by Joachim Bung. Published by Joachim and
Angelika Bung, Schmitten, Germany
(info@redaktionsbuero-bung.de), 2008. Hard-
cover, 288 pages, four-color, ISBN 978-3-00-
021162-1. Price: 59 plus overseas mailing.
I
n 1956, an engineer named Louis
Thvenaz presented his employer
with the prototype of a turntable of
singularly high quality, aimed at
broadcast professionals and the bur-
geoning domestic audio market
alike. The employer was Thorens S.A. of
Sainte-Croix, Switzerland, and one year
later, the first TD 124 (a tourne-disc, or
turntable, with a 12" platter and four
speeds) was introduced for the then-
remarkable sum of 400 Swiss Francs.
With its 10W motor, 10-lb lower platter,
clutch-decoupled upper platter, combi-
nation drive system of belt and idler
wheel, and sculpted good looks, the 22-
lb Thorens TD 124 took the audio
world by storm: After the Garrard 301 of
1953, the TD 124 was the player to
which most European and American
hobbyists aspired, and by the time pro-
duction ceased in 1967, Thorens had
made more than 90,000 of them.
Over a half a century after its intro-
duction, the Thorens TD 124 attracts
more interest than ever, from record
collectors, audio enthusiasts, restorers
of vintage equipmentand journalists.
German writer and publisher Joachim
Bung gave us the softcover Schweizer
Przision (Swiss Precision) in 2005; for
this revised edition, Bung com-
missioned an English translation
supervised by occasional Stereophile
contributor Ken Kesslerand filled it
with even more stories, technical
details, period advertisements, and
original photographs. In all, Swiss Preci-
sion is nearly three times as long as its
predecessor, and seems poised to
become even more of a benchmark.
For the second edition of Swiss Preci-
sion, Bung has also expanded his scope
to include chapters on the TD 124s
many contemporary products: tone-
arms from EMT, SME, Fairchild, and
Ortofon, and competing turntables
from Lenco, Delphon, Rek-O-Kut,
EMT, ELAC, Connoisseur, and, of
course, Garrard. Each marque gets a
thoughtful, fair appraisal, and while the
Thorens TD 124 has pride of place in
Bungs esteem, the
strengths of its competitors
are described with genuine
admiration, just as the
Thorenss own shortcom-
ings are brought to light.
The He-Man 301-Haters
Club this is not.
The new book works so
well, on so many levels,
that I scarcely know where
to begin. When we first
meet Joachim Bung, the
author is at the wheel of his
VW Beetle, driving from
Westphalia to Frankfurt
with his newly bought, sec-
ond-hand TD 124 perched
precariously on the back
seat. To this day, he
writes, a shiver runs down
my spine at the thought of
[it]. From there, Bungs
love for the 124 is unmis-
takable, and his enduring
affair with all things
Thorens plays out over 288
illustrated pages, some
photos published here for
the first time. For instance: Only recent-
ly, in March 2007, did Bung locate the
sole TD 124 prototype; his photos and
description of it should be worth the
price of admission to any true Thorensista.
Notwithstanding the abundance of
model numbers, specifications, dia-
grams, and production estimates, Swiss
Precision is no mere orgy of gear wor-
ship. We also meet the people who are
integral to the TD 124s story: Rolf
Ullmann, an influential Frankfurt deal-
er who helped propel the TD 124 and
other groundbreaking products to their
ultimate success; Jacques Basset, a for-
mer Thorens employee who now
owns and maintains a remarkable col-
lection of the companys prototypes;
international collectors and enthusiasts
such as Stefano Pasini, Keigo Takeuchi,
and Holger Trass; and, of course, the
Swiss restoration specialist and manu-
facturer Jrg Schopperall still very
much with us today, and each tied to
the living history of this product that
simply wont fade away. Of course, we
also meet the delightful Thorens TD
184 record player (with built-in ampli-
fier), the indescribably beautiful
Delphon turntables from Copenhagen,
and the General Electric VR-II vari-
able reluctance phono cartridge, easily
the best thing ever to come out of
Schenectady, New York.
As a nonspeaker of German, I dont
know whether to credit the writing,
the translation, or both, but the new
edition is a smooth read: The English
version of Swiss Precision is as free of
curious word substitutions and clum-
sy, unintentionally funny syntax as the
typical owners manual is full of them.
Bung is more than just a hobbyist
with a word processor: Hes a good
storyteller with, apparently, endless
enthusiasm for his subject. The photos
are uniformly superb, the layout is
crisply attractive, and, as a bonus, the
penultimate chapterNothing
Works without Cleaning and Lubrica-
tionprovides the nascent TD 124
owner with maintenance instructions
that are helpful and clear.
At 59 plus overseas postage, the
hardcover Swiss Precision isnt cheap
but I cant help imagining that, like the
Thorens TD 124 itself, the book will
cast a long shadow for years to come.
Strongly recommended to all English-
speaking lovers of LPs, regardless of
which turntable they spin them on.
Art Dudley
BOOK REVI EWS BOOK REVI EWS
Surround Sound: Up and Running
(Second Edition)
by Tomlinson Holman. Published by Focal Press, an
imprint of Elsevier
1
(Oxford, England, UK; www.else
vier.com). 2008. Paperback, 248 pages, ISBN 978-
0240808291. $44.95.
L
ike the first edition of Tomlinson
Holmans guide to multichannel
sound, Surround Sound: Up and
Running was written for an audi-
ence of industry professionals.
Large portions of it are devoted
to selecting microphones, setting up
recording studios and monitoring rooms,
optical and magnetic film audio formats,
and the encoding of delivery formats. In
all of this, Holman emphasizes the pro-
duction and reproduction of soundtracks
that accompany film and video.
However, Holman also has deep
roots in consumer audio that reach
down to his ancient but respected Apt-
Holman preamps and power amps of
the 1970s and 80s, and rise through his
continuing involvement in the THX
standards for cinema and home audio
reproduction and, most recently, his role
in the development of the Audyssey
room-equalization products. So its no
surprise that Surround Sound also encom-
passes music reproduction. Indeed, as
Holman makes clear throughout, music
and soundtrack recording and reproduc-
tion are based on the same psychoa-
coustic principles, which is why this
book also holds great interest and rele-
vance for the Stereophile reader.
It begins with Introduction: A Brief
History, devoted to the development of
sound reproduction, primarily for film.
Holman is not constrained by the com-
monly held belief that mono begat stereo,
which begat multichanneldyed-in-the-
wool stereophiles should read this chapter
to learn how surround reproduction was
an assumed goal of the audio pioneers
from the beginning. Indeed, one of the
books implicit themes is that surround
sound is not an enhancement of two-
channel stereo, but that two-channel
stereo is a highly limited if wildly success-
ful implementation of the general princi-
ples of realistic sound reproduction.
Making historical references to musical
works whose composition included spa-
tial effects indicated by the composer as
part of his or her artistic expression, Hol-
man makes a strong case for surround
music reproduction that goes beyond the
traditional placement of performers up
front with only ambience behind.
Though Holman himself makes no such
claim, reading this made me wonder if
the two-channel media of the second half
of the 20th century might have con-
strained the development of modern
musical expression because such spatial
effects could not be conveyed by the
commercial formats available.
After providing the historical back-
ground, Holman dives into the nuts and
bolts of monitoring, recording, and deliv-
ering sound, though not in that order.
While I recommend reading the book
from front to back, certain chapters may
be of greater interest to music listeners
than others. Chapter 2, Monitoring,
deals with system setup for a monitoring
studio, but it and, especially, Chapter 6,
Psychoacoustics, should be required
reading for anyone who has or plans to set
up speakers and room for listening in two
or many channelsthe issues of percep-
tion, acoustics, and equipment that Hol-
man analyzes here apply to domestic lis-
tening rooms as well. In fact, Im glad to
now have Holmans discussions to back
me up when I find myself in discussions
of speaker placement, bass management,
side-signal localization, and my bte noir,
discrete center-channel speakers vs phan-
tom center-channel signals vs (yikes!) dual
center speakers. Now I can quote Hol-
man chapter and verse.
The chapter on Delivery Formats also
has lots of good information, and now
includes discussion of such new lossless
formats as Dolby True-HD and DTS-HD
Master Audio. Holman also explains such
important but often misunderstood func-
tions as DialNorm and Dynamic Range
Compression (DRC), and how they affect
what is heard from DVDs.
The three appendices are of enormous
value. The new placement of Music
Mostly Formats, a main chapter in the
first edition, acknowledges that the tech-
nically successful music media of SACD
a n d
DVD-
Audio
h a v e
b e e n
f a i l -
ures in
t h e
m a s s
ma r -
k e t .
Nonetheless, this chapter remains a clear
and useful explanation of those media
and of the contexts, including that of
intellectual property issues, in which their
successors are being developed.
The appendices on Sample Rate and
Word Length are revelatory tutorials in
these fundamental parameters of digital
audio, regardless of the medium or the
number of channels. Not only does Hol-
man explain the numbers in a clear and
digestible way, he also explains how they
relate to what the listener perceives. These
two sections should be required reading
for anyone who tries to understand the
meaning of technical reviews, such as John
Atkinsons bench tests of digital players and
DACs published in the pages of Stereophile.
That Holman writes in a rather acade-
mic style shouldnt be surprisinghe is a
Professor of Film Sound at USCs School
of Cinematic Arts. Nor is it a criticism:
Each chapter begins with a list of the issues
to be covered, followed by an organized
treatment of those issues, and concludes
with a summary of the points made. As a
teaching tool, this structure is optimal.
While technical in its depth and scope,
Surround Sound deals more with ideas than
with math (theres not much of the latter),
and is a pretty easy read. It can teach you a
lot about how recordings are made and
why they are made that way. It can also
educate you in the appreciation of many
of the important technological, acoustical,
and psychoacoustical issues that are funda-
mental to good audio reproduction,
regardless of the source material or the
number of channels. Kalman Rubinson
BOOK REVI EWS BOOK REVI EWS
1 I have written a physiology textbook that will be pub-
lished by Elsevier, parent company of Focal Press.
ONE OF THE BOOKS IMPLICIT THEMES IS THAT
TWO-CHANNEL STEREO IS A HIGHLY LIMITED IF WILDLY
SUCCESSFUL IMPLEMENTATION OF THE GENERAL
PRINCIPLES OF REALISTIC SOUND REPRODUCTION.
by Wes Phillips
Anne Sofie von Otters
Terezn/Theresienstadt
makes history personal
Bringing
Light
Out of the
Darkness
W
Wiegala, wiegala, weier,
the wind plays on the lyre.
It plays so sweetly in the green reeds.
The nightingale sings its song.
Wiegala, wiegala, weier,
the wind plays on the lyre.
The melody is simple. The spare guitar chords
support the hauntingly pure mezzo-soprano of
Anne Sofie von Otter.
Wiegala, wiegala, werne,
the moon is a lantern.
It stands in the darkened firmament
and gazes down on the world.
Wiegala, wiegala, werne,
the moon is a lantern.
Singing the second verse, von
Otter caresses the words, lend-
ing them a quiet intensity
that builds exquisitely to
the purity of the almost
whispered final verse:
Wiegala, wiegala, wille,
how silent is the world!
No sound disturbs the lovely peace.
Sleep, my little child, sleep too.
Wiegala, wiegala, wille,
how silent is the world!
The lullaby was composed by the poet Ilse
Weber, the night nurse at the Terezn concen-
tration camp, who wrote 60 poems while
imprisoned there. Some she set to guitar music,
and played them while making her rounds. In
1942, she voluntarily accompanied the camps
sick children to Auschwitz, where she joined
them in the gas chamber. Witnesses reported
that, as she died, Weber was singing Wiegala
to calm the children.
Terezn/Theresienstadt is Anne Sofie von
Otters tribute to the creative spark that can
illuminate our darkest hours. In addition to
von Otter, the recording features bari-
tone Christian Gerhaher, clarinetist Ib
Hausmann, guitarist Bebe Risenfors,
pianists Bengt Forsberg and
Gerold Huber, and the projects
music director and violinist,
Daniel Hope.
M
A
T
S

B
C
K
E
R
/
D
G
;

T
H
E
R
E
S
I
E
N
S
T
A
D
T

C
O
U
R
T
E
S
Y

C
H
A
R
L
O
T
T
E

G
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O
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This projects origins lie in my invitation to perform at
the Stockholm International Forum on the Holocaust in
2000, von Otter explained. I assumed Id perform some-
thing by Mahler or Korngold, Jewish composers I was
familiar with. However, the woman who organized the
conference was familiar with the music that was created in
Terezn and recommended I speak with Rolf Bloch, one of
the Forums organizers. He sent me some of the cabaret
songs and some of Viktor Ullmanns songs.
Tereznor, to call it by its German name, Theresienstadt
was the notorious model concentration camp near Prague,
where Hitler boasted he had built a city for the Jews.
Musicians, writers, and artists from nine countries were
interned there for safekeeping, and a Nazi propaganda film
was made there, proclaiming to the rest of the
world the camps enlightened conditions.
Terezn was not, technically speaking, a death
camp. While over 30,000 inmates died there as
the result of overwork, malnutrition, and the
appalling conditions, mostmore than 88,000
were transported to Auschwitz, among them
15,000 children.
But Terezn was the crucible in which an aston-
ishing legacy of art was created. There were, it is
reported, enough orchestral musicians to staff two
full orchestras and many chamber groups.
Composers included Pavel Haas, Hans Krsa,
Viktor Ullmann, and Erwin Schulhoff, as well as
popular songwriters Karel Svenk and Martin
Roman. The inmates performed plays and
cabarets as well as operettas, frequently grafting
new lyrics onto beloved melodies.
I was aware that some music had been created
there, von Otter said. But I had no idea of how
many composers, actors, playwrights, and various
intellectuals from Prague and other places were
imprisoned there. I was so taken by the songs and
the story behind them that I wanted to dig deep-
er, and I spoke to Deutsche Grammophon about
it. They responded immediately that we should do
this project.
The cabaret songs are quite extraordinary.
They are everyman songsthey are not neces-
sarily written by highly trained composers like
Ullmann, but are songs that were made up on the spotand
then there are the lullabies that were written for the children
by Weber, who was a remarkable person. There was also
Kaffeehaus musik that was written for people in the coffee
housesnot that they had coffee, mind you, but Terezn did
have these places where people could go and perform plays
or perform music.
We ride on wooden horses
and turn round and round in a circle.
We long to be dizzy
Before the merry-go-round stops.
text by Manfred Greiffenhagen, from Wir reiten auf hlzernen
Pferden by Martin Roman
This project is my very small contribution to our not forget-
ting the murders of millions of people, but it also has a personal
connection for me
although I didnt recog-
nize it until we were
recording. My fathers
chance meeting with
Kurt Gerstein haunted
him, I think. He tried
very hard to make a dif-
ference and nothing
came out of it, nor was
he able to help Kurt
Gerstein or his family.
Von Otters father,
Baron Gren von Otter,
was the secretary to the
Swedish Legation in
Berlin. In August 1942,
Baron von Otter lit a
cigarette for Waffen SS
officer Kurt Gerstein on
a railroad platform near
Warsaw. When Gerstein
realized that von Otter
was a diplomat, he asked
to meet with him at the
Legation the following
day. Von Otter suggest-
ed they talk on the
train, where Gerstein,
agitated, told von Otter
that he had witnessed
Jews being gassed. I
saw more than 10,000
die today, he said,
breaking down. Von
Otter sent his govern-
ment a report on the
encounter, adding that
he found Gerstein
credible. The Swedish
authorities either found
the charges unbeliev-
able or inconvenient, and never acted on the report.
This weighed very heavily on my father, I believe, for the
rest of his life. Because of that, I feel that I have created some-
thing that would have pleased him.
Not that von Otter claims all of the credit for Terezn/Ther-
esienstadt. We wanted to make a portrait of Theresienstadt
that was completethat represented all of the music that was
created there. Daniel Hope performs the remarkable
Schulhoff violin sonata, and Christian Gerhaher, whom I
adore, joins us to sing the songs that I couldntbecause they
were not for the female voice, or the female frame of mind.
Indeed. Gerhahers reading of Pavel Haass Four Songs on
Chinese Poetry is incendiary. Hopes performance of the
Schulhoff sonata, long a signature piece, is not only memo-
Bri ngi ng Li ght Out of t he Darknes s
Terezn/Theresienstadt
Anne Sofie von Otter, mezzo-soprano;
Christian Gerhaher, baritone; Ib Hausmann,
clarinet; Daniel Hope, violin; Philip Dukes,
viola; Josephine Knight, cello; Bebe
Risenfors, accordion, double bass, guitar;
Bengt Forsberg, Gerold Huber, piano
Deutsche Grammophon 477 6546 (CD).
2007. Valrie Gross, Dr. Marion Thiem, Sid
McLauchlan, prods.; Andrew Wedman, eng.
DDD. TT: 71:40
Terezn was the crucible in which an astonishing legacy of art
was created. There were, it is reported, enough orchestral musicians
to staff two full orchestras and many chamber groups.
Work Makes Freedom inscribed over
Theresienstadts entry gate
C
O
U
R
T
E
S
Y

A
R
C
,

W
W
W
.
D
E
A
T
H
C
A
M
P
S
.
O
R
G
rable, but serves as the recordings valediction, bridging the
realms of song and silence, leaping beyond words.
Your homeland is there,
far away in the distance,
you should go home,
my errant heart.
text by Wei Ying-wu, Zaslech jsem divok husy
(I Heard the Wild Geese), from Four Songs on Chinese Poetry by
Pavel Haas
Was it difficult working with material with such poten-
tial to break her heart? Normally, when one is preparing to
sing, one attempts to have reserve so that the listener can
feel what the composer wanted him
toand its not possible if the per-
former feels too much. But prepar-
ing for the discin reading the texts
or reading about TheresienstadtI
was frequently emotional.
Ich weiss bestimmt, ich werd dich
wiedersehn! (I know for certain that I
shall see you again!) is simply so full of
great love and great hopethe words
express the yearning that they will
meet again, but the music is so melan-
choly that you know they wont. Of
all the songs on the recording, thats
the one that overwhelmed me.
I know for certain that I shall see
you again
and take you in my arms,
and everything exults within me.
How wonderful it will be
to kiss you again and again and again!
All that once was has sunk from sight
and been forgotten,
no shadow clouds the sunlight;
who can measure our happiness?
And I want to be with you for ever!
text by Ludwig Hift, from Ich weiss
bestimmt, ich werd dich wiedersehn! by
Adolf Strauss
The point of making this disc
was also to show that, even in
Theresienstadt, the prisoners would
have had moments of relief and
even happiness when they were able
to listen to and make music togeth-
er. Making musicespecially with
other peoplecan transport you
from the darkest places.
The remarkable accomplishment of
Terezn/Theresienstadt is that von Otter
and her fellow musicians have taken
moments wrested from one of our
darkest eras and created such a towering monument to our bet-
ter nature. Her gorgeous tone has never been betterand engi-
neer Andrew Wedman has set it in a sonic landscape that caters
to its purity and power. Deutsche Grammophon has accompa-
nied the disc with a lush, 60-page booklet that includes a con-
textual essay by Ulrike Migdal, editor of Und die Musik spielt
dazu: Chansons und Satiren aus dem KZ Theresienstadt, and song
lyrics in three languages. Its a fitting tribute.
If humanitys worst moments make us despair for our
species, so do its fleeting moments of transcendence give us
hope. The triumph of Terezn/Theresienstadt is that it encompass-
es bothand sets us free. If the inhabitants of that infamous site
could aspire to happiness, who are we not to honor that dream?
In the end, the music lets us soar. Thats a mitzvah.
Bri ngi ng Li ght Out of t he Darknes s
The Music Survives
In 1937, 650 works of art that had been confiscated by the Nazi authorities and
labeled entartete (degenerate) were exhibited in Munich. Entartete art was
essentially anything the National Socialist Party didnt approve ofbecause of its
modernity, its subtext, or the race of its creator. The collection opened one
day after an art show of officially approved art, Die Grosse Deutsche
Kunstausstellung (The Great German Art Exhibition), opened in the same city.
Over the next four months, the degenerate exhibition attracted five times as
many viewers as the sanctioned oneand when the tour traveled to other
cities, another million people flocked to view it.
Less well known, however, was the Entartete Musik concert held in Dsseldorf
in 1939. This degenerate music employed atonality, jazz inflections, Gypsy or
Jewish melodies, or anything else the party deemed insufficiently German. While
Entartete Musik never gained the notoriety of the Munich exhibit, the term has
survived as an emblem of pride for its composers, and for all musicians perse-
cuted during the Holocaust. There have been international scholarly conferences
dedicated to it in Barcelona and Charlottesville, Virginia, and in the mid-1990s
the record label Decca/London impressively dedicated a series of 20 recordings
to preserve the legacy of its composers. Those discs have now been returned to
the catalog by ArkivMusics ArkivCD production-on-demand series (www.arkiv
music.com; in Advanced Search, enter Entartete Musik).
Standouts include the Hawthorne Quartets recording of Pavel Haass String
Quartets 2 and 3, and Hans Krsas String Quartet (Decca 440 853). The music
is hauntingly lovelyand Czech to its core, which was probably its true sin.
Viktor Ullmanns one-act opera Der Kaiser von Atlantis (Decca 440 854) was
composed in Terezn, but Ullmann and librettist Peter Kein were executed before it
was performed. The librettoits final aria was written on the back of an Auschwitz
transportation listdescribed an Emperor so maddeningly dictatorial that even Death
is outraged, and goes on strike. The recording in the Entartete Musik series was the
works firstthe score was long thought lost. Thank goodness it wasnt. Musically,
Der Kaiser von Atlantis ranges from cabaret to Mahler, but its emotional depth
especially in that final aria, when the Emperor surrenders to Deathis profound.
Then there are Erwin Schulhoffs Concertos alla Jazz (Decca 444 819). I was
introduced to Schulhoffs music when, in 1988, John Atkinson recorded violinist
Ida Levin performing his Sonata for Solo Violin, for Duet (CD, Stereophile
STPH012-2). That works drive and rigorous structure are buoyed by its intoxicat-
ing melodicism. Even so, the three concertos on this discfor piano, for flute and
piano, and for string quartetwere a delight and a revelation. Best of all, the disc
includes 15 minutes of piano music performed by Schulhoff himself, who was
recorded in Berlin by Polydor in 1928and the sound quality is surprisingly good.
Bravo to ArkivMusic for preserving this degenerate music. As long as it is
heard, its creators triumph over death. Wes Phillips
Von Otter and her fellow musicians have taken moments
wrested from one of our darkest eras and created such a towering
monument to our better nature.
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StarStruck
N
o longer able to revel in being under-
dogs, Boston is suddenly caught in the
discomfort and elation of being a front-
runner: the home of Americas most
successful sports franchises, thanks to
the Celtics, the Red Sox, and, yes, the
190, er, 18-1 Patriots.
The last time Boston teams were
winning, back in the 1980sthink Bird-Parish-McKalethe
city was also in the middle of a music explosion. The Pixies,
the Lyres, the Lemonheads, Buffalo Tom, Mission of
Burma, the Nervous Eaters, and Big Dipper, to name just a
few, were thriving. Engineer-producers such as Sean Slade,
Paul Q. Kolderie, and Lou Giordano were making their
reputations one album at a time. And a former warehouse
on Norfolk Avenue, in Roxbury, had become a now-leg-
endary recording studio, Ft. Apache.
It was the nexus for a lot of bands, says Gary Waleik, Big
Dippers singer and guitar player, and a microcosm of Boston
at the time. At the peril of sounding like an old fart, the club
scene then was amazingmuch, much better than now.
Most of the Boston bands of that era were long gone by
the time the 1990s dawned. Recently, however, the reunion
bug has swept through Beantowns 80s legacy acts.
Reforming in 2002, Mission of Burma played successful
reunion dates, saw the release of a greatest hits compila-
tion, A Gun To The Head: A Selection from the Ace of Hearts Era,
and has since made two new studio albums, ONoffON
(2004) and Obliterati (2006). What really cinched as fact
that the reunion craze was going full tilt was when the
Pixies, a band whose prickly members are infamous for not
getting along, decided to regroup and tour, a wrenching
The Return of Indie Rocks Big Dipper
by Robert Baird
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experience (and financial bonanza) documented in the
2006 film loudQUIETloud. Charles Thompson & Co. did
not go on to make a new record.
Now, one of the great wrongs of the 1980s Boston scene
is on the verge of finally being righted. It may simply be that,
cosmically, their turn has finally come, but if there was ever
a band that broke up within sight of wider fame and deserves
a second chance, its Big Dipper. Their jagged, sweetnsour
guitars over pop melodies, with lyrics drawn from such
antilove-song topics as history and science, made them a
favorite among the brainiac rock-geek set. Such songs as
Shes Fetching, Hey! Mr. Lincoln, and the anthemic All
Going Out Together made them a pre-
cursor of Nirvana and a distinct flavor in
The Hubs then diverse sonic palette.
The bands influence extends far and
wide: Those Weezer bastards! says
bassist Steve Michener, only half in jest.
In a 1990 New York Times review of
a Big Dipper concert that alternated
between punkish fury and dapper
pop, Karen Schoemer described the
bands music thusly: Its members are
musical contortionists: they love to toy
with extremes, juxtaposing ferocious
guitar noise with celestial vocal har-
monies or planting a delicate melody
in jagged rhythm.
The good thing about having Gary
[Waleik] in the band was that he
would always add that kind of edgy
guitar, says Michener. All Going
Out Together, when we recorded
that, I was thinking, This is just a nice
little four-chord pop song. But when
you go back and listen, its the very
noisy guitar line that added the edge.
Gary was largely responsible for keep-
ing our one foot in the Sonic Youth
camp, where I was always trying to
pull us into the pop camp.
