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 As We See It
Barry Willis

S
tadium rock is my idea of the inner offer of no-charge hearing protection, pre- siveness. The pair resembled characters
circle of Hell. Ihate crowds. Ihave ferring to face the music head-on. "Free- out of Bram Stoker or Mary Shelley:
zero interest in the rich and famous. dom's just another word for nothin' left to Wood, in awell-tailored bright red jacket,
And I've never been much of aRolling loser Ishouted. looked every bit the decadent 18th-centu-
Stones fan. Give me achoice, and I'll take The private box never materialized. ry nobleman; Richards, in along zebra-
Weslia Whitfield at the Plush Room 10 Our seats were on the field near the stage. pattern coat and leopard-print shirt, was
times out of 10: acushy seat, some witty Constructed in what would be baseball's death warmed over for New Year's Eve.
companions, a little Irving Berlin and center field, the set was amarvel of elegant Drummer Charlie Watts — ever the stolid
Cole Porter. Heavenly. design and technology, a science-fiction foundation — made afashion understate-
So why did Ifind myself within spitting Babylon, so tall that the Federal Aviation ment in asimple denim shirt and dark
distance of Mick Jagger & Crew at the Administration required that it have warn- trousers. Throughout the show, black-clad
Oakland Coliseum? My significant other's ing lights. Flanking the stage were two camera operators slunk about in that curi-
enthusiastic cajoling ... and amusic-mer- enormous golden statues whose symbolic ous, half-crouching I-don't-really-exist
chandising friend's promise of easy tickets, significance was never clear. Above them posture of onstage technicians every-
easy parking, and aprivate box. were golden clusters of loudspeakers like where. They were careful not to linger too
We convened at the Oakland Airport gigantic sonic pineapples. How many giga- long on the ravaged Stone faces.
Hilton, where my music-merchandising watts, did the newspaper say? The equivalent The damp cool air in the stadium was
friend (hereinafter: MMF) was entertain- of 10,000 home stereo systems. thick with the skunky aroma of apopular
ing aroomful of Stones fans at company Above stage center was an elliptical and potent agricultural product. "I owe
expense. Unlike the fabled drug-and-drink video screen, maybe 80' wide, surrounded my high to Humboldt County," Richards
fests of years gone by, this pre-game gath- by lights and gas jets and fireworks launch- announced to wild applause. A helicopter
ering was asedate affair: soft drinks and ers and capable, Isoon learned, of very patrolled the stadium's perimeter, playing
mineral water for the oft-rehabilitated, good color, brightness, and resolution. A its spotlight on the sea of automobiles out-
who regaled each other with exaggerated giant inflatable female figure, bronzed and side. A full moon rose above us as the
recountings of concert exploits — numbers voluptuous as aHindu goddess, hovered at band began "Sympathy for the Devil."
of bottles drunk, ounces smoked, grams stage left. All of it was covered and uncov- "And now," said Jagger, with his odd elo-
snorted, hours endured without sleep, fur- ered by shimmering draperies so skillfully cution, "Falliyup the Swiyetch." Flip the
nishings thrown from hotel windows. operated we never noticed them working. switch. Although his petulant pout and
As designated driver, Ielected to remain Set designer Mark Fisher called his cre- androgynous posturing are considerably
sober. Every entrance to the Coliseum was ation "a cyberclassical opera house," a less appealing now than 25 years ago—
packed, but MMF led us around to the house so big it requires acaravan of 75 not to mention no longer au courant —
"back side," where our battered SUV took trucks, 10 buses, and an expert technical Jagger still gives nothing away to perform-
its place in line with the ultra-stretch limos. crew of 250 to put it all together so seam- ers half his age. For three solid hours, he
Ah, the privileges of power: While the ple- lessly. An incredibly expensive undertak- and his mates gave the audience what it
beians did the glacial shuffle in the chilly ing, but the five days in Oakland raked in wanted and expected. Even this arena-
drizzle, we cruised quickly and comfort- well over 12 million bucks — 50,000 tick- rock-hating curmudgeon was shaking his
ably to reserved parking. ets per show at an average cost of $50 booty by evening's end.
A short walk up the ramp and we were each, times five days. Multiply that by The Stones were spectacular, but to me
in. Pearl Jam was midway through the every stop on the tour, subtract every con- the true stars of the show were the un-
warmup: a deafening, undifferentiated ceivable cost, and we're still talking big named technical geniuses who designed,
roar, over which Eddie Vedder was culti- profits. Which explains why Mick Jagger choreographed, and operated the whole
vating a blue-ribbon batch of laryngeal long ago forgot that he "would rather die production. The timing of every effect
polyps. By the aperiodic applause, Icould than sing 'Satisfaction' at 40." was perfect, from the stop-motion video
tell that the band was playing different Fourteen years beyond his self-imposed to the hydraulic bridge that emerged from
songs. (Some people even seemed to deadline, "Satisfaction" is still his opener, the stage to the snowstorm of confetti that
know the lyrics, and sang along.) But, kicked off by agiant ball of flame just engulfed the stadium to the fireworks
honest to God, it all sounded the same to above the stage. For the next three hours finale that filled the sky.
me: sustained angry sonic mush. the always-athletic Ja 14:er ran like amani- How was the sound? This brave and
Earplugs. Damn, Iforgot earplugs. Emer- ac from one end to the other, wearing a true audiofool did remove his earplugs for
gency procedure: Backtrack to the rest- different coat or jacket for every number, amoment or two. It sounded like God's
room, rip off a length of paper towel, occasionally strapping on a guitar and Boombox: raspy and nasty and bigger
manufacture two ad hoc rolled-paper-and- strumming afew chords for effect. than Texas. Anti-hi-fi: just the way the
saliva plugs, insert partway into ear canals. By contrast, guitarists Ron Wood and Stones and their followers like it. Should
Safety first! No warding off the low-bass Keith Richards are from the walking-dead you have the chance, take at least one of
visceral massage, though —just rolled school of performing arts, making up with the Bridges to Babylon — if not this year,
with it. My friends declined my sincere subtlety what they lack in physical effu- then next time around. I'm glad Idid. 13

Stereophile, January 1998 3

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The 300B tube is considered by tube afficiona- instrument — not some "auditory hi-fi spectac-
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audio tube ever designed. ACary Class ATriode is an amplifier you
The Cary Single-Ended Class ATriode "feel". An amplifier that delivers "goose-
Amplifiers have the high-end audio community bumps" and "raised hair" as you transcend into
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 Features
73 Encore!
Wes Phillips andJohn Atkinson describe the making ofStereophile's
latest recording with the Santa Fe Chamber Music Festival.

87 A Future without Feedback?

Martin Colloms asks whether negativefeedback, almost
universally applied to amplifier designs, is agood thing.

94 Soul Survivor
Once avictim of lfie's cirrumstances, Delbert
McClinton has persevered to become one of the
fortunatefew. Interview by Robert Baird.

101 The Solti Ring Remastered

Again
Never an easy listen (or ashort one) anew
remastertng of Wagner's Ring is music to the
ears. Richard Lehner.

225 Index to Volume 20

A complete at-a-glance listing of articles and
reviewsfrom 1997

Equipment Reports
107 Mark Levinson No.33H monoblock power amplifier (Wes Phillips)

112 Nagra PL-P preamplifier (Jonathan Scull)

121 Audio Research LS9 preamplifier (Steven Stone)
129 Myryad MC 100 CD player (John Atkinson)
137 Encore Ovation4 D/A processor (Muse Kastanovich)
145 Aerial Acoustics Model 8 loudspeaker (Michael Fremer)
155 Sonus Faber Concerto loudspeaker (Martin Colloms)
165 Dynaudio Contour 3.3 loudspeaker (Wes Phillips)

175 Synergistic Research Designers' Reference interconnect (Jonathan Scull)

175 Synergistic Research Designer's Reference speaker wire (Jonathan Scull)

175 Synergistic Research Designer's Reference digital datalink (Jonathan Scull)

178 Synergistic Research Designer's Reference interconnects & speaker wires
(Bri
an

Follow-Up
110 Krell FPB 600 power amplifier (Wes Phillips)
143 Polyfusion 230 D/A module (Muse Kastanovich)
183 California Audio Labs Gamma D/A processor (Robert J. Reina)
183 Totem Model 1loudspeaker (Larry Greenhill)
183 Totem Model 1Signature loudspeaker (Larry Greenhill)
185 Wilson Audio Specialties VVitt Series II loudspeaker (Manin Colloms)

189 Day-Sequerra FM Reference Classic tuner (Lan)' Greenhill)

6 Stereophile, January 1998

 Staff
Columns Editor
Founder 8. Chief Tester
John Atkinson
J. Gordon Holt
3 As We See It Publisher Lan)' Archibald
fohn Atkinson looks back on the audio happenings ql .1997 Assistant Publisher Gretchen Grogan
Managing Editor Deborah Starr
11 Letters Music Editor Robert Baird
this month: Lawrence Welk, the good lifi; musical pluses, MIT OP Squared Equipment Reports Editor Wes Phillips
cables, high-end berfi and In-reins, the Black Hole of the High End, reviewer perkç, Consulting Technical Editor 71tontasj Norton
comments on comments. high blood pressure, whiners, the dcjinition of "real" music, Astor Senior Contributing Editors Martin 011onts,
Plaa; test CDs, room placement, and new CL) labeling requirements. Michael Frenter,fonathan Scull
Copy Editor Richard Lehnert
29 Industry Update
High-end news, includirre dealer-promoted seminars, plus: corrections; DIVX and Contributing Editors (Hardware)
Circuit City; the latest from CEDM, AES, and the Windmnere Coufirence; Lisa Astor, ',nitric Brownell, Brian l)amkroger, Roben Deutsch,
Slum llllll 1)ieksoto, (Any Greenhill, Jon /WWII, Muse Kastanswich,
Meridian's room-acoustics conrction system; Nakamichi and Best Buy; Sony's MiniDisc; Paul AteSSalger, RObill J. ¡6-ma, Richard J. Rosen, Kalman
UK companies use the HD CD chip; tin-future of home entertainment; classical in the Rubinson, Markus Sauer, Don A. Scott, Chip Stem, Steven A MC,
&MI 1illi, Barry IVillis
classroom; MA's commercial digital loudspeaker; alaser sound-alignmmt system3PWs
Philosopher in Residence Core Riisch
Millennium loudspeaker series; and an overall market update.
Contributing Editors (Music)
51 Sam's Space Paul L Leslie S. lterkhy, Lin) ,Bin:banns Dan Buckley,Jmon
.4rulnw Gdten, urinas Gnmul, Mortimer H. Fmk, Bob
Sam 'Reg starts the new year by listening to passive and active preamplyiers. Gulla, Robert liesson, Roben Levi's; Sarah Bryan Miller, Keith Moms,

59 Analog Corner Dan (Mellish., Richard Schneider, David Sokol, lkwid Patrick Steams,
Chip Stens Zan Sh115111, Stay Stoldr, John Swenson, Michael
michad I:remer reports on vinyl and analog at AES, as well as the Lyra Arion nioi'ing- Ullman, David limier,IP IlYarirn!
coil step-up earenner.
Overseas operations (UK)/Subscriptions
69 Undercurrents Nick Krug (44) 181-289-1571
What's so 1-eat about objectivity? fax (44) 181-289-1572

Georve R;isch takes alook. Chief Executive Officer Larry Archibald

President Ralph Johnson
193 Aural Robert Vice President/Editorial Director John Atkinson
After 'The Spice Girls and Elton Director of Finance 8Administration Jenyfrees
Credit Manager Steven Stoner
John's "Candle in the Wind," Circulation Director Mary Olivera
Robert Bairdfinds 1997 to be the Promotions Director Tom Gillen
Fulfillment Manager Katrina Beni,
Year of the Once
Promotions Manager Gayle McGuiness
197 Building a Library Customer Service Manager
Marketing Manager
Alolly Crenshaw
Steven R. Wirier
Mortimer H. Frank reviews the HI-FI Show Director %fauns Rieland
"undficial"Tbscanini catalog. Show Coordinator/Exhibitor Logistics Kathy Huff
Show Coordinator/Promotions 8Collateral... Lyre: Taulbee.
205 Record Reviews Production Director Manha Payne
Phi/lips&es tlw nod to Ry Cooder's Buena Vista Social Clubjanuary's Production Manager Timm Fenstermaker
Production Phil Baca, Anne Peacocks', Luira Ratcliffe
"Recording of .the Month." In classical, !Irwin Hewitt's new disc rf Bach partitas and Ad Copy Manager Pip limrsenbaum
pianist Arcadi Wodos are put under the microscope. In rock, the dark new Dylan disc Art Director Hilary [farce
Cover Photo
scores big. In jazz, Thni Conrad sump anew group ofImpulse! reissues, and Chip Support Staff ,15113oolaitilta,Tna &Me, Tian {Bar Gdvilk
Stern gets down with the new Sonny Rollins boxed set. David Hernimk, Mary Plans,J.IinderSalazar, Bill Sinadinos
Web Producer Jon Iverson
237 Manufacturers' Comments
Advertising Representatives
Tides gossip, grading, and generalities. East of the Mississippi 8 Foreign

258 The Final Word

Ken N'ison •Nebuis & ASSOCiateS, Inc.
62 Wendova Rit •Yonkers, NY 10705
Publisher Lany Archibald eaplains why heft& high-end audio is about to boom. (914) 476-3157 •fax (914) 969-2746
West of the Mississippi 8 National Dealers
Laura J. Atkinson •Lolfrch6 ,Associates •SaMil Fe, NM 87501
Information (505) 988-3284 •fax (505) 982-5806
LoVecchio_Associatei@Compiherve.rom
247 Where to Buy Stereophile
Important Telephone Numbers
251 Audio Mart Subscriptions: Inquiries, missing issues, address changes,

257 Subscriptions or
problems, us 8Canada... Bini-13000 l'ir (800)444-8918
Cii,romerx•ri-i,i“ ,tereophile.e0i.
Business (5(15) 982-2366
130 Back Issues Business fax (505) 989-8791
Editorial (505) 982-1411
244 Stereophile Binders Editorial fax (505) 983-6327
Thomas J. Norton (505) 438-7086
100 Stereophile's Website Wes Phillips v‘phillipWitereophile.coin
Robert Baird !laird rc@aol.com
72 Stereophile's Encore CD MCI Mail "Stereophile" 288-3236
Internet jarkiniongstereophile.con,
106 Stereophile Recordings Classified Advertisements (505) 982-1411
Back Issues, LPs, CDs (800) 358-6274
90 Stereophile Guide to Home Theater Subscriptions: Outside US
Stereophile Website
(619) 745-2809
www.stereophile.coni
66 HI-Fl '98, The Home Theater & Specialty Audio Show HI-FI '98 Website
45 „d
in%
www.hilishow.coin

257 Ad Index

Stereophile, January 1998 7

 ci
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 Letters

Ooh, that's so ... digital! participating in far too often. "The faithful reproduction of music"
Editor: Isuspect that Robert Baird has had a isn't what you are all talking about, it's
Just picked up a digital recording of large part in these new features and the "faithful reproduction of the media
Lawrence Welk. What agreat-sounding changes, and Iwould like to thank him. the source was recorded onto."
CD — from the moment he counts off The musical review section has also Todd Mason
the first song with "And a-one and a- greatly improved, offering, Ibelieve, a 771dd_mason@p-com.wm
zero ... " Peter Roberts larger variety of reviews and "histories."
Canyon, CA Kudos, Mr. Baird! Lou Armstrong Digging adeeper hole?
proberts@rocketmaitcom Austin, TX Ehii.
Lon.Artnstrong@gscstate.tx.us The more they say, the deeper they dig
The good life? their hole. Ijust read MIT's comments
Editor: Bad job? in the November'97 Stereophile (pp229-
I'm envious of Howard J. Blumenthal Editor: 230) regarding Martin Colloms' HI-FI
(December '97, p.89) — not so much for Why aren't there specifications for '97 coverage of MIT OP Squared
the audio system he put together, but cables? Frequency-response plots, ca- cables. Ihave to agree with Martin that
because, as he states, "From 10am until pacitance/resistance/inductance val- OP Squared appears to consist of bridg-
7pm, most days, Ilisten to music and I ues? Why should we spend $1500 for ing an amplifier with an MIT termina-
write." Ah, the good life... apair of speaker cables without any tion network.
Marc Mickelson hard data, but a $1500 preamplifier Surprisingly, MIT is the first cable
marc@mailbag.com gets the runthrough? It's the same con- company to offer a neatly packaged
sumer's money. bridging network. Also, their termina-
Yup, as the late James Thurber wrote, It seems every cable review reads the tion network may solor the sound in a
Writing is easy You just put ablank sheet of same: "transparent," "neutral," blah blah beneficial way (coloring the sound is not
paper in the typewriter and stare at it until blah. And on the same wavelength, who acrime). However, most of their "Man-
beads qf blood break out on yourforehear cares if somebody's system sounds eu- ufacturers' Comments" arguments seem
—JA phoric? Isn't the whole point of audio to carefully crafted to be technically cor-
enjoy listening to your system? Krell rect, yet confusing to the consumer.
Good taste? solid-state vs Cary single-ended triode: Stereophile should expose more of the
Editor: they are both right, each for one of two quackery that detracts from the hobby
In his review of the Sonic Frontiers Line 1 different listeners. we all love. You should give more credit
and Power 1 (November '97, p.165), All this crap about "faithfully repro- to companies like Bryston, Meridian, and
Muse Kastanovich mentions that the ducing music"— think about what hap- Dunlavy Audio Labs, which advance the
capabilities of the preamplifier remind pens to the sound of aMartin acoustic state of the art while providing sound,
him of "that great Journey song, 'Any guitar or a Steinway piano once the value-oriented engineering and advice.
Way You Want It.' " sound goes into a microphone, then (Read, for example, what Bob Stuart and
Excuse me ... if that's his idea of a into an open-reel recorder (for exam- John Dunlavy say about cables.)
great song, Itruly don't care what he ple). Does that open-reel tape hold The snake oil will ruin this business.
thinks about anything else. the true sound? You have got to be shit- Their is a limited number of audio-
Dean A. Smith ting me. philes out there. One day we'll get tired
Ridefield, CT of wasting money. No name given
audiojim@webtv.net
Good job!
Letters to the Editor should be sent
Editor: High-end beefs & bargains
to The Editor, Stereophile, P.O. Box
Ihave noticed achange in Stereophile over Editor:
the past years, and Ilove it! There are 5529, Santa Fe, NM 87502-5529.
In the same issue (November '97) in
more interviews with musicians, pro- Fax: (505) 983-6327. E-mail: John
which you were kind enough to publish
ducers, engineers, and others involved in Atkinson, Stereophile Editor@comp
my beef about high-end prices, Shan-
userve.com or Letters@stereophile.
the "music business." Sure, Ienjoy all the non Dickson proclaims the $25,000/
com. Unless marked otherwise, all let-
product reviews, but Ireally appreciate pair Audio Artistry Beethoven loud-
ters are assumed to be for possible
the insights and facts gained from these speaker a"bargain," the second so nom-
publication. Ifyou have problems with
interviews and articles about the musi- inated after the Dunlavy SC-VI. For all
your subscription, address your e-mail
cal personalities and products of yester- the moaning and gnashing of teeth and
to Molly Crenshaw at 103230.635
day, today, and tomorrow. It helps me to straining at gnats that John Atkinson
@compuserve.com or Customerservice
remember to listen and enjoy, and not and Larry Archibald do about the
@stereophile.com
just tweak and fidget —activities that I future of the High End, they swallow
find myself, as aveteran "audiophile," the camel of $25,000 speakers and

Stereophile, January 1998 11

The horse, the automobile. The typewriter, the computer. The cassette tape,
the Digital Recordable MiniDisc. Record music on your home deck and play it
back anywhere. Just like tape. Digital sound and instant access to any song. Just
like aCD. Record or mix up to 74 minutes from your CDs. All on one 2.5-inch
MiniDisc. Then take it anywhere you go, and play it back on your car deck or
portable player. Now that's progress.

,0997 Sony 1InI,00,cç Inc All nqhls irse, red Sony is a»lone ol Sony SONY"
 Letters

pronounce it delicious. following requirements be met. should continue to explore those designs that
JA, the emperor really doesn't have First andforemost, does the selling price ofa stretch the boundaries ofpeifonnance There is
any clothes. The future of high-end component reef a fair and defensible markup no shortage of audio publications that deal
audio is threatened not by digital vs ana- on the manufacturer's cost to produce that exclusively with the budget realm of the
log, or DVD, or home theater, but by product, including the cost of all components audio/video market, and God bless them. We
prices for equipment that quite literally and labor used? Second, does its price compare pick up where they leave off
equal the average annual income of a favorably with (ie, is less than) other products Everyone should share Mr. Jacob's appro-
family of four here in Tucson. in its overall price/performance category? If priate disdain for those products and acces-
By whose standard and under what thesefirst two criteria are met, and, in the opin- sories that are clearly overpriced and take
logic is $25,000 a"bargain"? The answer ion of the reviewer, the product outperforms advantage of the gullible. Though more often
is not ahappy one. Your let-them-eat- other well-respected yet more costly competitors, found in the accessory end of the market than
Levinson attitude toward us unwashed then that product can rightfulb,be called abar- among major components, afew examples can
audio masses (and Ifreely confess to gain, whether its price is $1000 or $100,000 — be found in each component group that truly
having an income well below your read- especially if the same or better level ofperfor- deserve Mr. Jacobs' ire for shameful pricing.
ers' average) is not only reprehensible mance cannot be hadfor less. On theflip sidç However, one must be very careful about arbi-
but suicidal. The High End will impale ?fa component costs just $50 and performs its trarily lumping the merely expensive yet
itself on the spear of outrageous prices function beautifully, it should not be considered deserving among this relatively small, disrep-
long before the Shun Mookers decide abargain ifthe cost to produce and market it is utable crowd. Certainly, his implication that
whether NNW or WNW is the right only $5. In this case, `Sip-off" would be amore the Audio Artistry Beethoven and Dunlavy
direction for their magic circles. appropriate descriptor. SC-VI belong in this group is tantamount to
Stereophile is in the exceptional position Mr.Jacobs seems to think that the salvation throwing the baby out with the bathwater.
of having agreat deal of influence on of the High End requires that designen aban- —Shannon Dickson
manufacturers precisely because your don their pursuit of the edge of the envelope
readers tend to buy what the magazine and focus exclusively on "best-bang-for-the- The pull of High End's black hole
recommends. The magazine should be buck" products. He also implies that Stereo- Editor:
used as abully pulpit to push manu- phile is stifling this direction by publishing A few months back, Richard Schram of
facturers to keep their prices down and and praising expensive cutting-edge products. Parasound wrote aletter to Stereophile
give the consumer the most yucks for his Nothing could be further _from the truth. raising points about precursory discus-
bucks. $25,000 doesn't meet any rational Those companies that are willing to risk their sions of technologies having apossible
person's idea of achieving that goal. solvency to stretch the state of what is possible negative effect on sales ("Don't kill our
And, please, spare us the fiction that in audio build the very foundation upon horses," June '97, pp.11-13). Iwas abit
Stereophile "recuses" itself from making whichfuture improvements in more affordable concerned about what seemed to be a
judgments based on price. In every gear are incide. Indeed, when a company piling on of opposing opinions and the
issue, the word "bargain" is attached to develops ahighly praised statement product, harshness of the initial arguments by
some meaty four- or five-figure gew- the resulting exposure typically results in both Wes Phillips and Larry Archibald
gaw. Ihave no objection to your (occa- greater sales of their more modest offerings; in the same issue (pp3 and 258, respec-
sionally) reviewing really expensive this, in turn, helps fuel their R&D fund, tively). Both parties focused on the
equipment, so long as it is not flogged as ensuring future refinements to components at micro-issues brought up, missing the
being given away at fire-sale prices, and all price points. far larger implications, arguments, and
so long as you put alittle fear of the Stereophile should, and does, take partic- discussions that some writers, including
NAD/Rotel god into the big boys' pants. ular pleasure in discovering those rare products Stereophiles, are just beginning to gin-
Even Marie Antoinette finally got it — that offer truly outstanding performance at sur- gerly approach.
alittle too late, though. Mark Jacobs prisingly low prices. However, if we and the The Schram-vs-Stereophile-vs-Schram
Tucson, AZ few other publications that cover cutting-edge fusillade reminded me of wise com-
Ilgacobs302@aol.com produas abandoned that exposure; and all com- ments made to me back in the days of
panies designed and built only to acertain price my youth. As assistant editor of my col-
There is an inherent flaw in Mr. Jacob's logic, point, we might as well all go back to Stereo lege's newspaper, Iwrote an editorial
expressed as well in his November letter: Review, where it seems that perfect soundfor- critical of an on-campus business and
'Anne an all-encompassing generalization, ever has already been achievedfor $999.95. the way it was managed. The criticism
he implies that, since some products are indeed Audio magazine's October 1997 buyer's hit home with both students and profes-
ridiculously overpriced, all expensive products guide lists, in all categories, far more modestly sors. Many of them approached me to
are therefore overpriced simply because they are priced components than "expensive" models. offer spontaneously positive words. It
expensive. Even though there is merit in a Jew In addition, with the exception of a few small also hit home with the managers of the
of his complaints, by painting his aument companies offering top-tier components exclu- business, who, infuriated, suggested that
with too broad abrush Mr. Jacobs undermines sively, most high-end companies produce sub- their careers and possible future earn-
not only his valid points but the cause of truth stantially greater varieties ofaffordable models ings had been damaged by my words
andJa.imess. than cost-no-object designs. So the idea that (sound familiar?), and issued threats to
The determination of whether or not a the audio industry is cutting its own throat sue me personally. In deciding to calm
product is abargain is relative to several rules with elitist prices beyond the reach of real- things abit, Ihad some discussions with
of measure, subjective and objective. The ab- world buyers simply doesn't hold up. our advisor, aprofessor who was him-
solute price ofaproduct, in and ofitseff has lit- Stereophile, too, publishes more reviews of self under administrative pressure due
tle to do with the issue. Before areviewer labels moderately priced products than it does of to the editorial. Ithought publishing a
any component a"bargain," regardless of its expensive statement components, and, Itrust, letter the managers might write in
price, it is incumbent upon him or her to ensure will continue to do so. Nevertheless, we are, response, with a retort on our part,
to the best of his or her ability that each of the first andforemost, ahigh-endjournal, and ive would suffice. Our advisor raised one

Stereophile, January 1998 13

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 Letters

eyebrow — he'd seen all this before — the larger, frightening, and overwhelm- imminent retirement. A recent Web-
smiled, and said, "Michael, as an editor ing phenomenon, he identifies — again, based news write-up Irevealed that, of
of the paper and amore practiced writer, like most of us —a smaller influence those approaching retirement (ages 51
you have some decidedly unfair ad- that does make things worse for him. to 60), more than athird have saved
vantages over aletter writer. You always The larger phenomenon, the Black $10,000 or less, and only athird have
need to be magnanimous to maintain Hole of High End, is both complex and saved $100,000 — hardly enough to re-
fairness." Iwrote, and we ran, astory simple. The simple part is the core of tire on. The reality is that comfortable
detailing the views of the managers, an the Black Hole: its demographics. The retirement today requires about $1 mil-
action everyone thought was forced on Baby-Boom population is waning. lion in productive assets, and more if
us by the administration. That's how I Boomers are and have been the core of you're accustomed to alifestyle that in-
knew I'd been magnanimous enough. high-end hi-fi purchasers. Music was volves acouple of high-end systems now
Wes Phillips and Larry Archibald are the primary medium of the Boomers' and then. Boomers need to grow money
both gifted and practiced writers. While expression and communication during fast, faster than they can earn it in the
Richard Schram's argumentative skills their heyday. (If you don't think it's over, next 10 to 15 years, and they seem to be-
are not lacking in any way, he has the you need to listen to Neil Young's lieve mutual funds are the answer. So high-
distinct disadvantage, as any writer does, "Days that Used to Be," from Ragged end hi-fi is out, and life simplification,
of not having the control to issue the last Glory, Reprise 26315-2.) Their culmi- paying for junior's college, and boomer
word, nor the clout of being either Wes nating event was Woodstock, amusic retirement are in, via investment.
or Larry. August's Stereophile illustrates festival. Then, the equipment used to There's more. The next generation —
this with LA's response to Schram's sec- reproduce that music was all-important. the so-called Xers, asmaller blip in the
ond letter on this subject (p.17). Surveys As aholy building seems to be needed demographics population fluctuations
of the American populace show a to worship adeity, agood hi-fi was a —aren't buying high-end hi-fi. In fact,
remarkable dislike bordering on hatred necessity to render the music. In fact, they don't even know what "hi-fi"
for the media, written and otherwise. I the High End was apart of the culture. means. Unlike Boomers, Xers don't
believe this is the result of the media's David Bromberg's 1979 live recording worship music as the expression of their
loss of aheartfelt magnanimous attitude, of "Bullfrog Blues" (How Late'!! Ya Play whole psyche. They've embraced the
which in itself may be apartial result of '771?, Val, Fantasy FCD-7704-2) is a computer as their primary form of ex-
fiercer competition between media. prime example, complete with a pression. The World Wide Web is their
This power exploitation by media has Stromberg-Carlson tuner in the lyrics.
far-reaching effects, and to alarge de- But the Boomers are getting old. 1CNN Interactive: "America Graying Rapidly," May
gree fuels the denigration of human Their ever-expanding pursuit of high- 20, 1996.
behavior and relations, with incisiveness end hi-fi, along with other luxury goods
and market-share increases as bad formerly eschewed in "The Days that
excuses. Human behavior follows ex- Used to Be," has been replaced with
ample, and media behavior, which once another trend: Life Simplification. It's The Home Theater &
set ahigher standard, is the most promi- about getting rid of stuff of material Specialty Audio Show
nent and available example. possessions that aren't really necessary
June 9-10 Academy Music
Because Stereophile is a magazine or that just make life harder. Does that
& Film Seminar Series
whose writers are mostly set the task of mean Boomer consumers are getting
June 10-11 kaderny Tiode Days
judging rather than reporting, it is only rid of their systems? No, but Krell, (June 9-11 Trade & Press Only)
natural to respond in adefensive man- Acurus, Audio Research, and ahost of
June 12 -14 Consumer Days
ner to manufacturers, and especially to a others are selling lots of integrated am- (Open to the Public)
critical letter. After all, manufacturers plifiers these days. And the trend toward
make the products that Stereophile is sup- separate D/A converters reversed itself The Westin Los Angeles
posed to have the final word on. How- about three to four years ago, leaving Airport Hotel, Los Angeles
ever, when amanufacturer offers alegit- stand-alone single-box CD players the *Come see and hear I dreds of your
favorite brands demonstrated just
imate viewpoint that touches on amuch preferred choice. A no-braMer simplifi- for you.
larger underlying problem or trend, I cation like going to an integrated amp •Experience the latest innovations
often wonder why writers, who usually and aone-piece CD player results in before they hit the market—you get
excel at seeing the forest rather than the one half the equipment and probably to see it first!
•Enjoy over 21 hours of fabulous
trees, miss the larger discussion. just as much enjoyment of the music,
live music.
In fact, Mr. Schram correctly identi- especially because the equipment in- 'Attend informative interactive semi-
fied asmall, prescient symptom of afar volved is getting better. nars featuring smile of the best minds
more cataclysmic occurrence. Stereo- Then there's the separate simplifica- in the industry.
*Consumer tickets on sale in Ikcember.
phile's writings have an overwhelming tion phenomenon of driving apower
Trade Members: Come hear the lat-
effect on his business, not because amplifier directly with aCD player that est industry buzz. Meet the hottest
Stereophile has become too powerful (a sports remote volume capability. I've designers. Attend exciting, educational
concern voiced by afair amount of man- had more than afew dealers tell me workshops and seminars. See the lat-
ufacturers, distributors, and dealers), but they need agood CD player that has est product developments. All this for
you and all free. Fax your preregistra-
because his business, like all of High remote-controlled variable outputs for tion request on your company letter-
End, is being sucked into what Icall— just this purpose. head to (505) 992-6677.
stay with me now, I'm not goin' crack- There are other powerful forces cut- For more information on 111-F1'98. call
pot on you — the Black Hole of High ting the Boomers' spending. They've (505) 992-6600 or fax (505) 992-6677.
End. Like most, Schram feels this hap- got kids going to college, now or soon, Exhibitors: Reserve your space now!
pening; but, unable to divine or accept and they haven't saved enough for Call Ken Nelson at (914) 476-3157.

Stereophile, January 1998 15

 The performance of integrated amplifiers is compromised for per channel into 8ohms and 450 watts per channel into 4ohms.
all-in-one convenience. Integrated amplifiers are not equipped The GFA-5802 also includes switchable balanced (XLR) and
with the heavy-duty, high current, high voltage power supplies unbalanced (RCA) inputs and dual sets of heavy duty, gold
available in the best separate power and preamplifiers. First of all, plated, five way binding posts ideal for biwiring.
there just isn't enough space. More importantly, there are The GFP-750 is a purely passive attenuator/switcher or, at
technical limitations. In an integrated amplifier, such supplies your option, an active preamplifier. In passive mode, the signal
would generate unacceptable levels of heat and hum. And the sees only input switching and the high resolution attenuator. In
high signal levels found in the power output stages create asource typical Adcom fashion, the GFP-750's massive high current power
of noise, crosstalk, and preamplifier instability. Obviously, heat supply features alarge toroicl transformer with multiple secondary
and noise-generating elements shouldn't be operating in close windings for each channel. Specially chosen storage capacitors
proximity to the preamplifier circuits. However, this is insure responsive voltage supply to all active elements. For active
exactly where such elements, scaled down-to be sure, are found gain functions, it offers true differential balanced audio
in integrated amplifiers. signal paths, with MOSFET devices. The GFP-750 features remote
Demonstrably superior quality, along with flexibility, is what control, balanced (XLR) and single ended (RCA) inputs for CI) as
Adcom now offers in two significant new components: well as single ended inputs for four additional line level analog
The GFA-5802 power amplifier and GFP-750 preamplifier. sources. Independent balanced and single ended outputs allow
In the GFA-5802 we chose a classically simple circuit easy interface with almost any amplifier.
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 Letters

version of the rock explosion of the late in single-ended tubes. To further illustrate the Black Hole
'60s and early 70s. Generation Xers For awhile, all the publicity sur- phenomenon: The windsurfing sports
and Boomer parents of younger kids are rounding the "discovery" of the new industry (one of my other lives) explod-
buying computers My own informal thing, whatever it is, helps fuel sales a ed in the US in the '80s. It has just as
poll of consumers across awide spec- bit. But soon the limited pool of people quickly succumbed to decline, due pri-
trum found that, during the last two actually interested in these specialized marily to boomer demographics, but
winter selling seasons, alarge majority of — and, let's face it, weird — gewgaws also with some help from industry atti-
families Ispoke with were buying com- catches up with the trend, collapsing it tudes. The result: From apeak of 2000
puters, spending $1500-$2000 —just into itself like a— surprise —Black Hole. retailers nationwide, the dealer base for
about what adecent hi-fi once went for. It doesn't help that few people (and man- windsurfing has declined to fewer than
"What about anice stereo?" I'd ask. ufacturing companies are run by people) 200 retailers nationwide.
"Yeah, I'd like that too," they'd say, "but are now happy to make aliving. Most of Will this happen in high-end audio?
Ineed the computer more." them want to make akilling. This push- Some industry insiders are already say-
Computers have sucked some of the es to new extremes the natural human ing that two-channel audio is dead.
spending power out of high-end audio. tendency to bandwagon. Many reluctant retailers are being forced
Even worse, some consumers Italk to I'm not the only one who's noticing to sell TVs every day, just to survive and
are playing CDs on their computers. God these trends and developments. The re- do what they love —Mephistopheles,
and J. Gordon Holt save us from this tailers Italk with often offer up, unso- your playground awaits. Sound systems
sacrilege. Much worse yet, audio manu- licited, similar observations. High-end are being turned into appliances.
facturers are suggesting that this is the audio writers are noticing too, but have Whole-house audio-video systems are
way to listen to music! JI3L runs atwo- exhibited an understandable reluctance shopped for, quoted, scheduled, and
page spread with a terminally cool- to plunge into asubject that may cause finally installed, all over the telephone.
looking Don Was (I'm going to stay manufacturers' advertising wallets to In many cases the audio-loving sales guy
away from Don, asubject unto himself), close up like clams touched by ashuck- never sees the customer, his system, his
bare feet kicked up on his presumed ing knife. Nevertheless, some are dip- house, or hears his music. The installa-
desk-in-a-tild-bar, listening to music in ping their toes into the icy pool of the tion crew moves in and out like an ap-
front of a computer. Great—instead of Black Hole. pliance SWAT team.
educating the public about buying areal Corey Greenberg bravely played Fortunately, Ican say that some of
music system with some electronics and around the opening of the Black Hole what would be considered high-end
JBL gear, Harman International has in arecent column, titled "A Bridge to audio is making it into these systems. So
capitulated, hoping to just squeeze in a the Twenty-First Century" (Stereo Re- we're adapting and surviving. Even the
pair of cheap powered computer speakers! view, August 1997, p.100). He rightfully fringe of high-end audio, tube manufac-
This kind of misinformation, coupled attempts to counsel Boomer fathers to turers, are adapting to the bandwagon-
with the constant barrage of Bose Wave involve their kids in the hobby, and goes ing and the future of audio. The evi-
Radio ads, is far more damaging to the on to say that "The threat of audiophile dence: remote-controlled tube amps,
future high-end audio sales of Richard extinction is very real, and Ihear this initiated by Tube Technology of the UK
Schram and others than is apremature fear in the voice of every manufacturer, in their Synergy Integrated tube amp.
release of technology or format infor- dealer, and member of the press Ispeak What arefreshing paradox. Just watch
mation in Stereophile It deserves some with." Stereophile writers and publisher the bandwagoning happen. Twelve
attention and the light of truth. Larry Archibald have pointed to smaller months from now there'll be ahost of
Manufacturers have taken to another symptoms of the Black Hole and of- remote tube integrateds, and anyone
disturbing but natural behavior that fered ways to combat its pull. who makes tube stuff and doesn't have
increases the energy of the Black Hole. Black Holes aren't known for relin- RC will be saying theirs is coming out
I call it "bandwagoning." It's been quishing their hold on energy, though. soon — anything to avoid getting
around since the cavemen. I've got first- The high-end audio industry needs to sucked into the Black Hole.
hand experience of this one. One or two recognize the cataclysm in progress, Michael Zeugin
manufacturers — in this case Philips/ while the high-end audio press should Audio Influx
Maranta and Arcam — come up with be discussing the realities at work in-
the concept of separate D/A converters stead of dabbling their toes in them now Suspect perks?
at an affordable price for consumer use. and then. Editor:
This modestly priced add-on makes Eventually Black Holes gather When areviewer raves about apiece of
better sound, and so, voilà —instant enough energy to go quasar (not the old gear, ending with he "liked it so much
sales, profits, publicity, and success. Like TV, either). The shakeout-and-shake- I'm buying the review sample," Iwonder
four-year-olds playing soccer, every down is already in progress. My compa- what discount he gets — the piece is used
other manufacturer in the world then ny's prospective dealer database (all US now — and how is that price set? Is it
gangs up on the ball. They jump on the dealers suited to possibly sell one of our the same for all manufacturers? All
bandwagon and all make D/As — good products) is shrinking drastically. Of reviewers? Can he turn around and sell
ones, bad ones, cheap ones, pricey ones — about 1600 possible dealers, 20% are that piece? This is more than aperk of
they're all over the place. Pretty soon, now either out of business or no longer reviewership, Ithink.
instead of two manufacturers each sell- sell the product category (specifically, Bob Wood
ing 50 D/As a month (hypothetical high-end audio or budget High End). bobwood@usinternetcom
numbers for illustration), we've got 100 To those who think amarket of this
manufacturers each selling one amonth, magnitude can't drastically decrease, I Reviewers and editors can generally purchase
complaining they can't make any money remind you that these are luxury goods — review samples of consumer products at an
doing it. The same thing has happened no one needs them for survival. accommodation price equal to the dealer pria

Stereophile, January 1998 17

Letters

which is generally somewhere' between 60% which was indicative of almost every- century costumes and let them wear
and 75% of retail. It is indeed aperk, but not thing "bad" in the audiophile communi- appropriate street clothes. Use the
one that is unjuseed, I feet Remember that, ty. Mr. Modes, the medium has never wide musical interests of your orches-
unlike aregular audiophile, areviewer needs to been responsible for killing the message. tra members to assemble ajazz en-
have more than one of each component on People have and will listen to music on semble, and accent your programs
hand as reJiTences. However, to avoid the everything including wax cylinders, with an occasional jazz standard. Form
temptation.
Ior areviewer to make aprofit on shellac, vinyl, cassettes, ad infinitum. chamber groups among them and treat
the back o his reviews, such sales to reviewers The decline in classical-music buying the audience to aBrahms piano quar-
are almost always made on the condition that patterns in the US started long before a tet or the Mozart Clarinet Quintet, or
the unit not be resold for an agreed length of 44.1kHz sampling standard was estab- borrow, with their permission, some
time: often one year, sometimes two or even lished. Neither recording techniques of the smart quartet work of Turtle Is-
five, depending on the manufacturer. —JA nor equipment have ever influenced the land or Kronos. Schedule violin and
majority of music purchases. For you to cello concertos for the first chairs of
Suspect logic? state such as truth was an absurdity that the orchestra instead of paying through
Editor: should not have gone unchallenged.... the nose for big-time soloists. Use your
In Don Scott's otherwise good review of To the editors and Mr. Modes — imagination!
the new 'Thorens TRT-2000 tuner obvious vinyl junkies all — Ithink you On the other hand, while these ideas
(November '97, p.187), he says that the have lost sight of how it really was in the may seem to support the position of
'Thorens is "not the best AM tuner sec- days of the LP. Most records were not Piaw Na ("Letters," November 1997), I
tion Ihave seen or heard — that prize 180gm virgin vinyl, not direct-to-disc, must also say, Don't look for instant
has not yet been won." not mastered by caring engineers. Just as gratification. How often does the
Sorry, Don, but it has. Logically, one most mass-market CDs aren't great, woman who puts out on the first date
of the AM sections you have already neither were most records. A well-engi- become an interesting, complex, and
"seen or heard" must be the best, even if neered and -recorded CD such as sustaining partner in arelationship? A
there was only one. Stereophilès Rhapsody is an indication of Beethoven or Dvorák symphony, even
Think about it. Mike Ingrisani how great this medium can be. if it has some good hooks, will reveal
higrisani@aotcom CDs, for the most part, arc better and more of its subtle emotion and aural
easier. Let's keep enjoying our antiquat- mind-bending on the fifth, tenth, or
Correct logic? ed vinyl (which will die) and push for twentieth hearing.
Editor: better CD recordings, but don't use silly And to Mr. Rucker (ibid.): While I've
In some 17 column inches in Novem- and spurious arguments to explain a probably heard only afifth of them, I
ber's "Letters," we are told that the de- change in societal buying patterns. can promise that those 109 perfor-
cline of classical music is directly attrib- Richard Allen mances of the "Eroica" are all different—
utable to 44.1kHz digital sound. Richard Allen@sto.com from the operatic bombast of Toscanini
However, live classical concerts arc to Norrington's Beethoven Lite to the
also losing audiences. Bad music? penetrating insight of Solti — some bet-
Logically, then, we may assume that ter, some not. A great symphony, like a
the reason audiences are avoiding con- To quote Leonard Bernstein, from I play of Shakespeare or Shaw, is never
certs is that live concerts sound too much Hate Music the same in the hands of new directors
like 44.1kHz digital recordings. Here we Music is alot of men in alot of tails, and performers. Keep listening!
have inescapable evidence that digital making lots of noise like alot offemahs; Jeny Landis
recording is more accurate than analog. Music is alot offolles in abig dark hall, Berkeley, CA
Either that, or the person who wrote where they really don't want to be at all;
the letter misdiagnosed the problem. with alot ofchairs, and alot ofairs, Raising your blood pressure
George Wall and alot offurs and diamonds! Editor:
Address indecipherable Iavail myself of the Bay Area's rich November's "Letters" raised my blood
musical culture by attending, on the pressure even more than it usually does.
Bad letter? average, two or three classical events Several writers took you to task for
Editor: each week —chamber and choral con- your coverage of the decline of classical
The letters from Aaron Farb, Rob certs, piano and vocal recitals — but I music in America —coverage that I
Hughes, Piaw Na, MacGregor S. Ruck- never set foot in Davies Hall to hear the found to be insightful and on target. I'd
er, and Walt Cuje in the November '97 San Francisco Symphony. It's stilted, like to respond to afew of these writers
issue, discussing current trends in classi- stuffy, pretentious, and pricey. Ido enjoy and offer suggestions that would help
cal music sales/appreciation, all brought Kent Nagano's adventurous program- them find and enjoy classical music.
to the fore valid points and enlightening ming for the Berkeley Symphony To Walt Cuje, whose witty letter in-
opinions. The elitist attitudes and inac- Orchestra — not at their concerts, but at cluded an imaginary exchange between
cessibility of the music, coupled with their open rehearsals, where, in ascat- a potential listener and a box-office
the lack of music appreciation being tered audience of 50 or 100 souls, Ican bureaucrat for amajor orchestra, and to
taught in the US, are obviously con- watch Maestro Nagano and the orches- MacGregor Rucker, who complained of
tributing factors. It is also important to tra, in their Levi's and sweaters, polish- being chased away from Lincoln
note the important developments in ing the more difficult passages of Center, Isuggest that the Philharmonic
other forms of music, most notably jazz Messiaen, Schnittke, or Ades. is not the only game in town. If they
and rock. My message to symphony managers haven't checked out the student orches-
My point, however, is to skewer everywhere is Lighten up! Get your tra at Juilliard, they've missed some of
Siegfried Modes' "Yugo" letter (p.18), musicians out of those funereal 19th- the best music-making in New York.

18 Stereophile, January 1998

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Superior sulm.riefer performance requires ntilieriur aillphricalion. Sadly. most

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Community groups in cities across the too much work. the even-numbered Beethovens and his
US also offer a great way to get ac- What abunch of whiners! Classical Ninth, Haydn, Ives, the Rachmaninoff
quainted with classical music. In Detroit, music can be enjoyed on many levels. It symphonies, and the return of Tchai-
which is home to at least 10 community does not require rigorous study. As a kovsky after his punishment for being
orchestras, recent programs have includ- matter of fact, Ido not even play an in- "too pretty." Oh, and did Imention a
ed Hoist's The Planets, Respighi's Church strument, yet Ifrequently critique per- Schwann catalog comprising over 1000
Windows, Stravinsky's Le Sacre du Prin- formances based on whether I like (one thousand!) glorious pages of listings?
temps, Orff's Carmina Burana, Janácek's them or not. Classical music is like fall- Innovation is not necessarily im-
Taras Br;lba, plus more commonly heard ing in love at first sight, seeing apaint- provement, and all change is not for the
works by Brahms, Dvorák, Tchaikovsky, ing, or reading agood book. Istarted better. Many of the innovations cited
Haydn, Mozart, Beethoven, and many with the Bell Telephone Hour record- above alienated established audiences
others. Ticket prices at community con- ing of Richard Tucker singing "Vesti la without bringing in new ones.
certs are far less than the majors charge, Giubba." After that, all the other types The Economist "claimed that Mozart
making these performances an ideal of music fell into place (symphonies, certainly did not intend for his pieces to
way for anovice listener to get into clas- concertos, etc.). From there it was a be played note for note, and that he was
sical music. short step to listening to apair of bari- well known for his virtuoso perfor-
To Rob Hughes, who maintained tones named James Morrison and mances with flourishes and embellish-
that classical music has no more inher- Frank Sinatra. ments that would be declaimed as blas-
ent value than any other musical form, I The point is, Ilearned how to listen. phemy today." (ibid.)
suggest that the longevity of the best- Can your life be complete without see- The Economist neglected to mention
loved classical works stands as testimony ing aRaphael or reading Dante? Sure, that Mozart also did not expect his
to their worth. Bad art is ephemeral; but it will be so much the poorer with- symphonies to be played straight
good art endures. Many classical works out them. Nothing in life that is worth- through — it was customary to interpo-
of the last three centuries have quickly while is done without some effort. But late various light diversions between
faded into obscurity, and Ipredict the after the three chords that many rock the movements. The first movement
same fate for most (but not all) of yes- songs are based on, what next? Glad you might be followed by apiano solo, the
terday's and today's popular music. The asked—how about the 35 minutes of second movement by asong recital, etc.
18th- and 19th-century classics that we music Beethoven composed with four I have a vague remembrance that
enjoy today are the best of their breed, notes, and three of them are the same somebody duplicated such aconcert a
and will stand on their own merits for (Symphony 5)? while back, but Idon't believe it caught
centuries to come. The point is that classical music is art,on. Ihope it never does. However,
To Siegfried Modes, who lays the and it can be enjoyed from the most The Economist to the contrary, flourishes
blame for declining record sales at the simple to the most excruciating detail. and embellishments do survive to this
feet of the CD format, Ioffer a re- John J. Plutaday in the cadenzas that soloists may
minder that most buyers of recorded Wrightstown, NJ improvise for concertos and arias. Few
classical music are completely satisfied of them do, preferring to play already
with CD. People who care about sound Innovations, flourishes, existing scores, but they could if they
quality are a small minority, even & embellishments wanted to.
among classical record and CD collec- Editor: "The result of this ossification is that
tors. 'When you consider the wretched In that flock of letters in the November interpretation is limited to subtleties not
quality of most mass-market phono issue regarding what's wrong with clas- easily grasped by the lay audience." (ibid.)
equipment, and the equally wretched sical music, there was some stuff that I It is obvious that audiences do
quality of 1970s and early 1980s record would hate to see accepted at face value. "grasp the subtleties." If they do not,
pressings, it's not hard to understand For example, in Piaw Na's letter why do they buy tickets to hear tour-
why so many listeners embraced the (pp.15-17): ing orchestras and guest conductors
present digital format. "[According to] that esteemed news- when they have alocal orchestra and
Finally, to all Stereophile readers who paper The Economist... [classical music] conductor? And why do they have
bemoan the fate of classical music, I has become ossified, fossilized, and rigid, favorites among such as Rubinstein,
offer the following advice: Turn off the impervious to change or innovation." Horowitz, Gould, Gilds, Kreisler, Hei-
system, take the money you've ear- Let's hope "that esteemed newspa- fetz, Szigeti, Milstein, Elman, Perlman,
marked for yet another shaded dog or per" knows more about economics than Zuckerman, etc. ad nauseam, if they
Living Presence reissue, and go to a it does about music. Innovations occur- could hear no discernible difference
symphony concert. Without listener ring within my experience include, but between them? Further, why would
support, live classical music has no are not limited to, "authentic instru- they pay premium prices to hear them
future in America... and if it dies, ments" performances, restoration of"au- when they could pay much less to hear
recorded classical music will be the very thentic" performance practices, serial/ some local talent?
next casualty. Donald PBiker 12-tone/atonal music, electronic music, "Consider the modem symphony per-
Livonia, MI aleatoric music, minimalism, em- formance. The first barrier is the stifling
ployment of American-born singers and formal atmosphere. You're almost ex-
What abunch of whiners! conductors and of female conductors, pected to dress up and wear asuit." (ibid.)
Lditui not to mention the expansion of reper- In 60-plus years of concertgoing, I
The letters in the November Stereophile toire beyond the "Favored Forty" (who was never — not even at the Old Met
relating to classical music seem to pre- used to define the limits of symphony or Symphony Hall in Boston — denied
sent a common thread: That classical orchestra programming) to include entrance when wearing my usual
music is hard to understand and requires Berlioz, Mahler, Bruckner, Stravinsky, slacks, open-neck sport shirt, and sports

Stereophile, January 1998 21

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 Letters

jacket. What someone else chooses to coming as close as possible to realizing only by music? Finding that out is the
wear is his problem. the composer's intentions. first priority. Paul A. Alter
But if this "stifling formal atmos- That does not make pop superior to Hyattsville, MD
phere" means sitting quietly in your seat classical, or classical superior to pop. palter@juno.com
concentrating on the music, Iconsider "The problem with classical music is
that nothing but common courtesy and that it is difficult to obtain tickets." (ibid) Reproducing real music
good manners. After all, people have This reminds me of one of my favo- Editor:
paid good money to hear the music, not rite Irish Bulls: "That place is so popular In October's "Letters," Terry Robinson
the worthless conversation of audience that no one goes there any more." No- of Australia asked (p.11), "Yes, but how
members. body goes to classical concerts because does it sound when reproducing real mu-
"I know there are differences [among they are all sold out? If that were truc, sic? Music by Brahms, Beethoven..."
symphonies] ... But if Ihave to go to rock concerts would be on the down- Ah, aviolin. Nothing sounds better
several concerts to figure it out, or listen slide because fans stand in line all night than a violin when playing great...
to arecording several times before I'm to get tickets, and concerts are sold out bluegrass music.
supposed to 'get it,' then perhaps I on the day tickets go on sale. Now, how many of you were nod-
might decide that the entire exercise "The staff [of the record store] gig- ding your heads in agreement until I
would not be worth my time." (ibid.) gled and sneered when Iasked what said "bluegrass"? Be honest. Imeant to
Ilearned early on that the music I made any of the 109 available perfor- say "fiddle." Classical music is not real
"got" immediately was the music that I mances of the `Eroica' any better than music. Any music is real music. So take
tired of quickest. The music that Ihad to the others." (McGregor S. Rucker, p.17) your particular music and listen to it.
listen to several times before I"got it" is While the behavior of the staff was Enough of this BS about how it sounds
the music Ilived with for decades. Music oafish, it probably arose from their playing so-called "real" music.
is well worth expending effort for. inability to respond to the question. By the way, Stereophile% reviews arc ex-
"[Rock] performers bantered, and in Which of the "Eroica" recordings is cellent, but Ido have an issue with the
some cases held conversations with "better" than the others is aquestion fact that you don't use enough "alterna-
members of the audience during the that cannot be answered. Besides, the tive" (read: bluegrass) as one of your gen-
performance." (ibid.) question we should be asking is not res. Ihave played instruments used in this
A large portion of classical audiences which recording is "best," but, rather, music for many years, and Iknow the
go to concerts to hear the music. Audi- which would the listener enjoy most sound of truly well-crafted instruments,
ences go to rock concerts for other rea- — and that is aquestion that no one up close and without amplification.
sons, and the music itself is of secondary can answer without knowing a lot Nothing is better than listening to this
importance and may not even be audi- about the questioner. type of pure acoustic music well record-
ble over the crowd noise. If talking with But asking such aquestion of the ed (except live, of course). And it does
musicians is your bag, you can go back- staff at the majority of record stores is exist. So how about some additional cov-
stage to the greenroom after aconcert, like asking the janitor in ahigh-rise to erage? Not the mainstream, but the in-
where the conductor and/or soloist hold explain the engineering principles in its novative. And not just Béla Fleck. He's
court. If you are acomely young person, design. The logical place to start is not not really playing bluegrass anymore.
you may even be hit upon (sex doesn't there, but with the "Building a David Ralph
matter — many renowned musicians are Library" essays that have appeared fair- Canton, MA
also renowned chicken hawks). ly regularly in these pages. davidfalph@usamet
Also, because symphony-orchestra To belabor the point: If differences
members, unlike touring rock musi- between performances are so subtle that Drivel?
cians, reside in town, you can befriend they can not be grasped by lay audiences, Editor:
them; they are surprisingly accessible. why do we have 100 or so performances Everyone knows that high-end audio is
You can invite them to dinner, go out of the "Eroica" to choose from? aguy thing, so why do you persist in
for coffee or drinks after concerts, or If my letter seems like one long ex- running that drivel about "My Neur-
practice other forms of socializing. (Un- ercise in the smart-alecky, Iapologize. otic Audiophile" every other month?
til fate intervened, Ifell in love with the The letters to which Iam responding "Astor Place" is like acigar magazine
daughter of aviolinist in the St. Louis were well intended and meant to be running acolumn on women's health
Symphony. But that's another story.) constructive. The subject is serious, and issues. Better to free up the space for
"And when it comes down to inter- we should be grateful for any and all something informative and interest-
pretation —there's nothing subtle about serious discussion. ing, such as acontrarian point-of-view
it in the pop music world." (ibid.) If it is truc that interest in serious column similar to what "Audio Cheap-
No, and an apple is not an orange. music is declining, the answer lies skate" was before Sam Tellig got com-
Apop composition is avehicle for so- somewhere other than in the surface fortable. Bill Huey
loists, dance bands, stage bands, ice problems and solutions that I— forgive Atlanta, GA
skaters, marching bands, street musi- me—consider cosmetic. All my life, I BillH@knapptattmaitcom
cians, audiovisual producers, whatever, have listened to music because I"need-
to arrange and orchestrate for their in- ed" to. During the past decade, Ihavc Room problems &test CDs
dividual purposes. Pop compositions are found the need growing less. The Editor:
used by people whose commercial value question is not what, if anything, is Iam interested in obtaining atest CD in
depends on their ability to develop indi- wrong with classical music; the ques- order to cure abass room-resonance
vidual, readily recognizable styles. tion is, what in our lives is making clas- problem. My speakers (Mission 752F)
Classical music performers strive to sical music less essential, and is satisfy- have multiple bass reflex ports tuned, I
express themselves in the music while ing the need that was formerly satisfied believe, to different frequencies, and I

Stereophiie, January 1998 23

am planning on changing the resonance response above 101ellz, for your purposes — devices, and concerned citizens: we
frequencies as necessary by lengthening making comparative measurements— it will applaud the recent trend toward legisla-
the ports or by adding some damping work fine as long as you don't use it set to A- tion that requires the prominent placing
material. Is there amore complete de- weighting, which sr:grifficantly reduces its sensi- of warnings on products that present
scription available of what is on the tivity at low and high frequencies. Use it set to hazards to the general public. Yet we
three Stcreophik Test CDs beyond the C-weighting and Slow. Iprefer the older meter must also offer the cautionary thought
blurb in the advertisement? And is there with its analog dial to the newer digital one, by that such warnings, however well inten-
any point in obtaining amore accurate the way tioned, merely scratch the surface of
SPL meter than the old standby Radio- what is really necessary in this important
Shack one? It's only accurate to (I think) Room treatment area. This is especially true in light of the
2dB, but professional meters are un- Editor: findings of 20th-century physics.
doubtedly alot more money, right? Any In his Mirage review in November "We are therefore proposing that, as
advice would be appreciated. (p.109), Thomas J. Norton mentioned responsible scientists, we join together in
Brian Stephenson room-treatment products from System an intensive push for new laws that will
b.sttphenson@virgirtnet Analysis. How can Ifind out their con- mandate the conspicuous placement of
tact information? suitably informative warnings on the
The best CD for what you need, Mr. Vytenis (Vyto) Babrauskas, Ph.D. packaging of every product offered for
Stephenson, is Stereophile's Test CD 3. It Kelso, WA sale in the United States of America. Our
Izas acleaned-up version ofthe 201-Iz-20kHz tyto@aonecom suggested list of warnings appears below.
%-octave warble tones on the first two CDs, "WARNING: This Product Warps
but also has asemitone/half-step—spaced tone System Analysis can be reached at PO. Box Space and Time in its Vicinity.
sweep that is very reveal* of bass problems. 2246, Tempe, AZ 85044. Tel: (602) 438- "WARNING: This Product Attracts
Test CD 2also has spot frequency tones in 8012. Fax: (602) 431-8824. —13141 Every Other Piece of Matter in the Uni-
the bass, plus the "MATT" articulation test, verse, Including the Products of Other
which, while primarily intended to aid speak- The new CD labeling requirements Manufacturers, with a Force Propor-
er positioning in aroom, will also be agood Editor: tional to the Product of the Masses and
diagnostic toolfor speaker bass problems. Test Ijust got this e-mail outlining the new Inversely Proportional to the Distance
CD 3costs $9.95 plus $3.50 SE11-1. To order CE labeling requirements: Between Them.
by credit card, call (800) 358-6274,fax (800) "Subject: A Call for More Scientific "CAUTION: The Mass of this Pro-
333-4902, e-mail backissues@sprynetcom , Truth in Product Warning Labels. duct Contains the Energy Equivalent of
or visit our Web site: www.stereophile.com . "As scientists, engineers, purveyors of 85 Million Tons of TNT per Net
Though the RadioShack meter lacks expensive high-tech electrically powered Ounce of Weight.

-
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 Letters

"HANDLE WITH EXTREME "PUBLIC NOTICE AS REQUIRED Consumer is Not Directly Observing
CARE: This Product Contains Minute BY LAW: Any Use of This Product, in This Product, It May Cease to Exist or
Electrically Charged Particles Moving at Any Manner Whatsoever Will Increase Will Exist Only in a Vague and
Velocities in Excess of Five Hundred the Amount of Disorder in the Universe. Undetermined State.
Million Miles Per Hour. Although No Liability is Implied Herein, "COMPONENT EQUIVALENCY
"CONSUMER NOTICE: &cause the Consumer is Warned that This Pro- NOTICE: The Subatomic Particles
of the Uncertainty Principle, it is Impos- cess Will Ultimately Lead to the Heat (Electrons, Protons, etc.) Comprising
sible for the Consumer to Find Out at the Death of the Universe. This Product are Exactly the Same in
Same Tune Both Precisely Where This "NOTE: The Most Fundamental Every Measurable Respect as Those Used
Product Is and How Fast it is Moving. Particles in This Product Are Held To- in the Products of Other Manufacturers,
"ADVISORY: There is an Extremely gether by a 'Gluing' Force About and No Claim to the Contrary May Le-
Small but Non-Zero Chance That, Which Little is Currently Known, and gitimately Be Expressed or Implied.
Through aProcess Known as Tunnel- Whose Adhesive Power Can Therefore "HEALTH WARNING: Care
ing,' This Product May Spontaneously Not Be Permanently Guaranteed. Should Be Taken when Lifting This
Disappear from Its Present Location "ATTENTION: Despite Any Other Product, since Its Mass, and thus Its
and Reappear at Any Random Place in Listing of Product Contents Found Weight, are Dependent on Its Velocity
the Universe, Including Your Neigh- Hereon, the Consumer is Advised that, Relative to the User.
bor's Domicile. The Manufacturer Will in Actuality, This Product Consists of "IMPORTANT NOTICE TO PUR-
Not Be Responsible for Any Damages 99.9999999999% Empty Space. CHASERS: The Entire Physical Uni-
or Inconvenience That May Result. "NEW GRAND UNIFIED THE- verse, Including This Product, May One
"READ THIS BEFORE OPEN- ORY DISCLAIMER: The Manu- Day Collapse Back into an Infini-
ING PACKAGE: According to Certain facturer May Technically Be Entitled to tesimally Small Space. Should Another
Suggested Versions of the Grand Claim that This Product is Ten-Di- Universe Subsequently Reemerge, the
Unified Theory, the Primary Particles mensional. However, the Consumer is Existence of This Product in That Uni-
Constituting This Product May Decay Reminded that This Confers No Legal verse Cannot Be Guaranteed."
to Nothingness Within the Next Four Rights Above and Beyond Those Ap- Ithink that the Academy Advancing
Hundred Million Years. plicable to Three-Dimensional Objects, High Performance Audio and Video
"THIS IS A 100% MATTER PRO- since the Seven New Dimensions are should look into this ridiculous new
DUCT: In the Unlikely Event that This 'Rolled Up' into Such aSmall 'Area' that burden and do something about it!!
Merchandise Should Contact Antimat- They Cannot Be Detected. Don Bouchard
ter in Any Form, a Catastrophic Ex- "PLEASE NOTE: Some Quantum Cello, Houston, 7X
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 Industry Update

lease of its first eight DVD titles.

Expected on December 2, the filins will
include George oftheism*, which grossed
$100 million in the theaters, as well as
Ransom, The Rock, TOmbstone, Pht11011101011,
and The Nightmare Brfwe Christmas. Priced
at $29.95 retail, the films will appear in
the single-sided widescrecn format with
both Dolby AC-3 and Dolby Surround
Sound audio.
Universal Home Video announced
the November 18 release of four DVD
movies: Babe, Tlw Shadow, The Paper, and
Beaboven, all single-sided and priced at
$24.98. Watenvorld, at $26.98, will appear
as adual-layered disc.
Final specifications for DVD-Audio
aren't expected until the spring of 1998.
As of mid-October '97, the industry's
International Steering Committee was
still wrestling with the issue of whether
to base the specs solely on quantitative
measurements, or to rely on the results
of aseries of double-blind listening tests
involving agroup of unnamed "golden
ears." Nowhere in any of several news
reports about this last obstacle in the
DVD's path was there any mention of
subjective evaluation.
In the meantime, Chcsky has re-
leased avideo DVD — Sara K.'s Hobo—
that makes use of the format's ability to
contain two-channel audio data record-
ed with a24-bit word depth and 96kHz
sample rate. Unfortunately, none of the
DVD players around the Stereophik office
can decode the data or output the high-
quality datastream to an outboard 96kHz
D/A processor, so we arc currently in Genesis new APM-I loudspeaker was launched at the CEDIA show.
the dark as to how it sounds. We'll keep
you posted. custom installers, and is heavily oriented and foremost among these at the '97
to home theater. (A full report on it show in Atlanta was anew APM series
UNITED STATES appears in the January 1998 Stereophik of loudspeakers from Genesis Tech-
Thomas J. Norton Guide to Home Theater.) But there arc nologies. 'The first model in the line,
The annual CEDIA Expo trade show always products shown there that arc of the new APM-1 ($6750/pair), has a
caters to audio/video/home automation interest to the two-channel audio world, built-in, servo-controlled, self-powered

Calendar

held at The Hellenic Center, 2124 held at The Hellenic Center, 2124 Melos SHA-1 preamp. For more details,
Cheshire-Bridge Road NE, Atlanta. For Cheshire-Bridge Road NE, Atlanta. For call Mike or Albert at (630) 663-1298.
information, contact Chuck Bruce: information, contact Chuck Bruce:
tel. (404) 876-5659; Web: www.mind- tel. (404) 876-5659; Web: www.mind NEVADA
spring.com/-chucksaudio spring.com/- chucksaudio • Tuesday, January 6, 7-9pm: The
• Sunday, February 15, 2-5:30pm: The Upper Ear (3900 W. Charleston, Las
Atlanta Audio Society will host aQ&A ILLINOIS Vegas) will host Robert Harley of
seminar and listening session featuring •Saturday, December 20, 10am to 6pm: Fi for an "Introduction to Home Thea-
Ralph Catino of Florida's Reference Holm Audio (450 Ogden Avenue, Lisle) ter." He also will sign copies of his
Line solid-state electronics. The new will host Sedrick Harris of Melos Audio, book, Home Theater for Everyone, and
Von Schweikert Model 6 modular who will be showing the new Triode SE The Complete Guide to High-End Audio."
tower loudspeaker will also be featured. 75 and other Melos products. A drawing For more information, and to reserve a
Guests welcome. The meeting will be will be held at the end of the session for a space, call (702) 878-8212.

Stereophile, January 1998 31

 15" metal-cone subwoofer, a pair of in the sound-isolation systems marketed for specialty audio" will continue. Byrne
Genesis' planar ribbon tweeters, apair of by custom installer and distributor First and Kantor are to set up anew speaker
new 5.5" low-mass titanium-cone mid- Impressions of Miami, Florida. In company, we understand.
ranges, and two 6.5" metal-cone midbass
couplers. The design is dipolar from the
midrange up, with one of the midrange
i
addition to special door-sealing systems
Noise-loc) and floor-floating mounts
U-boats), FI also distributes what they
On October 61997, Singapore-based
Creative Technology Ltd. announced
that it was negotiating the acquisition of
drivers and one of the tweeters firing to claim to be the world's highest-rated Cambridge SoundWorks Inc. Creative
the rear. The APM line will also include soundproof wall system, from Troy Technology, which already owned 25%
the APM-2 ($4750/pair), which will Sound Wall Systems, with aclaimed of Cambridge, is the maker of the pop-
have a slightly smaller cabinet, a 12" STC of up to 70 —far higher than the ular Sound Blaster card used in person-
woofer, and only one midbass coupler. best double-wall construction. al computers.
Loudspeakers with built-in powered
subwooftrs seem to be agrowing trend. UNITED STATES UNITED STATES
In addition to the Genesis above, new Barry Willis Thomas J. Norton
models using this configuration were Meridian now has aroom-acoustics cor- While an Audio Engineering Society
shown by Klipsch (the KS P-400, rection system available as amodule that convention is heavy with exhibits of new
$3500/pair, with 15" subs), Mirage (the can be added to its 861 home-theater test equipment, recorders, mixing con-
0M-8, $2200/pair; afollow-up to the preamp/decoder. The $3000 system soles, and the other bric-a-brac of the
0M-6 that Ireviewed last November, operates below 200Hz and is intended to recording business, the meat of the affair
but with 6" powered woofers in place of mitigate many of the deleterious effects is always the papers and workshops. As
the 0M-6's 8-inchers), and Signet (the caused by room reflections. The eight- John Atkinson remarked in November's
AVP Standard, 12" woofers, $2500/ output version uses fifty-six 48-bit filters; "As We Sec it," the big story at the 103rd
pair). These join similar models already the 16-output version has 112. The sy- AES Convention in New York (Sep-
available from Definitive Technology, stem can be programmed without a tember 26-29, 1997) was high-bit-rate,
Mirage, Infinity, and others. Incorpor- calibration microphone by using aset of high-sampling-frequency audio. With
ating a powered subwoofer into the room-acoustics values printed in asup- an explosion in available data storage
main loudspeaker cabinets is convenient, plied chart. Most room-correction thanks to the development of IND
but it throws away one advantage of sub- schemes arc premised on two-channel technology, it is now possible to think
woofers: the right location for the best reproduction; Meridian and Snell Acous- about moving to the next generation of
bass response is rarely the right location tics arc among the few working with audio-only inedia.
for the best stereo perfonnance. multichannel sound. In related news, And that's the main problem at the
Speaking of subwoofers, the range of Meridian America's new VP, Sales, is present time. There's alot of thinking
dedicated models continues to grow. Big industry veteran Andy Regan (originally going on, but movement seems to be in
new 18-inchers from Triad (InRoom of Sound by Singer, most recently of 12 directions at once. The sticking points
Platinum, $2000) and Energy (the ES- AudioQuest). Not uncoincidentally, Joe seem to be not only in technical disa-
18XL, $1600) were highlights of the Abrams moves from cable manufacturer greements, but in audio politics as well.
Expo, while the Supernova ($1697), from MIT to AudioQuest. On the Ioniser front are proposals for
a new company called Earthquake NHT founders Ken Kantor and sampling rates from 48kHz to 192kHz
(Menlo Park, California), makes do with Chris Byrne were scheduled to depart (though the most commonly discussed
a smaller driver, a passive radiator, a from their company at year's end. NHT maximum rate is 96kHz), word lengths
580W class-D amplifier, and amoder- was purchased last year by Recoton as of 20 or 24 bits, and channels from two
ately sized cabinet, to produce aclaimed part of its acquisition of International (yes, Virginia, now that the technology
115dB at 30Hz. Jensen. Recoton Home Audio Group's for high-quality multichannel audio
And if you're building a new lis- Hank Suerth told the press that NHT's is within our grasp, afew traditionalists
tening/viewing room and looking to con- "mission to design and market high- remain anchored in a two-channel
tain all that bass, you might be interested performance, high-value loudspeakers world) to five, or even more. No one is

Calendar

NEW YORK ADA, B&W, Bryston, Crestron, loudspeakers and Ken Stevens of Con-
• Each month: For information on the Elite by Pioneer, Lutron, Meridian, vergent Audio Technologies will offer
monthly meetings ofthe Musicalaudiophile Naim Audio, REL, Roksan, Rotel, his thoughts on vacuum-tube electronics,
Society, The Audiophile Society, and Runco, SharpVision, Solid, Sonus followed by demonstrations of the Audio
the Gotham Audio Society, call David Faber, SpeakerCraft, Stewart, and Physic Calderas, the CAT SL-1 Signature
Nemzer at (718) 237-1094. WireWorld will be on hand to demon- MK.III preamp, and the JL-1 mono
• Thursdays, 5-8pm and Saturdays, 12- strate the latest in home entertainment amplifiers. For reservations and more
5pm,January 22, 24, 29, 31, and February introduced at WCES. For more infor- information, call (716) 742-2860.
5, 7, 12, 14: Long Island Dealer Select mation, call (516) 624-2124.
Sound (6314 Northern Boulevard (25A), •Saturday, January 31: The Analog Shop OREGON
East Norwich/Brookville) will be host- will hold aseminar at its new location at • Thursday, January 22, 7-9pm: The
ing aseries of winter audio/video semi- 57 East Main in Victot Allen Perkins of Audio Gallery (16318 SW Bryant Road,
nars. Representatives and designers from Immedia will discuss Audio Physic Lake Oswego) is hosting an evening with

32
Stereophile, January 1998
 Industry Update

seriously discussing lossy compression It's important to distinguish between The bottom line of all this talk of
— what seemed mandatory only afew the format with which the original rec- audio Nirvana from DVD-Audio is that,
years ago now seems quaint in the light ording is made and the release format. so far, there's alot more heat than light.
of DVD's 4.7-gigabyte, single-side, sin- For anumber of reasons, some of them A lot of people are stirring astill-sim-
gle-layer storage capability. not involved with sound quality per se, mering pot, and it isn't soup yet. We'll
On the political front, competing pro- the recording format will often be more be keeping an eye on it as matters devel-
posals from a number of companies complex than the format released to the op, but don't put down adeposit on a
threaten to make settling on afinal stan- consumer. And for the latter, perhaps DVD-Audio player just yet. And don't
dard — and avoidance of aformat war — the most sensible proposal for making abandon those plans for anew CD play-
amatter more of diplomacy than tech- use of the DVD carrier came from er either — we're still afew years away
nology. Sony put on the most well-orga- from anew format. Furthermore, the
nized demonstration (off-site) of multi- recording companies will by no means
channel audio on DVD using their
The bottom line of all this trip all over themselves to support it.
Direct Stream Digital (DSD) proposal, And when it finally does come (as I
talk of audio Nirvana from believe it will), it will coexist for many
which started life as an archiving tech-
nology but has now acquired the status DVD-Audio is that, so far, years with those bazillions of standard
of a consumer-audio contender. Sony CDs out there.
calls their format Super Audio Compact there's alot more Aside from talk of new formats, there
Disc. Could this be because the term were a lot of other interesting work-
"Compact Disc" carries with it royalty heat than light. shops and papers presented at the latest
advantages for Sony (and Philips), ad- AES get-together. There were the in-
vantages they lost in the video realm Bob Stuart of Meridian, in his "Coding evitable papers on digital compression or
when the new optical video format ac- Methods for High Resolution Rec- coding schemes, but with the consumer
quired the name DVD rather than ording Systems" (AES Preprint 4639). market pretty well settled for now on
something with the name "Compact A sampling rate of 58kHz, 20-bits Dolby Digital and/or UT'S for home
Disc" in it? In any event, Sony is serious (though acase is also made for properly theater (both of which do their job vety
about promoting their format, and has to noise-shaped 14-bit sampling), proper well), and no compression at all for two-
be counted as one of the 2000-lb can- pre-emphasis (a technology that has channel audio, the papers in that area are
aries in this scenario. gone out of favor on current CDs), and now of largely academic interest. My
At a workshop on 96kHz, 24-bit perhaps lossless compression, will give interest tended to gravitate to papers on
audio, there seemed to be arefreshing us all the improvements in basic sound acoustics applicable to home audio, and
consensus that longer word lengths quality we can make use of (ie, multi- psychoacoustics.
(more bits) and higher sampling rates channel sound), and perhaps limited In "Acoustic Characteristics of Tun-
sound better, even if no one yet knows visual information as well. ber-Framed Listening Rooms" (Preprint
exactly why. The difference is most cer- Chafe at the latter if you will, but 4630), Andrei Chesnokov and Leon
tainly not solely due to the extended fre- even still images on predominantly SooHoo of Paradyme, Inc. of Sacra-
quency response (up to 48kHz in the music discs will provide important new mento, Calif. (not Paradigm of Canada,
case of 961cHz sampling, t's 22kHz with capabilities. More important, they could though they did use Paradigm —not
current CDs). Recording engineer Bob help sell the format to Joe and Jane Paradyme —loudspeakers) continued a
Katz cautioned about the difficulties of Sixpack, who think current CDs sound report they'd initiated at the 102nd AES
setting up valid demonstrations to com- just swell. Their numbers are needed to Convention in Munich. They evaluated
pare conventional, current digital release make asuccess of the new formar, the the same two-channel audio system in
formats with the new, improved spread. improved sound audiophiles desire will 12 different rooms, plus Dolby Digital
Avoiding the introduction of such un- piggyback on the pizzazz of the other 5.1-channel sound in three other rooms.
intended variables as differences in digi- features. And you won't have to watch The rooms ranged in size from 1590 to
tal filters and converters is not trivial. the video material if you don't want to. 7750 cubic feet. All were of typical US
residential construction: carpeted, with 2
by 4wood stud framing (insulated), and
Sheetrock walls and ceilings (except for
four rooms with acoustic tile ceilings).
Absorptive treatment in all rooms was
similar: damped sidewalk, front walls
Steve Huntley of Wadia. Steve will dis- Performing Arts on January 11, Feb- behind the loudspeakers, and corners to
cuss the present and future state of digital ruary 15, April 26, May 10, Sept 20, Oct reduce first-order reflections.
audio and will highlight Wadia's new 18, Nov 22, and Dec 8, 1998. In The results were not surprising. For
830 digital direct CD playen For reserva- Toronto, he will perform on July 8, 9, speech intelligibility, the most significant
tions, call Gary Kerr at (503) 699-8888. 15, and 16, with the remaining recitals factors were low reverberation in the
to be scheduled in 1999. For more in- 63-125Hz and 8kHz frequency bands,
CANADA formation, visit his Website, www. low background noise, and low delayed
e Pianist Robert Silverman will per- sloth.corn/silverman. Silverman's Stereo- energy. For music, rooms with reduced
form an eight-concert cycle encompass- phile recordings of piano works by Liszt, reverberation times and low noise sound-
ing all 32 of Beethoven's sonatas in both Brahms, Schumann, Schubert, Chopin, ed better for both stereo and Dolby
Vancouver and Toronto. The Vancouver and Bach can be obtained by calling I)igital. Optimum sound absorption in
cycle will take place at the new, (800) 358-6274—see the ad elsewhere the midband was more critical in rooms
ARTEC-designed Chan Center for the in this issue for details. used for stereo only — k not Dolby

Stereophile, January 1998 33

 revelation three

U.S. Retail: 52195 per pair

REVELATION: (rev'a là 'shan) n. a striking or enlightening disclosure,

as of something not before realized.

Once in a generation, an audio product is created which so significantly advances the standard of

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Hales Design Group introduces the revelationthree loudspeaker. After apersonal audition

with the music or film scores you love, you will agree this speaker is, indeed, arevelation.