Big Dippers tale of indie-rock rise
and shatter is depressingly familiar.
After three widely acclaimed albums
on the well-meaning but financially limited independent
label Homestead Recordsa now-defunct imprint of a
larger indie, Dutch East India Tradingthe band departed,
somewhat acrimoniously, to sign with Columbia offshoot
Epic Records, who lavished money on what would be
their major-label debut. On the eve of the release of Slam
in April 1990, the man whod signed them to Epic, sud-
denly quit the label. Bereft of their champion, Big Dipper
was defenseless when Slams failure to quickly produce a
hit made them personae non grata at Epic, who uncere-
moniously dropped them. Slam quickly faded into obliv-
ion. This series of events, repeated over and over with acts
large and small, has led to the ruin the major labels now
find themselves mired in.
They were willing to give us a couple weeks, or a month
or two, to see if anything stuck, Michener says, and once it
became obvious it wasnt going to be an immediate hit, then
they pulled everybody off it and moved on to the next band.
The disappointment produced by Slams slump loosened
the ties between bandmembers, and two years after the
albums release, Big Dipper was no more. To fans and band-
members alike, the end was a bitter pill to swallow. They felt
the band had been interrupted midsentence, with still much
more to say. Slam, panned by fans and critics alike for its gloss
and expansive arrangementsespecially its horn chartshas
become something of a wraith to band members.
I just dont think we were up to the challenge of making
a big record, Waleik says. Boo-Boo [EP, 1987] cost $1000,
Heavens [1988] $2000, and Craps [1989] $3000. We had
$80,000 to work with [on Slam]. We really worked hard and
did it at a place where we thought wed get the best results,
but it was just too much for us. There are more ways to
screw up songs in the studio by spending too much time
than not enough, and I think thats
what happened with Slam. I dont
think we were good enough as musi-
cians, performers, and interpreters of
our own songs to go and crack em
wide open in that sort of environ-
ment and have them live and breathe
like the way they were supposed to.
And leaving Homestead when
and how we did was a bit of a mis-
take. If we had waited a year or two,
I think there would have been a lot
of smaller big labels or larger indie
labels that were looking for a band
like Big Dipper. We might have had
our choice, and we might have
found a much better fit.
While he admits they could have
done a better job of making Slam,
Waleiks lifelong friend Michener
says that, in retrospect, the albums
fate isnt all that surprising; its yet
another example of the jinx that
comes with a perceived sellout.
Its a classic rocknroll thing. It
happens in the British press, and in
America too, when you leave the
basement and try and do the show.
When you sign with a major label,
people automatically get suspicious.
Its like when Matador Records
hooked up with Atlantic Records [a
short-lived partnership that began in 1993]. Gerard Cosloy [the
Matador co-owner whod previously run Homestead Records and
signed Big Dipper] had a great quote: Im not selling out, Im
buying in.
So people listened to Slam with a little bit of a chip on
their shoulder. And we have a little bit of a chip on our
shoulder, too, because it was the album that ultimately
drove the band apart. We got really pilloried for doing
horns. Our inspiration for the horns was Exile on Main
Street, so to menot that were the Stones, but it was like,
Well, did anyone give the Stones a hard time?
Since the release of Slam, Micheners departure later that
year, and the bands final dissolution in 1992, Waleik,
Michener, Bill Goffrier (guitar, vocals), and Jeff Oliphant
(drums) have all taken the proverbial plunge: gotten mar-
ried and settled down. Waleik and Oliphant still live in
Boston, where the former is a producer for National
Public Radio. Goffrier lives and works in New Hampshire.
Michener has wandered furthest afield, to become a wine-
maker and the proprietor of Trio Vintners, in the emerg-
ing wine region of eastern Washington, near Walla Walla.
St ar St r uck
It may simply be that,
cosmically, their turn
has finally come, but if
there was ever a band
that broke up within
sight of wider fame
and deserves a
second chance,
its Big Dipper.
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Before Michener and I spoke on
the phone, his wife gave him a
not-so-gentle reminder about
mentioning the vino.
She said, The bands fine, but
just remember how you make
your living now, he says, laugh-
ing. We make a Riesling,
Sangiovese, Syrah, and Mourvdre.
Were thinking of doing a blend of
Mourvdre and Syrah for a south-
ern Rhne-style blend. Oh, and a
Zinfandel, just for fun.
Michener says the impetus for a
reunion was the illness of drum-
mer Oliphants wife, Tracy. She
was a big fan of the band, record-
ings of the band, but shed never
seen it play liveshe met Jeff after
the band broke up. She asked him
to get the band together, and that
kind of got her through the worst
the depths of the chemotherapy.
Another factor was the cheer-
leading of deejay Tom Scharpling,
of freeform rock station WFMU
(91.1, Jersey City, New Jersey),
who interviewed all four former
bandmembers by telephone, one
by one, on his show, The Best Show
on WFMU, in January 2004.
The final piece fell into place
when Waleik heard that Mac
McCaughan, co-owner of Merge
Records and a member of
Superchunk and Portastatic, had
blogged somewhere that Big
Dippers recording catalog was in
need of reissue. During the ensuing
e-mail friendship, Waleik asked McCaughan if hed be inter-
ested in putting his money and label where his mouth was.
Another e-mail friendship, this one with Guided By Voices
Robert Pollardarguably Merges biggest act, and whom
Waleik describes as a ginormous Big Dipper fanalso
aided the process. Another very successful Merge act, Spoon,
are also known fans.
The result of all these diverse forces is Supercluster: The
Big Dipper Anthology. The three-disc set will include all
three Homestead albums, along with an entire disc of
unreleased tracks from the Homestead years. At first, the
release will be limited to 5000 copies.
Waleik and Goffrier both have new, unrecorded songs
that could be used for a new Big Dipper album, but the big
questionwhether Supercluster will inspire an album of new
Dipper songsmay be answered in the four live shows the
band plans to do in Boston and New York in April. The
prospect of being together onstage again for the first time
in 18 years has the four stars of the Big Dipper constella-
tion shimmering emotionally somewhere between abject
terror and quiet affirmation.
You always wonder if youre going to have another go-
around with your old band that you loved so much,
Waleik says. It was hard to take at the time, when things
were falling apart, but it was also hard to take years later,
when you thought, God, we got a chance that very few
people ever get, and we blew it.
On the other hand, I never
thought wed have this chance, where
we could put out a record of our best
stuff on a label that really knows what
its doing and really cares.
On the prospect of getting up
onstage and playing again, Waleik
pauses. I think what can happen when
you dont play music for a long time is
that you really attack it in a way that
you hadnt since you were in your 20s.
Michener, too, is gratified to have
another chance. I heard later from his
publicist that hed had a blast doing
our interview: his first in 18 years. Times are just so dif-
ferent now. If wed have had MySpace.com back then, we
wouldnt have had to rely so muchwe were thinking
within the box, and we should have been
Theres a certain amount of bitterness that anyone
would feel whos put so much work into something and it
didnt succeed, or didnt fulfill the expectations that we had
back then. We might have been a little bit ahead of our
time. It was those pre-Nirvana days, when this kind of
music was just starting to get played on any sort of com-
mercial radio, and now its mainstream.
At first, Michener says his job in the band was to put on
vintage plaid shirts and jump around. But when it comes
to Aprils live shows, he grows swiftly serious. Very, very,
very nervous. Ive already started to have the dreams where
Im naked and I cant remember any of the songs.
Even if the shows sell out and the clamor grows for a
new Big Dipper record, Michener has responsibilities back
in the vineyards. Like Big Dippers music in the 1980s, his
winemaking philosophies are just a bit ahead of their time.
As global warming has progressed, its become possible to
grow wine grapes farther and farther north, and Michener
plans to take advantage of the phenomenon.
Were very forward-thinking at our winery. Were
going to have the first Alaskan chardonnay. Itll be from up
around Juneau.
St ar St r uck
The prospect of being
together onstage
again for the first time
in 18 years has the
four stars of the
Big Dipper constellation
shimmering emotionally
somewhere between
abject terror and
quiet affirmation.
S
omethings wrong. It sounds confused.
Cantus producer Erick Lichte and I were working on
the preliminary mixes for the choirs forthcoming album of
works by contemporary American composers, which we
had recorded last June at Goshen College, Indiana. I was
sitting at the computer, Erick in my listening chair, and we
were using PSBs Synchrony One towers as monitors.
Ah. I tried not to look sheepish. I forgot to time-align the outputs from the
three pairs of microphones I used.
Now, its fair to note that the improvement made by time-aligning microphones is not
one of night and day. But it is an improvement, and such was the resolving power of the
PSBs that the degradation in the stability and focus of the soundstage due to the different
arrival times was very audible. Sliding the pairs of microphone tracks forward and back-
ward in time to synchronize the waveform in each of a centrally placed slapstick brought
the image of the choir, as heard through the Synchrony Ones, into precise focus.
Synchronicity
The Synchrony One, an elegantly proportioned tower 43" tall, is the flagship of a line of
seven new models from Canadian manufacturer PSB. I saw a prototype at the Con-
sumer Electronics Show in January 2007 (see http://blog.stereophile.com/ces2007/
011407psb), and the speaker was officially announced the following September, at the
CEDIA Expo. The first thing that strikes you is that there are three 6.5" woofers, one
each at the top, middle, and base of the enclosures front. A 4" midrange unit lies
immediately below the top woofer, and a 1" titanium-dome tweeter is placed below
that, just above the middle woofer. The second thing that strikes you is the absence of
any visible mounting hardwareeach of the five drivers is smoothly integrated into
the front baffle of black-anodized, extruded aluminum.
In fact, the drivers are mounted to an MDF subbaffle beneath the aluminum,
with a ring of hard, molded rubber smoothly filling the space between the surround
and the front of the baffle. Each woofer is loaded with its own vented subenclosure,
the three ports firing from the black-aluminum rear panel. The placement of the
woofers on the front baffle, the exact reflex tuning for each, and the crossover filter
slopeseach is fed from its own low-pass filteras well as the placement of the
midrange unit, were arranged to eliminate the usual floor dip in the response that
results from destructive interference between the drive-units direct sound and the
reflection of that sound from the floor. It is relatively straightforward to arrange for
the floor dip from the midrange unit to occur below its passband and that from the
lowest woofer to occur above its passband, but optimizing the behavior of the two
upper woofers must have been a more complex matter.
The tweeter uses a neodymium magnet. Electrical connection to all five drivers is
via two pairs of binding posts inset at the base of the rear panel, and the upper cross-
over is a Linkwitz-Reilly type, to give minimal overlap between the tweeter and
midrange unit and optimal dispersion. The lower-frequency drivers have cones of
felted natural fibers laminated with fiberglass to get the requisite combination of
lightness, stiffness, and self-damping. Rather than a conventional dustcap, each has a
central, stationary, aluminum phase plug attached to the front of its voice-coil former.
Copper shorting rings on the voice-coils and aluminum rings on the rear of the mag-
DESCRIPTION Three-way, reflex-
loaded, magnetically shielded, floor-
standing loudspeaker. Drive-units: 1"
(25mm) ferrofluid-cooled, titanium-
dome tweeter; 4" (102mm) fiber-
glass/natural-fibercone midrange
unit; three 6.5" (165mm) fiberglass/
natural-fibercone woofers. Crossover
frequencies: 500Hz, 2.2kHz (Linkwitz-
Reilly topology). Frequency response:
33Hz20kHz, 1.5dB on axis;
30Hz23kHz, 3dB on axis. LF cutoff:
10dB at 24Hz. Sensitivity:
88dB/2.83V/m. Nominal impedance:
4 ohms. Minimum impedance:
4 ohms. Recommended power:
20300Wpc. Supplied accessories:
floor spikes, molded rubber plugs to
block reflex ports, if appropriate.
DIMENSIONS 43" (1092mm) H by
8.75" (221mm) W by 12.75" (325mm)
D. Internal volume: 2.35 cu. ft. (67
liters). Weight: 61 lbs each (28kg).
Shipping weight: 71 lbs (32kg) each.
FINISHES Black Ash, Dark Cherry.
SERIAL NUMBERS OF UNITS
REVIEWED 1610-701022/26.
PRICE $4500/pair. Approximate
number of dealers: 300.
MANUFACTURER PSB Speakers
International, 633 Granite Court,
Pickering, Ontario L1W 3K1, Canada.
Tel: (905) 831-6555. Web: www.psb
speakers.com.
PSB
Synchrony One
LOUDSPEAKER
E Q U I P M E N T R E P O R T
John Atkinson
E
R
I
C

S
W
A
N
S
O
N
nets are said to keep THD in the mid-
band below 0.1% at 96dB SPL, which is
more akin to amplifier behavior. The
result, says PSBs founder and chief engi-
neer, Paul Barton, is a speaker that goes
louder and deeper more cleanly than his
flagship Stratus Gold i of a decade ago
(see www.stereophile.com/floorloud
speakers/704/index5.html), while being
smaller and more elegant in appearance.
When launched 11 years ago, the Stra-
tus Gold i cost $2499/pair; the Synchrony
One costs $4500/pair, which is actually
less expensive when inflation is taken into
account. This is made possible by the new
speaker being manufactured, as are so
many others these days, in China. But
also like many other Chinese-made
speakers, the Synchrony Ones fitnfinish
are world-class. The enclosures gracefully
curved, veneered sidewalls, laminated
from seven layers of MDF, are seamlessly
fitted to the extruded-aluminum front
and rear baffles. The black grille of cloth
on perforated metal seamlessly fits into
vertical slots either side of the drive-units.
The visual impression given by the
speaker is of understated elegance.
Sonics
With its unique multiple-woofer arrange-
ment, I was expecting the Synchrony
One to be more tolerant than the norm
regarding placement in my listening
room. That turned out not to be the case.
It was difficult to eliminate a residual
warmth that added a humming quality
to the sound of a pianos lower register. I
did wonder for a while if what I was
hearing was the absence of the usual
floor-bounce notch in the lower mid-
range, but eventually I was convinced that
it really was part of the speakers character.
PS B SYNC HRONY ONE
ME AS U R E ME NTS
M
y estimate of the PSB Synchrony Ones voltage
sensitivity was 88.3dB(B)/2.83V/m, which is
within experimental error of the specified 88dB.
The speakers impedance magnitude remained
below 4 ohms throughout the midrange (fig.1, solid trace),
with minimum values of 2.6 ohms at 1160Hz and 2.65
ohms at 73Hz. Though the electrical phase angle is generally
low within the audioband (fig.1, dashed trace), the combi-
nation of 4.1 ohms and 45 phase angle at 29Hz suggests
that the PSB be used with a good amplifier rated at 4 ohms.
The traces in fig.1 are free from the small discontinuities
that would imply the existence of cabinet resonances of
various kinds. Investigating the panels vibrational behavior
with an accelerometer revealed just two resonant modes
on the sidewalls, at 340 and 420Hz (fig.2). While
detectable with a stethoscope as the speakers reproduced
the half-stepspaced tonebursts on Editors Choice (CD,
Stereophile STPH016-2), these modes are relatively low in
level and well damped. The Synchrony Ones tall cabinet is
sensibly braced, though one of the speakers did develop a
narrowband buzz in the upper bass after several weeks of
use. However, this was detectable only with a stethoscope;
I couldnt hear it with music during normal listening.
The small saddle around 40Hz in the impedance-mag-
nitude trace suggests that this is the tuning frequency of
the three reflex ports. However, as each of the three
woofers is loaded with its own subenclosure and port and
is driven by a different crossover filter, the low-frequency
behavior of the PSB will be more complex than usual. This
is revealed by fig.3, which shows the nearfield outputs of
the upper woofer and its port (red traces), the middle
woofer and port (blue), and the bottom woofer and port
(green), all taken with DRA Labs MLSSA system. Each
woofer has a slightly different minimum-motion notch in
its response between 37 and 44Hz, and the three ports
each cover a slightly different region. But more important,
each woofer also covers a different bandpass. The bottom
woofers output (green) peaks at 70Hz but rolls off rapidly
in the upper bass. The top woofers output (red) peaks
around 100Hz but shelves down in the midrange. Only
the middle woofers output (blue) extends upward in fre-
quency to cross over to the midrange unit.
Fig.3 PSB Synchrony One, nearfield responses of top woofer and port
(red), middle woofer and port (blue), and bottom woofer and port
(green), all plotted in the ratios of their radiating diameters.
Fig.2 PSB Synchrony One, cumulative spectral-decay plot calculated from
the output of an accelerometer fastened to the center of the sidewall
(MLS driving voltage to speaker, 7.55V; measurement bandwidth, 2kHz).
Fig.1 PSB Synchrony One, electrical impedance (solid) and phase (dashed).
(2 ohms/vertical div.)
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a level of sonic reproduction I
never thought I could achieve.
Joshua Fineberg, PhD
Composer of contemporary
classical music and a Professor
of Music at Harvard
The solution was to use one of the PSB-
supplied rubber plugs to block the port
loading the bottom woofer of each
speaker. While the speakers balance was
then still on the warmish side, this modi-
fication cleaned up the reproduction of
lower-frequency piano notes to the point
that, with the optimal choice of amplifier
(see later), it was no longer a concern.
I ended up with the speakers farther
apart than is usual in my room, which
gave the smoothest integration of their
balance through the lower midrange. This
done, I fitted the supplied carpet-piercing
spikes to the PSBs bases and toed the
speakers in to the listening position, which
gave the best high-treble balance. I audi-
tioned the speakers without their grilles:
not only did I prefer the Synchrony Ones
appearance au naturel, I needed the little bit
of extra top-octave energy that they pro-
duced without the grilles. The PSBs top
two octaves then sounded clean and silky,
with sufficient air. I settled back for
some serious listening.
Ive been listening a lot of late to
Smetanas tone poem M Vlast, with Sir
Colin Davis conducting the London Sym-
phony Orchestra (SACD, LSO Live
LSO0516). Recorded in concert in Lon-
dons Barbicanone of my least favorite
hallsthe sound is a little on the dry side.
However, from the resonant harp intro of
the first movement through each string
entry, each instrumental choir was deli-
cately delineated in space, and every instru-
mental tone color was presented without
coloration or undue emphasis. This speak-
er was also a natural for showing off that
masterpiece of orchestration, Benjamin
Brittens The Young Persons Guide to the
Orchestra. My longtime favorite recording is
PS B SYNC HRONY ONE
me as ur e me nt s , c o nt i nue d
The two traces to the left of fig.4 show the complex
sums of the individual port and woofer responses; the
traces to the right show the farfield responses of the
woofers and of the midrange/tweeter array on the
midrange axis. The acoustic crossover point between the
woofers and midrange occurs at 600Hz, a little higher
than the specified 500Hz. Notable in this graph is how
flat each set of drive-units is within its passband, and how
well-controlled the rolloffs are. The woofer output does
peak up a little in the region covered by the bottom
woofer, but there is little sign of the usual nearfield boost
in the upper bass, which suggests that the Synchrony
Ones woofers are somewhat overdamped.
Fig.5 shows how these individual responses sum in
the farfield, averaged across a 30 horizontal angle on the
midrange axis, with the grille removed. The port can be
seen to extend the bass to 6dB at 30Hz, a low frequency
considering the speakers small footprint. Again the low-
frequency output peaks up a little in the region covered
by the bottom woofer, and a small discontinuity can be
seen at 3.8kHz. Overall, however, this is an extraordinarily
flat response. A couple of small peaks can be seen close
to the upper edge of the audioband, and I do wonder if
these were the reason Erick Lichte was less tolerant of the
Synchrony Ones top-octave performance than I was. My
hearing cuts off above 15.5kHz these days, while Ericks
extends to 19kHz. Then again, hes half my age.
There is nothing in fig.5 to indicate why I felt the Syn-
chrony Ones balance to be a bit forward in the mid-treble.
However, looking at the speakers plot of lateral dispersion
(fig.6), while the contour lines are commendably even and
well-controlled overall, a slight off-axis flare can be seen at
the base of the tweeters passband. This speaker may work
best in rooms where it can be placed well away from the
sidewalls, or where the sidewalls are absorptive rather
than dispersive as they are in my room. In the vertical
plane (fig.7), the Synchrony Ones balance remains stable
Fig.4 PSB Synchrony One, acoustic crossover on listening axis,
corrected for microphone response, with farfield responses
of midrange/tweeter and woofers, with the summed nearfield
responses of ports and woofers.
Fig.6 PSB Synchrony One, lateral response family at 50", normalized to res-
ponse on tweeter axis, from back to front: differences in response 905
off axis, reference response, differences in response 590 off axis.
Fig.5 PSB Synchrony One, anechoic response on listening axis at 50",
averaged across 30 horizontal window and corrected for
microphone response, with the complex sum of the nearfield
responses plotted below 300Hz.
with the composer conducting the LSO in
Londons Kingsway Hall (reissued on CD
as Decca 417 509-2 or JVC XRCD 0226-
2), but this 1963 recording sounded a bit
too brash through the PSBs. A modern
recording, of Paavo Jrvi conducting the
Cincinnati Symphony Orchestra (SACD,
Telarc SACD-60660), sounded very much
more natural at high frequencies, and had
much the same weight and impact in the
bass as the English performance.
The top octaves sounded smooth to
me on this Telarc SACDthe delicately
brushed triangle at the end of the final
variation before the fugue was beautifully
resolved, without sounding spotlitbut
Erick Lichte was less tolerant than I of
the PSBs performance in this region.
However, in the Measurements sidebar
accompanying this review, I wonder if
he was reacting instead to the small
response peak between 16 and 18kHz,
which, unlike me, he could hear. The
height of this peak is not affected by the
perforated-metal grille, which proved to
be transparent other than suppressing
the speakers output by a couple of dB
between 9 and 16kHz. Even so, at the
end of the mixing sessions we listened to
one of my 2008 Records To Die For,
violinist Hilary Hahn performing
Vaughan Williams song of serenity, A
Lark Ascending (SACD, Deutsche Gram-
PS B SYNC HRONY ONE
over a reasonably wide range of listening axes between
the tweeter and the top woofer; ie, 2939" from the floor.
To look at how this quasi-anechoic behavior translates
into the Synchrony Ones behavior in the listening room,
I took ten
1
6-octavesmoothed spectra for each speaker
individually in a rectangular grid 40" wide by 18" high and
centered on the position of my ears in my listening chair.
(I used an Earthworks omni microphone and a Metric Halo
ULN-2 FireWire audio interface in conjunction with SMUG-
Softwares Fuzzmeasure 2.0 running on my Apple laptop.)
The spatial averaging reduces the influence of position-
specific room-acoustic effects in the bass and lower
midrange; the result is shown in fig.8. The PSBs superbly
flat anechoic behavior and even dispersion translate into an
equally flat response in-room, with useful bass extension
evident down to almost 20Hz. The usual floor-bounce suck-
out in the lower midrange is very much reduced in ampli-
tude, but I conjecture that the slight excess of presence-
region energy evident correlates with my feeling that the
Synchrony One sounded a touch forward at times.
Turning to the time domain, the PSBs step response
is shown in fig.9. All the drive-units are connected with pos-
itive acoustic polarity, each ones step smoothly handing
over to that of the next lower in frequency. This correlates
with the excellent frequency-domain integration of their
outputs noted earlier. The speakers cumulative spectral-
decay plot (fig.10) is clean overall, though a slight amount
of delayed energy is apparent at the frequency of the on-
axis step in the treble.
The PSB Synchrony One offers superb measured perfor-
mance, as I have come to expect of Paul Barton designs.
John Atkinson
Fig.8 PSB Synchrony One, spatially averaged,
1
6-octave response in JAs
listening room.
Fig.10 PSB Synchrony One, cumulative spectral-decay plot at 50" (0.15ms
risetime).
Fig.9 PSB Synchrony One, step response on midrange axis at 50" (5ms
time window, 30kHz bandwidth).
Fig.7 PSB Synchrony One, vertical response family at 50", normalized to
response on tweeter axis, from back to front: differences in response
155 above axis, reference response, differences in response 515
below axis.
mophon 28947-48732-6), with nary a
complaint from either of us.
The Synchrony One really shone
with classical orchestral music, in part
because its slightly warm upper bass and
extended low bass gave the sound a firm
underpinning. The double basses on the
Telarc Britten SACD had the optimal
combination of attack and weight to
their tone. This speaker did go surpris-
ingly low in the bass, considering its rel-
atively small stature. When I listened to
the
1
3-octave warble tones on my Editors
Choice (CD, Stereophile STPH016-2),
the Synchrony One gave full measure
down to the 25Hz band, with only the
20Hz warble inaudible. The half-step
spaced tonebursts on the same CD were
reproduced cleanly and evenly from the
lowest frequency, 32Hz, with little sign
of doubling in the lowest two octaves
and without undue emphasis on any
specific note. There was also a com-
mendable lack of wind noise from the
flared ports, even at high levels.
Both the dual-mono pink noise and
the in-phase bass-guitar tracks on Editors
Choice were reproduced as they should
be: as narrow, central images without any
frequencies splashing to the sides. With
true stereo recordings, such as the Gersh-
win Prelude arrangements on Editors
Choice, there was no sense of images
being localized at the speaker positions.
Instead, individual instrumental images
were precisely and solidly located in the
plane between and behind the speakers.
And when out-of-phase information was
present in the recording, such as some of
the effects on Trentemllers album of
chill-out music, The Last Resort (Pokerflat
PFRCD18), these wrapped around to the
sides in a stable, nonphasey manner.
Not only was the PSBs stereo imaging
stable, precise, and accurate, but through-
out my auditioning of the Synchrony
Ones I kept getting the feeling that I
could hear farther into the soundstage
that I had been used to. The timpani and
the xylophone in the percussion variation
of the Cincinnati Britten recording were
set unambiguously behind the orchestras
woodwind and string choirs. This was not
because the speakers were suppressing
mid-treble energy, a not-uncommon
means for a speaker designer to fake the
impression of image depththe PSBs
were, if anything, a little hot in this
region. Instead, there was such an
absence of spuriae that recorded detail
was more readily perceived.
But, as I said, this superb retrieval of
recorded detail was accompanied by a
slight lift in the presence region. This was
not nearly so much as to add brightness to
the balance, but voices were presented as
being more forward in the mix. With the
Cantus mixes Erick and I were working
on, we felt we had to slightly reduce the
level of the closer-sounding cardioid
mikes in the mix to compensate for the
more distant-sounding omnis. With
recordings that are themselves over-
cooked in the highsBruce Springsteens
dreadful-sounding Seeger Sessions, for
example (DualDisc, Columbia 82876
82867-2)it all became a bit too much in-
your-face. But with more sensibly bal-
anced rock recordings, such as So Real, the
Jeff Buckley compilation released on the
10th anniversary of the singers death
(CD, Columbia/Legacy), the PSBs effec-
tively drew forth the music from the mix.
For this reason, the Synchrony One
proved a better match to the warmer-
sounding Mark Levinson No.380S pre-
amp and No.33H power amps than the
cooler Parasound Halo combination of
JC 2 and JC 1s, despite the Levinsons fat-
tening up the midbass. Stereophiles latest
CD, a reissue of Robert Silverman per-
forming the two Rachmaninoff piano
sonatas (STPH019-2), now sounded a bit
too plummy, even with the bottom ports
plugged. I ended up using the Mark
Levinson No.380S preamp with the Halo
JC 1 amplifiers, which gave the optimal
top-to-bottom balance with the PSBs.
As I finish writing this report, Im lis-
tening to the provisional 24-bit/88.2kHz
mix Erick and I did of Cantus perform-
ing Lux aurumque (Golden Light), Eric
Whitacres 2001 setting of a poem by
Edward Esch translated into Latin by
Charles Anthony Silvestri. Whitacre con-
structs patterns of tone clusters that slow-
ly move stepwise, leaving suspensions
that you think will clash yet sound
exquisitely tonal. Each of the nine singers
was clearly and precisely positioned in
space by the PSBs, with the deliciously
warm reverberation of the Great Hall of
Goshen College reinforcing the effect of
the suspended notes in the score. And
when, on the musics final page, the
work modulatesfinallyto the major,
with the basses rocking back and forth
between low C-sharps and D-sharps
under a long-held high G-sharp from the
tenors (who faced away from the mikes
for this passage, in order to light up the
hall with sound), the superbly neutral
midrange and the low-frequency clarity
of the Synchrony Ones filled my room
with shimmering harmonies. Ah. Its
hard to see how it could get much better.
Summations
The last two speakers I reviewed, the
Sonus Faber Cremona Elipsa (December
2007) and the KEF Reference 207/2
(February 2008), each cost around
$20,000/pair. As much as I was impressed
by those highfliers, PSBs Synchrony One
reached almost as high for just
$4500/pair. Its slightly forward low treble
will work better with laid-back amplifica-
tion and sources, and its warmish midbass
region will require that care be taken with
room placement and system matching.
But when everything is optimally set up,
the Synchrony One offers surprisingly
deep bass for a relatively small speaker; a
neutral, uncolored midrange; smooth,
grain-free highs; and superbly stable and
accurate stereo imaging. It is also superbly
finished and looks beautiful. Highly rec-
ommended. And when you consider the
price, very highly recommended.
ASSOCIATED EQUIPMENT
DIGITAL SOURCES Ayre C-5xe,
Pioneer DV-578A universal players;
Mark Levinson No.30.6, Benchmark
DAC 1 USB, Bel Canto e.one DAC 3
D/A converters; Prima Luna Prologue
Eight CD player; Logitech (Slim
Devices) Transporter WiFi music player
with Apple Mac mini running OSX for
media storage.
PREAMPLIFIERS Parasound Halo JC
2, Ayre K-5xe, Mark Levinson No.380S.
POWER AMPLIFIERS Parasound
Halo JC 1, Musical Fidelity 550k
Supercharger, Mark Levinson No.33H
monoblocks; Boulder 860.
LOUDSPEAKERS Sonus Faber
Cremona Elipsa, KEF Reference
207/2, Magico V3.
CABLES Digital: Kimber Illumina-
tions Orchid AES/EBU, AudioQuest
OptiLink-5 S/PDIF. Interconnect
(balanced): AudioQuest Cheetah,
Ayre Signature Series. Speaker:
AudioQuest Kilimanjaro. AC: PS Audio
Lab, Shunyata Research Anaconda
Helix Alpha, manufacturers own.
ACCESSORIES Target TT-5 equip-
ment racks; Ayre Myrtle Blocks; ASC
Tube Traps, RPG Abffusor panels; PS
Audio Power Plant 300 at 90Hz
(sources only), Audio Power Indus-
tries 116 Mk.II & PE-1, APC S-15 AC
line conditioners (not power amps).
AC power comes from two dedicated
20A circuits, each just 6' from the
breaker box, a power amplifier
plugged into each. John Atkinson
PS B SYNC HRONY ONE
World famous for our TT, Logos, and Classic One Mk III
integrated amplifiers, we invite you to audition our new
separate components and CD players, the ultimate
expression of Pathos design.
5662 Shattuck Avenue, Oakland, CA 94609 phone: 510.547.5006 fax: 510.547.5009
www.musicalsurroundings.com
Beauty More Than Skin Deep
Imported & distributed in North America by
Pathos Logos the Italian Supermodelof integrated amplifiers
Pathos electronics please
both the eye and ear. Our
Logos tube hybrid integrated
amp features independent
power supplies for preamp
and power amp stages, RCA
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Rated at 220 watts RMS per
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and looks beautiful doing it!
Handmade in Italy
RECOMMENDED
COMPONENT
N
o matter how well you think you know the specialized world of
high-end audio, there are always new companies, new technologies,
and new products you just havent gotten around to knowing yet.
At the 2007 Consumer Electronics Show, one company scored a
perfect triple on that score. I wandered into Hansen Audios room,
where I met Lars Hansen, heard the Emperor loudspeaker, and was
impressed by Hansens proprietary drivers. The Emperors sure
sounded like the real thing, and Hansen himself was a very impressive man, but geeze
louise, how likely was it that a company would come out of nowhere with not just one
product but an entire speaker line of seven models? It would take a ton of chutzpah to
think you could do all that overnight.
Lars Hansen has that, all right. He really is an audio polymath, creating drivers,
constructing cabinets, and slaying audio shibbolethsand, oh yeah, designing a
whole line of speakers that rewrite the rules.
As the months went by, Hansen and his sales manager, Wes Bender, managed to
convince me that I had to audition the Hansen Audio Prince V2 ($39,000/pair). Its
the right size speaker for your room, Bender assured me. Good thing, tooin their
boxes, the Princes42" high by 14" wide by 20" deepbarely fit in my front hall.
Princes have long hands and many ears
I start with the drivers, said Lars Hansen. First, I found a tweeter so good that even I
couldnt improve upon it. The motor assembly has so much control over the soft dome
Hansen Audio
Prince V2
LOUDSPEAKER
Wes Phillips
Hansen Prince V2 loudspeaker
DESCRIPTION Three-way, floor-
standing, ported loudspeaker. Drive-
units: 1" (25mm) soft-dome tweeter
mounted on dispersion-optimized
6mm aluminum plate, 7.1" (182mm)
laminated-cone midrange unit, 10.6"
(269mm) laminated-cone woofer.
Crossover: first-order. Crossover fre-
quencies: ca 100Hz, 2.5kHz. Fre-
quency response: 23Hz23kHz,
2dB. Nominal impedance: 6 ohms.
Sensitivity: 87dB/W/m.
DIMENSIONS 42" (1066.8mm) H
by 14" (355.6mm) W by 20"
(508mm) D. Weight: 205 lbs
(92.98kg) each, 540 lbs (245.5kg)
system shipping weight in crates.
FINISHES Various.
REVIEWED 901051/52-kb.
PRICE $39,000/pair. Approximate
number of dealers: 8. Warranty: 5
years, parts & labor.
MANUFACTURER Hansen Audio,
Inc., 100 Leek Crescent, Unit 9, Rich-
mond Hill, Ontario L4B 3E6, Canada.
Tel: (905) 731-8434. Fax: (905) 731-
8420. Web: www.hansenaudio.com.
that it reproduces the silences between
notes every bit as well as the notes them-
selves. I designed the midrange and the
woofer to have the most inert cones avail-
able todaywe use a sandwich of three
layers. The first layer is made from an
epoxy based material that is comprised of
many components and is infused with
glass fibers. The second layer is Rohacel
(one of the lightest materials known).
The last layer is also an epoxy-based
material but with a different mix than the
first. This ensures they do not deform
deform in reproducing the musical signal.
The dustcaps and the underhung voice-
coilseven the cross section of the sur-
roundseverything is consciously
designed to eliminate colorations from
being added to the wavepath.
The cabinets are hand-molded of
three layers of Hansen Composite
Matrix, which which contains up to six
different components in each of the 3
layers, each of these layers has a differ-
ent mix, a different thickness, and there-
fore a different density than the other
two layers. After the Hansen Composite
Matrix has been removed from the
mould then a fourth layer, which is an
acoustic damping material, is added to
the inside [Hansen calls it the cloaking
deviceWP], and the final result is a
shape that allows the widest dispersion
and is extremely inert. If it was as simple
as putting the drivers on a stick, that
would be so nice, but every cabinet has
an effect on dispersion, so I shaped the
Prince very carefully, so it lets go of the
notes with the smallest possible effect
on wave diffraction. It looks organic,
people tell me, but it is very calculated.
I asked Hansen what the Hansen
Composite Matrix was made of. I
dont think it is useful to get any more
technical than saying that it is a total of
four different layers and each is made
from an epoxy based material with
numerous added components that took
many months to get acoustically cor-
rect, and cost many hundreds of thou-
sands of dollars to achieve he said. Its
not rocket sciencealthough there is
rocket science in this loudspeaker.
Add to that a first-order crossover
whose components are soldered, by
hand, point to point with silver solder. I
use the midrange driver from around
100Hz out to 2500and it remains pis-
tonic for that whole range, so the woofer
and tweeter can operate in their comfort
zones, too. The big problem with first-
order crossovers is that they frequently
put too much strain on drivers at the
ME AS U R E ME NTS
W
ith a speaker as large and heavy as the Prince
V2, there is no question of lifting it onto a tall
stand for the acoustic measurements, to
move back in time the inevitable reflection
form the floor between the speaker and the microphone.
As a result, my measurements dont have as much detail
in the lower midrange as usual, but I dont believe that
fact invalidates my findings. (My thanks to Wes Bender,
Stephen Mejias, and Danny Gonzalez for their help in
moving these speakers around for the measurements.)
My estimate of the Princes voltage sensitivity on its
tweeter axis was a little lower than specified, at
85dB(B)/2.83V/m. This speaker will definitely benefit
from being driven by a powerful amplifier, particularly as
its impedance (fig.1) drops below 4 ohms in the mid-tre-
ble and above. The impedance rises with decreasing fre-
quency below 1kHz, which means that tube amplifiers,
with their relatively high source impedance, will sound
heavier in the bass than solid-state amplifiers with the
Hansen. But as the Prince V2s impedance at lower fre-
quencies doesnt drop below 8 ohms, this speaker should
work well with tube amps. The traces in fig.1 are free of
the glitches and wrinkles that would indicate the presence
of cabinet resonances of various kinds. Investigating the
panels vibrational behavior uncovered nothing untoward.
This is an acoustically inert enclosure.
The sharply defined saddle at 31Hz in the impedance-
magnitude trace reveals that this is the tuning frequency
of the large, rectangular reflex port. This is confirmed by
two things: 31Hz is also the woofers minimum-motion
frequency (fig.2, blue trace), and the ports output peaks
in this region (fig.2, red). The port can be seen to have
some peaks in its stopband output, but these are well
down in level. The woofer also rolls off very slowly, due to
the use of a first-order crossover to the midrange driver
(fig.2, green). The crossover frequency between these two
drive-units lies at 100Hz, exactly as specified, which leads
Fig.1 Hansen Audio Prince V2, electrical impedance (solid) and phase
(dashed). (2 ohms/vertical div.)
Fig.2 Hansen Audio Prince V2, anechoic response on tweeter axis at 50",
responses plotted below 300Hz (black), and with the the nearfield
responses of the port (red), woofer (blue), and midrange (green)
plotted in the ratio of the square root of their radiating areas.
lowest end of their range, but our drivers
can handle that without any problem.
The Prince V2s enclosure has a port
that fires out the front. Hansen cites the
speakers sensitivity as 87dB. The 25mm
soft-dome tweeter is mounted on a dis-
persion optimized 6mm aluminum
plate. The 7" (182mm) midrange driver
and 10.5" (269mm) woofer certainly do
not look ordinary. And the speaker,
while not all that large, is heavy, as in well
over 200 lbs each.
Put not your trust in princes
I initially installed the Prince V2s in my
listening room with Krells Evolution
202 preamplifier and Evolution 600
power amplifiers. Over time, I also used
Conrad-Johnsons ACT2.2 preamplifier
and Musical Fidelitys Nu-Vista 300
power amp. Sources included Ayres C-
5xe and Linns Klimax DS. Cables were
from Stealth, AudioQuest, and Shunyata
Research, among others.
The Princes liked having room to
breathe. In my listening room, I ended
up with them facing straight ahead, their
rear panels 56" from the front wall, their
outside side panels 38" from the side-
walls, and their inside side panels about
77" apart. In those positions they opened
up, delivering everything from stagger-
ing orchestral tuttis to completely con-
vincing solo guitar.
Who made thee a prince and
a judge over us?
My first impression was that the Prince
V2 was indeed royalty in its presenta-
tion of the heft and weight of instru-
ments. In fact, I began seeking out
recordings I hadnt heard in a while,
hoping to discover in them hitherto
unheard felicities. I succeeded. One
such disc was my copy of John Atkin-
sons 1997 live recording of guitarist
John Abercrombie, pianist Marc Cop-
land, bassist Peter Herbert, and Billy
Hart. I was at the concert and my good-
ness, what a monster Hart was that day!
He was playing a leased set of drums
with a piccolo snare and the smallest
bass drum Id ever seen, but his sound
was immenseand his beat impeccable.
The Princes did a superb job of bal-
ancing Coplands Steinway and Aber-
crombies electric squonk (the guitarist is
old-school when it comes to effects
between soundcheck and gig, hed
spent a solid hour resurrecting an
ancient Mike Matthews chorus stomp
box). The Princes balanced that electric
crunch and the pianos crisp, round
HANS E N AU DI O P R I NC E V2
to some concern on my part. Not only does this mean
that there is broad overlap in the bass among the woofer,
port, and midrange outputsthe black trace below 300Hz
in fig.2 is the complex sum of the three radiators outputs,
taking acoustic phase into accountbut the midrange driv-
ers response then smoothly rises until it reaches the
crossover frequency to the tweeter at approximately
2.2kHz. The apparent bump in the Princes overall mid-
bass output is due in part to the nearfield measurement
technique, but this will, to some extent, balance the rise in
response in the upper midrange. This will be especially
true if the speaker is used with a tube amplifier, for the
reasons explained earlier.
What this behavior implies about the Prince V2s sonic
character will depend on what frequency region the ear
takes as its referenceand that, in turn, will depend on
what music is being played. On the positive side, the ener-
gy excess at the top of the midrange will accentuate
recorded detail and enhance the reproduction of female
voicesWes Phillips did note how wonderfully the
Hansens handled voices of all sortsbut the balance
might also lead to some fatigue with overcooked record-
ings, as well as project some sources more forward in the
soundstage. Alternatively, if the ear locks on to the upper
midrange as its sonic anchor, the relative lack of lower-
midrange energy will make male voices sound a bit thin,
and orchestras somewhat anemic. Note that WP did
remark that the Princes presented the large ensemble in
Schulhoffs Double Concerto for Flute and Piano a shade
less forcefully than did the Wilson WATT/Puppy 8s, and
that the overall ensemble sound was a touch smaller
which is what I would expect.
The tweeters response is basically flat, but with some
small peaks on-axis balanced by equally small dips. And
as you can see from the Princes lateral-dispersion plot
(fig.3), the largest on-axis suckout, between 4 and 6kHz,
does tend to fill in to the speakers sides, meaning that its
in-room balance in this region will be neutral. The tweeter
can be seen to get quite directional above 10kHz, but the
contour lines below 4kHz in this graph are evenly spaced,
which correlates with the excellent stereo imaging noted
by WP. In the vertical plane (fig.4), a suckout at the upper
Fig.3 Hansen Audio Prince V2, lateral response family at 50", normalized
to response on tweeter axis, from back to front: differences in
response 905 off axis, reference response, differences in response
590 off axis.
Fig.4 Hansen Audio Prince V2, vertical response family at 50", normalized
response 155 above axis, reference response, differences in
response 510 below axis.
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transient attack. Add Harts fundamen-
tal clatter and roar, and I was right back
in that October night in Santa Fe.
But while the Princes were superb at
rendering the sound of instruments in
space, they were even better at getting
to the musics white-hot emotional
truth. On Rahsaan Roland Kirks The
Old Rugged Cross, from Does Your
House Have Lions? (CD, Rhino R2
71406), the Princes took me along on
Kirks ruminations about the crosses we
daily bear to a wailing, ecstatic, foot-
stomping gospel squawk of full-blown
ecstasy. I doubt Ive ever heard any
other speaker get Kirks leap from the
root of the tonic to dancing right on the
edge of the sublime to the same extent
that the Hansens did. Is that something
that can be measured? I wonder.
I had a similar experience listening to
Eric Dolphys Hi-Fly, from Live in
Europe, Vol.1 (CD, Original Jazz Classics
4132). Essentially a duet between acoustic
bass and flute, Hi-Fly never seemed to
come from the Princes themselves.
Instead, the bass inhabited my listening
room with regal heft and low-end
authority, while Dolphys alto sax soared
like silver birdsong, taking flight on levels
both sonic and melodic. Dolphys state-
ment that, once youve played a note, its
gone, was never more forcefully refuted
than by the Princes. For the 13:49 dura-
tion of Hi-Fly, Dolphy once again lived.
Then theres the immense sound-
crossover frequency of 2.2kHz develops more than 5
above the tweeter axis, but the speaker does maintain its
balance quite well for axes below the tweeter.
To examine how these quasi-anechoic measurements
added up in Wess listening room, I derived my usual spa-
tially averaged in-room response from 10 individual
1
6-
octavesmoothed spectra taken individually for the left
and right speakers in a vertically oriented grid 40 wide by
18" tall and centered on the position of WPs ears in his
listening chair. (For this measurement, the speakers were
driven by a Musical Fidelity Nu-Vista 300 power amplifier.)
The result is shown in fig.5. There is a slight energy excess
between 500Hz and 1.2kHz, but above that region, the
Princes response in-room is basically flat until, due to the
increasing absorption of the rooms furnishings in the top
two audio octaves, it smoothly slopes down with increas-
ing frequency. The port doesnt fully extend the speakers
low-frequency output, which surprised me. The woofers
output integrates quite well with Wess room, though the
depression at 125Hz and the peak at 70Hz are mainly due
to the influence of room acoustic problems that have not
been eliminated by the spatial averaging. However, the
lack of lower-midrange energy seen in fig.2 is still evident
in this graph.
Turning to the time domain, the Prince V2s step
response is shown in fig.6. A short, positive-going step
from the tweeter is followed first by a negative-going step
from the midrange unit, then a positive-going step from
the woofer. Despite its use of first-order crossover filters
and a stepped-back front baffle, the speaker is not time-
coincident. It is, however, time-coherent: connecting the
midrange unit in inverted polarity allows each drive-units
step to smoothly hand over to that of the next lower in
frequency. The Princes cumulative spectral-decay plot
(fig.7) is not as clean as I expected, with some low-level
residual hash evident in the mid-treble.
In many respects, the Hansen Audio Prince V2 acquit-
ted itself well on the test bench. But I was puzzled by the
decision to cross over from the woofer to the midrange
unit at a frequency as low as 100Hz. John Atkinson
Fig.5 Hansen Audio Prince V2,
1
6-octave, spatially averaged response in
WPs listening room.
Fig.6 Hansen Audio Prince V2, step response on tweeter axis at 50" (5ms
Fig.7 Hansen Audio Prince V2, cumulative spectral-decay plot at 50"
(0.15ms risetime).
scape created by certain albumsfor
instance, Jack DeJohnettes Oneness
(CD, ECM 1637). On Jack In, percus-
sionist Don Alias and DeJohnette lay
out a backdrop of drums that stretches
from one end of the horizon to the
other. Pianist Michael Caine and electric
guitarist Jerome Harris splash tone-
bursts of color against that backdropits
not a natural soundscape, but for drama
and sheer impact, its hard to beat. The
Hansens let the magic happen.
Princes are venison in heaven
I compared the Hansen Prince V2 with
Wilson Audio Specialties
WATT/Puppy 8 ($27,900/system) for a
variety of reasons. To many, the
WATT/Puppy personifies the small-
scale high-end loudspeaker, and the
Wilson line is widely distributed; most
audiophiles whove cared to have already
become familiar with the sound of these
popular monitors. The Hansens cost
about 30% more than the Wilsons, so
that should be taken into consideration.
Like the Hansens, the Wilsons fill
large rooms despite a small footprint.
Indeed, in terms of large-scale orches-
tral impact, the WATT/Puppy ranks
among the best of the breed. Through
the W/Ps, Bettina Wild and Aleksan-
dar Madzars recording of Erwin Schul-
hoffs Double Concerto for Flute and
Piano (with Andreas Delfs and the
Deutsche Kammerphilharmonie; CD,
Decca/ArkivCD 444 819-2) creates a
wide soundstage that just bristles with
orchestral color, spiked through with
the fierce timbres of flute and piano
and laid out within the sustaining
acoustic of a large concert hall.
Equally dynamic but less tonally
forward, the Princes presented the
large ensemble a shade less forcefully,
and the overall ensemble sound was a
touch smalleralthough the sense of
the ensemble within the large
acoustic was very palpably there.
Three months ago, I had never
heard this disc, which is part of
Deccas Entartete Musik series from the
mid-1990s, so I cant speak as to
which presentation is correct. If
pressed, however, Id probably choose
the Hansens for nailing the sound of a
large, but not huge, ensemble so
solidly within the halls acoustic.
Simone Dinnersteins recording of
J.S. Bachs Goldberg Variations (CD,
Telarc CD-80692) has lately been get-
ting a lot of play chez Wesalmost as
much for the sonic brilliance of the
sound of its 1903 Hamburg Steinway as
for Dinnersteins aggressively breakneck
romp through the variations following
her leisurely treatment of the Aria. The
WATT/Puppys gave the Steinway a big,
clattering characterthe instrument was
a veritable cannon firing salvos of notes
into the rear of the room. Boom-boom.
The Princes were again a tad less brash,
the piano seeming more tailored to the
hall (the auditorium at the Academy of
Arts and Letters in New York City). Call
it extremely precise small-arms fire. Rat-
a-tat-tat-tat.
The alternate take of Wayne Short-
ers Pinocchio on the remastering of
Miles Davis Nefertiti (CD, Columbia
467089) is one of those tracks that
unfurls as it progresses, more or less
pointing the way to the even longer
form of Daviss In a Silent Way. Davis,
Shorter, and pianist Herbie Hancock
splash languid tonal colors against the
skittering rhythms of bassist Ron Carter
and drummer Tony Wilson. The
WATT/Puppys accentuated this drama,
which I found exciting. However, the
Hansen Prince V2s emphasized the
tracks sustained narrative in a way that I
found more convincing. Forced to
choose, Id say the Hansens gave me
more of the musics flow, the Wilsons
more of its moment-to-moment drama.
Both approaches have their adherents,
but I found the Hansens more musical-
ly credible.
With truly large orchestral forces,
such as on Mountain Musica collection
of three symphonies (2, 50, 66) and a
tone poem, Storm on Mount Wildcat, all
four works by Alan Hovhaness, dedi-
cated to various peaks, and performed
by Gerard Schwarz and the Royal
Liverpool Philharmonic Orchestra
(SACD, Telarc SACD-60604)the
WATT/Puppys moved more air than
the Hansens. The Wilsons get that
approaching-the-acoustic-limits-of-the-
room thing much more right than did
the Hansens, which seemed a tad
restrained. That wont be a shortcom-
ing for some, though I do enjoy crank-
ing it up to 11 every now and then.
Id be remiss if I didnt mention
how wonderfully the Hansens han-
dled voices of all sortsif you value
singing, the Prince V2 is a truly spe-
cial speaker. Any kind of singing,
from Alison Krauss and Robert
Plants Raising Sand (CD, Rounder
9075), to Anne Sofie von Otters
Terezn/Theresienstadt (CD, Deutsche
Grammophon 4776546), to the
Clovers Devil or Angel, from The
Doo-Wop Box (CD, Rhino R2 71463).
The Princes gave singers body with-
out loading their voices up with too
much physicality. Voices floated free
and soared. Take your favorite vocal
performance and listen to it on the
Princes, but be careful. Everything
else may then suck hind tit.
Princes and asses must
always be urged
Hansen Audio Speakers are meticu-
lously hand built in Canada, it pro-
claims on Hansens website. Hand-
built? Im not sure that any
$39,000/pair loudspeaker is mass-
produced. When you get to that level,
no matter how mechanized your
assembly line, I suspect youre still
hand-building speakers.
Even so, from the hand-assembly of
the drivers to the individual casting of
suspensions to the building up, layer by
layer, of its cabinets, Hansen Audios
Prince V2 seems a bit more hand-built
than most. Lars Hansen would sayhas
saidthat hes not interested in building
loudspeakers any other way than his.