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 Industry Update

Digital — though long low-frequency Program to Optimize the Placement added noise. The video degradation in-
reverberation times were aproblem with of Listener, Loudspeakers, Acoustical troduced included edge distortion (vary-
both types of program material. Even Surface Treatment, and Room Dimen- ing sharpness or noise — ie, flickering —
small reductions (of the order of 0.1 sec- sions in Critical Listening Rooms" (Pre- on edges), blurring, and video noise
ond) in the reverberation times were print 4555), Trevor J. Cox and Peter (snow). Two levels of each type of video
found to be advantageous. Rooms with D'Antonio of RPG Diffusor Systems degradation were tested. For the video,
reverberation times of 02-0.3 seconds Inc. describe aWindows 95 computer the type of degradation having the
appeared to fare best. The absorptive pan- program they've developed that per- strongest influence on the results was
els typically increased all aspects of forms the functions described in the noise; for audio, limited bandwidth.
the performance. paper's title, using optimization routines The results were as you might expect:
Another interesting conclusion: Most to determine the best loudspeaker/lis- Accompanied by degraded video, audio
subjects preferred Dolby Digital over tener setup for stereo, stereo with mul- quality was always perceived as worse.
straight stereo for both speech and music. tiple woofers per loudspeakers, stereo But there were significant differences
This presumably reflects multichannel plus center channel, 5.1-channel sur- in the perceived audio degradations de-
sonic advantages rather than apreference round, multichannel music, and sub- pending on the degree and type of video
for Dolby Digital per se. The program woofers. The goal: to replace the degradation. When the audio was already
material was different for both formats, tedious trial-and-error process required degraded, certain types of video degra-
though the material chosen for the in system setup, aprocess that becomes dation (low or high blurring, low edge
Dolby Digital tests consisted of speech distortion) resulted in very little addition-
and musically oriented video material Some audio details al perceived audio degradation. But when
(male and female vocals, opera and pop, the audio was of undegraded quality, all of
and orchestral). The listeners' levels may be masked by the video degradations were significant.
of experience were not specified in While Hollier and Voelker's primary
the paper though they were said to be sounds that are interest appears to be multimedia, the
"audio specialists." significance of their findings for home
In "Spatial Impression and Envelop- louder and/or closer theater cannot be ignored. There is still
ment in Small Rooms" (Preprint 4638), not enough research being undertaken
David Griesinger of Lexicon discussed in frequency. in this area, and the authors' primary
the physiological and psychological conclusion — that separate evaluation of
mechanisms for the perception of spa- increasingly complex with multichannel audio or video quality for asystem in
ciousness. The phenomenon depends systems and separate subwoofers. The which both are to be used together is of
not only on the type of music and how user is allowed to set various constraints limited value — is food for thought.
it was recorded, but on the loudspeaker for placement, within which the pro- An obvious parallel topic for in-
arrangement and, of course, the number gram determines the optimum posi- vestigation that the authors apparently
of playback channels. Two loudspeakers tioning. Constraints within the program plan to look into is the perceived de-
spaced at awide angle produce asense itself account for the symmetry required gradation of video quality in the presence
of spaciousness primarily because of for good two- (or multi-) channel imag- of degraded audio. Clearly, the inter-
interaural fluctuations—differences in ing. This looks like aprogram worth actions of our senses are complex and
sound at the two ears. For maximum investigating. multidimensional, with significant ques-
spaciousness, the reverberant compo- If the research into perceptual audio tions about the subject yet to be an-
nent in the recording should be fully encoding has taught us anything, it is that swered. Many of these questions are of
decorrelated. However, in two-channel some audio details may be masked by critical importance to audiophiles also
replay this spaciousness is concentrated sounds that are louder and/or closer in interested in home theater. Among these:
in limited frequency bands, and the frequency. We can never hear everything What level of audio subtlety and re-
effectiveness of two loudspeakers in that is on arecording. But might not the finement is significant in the presence of
reproducing it depends on the spacing same be true of the complex interactions alarge, high-quality picture (the advent
of the loudspeakers. inherent in acombined audio/video pre- of HDTV will add another dimension to
This is because, as the spacing is sentation? Certainly, most of us have this question), and what level of picture
altered, the frequency at which the noticed that film soundtracks often quality is significant in the presence of
space enhancement is maximized also sound far better in the presence of apic- superior audio? We are nowhere close to
changes. For an included angle of 60° ture in adarkened room. answering these questions.
between the loudspeakers (listener and Two researchers at BT Laboratories There were dozens of other papers —
loudspeakers at the points of an equi- in the UK, M.P. Holier and R Voelker, no individual could possibly have heard
lateral triangle), this frequency is about have begun investigating this. In "Ob- them all, much less critically evaluate
1500Hz — which just happens to be jective Performance Assessment: Video them. Included was our own John At-
near the maximum sensitivity point of Quality as an Influence on Audio kinson's paper on "Loudspeakers: What
the human ear. (Many of us sacrifice Perception" (Preprint 4590), they used Measurements Can Tell Us — and What
some of this spaciousness with asmaller computer-simulated images as avideo They Can't Tell Usr (Preprint 4608). JA
listening angle as atradeoff for more source and investigated how subjects looked at the 360 loudspeakers he's mea-
precise imaging.) However, if an array of rated audio quality as the video was sured for Stereophile and Stereophile Guide
decorrelated surround loudspeakers is degraded. The experiment was run first to Home Theater since 1990. His conclu-
added, interaural fluctuations are pro- with undegraded audio, then with sev- sions still agree with astatement he made
duced at all frequencies, resulting in a eral different levels of audio degradation: in Stereophile in 1991: 'Ile best-sounding
more natural sense of space. bandwidth-limited (telephone quality), loudspeakers, in my opinion, combine a
In "Room Optimizer: A Computer noise added, and bandwidth-limited plus flat on-axis midrange and treble with an

Stereophile, January 1998 35

 dà, A Powerful
\\ 1-2 Combination For
Your System

I
t's so hard to discuss only two AudioQuest
cables. We make such awide range, from /
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Actually, they're all inexpensive. In an appro- oí' /f)
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extremely sophisticated, yet highly afford-
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J.)

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order to avoid strand interaction, the single greatest
source of cable distortion. Spread Spectrum Technology
(SST) is evidenced by the use of three different sizes of
conductors. SST defocuses the sonic signature of any single
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the way. which is all any good cable ever should do. In addition to being an ideal full range cable. Type 6is also biwire friendly.
Different preparation techniques allow it to be used as an ideal single-biwire cable for high or low crossover speakers.

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an inferior conducting path. All metal conductors are actually made of
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 Industry Update

absence of resonant colorations, awell- ago, when Iwas involved in the man- Fortunately, Iwas sitting next to speaker
controlled high-frequency dispersion, agement of the influential UK pro designer Mark Dodd (now with Celes-
excellent imaging precision, an optimal- audio magazine Studio Sound, the idea tion, but whose track record includes
ly tuned bass, and also play loud and of performance-reviewing professional Tannoy's Tulip Waveguide dual-con-
clean without obtrusive compression." speakers was far too controversial for centric refinement and KEFs highly suc-
And while there are exceptions, as he a controlled-circulation (ie, advertiser- cessful Codas). As only genuinely smart
pointed out in his presentation, such a funded) magazine to contemplate. Ken, mathematicians can, Dodd laughed at
recipe also gives aloudspeaker the best for one, was frustrated that the hi-fi all the right places. He also pointed out
chance of getting athumbs-up from a the considerable elegance of Angus'
Stereophile reviewer. original approach to the intransigent
It may not be many problem of presenting and manipulating
UNITED KINGDOM polar measurements.
years before the high-end
Paul Messenger There was more heavyweight math
Along weekend in Wordsworth country, audio dealer offers in ATC's paper. Nick Merricks dis-
just as the autumn frosts were painting cussed the modeling and explanation
their patterns across thiddy wooded hill- some element of acoustic for the "insulated magnet" motor tech-
sides, sounded atempting prospect, espe- nology announced a year ago ("In-
cially as the Institute of Acoustics' 13th modeling as part dustry Update," Stereophile, December
Weekend Conference provided alegiti- 1996, p.37). Relevant only to long-
mate business excuse for the trip. 1
of the service. gap/short-coil drivers, the process in-
I'd not been to the Windermere volves "tipping" the magnet metalwork
Conference before, but the fact that it's mags of the time were doing all sorts of with insulated iron particles in aresin
become such afixture in the calendar is interesting speaker measurements, but matrix. The (nonmathematical) net re-
its own recommendation. Aquick glance nothing comparable was available for sult is to increase the reactance of the
at the program suggested that at least pro audio gear. Accordingly, he teamed gap. The number of coil turns is re-
some of the papers might have some up with SS's rival, International Musician, duced to compensate, and that lowers
interest for Stereophile readers, even and gave the subject athorough airing third-harmonic distortion.
though the conference is primarily aimed in the Speakercheck series of articles. Day 2 was all about auralization.
at sound and acoustics professionals. We now live in an age where precious No, Ididn't know what it meant either,
There were indeed some interesting few UK hi-fi mags bother to do credible but it's having agrowing impact on
papers and demonstrations, but for me measurements, which makes Ken's "old- acoustics right now, and could well
the best thing about Windermere was its school" engineering approach all the become part of the serious hi-fi armory
friendly atmosphere. I've been to AES more interesting reading, even if it is at some point in the future. It's all
conventions in the past (admittedly, not devoted mainly to establishing the per- about computer modeling and simulat-
for some years), and have always found formance envelopes of large PA drive- ing acoustic environments, which the
them rather formal, stuffy affairs. There's units. He's looked closely at voice-coil rapidly accelerating power of desk-
so much going on that people tend to temperature breakdown (with some top computing is rapidly turning into
stay in their own familiar cliques, leaving help from Ben Duncan in developing a an invaluable tool. Computer power
the inquisitive journalist feeling some- dynamic "bridge" arrangement), and has could at last be plugging the credibility
thing of an outsider. found that 230°C represents apretty gap between the laws of acoustics and
Because there were only ahundred accurate "safe operating maximum." the ability to take their full complexity
or so delegates, Windermere was an al- He's also been studying power compres- into account. There's still away to go,
together more relaxed affair. Every- sion, acurrent favorite topic among pro and the modeling is apparently not yet
thing, including full board, took place in audio practitioners; his findings of typ- very effective in small acoustic spaces
the rather down-home, friendly, and ical figures of 3-5dB confirm that the like domestic living rooms, but it may
inexpensive Hydro hotel; the simple act problem is not trivial when speakers are not be many years before the high-end
of taking the trouble to meet so far off operated at high levels. He also dis- audio dealer offers some element of
the international airport track seemed covered that the interesting "exoskeleton" acoustic modeling as part of the service
to provide automatic membership in frame design used by some Volt drivers, — perhaps to simulate the effect of
the select group. (as in PMCs larger professional monitor changing the positions of loudspeakers
Loudspeaker technology dominated speakers, for example) really does work, or subwoofers.
the first day, with PA drive-unit manu- acting as an effective heatsink to give 2dB Two demonstrations were particularly
facturers coming in for some stick from less power compression than conven- striking. I'd already undergone the NXT
two sources. Mark Hudson of HiQ tional drive-units. distributed-mode panel speaker ex-
Sound delivered an impassioned diatribe James Angus of the University of perience, but derived huge pleasure from
against misleading and inadequate speci- York is asuperb lecturer —a good thing, watching the astonished expressions on
fications, while the inimitable Ken as my addled brain largely failed to recall the faces of the assembled acoustics
Dibble outlined some of the findings of long-buried spherical surface geometry. experts as the NXT panels neatly turned
his fascinating and controversial Speak- In an extension of the paper he pre- all accepted rules of speaker behavior
ercheck 2000 articles? About 15 years sented at the New York AES Conven- completely upside down.
tion, Angus used abunch of balloons (0 Then there was an impressive demo
1 Institute of Acoustics: Tel: (44) 1727-848195. Fu: to illustrate how the polar distribution of of Virtual Source loudspeaker imaging,
(44) 1727-850553. E-mail: Acousticsclustulcc.ac.uk a speaker's radiation could be rep- co-developed by the Universities of
2 Sound+Communication Systems International: Tel:
(44) 1323-642639. Fax: (44) 1323-646905. Website:
resented by ahierarchical Fourier-type Southampton (UK) and Tokyo Denlci
www.plasa.org.uk/. E-mail: infoplasa.orgaik series of surface spherical harmonics. (Japan). There was no denying that two

Stereophile, January 1998 37

 -

The Revel Loudspeaker.

So good we put it on apedestal.

Revel Corporation Phone: Fax: E-mail: Net:

19748 Dearborn Street 818.717.0770 818.701.3755 support@revelspeakers.com www.revelspeakers.com
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 Industry Update

loudspeakers spaced only 10° apart were audio retailers, and will continue to lion; DVD audio players, 10 million.
generating abelievable 90° stereo sound- manufacture aline of products aimed Mutsuo Tankenaga, optical disc de-
stage, though the fact that this image was specifically at that part of the market. velopment technology officer for Pana-
very sensitive to head position suggested Davis emphasized that the budget pro- sonic's parent company Matsushita
that its ideal application may be for PCs. ducts would be sufficiently distinguished Electric, said the new drive meets the
(There was some speculation as to from their more exclusive relatives to specifications established by the 10-
whether it would work with the screen- not besmirch the Nakamichi name. member DVD Forum and is backed by
flanking, slide-out NXT speakers fitted to Industry trade journal 'This Week in all save Sony and Philips, who afew
NEC's laptop computer, but no one's Consumer Electronics called the deal "the weeks earlier announced their own
tried that yet.) Binaural-via-speaker de- latest in which upscale manufacturers version of aDVD-RAM. The two for-
mos using interaural crosstalk cancell- have opened up to distribution in major mats differ primarily in their indexing
ation aren't new, but this so-called chains... because of the declining base schemes, which direct the drives' optical
"stereo dipole" approach differs from of independent A/V retailers, many of pickups to encoded data in the form of
previous attempts by making apositive whom are scaling back their retail effortspits and lands on the discs' surfaces.
virtue out of closing the gap between the Panasonic claims its unit is backward-
left and right speakers. By doing so, compatible with most DVD and CD
phase anomalies that would occur in the How the mighty have formats, and can be used to record audio
sensitive presence region with conven- and video. Playback of DVD-RAM
fallen: Nakamichi is now discs will be possible with second-gen-
tional speaker placement are apparently
moved way up-band to around 11kHz, selling agroup of eration DVD-ROM drives and DVD
where they're much less intrusive. players, but not with DVD players on
Iwas particularly pleased that Keith low-priced audio the market now. Blank media for the
Holland (also, coincidentally, from machine will be available as single-sided
Southampton U.) was airing aparticular components through the discs for $24.95, dual-sided for $39.95.
hobbyhorse of mine: the mutual coup- "Dualies" will have 52 Gigabytes of
ling of speaker systems at low fre- discount chain Best Buy. digital storage capacity, enough for 150
quencies. I've heard plenty of boomy minutes of MPEG2 full-motion video.
stereo systems in my time, and have to focus more on the high-margin, low- Blue lasers in the news: Panasonic is
wondered how many of them sound volume custom-installation business." one of several companies gearing up for
that way because the speaker designer is For the past year and ahalf, Best Buy has even greater data storage through the
still working "in mono" and not taking been selling the Eosone line of loud- use of short-wavelength blue lasers;
proper account of the stereo coupling speakers, designed by Arnie Nudell and 15GB DVD-RAMs may be available as
effect. These factors become even more manufactured by Polk Audio. Naka- soon as two years from now. Shuji
significant as we move toward discrete, michi is now 70% owned by Hong Nakamura, asolid-state physics research-
full-bandwidth multichannel sound. A Kong-based Grande Holdings. er with Japan's Nichia Chemical In-
bit of extra boom might be positively dustries, has developed agallium-nitride
amusing when operating in movie UNITED STATES blue laser with a usable lifespan of
mode, but it's not nice with music. Barry Willis 10,000 hours. Nakamura's achievement
Doubtless New York was really the Sony's MiniDisc isn't dead, according to is especially noteworthy considering
heart of this fall's political action, Win- UK-based Strategy Analytics, which pre- that he worked in relative obscurity,
dermere acozy sideline. But Ilearned dicts shipments of 2million to the US in isolated from giant electronics manufac-
more at Windermere than I've ever the year 2000 and 19.5 million five years turers who failed to produce areliable
managed to at an AES Convention, later. The worldwide installed base of blue laser during more than two
simply because of the greater oppor- MiniDisc machines will exceed 58 mil- decades of research.
tunity for relaxed one-to-ones with lion by then, said one news report, which Scientists at the University of Cali-
whomever happened to be occupying did not go into detail about how analysts fornia at Santa Barbara, at Xerox Cor-
the next bar stool. made the prediction. poration, and at Cree Research in
Panasonic announced in late October Durham, North Carolina, all recently
UNITED STATES that it would ship its first DVD-RAM announced that they too had made sub-
Barry Willis drives in January. The 1)VD-RAM is a stantial progress with blue lasers, while
How the mighty have fallen: Naka- high-capacity rewritable optical data- admitting that they were far behind
michi is now selling agroup of low- storage device built on aDVD trans- Nakamura. Kent Carie, a Hewlett-
priced audio components through the port. The first batch of the devices will Packard research manager in Japan, told
discount chain Best Buy. The products be shipped to personal computer mak- the New rk Times, "Nakamura is way
include three A/V receivers priced ers for inclusion in the next generation ahead of the rest of the world, including
between $280 and $450, a200-disc CD of PCs, due next spring. The DVD- the rest ofJapan." Blue-laser technology
changer at $300 and afive-disc chang- RAM will be available later to con- likely will not be backward-compatible
er at around $200. The intention is to sumers at aprobable retail price of $800. with today's infrared system —another
expose the Nakamichi brand to anew Panasonic senior product manager reason for consumers in doubt to wait to
segment of the home-entertainment Robert Krenik looked into his crystal see what's just over the horizon.
market, and to fill amore upscale niche ball and predicted that the following
in the Best Buy lineup. numbers of units will have been sold UNITED KINGDOM
Nakamichi America sales VP Derek worldwide five years from now: DVD Paul Messenger
Davis said his company isn't abandoning PC drives, 40 million; DVD players, 20 One new product is apress release. Two
its traditional roots among specialty million; DVD mobile systems, 10 mil- related ones from different brands in the

Stereophile, January 1998 39

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 Industry Update

same month might be dismissed as mere first HDCD components from UK FasTrak will require the usual hardware
coincidence. Three such simultaneous brands, this "CD plus" format has so far array and an account with an Internet
events, however, must constitute apo- achieved very little awareness in the UK, Service Provider, as well as aDSL mo-
tential new trend, as three key specialist thanks partly to the deliberate avoidance dem with anetworking card (median
British hi-fi brands take on board the of software promotion so as not to cause price: $550). Paula Reinman, marketing
Pacific Microsonics HDCD* format customer confusion. This low profile director for Pacific Bell's DSL Services
Arcam, Audiolab, and Naim Audio has at least given the software base time in San Francisco, told the San Francisco
have each just launched or are about to to grow to several hundred titles, while Chronide that DSL will allow users to
launch new CD products incorporating the entry of three such important download atwo-minute video clip in 48
the Pacific Microsonics PMD-100 digi- new products has got to add some posi- seconds — a huge improvement over
tal filter/decoder chip. This brings auto- tive momentum. the 25 minutes required when using a
matic membership in the HDCD club, 56.6kbs modem. (None of this, of
even if to some buyers the HDCD ele- UNITED STATES course, compares to the 1:1 ratio of real-
ment is little more than icing on the Barry Willis time analog broadcasting, but that's a
marketing cake. In early November, several apparently separate issue.)
All reckon the Pacific Microsonics unrelated events occurring just a few Aimed at small businesses and tele-
chip set has just about the best-sound- days apart brought home entertainment commuters who have to send and
ing digital filter around right now — a one step closer to the future. On the receive large files, PacBell's FasTrak ser-
point on which Linn also agreed (al- 10th, Microsoft announced at Music vice is being rolled out—first in Silicon
though, after carrying out tests, the Corn, amusic-industry conference, that Valley and other parts of the Bay Area —
Scots have decided to stick with their it was teaming up with Liquid Audio to at a cost of up to $250 per month
own technology). distribute music over the Internet. Liquid per subscriber for unlimited usage.
Audiolab has opted to follow the out- Audio is a leading developer of en- Similar systems are being deployed else-
board DAC route, introducing its new crypted digital music-delivery systems. where in the country by US West and
8000DAX at £1000 ($1600). It's afull- According to Microsoft's Daily News, Southwestern Bell. Bell Atlantic and
featured, high-spec device based on 24- the two companies will cooperate on Bell South will follow soon, said the
bit architecture, with new low-noise ref- developing standards for streaming report. As such services are offered by
erence clocking and a full range of audio and video, and on marketing and more providers and purchased by more
inputs as well as HDCD support Its expanding the market for music online. users, the presently prohibitive cost
primary task will be to partner the The deal calls for Liquid Audio to incor- will likely decline.
8000CDM transport or provide amajor porate Microsoft's BackOffice software High-quality distribution and high-
upgrade for the 8000CD integrated into its Internet platform, including MS speed transmission are two parts of the
player. Audiolab doesn't anticipate fitting Site Server. The Microsoft release puzzle. What's missing? High-density
the HDCD filter/decoder to its in- emphasized that the immediate big storage. Also on November 10, IBM
tegrated player, as it feels the benefits are advantage for the music industry completed the picture by announcing
best realized in atwo-box configuration. will be the chance music fans will have the development of anew disk-drive
Arcam meantime is creating anew to audition new recordings "in the technology that will give desktop com-
Alpha 8SE integrated CD player highest quality stereo for agiven band- puters up to 16.8 Gigabits (Gbs) of data
(L600/$1000) based on the existing width connection." storage on asingle hard drive. A disk of
and ongoing) Alpha 8 but using the That caveat — lifted directly from that capacity can hold up to eight hours
player's modular architecture to fit the Microsoft's announcement —is impor- of full-motion video, according to
HDCD chip set. The SE filter/decoder tant for potential users. Transmission Reuters News service.
upgrade is retrofittable to existing (cur- rate/bandwidth limitation is still the The new technology sets adensity
rent-generation) Alpha 7and 8players, biggest bottleneck in the distribution net- record of 2.7 billion bits per square inch
and the model forms anatural price- work. With a28.8kbs modem, it takes of magnetic disc surface. This un-
point bridge between the standard almost 50 minutes to download afour- precedented level of density was made
Alpha 8and the forthcoming Alpha 9. minute song in less-than-CD quality. possible by the development of super-
(Arcam's proprietary 24-bit chip set is High-speed modems have been touted sensitive Giant Magnetoresistive (GMR)
still being finalized.) as apartial cure for the problem, as have heads. IBM said the drive (genus:
Naim hadn't actually signed the direct satellite transmissions, which by- Deskstar 16GP) would be available in
checks or pushed the production button pass telephone lines altogether. Neither is several sizes starting in December. The
at the time of writing, but the parts used much help for the vast majority of com- smallest, at 32GB of storage, will cost
to make its well-regarded CD2 have vir- puter users connected through their local $275; its biggest brother (16.8GB) will
tually run out, and its CDX replacement telephone companies. cost $895. High-speed versions will cost
is already prototyped and scheduled Enter the solution. On November 13, slightly more. The technology will be
to hit the shops around February. It's Pacific Bell announced a new high- licensed to other hardware makers, said
also expected to use the Pacific Micro- speed service that will allow data to flow Bob Scranton, VP of Technology for
sonics chip set for digital filtering, and up to 50 times faster than is presently IBM's Storage Systems division.
will therefore support HDCD. Al- possible over normal phone lines. There you have it: the three basic ele-
though the CDX is asingle-box player Called FasTrak DSL (Digital Subscriber ments of the home entertainment and
(probably selling at aprice similar to Line), the service is capable of down- information center of the not-too-dis-
the CD2's), an additional CDPX out- load speeds of up to 1.5Mbs (megabits tant future. (The fourth element, quali-
board power supply will be available as per second) —more than 10 times faster ty content, is something quite beyond
an upgrade. than an ISDN line, but only afraction the control of these four companies.
Though these are by no means the as fast as acable modem at 10.5Mbs. Popular demand is the only force that

Stereophile, January 1998 41

 Industry Update

will guarantee its existence.) A different at the back of the class was this little boy many exposures vs one exposure."
paradigm, certainly, from the stand- who had never seen any of this stuff. He She is also justifiably proud of the San
alone high-end audio system as we was from afamily that simply didn't care Francisco Youth Orchestra. "They are
presently know ir, different even from about music. After the presentation, the fantastic," she said. Members are from
the most advanced home theaters. students were asked if any of them want- all over the Bay Area, and sometimes
Think of it as ahigh-powered addition ed to come up and play. Well, he did, and from outside it, like a former con-
to what we already enjoy—another from this one exposure he caught the certmaster from Marysville, more than
source, connected to the wide world out- bug and learned how to read music. two hours away. The young musicians
side your listening room, that can be used That's just one, of course, but it's consid- range in age from 12 to 18. "We don't
at your discretion. It's aprofound and erably better than none. like to have them older than 18,
powerful change. although we have sometimes kept brass
players as old as 19 or 20 when we
UNITED STATES There is an almost couldn't find replacements. The Youth
Barry Willis Orchestra has its own music director
Serious audio publications rarely appear
universal agreement that
and its own schedule of rehearsals and
these days without editorials bemoaning the great musical works Sunday concerts. In every way, it's a
the fact that young people have no junior version of the big orchestra. They
appreciation or understanding of classi- are being consigned to tour every summer, and Idon't mean
cal music. "When this generation of simply driving out to Modesto for the
music lovers is gone," the authors of the dung heap of history day. The Youth Orchestra played Am-
these editorials ask, "who will replace sterdam's Concertgebouw before the big
them?" There is an almost universal because they aren't being orchestra did."
agreement that the great musical works The Symphony's philanthropy is
are being consigned to the dung heap of
taught in the schools.
extended wherever it is needed, es-
history because they aren't being taught pecially where its youthful recruits are
in the schools. "It's so sad. Most of these schools don't concerned. "If they can't afford adecent
Fortunately, some organizations are even have bands anymore. Adventures In instrument or concert attire or travel
working against this trend. One is the Music is funded entirely by the San expenses, we help them out," Bechtle
San Francisco Symphony, whose pre- Francisco Symphony, in collaboration said. "There should be no barriers if a
sident, Nancy Bechtle, recently took a with the city's unified school district. A child wants to play in the orchestra.
break in her busy day to discuss her lot of our public grants go directly into They are fantastically enthusiastic. And
organization's educational efforts. "I these programs, but they don't begin to so talented! Kurt Masur used to walk
agree there is virtually no music edu- cover the costs. We are spending about around with atape recording of them
cation in the schools now, except what- $1.5 million in the schools per year. If we and de& people to guess which or-
ever is brought in from outside. The had the money, my ideal would be to chestra it was. They are doing extreme-
lack of it does not bode well for the start in kindergarten and go right straight ly difficult works. Last year, they did a
future of classical music," she told me. through high school —particularly high Shostakovich 5that absolutely knocked
"Although there will always be people school; Ithink kids are more open- people dead.
who get alove of music from their fam- minded then." "We hold auditions each year to find
ilies, and some who will discover it by In addition to the in-class program, new players. Most of them stay with us
accident, most of us are first exposed to the Symphony puts on a number of about three years so they can tour.
it in school. Without it, there is aterri- morning concerts during the school When touring time comes, they'll play
ble gap in astudent's education." year, called Concerts for Kids, for stu- on the street or down at Ghirardelli
She explained that the SF Symphony dents from throughout the Bay Area. Square to raise the money. They'll wash
operates three separate programs in- "This is definitely classical music, but cars, do whatever it takes. It's areally,
tended to fill in such gaps. The most reasonably accessible. We aren't playing really big deal for them. It's apretty big
in-depth one is called Adventures In Top Goes the Weasel.' On the other deal for us, too... moving 120 kids, their
Music, or AIM. "We go into every hand, we know their limits. We don't instruments, and all their stuff from city
fourth- and fifth-grade classroom in the throw Bruckner at them," Bechtle to city is no small undertaking."
city, and into aselect number of second explained. "Every kid at every school She marvels that, despite music's
and third grades, with achamber group, has the chance to come to one of decline in the schools, new recruits keep
a percussion group, an Afro-Cuban our concerts once or twice ayear. The on coming. "You know, Ihave no idea
group, and aChinese percussion group, yellow school buses pull up outside how it comes about that akid falls in
and try to teach children how to listen to Davies Hall and unload all these kids. love with an instrument. There's a
music —that it's more than simply bash- It's great fun. We play the same pro- preparatory department at the San
ing on instruments. Although our aim is gram the Symphony's patrons hear in Francisco Conservatory of Music. Some
classical, we explain that there is good the evening." of our kids come from there. But others
music of all kinds. We explain the struc- Noting the effects alittle education have come from pretty far away. We
ture of music and the conductor's role, can have, she said there is "a huge dif- welcome them all."
and we try to make it fun for the kids. It ference" in concentration between AIM The San Francisco Symphony's
has to be fun or they won't learn. students and others. "The AIM students three-front war against musical ig-
"Sometimes the most extraordinary will be quiet and respectful and intently norance costs abundle. It and similar
things happen. One of my favorite suc- listening. Most of the others will be efforts elsewhere around the country
cess stories is this: We took apercussion whispering and making noise and walk- are hugely dependent on the muni-
group into one of the schools, and way ing around. It's the difference between ficence of patrons and benefactors. If

42 Stereophile, January 1998

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 Industry Update

classical music as we know it survives, has acomplete line of electronics as nal is decoded and then processed in a
it will be because of the hard work well. And Ido mean complete: pre- main DSP section which provides lin-
of people like Nancy Bechtle and her amps, power amps, integrated amps, earization of the frequency response,
tireless team of fund-raisers and edu- preceivers, receivers, CD receiver, ana- controlled by an EPROM (more about
cators. They deserve all the support we log and digital tuners, Dolby surround this later). In the latest version, aserial
can offer. decoder, CD transport, DAC, DAC/ port is provided so the user can specify
These are perilous times for the arts preamp, CD players, cassette decks, his or her preferred frequency response.
in America. Think about that the next standard full-width and midi designs, Another DSP section (for a total of
time you start to complain about the remote control on practically everything nine Motorola 56004 chips) serves as
high cost of concert tickets. If amusical —you name it, they've got it. All elec- the crossover: the signals for tweeter,
heritage isn't worth preserving, what is? tronics are clad in asimple and elegant midrange, and woofer are separated in
style highly reminiscent of the Braun- the digital domain at 250Hz and
GERMANY ald/s/ styling of yore. 2.5kHz, allowing over 300dB of atten-
Markus Sauer uation per octave.3 This means that
The German high-end industry has there is practically no overlap between
The Solitaire A2D the working ranges of the drivers, elim-
taken along time to come to terms with
digital. It was several years after the loudspeaker -if it can still inating the main drawback of mul-
launch of the CD medium before play- tidriver designs.
ers, transports, and DACs started to be called one is a The crossover separates the original
appeat and technological interest re- signal into three streams of data, each of
mained low for some time after that. To veritable technological which is 8x-oversampled by an NPC
put it uncharitably, the Germans were filter, then fed to aD/A converter chip.
content to repackage Philips technology tour de force. This is aBurr-Brown PCM 63K mufti-
and chrome-plate the front panel. bit design with 20-bit resolution for the
There have been exceptions, such as One particularly interesting design is bass and two Philips each TDA 1547
Dieter Bunnestees 877 D/A processor the CD 3000 PreCD, aD/A converter bitstream devices in double differential
back in 1988, which made use of athen- that also features two analog inputs and mode for mid and treble frequencies.
novel topology in employing four paral- can thus function as apreamp. The con- Volume is then controlled in the analog
leled converter chips for high-order verter section has a Motorola 56004 domain by a resistor network (or,
oversampling. But there have also been DSP chip to perform the digital filtering. rather, three of them) employing gold
such abominations as an ultra-expensive The interesting aspect is that there relays, for attenuation in 1.5dB steps —
CD transport — dressed to the max in are four decoding algorithms available: T+A wanted to avoid the resolution
pseudo-high-tech garb but concealing two optimized for flat frequency res- losses unavoidable with digital volume
in its heart of hearts afairly standard ponse, two optimized for time-domain controls. De-emphasis is also handled
mass-market transport — that sounded linearity (à la Wadia). The latter use in the analog domain. The mid and tre-
not much better than its counterparts at Bessel functions to eliminate pre-ring- ble signals are then amplified and fed to
one tenth the price. ing, aphenomenon that does not exist in the drivers. The amps each have a
But in the last few years things have nature and is highly audible. Inter- 150W/4 ohms rating and a 2Hz-
begun to change. There is even one area estingly, most listeners prefer the time- 250kHz bandwidth. There are two 5"
where Ibelieve German companies correct signal, accepting the slight high- metal-cone drivers for the midrange
have captured the lead from their world- frequency loss of amplitude response as and one 1" silk-dome tweeter. All driv-
market rivals: the "digital" loudspeaket asmall price to pay for much-improved ers are state-of-the-art devices with
Of course, atrue digital loudspeaker is listenability. The design is also unusual in very powerful magnet assemblies for
still some time off, no one has yet come employing two tubes to buffer the out- excellent transient performance.
up with aworkable concept of how to put from the converter chips. For the low frequencies, things are
turn digits into sound without first con- But most of the electronics men- further complicated by the fact that
verting them back into the analog tioned above are superfluous if you buy T+A uses motional feedback tech-
domain. For now, the term "digital loud- apair of Solitaire A2Ds: all they need is nology to control driver behavior. A
speaker" must be used for speakers with the signal from aCD transport; every- wedge-shaped opto-electronic sensor is
an internal DAC and power amplifier. thing else is done onboard. This loud- fitted to one of the two 10" carbon-fiber
Meridian has done some pioneering speaker — if it can still be called one — is woofer cones. The wedge moves to and
work in the UK, of course, but models averitable technological tour deforre. Let's fro with the membrane, thus varying
from Canton and Revox have set the try to follow the signal as it is handled by the amount of light that reaches alight-
stage for what many in Germany con- the A2D on its way to the listener's earg sensitive resistor, which in turn varies
sider the next real revolution in audio The A2D has both an electrical and a the current that flows back to acontrol
reproduction. standard TosLink optical input. The sig- module that compares actual driver
Probably the most advanced com- behavior to the signal that should be
mercially available speaker is the T+A 2By the way, there is still no resolution to the argu- coming out of the woofer at each mo-
ment about whether the ear works as adigital or an
Solitaire A2D. T+A,I an 18-year-old analog device. Lately, the proponents of the digital lis-
ment, and automatically corrects any
company with about 70 staff, started out tening model arc gaining ground, supported by the deviation from the path of truth. The
as aloudspeaker manufacturer but now observation that each of the nerve cells connected to all corrected signal is then fed to the two
those minuscule hairs inside your ears responds only to
afairly specific frequency, and that they then send dis-
1No chuckles, please. The acronym stands for Throne crete electrical impulses to the rest of the brain. To the
und Amvendune or Theory and Application. T+A elek- best of my knowledge, the brain's sampling rate has yet 3An analog crossover with slopes this steep would be
troalcustik, PoStfach 2938, D-32019 Herford, Germany. to bc calculated. Now that would be atrue yardstick for as big as afridge, and the loudspeaker would sound
Tel: (49) 52 217 67 60. Fax: (49) 52 217 67 67. the DVD standard. lousy.

Stereophile, January 1998 45

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 Industry Update

150W power amps, one per woofer, for preamp, no power amp(s), and only one used his level by placing it on the side of
atotal of 600W per speaker. cable to connect the master speaker to a the speaker cabinet, which resulted in a
Motional feedback used to have a digital source. Then it seems almost beam projected parallel to the cabinet
somewhat spoiled reputation; '70s reali- cheap. The A2D is being joined by two wall, toward the listening area. That's
zations of the concept suffered from less expensive versions, the A3D and pretty good — but what if the sides of
mediocre electronics, and from the fact A4D — the first asmaller floorstander, the speaker aren't perpendicular to the
that a motion sensor cannot correct the latter abookshelf design. T+A also baffle? Also, it takes asteady hand and
cone breakup, which often occurred has an ultimate version of its digital attention to detail to use this kind
with the cheap pulp cones employed in speaker in the pipeline, the AID, which of placement in aprecisely repeatable
the past to compensate for the cost of may employ an electrostatic tweeter fashion. (By the way, Wes is just that
the additional electronics. The A2D is a driven by tube electronics. kinda guy.)
powerful argument that there is nothing The 770 SA-S offers some help for
wrong with the principle, especially in a these potential pitfalls by adding what
T+A has achieved alevel they call an "alignment switch." It's called
three-way design with such a low
woofer cutoff. of rhythmic coherence aswitch because you turn the laser on by
As supplied by the factory, the screwing it into the opposite end of the
onboard DSP is set for best linearity uncommon in the world of level. The unthreaded end of the align-
under anechoic conditions. Included in ment switch has abrass disc about the cir-
the price is a thorough setup by the digital. Music flows and cumference of ahalf-dollar. You hold this
dealer. The frequency response is mea- disc against the front baffle of your loud-
sured at the listening position and at 28 swings, yet individual speaker much as adoctor places the cold
other points throughout the room. The disc of his stethoscope against your chest,
curves are then weighted, the frequency
sounds can be examined et voilà— die laser beam is projected
response at the listening position being at the listener's whim. exactly perpendicularly to the baffle. (For
most important and accounting for 30% those speakers without flat, vertical baf-
of overall correction. The results are fles, the 770 SA-S can also be used exact-
then programmed into the onboard Judging from a brief audition, the ly as Wes described.)
EPROMs, and voilà —in-room fre- sonic results reflect the astonishing depth If the thought of taking adrill to your
quency response linearity of ±0.5dB, of engineering that has gone into the speakers doesn't make you weak in the
35Hz-20kHz. The actual lower limit of Solitaire A2D loudspeaker system. Spe- knees, you can also get magnetic discs
the speaker's frequency response de- cial mention must be made of the bass, that you can mount to the baffle via
pends on the overall volume setting. which is deep, powerful, and articulate. one small screw each. Having done so,
And since aflat frequency response may Indeed, T+A has achieved a level of you turn on the Magnetic Alignment
not be what the listener wants, or what rhythmic coherence uncommon in the Switch —same as the regular 770 SA-S,
the recording demands, the user can cut world of digital. Music flows and swings, but with strong rare-earth magnets in-
or boost treble, mid, and bass ranges yet individual sounds can be examined at cluded — and stick that laser right on the
individually, using the switches provid- the listener's whim. Voices and instru- speaker. This allows for exact repeata-
ed on the back panel. ments are portrayed in atonally neutral bility when checking alignment, lets you
As with Meridian speakers, the A2D fashion, in awide and deep soundstage, move the speaker while the beam is still,
speaker comes in pairs of master and and with more of that elusive "palpable er, beaming, and gives you the opportu-
slave configurations. The master takes presence" than I have previously ex- nity to play the speaker with the laser
its signal from the transport and contains perienced from adigital source. attached; doing so, you can see how
the module for the remote volume con- To paraphrase aparaphrase, Ihave much the laser jumps around and thus
trol. The slave takes its signal from heard the future of sound, and T+A get arough idea of just how solid the
the master. Each speaker weighs about plays its role as harbinger of things to speaker cabinet/mounting is. Loud-
60kg and measures about 60" H by come supremely well. speaker manufacturer M&K are de-
10.5" W by 15.8" D; several finishes signing products with the magnetic discs
are available. UNITED STATES already included; Checkpoint is working
The A2D accepts data from all cur- Lonnie Brownell with other speaker companies to offer
rent digital formats, including CD, In asidebar to his review of the B&W similar arrangements.
DAT, DAB, and MiniDisc. T+A is con- DM302 speakers in the October 1997 So how does it work? Like achamp!
fident that, as the modular construction issue (Vol20 No.10), Wes Phillips men- Iset achair with atall, broad backrest
allows easy exchange of the DSP and tioned ahandy tool he uses for speaker behind my listening sear, the backrest
filter cards, it will also handle DVD, but setup — alaser level. The one Wes used area covers roughly the same vertical
they can't be sure until the new standard was originally intended for construction area as my head. Using apair ofJoseph
is decided upon. For those users who work, not tweaking one's speaker place- Audio RM-7si minimonitors, Ifound a
also want to listen to analog sources, ment, but now there's one available spot mid-baffle where Icould wedge
T+A can supply a very reasonably specifically for that purpose: The 770 the alignment switch against one of the
priced A/D converter. SA-S Laser Sound Alignment System by grille attachment plugs, with the high
A pair of Solitaire A2Ds costs about Checkpoint Laser Tools. point of the switch flush with the top of
$13,700,4 which seems expensive until Much like the anonymous one used the cabinet. This "wedgeability" guar-
you realize that you need no DAC, no by Wes, this cool tool consists of ator- anteed that Icould go back to exactly
pedo bubble-level precision-machined the same place — on both speakers. As a
out of aluminum, with aminiature laser bonus, the chosen location was pretty
4 Price in Germany (exclusive of VAT), USS1 = DM
1.52. that shines its beam out of one end. Wes close to that most directional of drivers,

Stereophile, January 1998 47

 Audio Note. The world's most expensive audio system.

Audio Note has been handcrafting turns musical recordings into musical Complete systems from $5.000 to
audio systems for perfectionists since performances is such atranscendentally $500.000. For more information write
1975. inspiring reviewer comments mesmerizing experience that you can AUDIO NOTE USA. 60 Hannah Street.
such as Listening to the way titi easily start to question your sanity... * NY. NY 10301. Or call 718-876-9742.

•Jonathan (cille in (:vberh magazine talking about be

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A4
AUDIO NOTE
 Industry Update

the tweeter. Ithen jockeyed each speak- cover arange that goes from £80/pair Time Warner's fortunes improved in
er until the red dot was projected onto ($130) to £400/pair ($650): five book- the third quarter of 1997 with a25%
the outside edge of the chair backrest. shelf types and four floorstanders. To increase in revenue. Dow Jones News
(Joseph Audio doesn't recommend my mind, nine different sizes of loud- Service reported that the media giant's
much toe-in; that's why Iaimed for the speaker is just plain daft. Two, maybe divisions all enjoyed increased cash flow,
outside.) Ialso adjusted one speaker to three, stand-mounts plus small and larg- with the exception of its music labels.
bring it into vertical alignment with the er floorstanders should be ample to Geffen Records, once one of the
other. Using abubble level atop each cover the options. It seems to me that hottest pop music labels, has named for-
speaker had shown them to be pretty there's astronger argument for anine- mer PolyGram NV executive David
much true; with the laser spot projected Simons its new head of operations.
on to the wall several feet away, any verti- SoundScan reported that Geffen's mar-
cal discrepancies were magnified.
British speaker ket share for new releases fell from 7%
Isat down to listen, but before the first in 1995 to 2% ayear later. London native
manufacturer WIN Simons was responsible for signing acts
note played Inoticed that the speakers
sure as heck looked equally toed-in. recently introduced the like Lyle Lovett and Joan Osborne for
Trying to do toe-in by eye has usually PolyGram. Geffen's overlord Seagram
been a lengthy, frustrating experience; Millennium Series of Company is hoping he has amiracle
using the 770 SA-S, it took about a cure in his medicine bag.
minute. If you'd expect that imaging loudspeakers, aimed at the IBM is losing "hundreds" on every
would improve after such precision Aptiva computer it sells, having failed
alignment, you'd be right. Not only were
mainstream, component to anticipate amarket for by dgct per-
instruments and voices more solidly sonal computers, which now acco:..nt
hi-fi marketplace. for 40% of all computers sold. The
placed, but the space around them also
had greater verisimilitude. But wait, Fm business-machine behemoth has never
beginning to sound like areviewer. This model range comprising three different had aclue about the consumer market-
is "Industry Update." sizes of loudspeaker in each of three dif- place, yet continues to attempt apres-
Suffice it to say, from this day forward ferent levels of engineering content ence in it.
Iwon't set up speakers without the 770 than for building nine different sizes to Scientific-Atlanta and NextLevel Sy-
SA-S. It lists for $139; the P-770 SA-S, the same broad template. stems, makers of advanced set-top box-
the "pro" version, includes abulls-eye JPW didn't dispute my suggestion, but es, agreed to an interoperability standard
vial switch and away-cool carrying case, pointed out the inexorable marketing that will enable either makers' devices to
and will set you back $169. logic behind such fine gradations. work in acable TV system. The latest
For more information, contact Check- Translate the range into all the different such gizmos include modems for per-
point Laser Systems, 4025 Spencer local currencies of the many export mar- sonal computers and interactive TV ser-
Street, Suite 304, Torrance, CA 90503. kets JPW supplies, and some of the vices. Microsoft's WebTV makes similar
Tel: (310) 793-5500. Fax: (310) 793-5504. models will hit the key local price points, boxes. The scheme is to dip into the
Website: www.chedcpoint3d.com whereas others will fall in between. Each massive untapped market of couch pota-
market can then pick up on and push its toes by making the Internet available as
UNITED KINGDOM own cherry-picked selection, according achannel on cable TV The push is on
Paul Messenger to local conditions. Only the poor re- despite public indifference to the Web
British speaker manufacturer JPW re- viewer remains confused! TV concept.
cently introduced acomplete range of JPW loudspeakers are distributed in Cineplex Odeon Corporation and
new loudspeakers, dubbed the Millen- the US by The Sound Organisation. For Sony Corporation of America's Loews
nium Series and aimed fairly and square- more information, contact them at Tel: Theater Exhibition Group agreed to a
ly at the mainstream, perceived-value- (602) 488-0028. Fax: (602) 488-0029 merger in late September that will create
for-money, component hi-fi marketplace. E-mail: stevesoundorg.com. one of the largest theater chains in
Unlike many of its competitors, who North America. The combined opera-
seem to find it necessary to revamp INTERNATIONAL tion will have 2600 screens in 460 loca-
entire ranges every two or three years Barry Willis tions throughout the continent, second
(more for reasons of style and publicity Japan's September 1997 merchandise only to Columbus, Georgia—based Car-
than anything else, one suspects), JPW trade surplus of 1.066 trillion yen mike Cinemas' 2700.
doesn't change its speakers very often. ($8.83 billion) was up by 37.1% over the Don't ask why: Phone calls to tele-
Some models have remained on their same month ayear earlier. The Japa- phone psychics average $40 each. "Psy-
list for more than adecade, and much of nese trade surplus relative to the Unit- chic hotlines are the anchor of the 1-900
the earlier range is continuing (and ed States was up 302% compared to business," according to Mark Plakius,
aimed more toward the AV sector). The September 1996. managing director of Strategic Telemedia,
new MS-series models do seem to rep- Sharp Electronics began shipping a New York market-research firm.
resent a worthwhile improvement in DVD machines to Singapore, China, Plakius estimates that services like the
several distinct areas. Double-thickness and North America and predicted that Psychic Friends Network are a$300-
grooved and laminated baffles improve it would control 10% of the Japanese million-per-year industry, helping your
both the styling and the mechanical market by April 1999. Sharp, whose local long-distance provider in abig way.
integrity, while the cone drivers all now machines are priced between $650 and The calls cost about $4 per minute, or
use injection-molded plastic frames. $850, said it expects 500-600 DVD $240 per hour. Psychic Friends alone
The surprise is that JPW has in- titles will be available by the end of rakes in about $50 million annually.
troduced no fewer than nine models to next year. Happy Holidays. 121

Stereophile, January 1998 49

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914.693.8008 •Fax 914.693 71 99 ft
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 Sam's Space
Sam Tellig

// T he French really like the

Creek OBH-12 passive pre-
amp."
Ihastened to bring the good news to
Hall—Rot Hall, importer and part
owner of Creek.
"Yes, quite afavorable review..." I
continued, referring to the August/
September issue of Haute Fidélité. "... all
in all."
A pregnant pause followed.
"I am waiting for the zinger," said Roy.
Ilaughed my evil laugh. "Well, they
do have just one wee reservation." (I
had to get even for that "wee reviewer" Creek 08H-12 passive preamp

business in the November issue's

"Manufacturers' Comments.")
"It has to do with the look of the The OBH-12 gives you two inputs The Brass Ear could sell anything.
thing," Isaid. "The writers liked the plus atape-monitor loop — that will do He's acar salesman.
OBH-12 `malgré un format ridicule — you if you're switching from CD to an But I'm glad Ibought the OBH-12.
despite aridiculous format." outboard phono stage. No balance con- I've had it for six months, and for most
"It doesn't mean the same thing in trol. And no control over the inputs of that time I've used it either in my
English." except from the remote. From the unit main system or in the living room. Stuff
"Mais, oui. But Haute Fidélité likes it," I itse1£ all you can do is twiddle the vol- comes and goes, and Idon't always need
proceeded cheerfully. "Listen to this: ume. There's really no room for more apassive preamp. But when Ido, Iuse
'The internal construction is of an excel- knobs. Only one pair of RCA outputs either the OBH-12 or my long-term
lent level and of astonishing simplicity to the amplifier. But there is amute fea- passive reference (no jokes, please), the
considering the presence of a micro- ture, accessible again only from the Purest Sound Systems Model 500, iden-
processor managing all the functions.'" remote. The tape monitor is also acces- tically priced (in its basic form) at $325.
"You're not going to print that bit sible, again only from the remote. Better And this, mes amis, is all you need
about 'ridiculous format,' right? I'll give not lose that remote or you'll be up the spend for aso-called passive "preamp"
you abottle of Scotch if you don't." you-know-what. which, of course, isn't really apreamp at
"/ didn't say the appearance was The remote is the same cheesy affair all, but aswitching box with volume
ridiculous, Roy. Haute Fidélité did. And Iencountered acouple of months ago control. Okay — perhaps you might
they didn't say the product is ridiculous. with the Creek 4330. Eric Braithwaite, shell out $385 for the Silver Edition of
Only the format." writing in Hi-Fi News & Record Review, the Purest Sound Systems Model 500.
Does the OBH-12 ($325) possess un called this remote "dinky." What's In any event, that's alot less than you
format ridicule? worse, the same remote is shared by need to pay for an active line stage,
Régardez! A mere 16 ounces, it was other Creek products —when using the solid-state or tubed, that will rob your
light enough for me to weigh on my OBH-12 you have seven buttons to system of resolution. In other words,
home postage scale. If it were any nowhere. The outboard power supply is you can cheap out with passive.
lighter, it would blow away in agust of an equally dinky wall wart. But should you actually use apassive
wind — like the Statmat. As it is, the But wait — how does the thing preamp? Aren't you an active person?
unit will flop around when you try to sound? How does it work? (Heh-heh.) The advantages of passive are
connect or disconnect cables —better Actually, it wasn't Roy who suggested obvious: no active gain circuitry to get in
grab onto it with your other mitt. I review the OBH-12 (he probably the way of the signal, although you do
The OBH-12 measures awee 31 /"
4 knew better), but the Brass Ear. have connectors and, usually, apoten-
high (counting the hardware-store "You've got to get this thing. It's tiometer in the signal path. The disad-
plastic feet stuck to the bottom) by 4" transparent," he raved. "It's wonderful. vantages? I'll get to those in amoment.
wide by 41 /2" deep (5" deep if you It's cheap. It's right up your alley." (The Actually, I'll let Per Abrahamsen of
count the large volume-control knob). Brass Ear writes for The Audiophile Voice.) Electrocompaniet explain.
The good thing about it is that you can "Did Roy Hall supply you with a First, Iwanted to compare the OBH-
almost hide the OBH-12 — not quite, review sample?" 12 to the Purest Sound Systems Model
of course, because the remote sensor "Hell, no. Ibought it. You should, 500 Silver Edition, my long-term refer-
on what passes for afaceplate has to be too. Even if you don't use it all the time, ence. 'Which was better? I listened
facing forward. it's handy to have around." mainly with the Micromega Stage 6CD

Stereophile, January 1998 51

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 Sam's Space

player into a pair of Cary 805C

monoblocks, and later the Cary SE300B
Signature monoblocks.
Hmmm. (The Purest is hand built by
David Hum.)
Ihave to tell you that the Purest is a
tad more transparent. Ialso have to tell
you that the Creek comes very close in
transparency —ie, in not robbing the sys- MUSICAL FIDELITY
tem of resolution —while providing the
convenience of remote control, but no
tLL
balance adjustment. And the Creek is
more liquid...
Ha-ha, only kidding.
Which would Igo with? That's a
toughie. A lot might depend on the res-
olution of my amplifier and your speak- VOLUM E

ers —you might not notice any differ- u

ence at all. 4 10
You can use the OBH-12 along with
your active preamp, if you like. Just put
it between the preamp proper and the
power amp. Or put it in the tape-mon- Musical Fidelity X-Pre preamplifier
itor loop. (You're probably not using the
loop anyway.) Of course, you'll add
extra cabling to the system, and you cer- amp and power amp. Anyone looking for inputs) and the power amp.
tainly won't enhance your system's res- the purest sound at the lowest price might Many CD players, with their wimpy
olution by doing so. But you will get look into these "passive" integrateds. (I analog output stages, designed with
remote volume and mute without hav- think Ijust invented the tenu.) cheap op-amps, are not up to driving
ing to buy anew preamp. long cable lengths. However, many out-
Musical Fidelity X- Pre board processors have quite adequate
Active or passive? So what are less expensive line stages analog output stages and can drive
Talk to some amplifier manufacturers like? And are they as transparent as pas- power amps directly, without any prob-
and they will extol the virtues of passive sive devices that cost about the same? lems, particularly if interconnect lengths
preamps — even manufacturers of pre- Here's an interesting example of alow- are relatively short.
amps admit that preamps and line stages cost active line stage: the Musical Fidelity The problem with the X-Pre is alack
have atendency to ... well, to get in the X-Pre, available in arecent Audio Advisor of transparency —considering its price.
way. But talk to Per Abrahamsen, catalog for $299.95, and built into the Iused the Micromega Stage 6CD play-
President of Electrocompaniet, as I same tubular aluminum chassis as the er into apair of Cary SE300B Signature
recently did, and you'll hear that less is other Musical Fidelity "X" units. amps. Speakers included the new Ruark
not always more. More on that conver- The X-Pre has four line inputs and a Epilogues and the Mordaunt-Short 10i
sation in amoment. volume control. No tape monitor loop. Classics. (I take special delight in
The first problem with an active line No balance control. The unit uses two reviewing Mordaunt-Short — Roy Hall
stage is the expense. 6DJ8 tubes and is said to have circuitry could have had the line.) Icompared the
For agood line stage — one that gets similar to the X-10D buffer stage that I X-Pre with the OBH-12 and the Purest
out of the way sonically —you need to like so much. Sound Systems Model 500 Silver
spend aminimum of $2000. Two grand In an inexpensive system, the X-Pre Edition. The interconnects into and out
for something that does nothing! No may be just the ticket. You could spend of the "preamps" were short—one
wonder passive devices are so popular. three times the amount —$1000 or so meter in and two meters out of ICimber
The trouble with less expensive line on an active line stage —and do worse. I Silver Streak.
stages — those that retail for $1000 or should tell you, though, that the similar- Ilost noticeable clarity, resolution, and
so — is that the solid-state ones tend to ly priced passive units — the Purest focus with the X-Pre compared to the
put aglaze (as in glazed donuts) over Sound Systems Model 500 Silver Edition Creek, and even more compared to the
the music, while the tubed ones tend to and the Creek OBH-12 —trounce the Purest. The sound became less informa-
make the sound tubey, as in tubby: the X-Pre in terms of transparency. tive and less involving. Imay have lost
sound becomes soft, mushy, overripe, The X-Pre does give you some wel- some speed, too — although I'm not the
uncontrolled ... much like me. come gain. It adds warmth, richness, best cat to ask about PRAT. (Yes, that's
By the way, we're seeing more integrated and fullness of sound — makes the what some of the Britcrits call it now:
amps with passive preamp stages — sound rounder, if you will. And it Pace, Rhythm, Acceleration, and Tuning.
integrateds like the Jadis Orchestra, shouldn't have aproblem driving long What it is, of course, is PRAT-de.)
Creek 4330, and LFD Mistral, for runs of interconnect. Like the X-10D Still, if you need an active preamp —
instance, or the Acurus DIA-100. With analog output stage (which would prob- for the gain, the buffering, whatever —
an integrated, the designer doesn't have to ably be redundant if you bought an X- and money is tight, you won't go far
worry about driving along run — or any Pre), it serves as abuffer between your wrong with the X-Pre. Just don't expect
run — of interconnect between the pre- CD player or processor (and other it to perform like one of the better

Stereophile, January 1998 53

$2000-and-up active line stages — or,
for that matter like some of the el-
cheapo passive devices.
Whether or not the X-Pre is suitable
for you likely depends on your sources —
no, not the reviewer(s) upon whose
every word you hang, but your CD
player or phono stage. If you have a
CD player like the Marantz CD-63SE,
for instance, you could probably use the Electrocompaniet EC 45
added richness, warmth, and body of
the X-Pre — atouch of tubes, as it were.
On the other hand, if you own amore
expensive and transparent CD source,
such as the Micromega Stage 6, then
you probably will want to follow it with
something more transparent than the
X-Pre. A system is only as good as its
weakest link, blah-blah-blah, great
lessons in life...
The Creek and the Purest passive Electrocompaniet EC 4.6
devices, on the other hand, could be
slipped into much more expensive sys-
tems on the q.t. with little or no loss of
sound quality. Even someone as fussy
as the Brass Ear was impressed by the
Creek OBH-12. As the Brits say, the
OBH-12 can be confidently recommen-
ded.' Irecommend the Musical Fidelity
X-Pre, too, but not so confidently as Ican
recommend the Creek OBH-12. What
should Iwrite ... Ihave it! The X-Pre can
be timidly recommended.
Electrocompaniet AW-60
Electrocompaniet EC 4.5,
EC 4.6, and AW-60
fyou're looking for an active line stage, with its buttons to nowhere (same trocompaniet Speakers were the Atelier
you might consider the Electrocom- remote shared by anumber of Creek de Synergie Acoustique Baby Monitors
paniet EC 4.5. Sorry — it'll cost you products) — is substantial and elegant It and Monitor Pros, not yet imported into
some money. $1995. And it's probably controls volume and balance. A balance the US.
most appropriately considered along control is useful. It was obvious that the "synergie"
with the purchase of an Electro- If two inputs aren't enough for you, between the speakers and the AW-60
companiet amp like the AW-60, simi- you can purchase the EC 4.6 preamp for wasn't quite there — too much warmth
larly priced at $1995. $2995. It basically has the same circuitry, and richness, and alack of openness,
The EC 4.5 line stage is aminimalist but six line-level inputs and record facili- airiness, and sparkle in the treble.
affair — only two line-level inputs and ties. Icompared the two units and veri- Unlike many speakers, the two ASA
no record facilities. One input is single- fied that the sound is essentially identical. speaker models are not overly bright,
ended, the other balanced. (You can Actually, the less expensive EC 4.5 may analytical, hyper detailed. While the
output either balanced or single-ended.) be atouch more transparent. Therefore, two ASA models sound delightful with
If you need two single-ended inputs— if you can live with the EC 4.5's two most amplifiers, including the Cary
for instance, if your CD player or inputs, you can save yourself over $1000. 805C single-ended monoblocks, I
processor doesn't have abalanced out- You may sacrifice convenience, but not found them somewhat dull and lifeless
put — you can convert the balanced sound quality. with the Electrocompaniet AW-60. The
input to single-ended by means of an Both the EC 4.5 and the EC 4.6 have sound was too thick, too dark.
adapter. You switch between the two fully balanced circuitry, and both units Bass was good, though —tight and
inputs with a pushbutton. You could do indeed sound their best when used well defined. And the harmonic presenta-
always unplug one input if you just play with abalanced source and afully bal- tion was quite pleasing through the
records once in awhile — you know, anced amp, such as the Electrocom- midrange. Iswitched to the newly arrived
unplug the tuner and plug in the phono. paniet AW-60. Mordaunt-Short 10i Classic speakers for a
1do like the minimalist approach. First, Itried the AW-60 amplifier little more life on top, and got it.
The remote — an altogether less with the Purest Sound Systems Model If your speakers are warm, rich, mel-
cheesy affair than the Creek remote 500 Silver Edition and the Creek OBH- low, slightly soft on top, then you may
12, to get the measure of the amp by get too much of agood thing with the
1 I think Martin Colloms started this "confident" itself so to speak Then Itried the EC 4.5 Electrocompaniet If you think your
business. Now JA has picked up on it. and 4.6 active line stages from Elec- speakers sound thin, analytical, overly

54 Stereophile, January 1998

 Sam's Space

bright, then the Electrocompaniet gear amp may not be stable. When the impedance of the power
may be just your ticket to civilized Sam: How do you tweak the amplyier's supply is all over the place, that is abig
European sound. sound? problem for the midrange and high fre-
Per: A friend of mine refers to "subjec- quencies. The impedance of the power
Catching up with Per: Icaught up tive frequency response." When you lis- supply is amirror into the subjective fre-
with Electrocompaniees Per Abraham- ten to an amplifier, it sounds like the quency response. But you won't find
sen by transatlantic phone. frequency is up in this area or down in anything wrong if you measure the fre-
Sam Tellig: So, Per, what's the secret of the that area. When you measure the same quency response by sinewave measure-
harmonically rich sound? You don't use MOS- amplifier's frequency response, it may ments. No problem. If you do it by
FET output devices do you? music, you can hear that the power sup-
Per Abraharnsen: No, these arc ordi- ply does affect the frequency response.
The impedance of the
nary bipolar transistors. I'm not saying We can hear this but we can't measure it.
these devices are better, but bipolars are power supply is amuch Sam: What about using apassive preamp
much easier to handle from a design with ampleets?[I changed the subject.]
point of view than MOSFETs. bigger problem than any- Per: Ido recommend it in one way. A
Sam: What's your problem with MOSFETs? passive preamp doesn't do anything
Per: My biggest problem with the one has thought about. wrong in theory. In practice, however,
MOSFET transistor is that it has the you may run into afew problems, like
opposite problem properties of what we be flat like aruler. When you listen, it the capacitance of the interconnect.
want the output device to have. When may be up and down like amountain. Sam: Explain.
you increase current, you increase the We have tried to figure out why — what Per: The volume control will be acer-
output impedance of the MOSFET so it is that makes this subjective frequency tain impedance in series with the signal.
that it becomes like acurrent limiter. response so different when you play The capacitance of the cable will be like
The bipolar transistor is just the oppo- music on an amplifier, as compared to a capacitor to ground, and now you
site: The more current you push when you perform static measurements. have ahigh-frequency filter. This may
through it, the lower will be its imped- Sam: And... ? be perceived as abenefit rather than a
ance, until it breaks. Per: And many interesting things. We problem. The cable may be filtering at
Sam: For the AW-60 you use asingle pair of have found that the impedance of the 501(Hz, 301cHz, or as low as 15kHz.
bipolar transistors per side, is that nght? power supply is amuch bigger problem The problem is that you don't know.
Per: Yes. than anyone has thought about. The You don't know the impedance of the
Sain: So that's the sean' ofthe AW-60's sound? power supplies of 99% of the amplifiers passive preamp and you don't know the
Per: When you drive alot of transistors on the market are designed with big capacitance of the cable. [pauses] It could
in parallel, the driver circuitry will have capacitors, big transformers, big every- be nice, though, if you like a dark,
aproblem. It takes current to drive all thing — without taking into account the rounded system.
those transistors in parallel, and you end frequency response of the power supply. All kinds of things in series with the
up with adriver system that is larger signal do create aproblem, one way or
than the output stage itself. another. Take the volume control, for
It is very difficult for us to make an instance. If the input impedance of the
amplifier larger and larger in power and Contacts potentiometer is high — say, 50-100k
still keep the sound we have wanted ohms, so as not to load down the CD
from the very beginning. That's what Electrocompaniet AS, Soffieims- player — then you get inductance and
we aim for: to keep the same sound we vein 71, N-1473 Skier, Norway. Tel: capacitance in the potentiometer itself.
had on our very first amplifier, the AW- (47) 67 90 64 10. Fax (47) 67 90 97 If you lower the potentiometer's in-
25 —a few changes here and there, but 87. US distributor: Jason Scott put impedance to 10k ohms or less, to
basically the same. Now we have found Distributing, hic, 411-E Caredean get rid of the inductance and capaci-
one way to make an amplifier that used Drive, Horsham, PA 19044. Tel: tance, now you're loading down the CD
to be 25Wpc up to a maximum of (215) 773-9600. Far (215) 773-0332. player or processor and it won't sound
around 100W, with only one pair of Creek Audio Limited, 2 Belle- as good as it could.
transistors per channel in the output vue Road, Friern Barnet, London Sam: Damned if you do, damned Y.you
stage. [The AW-60 is conservatively rated at N11 3ER, England, UK. Tel: (44) don't.
60Wpc. —ST] 181-361-4133. Fax: (44) 181-361- Per: Right. Ifind that, depending on the
We remove all the so-called emitter 4136. US distributor: Music Hall, circuit, most of the time an active unit is
resistors, which are in series with the 108 Station Road, Great Neck, NY better. It's not always true that less is
signals and which end up in series with 11023. Tel: (516) 487-3663. Fax: more. With an active unit, you're putting
the speakers. When you split the volt- (516) 773-3891. atransistor on the input and the output.
age and current between multiple pairs Musical Fidelity, 15-16 Olympic You remove the potentiometer from the
of output transistors, you need to make Trading Estate, Wembley Middle- loading problems I just described.
the current equal for each and every tran- sex HA9 OTF, England, UK. Tel: By the way, the way the poten-
sistor. Otherwise, asingle pair of transis- (44) 181-900-2866. Fax: (44) 181- tiometer is connected on the EC 4.5
tors may carry 90% of the current and 900-2983. US distributor: Audio and 4.6, it is not in series with the sig-
the amplifier fails. Advisor, hic, 4649 Danvers Drive nal. The signal will never go through
So you need an emitter resistor to do SE, Kentwood, MI 49512. Tel: (800) the potentiometer. We tried it with
this. If you remove the emitter resistor, 942-0220. Far (616) 975-6111. and without this bypass system. Big
then you can have only one pair of out- —Sam Tellig difference in the sound. The volume
put transistors. Times all. Otherwise, the control and the balance control are in

Stereophile, January 1998 55

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 Analog Corner
Michael Fremer

1
/ he killer cycles, the killer Hertz, are smoothly finished solid pine and the bizarre incident that occurred a few
/the passage of my life is mea- uprights are available in a variety of weeks ago, and Ihave witnesses: namely,
sured out in shirts," as Brian heights to fit any ceiling. The adjustableEditor John Atkinson and Equipment
Eno once sang. In 1997 Imeasure out the shelves are secured by steel pins that fitReports Editor Wes Phillips. During last
vitality of the analog revival by how long it into holes in the uprights. For under AES in Manhattan, agroup of analog
takes my Dick to fill with new vinyl. It $100 you can house about 1200 records renegades called ameeting ("The Analog
doesn't take more than afew weeks, and a in style. You can build walls of Ivar Reality Check") —held off-site, of course,
Dick holds about 75 records. Dick, by the shelving, linking two sets of shelves since analog and the official AES agenda
way, is asturdy, inexpensive, attractively with one upright because each contains mix about as well as Louis Farrakhan and
finished, LP-sized, wooden slatted crate two sets of holes. The wood is unfin- the B'Nai Brith —and we all attended.
sold at Ikea, the Swedish home furnishing ished but it takes anice stain. The panelists were: Michael Spitz of
giant As at Linn, everything at Ikea has a If you're into luxury housing, nothing ATR Service Company, which services
weird, consonant-heavy name. beats Per Madsen's RACKIT"' system. and restores analog tape decks; Gerd
If you'd told me five years ago that in These stackable, modular, solid oak units Cyrener of tape manufacturer BASF/
1997 I'd have to buy aDick to hold new hold about 75 LPs each. Beautifully fin- EMTEC (if the tape division advertised
records and that I'd be filling and emp- ished, the RACICIT units are real fur- on TV, their ads would say "We don't
tying it twice amonth or so to make niture, and can be stacked as high as you make the music, we make it sound bet-
room for more, I'd have said you were can go. They require assembly, but it's ter"); recording engineer and producer
crazy. But here it is, almost 1998, and my quick and easy using the supplied hex bit Ed Cherney (Bonnie Raitt, etc.); the
Dick runneth over. If you live near an for adrill or drill/driver. Madsen offers highly esteemed mastering engineer
Ikea, you should pick up aDick or two modular units for LPs, CDs, 45s, etc, Bob Ludwig, who now owns and runs
— they're cheap! You have to put Dick and an optional dolly footing if you want Gateway Mastering in Portland, Maine;
together, but you can do it in about 15 to roll your own. (Per Madsen Design, John French of JRF Magnetic Sciences,
minutes; Ikea supplies the wooden dow- P.O. Box 882464, San Francisco, CA which rebuilds analog tape heads; Allen
els and abag of white glue. Ileave off the 94188. Tel: (415) 822-4883.) Sides, who owns Ocean Way Studios
top front slat to make browsing easier. and one of the world's finest collections
Iget e-mails and letters from readers Vinyl & analog at the AES of tube microphones; Steve Smith, rep-
all the time asking about record storage. So the records keep popping out of the resenting the Quantegy company, which
The Dick is agood temporary portable presses and we could spend awhole col- owns the Ampex tape-manufacturing
container, but you can't stack 'em. Ivar, umn — hell, an entire Stereophile— on all facility and which recently bought 3M's
also from Ikea, is the best inexpensive the new vinyl being issued around the analog tape line and associated technolo-
record shelving Iknow of. The shelves world. But Iwant to tell you about a gies; and Bruno Hochstrasser of Studer,

Storage options (left to right): The Ikea Dick, Ikea War, and Per Madsen's RACKIT', far right

Stereo/slide, January 1998

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 Analog Corner

Switzerland, manufacturer of Sony 48- mats, in 1996 and 1997 we averaged credit chart. It lists the number-one
track digital recorders. (Not really — just about 225 multichannel head assemblies records that week in five chart categories,
seeing if you're paying attention). coming through our place, mainly for and 85% of those in the past year have
Anyway, with apanel like that, you reconditioning and occasionally for head been on analog tape. Only 15% of the
kind of feel you're among friends, right? replacement. We found during this peri- number-one records in five chart cate-
And while not every seat was taken, the od of time that people are more than gories have been digital. So all of you peo-
meeting was reasonably well attended willing to spend money to put new heads ple doing the recording, if you make it on
considering that it took place at atime in on machines that are 15, 20, and 25 years analog, it seems like it goes to number
the AES schedule when the official activ- old. And they do that because they like one! Of course, Ithink everyone in this
ity was to be an afternoon at Scores (jes' the sound. We see that with 3M M79s, room would have to agree that the sound
joshing). What the panelists had to say some of the early Studers, early MC Is. quality of analog is obviously superior,
was both reassuring and just plain validat- People are willing to spend money to because it's infinite sampling. On the
ing, as they say in the feel-good industry. keep this equipment running." future of analog, we also continue to
Spitz announced that his company develop and spend large amounts in
"will be busy well into 1999 at this point... R&D on analog [tape] product. As you
[having] booked asubstantial amount of
All of these people are aware, we purchased 3M's tape line
restoration work." BASF /EMTEC's are willing to spend last year. ... The 3M 996 was avery good
Cyrener said that his company's "sales tape. We have that technology, and we are
figures for both analog studio and money to recondition using that to improve our 456 and 499
broadcast tapes have increased. We do tapes. In the near future, we are even
not intend to give up producing analog temperamental vintage planning to introduce anew analog tape."
studio tapes as long as there is a Bruno Hochstrasser of Studer: "Up
demand." That may not sound like machines that until about two years ago, we were see-
much to you, but consider that afew ing a significant slowdown in analog
don't measure machines. But the past two years have
years ago, industry analysts figured ana-
log tape production would pretty much as well as been tremendous for Studer sales.
stop by the end of the century. Specifically with the A827, we have seen
Ed Cherney chimed in with amost the latest digital gear. significant success in the US, and also
enthusiastic personal endorsement of the other parts of the world, mainly in
analog medium: "I am committed to When you think about it, that's real- England. That also prompted us to con-
using analog to record music, although I ly amazing: in arecording studio, digital tinue production of these machines, cer-
use every tool possible. For example, Iwas is s000 much easier, more reliable and tainly for anumber of years. As long as
on tour with the Rolling Stones, and predictable, and yet here are all of these
because of the rigors of recording live, I people willing to spend all kinds of
e TRUE SUBWOOFERS'
really had no problem with going 48- money to recondition temperamental
track digital. It workedjust fine. Of course, vintage machines that dearly don't mea- With phenomenal
after four or five hours of sitting in front of sure as well as the latest digital gear. It's true deep bass
extending below
music that has been digitized, my ears start totally irrational. No wonder these nuts 20Hz with low
distortion at avery
going through the holes, and it's time to retreated to an off-site venue. affordable price.
go home and reset my ears —because I A bemused Allen Sides remarked,

Li
New HSU TRU
SUBS will extend
can't hear the music anymore, Ican only "Well, let me say first that Ithink Ed the bass of your
hear the things that aren't there. But you Cherney's career in analog will be safe stereo or video
system for that "air
use whatever tools you have, and ulti- for some time to come. We operate a shaking all around
mately it's the music that's important, it's total of 12 rooms in Los Angeles, you elect. Hsu Rowarcn HRS1,812V4

(ief0 8what experts are saying about HSU TRU SUBS

getting the artist's vision across. But Iam Nashville, and Sherman Oaks. What
.

lhe 814, had no problems valli the «wattle bass ot anythrng I threw at
committed to using analog tape as much has really surprised me is that, oh, it has rt blends as well re musrc as does rah moves °need the best deals or
the market •Stacey Spears, Seams& Home Theatre and HO Fdelay
as Ican. Imix to it. Ilike the way it sounds, completely done aturnaround. Most of Vole/44NQ 2. Stay 1997 (hte Wend senfoconCiduee_4_2huil2va

Ilike the way it feels. Fil keep buying it if our clients now prefer analog.... 'To my even greater sup's& it integrated splendidly with
the Sound Lab A-25 .. Thanks Hsu Research for coming up
somebody keeps making it.... Ultimately, There's kind of afallacy here that peo- vath the sonic bargain .." Rome Castellanos, Audio SIN:pos.4
Vol 3No 3. Aprd 1997 (http //seem cdrome coratsu html)
Iam looking forward to the day when we ple prefer analog because of tape com-
' output to nval many 18 inch subs along wrth the rare abrIcy to
are working with exponentially higher pression and head bumps and various nornogenrze ernost perfectly w.th hgh performance man speakers
rated fiat way down to 20 Hz but in my room ewent even lower
sampling rates, and maybe there will be a characteristics, and to some extent I'm and could get stomach churning load you asked •
Dan Sweeney, Aude Video Shopper. December t 996
time when digitization of music will be sure that's true. But alot of our clients 'An excellent Sensible Chace Is the Hsu powered subwoofer Its
pleasing to my eat Currently it's not, so I like it because clearly it has higher resolu- 19 Hz and 110 dB SPL should please anyone soundwrse
Tom Nousarne, Sensible Sound No 59. July/August 1996
stay committed to analog." tion, and dearly it sounds doser to input than • the Hsu nas to be considered an outstancfing baxgarn •
Yeah, but what does he know? Has most digital machines do. [Italics added for Rate Deutsch, Stereehde GAM to Hone Theater Vol 1No 2 1995

he ever been in arecording studio and emphasis.] So alot of our clients like it • thrs woofer achieves acombrnairon xl extremety owe speed and
gal massagrng bass impact that Ihave seldom ex penenced from

heard alive mike feed? Does he know because it clearly sounds bettet not any subwoofex Peter Mechel, Stereophde Vol 18 No 1.1an 1995
•

Send for lull details on the vastly improved new I2Va.

what live music sounds like? Is he a because they want the 'analog sound.'" he 10V, and our new TN series. Write or call.

recording engineer? Does he know Quantegy's Steve Smith added, "We HSU RESEARCH

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tle online digiholic dweebs! and the media that's used; Ithink agood 1.562.404 3848 (Voce-fart

John French ofJRF Magnetic Sciences measure of that is [in] Billboard magazine RESEARCH Wend° Erna( nsures@eannsnix net
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 Analog Corner

the quantities of the orders continue to cal contacts. You'd think I'd asked how cutting for AcousTech Mastering, ajoint
be reasonably high, we are still totally many wanted to see my Ikea record venture between premium plating/press-
committed to making these machines. crate's namesake. Vinyl! There was al- ing plant RTI and Acoustic Sounds.
Of course, we will continue to make most acollective gasp of disbelief. They Now Ricker's opened his own facility
machines for the digital domain as well. were embarrassed for me. in the California high desert. He's using
But for us — and this is a significant So Iadded, 'Well, you know, Bob, a Neumann VMS 66 lathe equipped
point—for us, analog continues to be a according to the RIAA, sales of new vinyl with an SX-74 cutterhead that has been
very important field of research, not were up 27% this year over last." More "seriously upgraded" with the Sontec
only because of the gentlemen here Compudisk computer, aTechnics direct-
using analog recorders, but also because "About four years ago, we drive motor, and, "most important"
you cannot make good digital recorders (according to the press release), console
without understanding analog.... And were really doing alot of and cutter electronics designed and built
you can exchange tapes on aworldwide by Reference Recordings' Keith O.
basis; it is still accepted everywhere." digital sessions — almost Johnson. In other words, Ricker bought
Bob Ludwig, who's been around for Reference Recordings' superb-sounding
decades mastering some of the finest-
70%. Now almost 80 0/o of analog rig.
sounding LPs you probably own (you'll Most important, Ricker can cut from
our projects are analog."
find his "RL" in the leadout groove area analog because his playback deck (a
of Steely Dan's Gaucho, The Band's The - Allen Sides, modified Scully 280) is equipped with a
Band, Led Zeppelin's Houses of the Holy, preview head, and he can handle the big
etc.) — at Sterling Sound, then Ocean Way Studios 14" reels of 1
/"and 1
4 /"tape some other
2
Masterdisk, and now at his own facility— facilities cannot. We look forward to
spoke about asurvey of mastering stu- looks of disbelief. Ludwig quipped, hearing some Ricker masterings on the
dios he'd done back in 1989. He found "Well, Michael, 27% of zero is zero." former Reference cutting system.
that Nashville "... was almost complete- And that was it. Case dismissed.
ly digital, West Coast was almost com- Some of the others changed the subject, Lyra Arion moving-coil
pletely analog, and our studio at that •saying, "Well, vinyl is not really what step-up transformer
time was about 45% analog. So when we're here to discuss ... " Let's say you've got apreamp you really
this forum was coming up, Itook alook True, the analog recording numbers like, but its phono section can handle
at what's coming in today, and Iwould are much better than the analog play- only moving-magnet or high-output
say that 75 to 80% of the projects that back ones, but you've got to believe the moving-coil cartridges, and you've
come in now are analog, or are DATs digital crowd sees what's happening decided to take the plunge into the
with analog tapes as well. That's acom- with analog as an irrational passing fad tweaky world of low-output, high-reso-
mon thing for me now, is to have the — ahead bump they can wait out. And lution moving-coil transducers. What
analog along with the DAT. In every what about eight years ago, whenever do you do?
case, we do listening comparisons, use anyone brought up analog in any con- Well, you could buy an outboard
our ears. In not every case does the ana- text other then "dead"? How were they phono section like the Audio Research
log win. But in probably about 90% of received? As Iwas at this meeting. PH3, the Plinius M-14, the BAT VK-10,
the cases where there is ashoot-out with But the vinyl analog revival continues, the FM Acoustics 122, the Sutherland
DA'T, the analog does win." and the numbers are still rising. Yet PH 2000, etc., and run it into aline-level
In fact, when Ludwig set up Gate- another mastering facility has opened, input on your preamp, thus bypassing
way, he didn't bother setting up his LP run by veteran cutting engineer Stan the built-in phono section altogether. Or
cutting lathe, figuring no one would use Ricker, profiled in this column in June '97 you could use the phono section you
it. When bands started insisting on (p.61). At that time Ricker was handling already have and bump up the moving-
vinyl, he sent the work down to
Masterdisk. Finally, the amount of work
he was farming out became too great to
ignore, so up went his lathe. He cut the
latest Foo Fighters two-LP set, and
R.E.M.'s New Adventures in Hi-Fi.
I'm sitting there soaking this all in, feel-
ing more validated than aparking-garage
ticket, when they solicit questions from
the audience. Ihad one Iwanted to ask,
both for my own curiosity and to answer
a question readers frequently ask me:
"Bob, what percentage of the lacquers
you cut are from digital sources and what
percentage are from analog sources?"
Well! Iwish Ihad aphoto of the pan-
elist's faces as Iasked the question. You'd
think I'd asked the guy from Switzerland
how much of my family's gold, stolen
during the Holocaust and hidden in
Swiss banks, was used in Studees electri- Lyra Arion moving-coil step-up transformer

Stereophile, January 1998 63

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64 Stereophile, January 1998

 Analog Corner

coil cartridge's output with a trans- of aluminum, with the transfonners at 47k ohms, Ifind that most MC car-
former like the Lyra Arion ($1500). damped and mounted in separate inter- tridges (but not all, and not under all cir-
I've been using the Arion for about nal suspension systems. It features inte- cumstances) benefit from being loaded
two months now while I've been simul- gral gold-plated spikes and is supplied down to around 100 ohms. Otherwise
taneously reviewing two turntables — with aset of dimpled, gold-plated discs there's overshoot and you get ringing.
one fitted with the low-output (25011V) to protect the finish of your mounting To my ears, an unloaded moving-coil
Lyra Parnassus DC, the other with the surface. Mine came finished in aneat cartridge and astep-up transformer are
high-output (4.5mV), wooden-bodied magenta gloss. arecipe for ringing. Compared to the
Grado Reference MM cartridge. I'm Frequency response is listed as essen- $6800 Sutherland phono section set to
also evaluating the new Ayre K-3 pre- tially flat from 10Hz to 100kHz, with 100 ohms into an Ayre line-level input,
amp, which can handle both MC and transformer potting (damping), wind- the Arion into the Ayre 47k ohm phono
MM cartridges. But to change the K-3's ings (stress-free 6Ns copper), resistors, section did sound slightly thin, slighdy
gain you need to shut it down, open it and solder designed and selected for bright, and slightly "silvery" though
up, and plug in some tiny resistors — it's transparent, dynamic performance. The there's no silver involved.
much more convenient for now to use unit is small (5.9" by 4.7" by 2.4") and On the other hand, the purity of
the Arion transformer to bump up the weighs 7lbs. sound and the ultralow noise floor yield
Parnassus' output. The Arion is ultraquiet, obviously, incredible sonic riches and awealth of
While the Arion, which offers 26dB and offers outstanding retrieval of inner inner detailing that more than compen-
of gain (measured at 2ohms/47k ohms detail and apurity of sound unique to sate. The best way to describe it is the dif-
input/output impedance), is designed transformers. Its flat response gives it a ference between aMartin-Logan electro-
for Lyra cartridges, it's also suitable for neutral quality — which means that, for stat and a well-designed moving-coil
other low-internal-impedance (6 ohms the most part, you'll be hearing the tem- cone speaker system. Some listeners will
or less) cartridges: Koctsus, Ortofons, per and texture of the preamp into no doubt hear "transformer" when they
Benz-Micros, etc. Like everything in which it's plute.ed. Of course, the trans- hear the Arion, while others will hear
audio, transformers have pluses and former doesn't feature cartridge loading, purity and ultrahigh resolution. In any
minuses. Pluses are low, low noise, sim- so your preamp's 47k-ohm-impedance case, if you're happy with your MM-only
plicity, and high purity of sound; minus- MM phono section, reflected back preamp and would like to gain the bene-
es include their tendency to resonate, through the transformer's turns ratio, is fits of alow-output MC cartridge with-
and sound hard and "silvery" what the cartridge will "see." out losing the use of one of your pre-
The Arion features a heavy, highly While Scan-Tech, maker of the Lyra amp's line-level inputs, the Arion is
rigid casing machined from asolid block line, recommends loading its cartridges attractive, maintenance-free option. E1

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Stereophite, January 1998
THE STARS OF HOME THEATER
HI-FI '98 IS BACK at our Product premieres! facturers like McIntosh, Meridian, Order Show tickets now
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NOTE to the Trade: Some brands will be represented only by their dealers. For alist of manufacturers who will exhibit directly or have representatives present, please fan Lynn Taulbee at (5051 992-6677.