Is that a reasonable way to run a
business? It depends on what you want
to accomplish. Hansens goal appears to
be to make an unreasonably fine loud-
speakerone hes proud to put his
name on. Id say, Mission accom-
plished.
DIGITAL SOURCES Ayre C5-xe uni-
versal player, McIntosh MS750 music
server, Linn Klimax DS networked
D/A processor, Bel Canto e.One
DAC3 D/A converter.
PREAMPLIFIERS Conrad-Johnson
ACT2.2, Krell Evolution 202, Linn
Kontrol.
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ty Nu-Vista 300.
LOUDSPEAKERS Wilson Audio Spe-
cialties WATT/Puppy 8.
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William E. Lowe Reference, Stealth
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Quest William E. Lowe Reference,
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Testament
T
he first reference I saw to the Count of Saint Germain was in Fou-
caults Pendulum, Umberto Ecos dense novel about a man whose
paranoid delusions become so overpoweringly real that, by the end
of the book, the reader is left wondering whether the protagonists
enemies actually exist. That their number should include Saint Ger-
main was a nice touch: Part cabalist, part confidence man, the real-
life Count was thought by some to be immortal (in Pendulum hes
pushing 300), and while Casanova wrote vividly of meeting Saint Germain at a
dinner party in 1757, so did the English writer and pederast C.W. Leadbetterin
1926. Like Aleister Crowley, the Count of Saint Germain can be seen peering
over the shoulders of countless parlor (but not parleur, or even haut-parleur)
occultists: He keeps popping up all over the place.
Still, imagine my shock at receiving from John Atkinsoneditor, mentor, friend
a carton whose original return address read Villeneuve Saint Germain, France.
Holy blue! If the cartons arrival signaled a curse of some sortretaliation, per-
haps, for the time I programmed vulgar phrases into the Simaudio Moon i-7s dig-
ital readoutit was too late to turn back: I had already accepted delivery (think:
Jacques Tourneurs 1957 film Night of the Demon). I had no choice but to soldier
on. So I did.
Triangle
Esprit Comete Ex
LOUDSPEAKER
Art Dudley
Triangle Esprit Comete Ex loudspeaker
DESCRIPTION Two-way, reflex-
loaded loudspeaker for use with
stands 20-30" H (not included).
Drive-units: 1" titanium-dome tweet-
er in molded horn enclosure, 6.3"
coated pulp-cone woofer. Crossover
frequency: 2.5kHz. Frequency
response: 50Hz-20kHz, 3dB.
Impedance: 8 ohms nominal, 4.4
ohms minimum. Sensitivity:
90dB/W/m.
DIMENSIONS 16.5" (420mm) H by
7.9" (200mm) W by 13.2" (335mm)
D. Shipping weight: 41 lbs (18.7kg).
FINISHES Cognac.
REVIEWED 07TEB14 0463, 07TEB14
0464.
PRICE $1295/pair. Approximate
number of dealers: 28.
MANUFACTURER Triangle Electro-
acoustique, Avenue Flandres
Dunkerque, Z.I. les Etomelles, 02200
Villeneuve Saint Germain (!), France.
Tel: (33) 23 75 38 20. Web: www.tri
angle-fr.com. US distributor: VMAX
Services, P.O. Box 570, Chazy, NY
12921. Tel: (800) 771-8279. Web:
www.vmax-services.com.
N_\i\I\Zfi[`e^j9\Zfd\G\i]fidXeZ\j
weinhart design
The Exclusive U.S. Dealer
for the ClearAudio
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Los Angeles, California 90077
Phone: 310-472-8880
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customers through the musical and visual experience of a lifetime. A listening session
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are released from the confines of the recording and reveal themselves. David not only
has the ear, experience and industry acclaim, he has a lifelong passion to discover and
share the most respected and unique audio and video products available.
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CHANGI NG
THE
WAY
YOU
L I STEN
Description
Life is full of thoughtless generalities, and
heres another: Triangle Electroacous-
tique is Frances version of Mission
Audio. Both have been around for a few
decades, both have enjoyed commercial
and critical success, and both gained fame
as makers of domestic loudspeakers that
are moderately affordable and often
remarkably good. The similarities con-
tinue, from the general to the specific:
the slim profiles, the proprietary drivers,
the generous investments in computer-
driven measurement and construction
technologies
Heres at least one distinction, which
Im told has become a Triangle calling
card: The Esprit Comete Ex
($1295/pair) has a horn-loaded tweet-
er, which flares from the 1" titanium
dome at its throat to a mouth that mea-
sures some 2.5" in diameter. A longish
phase plug, evidently made of brass
and held in place with two radial strips,
obscures much of the dark-gray dome.
The tweeters housing is molded from
a smooth and apparently sturdy plastic;
I at first took it to be sealed, but then
noticed a tiny opening at the apex of its
rear surface: a resistive load intended to
increase output, perhaps, or a vent to
equalize the pressure on the thin titani-
um diaphragm.
The 6.3" bass driver has a pulp cone
with a smooth outer surface, and is
shaped in a mild flare, as opposed to
being straight-sided; its own phase
plug is proportionately short, and made
of hard rubber. Rubber of a much
more pliant sort is used for the half-roll
surround. The basket is a light cast
alloy, with an integral frame for the
textile spider.
Those drivers, which are both beauti-
fully made, are held to the machined
T R I ANGL E E S P R I T COMET E E x
ME AS U R E ME NTS
T
he Triangle Esprit Comete Ex is significantly more
sensitive than the norm, my estimate of its voltage
sensitivity coming in at 91dB(B)/2.83V/m. While its
impedance magnitude drops below 5 ohms in the
lower midrange and mid-treble (fig.1, solid trace), and the
electrical phase angle is occasionally extreme, overall the
speaker will be fairly easy to drive.
There are two sharp discontinuities in the impedance
traces, one at 620Hz, the other between 800 and 900Hz.
Investigating the cabinets vibrational behavior with a plas-
tic-tape accelerometer, I found some strong resonances.
Fig.2, for example, shows a cumulative spectral-decay plot
calculated from the output of the accelerometer when fas-
tened to the center of one of the sidewalls. There is a
strong mode at 355Hz, along with some higher in fre-
quency. This mode, which I detected on all surfaces, is
high enough in level and low enough in frequency that I
would be surprised if it didnt affect the speakers sound
quality, yet in his auditioning Art Dudley noted nothing
untoward in this region. I did find a strong mode at 900Hz
on the top panel; this could correlate with the discontinu-
ity in the impedance traces at the same frequency. But I
was surprised that the mode at 355Hz didnt affect the
impedance measurement.
The impedance glitch at 620Hz correlates with a very
strong resonance at that frequency in the ports output
(fig.3, blue trace). There is also a suspicious-looking peak
in the woofers output close to the same frequency (fig.3,
black), though this graph lacks the resolution to indicate if
this peak occurs at exactly the same frequency as the port
resonance. The saddle centered on 62Hz in the imped-
ance-magnitude trace indicates that that is the tuning fre-
quency of the port. There is, indeed, a minimum-motion
notch in the woofers nearfield output at that frequency,
Fig.1 Triangle Esprit Comete Ex, electrical impedance (solid) and phase
(dashed). (2 ohms/vertical div.)
Fig.2 Triangle Esprit Comete Ex, cumulative spectral-decay plot calculated
from the output of an accelerometer fastened to the center of the
sidewall (MLS driving voltage to speaker, 7.55V; measurement
bandwidth, 2kHz).
Fig.3 Triangle Esprit Comete Ex, acoustic crossover on tweeter axis,
corrected for microphone response, with farfield responses of
tweeter (red) and woofer (black), with the summed nearfield
responses of the port (blue) and woofer (black) plotted in the ratio
of their radiating diameters.
MDF baffle with hex-head wood
screws, the ones for the tweeter being
hidden behind a trim ring of hard rub-
ber. The baffle is also home to a pair of
molded reflex ports 1.5" in diameter
and 2.75" long, mildly flared. Internal
wiring is Triangles own stranded cop-
per cable, fastened with slip-on con-
nectors. The crossover board, whose
capacitors also carry Triangles trade-
mark, is fastened to the rear surface of
the MDF cabinet, which is also home
to a relatively thin cover of acoustic
foam. The cabinet looks unremarkable
except for a series of small braces that
apparently serve the same purpose as
the ribbon lining inside a stringed
instrument: to provide additional glu-
ing surfaces for the front and back.
Installation and setup
The Esprit Comete Ex is intended to
be mounted on a stand, and because
the center of its tweeter is just over 13"
above its bottom surface, a stand
2028" tall would suit the average seat-
ed listener. Triangle makes and sells an
appropriate stand for the Comete Ex,
but that wasnt supplied for the review;
instead, I relied on an old pair of open-
frame supports from Chicago Speaker
Stand that measure a little over 22" tall.
An hour or so of fiddling proved, to my
satisfaction, that the Comete sounded
best when coupled to the stand with
tiny bits of Blu-Tak, and that the best
(ie, least fussy-sounding) results were to
be had when the stands spiked feet
were replaced with self-adhesive felt
padsgreen ones, in case you believe
that makes a difference.
A modest amount of bottom-end
reinforcement could be had by placing
the Cometes very close to the wall
behind them. However, given that spa-
tial depth and detail were among the
speakers greatest strengths, I took
advantage of those qualities by bring-
ing the Cometes well out into the
room, farther from the walls and closer
to the listening seat than is usual for
me. Measured from a central point on
the front baffle, each Comete ended up
being 71" from the wall behind it and
27" from its respective sidewall.
With my Audio Control SA3050
spectrum analyzer set at 4dB per step,
and with its microphone set at ear
height, the graphic readout was similar
to what youd see if you used a ruler
and a red marker to draw a line
between 63Hz and 12.5kHz: Apart
from a small peak at 100Hz, the
response was very flat, with usable
response at 50Hz but nothing below,
and a more gentle rolloff in that quaint
though the ports output broadly peaks a little higher in
frequency. The woofer rolls off quite sharply above 2kHz,
though what would otherwise be a well-controlled rolloff
is disturbed by a small peak at 4kHz. The tweeter (fig.3,
red) is rolled off very steeply below 2kHz. While its output
is relatively uniform in its passband, it appears to be bal-
anced about 5dB too high in level.
Fig.4 shows how these individual measurements sum on
the tweeter axis in the farfield. While the woofer and
tweeter outputs integrate nicely, the Comete Exs
response rises through the mid- and high treble. The peak
around 700Hz is still evident, and the speakers output in
the upper bass peaks up by 7dB. Some of this boost will
be due to the nearfield measurement technique, which
assumes a 2pi acoustic environment for the low-frequen-
cy radiators, but the speaker does have a somewhat
underdamped low-frequency alignment. Subjectively, this
will tend to balance the hot top octaves, but as AD noted,
it does add a bit more drumminess on some notes than
the recording would seem to call for.
The Esprit Comete Exs lateral dispersion on the tweeter
axis is well-controlled and even (fig.5), which correlates
with the excellent stereo imaging noted in the review.
There is only the slightest hint of off-axis flare at the bot-
tom of the tweeters passband. The horn loading for the
tweeter may increase the units sensitivity, but it appears
that the primary benefit is to match the units dispersion
to that of the woofer in the crossover region. The tradeoff
is that the speaker becomes more directional in the top
two audio octaves, but, as AD found, that does enable the
listener to adjust the toe-in angle to obtain a more neu-
trally balanced treble. In the vertical plane (fig.6), a deep
suckout develops immediately above and more than 10
below the tweeter axis. The stands should be chosen to
place the listeners ears close to the tweeter axis, if the
Comete Ex is not to sound a little hollow.
In the time domain, the Triangles step response (fig.7)
Fig.4 Triangle Esprit Comete Ex, anechoic response on tweeter axis at 50",
Fig.5 Triangle Esprit Comete Ex, lateral response family at 50", normalized
response 905 off axis, reference response, differences in response
590 off axis.
European neighborhood, The Trebles.
Speaking of which, I preferred listen-
ing to the Triangle Cometes with their
enclosures aimed straight aheadunder
which circumstances the central listen-
ing area was off axis with respect to the
Cometes horn tweeters. Listening on
the axis, with the enclosures toed-in,
the treble range was exaggerated; vocal
sibilants and plosives became fatiguing
after an hour or so of listening. That
may seem counterintuitive, given Tri-
angles use of a phase plug directly in
front of the tweeter diaphragm, but it
was nonetheless true.
Two pairs of gold-plated connectors
on the rear of the cabinet allow
biwiring, if desired, using spade con-
nectors or 4mm banana plugs. I relied
on the latter, and kept the Cometes
gold-plated metal links in place for use
with my single-wire speaker cables.
Listening
The speakers best places chosen and
their positions all tweaked, I began
auditioning the Esprit Comete Exes
with Nick Drakes Pink Moon, from the
newly re-reissued Fruit Tree boxed set
(LP, Universal Island 006025 1745703
4). Notwithstanding its small size, the
Comete didnt lose one bit of the rich-
ness in Drakes baritone: I was relieved
to hear the sound of his voice repro-
duced with all the body Id expected,
the art of his singing with all its nuance.
And scale: The Cometes sounded big
and easy, not tiny and fussy in the man-
ner of other small boxes. Likewise,
Drakes steel-string guitar had realistic
body and scale, and just as much beau-
tiful richness of tone as I could have
hoped for. The sound of the guitar
appears to have been equalized during
the making of the original recording, to
give more prominence to its lower
stringsan untrue sound, maybe, but
one that was reproduced truly by the
Cometes.
This wasnt a curse at all!
Then I listened to Mendelssohns
Symphony 3, with Peter Maag and the
London Symphony Orchestra (LP,
Decca/Speakers Corner SXL 2246),
and was pleased to hear not only the
same timbral richness as in the Nick
Drake, but a literally satisfyingnot
overwhelming, but perfectly satisfy-
ingdegree of bass weight in the low-
est brasses and strings. The quality of
the bass was a bit less dry than that of
the Audio Note AN-E/Spe HE, with a
bit more drumminess on some notes
than the recording would seem to call
foryet without stooping to the sort of
one-note bass of other reflex designs.
The bass rolloff was fairly drastic,
reveals that both drive-units are connected with the same
positive acoustic polarity and that the tweeter step
smoothly hands over to the woofer step. The tail of the
latters step, however, is overlaid with some gentle undu-
lations with a period equivalent to a frequency of 710Hz,
the same as the small peak in the on-axis frequency
response. A ridge of delayed energy can therefore be seen
in the speakers cumulative spectral-decay plot (fig.8),
though the initial decay of the speakers sound is other-
wise impressively clean. The tweeters dome resonance
occurs just below 20kHz, which is a bit close to the audi-
ble band for comfort for younger listeners.
The Comete Exs measurements are not at all bad con-
sidering its price, and suggest that the speakers owner
can experiment with toe-in and placement to get the opti-
mal balance between the high- and low-frequency
regions. Its high sensitivity will also allow it to work well
with low-powered amplifiers. But I am suspicious of the
fact that the port resonance, the cabinet panel resonance,
and the slight peak in the farfield response coincide with-
in a quite narrow region of 620-900Hz. John Atkinson
Fig.8 Triangle Esprit Comete Ex, cumulative spectral-decay plot at 50"
(0.15ms risetime).
Fig.6 Triangle Esprit Comete Ex, vertical response family at 50", normalized
response 455 above axis, reference response, differences in
response 545 below axis.
Fig.7 Triangle Esprit Comete Ex, step response on tweeter axis at 50" (5ms
though, with some kettledrum notes in
George Szell and the Vienna Philhar-
monic Orchestras recording of
Beethovens Egmont overture (LP, Lon-
don CS 6675) missing entirely, while
others in the same line rang out nicely.
As with intimate pop recordings, the
Cometes sense of scale with orchestral
selections was appropriate to the mate-
rialin addition to which, its spatial
qualities added significantly to my
enjoyment. Listening to the Cometes
from 7' away or so, I heard a really sur-
prising, impressive degree of stage
depth. Yet this goodly sized soundfield
wasnt of the airy, phasey, fussy sort:
The string sections on both sides of the
stage had real substance. It isnt very
often that stereo imaging and sound-
staging impress me all that much; this
was a happy exception.
Yet for all that, the Esprit Comete Ex
did a satisfying job of reproducing old
mono recordings: Other speakers
deliver more substance and scale, but
the Cometes sounded bigger and less
fussy than I expected.
Back to stereo: Ravels Piano Concer-
to in G (LP, RCA/Classic LSC-2271),
with pianist Nicole Henriot-
Schweitzer, Charles Munch, and the
Boston Symphony, gave cause for more
admiration. From the startling first
bars, the Comete followed the music
with sharp, right-sounding pitches and
rhythms, as well as engagingly open
and clear yet perfectly rich sound. But
here, finally, was the first evidence that
the Cometes bass was not as generous
as that of other speakers: the piano did-
nt sound quite as big, heavy, or power-
ful as it should, nor did the orchestral
bass drum toward the end of the first
movement. The sense of touch on the
piano was good, but not as good or
convincing as that of the guitar in the
Nick Drake track.
Spoken-word recordings sounded real
and right, with no egregious col-
orations. In Procol Harums side-long
The Worm and the Tree, from Some-
thing Magic (LP, Chrysalis CHR 1130),
Gary Brooker sounded present and
very much himself: not chesty, nasal,
hooty, shouty, pinched, strained, or
sore. The superb depth and tonal
roundness that the Comete conferred
on Chris Coppings electric bass and
drummer B.J. Wilsons floor tom were
also welcome. And while I dont know
what the late actor Klausjrgen Wus-
sow sounded like in real life any more
than I understand his German, his
recitations between and on top of the
music selections on the Szell-VPO
Egmont were convincing enough.
Best of all was that masterpiece of the
choral repertoire, Vivaldis oratorio
Gloria, with the Academy of St. Martin-
in-the-Fields and the evergreen Janet
Baker (LP, Argo ZRG 505). Especially
with the Cometes well away from the
sidewalls, their excellent lateral imaging
made it easier than usual to enjoy the
manner in which the recording (not to
mention the composer) hands the lead
line through the various sections of the
chorus, as in Et in terra pax. Similarly, in
Domine Deus, the perspective between
Baker and the chorus behind her was
clearly laid out. And, of course, Bakers
rich, powerful mezzo-soprano was
reproduced with beautiful clarity and
warm, human realism.
Flaws? The Esprit Comete Ex was the
sort of product that seemed to have
only forgivable shortcomings, and few
of those. It lacked the overall drama
and sense of touch often brought to the
scene by other, more sensitive speak-
ers. Surprisingly good though it was,
the Comete didnt have as much bass
as, say, the Audio Note AN-E/Spe, nor
was it as sensitivethough, again, for a
smaller, easier-to-place product that
costs one-sixth the price, it did awfully
well. And it wasnt quite as easy to
enjoy off axis as the Audio Notes,
whose very-high-frequency dispersion
seems more consistent over a wider
range of positions: With the Cometes
firing straight ahead, sitting off to one
side often put me in line with the
tweeterswhich, as Ive said, was a less
listenable perspective.
Conclusions
The Esprit Comete Ex is a fine thing: a
much better and more musical loud-
speaker than one usually finds at this
price and size, or from such a main-
stream company. Its a shame to think
that some Cometes will end up in bor-
ing systems driven by boring amps play-
ing boring CDs; having now heard the
very sensitive Cometes driven by one of
the finest amps on the planet and fed a
reasonably steady diet of good record-
ings from a classic record player, I know
what heights it can reach. By the end of
a review period Im often at least some-
what anxious to get rid of the product
on loan, so I can go back to the things I
know and love; the Cometes could have
stayed here indefinitely, and I wouldnt
have minded at all.
If youre looking to assemble a vinyl-
or SACD-based system around a very-
high-quality amplifier of 10-70Wpc,
and especially if your living arrange-
ment allows for nearfield listening to a
loudspeaker placed well away from
the room boundaries, the Triangle
Esprit Comete Ex is a very strong rec-
ommendation. Unless something bet-
ter for the price comes along, I could
see the Comete Ex remaining in our
Recommended Components list for
an awfully long time, if not quite eter-
nally.
ANALOG SOURCES Linn LP12 (with
Linn Basik power supply), Thorens
TD-124 Mk.II turntables; Naim Aro,
Rega RB300 tonearms; EMT JSD 5,
Denon DL-103 cartridges.
DIGITAL SOURCE Sony SCD-777ES
SACD/CD player.
PREAMPLIFICATION Auditorium 23
Standard, K&K Audio step-up trans-
formers; Shindo Masseto preamplifier.
POWER AMPLIFIERS Quad II
monoblocks, Shindo Cortese.
LOUDSPEAKERS Audio Note AN-
E/SPe HE.
CABLES Interconnect: Audio Note
AN-Vx, Shindo silver. Speaker: Audito-
rium 23. AC: JPS Labs The Digital
(Sony SACD/CD player).
ACCESSORIES Mana Reference
Table, three Mana short tables
(under turntables); big piece of
wood under SACD/CD player.
Art Dudley
THE ESPRIT COMETE Ex IS A FINE THING: A MUCH
BETTER AND MORE MUSICAL LOUDSPEAKER THAN ONE
USUALLY FINDS AT THIS PRICE AND SIZE, OR FROM
SUCH A MAINSTREAM COMPANY.
I
always look forward to Stereophiles Home Entertainment Shows, where I
scout out interesting new models of affordable loudspeakers. At HE2007 in
New York City, I was struck by the Silverline Audio roomnot only by the
sound I heard there, but by the way Showgoers reacted to that sound.
In his fairly large and acoustically favorable room, Silverlines Alan Yun
was getting impressive sound from the diminutive Minuet bookshelf speak-
ers ($600/pair). Alongside the Minuets stood a pair of Silverlines larger,
floorstanding Preludes ($1200/pair, reviewed by Robert Deutsch in the March 2007
Stereophile). After hearing some bombastic orchestral music reproduced at loud lev-
els, several listeners asked Yun which pair of speakers had been playing. Though it
was obvious that a pair of speaker cables connected the amplifier to the Minuets and
no speaker cables were connecting the Preludes to anything, the high levels of bom-
bast and bass emanating from the system were so convincing that the listeners sim-
ply couldnt believe that it was all coming from the tiny Minuets.
I couldnt believe it either. Immediately, I decided I had to get a pair of Minuets
to test out in my home reference system.
Design goals
The Minuet is the least expensive of Silverlines 12 two-channel loudspeaker
Silverline Audio
Minuet
LOUDSPEAKER
Robert J. Reina
Silverline Audio Minuet loudspeaker
DESCRIPTION Two-way, bass-reflex
stand-mounted loudspeaker. Drive-
units: 1" silk-dome tweeter, 3.25"
paper-cone woofer. Crossover fre-
quency: 3.5kHz. Frequency range:
60Hz28kHz. Sensitivity: 88dB/W/m.
Nominal impedance: 8 ohms. Rec-
ommended amplification: 10300W
RMS.
DIMENSIONS 9" (230mm) H by
5.5" (140mm) W by 7.25" (185mm)
D. Shipping weight: 15 lbs
(6.8kg)/pair.
FINISHES Cherry, Dark Rosewood
(both vinyl).
REVIEWED 2237 A/B.
PRICE $600/pair. Approximate num-
ber of dealers: 31.
MANUFACTURER Silverline Audio,
936 Detroit Avenue, Unit C, Concord,
CA 94518. Mailing: Silverline Audio,
P.O. Box 30574, Walnut Creek, CA
94598. Tel: (925) 825-3682. Fax:
(925) 256-4577. Web: www.silver
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models, which top out at the Grandeur
Mk.II ($18,000/pair). The company
also manufactures an amplifier, audio
cables, and two center-channel speak-
ers. The Minuet is a conventional, rear-
ported, two-way minimonitor with a
second-order crossover. According to
Silverline, its stable 8 ohm impedance
curve makes it easy to drive with a
low-powered amplifier.
Mounted on the braced cabinet of
5
8"-thick particleboard is a bass driver
with a 3.25" paper-pulp cone and a
rather large magnet. The 1" silk-dome
tweeter has a heatsink at the back of its
magnet, designed to enhance the
voice-coils heat dissipation in an
attempt to increase its power-handling
capability. I found the Cherry vinyl fin-
ish quite attractive; a Dark Rosewood
vinyl finish is also available.
I placed the Minuets on my trusty 24"
Celestion Si stands, which are loaded
with sand and lead shot. Although Alan
Yun slightly prefers listening to the Min-
uets without their grilles, for greater
degrees of detail and transparency, I
thought the speakers sounded a bit more
coherent with the grilles on, which is
how I did most of my listening.
Listening
It was immediately apparent that one
of the Minuets greatest strengths was
its midrange neutrality, transparency,
and detail resolution, so I began to
mine my collection for recordings of
acoustic piano. I followed every nuance
of Paul Bleys articulate style on My
Old Flame, from his Live at Sweet Basil
(CD, Soul Note 121235-2), which
sounded rich and natural. The Min-
uets superb resolution of micrody-
namics made it very easy to follow
Bleys unique phrasing.
Next I turned to vocal recordings.
S I LVE R L I NE AU DI O MI NU ET
ME AS U R E ME NTS
A
s is to be expected from its small size, the Silver-
line Minuet offered lower-than-average voltage
sensitivity, at an estimated 85dB(B)/2.83V/m.
This is significantly lower than the specified
88dB. However, its impedance magnitude (fig.1)
remained above 6 ohms over the entire audioband, drop-
ping only briefly below 5 ohms in the mid-treble. The
electrical phase angle is overall a bit higher than normal,
but given the fairly high magnitude, the speaker will be
fairly easy for the partnering amplifier to drive.
The traces in fig.1 are free from the small wrinkles and
discontinuities that would imply the existence of cabinet
resonances of various kinds. Investigating the enclosure
panels vibrational behavior with a plastic-tape acceler-
ometer, I found little to note. Yes, there was a high-level
mode at 879Hz on the side panels (fig.2), but this is suffi-
ciently high in frequency to have minimal subjective con-
sequences. A second mode can be seen at 400Hz; this
was present on all surfaces, but is low enough in level to
be innocuous. At low frequencies, however, the cabinet
sidewalls do appear to pump a little at the frequency of
the lower impedance peak.
The saddle between the twin impedance peaks in the
bass lies between 60 and 70Hz, implying that this is the
tuning frequency of the rear-facing reflex port. The ports
output, measured in the nearfield (fig.3, blue trace), does
peak in this region, with the woofers minimum-motion
notch (fig.3, black) lying at 68Hz. The ports output is com-
mendably free from any resonances above its nominal
passband. The woofer has a slight peak in its response, vis-
ible at the top of the midrange, before it begins its second-
order rollout. Though a couple of small peaks can be seen
an octave or so above the crossover point, these are well
suppressed by the low-pass filter. The crossover to the
Fig.1 Silverline Minuet, electrical impedance (solid) and phase (dashed).
(2 ohms/vertical div.)
Fig.2 Silverline Minuet, cumulative spectral-decay plot calculated from the
output of an accelerometer fastened to the center of the sidewall
(MLS driving voltage to speaker, 7.55V; measurement bandwidth,
2kHz).
Fig.3 Silverline Minuet, acoustic crossover on tweeter axis, corrected for
microphone response, with farfield responses of tweeter (red) and
woofer (black), with the nearfield response of port (blue) and woofer
(black) plotted in the ratio of their radiating diameters.
goodwinshighend.com
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Verity Audio Sarastro II: Refinement from any angle.
Non-parallel walls with asymmetrical bracing elegantly address cabinet resonance,
while the tapered shape provides a streamlined profile that conceals a powerful,
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Standing a mere 48 tall, and with a true 93dB sensitivity rating, it can be used in
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acoustically-designed state-of-the-art listening rooms.
Our Prayer, the opening, a cappella
track of Brian Wilsons SMiLE (CD,
Nonesuch 79846-2), was presented as
an angelic and seamless blend of male
voices, though I was easily able to fol-
low each individual vocal line. Even
Aimee Manns highly processed vocals
on her Bachelor No. 2 or The Last Remains
of the Dodo (CD, Super Ego SE 002)
sounded silky and holographic, and the
overall instrumental picture was coher-
ent, with a nice weight to the bass guitar.
Speaking of bass, the tiny Silverlines
didnt seem the least bass-shy, even in
my large main listening room, which
usually presents a challenge to the
smallest bookshelf speakers to repro-
duce a realistic bottom end. (Im curious
to see John Atkinsons measurements of
the Minuets bass talents.) And, yes, the
most prominent instrument in the Sil-
verlines reproduction of Hejira, from
Joni Mitchells Misses (CD, Reprise
46358-2), was Jaco Pastoriuss fretless
Fender Jazz bass. From my notes:
Nothing bloooooms more than Jacos
bass on Hejira. While the speaker has
no low-bass extension, every midbass
instrument I cued up, whether acoustic
or electric, was uncolored and forceful,
its reproduction by the Minuets resem-
bling the dynamic envelopes repro-
duced by much larger speakers.
At the opposite end of the frequen-
cy spectrum, the highs were clean,
extended, and uncolored. The Min-
uets natural highs, combined with its
superb resolution of low-level dynam-
ics and fast but unetched transients,
made it an excellent match for percus-
sion recordings. Is there a better jazz
drum solo than the one on the title
track of Art Blakeys A Night in Tunisia
(LP, Viktor LX-1115)? Blakeys subtle,
low-volume phrasing and melodic use
of tom-toms are so captivating that I
found it difficult to take notes while
listening to this track. I then turned to
one of my favorite drummers, Paul
Motian, particularly his Garden of Eden
(CD, ECM 1917). Ive often said that I
could listen to Motian play a single
ride cymbal indefinitely and never get
bored, and thats just about what I did.
Id never heard a small, affordable,
bookshelf speaker render a ride cym-
bal more naturally than the Silverline
Minuet did for each of this CDs 14
tracks. Although with certain record-
ings Ive heard other speakers reveal
tweeter (fig.3, red) lies at 2.3kHz, rather lower than the
specified 3.5kHz. The tweeter rolls off below the crossover
frequency with a fourth-order, 24dB/octave acoustic slope.
Fig.4 shows how these individual outputs sum on the
tweeter axis in the farfield. The Minuets low-frequency
extension is modest, as is to be expected from the fairly
high port-tuning frequency, and the usual nearfield bump
in the upper bass is missing, implying a rather overdamped
alignment. I am somewhat at a loss, therefore, to under-
stand why the speakers performance in the mid-bass
upward was so favored in the auditioning. The speaker is
pretty flat in the midrange, but there is then a broad, 3dB-
high peak in the mid-treble, due to the tweeters being a
little more sensitive than is necessary. I do wonder if this
boost contributed to Bob Reina finding the Minuet to offer
superior resolution of midrange detail. (Although of a
higher frequency than the midrange, this boost will act a
little like Photoshops Sharpen tool.) The top-octave
response is slightly shelved down, but the tweeter is still
operating at the 30kHz upper limit of this graph.
The Minuets lateral radiation pattern is shown in fig.5.
The contour lines are evenly placed in the upper
midrange, but while the usual off-axis flare can be seen at
the bottom of the tweeters passband, the speaker gets
quite a bit more directional in the region between 4 and
7kHz, roughly where the on-axis output features that 3dB
peak. It is difficult to predict whether this off-axis behavior
will work against or reinforce the audibility of the on-axis
peak in the mid-treble. I suspect that the speakers bal-
ance in a typical room will be a little bright, due to the
rooms reverberant field being boosted a bit between 3
and 4kHz, which is probably why BJR preferred to audi-
tion the speakers with their grilles in place. The tweeter
becomes very directional above 11kHz, which, in conjunc-
tion with the on-axis response in the same region, will
make the Minuet sound a little lacking in top-octave air,
except in rooms with lively acoustics. In the vertical plane
(fig.6), the Minuet maintains its balance over quite a wide
(10) window centered on the tweeter axis, meaning
that the speaker will be tolerant of stand height. Large
Fig.4 Silverline Minuet, anechoic response on tweeter axis at 50",
Fig.5 Silverline Minuet, lateral response family at 50", normalized to
905 off axis, reference response, differences in response 590 off
axis.
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more high-frequency inner detail, the
Minuets highs never once deviated
from neutrality.
It was at the upper end of the dynam-
ic spectrum where the Minuet most
impressed me. No matter what type of
difficult program material I spun, and
no matter at what volume level, the Sil-
verline never sounded like a small
bookshelf speaker. Speaking of A Night
in Tunisiain the Brooklyn Sax Quar-
tets iconoclastic reading of this tune, on
A Far Side of Here (CD, Omnitone
12206), the saxes cover their entire
ranges of frequency and dynamics. This
tracks wide dynamic swings were
reproduced by the Silverlines without a
hint of attenuation: they breathed BIG.
When I took a spin with Timothy Seel-
ig and the Turtle Creek Chorales
recording of John Rutters Requiem (CD,
Reference RR-57CD), the Minuets
reproduced the huge acoustic of the
recording venue with ease. Organ-pedal
notes bloomed naturally, and there was
nary a hint of compression or coloration
on the more full-throated passages.
Similarly, the more bom-
bastic passages of Antal
Dorati and the London Sym-
phonys recording of Stravin-
skys The Firebird (CD, Mer-
cury Living Presence SR
90226) blasted through the
room as if from a pair of large
floorstanders. Bass-drum for-
tissimos were relatively natur-
al-sounding, but Ive heard
other speakers render them
with more bottom-end
extension. Rock music at
loud volumes also cooked
through the Minuets. Listen-
ing to Becuz, from Sonic
Youths Washing Machine (CD,
Geffen DGCD-24825), I rev-
eled in the pounding drums
and the extended upper har-
monics of the shimmering
electric guitarsand this at
around 95dB in my very
large main listening room.
The Minuets superior resolution of
midrange detail and wide, deep sound-
stage created an extraordinary sense of
acoustic space with the better record-
ings I auditioned. Last year, my jazz
suckouts develop in the crossover region at more extreme
angles; as always, dont listen to this speaker when stand-
ing up.
In the time domain, the Minuets step response (fig.7)
indicates that both drive-units are connected with the
same positive acoustic polarity, with the tweeters output
smoothly handing over to the woofers. The cumulative
spectral-decay plot (fig.8) is extremely clean.
Overall, the Silverline Audio Minuet measures well for a
relatively affordable design. John Atkinson
Fig.6 Silverline Minuet, vertical response family at 50", normalized to
455 above axis, reference response, differences in response 545
below axis.
Fig.7 Silverline Minuet, step response on tweeter axis at 50" (5ms time
window, 30kHz bandwidth).
Fig.8 Silverline Minuet, cumulative spectral-decay plot at 50" (0.15ms
risetime).
Two-pairs of terminals are provided, to allow bi-wiring.
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ARCAM Audience Audioquest
Audio Research Audio Physic
Balanced Audio Technology Benz
Black Diamond Chang Lightspeed
ClearAudio Conrad Johnson Epos
Fanfare Gallo Goldring
Graham Grado Jamo
Kimber Kable Lyra
Magnum-Dynalab McCormack
Music Hall NAD Niles
Nitty Gritty Pro-Ject PSB
Quad PrimaLuna Richard Grays
Revel Rogue Rotel* Runco
Salamander Shunyata
Simaudio/Moon SME Sonus faber
Stewart Screens Sumiko System
Audio Vandersteen VPI
Wavelength Audio
quartet Attention Screen gave a special
improvisational concert at New York
Citys ABC No Rio performance space,
augmented by a number of improvising
musicians including saxophonist Blaise
Siwula (formerly with Cecil Taylor)
and West Coast percussionist Matt
Hannafin. John Atkinson recorded the
performance with a single pair of car-
dioid microphones. The acoustics of
the space are extraordinary; through
the Minuets, each of the dozen musi-
cians was placed in precisely the same
place on the soundstage as he was on
the night of the performance.
As I continued to listen to the Min-
uets, the word that kept popping into
my mind was drama. On well-recorded
works that made organically involving
musical statements, the Minuets capti-
vated meit was as if I were listening to
larger floorstanding speakers, or even to
a live performance. A classic example
was pianist Elliot Kallens Ellis Island,
from the KliP trios Sonny Boy Blount
(LP, Should I Be Concerned About
This? 1001-02). The trio creates an aural
landscape depicting a shipload of immi-
grants arriving in New York City at the
turn of the last century. Bassist John
Lauffenberger creates the foundation by
bowing a long, low-register note. Per-
cussionist Garth Powell alternates
between a brooding ostinato on deacon
chimes and pounding bass drums,
while Kallen introduces the wailing
modal melody. Although Kallen plays
this on a highly electronically altered
Roland synthesizer, it sounds as soul-
ful and articulate as any jazz horn.
With the Silverlines, I shut my eyes
during the entire track. I could smell
the seawater, see the smoke rising
from the ships stacks. By the end of
the piece, I was teary-eyed.
Comparisons
I compared the Silverline Minuet
($600/pair) with the Epos M5
($695/pair) and the Nola Mini
($600/pair when last available).
The Epos M5 rendered even more
inner midrange detail than the Min-
uet, with more delicate and more
articulate highs and an even finer
reproduction of low-level dynamics.
The Epos also produced slightly deep-
er bass and slightly better high-level
dynamics. The Nola Mini provided
still deeper bass and great high-level
dynamics, but its highs werent as deli-
cate as those of the Epos or Silverline.
The Nolas midrange detail and neu-
trality were as good as the Silverlines,
but its low-level dynamic resolution was
superior to the Minuets, and equal to
that of the Epos.
But the Epos is more than twice the
size of the Silverline, and the Nola is
more than three times as big. In terms
of bass extension and high-level
dynamic resolution, the Minuets abili-
ty to play in the same league as these
two much larger speakers was quite
impressive.
Summing up
Silverline Audios Minuet is an uncol-
ored, detailed, and dynamic performer
that competes with the best designs
Ive heard at its price. But it is even
more special than that. If compared
with speakers of equivalent size, it
would likely be compared with models
that are less expensive and less reveal-
ing, or that require bass reinforcement
from a companion subwoofer. As such,
the Silverline is idealand may be the
only choice Ive heardfor the audio-
phile who wants a big, neutral sound,
but whose spouse wont stand for larg-
er bookshelf speakers in the living
room. Its a brilliantly designed lifestyle
choice that will satisfy audiophiles
while providing a Spouse Acceptance
Factor thats off the charts.
ANALOG SOURCES VPI TNT IV turn-
table, Immedia RPM tonearm, Koet-
su Urushi cartridge; Rega Planar 3
turntable, Syrinx PU-3 tonearm,
Clearaudio Virtuoso Wood & Aurum
Beta S cartridges.
DIGITAL SOURCES Lector CDP-7T,
Creek Destiny CD players; Pioneer
DV-333 DVD player.
PREAMPLIFICATION Vendetta
Research SCP-2D phono stage, Audio
Valve Eklipse line stage.
POWER AMPLIFIER Audio Research
Reference 110 II.
INTEGRATED AMPLIFIERS Creek
Destiny & 5350SE.
LOUDSPEAKERS Epos M5, Nola
Mini.
CABLES Interconnect, all MIT: Mag-
num M3, MI-350 CVTwin Terminator,
MI-330SG, Terminator. Speaker: Acar-
ian Systems Black Orpheus.
ACCESSORIES Various by ASC,
Bright Star, Celestion, Echo Busters,
Salamander Designs, Simply Physics,
Sound Anchor, VPI. Robert J. Reina
T
he audio industry may have lost a legend and a prolific innovator in
Henry Kloss a few years back, but it still has another affable, creative
eccentric in Peter Ledermann. In the mid-1970s, Ledermann was
director of engineering at Bozak, where, with Rudy Bozak, he
helped develop a miniature bookshelf speaker and a miniature pow-
ered subwoofer. Before that, Ledermann was a design engineer at
RAM Audio Systems, working with Richard Majestic on the designs
of everything from high-power, minimal-feedback power amplifiers and pream-
plifiers to phono cartridge systems. He was also an award-winning senior research
engineer at IBM, and the primary inventor of 11 IBM patents.
Somehow, more than 35 years ago, Ledermann also found time to start The
Soundsmith, which he calls an audio mentoring companyone that teaches
audio engineering in an arrangement that sounds like a cross between an appren-
tice program and a school, the tuition subsidized by the repair and restoration of
hi-fi gear. Students learn and earn by doing. Fifteen years ago, Ledermann left
IBM to devote himself full-time to Soundsmith. When not mentoring, he
designed, manufactured, and marketed strain-gauge cartridges, preamps, ampli-
fiers, loudspeakers, and subwoofers.
Never heard of Ledermann or Soundsmith? Youre not alone. On the first page
Soundsmith
SMMC1
MOVING-IRON PHONO CARTRIDGE
Michael Fremer
Recent running changes to the SMMC1, include: tapped brass mounting flanges and a stylus guard.
DESCRIPTION Moving-iron phono
cartridge with ruby cantilever. Stylus:
nude line-contact, 0.12mm
2
. Recom-
mended tracking force: 1gm. Effec-
tive tip mass: 0.32mg. Compliance:
28m/millinewton. Frequency
response: 20Hz20kHz, 2.5dB.
Channel separation: >25dB at 1kHz;
>20dB, 50Hz15kHz. Channel bal-
ance: <1.6dB. Output voltage:
2.12mV, 5cm/s lateral modulation.
Recommended load resistance: 47k
ohms. Recommended load capaci-
tance: 400pF or greater.
DIMENSIONS Weight: Cartridge
alone, 1.6gm; with universal mount-
ing adapter, 6.8gm.
SERIAL NUMBER OF UNIT
REVIEWED Michael Fremerbuilt
Signature Edition.
PRICE $749.95 with polycarbonate
1
2" adapter. A selected version of the
SMMC1, in ebony, the Aida, sells for
$899.95.Approximate number of
dealers: 1 (sold direct). Warranty: All
cartridges are warranted against
defect in workmanship for a period
of not less than one year.
MANUFACTURER The Soundsmith,
8 John Walsh Blvd., Suite 417, Peek-
skill, NY 10566. Tel: (800) 942-8009,
(914) 739-2885. Fax: (914) 739-
5204. Web: www.sound-smith.com.
of the Soundsmith catalog, Ledermann
acknowledges his companys low visi-
bility: We dont get out much. Like
Henry Kloss, Ledermann isnt wired
for business or for image-marketing
Amar Bose hes not. Also like Kloss,
Ledermann is more a dreamer and ide-
alist than a schemer.
That catalog, for instance: While
filled with an extensive line of elec-
tronics, and loudspeakers that always
sound impressive at trade shows, its
production values reek of Kinkos. The
exception is a slick-looking ad tacked
on at the end, for the CDT-4 automat-
ed CD player testeran ingenious and
seemingly useful electronics repairper-
sons trouble-shooting tool that Leder-
mann invented in his spare time.
Visit Ledermanns repair and pro-
duction facility in Peekskill, New York,
and youll find yourself negotiating
canyons of vintage gear stacked on
shelves from floor to ceiling. Some of it
awaits repair or restoration, but a lot of
it is there just becausethis isnt how
businesses usually operate, but it sure
gives Soundsmith personality.
Soundsmith also specializes in
repairing electronic and mechanical
products from such Scandinavian com-
panies as Tandberg and B&O. Repeat-
ed contact with disenfranchised B&O
turntable owners unable to get replace-
ments for B&Os proprietary but long-
discontinued moving-
iron plug-in cartridges
inspired Ledermann
to contact B&O and
seek permission to
make them himself.
That was fine with
B&O. Unfortunately,
they had discarded all
the tooling and engi-
neering blueprints,
and in B&Os opin-
ion, reverse-engineer-
ing from surviving
samples would be
impossible.
But thats precisely
what Ledermann did.
His plug-in (akin to P-
mount) clones of B&Os original car-
tridges are now available in a variety of
configurations, and continue to sell
very well to owners of B&O turntables
worldwide.
After the first rush of orders, when
demand had begun to taper off, Leder-
mann designed a universal mounting
adapter for B&Os MMC series, which
he calls the
SMMC series:
from the
SMMC4 with
diamond ellip-
tical stylus and
a l u m i n u m
c a n t i l e v e r
($149.95), to
the top of the
line, the limi-
t e d - e d i t i o n
The Voice
( $ 15 9 9 . 9 5 ) ,
with ruby can-
tilever, nude
cont act - l i ne
diamond sty-
lus, lower-mass
moving iron, and the closest-tolerance
measurements. The Voice is built not
by Soundsmiths usual team of skilled
cartridge crafters but by Ledermann
himself. Prior to the introduction of
The Voice, the SMMC1 ($749.95)
reviewed here was the top of Sound-
smiths cartridge line, as had the
MMC1 been the top of B&Os.
MMC = Moving Micro Cross
In a typical moving-magnet (MM) car-
tridge, a tiny permanent magnet,
attached to the cantilever and positioned
between two sets of fixed coils inside the
body of the cartridge, induces a tiny cur-
rent in the coils when it is vibrated by
the styluss motions as it navigates the
record groove. In a moving-coil (MC)
cartridge, the magnet is fixed; it is the
coils attached to the cantilever that
move. The mechanical and electrical
advantages and disadvantages of both
designs are best discussed elsewhere.
Moving-iron designs such as the
SMMC1, or the
Grados, use sta-
tionary coils and
magnets and a
small piece of
moving iron. In
the original B&O
design, what
moves is a cross-
shaped piece of
ultra-low-mass,
high-purity iron
attached to a soft
e l a s t o m e r
damper stabilized
in a plastic frame.
The iron also
incorporates a
minuscule tube
into which the cantilever is inserted.
Each arm of the iron cross is associated
with a fixed-coil/magnet structure and
as the cantilever moves, it varies the
distances between the four arms of the
iron cross and the four fixed-
coil/magnets, thus inducing tiny volt-
ages within the coils. The advantages
of this arrangement include ultra-low
moving mass, even compared to an
MC design; relatively high output
(because the stationary magnet/coil
structure can be made large); high sus-
pension compliance; and low vertical
tracking force (VTF).
The SMMC1s one-piece cantilever
is made of ruby to which is attached a
nude line-contact diamond stylus with
a tip of very low effective mass
(0.32mg). The compliance,
28m/mN, is moderate to high. The
SMMC1s frequency response is cited
as 20Hz20kHz, 2.5dB, while its
channel separation at 1kHz is greater
than 25dB and its channel matching
within 1.6dB or better. (The Voices
channel balance is specced at better
than 0.5dB.) The recommended resis-
tive loading is 47k ohms, while the rec-
ommended capacitive loading is equal
to or greater than 400pF, including the
capacitance of the tonearm cable.
Soundsmith recommends a tracking
force of 1gm.
Though the SMMC1 is intended for
use with an MM phono preamp, its
specified output is a relatively moder-
ate >2.12mV at 5cm/s. (A typical MM
cartridges output is 4.5mV.) And while
the cartridge itself weighs only 1.6gm,
the addition of Soundsmiths universal
mounting adapter of clear plastic, with
threaded brass mounting blocks, brings
the total to about 6.8gm.
A moving iron cross/cantilever tube in elastomer-
filled frame held by tweezers under a microscope.
The new Aida version of the SMMC1 features tighter tolerances,
an ebony mounting adapter, and a $899.95 price tag.
Building the SMMC1
A get-acquainted visit to Sound-
smith late last summer turned
into a hands-on tutorial when
Ledermann sprang a surprise:
Would I like to build my own
cartridge?
Of course! Under the expert
supervision of a veteran Sound-
smith cartridge builder, I learned
to cold-weld, though he told me
the chances were slim that Id be
able to actually accomplish the
mini-welds needed to secure the
ends of the coil wireswhich must
be done while viewing ones
progress through a microscope.
But I managed it.
The next step was to carefully and
evenly slide the moving-iron assemblys
plastic frame (its four tiny holes are pro-
duced during the molding) onto the
locating rods that jut from the coil/mag-
net housing, and stop it the correct dis-
tance from the coilsbefore the instant-set
glue hardened. That took more than a
few attempts, but eventually I got it
right. Ledermann then took the assem-
bly to his workstation and installed the
cantilever and stylus assembly into the
moving irons tiny tube.
Installation and Optimization
Installing the SMMC1 requires a bit of
extra caretheres no stylus guard,
though if youre worried about damag-
ing the cantilever, you can unplug the
cartridge from the adapter and install
just the adapter (which is not tapped,
but secured with tiny nuts). The
plug-in ability also means you can
switch between the various SMMC
models in seconds (like inserting the
least expensive when you want to
teach your kids to spin vinyl), or
remove it entirely for visits of the
Dreaded Cantilever-Snapping Clean-
ing Person.
Because the SMMC1 is relatively
lightweight, has a high compliance, a
lower output than most MM car-
tridges, and requires a low tracking
force, it straddles a number of analog
fences, both electrical and mechani-
cal. The MMC series was originally
designed for B&Os low-mass tone-
arms. With the trend in recent years
toward low-compliance, heavy-track-
ing cartridges and matching tonearms
of medium to high mass, I was con-
cerned about the SMMC1s compati-
bility with the Graham Phantom and
other medium-mass arms, and with
the 40dB gain typical of most MM
phono preamps.
The SMMC1s low output definitely
means youll be setting the volume
somewhat higher than you may be
accustomed to for an MM cartridge
with a typical 4.5mV output. This didnt
turn out to be a problem with the
SMMC1 and the variety of quiet phono
preamps I tried, which included Whest
Audios whestTWO (currently under
review), the Graham Slee Era Gold V,
and the excellent if underappreciated
Camelot Technology Lancelot Pro.
However, if your phono preamp is
noisy, consider that before choosing the
SMMC1 or any MMC cartridge.
The Graham Phantom tonearms
1112gm of effective mass, plus the
SMMC1s approximately 6.8gm, added
up to about 17gm. For that effective
mass and a compliance of 28m/mN,
Wally Malewiczs graph of tonearm res-
onances (see Analog Corner, October
2007, p.31) suggests a resonant fre-
quency of about 7Hz, which is just
below the margin of acceptability
(812Hz). The Hi-Fi News Test
Records excellent tracks of vertical
and horizontal resonant frequency
confirmed that number. This sug-
gests that if your arms effective mass
is above 1112gm, and especially if it
doesnt offer damping, the SMMC1
might not be a good match.
That said, although 7Hz is not
ideal, the SMMC1 performed
extremely well in the Phantom, in
part because of that arms excellent
silicone-fluid damping system.
While some users dont use damping
fluid with their Phantoms, I recommend
it for a lightweight, high-compliance
cartridge such as the SMMC1.
I also found Soundsmiths recom-
mended capacitive loading of 400pF or
greater to be accurate. In fact, I pre-
ferred the SMMC1s high-frequency
balance with 350pF added to the Hov-
land MusicGroove2 cables capacitance
of 261pF/m (for a total of 611pF).
While these settings will be, to some
degree, a personal preference as well as
system-dependent, be sure to at least
know what your phono preamps
default capacitive-loading setting isor,
if its adjustable, what your options are.
Soundsmiths channel-separation
spec of >25dB at 1kHz proved
extremely conservative. I measured
36dBpossibly the greatest channel
separation Ive
measured for any
cartridge. How-
ever, the stated
channel balance
of <1.6dB proved
accurate (I mea-
sured and got the
same figure)at
least with the
sample I built
and in my opin-
ion, thats at the
margin of accept-
ability. I heard no
channel imbal-
ance, however,
which is a good
thingmy pre-
amp has no bal-
ance control!
I gave the
SMMC1 sufficient break-in time (at
least 40 hours) at the recommended
1gm of downforce, during which time it
provided nothing but thorough musical
SOU NDS MI T H S MMC1
Mikey gets expert advice before attempting to assemble
his cartridge.