MEMBERS OF THE TRADE!

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two days of seminars before exhibits sored by The Academy Advancing the Fax Lynn Taulbee on your company
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Get the scoop on new video technologies. Tuesday, June 9at 8AM and conclude on (505) 992 6677 Stop by our booths:
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 Undercurrents
George Reisch

,g/ 0 bserve the candle!" these truly separate and independent basic understanding of combustion.
I can still hear the ingredients? This isn't just science, it's common
booming voice of my high- The conventional wisdom says "Yes!" sense. Sgt. Joe Friday, of the old TV
school chemistry teacher. My classmates Observations and theories are like show Dragnet, knew all about it. If you
and Isat around the octagonal lab tables, apples and oranges. They don't interact. saw the crime take place, he wanted
staring at the candles burning before us What that candle looked like — what only your observations: "Just the facts,
as he walked us through the scientific we all observed—had nothing to do Ma'am." He especially didn't want your
method. with our various beliefs and ideas. theories or hunches about whodunit. It
"Now, take your lab books and While Iwas thinking about Brian Jones' s was his show, so he'd collect all the
record your observations!" observations, build his own theory, and
We did: What's so great about catch the crook just before the last com-
"The candle is giving off heat ... " mercial break.
"The candle is green ... " objectivity? It travels. Objectivists take Sgt. Friday's
"The candle's flame is yellow..." approach to equipment reviews. "Just
But we were one step ahead. Our guitar, for instance, Barbara the valedic- the facts, Wes (or John, or Steve, or
public-school education had overflowed torian-to-be was probably thinking Kalman, or ...)." A reviewer's job, they
with films and filmstrips about the won- about the atomic structure of oxygen. believe, is to report objective, scientific
ders of science and its method, so we Still, we both saw the same phenome- observations about acomponent, espe-
knew what to do: Observe the candle non: aburning candle. cially the results of test-bench measure-
objectively, scientifically, without bias or Like arecipe, the scientific method ments. If subjective impressions are
preconception —and, above all, never requires sonic ingredients. In our case, reported, they should be backed up
wear acrewcut or those thick, with blind tests or ABX tech-
black glasses like the scientists niques. Why? To keep review-
in those films. ers from drifting into unscien-
"Now, stop writing and tific reveries that will only
observe the candle some more!" detract from the objectivity of
We did. But when you're 15, the information being reported.
objectivity is boring. Just for What's so great about objec-
fun (and just to annoy our tivity? It travels. If Iwere to
teacher), my friends and Ihad a review some $200 RadioShack
contest to see who could be the speakers and report — subjec-
most unscientific. Naturally, I tively —that they sound exactly
won. My lab book contained like my reference Quad ESL-
some startling discoveries: 63s, most objectivists would
"'Ile flame looks like asun- roll their eyes and turn the
burst Vox Mark VI electric gui- page. "Reisch, you may think
tar (just like Brian Jones's!). they sound the same, but you're
"The candle is not funny probably the only one." But
looking in precisely the same suppose I showed that the
way that the chemistry teacher is. speakers measure exactly like the
"The candle is just burning to Quads in my living room. In
get out of this claçs and go home." that case, they'd probably mea-
Today I'd be too embarrassed sure like Quads at your place,
to tell this story were it not that too, and they'd probably sound
1) Ihave no shame, and 2) my pretty good. Even the staunch-
fellow cut ups and Iwere staring est objectivists would be on
right at amurky philosophical their way to the strip mall
puzzle —one that leads straight before you could say "Mpingo."
to the endless debate between But things are not so cut-
objectivists and subjectivists. and-dried. In the 1950s and
The puzzle is about the two main we took some observations and careful- '60s, just when those Drew Carey
ingredients of science: observations (like ly added some theories and hypotheses lookalikes were making all those films
the ones that filled our notebooks) and about atoms, molecules, energy conser- about progress and the scientific
theories (by which Imean all the laws, vation, and so on. Then we stirred care- method, some historians and philoso-
ideas, principles, and even just the fully while adding some logic and com- phers began to suspect that this crucial
hunches that make science go). Are mon sense. In the end, we cooked up a distinction between observation and

Stereophile, January 1998 69

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 Undercurrents

theory is asham. They decided that the and you'll be staring past the stars, into with pure or objective observations of
two are not truly separate and indepen- boundless space. audio equipment —you're left with no
dent. Contra Joe Friday, it's impossible Joni Mitchell made the point in her useful observations at all
to have "just the facts" — observations song "Both Sides Now." Before being Like an endless list of miscellaneous
must always contain beliefs, ideas, and raised on robbery, she was evidently facts about aburning candle, acom-
preconceptions of some sort. raised on adiet of books and stories for pletely unbiased and unprejudiced
How do beliefs and theories get little girls. That's why she would look review of an audio component could
smuggled in with scientific observa- at clouds and see "angel hair" and "ice devote pages to its knobs, its packing
tions? Suppose they didn't. If observa- cream castles" and "feather canyons." material, its performance as adoorstop,
tions were truly theory-free, then Icould She "looked at clouds that way." Maybe yet never stray from the objectivist prin-
have observed that candle without any she simply needed arhyme, but the ciple of "just the facts." The truth is that
knowledge at all of heat, combustion, "that way" is revealing. Observations agood reviewer, like agood scientist,
chemical bonds, and so on. Scientifically aren't ready-made. What you see needs to have the right beliefs and preju-
speaking, Icould have been ablank slate. depends on how you look and what dices — not none at all. And as long as
But then my lab book would have read you believe. reviewers are up-front about their tastes
like this: "The candle ... and idiosyncrasies, readers do know
"... is in aroom that contains aclock. what's going on.
"... is cylindrical.
VVhen you strip away all Besides, even arch-objectivists like
"... has awick that is bent in two beliefs and preconceptions, subjective reviews. Here's proof:
places. Suppose God magically transformed
"... is 4.72 feet away from one end of you're not left with Stereophile into the ideal objectivist mag-
my left shoelace...." azine. Not only would reviews include a
This could have gone on forever. I pure or objective complete and accurate set of measure-
could have devoted my entire life to the ments, the magazine would actually let
study of that candle, produced ahuge observations — you're left you hear the component under review.
and useless jumble of scattered observa- You could just hold the magazine to
tions, and still have remained in the dark
with no useful your ears — kind of like aconch shell
about the chemistry of burning wax. observations at all. with "the sound of the ocean" inside —
Joe Friday faced the same problem. If and hear exactly what you would hear if
he was ever going to stop collecting you were sitting in the reviewer's listen-
facts and solve the crime, he had to col- What does this mean for objectivism? ing chair.
lect usifill facts. But how did he know If scientific observations are not fully Would subjective reviewing be
which were useful and which weren't? "objective" and independent of theories doomed? Would reviews consist hence-
That's how theories sneak in. Because and ideas, then reviews of audio compo- forth simply of aphoto spread of the
any situation contains an unbounded nents are not likely to be fully objective component in question, some technical
number of facts to observe, detectives either. The notion that one might information, and two pages to hold up
and scientists alike must have some idea, review components "with no precon- against your ears?
hunch, or half-formed hypothesis about ceptions" (as Lee Child put it in No, and no. Even though many read-
which facts might be important and "Letters," March 1997, p.16) is amyth. ers would spend hours with their heads
which can be safely ignored. On their One might even say that there's nothing wrapped in the magazine ("Hon...?
own, blank slates make bad detectives at the end of the objectivises rainbow Are you okay?"), subjectivists and objec-
and bad scientists. They need theories. but an empty pot (although rhetoric like tivists alike would still want lots of com-
But there's more. In his influential that just makes objectivists mad). mentary. They'd want to know what the
The Structure of Scientific Revolutions, "You're right about that (you stupid reviewer thought about the sounds
Thomas Kuhn argues that scientists lit- philosopher!). Besides, we objectivists being heard; what he or she found espe-
erally see the world differently if they are one step ahead of Kuhn. We know cially appealing or annoying or new or
subscribe to different ways of thinking, that beliefs affect observations. That's different about the component.
to different "paradigms." It's not that the whole point. That's why we advo- It makes good sense: If scientists can
they see the same phenomena and just cate blind testing and ABX tests —pre- look at the same thing but see it differ-
interpret them differently — the phe- cisely to keep reviews objective. If a ently, then audiophiles can listen to the
nomena themselves are different. turntable reminds a reviewer of ice same component and hear it differently.
Try this one at home, especially if you cream castles or beloved Uncle Ralph, By exchanging thoughts and impres-
live in arural area: On aclear, cloudless or if the designer drops by and proves to sions, therefore, we can learn to hear
night, imagine being a 14th-century be an all-around nice (or nasty) guy, the components (or systems, or recordings)
astronomer who has spent his life study- review may be skewed one way or in new ways that we might not discover
ing the heavens as asystem of nested, another and the poor reader won't on our own.
crystalline spheres enclosing and slowly know what's going on." No audiophile is an island.
rotating around the earth. You'll find Au contraire, mes frères. The whole Theories and observations. Little did I
that the stars really do look as if they're point is what you objectivists always trip know, back in chemistry class, that things
studded on the inside surface of ahuge over. We agree that reviewers' observa- were much more complicated than I
sphere, especially if you can see them tions, just like scientists', interact with thought. All those unscientific "observa-
from horizon to horizon. Once you beliefs. But the ideal reviewer you envi- tions" Imade up about that candle were
mentally return to the 20th century, sion cannot be one from whom all indeed sophomoric and stupid — but
however, the sky will suddenly look dif- beliefs and preconceptions have been they weren't necessarily unscientific. At
ferent. That huge sphere will disappea stripped away. For then you're not left the time, I just didn't see it.

Stereophile, January 1998 71

 Recorded LIVE at the Santa Fe Chamber Music Festival

Music of Mendelssohn and Brahms

featuring Christopher O'Riley, piano;

Nathaniel Rosen, cello; and other
Santa Fe Chamber Music Festival artists

Engineered by John Atkinson

scale, so sonorous—with wide-open chords and rhythmic dis-

placements—that it sometimes seems written for an orchestra.

You'll thrill to the work's granite solidarity and dramatic

contrasts—at times it seems that an entire orchestra is taking
over the piece. There's equal pleasure to be found in the
piece's quieter moments—the lyrical and lilting second
movement, for instance.

Captures the Festival sound!

Only $15.95!
Vie As Stereophile's John Atkinson says, "the recording venue
defines the basic character of the sound." But what if the

M usic lovers from around the world flock to the Santa Fe

hall is small and reverberation time is short? The recorded
sound can be dry. JA used aLexicon digital processor in
Chamber Music Festival—but if you couldn't get to the 1997 post-production to achieve afull, rich harmonic presentation
Festival, we'll bring the best of the Festival to you...with this and still capture the sound of the hall.
stunning new recording engineered by John Atkinson.
The recording was minimally miked. JA used apair of
The program opens with Felix Mendelssohni engaging Sextet cardioid microphones full-range for their excellent imaging,
in D Major (Op. 110), written for violin, two violas, cello, along with apair of spaced omnis for asense of bloom and
double bass, and piano—an uncommon combination of accurate tonal color. You can almost look into the soundstage
instruments. The third movement, Menuetto, is especially to see where the musicians are—the imaging is stable and
striking. Mendelssohn sets it in 6/8 instead of the expected solid. But at the same time you get the sense of bloom that
3/4 time and asks that it be played "Agitato." An agitated you would have heard at the live event.
minuet—most unusual!
We GUARANTEE you'll be thrilled by the performance
Quartet No. 2in A Major for Violin, Viola, Violoncello, and AND the recording—or you can return your disk(s) for afull
Piano, Op. 26, by Johannes Brahms is one of the master- refund. Available now. Order extra copies and delight family
pieces of the chamber music repertory. The work is so large- members and music-loving friends.

Mail to: STEREOPHILE, P.O. Box 1702, Santa Fe, NM 87504-1702 F8AN-7

Iwant copies of ENCORE @ $15.95 each CD.

Shipping and Handling: ($3.50 per order U.S. and Canada; $8 per order foreign airmail) $

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Payable in U.S. funds. Make checks payable to STEREOPHILE. Allow 4-6 weeks for delivery.
 TH 111 KING OF
STEREOPHILE'S LATEST RECO

44 obe natural," Oscar Wilde said, "is such a distance between the microphones affects lateral time cues
difficult pose to keep up." on the recording; the perception of spaciousness can be pro-
When we refer to any recording as "sound- foundly influenced simply by varying that spacing.
ing natural," we are, of course, employing an oxymoron. So how can any recording pretend to an "absolute"
There's nothing about the process that is "natural" — except, sound when every choice made by the engineer can
perhaps, the use of agood-sounding venue and the choice influence the final product? That is the dilemma facing
of sympathetic musicians. Microphones don't "hear" music anyone attempting to preserve afaithful record of the
in the same way that ears do, and, far from being neutral, are original event. The art (as opposed to the craft) of record-
actually chosen for their sound. ing lies in making choices that produce the flavor of
For instance, if one is recording violins, the polar distrib- veracity, even while exploiting the reality-altering prop-
ution of radiated power along the axis of the violins' top erties of the tools employed.
plates is such that it will overwhelm any other sounds the
microphones are intended to record — so one is forced to William Lumpkins' Spanish Village (above) was used for the cover of
record from any position but one along that axis. Most engi- Encore. Lumpkins produced this watercolor as one of three large works
depicting the three predominant cultures of New Mexico when he was a
neers choose to raise their microphones well above it, since
participant in the Public Works of Art Project during the 1930s. All three
that solves other problems relating to the way microphones paintings are in the collection of the Museum of Fine Arts, Santa Fe, New
perceive the instruments on astage. Mexico. More of these works appear in Treasures on New Mexico Trails
by Kathryn A. Flynn, published by Sunstone Press. This painting is avail-
To cite another example: Simply by using spaced omni- able as aposter, the third in aSanta Fe Chamber Music Festival series
directional microphones, an engineer can create an illusion celebrating New Deal and Works Progress Administration (WPA) art
of spaciousness that may not truly exist in the venue. The created in New Mexico in the 1930s and 1940s.

Stereophrie, January 1998 73

W HO W AS W HO, John Atkinson and I entered Santa Fe's St. Francis
W HAT W AS W HEN, Auditorium on July 18, 1997, intending to record several
performances over the course of the next two weeks in
AND W HAT W AS W HAT much the same way as we had in 1995 and 1996. 1That is to
say, we arrived full of the moral righteousness in simply
Encore was recorded at t recording the event that only the cue believer can muster.
Francis Auditorium, Museum We hung the four B&K microphones in the locations that
of Fine Arts, Santa Fe, New past experience had told us worked well, and set about run-
Mexico, July 20, 21, 24, & 25, ning cables, tapping power, and adjusting microphone pre-
1997. Each recorded perfor- amps, D/A converters, and the ubiquitous Nagra-D four-
mance has been assembled channel digital recorder.
from the two public perfor- There was just one problem. When we began recording
mances and the final rehearsal the rehearsal for the Saturday, July 19th program, we noticed
where necessary. that the sound was drier and far less rich than the sound we
had recorded in the years before. We closely inspected our
Producer/Artistic Director: setup, which seemed to be functioning perfectly, then cast
Heiichiro Ohyama our eyes about in search of the culprit. JA determined that
Production/Engineering/ the acoustic shell, designed to throw the sound toward the
Editing: John Atkinson audience, was much closer to the musicians this year. In
Assistant Engineer: 1995 and 1996, for instance, it had been halfway between
Wes Phillips the musicians and the rear of the stage. This year it was so
Executive Director; Santa Fe close to them they could reach out and touch it.
Chamber Music Festival: Festival Artistic Director Heiichiro Ohyama had asked
Erich A. Vollmer for the shell to be moved, having found the sound as heard
Executive Producer, from the hall too dull. Moving the shell closer did, in fact,
Stereophile Inc.: make things brighter and better focused in the seats. This
Gretchen Grogan presented adilemma for us, though, since none of the sonic
The banners of the Santa Fe Road Manager: improvements were audible to our microphones —only
Chamber Music Festival fly David Hendrick the ways in which the nearfield sound had been affected for
high outside St. Francis
Auditorium. Piano Technician: the worse.
Michael Blackwell Moreover; it raised aphilosophical question: Who had a
right to the best sound —the audience on the night of the
Recording equipment: two Brüel & Kjaer 4006'e performance, or the thousands of people who would (we
omnidirectional microphones with (diffuse-field) hoped) revisit the performances on our CD? JA and Ifound
nose-cone grids; two Briiel & Kjaer 4011 1/
2"cardioid ourselves of two minds. With alot of work already invested
microphones; Cardas 300B, AudioQuest Lapis, and in the project, we desperately wanted something to come of
Beyerdynamic balanced microphone cables; Millennia it. But as avid concertgoers, we had both experienced perfor-
Media HV-3B solid-state microphone preamplifier mances compromised by the bright lights and distractions of
(cardioids); Forssell M-2a tube microphone preampli- television cameras. Ohyama, however; was adamant: We were
fier (ornais); dCS 900D and 902D 24-bit, two-chan- free to record, but he would not consider moving the shell
nel AID converters; Apogee Wyde-Eye and Illum- and changing the in-hall sound.
inati AES/EBU digital cables; Sonic Frontiers So we did the best we could, and found much to like in
UltraJitterbug (master reclock); Nagra-D open-reel, the recordings we made. For one thing, the Festival musi-
4-track, digital tape recorder; BASF tape; Dorrough cians had, as is their wont, conjured up some musical magic.
AES/EBU level meter; Sonic Solutions SonicStudio We were entranced by the Mendelssohn, awed by the
v.5.2.1 digital audio workstation with 15GB hard Brahms —these were interpretations that we really wanted
drive; Lexicon PCM 90 digital reverberator; Men people to hear.
518 Mastering Converter. And the sonic news was not all bad. True, we came up a
bit short in the bloom department, but we succeeded in cap-
Stereophile thanks Steven K. Lee &Jamie Ryan (Canoros); turing asense of immediacy that was compelling, if not
John La Grou (Millennia Media); Fred Forssell (Forssell); seductive. Still, as good as we felt the 24-bit tapes to sound,
Joel Silverman (Lexicon); Wes Dooley (Audio Engi- they had asense of foreshortened acuity not dissimilar to
neering Associates); Nancy Belt (Nagra USA); Rob that of videotape when compared to film. They sounded
Hofkamp (TGI/B&K); George Cardas (Cardas); Bill "real" but flat, lacking that roundness and sense of depth that
Low (AudioQuest); Bob Stuart (Meridian); Les Melberg distinguish the best-sounding recordings. JA and Heiichiro
(Audio Power Industries); Matthew S. Snyder (Alpine assembled a24-bit master using the Sonic Solutions digital
Recordings); Bryan Shaw (Digital Brothers); and the staffs audio workstation, but the project stalled for awhile.
of Stereophile and the Santa Fe Chamber Music Festival for
their time and enthusiasm.
1Stump/ale has released two other CDs of works recorded in concert at the Santa
Fe Chamber Music Festival. Festival (STPH007-2) was recorded in 1995 and features
The Santa Fe Chamber Music Festival acknowledges the orignal chamber version of Copland's Appalachian Simi% Milhaud's jazz-
flavored La creation du monde, and the 1995 Festival premiere, Tomiko Kohjiba's The
First State Bank, whose generous support helped make Paneniqration of the Soul Serenade (STPH009-2) was recorded in 1995 and 1996 and
this recording possible. The recording is dedicated to the features Mozart's Flute Quartet in D (1(285), the Brahms Horn Trio in E-Flat, and
1)voralc's Serenade in I) Minor for Winds & Strings. To obtain liniinil &mule,
three founders of the Festival —Nora Chavez and the Encore, or any of the other eight Ste/nip/1de recordings, call (800) 358-6274 for
late Louise Iiigg and Philip H. Naumburg. credit-card orders or sec the advertisement elsewhere in this issue.

74 Stereophile, January 1998

 Then, while attending the Audio Engineering Society's subtlety. "Would selling my soul be ahuge price to pay to
convention in New York last September, JA was tempted by make our 1997 Festival recordings usable?" JA mused,
the devil. He stepped into Lexicon's booth, where they were entranced by the knobs on aLexicon PCM 90.
demonstrating the latest generation of their DSP room-syn- "Our souls?" Ireminded him. "I guess it all depends. If we
thesis engines. The current state of the art in digital spatial used it and didn't tell anyone, that would be wrong. But
processors is afar cry from the metallic reverberation plates what if we presented it as acautionary tale — ademonstra-
of yore: these days you have incredible control of every tion of what changes can be wrought through technology in
parameter, and it's possible to use the effects with extreme the pursuit of 'honest' sound?" (See "Echo" sidebar below.)

•
Il ,1 A LITTLE M ORE ECHO, ECHO,

B
ack in my recording-musician days in the 70s, became subjectively bothersome.
the studio at which Iwas the house bass player Should Iadd some artificial reverberation? That was the
had an AKG reverberation chamber that found question.
its way onto pretty much everything we laid down on Attending Audio Engineering Society conventions
tape. Basically alarge metal plate with an electromagnetic over the years, Ihave always tried to catch presentations
exciter at one end and apickup at the other, this produced given by Lexicon's founder, David Griesinget A fascinat-
reverberation with anot unpleasant sonic signature. In ing speaker and akeen recordist, Griesinger has probably
conjunction with discrete tape-delay echoes courtesy of a done more analysis of reflections in real rooms and more
high-speed FteVox A-77, the effect could be tweaked to closely investigated the perception of reverberation than
give quite alifelike simulation of aconcert hall —or at any other engineer. His Lexicon Model 480L digital
least one that passed muster for the rock recordings we reverberator, for example, is astandard piece of kit for
were producing. And when Iworked on an album at classical engineers with deep pockets. So when Iattended
EMI's famed Abbey Road studios, Iwas intrigued to learn the 103rd AES convention in Manhattan last September,
that they used real reverberation chambers, with aloud- Istopped by the Lexicon stand and chatted with the
speaker at one end and amicrophone at the other. The Massachusetts company's VP of North American Sales,
speaker was on rails, allowing it to be moved closer to the Joel Silverman. "Check out our new $3000 PCM 90
mike to reduce the apparent size of the room. Digital Reverberator," advised Mr. Silverman. So Idid.
These days everything is done in the digital domain, Lexicon's DSP-based PCM 90 offers 250 preset rever-
and relatively low-cost digital reverberators have revolu- beration programs, many based on real halls, many syn-
tionized studios. But as Igot more involved in classical thesizing hall acoustics that could not happen in reality.
recording, it seemed obvious that the role of the engineer Many of the parameters of each of these presets are
was to capture not just the sound of each instrument as adjustable — stage width, for example, or the overall
accurately as possible, but also the sound of the room. The decay time, or the manner in which high frequencies are
result would be arecording that, when played back on a absorbed. As well as conventional analog inputs and out-
system with inherently good imaging performance, puts, the '90's S/PDIF ports allow it to work on digital
would throw asimulacrum of the original event between data. While its internal data processing operates at 20/24
and behind the speaker positions —a soundstage! My purist bits, the overall resolution is 18 bits. As long as Ioperat-
attitude was this: If you want to make agreat-sounding ed the unit 12dB hotter than Iwould eventually need, I
classical recording, first find agood-sounding room. could achieve effective 20-bit resolution by backing off
And that we managed to do with Stereophile's first 10 the gain on the data by the same 12dB.
recordings. But, as Wes Phillips describes, we hit an im- One key to making the Encore sweetening work, Ifelt,
passe with the Encore project: the stage setup for the 1997 was to find aPCM 90 reverberation setting that most
Santa Fe Chamber Music Festival had been changed, opti- closely resembled the sound of the real hall. During the
mizing the sound for the audience at the expense of the performances Ihad actually recorded the sound of the
microphones. Moving the microphones back was not an hall and audience with apair of Shure SM81 cardioids
option; they then would have picked up too much slap- with an eye to apossible surround-sound release. Against
echo from acing frescos on the auditorium's sidewalls. And this reference, therefore, Iauditioned literally hundreds
in fact, for the Mendelssohn Sextet, we actually had to place of synthesized hall ambiences — something made con-
the microphones even doser than for the Brahms, due to the siderably easier by the Lexicon's well-designed user
demands of video engineers who were taping the world interface — before settling on an algorithm that sounded
premiere of the other work on that night's program: Feliu like Santa Fe's St. Francis auditorium.
Gasull's Cotttra-xions for flamenco guitar, instrumentalists, The second key was to not use too tnuch of the synthe-
and two dancers, one of the Festival's two commissions for sized reverberation. In my session-musician days, Iused
its 25th-anniversary season. to love listening to the echo-return channels by them-
As aresult, the recorded sound we ended up with was selves. These days, I'm more sophisticated. Ihad the
immediate and vivid, but there just wasn't enough of the reverberated version of the master available on asecond
room. There was also apuzzle to be pondered: the 24- set of Sonic Solutions console faders, and mixed it into the
bit tapes sounded acceptable, and Igot used to the pre- dry signal at what turned out to be avery low level
sentation when Iwas assembling the master. It was only So, did Isell my purist audiophile soul for nothing?
when Iredithered and noise-shaped the edited master Check out the sound of Encore and tell me what you
file's word length to 16 bits that the dryness of the sound think. —John Atkinson

Stereophile, January 1998 75

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 JA brightened. "That could work. And on our next Test and these triplets power the movement to its close.
CD, we can offer untreated and treated excerpts highlight- The gentle Adagio—in the unusual key of F-sharp major
ing the differences." — is alyric interlude. Mendelssohn mutes the strings and
So there you have it. This project, like all our other marks the music "dolce"; once again, piano and strings
recordings, was created with apurist philosophy, but for exchange the melodic line. The Sextet's third movement is its
"natural sound" we've resorted to atechnological approxi- most striking. Mendelssohn marks it Menuetto, but then —
mation of an ideal room sound. The big advantage of DSP surprisingly —sets it in 6/8 rather than the expected 3/4 and
is that it is so easy to get consistent results. That's what can asks that it be "Agitato," amost unusual marking for aminuet
make it insidious — one gets addicted to the ease of relying movement. Agitated this music certainly is, and, far from the
on the "we'll fix it in the mix" mentality. character of most minuets, its surging outer sections sur-
It's hard to use the purist approach. Sometimes, as we dis- round acalmer trio. After areprise of the minuet, the move-
covered, it's impossible. Does the end justify the means? In ment vanishes on the lonely sound of solo pizzicato strokes.
this case, we think so. We await hearing what you think. The piano launches the concluding Allegro vivace on its
— Wes Phillips energetic way. Mendelssohn biographer Philip Radcliffe
hears "polkalike rhythms" in this sonata-form movement,
which maintains its jovial spirits until the closing minutes,
T HI'. M USIC when Mendelssohn suddenly brings back the minuet
theme, again marked "Agitato," and the movement rises to a
Felix Mendelssohn (1809-1847) powerful climax before ending with acoda marked Allegro
Sextet in D Major for Violin, Two Violas, Violoncello, con firoco. The ferocity of the close, where the music returns
Double Bass, and PkIP10, op.110 (1824) to the major only in the final measures, is at sharp odds with
the generally pleasant nature of most of the Sextet.

L
—Eric Bromberger
istencrs should not be misled by this work's high
opus number: Mendelssohn wrote the Sextet when
he was barely 15. It acquired this opus number when Johannes Brahms (1833-1897)
it was published in 1868, more than 20 years after his death. Quartet No.2 in A Majorfor Violin, Viola, Violoncello,
When Mendelssohn completed the Sextet on May 10,1824 and Piano, Op.26 (1861-62)
(which was, coincidentally, three days after the premiere of

0
Beethoven's Ninth Symphony), he was at the end of his ften the way to learn the secrets of amasterpiece
apprentice period and on the verge of achieving his mature is to examine it alongside its nearest siblings. Great
voice: the Octet for Strings came from the following year, works of art often develop in multiples—like
the Overture to A Midsummer Night's Dream from the year grapes and bananas — and for very logical reasons. Take
after that. If the Sextet is not on alevel with those master- Picasso: His late-1930s dying bulls, frightened horses, and
pieces, it is nevertheless an engaging work that employs weeping women were studies for his Guernica. Monees water
unusual forces, including a rare appearance in chamber lilies also illustrate agenius being fascinated by the seeming-
music by the much-neglected double bass. ly endless variations inherent in any given thesis. And
No one knows why Mendelssohn wrote for the unique Mozart, in his Sinfonia Concertante for Violin and Viola,
combination of violin, two violas, cello, double bass, and K.364, and Concerto for Two Pianos, K.365, fashioned two
piano — perhaps he had this particular set of players avail- duo concertos in the same key of E-flat major, with many
able to him at the time. One shared characteristics but aesthet-
would expect Mendelssohn to ically different results.
fully exploit the rich tonal possi- ENCORE: The Best of the Santa Fe Chamber Thus it is with Brahms here:
bilities he has available in the Music Festival STPHO1 1-2 The Piano Quartets in G Mino
middle and lower ranges with Op25 and A Major, Op26, were
these instruments, but in fact he The Santa Fe Chamber Music Festival, Heiichiro Ohyama, published in 1862. Unusual for
Artistic Director, recorded live in concert
does not, choosing most often to Brahms at the time, they are
Mendelssohn: Sextet in D Major for Violin, Two Violas,
assign the melodic line to the Violoncello, Double Bass, and Piano. Op.110 28:03
large-scale works that did not
piano or violin. The violas and (inc applause) start out as symphonies — but
lower strings usually play accom- Michelle Kim, violin; Geraldine Walther, viola; Nancy Uscher, viola; how different they are from one
Nathaniel Rosen, violoncello; Magi Dantlow, double bass;
panying roles in the Sextet, and Christopher O'Riley, piano
another! Neither is exactly easy
this gives the piano's high cascad- [11 Introduction 0:43 —Brahms, with his sonorous,
ing triplets and the violin's E [2] Allegro vivace 11:27 wide-span chords, rhythmic dis-
string a particularly silvery and [31Adagio 4:34 placements, and the like, never is
bright sound by contrast. [4] Menuetto: Agitato 2:20 — but the G Minor work usually
The sonata-form Allegro vivace [5] Allegro vivace 9.02 comes off better in performance.
contrasts the breadth of its open- Johannes Brahms: Quartet No.2 in A Major for Violin, Viola. Its granitic solidarity and dramatic
Violoncello, and Piano. Op.26 45:42
ing theme with amore sharply (inc. applause) contrasts are self-evident, and
defined second idea. At many Sheryl Staples, violin; Geraldine Walther, viola; Nathaniel Rosen, performers usually subordinate
points the young composer violoncello; Christopher O'Riley, piano such things as the lyrical, lilting
divides his forces into two dis- [6] Allegro non troppo 12:28 second movement to the sterner
[7] Poco adage 11:38
tinct sonorities, as the flowing stuff found elsewhere. But the A
[8] Scherzo Pow allegro 10:39
strings trade passages with the Major Quartet's very expansive-
[9] Finale: Allegro animato 11:20
percussive piano. Showers of ness of design and preponderance
Total Playing Time (induding applause): 73:52
triplets from the piano provide of acertain geniality are highly
the movement's rhythmic pulse, misleading, tempting practition-

stereophile, January 1998 77

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ers into an amiable amble without acompensating destina- simo diminished-seventh arpeggios while the strings halt-
tion or goal. In reality, the dramatic values are equally pre- ingly attempt to continue their two-note slurs from the first
sent, and even more crucial to the work's architectural design. theme. In the end, the sunny, melodic expansiveness wins
The opening pages of this A Major Quartet's first move- out over the anguish.
ment provide perfect examples. First there is the tempo The critic Eduard Hanslick once ex-pressed surprise that
marking, Allegro non troppo. For all its qualifying "non troppo," Brahms should have written the Liebeslieder Waltzes, and your
it must remain an Allegro. Then there is Brahms's motive: a annotator has expressed surprise at his surprise. In addition
quarter note followed by triplets, another quarter, and final- to the solo Waltzes of Op39, Brahms wrote many waltzlike
ly eighth notes with rests punctuating the triplets and movements similar to this Poco allegro Scherzo. It begins with
eighths —the eighths slurred in instructive contrast to the asinuously winding subject played by the strings in unison.
triplets, and in contrast to the same phrase in the recapitula- The piano joins, still in unison, and presently plays asecond
tion, where both groups are slurred. Performers must make legato melody against an ostinato backdrop of staccato syn-
this motivic cell crystal-clear, for imprudent and self-indul- copes. The second half of the Scherzo proper develops this
gent uses of rubato and tempo changes will obscure the material and reaches an animato climax. The central trio has
basic note values, which are used throughout the long an audacious use of leaping octaves and is, in part, derived
movement. And it is equally important that there be ajudi- from the opening theme of the Scherzo. There is an unevent-
cious distinction between the piano's poco fstatement of the ful reprise of the Scherzo proper.
idea at the beginning, and the three string players' similarly The G Minor Piano Quartet ends with the famous "Gypsy
marked restatement at measure 9, which is already on a Rondo," and there arc Zigermer elements in this A Major's
higher dramatic plateau. When the theme returns fortissimo Finale as well. This is particularly evident at the very begin-
( at measure 26, one arrives at the highest dramatic peak ning, where the piano is playing forte chords in syncopation
— as if an entire orchestra were taking over the idea. At the with the stings' thematic statement. This theme is restated in
time the first theme is initially stated by the string trio, the piano, the violin introducing some imitation while cello
Brahms has the cello accompany that theme in triplets. But and viola tend to the syncopes. The bridge passage that follows
when the piano takes over afew measures later, the cello's is avariant of material from the first movement. A secondary
pulsations change to sixteenth notes, thereby reinforcing the thematic idea of sorts presents itself, but the real second theme
importance of the rhythmic distinctions already noted. isn't heard until later. Brahms weaves his materials into one of
All this labyrinth of serpentine technical analysis is to per- his typically effective symphonic finales, working up ahead of
mit you, the reader, to get an idea of what the performers are steam at the end in memorable fashion. —Harris Goldsmith
confronted with in this wonderful piece. Somehow they
must delve into all the detail, present it accurately, and at the
same time keep it in perspective. An unfailing sense of for- THE M USICIANS

T
ward direction is absolutely crucial to this long but never
long-winded quartet. he players on Encore are some of the finest chamber
Brahms's piano writing here tends to foreshadow the musicians performing in the US. Marji Danilow
much later B-flat Piano Concerto No2. In both works, the (double bass, Mendelssohn) performs, records, and
keyboard part tends to be integrated into the overall texture. tours with the Orpheus Chamber Orchestra and the
The first movement is in expansive sonata form and Brahms Metropolitan Opera Orchestra, and was recently appointed
calls for arepeat of his long exposition, as in the FMinor Associate Principal Bass with the New York City Ballet
Piano Quintet but unlike the other two Piano Quartets. Orchestra. Marji performs and records with the Smithsonian
The Poco adagio has two basic ideas, the first moving over Chamber Players on gut-string instruments on the BMG
an ostinato of two-note slurs, the second more soaring and Classics label, as well as with Anner Bylsma and
impassioned in ringing chords that arc taken primarily by I:Archibudelli on Sony Classical Vivarte. She also performs,
the piano at first, and later by the strings. There is also asub- records, and tours internationally with Mozzafiato, an orig-
ordinate episode that has the piano playing ominous pianis- inal-instrument woodwind sextet with double bass.

H EIICHIRO O HYAMA William Primrose. Formerly prin-

cipal viola of the Los Angeles Phil-
harmonic, Mt Ohyama has
....
M aestro Ohyama, artistic
director of the Santa Fe appeared as arecitalist and chamber
. Chamber Music Festi- musician at the Casals Festival,
val from 1992 through 1997, also Kuhmo International Chamber
serves as artistic director of La Jolla Music Festival, Marlboro Music
SununerFest and music director of Festival, Chamber Music North-
the Asia America Symphony Or- west, and Round Top Music
chestra of Los Angeles and the Festival, and has recorded for CBS,
Santa Barbara and Cayuga cham- Nonesuch, Sonic Arts, and RCA.
ber orchestras. He was born in He has conducted major sympho-
Kyoto, Japan, and studied at the ny orchestras in this country and
Toho Music School, the Guildhall abroad, among them the Los
School in London, and Indiana Angeles Philharmonic, Baltimore
University, where his teachers Symphony, Royal Philharmonic,
were Josef Gingold, Ru ero Ricci, Janos Starker, and Kyoto Symphony, and Orchestra of the Opera de Lyon.

Stereophile, January 1998 79

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 Ms. Danilow has been involved with and featured on began studying the cello at the age of six, and at 13 began
numerous recordings, most recently the Schubert Octet on studies with Gregor Piatigorsky, who became his teacher
Sony Classical with Mozzafiato and UArchibudelli. Ms. and mentor. At 29, in 1978, Mr. Rosen traveled to Russia,
Danilow appears regularly with the La Jolla Summerfest and where he became the only American cellist ever to win the
the Santa Fe Chamber Music Tchaikovsky Competition Gold
Festival and has provided a solid Medal. He served as Artistic
bass foundation for all three Stereo- Director of the Interlochen Sum-
pink recordings of the latter. mer Chamber Music Series in
Michelle Kim (violin, Mendels- 1988-89, is afounding member of
sohn) is the Concertmaster of the the Sitka Summer Music Festival,
Santa Barbara Chamber Orchestra and was Principal Cellist of the
and the Asia America Symphony Pittsburgh Symphony for two
Orchestra of California. She has years, and of the Los Angeles
performed as achamber musician Chamber Orchestra for eight
and soloist throughout the US and years. He has performed as guest
abroad, and as asoloist with the Los soloist with the New York, Los
Angeles Philharmonic, Korean Angeles, and Czech Philharmonics;
Philharmonic, New Jersey Sym- the Leipzig Gewandhaus, Phila-
phony, and Santa Barbara Chamber Christopher O'Riley Nathaniel Rosen delphia, Minnesota, and Dresden
Orchestras. She has also worked State Orchestras; l'Orchestre de la
with Yuri Temirkanov, Yehudi Menuhin, Iona Brown, Suisse Romande; and the London, Sofia, Pittsburgh, Seattle,
Michael Tilson Thomas, and Simon Rattle. Kansas City, Atlanta, Cincinnati, Indianapolis, Dallas,
In the 1997-98 season, Ms. Kim will be performing at the Houston, Spokane, Lincoln, Columbus, and Vancouver
Aeolian Series in London, Ontario, and will appear as a Symphonies. Mr. Rosen has recorded for John Marks
soloist with the 20th Century Unlimited Chamber Or- Records, Vanguard Classics, Newport Classics, North Star,
chestra in New Mexico, the Asia America Symphony and Suoni eColon. He appears on Stereophile's Encore CD
Orchestra, the La Jolla Chamber Music Festival, and at the courtesy ofJoin Marks Records.
Hot Springs Music Festival in Arkansas as aguest artist and Sheryl Staples (violin, Brahms) has performed extensively
faculty member. Ms. Kim received her Bachelor's Degree in in solo recitals and as soloist with orchestras nationwide,
Music Performance from the University of Southern including the Los Angeles Philharmonic, Louisiana Phil-
California, where she is now afaculty member. harmonic, and San Diego Symphony. She has also been areg-
Christopher O'Riley's (piano, Brahms, Mendelssohn) ular participant in the Santa Fe and La Jolla Chamber Music
broad repertoire ranges from music of the English Renais- Festivals, and has performed with the Music for Mischa
sance and the French Baroque to the new works of today's series, Round Top Festival, and Pacific Serenades, collaborat-
leading composers, and includes many of his own arrange- ing with such artists as Yo-Yo Ma, Cho-Liang Lin, Lynn
ments and transcriptions. His honors include top prizes at Harrell, David Shift-in, James Buswell, Carter Brey, Ruth
the Van Cliburn, Leeds, Busoni, and Montreal competitions, Laredo, Paul Neubauer, and Young Uck Kim. She was also a
as well as an Avery Fisher Career Grant and the Andrew founding member of the Novacek-Staples-Landauer Trio.
Wolf Memorial Chamber Music Prize. He has performed as Sheryl Staples was appointed Associate Concertmaster of
a recitalist at the Lincoln and Kennedy Centers, and the Cleveland Orchestra, aposition she accepted in Feb-
throughout Europe. Mr. O'Riley has also been apopular ruary 1996. Previously she was Concertmaster of the Pacific
guest with the foremost orchestras in Boston, Los Angeles, Symphony Orchestra of Orange County, California. Ms.
New York, San Francisco, Philadelphia, Cincinnati, Staples plays aJoseph Guarnerius "del Gesu" violin on loan
Minnesota, Kansas City, Atlanta, Pittsburgh, and St. Louis, from agenerous patron, arranged through the Stradivari
collaborating with conductors David Zinman, Leonard Society at Bein & Fushi, Inc.
Sladcin, John Williams, Edo de Waart, Yoel Levi, Michael Sheryl Staples was the violin soloist in the Brahms Horn Trio
Tdson Thomas, Hugh Wolff; and Andrew Litton. His on Serenade, the Stereophile CD featuring works recorded in con-
recordings have been released on the Argo, Albany, Elektra cert at the 1995 and 1996 Santa Fe Chamber Music Festivals.
Nonesuch, RCA, Centaur, and Koch International labels. Nancy Uscher (viola, Mendelssohn), aprofessor of music
Nathaniel Rosen (violoncello, Brahms, Mendelssohn) at the University of New Mexico, has appeared in recital on

Marji Danilow Michelle Kim Sheryl Staples Nancy Uscher Geraldine Walther

Stereophile, January 1998 81

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six continents and recorded for most of the major radio net-
works of Europe. For five seasons she led the viola section of 1
the Jerusalem Symphony Orchestra. Ms. Uscher has
appeared at the Casals Festival in Puerto Rico, Kennedy
Center Mozart Festival, Grand Teton Music Festival, Round
Top Festival in Texas, Venice Biennale, Montepulciano
Festival, Spoleto Festival of Two Worlds in Italy, and the
Moab Music Festival in Utah. In addition, she has performed
and presented master classes at the Brazilian international
festivals Oficina de Musica XIV in Curitiba and Campos do
Jordao's Festival de Inverno. A corresponding editor of Strings
magazine, she is the author of two books, lire Schirmer Guide
to Schools of Music and Conservatories Throughout the World and
Your Own Way in Music: A Career and Resource Guide. She is
director of the UNM Center for the Arts in Society, aunit of
the Institute of Public Law that explores arts-related public
policy issues. In viewing the arts as agents for social change,
she has created an Arts-in-Prisons concert series, and recent-
ly completed the National Endowment for the Humanities-
funded project "A New Mexico Conversation: Music as a
Symbol of American Pluralism and Identity." Fig.1 The microphones' view of the Brahms Quartet, relative to the listener's
Geraldine Walther (viola, Brahms, Mendelssohn) has loudspeaker positions.
been Principal Violist of the San Francisco Symphony since
the 1976-77 season, haying previously served as Assistant (minis give the sense of space and envelopment in the low
Principal of the Pittsburgh Symphony, the Miami Phil- frequencies. The result is that you get an accurately defined
harmonic, and the Baltimore Symphony. Ms. Walther was image, where you can almost look into the soundstage to see
first-prize winner of the William Primrose International where the musicians are. But at the same time you get some
Competition in 1979, and appears frequently with Bay Area of the sense of bloom that you would have heard had you
orchestras and chamber music ensembles. Among the been at the live event. By using the minimum of milcing, we
works she has performed as soloist with the San Francisco tried to achieve avery natural, realistic soundstage, with a
Symphony are Mozart's Sinfonia Concertante, Berlioz's good sense of depth. Fig.1 shows what you should hear in
Harold in Italy, Hindemith's Kammermusiken Nos.5 and 6, the the Brahms Piano Quartet: the piano keyboard is center
viola concertos of William Walton, Walter Piston, Thea stage behind the cello, with the body of the Steinway
Musgrave, Bartók, Alfred Schnittke, and Penderecki, and extending almost all the way to the right-hand loudspeaker.
Telemann's Concerto in G major. She performed the US The violin and viola are to the left and right of the cello,
premiere of Toro Takemitsu's A String Around Autumn in respectively, each about halfway to the speaker position.
winter 1990, and has recorded Hindemith's Tranermusik and All the editing of the performance tapes was done with
Der Schwanendreher for London Records with the San 24-bit resolution to preserve as much of the original quality
Francisco Symphony. She has performed with the Santa Fe as possible. But once the master edit list for the CD had
Chamber Music Festival since 1987. been assembled, the problem remained of how to reduce
those 24-bit data to the 16 bits mandated by the "Red Book"
CD standard. Simply dumping the output of the computer
N OTES ON THE ENGINEERING hard disks to DAT or CD-R, thereby truncating each digital
word from 24 to 16 bits, both reduced the sense of record-

A
swith our previous two Santa Fe Chamber Music ed space and added afeeling of "digititis." During the prep-
Festival recordings, we used four microphones: aration of the master, therefore, the digital data were "re-
two outrigger B&K omnis were hung by their dithered" using aMeridian 518 Mastering Converter. This
leads from the ceiling, 8' from the stage and 13' from the applies achoice of noise-shaping curves to the music data.
floor. A central pair of B&K cardioid microphones was By shifting quantizing noise up to the inaudible 20IcHz
mounted on astereo bar, and hung by their leads from the region as it reduces the master's 24-bit word length to the
center of the ceiling 1P above the level of the stage and the CD's 16, the 518 preserves as much as possible of the origi-
same 8' back as the omnis. The two cardioids were used in nal's resolution in the midrange.
what's called an ORTF configuration: the mikes angled at No compression was used in the production of Encore.
115", their tips spaced about 7" apart. The ORTF micro- The maximum level on this CD was adjusted in the mas-
phone technique was developed in France and gives anice- tering to reach the maximum possible on aCD. For those
ly defined soundstage, but the tonal balance lacks low-fre- listeners with sound-pressure-level meters, OdBFS on this
quency bloom. The spaced omnis, on the other hand, give a recording corresponds to apeak spl at the microphone posi-
wonderful sense of bloom and very accurate tonal color, but tion of 100dB. If you set your volume control so that the
have mediocre stereo imaging. applause at the end of the Mendelssohn generates apeak
In post-production, the cardioids were used full-range to level of 100dB at your listening position — which is loud —
preserve their excellent imaging. The treble was cut on the the playback level will be pretty much the same as that in St.
omnis, then the two pairs of mike signals, time-aligned on Francis Auditorium.
the digital audio workstation to preserve transient informa- Encore costs $15.95 plus $3.50 S&H. See the advertisement
tion, were mixed together. The cardioids are the primary elsewhere in this issue for details of how to order it. Enjoy!
microphones in the upper midrange and treble, while the —John Atkinson

Stereophile, January 1998 83

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 feedback

fafuture without

acit?
Martin Colloms asks whether
negative feedback, almost
universally applied to amplifier
designs, is agood thing.

0
ver the years as areviewer, Ihave tracked the swings Feedback and the Ferry
of opinion and popularity of various audio ideas and The dominant problem in the early days of long-distance
technologies. Amid asea of advanced designs that telephony was that the harmonic and frequency distortion
achieve powerful technical performance and laudable speci- added to the signal both by the line and by the necessary
fications, I'm reminded of amajor blind listening test of 18 chain of repeater amplifiers made voices unrecognizable and
power amplifiers that Iset up for the long-since-defunct UK unintelligible. Harold Black graduated from Worcester Poly-
magazine Hi-Fifor Pleasure back in 1975. We had "advanced technic Institute in 1921 and took apost as aresearch scien-
technology" then: the transistor amplifier had matured and tist at what later became Bell Labs. For six years he struggled
was well accepted by audiophiles. Prices of the review sam- with the telephony distortion problem. The solution was the
ples ranged from $300 to $3000 (equivalent to $1000— use of negative feedback. Black described how he conceived
$10,000 in today's dollars). The auditioning sessions were the theory and the equations for negative feedback in aflash
graced by the presence of many industry leaders, among one day in 1927 while commuting to work on the
them the late Spencer Hughes of Spendo4 Julian Vereker of Lackawanna ferry.'
Naim, Philip Swift of Audiolab, Alan Harris of retailer To understand the revolutionary nature of Black's idea,
Audio T., Bob Stuart of Meridian, and John Wright of IMF consider adevice with useful voltage or power gain (p.) that
(now TDL in the UK). may be compromised by undesirable nonlinearity or distor-
On the suggestion of Alan Harris, aserious tube amplifi- tion. It may also have anonflat frequency response. Prior to
er fan, Iintroduced aringer to those tests: an ancient (over Black's flash of insight, all the output of an amplifier was fed
10 years old) 25Wpc tube amplifier, the Radford STA-25 to the next stage, be it atransducer or another amplification
III, worth perhaps $100 at the time on the used market. I stage (fig.1). But instead, if aproportion of the output (8) is
used aselection of master tapes as the source. When the fed back into the input of the amplifier and applied in invert-
results of the blind test were analyzed, the tubed Radford ed form (fig2), the fed-back distortion and frequency-
had come in first, despite showing the poorest measured response errors will cancel those generated within the device.
performance. (Needless to say, its secondhand value soared In addition, the amplifier's output impedance will be low-
after the review appeared.) ered. The price to be paid for these performance gains is that
This result dramatically illustrated almost aquarter- the amplifier's overall gain or amplification is reduced in pro-
century ago that the association between measured perfor-
mance and sound quality is uncertain. However, unsuspect- 1Black published his work on feedback in "Stabilized Fred-Back Amplifiers" in
ed at that time was the possible benefit in that test context the January 1934 issue of Electrical Ettgineoing, published by the American
Institute of Electrical Engineering. See James E. Brittain, "Scanning the Past:
of the Radford's relatively low level of negative feedback and Harold S. Black and the Negative Feedback Amplifier," Proceedings of the IEEE,
the consequent effect on sound quality. Vol.85 No.8, August 1997.

Stereophile, January 1998 87

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portion to the amount of negative feedback. But in theory, if Measuring
the amplifier, operated "open-loop," has asurplus of gain Many of us working in the audio industry have long been
above that which is required, closing the negative feedback aware that measurements do not fully describe sound quali-
loop allows its errors to be reduced to negligible levels. ty. Moreover, it seems that measurements fail to describe
The concept of negative feedback is hugely valuable both some of the more important aspects of subjective perception.
in electronics and in control For example, we may guaran-
systems, and is firmly en- tee that an amplifier will have
trenched as apowerful design aperfectly flat frequency re-
tool. Many audio engineers Input V Output sponse under normal condi-
see it as apanacea for the ills of tions of use, yet we cannot
practical amplifying devices, explain why it may still sound
using feedback —often with duller or brighter than anoth-
prat skill —to engineer ampli- er comparably "flat" amplifier.
fiers with superb linearity and We can measure crosstalk,
consequently low levels of channel separation, distortion,
measurable distortion. By and Fig.1 In an amplifier without feedback, the output consists of the input signa and noise to incredibly low
multiplied by the gain p.
large, negative feedback works. levels, yet we cannot explain
It has made avast variety of why some amplifiers have
audio products possible and greater perceived stereo
manufacturable. It is hard to depth, resolution of detail,
conceive of the world of audio and low-level ambience than
engineering without Harold others. While we know that
Black's negative feedback. 0.3-0.5% of third-harmonic
distortion is just audible in
Fun? the midrange, how can the
Engineering can explain much overall sound of atube ampli-
about the audio world. How- fier be judged "just fine"
ever, it is when it can't explain when we can measure 1.5%
something that the real fun of second harmonic and 0.8%
begins. Some aspects of per- of third at amoderately high
ceived sound quality are not listening level?
explained by established theo- Fig.2 In an amplifier with negative feedback, aproportion of the output (11) Still more intriguing is the
ry. There is agrowing suspicion is fed back to the input with inverted polarity. The ratio of the output matter of dynamics. Some
that some of these aspects —a to the input (the "Amplification Factor) = electronics sound flattened
loss in natural timbre; aduller, and dulled in terms of musical
less expressive performance; increased aural fatigue; and expression; others may be wonderfully revealing of this
missing life and energy in reproduced sound —may be con- quality even at quiet sound levels. Or consider rhythm and
sequences of the application of negative feedback. timing: One power amplifier gets your foot tapping, anoth-
It would be amistake to demonize any particular philos- er leaves you reading the sleevenotes. Ican identify no mea-
ophy. To do so forces people into entrenched positions and surement associated with rhythm or musical dynamics.
encourages the adoption of unhelpful defensive reactions, How can an amplifier produce superbly low measured
thus missing the opportunity for constructive dialog. treble distortion, yet give the aural impression that there's
Consider some of the contentious subjects that have been sand in the tweeter? How can an amplifier that in theory
debated recently in these pages: analog vinyl and tape vs should have great low frequencies (for example, it has aDC-
digital; one-box CD players vs separate transports and coupled topology, abig power supply, and ahigh damping
DACs; tubes vs solid-state; single-ended vs push-pull ampli- factor) have soft, slow-sounding bass?
fiers; monoblock vs stereo
amplifiers; class-A vs class-
A/I1 or any other class of Many audio engineers see feedback as apanacea
amplifier operation; pen-
todes vs triodes; and inte- for the ills of practical amplifying devices, using feedback —
grated amps vs pre- and
power amps. Audiophiles
often with great skill —to engineer amplifiers with superb
have debated the merits or linearity and consequently low levels of measurable distortion.
otherwise of cables ad nau-
seam. And in the high
country of the tube purists, discussions rage about the Some engineers have been developing an awareness of
virtues and vices of various types of triodes, even individual how we've gotten some of it wrong. Glimpses of audio
brands of triodes. heaven have been observed and reported with anumber of
In my opinion, such debates have been valuable, though exotic single-ended creations. More precisely, the SE units'
in some cases the importance of what differences do exist sound over the broad midrange —in point of fact, over most
has been blown up out of all proportion. But the fact that a of the significantly audible frequency range — reaches a
given difference or sonic error is detectable and audible level of purity and intrinsic musicality that inspires near-reli-
doesn't mean that all is lost, that you can't adjust to and live gious fervor. Such quality shows the rest of the industry
with some of these transgressions. what they're missing.

Stereophiie, January 1998 89

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 This isn't the place to expand upon the SE power-amplifi- Science...
er technology's strengths and, in some instances, audible Thcii Ireceived review samples of the Cary CAD-805C
weaknesses. Suffice it to say that the problems, often located monoblock power amplifier. Iwanted to try the single-
at the extremes of the audio range, are in this context rela- ended 805C because it is sufficiently powerful to produce
tively harmless, and won't confound the following argument. credible loudness and fair bass with my Wilson WITT
speakers. Much to my relief, the 805C was aseriously good-
Art... sounding amplifier. (See Dick Olshees review of the earlier
One aspect of sound quality reached afocus recently when 805 in the January 1994 Stereophile.)
Ireceived asample of the Conrad-Johnson ART for review Despite this amplifier's obvious competence, however,
in the UK magazine Hi-Fi News &Record Review. This pre- there were still some allowances to be made. Its intrinsic fre-
amplifier's $15,000 price tag, is irrelevant; what's important quency response is not perfectly flat, especially at the band
in this context is its overall attainment. extremes. In addition, its relatively high output impedance
The ART is atechnically uncompromised design — by significantly alters the effective frequency response of the
which Imean it has no significant weakness observable by speaker. Both of these factors required some mental adjust-
established technical precepts—which should gladden the ment and acclimatization. For an old speaker hand, this
heart of ameasurement diehard. Consider its moderate out- wasn't too difficult; true, my Wilson WITTs weren't quite
put impedance, minimal noise, negligible distortion, and the the same as before, but they still possessed their trademark
wide, flat frequency bandpass. And don't forget the highly qualities of good dynamics, fine clarity, and good rhythmic
accurate volume control. It does invert signal polarity Then expression. And in combination, the ART and 805C
note that it comprises just one stage: azero-feedback, com- showed an immediate association — a commonality of
mon-cathode amplifier employing paralleled 6DJ8/6922 expression and harmonic line with no apparent concession
triodes. Tube purists might argue that C-J's choice of tube in low-level detail, focus, or stage width or depth.
isn't optimal, but no matter. The truth lies in the listening At this point the proceedings took on an educational
result. The sound is excellent. However, that global superla- dimension, as the big Cary offers the fascinating feature of
tive encompasses something special, which Ihave come to user-adjustable variable negative feedback. In fact, the degree
understand as the sound of zero negative feedback. of negative feedback can be reduced right down to zero.
Compared with many of its colleagues, the ART fairly With the Cary's control set to its maximum of "10dB
breathes tonal accuracy, dynamic expression, clarity, and nat- feedback" —when measured, this in fact turned out to be
ural musical vitality. Conrad-Johnson's designers told me that, 6dB, afactor of 2x for the 8ohm output and with the 8ohm
during the preamplifier's development, and with their mini- feedback switch position — you could certainly hear amore
malist single-stage objective firmly in sight, they still could not accurate frequency response, the benefits of agreater damp-
conceive of using zero feedback. Instead, the initial design fea- ing factor, tighter bass, and amidband more like that of the
tured just afew dB of feedback, but afew dB nonetheless. familiar Wilson WITT. However, much of the magic was
When acircuit idea emerged late in the day that allowed neg- lost. That particular degree of perfectly timed involvement,
ative feedback to be reduced virtually to zero, with what feed- of convincing transient edges, of natural tonality and expres-
back remaining being merely local degeneration (something sion, was lost. Now what we had was just another very good
generally considered to be harmless), they were forced to con- tube amplifier with aparticularly pleasing midband.
cede that the sound quality was improved in precisely the area Reduce the feedback to afactor of only 3dB (as mea-
where the production ART is so admired. sured) —negligible by the standards of the majority of most
The ART provides alogical meeting place for objectivists modern amplifiers—and the sound improves a little.
and subjectivists. The former cannot accuse the latter of being Reduce it to 1.5dB and the light begins to dawn. Turn it
fooled by measurable errors.
The latter may express and
explain what they hear with- Compared with worthy zero-feedback designs,
out fear of attack.
What they and Ihear is
conventional amplifiers impose asignificant "graying" of
an aspect of sound quality dynamic expression, afalsification of timbre, ashift of truly
that transcends the general
experience of reproduced natural tonality, and asmearing of temporal definition.
audio; aquality that cannot
be specifically addressed by
system matching, cables, or speaker substitutions. In the completely off (OdB) and musically you know where you
context of the ART, and to asignificant degree one or two ought to be.
related solid-state preamplifiers that use asingle FET as an Without feedback, both Iand my friends and colleagues
amplifying stage (the XTC PRE in the UK and the Pass who shared the listening found that reproduced sound could
Aleph Pin the US), this quality can be considered as an really be different from the usual expectation, that aperva-
absence of previously unidentified, almost unsuspected sive grayness of expression and false tonal color had been
degradation present in much established amplification. swept away without dire consequences for other important
invite you to keep asense of proportion when Iclaim that, aspects of sound quality.
compared with worthy zero-feedback designs, conventional can hear the arguments already: "This amplifier is proba-
amplifiers impose asignificant "graying" of dynamic expres- bly so wrong that it can't use feedback successfully .... it's one
sion, afalsification of timbre, ashift of truly natural tonality, of those rare cases where negative feedback makes it worse."
and asmearing of temporal definition. There may also be an Somehow Idon't think so. An analysis of the approximate-
associated loss of rhythm, ablurring of the delicate nuances ly 700 amplifier reviews that I've undertaken over the years
of the leading edges of natural sounds. indicates that, if there has been any trend associated with

Stereophile, January 1998 91

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improving sound quality, it has largely been agsociated with again. In theory, the errors are subtracted at the feedback con-
reductions in global negative feedback. Even the majors —Mark nection, but there is inevitably some error in this subtraction.
Levinson, Krell, Audio Research, Conrad-Johnson—have con- No problem, says the textbook: the wide bandwidth of the
sistently moved toward more elegant, more linear circuitry closed-loop amplifier will ensure that the signal and errors, and
allowing lowered feedback their errors, will go many
levels for the saine closed- times 'round the loop,
loop linearity Are these reducing the distortion to
designers unconsciously below audible levels.
and instinctively seeking a requency" (500Hz) Or will it? Audiophile
safe route toward designs pundits know only too
with minimal or no nega- well that making asingle
tive feedback? audio stage perform to a
truly high standard is not a
Unmusical? trivial matter. Almost by
The combination of the inspection you can see
Conrad-Johnson ART that the feedback amplifi-
and the Cary CAD-805C er has the capacity to go
forcefully supports the on compounding its error
contention that there is a residual. When an ampli-
region of aural perception fier is processing acom-
that is not quantified by plex, harmonically rich
measurements — aregion input signal — music —
powerfully related to musi- and not asteady-state sin-
cality to how real audio Fig.3 Gain plotted against frequency of atypical solid-state amplifier with 40dB negative gle sinewave tone in alab
replay sounds in terms feedback and an open-loop ''break frequency" of 500Hz: operated open-loop test, something could well
(top), dosed-loop (bottom). Note that, without feedback, the amplifier's output
of vividness, expression, would be -35dB at 20kHz.111fith feedback, it is flat to 48kHz. (10dB/vertical div.; go wrong. That cascade of
microdynamics, rhythm, 10Hz-1MHz frequency scale.) residual errors will inter-
and timbre. It was almost modulate at low levels,
uncanny how this zero-feedback pairing allowed more of but it will intermodulate in afantastically complex manner.
the natural vitality and characteristic signatures of notes to Subjectively, the effect of increased negative feedback is
be replayed, especially their beginnings and endings. k's as if generally that of increased compression, in addition to the
other components blur these nuances. Well, they may be midrange coloration noted above. This loss of dynamic
nuances, but they somehow tell us so much more about the expression suggests that additional energy is indeed filling in
quality of the instrument and of its playing. the natural spaces in the original spectrum and thus blurring
Let's consider the outrageous proposition that corrective musical expression.
feedback is fundamentally umnusicaL In my reviews, Ihave
observed that high-feedback amplifiers — which have an Afuture without feedback?
inherently limited open-loop bandwidth — suffer what is When Black proposed negative feedback in 1927, he was
commonly called "midrange glare": ahardening of and for- trying to solve aspecific problem: the deep cascading of
wardness in the upper midrange. Amplifiers with wider imperfect, transformer-coupled tube amplifiers. But has
open-loop bandwidths have less of this, or their "projection" anyone explored the implications of negative feedback for
moves up to the mid-treble. Low-bandwidth, high-feedback reproduced sound quality in the absolute sense?
designs can end up sounding "dark," even significantly col- Based on my experience of the pairing of azero-loop-
ored in the midrange. feedback preamplifier and ampliflet, and supported by the
A typical amplifier with feedback disconnected may have evidence that amplifier designers consciously or uncon-
20% of complex distortion. Closing its negative feedback sciously attempt to reduce negative feedback to improve
loop —60dB of feedback is not unusual — will reduce the subjective quality — even if this means worsening the mea-
level of that distortion to alevel suitable for the printed spec- sured performance — we need to reconsider the subject.
ification, but perhaps not for sound quality. Investigation has It is possible that engineers need to rethink how audio sys-
suggested that the open-loop break frequency is involved — tems should be designed. Before the introduction of transistors
the point at which, without any negative feedback, an ampli- limited to low voltages, which forced the speaker industry
fier will filter out the upper frequencies (fig3, top trace). down to 8and 4ohm impedances, speakers were typically 8
Without feedback, the open-loop break frequency could be to 16 ohms, did not need thick cable to wire them up, achieved
as low as afew hundred Hz; these days it is typically 500Hz maximum electromagnetic utilization at good efficiency, and
to lkHz, and may be as high as 5kHz in wide-band designs. were well matched to tube amplifiers. Higher efficiency spells
Normally you can't see this low-pass "filter," as it's buried by better dynamics, reduced thermal compression, and the poten-
negative feedback: with its feedback loop closed, the ampli- tial of using smallen more perfect power amplification. But if
fier may have ameasured bandwidth 100 times greater (fig3, speakers were designed to have smooth impedance curves, to
bottom trace). Yet Ireckon that the buried filter comes back be relatively uncritical of amplifier or cable matching, and to
to haunt us in the form of "glare" — acoloration centered offer higher sensitivity, we would have greater freedom to
around the amplifier's intrinsic open-loop, low-pass function, examine the feedback question and the validity of the low-
perhaps due to the nonlinearity of feedback itself power, short-path, zero-feedback approach.
Consider the proposition that apure input signal is subject- We still have much to learn about the art of sound repro-
ed to the usual nonlinear amplification and is then applied with duction; ultimately, our responsibility is to our ears, not to
all the subsequent errors back to the input to be amplified established precepts.

Stereophile, January 1998 93

 iiii H ey man, you got acar?"
With that, Delbert McClinton jumped
-11e'
But before we discussed all that, it was time to get "The
Question" out of the way. Many years ago, in pre-British
into my rental car and we were off. What invasion England, Delbert had abnish with John Lennon
better way to get to know Delbert but on the road, his home and the Beatles. Like a sideman who once backed up
for the past three-and-a-half decades? To complete the expe- Charlie Parker, that single incident has unfairly taken on an
rience, on the way back into Austin, Texas from the Dessau overblown importance in his life. It's the first thing people
Music Hall north of town, we got stuck in Friday-afternoon, think of when they think of Delbert. It ain't fair, it just is.
bumper-to-bumper gridlock. It was an appropriate metaphor As the story goes, Delbert (like Miles Davis, he's usually
for Delbert's career: brief spurts of progress followed by known by his first name) showed Lennon the harmonica
frustrating, time-consuming jams through which you steadi- lick that eventually turned up on "Love Mc Do." On the
ly but almost imperceptibly inch along —blocked, in Del- flight into Austin, I'd decided that the way around this
bert's case, by record labels, personal problems, and the inescapable awkwardness was to ask Delbert where he got
many creepy personalities who inhabit the music business. the lick. Sensing the inevitable, he graciously waved off my

94
Stereophile, January 1998
apologies and laughed about my tack. vocalist with adistinctive rasp has always found songwriting
"I didn't teach him alick. Not consciously, you know. We to be the hardest and therefore weakest link in his talent. As
hung out for the few days that we traveled together. We so often happens, his songs have been better to other singers
hung out real tight, both of us with harmonicas and him say- than they've been to him. Emmylou Harris, for example,
o
ing, `Show me something.' Just guys. turned his 'Two More Bottles of Wine" into aNo.1 country
"It was about ayear before they changed the world, so hit. One of the Fortunate however, marks the return of
they were just another band —a Delbert McClinton the song-
good band, but just aband." writer: he co-wrote (most with
While the brief Beatles con- guitar player Gary Nicholson)
nection may have the glamour, seven of the 10 tunes, aratio he
McClinton's life since is his real hasn't matched since his mid-
claim to fame. He is, in aword, '70s run on ABC Records.
asurvivor. He's managed to out- While the frequency of his
live both his own mistakes and songwriting may have changed,
the evils inherent in the record the well-worn personas that
business' imperfect marriage of inhabit his originals haven't.
art and commerce —to become, Rolling his eyes and half-try-
in an improbable, backdoor kind ing to wave off the obvious
of way, one of the deans of question, Delbert admits that
American music. At 57, Delbert's tunes like "Old Weakness"
still out there, fightin' the record (from One of the Fortunate Few)
business (he's now on his fifth may be atad autobiographical.
major label), writing bluesy But he also notes that, after years
rockers, and, most of all, giving of near-legendary self-abusive
the kind of live shows that win fun, he's cleaned up — an asser-
him lifelong fans. If James tion his grueling touring sched-
Brown is "The Hardest-Workin' ule would seem to confirm.
Man in Show Business," then it's "If you live this life [on the
agimme that Delbert comes in second by just a nose. road], there's just too many opportunities to fuck up. Idon't
Through it all he's stayed true to himself and to his own style do that anymore. And the people who used to come around
of music. to help me fuck up don't come around anymore 'cause they
"A little blues, alittle country, alittle R&B," he said from know Idon't. They don't want to hang with me because I
the passenger side of the car when asked to describe what he tell 'em they shouldn't be doing that shit and they don't want
does. "It's alittle bit of all the influences Igrew up with. I've to hear that."
taken parts Iwanted from each one and made it into some- The new-model Delbert appears in tunes like "Too
thing new." Much Stuff," in which he, John Prime, and Lyle Lovett
Speaking of new, in the past year McClinton has broken humorously bemoan excess in all its forms — regulatory,
through one of the logjams that have scarred his career and culinary, celebratory, etc. —and how you "Can't get agrip
signed with anew label, Rising Tide, which released One !/the when you're slippin' on too much stuff." Getting older has
Fortunate Few (R'T3P-1017), the first new McClinton record in also changed his views on the business. "When you're
four years and the first project he's had creative control of in a younger, they take all those promo pictures they think look
long time (see Stereophilds December '97 "Recording of the sexy. Well, when you're my age they just look like you
Month"). The guest list alone says alot about how much have acolon problem."
respect Delbert commands these days among his fellow musi- But lest you lose faith, the old Delbert, as lovably incor-
cians: Lyle Lovett, John Prine, Vince Gill, B.B. King, Mavis rigible as ever, still populates about half the tunes on the
Staples, Patty Loveless, Pam Tiflis, and Lee Roy Parnell all new album. In "Monkey Around," for example, he stops
chip in their talents.
"It's good to have friends," Delbert
says, acknowledging that living in
Nashville, aplace where "people are
"It's good to have friends," McClinton says,
pulling for him" helps. "They were acknowledging that living in Nashville, a place
all very, very gracious. As we'd be
working on asong, somebody'd say, where "people are pulling for him" helps.
'Hey, so-and-so sure'd sound good
on this,' and we'd call 'em up and
they'd say, 'Sure.'" begging for her "small change love" and heads for the
And then there's 1-800-Delbert (also known as Sandy honky-tonks, along the way finding anew pri-mate: "Wait
Beaches Cruise IV), the adventure that's turned him and his 'til you see my new girlfriend /Ipicked her up at the zoo /
wife, Wendy Goldstein, into shipping magnates of asort. she got aring in her nose/glitter on her toes /and avery
Their annual cruise — where they rent an 800-passenger well-placed tattoo."
cruise ship, stock it with 11 bands led by people like Marcia With Delbert, however, no matter how funny or touch-
Ball and Joe Ely, and set sail for the eastern Caribbean — is ing his lyrics are, what's being said has always been slightly
about to turn its first profit. less important than how he says it. While he's had to work
This long-overdue turn for the better is having welcome at being asongwriter (not to mention taming his personal
side effects. A powerful live performer, this blue-eyed soul life), singing has always come easy — so easy, in fact, that it's

Stereophile, January 1998 95

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 sing to her," he said with aproud,
warm smile. "Down at the Starlight
Lounge there in Cocoa Beach, they
had this talent contest every Wed-
nesday night. The last Wednesday o
night of the month, all the winners
competed for a grand prize, and I
won. Just thrilled her and me both.
Won ahundred dollars. Isang 'That's
All Right Mama' and `Goin' Steady,' a
Tommy Sands song. That kinds lit
the fire to.come back and start aband.
"A woman came up to nie at that
thing and said she was from Capitol
Records and thought Iwas great and
wanted me to send her ademo. Idid,
and Iain't heard from her yet."
Returning to Fort Worth, he began
playing with agroup of local musicians
eventually known as The Straitjackets
who became, in his words, "the best
band in town." By gaining that status,
they ended up backing Bruce Channel
on his hit "Hey Baby," which was the
tune that launched the tour where
they met The Beatles. But before his
English sojourn, Delbert and his band
spent most of their time backing black
R&I3 acts. Profoundly influenced by
allowed him to swagger where mere mortals fear to tread. Jimmy Reed, Bobby Bland, Junior Parker, and his favorite,
For example, not only did he take on Otis Redding's well- Big Joe Turner, he had also been one of the first to reverse
known "I've Got Dreams to Remember," but he nailed it — the usual trend of white artists cutting black hits: his 1960
maybe better than the master himself. cover of Sonny Boy Williamson's "Wake Up Baby" was the
"I'm not a singer in the sense that some people are first single by awhite artist ever played on Fort Worth's
singers. Some people can sing so effortlessly. And if they're KNOK.
doing harmony parts and they say, 'Now, you do afifth' — "Somebody'd come through with acurrent hit, and this
see, Idon't understand that. It's hard for me to ever sing the black deejay Jimmy Clemons, he knew we were the ones to
saine thing twice anyway. Idon't like to know asong too get to back 'em. A lot of times Sonny Boy'd come through
good before Igo in to record it, because you lose your spon- and work Friday and Saturday night with us in Fort Worth,
taneity. Or Ido. If it gets too settled-into one way, then and then take us with him up to Lawton, Oklahoma, and
there's no little magic moments. In that sense Pin not a we'd play ablack club up there on Sunday night.
singer, Ifeel like I'm more of an interpreter. My heroes have "Howlin' Wolf," he said, smiling and shaking his head,
always been singers with conviction, and that's what I've "he'd just start singing, wouldn't even tell us what key.
always strived for. "We had amajor, genuine black influence and wanted to
"I go to every show not knowing how the hell it's going to know everything we could know about it, wanted to play
go," he said with his characteristic Texas twang. "Sometimes my that way and did. And we never caught any flak over it from
throat works, sometimes it doesn't. It's always been that way. A the black people at all."
lot of people will never know that Iwas having aproblem. If I In the early '70s, Delbert and Texan Glen Clark formed
don't reach things Iwant to reach, it really disappoints me. the duo Delbert and Glen and made two genre-bending
"There's alot of nights I've been so ready to go on stage albums for Clean Records. From there, Delbert began a
and it turns out to be one of the worst
nights I've ever had. Then there's been
nights when I'd rather eat asmall bowl My heroes have always
of shit than try to do the show, and it'd
be the best night Iever had." been singers with conviction, and that's
Delbert's singing career started early. what I've always strived for.
He and his father — aswitchman for the
Rock Island Railroad who indulged in a
little soft-shoe — shared asense of rhythm. Although he dizzying hopscotch between labels. Landing his first solo
sang as achild and wrote alot of poetry as ahigh-schooler, deal with ABC in 1975, he promptly cut his first album of
it took ashove from an admiring aunt to get him to serious- note, the aptly titled Victim of Lee's Circumstances. After two
ly consider music as his calling. more ABC albums —one of which, Ge1111ille Cowhide, sport-
"In 1957 Iwent down to visit my aunt and uncle in Cocoa ed anow-famous cover photo of awallet with awell-worn
Beach, Florida. My aunt was probably my biggest fan. She outline of aprophylactic in the center — he switched to
rented me aguitar at the music store 'cause she liked me to Capricorn in 1978, and then to Capitol Records, where he

Stereophile, January 1998 97

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finally scored aTop Ten single with 1980's "Giving It Up for to Capricorn. The week Ihad asong go in the Top 100 in
Your Love." After arecording drought of eight years he Billboard, Capricorn declared bankruptcy and pulled their
signed with Curb Records, an experience so discouraging phones out. Kind of ahard way to get arecord going. Then
that he refuses to speak about it. Rumors about his time at MSS/Capitol. We had the one big hit, and by the time we
Curb have horror written all over them: little or no creative were through with the next record that was the biggest
control, nonexistent marketing support, records compiled bunch of turmoil. At that point Iwas turning 40 years old,
and released without his knowledge or consent. second marriage was down the tubes, Iwas abusing myself,
His association with Mike Curb's label did, however, pro- my career was in the toilet, it was all fucked up. And then
duce one milestone in the singer's haphazard discography: the IRS came and said, 'Give us $280,000: Best night Icould
1992's hard-edged Never Been Rocked Enough, which many get at that point was $700."
rank alongside Victim of Ljfe's Circumstances (now reissued by He credits his wife Wendy —"the best thing that hap-
Raven) and Live in Austin (for Chicago's Alligator Records) pened to me" — with saving his life. Her and his love of the
as his best recordings. Produced by McClinton, Jim Horn, music. Thirty years after his trip to England, he's still
and Don Was, this disc features guests like Tom Petty and cilthusing — much to the relief of the person who swore he
Melissa Etheridge, and closes with his Grammy-winning wasn't going to fall into "The Question" trap —about how
duet with Bonnie Raitt, "Good Woman, Good Man." inspired he was.
Despite its occasional bright spots, Delbert's experiences 'I went over there and the only thoughts Ihad were World
with the music business would have burned out alesser War II and Jack The Ripper. That was my view of England.
man. He has endured, he says, because he just plain loves it. 'You gotta think about the time. It was June 1962 and
Still, he's never been able —like Raitt, for example—to music was not worldwide. That whole English music thing
break through to larger success. And although he jokes was goin' full guns then. The thing that hit here ayear or so
about being a "curse" when it comes to record labels, later was goin' wide open there. It was just an amazing thing
recounting his history of missed opportunities —or, worse to me, because people were walking down the street with
yet, the chances he never had — makes him uncharacteristi- guitars hung across their back, and on every corner there
cally somber. were newsstands with music magazines —you know, that
"Clean Records, Delbert and Glen — two records and had nothing but music news in them. Sure as hell didn't
that whole deal was over. That never got close to radio. have that in Fort Worth, Texas, man. It just didn't exist. So I
Signed with ABC Records, and before Icould even go in to loved it. Icouldn't get enough."
record, everybody from coast to coast at ABC had been Watching him onstage later that night, getting through
fired. Ididn't know anybody at ABC. They hardly knew I to acrowd of Texas yuppies — giving it up for their love —
was there. And then ABC went out of business. Then Iwent Irealized, thankfully, he still hasn't. ra

Stereophile, January 1998 99

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 The Solti Ring
Remastered... Again
Never an easy listen (or a short ono
a new remastering of Wagner's Ring is music to the ears

Richard LeImert

A
few conductors have perhaps equaled Sir Georg Solti Now James Lock, London's mastering engineer, has done
in their conducting of Richard Wagner's baton- it —in celebration of the 50th anniversary of Solti's affilia-
breaking Der Ring des Nibehnzgen —Karl Bohm, tion with London, and, in an unhappy accident, as amemo-
Daniel Barenboim, Herbert Keilberth, and Reginald rial to the late conductor. The result is afascinating example
Goodall have all had coherent visions of the work that they of the paradoxes that mn through any art, whether that of
were able to translate effectively to disc. But no one has ever composition, conducting, or recording: how much restraint
equaled what Solti, producer John Culshaw, and what looks is required to do the job right, and how the most important
increasingly like a hitherto unsuspected golden age of differences can call the least attention to themselves.
Wagner singers, together accomplished: what is still the Lock understood his assignment to be "de-hissing the
recording art's crowning achievement. No one has bettered Rite" He used CEDAR's "latest device," the DE-HISSER
Solti's London/Decca Ring in terms of sweep, scope, DH2, to "significantly lessen the hiss without damaging the
grandeur, dramatic immediacy, and sheer adrenaline. His musical end result." Lock's liner note shows admirable
Ring was the first in stereo and the first recorded in the stu- humility in the face of acomplex, constantly changing tech-
dio. Four decades after its first notes were laid down on tape, nology, and an awareness of certain audiophile unanswer-
it also remains Solti's greatest accomplishment. ables that would do ahard-core subjectivist proud: "When,
But the very popularity of Solti's traversal of the Ring's after all, does tape noise end and music begin? Does the
four component music-dramas, recorded between 1958 and 'hiss' create afalse impression of extra overtones on the old
1965, meant that they were, in 1984, among the very first recordings? The answer is very subjective ... "
analog recordings to be reissued on compact disc. The Solti The new set is certainly attractive enough —the elegant
Ring thus fell victim to all of early digital's worst faults: packaging reinstates most of the original art from the debut
a foreshortened soundstage, midrange glare, painfully British LP releases, and takes up half the shelf space of the pre-
screechy highs, and sibilants that were excruciatingly over- vious CD edition. Rheingold is now on two CDs, not three, and
emphasized or omitted entirely. the new versions of Walkiire and Giterdamniening each elimi-
The only sound that seemed to have been transferred nate one of the previous set's music-interrupting side breaks.
with absolute fidelity to the 1984 CDs was the master tapes' When Ibegan listening to the re-remastered Ring on my
considerable hiss. It was no longer possible to sit through the entry-level system (Vandersteen 2C,e's), the differences
four hours of Siegfried, or even the two-and-a-half hours of between the 1984 and the new versions were subtle enough
Das Rheingold, without abad case of earstrain — the dreaded that Iwasn't sure they could justify replacing the older discs,
digital "listener fatigue." If any great recording of the past or even if some of them were there at all. But two CDs later,
seemed to beg for digital re-remastering, it was this one. when the gods had entered Valhalla to those final crashing

Stereophile, January 1998 101

chords of Das Rheitwold and Iwas pulling out disc 1of Die is adeeper soundstage, afar more clear and distinct bass, and
Walkiire to continue the saga, Irealized that something highs more airy but less harsh.
unprecedented had happened: For the first time in listening Two places ideal for comparison are the famous Rheingold
to Solti's Ring on CD, Ifelt no digital listener fatigue. My cars Prelude — here the differences in hiss between the two CD
didn't hurt. Icould have lis- versions are anything but
tened to these discs all day. In subtle — and particularly
fact, Idid. More was going on the Siegfried Act II Prelude.
here than was clearly audible. In the latter, some of the
Idropped by Wes Phillips' Ring's darkest music, Wag-
house to do sonic compar- ner sets the scene for Faf-
isons on his very revealing ner's cave, in which the giant-
(but not "analytical") $7000 turned-dragon guards the
Dynaudio Contour 3.3 speak- Ring and the rest of the
ers driven by $19,000 worth Nibelung hoard. The or-
of Mark Levinson electronics. chestration is appropriately
Most of the differences were heavy and thick, the score
still subtle, but now it was weighted toward timpani
clear what was happening. and the lowest ranges of
Analog tape hiss liad been the trombones, contrabass
most egregious in the quieter trombone, bass tuba, and
passages of the two oldest double basses. The brass
recordings, Das Rheingold Sir Georg Solti, conducting the Chicago Symphony Orchestra during rehearsals are now warmer, more
(1958) and Siegfried (1962). in the Albert Hall, London, 1978. true, but most pronounced
(Giitterdiimmening and Die are the differences in the
Walkiire, recorded in 1964 and 1965, respectively, took lower midrange. On the 1984 CDs, the orchestral textures
advantage of the quieter mixing console installed in the were thick to the point of overloaded opacity. Here, though
recording venue, Vienna's Sofiensaal, in 1964.) Though not the re-remastering doesn't provide the X-ray clarity that
entirely eliminated, the hiss has been much reduced, and some digital recordings offer — and which Wagner, with all
seems not to have taken the overtones with it. On the new his voice-doublings, worked very hard to avoid — what I
CDs, the hiss seems less apart of the music itself and more now hear sounds like the dark richness of those instruments
of adiscrete artifact that, after afew minutes, the listener's in that hall, with aminimum of extra thickening added by
subconscious easily and automatically "reads out." lise result the recording medium.

The Ring Disc CD-ROM

THE RING DISC occurrence of the "Fate" motif; then step directly from
An Interactive Guide to Wagner's Ring Cycle instance to instance as each occurs throughout the entire
Written by Monte Stone (with additional material by J.K. Holman)
Version 1.0, The Media Café. SRP: 899.99 Ring, and the "complete" Solti/London recording of the Ring
System Requirements: Pentium Processor PC Windows 95 or Windows NT 4.0, itself. (I'll explain the quotation marks later.) In short, an
8M8 RAM 4x or foster CD-ROM drive, 800x600 screen resolution with I6-bit
color, I6-bit sound card and speakers. No installation required. The Ring Disc astonishing amount of material crammed onto asingle disc.
will not run on Apple computers. The Media Café: (888) RING-DISC Here's how it works: Pop The Ring Disc into your CD-
wwwringdisccorn.
ROM drive (no installation needed). After an introductory

T
he many fans of Wagner's vast mythic tetralogy, Der screen or two, the music begins: either the initial E-flat of
Ring des Nibelungen, fall into three main types: those the Rheingold prelude, or wherever you were when you exit-
who love the music but have no idea what story is ed your last Ring Disc session. Simultaneously (in full View
being told; those for whom music and words constitute a mode), the middle of your PC screen displays the first line
gripping musical drama but who have little idea how of the piano-vocal score, complete with Wagner's stage
Wagner wove the dense fabric of the Ring's music; and seri- directions in English and German. Above the score is Stone's
ous scholars, professional or amateuz irreverent but spot-on running commentary; below it is the
Monte Stone's The Ring Disc CD-ROM is agodsend to all first section of the libretto, again in German and English. As
three. The first can now easily discover how fascinating are the music continues, all three displays — score, commentary,
all those long "dull parts"; the second can now effortlessly the paired librettos —scroll up or across, always in sync with
discern the underlying warp and woof of Wagner's musical the audio, in real time through all 14 1 hhours of the Ring.
tapestry; and the scholar will find here the work of athor- You can pause, fast-forward, or -reverse the music or
ough and insightful colleague. commentary. You can click on any underlined words in the
The Ring Disc contains the complete piano-vocal score of commentary or essays. If the word or phrase is the name of
the Ring; Wagner's libretto, in the original German and an a leitmotif; a notated musical example appears on the
uncredited English translation; Stone's running commentary screen; if the name of acharacter, object, or place, abrief
accompanying score and text; synopses of the operas; well explanation appears; click on "More" and the music is put
over 100 essays on the characters, themes, and leitmotifs; lit- in Pause mode as Stone's full essay on the subject appears
erally thousands of hypertext links on which to click for on the screen.
musical and textual references and examples; asearch engine The Ring Disc would have been impressive enough had it
by means of which the user can generate alist o say, every been merely acareful compilation and cross-referencing of

102 Stereophile, January 1998

 George London and Gustav Neidlinger were blessed
WAGNER
(or cursed) with two of the brightest baritones in all opera.
On the old CDs, London's voice had such unbearable glare Der Ring des Nibelungen
that it was sometimes difficult to hear what pitch he was Birgit Nilsson, Hans Hotter, Wolfgang Windgassen, George London, Gustav
singing. Here that glare is considerably tamed —he no Neidlinger, Gerhard Stolze, Gottlob Frick, Dietrich Fischer-Dieskau,
Kirsten FlagstadL Set Svanholm, James King, Régine Crespin, Christ.)
longer sounds like acheap trombone. Neidlinger's harsher Ludwig Clair Watson, many others; Vienna State Opera Chorus, Vienna
tones still have some brassy edge and blare, but now even Philharmonic, Georg Solti
London 455 555-2 (14 CDs). 1958-1965, 1997. John Culshaw, prod.;
that sounds more like an aspect of his uniquely harsh voice Gordon Parry, eng.; James Lock, re-remastering eng. ADD. 7: 14:36:56
than aterminal case of digititis. Performance *****
Wotan's Narration in Act II,ii of Die Walküre ("Als Sonics ****1/2

junger Liebe") is even more revealing, if more subtly so. Also available separately:
This is another mostly quiet passage with agood bit of Das Rheingold
bass content, but it is Hans Hotter's immense, foggy bari- London 455 556-2 (2 CDs). 1958, 1997. TT: 2:25:45
tone that is the focus of the music and the recording. On Die Walküre
London 455 559-2 (4 CDs). 1965, 1997. 7: 3:48:59
the 1984 version Hotter sounds as if he's singing in adis-
embodied space inset into the broader, deeper orchestral Siegfried
London 455 564-2 (4 CDs). 1962, 1997. 7: 3:57:05
landscape, his voice very "live" in the worst ways: bright,
GOtterdámmerung
jazzed-up, brassy, hard edged, "brilliant" in away that London 455 569-2 (4 CDs). 1964, 1997. TI: 4:25:07
Hotter simply never sounded. On the new CD he sounds,
simply, real: warm, human-scaled, his voice fully integrat-
ed into the shared ambience of orchestra and singers with
no loss of clarity. to possess all the advantages of digital and analog: low noise
Birgit Nilsson's massive, steely, icepick-in-the-forehead floor, little or no surface noise/tape hiss, and atop end as
soprano could overload a3000-seat opera house, let alone a open as it is listenable. While the music retains all of its ten-
mere stereo system —on the old CDs, Icringed at the sion and vibrance, the sound itself lets the listener in more
approach of her high C. But here those notes ring out clear, easily; it's simply more relaxed.
icy, and full, without the occasional breakup and more-fre- 'The liner notes of the '84 edition boasted hollowly that
quent dentist's-drill edge of the '84 discs. those early CDs would provide a"lasting impression ... of a
But, again, the most important difference between the great recording experienced more vividly than before."
editions was cumulative, and not at all subtle, even on ni), Thirteen years later, that promise has been fulfilled: James
system: the complete lack of ear fatigue after five or six Lock has donc an outstanding job of re-remastering one of
straight hours of high-volume Wagner. The new Ring seems the greatest recordings of all time.

already available information. The pleasant surprise is that it Siegfried, Act I"; the scene occurs in Act III. The links between
also contains some groundbreaking scholarship by Stone, who audio and score of the "Magic Potion Motif" in Siegfiied, Act I,
had planned to write abook until he realized that aCD- bear no relation to each other. And so on. Still, there are few
ROM would be more appropriate. The combination of of these. But the "extensive full-color image database from
Stone's running commentary and his essays on the leitmotifs — contemporary and historical sources" is little more than a joke,
one for each of the 124 motifs — constitutes the most thor- and asometimes mislabeled one at that.
ough musical/dramatic analysis Ihave ever seen of this work. What audiophiles will most want to know is how Media
The writing is thoughtful, intelligent, clear, engagingly infor- Café got hours of the complete Solti Ring onto one little
mal, and very informed. disc "in pristine digitized sound." Well, with an 18:1 com-
To pick just one example, Stone corrects more than acen- pression ratio and a"psychoacoustic" dynamic range of 80dB,
tury of interpretive error by renaming the ubiquitous theme they didn't. The result has the sonic quality of amedium-
traditionally labeled "Renunciation of Love" as "Love-Curse" grade cassette dub with the treble cranked all the way up.
or "Lovelessness" — asingle insight that puts the entire Ring in What Media Café states nowhere in the packaging or adver-
a new light. This descending six-note theme, used as a tising is that The Ring Disc's sound is monaural.
cadence throughout the Ring, probably appears more often These turn out to be minor problems. Media Café empha-
than any other in the entire work; to label it "Lovelessness" sizes that The Ring Disc's audio track is not intended as a$100
locks in place what was Wagner's most urgent —and, in an bargain alternative to buying the complete 14-CD Sold set, but
age before Freud, most psychologically prescient — message as an adjunct to an entertaining study guide. As such, it's arag-
in the Rite: that the withholding of love is the single greatest ing success; once Irealized what was going on with the sound,
injury that can befall anyone. All of the Ring's tragedy, greed, it didn't bother me at all, even in severely compressed mono.
murder, and misery ensue from its loveless characters' desper- Whether you've only just recently become intrigued by the
ate attempts to fill —with wealth, power, sex, revenge — the Ring and wonder how it's put together, or whether you're a
gaping holes left in their psyches by the absence of love. Wagner fanatic looking for afascinating new interpretation of
Version 1.0 of any software is bound to contain glitches, and amuch-studied, much-loved work, The Ring Disc has agreat
The Ring Disc is no exception: Some musical links begin with deal to offer. Other than the system requirements listed in the
not the first note of the motif being illustrated, but the second head, it presupposes nothing but your interest. Highly recom-
or third; this will be confusing to beginners. The "Bequest" mended, and abargain at $99.99.
motif is cited as first appearing in "Wotan's scene with Enia in —Richard Lehnert

Stereophiie, January 1998 103

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 Equipment Report
Wes Phillips

Mark Levinson No.33H monoblock

power amplifier

C
hanccs arc you've never seen an thing. It's huge (11" W by 18.5" H by
amplifier quite like the Mark 22.88" 1)) and heavy (175 lbs each). And
I
Levinson No.33H. That's be- when Madrigal lists its output power,
cause there's only one other amp that's they add an ominous-sounding "assum-
anything like it: the Mark Levinson ing the wall outlet is up to the task of
No.33, upon which it's based. Both supplying all that power." Wow.
amps arc more tall than broad, looking Let me put the '33H's stupefying
almost as though they're resting on their power capabilities in perspective: Each
ends; heatsinks cluster around their monoblock employs four 60,00011F
side-panels. In the city of the High End, capacitors, for atotal of over 1/4 Farad of
the No.33 and No.33H arc skyscrapers capacitance. (By contrast, the 200Wpc
standing tall above the warehouses. No332 uses apair of 50,000g capaci-
When Madrigal first unveiled the tors per channel.)
No.33, they were drawing a line in In fact, the power supply of the '33H
the sand. "This is everything we know is agood place to start examining the
about building amplifiers," they said. amp. It uses two independent, bipolar
But they weren't prepared for the power supplies in order to maintain the
public's response to their No.33 Re- hilly balanced nature of the amp from
ference statement — at $33,000/pair, input to output. These come off asingle,
they figured they'd sell afew amonth, Madrigal-designed 3.417kVA trans-
but that there could never be that much former, utilizing multiple taps to main-
demand for aheavy (well over 200 lbs), tain the symmetry of the two bipolar
massive, 300Wpc monoblock. They supplies. (Madrigal points out that the
were wrong. "The response was over- transformer VA output of the '33H is
whelming," said Jon Herron, head of 70% of that for the No33 because the
product development at Madrigal. voltage swing at half-power is actually
C'mon, Jon —"overwhelming"? 70% of that found in the '33.)
"We often had to carry No33 back- While the No.33 uses two 2.5kVA
orders from one month to the next. The Mark Levinson No.33H monoblock power amplifier transformers, that's amatter of practical-
labor involved in building each amplifi- ity, not necessity. Since the '33H is a
er is prodigious, and the space necessary monophonic amplifier, symmetry for
for all of the major subassemblies dur- 150W into 8ohms (the power succes- the inverting and noninverting sides of
ing the final assembly and testing is sively doubling into 4ohms, 2ohms, and the same signal is assured.
enormous. We are therefore limited to Iohm). But, Madrigal is quick to point The '33H also employs an AC regen-
building amaximum of between 10 and out, although the No33H is based on the eration system for the input and driver
15 pairs of these amplifiers per month. No33, it is not aRtfrence product. Just as on stages. This drains off aportion of the ±
We do have other products to build." Highlander—there can only be one. DC power from the main supply, pow-
Realizing that many audiophiles didn't ering an oscillator circuit that generates
need all the power offered by the No33, High power pure-sinewave AC. 'This uncontaminat-
Madrigal set out to design ahalf-powered Make no mistake, the No.33H doesn't ed AC is rectified, filtered, and regulat-
version, the No.33H, which puts out look —or act — like ascaled-down any- ed. You could say the heart of the ampli-

Description: Solid-state monoblock Output impedance: <0.05 ohms, 18.5" (470mm) H by 22.88" (581mm)
power amplifier. Rated continuous- 20Hz-20kHz. Damping factor: greater D. Shipping weight: 220 lbs.
power outputs: 150W into 8 ohms than 800 at 20Hz. Input sensitivity: Serial numbers of units reviewed:
(21.8dBW), 300W into 4 ohms (21.8 130mV for 2.83V output, 1.59V for full- 1305/6.
dBW), 600W into 2ohms (21.8dBW), rated output. Voltage gain: 26.8dB. Price: S19,950/pair. Approximate
1200W into 1 ohm (21.8dBW). Fre- Typical power consumption: 540W number of dealers: 75.
quency response: 20Hz-20kHz, <0.5% ±5% at idle, 210W ±5% in standby. Manufacturer: Madrigal Audio Lab-
THD. S/N ratio: better than 80dB (ref. Mains voltages: 100V, 120V, 200V, oratories, Inc., 2081 South Main Street,
1W), better than 105dB (ref. full out- 210V, 220V, 230V, or 240V AC mains P.O. Box 781, Middletown, CT 06457.
put). Input impedance: 100k ohms operation at 50 or 60Hz, set at factory. Tel: (860) 346-0896. Fax: (860) 346-
balanced, 50k ohms unbalanced. Dimensions: 11" (279mm) W by 1540. Website: www.madrigal.com

Stereophile, January 1998 107

fier is amini power station designed to complementary pairs) are used in the not "react" — any more than aresistor
deliver AC of uncompromised purity. output stage. This means the output ter- "reacts" to ahigher voltage by "deciding"
Incoming signal from the preamplifier minals do not reference ground at all. to conduct more current. "The one fact
is received using proprietary topology — Like its big brother and the rest of the inevitably leads to the other," they claim.
again developed for the No.33 — that
eliminates the standard feedback point High praise
Forty output devices
on the inverting leg of the first-stage dif- There are those who claim there can be
ferential amplifier. This means the two (two sets of 10 no audible differences between any two
sides are truly balanced from the start. competently designed power amplifiers
Each leg of the signal is handled differ- complementary pairs) are not driven to clipping. For them, the very
entially. The two balanced voltage-gain idea of a$20,000 pair of monoblocks
stages, running side by side, are essen- used in the output stage. must seem absolutely ridiculous. All I
tially "double"-balanced. Even single- can say is that they should steer clear of
ended inputs are converted to balanced 300 series amplifiers, the No.33H is the Mark Levinson No.33H, or else risk
in the first voltage gain stage, and are equipped with Madrigal's Adaptive having their tidy little hypotheses shat-
run "double"-balanced in the second. Biasing system. This maintains astate of tered into tiny little pieces.
In the third voltage-gain stage, the equilibrium by referencing both the Because the amazing thing about the
signals arc converted to apair of SE sig- instantaneous voltage and the current 'H isn't that it sounds better than any
nals of equal amplitude and opposite required by the load to constantly deter- other amplifier I've ever heard, but that
polarity (balanced, as we know it). Each mine the optimal bias. Madrigal insists it doesn't sound like any amplifier at all.
of these signals then moves on to its cur- that this maintains astate of equilibrium It sounds like no amplifier. It sounds as
rent gain stage. in which the bias is maintained "contin- much like music itself as anything can
Forty output devices (two sets of 10 uously and naturally," but that it does that must rely on recordings. So you'll

Measurements

After aone-hour preconditioning peri- driving our dummy loudspeaker load, but at this level, the measurement was
od driving 1 kHz at one-third power the change in measured response is neg- dominated by noise. Accordingly, Iran
into 8ohms (which maximally thermal- ligible. At the high end, the No33H is this test at much higher levels: 15W into
ly stresses an amplifier with aclass-B 0.5dB down at asensible 621cHz, this 8ohms, 30W into 4ohms, and 60W
output stage), the No.33H's vertical resulting in aslight leading-edge droop into 2ohms. In all cases, the distortion
heatsink arrays were warm, but not in the 10kHz squarewave waveform remains below 0.01% below 21cHz, with
excessively so. The amplifier was non- (fig2). There is also just the faintest hint aslight rise above that frequency that is
inverting via the RCA jack or via the of asingle-cycle overshoot in this plot, greater into the lower impedances. Our
XLR with pin 2wired "hot." Its input but the waveform is otherwise textbook dummy loudspeaker load is not intend-
impedance was to specification at 49.6k in appearance. ed to be driven at this sort of level, so I
ohms (unbalanced) or 104k ohms (bal- Noise levels were pretty low, the A- ran that sweep at 5V. Any change in dis-
anced). The sensitivity was also as speci- weighted S/N ratio measuring 87dB ref. tortion with frequency into that load
fied, 130mV resulting in an output volt- 1W/8 ohms. Without weighting, this was negligible.
age of 2.838V into 8ohms (a voltage figure worsened slightly to 843dB in At ahigher 50W level into 8ohms,
gain of 26.8dB). The measured output the audioband, and 672dB with awide the residual distortion (fig.4) was pri-
impedance was extremely low at 0.02 10Hz-500kHz measurement band- marily third-harmonic; though at
ohms at 20Hz and 11cHz, rising slightly width. The big Levinson is superbly lin- 0.0045%, this is probably of academic
to 0.026 ohms at 20kHz. This is an ear — its distortion signature is more interest only. Lowering the load
amplifier that won't let itself be bossed typical of ahigh-quality preamplifier! impedance to 2ohms and keeping the
around by any loudspeaker out there! Fig.3 shows the manner in which its output voltage constant, resulting in
This can be seen in its small-signal THD+noise percentage changes with 200W dissipation in the load, brought
frequency-response plot (fig.1). Even frequency. We normally perform this up the level of second-harmonic s-
measurement at 2.83V, corresponding
ree.ower 0•••.••••• ..v
to an output power of 1W into 8ohms, bleee..•••.33.0 no... red ••••••erl.1
I00«

4:0,0

5C61
01

1E00

1500

2001

161 let 160, 21100 100 105

Fig.1 Mark Levinson No.33H, frequency I I I Fig.3 Mark Levinson No.33H, THD+noise vs
response at (from top to bottom at 20kHz): 000 DOS 0.10 0 15
frequency at (from top to bottom at IkHz):
1W into 8ohms, 2W into 4ohms, and Toss in ms
60W into 2 ohms; 30W into 4 ohms; 15W
2.83V into simulated speaker load Fig.2 Mark Levinson No.33H, small-signal 10kHz into 8 ohms; and 5V into simulated
(0.5dB/vertical div.). squarewave into 8 ohms. speaker load.

108 Stereophile, January 1998

 Mark Levinson No.3 3H

have to forgive me if Icome up abit that we heard him in New York back hand shoved up the bell, it would
short in describing what it "sounds" like. when he was playing in Pittsburgh, but straighten out like aparty streamer," one
(If you think that's too much like some that would be alie. We did, however, trombonist told me. Of course, Phil is a
kind of Zen parable, Ihave to agree — consummate musician on many levels —
reluctantly, since most of the ones I If Igo on about how great he didn't get to be first chair in the
know end up with the Master giving NYPO simply by drowning out the
the disciple awhopping great whack.) the '33H "sounds," competition — but any description of
But I'm sure you see my predicament Phil's technique is incomplete if it doesn't
here. If Igo on at length about how great I'm forced to admit that it mention how hard he plays.
the '33H "sounds," I'm forced to admit For many years Ireveled in Phil's
that it has asound — which negates my has asound—which power and clarity — I'd frequently
argument that it is the most realistic choose to go to concerts simply because
negates my argument that
amplification device I've ever heard. But if the program offered some choice first-
Iclaim that all of this is so subde as to defy it is the most realistic chair horn licks. Ialways knew Phil
description, and mutter "You just have to would deliver. No matter how loud the
hear it for yourself;" be rightly reviled amplification device NYPO, Phil could cut through it like a
as being just too wussy for words. Sigh. sword through silk. But recordings sel-
For me, one of the elements that dis- I've ever heard. dom possess this kind of limitless
tinguishes live from recorded music is dynamic potential. Sometimes you can
that live music is not constrained. Take hear about him from all the New York even identify the precise point at which
Phil Myers, the first-chair horn for the players who were gigging in Pittsburgh everything refuses to get louder—to
New York Philharmonic Orchestra: Phil —"Man, they've got ahorn player who get liver. [live-erl Inever ran into this
is loud. Iwant to claim that he's so loud blows so hard that if he didn't have his with the No33Hs.

tortion, as is shown in fig.5. until 265W (242dBW)! And the wall 113.3V and 112.5V, respectively.) As we
The mainly third-harmonic nature of AC supply, at 114.5V, was starting to don't have adummy 1ohm resistive
the No33H's distortion can also be seen droop —this means that, with its own load capable of sinking the almost 2kW
in fig.6, aspectral analysis of the amplifi- dedicated 30A line, this amplifier will that the Mark Levinson is presumably
er's output while it drives alow-fre- probably put out 300W into 8ohms. capable of putting out into this load, I
quency sinewave (50Hz) at two-thirds Into 4ohms, the maximum output wasn't able to check its clipping power
its nominal output power into 4ohms. power almost doubled, to 500W into 1ohms. However, the fractional
The only significant distortion compo- (24dBW); into 2 ohms, 900W was decibel drop in dBW each time the load
nent is the third harmonic at 150Hz, available (23.4dBW). (The wall AC is halved suggests that this amplifier
this alow -80dB (0.01%). Apower-sup- voltages for these power figures were behaves as an almost perfect voltage
ply artifact can just be seen at 180Hz, source. —John Atkinson
but this is 100dB down! The high-level,
high-frequency intermodulation plot sem. oie ,t.xana •ems d. r•

(fig.7) was also very clean, the lkHz dif-

ference component lying at -95dB
(0.002%), and the 18kHz and 21kHz
components still better than 80dB
down from peak level.
Finally, the big Levinson is apower-
house of an amplifier, comfortably
exceeding its rated power. Specified at
150W into 8ohms, it actually didn't clip Fig.5 Mark Levinson No.33H, lkHz waveform at
Fig.7 Mark Levinson No.33H, HF intermodulation
(defined as 1% THD+N) into that load 200W into 2 ohms (top); distortion and
spectrum, DC-22kHz, 19+20kHz at 25V
noise waveform with fundamental notched
out (bottom, not to scale). into 4 ohms (linear frequency scale).

04/4. 40.4.• Wit Lean... »PI .

10.14 4.441,44n 400...10 4enen• ar. ••0. 5...derrà,60 1.41,14 '11 0.4444

.00 01

\v41
.elAdielktifLWNAA1,
1030 0010

Tole rn.
1100 r 1401 l•
Fig.4 Mark Levinson No.33H, IkHz waveform at
OD 1000 3000 MO .0 00110 1100 0 MOO 0000 100 0 10(0

50W into 8ohms (top); distortion and Fig.6 Mark Levinson No.33H, spectrum of 50Hz Fig.8 Mark Levinson No.33H, distortion (oeb) vs
noise waveform with fundamental notched sinewave, DC-1 kHz, at 200W into 4ohms output power into (from bottom to top):
out (bottom, not to scale). (linear frequency scale). 8ohms, 4ohms, and 2ohms.

Stereophile, January 1998 109

Mark Levinson No.3 3 H

Actually, that's not entirely true. sound until they've been taken control "warmth." Neither did it add any chilly
Sometimes the microphones used to of by the No33H. And swing? Lordy, if sense of "accuracy." It had no MOSFET
record the event are the limiting factor, you want to become adancin' fool, just blur, no transistor etch, no tubey eupho-
and sometimes, of course, the mastering slap something rhythmic onto your ny. No heightened sense of illumination
may be the cause — but in all my listen- front end —just don't blame me if you into the event. It was practically nonexis-
ing to the '33Hs, the problem was never boogie 'til you puke. tent—except that it did what it did bet-
the amplifier. If you wish to check off your favorite ter than anything else I've ever heard.
Another distinction between live attributes, Ican oblige. Soundstaging
music and reproduced music lies in how through the '33Hs was phenomenal — High society
different pitches seem to possess differ- deep, detailed, holographic. Tonal bal- This, of course, forces the question:
ent velocities. You must have heard ance was natural, and possessed purity How do the Mark Levinson No33H
recordings where the string and wood- monoblocks compare to the Krell Full
wind overtones seem to float effortless- Power Balanced 600, Stereophile's joint
ly, whereas the lower brass and basses
Through the '33Hs, Amplification Product of the Year for
seem to plonk down onto the sound- all music remained as 1997? After all, Martin Colloms went so
stage and lie there. Isure have. In reality, far in his review last April as to claim
we all know that tones lack any kind of graceful and as free that the Krell so rewrote the book on
specific gravity. The sounds emanating amplification as to require atotal re-
from astring bass weigh no more than as its most ephemeral examination of Class A power ampli-
those escaping from apiccolo, and they fiers in Stereophile's "Recommended
float just as gracefully upon the air. But components. Components." I'm not sure I'd go that
that's not how many systems, and many far, but Martin is essentially correct:
amplifiers, reproduce them. Through and clarity galore. Low-level detail Compared to the Krell, almost every-
the '33Hs, all music remained as grace- never leapt out at me, but existed natu- thing else sounds broken.
ful and as free as its most ephemeral rally within the musical gestalt — but it Directly comparing the FPB 600 and
components. was never obscured either. There's the No.33Hs proved alogistic night-
This doesn't mean, Ihasten to point more, of course, but paradoxically the mare. Both amps required extended
out, that bass tones lacked power, heft, No.33H exists on aplane where the warmup — ie, music playing through
or impact. That was all there in spades. news isn't about more, it's about less. them for several days — before either
In fact, you may have never heard how It had no grain, no grit, no electronic reached its optimum. The upward climb
deep and muscular your speakers can character that Icould detect. It had no was far shorter, of course, from powered
standby. The problem stemmed from
my house's wiring, which simply wasn't
up to both amps sucking all that current
through the sanie circuit. (That's it —my

"WOW, Ican't
New Year's resolution for 1998 is to
rewire the house with beefy audio-only
circuits.) So my comparisons are not

believe you have

direct A/Bs of specific passages, but are
the results of longer listening sessions
separated by the requisite warmup peri-
ods. Flawed? Yes, but the best Icould do

that CD!"
under the circumstances.
The differences between the ampli-
fiers were subtle, very subtle. Both were
1-800-EVERY-CD is awholesale music club. Members receive a950 essentially not there in terms of having an
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do not send unsolicited CD's, and there is no minimum required to order. audio booty, the most impressive thing
Call today or search our catalog now online at htto://www.everycd.com. was that neither sounded like abig amp
Whatever CD you last bought, chances are we'll have it, too, for less. during the quiet passages. Both were
We'll also have the items you've been wanting to buy but couldn't find. delicate and graceful.
However, the Levinsons seemed to
Good music selection is hard to find. We're not.
present low-level detail with less "light-
against-black" spotlighting than did the
2,00 EVERY CD Krell. Audiophiles frequently speak of
silence as the "blackness" against which
sounds are highlighted, but Ithink that
www.everycci-COM most sounds appearing from silence are
far less dramatic than that. In asense,
then, I'm calling the Levinson more nat-
ural-sounding for its lack of "added"
music for the serious collector drama — and Ihave to put "added" in
Outside the U.S., please call (203)972-1752 or fax (203) 972-1129 quotes because that might be merely my
preference. Another listener could as eas-

110 Stereophile, January 1998

ily call the No.33H "duller," and laud the clarity in the bass allowed me to hear the
Krell for its ability to extract excitement. NYP double basses as distinct entities
Allied with that ability to portray
low-level detail was asense of natural
separate from, but still members of, the
ensemble. The Krells certainly conveyed 'What Price
ease; Ifound the Levinson ever-so- their power as members of the whole

Best Sound ?"

slightly more transparent in the mid- orchestra, but through the Levinsons I
bass and low bass. This is the quality I felt as though Icould actually make out
alluded to earlier when Ipraised its Eugene Levinson, Jon Deak, et a/ as indi-
ability to "float" low tones in the same vidual players surrounded by air and
manner as the highs. 'While the Krell anchored to the floor of the hall Iknow
has superb transparency down to its so well, playing in unison among anoth- The HiFi '97 votes are in,
low midbass, it tends to favor muscle er 100-odd players —all blowing, bow- and for the 3rd year in arow,
over subtlety in the deepest regions. Yet ing, and banging furiously.
that seems too harsh acriticism of the JosephAudio speakers
FPB 600: it takes charge of the bottom The Levinson's clarity are once again on the
end in away few other amps ever have,
while remaining very attuned to the in the bass "Best Sound At Show" list.
musical moment.
As did the No33H. Icompared the allowed me to hear
two amplifiers using the first movement Only this time,
of the Masur/NYP Mahler 9 (Teldec the NYP double basses
our new $2299 RM22si
90882-2), recorded live in Avery Fisher
as distinct entities made the top ten.
Hall in April 1994 and chosen because
of my familiarity with both hall and separate from,
musicians. The Andante wmodo begins Yet, it only costs
extremely quietly, with a three-note but still members of,
syncopated rhythm in the cellos and about one tenth
horn (Myers again, sounding forth the ensemble.
brassily). This must have had adeep the average price of
meaning for Mahler — at the move- Comparing the two best amplifiers the other top ten winners!
menes climax he brings it back marked I've ever heard to one another, Ireckon
Jfl, hiaste Kraft ("with the utmost one has to be better. But if Iseem
orce"). Mahler's friend, Alban Berg, uncomfortable in proclaiming the Lev-
called the riff "Death itself." God inson to be better than the Krell, Iam
knows, it's forceful enough to qualify — until Iheard the No.33H, Inever
for such afrightening description. would have guessed the FPB 600 had
Both amps handled the climax with an equal. These two amps are so close in
ease. Both did superb jobs of conveying character that another listener could
the emotion implicit in the intense very easily call it the other way. Ican't
wash of sound. But Ifelt the Levinson's imagine anyone being less than satisfied
with either. Yet to my ears, no matter
how slightly, the No.33H sounded like
Associated Equipment the better amp.

LP playback: Linn LP12 with High hopes •

Naim Armageddon power supply, "Let music be without dissimulation"
Nairn ARO tonearm, van den Hul could be the prime directive of musical
Frog phono cartridge. reproduction. If so, the Mark Levinson
CD playback: Mark Levinson No.33H fulfills that commandment
No39 CD player. better than any other electronic compo-
Preamplifiers: Conrad-Johnson nent I've ever heard (and, of course, I've Our new floorstanding 1211422si
ART, Mark Levinson No380S. never heard the No.33s). You can't
The first $2299 speaker to ever
Loudspeakers: Dynaudio Con- come any closer to the sound of "no
crack the top ten "Best Sound" list!
tour 33, EgglestonWorks Andra. amplifier" than apair of these babies.
Interconnects: ICimber KCAG. The '33H carries aprice sticker that
Speaker cables: Kimber Black leaves me gasping — as much as Icovet JosephAudio
Pearl. apair, Iknow I'll never be able to afford
Accessories: Audio Power In- them. They're also big, and can gulp
dustries Power Wedge 112, Magro down more power than many wall out- Effiertless Musicaliry, • Exclusive Technologl
Stereo Display Stand. lets can supply. But if you can afford 2 P INERIDGE R OAD
Sound treatment: ASC Tube them, Isuggest you try them. If you can \\ PIAINS NY 10603
Traps, Studio Traps, Bass Traps; resist them, you have far more self- 800 474-HIFI (44 41
RPG Abffusors; Fainéant feline control than Ipretend to. 1
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OSE RH AUDCRAOL COM
fur-piece. —Wes Phillips Besides,. you owe it to yourself to expe-
rience something this near perfection. in I
NIERNATIONAL FAX 212 724-2509

Stereophae, January 1998 111

Equipment Report
Jonathan Scull

Nagra PL-P preamplifier

J-10, we were thinking you were just the
guy to do the review."
Made my day.

Any day now ...

The delivery date kept moving back.
Importer Steve Lee at Canorus ex-
plained that they were making some
changes to the PL-P based on feedback
gathered at the San Francisco debut.
These included: adding amono/stereo
switch; gold-plated jumpers replacing
DIP switches; adjustable loading of
resistance and capacitance; abypass for
the internal moving-coil phono trans-
formers; an RIAA EQ option allowing
users to defeat arumble filter (-3dB at
20Hz); extra power-supply capaci-
tance; and an automatic power-off
function when the external power sup-
ply is disconnected. Eventually apro-
Nagra PL-P preamplifier duction PL-P arrived, in ashipping car-
ton that seemed impossibly small.

0
ne memorable afternoon dur- by the stampeding hordes nearly sucked Better stock up on D cells ...
ing HI-FI '97, Kathleen and my the hors d'oeuvres off the table. The PL-P ‘,vas designed by Jean-Claude
pudgy little self were hustling And there it was, cute as abutton, Schlup, the man behind the Nagra-D's
down the crowded corridors of San resplendent with eight vacuum tubes, all electronics, and it's entirely handmade in
Francisco's venerable St. Francis Hotel, visible through aclear plastic "demo" top Switzerland by Nagra engineers. The
trying to make the Nagra press event. cover. The oohs and ahhhs were followed case —of hardened, anodized, CNC-
The Nagra suite was crowded with by excited chatter, there was lust in the ait machined aluminum —is quite diminu-
buzzing journalists, their anticipation Isupposed that John Atkinson and tive: just over 12" wide, 3" tall, and 10"
palpable —the new Nagra PL-P pream- Wes Phillips each had an eye on it. deep. The PL-P weighs an almost chuck-
plifier was about to enjoy its official Almost as an afterthought, Ioffered to able 9lbs; most visitors to our loft were dri-
debut. Suddenly the door to the demo do the dirty deed. They smiled at each ven to cuddle it. They all stroked the top
room flew open. The vacuum created other, and Wes replied, "Well, actually, cover and ogled the traditional Nagra "mod-
ulometer" that dominates the front panel.
Being aNagra, the PL-P is battery-
Description: Full-function, battery- Audio Precision graphs. powered, and requires abit of setup.
powered tube preamplifier with Dimensions: 12.z' w by 3" Hby 10" D. Removing the precise-fitting top plate
transformer-coupled MC phono Weight: 9lbs, 13 oz with 80-cells. (secured with four 2.5mm Allen screws),
stage and headphone outputs. Tube Serial number of units reviewed: Imarveled at the build quality and work-
complements: phono stage, one 5500207 (preamp); 5510217 (power manship. A battery compartment at the
12AT7/ECC81, one 12AX7/ECC83; supply). rear houses two "batons" of rechargeable
line-stage, two 12AT7, four 12AX7. Price: 89500. Approximate number nickel-cadmium power cells. Manual:
Power source: 8 D-size nickel-cad- of dealers: 7. "In an emergency, other forms of
mium power cells, rechargeable via Manufacturer: Nagra/Kudelksi S.A., rechargeable D-size power cells or alka-
PLP-CCC3 AC power-supply unit. CH-Cheseaux, Switzerland. US dis- line power cells can also be used."
Input impedance: >100k ohms (line tributor: Canorus, 240 Great Circle While inserting the power packs, I
stage); 100 ohms to 47k ohms Rd., Suite 326, Nashville, TN 37228. examined the shielded box (just ahead
(phono stage). Output impedance: Tel: (615) 252-8778. Fax: (615) 252- of the battery compartment) that con-
60 ohms. A full manufacturer's test 8755. Website: www.canorus.com . tains the DC-to-DC converters.' Man-
and measurement report is included E-mail: stevelee@canorus.com. ual: "The internal power-supply regula-
with each PL-P, including colored
1Presumably aswitch-mode power supply. —JA

112 Stereophile, January 1998

 Nagra PL-P

lion circuitry uses proprietary, Nagra- to the CCC3's fused IEC input socket, attractive boudoir — it's red, gold, and
made, Dual DC-to-DC converters to turned the supply on, and checked the blue in there! — I noted a single
eliminate power-supply ripples and status LEDs on its backside. 12AX7 phono input followed by one
assure aclean power source for all active When the power supply is operating 12AT7 output. The line-stage at right
electronic stages and components." The correctly and the PL-P's internal batter-
features apair of 12AX7 inputs with a
converters also power the heater fila- ies are being "properly managed," the 12AT7 triangulated between. The
ments and anodes of the tubes. leftmost LED lights up, its intensity indi-
same applies to the output stage. Once
cating rate of charge. At maximum — again, no circuit details are provided,
lumpering for joy 400mA with the preamp powered but note the PL-P's low output imped-
Before use, the PL-P's internal jumpers down — flat batteries can be fully ance — it's likely the 12AT7s function
need to be set for the specific system. A charged in 12 hours. In fact, you'll need
as cathode followers. The "French
good time to do this would be after Blue" capacitors are all sourced from
installation of the battery packs. Try to Philips. The two headphone trans-
avoid drooling on the thick, gold-bur- Each of the PL- P's formers sit to the right of the line-
nished circuit boards as we take alittle stage, looking like apair of old-fash-
eight tubes gets a
tour through the PL-P's alluring innards. ioned bicycle bells. (I don't think they
First, choose an RIAA EQ option in 12-hour burn-in at the ring quite the same way.)
the phono stage, located on the left of Another element of this unique imple-
the main circuit board. Remove the factory and is subjected mentation is apair of tube timers—one
jumpers and the EQ curve will conform for the phono stage and one for the line
to a1978 addendum specifying a-3dB to 400 measurements stage —located at the rear of the circuit
rumble filter at 30Hz. Rumble is not a board. They look like little thermome-
concern with the air-bearing Forsell Air before final selection. ters: when the tiny red strakes hit the
Force One, so Iinstalled the jumpers, 5000-hour mark, it's time to change the
nulling the rolloff. atouch of maturity and patience — a tubes. Very Nagra.
The left- and right-channel main flash of gray at the temples — to help
jumper blocks are located just below. I you through the setup. "Rechargeable Layout and ergonomics
chose moving-coil operation rather than battery batons supplied from the factory The main rotary switch selects Off,
moving-magnet, and set the loading at must be fully charged in the PL-P Phono, and three line-level inputs
100 ohms. Additional loading options before use." Anticipation, as they say... marked A through C. There's ared
arc 330 ohms and 1k ohm (47k ohms is If neither of the power-supply LEDs stripe behind the Off position to remind
the default, realized with no jumpers illuminates, or only the rightmost one, the user when the power is on; it's all
installed). MM cartridges can be opti- something's amiss with battery installa- very Euro. The phono stage powers
mized with jumpers for capacitive load- tion or the fuse. The comprehensive down during line-level operation, and
ings of 100, 220, and 470pF, 47pF being manual details troubleshooting proce- the PL-P auto-mutes when switching
the no-jumpers default. dures. It also contains a section on between sources. There's afurther 15-
Finally, another pair ofjumper blocks grounding and hum that's so complete second delay when selecting Phono.
selects or bypasses apair of cute li'l MC it could serve as an industry primer on When the PL-P is switched off, no
input transformers. (I tried several car- this vexing subject. power is supplied to the audio stages,
tridges with outputs in the 350-65012V but the rechargeable power-cell man-
range; all required the transformers for Thermionics and bicycle bells agement system remains active. During
sufficient gain.) Interestingly, in MC Each of the PL-P's eight tubes gets a12- the test period Ileft the PL-P's line-
mode with the transformers engaged, hour burn-in at the factory and is sub- stage powered up, as recommended by
the phono inputs float relative to jected to 400 measurements before final the importer. As the DC-DC convert-
ground. Bypassing the initial step-up selection. Peering into the preamp's ers effectively decouple the tubes and
requires one or both grounds of the
phono connector RCAs to be tied to
chassis ground to avoid hum. This is Associated Equipment
accomplished with yet another pair of
jumpers. With them, one or both of the Source components were mainly the minum box with aparticular reso-
phono inputs can be connected to chas- Ensemble Dichrono digital front- nant frequency. "Decouple it as
sis ground. This truly obsessive and end and the Symphonic Line RG-8 much as possible," suggested im-
extraordinarily welcome flexibility on the Forsell Air Force One. TARA porter Steve Lee. Good advice. The
allowed me to adjust for best results Labs The One was draped to the left Nagra was enthroned atop a Sig-
using TARA Labs The One intercon- and right of the Nagra, and out to nature ClampRack (nothing clamped,
nect's interesting grounding options. the Forsell Statement or the YBA however) and supported on atrio of
Next, the outboard PLP-CCC3 AC Passion monoblocks, the YBAs in Harmonix RFS-65 Small Tuning
power supply is plugged into alocking use for most of the evaluation peri- Feet set on aGolden Sound Pad, this
Fischer-connectored port on the PL-P's od. The One speaker cable was also in turn set on aBright Star Little
rear. To accommodate the rear-mounted used between the YBAs and the Rock 2.
battery compartment, input RCAs are JMlab Utopia loudspeakers. Power Oh yes ... Shun Mook Mpingo
arrayed on the left side panel, outputs cords were Synergistic Reference discs on the preamp's immaculate
and the tape loop on the right. Once AC Master Couplers. top plate seemed made to order.
these were secured, Iran aSynergistic The Nagra PL-P is asmall alu- —Jonathan Scull
Research Reference AC Master Coupler

Stereophile, January 1998 113

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114 Stereophile, January 1998

 active circuits from the batteries and modulometer in this way, but it tvas
external power supply, there seemed handy for optimizing analog and digital inHHE S(0)1U[NID
01F R EALIITY
little to gain by running the unit on its inputs. Typically, Ireduced the input
power cells alone. gain afew dB for digital and raised it for
Next to the main rotary switch are a analog, thus compensating for the dif-
pair of Input Level potentiometers. fering input voltages. You can actually
Using the modulometer, one can fine- do this for each recording in either
tune the signal/noise ratio of the input, medium, so, depending on your level of
and adjust for the overload characteristics devotion to best sound, knock yourself
of the amplifier on the output. The Input out. Iknow Idid.
Level potentiometers can be ganged, or It was fascinating to see that the
decoupled and adjusted independently Symphonic Line RG-8 cartridge, when
with asmall gear-driven clutch located set perfectly for azimuth (lowest
just below the controls. This is also, effec- crosstalk), read unequal output between
tively, the balance control.
The modulometer, which monitors At night, with the
input levels, is made at the factory and is
said to have carefully controlled ballis- modulometer glowing,
tics. It sports two "coaxial" pointers: black
for the left channel, red for the right. The you'll marvel at the
face of the "instrument," as Nagra prefers
to call it, is graduated with three scales. PL-P's fusion of retro-chic
The upperniost is alogarithmic scale in
relative dB from -20 to +3dB, refer-
and new-millennium
enced to the output at the tape loop. modernism. Divine
Under that are linear-scale markings in
absolute voltage from 0to 1.4V, corre- left and right channels. (Correct azi-
sponding to the scale above referenced to muth cants the cartridge over quite
IV at the tape-loop connectors. The drastically, in fact, meaning that the car-
third scale has linear-scale markings in tridge's motor is not orthogonal with
absolute voltage that show battery its body.) In contrast, the Clearaudio
reserve per cell from 0.9V to 1.5V. Insider was almost spot-on; best azi-
Manual: "A written legend printed muth and equal output are at the same
on the lower center portion of the dial point. I'd like to have seen the Japanese-
reminds the user that all modulometer made generator in the Wilson Benesch
markings are referenced to OdB=1V on Analog (to be reviewed next month) on
the tape-loop connectors." And don't the modulometer. Mirroring asimilarly
you forget it. "The modulometer mea- precise culture, azimuth was spot-on
sures the peak value of the signal irre- with the cartridge just anudge from
spective of the form or level, and takes straight up as seen from the front. In
into consideration the strongest posi- fact, its fulsome sound would have Exquisite
tive or negative value. It is equipped mated well with the Nagra, but the Reference
with amemory, so that with very brief importer needed it back for demos, alas.
signals, the pointer advances and stays The modulometer's spiffy Swiss
for asufficient time in order for aread- countenance is flanked by aSource/
ing to be taken." Tape toggle on the left, and another
Or, as Steve Lec explained it, "Cer- switch for checking the batteries and
tain amps clip at 150mV, others at afull lighting up the meter. Next to that is
6V. So, using the modulometer and the another toggle labeled Line/Mute/
input potentiometers, you can fine- Phones. The right side-panel houses
Ceramique
tune the sound for the best S/N ratio. two sets of in-phase Line Outs, and the
And the modulometer is indispensable tape loop. (All connections on the PL-P
when using the tape loop to record, are single-ended.) The left side-panel
especially in digital, where as soon as has four sets of stereo input RCAs: three
you touch OdB, you're finished." The line-level, one phono. There's also what
"instrument" can be lit with two inter- Nagra calls a"technical ground post" for TireMai Sound, ilinuc„
nal LEDs. At night, with the modu- eliminating those pesky ground loops
lometer glowing, you'll marvel at the that lead to hum in the phono stage. 1322 C NW Crain Highway, Suite 260
PL-P's fusion of retro-chic and new- The toggles arc small, with asexy feel Bowie, MD 20716
millennium modernism. to their action—the snap is followed by Phone: (301) 218-5711
Recordists will be happy to find a afast damping characteristic. But Iwas
Fax: (301) 218-5786
pair of trim pots on the tape loop that, surprised by the output gain poten-
used in conjunction with the modu- tiometer's undistinguished feel and
Visit Us At CES.Alexis Park Hotel, Suite 1754
lometer, balance the levels between action. Same with the input poten-
source and tape output. Ididn't use the tiometers — another pair of tiny pots

Stereophi/e, January 1998 115

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acoustic bass sounded remarkable, if, in parency). Doing so improved the palpa-
its great precision, once again atouch bility of imaging I'd enjoyed earlier with Kediegkre

dry in comparison to the BAT. Then, eyes shut. Immersed and deeply AIJOIO/V10!. FURNITURIL

IC/ 1E S. I
too, the BAT never managed quite the involved in the last movement of the "We'll even design apiece to your exact specifications!"
level of tightness and control of the Flute Quartet in D (K285), Ijotted
e. TOP QUALITY - 4é
Swiss product in the bottom octaves. some notes: "Elegant and charming, the
The Nagra was avoyeur, an observer. It multiple sonorities on the soundstage
so scrupulously avoided imposing any- are apleasure to experience. The flute
thing of its own on the sound that, in sounds effervescent and expressive, the
effect, that absence of a signature plucked violin remarkably true-to-life."
became asignature itself. 'jumped out of my seat when someone
in the audience sneezed. "The viola and ANY SIZE • ANY PLACE
Iappreciated how cello show great refinement and clarity.
The soundstage is alight with harmonics
the PL-P was rather cool
rIENSffl.1

and texture. The viola is vividly tight

and acoustic, radiating its energy in the
and analytic, yet allowed listening room just as in life."
j 1

#PRO-44
all manner of tonal color Once again, Iappreciated how the IV Component Table
PL-P walked the line. It was rather cool #1000 CD Rack
Hold 1000 or more
to develop. and analytic, yet that very clarity allowed '
Pere taleal
T
IM.OHM
all manner of tonal color to develop.
1111•011•11
Ialways enjoyed the PL-P's speed Bloom, yes, but not too much—noth-
and easy authority in the bass —like a ing artificial, no preservatives.
#88 4803
sleek Mercedes 12-cylinder rolling May Component Center
along on powerful haunches. The fast- Would Iwant one?
revving "light flywheel effect" may be That's agood question —one that some IL 1Y4
#1-Beam
limn!!
related to the PL-P's interesting power- of you may be lucky enough to ask Twin Towers
Ramon!
supply architecture. Away from the yourselves. It depends entirely on how hosto‘l
Sturm tond Drang of typical urban power your brain is organized. Ithink that, for nORIBe4
1 I
grids, and with the modulometer prop- some listeners, there can be no better r71
erly set, cranking the Nagra to lease- preamplifier than this. It's the kind of
# 88 5505
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Big Musical Moments. for an extended tour. In five years, the
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lege;e1
Phono stage modulometer will be the same as today. Holds a40" PI
#PRO-24
Time for analog, the PL-P's raison d'être. It's afantastic-looking object, contem- AMP Stand
Let's consider A Mozart Soirée, from a porary Eurochic, sleek and desirable.
January 1976 concert featuring Yehudi And it makes aclassy analog engine for
Menuhin given at the Salle Pleyel in those with the vinyl tojustif,r it.
Paris (EMI ASD 3329, a desirable But K-10 and Iare wickedly spoiled.
series). Ibegan with the Oboe Quartet We've enjoyed some utterly wonderful
in F, K370. The joyous first-movement sound in our reviewing adventures. #PRO-54 #PRO-33
Allegro is sure to lift your spirits no mat- We've heard how good it can be. Ihave kV Component Center The Ultimate Audio Rack

ter how overcast they might be. The to admit that my tastes run toward a Our
Nagra perspective asserted itself: Iwas presentation with alittle more ... soul. I CUSTOM
design department b
seated onstage, the musicians arrayed choose that word carefully. In some cer- fasi and affordable.
before me. Notes: "The airy acoustic is tain way, some components, with prop- It'e also offer tirer
transparent and natural beyond words. er setup, yield asound that may be said Ma stock designs of
There's an exactitude that the Nagra to more easily communicate the emo- unequaled

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offers explication, exceptional clarity involving. The Nagra is more poised *Steel "Stability
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Harmonix TU-812 Tuning Record ing aclean signal. Veneers *Design
Weight, TARA The One draped about But then, I'm areviewer. Change, per-
Be sure to visit your local stocking dealer and browse
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phono —the sound is phenomenal." you're other than afeckless gear-changer And contact us today for acopy of our detailed newskuer
THE RAGS REPORT now IN COLOR
Ifound myself moving my scat slight- and can afford the best, you might well
wah product photos and specifications.
ly forward toward the speakers, more find long-term happiness with the PL-P. 41474 Transport St. •Ventura, CA 91003
than I'd done with the all-enveloping Don't surround it with lean-sounding
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 Equipment Report
Steven Stone

Audio Research LS9

solid-state preamplifier
5
ay "Audio Research" and nine out
of ten audiophiles will say
"tubes." Audiophile #10 will
mutter something about Ed Villchur,
Henry Kloss, and the Cambridge
sound. Politely apologize for waking
him up.
Yes, Audio Research's reputation is
based on their tube products. They've
also produced quite afew solid-state
components over the years, but these
have never been as well received as their
tube stuff. But before me now is Audio
Research's LS9 solid-state line preampli- Audio Research LS9 preamplifier
fier. "Don't hate me because I'm made
of silicon," it seems to implore. Iwon't,
and neither should you. The LS9's rear panel has two pairs of but the faceplate has small blue LEDs
balanced XLR main outputs as well as a arranged around the knobs that give the
The Grand Tour single SE RCA main-out. There's also user visual feedback on volume level
Like most Audio Research preamps, the an SE RCA tape out. On the extreme and source selection.
LS9's control layout is as minimalist as left are two pairs of balanced XLR During the review period, the LS9
possible without jettisoning too many inputs followed by four pairs of SE performed almost without aglitch. My
"necessary" features. The front panel only quibble was avery-low-level pop
has two knobs (Volume on the left, when Itoggled between the digital
Being amodern
Source on the right) and two switches (EAD DSP-9000 AID) and Aux 1
(Mute on/off, Tape monitor in/out) preamplifier, the LS9 also (Vendetta SCP-2C phono preamp)
arranged symmetrically around the tra- sources. Most likely this pop was caused
ditional Audio Research logo. You have has aremote control. by the fact that the Vendetta is not atrue
achoice of five line-level inputs plus a balanced source. (I'd connected it to the
feedback-buffered tape input. Digital RCA inputs. Unlike ARC preamps of balanced input via an adapter cable.)
and Aux 1are balanced XLR; Aux 2, yore, the LS9 supports an IEC AC con- When Idisconnected it from the LS9,
Video, Tuner, and Monitor are single- nector. AR's longstanding tradition of the pop disappeared.
ended (SE) RCA. Being amodern pre- eccentricity is maintained: right-channel Thad Early, the LS9's principal
amplifier, the LS9 also has aremote connections on top, left on the bottom — designer, began his career at Krell, where
control. It's about the size of apair of the reverse of the usual convention. he worked with Dan D'Agostino from
parallel-placed 42-ring Rubusto cigars. If you're addicted to channel-balance 1982 to 1985. He then worked at
The remote carries buttons for source controls, you're out of luck —the LS9, Martin-Logan, and he's been with
selection, volume control, mute, and like all its brethren, has none. A positive Audio Research since 1991. Early spent
monitor functions. The remote is light ergonomic note is that the remote not about six months' development time on
enough to be carried off by acat. only works from as much as a45° angle, the LS9, his design goal being to main-

Description: Line-level, solid-state Input impedance: 100k ohms (bal- step up from minimum.
stereo preamplifier with remote con- anced); 50k ohms (single-ended). Dimensions: 19" W by 3.5" Hby 11" D.
trol. Frequency response at rated out- Output impedance: 500 ohms (bal- Weight: 11 lbs.
put: 0.2Hz-30kHz, ±0.5dB, -3dB anced); 250 ohms (single-ended); Serial number of unit reviewed:
below 0.1Hz and above 60Hz. 10k ohms minimum load, 1000pF 26596013.
Distortion: <0.005% at 2V RMS, bal- capacitance. Rated output: 2V RMS Price: $1995. Approximate number
anced output. Maximum voltage into 100k ohms (balanced); IV RMS of dealers: 70.
gain: 12dB (main balanced outputs); into 50k ohms (single-ended). Max- Manufacturer: Audio Research
6dB single-ended outputs (optional imum output capacity: 24V RMS at Corporation, 5740 Green Circle Drive,
18dB available); OdB (tape out). <1% THD at IkHz. Noise: 20pV RMS Minnetonka, MN 55343-4424. Tel:
Maximum input: 14V RMS maximum, residual IHF weighted noise output, (612) 939-0600. Fax: (612) 939-0604.
balanced; 7V RMS maximum, SE. balanced with volume control set one

Stereophile, January 1998 121

 A one
Theta Digital, the company that pioneered separate - The most advanced compact disc player in its price class
component digital to analog converters and transports,
now offers its first compact disc player, Miles. No other CD player has the tremendous advantages of
Theta's proprietary jitter reduction technology, which
Miles' digital to analog conversion uses Theta's famous minimizes errors throughout the unit from input to
programming on high-powered computer chips, and is output, yielding the sonic integrity that can be had only
offered with a choice of either single-ended or fully if timing integrity is maintained.
differential balanced outputs. Miles' transport is based
on an ultra-stable transport mechanism, offers four Miles uses Theta's proprietary filter eillbrithms, and has
separate power supplies, and incorporates Theta's jitter enough computing power to ensure o signal perfect in
reduction technology! phase and time, as well os frequency response. Miles
literally delivers more of the music than any normal CD
Theta's new CD player is o perfect playback device For player can.
the serious audiophile who wants a streamlined
system: Miles has a unique analog volume control, so it Mites uses the some, special hybrid DAC found in far
can be plugged directly into a power amplifier to make costlier, highly acclaimed Theta signal processors.
a really great, simple system. 4841M

Miles volume control is similar to that found in

Casablanca. Virtually every other CD player has a
digital volume control. Analog volume control is much
better for sound quality thon digital, which literally
throws away bits. When you turn down the volume on
Miles, all the resolution, all the sound quality is still
there; it's just quieter.

derheta Digital Corporation

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http://wwm.thetadigital.com/
 Audio Research LS9

tain high performance for areasonable tures were retained, with agreat deal of made via adigital potentiometer chip.
($1995) price. time and attention spent ensuring that This uses aCMOS switching resistor
The LS9 is afully complementary all parts finally selected yielded the network. Although the digital processor
balanced design with only asingle gain- highest possible performance. All criti- section is on the same board as the rest
stage. Each channel consists of two N cal parts arc pretested, graded, and criti- of the circuitry, its grounds and power
and two PMOSFETs working in tan- cally matched by AR. Since the LS9 is a supplies are completely isolated to keep
dem to create apush-pull circuit. Single- truc complementary balanced design, digital noise out of the audio path.
ended inputs use only the positive side there arc two of everything in the audio
of the circuit, thus losing the 6dB noise circuit. All FETs are matched pairs. Sound bites
advantage of balanced operation. If you Even though the entire design is on The LS9 is the least expensive active
use the single-ended inputs but the bal- one circuit board, the LS9's audio gain preamplifier I've had in my system for
anced outputs, the LS9 automatically stages are fully isolated from the power quite some time. But much to my
generates the other half of the signal supply via current sources. While the delight and chagrin, the LS9 turned out
needed for balanced operation. For LS9 does not have as massive apower to sound very good.
both the single-ended tape and main supply as the LS10, it is ARC's first pre- Unlike solid-state preamps of yore,
outputs the signal is generated from the amp to use aunique no-feedback regu- the LS9 added no noticeable electronic
positive side of the balanced output. lator design. Audio Research found colorations, grain, or grit to the sound.
While the "standard" gain configura- that, unlike many preamps, the LS9 Gone was that extra bit of brightness
tion is 12dB, you can order the LS9 actually benefits from having the and zing, that silvery edge that so often
with either 6dB or 18dB of gain. These power supply on the same board as the plagues solid-state electronics. No, the
options are for systems with either high rest of the circuitry. LS9 was not utterly transparent, but its
output sources or lower-sensitivity While the volume and source con- variations from neutrality were subtrac-
speakers and amplifiers. trols look like conventional rotary con- tive, and eminently musical.
The LS9's basic audio circuit topolo- trols, they arc actually return-to-center All my critical listening was done
gy is nearly identical to that of the more switches that can only be moved left or using one of the LS9's two balanced
expensive LS10, though changes had to right. Volume levels are adjusted by a inputs and its balanced outputs. While
he made to make the LS9 affordable. digital microcontroller that reads front- the LS9 does not have the "direct" input
The LS9's individual parts aren't as panel switch and knob movements and characteristic of earlier Audio Research
expensive as the LS10's, and there aren't sends out asignal to adjust the volume preamplifiers, the two balanced inputs
as many of them— only "essential" fea- circuit. Actual volume adjustments arc serve asimilar function. They have one

Measurements

A full set of measurements was taken on the level control. The output impedance 922dB A-weighted. (The correspond-
the Audio Research LS9 in its unbal- at the tape out was just over 1k ohm ing balanced readings were 89.3dB,
anced mode, with selected measure- with a25 ohm source impedance, and 802dB, and 91.6dB.) Volume-control
ments repeated for balanced operation. just under 1.6k ohms with a600 ohm tracking was excellent.
Unless otherwise noted, the measure- source impedance, indicating unbuf- The LS9's frequency response is
ments presented are for the unbalanced fered tape outputs. shown in fig.l. Note that it is slightly (if
configuration. DC offset at the LS9's outputs was a not significantly) flatter above 101cHz at
The LS9's output impedance at its low 0.8mV in the left channel, 1.7mV in lower settings of the level control. The
line output measured 227 ohms left, the right. The preamp is noninverting crosstalk is shown in fig2. Both the
228 ohms right (456 ohms balanced, from its line inputs to its main outputs unbalanced and balanced results are
left), with insignificant variations result- (with pin 2 positive in the balanced first-rate, particularly the latter. (The
ing from different settings of the level mode). The maximum gain measured increase in crosstalk at the top end is
control. The line-level input impedance 5.1dB (11dB balanced). Signal/noise (ref. nearly universal, and is due to the fact
measured 47.5k ohms (101k ohms bal- 1V) measured 86dB from 22Hz to that it is almost impossible to avoid
anced), again virtually independent of 22kHz, 78.3dB 10Hz-500kHz, and capacitive coupling at high frequencies.)

RÉOME01.11 .00 .1•0•MS kl»0 Fleeman,••••••••• dive •••10Mst STEMOInell See germ. 1.50 /1.0.rerm irequfflry .1

St[0.00.10.! Wee. Moor. LS, Create. ..fretwor«,1141,

1.0000

.0000

00

0010

te ,
100 SOIL 1.0 glk

Fig.1 Audio Research 159, frequency response Fig.3 Audio Research 1.59, THD+noise vs
into 100k ohms at 1V output with volume Fig.2 Audio Research 159, crosstalk (from frequency at (from bottom to top )1.15V
control at 9:00 (top) and at maximum bottom to top at 8kHz): L-R, input, balanced; 1.15V input, unbalanced;
(bottom) (right channel dashed, unbalanced; R-L, L-R, balanced and 100mV input unbalanced (right
0.5dB/vertical div.). (10dB/vertical div.). channel dashed).

Stereophile, January 1998 123

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 Audio Research LS9

less contact in the signal path than the wire bypass mode. On the Boston semi-quiet urban environment -if you
unbalanced sources. Arguments for and Camerata's lite Sacred Bridge (Erato listen carefully you can hear traffic
against balanced designs have been pub- 45513-2), vocalists were better separated noise. This background noise serves as
lished here and elsewhere. Although a from their environment in the direct an excellent test of asystem's low-level
properly designed balanced circuit is feed: On "Boray Ad Ana," Anne Azema resolving powers. The LS9 did obscure
more expensive — it requires twice the awee bit of this ultra-low-level infor-
number of parts, all of which must be mation, and it slightly truncated sound-
critically matched for optimum perfor- One performance stage depth.
mance — Ibelieve the end result is At the beginning of "Come Away,
parameter in which the
worth the additional cost. Balanced Hecate" on Shakespeare's Lutenist (Virgin
designs can vastly reduce the pernicious LS9 excelled was harmonic Classics CDC 59321), soprano Emma
influences of cables and RF on asys- Kirkby begins singing at the back of the
tem's performance, and also allow for accuracy. Even more recording hall, then walks forward. At
longer interconnect runs — source com- the end of the song, she and bass David
ponents can be set up farther away from unusual was the absence Thomas, both still singing, turn and
the speakers. Physically distancing input walk away from the microphone. This is
sources from speakers greatly reduces of additional grain and an excellent selection for analyzing not
the negative influences of resonances only acomponent's rendition of depth,
electronic edge.
and feedback. In short, balanced opera- but its ability to retain spatial cues and
tion elegantly solves many real-world image specificity. Once again, the LS9
problems. and Michael Collver stand beside each ever-so-slightly reduced overall resolu-
How did the LS9 sound? As Iimplied other on the stage as they sing the same tion, depth, dimensionality, and focus.
earlier, its shortcomings were all sins of musical phrase in around. While the One performance parameter in
omission. Compared to adirect feed LS9 does an exemplary job of not intro- which the LS9 excelled was harmonic
sans preamp, the LS9 was less transpar- ducing any IM distortion and retaining accuracy. Never did Idetect even the
ent. While the LS9 didn't badly smear each voice's harmonic integrity, it does slightest bit of tirnbral shift between the
the sonic picture, it did make it harder to not portray their dimensions as precisely LS9 and astraight-wire bypass-neither
differentiate between direct and reflected as adirect feed from digital processor to Kirkby's nor Thomas' voice changed
sources in the soundstage. The LS9 power amplifier. one iota in spectral balance. This is
lacked the image specificity of astraight- The Sacred Bridge was recorded in a unusual. Even more unusual was the

Measurements

The THD+noise vs frequency result Fig.4 shows the THD+noise per- amp's maximum output, the distortion
is shown in fig.3. Note that the high centage vs output voltage at lkHz for components increase significantly, as
input voltage of just over 1V-used to both the balanced and unbalanced shown in fig.6. The largest component,
keep the effect of noise to aminimum- modes. The minimum points in the the third harmonic, is at -55.7dB (about
in this measurement and the crosstalk curves, just before the distortion increas- 0.17%). But since even 5V will drive vir-
measurement above, likely contributes es rapidly, were the values chosen to mn tually any amplifier well beyond clip-
to the rise in THD at high frequencies. the measurements plotted in figs2 and ping, these curves merely show the
Fig3 also shows aplot of the THD+ 3(with the exception of fig3's 100mV LS9's performance at the limit of its
noise with a100mV input. The signifi- input curve). capabilities.
cant increase in the distortion with this The LS9's output spectrum reproduc- There is little to comment on in the
lower input voltage is not actually dis- ing a50Hz input at ahigh output level test-bench performance of the LS9.
tortion at all, but rather, simply, noise. of 5V into 100k ohms is shown in fig.5. Apart from perhaps aslightly high out-
(The noise doesn't increase, but is mere- All of the artifacts are at or below about put impedance at the tape outputs, the
ly alarger component of the result with --80dB (0.01%). If we increase the out- results are uniformly excellent.
alower-level input.) put to 10V, which is just below the pre- —Thomas.). Norton

SU... *a .444. 744 .7 .7.71444 Isr 0.1407 enrns,

•11.0171.4 .•••47.7 LSO .11747.170 .1 44 O.. Yu.

0.144004•1.4 .8471.4.74.7130 4.47.44 1107,7.1.14.04 4.741

ILO

7.0

. 00

400 0
.00.1141

120 1114fliddLti.Akald.Ad.i\ ihitàuLA m

00 CPO .00 .0 0 4000 .3 400 0 7000 0000 PO 0 10704
0.401
ID
Fig.5 Audio Research 1_59, spectrum of 50Hz
sinewave, DC-1kHz, at 5V into 100k ohms
10. 7.0 MO 00. MO .0 MO MO 1Mb
Fig.4 Audio Research 1.99, distortion (%) vs
output voltage into 100k ohms of (linear frequency scale). Note that the third Fig.6 Audio Research 1.59, spectrum of 50Hz
unbalanced output (top) and harmonic is the highest in level at -80d111 sinewave, DC-1kHz, at 10V into 100k
balanced output (bottom). (0.01%). ohms (linear frequency scale).

Stereophile, January 1998 125

 Exceptional Performance

P.O. Box 81248 Wellesley Hills MA 02181 USA Tel 781 235 7715 Fax 781 235 7715
 Audio Research LS9

absence of additional grain and elec- sound abit hard at extreme peaks. In LS9's ever-so-slight truncation of top-
tronic edge. All but the finest solid-state the final act of Humperdinck's Hansel end air. Perhaps that was why it didn't
preamps I've heard arc guilty of the und Crete!, Gretel shoves the witch into quite pass along all of arecording's spa-
additive coloration of grain. Somehow the oven, and afew moments later the tial information. Piccolo, triangle, and
the LS9 managed to add nothing in the oven explodes. Through the LS9, a first violins on JGH/SS recordings lost a
way of electronic texture to the overall recent recording (by J. Gordon Holt and wee bit of their upper harmonics
sound. Its harmonic accuracy and lack yours truly) of the witch's Armageddon
of electronic signature elevated the LS9 was not as loud and sounded slightly Dare Isay that the LS9
into avery elite group of preamps. strained compared to bypass mode. The
'While the LS9 excelled in timbral explosion just didn't roll across the stage
is the second-best active
accuracy, its dynamic abilities were less with quite the speed and precision it
solid-state preamplifier I've
than perfect. No matter what the should have.
source —rock, full-scale classical orches- Bass definition and weight through had in my system?
tra, or asingle human voice —the LS9 the LS9 were mighty fine. Perhaps bass
slightly compressed dynamics. While transients were ahair slow, but Iknow through the LS9 —not enough to dark-
contrasts from piano to mezzo-forte that only because Idid abypass test. en their harmonic balance, but enough
were good, dynamics above or below this Even demanding material—like the to rob them of some breathing room.
range were somewhat constricted. On synth bass on "Possession (Rabbit in How did the LS9 stack up against the
the quiet side, subtle microdynamics — the Moon Remix)," from Sarah Mc- almost-twice-as-expensive Pass Aleph P?
like the sound of asinger's dress drag- Lachlan's Rarities, B-sides & Other Stuff— Damn close. Yes, the Pass edged it out
ging across the stage —were slightly was handled with aplomb. with abit more top-end air, better han-
truncated. Finally, I'd be remiss in my re- dling of high-level transients, more low-
On the forte side, the LS9 could viewerly duties if Ididn't mention the level detail, somewhat more depth and
dimensionality, and slightly "faster"
overall transient response. Still, the
Associated Equipment ARC was well within spitting distance
of the Pass. Dare Isay that the LS9 is the
My main large room (for photos, see Wonder Link 1coaxial, AudioMagic second-best active solid-state pream-
Vol.19 No.8, p.117) played host to Sorcerer coaxial, TARA Labs RSC plifier I've had in my system? Without
the Audio Research LS9. Amps in- master AES/EBU, Illuminati RCA the Threshold T-2 around that I
house were the Boulder 500 AEs coaxial and AES/EBU, Aural Sym- reviewed in July 1995 (Vol.18 No.7) for
and Lamm ML-ls. As usual, the phonics Digital Statement cable in comparison, Ican't be quite that rash.
amps were saddled with Dunlavy both RCA coaxial and AT&T opti-
Signature SC-VI loudspeakers. Iuse cal, AudioQuest and Sony TosLink Conclusions
a passel of power cables —Aural connectors, and fiber-optic Toslink As usual, I've spent far more ink damn-
Symphonics Missing Link Cubed cable from Parasound.connections. ing than praising the LS9. Ican't help it—
Gen.III and Synergistic Research Comparison preamps were the my astrological nature is to nit-pick. But
RC/Master coupler. For speaker Carver Lightspeed and Pass Aleph P despite this audiophilic pecking party, I
cabling Ilassoed some Aural Sym- line-level units, and the Vendetta feel that the LS9 is really something spe-
phonics Gen.II, Discovery Signature, SCP-2C outboard phono unit. cial —a $2000 preamplifier that per-
AudioMagic Sorcerer, and Syner- Discovery Plus Four, Synergistic forms well enough to bemuse even the
gistic Research Resolution. Research, and AudioMagic Sorcerer most jaded anti—solid-state curmud-
Analog source was aVP! TNT balanced XLR interconnects linked geon. Its performance puts to the torch
Mk.III turntable with outboard fly- the preamp or direct digital source the standard rap about solid-state grain
wheel on aBright Star base and and the power amplifiers. and harmonic bleaching that most old-
Bright Star TNT air base. Iused the Other accessories included Room- time tubeophiles trot out whenever
Graham 1.5 TC and Clearaudio/ Tunes CornerTunes, EchoTunes, they've had afew drams. If Iwere feel-
Soudier TQ-1 tonearms. Cartridges and Ceiling Clouds, Acoustic Sci- ing especially rash, Imight declare that
included the van den Hul MC-1 ences Tube Traps, the Arcici Lev- the LS9 is the perfect preamp for
Super, Dynavector XX-1, Clearaudio itation stand; the power amps sat on someone enamored of tubes but
Ventas, and Fidelity Research/van Bright Star Audio Big Rock bases. daunted by their maintenance require-
den Hul FR-1. Discovery Plus Four Plus: Shakti Stones, VP! Magic ments. Ionly wish the LS9 reproduced
interconnect ran between the Clear- Bricks, Fluxbuster, PAD break-in depth the way AR's LS5 Mk.II does. It
audio arm and the phono preamp, as disk, NoiseTrapper power strip, doesn't, so Iwon't claim it to be the
well as from the phono preamp to Power Science Ltd. Foundation AC- solid-state Messiah. But the LS9 is a
the line-level preamps. line conditionet AudioQuest record surprisingly good-sounding solid-state
Digital front-ends were aC.E.C. brush, Gryphon Exorcist condition- preamp that will neither offend nor
TL 2CD transport and aSony it- ing tool, Nitty Gritty record-clean- bore acritical listener.
D8 portable DAT recorder, connect- ing machine, RadioShack Sound The essential question for audio-
ed via coaxial, AES/EBU, TosLink, Pressure Meter, Kleenmaster Brill- philes is always, "Could Ilive with this
and AT&T optical connectors to an ianize CD deanet and a1996 Thomp- component?" Could Ilive with the
EAD 9000 III D/A converter. Dig- son TML 1guitar. LS9? You bet I could. I'd happily
ital cables used were Mod Squad —Steven Stone cohabit with this baby. It's the first
$2000 active solid-state preamp I've
heard that cuts it.