The SMMC1 on the Graham Phantom shows the original,
polycarbonate adapter before the addition of tapped brass
side mounts.
pleasure and frequent amazement.
Then the serious listening commenced.
Sound
The SMMC1 effortlessly produced
music from black backdrops. It pro-
duced big, vibrant, well-formed images
on a luxuriously wide if not particularly
deep soundstage. The incisive immedia-
cy reminded me of the best of what was
great about hi-fis good old days, and
why some audiophiles still swear by
old school MM cartridges from
Empire, Pickering, and the like. In short,
it was about as clean and articulate a
tracker as youre likely to experience for
any pricethe kind of cartridge that
made me forget about audiophile per-
formance checklists and just kick back
and listen for pure musical enjoyment.
You wont mistake the SMMC1s
retrieval of detail, or its less-than-first-
class reproduction of microdynamic gra-
dations, for those of a premium-priced
modern MCnor did it reveal the most
delicate inner musical textures, as
those top-shelf transducers do. But it
more than compensated with a
refreshingly robust and musically con-
vincing sound free of obvious col-
orations or artifacts. Its rejection of
surface noise and other playback detri-
tus was among the best Ive heard at
any priceand without lopping off the
top-end extension.
The SMMC1s frequency balance
was subjectively ultrasmooth, flat,
and free of low-end bumps or high-
frequency peaks. In that regard it bet-
tered most of the competitively
priced high-output MCs Ive heard.
Like the better moving-iron Grados,
the SMMC1s most alluring qualities
were its silky, coherent midband pre-
sentation and its freedom from tran-
sients that sounded edgy, sharp, or in
any way unnatural.
However, unlike the Grados, which
to my ears and in my system produce
transients that are too soft and polite,
the SMMC1 struck an almost ideal
balance of transient speed and natural
instrumental suppleness. Well-record-
ed female voices sounded particularly
natural and vibrant, never hard, shrill,
or etched. Transients were bold with-
out becoming overbearing, and yet
were also texturally nuanced and agile
without inducing boredom or a desire
for greater sharpness and definition.
Comparing three different pressings
of Nick Drakes Pink Moon demonstrat-
ed the SMMC1s ability to point out
the subtle but important tonal and spatial
differences among them. This is such a
good recording that ruining it would be
difficult, but the Simply Vinyl LP, with its
flattened, forward perspective that
emphasizes string detail to the detriment
of the guitars woody overtones, and
which misses all of the spatial and tonal
subtleties, must have been sourced from a
digital tape. (But who knows? Simply
Vinyl simply refuses to reveal sources.)
The UMG Japan reissue, with its superi-
or image and spatial definition and subtle
decay characteristics, sounds as if mas-
tered from an analog source. The UK
Island second pressing (orange and blue
label) offers a somewhat more distant,
less intimate, yet more detailed and eerily
believable sound.
Thanks in part to the SMMC1s strik-
ingly effortless midband, all three were
free of mechanical artifacts, and infused
with an evocative clarity and transparen-
cy by the cartridges believable transient
performance and black backdrops. Have
you ever picked up an acoustic guitar?
When you listen to the SMMC1s pre-
sentation of a good recording of the
instrument, youll recognize it.
The SMMC1s low-frequency pre-
sentation was equally well balanced,
satisfying, and free of rubbery over-
hang and/or midbass bloat posing as
low-bass extension. Bass transients
were reproduced with great authority,
though the SMMC1 couldnt produce
the supple textural and tonal subtleties
that produce the sensation of reality.
I pulled out some long-forgotten
treasures for this review, such as Lew
Tabackins Trackin (RCA Japan RDC-
3), a direct-to-disc 45rpm set recorded
in 1977 by Lee Hershberg at Warner
Bros. studios. Through the SMMC1,
Shelly Mannes drums, upfront and
center, had great snap, crackle, and
shimmer, while Tabackins tenor sax, in
the right channel, sounded all the right
reedy elements. Toshiko Akiyoshis
piano was also upfront, rich with
woody transient impact, yet not har-
monically truncated. The entire pre-
sentation sounded vibrant and live.
Switching to the Ortofon Winfeld, a
cartridge costing almost five times as
muchpart of a system costing far more
than anyone contemplating buying a
$750 cartridge is likely to ownrevealed
what the SMMC1 couldnt do. The far
more costly cartridge revealed the
recording context of Trackin, with subtle
spatial cues that described the isolated
space in which the drum kit had been
placed. Heretofore masked micro-
dynamic shifts in Mannes drumming
produced the sensation of a living,
breathing musician sitting there making
instantaneous decisions about how hard
to hit his cymbals and skins. The skins
were better textured, and the cymbals
produced greater depth behind the initial
transient, with more ring and better
decay. Tabackins tenor was more fleshed
out and rounded than it had been before.
But, to the SMMC1s credit, and with-
out comparing it to a far more expensive
cartridge, it produced a satisfying perfor-
mance, with an overall sound that was
smooth yet bold, rhythmically nimble,
and free of edge and etch without being
limp or soft. Listening to it for hours at a
time, I never missed what I knew wasnt
there, even though I could get it at the
flick of a few buttons and by cuing up the
Continuum Audio Labs Cobra arm on
the other side of the CAL Caliburn turn-
tablewhat was there was so damn satis-
fying. Even if it missed some of the more
ANALOG SOURCES Continuum
Audio Labs Caliburn turntable, Cobra
tonearm, Castellon stand; Graham
Phantom tonearm; Ortofon Winfeld
cartridge.
DIGITAL SOURCES Musical Fidelity
kW SACD player, BPT-modified Alesis
Masterlink hard-disk recorder.
PREAMPLIFICATION Manley Steel-
head, Einstein Turntables Choice,
Whest Audio whestTWO, Graham
Slee Era Gold V, Camelot Technology
Lancelot Pro phono preamplifiers;
Musical Fidelity kWP preamplifier.
POWER AMPLIFIERS Musical
Fidelity kW monoblocks, Marantz
SM-11S1.
LOUDSEPAKERS Wilson Audio Spe-
cialties MAXX 2, DALI Helicon 400
Mk.2.
CABLES Interconnect: TARA Labs
Zero. Speaker: TARA Labs Omega
Gold. AC: Shunyata Research Ana-
conda, TARA Labs The One AC
Cobalt Helix, JPS AC.
ACCESSORIES Finite Elemente
Pagode stands; Symposium
Rollerblocks Audiodharma Cable
Cooker; Shunyata Research V-Ray
Reference power conditioner, Oyaide
AC wall jacks; ASC Tube Traps, RPG
BAD & Abffusor panels; VPI HW-17F,
Loricraft PRC4 Deluxe record-clean-
ing machines. Michael Fremer
SOU NDS MI T H S MMC1
subtle aspects of sound, the SMMC1
produced music.
Conclusion
Just because youre spending $750
instead of $3000 or more on a cartridge
doesnt mean it deserves less attention in
setup. In fact, the Soundsmith SMMC1
demanded lots of attention before it
sounded its best. This was especially true
of its capacitive loadingif you dont pay
attention to that, you may find the
SMMC1s leading-edge transient per-
formance not etchy and/or bright, but
simply too pronounced, creating a skele-
tal performance that leaves the musical
sustain and decay too far in the back-
drop. But get those picofarads correct
and the tonal picture will lock into place.
Also, be sure that the SMMC1s
high compliance is compatible with
your tonearm. Peter Ledermann told
me that hes making the more expen-
sive The Voice with two different com-
pliances, to better match it to a wider
variety of tonearms. [The SMMC1 will
also be offered in two versions, with high or
medium compliance.Ed.]
Otherwise, track the SMMC1 at 1gm
or a bit more, pay attention to antiskat-
ing, and, if your tonearm is up to it, youll
have smooth sailing no matter whats in
the groove or how heavily its been mod-
ulated. Youll also experience a big,
vibrant, dramatic, well-focused, well-
organized sound that will never let you
down, regardless of your musical tastes.
Right now Im playing Classic Records
reissue of Ella Fitzgeralds Clap Hands,
Here Comes Charlie! (Verve V6-4053),
which some, at the time of its release,
complained sounded hard, strident, even
brittle. I hadnt played it in years. Today,
after being demagnetized, it sounds big,
spacious, detailed, andespecially on Lou
Levys pianoharmonically full and well
organized. Herb Elliss distinctive hollow-
bodied electric guitar, which can be swal-
lowed up in the pianos richer passages, is
being separated out with unforced clarity,
even when Levy and Ellis comp on the
same notes. Most important, Miss Ellas
sparkling presence is right here, sweet and
free of grain, her sibilants cleanly ren-
dered and utterly nonmechanical.
Although Im sure some of its compo-
nents come from overseas, the Sound-
smith SMMC1 is made right here in the
USAwhen you buy one, youre not
paying for its importation and a devalued
dollar. The cartridge is a bargain at $750.
It would be a good value at $1000. Its
that good.
music and cinema systems ~ without peer
402 West 7th Street, Austin, Texas 78701
vox 512.241.0000 / fax 512.236.1764
by appoi ntment onl y
How do we measure our success?
The Culpeppers Wilson Audio Sophias
One cli ent at a ti me.
Casey McKee and Will Kidd are truly
dedicated to delivering the highest level of
personal service to their clients. Our entire
experience, from audition through final
installation, was exceptionally positive.
ne plus ultras Victorian office and sound
studio in downtown Austin is the ideal
environment in which to experience the
finest audio systems on the planet. They
also spent considerable time with us at our
home to help design a system that exceeded
our initial expectations but stayed within our
budget. They kept us informed throughout
the acquisition and were always personally
on hand at our residence to accept delivery,
unpack, inspect, and carefully install each
item. The fnal voicing of the speakers in our
listening room was a meticulous and detailed
process to assure that the high performance
characteristics of our system were realized.
Martha and I have confdently referred friends
of ours to Casey and Will at ne plus ultra,
and we recommend them to you.
Walter S. Culpepper, III M.D.
W
hen I first learned that Meridian had co-badged, with Ferrari,
a $3000 table radio, I was tempted to cynically dismiss it as a
marketing gimmickan attempt by the audio manufacturer
to leverage the brand loyalty of the Italian automaker to its
own highly developed industrial designs. The problem was,
that required that I dismiss everything I knew about Meridian
and its singular head designer, Bob Stuart.
Meridian has always stressed its industrial designin fact, the companys full
name, Boothroyd Stuart Meridian, gives top billing to industrial designer Allen
Boothroydso I should have realized that teaming up with Ferrari was more than
an excuse to slap some Rosso Corsa on a few boxes.
Not to mention that you dont usually see Ferraris cavallino rampante on just any
chassis. The guys in Modena are pretty picky about putting that horse on winners.
Aerodynamics are for people who cant build engines
Patting the F80s curved red flank, Bob Stuart paused for a minute. This is what
Ferrari contributed to the project. Their materials research division developed this
barium-loaded composite material which we could mold into a rigid monocoque
chassis with separate chambers for two stereo loudspeakers and a rear-firing .1
subwoofer.
Meridian
F80
HOME ENTERTAINMENT SYSTEM
Wes Phillips
Meridian F80 Home Entertainment System
DESCRIPTION Compact home enter-
tainment system with 2.1 speaker
system and DVD drive. Drive-units:
two 3" alloy-cone full-range units,
oval fiber-cone woofer. Amplifier
power: 80W. Supported media: CD-
RW, DVD+R, DVD+RW, DVD-R, DVD-
RW, WMA-CD, MP3-CD, DVD-A/V, CD,
CD-DA, CD-R. Tuner bands: AM, FM,
DAB. Inputs: 2x 3.5mm analog, opti-
cal digital, dock, RS232, future. Out-
puts: composite video, S-video, opti-
cal digital, 3.5mm headphone. Anten-
nae: 2x F connector and internal
(assignable by band).
DIMENSIONS 16" (408mm) W by
9" (230mm) H by 7.3" (185mm) D.
Weight: 14.3 lbs (6.5kg)
FINISHES Rosso Corsa (dark red),
Modena Giallo (yellow), Argento
Nurburgring (bright silver), Nero
(black), Bianco Avus (off-white).
SERIAL NUMBER OF UNIT
REVIEWED F8010002211.
PRICE $3000. Approximate number
of dealers: 127.
MANUFACTURER Meridian Audio
Ltd., Latham Road, Huntington, Cam-
bridgeshire PE29 6YE, England, UK.
Tel: (44) (0)1480-445678. Fax: (44)
(0)1480-445686. US: Meridian
America Inc., 8055 Troon Circle, Suite
C, Austell, GA 30168-7849. Tel: (404)
344-7111. Fax: (404) 346-7111.
Web: www.meridian-audio.com.
The chassis resembles half of a very
large M&M candyits half of an
oblate spheroidand comes in candy
colors, too: Modena Giallo (yellow),
Argento Nurburgring (bright silver),
Nero (black), Bianco Avus (off-
white), as well as Ferraris familiar
Rosso Corsa crimson. Its affixed to a
diecast base that contains the disc
transport, amplifiers, and digital
engine: the amplification and DSP
equalization.
Weve been perfecting DSP since
the early 80s, Stuart said, so we use
drivers of our own design, using digi-
tal signal processing and active equal-
ization to get big sound out of such a
small enclosure. The forward-firing
drivers are alloy-cone designs that I
reckon to be about 3" in diameter
(Meridian doesnt list the specs on its
website), and the rear-firing woofer has
an oval fiber-filled driver. The amplifi-
er is rated at 80W.
The F80s slot-loaded Meridian
optical disc drive allows you to listen
to 24-bit/96kHz files, said Stuart,
who was active in promoting hi-rez
DVD-Audio files. It also lets you play
DVDs, as the F80 has both composite
and S-video outputs. As well, the F80
plays CD-DA, CD-R/RW, MP3,
WMA, DualDisc, and DVDR/RW.
The F80s display is easy to read and
allows you to display either a DVDs
top menu or disc menu without hav-
ing to connect it to a video monitor.
While the remote control has only 15
buttons, it allowed me to control every
function I ever required. Thats good
industrial design.
The F80 is packed with inputs,
unobtrusively tucked into the lower
part of its rear panel. In addition to
the composite and S-video output
jacks, theres a DIN socket labeled
FOR FUTURE ACCESSORIES, a 3.5mm
stereo jack, digital optical in, an opti-
cal digital out/headphone jack, and
two antenna inputs.
The F80 is billed as portable,
which, at just over 14 lbs, it isyou can
pick it up by its molded-in handle and
take it somewhere else. It isnt battery-
powered or all that easy to schlep, but
you could carry it with you if you
wanted to. And I nearly forgotthe
F80 is a clock radio, too.
It really is striking. I put it on a coun-
tertop in our kitchen, whereother than
occasionally thinking Holy crap, that
sounded goodI quickly took it for grant-
ed. However, whenever anyone
dropped by for the first time, we had to
discuss that brilliant-red objet dart.
If he cant do it with Ferrari,
well, he cant do it
Lets get the big one out of the way
right up front: The Meridian F80 is a
$3000 table radio. Ask Bob Stuart who
the F80 is aimed at and hell respond,
Anyone with a job who loves music.
Ive heard him say that, but isnt it
just the slightest bit glib?
Not really. Meridians core cus-
tomer continues to be people who are
just a little fanatical about hi-fi, and for
that customer, well gladly sell an 808.2
CD playeror two. But there are a lot
of people who like nice things, who
may have even bought an expensive
flat-panel video monitor, and when
they go to buy speakers or something
to listen to music or their DVDs
throughwell, they either see our
very-high-performing but very large
boxes or else overpriced clock radios.
So who would buy the F80? People
with eyes, people with ears, people
who are tired of settling for good
enough. The F80 makes a very satisfy-
ing home entertainment centerper-
haps too good. A few of our loyal cus-
tomers have told us they arent listen-
ing to their big Meridian systems since
they bought F80s.
Do I buy that argument? Pretty
muchbut I have to admit that I was
slow to accept it. At first, the F80 really
was just a radio to me, albeit a very
handsome one. First, I came to realize
that its AM section sounded uncom-
monly good, allowing me to enjoy my
favorite shows, such as On the Media
and Wait WaitDont Tell Me! at their
more convenient WNYC-AM broad-
cast times. In the beginning, I was just
happy that the AM tuner was quiet,
but I came to realize that it also sound-
ed more than acceptably fine.
The FM tuner, not surprisingly, is far
better, which is a bit of a pity when you
consider the debased signals most com-
mercial broadcasters transmit these
days. Give it a good signal to lock on to
and the F80 will shine. I caught
WNYCs broadcast of Bachs Christmas
Oratorio on the winter solstice, and it
sounded huge. All that sound coming
from that little red thing? Mercy!
Win some, lose some,
crash some
If I seem to have given the F80s disc
drive scant notice, thats because I did,
at first. Thinking of it as a table radio
will do that for you. One evening, I
was attempting to tell my wife how
compelling I found Raising Sand, by
Robert Plant and Alison Krauss (CD,
Rounder 9075). Giving up, I ran
downstairs, grabbed the disc, and
loaded it into the Meridian.
The room turned into a torrid
The F80 packs a lot of circuitry into its cramped interior.
THE MERIDIAN F80 IS NOT JUST A TABLE RADIO.
IT MIGHT BE THE BEST TABLE RADIO EVER.
swamp as Jay Belleroses big beats rang
out and Marc Ribot and T Bone Bur-
netts reverbd guitars began twining
around one another. The sound wasnt
just bigit was enveloping. Immense.
Intense. Immediate.
The Meridian F80 is not just a
table radio. It might be the best table
radio ever.
I took Raising Sand into my listening
room, where I had the Ayre Acoustics
C-5xe universal player, Conrad-John-
son ACT2.2 preamplifier, and Musical
Fidelity Nu-Vista 300 power amp driv-
ing a pair of Hansen Prince V2 loud-
speakers. It sounded good, real good.
Big, too. There was really no way in
which this album didnt sound better
than it did on the F80yet the big rig
lacked that frisson of sounding better
than it ought to.
The Meridian is one of the few
audio products Ive had that actually
made me a bit giddy. It seemed almost
too good to be truebut it really was
that good.
Years ago, when I lived in Oregon, I
spent one Tequila-fueled evening on
the coast with a professional photogra-
pher and two models. We wound up
dancing on the beach by moonlight to
Judy in Disguise (with Glasses), by
John Fred and His Playboy Banda
song that had never particularly moved
me. As the song ended, we plunged
into the surf because we just couldnt
dance any more. After our swim, as we
tried to make our way back to the tide
line, I caught my friends eye. What
did we ever do to deserve this?
You dont deserve it, he replied,
but you got it anyway.
The Meridian F80 reminds me of
that nightmaybe I dont deserve a
table radio this good, but I got to listen
to it anyway.
On December 15, 2007, I had the
opportunity to hear Neil Youngs
Chrome Dreams II tour at the Unit-
ed Palace of Prayer, at 175th and
Broadway. Neil flat-out rocked that
night, playing close to three hours.
And thanks to Youngs active taping
underground, I had a two-CDR copy
of the concert within the week
recorded with Schoeps Mk.Vs, yet.
I spent an afternoon cooking jam-
balaya, listening to live Neil Young,
and it was like being given a ticket
to my adolescence again. Not the
Neil partI have to admit to not get-
ting him back thenI mean the vis-
ceral connection to the music that I
remember from cruising around in
my Plymouth Valiant. Ive had better
cars, Ive had better car stereoshell,
Ive had way better hi-fisbut Ive sel-
dom had as intense a connection with
the music as I did from the heady
mixture of being a teenager away
from grownups, listening to music
that was mine. Somehow, the F80
helped me have that same kind of
bond with the music.
Through my big rig, Neil Youngs
United Palace of Prayer concert was a
little too reverberant. Through the
F80, it took me there.
Am I making too much of the F80s
ability to take this old fogey into his
second (third?) teenagehood? Perhaps,
but on the evening before I flew out to
Las Vegas for the 2008 Consumer
Electronics Show, my neighbor Jeff
Wong dropped by to say so long. We
sat down at the kitchen table with
small glasses of Bulleit bourbon and
yakked about many things. Id burned
Jeff copies of the demo discs I was tak-
ing to Vegas, so we played them while
we talked.
Charlie Hadens Silence, from In
Montreal, his live duet album with
Egberto Gismonti (CD, ECM 1746),
began playing. Gismonti played a few
quiet piano chords, then Hadens dis-
tinct double bass rang out. Jeff
stopped talking for an instant and
closed his eyes. That has to be Char-
lie Haden, he said. Nobody else
sounds like that.
He let it soak in for a few minutes,
then said, dreamily, He sounds so
Big! my wife and I chorused with
him. It was true. Haden was as big as
life and he was right there. Nine min-
utes later, we could speak againbut
for those moments, all we wanted in
the world was to listen.
My accountant tells me
you cant sell a Ferrari that
isnt red
The Meridian F80 is a very handsome
table radio. I loved it in Ferraris classic
red livery, but the chrome yellow is an
eye-opener, and the black and silver are
really nice, too. If youre Apples
Jonathan Ive, youll go for the white.
But at $3000, I guess the F80 is
expensive for a table radio. I have a
Linn Classik in my kitchen, which,
without speakers, is over $2000. I
thought the F80 was a better radio,
and it also plays hi-rez DVDs, which
makes it more versatile, too. As Bob
Stuart suggested, the F80 would
make a nice companion to a high-res-
olution monitor.
But where the F80 really glowed
for me was as a sort of hearth. Id set-
tle in for some morning news and a
cuppa coffee. Id catch some great
music at noon, while I was reheating
leftovers and relaxing at lunch. And
Id groove to my music in the evening,
waiting for my wife to get off work.
True, I could have done any of that
at/with other radios I have (including
a very fine reproduction of a classic
magic-eye tuner), or with/at any one
of several other systems in my house.
However, I usually ended up listening
to the Meridian, not out of some
overly developed sense of duty, but
because I liked it.
Ultimately, the only reason to own a
$3000 anything is that it makes you
happy. Every day at my house, the
Meridian F80 easily passed that test.
Looking at it made me happy. Listen-
ing to it put me in paradise.
Will it do the same for you? It
wouldnt be the first time Rosso Corsa
belonged in the winners circle.
ME R I DI AN F 8 0
ANALOG SOURCE R601PW Classic
Mono FM tabletop radio.
DIGITAL SOURCE Ayre C-5xe univer-
sal player.
PREAMPLIFIER Conrad-Johnson
ACT2.2.
POWER AMPLIFIER Musical Fidelity
Nu-Vista 300.
CD RECEIVER Linn Classik.
LOUDSPEAKERS Mirage Incognita
HDT-WM1 (in-wall), Hansen Prince
V2. Wes Phillips
I USUALLY ENDED UP LISTENING TO THE
MERIDIAN, NOT OUT OF SOME OVERLY DEVELOPED
SENSE OF DUTY, BUT BECAUSE I LIKED IT.
High-end audio Home Theater
Home automation HDTV
RECORD REVI EWS
RECORDING OF THE MONTH
E
nrico Rava and Stefano Bollani represent two cate-
goriestwo erasof Italian jazz musician. Rava is 67,
mostly self-taught, and
was famous when almost
no Italian jazz musicians were
known outside Italy. He has
long been acknowledged as
one of the greatest jazz trum-
pet players, but because, before
the new millennium, no other
Italian approached him in
stature, he was regarded as a
one-off.
Bollani is 35, a graduate in
classical piano with honors
from the Conservatorio Luigi
Cherubini in Florence, and is
part of the generation that has
recently established Italy as the
most important jazz scene in
the world outside the US.
Bollani has played in Ravas
bands since he was 24. Rava
was instrumental in persuad-
ing him to abandon the
unconditional fidelity to the
text (Bollanis words)
imposed by classical music,
and to devote himselfand his
extraordinary piano tech-
niqueto improvisation.
As an ensemble format, the
duo is overrated. Jazz duos, for all their reductivism, are
often paradoxically crowded, too busy, too contrapuntal.
Virtually no major jazz musician, living or dead, is first
remembered for work in a duo.
This duo is different. The Third Man takes place on a spacious
sonic landscape. Rava plays ambiguous lines that hang in the
open air, unresolved. Rava, with Tomasz Stanko, is one of
Europes two great existentialist trumpet players. But Ravas
tone is pure and blindingly bright, without Stankos rasp and
spit. Bollani, from measure to measure, might play anything. He
might configure intricate patterns that suggest his hours at the
conservatory studying Poulenc or Milhaud. But more often
here he pares himself down. He sounds focused and deeply cen-
tered in the creative imperative of this stark joint venture.
Alongside Ravas veering trajectories, he sets fragmentary single-
note lines of austere lyricism. It is possible to hear Bollanis eru-
dition and academic discipline in his sense of structure. You hear
the impulsive emergence of his ideas, and then it is exhilarating
when you realize that they have made a new form.
The 12 tracks contain many possibilities of song. There
are specific songs, such as Estate, by Italian popular singer
Bruno Martino; Felipe, by Moacyr Santos; and Retrato
em Branco y Preto, by Antonio Carlos Jobim. There are
original song concepts by Rava or Bollani, and the title track
is an entirely improvised cryptic threnody. Their moment-
to-moment melodicism makes them all songs, but they are
snatches of melody that float
and dissolve and recrystallize.
Even if you know the melody
of Estate, you might not at first
recognize it in the tentative
chiming with which Bollani
opens the track in the right chan-
nel, or in the drawn-out smears
with which Rava responds in the
left. But Estate is present for
both players, freely imagined.
Ravas chops are epicthe force
of his ascents knocks you back in
your chair. More important are
the endless implications of his
unexpected and open-ended
phrases. More important still is
what Rava and Bollani create
concurrently. They listen to one
another intensely, the lead posi-
tion seamlessly alternating
between them. Their commin-
gling counterpoint arrives at
many startling lyric break-
throughs. On Ravas Birth of a
Butterfly, each player simulta-
neously creates his own
metaphor for coming into being.