Stereophtle, January 1998 127

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 Equipment Report
John Atkinson

Myryad Systems MC 100 CD player

M
yryad Systems may be arela-
tively new English man-
ufacturer, but its founder,
Chris Evans, has along track record in
the audio industry. In 1976 he co-found-
ed Arcam (then known as A&R
Cambridge), and his A60 design became
one of the UK's bestselling and longest-
lived integrated amplifiers. In 1986 he
left Arcam to become technical and
engineering director at NAD, where he
was responsible for, among other things,
the NAD 3020i integrated amplifier and
the 5425 CD player, the latter very
favorably reviewed by Corey Greenberg
for Stereophik six years back (in Vol.15
No2).
In 1995 Chris started up Myryad
Systems with his digital-engineer
brother David. The MC 100 is their Myryad MC 100 CD player
first CD player; ahigh-performance
derivative, the MCD 500, was clocked with an adjacent crystal oscilla- coaxial S/PDIF data output is isolated
launched this fall. A matching in- tor. The two-channel output of this from the circuit with a small pulse
tegrated amplifier — the remote-con- chip is taken to aBurr-Brown dual-op- transformer.
trolled MI 120 — is available, and an amp, specified to be fast enough to han- The fourth element is the power
FM tuner is on the way. dle the RF energy present. This per- supply. Based on a chunky toroidal
forms the initial low-pass filtering to transformer on the other side of the
Technology eliminate ultrasonic signal images, and transport mechanism from the audio
Thanks to its sturdy steel chassis, the feeds adiscrete, single-ended, solid- board, this uses a relatively modest
MC 100 is heavier than it looks. The state output stage. A servo circuit, based amount of power-supply capacitance but
front panel is constructed from an- on another Burr-Brown op-amp, elimi- 11 individual voltage regulators, six
odized aluminum, and has acentral disc nates any DC offset from the analog placed down one side of the audio board,
tray. To the right are the function but- signal. As well as left and right output the rest close to the relevant circuit.
tons; to the left the fluorescent display RCAs, apair of RCA jacks allow the All in all, the MC 100 is an im-
and an On/Standby button. An LED in MC 100 to be connected to other pressively well-constructed piece of
the center of the On button turns from Myryad components for control. The equipment from anew company.
red to green when the player is brought
out of standby.
Inside are four main elements: all the Description: Single-chassis CD play- 3.75" (95mm) H by 11.3" (286mm)
display and control circuitry is carried er with remote control, S/PDIF digi- D. Weight: 12.33 lbs (5.6kg).
on amagnetically shielded printed cir- tal output, single-ended analog out- Serial number of unit reviewed:
cuit board mounted vertically behind puts, and My-Link control system to MC1006C00290 (manufactured in
the front panel. The transport mech- link to other Myryad components. December 1996).
anism, made by Sony, is connected to D/A conversion: 1-bit comple- Price: $1200. Approximate number
the audio board with ashort length of mentary PLM type. Digital filter: 8x- of dealers: 20.
ribbon cable. This hand-stuffed multi- oversampling, linear phase. Analog Manufacturer: Myryad Systems Ltd.,
layer board features alogical layout with filter: 6-pole active. Frequency re- 2 Pipers Wood, Waterberry Drive,
minimal path lengths and plenty of sponse: 20Hz-20kHz, -0.3dB. THD: Waterlooville, Hants. P07 7XU,
ground-plane real estate. 0.003%, 1kHz at OdBFS. S/N ratio: England, UK. Tel: (44) 1705-265508.
The heart of the circuit is aSony 104dB (A-weighted). Channel separ- Fax: (44) 1705-231407. US distri-
CXD-2565 surface-mount chip. This ation: >100dB. Maximum output butor: Audio Influx, P.O. Box 381,
features an 8x-oversampling digital fil- (OdBFS signal): 2V RMS. Output Highland Lakes, NJ 07422. Tel: (201)
ter and two high-oversampling, dual- impedance: 240 ohms (unbalanced). 764-8958. Fax: (201) 764-8479.
differential one-bit D/A converters, all Dimensions: 17.2" (436mm) W by
on one substrate. This appears to be

Stereophiie, January 1998 129

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130 Stereophile, January 1998
 Myryad Systems MC 100

Sound on went Sitting on Top of the World, the lent, the slight variations in pitch of
With its soft-blue fluorescent display, the 1993 Jack Bruce 50th-birthday concert Bruce's fretless Warwick "Thumb" in-
Myryad player looks hi-tech cool. compilation (Times Square TSQD strument being readily perceived.
Though the display can be turned off, I 9003). (I've been afan of the Scottish Wes Phillips mentions elsewhere in
didn't find that this gave any change in bass player since Iattended aCream this issue the live recording we recently
sound, so Ileft it on, set to the dimnier of rehearsal gig in early 1966, while Bruce made of pianist Marc Copland's jazz
the two settings. The remote only allows was still nominally with Manfred quartet. The bassist on the date was
you to select tracks, even though the dis- Mann.) When it comes to low frequen- Peter Herbert, who is not afraid to pick
play shows both track and index num- cies, bitstream bass is regarded by up abow for his solo work. Imiked
bers. When Itemporarily mislaid it, I audiophiles as being soft and ill-defined Peter with asingle B&K 4006 omni
found that astandard Philips remote, too, compared with traditional ladder-DAC placed just inches from his instrument's
will operate the player, it's possible that a lows. Yes, the Myryad's bass lacked bridge, but Ihave to admit Iwas wor-
universal remote, operating with Philips weight in absolute terms, the tonal ried that there would be too much
codes, could give you index access. emphasis being on the leading edges of leakage of the other instruments into
Ilet the player warm up for aday notes rather than the follow-through the bass mike, and that the sound of
before Idid any serious listening. Then and body. But the definition was excel- the double bass would be inconsistent

Measurements

The Myryad MC 100's maximum out- 6dB/octave rise in crosstalk above 11cHz noise peak between 301cHz and 50kHz.
put level was ldB above the CD sun- is due to capacitive coupling, and is still Note also the slight peak at 4Fs (1761cHz).
dard 2V, at 221V RMS, and was better than 78dB down from peak level The trace in fig.3 indicates aslight
absolute-polarity-correct. The source at 201cHz. negative level error, the peak at lkHz
impedance was to specification at 239 Fig3 shows the audio-band spectrum not quite reaching the -90dB mark.
ohms (left) and 241 ohms (right). The of adithered lkHz tone at -90dB. The This was confirmed by fig.5, which
MC 100 was amoderately good tradcer, trace is free from any power-supply arti- shows the MC 100's linearity error as a
coping with adata error 125mm in facts or spurious tones. Note also the dithered 500Hz tone was swept from
length on the Pierre Verany test CD. very low noise level in the midrange. -60dBFS down to -120dBFS (only the
The frequency response (fig.1) was Extending the frequency window to left channel is shown; the right channel
flat from below 10Hz to 101cHz, drop- 200kHz and driving the player with behaved identically). You can see,
ping very slightly to an inconsequential data representing digital "black" gave the though, that the error is small and does-
-025dB at 201cHz. De-emphasis error graph shown in fig.4. Again, you can see n't begin to deviate sharply from the
was effectively zero. The channels the very low level of noise in the OdB axis until below -110dBFS. This is
matched to within 0.04dB, this shown audioband, but the presence of ahigh- ahigh-resolution CD player, something
by the fact that the traces in fig.1 almost oversampling DAC is revealed by the that is also revealed by the waveform of
overlay one another. The channel sepa- an undithered 1kHz sinewave at
ration (fig2) was excellent, being better -90.31dBFS (fig.6). The positive and
than 100dB in the midrange. The Uwe..
/0 CO
1.1 • ...11•101.1•1

..v* IOC tel awl

101) «etioc. al (leers a... rx,c

.00

4.0
100 0
OM

,to 0

10.0

Fig.3 Myryad MC 100, spectrum of dithered IkHz

tone at -90.31dBFS, with noise and spuriae
1.00
100 POO

(16-bit data, '-octave analysis, right

10/1 10. 00.

channel dashed). Fig.5 Myryad MC 100, left channel, departure

Fig.1 Myryad MC 100, frequency response (right from linearity (2dB/vertical div.).
channel dashed, 0.5dB/vertical div.).
Pe.S..c•o•bor

eAC . 10. al se 11.

111. . CO .4. r. 00.1. 011/ •a 1

1r...

103 0
PO.

110 0

1.0

1060

1400 »
100 ICIfe 200b

00 U. 101. 11. I' SO. 10. 10. • • 5. O.

1,00 Fig.4 Myryad MC 100, spectrum of digital silence,
with noise and spuriae (16-bit data, Fig.6 Myryad MC 100, waveform of undithered
Fig.2 Myryad MC 100, channel separation. 'h-octave analysis, right channel dashed). IkHz sinewave at -90.31dBFS (16-bit data).

Stereoptule, January 1998 131

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 Myryad Systems MC 100

as the instrument moved around. on Chesky's splendid new Wagner England's top classical engineers: John
As Ilistened to aCD-R dub of the release (CD161) with Chuck Gerhardt Dunkerley, Trygg Tryggvason, Tony
edited 2-track master on the Myryad, conducting the "National Philharmonic Faulkner, and Mike Ross-Trevor. Con-
however, all was well. Peter had almost sidering that it was recorded in five dif-
made love to the microphone with his ferent halls over aperiod of nine years,
instrument, so consistent was the level.
The MC 100 the sound is surprisingly uniform.) But
His bass had terrific weight to its sound, is better suited overall, the Myryad player was balanced
yet the Cl) player's good leading-edge on the polite side of reality, finding it
definition lent the instrument palp- to classical music than hard to get down'n'dirty when required,
ability even when guitarist John Aber- as with ZZ Top's Greatest Hits compila-
crombie was wailing in full-fuzzed to raucous rock. tion (Warner Bros. 26846-2), which I
flight and drummer Billy Hart was hit- reach for when Ineed ashot of rhythm
ting all heck out of his kit. Orchestra" — a pickup group of 'n'raunch. Yes, "La Grange" came across
Dynamics seemed excellent in gener- London's top orchestral players that with good soundstage space and excel-
al terms, the Myryad easily realizing the Gerhardt has worked with for two lent palpability, but those refined ele-
broad sweep and flow of orchestrations decades. (This CD features aroll call of ments of reproduction are not really

Measurements

negative steps away from the time axis CD-playing component available to me "grass" for 1500Hz each side of the cen-
can be seen to be equal in size and well- —from CD-ROM drives through CD tral 11kHz tone in fig.8, with the
defined in shape. players and transports to DVD players Encore's flat noise floor. Is this due to a
Driving the player with data represent- —to build up aperformance database. low-frequency random-noise jitter com-
ing afrill-scale mix of 191cHz and 20kHz (An explanatory article will appear ponent? If so, it might be thought to be
tones gave the spectrum shown in fig.Z shortly.) However, it does appear that subjectively benign. However, Martin
The intermodulation products are all the Myryad is one of the least jittery C,olloms has hypothesized that random
below -95dB—excellent performance. components Ihave yet measured, at errors tend to reduce acomponent's sense
Finally, fig.8 is ahigh-resolution spec- least when it comes to the production of of pace'n'rhythm —could this rise in the
tral analysis of the Myryad's noise floor discrete-frequency sidebands. noise floor therefore be acontributor to
(made with the Miller Audio Research For reference, the "grayed-out" back- the Myryad's rather polite delivery?
jitter analyzer) as it plays a CD-R ground spectrum is that of the Encore Unfortunately, we don't brow enough to
encoded with a special test signal Ovation4 processor (reviewed else- be able to answer that question.
intended to reveal the effects ofjitter: an where in this issue) when driven via its The Myryad MC 100's measured per-
11kHz tone at -10dBFS combined with AES/EBU input You can see that the formance indicates a truly well-engi-
the LSB being toggled at a229Hz rate. Encore's discrete, data-related jitter side- neered CD player, with genuine high
The MC 100's total jitter level on this bands are significantly higher in level resolution and excellent control of non-
signal was 166.7 picoseconds peak-peak, than the Myryad's. Compare, though, linearities and jitter. Color me impressed.
with a negligible timebase error of the 3dB rise in the Myryad's noise-floor —John Atkinson
-lppm. Data-correlated, jitter-induced
spuriae are indicated in fig.8 by the red
markers numbered "1" through "11";
these are generally low in level, with the
first-order sidebands at -117.3dBFS
(-229Hz) and -119dBFS (+229Hz).
The sidebands fla14:ed with green mark-
ers are due to subcode-induced jitter
but are very low in level. Though my
experience of the Miller analyzer is still
limited, Iam currently measuring every

SM•oph4r Yee.. 100 4..16

2000

4000

4000

4000

1000

1,00
00 2 OM 4 Ola 110011 0411. 14. 12 Oh 14. Ia. Mali 20 01. 22 01. 24.

Fig.7 Myryad MC 100, HF intermodulation Fig.8 Myryad MC 100, high-resolution jitter spectrum of analog output signal (11kHz at —10dBFS with
spectrum, DC-221(Hz, 19+20kHz at OdBFS LSB toggled at 229Hz). (Center frequency of trace, Il kHz; frequency range, ±3.5kHz.) Grayed-out
(linear frequency scale, 20dB/vertical dim). spectrum is that of the Encore Ovation4 processor driven via its AES/EBU data input

Stereophile, January 1998 133

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 Myryad Systems MC 100

what you're looking for with this music. Dan's 1995 Live in America (Giant
The MC 100 is better suited to classi- 24634-2), didn't quite catch fire on the Associated Equipment
cal music than to raucous rock. It MC 100 the way Ilike it to, whereas it
reminds me of my very English friend liad more of asense of forward motion Digital playback: Mark Levinson
Ivor Humphreys at Gramophone mag- on either of the two Canadian pro- No31.5, Mark Levinson No30.5,
azine. IA," he once asked me when we cessors. But the Myryad made the lise Parts Connection Assemblage
both worked at Hi-Fi News & Record DAC-1 and DAC-2, California
Review, "What is this group `Zed Zed Audio Labs Gamma.
Top'?" And Zed Zed Top is what you When the Preamplifiers: Mark Levinson
tend to get from the Myryad in place of No380S, Nagra PL-P.
ZZ Top. Idoubt Chris Evans has ever recorded bass was on Power amplifiers: Mark Levinson
been to Texas. No33H monoblocks, Mark Lev-
But the Myryad does throw great the overcooked side, inson No333, Pass Labs Aleph 3.
space! On "Old Love," from Eric Clap- Loudspeakers: Paradigm Refer-
ton's 24 Mghts (Reprise 26420-2), re- the Myryad's ence Active/20, B&W Jolui Bowers
corded in concert, both the individual Silver Signature.
instruments and the squeals ofjoy from
lighter-balanced Cables: AudioQuest AudioTruth
the audience can be heard via the low frequencies Lapis X2 (single-ended), Madrigal
Myryad to light up the vast space of CZ Gel-1 (balanced), Mod Squad
London's Albert Hall in amost, ahem, made better sense Wonderlink I(S/PDIF), Illumin-
illuminating manner. The Myryad's ati Orchid (AES/EBU).
excellent definition rendered Nathan of the mix. Accessories: Target and ArchiDee
East's solo, in which his fingers literally stands, Audio Power Industries
dance across his bass's strings in avery Power Wedge 116 Mk.II and
palpable manner. DAC-1 sound grainy in the highs, and Power Enhancer.
As you can read elsewhere in this issue, was the equal of the DAC-2 when it Room treatment: ASC Tube
when Imastered Stereophat's new Enron' came to space and treble smoothness. Traps, RPG Abffusors; walls lined
Cl), Iwas forced by circumstance to use a And when the recorded bass was on with books, LPs, and CDs.
modicum of artificial reverberation to the overcooked side —John McVie's bass —John Atkinson
keep the recording from sounding like lines and Mick Fleetwood's kickdrum on
the musicians were sitting in the lis- "Rhiannon" from The Dana; Fleetwood
teners' laps (accurate, yes; musical, no). I
worked hard in the mastering and mix-
ing to ensure that the character of the

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Comparisons
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processors from The Parts Connection: VIBRATION CONTROL DISC POSITIVE FEEDBACK, vol. 6el-3, 1997
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Stereophile, January 1998 135

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 Encore Electronics Ovation4

According to Encore's measurements, through the Ovation4, though in most the infinitely conscientious engineers
setting 1 has a flatter frequency re- other respects the Encore D/A sounded decided not to put much midrange on
sponse. (See the "Description" section very impressive. this disc, so that will have to wait. Had
of the specifications box, above.) By the time "Loud Love" came on, they followed the creed of Chris Cor-
The output driver is the low-output- many of the Ovation4's best qualities nell? "There's no time to keep it low /
impedance Precision Monolithics BUF- I've been deaf now Iwant noise." The
03 chip, aunity-gain device highly re- engineers may have made the treble
garded by many designers.
This album was heading overblown, but the Ovation4 kept it
for treble overload through crisp and clean, and very detailed.
Listening My standard plan of action when ac-
When Ifirst connected the Ovation4 to the Ovation4, though in costed by avillainous frequency imbal-
the system, using Illuminati DV-30 data- ance is to change cables. But in the inter-
link with aBNC connector on one end most other respects the connect department, even the Sound &
and an RCA on the D/A's end, its analog Vision Audiflex Gold V, my previous
filter was at setting 1(-flat response). As Encore D/A sounded mellow favorite, was not quite right for
with all D/As that Ilisten to, the Ova- the Ovation4. The Monster M850i
tion4 had been powered continuously for
very impressive. seemed to be the mellowest thing avail-
over 50 hours prior to this comparison. able, and was sounding good. Istuck
After I'd become accustomed to the had become apparent. The micrody- with that.
sound of The Parts Connection's DAC-2 namics were excellent, propelling all of The Illuminati DV-30 digital cable,
with Parts Upgrade Kit, the Ovation4 Soundgarden's rhythmic forces into a though fantastically detailed, tends
sounded alittle bright. Rock discs like frenzy of excitement. The bass was deep toward brightness, so Ireplaced it with
Soundgarden's Louder than Lowe were just and tight, but especially tight. It had Sound & Vision Digiflex +Plus, and
abit on the lightweight side. Already plenty of definition to allow me to hear changed the jitter-reduction box to the
marginally too bright on the DAC-2, this specifics of the guitarists' and bassises Theta TLC. The frequency regions
album was heading for treble overload techniques. The midrange was ... well, were better balanced, but now other

Measurements

Ihad some minor problems measuring Once Ihad got things working and direction below 8kHz.
the Encore processor in that it seemed started measuring, it became clear that The Ovation4 offers better than 16-
somewhat fussy regarding grounding the Ovation4 is awell-engineered pro- bit resolution, as shown by fig2, the
and the quality of the data signal it was cessor. At 226V, its maximum output spectrum of the processor's output
fed. Using Stereophilès old, well-used level was 1 dB higher than the 2V CD while it decodes 20-bit data represent-
copy of the CBS Test CD played on the standard. The output signal was nonin- ing a dithered lkHz sinewave at
PS Audio Lambda transport that we use verting with the rear-panel polarity -90dBFS. Noise levels are very low in
as our test-bench reference, the red switch in the "Normal" position. Its out- this graph — even the power supply
"Data Error" LED on the Ovation4's put impedance, thanks to the power- components are better than 115dB
front panel flashed alarmingly. Ihad to house BUF-03 chip, is alow 1.5 ohms. down from peak level —and just ahint
substitute anew copy of the CD to get Its frequency response with the inter- of second-harmonic distortion can be
meaningful data. The AES/EBU input nal filter switches set to the two possible seen. The low noise was confirmed by
was also very fussy regarding the cable positions is shown in fig.l. In MK's pre- fig3, which shows the spectrum of the
used. While Madrigal AES/EBU cable ferred mode, the response is almost Encore's analog output while it decodes
worked fine, using an anonymous bal- 1.5dB down at 201cHz. The channel bal- 16-bit data representing "digital black."
anced microphone cable that was lying ance is excellent, however, and there Above the audio band, the noise floor,
around to hook the processor up to the was no de-emphasis error other than white in nature, rises with frequency
Audio Precision System One's data out- the response error shown in this graph. but is still below -100dBFS at 200kHz,
put again resulted in the Encore's red Channel separation (not shown) was with no spuriae visible at multiples of
error LED flashing. superb at better than 110dB in either the sampling frequency.

oler s Sens* Ince.•Chabor.

Of00 r0C0

.000

00
0000
1000

t000

0000

2.
100

IOW
100 10.11 >oh

Fig.1 Encore Ovation4, frequency response with Fig.2 Encore Ovation4, spectrum of dithered Fig.3 Encore Ovation4, spectrum of digital
filter set to "1" (top) and "2" (bottom) IkHz tone at —90.31dBFS, with noise and silence (16-bit data, 1
/3-octave analysis, right
(right channel dashed, 0.5dB/vertical div.). spuriae (20-bit data, 1
/3-octave analysis, channel dashed).
right channel dashed).

Stereophile, January 1998 139

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Tom Bohlender gives you his own
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(Visit our Website at http.//www.wisdomaudio.comp
 Encore Electronics Ovation4

things did not have quite the life they'd the instruments had very appropriate War CD. The long natural reverb com-
had with the first configuration. timbres. Detail and immediacy were ing from the large auditoriums the
Then Iremoved the TLC and con- still quite present, however, with fairlyalbum was recorded in could be heard
nected the transport directly to the good bass definition. The only thing bleeding through the stage mikes. This
Ovation4. The direct connection yield- that might have gotten worse through "effect" was quite realistic, and allowed
ed good results, but did not have quite the AES/EBU connection was the me to hear the approximate sizes of the
the realism provided by the TLC. perfonnance spaces.
Voices had less body, and soundstage Recordings had very Itend to prefer to listen to rock'n'roll
positions were more poorly defined. instead of classical music on astereo sys-
Still somewhat unsatisfied, Iopened different sound qualities tem, partly because rock's base of influ-
up the Ovation4 and moved the analog ences is broader than classical's, includ-
filter switches toward the front for set- through the Ovation4— ing as it does African and Native
ting 2. The sound became warmer. I'm American music. Maybe more impor-
not sure if Iapprove of nonflat fre- always agood sign, tant, recorded classical music sounds
quency responses in D/A converters, considerably worse than it does live,
or anywhere where they can be avoid-
indicating high resolution. whereas rock rarely sounds as good in
ed. In systems like mine, though, such concert as it does on agood stereo.
asetting can be used to help normalize rhythmic precision. Compared to a Enter Testament, with the Turtle Creek
the unnatural responses given many coaxial connection, drumbeats and bass Chorale and the Dallas Wind Symphony
recordings. guitar sounded slightly smeared in time. (Reference Recordings RR-49CD,
Then the UltraJitterbug returned, Recordings had very different sound HDCD). This disc has so much more of
this time connected to the Ovation4 via qualities through the Ovation4 — the heart and breath of live acoustic
aSound & Video Digiflex IV AES/ always agood sign, indicating high reso- music that it's changing my mind about
EBU cable. This combination proved to lution. Crosby, Stills, Nash, & Young's listening to classical recordings. Large
be the winner by far. When Iplayed 4-Way Street (Atlantic 82408-2) had choirs and symphony orchestras arc the
War's Antholly (Avenue R2 71774), all more of an electronic edge than did the very hardest things for asound system

Measurements

The Encore offers good linearity oped by UK reviewer Paul Miller. The and datalink used. The foreground data
(fig.4), with any error held below -2dB. analyzer examines the noise floor of (with the colored markers) was gener-
However, the waveform of an un- the processor-under-test's analog out- ated using the lowest-jitter combina-
dithered 1kHz tone at -9031dBFS put with a64k FFT while it decodes a tion we had on hand: a PS Audio
(fig.5), which should consist of three special test signal: an 11kHz sinewave Lambda transport connected to the
discrete, visibly distinguishable levels, at -10dBFS combined with bit 16 of Encore via an Illuminati D-60 S/PDIF
looks more like asinewave, suggesting the data being toggled at 229Hz. We link. The total word-clock jitter mea-
some internal reciithering. have not yet developed alarge enough sured 185picoseconds p-p, with most of
Driving the processor hard with data measurement database with this test this resulting from the sidebands spaced
representing an equal mix of 19IcHz and instrument to be able make meaning- at multiples of the 229Hz data frequen-
20IcHz tones, each at -6dBFS, gave the ful statements about jitter rejection. cy (red markers "3" and "6"). There are
spectrum shown in fig.6. The highest- However, from comparisons with also two 55ps sidebands resulting from
level intermodulation product is the dif- other processors we have in the lab, jitter modulation at the full-wave-recti-
ference tone at 1kHz, but this is still and the fact that the individual compo- fied power supply of 120Hz (blue
90dB down from peak level — good nents of its noise-floor "grass" either markers "2"). Changing the transport to
performance. side of the 1kHz fundamental lie aMeridian 500 but keeping the Illum-
Finally, the somewhat complicated between -124dBFS and -127dBFS, the inati S/PDIF datalink raised the jitter
graph shown in fig.7 reveals the Ova- Encore appears to be pretty good at level to 237ps p-p, but with asimilar
tion4's word-clock jitter performance. rejecting data jitter. spectrum (not shown). Changing the
It was generated using the Miller However, its performance does ap- datalink to aMadrigal AES/EBU cable
Audio Research jitter analyzer devel- pear to be dependent on the transport gave the grayed-out background spec-

6.•••000.!dew* Ovule. lye, 1.01 red* .1011 gee Sle.up.u. ,uo.. Oudd.u4 Unelde..Ki tom • e ea, Seereno• uÉ ore 0.01.0.4 ,.1.,um al> r,
10 000 tO0 04

*MO
USO

SOO«
.0u
0000
e

2 WM

00 00 40 e

OOP

• WO
100

• WO

le 0
00 OM • 001. 001. 001. 10 Olt 12 0 140 10. 11. 00 Oh 07 Oè 74 Oh

Fig.4 Encore Ovation4, left channel, departure Fig.5 Encore Ovation4, waveform of undithered Fig.6 Encore Ovation4, waveform of undithered
from linearity (2dB/vertical div.). 1kHz sinewave at -90.31dEWS (16-bit data). lkHz sinewave at -90.31dBFS (20-bit data).

Stereophile, January 1998 141

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Sunday after lllll (may we h lily suggest manage to get such a well-defined and

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whose faine in audiophile circles has on why our speakers are -quote -"imaging

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 Encore Electronics Ovation4

to reproduce, in my opinion. HDCD- nance, and the soundstage was flatter; Kit in most areas of sound quality —at
decoded, however, the grandeur of this individual instruments resembled card- three times the DAC-2's price, it better.
type of music comes across better. board cutouts more than objects with It also equally surpassed the Polyfusion
Through the Ovation4, Testament real depth. The whole presentation was 230 D/A module in the 940 preamp
gave awonderful sense of many sepa- less satisfactory. (the 230 alone sells for $1750). The
rate voices singing together, rather than 'Tisis comparison was alittle unfair, as Ovation4 has not yet been compared to
just abig mush of humanlike sound. the Polyfusion was handicapped by hav- any similarly priced WA processor resi-
There was still aminimal artificial edge ing to send its signal through an extra dents of "Recommended Compon-
to the music, compared to my memo- preamp stage. Itried both the pre-out ents"; perhaps in aFollow-Up.
ries of many years of singing with and tape-out jacks, with the same re-
choirs.4But here the artificiality was far, sults. The Polyfusion could not come
far less offensive than what Ihear with close to the Encore in terms of sonic The Encore Electronics
most recordings and systems —a "testa- performance.
Ovation4 DAC
ment" to the excellence of both the The Ovation4's inner clarity, beau-
Ovation4 and the recording. ty, and communication were on ais is the finest
altogether higher level than the Poly-
Comparisons fusion's. To my ears, the Parts Con- D/A converter to
When Iswitched over to the Polyfusion nection DAC-2 with Parts Upgrade
230 D/A module housed in Polyfu- actually canse closer to the overall ever inhabit
sion's 940 preamp, 5 the sound became sound quality of the Ovation4, despite
smaller. The natural reverb was not as costing significantly less than the my system.
noticeable, and everything sounded abit Polyfusion.
muffled. Guitars had less body and reso- The Ovation4 achieves extremely
Conclusion high levels of resolution, allowing
The Encore Electronics Ovation4 DAC close inspection of recording quality,
4Ithink the best spot for listening to achoir is right in
the middle of the bass section. As abass, my opinion is the finest D/A converter to ever inhab- recording techniques, and musician-
might be just ahit biased. it my system. It handily beat the over- ship. Its portrayals of rhythmic inten-
5Reviewed 4SS in March'97 (Vo120 No3, p.147). —JA achieving Assemblage DAC-2 with Parts sity and microdynamics were particu-
larly noteworthy. It does not lose the
more pacifying qualities of good
music, though. Harmonic body, gen-
tle softness, even the passion of aper-
formance — all emerged fully intact.
trum in fig.7. The jitter level was now ancillary components. But those compo- Highly recommended.
244ps, with the data-correlated com- nents will behave differently with
ponents significantly higher in level. other processors. I am currently
Be careful not to draw general con- preparing afeature using the Miller Associated Equipment
clusions from this graph. It appears analyzer to examine the subject of data
that the Encore's S/DIF input is opti- jitter in more detail. CD transport: Rote' RDD-980.
mal regarding jitter with these particular —John Atkinson Jitter boxes: Theta TLC, Sonic
Frontiers UltraJitterbug.
D/A processors: Assemblage
DAC-2 with Parts Upgrade Kit,
Polyfusion 230 (in 940 preamp).
Integrated amplifier: STAM INA
home-built SE MOSFET mono-
blocks; the STAMINA is basically
Nelson Pass's Zen and Bride of
Zen design on one mono chassis.
Loudspeakers: B&W 804.
Digital cables: Sound & Video
Digit-1ex Gold I, Digiflex +Plus,
Digiflex IV; Illuminati DV-30.
Interconnects: Monster Cable
M850i, Sound & Vision Audiflex
Gold V, TARA Labs RSC Prime.
Speaker cable: Straight Wire
Maestro 2' hi-wire pair.
Room treatment: ASC Alpha
Wedge panels, tapestries.
Accessories: RoomTune Justa-
Rack, home-built AC conditioner,
Fig.7 Encore Ovation4, high-resolution jitter spectrum of analog output signal (11kHz at —10cIBFS Soundcoat chassis damping panels.
with LSB toggled at 229Hz): Meridian 500 transport via Madrigal AES/EBU connection (gray
background trace); PS Audio Lambda transport via Illuminati D-60 S/PDIF connection —Muse Kastanovich
(colored foreground trace). Center frequency of trace 11 kHz; frequency range ±3.5kHz.)

Stereophile, January 1998 143

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 Equipment Report
Michael Fremer

Aerial Acoustics Model 8loudspeaker

G
Kelly also designed the tweeter in the
saw? poo
ot agarage, arouter, and aband
fl You're a speaker later, equally successful 320i. When he
designer. How many audio- left the company in 1986, Kelly was
philes dream of buying sonic raw driv- executive vice president in charge of
ers, some MDF and veneer, building research and development.
abaffle, soldering up acomputer-de- In 1989, armed with his knowledge of
signed crossover, and assembling the driver design, his contacts at the major
Shmendrick Audio 2001? Plenty. European speaker manufacturers, his
The rest of the fantasy goes like this: appreciation of the rigors of the bottom
You book aroom at CES and, driving line gleaned from more than adecade of
the new speakers with your home corporate culture, and his latest achieve-
stereo system, you wow the journalists, ment —an MBA —Kelly begin design-
the dealers, and the foreign distributors. ing his own speakers. Two years later,
Your speaker is the talk of the show. Aerial Acoustics was incorporated and
You head home with ahalf-million dol- the 10T was introduced to the public.
lars in orders and quit your day job. Another "overnight" success.
CES veterans have seen the dreamers
come and seen them go — and God The conservative approach
bless 'em for reaching for the brass tip- Instead of coming up with aradical new
toe on the not-so-merry-go-round that technology or aflashy-looking design,
is high-end audio. But some survive and Kelly took aseemingly more difficult
prosper. To the casual observer, Aerial path, designing aspeaker with aclear
Acoustics' Michael Kelly seems to have precedent: the 10T appears to be a
lived that dream: back in 1991, he meticulously worked-over, more-bang-
showed up at CES with his 10T and it for-the-buck, seriously updated version
was an instant hit. of 1977's precedent-setting KEF 105 —
ahighly regarded, revolutionary loud-
Are you experienced? speaker that also employed a large
The real story, of course, is far more woofer in abox topped with asmalle4
complicated. Kelly is an industry veter- swiveling composite enclosure contain-
an with adegree in physics who worked ing midrange and treble drivers. What
at a/d/s/ for 12 years designing drivers made the 10T an instant and continuing
and loudspeakers. A Kelly design, the success' is its combination of conceptual
a/d/s/ 300i plate loudspeaker was one conservatism, innovation in material
of 1980's most highly regarded car design and use, superb build quality,
speakers. I've had four of them in my fanatical attention to every detail, and
Saab 96 for over 15 years; despite the full-range performance — all at aridicu-
hostile environment and the insane lev- lously low price by high-end standards. Aerial Acoustics 8loudspeaker
els at which Iplay them, they still rock. Oh —and it sounds good, too.

Turning the 10T on its side, or

Description: Three-way, floorstand- Weight: 120 lbs each. Audio Physic Virgos on steroids
ing loudspeaker. Drive-units: 1" tita- Serial numbers of units reviewed: Kelly told me that he never saw the
nium-dome tweeter, 7.1" paper/ 080105/106. Audio Physic Virgo when he con-
composite-cone midrange, 10.7" Prices: $4500/pair in black ash, ceived of and designed the Aerial 8,
woofer. Crossover points: 250Hz $5000/pair in walnut, $5200/pair in but the similarities are striking. They're
and 2.5kHz. Frequency response: cherry or maple, $5500/pair in rose- what attracted me to the speaker in the
28Hz-22kHz, ±2dB, -6dB at 23Hz. wood. Optional sand-filled spiked first place, and what had many at their
Impedance: 6 ohms nominal, 3.5 stands: $400. Approximate number 1997 WCES debut saying they looked
ohms minimum. Sensitivity: 86dB/ of dealers: 45. like "Virgos on steroids." Like the
2.83V/m on-axis. Power require- Manufacturer: Aerial Acoustics Virgo, the 8 is anarrow-front-baffle,
ments: 50W minimum, greater than Corp., Box 81248, Wellesley Hills,
100W recommended. MA 02181. Tel./Fax: (781) 235-7715.
1Wes Phillips enthusiastically reviewed the IOT for
Dimensions: 45" Hby 9" W by 20" D. Srernyphile in April 1996 (Vol.19 No.4). It was subsequent-
ly voted SrarophiPsJoint Loudspeaker of 1996. —JA

Stereophile, January 1998 145

 Critical Mass

o L—J)
11111111bleeaaritimits-ittOintaididltiN
o
•CI

Pictured from
top to bottom:
DC-300 Precision
Digital Preamplifier,
DP-90 CD Transport,
A-50 Stereo Power
Amplifier

,7<rccupliase

Axiss Distribution Inc. • 17800 S. Main St., Ste. 109 •Gardena, CA 90248
310.329.0187 •fax: 310.329.0189

146 Stereophile, January 1998

 Aerial Acoustics 8

deep-box design that accommodates a width footprint are far more living- voice-coil and alarge magnet in a61 -
side-firing woofer. room- (and spouse-) friendly than the liter rear-ported box tuned to 19Hz. The
Kelly's goal for the 8was to design a boxy 10T. The 8's graceful dimensions enclosure's resonance point is higher
speaker that would perform like the make it look deceptively small. In fact, than the driver's operational bandwidth.
10T but use far less floor space and look it's afairly large (45" H by 9" W by 20" According to Kelly, the driver "doesn't
more graceful. Clearly, home theater D), box weighing in at 120 lbs. break up or compress dynamics until
was on his mind. Though the 8was not Starting at the bottom, the 8dupli- extremely high levels."
designed specifically for that market, its cates the 10T's bass system: a +10"- The large midrange driver, which
cool, smooth appearance and small- diameter woofer incorporating a 2" Kelly chose so it can be crossed over at

Measurements

With an estimated B-weighted sensitivi- bass, is relatively benign. Other than the output of the midrange unit seems to
ty of 85dB/2.83V/m, the Aerial 8will small wrinkle in the traces at 25kHz, overlap the woofer somewhat before
need areasonably high-powered ampli- due to the tweeter's primary dome reso- steeply rolling off below 200Hz. Other
fier to sing at lifelike levels. However, its nance, this graph is free from cabinet- than aslight energy excess in the low
impedance plot (fig.1) reveals that it only induced problems. The "saddle" in the treble, the rest of the 8's upper-range,
drops below 5ohms in the upper bass magnitude trace at 20Hz indicates the response appears to be very flat. There
and lower midrange and that the electri- tuning of the large, 2.5"-diameter port. is, of course, alarge ultrasonic peak at
cal phase angle, other than in the mid- This low frequency is confirmed by the tweeter resonance frequency, but
fig2, the leftmost trace of which shows this will be subjectively innocuous (par-
the port's response measured in the ticularly if you only play CDs, which
20.0 0000
nearfield. In absolute terms, the port have no energy above 22kHz capable of
output is rather low compared with that exciting this resonance). It is too easy for
ISOM
0710

t/1010
11•03
of the woofer (the fig2 trace that peaks audiophiles to see ametal-dome tweet-
12003
between 45Hz and 225Hz), while the er and assume the presence of a"metal-
10000

000011

00000 ,

00000

2011.

00 .0
500

Fig.1 Aerial Acoustics 8, electrical impedance

(solid) and phase (dashed) (2 ohms/
dB -90.00
vertical div.).
0.0- -60.00

-6.0 30.00

-12.0- 0.00

30.00

-24.0- 60.00 deq

MLSSA
300.0 1000.0 1004;0.0
Frequency File Display log FFFFFenow - Mg (Smoothed to 0.10 octave):
(Equalized to slice 19)
-2.65 dB, 1428 Hz (16), 35.989 deg (88-26.1ffl)(26)

00 wvo 10000 Fig.4 Aerial Acoustics 8, horizontal response family at 50", normalized to response on tweeter axis,
o 00 from back to front: differences in response 90°-5° off-axis; reference response; differences in
Fig.2 Aerial Acoustics 8, anechoic response of response 5°-90° off-axis.
midrange/tweeter on tweeter axis at 50",
corrected for microphone response, with
the nearfield midrange, woofer, and port
responses plotted below 300Hz.

dB

0.0

-12.0-
-0.00
-18.0 -

-24.0 - -5.00 deg

MLSSA
1W 0000 10000
300.0 1000.0 10000.0
Frequency File Digpleg log Frequency - Hz (Smoothed to 0.10 octeee)
(Eaugliged to slice 4)
Fig.3 Aerial Acoustics 8, anechoic response on - 19.18 dB, 2939 Hz (33), -15.000 deg (A8 -(1-91.FRQ)(1)
tweeter axis at 50", averaged across 30°
horizontal window and corrected for
microphone response, with the complex
sum of woofer and port responses plotted
below 300Hz,
arelatively low frequency, is a7.1" tom-built 1" titanium-dome design. It by way of atrue acoustic Linkwitz-
multi-fiber coated paper-cone unit, features aflared pole vent and five sur- Reilly fourth-order design (24dB/
made by VIFA. It incorporates along rounding vents opening into adeep rear octave) that Kelly prefers to less steep
40mm voice-coil and alarge vented chamber that diffuses the driver's back- 6dB/oc-tave crossovers because, he says,
magnet set in acast magnesium frame. wave. It is, says Kelly, "the most neutral, most drivers are not good for more than
According to Kelly, it's avery smooth- delicate, and detailed [tweeter] I've three or four octaves. By using the steep
measuring driver. heard short of another unreliable crossovers, he can "... use the best part
The tweeter, sourced from the ceramic-domed unit." of the driver and not subject it to asig-
German MB Quart company, is acus- Crossovers are at 250Hz and 2.51cHz nal outside of its effective operating

Measurements

lic" coloration. In my experience, this superb imaging, in my experience. In with the on-axis peak at the same fre-
character is almost always associated the vertical plane (fig.5), the 8is rela- quency. Again, however, Imust note
with problems at the top of the woofer's tively unfussy about listening axis as that MF was not bothered by any audi-
passband -even if it doesn't use ametal long as you don't stand up, in which ble problems in this region.
diaphragm! As Michael Fremer noted, case a deep suckout appears in the Finally, the Aerial's big cabinet panels
the Aerial 8's tweeter doesn't sound at upper crossover region. are well-braced and rigid. A waterfall
all "metallic." In the time domain, the 8's step plot (fig.8) calculated from the output of
Fig3 shows the 8's overall response, response (fig.6) indicates that all three asimple PVDF-tape accelerometer fas-
made by splicing the complex sum of drive-units are connected with the same tened to the side wall above the woofer
the nearfield woofer, midrange, and positive acoustic polarity, but that the reveals only a couple of vibrational
port outputs to the speaker's farfield speaker is not time-coherent. Fig.Z the modes, and the most significant of
response, averaged across a30° window Aerial's cumulative spectral-decay plot these, at 500Hz, is high enough in fre-
on the tweeter axis. In the bass, the port on the tweeter axis, is astonishingly quency that it probably won't lead to
doesn't give full measure in the low- clean from resonant hash of any kind, any subjective problems. -John Atkinson
bass, but the overall rollout is moderate, with the exception of the harmless
the speaker being around 6dB down tweeter mode mentioned earlier and a
from the lIcHz reference level at alow slight problem at 11cHz, this associated
20Hz. This is almost afull-range design.
The midrange and treble are very flat on
this axis, but broad energy peaks can be
seen in both the upper midrange and
the mid-bass. MF was persistently both-
ered by the latter, which as he noted,
will be room-dependent. He didn't
remark on the forme which, all things 0.00

being equal, might endow the speaker 0.60

with aslight nasal coloration. 1.26

Things are never equal in the world of

1.07

2.53
speaker design, however, and the Aerial 3.13 motto
-12.0-
8's horizontal dispersion plot (fig.4) MLSSA
indicates aslight energy excess to the Cumulat
400.0 1000.0
ve Spectral Deoay log Frequenoy - Hs
10000.0

speaker's sides in the presence region, 7.89 dB, 977 Hz (22), 8.888 mom (1)
which will mitigate against the audibili-
ty of the peak an octave lower. And note Fig.7 Aerial Acoustics 8, cumulative spectral-decay plot at 50" (0.15ms risetime).
the superbly well-controlled dispersion
in the treble in this graph, something
that always correlates with equally

'1
dB -0.00

0.0- 12.00

25.00

-12.0- 37.00

10.0 50 00

24.0 G2.00 msec

MLSSA
20.0 100.0 1000.0
_J Cumulative Spectral Decay log Frequency - He

a -6.68 dB, 508 Hz (128), 0.000 msec (I)

Teerry

Fig .6 Aerial Acoustics 8, step response on

tweeter axis at 50" (5ms time window,
30kHz bandwidth). Fig.8 Aerial Acoustics 8, cumulative spectral-decay plot of accelerometer output fastened to cabinet
sidewall above woofer . (k41.5 driving voltage to speaker, 7.55V; measurement bandwidth, 2kHz.)

148 Stereophile, January 1998

 Aerial Acoustics 8

band." The network uses over two somewhat "simplified" by comparison with full bass extension provided by sim-
dozen high-quality components, includ- and "not quite as silent." 'Whatever ilar woofers (not powered), will cost you
ing metalized polypropylene caps and Kelly may have done to lower the price, between $4500 and $5500, depending
oxygen-free air-core copper coils. The the Aerial 8is, judged by any standard, a on finish. That's per pair —or about half
mid/high crossover is mounted in asep- superbly engineered, meticulously built the price! Coincidentally, the Virgo's
arate chamber behind the drivers to loudspeake r. cabinet is sourced from the same Danish
avoid the deleterious effects of driver cabinet maker. The thick plottens!
backpressure, while the woofer net-
work is tucked into the bottom of the
Whatever Kelly may have
My, you're large!
cabinet. The 8can be bi-wired and/or done to lower the price, When Kelly and ins associate squeezed
bi-amped via dual sets of gold-plated the Aerial 8s down my basement stair-
binding posts. the Aerial 8 is asuperbly case, Iwas shocked at how big they were
One of the real stars of this show is compared to my CES recollections.
the extensively braced cabinet, custom- engineered, meticulously Small as those rooms were, mine is even
built for Aerial in Denmark from 1"- smaller (16' W by 22' D). But I'd had
thick MDF with three 2"-thick double built loudspeaker. the 10Ts down here for afew weeks,
walls. The midrange driver is treated to and they had coupled to my room like
its own 2"-thick chamber; lined with an Interestingly, the driver Kelly uses as a hot fudge to asundae, filling it with
asphalt-like material and filled with midrange unit is superficially similar to deep, powerful bass. Itreated Kelly and
long-fiber wool. The cabinet is con- what the Audio Physic Virgo uses in pairs company to some Virgo/Terra music
structed to incredibly tight tolerances as awoofer. And what Kelly uses as a before we tore down the system to
using asingle piece of board, sliced and woofer is avariation of what Audio make room for the 8s. That combo
folded via a new technique created Physic uses in its double-drivered Terra- makes some damn fine sound, and they
specifically for this speaker (a patent is powered subwoofer. Imake this compar- heard it. From Kelly's body language, I
pending). Anyone who knows wood- ison because of the physical similarity got the sense that the music he was
working will appreciate the quality of between the 8and the Virgo, and because about to deliver was unlike what he was
the construction and the almost impos- the Virgo/Terra combo is my reference. hearing, and he wasn't sure if I'd like it.
sible fit of the seams. Nonetheless, Kelly Before we get to the 8's performance, But my likes and dislikes aren't nearly as
says one of the ways he was able to consider this: The Virgo/Terra combo important as yours. My job is to tell you
bring the 8to market at alower price will set you back atotal of $11,500 for a what Ihear, not what Ilike.
than the 10T is the cabinet, which is full-range system. A pair of Aerial 8s, The Aerial 8s are "amplifier friendly"

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150 Stereophik, January 1998

 Aerial Acoustics 8

(86dB sensitive, 6ohm nominal imped- sound in your room? Kelly left troubled acoustic bass. Igot notes, not "bass."
ance, minimum 3.5 ohms, low reactive by the bass overload and what he felt With the exception of what I'm sure
load) and can theoretically be driven by was my overly damped room. "We would be aslight bit of "ripeness" in the
50W, but don't consider owning them voiced this speaker for amore 'lively' midbass in whatever room you put
unless you're prepared to deliver amin- room," he told me. them in, the 8's top-to-bottom balance
imum of 200 clean watts per channel. I Ispent afew months with the 8s in was as smooth, coherent, and neutral as
used apair of VTL MB-450 mono- my room, following my normal review I've heard from alarge speaker system.
blocks, which easily drove the 8s; and procedure. At the same time, Imade
the $1900 Muse 160 also did asurpris- plans with my audiophile buddy Greg
ingly fine job. Hersh to audition the 8s in his dedicated Aerial's 8 didn't "suggest"
While the 10Ts worked well in my listening room, which is about the size
smallish room, no matter where Kelly of Montana. deep bass, it delivered it
placed the 8s, the lower-midbass output
Be careful what you wish for...
with total authority.
overloaded the room. There was simply
too much of it. He finally did manage to Ilaying m my listening room afull-
find aminimum overload point Ifelt I range speaker—one that gets that last From the lower midrange on up, it was
could live with, and that would allow me octave of deep bass like the 8—forced free of discernible coloration or sonic
to get atruc measure of the speaker's per- me to consider the issue of whether a prejudice. Kelly's game plan assures it. If
formance. How to explain the different full-range loudspeaker driven by asin- serious peaks or dips show up in the
behavior of the 10T and the 8in my gle amplifier is preferable to abass-lim- measurements, I'll be surprised.
room? Two possibilities: side-firing driv- ited system augmented by apowered The large midrange driver easily
ers load the room differently, and/or the subwoofer that allows you to "dial-in" coped with its assignment: 250Hz to
8's driver height—closer to the floor — the deep bass. 2500Hz. As aVirgo woofer in pairs, the
would deliver more bass, due to the bet- While taking the bottom few octaves Vifa delivers clean response down to
ter coupling to the boundary. out of the equation affords you greater 30Hz; in the Aerial 8it was cruisin' all
Kelly left worried. Idon't blame kin: placement flexibility and allows you to the way. Rolled at 24dBloctave at
A manufacturer wants a product to concentrate on imaging and soundstag- 2500Hz, it's cut off from the action
work well under review conditions. He ing, blending asubwoofer with your before high frequencies cause the rela-
doesn't want to have to rely on the main speakers can be areal pain — as tively large driver to beam.
reviewer's ability to extrapolate from a can be the loss of transparency you suf- The MB Quart tweeter sounds ultra-
less than ideal listening situation. Part of fer sifting the bass from the signal smooth and pure, clearly alow-distor-
what makes speaker reviews crap shoots through the subwoofer's crossover. In a tion device that doesn't ring anywhere
is the room interaction, but that holds small room, or one with problematic near the audio band. Anyone who
true for you too: When you listen to a acoustics, abass-limited speaker/sub- thinks "metal dome means metallic
speaker in ashowroom, how much does woofer combo is clearly the best way to sound" will have to eat their words after
that really tell you about how it will manage mom-mode problems. listening to the 8.
Despite their large size, the 8s did an
In my room outstanding job of disappearing, leaving
Associated Equipment Even in the nearfield position where I alarge, transparent, three-dimensional
did my listening, the 8's overall timbre soundstage that reached from the floor
Analog source: Lyra Parnassus balance was "pear-shaped": gently on to about 6' up. Most new listeners' first
DC and Grado Reference phono the rich, sweet side of neutral even comments were along the lines of,
cartridges, Graham 2.0 tonearm, when cranked up to +100dB levels, "They sure image well." In this regard,
VP! TNT Mk3 turntable. where they really started to come alive. the 8s surpassed the 10Ts in my room.
Digital sources: Audio Alchemy Like some other large speakers, the 8 Nearfield, the 10Ts produced anarrow
DDS•Pro transport, DTI•Pro 32 delivered best at high volume. This was horizontal window of an image — like a
enhancer/jitter reducer, Enlighten- aspeaker Iwanted to play loud because video screen of sound.
ed Audio DSP-9000 III HDCD. it's avisceral system that comes at you You can listen to the 8s for every
processor, Rega Planet CD player. with body punches, not spikes to the aspect of speaker design: driver integra-
Preamplification: Audible Illus- head. The 8never strained or constrict- tion, vertical and horizontal dispersion
ions Modulus 3A preamplifier, ed when reproducing large-scale dy- and power response, image size and
Plinius 14 and Sutherland PH 2000 namic events, and didn't get hard, brit- focus, soundstage presentation, timbral
phono sections. tle, or bright when pushed. That's authority, large- and small-scale dynamic
Power amplifier: Vacuum Tube because they couldn't be pushed — like a contrasts, transient speed, attack and
Logic MB-450 monoblocks. big V-8, they just cruised, no matter decay, cabinet "overhang," the rendering
Cables: Yamamura Millennium what obstacles Iput in their way. of inner detail, distortion and noise —all
6000 throughout, Yamamura Quan- Aerial's 8didn't "suggest" deep bass, it arc handled competently. The Aerial 8
tum AC cords. delivered it with total authority. There's is like that kid who sat afew rows in
Accessories: Yamamura Ciabatta no substitute for alarge driver moving front of you at school — so well-
AC interfaces, Sounds of Silence lots of air, and the 8was agenuine pants- behaved you almost forget he's there.
Vibraplane, A.R.T. "Q" dampers, flapper, combining dynamic power with Isn't that what you want from a
Walker Audio Valid Points, Sym- impressive control and speed. Along speaker? When you play arecording of
posium Acoustics boards, Shakti with rendering explosive bass events like asmall ensemble — like Bill Evans' live
Stones. -Michael Fremer kick drums and timpani with ease, this sets from the Village Vanguard, or Mel
meant that the 8 swung subtly on Tormé's Limy at Marty's set, or large

Stereophiie, January 1998 151

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154 Stereophile, January 1998

 Equipment Report
Martin Colloms

Sonus Faber Concerto loudspeaker

F
ranco Serblin, founder of Sonus Spades, wire ends, or 4mm plugs can be
Faber, seems to have aknack for used. The narrow, well-packed baffle
making his speakers sound bigger carries a7"-frame bass/mid driver, a1 4"
/
and richer than you might expect. Unless soft-fabric dome tweeter, and a2"-
you're seriously in need of deep, power- diameter bass reflex port. The speakers
ful bass, his middle-sized "compacts" are are supplied in mirror-image pairs, the
often surprisingly well balanced in the tweeter mounted above the woofer and
low-frequency range, providing aweight to the side of the port.
and power sufficient for many an audio Like the Extrema's, the Concerto's
system. However, they are definitely not front panel has adistinctive rearward
cheap. When Ifirst saw the Sonus Faber slope; at the listening position, on arep-
Concerto at Hi- Fi News &Record Review's resentative 18" spiked stand, the treble
1996 London Heathrow Show, Inoted unit will be alittle above head height,
that here was astand-mounted speaker angled slightly away and alittle delayed;
from this established Italian manufactur- this is intended to bring it into closer
er that was not only of moderate size, but time alignment with the mid driver.
of moderate price. Altogether, the Sonus Faber Con-
Assuming good compatibility be- certo looks more stylish and well crafted
tween speaker and purchaser, acompact than the usual parallel-sided box.
speaker can weave its special magic; if
well made, it can achieve low levels of Design
enclosure coloration. (In alarger cabi- The Concerto's 14.5-liter volume is
net, masses of timber may be needed reflex-tuned to afairly low 40Hz by aduct
for an equivalent performance.) As a 2" wide by 6.75" long, this slightly
relatively small object, acompact enclo- radiused at both ends to reduce "chuffing"
sure can have less diffraction than alarg- at high powers. A loop of 1"-thick foam
er speaker. Diffraction is apotentially provides some midrange cavity damping,
damaging interaction between the Sonus Faber Concerto loudspeaker while the low-frequency alignment is
edges and shape of the enclosure and fine-tuned by amedium batt of well-
the primary sound radiation from the bonded, self-supporting synthetic fiber.
drivers. In the mid and treble ranges the with 1"-thick sculpted slabs of hand- The good-quality components in the
audio wavelength in air is comparable rubbed walnut for the side panels. crossover have been vibration-stabilized
with typical enclosure dimensions, and Echoing the bluff styling of the top-of- with ahard-resin overlay not far short of
here is where most diffraction occurs. the-line Extrema (reviewed in June full-immersion potting. Film capacitors
Significant diffraction can give the 1992), the rest of the Concerto is cov- and low-loss, low-distortion, ferrite-
effect of secondary sound-radiating ered in black, in this case afine-grained cored inductors are used in an electrical
sources. These cause irregularities in the leatherette. network that is essentially second-order,
phase and frequency responses, leading On the back are two sets of bi-wire 12dB/octave, augmented by some resis-
to impaired stereo focus. Some critics gold-plated binding posts that can be tors for damping and level matching.
also believe that the most natural mid- linked for single-wire connection. 'The wiring is secured by strong push -on
range, especially for the human voice, is
created by head-sized speakers. Larger
enclosures often have head-sized mid- Description: Two-way, reflex-loaded, Serial numbers of units reviewed:
treble boxes perched on bigger, low-fre- stand-mounted loudspeaker. Drive- Not noted.
quency bases. units: 7" pulp-cone woofer, 1
4 "soft-
/ Price: $1850/pair (a piano-grade
While its ingredients differ, the fabric dome tweeter. Measured fre- black finish for the side panels costs
Concerto's size and performance paral- quency response: 58Hz-23kHz an extra 5150). Approximate num-
lel those of the more costly Electa ±2.5dB, —6dB at 40Hz. Sensitivity: ber of dealers: 55.
Amator, which has seen many years of 86dB/VV/m. Impedance: 8 ohms Manufacturer: Sonus Faber, 36057
successful sales.' Its price may be mod- nominal, 4 ohms minimum. Power Arcugnano (Vi), Italy. Tel: (39) 44-
erate, but the Concerto's build quality is handling: 100W. 962669. Fax: (39) 44-962687. US
up to Sonus Faber's usual high standard, Dimensions: 15" H by 9" W by 14" D. distributor: Sumiko, 3101 Telegraph
Enclosure volume: 14.5 liters. Ave., Berkeley, CA 94705. Tel: (510)
IThe Elect' Amine was favorably revit-wed in the October Weight: 20 lbs. 843-4500. Fax: (510) 843-7120.
1992 Sfinty4tile by Jack EnOidi (141.15 No.10).

Stereophile, January 1998 155

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158 Stereophile, January 1998

 Sonus Faber Concerto

From the variety of amplifiers on fiable character, best described as a sounding more any and more delicate
hand, the Krell KAV-300i turned out to moderate "darkness," ashaded effect in than was truly accurate.
be a near perfect match. Like the the upper midrange, that ultimately did- In any event, it proved quite easy to
Concerto itself, this amplifier reaches n't figure very strongly in the final adjust to this mid-region balance, one
beyond the ordinary for just the right analysis. The Concerto sounded percep- that left this range sounding richer and
combination of power, grip, and trans- tibly less crisp, not quite as open and fuller than the speaker's size might sug-
parency to help the Concertos sing. snappy, as Sonus Faber's best. Click- gest. Then came an unexpected bonus.
However, first impressions were not clack sounds were just alittle deadened, With smaller speakers, hard driving
wholly helpful. There was some identi- leaving the mid and upper trebles tends to produce increased hardness of

Measurements

Near sea level here in London, the result in any matching problems. I'd be that frequency, deepening the crossover
Concerto gave an on-the-nose 86dB happy to rate this model as a6ohm trough by afurther 4dB and impaling
sensitivity rating for a2.83dB/V nomi- design. The curve shows the coupled in- ±3dB irregularities for the frequency
nal 1W input — astraight average for box driver resonance at 70Hz, and the range beyond. In addition, the fine-knit
the genre. (Trying to achieve ahigher box reflex resonance at 40Hz. fabric gives an attenuation of around
sensitivity in this size of speaker would Fig2 shows the on-axis response 12dB overall, in addition to causing
result in aloss of bass extension.) Input (including nearfield correction and the minor reflections between it and the
powers of up to 150W peak program acoustic crossover responses). This is treble unit. It's just as well this speaker
were accepted for well-balanced materi- essentially flat, ±2.5dB, from 58Hz to looks nicely finished without the grille.
al. This will raise short-term maximum 23kHz — quite an achievement. This There were no sudden changes in
levels of 108dB at one meter, and a fine tolerance does contains some mild
stereo pair will produce satisfying peak characteristics, namely aslightly ele-
levels of 103dB for listeners in aroom of vated midband rising by 3dB from
average size. Less than 40Wpc would 300Hz to 3kHz; this might give acrisp,
restrict the Concerto's use to chamber lean effect in full free space. On-axis
and folk music. there was amoderate 2.5dB trough at
Checking distortion at a normal the nominal 31cHz crossover point. The
86dB sound pressure level, Iobtained drive-unit rollouts were quite smooth,
good results in the midband at -57dB • with effective 24dB/octave slopes for
1;/14%) of second harmonic and -54dB both low- and high-pass sections. Axial
02%) of third harmonic. By 100Hz, integration was clean, showing good
•••
the 0.5% of second and 022% of third phase control.
Fig.1 Sonus Faber Concerto, electrical
still rated well. At 50Hz it was also fine, The Concerto was maximally flat in impedance (upper trace) and phase
measuring 1% of second and 031% of the bass down to 55Hz, slightly (and in (lower) (2 ohms/vertical div.).
third, both below the audible threshold. my view correctly) overdamped to a elM•111r NIMMUNI•

When the Concerto was driven to -6dB point at 40Hz. (Maximally flat
96dB, distortion at low frequencies Butterworth would be -3dB at 40Hz — --
increased as expected, but not unduly the box resonance — and could well •

so. At 50Hz, second harmonic held at boom.) This is agood response for this
2% while third increased to 1.3%. At size box, and promised an in-room band-
36Hz, the absolute limit, the figures width to 35Hz, verified by listening and
were still better than 3% by conven- room measurement. There were some
tional measurement. At this higher secondary resonances (pipe modes) pre-
sound level, licHz came in with 033% sent in the ducted port, anearfield mea- I e Fromm, -

of second and 0.1% of third, all com- surement showed a700Hz mode was Fig.2 Sonus Faber Concerto, anechoic response
mendable. This good set of results for only -15dB, with further harmonic on tweeter axis, with the individual woofer
distortion confirmed the view that the modes present at 1.41cHz (-23dB) and and tweeter responses, and the nearfield
low-frequency response plotted below
Concerto has good power handling and 32kHz (-27dB). While these might con- 300Hz.
is respectably linear. tribute alittle to perceived coloration,
The impedance loading (fig.1) was their actual effect must be mild; there III111111 I111Ih I111111 I

typically 8 ohms over much of the was no trace of them in the waterfall
20Hz-2.5kHz power range. Above this analysis of energy decay. 111
point the impedance was reduced, dip- Itook alook at pair matching and the
ping to aminimum value of 4ohms at effects of adding the grille (figs.3 & 4).
4.8kHz and leveling out at 5ohms. It Both are referenced to an equalized flat —
peaked at 15 ohms, lIcHz, so some vari- reference line for one speaker, grille
.. —
ation in tonal quality will occur with detached. In fig.3 the pair match was 1I1111111 II1111111 I 1 11WU I

higher-output-impedance tube ampli- excellent at ±0.5dB, even for this mir- to 100 101:0 10000

fiers, though this may well be ac- ror-imaged pair. The effect of the grille,
Fig.3 Sonus Faber Concerto, pair match, differ-
ceptable in practice. Impedance phase however, was pretty dramatic (fig.4) — ence between left and right speakers
reached 45° at 2.5kHz but shouldn't okay up to 21cHz but adisaster above (1dB/vertical div.).

Stereophile, January 1998 159

Sonus Faber Concerto

tone, an increasingly threadbare sound. midrange tonality countered digital — arare find in this price class. It had
The Concerto, on the other hand, glare to some degree to give better- rhythm on solo piano, something that
proved surprisingly gracious and well than-expected stereo perspectives. was still there on ajazz combo, picking
balanced when driven to high levels. For me, the Concerto's most appeal- up the bass line and bouncing along,
Indeed, it survived 250W peak program ing quality was rhythm. Iquickly forgot providing awell-tuned foundation for
short-term, and positively thrived on the transducer mechanisms, which were the rest of the ensemble. Some speakers
+100W of clean power. The more Ilis- subservient to the musical message. The achieve this and more, but often at the
tened, the more Irealized how fatigue- music this speaker reproduced sounded expense of anatural timbre, with a
free this design was, and how the as interesting and involving as it should forced upper midrange exaggerating

Measurements

frequency balance or local energy off- Rounding out the frequency respons- ing upper-midrange lift gives this speak-
axis, suggesting stable focus and relative- es is the room-averaged curve (fig.5). er aslightly "forward" quality, which can
ly low coloration from the local bound- This shows very little evidence of the be ameliorated by the optimal place-
ary reflections —another advantage of infamous floor dip; in fact, the bass plot- ment relative to the wall behind the
small speakers over large ones! Thanks ted ±2.5dB from 35Hz to 300Hz, no speaker. The Concerto remained in tune
to the narrow, low-diffraction design, mean feat. There was amild energy dip over the rest of the frequency range,
surprisingly little difference was seen for at 400Hz, above which there was an with the anticipated "house response"
the left and right directions. There is equally mild excess at lkHz. The result- decline in level in the upper treble, here
moderate loss (but no notch) in the
crossover range for those who might be
sitting on the floor, otherwise, all was
well for all other vertical angles.

I II111111 1 II111111 I 1II11111 I

Fig.7 Sonus Faber Concerto, Energy-Time Fig.8 Sonus Faber Concerto, Energy-Time Curve
Curve on tweeter axis, Blackman-Harris- on tweeter axis, unwindowed.
windowed.

1 11111111 1 I1111111 1 , 11111 I_

100 WM 1
Ogle
Peaartymbe

Fig.4 Sonus Faber Concerto, difference in axial

response made by adding grille (1dB/yerti-
cal div.).

10

t 40

1
I- 400.0 1000.0 10000.0
Cumulative Spectral Decay log Frequency - H.

40
1.91 dB. 6348 Hz (184), 8.000 msec (1)

-40
I 1I111111 1 III
11111 1 1I111111 1 Fig.9 Sonus Faber Concerto, cumulative spectral-decay plot (0.1ms risetime).
10 100 1040 10000
FieqUOnCY

Fig.5 Sonus Faber Concerto, spatially averaged,

-octave-smoothed response in MC listen-
ing room.

dB 0.00

0 .0. 0.77

-10.0- 1.54

-20.0- 2.30

-30.0- 3.07

-40.0- 3.84 msg.°

111.SSA

400.0 1000.0 10000.0

Cumulative Spectral Decay log Feeeeee CY - Hs

Fig.6 Sonus Faber Concerto, step response on 1.91 dB. 6348 Hz (104), 0.000 msec (1)

tweeter axis without grille (5ms time win-

dow, 30kHz bandwidth). Fig.10Sonus Faber Concerto, cumulative spectral-decay plot (0.2ms risetime)

160 Stereophiie, January 1998

and accelerating percussion transients. back and enjoyed the result.
The Concerto's strength was its ability
to convey natural rhythm and timing
This two-way design provided an
authentic sound on asubstantial scale — "Do you find
without exaggeration — trumpet and it wasn't at all obvious that the acoustic
sax remained in the mix instead of
jumping out and biting me.
output was emanating from such com-
pact enclosures. A key aspect was the your speakers
After awhile Istopped trying to well-proportioned overall balance, rem-
make allowances for the Concerto — I
could let it get on with the job as Isat
iniscent of alarge speaker, another was
the positive, punchy, dynamic upper
annoying?
Discover the
bass, worthy of much larger systems.
The midbass was also pretty good, ex-
tending in-room to asatisfying 40Hz at

devoid of sudden changes or peaks.

good power, if obviously not equal to a
dedicated subwoofer.
Considering the Concerto's modestly
magic of"A-1"
This top end measured smoothly, and
that's how it sounded.
sized enclosure, you really don't have to
make allowances in the bass except with full-range
Though the Concerto is not a regard to absolute extension — and, in
phase-corrected speaker, the time
delays were small. The step response
troth, very few speakers will escape this
qualification. Within its dynamic range, electrostatic
(fig.6) looked pretty clean. The phase- the bass was effective and didn't draw
subtracted energy response vs time
curve, or ETC (fig.7) was particularly
attention to itself, taking high powers
remarkably well and showing asoften-
sound —The last
speaker you will
good, decaying nearly 40dB weighted ing of fundamental bass only at the limit,
or Blackman-Harris-weighted in the with some "thuddy" coloration. At this
first millisecond. The unweighted point Icould feel abreeze sailing past
curve, however, which has more con-
tribution from lower frequencies
(fig.8), features an unexplained blip
my ears from the port tubes 10' away.
The overall tonal balance was just
fine through the bass, mid, and treble
ever buy!"
1.6ms after the initial energy arrival. ranges, which were nicely balanced and
The first "waterfall" presentation of weighted — although Iadmit that these -Engineer
the Concerto's energy decay (fig.9) are rather arbitrary divisions of the audi-
has ashort filter risetime (0.1ms) to ble bandwidth.
maximize the early decay analysis. Stereo soundstages were wide and
Even with an expanded, 5dB/division exhibited good depth. Focus was very
vertical resolution, the Concerto's good — very stable and characteristically
result was quite excellent. That tiny layered, and held tightly into the nicely
"glitch" at high frequencies is actually layered recording perspectives. Rever-
above the audible range. The rapid berance and ambience were reproduced
decay rate (white space at the back) in good measure, the Concerto convey-
was impressive, and suggests afast ing atmosphere without exaggerating
transient and percussive quality. any part of the frequency range.
For the second waterfall plot Transparency was good — not to
(fig.10) Ichose a wider dynamic Wilson standards, but clearly differenti-
range of 10dB/div., with amore fre- ated from the majority of speakers at
quency-resolved 02ms filter "corri- this and lower prices. You need expen-
dor." Assessed over alonger time, sive electronics to reach the Concerto's
more delicate, longer-term frequen- transparency limit. Bi-wiring with good
cy-related delays or colorations stand cable undoubtedly helped lift trans-
exposed. The result is still good, parency to asatisfying level.
though the analysis reveals some Coloration was very moderate. There
complex clutter after 0.8ms that may were some box sounds, but these were
be residual upper-band signals from associated more with the Concerto's
the mid-unit encroaching on the tre- small volume, not with any significant
ble range. While the correlation with structural panel resonance. That special
listening tests was not that strong, cone patent certainly seemed to be
such a result suggests that mild effective, and though the speaker could
roughness may be heard in the treble, be considered atouch dulled in the
associated with some finite limit on upper midrange, it remained particular- L._ SOUND'
perceived transparency. The results ly well-voiced, with stable piano timbre LAB
were good over the midrange itself. and no false nasality added to vocals.
This is afine set of results for a The treble was good, matching the The Only Speakers With Toroidal Technology!
high-quality, compact speaker system mid, if considered to be not quite as 801 658-1341 Phone 801 658-1342,..
in which all significant parameters are seductive as that of the more costly driv- www.soundlab-speakers.com
held in good balance. -martin cononis ers fitted to larger Sonus Fabers. It could

Stereophile, January 1998 161

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162 Stereophile, January 1998

 Sonus Faber Concerto

sound light and wispy, abit reticent on some of the qualities valued in more system that is thoroughly enjoyable and
the "ring ding" of big cymbals, and costly loudspeakers were present here entertaining without unseemly ostenta-
slightly exaggerated for upper-range in fair measure. tion or flashy showmanship.
sounds (for example, triangle and cym- The bare facts are as follows: an aver-
bals with rivets). Vocals had softer tand This speaker will play age sensitivity, moderate amplifier load
lighter ssounds. factor, fine sound quality, moderate dis-
The Concerto needed significant louder and cleaner than tortion, and very good power handling.
power to perfonn well —I'd say amin- The frequency response was wide and
imum of 70W if you want to hear its size and price uniform, and not overcritical of listener
what the speaker can do. Nevertheless, axis. The bass was substantially more
the single-ended Cary 805C did the would suggest. powerful and extended than the price
job (at aprice), while the +400W peak and size suggest, and more than good
program power of the KAV-300i Conclusion enough in context. However, the grille
showed this speaker's ultimate poten- Iconfess that when Ifirst saw the Sonus damages the sound; leave it off. Build
tial. Quite high sound pressure levels Faber Concerto Ithought it might be quality and finish are very good.
were possible, just enough for non- too cheaply made, too compromised to In character, the presence range was
headbangers in my 35' room, and sound really good. Ididn't like the way slightly dull on first hearing, but Iquick-
ample for the 18' room adjacent. This it looked. (I still don't; the mix of wal- ly came to accept this, enjoying the
speaker will play louder and cleaner nut and matte-black leatherette doesn't fatigue-free peak sound levels as well as
than its size and price would suggest. I work for me.) But Iwas won over by aquality of musical flow and rhythm
also found that you could run it quietly the performance. As for the appearance, generally the province of much more
and not lose the essential balance of the I've since discovered that for an extra costly designs.
music — agood sign. $150 or so you can get apiano-grade Provisionally, Iwould nominate the
Igave the Concertos arun with my black finish for the side panel. Sonus Faber Concerto for a central
own reference electronics, the Conrad- There's great musical potential here. Class B rating in Stereophile's "Recom-
Johnson ART preamplifier and Krell Taking that extra step is, of course, up to mended Components." The Concerto
FPB 600 amplifier. This proved just you, but Ifeel that this design deserves seri- would be interesting at twice the price.
how capable the speakers were when ous attention to the matching system — As it is, it represents genuinely good
operated within their compass. It's true cables, stands, placement, and drive elec- value and allows the creation of amod-
that the Sonus Faber doesn't do justice tronics. If this is done, then you can con- erately priced system that offers gen-
to $28,000 worth of amplification, but struct an unobtrusive and stylish audio uine musical value. Enjoy.

Pass Laboratories, 24449 Foresthill Rd, PO Box 219, Foresthill, CA

Stereophile, January 1998 163

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164 Stereophile, January 1998

 Equipment Report
Wes Phillips

Dynaudio Contour 3.3 loudspeaker

D
// ailes are boring," Dynaudio ium silicate polymer (MSP), aprop-
US's president Al Filippelli rietary material developed by Dynaudio
said. "Let's face it: They work to combine lightness and rigidity. It is
hard, they tell the truth, they give full mea- supported by adie-cast basket and is
sure in deals, and they don't embroider. driven by a38min pure-aluminum-wire
What you see is what you get." voice-coil and adual-magnet system.
"Your point being?" The tweeter is arefined member of
"Dynaudio speakers are alot like the Dynaudio's renowned D-260 Esotec
people who make them. They don't look family. It has atreated fabric soft-dome,
all that fancy, but they tell the truth and is Magnaflux-cooled and -damped, and
they get the job done. To alot of audio- is driven by an extremely large dual-
philes, that's boring. But there arc alot of magnet system. The surface to the rear
people who have been looking for those of the diaphragm is specially treated to
qualities in aloudspeaker, and for them, reduce internal reflections, and the rear
boring can be cause for excitement." chamber of the tweeter is sealed and
Al had apoint. When Ifirst saw the acoustically damped to reduce distor-
Dynaudio Contour 3.3 loudspeaker, I dons caused by backwave reflections.
felt aslight sense of letdown. Unlike a The 8" woofers, also constructed of
lot of high-end gear, the 3.3 seemed a MSP, are controlled by alarge 4" alu-
tad, shall we say, unprepossessing. A minum-wire voice-coil in conjunction
narrow tower-style loudspeaker system with dual magnets, in keeping with
in aplain if beautifully veneered cabinet, Dynaudio's overall design brief.
the Contour 3.3 has astraightforward Dynaudio's "Hexacoil" aluminum
driver array consisting of two 8" woofers, voice-coils arc unusual in that the light-
a single 5.25" midrange unit, and a weight aluminum wire is coated with a
1.1" soft-dome tweeter. Somehow, Iex- thermoplastic material, wound, and
pected more pizzazz from a $7000/ then treated to become a"solid mass of
pair loudspeaker. hexagonal wire," to quote their product
literature. "By this method, an extreme-
Some people are fancy on the ly durable and stable coil is created, one
outside, some people are fancy not subject to warping and other prob-
on the inside. —Mr. Rogers lems commonly associated with loud-
Don't let the glasses fool you: That speaker voice coils." Additionally, the
seemingly drab mein is wrapped around density of the winding within the mag-
avery thoroughly designed loudspeaker. netic gap is increased, as is the efficiency
To begin with, the Contour 33's heart of the driver.
is Dynaudio's 5.25" midrange driver, The use of a dual-magnet motor
which is run from 350Hz to 2.8kHz. allows the use of avery large voice-coil.
The unit's cone is made from magnes- This in turn permits more control over

Description: Three-way, floorstanding ohms minimum.

dynamic loudspeaker. Drive-units: Finish: wood veneer.
1.1" cloth-dome tweeter; one MSP Dimensions: 46.7" H by 8.7" W by
5.25" midrange unit driven by a 14.4" D. Weight: 88 lbs each.
38mm aluminum voice-coil and a Serial numbers of units reviewed:
dual-magnet system; two 8" MSP 845907/08.
woofers driven by a4" aluminum- Price: 86999/pair. Approximate
wire voice-coil in conjunction with number of dealers: 45.
dual magnets. Crossover: first-order, Manufacturer: US distributor: Dyn-
6dB/octave. Crossover frequencies: audio North America, 3043 N. Rose
350Hz, 2.3kHz. Frequency response: St., Franklin Park, IL 60131. Tel:
26Hz-24kHz, ±3dB. Sensitivity: 89dB. (847) 288-1767. Fax: (847) 288-
Impedance: 4 ohms nominal, 3.2 1853. Web: www.dynaudio.com
Dynaudio Contour 3.3 loudspeaker

Stereophile, January 1998 165

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166 Stereophde, January 1998

 Dynaudio Contour 3.3

the entire surface of the driver. These binding posts, each Contour 33 is also flooring. Considerate.
magnet systems arc said to be ex- outfitted with OCOS transformers. The veneers sheathing Dynaudio's
tremely efficient, focusing as much as These allow OCOS speaker cable to be speakers arc hand-selected by Danish
90% of the energy into the magnetic directly inserted, bypassing the need for furniture craftsmen. One woodworker
gap. This, Dynaudio claims, enables external transformers. builds each pair, from start to finish.
the driver to immediately convert Dynaudio emphasizes that no endan-
power from the amplifier "into con- Thread-on spikes are gered woods are used, that they have
trolled sound reproduction, efficiently developed aspecial, all-natural, non-
and dynamically, with significant provided for leveling toxic glue for the purpose of assem-
decreases in intermodular and group bling their speakers — and that they
delay distortions." the cabinets. These are treat the cabinet interiors to prevent
'The 33 uses a6dB/octave first-order the formaldehyde out-gassing typical
crossover that features metal-foil poly- cleverly designed: of MDF.
propylene capacitors and low-tolerance
custom multicore air coils. It is imped-
one end is pointed, Where is it that fancy is bred?
ance-corrected. the other rounded. My heart sank upon first listening to
Each driver is mounted in its own the Contour 3.3s: They sounded stiff
damped, asymmetrical, internal enclosure and considerably bass-shy. I deter-
—basically, "boxes-within-a-box" con- Thread-on spikes are provided for mined to really shake 'em up with an
struction. 'These internal boxes arc par- leveling the cabinets. These are cleverly extended burn-in. Iknow the very
tially decoupled from the outer sheath to designed: one end is pointed, the other subject of speaker break-in is enough
further control resonance. The cabinets rounded. The pointy end is perfect for to give some audiophiles the fantods,
are of 1"-thick MDF multilayer com- penetrating carpet and coupling the but its effects are measurable —and, in
posite, further damped with aBitumen- speaker to the subfloor, while the the case of the Dynaudios, dramatic.
based material, heavy cross-bracing, and rounded end is perfect for those with After nearly aweek of constant play,
trim bracing. nicely finished wood floors or those, alternating Rykodisc's A Week in Hawaii
In addition to apair of knurled brass like myself, with brittle ceramic tile — Waterfall (RCD 30068) with the

Measurements

The Dynaudio Contour 33 was mea- woofers in reflex mode can be seen in either consider the low-treble alittle
sured with DRA Labs MLSSA system fig2, as can that of the two ports. The prominent or the mid-treble recessed,
in the Stereophile listening room, ports are indeed tuned to 32Hz, shown depending on which frequency region
mounted on an Italian Outline speaker by both the peak in the ports' output
turntable.' Icalculated its B-weighted and the minimum in the woofers'
sensitivity as alowish84.5dB/2.83V/m. response. The Contour 33's overall
However, its impedance (fig.1) only response on the tweeter axis is shown in
dropped below 4 ohms briefly in the fig.3. The top curve in the bass is the
upper bass. Note the absence of any complex sum (taking amplitude, phase, .10

wrinkles in the impedance traces, im- and driver location into account) of the
plying acorresponding freedom from woofer and port outputs without foam;
cabinet resonances. This graph was the bottom curve is with the foam, con-
plotted without the foam in the ports. firming the bass-shy behavior in this
The tuning of the ports is indicated by mode. With the foam, the -6dB point 10 coo

Frower. n
the "saddle" in the magnitude trace at lies, as expected, at the port tuning fre- Fig.2 Dynaudio Contour 33 without foam in
32Hz. With the foam, the speaker be- quency. Higher up in frequency, the ports, nearfield woofer and port responses.
haves pretty much as asealed enclosure, lower midrange looks alittle recessed,
the twin peaks in the bass being re- perhaps due to acrossover mismatch on
placed by one centered on 43Hz, im- this particular axis at the 50" micro-
plying only moderate LF extension for phone distance. In the treble, you could
what is actually quite abig speaker. My
preference was very much to use the SI•oopec. °comae Cool.« I lopoUnc• lOor oho, • ROW Moo o loop.