The Third Man is the
track that provides a way of
understanding the particular nocturnal atmosphere of this
recording. After the fact, Rava and Bollani dedicated that
improvised piece, and the entire album, to Orson Welles
and the film noir tradition. The art of both Rava and Bollani
is highly cinematic. Their previous collaboration, the trio
album Tati (2004), was a tribute to French actor-director
Jacques Tati. In its musical ambivalence and after-midnight
ambience, The Third Man indeed evokes film noir, but in an
iteration that is never one-dimensional or complacent. Both
players, especially Rava, are always willing to explode
through the quietude in response to creative impulse.
The sonic character of this album is atypical for ECM.
Stefano Amerio (who seems to have replaced Jan Erik
Kongshaug as producer Manfred Eichers engineer of choice)
recorded The Third Man in the Auditorio Radio Svizzera, in
Lugano, Switzerland. The music is clearly taking place in the
large acoustic space of an empty concert hall. Compared to a
highly detailed ECM studio recording, there are much longer
delays on Ravas trumpet, and Bollanis piano notes are more
diffuse. The physical setting of this recording is inseparable
from its aesthetic realization. It sounds and feels as if, in this
space, Rava and Bollani have shut themselves off from the rest
of the world. Yet, mysteriously, we are allowed to listen.
This duo is different. Thomas Conrad
ENRICO RAVA/STEFANO BOLLANI The Third Man
Enrico Rava, trumpet; Stefano Bollani, piano
ECM 2020 (CD). 2007. Manfred Eicher, prod.; Stefano Amerio,
Gabriele Kamm, engs. DDD. TT: 72:06
Performance
1
2
Sonics
R
O
B
E
R
T
O

M
A
S
O
T
T
I
/
E
C
M

R
E
C
O
R
D
S
R E COR D R E VI E WS
classical
SRGIO & ODAIR ASSAD
Jardim Abandonado
Srgio and Odair Assad, guitar
Nonesuch 278140 (CD). 2007. Franoise-Emmanuelle Denis, prod.; Frdric
Briant, Manuel Mohino, Michael W. Huon, engs. DDD.? TT: 57:35
Performance
Sonics
1
2
W
e live in the golden age of the classical guitar.
The finest guitars ever built are being crafted
todaythe equivalent of the violin worlds
Stradivaris. Our universities and conservatories
turn out players of unmatched talent, seasoned by numer-
ous national and international guitar competitions. Never
in its history has the instrument been so prolifically and
idiomatically written for by such an international cadre of
composers and arrangers, many of whom are themselves
virtuoso guitarists.
Against this backdrop comes this release from the Assad
Brothersa duo that frequently ratchets the bar up beyond the
reach of all other contenders. Both Srgio and Odair are gui-
tar masters in the truest sense. Each possesses total command
of the technical promise of his instrument, as well as sensitivi-
ty, sheer musicality, and soul. Their individual talents are mul-
tiplied as they play together, infusing the unfolding music with
a kind of telepathic anticipation of each others phrasing that is
akin to the harmonizing of sibling singers.
Three of the pieces on this recital are by Srgios daugh-
ter, Clarice Assadan accomplished composer with a formi-
dable grasp of writing for two guitars. The rest are Srgios
remarkable arrangements of works by fellow Brazilian
Antonio Carlos Jobim, American Broadway composer
Adam Guettel, and Milhaud, Debussy, and Gershwin
remarkable because Srgio manages to conjure both orches-
tral and chamber-music dimensions in these settings while
infusing them with his own personality, forged from his
Brazilian culture and his intimate knowledge of the guitars
myriad colors and personalities.
Srgio himself composed the discs highlight, Tahhiyya li
Ossoulina, a bittersweet, episodic, modal work that twines
dizzying Middle Easterntinged ornaments with rappings
on the guitar body, brilliant strokes of instrumental color,
and Egberto Gismontilike rocking out, all somehow
encased in the smoldering aura of Brazilian musics sense of
fate. Close behind is the Assads performance of Gershwins
Rhapsody in Blue, which delivers the works orchestral colors
and jaunty character with innovative style.
All 15 tracks were recorded in Belgian churches of superb
acoustics for the guitar. The sound is outstandingwarm
and rich without being overblown, capturing in detail the
brothers uncanny knacks for blend, complement, fire, and
flow. Daniel Buckley
GLASS
Book of Longing: A Song Cycle Based on the
Poetry and Images of Leonard Cohen
Philip Glass, keyboard; Leonard Cohen, spoken text; Dominique Plaisant, sopra-
no; Tara Hugo, mezzo-soprano; Will Erat, tenor; Daniel Keeling, bass-baritone;
Megan Marolf, Kate St. John, oboes, English horns; Andrew Sterman, flute, pic-
colo, saxophones, bass clarinet; Tim Fain, violin; Wendy Sutter, cello; Eleonore
Oppenheim, double bass; Mick Rossi, keyboard, percussion; Michael Riesman,
keyboard, conductor
Orange Mountain Music omm0043 (2 CDs). 2007. Michael Riesman, Don
Christensen, prods.; Dan Dryden, Stephen Erb, Michael Trepagnier, engs. DDD.
TT: 88:24
Performance
Sonics
T
he fate of being one of the most sought-after and pro-
lific composers of our time is that your output can be
hit and miss. Ive probably heard and seen staged
more of Philip Glasss work than the bulk of music
writers in the world today, stretching back to his earliest
works in the style now called minimalism. Ive heard his
work evolve, ebb, and flow, with points of inspiration and
odd twists along the way. In the past decade Ive taken in
works that were brilliant and others that sounded phoned
in. But Glass is always at his best when working in collabo-
ration, especially with his personal heroes. And like Allen
Ginsberg, with whom Glass paired for Hydrogen Jukebox,
Leonard Cohen has lent the composer a profound word-
scape in which to muse.
I was not prepared to like Book of Longing. After a lone
pass on the CD player, my first impression was that this
was salon music for the melancholylovely, lonely, sac-
charine, and precious. But with deeper listening, the
seductive charms of this song cycle began putting their
hooks in me. And while I remain conflicted about its
place in Glasss overall output, owing to several sections
that sound almost stereotypical, there is so much about
the work that springs fresh, unexpected and superbly
crafted, that it must be considered among the upper tier
of Glasss recent stage works.
Book of Longing is economically scored for single strings,
woodwinds, keyboards, percussion, and vocal quartet, and
in this musical palette Glass finds great variety, contrast,
and drama. His gift for vocal and instrumental melody has
rarely been put to better use. While traditional in its tonal
grounding, the scores unfolding chord progressions often
take appealingly surprising turns (as do Cohens poems),
sometimes in alliteration and rhythmic mimicking of the
texts, often in tension-inducing contrast to them. The
interplay of massed and thinned forces, the architectural
shape of individual and collective segments, and the sur-
prisingly virtuosic and moving solo sections speak to Glasss
mature mastery of song and instrumental form.
I cant overemphasize the individual and collective efforts
of these players, who have clearly put their souls into this
music. Nor, for that matter, would these two CDs be near-
ly as powerful without the rich, full-bodied, yet unoccluded
sound its engineers have captured. Daniel Buckley
HUELGAS ENSEMBLE
La quinta essentia
Masses by Ashewell, Lassus, Palestrina
Paul van Nevel, Huelgas Ensemble
Harmonia Mundi 901922 (CD). 2007. Markus Heiland, Tritonus, prods. and
engs. DDD. TT: 77:19
Performance
Sonics
T
his is a crucial recording for those who love
Renaissance polyphony, and even more for those who
like it but, for the most part, are convinced that it all
tends to sound the same. Granted, there are great sub-
tleties that the laypersoneven the true fanmay never spot,
but conductor Paul van Nevel and his Huelgas Ensemble
seem incapable of making a poor recording, and here they
perform three different mass settings, one each in the three
major styles of the Renaissance: Roman, Franco-Flemish,
and English.
The mass by Orlando de Lassus (15321594), Tous les
regretz, has a resonance that immediately buzzes in the
head, with quick imitations of little bits of melody, and
elegance and stature that make it seem the aural equiva-
lent of a perfectly constructed private chapel for royalty.
Based on popular chansons by Gombert, it isnt deeply
pious; its melodies, rhythms, and quickly changing tex-
tures are too interested in entertaining. Van Nevels tem-
pos are quick compared with the reading by Singer Pur on
Ars Musici, and although the Huelgas consists of 14
singers and Singer Pur of only six, the Huelgas is clearer.
Just listen to the first of the Hosannas (there are two in
the Sanctus); its 25 seconds are maddeningly composed,
busy as a hive, and clear as a bell.
Next is the longest (34 minutes) work here, Ave Maria,
by Thomas Ashewell (ca 1478ca 1513), a little-known
Englishman with only two known complete works to his
credit. Van Nevel refers to him as late Gothic rather than
Renaissance, and the distinction is interesting; his music is
more filigreed, more flamboyant. There are frequent dis-
sonances, the vocal lines are wildly melismatic (particular-
ly in the prominent treble line), and the strange rhythms
keep the listener on his toes. There are more twists and
turns than can be described; at times its the equivalent at
looking at too many colors on a palette, but seconds later,
they all make sense. This great ride is endlessly inventive
Ive listened to it a dozen times in two weeks. Ashewell
sounds vaguely like the Flemish composer Antoine
Brumel (ca 1460ca 1515), whose counterpoint and imita-
tion can sound psychedelic. Hot stuffsomeone should be
looking in church basements all over Great Britain for
more of his work.
The mass by Giovanni Palestrina (ca 15251594), Ut re
mi fa sol la, is the picture of linear clarity (well, if anything
in Renaissance polyphony can be), based as it is on the
simple scale of its title. The effect is of ever reaching
upward, and that scale is invariably identifiable in the
higher voices, making it a comfortable listen. Palestrinas
riffs on the scale are what make this mass so great; it
reaches its apotheosis in the deliberate Agnus Dei, six min-
utes of inevitable beauty and faith in which every word,
every piece of counterpoint, is spotlessly lucid, and which
ends just where and when youd want it to.
The recording space is as un-churchlike as one could
wish for; theres no decay time at all, which is a great ben-
efit in music this complex. It is the Museum of Water in
the Convento dos Barbadinhos in Lisbon, a building of
glass with what look like hardwood floors laid atop stone.
The sound is warm and direct, and, as usual, the Heulgas
Ensembles control of pitch, dynamics, diction, and heart
are models of what this sort of music requires. Like Nigel
Tufnels guitar amp, this should be rated on a scale slight-
ly higher. Robert Levine
rock/pop
RONNIE EARL & THE BROADCASTERS
Hope Radio
Stony Plain SPCD 1324 (CD). 2007. Lorne Entress, prod.; Huck Bennert, eng.
ADD? TT: 78:23
Performance
Sonics
A
creative presence on the blues scene since the 1980s,
when he joined Roomful of Blues, followed by a
long string of records under his own name, Ronnie
Earl remains a dominant blues guitarist rightfully
famed for his instantly recognizable tone and uncommonly
soulful attack.
More than most musicians, however, blues players, who
work in a well-worn traditional form, often need a pro-
ducer to keep their records provocative and give them
teeth. And if youre going to make an all-instrumental
record like Hope Radioone without vocals, horns, or any
instrumental foil other than an organist on Hammond B-
3, whose shimmering tones Earl has often used to great
effectyou really have to mix it up. Too many long blues
ballads can make an instrumental record sleepy, and Earl
has fallen prey to that on this album, recorded live in the
studio before an audience.
Beginning with track 4, I Am With You, Earl and the
latest version of the Broadcasters, abetted by guest and long-
time Earl bassist Michael Mudcat Ward, wend their way
through a clump of ballads that ends five cuts later, with
Beautiful Childa long stretch that slows the albums
momentum to an agonized crawl. By Beautiful Child,
Earl is stuck in slow, heard-it-before, indulgent noodle.
Still, Earl is easily one of the most consistently interesting
and impassioned blues guitarists playing today. When he
finally snaps out of it, in Blues for Otis Rush, his stinging
single-note leads and precisely right moves are as impressive
as ever. But never let a bluesman wander on record by his-
self. Robert Baird
DANNY & DUSTY
Cast Iron Soul
Blue Rose BLU CD 0417 (CD). 2008. JD Foster, prod.; Bruce Olsen, eng. AAD?
TT: 45:09
Performance
Sonics
1
2
Its amazing what happens to rockers once a little age sets in.
Back in 1985, in what amounted to a lark, the Dream
Syndicates Steve Wynn (aka Dusty) and Green on Reds
Dan Stuart, two central figures in L.A.s mid-1980s Paisley
Underground scene, fell into a side project record together
that they called The Lost Weekend. Cut in a single marathon
session of 36 hours, the album has since become the kind of
out-of-print prize that sends obsessive fans on fire-in-the-
eyes quests.
Now, after enduring more than two decades of geeks giv-
ing them static about not having made a second record (see
the opening song here, The Good Old Days), the pair
have reunited and made another craggy classic of sorts. But
where The Lost Weekend used the famous film of the same
title as inspiration and was all sloppy charm and boozy
twang rock, the duos return is a more serious affair.
Much of the seriousness this time around comes from
their lyrical preoccupations with mortality and roads not
taken. Although theyve come off in interviews as jolly joke-
sters whove tossed off another one just for fun, Cast Iron Soul
shows more discipline and introspection, and nowhere is that
more apparent than in the first and last tracks. The Good
Old Days, a rollicking bar-band sing-along fest, mocks fans
enthusiasm while pondering the questions they ask: What
was so damn great about being young and free / Wasting all
those hours ignoring destiny / So you went through a cou-
ple million and got sued once or twice / Did you finally lose
that hard-
on and
found a life
in Christ?
The final
t r a c k ,
T h a t s
W h a t
B r o u g h t
Me Here,
is the duos
p e r s o n a l
take on the
archetypal
g l a n c e
backward.
The sound
is also more
m a t u r e ,
being very
full-bodied and rich for a rock session.
Then theres the songwriting, which has turned careful,
tuneful, andin the case of a tune like New York City
Lullaby, in which horns drive a funky arrangementstyl-
istically adventurous. Chunk buzz guitars la Dream
Syndicate appear in JDs Blues (after producer JD
Foster), an Exile on Main Street vibe permeates Hold Your
Mud, and Green on Reds pedal-steel alt-country bag fla-
vors the closer. Along the way are love songs both good
(the lets-stay-in-bed Lets Hide Away) and bad (Its
My Nature, a litany of codependent emotional combat).
In between, the pair trade the lead-vocal slot, only occa-
sionally trading off verses but almost always harmonizing
on the choruses. Thanks to hard knocks absorbed, Cast
Iron Soul is a very rare instance of a youthful side project
being even better when revisited. Robert Baird
MACEO PARKER
Roots & Grooves
Heads Up HUCD 3134 (2 CDs). 2008. Joachim Becker, Lucas Schmid, prods.;
eng. ADD. TT: 102:36
Performance
Sonics
JASON MILES
Presents Soul Summit
Shanachie 5770 (CD). 2008. Jason Miles, prod.; eng. ADD.? TT: 68:17
Performance
Sonics
S
ince the 1970s, American vernacular musics such as
the blues and soul have been in an epic battle for sur-
vival. Genuine soul, whose heyday ostensibly came to
an inglorious end with the rise of disco, has been
occasionally reborn, most recently in the hands of such
young performers as Anthony Hamilton, John Legend,
Amy Winehouse, and Joss Stone. Like the blues, soul values
authenticity as a critical ingredient, though this is precisely
what is sacrificed by many of todays performers in their
attempts to bridge the divide between vintage and modern,
then and now. Soul, like the blues, must be not merely imi-
tated, but felt.
So it is with these two live albums, Maceo Parkers Roots &
Grooves and Jason Miles Soul Summit. The former is from an
artist of the vintage funk era, the latter from one of more
recent vintage.
Recorded on a recent European tour and originally
released in Europe on the fine Intuition label, Parkers
Roots & Grooves is performed by a German-based big band
of some 20 pieces. The ensemble is enormous, figurative-
ly and literally. Conducted by Michael Abene, the band
screams through raw, beautifully articulated charts,
enhanced by the repertoire. In disc 1, a tribute to Ray
Charles, Parker blows and sings his way through a handful
of the Geniuss greatest hits, and fans of both will be
pleased to hear Parkers delightfully raspy vocals. Disc 2
includes a crisp runthrough of Parkers own explosive
instrumental blasts. The funk tunes, especially To Be or
Not To Be and the epic closer, Pass the Peas, obviously
derive from Parkers stint with James Brown, and are
enhanced by the massive band. Gorgeous mastering cap-
tures a generous tonal spectrum.
Jason Miles Soul Summit stands in contrast in many
ways. The recording is vastly more intimate, which is odd,
considering that it, too, was recorded at a festival: last
years Berks Jazz Festival, in Reading, Pennsylvania. The
gig features cameos from a variety of musicians, including
Susan Tedeschi, Richard Elliot, Mike Mattison, and Karl
Denson. But the music is built on a rhythmic foundation
consisting of session legends: drummer Steve Ferrone
(AWB, Clapton, Petty, Fleetwood Mac), bassist Bob
Babbitt (many Motown artists), and
guitarist Reggie Young (Dusty
Springfield, Ray Charles, Elvis
Presley). In spots, as on Tedeschis
fine cover of Son of a Preacher
Man, the ensemble nails down gritty
Southern soul.
But while the song choices and
performances are good, the energy
level occasionally flags, and the over-
all production doesnt do the reper-
toire justice. This is especially true of
What a Man and Its Raining,
both of which offer good playing but
suffer from lackluster dynamic range.
Still, the idea is good, and while
Miles closing James Brown medley
cant hold its own against Parkers
Pass the Peas, it does feel as if
todays soul music is in very good
hands. Bob Gulla
TIFT MERRITT
Another Country
Fantasy FCD-30455 (CD). 2008. George Drakoulias,
prod.; David Bianco, eng. AAD? TT: 42:02
Performance
1
2
Sonics
I
n the charming notes accompany-
ing this, her third album, Tift
Merritt describes renting a flat in
Pariss 10th arrondissement and the
adventures she had while living in the
City of Lights: I wrote songs. I
played piano. I wrote stories. I took
pictures. One day I wrote so much
that I convinced myself that I must be
dying. Otherwise, how could I possi-
bly write so much? How could there
be so much inside to say? It was the
happiest I have ever been.
The songs on Another Country,
whose seeds were sown in France,
arent always so happy. My Heart Is
Free, the catchiest one here, is actual-
ly about the earthly contradictions of
war. (Although she doesnt sing it, this
poignant line appears on the lyric
sheet: Seems its always for a few men
that so many of us die.) The song,
with scorching guitar from onetime
Dylan sideman Charlie Sexton, has
the alt-country jangle that made
2004s critical fave Tambourine so deli-
cious. But, for the most part, Another
Country is gentler, more inward-look-
ing than its predecessor.
And it sounds gorgeous. Producer
George Drakoulias often plays up
Merritts singing and Sextons guitar
in perfect balance, while the rest of
the band blends in sweetly behind
them. But the album is sometimes
confounding. As a singer, Merritt
brings different voices to the party.
On the lovely, piano-bathed title
song, she invokes the great British
singer Sandy Denny, while at other
times there are flashes, probably
unintended, of Natalie Merchant and
Kim Richey. In I Know What Im
Looking for Now, Merritt almost
sounds as if shes discovered the
secret of life, though she never quite
divulges it. A brief moment in the
verse vaguely reminds me of the
Traveling Wilburys Handle With
Care, a title that feels apt here.
Merritts music is powerful yet
graceful, something to
savor delicately. While
the jangled joy of such
songs as Tambourines
Stray Paper is in less
abundance here, this
time around Merritt is
searching for something
more tangible and ever-
lasting. And that Paris
retreat has helped make
her music all the more
introspective and heart-
felt. David Sokol
THE HEAVY
Great Vengeance and Furious
Fire
+1/Counter 625978000724 (CD). 2008. The
Heavy, prods., engs. AAD? TT: 33:30
Performance
Sonics
A
nd I will strike down upon
thee with great vengeance
and furious anger! So thun-
dered hit man Jules
Winnfield (Samuel L. Jackson), quot-
ing the prophet Ezekiel, in one of Pulp
Another Country: NYC.
C
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U
R
T
E
S
Y

O
F

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Y

R
E
C
O
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D
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Fictions more memorable and violent
scenes. Britains The Heavy likewise
comes out, guns a-blazing, on their
deliberately like-titled album, a thick
mlange of psychedelic soul and heavy-
ass garage rockimagine Curtis
Mayfield fronting the MC5.
The band came out of nowhere
last year, from the tiny English coun-
try town of Noid, near Bath, and
blew away critics, first with a pair of
singles and then with Great Vengeance.
Now available on these shores, its
one of those rare UK albums that
actually makes sense to American
ears in terms of potential staying
power and cultural currency.
Mayfield is uncannily channeled by
lead singer Swaby, who is a-swagger
with a sexy falsetto that could pop
bra clasps at 20 paces as he showcas-
es his vocal gifts on such tunes as
That Kind of Man (a hornsngui-
tars blaxploitation score in search of a
film), Coleen (pure Temptations
funk-soul), and Set Me Free (with
an insistent 1960s West Coast folk-
rock strum and a cheeky cowbell lift
from Honky Tonk Women). The
band wears its influences on its
sleeveone hears classic British
blooze la Led Zep, Free, and
Humble Pie in You Dont Know,
and the Spencer Davis Group in
Dignity. But its also clearly work-
ing within a contemporary tradition,
being British kin to the likes of nu-
soul lynchpins Sharon Jones & the
Dap-Kings, garage goons the
Dirtbombs, and jukebox terrorists
the Detroit Cobras.
In a word, heavy. Watch out, heathens:
these folks gonna smite ya. Fred Mills
jazz
PAT METHENY
Day Trip
Pat Metheny, guitar; Christian McBride, acoustic
bass; Antonio Snchez, drums
Nonesuch 376828 (CD). 2008. Pat Metheny, prod.;
Pete Karam, eng. DDD. TT: 68:08
Performance
Sonics
P
at Metheny is one of the few
real jazz musicians who can fill
soccer stadiums. As such, he is
able to record voluminously.
Surprisingly, he has not, until now,
recorded the trio with which he has
toured the world since 2002.
What is more sur-
prising is the type of
album that Day Trip has
turned out to be. In
person, Metheny and
Christian McBride and
Antonio Snchez not
only fill arenas with
fans, they fill them with
sound, in wave after
powerful wave. But Day
Trip belongs to a classic
tradition of electric-gui-
tar trio recitals by mas-
ters living (Kenny
Burrell, Jim Hall) and
dead (Jimmy Raney,
Barney Kessel). It is ten
tight, focused tracks, all
Metheny originals.
They are varied, attrac-
tive forms on which Metheny impro-
vises with intricate elegance, some-
times (Son of Thirteen, Lets
Move) at blinding velocity.
Day Trip does not employ the vast
timbral vocabulary that Metheny typ-
ically achieves through electronics
and synthesizers and overdubs. It
does not send up any of the gigantic
Metheny solos that fly over the hori-
zon and take his audience with him
to ecstasy. Yet even as it establishes
Methenys mainstream guitar creden-
tials, Day Trip manifests certain quali-
ties of risk and quest that identify it as
a Pat Metheny album.
For example, Metheny turns
McBride and Snchez loose to sur-
round the music in vast, complex,
intelligent, ongoing energy. No bebop
guitarist would know what to do with
such a rhythm section. Snchez, an
Elvin Jones for the new millennium,
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has upped the ante on how much
detailed information a drummer can
provide without intruding. Pieces such
as At Last Youre Here reveal that
Metheny still plays the longest guitar
lines anywhere. And he still always
tells stories that arrive at epiphanies,
some extroverted and keening
(When We Were Free, The Red
One), some personal and inward
(Dreaming Trees, Is This
America? Katrina 2005). The lament
for New Orleans goes beyond indig-
nation. Its sadness accumulates as it
shifts between the light of specific
memories and the darkness of their
loss. Thomas Conrad
ED REED
Ed Reed Sings Love Stories
Ed Reed, vocals; Peck Allmond, flute, alto flute,
clarinet, bass clarinet, tenor saxophone, trumpet,
trombonium, kalimba; Gary Fisher, piano; John
Wiitala, bass; Eddie Marshall, drums, recorder
Blue Shorts 001 (CD). 2007. Bud Spangler, prod.;
Dan Feiszli, eng. DDD. TT: 63:02
Performance
1
2
Sonics
T
he history of jazz is littered
with promising but unknown
musicians whose careers were
derailed by addiction and other
misfortunes. Vocalist Ed Reed almost
fell into that yawning abyss, but
instead hes released a ravishing
album at the age of 78, and its the
work of an artist eager to seize the
moment. Growing up amid the jazz
splendor of Los Angeless Central
Avenue in the 1940s, Reed per-
formed informally with some of the
musics greatest figures. But every
time he came close to making a name
for himself, his habit took him three
steps back, and he spent most of the
1950s and 60s in and out of prison,
detox, and psych wards.
Somehow, in all that chaos, Reed
absorbed the influences of Nat King
Cole and Bill Henderson, honing an
idiosyncratic style all his own. Hes
mostly a balladeer who delivers each
song like an expert raconteur passing
on hard-won wisdom, as on an aching
version of Ghost of a Chance. The
album opens with A Sleepin Bee, a
song he learned while incarcerated at
San Quentin, where he and fellow
musical inmates Joe Pass, Frank
Butler, and Art Pepper wrote down
snatches of the tune whenever it came
on the radio.