9040

Contour 33 in reflex mode, it sounding CO1

considerably too lean as asealed box. le COO

no.

The combined response of the two

1.

1For details on how tnk-awn. lotkispealcers and what ¡lira-

statements Iconsider subjectively most importuit, see
Fig.3 Dynaudio Contour 3.3, anechoic response
"Louthix•akers: What Measurements Can Tell Us—And
on tweeter axis at 50", averaged across 30°
What They Can't Tell Us!," AES Preprint 4608, pre-
sented at •the 103rd Audio Engineering Society horizontal window and corrected for micro-
Convention, New York, September 1997, and available phone response, with the complex sum of
from the ASS. 60 E. 42nd Street, New York, NY Fig.1 Dynaudio Contour 3.3 without foam in woofer and port responses plotted below
10165-2520. Tel: (212) 661-8528. Internet: http:// ports, electrical impedance (solid) and 150Hz without foam in ports (top) and
www.aes.org —JA phase (dashed) (2 ohms/vertical div.). with (bottom).

Stereophile, January 1998 167

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168 Stereophile, January 1998

 Dynaudio Contour 3.3

cacophonous burn-in track from Stereo- distances, toe-in tended to make the ther back from the tweeter, which is
phile's Test CD 3 (STPH007-2), the soundstage smaller, so Ipointed them mounted 43" from the floor, the sound-
Contour 3.3s no longer suffered from straight forward. Iplaced a9"-diame- stage would have appeared even lower.
"gringo hips" - they now swung as ter Tube Trap 6" behind each speak- One more setup tip: These speakers
freely in their bottom octaves as they did ers, each Trap's absorbent side facing need to be taken control of. Al Filippelli
throughout the rest of the spectrum. the bass ports. Again, fine-tuning the recommends ahigh-current amplifier
Their bass response was still asmidge on of at least 100Wpc, and my experience
the lean side, but it had impact and con- bore this out. Using the Krell FPB 600
These are not difficult
vincing presence. and apair of Mark Levinson No33Hs, I
Another trait, obvious from the start, speakers to set up, had no complaints whatever. But many
was the extremely deleterious effects of much less expensive amplifiers could
the grillecloth. Lose the grilles. The yet they reward have done the honors. As Al said,
Esotec tweeter is extraordinarily trans- "These days, watts are cheap."
parent - as close as I've ever heard to fine-tuning with
no tweeter at all-and the grille dark- Both in the heart and in the head
ens and muffles it. astonishing benefits. The Contour 3.3 combines taut, de-
These are not difficult speakers to tailed bass, neutral mids, and the most
set up, yet they reward fine-tuning distance between the rear of the effortlessly detailed highs you can imag-
with astonishing benefits. In my room, speaker cabinet and the Tube Trap ine. Does this make for a"boring" loud-
final placement came down to estab- paid big dividends. speaker? Emphatically not. But the 3.3
lishing the tradeoffs between openness Had Ibeen able, Iwould have pre- is about as tonally transparent as any I've
(distance from the front wall) and slam ferred sitting even farther from the heard. You want to hear the differences
(proximity to same). Ierred, as is my speakers. At 11', Ifelt as if Iwas looking between two tenor saxophonists, or two
wont, slightly on the side of openness, up onto the soundstage, which mani- pianists, or even two different guitars
placing the speakers some 31 /'from
2 fested itself several feet above the floor. played by the same player? Put the 3.3s
the wall, 7' apart, and 11' from my lis- This didn't seem at all unnatural, but I at the end of the chain and begin to
tening position. In my room, at these suspect that if Icould have sat alittle far- count the ways.

Measurements

the listener's ear takes as its "anchot"

Fig.4 shows how the big Dynaudio's
response changes as you move up or
down from the tweeter axis. Sit so you
can see the top of the cabinet (a very
high chair) and adeep suckout appears dB -15.00

in the upper crossover region. But sit 0.0

---10.00

below the tweeter, as WP did in his

auditioning, and the mid-treble depres- 0.00

sion fills in, giving the response shown --5.00 a..

in fig.5. Yes, there are still small peaks MLSSA

and dips, but the overall trend is now 305.0 1000.0

Frequency File D1eplew log Frequency - Hs
10000.0
(s-Bot)a to 0.10 octave)

flat across the band. (Meuallsed to olio. 4)

4.27 dB. 4972 Hz (56), 5.888 des (DC33U-85.FIM1)(5)

In the horizontal plane, the Contour

3.3's output to the speaker's sides Fig.4 Dynaudio Contour 3.3, vertical response family at 50", normalized to response on tweeter axis,
from back to front: differences in response 15°-5* above-axis; reference response; differences in
(fig.6) is well controlled, though there response 5°-10° below-axis.
is not much off-axis energy apparent

10
11
11111 1 111
11111 I1 I1IIIII 1

dB 90.00

143
0.0 60.00

-30.00

.30 -12.0- 0.00

-18.0- 30.00
1 1I1
11111 I 1I1
11111 1 111
11111 60.00 deg
100 1030 10000
MLSSA
Ffflunney In Hz
300.0 1000.0
Frequency File Displee Igoe Froettenow - H. (Smoothed to 0.10 octave)
Fig.5 Dynaudio Contour 3.3, anechoic response (Eettalized to slice 19)
-6.88 dB, 2397 Hz (27), -90.000 deg (BC33-81.FRQ)(1)
on midrange axis at 50", averaged across
30° horizontal window and corrected for
microphone response, with the complex Fig.6 Dynaudio Contour 3.3, horizontal response family at 50", normalized to response on tweeter axis,
sum of woofer and port responses plotted from back to front: differences in response 90*-5* off-axis; reference response; differences in
below 150Hz without foam in ports. response 5°-90° off-axis.

Stereophile, January 1998 169

 A few weeks ago, John Atkinson, But to emphasize how natural and not favor asound either too lean or
Gretchen Grogan, and Irecorded alive extended the tweeter was is perhaps to too loose and flabby. If the Contour
jazz concert at aSanta Fe country club: make too little of the superb balance of 3.3 wasn't just right, it was plenty close
pianist Marc Copland, guitarist John the speaker as awhole. The midrange enough.
Abercrombie, bassist Peter Herbert, and sounded liquid and absolutely free from Listening to BMG's UV22TM Super
the legendary Billy Hart on drums.' grain, while the bass was taut, well-con- CD Encoded reissue of the Reiner/
Hart is about the quietest drummer I've trolled, and punchy. CSO Scheherazade (68168-2), I was
ever heard — he uses silence in large struck by how physical the bass-drum
blocks, but also employs an unusually rolls seemed in the final movement's
broad assortment of cymbals for textur-
But to emphasize how shipwreck. And yet they did not over-
al and tonal embellishment. Listening to natural and extended the whelm the hall or the orchestra, but
the final mixdown of this event, which were one element among many—
John Atkinson had mixed expressly to tweeter was is perhaps while the Dynaudios gave them their
emphasize the quartet's extraordinary due, it was not at any cost to the rest of
dynamic range, Iwas struck repeatedly to make too little of the the music.
by the different pitches of Hart's cym- When audiophiles get too caught up
bals, and by the many colors and con- superb balance of the in soundstaging, we tend to blur the
trasts he managed to extract from his distinction between the seen and the
speaker as awhole. heard. If you fill aspace with objects,
entire kit. The Contour 3.3s readily dif-
ferentiated between the different tones one tends to obscure another; but
and washes without reducing any of the Some might find the Dynaudio's when you fill aspace with sounds, this
brassy colors or complex overtones. bass quite lean, and it was somewhat. doesn't happen. No matter how full an
But it was also absolutely free from acoustic space might be, as you contin-
IWe had hoped to release this recording as abenefit bloat and overhang—so much so ue to stack sound upon sound you will
for the Santa Fe Chamber Music Festival, but one of that some listeners might miss just merely be adding more elements to the
the financial backers pulled out, leaving the whole pro-
ject up in the air. Pity; it was anighty fine outing for all
how deep and solid the bass response mix, without necessarily obscuring any
four musicians. And JA's first digital multitrack project. truly was. Iside with Goldilocks: Ido of them.

Measurements

speaker is not time-coherent, despite its

use of first-order crossover filters. The
tweeter is the sharp, positive-polarity
up/down pulse just before the 4ms
mark, followed by the negative-polari-
ty, slower midrange unit (not quite
90.00
properly aligned on this high tweeter
d2

-60.00
axis), then by the positive polarity
0.0

-30.00
woofer steps. The associated cumula-
-6.0

0.00
tive spectral-decay or waterfall plot
-12.0

30.00
(fig.9) is superbly clean, other than a
-18.0

60.00 deg
slight bit of hash in the presence region.
-24.0
MLSSA Icouldn't hear any subjective conse-
308.0 1009.0
log Frequency - H.
10080.0
(Smoothed to 0.10 octave):
quences of this behavior, the Contour
Frequency File DisplaY
3.3 sounding superbly free from high-
-1.19 dB, 5682 Hz (64), 11.000 d.9 (DC33-19.FRQ)(19)
frequency grain.
Finally, despite its size, the Dyn-
Fig.7 Dynaudio Contour 3.3, horizontal response family on tweeter axis at 50", from back to front: audio's enclosure is free from resonant
responses 90°-5° off-axis; reference response; responses 5*-913° off-axis. problems, implying an optimally braced,
well-damped construction. What
above 101(Hz —typical behavior for a modes were present were both high in
fairly big soft-dome tweeter. There frequency and low in level, the ideal
seems to be an excess of off-axis energy condition. Fig.10, for example, shows a
in the mid-treble, but this is actually waterfall plot calculated from the out-
due to the on-axis depression filling in put of asimple PVDF-tape accelerome-
to the sides. This is more easily seen ter fastened to the front baffle below
in fig.7, which shows the actual the woofers. The only significant mode
responses (fig.5 just shows the differ- present is at 648Hz, well above the
ences) between each off-axis response region where it could lead to col-
Tote el on
and the reference response on the oration. And even the big side panels
tweeter axis). had just one more mode present, at
Fig.8 Dynaudio Contour 3.3, step response on
tweeter axis at 50" (5ms time window, In the time domain, the Dynaudio's 300Hz, though this was equally low
30kHz bandwidth). step response (fig.8) reveals that the in level.

170 Stereophile, January 1998

 Dynaudio Contour 3.3

The Contour 3.3s reinforced this les- realistic. 'This didn't mean they always audios down, Iwas always conscious
son upon me time and time again. They had to be played loudly, but they sound- of something gone missing. But this
projected as physical asoundstage as I've ed best when most realistically playing was asmall price to pay for the level of
ever heard, although one that existed at, or near, the level of the original event. performance they were capable of at
almost entirely between the two speak- This is not uncommon - no less an their best.
ers - but no matter how packed it audio philosopher than Quad's Peter All too frequently, we audiophiles
seemed, it remained open and capable praise acomponent as neutral by way
of supporting each new instrument of damning it with the faintest of
upon its entrance. In addition to its finely praise. "It doesn't add anything," we
Take Mighty Sam McClain's XRCD seem to be saying, "but something's
Give It Up to Love (JVCXR-0012-2), for nuanced presentation of missing." Like, perhaps, the music.
instance. With Sam's deep singing, This was most emphatically not true
Kevin Barry's stinging guitar, Lorne swing, it was achampeen of the Contour 3.3. In addition to its
Entress' solid drumming, and Michael finely nuanced presentation of swing,
Rivard's nail-it-to-the-floor bass, you
at revealing the emotional
it was a champeen at revealing the
wouldn't think there was room for more text (and subtext) of emotional text (and subtext) of the
in the mix. But Bruce Katz's piano and musical event.
wonderful 13-3 work are easily accom- the musical event. "Words are really beautiful," Jeff
modated in the swelling chorus-and as Buckley once said, "but they are limit-
dense as all that sounds, the Contours ed ... The voice comes from apart of
had the dynamic ease to accept that Walker has stated that there is only one you that just knows and expresses and
crescendo on top of the music's already realistic loudness for each disc, and that is. Ineed to inhabit every bit of alyric,
high levels. is the one that most closely approxi- or else Ican't bring the song to you -
Actually, the Contour 3.3s were as mates that of the original recorded or else, it's just words." On his ethere-
dynamic as all get out, although Idid event. Still, many of us listen to music ally beautiful reading of Leonard
have to goose 'cm alittle. They really at times, or in situations, where that is Cohen's "Hallelujah" (Grace, Columbia
opened up on the slightly loud side of not possible; when Iturned the Dyn- CK 57528), Buckley inhabits every
inch of the lyric - a meditation on
music and passion. This isn't, in many
ways, an audiophile recording; it's
unadorned live sound, down to
the guitar amp's 60-cycle ground hum.
There's tape hiss, too. But through
the Contour 3.3s there was something
else -I heard the singer's pain, and his
redemption too. For six minutes,
Buckley inhabited the room. It was
chilling and uplifting. But it wasn't
dB 0.00 magic, it was resolution.
0.0 0.60

-6.0 1.26

Associated Equipment
-12.0 1.07

-18.0 2 53

-24.0 t 3.13 msec

MLSSA
LP playback: Linn LP12 with
Cumulat
400.0 1000.0
ve Spectral Decay log Frequency - H.
10000.0 Naim Armageddon power supply,
1.84 dB, 4039 Hz (91), 0.000 msec (I)
Naim ARO tonearm, van den Hul
Frog phono cartridge.
Fig.9 Dynaudio Contour 3.3, cumulative spectral-decay plot at 50" (0.15ms risetime).
CD playback: Mark Levinson
No39.
Preamplifier: Conrad-Johnson
ART
Power amplifiers: Krell FPB
600, Mark Levinson No.33H
dB 0.00
monoblodcs.
0.0 12.00
Interconnects: Kimber KCAG.
25.00
Speaker cables: ICimber Black
Pearl.
37.00

Accessories: Audio Power Indus-

-18.0- 50.00

62.00 ...sec

MLSSA
tries Power Wedge 112, Magro
20.0 100.0 1000.0 Stereo Display Stand.
CuputlatIve Spectral Decay log Frequency - H.
Sound treatment: ASC Tube
-10.53 dB, 648 Hz (166), 0.000 msec (1)
Traps, Studio Traps, Bass Traps;
RPG Abffusors; Oscitant feline
Fig.10 Dynaudio Contour 3.3, cumulative spectral-decay plot of accelerometer output fastened to cabinet rug. -Wes Phillips
baffle below woofers. (MI5 driving voltage to speaker, 7.55V; measurement bandwidth, 2kHz.)

Stereophile, January 1998 171

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172 Stereophrle, January 1998

It is not what the speaker says, The Dynaudio Contour 3.3 does so
but who he is, that gives weight "Finally, aset of interconnects
much right that it's joined ahandful of
that gets out of the way of the
to eloquence. —Euripides loudspeaker designs Iconsider truly
music, and does so consistently,
At $7000/pair, the Dynaudio Contour 3.3 special. Its balance of strengths —tonal
is not an inexpensive loudspeaker. But regardless of its length or the
neutrality, dynamic expression, and
system into which it is placed:
it's so natural throughout most of its fre- taut, unexaggerated bottom end —is so
— Harry Pearson on
quency range that it deserves to be audi-
GOLD ECLIPSE Ill
tioned by anyone listening for ahigh- Aspeaker capable of in issue #111 of
end reference monitor. In that context, The Absolute Sound.
it might even be considered abargain. superior performance Editors Choice

are
It does require an amp capable of seiz-
ing control over it, preferably at least requires high-quality
100Wpc, but it should surprise no one associated components.
that aspeaker capable of superior perfor-
mance requires high-quality associated in keeping with my sensibilities that I
components. And not everyone will be could happily stop reviewing and settle
pleased with the leanish —but, Imain- down with apair — if not for life, then

Com par,i
tain, quite accurate —bass character, or for along, very happy exploration of
the speaker's tendency to close down at
lower sound levels.
my record collection. You might con-
sider doing the same.
to
Don't settle for cables
that filter your music
Just who are these guys? Iwouldn't!
From our astonishing

D
new GOLD ECLIPSE Ill
ynaudio was founded in sales. Volvo's new C70 coupe will fea-
through ORBIT,
Denmark in 1977 by Wil- ture an audio system built around 10 the budget champion.
fried Ehrenholz and two Dynaudio drivers. WIREWORLD cables
partners. In 1994 Mr. Ehrenholz DynaudioAcoustics, a subsidiary sound the closest to
became Dynaudio's sole proprietor. that develops and distributes profes- the breathtaking purity
Initially, the firm constructed speak- sional audio products, has also taken of adirect connection.
ers from OEM drivers, using its own off in recent years. Awide range ofTV —David Salz
crossover designs, but it quickly and radio studios use their products, as
became apparent that, in order to do studios such as Air Lyndhurst,
build speakers to the quality level it Battery, The Pierce Room, The Hit
desired, the company would have to Factory, and NRG, to name but afew SPEAKER
CABLE
design and build its own drivers. While most audiophiles in this
Within three years of its founding, country recognize Dynaudio's driv-
Dynaudio's entire line of loudspeak- ers from their use in many of the
ers was constructed from drivers most highly regarded speakers in The Cable Comparator Systemr' is
developed and built in-house. They the High End, the OEM driver mar- the state of the art in cable testing. I
decided to offer the drivers for sale as ket actually makes up only asmall Hear it reveal the truth about cables i
OEM components, amove that im- percentage of the company's sales. in astore near you! •1/
mediately paid off in worldwide sales Dynaudio has always been, first and
to high-end speaker companies. foremost, aspeaker-building com- ,
Ehrenholz believes that the heart pany, with over 55% of its world- ......„.Î
,.....,:..... , emr., .
of any speaker system is its driver wide sales consisting of their fin-
complement. "But," he cautions, ished speakers. By establishing Dyn-
"quality doesn't come cheap, and it is audio North America, the firm has 1
up to consumers to decide whether made acommitment to becoming a
e
they want to pay for top-of-the-
range technology, or buy something
cheaper that doesn't perform as well.
larger presence in this market.
But Dynaudio doesn't intend to \."
rest on its laurels — the company
Dynaudio refuses to compromise, reinvests 10% of its annual turnover
WIREOORL
and we will not allow the company's to R&D. As Ehrenholz says, "I don't
e.
ey'2 t
name to be associated with any think any company can sit back and ' i

product that does not deliver top- relax, even when it is making aprofit. TY AU DI O C481..ts

quality results." ...Spending money on research and t,

4-0
In 1994, Dynaudio introduced aline development is an investment in the Reference Standard s‘
VKleo Cables and Powercords
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almost 20% of the company's yearly and left behind." —Wes Phillips E-mail: puresound wireworldaudio.com
World Wide Web: blip: www.wireworldaudio.com

Stereophile, January 1998 173

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174 Stereophile, January 1998

 Equipment Report
Jonathan Scull

Synergistic Research Designers' Reference interconnect,

speaker wire, AES/EBU &S/PDIF digital datalinks

T
ed Denney at Synergistic Re-
search has come avery long way
in avery short time. In the past
I've enjoyed and commented on his
Resolution Reference interconnect and
speaker wire. Great stuff, but I'm picky.
Then, not too long ago, boxes of his
new, top-of-the-line Designers' Refer-
ence interconnect began raining down
upon us (liveried, Imight add, in an
extremely vivid shade of green!).
[Sproineggl It's stiff? Icouldn't use this
interconnect with the fairly lightweight
player section of the YBA CD1 Blue
Laser. Designers' Reference practically
suspended the blessed thing above the
stand! The interconnect is "workable,"
however; with some determination, I
battened it down into our system.
Later on, more Synergistic Research
boxes arrived bearing Designers' Ref-
erence (DR for short) speaker wire. Synergistic Research Designers' Reference interconnect, speaker wire, AES/EBU digital datalinks
These proved somewhat less Tech-
nicolor, in adark, industrial gray jacket-
ing, and were terminated with WBT Denney points out that many cable nect, phis a thin cellophane wrap. The
expanding bananas. The connecters are makers merely adapt their single-ended shield —a weave of the signal-conductor
very easy to work with and can be designs to balanced configuration. alloy —also helps control resonance."
"stacked" for bi- and tri-wiring applica- "That's why most audiophiles don't feel The bright green jacketing material, I
tions. Ilike them far more than the they really sound any better than single- am informed, was initially developed for
sharp, crab-clawed copper spades previ- ended designs," he avers. what Denney describes as "geo-tech
ously used by Synergistic. Wanting the inside dope, Ipressed applications." Uh-huh. "That's jacketing
Denney for details and learned that the for cables found in seismic measurement
Interconnect dielectric is a "proprietary modified equipment. And the woven clear mater-
As Ted Denney explains it, signal and polyethylene derived from defense ial around that, adissimilar material, also
ground get separate, dedicated geo- applications." I signed the Official helps to prevent resonance. Even the
metries in each Designers' Reference Secrets Waiver he thrust at me and con- twist rate is strategic in creating the
interconnect: two separate runs of cable tinued digging. He briefed me on his sound we're looking for. Many elements,
twisted around one another. With the special copper-alloy conductor — it's Jonathan, all working in synergy."
balanced interconnect, the shield is tied coated with another proprietary alloy he By the way, this is the same conduc-
to the shell of the XLR rather than the described as "migratory in nature." I
ground pin within the connector! "The fixed him with my best "Do tell" look.
cables arc still shielded, but outside' the He continued unfazed: "Yes, it migrates Prices (both for the lengths test-
signal path," explains Denney.' "This to the center of the conductor, and the ed and per 1m): Interconnect:
produces incredibly low capacitance conductor alloy migrates out to the $2000/1m pair, $1000/pair ad-
between the music and ground signals. coating alloy. The result is excellent ditional half-meter. Speaker wire:
Designers' Reference measures only 5 high-frequency handling and skin-effect $3200/6' pair $3600/8' pair. AES/
picofarads per foot!" characteristics. That's derived from EBU and BNC S/PDIF digital data-
This seems a unique approach. defense applications as well." link: $1000/1m, $1500/1.5m. Ap-
Iinquired about resonance control. It proximate number of dealers: 75.
seems DR addresses vibration both as it Manufacturer: Synergistic Re-
1Provided, of course, that the XLR shells of the send- relates to passing signal through the
ing and receiving components both conduct electricity search, 501 Superior Ave., New-
(some XLIts are nylon) and are themselves grounded cable, and as air- or room-borne in ori- port Beach, CA 92663. Tel: (800)
to the component chassis. In the pro-audio world, only gin. "To avoid smearing, grain, and lack 578-6489, (714) 642-2800. Fax:
one of the -
balanced cables' XLR shells is tied to pin 1
(ground), thus providing shielding but no separate of clarity, we use four polymer shafts (714) 642-2900.
g'round path between the connected components. —JA with cotton cores within the intercon-

Stereophile, January 1998 175

 Why Spend Thousands
When You Can Upgrade Your
CD Player For $200-$500?
Introducing three new HIGHLY RATED low price audio upgrades
for CD and laser disc players from Musical Fidelity of England.

'9(10-D mati be th ost cos The one to buy if you just want
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Sam kllig in Stereophile October, Hi-Fi? in September, 1997. "It's a
1996. "It takes the $500 Marantz bargain Rating: Five Stars for
CD63SE and makes it sound more Sound and Value!"
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Md more excitement to your CDs
"A knock-out!" raves Alvin Gold in
and laser discs with X-ACT, the
Hi-FY News & Record Review.
new digital-to-analog-converter
We thought we'd seen just about (DAC) from from Musical Fidelity.
every CD player add-on possible. Plug in a CD or laser disc player
Then we discovered the "Missing and you'll immediately notice a
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manufacturer Muscial Fidelity. midrange and firmer bass. Features
The X10-D connects between the the advanced LC78835 I8-bit, 8x
CD player and prearnp or receiver "Pre of my list," raves Robert
to dramatically improve CD Harley in May 1997 Stemophile.
sound. Features two 6922 vacuum "Excellent sound quality, HDCD
tubes in an ultra-low distortion decoding, and price tag have earned
pure Class Aanalog output stage it my enthusiastic recommenda-
and outboard power supply. tion." Summary: "competitive

"X10-D transformed the sound, with the Best $1,000 Processors"

especially in thaw areas where Not only is the X-DAC the only
the (CD player) itself was weak," HDCD-compatible D/A convertor
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ID Copyright 1997 Audio Advisor, Inc.
To Order Call 1-800-942-0220
Web Site: http://vninv.audioadvisor.com

176 Sfereophite, January 1998

 Synergistic Research

tor material used in the Resolution and orchestra at the Bal Masque — the Speaker Wire
Reference Mk2, which is half the price supper club at the Americana Hotel in The Designers' Reference Speaker
of DR. The difference is in the "vintage" Miami! Picture it—the early '60s, Wire is built in what Denney describes
of the wire, explains Denney. "k's asub- Cuban cigars are legal, Camelot has just as "quad configuration": four separate
jective process we go through in grading begun. Duke digs the gig, the audience legs (geometries) each carry aplus and a
the alloy before we know which cable it loves the Duke, everyone is ecstatic, it's minus leg. "If you took bolt cutters to
will be used in. Only about 4% of the the atomic age ... duck and cover. our cable and cut one leg, signal would
total yield is good enough for Designers' Listening to this classic vinyl with the still get through." (I tried to imagine
Reference. It's like avintage Bordeaux— Wilson Benesch Analog (review to under what circumstances Imight feel
same grapes, same growing year and appear next month) and other reference compelled to do such athing.)
vintner, the only difference being that cartridges, Iheard all of the DR's best "All speaker wires have apoint at
the wine from avintage year has unique qualities displayed in glorious harmony. which inductance, capacitance, and
characteristics that make it better. We lis- Ellington's piano was illuminated, reso- resistance become reactive with the sig-
ten to the conductor material, and a nant, quick and strong, rainbows of nal. And that changes the signal, of
small batch with the right characteristics color spraying effortlessly from his fin- course. In Designers' Reference we've
is set aside and reserved for Designers' combined four separate tuned geome-
Reference. The rest make it into Res tries, each with a strategic set of
Reference Mk.2, and Looking Glass
This is a strengths and weaknesses. When one
Phase 1and 2." wonderful interconnect. geometry becomes reactive, one or
more of the other geometries will allow
Sound: This is awonderful intercon- It sounded at all times the signal to pass unimpeded. It's like
nect. It sounded at all times as close to water flowing downhill — it takes the
perfectly neutral as I've ever heard in as close to path of least resistance. Along the way it
our system. Yet it was always effortlessly will change course many times in
musical, alive with tonal color and har- perfectly neutral as I've response to resistance on its way down
monics. The entire bass range was from the mountain top. By using four
exemplary in the best of audiophile
ever heard in our system. geometries with different reactance
ways. The midrange was as fully devel- points, the signal simply pushes through
oped as any front-end ever managed to gertips. The orchestra was set out in a the path of least resistance. It's an ele-
produce. The highs sounded extended large, airy sonic construct, very transpar- gant and simple way to deal with acom-
and linear, very naturally detailed, and, ent. Deepest bass up through the mid- plex problem."
above all else, open. Speed, timing, and and upper bass was totally acoustic, Iinquired about the materials tech-
dynamics — macro and micro — were tuneful, tight, and on time. Transparent nology in the two large and two small
right on the money, balancing each and lithe as well; very "sportif" as K-10 conductors snaking through the cable.
other perfectly. put it. Transitioning to the midrange "There's Litz technology in there, as
The soundstage the DR threw, given was accomplished seamlessly and with- well as solid-core and basket-weave.
the right material, could be awesome — out frequency-related aberration. The You'll also find modified polyethylene,
deep, wide, and airy, the vibrant acoustic well-developed midrange was plush and foamed Teflon, silver, copper, and alloys.
environments surrounding each per- velvety. Transitioning to the highs was You know, you can't get best results
former coupling well with the overall once again accomplished without with only one technology. Built this
soundstage. And forget "layering" as an drama, the top end open, joyous, and way, Designers' Reference works with
audiophile concept; it's too coarse adef- soaring. Ifound myself leaning into the just about any amp." He sounded rather
inition. Any component making agrab music just for the pleasure of it. There pleased with himself.
for the audiophile brass ring must layer was always an inviting clarity that never
asoundstage at the very least. But we have devolved into euphonic smarm, come Sound: Ted Denney has every right to
to get beyond the flat, one-dimensional to paint in warm and luscious tonalities. feel smug about his wire. DR was
sense the term implies and look at the No, the DR delivered information in a delightfully quiet, offering ablacker,
integrity, the palpability of the entire manner so linear and complete that, for more velvety background from which
sonic construct. I'm speaking about sep- the most part, it transcended the barri- music burst forth. Ihad astrong sense
arate acoustic environments —bell-like, ers of time and place. that the cables sounded very powerful;
if you will — surrounding each per- Complaints? Sure, I'm still apicky put another way, they let the power of
former. How these mini-environments guy, and nothing's perfect. Peeling the the music through, unrestrained in any
couple with each other and the larger artichoke down to its heart, Ican say way Icould detect. Compared to other
acoustic environment is of more interest that DR is atouch biased toward the cables on hand, they were more colorful
to me than the simple concept of"imag- large-gestured and grand rather than the and bold. Large-gestured dynamics fair-
ing." In this way, the DR was always small and well formed. While it's fully ly exploded from the speakers.
very adept. capable of nuance and gesture, I've The DR speaker cables were also
Some people never learn. While his heard other cables that in some way very transparent-sounding, much as the
RM-50s were here, JeffJoseph brought manifest amore refined and delicate interconnect proved to be. To elucidate
over two LPs he thought I'd enjoy. Big balance with small musical details. The this transparency, Imust point to the
mistake. Dance to Duke is aColumbia Harmonix HS-101 Harmonic Strings cable's overall balance. Its high degree of
Special Archives pressing (CSRP 8098) come to mind, as does TARA Labs' new innate transparency was but one ele-
with an impossibly young and dapper The One. However, given the superb ment in ablend of superior sonic quali-
Ellington smiling up from the cover. overall balance of Designers' Reference, ties. Transparency as aquality unto itself
The album features Duke, his piano, Inever found it to be an issue. didn't manifest itself in any significant

Stereophile, January 1998 177

way. DR isn't from the "[tasp] ohini- In anutshell, these are great speaker only avery few other extremely costly
gaivd" school of transparency, although cables, fully worthy of partnering the cables manage was not its forte. Iam
it did let right on through the Graaf GM DR interconnect in every aspect. Prob- most emphatically not saying that the
200's heightened sense of speed and lems? Just one. The DR speaker wires DR lacks nuance entirely — unfor-
lucidity. Rather, DR's presentation was were endowed with much the same givable in such acostly cable. Rather,
more about acertain precision and pro- "house sound" as the interconnect. As a there was enough of the fine, elusive
found clarity of presentation —a clarity result, once again, their mastery when stuff to satisfy even one so picky as I,
made up of equal parts air, transparency, reproducing the large-gestured and although avery few other cables do it
detail retrieval, linearity, and perceived dynamic was undeniable. But captur- better. But these other cables and inter-
frequency response. ing the smallest nuances in music that connects certainly don't possess all of

Synergistic Chez Damkroger

Acouple of years ago Iwas assembling so little did they contribute to the ing to music is really why the
a review system around a pair of sound. They were completely free of Synergistic cables have become a
Magnepan MG3.5/R speakers and, the sort of spectacular colorations that mainstay of my system. As Iwrote
because of their external crossover sys- can be initially captivating but quickly this, the Synergistic cables (the inter-
tem, Ididn't have speaker cables of the wear thin. For example, they never connects now in their doubled-up
right lengths. I'd been favorably im- added zing or extra air to the top end, Designer's Reference configuration)
pressed with Synergistic Research's or exaggerated dynamic gradients in were feeding afully balanced system
A/C Master Coupler AC cord, so I one part of the frequency spectrum. consisting of aVPI TNT IV/JMW
decided to try the rest of their line. SR's There were no unnatural, razor-sharp 12" tonearm/Clearaudio front-end,
approach is to match cables to specific image edges or heightened, view- the VAC preamp, and Audio Artistry
classes of components and listener finder-style front-to-back relief with Dvoralcs driven by VTL Ichibans and
preferences, so Idutifully filled out the these cables, no images moving for- MB750s. It was acloudy morning,
"System Diagnostic" form detailing ward during crescendos. Whatever and Classic's killer reissue of Ben
my system (the Maniacs, aVPI/VPI/ the original acoustic environment, be Webster & Sweets Edison's Wanted to
Clearaudio analog front-end, Audio it asmall studio or huge all, it was Do One Together (Columbia/Classic
Alchemy digital gear, VAC CPAI reproduced faithfully. CS 8691) was playing. Try as Imight
Mk.II preamp, Renaissance 70/70 The Synergistics never contributed to concentrate, Ifound myself getting
amp) and the performance attributes to asystem sounding dry or having a sucked into the music, tapping
that were important to me (all of grainy texture, nor did they ever my foot, and thinking about how nat-
them), and faxed it in. sound rolled-off at the frequency ural and just plain right Sweets' trum-
Synergistic came up with apackage extremes, or closed-in, or slow and pet sounded.
consisting of A/C Master Couplers, a overly harmonically rich —just solid, The Synergistics did most every-
Reference Digital Corridor digital powerful bass with excellent pitch thing superbly, but abig part of what
cable, and Resolution Reference definition and sweet, airy highs. They they did was to capture the natural
speaker cables and interconnects, the were certainly detailed, but in anatur- feel of instruments in an ambient
latter in both shielded and unshielded al way, with abalance of micro- and environment. In aconcert hall or
configurations. Sure enough, the macro-detail in line with what Ihear club, images aren't bounded per se
cables worked beautifully in the in aconcert hall or club. but defined by their sizes, shapes,
VAC/Maggie system — so well, in What's more, the interconnects characteristics, and locations in space.
fact, that when the Maggies were and speaker cables seemed to straddle With some (otherwise excellent)
returned, Idecided to try the cables absolute neutrality: What minor col- cables, Edison's trumpet (try "Em-
with the next batch of review com- orations each had individually all but braceable You") seems to be bound-
ponents. One thing led to another, canceled each other out when the two ed by adistinct, somewhat ragged
and in the intervening two years I've were used together. Where the speak- surface, as if outlined in black Magic
found that the cables have performed er cables might —and Istress might— Marker. With the Synergistics, the
beautifully with awide variety of have contributed to aslightly recessed discontinuous surface — that Magic-
products — tube, solid-state, cones, perspective, the interconnects might Marker line — was gone, leaving
panels, you name it —and have estab- have been abit forward, atouch more only the trumpet, clearly defined but
lished themselves as one of my midrange projection making the per- completely coherent with the sur-
benchmarks. spective seem slightly closer. Similarly, rounding space.
So why have the Synergistics be- where the speaker cables shrank Another plus was their superb
come afixture in the reference and dynamic gradients slightly, the inter- reproduction of inner detail. On
review systems at Casa Damkroger/ connects most definitely did not. The "First, We Take Manhattan," from
McKenzie? First of all, they've ex- cables were designed and voiced to- Jennifer Warnes' Famous Blue Raincoat
celled as a reviewer's tool, clearly gether, so the synergism wasn't unex- (Cypress 661 111-1), agood test for
revealing the characteristics of other pected. But each of these products was detail resolution is how clearly acom-
components in the system and adding sufficiently close to neutral to stand on ponent highlights the superimposed
very little coloration of their own. On its own. echo used to move Warnes' vocals
first listen they sounded unimpressive, Reviewing is one thing, but listen- into and out of the sounclstage. The

178 Stereophiie, January 1998

 Synergistic Research

the DR's qualities. Let's say that, while AES/EBU & S/PDIF digital datalinks compromising than with most other
dazzling the listener with its many The balanced version of the Designers' balanced 'links in this regard. (Of these,
strengths, DR — speaker cable and Reference datalink features Swiss only Chris Sommovigo's Illuminati
interconnect — ever-so-slightly glossed Neutrik XLR connectors, but with a Orchid AES/EBU approaches the same
over this one aspect. But that's only special twist — they're supplied standard level of openness and energy in the
one of amyriad of qualities necessary with no outer barrel. Iunderstand from presence region.) The DR's bass was
for topflight playback. On balance, DR Denney that digital datalinks can't tight and controlled, more taut and
is still great stuff; for me, it's one of dump the shield to the outer connector; acoustic than most other cables man-
only ahandful at the very top of the as in the DR interconnect. "Right, you aged with AES/EBU. The midrange
cable hill won't get alock. You have to tie it to the was colorful, textured, and graciously
ground pin. But then having the shield harmonic on many recordings. And per-
floating around the pins creates noise
that manifests itself in terms of grunge. The DR's bass was tight
Many balanced cables sound better
when the outer connector shell is re- and controlled, more taut
Synergistics took resolution much, moved." Now there's afirst. According
much further, revealing that virtually to Denney, the actual geometry of the and acoustic than
all the instruments are subject to sim- AES/EBU digital cables is slightly differ-
ilar if less obvious manipulations. The ent from the interconnect's, in order to most other cables...
delicately plucked strings at the end optimize the datalink's target impedance
of Navarra on the Albeniz side of of 110 ohms. haps as aresult of the endemic darken-
the Reiner/Chicago Spain (RCA Late in the game, aDR S/PDIF digital ing in the upper mids giving rise to a
Living Stereo/Classic ISC-2230) datalink tenninated with gold-plated slightly recessed presence region, the
were another great example: There BNCs arrived. Urs Wagner of Ensemble cable sounded quite attractive in the
were no discontinuous, specific edges, is adamant that his Diclunno sounds best highs (as do many AES/EBU 'links) —
just wonderfully dimensional, distinct this way; the AES/EBU interface, he but perhaps not quite as open-sounding
instruments, and an uncanny sense claims, is heavy with jitter, as is AT&T and extended as some of the S/PDIF
and feel of the surrounding space. optical. BNC'd S/PDIF is his recommen- cables manage.
The Synergistics succeeded most dation for lowest jitter and best sound. The same cable terminated with
of all by pulling the entire package BNCs worked extremely well between
together —detail, dimensionality, co- Sound: Well, this was interesting. Over the Ensemble Dichrono Drive and con-
herence with the surrounding space, time, I've listened to many AES/EBU verter. It was obvious from the first
and ambience reproduction — and datalinks, and have concluded that cer- moments that the energy in the upper
combining it with their overall neu- tain sonic elements of their presentation midrange and above had been restored
trality and superb reproduction of arc predictable. First and foremost, AES/ in abig way —a little too much restored,
micro- and macrodynamic transients. EBU generally sounds quieter than actually. That proved the case until about
Last weekend Ipicked up amint S/PDIF. As aresult, music is presented 100 hours of break-in had passed,3 after
original copy of Van Morrison's TB. from adarker, more velvety background which the BNC'd DR performed bril-
Sheets (Bang BLP 400) at my next- that can be atouch airier than S/PDIF. liantly in every respect. The lower-
door neighbor's garage sale. At the Since it's quieter and airier, images with- through-upper-bass range was taut, power-
time, another (also excellent) speaker in the soundstage can be more round ful, and in control, the midrange was
cable was in the system, and "Ro Ro and palpable. One important caveat, quite handsome (depending on the
Rosey" and "Brown-Eyed Girl" however: Until now, I've always felt recording, of course), and the highs
sounded pretty much the way I'd AES/EBU darkens in some way the sounded smooth, linear, and extended.
always remembered: dull, thin, and upper-midrange/treble region, seeming Altogether, the BNC coax proved afirst-
nasal, the images one-dimensional to suck some of the life and energy out class performer, more revealing than the
and congested enough to sound of this vitally important range. Also, trick AES/EBU version (which none-
nearly mono. while AES/EBU more often than not theless showed deft charm on less-than-
Iswitched to the Synergistics, and gets the midrange right, its bass can stellar recordings).
eureka! Dynamic transients snapped, . sound abit loose and out of control, fat-
guitars rang and resonated, vocals ter and slightly less pitch-differentiated Conclusion
sang and breathed, and were attached than S/PDIF. It occurs to me that if, So there you have it. Synergistic
to a real singer with real lungs! other factors being held equal, Designers' Reference: expensive and
The images had body, weight, and AES/EBU is more jitter-laden than built to stay that way. If you've got the
dimensionality, and were even spread S/PDIF,2 this may explain to some budget for Top Stuff, make sure you
nicely across the stage center and extent these sonic effects. audition DR. I'll be listening to other
layered front to back. A wonderful Given that, the DR reigned supreme top-tier cables in the coining months,
audiophile album for abuck? Well, over all other AES/EBUs I've tried. Yes, and will be happy to report on the
not really, but a good illustration Istill noticed aslight reduction of energy results. In the meantime, if you've a
of how the Synergistics let through in that upper-midband/lower-treble mind (and the bank account) to take the
a little more of the magic — and region, but somehow Ifound it less plunge now, Isay... go for it!
why, after two years, they're still in
my system. 2This is something that remains in the land of conjec- 3 Be aware that long break-in is required with dl
ture, though Iwill be using the Miller Research jitter Synergistic cables — 100 to 200 hours for fresh.
—Brian Damkroger
analyzer (elsewhere in this issue) to examine issues unplaved cable. But don't despair; they perform at
such as this. —JA about 80% of maximum after 24 hours or so.

Stereophile, January 1998 179

 expertence

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 Follow-Up
Robert 1 Reina, Larry Greenhill, Martin Colloms

California Audio Labs dimensional imaging, and strong bass room (which is faced with framed
Gamma D/A processor response. In his measurements section, watercolors 8' from the floor) and ap-
In my review of the automobile version John Atkinson found that the Model 1 proximately 30" from the side walls
of the California Audio Labs Gamma had a solid, well-damped cabinet. Its (which have sliding equipment shelves).
WA processor in the May 1997 Stereo- bass reflex port was tuned to 42Hz, The Signature Is were used with the
phile (p.75), 1 Inoted abreakup at high which allowed the small speaker to pro- Target Model R1 ($675/pair) sand-
levels of high frequencies. As Ialso duce more bass than expected, although filled stands, and with Sumiko Franklin
noted the Gamma's relatively poor per- the port featured some low-level pipe and Lowell stands (also sand-filled, $350/
formance on the Stereophile Test CD 2jit- resonances at 500Hz and 950Hz. Its on- pair). Power amplifiers were the Mark
ter test compared to its performance on axis response featured an upper-mid- Levinson No331 and apair of Krell
the same test in my living-room system, range prominence. But even with these FPB 250M monoblocks. The preampli-
Isuspected that these observations were characteristics, the Totem Model 1was fier was aKrell KBL for CDs, and a
related. Icould not conclude at the time lauded for its tight, solid, rhythmic bass Mark Levinson ML-7A with aDuntech
whether this performance was afunc- and palpable imaging. MX-10 head amplifier for LPs. Vinyl
tion of the Acura Alpine CD changer, At $1995/pair, the Signature Model 1 was played on a Linn Sondek/Lin-
the changer/DAC combination, or the costs $400 more than the standard ver- go/Ittok/Sumiko setup. The digital
automotive environment. However, as sion? How do they differ? Placing the source was an Adcom GDA-700 D/A
the Alpine was a1990 cost-constrained mahogany bi-wired Signature Model 1 processor, or an Audio Alchemy DDE
OEM design for Acura, Isuspected that side by side with standard Model 1, the v3.0 HDCDR (over its I 2S bus) D/A
it was the culprit. most evident difference was the Sig- processor, both driven by aKrell MD-1
My hunch was correct. When Ire- nature's dual van. gold terminals for transport via 75 ohm Silver Starlight di-
placed the Acura changer with the more bi-wiring. The rear of each Signature 1 gital coaxial cable and an Audio Alchemy
modern Alpine MS601 changer, the re- is also outfitted with acopper medallion DT-1 jitter attenuator. Day-Sequerra FM
sults were dramatic. The in-car perfor- with the designer's signature. Reference Classic and Fanfare FM-1
mance of the digital combination now Written materials supplied with the stereo tuners provided music from
matches that of the pair in my living- speakers described other differences: WQXR, our local New York classical
room system, and the high-frequency internal woofer leads now use larger- station. Interconnects were Krell Cogel-
breakup during heavily modulated pas- gauge silver wire; the crossover features co Yellow balanced cables, and speaker
sages is gone. In fact, the more natural no common grounding and uses differ- cable was a bi-wired set of Sumiko
and extended rendition of both fre- ent, larger, oil-dielectric capacitors; also OCOS cables. All amplifiers were plugg-
quency extremes has taken the realism used are metalized polypropylene capa- ed into a200-amp AC outlet.
of the car system up another notch. I'm citors bypassed with additional polysty- Ibroke in the Signature Is by playing
scratching my head — the Alpine-CAL- renes for each single capacitor position. music from an FM source for 12 hours,
a/d/s/ system produces avery convinc- Totem claims that these modifications followed by the "Special Burn-In Noise
ing and authoritative 32Hz without the have enlarged the Model l's image size, Track" on Stereophiles Test CD 3for 12
aid of subwoofers. improved its off-axis response, and hours. The comparison two-way loud-
Yes, the car system has become a increased its speed. speaker system was apair of original
driving hazard. But my wife is pleased Totem Model 1loudspeakers.
—she finds me frequently offering to Listening: My listening room is 26' Follow-Ups like these often compare
jump in the car to run errands for her. long and 13' wide, with a 12' semi- two different versions of the same audio
—Robert J. Reina cathedral ceiling that opens into a product. The best outcome is when the
kitchen through an 8' by 4' doorway at newer product captures all the strengths
Totem Model 1& the back. This adds an additional 25' by of its predecessor while adding new
Signature Model 1loudspeakers 15' space. I sat 8' away from the qualities that don't detract.
Vincent Bruzzese, Totem Acoustic's Signature Model is for most of my lis- Such was the case with the Totem
loudspeaker designer, used the 1997 tening. Ialso tried my favorite listening Model is compared here. All the things
Winter CES to introduce aSignature spot for larger loudspeakers —18' away Ihad admired in this minimonitor — its
version of the company's first loud- — but found it less satisfactory. Audi- stirring bass response and pinpoint imag-
speaker, the diminutive Model 1. Ihad tioning also was carried out in a15' by ing — were nicely preserved in the
reviewed this small two-way system in 10' study with wall-to-wall carpet, an Signature edition. Bass-drum dynamics
April 1992 (Vol.16 No.4, p225), and area rug, and acouch. The Signature Is were fully evident through both versions
had praised it for its smooth, sweet were set up 3' from the rear wall of my when playing Reed's La Fiesta Mexicana
highs, strong dynamics, palpable three- (Fiesta, Reference Recordings RR-38
2Totem Acoustics speakers arc distributed in the lis CD). While bass notes didn't descend
1lite Ganuna costs $195. California Audio Labs, 1751 by May Audio Marketing, 10524 Lexington Drive,
Langley Ave., Irvine, CA 92714. Tel: (714) 833-3040. Suite 300, Knoxville, TN 37932. Tel: (800) 554-4517, much below 40Hz, they were tight,
Fax: (7 .
14) 833-1329. (423) 966-8844. Fax: (423) 966-8833. strong, and filled the room. Both pairs

Stereophile, January 1998 183

 nor to
ANY speaker
I've heard
ANYWHERE
near their
price."
-TL,
The Sensible
Sound
Issue #64

1-800
AUDIO-HI
(1-800-283-4644)

Fax: (217) 544-1483

Tel: (217) 544-3178

3023 E. Sangamon Avenue

Springfield, IL 62702

4
visit our website:
LEGACY AUDIO www.legacy-audio.com
 Follow-Up

of Model 1 salso gave a convincing often in such cases the changes are reducing sidewall coloration. The 12.5"
soundstage width and depth to the minor, occasionally more radical revi- bass driver is a new version with a
instrumental finish of Richard Thomp- sion are needed. In the case of the stronger basket casting and slightly
son's "Why Must IPlead" (from Rumor WITT, unforeseen problems in the higher sensitivity. Less attenuation is in-
and Sigh, Capitol CDP 795713 2), plac- paint finish when exposed to high cluded in the midrange feed to match
ing his acoustic guitar's sonic image just humidity and large swings in tempera- the new woofer, and the tweeter level
outside the right speaker. Soundstage ture forced designer David Wilson to has also been revised.
depth and width was very realistic and undertake acostly rethinking of how The WITT is now built with are-
involving, as heard on Hoist's Chaconne the speaker should be built and finished. movable hatch in its phenolic base to
(Howard Dunn, Dallas Wind Sym- give access to the cable bay on the fully
phony, Reference RR-39CD). potted crossover. A number of Caddock
The design brief for the
The Signature differed from its pre- metal-film power resistors are wired
decessor in being more open and clean original WITT was for it to across terminal posts, and also act as fast
with vocal music. Take Odetta's stun- fuses in the case of amajor overload.
ning rendition of "America" on Strike a be alarge, high-power, They have been selected for good dy-
Deep Chord: Bluesfor the Homeless on Jus- namic performance on music, yet are
tice Records. Through the Signatures integrated one-box still effective as fuses. Their replacement
her voice became asolid, holographic in the Series Irequired significant disas-
image. Icould hear her sibilants clearly, loudspeaker system. sembly of the loudspeaker; anew cover
and her plosives did not overload the plate allows for reasonably quick access
Signatures as they had the original The design brief for the original and replacement. (This service design
Model Is. Iwas more aware of the re- WITT was for it to be alarge, high- element has also been adopted for the
verb added to Maggie Doyle's voice on power, integrated one-box loudspeaker X-1 Grand SLAMM Series II.)
the opening of James Homer's Patriot system —a simplified approach to the The new full-acrylic finish allows the
Games soundtrack (Milan 66501-2). Pav- WATT/Puppy system at roughly half customer his or her choice of color in
arotti sounded full, dynamic, passionate, the price. A key factor to reaching the place of the original's black. When it
and wonderful over the Signatures when aimed-for price point was the WITT% was suggested that Iconsider evaluating
he sang the Duke's opening solo, "Ques- enclosure design, which featured phe- aSeries II, Ichose a"BMW" titanium
ta o quella per me pari sona," from nolic plates, and MDF panels covered in metallic paint. When the speakers
Verdi's Rigoletto (London 414 269-2). a single black coat. Savings could be arrived, their finish could only be de-
This ability to capture midrange dy- made here, while the visible full-gloss scribed as superb, on apar with that of
namics and timbre without breaking up sides could be applied as separate fin- Wilson's X-1 Grand SLAMM; the final
constitutes the main difference between ished pieces. result is substantially more appealing
the Signature and original Model is. The approach sounded good on that the original.
The treble, however, remained rolled- paper, but in practice it was another In addition to the finish, the Series
off and sweet, as proved by "A Call to matter altogether. The severe tempera- II WITT's appearance has been other-
Arms" on Homer's Glory soundtrack ture cycling and changes in relative wise transformed since it made its
(Virgin 90531-1, LP). But here, even the humidity in the Asia-Pacific market debut at HI-FI '97 in San Francisco
Signatures were bettered by the clarity resulted in differential expansion of the last May. The speaker's proportions
and silver sheen of my Quad ESL-63s. laminated panel edges and failure of the now echo elements of Art Deco archi-
Vince Bruzzese has improved one of exposed paint. Iowned apair of Series tectural design, and fit well in my lis-
his company's best products, the very I's for two years and had no problems tening room.
simple Model Is. The speaker's external here in London; Isuspect that the high Although Wilson Audio will accept
changes now allow bi-wiring, and the elevation and generally dry climate of for remanufacture Series I WITTs
internal upgrades of wiring and capaci- Utah, the home of Wilson Audio shipped to their Utah headquarters—
tors have improved its overload charac- Specialties, also produced no ill effects. the upgrade costs $2990 —owners of
teristics. Its midrange reproduction of But Wilson had to recall and repair original WITTs should consider the
vocal music is even better, thus improv- many pairs of speakers at their own cost. matter carefully before rushing in. The
ing upon the speaker's original assets of The company's only choice was to price slot previously occupied by the
bass response and imaging. The Totem abandon the simplified paint system and WITT has now been vacated. If your
Signature Model is are definitely worth subject the WITT to the full-sealing speakers have finish problems, you're
serious audition by anyone in the mar- multicoat European catalyzed lacquer covered by the warranty; however, if
ket for apair of $2000 minimonitors. process of their more costly speakers. you chose the speakers appropriately in
—Larry Greenhill Because this inevitably increased the the first place, according to your avail-
WITT's price (from $8888/pair to able resources, then there's no reason to
Wilson Audio Specialties WIT! $11,890/pair), David Wilson also em- upgrade to Series Ils unless your budget
Series II loudspeaker barked on adesign revision to improve permits and you're so inclined.
Just two years after being reviewed by the speaker's acoustic performance to The vcnrr is afull-size, three-way,
Thomas J. Norton and me in the match the new price, and also to intro- floorstanding loudspeaker coupled to
January 1996 Stereophile (Vol.19 No.1), duce certain other improvements. the floor with steel spikes (standard) or
Wilson's WITT loudspeaker has been The acoustic damping within the heavy-duty spiked alloy PAWs (avail-
improved to Series H status.3 Though enclosure has been optimized. The able at extra cost). Iused the PAWs. The
original detachable side panels are now WITT stands 43" high, weighs 200 lbs
3Wilson Audio Specialties, Inc.. 2233 Mountain Vista
Lane, Provo, UT 84606-6222. Tel: (801) 377-2233. factory-bonded to the enclosure, in- each, and is bigger than aWATT stand-
Fax: (801) 377-2282. creasing the structural integrity and ing on aPuppy.

Stereophile, January 1998 185

The incredible fidelity of JVC's XRCD.. .listen and compare.

Sarah Vaughan How Long Has This Been Going On?

J I: X li-0038-2

Sarah Vaughan was easily one of the most gifted of all jazz singers.
She had an original style that clearly extended the influence of jazz
on popular music in general. This album, one of the finest of her career,
finds Ms. Vaughan at the helm of astellar quartet featuring jazz giants
Oscar Peterson, Joe Pass, Ray Brown and Louis Beason. With her
glorious voice and three octave range in flawless shape, Sarah and this
group show their mastery of swing on such standards as "I've Got The
World On A String. - "Body and Soul" anti "You're Blasé."

Johnny Griffin Sextet The Little Giant

JYCXR-0039-2

-Downbeat
One of the most formidable improvisers of the post-bebop 1950s,
Johnny Griffin attracted more than his share of nicknames:
"Little Giant" referred jointly to his large musical stature and small
size; the widely-used "Fastest Gun In The West" placed perhaps
undue emphasis on his ability to perform at blistering tempos.
This album features excellent Norman Simmons arrangements
played by astrong sextet including Blue Mitchell and Wynton Kelly.
The sonics are stunning!

Miles Davis Bags' Groove

BAGS GROOVE
JVCXR-0046-2

This CD includes recordings from two sessions. The first recorded

MILES DAVIS
Dec. 24th, 1954, was aclassic date that matched trumpeter Miles
Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist
sonny rollins, milt jackson Percy Heath anti drummer Kenny Clarke. There are two very different
thelonious monk, horace silver versions of "Bags' Groove" recorded at this session (Monk's solo on
percy heath, kenny clarke
the first take was one of his best). The remainder of the disc comes

PRESTIGE 7109 from asession on June 29th of that same year that saw Horace Silver
at the piano and the addition of Sonny Rollins on saxophone. These
recordings represent timeless music that defies easy classification.
The XRCD version presents this music in the purest sonic quality
available and deserves aplace in every jazz collection.

To find out more about XRCD access our web site at: xrcdejvcmusic.com

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JVC Music, Inc. 3800 Barham Blvd., Suite 305, Los Angeles, CA 90068

JVC (RIVERSIDE)
Prebtope
 Follow-Up

No chances have been taken with the we've come to expect from Wilson, but about the overall quality? Did the
bass performance: a 12.5"-high power this was quickly corrected by afactory- WITT II stand up at the new price?
woofer from Focal is bass-reflexed by a approved change in the appropriate fus- Here is alarge three-way speaker of
good-sized rectangular ducted port. The ible resistors. Such subtle voicing shifts authoritative dynamic range and power
cabinet tapers distinctively toward the are easily accommodated via that resistor/ handling. Low-frequency extension ap-
upper section, producing a narrower, attenuator array below the crossover proached but didn't match good su
partly triangular shape that reduces the hatch. With guidance from Wilson, it woofer extension. However, it did
effects of cabinet-edge diffraction. This might even be possible to obtain advice match some of the best competing full-
upper section houses the 6.5" SEAS on fine-tuning the mid and treble levels range speakers in terms of power capac-
pulp-cone midrange unit, and above for very different room acoustics. ity, detail, and speed. The WITT II had
that the high-sensitivity Focal tweeter My original pair of WITTs is afinn anicely weighted balance that, without
— a 1" inverted titanium dome rein- favorite —the II sounded sufficiently dif- making it sound too slow, gave it asense
forced by a"dioxid" treatment (equiva- ferent to require amost careful examina- of poise and substance that never short-
lent to anodization). The acoustically tion. However, I'm happy to report that changed a big orchestra. Though it
perfect if notably utilitarian grilles are the changes have been for the better! reproduced all types of recordings with-
made from open-cell porous polyester The Series II sounded more full-bod- out favor, its strengths were fully appar-
foam sheets, and look fine from adis- ied than the I; the low mid —a region ent on well-focused, transparent, and
tance. Input connection is spade termi- where the original was already no dynamic material.
nation only, via asingle pair of plain slouch — was now better structured and In its Il iteration the WIT'!' remains,
gold-plated binding posts. detailed. There was atouch more upper- for me, an excellent speaker with slight-
Wilson claims afrequency response bass weight, expressed with a crisper ly restricted low bass. Its looks and fin-
of 28Hz-72kHz, ±1.5dB; the rated punch. On balance there was abit less ish now equal its Class A sonic perfor-
impedance is 8 ohms; the sensitivity low bass, but you'd have to hear the mance. I think the value standard
90dB/W/m; and power handling is models side-by-side to be sure of this. remains correct at the WITT's new,
estimated at 200W of unclipped pro- The Series l's mid was mildly reticent higher price.
gram from my original tests. In-room, — laid-back but still effective. Con-
A-weighted sound pressure levels of versely, the treble sounded equally Measurements: Ifound the WITT's
105dB should be possible from astereo mildly "forward" and airy: sparkling, sensitivity unchanged at 88dB/W/m
pair in atypical room; it., ahigh dynain- but not quite as well integrated as it (an average reading), aided by the good
ic range. Good amplifiers as small as could have been. The Series II illustrat- impedance characteristic defining it as
50W are possible if they clip well, and ed this by bringing the mid fully into an undemanding amplifier load. For
where no more than naturally high focus, without false shout or hardness in example, the Cary CAD-805C single-
sound levels are anticipated. its upper range. This helped the transi- ended triode amplifier partnered the
tion to the treble —now more seamless, Series Ils surprisingly well. As with the
Listening: Like the Series IWITT, the more delicately presented, with purer Series I, using the larger PAW feet gave
II needed considerable running-in, even sibilants, and less of that hint of tinsel in acleaner, faster bass, and improved the
though some basic conditioning is done the uppermost extreme of the treble of-
as pan of standard production back at ten associated with the Focal drive-unit.
î
Imolame Nole Plat -

the Wilson factory. But the mists began I had always felt that the overall
to clear in the second week of use. blending of the WITT% drive-unit out-
For this assessment Iput together puts was praiseworthy. Well, even more
much of the original review system, in- points were due the Series II. Overall,
cluding the Conrad-Johnson Premier the midrange sounded riche tmore nat-
Eight A and Premier Fourteen combi- ural, with small gains in detail and trans-
nation, the Krell KPS-200 and KPA- parency. That mid quality was particu-
200S, plus Audio Research's LS22 and larly apparent on voice; complex scores
VT150SE. Ialso had the benefit of were highly resolved, the many voices
Krell's FPB 300 and 600, their KRC-3 remaining harmoniously balanced.
preamplifier, Ces ART, and the Cary Though on first hearing it sounded Fig.1 Wilson WITT Series II, electrical impedance
805e monoblocks. LP sounds were pro- slightly more dull and slow in tempo (top) and phase (bottom) (2 ohms and
90'/vertical div.).
vided by my usual Linn LP12/Naim than the I, the II's greater detail and
ARO/Koetsu RS2/Lingo combo feed- depth, allied to its crisper bass lines,
ing aC-J Premier Fifteen. Cables were soon restored my overall impression of
by Siltech, van den Hul, and Kimber. fine rhythm and dynamics. While both
For afortunate week Ihad apair each models handled rock and jazz very well,
of the Series Is and IIs, and was able to the II was even more capable on classi-
A/B them casually before fully in- cal music: kinder to rougher sources,
stalling the Ils. Though Wilson Audio mom forgiving of distortion, and allow-
had suggested that the new model was ing playback at higher levels before the
perhaps adB or so more sensitive, direct sound became unduly oppressive. And
comparison showed no significant dif- the Ils' stereo image showed an im- fl Fn.«. -

ference. If anything, the Iwas a tad proved feeling of perspective, as well as

Fig.2 Wilson WITT Series II, 'A-octave smoothed
brighter in the high treble. increased stability of depth layering. anechoic response on tweeter axis (solid),
As supplied, the Series II was voiced Focus was also improved. with nearfield response (dashed)
somewhat richer in the treble than Those were the differences. What (5dB/vertical div.).

Stereophile, January 1998 187

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 Follow-Up

speaker's appearance. Boston (when it was purchased as part Like the original, the FM Reference
Over the past two years Ihave found of AR's now-defunct Acoustic Research Classic is an FM stereo analog-tuned
both the WATT 5/Puppy and the division) to Illinois (when it temporari- receiver with digital frequency display
WITT to be comfortable in the com- ly resided at International Jensen's pro- and three selectable IF bandwidths:
pany of stereo systems priced up to duction facility) to Nogales, AZ, and on Wide (280MHz), Normal (180MHz),
$50,000, and have rarely felt the WITT to Mount Laurel, NJ.4 Like the mythi- and Narrow (130MHz). Tuning is car-
to be second best. While its balance was cal phoenix, the Reference has disap- ried out using the digital counter in
not as incisive as the WATT-based sys- peared and resurfaced several times 10kHz increments, plus the 'scope trace.
tem's, it was often more forgiving; and since its first iteration, the Sequerra As with the Maranta 10B, the 'scope
the WITT% kindness to smaller, cheap- Model 1, debuted almost 30 years ago. allows one to fine-tune the signal to
er, less current-capable power amplifiers Having regained rights to the FM channel center. It also displays the sig-
endowed it with unusual versatility. Reference, David Day now offers a$940 nal's quality, strength, and multipath. A
Look at the impedance curve (fig.1): the maintenance upgrade to "FM Reference very expensive Panalyzer option, which
WITT is now even easier to drive, with Classic" status. lhis includes a new, brings the tuner's cost to $13,000, adds a
a 62 ohm minimum magnitude and 19"-wide faceplate (the original was 17" spectrum analyzer for apanoramic dis-
very moderate variation over the fre- wide), anew power cord, replacement play of the FM band, astandard feature
quency range. of the oscilloscope CRT and (if needed) of the company's now-discontinued
With nearfield correction to the the power transformer, new selected Broadcast Monitor FM Tuner.
low-frequency end of the on-axis fre- ceramic IF filter sections, revisions of Sensitivity has been improved in the
quency response measurement (fig2), the power supply and audio grounding, Classic upgrade: 5.5dBf m 15dBf for
the output is wide and relatively flat, and complete alignment and perfor- 50dB quieting sensitivity. Selectivity is
falling to -6dB close to the practical in- mance tests. Voltage to the front-panel rated at 100dI3 alternate-channel, 40dB
room limit of 31Hz. While the lamps has been reduced, which the adjacent-channel (narrow mode). Cap-
WI'TT's inner balance has been shifted manufacturer claims will extend lamp ture ratio remains 0.75dB. As DAS noted
in the Series II, there is precious little life to six years. in his MD 108 review, the Day-Sequerra
evidence of it on the new response The new power transformer has bet- FM Reference Classic is the only other
curve; only close examination will reveal ter stray-field performance and runs FM tuner with balanced outputs. The
the subtle differences. -Martin Colloms cooler than the original. And Iwas Classic also has four RCA jacks for 'scope
pleased about the CRT replacement — analysis of external line-level signals.
Day - Sequerra FM Reference the 'scope trace in my tuner had grown The system used in the audition con-
Classic tuner very dim, as it had in the References sisted of a Krell KBL preamplifie a
It's been more than six years since Ifirst owned by two of my friends. The wider Mark Levinson No331 stereo amplifier,
reviewed the Day-Sequerra Reference faceplate allows for a flush mount if
tuner (Vol.14 No.12, p.156). The Re- the tuner is set into acabinet or panel.
ference then offered the finest fit and The tuning mechanism has been im-
finish Ihad seen in an FM tune4 and proved with aTeflon-impregnated 0-
exceptional bass response. In my closed- ring and alarger flywheel, so one can
circuit comparison setup the FM Ref- traverse half the band with one spin of
erence revealed amidrange transparen- the dial. The new selected IF filters
cy superior to those of the other fine ensure 5.5dBf mono usable sensitivity
tuners on hand, as well as an absence of at 0.08% distortion. (This slightly bet-
the white FM haze I've heard so often ters the Magnum Dynalab MD 108's
from lesser audio sections. 9.0dBf mono sensitivity at 0.1% distor- The look...
Since then, other reviewers have stat- "drop -
dead gorgeous"
tion.) As for overload, Day claims the
ed aconcern about whether the Ref- modified FM Reference Classic will The feel...
erence's front-end design offered ade- pass the "Richard Modafferi" test of 1V "incredibly strong"
quate protection from overload in areas across the 75 ohm terminals. Turn- The sound...
of high signal strength. Cranking the around for the upgrade is said to be "pretty impressive"
signal generator to top output did not about four weeks (my tuner took 30
Mega 24 ("pow, Siond
overload the tunen however. The sound days, door to door). (onsole and H
quality of its audio section enabled the Iwas eager to see if this upgrade was
FM Reference to retain its Class A rat- purely cosmetic or would actually im-
ing in Stereophikes "Recommended prove the Reference's RF or audio per-
Components" through 1995. Since 1991 formance. To gain space, Ifound the
its price has risen from $4800 to $5500, new, wider faceplate quite attractive. Win 35 his rd.. Slon
but this price increase was matched by The front panel's dimmer placard was
those of other FM tuners, including the not as pleasing, even though Iknew that
"I've fallen in love with agreat new design..."
Magnum Dynalab MD 108 (see Don longer bulb life would improve mainte-
"I've got all that Iwant— and at afair prie."
Scott's review in Vol20 No.5). nance. Otherwise, the FM Reference
Wes Phillips
The Day-Sequerra Corporation has Classic remains visually unchanged Stereophile—Vol. 18 No. 1
been sold twice since 1991, and is now from the original design (highlights of
back where it started: under the owner- which were described in my review). Purchase oMagro 24 Component Stand and receive
our Magro 14 Console free! A$218 value! Order now!
ship of original designer David Day. Call for details 8, participating dealers 1
-888 -23 -
MAGRO
4 Day-Sequerra, 520 Fellowship Rd, Ste. E502,
The company's manufacturing facility Mount Laurel, NJ 08054. Tel: 609-222-4141; fax: 609- Magro Furniture 312.9440029 312 911 0019 I
ux
has moved from its Chicago home to 222-4110; web: www.daysequerra.com

Stereophile, January 1998 189

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Pre-owned 11 New HI-End

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While Plains. NY 10601
signals were received over ahigh-gain Buy, Sell, Trade. ConsIgn

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CLASSICS
914-421-0069: Phone

ment Yagi Channel Master Stereo 914-328-3852, Fax

www. tt ta .com
Probe 9antenna with arotor, mounted
to my chimney about 25' above ground. Amps Audio Alchemy
DDE plus $175
The antenna feed was 75 ohm Channel Acurus A250 5649

has moved!
200X3 $995 DDE V3.0 $495
Master 9540 Low Loss Coaxial Cable. Adcom GFA 545 $295 DDS 1.1 $395
For this review the antenna was pointed Aragon $Call DDS Pro $595
DTI Pro $395
south, toward New York City, so Icould NEW Phone/Fax:
ARC D240 Mkt' $1595
D400 Mk11 $3195 EA D DS P 1000 Mkli 6595
try to receive weak signals from New V140 Mono's $4295, Esoteric P-2 S $1895
Jersey stations adjacent to very strong
NYC transmitters. Audio cables were a
Ayre V-3
BAT VK60
VK200
$1795 ,

$2795
Krell DT 10
KPS 20i $2495 607-766-3501
$2595 ' Reference 64 $44895
$4995
75 ohm Silver Starlight digital coaxial Bell 1001 MkIll $1695 SBP 32X $1195 8-5 ET Monday-Friday
B&K ST140 $325 Studio 11 $1195
cable for the transport/converter digital
NEW location:
ST202 $395 Levinson 35 $3395
link, Madrigal balanced interconnects Cary CAD 40MSE $1195 37

from FM tuner to preamp, and an older C-J MF80 $89$ M arantz CC 52 Gold $$2289955
Motif MS 2001 $2195 Meridian 566 61295 3501 Old Vestal Road,
set of Cogelco Yellow interconnects
(balanced) from preamp to power am-
SA250
Classé
$875 MicroMega Duo 2

$Call Mod Squad Prism $275

$795
Vestal (near Binghamton),
plifier. The hi-wire loudspeaker cables Counterpoint SA100 $495$695
Museatex CD-3 New York 13850
SA220 $1595 CDD1 & BS-1 61195
consisted of Sumac° OCOS HFC Im- Forte 4A $995 PS Audio Datalink 11 $195
NEW address:
pedance Stabilizer. Comparisons were Futterman OTL $3895 Parasound DAC 1000 $495

made to aRotel RHT-10 and Fanfare Gryphon S100 $4395 Sonic Frontiers $Call Post Office Box 501 ,
Krell KMA-100's $2495 Theta $Call
Model 1FM tuner. The 'scope trace had KSA-50 $1195 Wadia 15 $1995 Vestal, NY 13851-0501
More Equipment:
32X $749
been restored to its original brightness, KSA-150 $2395
64.4 $1895
KSA-250 $3195
and could be easily seen across aroom KSA-300S $5195 Featuring products from: Accurus.
with sunlight pouring in. Levinson 333 $5795
20.6 pr. $8795 Basis Debut Gold $4495 Acoustic Research. Apogee.
23.5 $2995 Goldmond Studio Aragon. Audio Alchemy. Audio
Listening: The FM Reference Classic ML 2 Mono's $3195 $1995
wrr3B
Control. AudioQuest. Audio
pulled in 63 stations, while the Rotel McIntosh MC 75's $2495 Klyne SP-1 $
OCM 500 $1995 Levin so n 25S $2519955 Research. B&K. B&W. Bryston,
RHT-10 picked up only 58. The Classic Sumo Andromeda 11 $795 Linn LP12 w/LVX $795 Cardas. Carver. Cary.
was able to capture WQHQ in Ocean VAC PA90 M NIB! $1895 LP12 w/SME $595
Magnum-Dynalab $Call conrad-johnson. Counterpoint.
Park, Maryland, some 250 miles away! VTL 225 Dlx w/Blue
Bottle Teslas! $2795 McIntosh MR65 $895 Crown. dbx. Dahlquist. Denon.
On another evening, Ipaired the FM 300 Dlx $3195 Nakamichi 700ZXL $295 Dunlav‘. Duntech, Infinity. JBL.
Reference with the Fanfare Model 1; Pink Triangle Orig. $795
KEF. klipsch. Krell. Levinson.
Sota Saphire
both tuners pulled in 56 stations. The Aragon 18K w/Magnepan Arm $695 Magnum-Dynalab. Marantz,
FM Reference was adept at pulling in w/P&G Pots $695 w/ET2 Arm $1195
Martin-Logan. McIntosh. Proac,
Walker Procenium $Call
adjacent-channel stations whose signals Aurum $1195
Proceed. Quad. Rowland. Sequerra.
ARC LS7 $795
were in the 10-15dBf range. Of the sta- LS38 $1195 Spectral. SOTA. Tannoy. Theta.
tions received with my rooftop antenna, SP9 w/phono $995 ADS 1290s $595
Thiel. VAC. VTL. VPI.
$895 UM Acoustatune $195
nine played with top-quality sound and Aronov LS9000
$Call Clements F1T-7 Rel. $1795 Vandersteen. Velodyne. Wadia.
Audible Illusions
musical material on both the Fanfare BAT VK's $$C39a511 ESB 7/06 $495
Western-Electric. Wilson & many
ET LFT VIII $995
and Day-Sequerra tuners. These includ- B&K Pro 10
$249 Gallo $Call more.
CS115
ed WQXR (96.3) and WNYC (93.9)
FREE condensed
Cary SLP 50 $795 Genesis VI $4995 1
for classical music, and WEIGO (883) CAT SL1 Sig MU $3795 Janus Woofer w/1A $895
Magnepan MGM A's $895
and WQCD (101.9) for jazz. These sta-
$895

catalog!
C-J PF-2
PV12 $1195 MG 3.3R $1395
tions produced static-free signals against Premiere 10 $1895 Mirage BPS 150 $495

AUDIO
a black, silent background. Bass re- Creek P42 $349 M3 $1095
NHT 1.3 w/stands $349
Counterpoint SA-1000
sponse on the Classic showed excep- w/ phono $495 Wilson Watt 5Pup 2 $7495
tional punch and solidity. As always, lis- SA-2000 NIB! $1195
tening to orchestral music on WQXR Hatler 915 w/phono $295

CLASSICS
Krell KSL w/phono $1195 Audio Ouest
nude the tuner's sonic transparency im- KRC-HR demo $4595 Diamond 1m XLR $449

mediately apparent. PAM-1 $595 Diamond 1.5 XLR $695

Levinson 38 $2695 Ruby 1m RCA $49
Overall, the Day-Sequerra Classic 38S $3995 Topaz 1m RCA $35
upgrade yielded amuch brighter 'scope
trace, much-increased signal sensitivity,
Sonic Front. SFL-2 62395 Gerdes Lgt. Spd.
Threshold Fet Kimber PBJ 1M
$49
$39 Buys- Sells-Trades
and awider faceplate. The combination
9's 8 10's SCall MIT Term 3 Dgtl.
$875 NBS Dk. Blue 8ft.
$55
$595
Clean, Tested, Guaranteed
VAC VLS
of improved RF performance and 'scope YBA 3A $1195 Tice Titan $995 High End Equipment
UHOR Telarc etc. eel'
replacement is awise investment for any IMO Valid Pts. Kit Since 1979
current owner. Best of all, the upgrade $1095 XL0 .5 6tt. bi $C19 5

607-766-3501
$ a8
ARC DAC2
New equipment arnves
does not affect the Day-Sequerra tuner's CAL
$1295 please call d your are looking
C-J Premiere 9
audio section, which remains one of the or something not listed.
www.audioclassics.com
finest-sounding available.
—Larry Greenhill
YEA
A
Trades and
Consignments welcome. en E-mail:info aaudiocIassics.com