Reed, who has been sober since
1986, performed at little gigs around
the Bay Area for decades without
gaining much notice. Then, two years
ago, he encountered Berkeley-raised,
Brooklyn-based saxophonist and
trumpeter Peck Allmond, who was
immediately struck by Reeds haunt-
ing rendition of the rarely covered
standard If the Moon Turns Green,
one of the highlights of Sings Love
Stories. Determined to document the
singer, Allmond recruited veteran
drummer and producer Bud Spangler
to oversee the project. Allmond has
crafted canny, uncluttered arrange-
ments that provide Reeds slightly
weathered baritone with lithe, often
imaginative countertextures, such as
his artful use of kalimba on Theres a
Lull in My Life. The rhythm section
provides expert support, never letting
the slow tempos drag, and Allmond is
a lyrical improviser on both tenor sax
and trumpet. But this is Ed Reeds
coming-out party, and he gives the
performance of a lifetime.
Andrew Gilbert
HORACE SILVER
Live at Newport 58
Horace Silver, piano; Junior Cook, tenor saxophone;
Louis Smith, trumpet; Gene Taylor, bass; Louis
Hayes, drums
Blue Note 03163 (CD). 2007. George Avakian,
remote recording supervisor; Michael Cuscuna,
prod.; Adjutor Theroux, Buddy Graham, engs. ADD?
TT: 44:48
Performance
1
2
Sonics
1
2
I
t is a subset of our era of jazz reis-
sues: Recordings by the great mas-
ters, never released, keep getting
discovered in somebodys tape
vault. Their publication creates chal-
lenges for jazz polls. In 2005, the
New Releases category of most
major polls was dominated by record-
ings made between 40 and 60 years
before: At Carnegie Hall, by
Monk/Coltrane; One Down, One Up,
by Coltrane; Town Hall, June 22, 1945,
by Gillespie/Parker. It was sufficiently
embarrassing that both JazzTimes and
DownBeat, going forward, changed
their Reissues category to
Historical Recordings, to include
newly released old stuff.
Live at Newport 58 will be
omnipresent in the Historical
Recordings sections of the 2008 jazz
continued on p.203
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Wireworld Silver Electra 5
2
Editor:
I thank Michael Fremer for explaining
the unique design concepts of our Silver
Electra 5
2
power cord in his January 2008
Analog Corner column. We believe
that our Series 5
2
power cords are unique
in their ability to remove the power-line
noise that causes the distinct changes in
harmonic structure that we hear when
changing power cords. Of course, in
some cases, the Silver Electras reduction
of noise-induced brightness can produce
a sound that is too dark, as it did in
Michaels system, especially when the sys-
tem had been dialed-in with more con-
ventional power cords. As always, if the
harmonic structure is not balanced, the
result will not be musical. Despite the
unusual imbalance that Michael heard, he
still identified the tighter image focus and
cerebral quality of the Silver Electra. I
believe that those observations illustrate
the advantages of reducing noise inter-
modulation, which otherwise tends to
diffuse images and obscure musical sub-
tleties. David Salz, President
Wireworld Cable Technology
The Fried Mystique
Editor:
We at Fried Products were pleasantly
surprised to see The Fried Mystique in
John Marks The Fifth Element in the
February issue (p.45). The origins of the
company, as detailed in the article, are,
for the most part, accurate. Bud Frieds
first and ultimate passion was classical
music. However, his interest in loud-
speakers originated from a childhood
spent working at the movie theaters his
family owned and his desire to re-create
the same big sound at home.
Whatever arguments cloud the gene-
sis of Fried speaker technology, back to
the transmission-line work of Arthur
Bailey, the Wireless World papers, and the
early recognition accorded first-order
series crossover networks in the
Radiotron Designers Handbook, it must be
conceded that Bud Fried properly
homogenized these virtues and champi-
oned all of the designs, whether manu-
factured in-house or outsourced.
Paramount in Buds theories, as well
as the design goal for our loudspeakers
even today, is that reproduction of music
is less about sinewaves and frequency
plots and more about transient perfor-
mance. Music consists of tremendous
wavefronts of acoustic energy, and the
goal of any loudspeaker is to reproduce
these wavefronts in proper time without
compression. Proper time refers to the
separation of the fundamental from har-
monics, which is the downfall of repro-
duced music and the key to re-creating
the live experience. We believe the only
way to reproduce these tremendous
wavefronts with proper time cues is
through the use of transmission-line
loading and series crossover networks. A
complete description of the Fried Tech-
nology and its virtues is available on our
website, www.friedproducts.com.
Bud was also truly mystified by the
dysfunctional hi-fi industry, and dis-
cussed the state of high-end audio with
anyone who would listen. He couldnt
understand why anyone would accept or
spend vast sums of money for speakers
that failed to abide by the laws of physics
and didnt come close to reproducing the
sound of live music.
We suggest that John include our
Compact 7 in his search for contempo-
rary speakers that represent very good
value in todays dollars. The Compact 7
has far superior performance than previ-
ous designs of similar size.
Speaking of value, Fried is beginning
an update program for older Fried loud-
speakers with deteriorating foam sur-
rounds; some are already available. An
updated Q-series woofer will be avail-
able very soon; details will be
announced on our website. David Finley,
Stephen Hluchan, Jonathan Raines
Fried Products Corporation
Triangle
Editor:
On behalf of the whole team at Triangle,
I would like to thank John Atkinson, Art
Dudley, and Sam Tellig for their time
spent analyzing and listening to the lat-
est versions of the Titus, Comte, and
Antal loudspeakers. The respective writ-
ers enthusiasms for these Esprit-series
updates is also a source of great satisfac-
tion for all of us, and only fortifies Trian-
gles commitment to offer a combination
of engineering expertise and listening
pleasure in all their products.
When Art Dudley mentions how the
Comtes abilities are not limited to its
association with equipment at its own
price level, to us he demonstrates the
added value of a product that can grow
into a still-higher-end sound system.
And with John Atkinsons measured
high sensitivity, value also becomes ver-
satility, the Comte being equally com-
fortable with tube and solid-state designs
in a quality two-channel system or a
dynamic home-theater setup.
To Sam Tellig, our appreciation once
again for his time spent educating his
readers in the culture that is Triangle, one
that was born with the founding of the
company by Renaud de Vergnette in
1980, and that continues today with the
added presence of Olivier Decelle. With
the additional talent of a growing engi-
neering team, one can rest assured of con-
tinued originality in design and passion
for a job well done. Richard Kohlruss
Triangle Electroacoustique
Rethm Saadhana
Editor:
We at Rethm Loudspeakers are very
grateful to Art Dudley for having taken
the time to live with the Saadhanas and
for sharing his insights and opinions on
them with all of us. We are flattered and
delighted that he seems to have enjoyed
listening to them.
Having been an enthusiastic reader of
Arts reviews since his Listener days, I
know that he has a pair of ears that are
second to none and superior to many as
a result of his musically nuanced lis-
tening. Therefore, if Art says he is hear-
ing a certain something, many of us sit
up and listen to what he has to say.
However, as the designer of the Saad-
hana, it is my responsibility to offer
another perspective on Arts insightful
comments on the bass presentation of
the Saadhana.
Most reviewers, Art included, almost
always very thoughtfully connect the
equipment under review to a variety of
partnering gear: electronics, front ends,
cables. The utility of this practice to the
reader is beyond question, as it provides
invaluable insights into the particular
units characteristics in varying systems.
Unfortunately, there is one element in
the playback chain that reviewers do not,
or cannot, changebut one that does
substantially affect and alter the repro-
duction of any system: the room.
And the rooms most significant con-
tribution is to the frequencies from the
lower midrange on down. Getting the
midrange and up to sound good in most
rooms is seldom a problembut I will
not say the same thing for the lower fre-
quencies. Both the geometry of the
room and its construction play a part in
how a system sounds in a space.
As the manufacturer, I have had the
good fortune (out of necessity) of hearing
the Rethm Saadhanas in about a dozen
different rooms over the last year, ranging
from 200ft
2
to 1000ft
2
, and every room
has reproduced the lower frequencies dif-
ferently (counterintuitively, it has sound-
ed best in the largest spaces!).
I share this observation in no way to
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disagree with what Art was hearing. It is
only to suggest the possibility that the
bass characteristics of the Saadhana
would, in all likelihood, be different (they
could be better, they could be worse!) in a
different space. Jacob George
Rethm Loudspeakers
Silverline Audio Minuet
Editor:
Thanks for another great Stereophile
review of a Silverline speaker.
Fig.4 precisely reflects the Minuets
superior resolution of midrange detail,
and fig.8 shows that the cumulative
spectral-decay plot is extremely clean
and measures well. Special thanks to
John Atkinsons state-of-the-art mea-
surements.
In the review, Robert J. Reina says
that The Minuets superior resolution
of midrange detail and wide, deep
soundstage created an extraordinary
sense of acoustic space. Silverline
Audios Minuet is an uncolored,
detailed, and dynamic performer that
competes with the best designs Ive
heard at its price. But it is even more
special than that. Hearty thanks to
Robert for his thorough and detailed
audition of our Minuet speaker.
At Silverline Audio, we have a goal to
make quality speakers that excel in per-
formance in an overengineered and
underpriced manner. Alan Yun
Silverline Audio
Meridian F80
Editor:
Looking at it made me happy. Listening
to it put me in paradise. We are delight-
ed that Wes Phillips saw (and heard) so
clearly the point of the F80, and thank
him very much for taking the time. This
is a typical response to this all-in-one
system. Another reviewer said, When
you see it you smile, when you hear it
you want one.
The F80 is a serious music system: a
transportable entertainment system with
built-in radio, CD, and DVD, and
enough connectivity to allow three
external sources. Each part is fanatically
optimized, right down to the config-
urable external and internal antennas.
But for us, even more important is that it
embodies 30 years of know-how of
active and digital loudspeaker design, a
fanatical appreciation of what reproduces
music (and what breaks that illusion),
and processing informed by psychoa-
coustics. It is no accident that the F80
makes a big sound, fills a room, delivers
a wide range, and renders dynamics and
coherency. All that is the how, and to
appreciate what Wes is saying, you need
to hear one.
The why is to provide immense and
long-lasting pleasure, and to bring seri-
ous music enjoyment with no fuss to
many more locations in the home, an
apartment, on vacation, etc. We also see
the F80 as an ambassador for not only
Meridian and our values, but for the
message high-end audio needs to bring
to the unaware. Bob Stuart
Meridian Audio Ltd.
LFD Integrated Zero Mk.III
We listed the wrong contact information
in Sam Telligs report on the LFD Inte-
grated Zero Mk.III amplifier in Febru-
ary (p.21). The correct e-mail address for
LFD Audio is lfd_audio@yahoo.co.uk
and LFDs website, still under construc-
tion as this issue went to press, is
www.lfdaudio.com. John Atkinson
MANUFACTURE RS COMME NTS MANUFACTURE RS COMME NTS MAN U FACT U R E RS C OMME NTS
polls. In the vaults of Columbia Records, producer Michael
Cuscuna found a professionally recorded, three-track master
of a long-lost Horace Silver set at the Newport Jazz
Festival.
This new album, from Sunday, July 6, 1958, is especially
valuable for four reasons.
First, the Horace Sil-
ver Quintet was the
best, most consistent
hard-bop band ever.
They played a pure,
clean-burning version
of the genre. No won-
derthey invented it.
Second, Newport 58 is
the Quintets only
known recording with
Louis Smith, a forgotten
trumpet player who was
in a league with Blue
Mitchell and Carmell
Jones. Unlike so many
jazz musicians with
short careers, Smith did
not self-destruct, but
became a music teacher.
Smith eats alive the four
tunes on this album
with a glittery metal tone, sharp ideas that rarely repeat, and
drop-
dead chops. His three choruses on The Outlaw kill.
So does all of Junior Cooks gut-levelhonest work here,
with its limber swing. Junior Cook was always money.
Third, there are two rarely
heard original pieces of flawless
Silver funk, Tippin and The
Outlaw, both with hooks that set
deep.
Fourth, live recordings of Sil-
vers band are almost nonexistent.
Silver was a perfectionist who
preferred recording in a studio,
yet he played his best piano for
live audiences. Every note of
every one of his tight, locked-in
solos here pops like a little explo-
sion of joie de vivre. His comping
is wicked, with perfectly placed
stabs of propulsion.
If you turn it up a little, the
sound is decent, and the music is
worth the 50-year wait.
Thomas Conrad
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continued from p.199
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Acoustic Sounds . . . . . 158, 162163
Acoustic Zen . . . . . . . . . . . . . . . . . 106
American Power Conversion. . . . . 19
Analysis Plus. . . . . . . . . . . . . . . . . . 147
Angstrom Loudspeakers . . . . . . 45
April Design. . . . . . . . . . . . . . . . . . 205
Archive Audio . . . . . . . . . . . . . . . . 174
Aria Audio. . . . . . . . . . . . . . . . . . . . 204
Atoll Electronique. . . . . . . . . . . . . 106
Audience. . . . . . . . . . . . . . . . . . . . . 120
Audio Advisor . . . . . . . . . . . . . . . . 197
Audio Connection. . . . . . . . . . . . 172
Audio Nexus . . . . . . . . . . . . . . . . . 180
Audio Plus Services. . . . . . . . . . . . C4
Audio Vision SF. . . . . . . . . . . . . . . 164
Audio Visions South. . . . . . . . . . 150
Audioengine. . . . . . . . . . . . . . . . . 204
Audiowaves. . . . . . . . . . . . . . . . . . 178
AudioQuest . . . . . . . . . . . . . . . . . . . 52
Aurum Acoustics. . . . . . . . . . . . . 205
Avalon Acoustics. . . . . . . . . . . . . . . 16
Ayre Acoustics . . . . . . . . . . . . . . . . . 28
Balanced Audio. . . . . . . . . . . . . . 89
BC Acoustique . . . . . . . . . . . . . . . 110
Bel Canto. . . . . . . . . . . . . . . . . . . . . . 54
Benchmark. . . . . . . . . . . . . . . . . . . . 77
Bryston. . . . . . . . . . . . . . . . . . . . . . . . 73
Cable Company. . . . . . . . . . . . . . 170
Canton. . . . . . . . . . . . . . . . . . . . . . . . 71
Cardas. . . . . . . . . . . . . . . . . . . . . . . . . 54
Coincident . . . . . . . . . . . . . . . . . . . 204
Conrad Johnson. . . . . . . . . . . . . . 120
Crystal Cable. . . . . . . . . . . . . . 132, C3
CSA Audio. . . . . . . . . . . . . . . . . . . . 174
Dynaudio. . . . . . . . . . . . . . . . . . . . . . 46
Elusive Disc. . . . . . 3839, 128, 138
Esoteric. . . . . . . . . . . . . . . . . . . . . . . . 96
Festival Son and Image. . . . . . . 192
Fidelis Audio. . . . . . . . . . . . . . . . . . 206
Galen Carol. . . . . . . . . . . . . . . . . . . 206
Gateway Sound. . . . . . . . . . . . . . 180
Goodwins High End . . . . . . . . . 176
Hansen Audio. . . . . . . . . . . . . . . . . C2
HCM Audio . . . . . . . . . . . . . . . . . . 182
HeadRoom. . . . . . . . . . . . . . . . . . . . 58
High End Society . . . . . . . . . . . . . 129
Immedia. . . . . . . . . . . . . . . . . . . . . 124
Innovative Audio . . . . . . . . . . . . . 187
JL Audio . . . . . . . . . . . . . . . . . . . . . . . 56
Joseph Audio. . . . . . . . . . . . . . . . . . 26
JPS Labs . . . . . . . . . . . . . . . . . . . . . . . 59
JS Audio. . . . . . . . . . . . . . . . . . . . . . 181
Kimber Kable. . . . . . . . . . . . . . . . . 114
Koetsu. . . . . . . . . . . . . . . . . . . . . . . . 108
Lamm Industries. . . . . . . . . . . . . . . 94
LAT International. . . . . . . . . . . . . . . 45
Laufer Teknik . . . . . . . . . . . . . . 4243
Legacy Audio. . . . . . . . . . . . . . . . . 112
Linn. . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Lotus Group (Acoustic Revive,
Oyaide). . . . . . . . . . . . . . . . . . . . . . . . 30
Manley Labs. . . . . . . . . . . . . . . . . . 205
Mark Levinson. . . . . . . . . . . . . . . . . 65
May Audio. . . . . . . . . . . . . . . . . . . . 114
MBL of America . . . . . . . . . . . . . . . 86
Merlin. . . . . . . . . . . . . . . . . . . . . . . . 205
Montana Loudspeakers. . . . . . 118
Music Direct. . . . . . . . . . . 14-15, 200
Musical Sounds. . . . . . . . . . . . 34, 77
Musical Surroundings . . . 154, 166
Musikmatters. . . . . . . . . . . . . . . . . 124
NAD. . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Nagra. . . . . . . . . . . . . . . . . . . . . . . . . . 80
Naim. . . . . . . . . . . . . . . . . . . . . . . . . . 59
Nawrocka. . . . . . . . . . . . . . . . . . . . 172
Needle Doctor . . . . . . . . . . . . . . . 202
Ne Plus Ultra . . . . . . . . . . . . . . . . . 188
Nordost . . . . . . . . . . . . . . . . . . . . . . 102
Nuts About Hi Fi . . . . . . . . . . . . . . 148
Overture. . . . . . . . . . . . . . . . . . . . . . . 99
Palmetto Audio . . . . . . . . . . . . . . 206
Parts Express . . . . . . . . . . . . . . . . . 198
Paradigm. . . . . . . . . . . . . . . . . . . . . . 10
Pass Laboratories. . . . . . . . . . . . . 100
PS Audio. . . . . . . . . . . . . . . . . . . . . . . 90
PSB. . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
RealTraps . . . . . . . . . . . . . . . . . . . . . . 51
Reference 3A. . . . . . . . . . . . . . . . . 178
Reference Recordings. . . . . . . . 199
Reno Hi-Fi . . . . . . . . . . . . . . . . . . . . 207
Rives Audio. . . . . . . . . . . . . . . . . . . . 93
Rogue Audio . . . . . . . . . . . . . . . . . . 80
Salagar. . . . . . . . . . . . . . . . . . . . . . . . . 41
Sanus . . . . . . . . . . . . . . . . . . . . . . . . . 20
Shunyata . . . . . . . . . . . . . . . . . . . . . . 32
Siltech . . . . . . . . . . . . . . . . . . . . . . . . . 50
Simaudio. . . . . . . . . . . . . . . . . . . . . . 12
Sound By Singer. . . . . . . . . 116, 152
Sound Organisation. . . . . . . . . . 122
Stage 3. . . . . . . . . . . . . . . . . . . . . . . 204
Sumiko. . . . . . . . . . . . . . . . . . . . . . . . 27
The Sound Experience . . . . . . . 142
Totem Acoustics . . . . . . . . . . . . . . 6, 7
Tyler Acoustics . . . . . . . . . . . . . . . . . 51
United Home Audio. . . . . . . . . . 207
Upscale Audio. . . 6667, 141, 160
Van den Hul . . . . . . . . . . . . . . . . . . . 34
Vandersteen. . . . . . . . . . . . . . . . . . 134
VAS Industries . . . . . . . . . . . . . . . . . 88
Verity . . . . . . . . . . . . . . . . . . . . . . . . . 100
Vincent Audio . . . . . . . . . . . . . . . . 128
VTL. . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Walker Audio. . . . . . . . . . . . . . . . . 130
Wavelength Audio. . . . . . . . . . . . 134
WBT. . . . . . . . . . . . . . . . . . . . . . . . . . 110
Wilson Audio. . . . . . . . . . . . . . . 23, 25
YG Acoustics. . . . . . . . . . . . . . . . . . . 44
Zu Audio . . . . . . . . . . . . . . . . . . . . . 104
ZVOX. . . . . . . . . . . . . . . . . . . . . . . . . 130
Stereophile (USPS #734-970 ISSN: 0585-2544) Vol.31 No.4, April 2008, Issue Number 339. Copyright 2008 by Source Interlink Magazines, LLC. All rights reserved. Published monthly by Source Interlink Media,
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please contact Helene Stoner at:
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e-mail: Helene.Stoner@sourceinterlink.com
The deadline for the July 2008 issue
is April 30, 2008.
On Sale: June 17, 2008
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AUR AL ROBERT
Rober t Bai r d
Loves Labours Found
Y
ears ago, in Santa Fe, New Mex-
ico, I was sitting at my desk at
Stereophile, on Delgado Street,
minding my own business,
probably writing something
unkind about Stings latest
record or some such other deserving
piece ofwell, you get the ideawhen an
unfamiliar voice on the other end of the
phone line informed me that he had a
half-track analog tape of Gram Parsons
and the Flying Burrito Brothers playing
at the once legendary, now sadly defunct
Palomino Club, on North Hollywoods
Lankershim Boulevard. He said his name
was George Bullfrog. Uh-huh. So
George Bullfrog has an unreleased tape
of Gram? I was, to put it mildly, skeptical.
As it turns out, he did indeed have a fine
tape of Gram, which Stereophile editor John
Atkinson rescued from certain deteriora-
tion and transferred to CD. Mr. Bullfrog
then became one of my dearest friends,
and several years later, under no duress or
spell of John Barleycorn, he began telling
me another tale. It involved that same
Gram tape, but this time someone else
wanted to transfer and release it legally. In
other words, some poor glutton for pun-
ishment was going to try to clear a bootleg.
In music-biz legalese, clearing means pay-
ing off everyone who was a part of the
bands universe at the time: band members
(or their estates), the bands record label,
the song publishers, etc., etc., etc., on and
on. Its an endeavor only fools or zealots
would attempt. Enter Amoeba Records
owner, David Prinz.
I wanted to show that it could be done,
that it could actually be a little profitable,
and to give us credibility with other artists
so that we could perhaps get into their cat-
alogs and their archival stuff. Theres a
tremendous amount of people who want
to hear archival stuff from their artists, who
want to hear different stuff. How many
times can you listen to Gilded Palace of Sin?
Honestly, its so nice to hear some new
songs. There are a million different ways to
get new music out if people are just a little
less rigid about it, and a little more open. I
think it can happen.
As you may have deduced from those
statements, Prinz was exactly the right
man for the job. A nice guy, with a mix of
music-business savvy and extreme obses-
sion, he also happens to be what he calls
the craziest Gram fan in the world,
before quickly adding, but Im not into
hoarding it and not letting other people
hear it. I went to battle for all us Gram
fans, not just for
me.
Battle doesnt begin
to describe the series
of near miracles that
preceded the release
on Amoeba Records
not of the Palomino
date, which will
appear sometime
laterof The Gram
Parsons Archives Vol.1:
Gram Parsons & The
Flying Burrito Brothers,
Live at the Avalon Ball-
room 1969. An unbe-
lievably pristine-
sounding live record-
ing, this two-CD, 27-
track rare jewel features two entire sets
(April 4 and 6, 1969), and knockout cover
performances of such songs as Dark End of
the Street, as well as Parson originalssuch
as Sin City.
The Queens, NY-born Prinz, opened
Amoeba Records on Telegraph Avenue in
Berkeley, California, in 1990, and has since
gone on to open stores in San Francisco
and Los Angeles. For music fans of all eras
and genres, the L.A. store is ground zero of
record retail: the largest, deepest CD/LP
store on earth; a supermarket-sized space
with its own parking garage. Prinz, who
has since signed a new artist to Amoeba,
singer Brandi Shearer, admits he got into
the record-label business to issue previous-
ly unreleased and uncleared Gram Parsons
recordings. The first steps on this torturous
path have taught him a lot.
The Avalon recordings were owned
by Owsley Stanley, better known as
Bear, the LSD wizard and Grateful
Dead sound engineer who is responsible
for that bands massive tape library. Only
through the intercession of frequent Jerry
Garcia collaborator Dave Grisman was
Prinz able to get Bear to sign off on the
Parsons project. It then took more than
two years, and the able assistance of
entertainment lawyer and author Don
Passman (his All You Need to Know About
the Music Business is now in its sixth edi-
tion), to get the okey-dokey of Vivendi,
which owns whats left of the Burritos
label, A&M Records. Finally, ex-Burrito
Chris Hillman was persuaded to sign a
release only after Paul McCartney made
an in-store appearance in Los Angeles.
Paul decides hes going to do an in-store
for the first time in his career, and he wants
to do it at our store, says Prinz. That
week, my lawyer calls me and
says, Ive
heard from Hillman, I think theyre going
to sign. So the answer to getting Hillman
to sign, Prinz laughs incredulously, was to
have a Beatle do an in-store?
Prinz has at least four more Parsons
releases ready to come outassuming he
can clear them. Included in that batch are
a 1973 Parsons show with his post-Burri-
tos solo band, the Fallen Angels, and a
1969 show at the Kaleidoscope in Los
Angeles with the Byrds. Prinz also has a
possible line on the recordings of the
Byrds performing at the Grand Ole
Opry, as well as Parsons much-rumored
Lost Album. In the meantime, Robert
Plant has become a fan of the Gram Par-
sons Archives serieshe recently made a
point of being photographed wearing a
promotional T-shirt for Live at the Avalon
Ballroom 1969.
Perhaps the biggest question, at least
for those who care about sound, is the
eternal problem with bootlegs: listenabil-
ity. Too many bootlegs are marginal audi-
ence tapes that are, at best, muddy and
muffled. But as with everything else in
this story, Prinz has both worked hardin
this case, on improving the soundand
been lucky: much of the source tapes hes
found are high quality.
Literally, I said, Alright, this is how
we listen to Gram boots from where Im
from: You turn the bass down, you turn
the treble up a little, and then you can
hear his voice. In the studio, we tried to
de-emphasize the instrumentals and
bring up the vocal mike. In the end,
some people of course said the vocals are
a little too high, and you know what I say
to them? I got a bunch of bootlegs if you
want to hear his vocals down.
Sir Paul, Brandi Shearer, and David Prinz.
C
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