Stereophife, January 1998 191

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L
ooking back on the year in music, According to some, retail is up compared (Columbia CK 68556).
1997 was, first and foremost, ayear to last year. As for the labels, one set of And there were several outstanding
for conapts. First, there was the ir- numbers shows sales up slightly; another discs that, with one exception, didn't make
resistible force of the Spice Girls — leggy, shows sales down by nearly the same it into the magazine —call it the "Lost in
toothy, scantily clad, they were too margin. Suffice it to say, there's no clear the Shadows" list Unless otherwise noted,
cheeky and bounteous for words. Clas- agreement on what's happening. everything listed below was a1997 release:
sical music trotted out concept-driven Stats aside, if you've walked into a
crossover discs by the likes ofJoe Jackson record store this year — and most people, JOHN PRINE: Live on Tour (Oh Boy
and Sir Paul McCartney while aclassy array Stereophile readers excepted, probably did- 015CD) The artist and tide about says it all:
of rock performers wrestled with Ktin n't—you can sense that (with apologies to A wonderful, whimsical songwriter and a
Weill tunes on the SepteniberSoigs compila- Sony) it's been abad year at Black Rock. loveable, chain-smoking performer; John
tion. Back in rock there was Chumba- No huge stars emerged anywhere. Both Prine runs through 15 tunes from his more
wamba, acolorful conglomeration who, classical and country music remained recent studio albums.
after laboring in obscurity for nearly 20 becalmed in the doldrums. Dance music VARIOUS ARTISTS: Great Jewish Music
years, suddenly popped out thanks to their —which is, by definition, disposable — Burt Bacharach (Tzadik 7114-2)
delicately tided single, "Tubthumper," went a long way toward saving the A lot of out-there concepts like this die
which featured arelendess beat and vocals majors' bottom lines. ugly, unlisœnable deaths, but this one, on
howled through abullhorn. Lastly, there The other thing that saved 1997 was John Zorn's Tzadik label, works in an
was the largest-selling single in music histo- catalog. That applies across every genre. avant-jazz kind of way. Marc Ribot, Dave
ry (au revoir, Bing and the Beades): Elton Many of this year's most significant releas- Douglas, Kramer, Yulca Honda, Sean
John's crass, strike-while-the-grief-(not- es were reissues: old recordings hauled Lennon, Lloyd Cole and Medeslci, Martin
to-mention-the-corpse)-is-still-warm out of the vaults, remastered and repack- & Wood are some of the anarchists who
"Candle in the Wind." In some ways it's a aged, mostly in grand boxed-set fashion. put an angular spin on Badiaradi's usually
fairy tale: aprincess gives her life in aParis The bi 141 estazz buzz of the year was the smooth music.
tunnel to rescue the foundering music busi- reissue of five of Miles Davis' electric BACKSLIDERS: Throwin' Rocks at the
ness. It's all in the concept albums from the 70s. In classical music Moon (Mammoth/Atlantic 9274-2) Roots
It surprises me, however, that in their you could take your pick: DG's Bee- rockwith an edge.
rush to package and process, the big A&R thoven behemoth, Sony's Masterworks OFFENBACH: Les Contes d'Hoffman,
gurus missed the most intriguing concept Series, EMI's centenary boxed set or their (Erato 14330-2) Recorded in 1996, this is
of all: Leo Eides, The Whistling Virtuoso, massive Callas reissue project, the New my opera choice for the past year or so.
aman known to friend and fowl alike as York Philharmonic's historical reissue With Roberto Alagna as astrong lead and
"The Living Flute." Earlier this year I opus, or BMG's continuing trove of Ken Nagano conducting, this version
received adisc of the good Mr. Eide's releases from the vaults of Russia's Mel- doesn't quite equal Richard Bonynge's, but
warblings (BIS NL-CD-5001), and I ocliya label. In rock, the Hendrix reissues it's close. (Reviewed in the January 1997
have to say that hearing him whistle and the continued churn of Dick's Picks Stereophile.)
Mozart's "Jupiter" Symphony is an expe- Grateful Dead reissues were arguably the JOHN FIELD: Piano Concerto 7, Music for
rience unlike any other. Accompanied by year's bi est events. Strings & Piano, Vol.4; Micaél O'Rourke,
apianist, this Wagnerian-sized whistler As I've mentioned in previous col- piano; London Mozart Players, Matthias
whoodles his way through pieces by umns, I'm agreat believer in the idea Barnett (Chandos CHAN 9534) Sure, it's
Mozart, Beethoven, and Grieg, among that there's lots of good new music out dreamy and playful, but when you're in the
others. As concepts go, the man's kicking there—you just have to look. When mood for that kind of thing, this disc hits
butt and whistling naines. Although he the choices are as bleak as they were the spot
doesn't sing through abullhorn, he prob- this past year, the search takes on a KIM RICHEY: Bitter Sweet (Mercury 314-
ably has an Adam's apple the size of a more difficult edge. My personal Best 534 255-2) A genuinely talented song-
bocce ball. And while he can't match the of 1997 list includes many of the choic- writer and apowerhouse singer; Richey's
Spice Girls' more, uhh, obvious attributes, es detailed in Stereophiles "Recording of at the top of the music world's much-tout-
he does wear amean porkpie hat. If Baby the Month": The Delevantes' Postcards ed female renaissance.
Spice can hold the world's attention, then from Along the Way (Capitol 856179 4,
Leo Eide can at least whisper — er, whis- Guy Clark's Keepers (Sugar Hill 1055), What do the music world's current trou-
tle in its ear. Am Iserious? No, but then, and Delbert McClinton's One of the bles really mean? History makes it simple.
what sense do the Spice Girls make? Fortunate Few (Rising Tide RTD- The music business is extremely cyclical,
So how bad is it? Well, the numbers 53042). Several albums Ireviewed in and so will eventually find the talent, focus,
seem to say different things depending on the music section also belong on the and drive to bounce back. There is no
who's reading them. The Recording list, headed by Steve Earle's El Corazón embedded crisis, no dark trend, and 1997
Industry Association of America's num- (E-Squared/Warner Bros. 46789-2) was not the harbinger ola long downslide.
bers don'tjive with Sowidscan's numbers. and Bob Dylan's Time Out of Mind Just wait 'til —well, this year

Stereophite, January 1998 193

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HeadRoom Home Headphone Stuff:

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Recommended Components List, Class "B",
C. Loves his portable headphone Vol.19 No.10, Oct 1996
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 Building A Library
Mortimer H. Frank

The "Unofficial" Toscanini

T
he completion of RCA's 82-CD
2
Toscanini Collection in 1992 was a
major event. For the first time,
nearly all of the conductor's commer-
cially released recordings were available
simultaneously. (The small number he
made for HMV in the late 1930s subse-
quently appeared on CD under the
imprints of other labels.) With the RCA
package it became possible to learn how
Toscanini's multiple recordings of such
individual works as Beethoven's "Ero-
ica," Schubert's Ninth, and Brahms's
First symphonies (to cite but a few
examples) revealed aconductor whose
interpretive views were in constant flux.
Certainly that Collection proves the apt-
ness of the characterization "self-dissat-
isfaction" used by Toscanini's able biog-
rapher, Harvey Sachs, to define the con-
ductor's response to his own work.
But the RCA recordings do not tell
the whole story. For one thing, many
were produced toward the very end of
Toscanini's unprecedentedly long 68-
year career, when his command and
intensity were waning. Then, too, his
repertory was considerably broader
than his "official" discography suggests.
Fortunately, all of his broadcast per-
formances during his 17 years (1937- performance (issued on dell'Arte 9022) Symphony and Strauss' Ein Heldenleben,
54) with the NBC Symphony have remains remarkable for its clarity, conti- both from 1941 broadcasts and embody-
been preserved, as have many concerts nuity, and gemütlich grace. Indeed, the ing Toscanini's only performance of
he gave with other orchestras. A num- gorgeous legato phrasing in the finale each work with the NBC. The Men-
ber of these have surfaced on indepen- reveals the conductor's often-over- delssohn is amodel of unaffected sim-
dent labels, fleshing out even further the looked capacity to convey delicacy and plicity (Music & Arts CD-268, 2CDs,
remarkable dimensions of the RCA charm. officially out of print but still findable).
Collection. These "unofficial" releases fall Equally revealing are two NBC per- The performance underscores the com-
into two categories: Those devoted to formances of Schumann's Symphony 2. poser's classical roots; the finale, in par-
works for which no "approved" For one thing, Toscanini's many ticular, is stated with awelcome direct-
Toscanini recording has been issued, retouchings of the composer's orches- ness that avoids the sentimentality
and those that provide revealing glosses tration give the lie to the simplistic sometimes imposed on it.
on his RCA recordings. notion that he played things "exactly as Toscanini's Heldenleben (Music & Arts
Paramount among the first group are written." Moreover, his tempos, if CD-754) is even more impressive. If it
works by Schubert, Schumann, Men- unorthodox, are not always "faster than lacks some of the rhetorical flair dis-
delssohn, Brahms, Richard Strauss, and usual" — the work's finale is projected played by Willem Mengelberg (to
Sibelius. Younger collectors may not be with uncommon breadth. Both of his whom the work is dedicated) in acele-
aware that it was not until the LP era NBC performances (1941 and '46) can brated New York Philharmonic record-

r
that all of Schubert's symphonies were be had on CD. The earlier one, in its ing from 1928 (RCA 60929-2), it re-
recorded. In 1938, when Toscanini gave geater control and precision, is superior tains aclarity and power free of the rau-
the first of his NBC broadcast perfor- rammofono 78544), but the sound of cous rattle that some conductors permit,
mances of the composer's Symphony 2, the later account (the dell'Arte disc) is the relatively lean sonority that Tos-
the work was virtually unknown. Heard marginally better. canini favored enriching the overall
in the context of the many recordings it Less unorthodox but equally com- effect. Also interesting is that this was
has subsequently received, that 1938 pelling are Mendelssohn's "Scottish" one of the broadcasts in which NBC

Stereophile, January 1998 197

Building A Library

attempted to correct the notoriously dry Berlioz, Liszt, and Ravel. The conduc- Arts CD (CD-614) that is technically
acoustics of Studio 8H by inserting syn- tor's only surviving performance of out of print but may still be found in
thetic reverberation into the transmis- Boléro (from 1939, Music & Arts CD- many larger stores. It is well worth pur-
sion. The result was asound more redo- 898) is arevelation, if only because it suing, especially as it includes awhite-
lent of Carnegie Hall and superior to refutes the composer's accusation that hot 1939 broadcast of Toscanini's first
that of many commercially released Toscanini played the work "twice as NBC performance of Harold in Italy,
recordings of the period. fast" as it should go. Admittedly, Tos- with violist William Primrose as soloist.
Less impressive sonically but equally canini's performance is faster than the One other work with which
worthwhile musically is Toscanini's only one recorded by Ravel, but not any Toscanini is never associated deserves
NBC performance of the Gertnan Req- more so than those of many other con- comment — the Overture to Meyer-
uiem, which crowned his 1942-43 ductors. Worthwhile, too, on the same beer's Dinorah. Toscanini had led the
Brahms cycle (Memories 4164). Sung in disc is the first of two Toscanini broad- entire opera during his years in the the-
English, it offers, in its unorthodox pac- ater, and his 1938 NBC broadcast of its
ing, prime refutation of George Bernard Those who think of overture marked the only time he
Shaw's notion that the work "could only turned to the music in the concert hall.
come from the establishment of afirst- Toscanini primarily as the It is athoroughly uneven but fascinating
class undertaker." The second section is piece. Suggesting amixture of Berlioz,
remarkable in its sustained grimness, purveyor of fast tempos, Beethoven, and Mendelssohn and run-
and textures are well defined, clearly ning to roughly 15 minutes, it is highly
contradicting the once-held notion that thunderous fortes, and episodic and strilcingly unusual in its use
Brahms' orchestrations are "thick." As a of an offstage chorus. Of greatest signif-
result, the pompous Victorian halo in
explosive climaxes icance, it is arevealing relic of an evanes-
which this work is sometimes shrouded will discover how cent French grand-opera tradition, and
is lifted, exposing the music's wide emo- Toscanini's tautly organized perfor-
tional range and stark dramatic impact. he could be equally mance (preserved on dell'Arte 9021)
Also unique among Toscanini's NBC lends it welcome unity.
broadcasts is a1940 performance of the impressive in sustaining Among the releases that provide
Sibelius Symphony 4, an account re- glosses on RCA's Toscanini Collection, two
corded by RCA and approved by the asubdued ethos. Music & Arts sets shine as indispensable
conductor for release but never "offi- for anyone interested in the repertory
cially" issued. As heard in afine-sound- casts of La Valse, areading from 1940 involved: the towering 1940 broadcasts
ing Music & Arts edition (CD-755), it that brings out all the astringent irony of of Beethoven's Mina Solemnis (CD-259)
reveals the work as amajor masterpiece Ravel's sardonic updating of the 19th and Verdi's Requiem (CD-240). For one
of the early 20th century — a more century's most popular dance. thing, they are preserved in exceptional-
northerly equivalent of Mahlerian At atime when Liszes Les Préludes ly fine sound for their vintage. More
malaise purged of excess and made all was the tone-poem by the composer important, both feature finer soloists
the more expressive by its muted gloom that most conductors favored, Toscanini and better, more richly inflected perfor-
and the sustained concentration of avoided it, turning instead to the less mances than do the familiar RCA ones.
Toscanini's conception. extroverted, less familiar Orpheus and As aresult, these earlier accounts prove
One of the aspects of Toscanines later From the Cradle to the Grave, both avail- far more three-dimensional in their
career was his consciousness of style and able on dell'Arte 9024. Those who greater breadth, drama, and expressivity.
his interest in unfamiliar works by think of Toscanini primarily as the pur- Certainly the close of the "Gloria" in
major composers. A quintessential veyor of fast tempos, thunderous fortes, this 1940 Mina has asustained cumula-
example of both occurs in his only and explosive climaxes will discover in tive impact that Ihave never heard
NBC performance of Haydn's Sym- these performances how he could be duplicated, either on disc or in the hall.
phony 31, recorded in 1938 during the equally impressive in sustaining asub- Although several editions of each per-
conductor's second season with the net- dued ethos. formance have appeared, those from
work. At the time, early Haydn sym- One of Toscanini's most distinctive Music & Arts offer the best sound. Each
phonies were almost unknown, and (and often forgotten) virtues was his is atwo-CD set, the Verdi also including
conductors of Toscanini's stature almost championing of Berlioz at atime when that composer's Te Deum, which began
never turned to them. As heard on the composer was often viewed as an the 1940 broadcast featuring the Requiem.
Relief 1831, the performance reveals eccentric creator of oversized works. In It is Toscanini's "official" recordings,
how he recognized the need for asmall fact, it may surprise some to learn that of course, that have become the prime
ensemble supported by harpsichord the first 20th-century performance in source of his reputation as aBeethoven
(played here, incidentally, by athen- the US of the composer's Roméo etJuliet interpreter. Fine as some of those are —
newcomer to these shores named Erich did not take place until 1943, when notably the 1936 Symphony 7with the
Leinsdorf). Here, indeed, is aprime Toscanini led it with the New York New York Philharmonic, the 1937 BBC
example of how Toscanini, in favoring Philharmonic. It and all of the other "Pastoral," and the 1953 NBC “Eroica"
reduced forces, minimal vibrato, and Berlioz works that he directed at NBC several of his currently available in-con-
balances that keep the work's four arc part of his "official" discography, cert performances do him (and Bee-
horns well forward, anticipated prac- save one: the overture to Les Francs-Juges, thoven) greater justice. Especially distin-
tices that later were to be popularized abeautifully sculpted 1941 broadcast guished are Symphonies 2 and 4 from
by the period-instrument movement. account that underscores the often his 1939 NBC Beethoven cycle (Relief
Also adding dimension to Toscanini's ignored lyricism that was part of the 1861 and 1871). In their greater inflec-
career are NBC accounts of works by Berlioz style. It was available on aMusic & tion and inclusion of first-movement

198 Stereophile, January 1998

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 Building A Library

repeats, both surpass later NBC efforts, exist in the conductor's 1945 studio mances from the aforementioned
and both are preserved in reasonably recording. And chary as Iam of superla- 1942-43 cycle. Sonically, all four suffer
good sound: somewhat cramped, but tives, Ido not hesitate to label the from bass deficiencies and the acoustic
well focused and fairly wide range for Brahms the most compelling perfor- dryness of Studio 8H. In addition, there
the vintage. Equally impressive is a1933 mance of the work Ihave ever heard. is some fuzzy distortion in Symphony 1
Symphony 5with the NYP (Music & Rhythmically free yet tightly controlledand badly skewed balances in 2, in
Arts CD-684). If somewhat lim- which winds and brass often
ited in frequency and response, e obliterate strings. All the same,
the sound is nonetheless listen- with the possible exception of
able, and the performance, Symphony 2, each of these per-
though lacking a first-move- formances adds dimension to
ment repeat, boasts an expansive Toscanini's Brahms. Indeed, if the
grandeur and power that will sound of this Symphony 3proves
surprise those who know somewhat less arresting than the
Toscanini's way with this score Maestro's 1940 performance
only from his 1952 NBC version. (which took place, incidentally, in
Even his superior 1939 NBC the acoustically superior Car-
recording proves less expressive negie Hall), it remains more flexi-
than this NYP account. ble yet more incisive than either
Not to be overlooked is a of the conductor's two (admitted-
buoyant 1946 performance with ly admirable) studio versions.
La Scala Orchestra of Beet- Note, too, that the second move-
hoven's Symphony I (Iron ment of Symphony 4 features
Needle 1372) that offers more moments of haunting serenity
precise execution than does that Toscanini did not duplicate in
Toscanini's 1937 BBC recording his 1951 recording.
of the work, and more grace and Another significant perfor-
wit than are present in the 1951 mance recently released is a
studio production for RCA. 1940 NBC broadcast account of
Included in this Iron Needle Tchaikovsky's Manfred symphony
CD are performances from the (Music & Arts CD-956). Al-
same concert of the Prelude to though repelled by some of
Wagner's Meistersinger and Beet- Tchaikovsky's music, Toscanini
hoven's Egmont Overture, which, was astaunch champion of this
if not necessarily superior to work, saying "there is not abanal
Toscanini's studio efforts, prove interest- and animated by slashing accents, sharp moment in it." He then proceeded to
ing for their slower tempos. So, too, the motivic profile, and uncommon textural make several cuts in the score, including
finale of the Beethoven Symphony 9, definition, it packs adramatic wallop an excision of nearly 12 minutes from
from a 1938 Carnegie Hall perfor- that leaves one limp. the finale. Still, as his well-recorded stu-
mance with the NBC Symphony (avail- Almost as arresting is Toscanini's dio version of 1949 attests, his way with
able in remarkably good sound on 1952 concert performance with the the music is at once powerful and in-
Music & Arts CD-3007). Philharmonia Orchestra of London of tense, yet songful and tender where apt.
Toscanini has, of course, always been Brahms' Symphony 3. Attending that What sets this 1940 broadcast apart
acknowledged —even by his detractors — concert was EMI producer Walter from the 1949 effort is its even greater
as amaster interpreter of Rossini. But Legge. When the symphony concluded, power and sweep, the second move-
just how very good he was cannot be he turned to acompanion and claimed, ment emerging with a fleet, almost
fully appreciated unless one hears Relief "That's the greatest performance Ihave Mendelssohnian lightness that is breath-
1884, devoted to seven overtures drawn ever heard of anything." In its breadth taking in its virtuosity. For any one
from various concerts broadcast between and sweep, it easily transcends Tos- interested in Manfred or Toscanini, this is
1938 and 1951. Most revealing are La canini's 1952 RCA recording with the aperformance not to be missed.
Cenerentola (1938) and La gazza ladra NBC Symphony, which, owing to limp There are, to be sure, other revealing
(1941), both displaying greater flair, rhythm and lethargic tempos, is proba- "unofficial" Toscanini releases that spe-
grace, control, and color than do the bly the weakest of the conductor's sur- cialized collectors may wish to investi-
conductor's studio versions. And La scala viving accounts of the work. Moreover, gate. But as one who is intimately famil-
di seta (1949) is heard to much better the Philharmonia boasts a heft and iar with all of Toscanini's NBC broad-
sonic and interpretive advantage here tonal allure that the NBC Symphony casts and most of the rest of his pre-
than in Toscanini's 1930 BBC recording. could not match. Among the few CD served work, Ibelieve those touched on
Those who have taken Toscanini's editions of this performance, the one here offer the greatest musical value to
studio versions of the Mozart "Jupiter" included in Toscanini's London Brahms the widest audience. If not competitive
and Brahms First symphonies to be typ- cycle of 1952 offers the best sound sonically with today's best engineering,
ical of his view of them may be shocked (Hunt 524,3 CDs). they remain interpretively transcendent,
to hear broadcast accounts from 1940 of Worth hearing as well is anewly and prime examples of Harvey Sachs's
both (Music & Arts CD-833). The issued two-CD set (Music & Arts CD- description of Toscanini's best work:
Mozart features more expansive pacing 955) featuring the four Brahms sym- "communication on alevel undreamed
and greater freedom and precision than phonies in NBC broadcast perfor- by most performers." 111

Stereophile, January 1998 201

 --rActo[410
v
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 Record Reviews

Recording of the Vonth

news on that front: Jerry Boys told me he recorded
Introducing Rubén Gonsález and A Todo Cuba le Gusta by The
Afro-Cuban All Stars, featuring Cachaito, at the same ses-
sions.) Additionally, Compay Segundo, the 90-year-old
composer and master of the annonico (a seven-stringed gui-
tar that features adoubled G string for added harmonic
resonance), served as the unofficial leader for the sessions.
Says Cooder, "He's the source from which it flows.... As
soon as he walked into the studio, it all kicked in.... He
knew the best songs and the way to do them because he's
been doing them since the end of WWI."
Buena Vista Social Club is one of the most natural-
sounding recordings you'll ever hear: voices, piano, per-
cussion, string bass, families of guitars, and brass instru-
Ry Cooder (center) and the other members of the Buena Vista
ments ring forth in alarge reverberant space, and it sounds
Social Club performing live in the UK. relaxed, as familiar as your favorite jeans. A sense of space
predominates. The musicians were recorded in alarge,
MUSIC OF CUBA: Buena Visto Social Club
World Circuit/Nonesuch 79478-2 (CD). 1997. Ry Cooder, prod.; Jerry Boys, en&
reverberant room, but the sound is clear, focused, and
MD. TT: 60:09 immediate. The bass is rich and deep, but not crisply artic-
Performance: ****1/2 ulated. There's alot of warmth and bloom. How on earth
Sonics.
did Boys manage to strike such anatural balance?
"Egrem Studios, where we recorded, has abig, wonder-

T
luough the years, Ry Cooder has introduced his fans
ful-sounding, wood-paneled room built by RCA in the
and listeners to an astounding variety of musical forms
'40s for recording big bands. It's very large: 60' by 40' by
drawn from the farthest reaches of America and the
30' high, and it has avery nice ambient sound.
world. From his first Reprise records, which combined Tm
"The essence of the recording is one pair of ambient micro-
Pan Alley descriptions of the Depression ("One Meat Ball")
phones. When Ry came on out, we had atalk about his phi-
with obscure agrarian protest songs ("How Can aPoor Man
losophy for recording this disc: He wanted it to sound live as
Stand Such Times and Live" and "The Farmer is the Man"),
well as alive., he wanted everyone to play without headphones,
through his discovery/explorations of zydeco, norteño, and
and he would be there in the studio, playing and ac[justing lev-
Hawaiian slack-key guitar, Cooder has opened the ears of his
els to balance in the studio. And he wanted to hear the mom.
followers to musical riches most people never dreamt existed.
"Eventually we ended up with apair of Neumann TLM
That's why it makes so much sense that Nick Gold at
170 omnis as high as we could get them, something like 20'
World Circuit/Nonesuch—labels with deep, deep catalogs
in the air, up in the corners of the room. That's about as
of world and ethnic music—sent him abroad with engineer
over-the-top ambient as you can get. We did close-mike
Jerry Boys to record the revelatory world of "old-school"
some stuff—you have to on the vocals, of course, but the
Cuban jazz. Talk about building on strengths.
sound was really built around that pair of Neumanns get-
One can quickly sense how rooted this music is. The
ting the room sound. We'd use the ambient mikes for that
musicians play together so easily, it's as if they were gossip-
[sound], then fill in whatever wasn't clear."
ing over their backyard fences. Many of the songs chosen are
And how did Boys and Cooder manage to keep the
old forms—sones;' boleros, danzóns, tumbaos, traditions that
proceedings so low-key? "My job was to try to record
were old before Castro came to power —yet one never feels
them without them knowing it, almost. Ry is good at that.
the stultification of genre. This all sounds fresh-made new.
He'd get them comfortable and in the groove, and then
It would be hard to play favorites among this musical
he'd give me anod or awink and we'd record. We were
cast, but three musicians do stand out 77 year-old pianist
blessed by wonderful musicians, especially Ry."
Rubén Gonsález and the amazing bass player Orlando
Blessed is the right word. Buena Vista Social Club is one ofthose
"Cachaito" López. Both men exhibit such rhythmic ease,
magical records where everything seems to click. The music is
as well as marvelously distinct musical personalities, that I
slightly exotic, yet familiar The performers are outstanding. And
can't imagine any listener not demanding more. (Good
Ry Con-it-As musical vision of making everyone relaxed, so that
all they worried about was playing, was right on the money The
1Sows are intensely poetic songs filled with complex imagery and flights of elo- rich stew of traditional Cuban music, nicely stirred by Cooder
quence. The only American song form that approaches it in diversity is the blues, and beautifully presented by Boys, is ambrosiaL Buena Vista Social
but most blues lyrics, expressive as they arc, seem like doggerel compared to the
elaborate inventions of the son. Club isn't merely arecord, it's nourishment. —won Phillips

Stereophile, January 1998 205

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 Record Reviews

classical
ferent tnne and recording venues are not
normally problematic for record compa-
nies, we do have problems here. Idon't
mind the stage noises, but the ambience
BACH and volume levels change often and dras-
The Six Partitas, BWV 825-830
tically enough to be noticeable and jar-
ring. And worse, what Iconsider to be
Angela Hewitt, piano
Hyperion CDA67191/2 (2 CDs). 1997. Otto Ernst
paramount in any recording or perfor-
Wohlert, prod.; Ludger Bockenhoff, prod., wig. DOD. mance of this wonderful opera is miss-
TT: 2:23:12
Performance ****
ing: atmosphere and mystery. Voices are
Sonics ***1/2 invariably too forward, too loud, too in-
your-face: Pelléas seems to be yelling at

F
antasy is not aquality one often his entrance and never quite calms down,
associates with aperformance of so busy is he projecting the text and emo-
Bach's keyboard music. More tions. And Mélisande comes across about
often, one thinks of sobriety, historical as enigmatically as Cindy Lauper —
authenticity, control of counterpoint, and Delünsdi may not be the subtlest or
other cerebral matters. During the hey- most waiflike of Mélisandes, but she's
day of Glenn Gould and Sviatoslav sabotaged by the recording as well.
Richter, one could also talk vaguely All this is apity, since the perfor-
about eccentricity and spirituality. Now mance is on auniformly high level
we have the young Canadian pianist New answers from an old master: Angela Hewitt (French has rarely sounded more elo-
Angela Hewitt, who dares to ask what finds fresh meaning in Bach.
quent), and the orchestral playing and
this music means, and comes up with leadership are absolutely first-rate.
some personal, imaginative, and utterly Amid the breathtaking logic of his Casadesus's pacing is just right; he
communicative answers. fugues was a more gnarled, tortured captures Debussy's colors and mood
From the beloved opening bars of the side that one most often finds in his changes beautifully, always underpin-
first Partita, one senses amusician with infrequently performed cantatas. Some ning the characters' troubles and pas-
every trill well in hand but adesire to of that quality is found in the Partitas — sions; and the Lille orchestra naturally
look beyond them. Though the Prelude especially in 6, with its fat, minor-key has the French impressionist style in
is less than two minutes long, amodest, chords and rhetorical pauses that even its blood.
abstract, but palpable narrative emerges the best kcyboardists don't always know Gérard Théruel's high-baritone Pel-
as the different voices make their fugal what to do with. With Hewitt, it's high- léas is near ideal for the parr, had he not
entrances, like characters in adrama ly dramatic stuff, each musical para- tried to sing to the gallery, his might
announcing themselves. While they're graph building on the last. But even the have been aperfect performance. The
speaking much the same lines, they're opening Toccata doesn't prepare one for same might be said of Delünsch's Méli-
doing so differently, especially with the the reprise of this thematic material in sande, avalid portrait in and of itself.
humor of the bass voice, which is the the Sarabande, which becomes ariveting Armand Arapian's Golaud is absolutely
last to emerge and does so with alittle soliloquy as confiding as anything Bach right, both pitiable and frightening;
bit of irritability, but a light step ever wrote. perhaps his voice records more truly.
nonetheless. All of this is done with Though Hewitt is not treated to the The Geneviève and Yniold are excel-
none of the tempo exaggerations that kind of radiant sound quality that the lent, and abonus is Gabriel Bacquier's
were found in Richter and Gould. more Apollonian András Schiff enjoyed Arkel — vivid and looming.
Furthermore, everything is accom- in his Bach series on the London label, Iwish Icould be more positive about
plished within a tastefully limited the engineering here is honest and this bargain release (even on three CDs,
dynamic range that reminds you these straightforward, revealing Hewitt as it's cheaper than the two-CD competi-
works were written before the piano nothing less than the pianist who will tion), but with the voices so aggressive-
was invented. define Bach performance on piano for ly close and loud, it's very hard to get
This is not to say that Hewitt attempts years to come. —David Patrick Stearns the correct perspective on this opera.
to turn some of the more modest, Worth hearing, but not anumber-one
dancelike movements into three-act choice. -Robert Levine
dramas, though she does give them
. DEBUSSY
exceptional character, building and Pelléas et Mélisande
relaxing the tension with adeft use of ELGAR
Mireille Delünsch, Mélisande; Gérard Théruel, Pelléas;
dynamics. She also has seemingly flaw- Armand Arapian, Golaud; Gabriel Bacquier, Artel; The Ultimate Collection
less rhythmic instincts that never fail to Hélène Jossoud, Genevieve; Françoise Golfier, Yniold;
Choeur Regional Nord/Pas-de-Calais, Orchestre Andrew Davis, BBC, Symphony Orchestra; Arto Noras,
give the melodic lines contour and per- National de Lille-Region Nord/Pas-de-Calais, Jean- cello; lukka-Pekka Saraste, Finnish Radio Symphony
sonality. Whether or not her sense of Claude Casadesus Orchestra; Edward Higginbottom, The Choir of New

*.
Naxos 8.660047-9 (3 CDs). 1997. Andrew Walton, College, Oxford
ornamentation is correct according to prod. DOD. TT: 2:37:00 Teldec 17785-2 (CD). 1997. No prod, or eng. listed.
this year's musicological fashion, they're Performance **** DOD. TT: 73:48
Performance ***
so well integrated into her interpreta- Sonics
Sonics ***

T
tion that they have an absolute sense of his set was recorded in Lille

F
emotional rightness. between the 15th and 23rd of irst, you should know that this
But she's at her best when Bach was March 1996, during live perfor- "ultimate collection" is merely a
at his worst, temperamentally speaking.. mances and in the studio, and while dif- sampler of some of the orchestral

Stereophile, January 1998 207

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208 Stereophile, January 1998

 Record Reviews

works of 20th-century English compos-

er Edward Elgar. Many of the tracks are
excerpts from larger works; some
of these fade out before the work or
movement is finished. One track is a
"choral arrangement" of "Nimrod"
(to the text "Lux aeternal from the
Enigma Variations.
These selections, from various record-
ings by the BBC Symphony, together
make a reasonably pleasant hour-plus
listening session. But the recording pro-
gram is not "ultimate," nor is it for any
listener who hopes to gain, by purchas-
ing this single disc, all the Elgar they
think they need or should have. Pre-
suming that this recording is intended
for novices looking for aquick introduc-
tion to this most accessible of composers,
it's inexplicable that there are no liner
notes to lead them to any knowledge
of the music. Although we're treated to
complete versions of "Pomp and Cir-
cumstance March No.4," Sospiri, Chanson borah sVe
de matin, Chanson de nuit, and Salut
d'amour, we're left with disappointing PhilhermonikeGiuseppe Sinopoli
fadeouts of the more famous "Pomp and
Circumstance March Nol," the Intro- neers have caught the excitement and as Aegisth. The others in the cast
duction and Allegro for Strings, and a virtuoso playing with great expertise. In are excellent.
movement from the Cello Concerto. addition, the deft, sneaky ways Strauss If you've always wished Elektra were
Of course, the performances are has of creating tension — the subtle and another of Strauss's orchestral works,
respectable and sometimes exceptional not-so-subtle buildups — are foremost this set will make you very happy. As
(Sospiri, the two Chansons, Introduction in the conductor's mind. someone who loves this opera, and
and Allegro), although the uninspiring But there are things awry. Because the despite Marc's gorgeous voice, I'll stick
Cello Concerto excerpt wouldn't send balance favors the superb Vienna Phil- with Bohm, Solti, or Ozawa.
me rushing to the record store to buy harmonic, the voices are occasionally — Robert Levine
the complete recording. As you might buried, or at least work very hard to fight
expect, recordings produced at so many through the orchestral fiber. Also, their
different times (from 1991 to 1994) and ARCADI VOLODOS
are frequent, unwelcome, and disfigur-
places lead to some sonic inconsisten- ing cuts —even more so than on the old Virtuoso Piano Transcriptions
cies. But this is what we get with sam- Bohm or the more recent Barenboim. Music by Bach, Bizet Liszt, Mozart, Prokofiev,
plers. To its credit, the packaging does What possible reason could there be for Rachmaninoff, Rimsky-Korsakov, Tchaikovsky
clearly describe the disc as a sampler this decision on arecording? Arcadi Volados, piano
Sony Classical SK 62691 (CD). 1997. Thomas Frost,
containing excerpts. But billing Elgar as Inever thought Iwould hear avoice prod. ODD. TT: 61:22
"Britain's greatest composer" is asking for as beautiful as Alessandro Mares in Performance ****
Sonics ****
trouble. It's aclear reminder of which Elektra's music, and it's an incredible

R
department at the label was in charge of treat. Her opening monologue is ravish- ussian pianists, at least the ones
this project. -David Vernier ing — the tone exquisite, the involve- good enough to be heard here in
ment absolute. Late she succumbs to the US, all seem to have fabulous
truly slovenly diction and sporadic scoop- techniques. Whatever you might think
STRAUSS ing (she stops at every note between the of the artistry of Richte4 Gilds, Ash-
Elektra syllables "ver" and "fluchel, but she's kenazy, ICissin, or the legendary Horo-
Alessandra Marc, Elektra; Deborah Voigt, Chrysothemis;
still a fine Elektra — if not as over- witz, their technical equipment has con-
Hanna Schwarz, Klytemnestra; Siegfried Jerusalem, whelmingly potent as Nilsson or as sistently been top-notch. Now, with the
Aegisth; Samuel Ramey, Orest; others; Vienna touching and tragic as Behrens. Voigt's Sony debut of Arcadi Volodos (b. 1972,
Philharmonic, Giuseppe Sinopoli
DG 453 429-2 (2 CDs). 1997. John Fisher, Ewald Chrysothemis is well sung, but the col- and almost the same age as Evgeny
Markl, exec prods. DOD. TT: 103:10 ors in her voice are not varied enough, Kissin), we have another pianist with
Performance **1/2
Sonics **** and the character therefore comes astonishing technical ability.
across as simpler than normal. Schwarz's Volodos plays three of his own tran-

T
his huge, vibrant recording is IClytemnestra is sung rather than ranted, scriptions — two Rachmaninoff songs
ideal for those who wish to savor but, frankly, abit more ranting (some- and afiendishly difficult arrangement
Strauss's incredibly rich orches- where between Christs Ludwig and of Mozart's "Turkish March" — as well
tral palette. Sinopoli, who obviously Regina Resnik) might have been wel- as his adaptation of two famous Horo-
loves this score, has each section play as come. Ramey is a dull, old-sounding witz transcriptions that were never
if it were the only one, and the engi- Orest, and Jerusalem is unrecognizable notated: the Carmen Variations and Liszes

Stereophile, January 1998 209

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 Record Reviews

Hungarian Rhapsody No2. Volodos

shows some nerve in redoing 1 the same song — the tale of an outcast
who, disastrous in love and weary of the
Horowitz but he carries it off well. He struggle, staggers toward his final reward.
may lack Horowitz's raw energy and Musically, this disc has the inescap-
incisive — some might say "steely" — able aroma of Dylan's mid-'60s master-
touch, but by any measure this is works Highway 61 Revisited and Blonde on
pianism of the highest order. Equally Blonde. The &if-611g organ chords and
impressive is the "Turkish March," sentimental lyrics of 'Standing in the
even if it bears no resemblance to Doorway," for example, could fit
Mozart's style and aesthetic. among the ballads on Blonde In another
Volodos also includes three Liszt tran- glance backward to familiar ground,
scriptions of Schubert songs ("Litanei," many of the tunes here are blues or
"Aufenthalt," and "Liebesbotschafel and blues-inspired: the upbeat "Dirt Road
three Prokofiev transcriptions from his Blues," "Million Miles," 'Til IFell in
ballet Cinderella. None of these seems Love with You," and several others.
worth the effort as the originals are more 'Tryin' to Get to Heaven" is the spir-
interesting. Other works, though, like itual center of this disc, and one of
Cziffra's version of "Flight of the Bum- Dylan's best songs in years. It plows
blebee" and Samuel Feinberg's Scherzo deep into the whole 'goin' down the
from Tchaikovslcy's Symphony 6, are Better off dead? On Time Out of Mind Dylan road" theme that pervades the album.
effective and lots of fun. would like you to think so.
Stocked with images of bygone Ameri-
It's too early to say whether Volodos cana like 'ridin' in abuggy with Miss
will go beyond technical wizardry to the sugar down" — and Iwas moved Mary Jane," this new Dylan classic is
become amusician of real depth. For enough to haul out Blonde on Blonde and sung in adeath rattle that crystallizes
now, he seems capable of doing anything Blood on the Tracks and muse about how Time Out ofMind's downcast emotions.
he wants; Ican't wait to hear him in much I'm going to miss him when he's But just when you're ready to break
works by composers like Beethoven, gone. In atwist typical of the man who's out the black crêpe, the man finds
Schumann, and Chopin. Sonics are rich now made 41 albums, Dylan turns what something more to burn and reek off
and warm, but lack the you-are-there seems to be alot of genuine loneliness, three passionate closers: "Make You
hall feeling you get from Sonata, Robert disconnection, and desire for rest (as in Feel My Love" (where his voice sud-
Silverman's Liszt recording for Stereophile eternal) into the strongest, most consis- denly soars), the grinding "Can't Wait"
—Paul L. Althouse tent collection of tunes he's recorded (again impatient in love, he drops the
since 1989's Oh Mercy. doom and sings "the end of time has just

rock
The whispers surrounding the mak- begun"), and the bluesy, overlong
ing of this disc were promising: lots of "Highlands," in which he mentions
takes, lots of different ideas, more than a Neil Young's name, finds himself a
dozen people playing at any one time. "prisoner in aworld of mystery," and
BOB DYLAN All proved true. The supporting cast is wishes, finally, "someone would come
impressive: guitarist Duke Robillard push back the clock for me."
Time Out of Mind
(Roomful of Blues and The Fabulous When he does die, the term "Dylan
Columbia CK 68556 (CD). 1997. Daniel Lanois, prod.;
Mark Howard, eng; Chris Carrot asst eng. MD? It:
Thunderbirds); Vox, B3, and accordion Bounce" will probably be defined in
72:52 player Augie Meyers (Sir Douglas slang dictionaries as the phenomenon of
Performance ***** Quintet, Texas Tornados); Memphis an artist with astring of inferior, unin-
Sonics ****
legend and keyboardist Jim Dickinson; spired works being written of and

M
aybe it's the metal-scraping- and drummer Jim Keltner (John Hiatt, then, just as the coffin lid is closing, tri-
against-metal voice. Or per- Rolling Stones, you name it). umphantly bouncing back. However
haps the bleak, desolate lyrics Oh Mercy producer Daniel Lanois is much time he has left, Dylan has done
that speak of aman gone over the brink back as maestro. With Lanois, it's a it again. —Robert Baird
of spiritual exhaustion. Whatever the simple choice: either his open spaces
reason, Time Out of Mind has apoint to and layered, murky mix are awonder-
make: Bob Dylan thinks he's gonna die ful, worthy enhancement that sparks SOUTHERN CULTURE
soon. And boy, is he ready. artists or he's someone too willing to ON THE SKIDS
Or is he? Is the broken man whose sacrifice sonic clarity for mood and Plastic Seat Sweat
story this album tells and retells the real emotion. Icredit him with ahandful of
DGC DGCD-25154 (CD). 1997. SCOTS, prods.; Mark
Mr. Zimmerman, or is it just another minor masterpieces, including The WIliams, prod., eng.; Tracey Schroeder, David
crafty façade courtesy of Dylan's song- Neville Brothers' Yellow Moon, Emmy- Puryear, engs. MD? fl': 53:12
Performance ***1/2
writing gifts? lou Harris' Wrecking Ball, and now Time Sonics ***1/2
Call me asucker, but this album gen- Out ofMind.

p
uinely scared me in places. A couple lis- But sidemen and producers are just repare yourself for one of the
tens to Dylan croaking about "tiding the clutter if the songs are bad, and in this understatements of the 20th
midnight train with ice water in my case they are not. Written in Minnesota century: Not taking yourself too
veins," 'going down the road feelin' bad during the winter of 1995 and recorded seriously is avirtue when it comes to rock-
/trying to get to heaven before they in Miami over less than two weeks last 'n'roll. That, in anutshell, is the secret of
close the door" — and the oddest line of January, this body of songs has an unde- Southern Culture on the Skids' success.
all, "I've been to sugar town and Ishook niable "concept." Lyrically, they're all Decked out in bouffant hairdos, dia-

Stereophile, January 1998 211

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 Record Reviews

tune they've ever attempted. And

there's even ahidden track, featuring
Miller rhyming and ruminating on
"plastic seat sweat." If you can't find it,
you ain't missin' awhole lot.
As achronic whiner about the amount
of crap on major labels, Ihave to say the
success of this trio from Charlotte NC
proves that it can be done — roots rock
can survive and prosper on amajor label.
That alone might be reason enough to
love these wacky knuddeheads.
—Robert Baird

WHISKEYTOWN
Strangers Almanac
Outpost OPRD-30005 (CD). 1997. Jim Scott, prod.,
eng. MD? TF: 51:49
Performance ****
Sonia ****

T
he beauty of Whiskeytown is that
this country-rock band doesn't
strain in the least to be country or
rock. One of the most promising outfits
in the still-blooming No Depression
movement (a genre that's proving to be
surprisingly fruitful), the North Caro-
lina quintet's major-label debut is a
study in effortlessness.
Of its ever-growing slew of y'altenia-
tive peers, Whiskeytown most resem-
pers, and Li'! Abner lids, and harboring a Here on their second, decently record- bles Wilco. That's apparent from the
taste for punka/rodca/surfabilly, they're ed, major-label disc, the band continues first track, "Inn Town," aplaintive waltz
goofy, gregarious, and talented. to refine both the rapidly emerging weighed down by asense of small-town
That said, this humble trio's populari- SCOTS style and the comfortingly pre- ennui as frontman Ryan Adams be-
ty never ceases to amaze me. Ask any dictable makeup of their albums. "Dance moans "hanging out with the people I
rock fan — the same people who've for Me" is one of the inevitable instru- used to be." If you flash on "Misun-
never heard of gutsy, long-toiling roots mentals, this time complete with adio- derstood," the opener to Wilco's Being
acts like the Paladins, the Leroi Brothers, rus of shouts ("Hey! Hey! Heyr) and There, you won't be alone.
or the Tailgators — and they've not only Miller marking the choruses by letting Like Wilco, Whiskeytown owes adebt
heard of SCOTS, they love 'em! Ieven loose with ahigh-pitched 'Dance for to the Replacements. Like those ill-fated
know one devoted Wagner fan who Meeeeeer It's riotous stuff. avatars of the Minneapolis sound, Adams
thinks they're happening. Then there's an archetypal SCOTS and his cohorts have aknack for !nixing
So what's the alchemy? Ahh, therein tune, the chicken-pickin' simply rhythm- musical exuberance with lyrical déjection.
lies the rub. SCOTS' headman, the cd 'Banana Pudding." Before you get too Witness "Yesterday's News" and "Wait-
polyester-encased Rick Milleg is alot grossed out, know that this is just acele- ing to Derail," rockers that would've
craftier than he looks—all hip and bration of pudding, nothing more, The enriched any mid-period Mats record.
trashy with his soul patch, slip-on white chorus goes "Pudding, pudding, pudding, Other standouts include "Houses on the
patent-leather loafers, cherry red slacks, ain't that aslippery groove!" For some, Hill" (a son's imagination is fired by
and gimme cap. nonsensical (read: lazy) lyrics like these long-lost love letters addressed to his
SCOTS' musical blend makes most are the band's Achilles' heel, but for me mother), the black-humored, banjo-dri-
Bordeaux look like Mr. Pibb. Start with they work. Imean, broken hearts and ven "Excuse Me While IBreak My
surf guitars and rockabilly beats, add banana pudding just do not mix. Own Heart Tonight," and the wistful
every retro '60s musical tendency that After that highlight there's ajumpy, "Dancing with the Women at the Bar."
ever was, stir in lots of Dogpatdi lyrics surfy instrumental, "Déjà Varoom," of Missteps are pretty much limited to
and ho-ho-hokum humog apinch of the variety that usually make it onto "Everything IDo" and "Not Home
funk, adash of punk guitars, and finally every SCOTS disc—as do curveball Anymore," nondescript radio-rock tunes
finish with The Cramps' cultish allure, covers like Mary Huff's vocal turn on that owe more to the Police than to the
and you've got the SCOTS sound. "House of Bamboo." There are several Flying Burrito Brothers.
Miller is supported in this mayhem by new tweaks here. The guitar tones, par- The key to country — alternative or
drummer Dave Hartman and bassist/ ticularly in rockers like "Earthrnover," not — lies in the sincerity of the songs,
vocalist Mary Huff. Oh yeah, one more are larger and fuzzier. In "40 Miles to whether they're about being atruck-
thing: nothing here goes on too long — Vegas" the group jumps into the most
it's all four minutes or less. serious straight-ahead, big-guitar rock continued on p.217

Stereophiie, January 1998 213

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 Record Reviews

Jazz Reissues: Impulse! Records

SONNY ROLLINS: On Impulse!
Impulse! IMPD-223 (CD). 1965. MD. TT: 34:43
Performance
Sonics ***1/2
PHAROAH SANDERS: Black Unity
Impulse!IMPD-219 (CD). 1971. Lee Young prod.;
Tony May, eng. MD. TT: 37:23
Performance ***1/2
Sonics ***
AHMAD JAMAL TRIO: The Awakening
Impulse! IMPD-226 (CD). 1970. Ed Michel, prod.;
George Sawtelle, eng. MD. TT: 40:56
Performance ***1/2
Sonics ***1/2
JOHN COLTRANE: Coltrane
Impulse! IMPD-215 (CD). 1962. MD. TT: 47:23
Performance ****1/2
Sonics ***1/2
JOHN COLTRANE: Live at the Village Vanguard
Again!
Impulse!IMPD-213 (CD). 1966. TT: 41:43
Performance *****
Sonics ***
Acting on Impulse: Whether pushing the envelope or smashing through boundaries,
John Coltrane's recordings are the pride of the Impulse! Records catalog.
All above, unless otherwise noted: Bob Thiele,
prod.; Rudy Van Gelder, eng.; Michael Cuscuna,
reissue prod.; Enck Labson, digital remastenng.
Pharoah Sanders' Black Unity, and the jazz club, between the classic
n the '60s, the orange-and-black recorded in 1971 and now reissued quartet (with Tyner, Garrison, and
Impulse! logo was an icon. on CD for the first time, is achal- Jones) and a late ensemble (with
Impulse! was not only the hippest lenging example of the left-of-center Alice Coltrane on piano, Rashied Ali
jazz label on the scene (the home of jazz for which Impulse! was famous. on drums, and Pharoah Sanders).
the outcats, including Coltrane him- Over aheaving cauldron of rhythm Most of all, the albums contrast two
self), it was the first audiophile jazz churned up by two bassists and three C,oltranes: one pushing at the edges
label, before such categories existed. drummers, trumpeter Hannibal but still within them, charging into
Impulse! offered cutting-edge music, Marvin Peterson and the tenors of songs like amagnificent centurion;
deluxe gatefold LP covers, big, beauti- Sanders and Carlos Garnett swoosh and one who has broken through to
fid liner photos, intelligent liner notes, and spatter sound like three Jackson the other side, carried away on a
and—by the standards of the day— Pollocks all painting at once on a maelstrom of his own making.
superior sonic quality. When acertain shared canvas. A quarter century Vanguard Again contains a "My
tenor saxophonist called his first album after the fact, from the cold-sober Favorite Things" for the ages,
on the label On impuisd, all the hipsters vantage point of our furtivefin de siè- Coltrane incanting as Sanders finds
understood why it was news. cle era, it is humbling to revisit this daunting lyricism at the turbulent
The earliest CD reissues from the brave old world. depths of the self. What Paul Bowles
Impulse! catalog appeared piecemeal Impulse! also recorded major names wrote about the Sahara applies to the
on several different labels, but an from the mainstream, like Ahmad music of John Coltrane: "When a
ambitious new program under the Jarnal. The reappearance ofJamal's The man has been there ... no other place
auspices of GRP is at last doingjustice Awakening demonstrates that, in 1970, is quite strong enough for him, no
to the treasures in the Impulse! vaults. the pianist had lost none of the con- other surroundings can provide the
Sonny Rollins' On Impulse! was ceptual originality and seductive charm supremely satisfying sensation of
recorded in 1965, when he was 34 and that had created his huge popularity in existing in the midst of something
on top of his game. It's aquartet date the late '50s (virtues that, unfortunately, that is absolute."
with arhythm section ofjourneymen are almost entirely absent from his The Impulse! reissue series is not as
— Ray Bryant, Walter Booker, Mickey work today). Pieces like Jobim's meticulously executed as those para-
Roker —who rise to the occasion of "Wave" and Oliver Nelson's "Stolen digms of the genre, Columbia/Legacy
Rollins' passionate, inventive, obsessive Moments" display Jamal's gift —which and Mosaic. Since only the original
presence. The program is five stan- influenced an entire jazz generation — liner notes are included, no contem-
dards and Rollins wrings them dry, not for breaking down asong through har- porary perspectives are provided on
resting until he's explored every con- monic substitutions, meter shifts, tense this historically important material.
ceivable motivic implication of songs vamps, and interludes of release, in the The "rare photos" in the booklets
like "On Green Dolphin Street" and process redefining the possibilities of often don't come from the original
"Three Little Words." There are two group form. recording sessions. But Erick Lab-
monumental versions of "Everything But when you think of Impulse!, son's digital remastering, using 20-
Happens to Me" in the recorded jazz you think of John Coltrane. Coltrane Bit Super Mapping, puts you in "the
canon. One is Art Pepper's, and one is and Live at the Village Vanguard Again! midst of something that is absolute."
here, in Rollins' 11 minutes of soul- set up revelatory contrasts between Who could ask for more than that?
baring autobiography. 1962 and 1965, between the studio — Thomas Conrad

Stereophile, January 1998 215

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 Record Reviews

continued from p.213 such as the quiet slap of the keypads hit-
ting the metal of Henderson's horn.
drivin' man or aburned-out ex-punk But elsewhere — despite Scofield's
hanging out in anowhere home town. slivers of silver sound and really high-
Judging by Strangers Almanac, it's safe level work, DeJohnette's raucous bash-
to say Ryan Adams' songs are the gen- ing, Tommy Flanagan's just-so phrasing,
uine article. -Steven Stolder and more — the recording is not espe-
cially moving, and the singers don't help.
The addition of Chaka Khan for
"Summertime" and Sting for "It Ain't
Necessarily So" are flagrant appeals to
neophyte buyers, and appropriately so —
JOE HENDERSON this album is really geared for newcom-
Porgy and Bess ers to Henderson and jazz. As such, it is
recommended. Long-time fans will not,
Joe Henderson, tenor sax; Conrad Frew& trombone;
John Scofield, electric & acoustic guitar; Stefon Harris,
Ithink, be overjoyed. -Zan Stewart
vibes; Tommy Flanagan, piano; Dave Holland, bass;
Jack Delohnette, drums; Chaka Khan, Sting, vocals
Verve 314 539-046-2 (CD). 1997. Joe Henderson,
DIANA KRALL
Richard Seidel, prods.; Bob Belden, musical dir.; Jim
Anderson, eng. DDD. TT: 53:53
Performance *** Love Scenes
Sonics **** Diana Krall, vocals, piano; Russell Malone, guitar;
Christian McBnde, bass

0
fthe five albums Joe Hender- Impulse! IMPD-233 (CD). 1997. Tommy LiPuma, prod.;
AI Schmidt, eng. MD? TT: 55:20
son has recorded since joining Performance ***1/2
Verve in 1991, four have been Sonics ****
tributes to others' music: Strayhorn, oward the end of her life,
Miles, Jobim, and now the classic folk Carmen McRae used to worry
opera of George and Ira Gershwin and publicly about the future of jazz
DuBose Heyward. Only his previous singing. Who would continue to per-
release, abig-band collection, featured form the great American songbook —
Henderson songs. Perhaps the tenorist the sophisticated, artfully constructed Joe Henderson
is growing weary of the formula. and harmonized songs of Arlen, Berlin,
While Porgy and Bess is agood record- and Gershwin —in the styles typified aChance," with its slightly affected man-
ing, and the performances are indeed by McRae, Sarah Vaughan, and others nerisms of anearly spoken word, along
well above average — as they should be, of her generation? delay after "I don't stand a..." before
given the outstanding lineup — the And who would listen? Many things she brings in "ghost" —Krall's sense of
whole is less than the sum of its parts. distinguished McRae and Vaughan as rhythm and her understated bounce
Something is missing, and that something performers. Trained musicians, they keep the performance alive.
is the magical spark that is JoeHen, as the understood the music they were Idon't always like those manner-
players call him, at his best. Only in afew singing. At some point during every isms — the unmotivated croaks, the
moments here does he really come alive. performance, they would sit down at rhythmically appropriate but lyrically
One example is the gritty "There's a the piano and accompany themselves. nonsensical additions to aline ("How
Boat Daes Leavin' Soon for New York," Though neither was avirtuoso pianist, high is the sky-eye-eye"). Mostly,
where Henderson follows Holland's those self-accompanied songs were though, Krall is an accomplished
nimble-fingered, most musical state- more intimate, and often more affect- singer and pianist whose love songs,
ments with many of like quality, soloing ing, than anything else in the show. whether blithe, ironical, or deeply sin-
for abit in the spare, bass/drums/tenor Though more skilled at the keyboard cere, are dramatically convincing and
context he favors, before Scofield than her great predecessors, Diana Krall musically attractive.
joins the fray. DeJohnette, afirecracker is no virtuoso pianist either. She accom- Her partners on this record, Russell
throughout the recording, bangs and panies herself with neatly chomping Malone and Christian McBride, play
whaps, and Henderson lets loose, deliv- chords, adding bluesy fills on Dave sensitively — they seem to understand
ering avibrant array of the trills, low-end Frishberg's witty "Peel Me aGrape," and her every nuance — and everyone,
attacks, relaxed lines, and blur-in-your- sweetly played arpeggios on "Gentle including Krall, solos well. The record-
ear repetitions that we know him for. Rain." As asinger, she bounces off those ed sound presents the musicians closely
He's also robust on the punchy "My chords: despite her sober rendition of and clearly. One doesn't get aparticular-
Man's Gone Now," which has asharp "Gentle Rain," she's often jaunty rather ly natural sense of space here, but the
'60s-cum-'90s groove. than intense. She has aclear, bright voice, instruments are well separated.
Two other highlights are the ballads but adds rough edges: the slight groan Diana Krall is a beautiful young
—"Bess, You Is My Woman Now" and after "How deep" in "How Deep is the woman, and Love Scenes is covered with
"I Loves You Porgy" —in which Hen- Ocean," the hint of agrowl that pops up mildly erotic images of the singer. But
derson is all nuance, offering fit, breathy throughout the song. On slow ballads the real appeal here is musical, in her
notes that simply sing. Here the fine son- she sings with an earnest breathiness, and hiply tender renditions of fine songs:
ics are most notable: the soundstage is her close-miked voice seems to surround Krall is exactly the kind of singer-musi-
big, the sound very clear, the instruments the listener. Yet even in the slowest ren- cian who could put Carmen McRae's
heard with depth, precision, and detail — ditions —as of"I Don't Stand aGhost of worries to rest. -Michael Ulhnan

Stereophile, January 1998 217

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 Record Reviews

from this period for comparison, but the

recording quality is exemplary, even if
the remastering engineer's touch seems
atad bright. What's most striking is how
much Rollins' ensemble and solo touch-
es vary from session to session, inside to
outside. For many fans, these recordings
are notable for Rollins' "flirtation" with
the avant garde, yet his opening salvo
for RCA, The Bridge (following atwo-
year sabbatical), was considered decid-
edly conservative in light of break-
throughs by Omette and Coltrane. Still,
Rollins' interplay with the innovative
guitarist Jim Hall, particularly on "God
Bless the Child" and the spastic starts
and stops of "John D," are the stuff of
classics. On other sessions with Hall,
Rollins creates asingular calypso style
with "Don't Stop the Carnival" and
"Brownskin Girl," while on "Jungoso"
and "Bluesongo" he achieves an extraor-
dinary range of rhythmic/percussive
inflections with conga master Candido.
Then there's the avant-garde ensemble
interplay Rollins' longtime fans prize in
his collaborations with Omette alumni
Don Cherry and Billy Higgins, on live
recordings with long-time bassist Bob
Cranshaw at the Village Gate (the multi-
The preeminent saxophonist of this generation, Sonny Rollins. ple transformations of "Oleo"), and in a
stunning studio session with the great lost
bassist Henry Grimes on such deconstruc-
SONNY ROLLINS tivist clasics as "You An My Lucky Sta4"
ful music contained in this comprehen- "I Could Write aBook," and "Their Will
The Complete Sonny Rollins sive overview of the tenor master's Never Be Another You."
RCA Victor Recordings RCA recordings. These recordings form Still, for sheer experimental daring,
Sonny Rollins, Coleman Hawkins, tenor sax; Don a bridge between Rollins' hard-bop there's nothing here to top Rollins'
Cherry, trumpet; Thad Jones, cornet; Bob Cranshaw,
1950s masterpieces, the edgy, explorato- extraordinary exchanges with mentor
Ron Carter, Henry Grimes, Teddy Smith, David
lzeneson, bass; Jim Hall, guitar; Herbie Hancock, Paul ry soundings of his mid-'60s Impulse! Coleman Hawkins on "Yesterdays" and
Bley, piano; Ben Riley, Henry T. Saunders, Roy recordings, and the lyrical, funkified "All the Things You Are." Bean's stun-
McCurdy, Billy Him ins, Mickey Roker, Stu Martin,
drums; Candido, congas, bongos; Dennis Charles, focus of his '70s Milestone albums. Alas, ning solo on "Yesterdays" concludes
Frank Charles, Mlle Rodriguez, percussion annotator Loren Schoenberg, in his oth- with avocalized trill that forms the basis
RCA 68675-2 (6 CDs). 1997. George Avakian, prod.;
Ray Hall, eng. MD? Tr: 5:46:35
erwise insightful essay, draws the same for Rollins' hilarious rejoinders, while
Performance ***** tired conclusion as other Rollins fanat- pianist Paul Bley's oblique, floating intro
Sonics ****
ics: he damns Sonny with faint praise for to "All the Things You Are" puts every-

1A/
hen an artist is in the search his post-'60s studio recordings, while thing in motion — his solo turn is a
mode, their false starts and bowing before the altar of his genius as Rosetta stone of modern jazz piano,
stutter steps — the sound of aconcert performer. forging the link between Omette
discovery itself—often prove more com- If anything, this magnificent series of Coleman and Keith Jarrett — and sets
pelling than their mature visions. No lis- works in progress contradicts that no- the stage for the operatic final ex-
tener is impervious to such subjective tion, as we find Rollins keeping his own changes between Hawkins and Rollins.
judgments, and if an artist like Louis Arm- counsel and playing with avariety of However, as Schoenberg points out,
strong or Miles Davis has an extended improvisational approaches between given Rollins' protean creativity, he's
creative arc, they may find their fans 1962 and 1965. The Complete Sonny ultimately more comfortable with col-
drawing aline in the sand to mark the Rollins RCA Victor Recordings anticipate laborators who hold down the fort and
point at which they parted company Rollins' protean solo style of the '90s — swing while he explores the outer
with their hero — when the artist failed amixture of classic bop, blues, ethnic, reaches of improvisation. And so, while
to live up to the fans' expectations. and free-form postures — and are reso- encounters with Ron Carter, Herbie
Iaddressed this conundrum at length nant with all the experimental verve of Hancock, and Thad Jones are solid and
in my liner notes to Silver City, Sonny the 1960s. However, they are not the musical, perhaps the most satisfying,
Rollins' 25th-anniversary two-CD ret- be-all and end-all of the saxophonist's adventurous Rollins solos occur on disc
rospective of his work on the Milestone art, but rather aseries of stylistic snap- 6, where bassist Cranshaw and drum-
label, and find myself revisiting this shots of an artist in transition. mer Mickey Roker allow the saxophon-
theme anew in response to the wonder- Idon't have too many original LPs ist to truly relax and free-associate as

Stereophile, January 1998 219

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220 Stereophile, January 1998

 Record Reviews

only he can. Put it all together with the reproduced exactly as it sounded in the though none of Steine?s contempo-
timbral/harmonic breakthroughs of his movie's final cut —no tinkering with raries were quite so cloying, the most
Impulse! period and the songlike the original orchestrations permitted. successful ones, Alfred Newman and
emphasis of his early Milestone years, Rosenman and Takemitsu selected their Franz Waxman, both gifted melodists,
and you have the combustible, contem- own cues, and the widows of Delerue also favored lush, expansive scoring.
porary Rollins of "Autumn Nocturne," and North assisted in arriving at the final Alex North burst onto this well-estab-
"I'm Old-Fashioned," and "Cabin in the result. Not surprisingly, the cues are lished scene in 1951, at the forefront of a
Sky" — still pushing the envelope, play- intelligently chosen, repetition is thank- group of composers concerned with
ing better and better every time he puts fully avoided, and each disc is attentively using more minimalist effects to add a
the tenor sax to his lips, making these served by asympathetic conductor and deeper dramatic dimension to the story
superb sides sound like baby pictures by orchestra. This is amasterfully executed rather than simply mirroring the action.
comparison, though they would consti- project; the listener is allowed the plea- More thought was given to which scenes
tute a complete career for any lesser sure of rediscovering just how much truly required underscoring, and many
artist. But sometimes getting there is these composers contributed to the composers eschewed underscoring for the
half the fun. As baby pictures go, these atmosphere of their films. biggest dramatic moments. A panoramic
are pretty Olympian. -Chip Stern Of Nonesuch's Big Four, Alex North opening shot of abusy city street that
is probably the composer best known to might once have begged for abusy orch-

etc.
the general public. Certainly few com- estration (trumpets imitating taxis honk-
posers have enjoyed collaborations with ing, etc.) now might be paired with a
acomparable roster of directorial titans: bluesy, sleepy woodwind lament to indi-
John Ford, John Huston, Stanley Kub- cate the flavor and pulse of urban life.
THE NONESUCH rick, William Wyler, and Fred Zinne- Two film scores dominate None-
FILM MUSIC SERIES mann, among many others. In the such's North collection: A Streetcar
1950s, the traditional models of Named Desire (1951) and Spartacus (1960).
LEONARD ROSENMAN: The Film Music of Leonard
Rosenman Hollywood scoring were being abruptly The disc's informative liner notes, by
Music from East of Eden, Rebel Without aCause overturned. In the 1930s and '40s, the Royal S. Brown, claim that Desire was
John Adams, London Sinfonietta
Nonesuch 79402-2 (CD). 1997. Tommy Krasker, prod.;
quintessential romantic Hollywood the first Hollywood feature to make
John McClure, David Flower, engs. MD? U: 50:24 sound was perhaps most accurately dramatic use of ajazz-based score. From
TORU TAKEMITSU: The Film Music of Toni defined by Warner Brothers' Max the famous tide sequence, which cap-
Takemitsu Steiner, who composed in an ultra-lush, tures the grimy, brutal New Orleans
John Adams, London Sinfonietta
Nonesuch 79404-2 (CD). 1997. Tod Takemitsu, prod.; ultra-soupy 19th-century Viennese world of Stanley Kowalski (Marlon
Hideo Mishizaki, eng. MD? 7: 55:24 sound. In addition to being the aural Brando), the score never missteps dra-
GEORGES DELERUE: Music from the Films of equivalent to an overdose of marzipan, matically. The melancholy saxophone
François Truffaut
Hugh Wolff, London Sinfonietta
Steine?s scores often seemed to under- solo North composed for "Blanche"
Nonesuch 79405-2 (CD). 1997. Tommy Krasker, prod.; pin virtually every gesture onscreen (eg, ideally conveys the delusionary yearn-
John McClure, Jeff Foster, engs. MD? 7: 55:36
ascene of Bette Davis running down a ings of Blanche DuBois (Vivien Leigh).
ALEX NORTH: The Film Music of Alex North flight of stairs would be accompanied by The final cue, "Belle Rêve," portrays
Music from The Bad Seed, Spartacus, A Streetcar
Named Desire running-down-the-stairs music). Al- Blanche's descent into madness with a
Eric Stern, London Symphony Orchestra
Nonesuch 79446 (CD). 1997. Tommy Krasker, prod.;
John McClure, David Flower, engs. MD? TT: 51:59

Performance ****
Sonics ****

0
ne of the most frequently quoted
(and consistently misplaced) state-
ments about film music is that a
background score achieves its full poten-
tial only when the audience is completely
unaware of its existence. When veteran
Hollywood composer Alex North was
asked about this in an interview, he
responded with characteristic sharpness:
"What composer in his right mind wants
his music to be so wishy-washy that alis-
tener doesn't pay attention to it? Of course
we want to be noticed. Do you blame us?"
That comment might well serve as
the guiding spirit behind the Nonesuch
Film Music series. The brainchild of
Nonesuch president Robert Hurwitz, 4f
the series has been launched with four
CDs devoted to the music of ahighly ALEX NORTH
eclectic group of composers: North, The Bad Seed Sp' artacus A Streetcar Named Desire
Georges Delerue, Leonard Rosenman, Fric Stern conducts the London Symphony Orchestra
and Toni Takemitsu. Each film cue is

Stereophile, January 1998 221

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 Record Reviews

cert pianist Eduoard Saroyan, is now

reduced to playing honky-tonk at
Plyne's, a crowded nightspot. Traum-
atized by his wife's suicide, he now
wants simply to keep his distance from
the world. Highlights include the
honky-tonk theme, "Charlie," and the
cool, jazzy "Theme d'Amour," which
underpins Charlie's growing attachment
to the good-hearted waitress, Léna.
Perhaps Delerue's finest achievement
for Truffaut is his score for Jules andJim
(1962), a tale of a World War I-era
ménage àtrois, which had the distinction
of being banned by the Catholic Legion
No, it's not the mummy. It's ascene from the film The Face of Another, for which bru Takemitsu
composed the score. of Decency The Jules and Jim cues here
show Delerue's great strengths: a
sad, meandering musical line that final- story: homely Coplandesque melodies translucent quality that also conveys
ly becomes so distorted that it fades frequently intruded upon by a dark, considerable emotional impact. The
away altogether. (One can only imagine brooding counterpoint, asensitive evo- character of Catherine (Jeanne Mo-
how overwrought this cue might have cation of the happiness Cal (Dean) reau), the free spirit, described by her
been in the hands of aless sophisticated yearns for, but which remains forever husband Jules (Oskar Werner) as "a
composer.) Streetcar's score conveyed out of his reach. Particularly moving is vision for all men, not one," inspired
sexual conflict more persuasively than "Cal Helps Father," in which apensive composer and director to set off some
any score up to that time, and it receives flute solo, woven into atangle of restless memorable sparks.
amuscular, incisive reading here from strings and agitated brass, probes Cal's In "Vacances," Delerue provides an
the London Symphony Orchestra, con- desire for acceptance by his stern, dis- infectious two-note motif for the "per-
ducted by Eric Stern. tant father (Raymond Massey). fect month" that Jules, Jim, and
Spartacus, Stanley Kubrick's epic about The rest of the disc is devoted to Catherine spend together; the mood
the revolt of the slaves of the Roman Rosenman's music for Dean's next film, of freedom it captures is incredibly
Empire, is represented by its famous Nicholas Ray's Rebel Without a Cause exhilarating. In "Catherine et Jim,"
love theme, which first appears when (1955). Seen today, Rebels portrayal of rest- Delerue provides magnificent support
the rebellious Spartacus (Kirk Douglas) less '50s youth retains surprising emotion- for Catherine's monologue in which
is visited by fellow slave Virinia (Jean al impact. While his East °fa/en music del- she describes the decline of her mar-
Simmons) in his cell. There's also the icately probed the interiors of the chara- riage to Jules and the growing con-
main title music, achilling comment on cter's lives, Roseman matched the sub- tempt she feels for him. There are also
the brutal efficiency of the Roman mil- ject matter of Rebel with amore over- splendid moments from Two English
itary machine. Another high point is wrought, jazz-inflected score that attains Girls (1973), The Woman Next Door
"Camp at Night," an achingly poignant terrifying dimensions in the jagged edges (1981), and the delirious waltz for the
theme in which Spartacus, nagged by of "Knife Fight." The score is not without end credits of The Last Metro (1980).
self-doubt as he anticipates the follow- its quieter moments, howevet namely the Hugh Wolff conducts the London Sin-
ing day's battle against the Roman army, doom-laden love theme for Jim (Dean) fonietta with an instinctive grasp of
passes through camp, searching the and his equally troubled girlfriend, Judy Delerue's sensibility.
faces of the many slaves — many of (Natalie Wood). Both film scores are Perhaps the most startling range of
them children and old people — who bound together by the theme of genera- compositional style is demonstrated in
have staked their lives to join him in tional conflict, and the London Sin- the disc containing the work of Tom
revolt. The disc is filled out by excerpts fonietta, led by John Adams, provides dra- Takemitsu. The same qualities that
from Viva Zapata! (1952), The Bad Seed matically telling readings throughout. Takemitsu brought to his work for the
(1956), and The Misfits (1961). Only the The Nonesuch series then segues to concert hall—metric and rhythmic
latter choice seems questionable; the elegant sophistication of Georges irregularity, textural experimentation,
wouldn't cues from The Rose Tattoo Delerue, most famous for his many col- and dramatic use of silence —can be
(1955) or The Children's Hour (1962) have laborations with the French New Wave found in his nearly 100 film scores. Of
better represented North's gifts? directors, including François Truffaut particular note are the baroque elements
Under the direction of Elia Kazan, A and Jean-Luc Godard. The Nonesuch of his score for Rikyu (1989) and the
Streetcar Named Desire ushered in anew CD concentrates exclusively on his selections from his classic Woman in the
age of realism in Hollywood. Another work with Truffaut (10 of their 11 films Dunes (1964), in which the sliding, hallu-
composer who benefited from ICazan's together are represented here). Their cinogenic strings eerily evoke the film's
impact on the film community was first collaboration was Shoot the Piano shifting, whispering sands. Also induded
Leonard Rosenman, whom Kazan Player (1960). Though much has been is the premiere recording of Three Film
engaged to write the score for East of written about the influence 1930s Scores, a Takemitsu-arranged suite of
Eden (1955), James Dean's first starring Hollywood gangster pictures had on music from José Torres (1959), Black Rain
film (but not, as the liner notes state, this film, it's Charles Aznavour's por- (1968), and The FaC€ of Another (1966).
"his first assignment as amovie actor"). trayal of Charlie, the sad little honky- Each cue is wonderfully realized by Jolui
Rosenman's score is astunning match tonk piano player, that lingers in the Adams and the London Sinfonietta.
for John Steinbeck's Cain and Abel memory. Charlie, once the famous con- —Brian Bellow 13

Stereophile, January 1998 223

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224 Stereophile, January 1998

 Index to Volume XX

V
olume XX of Stereophile was published in 1997, with lished in 1995, Vol2 in 1996, and Vol3 in 1997.
Volume XIX covering 1996; XVIII, 1995; XVII, 1994; All issues listed other than Stereophile Vols.I & II are avail-
XVI, 1993; XV, 1992; XIV, 1991; XIII, 1990; XII, 1989; able from our back-issue department; if out of print, they can
XI, 1988; X, 1987; IX, 1986; VIII, 1985; VII, 1984; VI, 1983; be supplied in Xerox form except for: Vol.9 No.7 (available
V, 1982; IV, 1977-81; III, 1971-77; II, 1967-71; and I, 1962-67. as a black-and-white reprint), Vol.10 No3, Vol.12 No.10,
Components reviewed in Stereophilds companion Guide to Vol.13 No.10, Vol.14 Nos.4 & 10, Vol.15 No.4, Vol.17 Nos3
Home Theater are also indexed here. For example, "SGHT3- & 4, and Vol.18 No.2. See the advertisement in this issue for
1-39" means that the component was reviewed on p.39 of details. A full index to all reviews and articles that have been
Vol3 No.1 of the Stereophile Guide to Home Theater, which published in Stereophile and Stereophile Guide to Home Theater
was published in January 1997. Vol.1 of the Guide was pub- can be found on our Web site: www.stereophik.com

FEATURE ARTICLES &OTHERWISE DVD-audio & the supposed demise of CD .... 2-3 & 45,5-3 & 31,6-3,11,43 et
35 Years,.. and Just Getting Started (Stone) 1-74,6-82 258,7-17,8-15 & 33,9-37,11-3 et 29,12-242
1996 Products of the Year, The (Atkinson) 4-90 Freedom of speech & political correctness 2-11,10-11
1997 Products of the Year, The (Atkinson,Phillips) 12-69 HDCD 2-43
1997 Winter CES Reports: High-end retailing 1-15,3-23,4-35 & 306,6-258,7-3 & 31,9-11,10-19
(Archibald) 3-242 Homophobia in the High End 8-19 a 194,10-17
(Atkinson) 4-86 Single-ended amplifiers 1-123,2-81 & 228,3-15,4-23,6-19,8-13
(Brownell) 4-93 Sony I)SD 9-35,11-3
(Deutsch) 5-99 Stereophile review policies 1-306,7-11,10-3 & 290
(Dickson) 5-103 & 107 Sterrophlle's Lamm LI review 8-97,9-213,11-21
(Fremer) 4-74 Stereophile's YBA CD IBlue Laser review 3-225,5-13
(Harley) 4-79 Surround-sound is the audio future? 1-20,2-49,6-76 ei 85,7-20,8-33
(Iverson) 5-107 Tobacco & the High End 3-18,5-15,8-11
(Norton) 5-83 Tweaks & tweaking 1-17,2-17,3-24,5-107,12-13
(Phillips) 4-71 The world according to Jonathan Scull 1-11,2-140,5-13,11-11,12-19
(Rosen) 4-85 Cutting Up: Stereophile's Sonata LP (Phillips,Atkinson,FremetArchibald) 3-75
(Rubinson) 5-89 Designer's Reference Interconnect, The (Scull) 5-167
(Stone) 5-93 Forgotten Heroes (Lander) 7-70
All About Yves (Scull) 12-81 Friends, Audiophiles, Music Lovers. (Brownell,Rosen) 10-70
Analog Corner (Fremer) 1-59,2-65,3-59,4-61,5-57,6-61,7-57,8-59,9-65,10-56, Full Circle (Stern) 10-174
11-65,12-61 Gershwin Project, The (Phillips,Atkinson,Knight) 6-70
Astor Piazzolla (Moered 9-114 Ghosts in the Machine (Gulla) 6-107
Astor Place (Astor) 2-71,4-65,6-69,8-65,10-67,12-67 HI-FI '97 Reports:
Audio Amateur?, An (Stone) 7-103 (Archibald) 8-194
Audio Notes (Scull) 3-91 (Atkinson) 9-110
Aural Robert (Baird) 1-32-199,3-179,4-253,5-179,6-195,7-141,8-141,9-177, (Brownell) 10-70
10-245,11-197,12-179 (Colloms) 9-78
Back to the Future (Gulla) 3-100 (Deutsch) 9-91
Beausoleil (Baird) 5-113 (Fremer) 9-65
Best Sound at HI-FI '9Z The (Atkinson) 9-110 (Holt) 9-86
Big 'Uns 8c Little 'Uns (Deutsch) 1-215 (Iverson) 9-101
Car Tunes (Phillips) 2-73,5-73,8-69,11-79 (Kastanovich) 9-95
Cary SLM-200's Circuit Topology, The (Scull) 5-163 (Norton) 9-105
Cello's First Chair (Willis) 11-85 (Phillips) 10-85
Controversy Threads: (Reina) 9-97
24/96: The need for >201cHz audio bandwidth 2-15 & 39,3-3 et 33,5-3, (Rosen) 10-70
17 & 221,6-3,35 & 76,7-89,8-180,9-17 & 41,10-17 & 183,11-3 (Rubinson) 9-93
Amplifier listening tests 3-16 (Scull) 9-89
Are high-end components too expensive? 1-11,2-18,10-21,11-11,12-11 (Stone) 9-81 & 107
Blind listening tests 3-16,5-13,7-194,8-19,9-13,10-3,15 & 290,12-21 (Tellig) 9-53
Jerry Bruck's surround-sound mike technique 1-143,2-150,6-77,9-18 & 45 9-85
Car audio 2-24 & 73,5-11 & 73,10-19 & 67,11-23 & 79 If We Organize It, They Will Come (HI-FI '97) (Colloms,Deutsch,
CD demagnetizing 2-25,4-15 HoltIverson,Kastanovich,Norton,Reina,Rubinson,Scull,Stone,Willis) 9-78
CD masters sound different 2-41 Index to Sterrophdr, Volume 19, 1996 1-266
Cello's & Paradigm's nude advertising 3-18 Interviews:
Classical music in trouble? 2-55,5-110,6-17 & 33,7-14 & 141,9-3,13 & 177, Yves-Bernard Andre (YBA) (Scull) 2-141,12-81
10-245,11-13,12-15 John Atkinson (Stereophile) (Phillips) 1-91
Classical music: Is it the only real music? 3-21,10-11 Kenny Barron (Stewart) 3-105
Component break-in 6-133 Paul Barton (P513) (Atkinson) 10-95
Critical listening & reviewing 2-21,4-11 Emo Borbely (Reference Line,Hafier) (Stone) 7-103
Danger from electromagnetic fields 11-51 Jerry Bruck (Posthorn Recordings) (Scull) 1-143
Demagnetizing CDs 1-25,2-25,3-11 John Curl (Parasound) 8-104
Digital audio data reduction 12-242 Ted Denney (Synergistic Research) (Scull) 5-167
Digital II analog 2-65 & 242,3-11 & 89,5-67,7-13,8-11 Seamus Egan (Gulla) 3-100
Dipole speakers 3-228 Dennis Had (Car)') (Scull) 5-163

Stereophile, January 1998 225

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 Annual Index

Charlie Haden (Rosen) 12-99 Walker Audio Valid Points 3-65

Charles Hansen (Ayre Acoustics) (Phillips) 3-128 Wallytractor cartridge-aligninent gauge 11-67
TyII Hertsens (HeadRoom) (Phillips) 2-153 Winds ALM-1 stylus downforce gauge 1-61
Klaus Heymann (Naxos) (Tellig) 2-55
J. Gordon Holt (Sierivphili) (Stone) 1-74,6-82
As W ESEE I
T
John Lee Hooker (Rosen) 2-101
35 Years.. And Just Getting Started (Atkinson) 10-3
Milt Jackson (Rosen) 8-77
The 96/24 Revolution (Phillips) 6-3
Mike Jaffi: (IASCA) (Phillips) 2-75
Aural Robert (Baird) 1-3
Ken Kantor (NHT) (Phillips) 10-89 Capturing Lightning in aBottle (Phillips) 8-3
Victor Khomenko (Balanced Audio Technology) (Scull) 6-178 DVD-Audio is Super Audio CD, (Atkinson) 11-3
Hiroyasu Kondo (Audio Note) (Scull) 3-91 DVD, Yes. %kHz, No! (Harley) 3-3
Eddie Kramer (Rosen) 10-166
In Defense of the Cl) (Harley) 5-3
Mark Levinson (Cello) (Willis) 11-85 Missing in Action (high-end retailers) (Willis) 7-3
Luke Manley (VTL) Painkroger) 12-162 Professional Headroom (Atkinson) 2-3
John Marks (John Marks Records) (Scull) 1-143
Sienviiiiiie on the Web, (Iverson) 12-3
Pat Metheny (Stern) 10-174 The Tiger Wags Its Tail (Iverson) 4-3
Kent Nagano (Stearns) 12-115 When the Music Stops (Atkinson) 9-3
Buck Owens (Rosen) 4-161
Kim Richey (Baird) 9-123
Stan Ricker (Freiner) 6-61
BUILDING ALIBRARY
Charles Brown (Moerer) 4-257
Nathaniel Rosen (Scull) 1-143
Furtsvângler (Knight) 6-199
Bruce Rozenblit (Transcendent) (Scull) 11-159
Philip Glass (Buckley) 3-187
Gayle Sanders (Martin-Logan) (Phillips) 5-128
The Kinks (Swenson) 5-183
Steve Sancti (Peina Labs) (Scull) 5-169
Thelonious Monk (Ouellette) 8-144
Randall Smith (Mesa/Boogie) (Stern) 1-113
Mozart's Requiem (Vernier) 12-195
I>on Was (Rosen) 6-97
Randy Newman (Stolder) 7-145
Jackie Terrasson: Left Bank Balladeer (Ouellette) 7-78
Schubert (Althouse) 10-249
Hendrix: A Slight Return (Stern) 11-93
Nina Simone (Stolder) 11-201
John Adams at 50 (Buckley) 4-171
Just Who Does Bruce Rozenblit Think He Is? (Scull) 11-159
Kula Shaker (Baird) 1-153 THE FINAL W ORD (
LARRY ARCHIBALD)
Loudspeakers Are Different (Phillips,Adcinson) 10-87 The 1997 l'ARA Conference 6-258
Maestro Nice Guy (Stearns) 12-115 The 1997 WCES 3-242
Making Their Marks (Scull) 1-143 The Best Readers' Letters 5-242
Making Tubes User-Friendly Pamkroger) 12-162 Blind vs Sighted Listening & Wine Tasting 7-194
Melody is his Metier (Stewart) 3-105 Blood on Our Hands? 6-258
Nobody Ever Said "I Wish My Amplifier Were More Colored" (Phillips) 3-128 1)ivx, DVD, I YTS, 1/alby . 12-242
Outside Looking Up (Baird) 9-123 1)VD Divx 11-242
Parasound's John Curl (Willis) 8-104 Gays in the High End 8-194
Perhaps the Journey Ends (Blumenthal) 12-89 HI-FI'97 8-194
Phono Cartridge Setup (Freiner) 7-57 It's About the Music 9-226
Place Where Tone Begins. The (Stern) 1-113 Manufacturers, Reviewers, & Relationships 1-306
Powered by the Past: James Carter (Ouellette) 1-157 Master Tapes 2-242
Publisher's Statement 12-241 Recommended Components 10-290
Quarter Notes (Phillips,Baugher) 3-181,6-209,9-18L12-183 Specialty Audio Retailing 4-306
Recommended Components 4-100,10-105 A Visit to Monster Cable 5-242
Records To Die For 2-109 Wine Tasting 10-290
Rick Visits: Charlie Haden (Rosen) 12-99
Rick Visits:John Lee Hooker (Rosen) 2-101 SAM'S SPACE (
SAm TELLIG)
Rick Visits: Milt Jackson (Rosen) 8-77 Audiolab 80005 integrated amplifier 1-49
Rick Visits: Eddie Kramer (Rosen) 10-166
Bryston B-60 integrated amplifier 5-51
Rick Visits: Buck Owens (Rosen) 4-161 Cabasse Farella 400 loudspeaker 4-47
Rick Visits: Don Was (Rosen) 6-97 Conrad-Joluison MV-55 power amplifier 4-53
Serenade Project, The (Phillips,Atkinson) 1-91 Creek 4330R integrated amplifier 11-59
Single-Ended vs Push-Pull: Part 2(Frankland) 1-123
Densen DeMaffic burn-in Cl) 12-57
Single-Ended is Push-Pull: Part 3(Frankland) 2-80 Electrocompaniet ECS ball-bearing isolation devices 12-55
Sound Decisions (Stewart) 12-107
Golden Sound DH Cones & Squares 12-55
Speed of Sound: The Kind if Blue LP Reissues (Rosen) 7-151
Grado RS1 headphones 1-53
Teslovak KT88S, The (Scull) 5-169 Klaus Heymann (Naxos) 2-55
Trapped! (Manes) 1-200
HI-FI'97 9-53
Trying to Control aLightning Storm (Phillips) 5-128 Jadis Orchestra integrated amplifier 11-55
Undercurrents (Reisch) 1-69,3-69,5-677-65,9-75,11-73 KEF RI)M Two loudspeaker 10-50
Voodoo Like You 1)o (Birnbaum) 11-99 LEI) Mistral integrated amplifier 11-57
Who Killed Classical Music? (Gann) 5-110 Martin-Logan Aerius iloudspeaker 7-49
Winter Wonderland (Atkinson,Brownell,Deutsch,Dickson,Fremer,Harley,Iverson, McIntosh MC 1000 monoblock power amplifier 8-51
Norton,Phillips,Rosen,Rubinson,Stone) 4-70,5-82 McIntosh MC 275 Commemorative Reissue power amplifier 8-51
Micromeip Stage 2Cl) player 3-55
ANALOG CORNER (
M ICHAEL FREMER) Micromep Stage 6Cl) player 11-61
Acoustics Sympo.. Energy Absorption Platform 5-65 Monarchy Audio I)IP 6-55
Allsop Orbitrac 2record cleaner 1-59,4-59 Mordaunt-Short 10i Pearl loudspeaker 10-47
Bright Star Air Mass 3(originally called Air Mass 1) 2-66 Musical Fidelity A-2 integrated amplifier 1-53
Bright Star TNT Big Rock stand 4-59 Musical Fidelity A220 integrated amplifier 5-55
Disc Doctor's Miracle Record Cleaner, The 3-59 Musical Fidelity X-101) line stage 6-57
Express Machining "The Lift" 5-61 Musical Fidelity X-DAC I )/A processor 6-53
HIN/RR Test LP 1-61 Myryad MI-120 integrated amplifier 1-51
HI-FI '97 9-65 Platinum Audio Studio Iloudspeaker 7-51
Musical Fidelity X-LP phono preamplifier 11-71 QR Desip/DNM Stannat 12-57
Oracle I klphi Mk.V turntable 12-61 Quad II I)iamond Jubilee Edition monoblock power amplifier 12-51
Phono cartridge setup 7-57,8-59 Rega Planet CD player 6-51
Townshend Audio Elite Alignment Gauge 11-67 Rotel RCD-990 Cl) player 3-53
Vibraplane 2212 active isolation platform 5-63 Western Electric 300B tube 12-53

Stereophile, January 1998 227

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228 Stereophlle, January 1998

 Annual Index

I
NDUSTRY UPDATE (
NEWS) FCC chairman Reed Hundt to resign (Willis) 8-27
10th Annual Rube Goldberg Machine Contest (Willis) 9-49 FCC sers timetable for HDTV introduction (Willis) 2-33
24-bit, 96kHz listening tests (Scull,Phillips,Stone,Messenger) 3-33,6-3 & 35, Halverson/Sonunovigo/Powers introduce I'S standard connector (Rubinson)
8-35 5-27
101st AES Convention (Harley,Norton) 2-39 & 47 Harbeth distributed in the US by Lauemian Audio Imports (Phillips) 1-33
1997 Bristol (UK) Show (Messenger) 5-43 Robert Harley leaves Stereophile (Atkinson) 9-3
1997 Canadian Consumer Electronics Expo (Willis) 12-39 HBO to broadcast HDTV programming by summer '98 (Willis) 10-33
1996 COMDEX (Iverson) 3-45 HDCD developers present AES paper (Harley) 2-43
1997 Festival du Son et de l'Image, Montreal, Canada Peritsch) 8-41 HI-FI '97 Web site (Atkinson) 3-31
1997 Frankfurt High-End Show to take place in May (Sauer) 2-39 The Hi-Fi Show 1997, London, UK (Messenger,Phillips) 12-43 at 45
1997 IEEE 1394 Developers Conference (lverson,Willis) 11-39 Hitachi ships inexpensive DVD-RAM drives (Iverson) 10-27
ABC/Sinclair to use HI)TV allocation for multiple NTSC TV channels Home Entertainment Technology sells HI-FI '97 videotapes (Atkinson) .... 9-29
11-49 IBM StarTrax enables automated broadcasting (Willis) 12-33
Acoustic Precision to launch Eikos products (Messenger) 11-43 IEEE 1394 "Fire Wire" standard proposed (Iverson) 3-47,6-41,7-37,11-39
Aclaptec/Microsoft/DirecTV to introduce satellite-to-PC service (Iverson) .. 7-45 Illuminati's Chris Sonunovigo new VP at ICimber (Phillips) 5-38
American Technology Corporation's Hypersonic Sound (Colloms) 1-33 Inunedia to distribute Millennium in US (Phillips,Fremer) 5-38,9-39
Analogue Productions to release Riverside Thelonious Monk LPs (Rosen) .12-47 Innovative Audio opens new Manhattan store (Scull) 7-31
Antenna Hungaria Rt. expands into teleconununications (Willis) 8-47 Intel publishes "Audio '98 Roadmap" (Iverson) 7-35
Arcam promotes hi-amping (Messenger) 6-39 Interactive TV, WebTV, slow to catch fire (Willis) 4-29
Myles Astor launches Ultimate Audio magazine (Phillips) 5-47 Intemetaudio.aes.org (Iverson) 10-33
John Atkinson to give loudspeakers paper at 103rd AES Convention (Atkinson) .. 9-3 Intemetaudio.aes.org to take place in Seattle (Cohen) 6-27
Audio in Cyberspace (Iverson) 1-43 Israeli drive-unit manufacturer Morel doses UK factory (Messenger) 4-29
Audio Note UK Ltd. and Alesa Vaic in joint venture (Phillips) 1-33 JJ Electronic tubes come from Tesla factory in Slovakia (van Willenswaard) 7-47
Audiophile Systems to stop distributing Linn in the US (Atkinson) 3-31 KEF introduces Mk.II Coda speaker (Messenger) 8-49
Audio/Video synchronicity (Iverson) 9-33 Riccardo Kron demonstrates power amp using "Vacuum Transistors"
Aura Systems, Inc. buys Revolver, Linacum (Messenger,Atkinson) 3-41 (van Willenswaard) 7-43
B&W celebrates 30th anniversary with new speakers (Messenger) 9-47 Keith Lehmann new president of MB Quarts US subsidiary (Reina) 3-41
John Bauldie, British music journalist, dies (Messenger) 1-41 Jerome "Jerry" Lemelson, 1923-1997 (Willis) 12-47
BBC to release archive treasures on CD (Messenger) 7-43 Linn introduces Linnto phono stage/Arkiv cartridge (Messenger) 9-29
BBC TV Classic Albums documentary series (Messenger) 10-41 Linn Products introduces Rebuilt Cartridge Exchange Service (Phillips) 9-29
Bel Canto Design moves (Atkinson) 11-43 Linn Products sets up US subsidiary (Phillips) 9-29
Bi-amping (Messenger) 6-39 Linn Records to stop vinyl releases (Messenger) 3-31
Blockbuster in trouble (Willis) 4-35,8-47 Linn Sondck LP12's 25th anniversary (Messenger) 9-29
Michael Briggs, ultimate vinyl maniac (Willis) 5-38 London Audio promotes weekend show (Deutsch) 3-43
British Federation of Audio proposes "banana" plug replacement (Messenger) Long-term exposure to e/m radiation may cause Alzheimer's (Willis) 11-51
3-31 LP auctions raise big bucks (Willis) 10-31
British Telecommunications/British Sky Broadcasting to provide interactive Lucent Technologies/Westinghouse/Gannett develop digital broadcasting
TV in the UK (Willis) 8-47 (Willis) 8-47
Broadcast antenna construction in crisis (Willis) 11-49 Luxinan returns to the US market (Scull) 11-37
Jerry Bruck develops double-M/S mike technique for surround-sound recording Magnum 1>ynalab to distribute Micromega in US (Phillips) 8-47
(Holt) 9-45 Mana Acoustics Sound Tables (Messenger) 2-39
Jeff Buckley, 1957-1997 (Phillips) 8-27 Master FM starts DAB (Digital Audio Broadcasting) in Canada (Scott) 3-49
Canon Audio ceases trading (Messenger) 3-36 Matsushita to give IND abig push (Messenger) 8-33
Carbon fiber widely used in audio (Messenger) 1-39 Casey McKee joins Hales Design Group (Phillips) 7-31
Carver Corporation supports Hypersonic Sound (Atkinson) 1-37 Melos designer Mark Porzilli wed (Phillips) 5-27
C-Cube, ESS Technology launch chips for video karaoke (Willis) 3-39 Meridian America's Ross Kenn dies (Atkinson) 11-29
CD piracy huge industry in China (Willis) 8-47 Microsoft promotes PC audio standards (Iverson) 6-39
CD Radio to develop satellite-to-car broadcasting system (Willis) 7-43 Microsoft to purchase WebTV (Willis) 7-41
CEDIA UK holds EXPO-UK '97 (Messenger) 7-31 Motorola Symphony DSP56011 chip optimized for Dolby Digital (Greenhill)
Chase Technologies in receivership (Willis) 11-43 8-37
Chase Technologies RLC-1 preamp still available (Willis) 11-43 Musical Fidelity launches Stanley Kelly-designed speakers (Messenger) 10-31
Chesky's Classical Cats: A Children's hunduction to the Orchestra (Harley) 8-29 Musician-in-Residence Lewis Lipnick leaves Stereophile (Atkinson) 1-29
Chesky experiments with 24-bit, 96IcHz recording (Scull) 3-33 Music industry climbs out of atwo-year slump (Willis) 9-29
Chesky wins Grammy for Paquito D'Itivera's Portraits of Cuba (Baird) 5-27 Music retailing industry having hard times (Willis) 3-36,4-35
Compaq announces "PC Theater" (Willis) 6-41,7-35 Music software in Ihnmark (Stone) 1-41
Creative Labs announces PC DVI) player (Iverson) 7-27 N2K, Inc. to distribute music through the Internet (Willis) 1-37
Cree Research demonstrates room-temperature blue laser (Willis) 9-41 NECs "multimedia video file" based on recordable DVD (Willis) 11-29
Brian 1)ainkroger joins Stenvphile's reviewing team (Atkinson) 12-31 New audio Web sites (Atkinson,Norton,Phillips) 1-33,2-33,4-29,7-31
Daniels Audio Corporation moves (Phillips) 1-33 New England Audio/Hi-Fi Buys expand number of audio stores (Willis) ... 6-47
Steve L)aniels joins The Sound Organisation, distributes JPW in US (Atkinson) New speaker from Wilson Benesch (Messenger) 6-47
11-43 New T-Network Capacitor (TNC) designed by Denis Morecroft (Messenger)
Dealer Bulletin Board (Starr) .. 1-29,2-29,3-31,4-29,5-276-27,7-27,8-229-29,10-25, 7-39
11-29,12-31 Noise Canceling Technologies offers flat-panel loudspeakers (Messenger) 1-31
,Jan Didden reinvents the feedback amplifier (van Willenswaard) 12-35 Northstar Leading The Way to distribute KR amplifiers in the US (Phillips) 2-37
Divx announcement confuses I)VD market (Willis,Archibald) 11-31 & 242, Northstar Leading The Way US/Canadian distributor for Siemel/Jadis/
12-242 Cabasse (Phillips) 11-43
Frank Doris, erstwhile TAS technical editor, new father (Phillips) 5-27 NXT & NCT announce cross-licensing agreement (Messenger) 7-33
Drive-units designs benefit from rare-earth magnets (Messenger) 11-47 NXT papers given at 103rd AES Convention (Messenger) 12-35
DSP the wave of the audio future (Greenhill) 8-37 Laura Nyro, 1947-1997 (Sokol) 7-41
DTS demonstration DV') mastered at 5Mb/s-7.5Mb/s (Norton) 10-25 Onix moves from UK to Taiwan (Messenger) 4-29
DVD-Audio (Adcinson,Willis,Archibald) 11-3 8c 29,12-242 Orelle launches Cl) player/transport (Messenger) 4-41
DVD format allows pay-as-you-view possibility (Atkinson) 1-31 Pacific Telesis/Bell Atlantic/Nynex abandon interactive TV (Willis) ... 4-43,7-39
DVD launched in Japan (Willis) 1-29 Nelson Pass to continue with DIY amplifier projects (Kastanovich) 2-31
DVD launch slow (Willis) 3-39 PBN Audio has new telephone number (Reina) 3-41
DVD seminar at 1997 WCES (Greenhill) 5-31 PDQ Records (Stone) 8-35
EAD/Mondial merger not to happen (Atkinson) 2-29 PGM Recordings to continue despite founder's death (Phillips) 8-47
Electronics retailer sales down at end of 1996 (Willis) 2-31 Philips CI) recorder writes CI)-R/CI)-RW discs (van Willenswaard) 9-31
EMI Music 100 traveling exhibition (Messenger) 4-37 PolyGram closes 1)ecca Recording Centre in London (Messenger) 12-31
EMI releases 20 classic pop/rock albums on vinyl (Messenger) 7-27 RealAudio launches RealVideo software (Willis) 5-45
Esoteric Audio Research has anew US distributor (Reina) 3-41 Francis L Reed, Boston Acoustics cofounder, dies (Phillips) 2-39
FCC applies pressure for speedy HDTV rollout (Willis) 5-35,6-29,7-27 Rega Research introduces CD player (Messenger) 2-37

Stereophlle, January 1998 229

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230 Stereophile, January 1998
 Annual Index

Sviatoslav Richter, 1915-1997 (Knight) 11-33 Music Sciences 02 Blocker (Dickson) 2-193
Stan Ricker opens own mastering facility (Phillips) 12-35 QR Design/DNM Stannat (Tellig) 12-57
Roksan uses green light to improve CD sound (Messenger) 7-45 Salamander Archetype equipment racks (Phillips) 9-171
Harvey Rosenberg launches The Triode Guild (Stone) 4-31 Silent Running Turntable Base (Fremer) 11-177
Sage Technology reinvents Cl) as Neu-ROM (Willis) 9-31 Starr Lambda Nova headphones (Phillips) 6-123
Samsung Electronics/dCS demonstrate 192kHz-sampling audio (Messenger, Townshend Audio Elite Alignment Gauge (Fremer) 11-67
van Willenswaard) 9-41 8t 43 Versalabs let Filter System (Stone) 7-104
San Francisco Symphony goes on strike (Willis) 3-39 Versalabs Zap! (Phillips) 9-173
School science project finds CI)ilcassettes sound different (Willis) 9-43 Vibraplane 2212 active isolation platform (Fremer) 5-63
Chris Short joins Rogers (Messenger) 4-29 Walker Audio Valid Points (Freiner) 5-65
Sir Georg Solti, 1912-1997 (Stearns) 11-35 Wallytractor cartridge-alignment gauge (Fremer) 11-67
Chris Sonunovigo leaves Kimber Kahle (Scull) 12-33 Winds ALM-1 stylus downforce gauge (Fremer) 1-61
Sonic Frontiers publishes A 'Ewe of:Tubes booklet (Phillips) 10-41 XL0 TPC (The Perfect Connection) contact treatment (Scull) 3-169
Sony/BMG Entertainment North America to revive multimedia CD
(Willis) 7-41 Amplifiers (integrated)
Sony builds buildings in Berlin, Cologne, San Francisco (Willis) 4-37 Audiolab 8000S (Tellig) 1-49
Sony Corporation reorganizes North American operations (Willis) 4-37 Audio Note OTO Phono SE (Harley) 3-115
Sony Corporation's SW Network to promote classical broadcasting (Willis) 6-33 Bryston B-60 (Tellig) 5-51
Sony demonstrates Direct Stream Digital (van Willenswaard) 9-35 Classé CAP-100 (Harley) 9-129
Sony demonstrates higher-density DVD replacement (Messenger) 8-33 Creek 4330R (Tellig) 11-59
Sony IND developments (Harley) 6-43 Densen Beat 100 (C.olloms) 9-134
Sony introduces editable VCR (Willis) 4-37 Jadis Orchestra (Tellig) 11-55
Sony/Philips announce CD-ReWritable (CD-RW) (Willis) 1-39 Linn Majik (Harley) 9-130
Sony/Philips introduce high-quality, DSD-based "Hybrid" L)VD/CD Musical Fidelity A-2 (Tellig) 1-53
(Atkinson) 11-3 Musical Fidelity A220 (Tellig) 5-55
Sony/Philips/Hewlett-Packard not to support reusable IND-RAM Myryad M1-120 (Tellig) 1-51
(Willis) 11-29 Rotel RA-970BX (Harley) 9-130
Sphere Marketing Black Saint/Soul Note jazz LP offer ends (Fremer) 6-27
SporMagic Inc. enables radio stations to broadcast data (Scott) 5-47 Amplifiers (power)
Stuc available again in US (Harley) 2-29 Aragon 8008x3 3-channel (Norton) SGHT3-1-104
Steinberg WaveLab 1.6 features "Grungelizer" analog effect (Iverson) 9-45 Audio Research VT100 (Reina) 3-139
Survey reveals 40% of scientists believe in God (Willis) 8-47 Boulder 500AE monoblock (Stone) 11-149
Tannoy Mercury loudspeaker launched in UK (Messenger) 4-39 Carver Premiere AV-705X 5-channel (Stone) SGHT3-2-113
Telcos/ISPs campaign for changes in the US copyright laws (Willis) 11-45 Cary Audio lksign SLM-200 monoblock (Scull) 5-161
Time Warner pulls plug on interactive Full Service TV Network (Willis) ... 7-39 Classé CA-100 (Reina) 12-131
Toshiba L hes IN1) players, new audio components (Scull) 10-29 Classé CA-200 (Colloins) 2-161
Townshend Seismic Sink Stand (Messenger) 11-49 Classé CAV-150 6-channel (Norton) SGHT3-1-145
Transparent Audio announces cable trade-up program (Willis) 7-37 Conrad-Johnson MV-55 (Tellig) 4-53
Robert Tninz sells his shares in B&W Loudspeakers (Messenger) 2-29 Graaf GM 200 OTL (Scull) 9-141
US educational system poor at preparing children for atechnological world HeadRoom Max headphone amplifier (Phillips) 2-151
(Willis) 8-29 Kenwoaxl Stage 3KM-ZI 6-channel (Norton) SGHT3-1-94
Townes Van Zandt, 1944-1997 (Willis) 4-39 Kinergetics KBA-380 THX 3-channel (Norton) SGHT3-2-117
Verity sells Quad/Wharfedale, continues NXT development (Messenger).. 11-31 Krell Full Power Balanced 600 (Colloms) 4-188
Video-dependent US retailers having atough time (Willis) 4-35 Marantz Model 9Reissue monoblock (Stone) 8-85
Virgin Records founder Richard Branson returns to music business (Willis) 3-43 Mark Levinson No333 (Kastanovich,Atkinson) 4-201
VLSI Technology offers HRTF 31) sound chip (Willis,Adcinson) 1-33 McCormack DNA-HT1 3-channel (Stone) SGHT3-3-106
Volvo coupe to have high-quality Dynaudio sound system (Sauer) 3-39 McIntosh MC 1000 monoblock (Tellig) 8-51
Hilary Wallace replaces Natalie Brown as Stereo/Ail( Art Director (Atkinson) .9-3 McIntosh MC 275 Commemorative Reissue (Tellig) 8-51
WavePhore Iatents WaveTop data-broadcasting "push technology" (Willis) 7-43 Mesa Engineering Baron (Stern,Atkinson) 1-165
WehTV imitators (Willis) 8-29 Muse 160 (Fremer) 10-237
Westinghouse ro buy American Radio Systems' 98 radio stations (Willis) .. 12-33 Parasound HCA-1000 (Willis) 8-101
Randy White amplifier designer for Llano Design Group (Kastanovich) 9-41 Parasound HCA-1000A (Willis) 8-101
Gabriel (Gabe) Wiener, 1971-1997 (Scull) 6-29 Parasound HCA-2003 3-channel (Norton) SGHT3-1-108
Tony Williams, 1946-1997 (Baird) 5-38 Pass Labs Aleph 0monoblock (Stone) 11-147
World Intellectual Property Organization revises copyright law (Willis) 4-43 Pass Labs Aleph 1.2 rnonoblock (Stone) 11-143
Worldwide recorded music sales grossed $39.8 billion in 1996 (Willis) 10-25 Pass Labs Aleph 3(Kastanovich,AdcinsomKastanovich) 4-196,11-175
Worldwide recorded music sales rose 5.5% in 1996 (Willis) 8-47 Plinius SA-100 Mk.II (Phillips) 4-203
Zoran to launch encrypted DVD software (Willis) 10-33 Quad II Diamond Jubilee Edition monoblock (Tellig) 12-51
Quicksilver M-135 monoblock (Kastanovich) 4-201
EQUIPMENT REPORTS Reference Line Preeminence One Silver Signature (Stone) 7-103
Jeff Rowland Design Group Model 2(Deutsch) 7-131
Accessories & Headphones Jeff Rowland Design Group BPS-2 Model 2battery power supply (Deutsch)
Acoustics Symposium Energy Absorption Platform (Fremer) 5-65 7-131
Allsop Orbitrac 2record cleaner (Fremer) 1-59,4-59 Sonic Frontiers Power 1(Kastanovich) 11-165
ASC Tube Traps (Phillips) 5-127 Sonic Frontiers Power 2(Reina) 5-153
AudioQuest Binding-Post Wrench (Phillips) 9-171 Transcendent T8 OTL monoblock (Scull) 11-153
Bright Star Air Mass 3(originally called Air Mass 1) (Fremer) 2-66 V'I'L MB 175 Signature monoblock (Fremer) 6-115
Bright Star TNT Big Rock stand (Fremer) 4-59 V'I'L MB-750 Signanare monoblock (Damkroger) 12-157
Bright Star Ultimate TNT Suspension System (Phillips) 7-121
Combak Harmonix RFS-65 Tuning Feet (Scull) 12-171 Amplifiers (preamps)
Combak Hamionix RFS-66 Tuning Feet (Scull) 12-171 Ayre Acoustics K-1 (Phillips) 3-127
Densen DeMagic burn-in CI) (Tellig) 12-57 Balanced Audio Technology VK-5i (l)eutsch) 4-245,12-138
The Disc Doctor's Miracle Record Cleaner (Freiner) 3-59 Balanced Audio Technology VK-P10 phono (Scull) 6-171
Elwin Technologies ez Audio multiroom "audio extender" (Firmer) 7-127 Carver Research Lightstar Direct (Stone) 7-107
Electrocornpaniet ECS ball-bearing isolation devices (Tellig) 12-55 EAR 834P phono preamplifier (Reina) 7-111
Express Machining "The Lift" (Fremer) 5-61 FM Acoustics Resolution Series FM 122 phono (Fremer) 3-134
Golden Sound DH Cones & Squares (Scull,Tellig) 11-191,12-55 Krell KPE Reference phono (Phillips) 6-183
Grado PSI headphones (Tellig) 1-53 Krell KRC-3 (Norton) 5-148
HeadRoom Max headphone amplifier (Phillips) 2-151 Lamm Audio Laboratory LI (Phillips) 8-97
HFN/ RR Test LP (Freiner) 1-61 Marantz Model 7Reissue (Stone) 8-85
Mission M-Tinie TV stand/audio system (Fremer) SGHT3-2-120 Mark Levinson No.380S (Atkinson) 11-193

Stereophile, January 1998 231

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232 Stereophile, January 1998

 Annual Index

Musical Fidelity X-101) (Tellig,Kastanovich,Atkinson) 6-57,8-133 PSB Stratus C5 center-channel (Johnson) SGHT3-1-64
Musical Fidelity X-LP phono (Fremer) 11-71 PSB Stratus Gold (Norton) 4-247
Plinius M14 phono (Fremer) 9-147 PSB Stratus Gold i(Atkinson) 10-199
Polyfusion 940 (Stone) 3-147 RA Labs BG Mini-Reference (Reina) 9-152
Reference Line Preeminence Two passive (Stone) 7-103 REL Acoustics Strata Il active subwoofer (Harley) 8-109
Jeff Rowland Design Group Synergy (Deutsch) 12-135 Ruark Equinox (Rubinson) 2-167
Sonic Frontiers Line 1(Kastanovich) 11-165 Signet SL256 (Kastanovich) 6-153
Sonic Frontiers Line 2(Rubinson) 12-127 Sony ES SS-M9 (Norton) 1-239
Sutherland PH2000 phono (Fremer) 12-149 Tammy IODMT II (Holt) SGHT3-1-130
YBA Signature 6Chassis (Scull) 12-141 Tannoy PS 115 active subwoofer (Holt) SGHT'3-1-130
Z-Man Audio Signal Enhancer (Kastanovich,Atkinson) 8-133 Thiel SCS2 (Phillips) SGHT3-3-120
Total Media Systems Adiabat 8.5 (Norton) SGFIT3-3-124
Audio/Video Receivers Total Media Systems Adiabat 8.5C center-channel (Norton) SGHT3-3-124
Carver HTR-880 (Harley) SGHT3-1-111 Total Media Systems Adiabat SC-200DP surround (Norton) SGHT3-3-124
Ilenon AVR-5600 (Harley) SGHT3-2-105 Totem Acoustic Tabù (Greenhill) 2-175
Marantz SR880 (Phillips) SGHT3-4-134 Velodyne F1800RII active subwoofer (Norton) SGHT3-3-140
Sony STR-GA9ESG (Harley) SGHT3-3-110 Vienna Acoustics Mozart (Deutsch) 1-211,2-51
Technics SA-TX50 (Harley) SGHT3-1-115 Waveform Mach 17 (Greenhill) 6-129

Loudspeakers ik Subwoofen Surround-Sound Loudspeaker Systems

Acarian Alón Petite (Reina) 2-185 Atlantic Technology 350 THX surround loudspeaker system (Norton)
Acarian Alón PW-1 woofer (Reina) 2-185 SGHT3-1-145
Aerial Acoustics 5(Harley) 4-217 Bose Acoustimass 10 surround loudspeaker system (Johnson) SGHT3-3-132
Aerial Acoustics IOT (Phillips) SGHT3-1-120 Energy Take 5surround loudspeaker system (Fremer) SGHT3-3-138
Aerial Acoustics CC3 center-channel (Johnson,Phillips) .... SGHT3-1-64 & 120 Jamo Concert Series surround loudspeaker system (Stone) SGHT3-4-142
Aerial Acoustics 5R3 surround (Phillips) SGHT3-1-120 JBL Simply Cinema SCS120 surround loudspeaker system (Johnson)
Artemis Eos Base Module subwoofer (Rubinson) 10-218 SGHT3-3-132
Artemis Eos Signature (Rubinson) 10-218 M&K S-150 THX surround loudspeaker system (Phillips) SGHT3-1-125
Atlantic Technology 351 LIP. (Norton) SGHT3-1-145 P513 Alpha surround loudspeaker system (Johnson) SGHT3-3-132
Atlantic Technology 353 center-channel (Johnson,Norton) .SGHT3-1-64 dt 145
Audio Artistry Beethoven (Dickson) 11-120
Audio Note Model One (Harley) 3-115 CD Players, D/A Processors, A CD Transports
Audio Physic Caldera (CoItems) 8-115 Audio Alchemy ACD•Pro CD player (Harley) 1-182
B&W DM302 (Phillips) 10-231 Audio Electronic CD-1 CD player (Harley) 1-182
Cabasse FareIla 400 (Tellig) 4-47 Audio Note DAC-1 D/A processor (Harley) 3-115
Diapason Adarnantes II (Harley) 6-187 Audio Research CD1 CD player (Norton) 1-181
EgglestonWorks Andra (Phillips) 10-191 California Audio Labs Gamma D/A processor (Reina) 5-75
Energy Take 1center-channel (Fremer) SGHT3-3-138 Copland CDA 288 CD player (CoHorns) 6-163
dCS Elgar D/A processor (Atkinson) 7-87
Energy Take 2(Fremer) SGHT3-3-138
Denon DCM-360 CD player (Kastanovich) 9-157
Epos E512 (Atkinson) 4-233
Exposure CD player (CoHorns) 11-134
Focus Audio Signature 88 (Atkinson) 6-145
Krell KAV-300a1 CD player (Phillips) 12-123
Gradient Revolution (Atkinson) 3-173
Hales Design Group Concept Five (Phillips) 1-199 Mark Levinson No36S D/A processor (Norton) 1-176
Mark Levinson No37 CD transport (Norton) 1-176
Infinity Compositions Overture OVTR 1(Phillips) SGHT3-2-124
Infinity Compositions Prelude P-CC center-channel (Johnson) ... SGHT3-1-64 Mark Levinson No39 CD player (Phillips) 11-127
Jamo Concert 11 (Stone) SGHT3-4-142 Micromcga Stage 2CD player (Tellig) 3-55
Jamo Concert Center (Stone) SGHT3-4-142 Micromega Stage 6CD player (Tellig) 11-61
Jamo Concert Surround One (Stone) SGHT3-4-142 Monarchy Audio DIP (Tellig) 6-55
KEF 200C center-channel (Johnson) SGHT3-1-64 Musical Fidelity X-DAC D/A processor (HarIcy,Tellig) 5-136,6-53
KEF RDM Two (Tellig) 10-50 NAD 510 CD player (Kastanovich) 9-157
Linacum Center-Channel (Holt) SGHT3-2-127 NAD 515 CD changer (Harley) 3-159
Linacum Model 10 (Holt) SGHT3-2-127 Nairn CD2 CD player (Fremer) 2-135
Linn AV5140 (Kastanovich) 5-130 The Parts Connection Assemblage DAC-1 D/A processor (Kastanovich,
Atkinson) 1-196
Linn Tukan (Harley) 4-217
The Parts Connection Assemblage DAC-2 D/A processor (Kastanovich,
M&K MX-150 THX active subwoofer (Phillips) SGHT3-1-125
AdcinsonXastmovich) 1-192,6-189,7-118
M&K S-150AC THX center-channel (Phillips) SGHT3-1-125
M&K S-150 11-LX L/R (Phillips) SGHT3-1-125 Polyfusion 230 HDCD D/A converter module (Stone) 3-147
Regs Planet CD player (Tellig) 6-51
M&K S-150 THX Tripole surround (Phillips) SGHT3-1-125
Martin-Logan Aerius i(Tellig) 7-49 Rotel RCD-990 CD player (Harley,Tellig) 1-182,3-53
Martin-Logan SU (Phillips) 5-122 Rotel RDD-980 CD transport (Kastanovich) 7-114
mbl Ill (Atkinson) 4-181 Rotel RDP-980 D/A processor (Kastanovich) 7-114
McIntosh HT-4 center-channel (Johnson) SGHT3-1-64 Sony CDP-XA1ES CD player (Kastanovich) 9-157
Mirage BPS-400 active subwoofer (Deutsch) SGHT3-1-135 Sony CDP-XA7ES CD player (Norton) 1-181,7-131
YBA CD 1Blue Laser CD player (Scull) 2-140
Mirage MC-si center-channel (Johnson) SGHT3-1-64
Mirage 0M6 (Norton) 11-109
Mission 754 Freedom 5(Norton) 7-97 Phono Cartridges
Mordaunt-Short 10i Pearl (Tellig) 10-47 Audio-Technim AT-ML 150/OCC (Fremer) 7-93
NHT 2.5i (Brownell) 10-209 Crown Jewel Reference (Fremer) 4-209
NHT SW2Pi/SA-2 active subwoofer (Firmer) SGHT3-2-131 Regs Exact (Fremer) 8-93
NHT SW3P active subwoofer (Deutsch) SGHT3-1-138 Shure V15VxMR (Fremer) 7-93
NHT VS-12 Center (Firmer) SGHT3-2-131 van den Hul Frog (Phillips) 7-90
NHT VT-12 L/R (Firmer) SGHT3-2-131
Paradigm Reference Active/20 (Atkinson) 11-115
Paradigm Reference CC-450 center-channel (Johnson) Toneartns
SGHT3-1-64
Immedia RPM-2 (Fremer) 5-140
Par.idigrn Studio 100 (Norton) 8-125
Regs R13900 (Fremer) 8-93
PBN Montana SP (Willis) 1-225,6-189
Souther TQ-1 (Fremer) 11-177
Platinum Audio Studio 1(Tellig) 7-51
VPI JMW Memorial Tonearm (Firmer) 1-171
PSB Alpha Midi center-channel (Johnson) SGHT3-3-132
PSB Alpha Mini (Johnson) SGHT3-3-132
PSB Alpha Mite surround (Johnson) SGHT3-3-132 Turntables
P513 Alpha Subsonic Iactive subwoofer (Johnson) SGHT3-3-132 Clearaudio Reference (Freiner) 11-177

Stereophile, January 1998 233

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234 Stereophile, January 1998

 Annual Index

linmedia RPM2 (Phillips) 9-137 Video Equipment

Oracle 1)elphi Mk.V (Fremer) 12-61 AmPro HD-3600 front-projection TV (Holt) SGHT3-1-138
Rega Planar 9(Fremer) 8-93 Chisholm Cinemaster LCD front-projection TV (Norton)... SGHT3-2-66 & 86
Denon DVD-2000 I)V1) player (Fremer,Holt,Norton,Stone,Ullman)
Interconnects, Data Links, & Speaker Cables SGHT3-4-80
Audio Note AN/ C interconnect (Harley) 3-115 Faroudja LD200 line doubler (Norton) SGHT3-1-139
Audio Note ANiL loudspeaker cable (Harley) 3-115 Faroudja VP400 line quadrupler (Holt,Norton) SGHT3-1-138 & 139
Faroudja VP400A video processor (Norton) SGHT3-4-116
Signal Processors Hitachi 50UX26B rear-prqjection TV (Ullman) SGHT3-1-72
ADA SSD-66 (SI) surround-sound processor (Norton) SGHT3-1-88 JVC AV-36850 direct-view TV (Johnson) SGHT3-4-122
Chiro 5.1 surround-sound processor (Stone) SGHT3-4-126 Maranta XV5260 Wallvision rear-projection TV (Ullman) SGHT3-3-67
Chiro C-8(X) surround-sound processor (Norton,Ullinan,Phillips) Mitsubishi CS-35805 direct-view TV monitor (Johnson) SGHT3-1-79
SGHT3-1-99,2-138 Philips/Magnavox DVD400AT I)VD player (Fremer,Holt,Norton,
Kellwood Stage 3KC-ZI surround-sound processor (Norton,Ullman) Stone,Ullman) SGHT3-4-80
SGHT3-1-94,2-138 Pioneer DVL-700 DVD player (Fremer,Holt,Norton,Stone,
Krell Audio+Video Standard surround-sound processor (Norton) Ullnun) SGHT3-4-80
SGHT3-3-82 & 98 Pioneer Elite Pro-1009W rear-projection TV (Johnson) SGHT3-2-88
Lexicon DC-1 surround-sound processor (Holt) SGHT3-3-143 Proton NT-3740 direct-view TV (Johnson) SGHT3-3-74
Parasound P/SP-I500 surround processor (Deutsch) SGHT3-2-110 Runco LCP-500 LCD front-projection TV (Norton) SGHT3-2-74 a( 86
Rotel RDA-980 Dolby Digital Adaptor (Deutsch) SGHT3-3-100 Sony DVP-S7000 DVD player (Fremer,Holt,Norton,Stone,
Rotel RSP-980 surround-sound processor (Deutsch) SGHT3-3-100 Ullman) SGHT3-4-80
Sennheiser Lucas headphone surround processor (Stone) SGHT3-3-118 Sony KV-32V35 direct-view TV (Norton) SGHT3-2-100
Sony SDP-EP9ES surround-sound processor (Deutsch) SGHT3-4-130 Sony KV-32XBRIO0 direct-view TV (Norton) SGHT3-2-100
Thera Casablanca surround-sound processor (Norton) SGHT3-3-88 & 98 Sony VPL-W400Q LC1) front-projection TV (Norton) SGHT3-2-81 & 86
Virtual Listening Systems Aun headphone surround processor (Fremer) Toshiba CN35F90 direct-view TV monitor (Johnson) SGHT3-1-84
SGHT3-3-116 Toshiba SD-3006 DVD player (Fremer,Holt,Norton,Stone,
Ullman) SGHT3-4-80
Tuners & Antennae Toshiba TW40F80 rear-projection TV (Norton) SGHT3-2-92
Fanfare FM-2G outdoor FM antenna (Stone) 12-175 Vidikron Vision One front-projection TV (Norton) SGHT3-4-116
Magnum Dynalab MI) 108 (Scott) 5-145 Zenith Inteq IQ3597BT direct-view TV (Johnson) SGHT3-3-78
Thorens TRT-2000 (Scott) 11-187

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Each Golden Dragon tube goes through many prototype iterations, each of which is evaluated for both measured performance
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6SN7GT 22.00 54.00 2A3 120.00 248.00 374.00 500.00
EF86 Gold 25.00 2A3 Octal 120.00 248.00 374.00 500.00
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236 Stereophile, January 1998

 Manufacturers' Comments

Creek OBH-12 AW-60 amplifier and the EC 4.5 and EC the PL-P, we wanted to offer the luxury
Editor: 4.6 preamplifiers. We at Jason Scott Dis- of choice in a world-class preamplifier,
Stereophile is becoming agossip column. tributing also express ahearty and sincere and we feel that the Nagra PL-P ac-
Icall Sam Tellig a"wee reviewer" (a Thank you. complishes that objective. We offer the
totally justified observation), and he, Mr. Sam Tellig extols the Electrocompaniet Nagra PL-P to discriminating audiophiles
Insecure, has to get back at me by saying gear for providing much more than good in the following contexts:
that Haute Fidélité had a"wee reservation" sound; he also admires their looks and •A Style Alternative: The design of the
about the Creek OBH-12 passive preamp. civility. More than once he expresses that newest Nagra had to coincide with the
He then quotes some nonsense from Hi- the equipment is afavorable alternative to renowned sound quality and flawless alu-
Fi News &Record Review. vacuum-tube electronics. minum machining that has made the
Doesn't Sam have any opinions of his With his interview of Per Abrahamsen, Swiss company famous. While most pre-
own? Must he plagiarize everything? Do Tellig also allows readers aglimpse of the amplifiers are 17-19" wide, with inputs
you still pay him for this drivel? personal side of the Electrocompaniet story. and outputs in the back, the PL-P fol-
Anyway, Itried to explain to Sam that Incorporated into this discussion are revela- lowed its heritage with acase only as large
"Format Ri-di-cule" was French slang for tions of innovative design concepts and solid as it needed to be, with inputs on the left
"Format rea-lly-cool," but he wouldn't buy engineering practices. About 25 years ago, and outputs on the right A logical flow of
it. He claims his French is better than mine. Per Abrahamsen, Dr. Matti Otala, and oth- controls covers the front panel, with the
The advantage of the OBH-12 is that it ers were dissatisfied with the "solid-state" impressive Nagra hallmark— a precise
really adds no sonic signature of its own to sound that was present in so many ampli- and highly-legible modulometer— domi-
the signal. It is abeautifully simple way to fiers. They developed theories, measure- nating the face.
control up to three sources and have the ment methods, and solutions. Their initial •A Performance Alternative: In traditional
convenience of remote-control volume, efforts were met with great acceptance. Nagra style, the PL-P is battery-powered,
switching, and mute. The Brass Ear is right With time, the product line was expanded, offering isolation from A/C power sources
in saying that the sound is transparent and and refined electronically and visually. EC is and an absolutely grain-free noise floor.
wonderful. He knows what he is talking now distributed in 35 countries. We also gave the preamplifier that in-
about. There's aman with an opinion. With its sonic virtues, civilized elec- describable, palpable quality that can only
As for the power supply: First, it is made tronics, and visual appeal, Electrocom- come from vacuum tubes. In our opinion,
strictly to our specifications; and second, as paniet, with its reasonable pricing, repre- the PL-P strikes aunique balance between
the OBH-12 is passive, the power supply is sents avery wise investment Jason Scott the euphonic and transparent sound
only used to control the motor on the vol- Distributing invites readers to audition the extremes. The PL-P sounds great off the
ume pot and the switching relays. If you products to understand why EC says... "If shelf, yet its "tweakability" offers the
switch the power off you can still attenuate music really matters." Alan F! Warshaw audiophile the freedom to adopt it to his/
the signal by hand. If Sam had any sense at President, Jason Scott Distributiv her own setup preferences.
all, he would have realized that before he •An Investment Alternative: Investing in
opened his grande bouche to complain and Nagra PL-P preamplifier aNagra means investing for the future.
show us his depotuvu d'intelligence. Editor: The modulometer, when used with the
Mon dieu — he's got me speaking When we were designing the Nagra PL-P, various adjustments available to balance
French. It's amiracle. Even Mlle. Foin, my we hoped to create aproduct the user the performance characteristics of the line
old French teacher, didn't manage that. would never want to turn off because it levels and phono stages, further enhances
But Idigress. made the music sound so alive. Con- the sustainable flexibility of the PL-P while
The OBH-12 is atruly wonderful pre- sidering the countless hours dedicated to fulfilling expectations of Nagra quality and
amp. It is the simplest and purest way pos- its creation, the PL-P emerged as the pride reliability. In fact, many Nagra products
sible to get the signal to your amp. and joy of Nagra's engineers. And handing that were built in the 1960s are still used
Everyone should try one. over aproduct to areviewer is like giving daily in demanding field and studio work.
As for Sam? Poor Sam. It seems that he your child to the in-laws. You anxiously The Nagra PL-P continues that legacy of
has become areviewer ridicule. wait to hear that your baby is behaving excellence and is designed to serve its
Quel dommage. Roy Hall well and minding his/her manners. owner with perfect alacrity.
Music Hall The PL-P is the Nagra baby and we Over the past 45 years, Nagra pro-
delivered it to Jonathan Scull for his re- fessional products have proven to be
Electrocompaniet EC 4.5, view. We would like to thank Jonathan for among the best recording devices in the
EC 4.6, AIN 60FTT his many detailed insights and observations world, mandating high expectations for
Editor: regarding the product. In addition to his Nagra's first product designed for the
Mr. Per Abrahamsen and his associates at kind words about its performance, we feel audiophile market. In ashort six months
Electrocompaniet extend their appre- it appropriate to supplement his article since its debut, the international audiophile
ciation and thanks to Stereophile and Sam with some of the thinking behind the dev- community has embraced the PL-P in
Tellig for the very glowing review of the elopment of this little bundle. In creating unexpected numbers: to wit, the Nagra

Stereophile, January 1998 237

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 Manufacturers' Comments

PL-P won the Component of the Year removable power cord. As luck would show errors in damaged or marginal Cl )s.
award from Stereo Sound magazine in Japan have it, we changed to anew power cord Other than another front panel LED that
and Audiophile magazine in Hong Kong afew weeks after the review was finished. turns on when the Cl) stops, there is no
named it Product of the Show at HI-FI (We called to say one could be sent, but other activity occurring inside the DAC,
'97 in San Francisco. We are anticipating were told it was too late.) The new cord and does not cause harm to the DAC.
equally enthusiastic responses from the key offers sonic improvements that can be ap- Finally, before sending the unit to Stereo-
European markets as we continue our in- preciated through any system of moderate ¡,hile, we had UltraAnalog measure the jit-
ternational product introduction. resolution: better high-frequency exten- ter, and while those results appear to he
Great minds think alike: we are so sion (more "air"), better focus of individual better than what the review showed, it
pleased that Jonathan Scull recognized our instruments, better "sorting out" of massed would be hard to determine why since the
product's unique ability to recreate the live instruments and during complex passages, methods of measurement were different.
performance: "The Nagra perspective and slightly better dynamics. This new The Ovation4 was designed to provide
asserted itself: Iwas seated onstage, the power cord is now included with all Audio excellent results with both tube and solid-
musicians arrayed before me. Notes: 'The Research products in North America that state systems. Encore prides itself in offer-
airy acoustic is transparent and natural have IEC connectors. ing superb sound value on this and
beyond words. There's an avactitude that the We are very plea.sed that Steven Stone upcoming products. Once again, our sin-
Nagra brings to the re-creation of the sound- really likes the LS9 and puts it in "a very cere thanks to Muse Kastanovich and
stage that is in all ways exceptional... the elite group of preamps." The LS9 was Stereophile for the review of the Ovation4
sound is phenomenal.'" designed to redefine musical accuracy in its HDCD DAC. Dane Laughlin
That, in essence, captures how we price range, and we heartily encourage President, Encore Electronics
would expect our baby to behave in pro- music lovers to audition it against all com-
digious company! Stems K Lee, President petitors, including more expensive solid- Dynaudio Contour 3.3
Jamie E. Ryan, Director of Operations state or vacuum-tube units. A personal Editor:
Canonis audition is the only way to understand how All of us at Dynaudio would like to take
it can improve asystem. Dave Cordon this opportunity to thank everyone at
Audio Research 159 Audio Research Corp.
Stereophile, in particular Wes Phillips and
Editor: John Atkinson, for the wonderful review of
Thank you for the fair and balanced Encore Oyation4 our Contour 33 loudspeakers. The review
review of the LS9. A few comments and Editor: confirms that our primary goal of pro-
observations are in order. Thanks to Stenvphile, and to Muse Kas- ducing aversatile reference-caliber loud-
When Steven Stone says that Audio tanovich in particular, for the outstanding speaker that would work extremely well in
Research's solid-state components "have review of the Ovation4 DAC. We com- awide variety of applications, while of-
never been as well received as their tube mend Mr. Kastanovich for his thorough and fering advanced technology and out-
stuff," he might be forgetting about the objective look at the Ovation4. Our goal in standing overall value, was indeed met.
model that the LS9 replaced, the LS3B, the Ovation4 was to make the best-sound- We would also like to thank Wes for
which was the least expensive preamp to ing DAC in the industry at its price range. pointing out that "break-in" is indeed a
be included in Class A in Stereophile's We feel we have accomplished this. valid topic, and not merely amarketing or
"Recommended Components." Not only Concerning the "Data error" LED that sales tactic. Unfortunately, the manu-
does the LS9 offer greater refinement, res- seemed to cause concern and confusion, I facturing process we employ at Dynaudio is
olution, and sheer musicality in atruly bal- will offer the following to hopefully clear both very time- and hand-labor—intensive,
anced design, it costs $500 less than an up any misunderstanding related to this which precludes us from being able to
LS3B with remote control! status LED. It is stated in the review that break-in each individual loudspeaker be-
Speaking of remotes, we have never the Ovation4 owner's manual states that it fore it leaves the factory.
heard asonic improvement from putting a is the fault of the transport if the "Data The design philosophy of the Contour
remote in amachined metal case. It is anice error" LED is on. First, the Ovation4 has 33 emphasized achieving realistic balance,
touch, but it increases the cost without any four LEDs on the back panel that show dynamics, tonality, and overall accuracy
sonic benefit. Our remote is easy to hold, the three sampling rates of the media and neutrality. While Wes states that some
easy to use, functional, and you can even used, and an "Unlock" LED that turns on might find the bass of the 33 to be on the
see the buttons. Isn't that what aremote is when the DAC is not locked onto atrans- lean side, this will vary with room acoustics
for? By the way, none of my cats has ever port's clock. The owner's manual is de- and associated components. By taking a
shown an interest in carrying one away. scribing this "Unlock" LED, not the "Data qualitative over aquantitative approach, we
Because the LS9 has no output coupling Error" LED, when it notes "That there are at Dynaudio have striven to achieve realis-
caps (it is DC-coupled), the "pop" Steven afew early CD players and transports in tic and natural low-frequency repro-
experienced was probably the result of existence that, when in pause or stopped, duction, avoiding any coloration or bloom
some DC offset by the Vendetta phono will disable their digital output. The Ova- in the bass by minimizing any audible dis-
stage, not because the Vendetta was using tion4 will, in these cases, unlock when the tortion. The end result is low-frequency
an adapter cable. digital signal is lost." Regarding the "Data reproduction that is closest to the live event.
Our engineers were pleased that Tom Error" LED itself, the Ovation4 will show Many thanks to Stereophile for providing
Norton found the LS9's measurements this error when incorrect data (this in- us aplatform upon which to showcase our
"uniformly excellent," although several cludes no data) is being fed to it. The products, and for offering us the oppor-
(distortion, signal/noise) would have Ovation4, however, will still show, via the tunity to respond. We extend our sincer-
been better had they been done in the bal- back panel LEDs, that it is still "locked on" est thanks to Wes Phillips for his time,
anced mode. to the transport. Therefore, the "Data consideration, and an eloquent and enter-
The LS9, as Steven noted, is the first error" portion of the Ovation4 was de- taining review. Mike Manousselis
Audio Research preamplifier with a signed to work in this manner and will Dynaudio North America

Stereophile, January 1998 239

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240 Stereophile, January 1998

 Manufacturers' Comments

Synergistic Research Designers' spool's sonic attributes. If alength of wire phone as a candidate for "Product of
Reference from agiven spool has the "right stuff' to the Year" (December '97. p.75) It was a
Editor: fabricate Designers' Reference, then that pleasant surprise for us, and we feel that
Iwant to thank Stereophile magazine, and in entire spool has the "right stuff" to construct just being included as a nominee is a
particular Jonathan Scull and Brian Dam- Designers' Reference and is set aside for this great honot
kroger, for their review of our Synergistic purpose. Again, Idraw this distinction only As all manufacturers do, we work hard
Research Designers' Reference Speaker to prevent people from wrongly thinking to produce what we feel is the best possi-
Wire, Interconnect, and Digital Cable. At (or rightly questioning the feasibility of) that ble equipment. For our efforts to be
Synergistic Research our goal is, and has we listen to each strand of wire prior to noticed is one of the best rewards we could
always been, absolute musicality and neu- making each pair of Designers' Reference receive.
trality in regard to specific cables with tar- interconnect and digital cable. Thank you again. John Grado
get components. That both Jonathan Scull And while it may seem that Synergistic Grado Laboratories
and Brian Damkroger could reach the Research has come "a very long way in a
same conclusions — namely, near-perfect very short time," in fact Synergistic Re- Shure V15VxMR
neutrality and musicality — is a com- search was founded in 1989 with the goal Editor:
pliment to our cable designs, and atesta- of bringing audio playback as close to the I wish to convey the appreciation of
ment to the process by which Stereophile live musical event as possible. It was my Shure Brothers for your selecting the
evaluates components. dream that, if Icould create asynergy by V15VxMR phono cartridge as arunner-
Having said this, Ifeel it necessary to matching specific cable designs to specific up in both the "Joint Analog Source
shed light on afew areas of the review components, amajor advancement in the Component" and "Budget Component of
where Imay not have represented our quality of audio playback would tike place. the Year" categories.
cable designs to Jonathan as completely as My "dream" of creating asynergy among As you know, we think very highly of
Icould have. (That Jonathan can be apret- different components has been my life's this product, and are gratified that Stereo-
ty sneaky guy. At first Idid not want to work now for nearly 10 years. With Jona- phile's reviewers agree with us, and with the
divulge any design secrets beyond what is than Scull's and Brian Damkroger's con- many music lovers around the world who
found in Synergistic's Explorer's Guide. clusions all closely mirroring one another, it are now using the V15VxMR.
Now he has me digging yet deeper.) seems that my dream is finally realized. Icommend you for not being afraid to
First, while it is true that the relationship Ted Denney LII rank this $300 "budget" component in the
between coating material and conductor CEO/Lead Designer same group as the $2500 van den Hul
material in Designers' Reference inter- Synergistic Researrh/Syneigy Cable Frog cartridge. While the latter is, indeed,
connect and digital cable is "migratory in afine product, we believe that the V15 is
nature," it is not true that the coating mate- Lowther every bit as good, making it one of the
rial migrates all the way to the "core" of Editor: best values in the analog world today. Or,
the conductor, or that the conductor alloy I would like to comment on Paul as John Atkinson and Wes Phillips put it
migrates all the way to the surface of the Messenger's comments in the November so eloquently, the V15VxMR provides
coating. The distance of the migration is '97 Stereophile ("Industry Update," p.47) "the best sound for the buck."
actually quite slight by most people's mea- on loudspeaker drive-units that use rare- Stereophile's readers will certainly benefit
surement standards. However, this migrato- earth magnets. from and appreciate your sensible and in-
ry relationship between the conductor and Iam alittle surprised that Mt Mess- formed recommendation. Jim Lawson
its coating is amajor contributor to the enger, who is based in the UK, did not Manager, Phonograph Products
overall sonic performance of these audio mention Lowther Loudspeaker Systems, Shure Brothers
and digital interconnects. Ltd., one of England's oldest speaker manu-
Another point to clarify is our use of facturen, who have been producing and Shure V15VxMR
"vintage" alloys, or subjective selection of selling two different rare-earth (neody- Editor:
conductor material found in the Designers' mium) full-range units since early 1997. Because we value Stereophile for being a
Reference interconnect and digital cable. These are called the DX series. In keeping very important and positive force in our
The proprietary alloy used in Designers' with traditional Lowther design, these are industry, we are concerned about the
Reference is matrix-coated and received in individual frill-range units employing a phonograph cartridge ratings contained in
1000' spools. Each spool is made to our neodymium-magnet motor. The two units the October 1997 "Recommended Compo-
exact specifications and is drawn and coat- offered in the series are the DX2 and the nents" issue.
ed by the exact same process each time. So slightly more powerful DX3. These units •This classification of 26 cartridges into
there should be no sonic difference from are being made by Lowther in addition to five performance categories gave no dif-
one spool to the next — right? the "C" series (Ferrite) drivers and the clas- ferent answer than aranking based strictly
Wrong. There is a random anomaly sic "A" series of Alnico-magnet units. on price would have given. The one
from one batch to the next that neither Anyone wishing more information may exception to this was the $1895 Lyra
we nor our extruder/coater can quantify contact me: Tony Glynn, Lowther Club of Clavis Da Capo, which was classed higher
through objective measurement or ob- America, P.O. Box 4758, Salem, OR than the $2300 Clearauclio Signature. We
servation of the extruding and coating pro- 97302. Tel: (503) 370-9115. Fax: (503) can only ascribe this absolutely linear
cess. Only through listening tests can we 365-7327. Tony Glynn price/performance relationship to the
determine the sonic characteristics of each Lowther Club ofAmerica necessity that industry commentators
spool. And while we do not listen to each must feel to reinforce the belief that more
length of conductor prior to making each Grado RS1 expensive means better.
pair of Designers' Reference interconnects Editor: •Not one moving-magnet cartridge was
we sell, we do listen to alength of con- We would like to thank you and the staff at ranked higher than atraditional moving-
ductor from each spool to determine the Stereophile for considering our RS1 head- coil, though the best of the MMs were

Stereophile, January 1998 241

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Stereophile. January 1998

 Manufacturers' Comments

perceived to outperform half of the "high- Bow Technologies at HI-FI '97 "post-CD" tormat, and whether there had
output" moving-coils. Editor: been any technical breakthroughs in ADC
In particular, we note that there have We would like to thank all those at Stereo- or DAC technology to justify a24-bit for-
been equipment ratings in other audio phile and its affiliates for putting together mat. Iwill tackle the issues in this order.
publications that arc not afraid to break HI-FI '97. As a small foreign manu- Digital audio is generally concerned, as
out of these linear patterns, and rate area- facturer, this was our first show of this its final product, in reconstituting data into
sonably priced moving-magnet, such as type in the United States. It was great to the analog domain. It has to reconstitute a
the Shure V15VxMR, as agreat cartridge, meet with the consumers and show them value for adefined period of time, then go
without qualification. how we go about enjoying music. In an on to the next value. Jitter is the variation
A synthesis of our two views of the otherwise grueling business, it was nice to in the period of time, and it can be ran-
world would indicate that the really smart get out there and meet the fans, answer dom (noiselike) or signal-related. If it is
consumer would buy aLyra Clavis I3a the specific questions, take the con- random, jitter generates noise; if it is sig-
Capo and two Shure V15s for the price of structive criticism, the praise, and see the nal-related, or at any rate not random, it
one Clearaudio Signature. In this way, appreciation in person for what we as generates products related to the signal:
with two superbly tracking, neutral, and manufacturers are all trying to do: make tones. These can be harmonics, inter-
smooth-sounding moving-magnets for exciting products that offer an emotional modulation products, or sometimes non-
long hours of easy listening, plus ahigh- attachment to the enjoyment of music, as harmonic sidebands; generally, these are
status cartridge for aural excitement, all of well as offer value in the marketplace. objectionable. AM sidebands, in particular,
an audiophile's needs would be econo- We would like to thank the other fine are perceived by the ear as being some-
mically satisfied. manufacturers that cosponsored our room: thing disturbing, whereas it seems that
Some more specific things that didn't Graaf Amplification, Goertz Cables, ESP PM/FM sidebands are fairly benign.
make sense to us: Power cords and conditioners, and Plati- In general, we might expect that the
•Michael Fremees July product review num Audio Speakers. We hope that they maximum accuracy required in the time
rated the Shure V15 and the Audio- were as happy as we were when they period would be about the saine as that
Technica ML 150 OCC on apar with each received their September issue and saw that required for the level. For "16-bit" per-
other, with the final choice between the two we were voted so highly in the "Best Sound formance, the steps in level are 1/65,535 of
depending on aparticular user's tastes and at the Show" rankings (p.111), and es- full peak-peak scale. For 44.1kHz, asimilar
preferences. This was clear in the conclu- pecially proud of the fact that we were one accuracy in the time domain is 1/65,335 of
sion, which stated, "Which of these two car- of only ahandful of rooms that received no 1/44,100, or 346 picoseconds. The para-
tridges is better? It depends on what you "worst sound" votes. It is gratifying to see meter for the 24/96 format is 0.62ps (256
need. Speed and detail? Go for the Audio- that the consumers appreciate our efforts. times more accuracy in aperiod 46% as
Technica. Warmth and richness? Go for the Once again, thanks to Stereophile for long). In the formal mathematics, we have
Shure." We were therefore very surprised sponsoring such agreat Show. We'll see to correct for the type of distribution the
that the AT, with ahigher list price than the you next year in Los Angeles with some jitter has to obtain RMS effects, so have to
Shure, was given a$$$ rating, while the thrilling new products! apply odd factors of cand 2here and there.
V15VitNIR was not. Was this atypo? Jeremy Bryan, Maier Shadi, Bo Christensen The way jitter causes unwanted signals
•These ratings arc not, in all cases, con- BOW Technologies USA is usually by phase modulation of the sig-
sistent. The most expensive Class C car- nal — so the math tends to involve Bessel
tridge, the Benz-Micro Glider, was given a Wilson Audio at HI-Fl '97 functions. However, the important points
US rating. The only way to make any Editor: are that:
sense out of this is to assume that the Glid- I'm writing this letter concerning the HI- •If the signal decreases in amplitude, so
er was, in fact, meant to be categorized as FI '97 Show in San Francisco. does the effect ofjitter.
aClass Bmodel (or else this SSE rating was We were disappointed that John •As the signal frequency decreases, again,
also atypo). Atkinson could not make it to our room. so does the effect ofjitter.
•It seems alittle strange that 48% of the Perhaps this is why he failed to list the For afull-scale lkHz signal in a16/44.1
models rated fell into the top class of a Mark Levinson No30.5 and No.31.5 digi- system, the reduction in signal frequency
five-category rating system. tal front-end (September '97, p.111). It was means that 346ps RMS jitter would pro-
Finally, we believe that the usefulness the only source used in this fine system, duce anoise source at -121dB, instead of
of this potentially valuable guide is com- and is certainly one of the reasons why we the -98dB our initial calculation suggested.
promised by the fact that it is not current. won "Best Sound at Show" by one of the In a24/96 system the figure does not
The unreviewed K class appears to list all largest margins in the Show's history. change. For asignal at -20dBFS in a24/96
of the new cartridge models that have Iam sure that this mistake was not system, 346ps of jitter could generate a
come to market in the past year — the intentional. We would like you to print a noise level at -141dB. Iuse "could" here
ones that Stereophile's readers would most correction in the next issue of Stereophile. because different ADC and DAC archi-
like to know more about. Troy Kosovich tectures do respond differently —but manu-
We would once again like to thank Director of Sales &Marketing facturers are currently generally steering
Michael Fremer for his invaluable con- Wilson Audio Specialties clear of the worst offenders.
tributions to the analog cause, and for his So how much jitter do we get, and does
thoughtful review of the latest model in the dC5 & jitter it generally behave well, and go down as
Shure V15 line. We only wish that his re- Editor: the signal goes down? There are three
view had been reflected more accurately in Iread with interest the letter from Richard main sources: jitter coded in by the original
the "Recommended Components" classifi- Powers of UltraAnalog in the August issue Al)C; data jitter in the digital signal; and
cations presented in October. Jim Lawson of Stereophile (pp.180-181). The letter cov- the oscillator in the final DAC. The first is
Manager, Phonograph Products ers alot of ground, but in summary, it wor- irretrievable — it is in the data, and only
Shure Brothers ried about jitter—whether we need a the severest of signal processing will get it

Stereophile, January 1998 243

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244 Stereophde, January 1998

 Manufacturers' Comments

out again. Ignoring this, the oscillator of issue for 24/96 or 24/192, as long as we erally in the -120dBFS area. This is way,
the reconstituting DAC will lock to the get our phase-locked loops right. way beyond 16 bits—and performance
incoming data signal in some sort of phase- Mr. Powers worries about whether we growth continues. Once data are in from
locked loop (yes, even FIFO systems are need a"post-CD" format, and whether the ADC, all reasonable editing chains can
phase-locked loops). This loop is afeed- there is not enough mileage left in the preserve performance near to this, and
back system with abandwidth. Inside the 16/44.1 format to keep people happy. One good DACs can reproduce it.
bandwidth of the loop, the incoming jitter can theorize about this for ages, but We could get away with 20 bits today,
determines the overall performance. Out- the best evidence is practical. We at dCS perhaps, for abit — but why? Iknow from
side it (at higher frequencies), the DAC have made or helped with anumber of developments going on here that adopting
oscillator determines jitter performance. higher-sample-rate recordings. The latest a20-bit standard will make the standard
Data jitter on incoming signals is pretty of these was a simultaneous 24/192, the quality-limiting factor very soon at the
rough (in the nanosecond area), whereas 24/96, and 16/44.1 recording. The same professional end. Why should the con-
jitter from acrystal oscillator is in the pico- mike feed was fed to all the ADCs. sumer be stuck with aformat that limits
second area (see below!). So we need to try Listening to the results, 24/96 was way quality? Let's learn the lesson from com-
pretty hard to get the bandwidth of the ahead of 16/44.1, and 24/192 was alittle puting and not muck about —24 bits
phase-locked loop down, to let the crystal bit better still. This was true for choral, minimum, as aconsumer standard, now!
oscillator win through. jazz, and instrumental recordings. Mr. Powers worries that no one quotes
If we use one of the standard digital In its July '97 issue, Stereophile very gen- the key specifications, and quotes afew
audio interfaces (AES, S/PDIF, SDIF-2), erously praised the quality of the 16/44.1 unquoted ones. Most of these are covered
the act of making the bandwidth of the reproduction from our dCS Elgar D/A by the "highest spurious" spec, which sev-
phase-locked loop small effectively aver- converter as better than live sound, and I eral manufacturers now quote, and which
ages the data jitter on the incoming signal can assure you that the 16/44.1 test above matches well to the way ADCs and DACs
over many samples. If the data jitter were was not ri 14:ed! Iurge Mr. Powers to judge behave. One that is not is DNL (Dif-
truly random, we would reduce it by the the evidence, and not anticipate what it ferential NonLinearity). We are forward-
square root of the number of edges aver- ought to be if it didn't know better. The ing apaper that we published for the IEE
aged. For a1Hz loop bandwidth with a cost of the extra data storage needed ADDA94 conference, detailing a DNL
44.1kHz input, using the theoretically (24/96 vs 16/44.1) is minimal —a factor of measurement on our then-current ADC
quiet subframe sync edges (two per sam- three. Technology brings about acommen- (dCS 900B), which showed that, after two
ple), we would get about 100 times re- surate reduction in the cost of data storage days of continuous data gathering using
duction, give or take our factors of eand 2. every two years or so. Why not remove the dynamic (sinewave) testing, the DNL of
The 44ns (p-p) jitter allowed in the AES unnecessary, artificial technology limita- our unit could still not be measured, but
spec would become afar less fearsome tion, and make the performance and the was at least no worse than 29 bits RMS.
70ps Ft/vIS or so, and somewhat below recording the limiting factor? Finally, Mr. Powers worries about arti-
our 346ps examples. Mr. Powers worries that there have not facts in converting from 24/96 format to
But... data jitter is not truly random — been any technological advances to justify 16/44.1 —presumably traceable to the
it is correlated with the signal, in an un- the proposed standards increases. This throwaway line from Andy Moorer of
fortunate manner. In particular, as our sig- might be aserious issue —except that it is Sonic Solutions in his last AES paper. Buy
nal decreases and digital zero is ap- wrong. Over time, the performance avail- our format converter (dCS 972), Mr.
proached, the data jitter reaches its peak. able from the best ADCs increases, on Powers. Artifacts are -120dB this year,
The values 000000 and 111111, separated average, by afactor of about 1.35 per year, better next. We will outstrip any 24-bit
by one LSB on aCD, give the maximum- where the performance is defined by afig- DVD standard within afew years.
jitter variation. This means that, as the sig- ure of merit: Don't worry about whether we need
nal decreases in amplitude, the jitter gets 2 to the power of the bits x Sample 24/96, Mr. Powers. Worry about whether
worse, confounding our initial hopes. It Rate/Power it is enough, and whether we should not
behaves as almost perfect crossover distor- This rate of improvement has held true go for 24/192. Mike Story
tion. It is possible that this is why jitter is since at least back to the '70s (my data do dCS Ltd., Cambridge; England
often such a problem with poorly de- not go back beyond this). Improvement is
signed equipment. Good news, though: not uniform over all applications areas, but All About Yves and Ariane
With agood phase-locked loop, the effect when ADCs are considered in general, the In our December 1997 interview with Yves
is still completely negligible. figure holds. In any one year, improvement Bernard André of YBA/Phlox Electronique
If our phase-locked loop is so good at tends to be in the "hottest" commercial (A// About Yves, Vol. 19,No.12,p.81), we mis-
rejecting data jitter, what about the crystal area. It started as military (8-, 10-, 12-bit spelled the last name of his wife and business
oscillators? Well, these can be very good. radars), then moved to instrumentation partnet Our apologies to Ariane Morin, and
Crystals are characterized by phase noise (GHz area), then moved to digital video for any inconvenience this may have mused.
of the order of -150 to -160dBC/ Hz (10-12 bits, MHz, low power), and is now Debbie Starr
beyond afew kHz from their fundamental in the GSM phone area. Audio has always Managing Editor
frequency. We can integrate up this phase benefited from these advances — and it
error, and, knowing the frequency, convert continues to do so. Annual advances are
it to picoseconds. Manufacturers' data are not headline stuff— they are continuous,
not completely forthcoming in this area, so relentless, and very, very measurable.
measuring is often the easiest thing to do. DACs are somewhat easier than ADCs,
At dCS, we have found that 1-3ps is the and generally cruise ahead by about 6dB.
performance one can get in practice. To be specific, ADCs with noise floors
The gist of this ramble is: The jitter that below -110dBFS without gain-ranging are
Mr. Powers is so worried about is aminor now (1997) standard fare, with spurs gen-

Stereophile, January 1998 245

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246 Stereophile, January 1998

 Where to Buy Stereophile

ALABAMA Encino San Francisco Englewood Stuart Glenwood

Birmingham Sound Factor West San Francisco Stereo Cola Sound Stuart Audio Video Little Guys (The)
Sound Decisions (818) 501-3548 (415) 861-1044 (303) 789-5310 (561) 283-5550 (708) 754-8844
(205) 945-9400 Eureka Ultimate Sound Thornton Stuart Electronics Lisle
Eureka Audio/Video (415) 781-6025 SoundTrack, Ultimate (561) 283-1273 Holm Audio
Stereo 8Video Design Group
(707) 445-9447 San Jose Electronics (630) 663-1298
(205) 970-0423
Fremont Bay Area Audio (303) 412-2525 Morton Grove
/VV Room (The) (408) 255-0735 Westminster GEORGIA Alit Electronics
(510) 713-1241 Westminster Newsland Alpfaretta (847) 967-8830
ALASKA Laserland Home Theater
Speakerworld Technology (303) 428-0823 Laser Video Limited Orland Park
Anchorage (408) 253-3733
(510) 490-5842 (770) 640-1399 Sound and Vision
Pyramid Audio Santa Barbara
Gardena CONNECTICUT Dunwoody (708) 403-2500
(907) 272-9111 Mission Audio
Reference Audio Systems (805) 682-7575 Bristol Audio Solutions Rockfalls
Shimeks Audio (404) 804-8977 Sterling Electronics
(310) 517-1700 Santa Monica Sound Unlimited
(907) 276-2525 (815) 626-4200
Goleta Audio Video City (203) 584-0131 Lilbum
Custom Hi -Fi and Video (310) 453-5355 Danbury Audio Alternative Rockford
(805) 683-2162 Canton Stereo (770) 931-0606 Absolute Audio
ARIZONA Shelley's Stereo
Hollywood (203) 744-6421 Marietta (815) 395-1000
(310) 451-0040
Mesa World Book and News Audio Atlanta
Santa Rosa Hartford
Hi Fi Sales (213) 465-4352 (404) 499-0145
Catania Sound Stereo Shop (The) INDIANA
(602) 969-1338
Lakeport (707) 526-7555 (203) 523-7250 Bertek Systems
Phoenix Angola
Plaza T.V. New Haven (770) 951-8834
Alfa Ram Sawyer's News Premier Sound
(707) 263-4711 Take 5Audio Group Martinez
(602) 395-1432 (707) 542-1311 (219) 665-7370
Long Beach (203) 787-9127 Stereo Shop (The) Bloomington
Central Car Stereo Willow TV &Electronics Soundscape New London (706) 863-9143 Sound Solutions
(602) 276-2588 (562) 988-8608 (707) 578-4434 Roberts Roswell (812) 330-0390
Speakers Etc. Los Angeles Studio City (860) 442-5314 AV1 Home Theatre Store Fort Wayne
(602) 272-6696 Brentwood Communications Dave's Video, The Laser Place Simsbury (770) 640-1120 Three Rivers Audio
Scottsdale (310) 476-6363 (818) 760-3472 Audible Difference (The) Home Theater gSound (219) 745-5460
Esoteric Audio Robertson Magazine Thousand Oaks (203) 651-7945 Concepts Ft. Wayne
(602) 946-8128 Bookstore Hi-C) Audio/Video Systems
West Hartford (770) 889-2388 Audio Video Lifestyles
(310) 858-1804 (805) 374-2771 Herbert Electronics
Tempe Swainsboro (219) 436-4669
Arizona Tube Audio Los Gatos Torrance (860) 236-2211 B& KElectronics Indianapolis
(602) 921-9961 Sound Techniquest of Los Gatos Stereo Hi Fi Center
(912) 237-6900 Audio Solution of Broad Ripple
(408) 356-3333 (213) 373-6796
Tucson DELAWARE Tifton (317) 255-4342
Wilson Audio Ltd Menlo Park Tustin Bergen's Audio
Digital Ear (The) Dover Media Room
(602) 326-4662 Sound Perfection (912) 382-1743
(714) 544-7903 All Star Satellite Superstore (317) 466-0116
(415) 323-1000 (302) 678-1390
Van Nuys Tone Studio
Monrovia Wilmington
Audio Den HAWAII (317) 257-0601
CALIFORNIA Brooks Berdan Ltd High Fidelity House
(818) 359-9131 (818) 786-4240 Lafayette
Agoura Hills (302) 478-3575 Honolulu
Walnut Creek Audio Direction Sound Lab
Evolution Audio Video Monterey
Sound Distinction Overture LLC (808) 732-6550 (317) 449-4211
(818) 879-1312 Home Theater Xcellence
(510) 944-4740 (302) 478-6050 Portage
Atwater (408) 655-8000 Classic Audio &Video
Stereo Unlimited Who's Your Entertainment
Atwater Electronics Monterey Stereo (808) 732-9625
(510) 932-5835 (219) 762-7027
(209) 358-7172 (408) 649-6303 FLORIDA
Westminster Terre Haute
Bel Air Oakland Boca Raton
Audio Video Today IDAHO Audio Connection (The)
Ambrosia Audio Pro Home Systems Better Sound
(714) 891-7575 (812) 232-1663
(310) 440-5522 (510) 654-6630 (407) 338-8898 Coeur d'Alene
Berkeley Palo Alto Woodland Hills Coral Gables Everything Stereo
dB Audio Audible Difference (The) Shelley's Stereo Sound Components (208) 772-3348 IOWA
(415) 548-8733 (415) 328-1081 (818) 716-8500 (305) 665-4299 Moscow Bettendorf
Music Lovers Audio Pasadena De Land Stereo Shoppe Reference Audio Video
Canterbury Records Telecon Systems (208) 882-1719 (319) 355-3200
(510) 841-7166 COLORADO
(818) 792-7184 (904) 736-1722 Davenport
Opel Audio Boulder
Ft. Lauderdale Audio Force
(510) 848-2545 GNP Audio Eads News &Smoke Shop ILLINOIS
Southport Home Entertainment (319) 314-6646
Beverly Hills (818) 577-7767 (303) 442-5900
(954) 537-3353 Arlington
Rancho Mirage Planet Audio
Sound Center Listen Up Columbia Audio-Video
David Rutledge Audio it Video Hollywood (319) 344-8833
(310) 274-6951 (303) 444-0479 (847) 394-4770
(619) 776-1616 Hollywood Sound Des Moines
Buena Park Belleville
Recycled Audio (954) 921-1408 Audio Video Logic
Better Audio Video Redondo Beach Audio By Us
(303) 449-0153 Inverness (515) 255-2134
(714) 994-7694 Definition Audio Video (618) 277-9500
(310) 371-0019 Colorado Springs New Age Audio Fort Dodge
Burbank Audio Visionaries Champaign
(352) 637-2797 Archer TV
Speaker City USA Richmond Champagne Audio
(719) 532-1518 Jacksonville (515) 573-5737
(818) 846-9921 Pro Video Service (217) 355-8828
(510) 223-5588 Listen Up House of Stereo Iowa City
Burlingame Chicago
(719) 633-2600 (904) 642-6677 Audio Odyssey
Future Sound Roseville Music Direct
Dimple Records Sound Shop Key West (319) 338-9505
(415) 342-1476 (312) 433-0200
(916) 781-2800 (719) 636-1684 Audio Video International
Carmichael Hawlceye Audio
(305) 294-4018 Superior Audio Systems
Deetes Sound Room Sacramento Denver (319) 337-4878
Margate (312) 226-4848
(916) 334-7000 Paradyme Audio/Video Cherry Creek Audio
(916) 971-3600 (303) 758-4434 Good-Sounds Van L. Speakerworks
Stereo One (954) 969-2550 (312) 769-0773 KANSAS
(916) 483-5363 San Diego Listen Up
Audio Video Excellence Miami Chicago Heights Great Bend
Costa Mesa (303) 444-0479
(619) 689-1311 Audio by Caruso Music in Motion Custom Sound and Video
Atlantic Stereo MoonDance Audio (305) 253-4433 (708) 754-3770 (316) 793-3399
(714) 646-8895 Stereo Design (303) 777-4449 Palm Harbor Fairbury Salina
Culver City (619) 573-0060
Sound Hounds Audio Video Odyssey Jelco Custom Auto 8, Sound Acoustics Sounds
Armadillo &Company Stereo Unlimited (303) 722-3200 (813) 784-1911 (815) 692-3331 (913) 825-8609
(213) 937-7674 (619) 223-8151 Durango Pinellas Park Gibson City Shawnee Mission
Audio Video City 02 Stereotech Northstar Leading The Way Speakerworld Jelco Custom Auto 8Sound Audioport Ltd
(310) 838-8889 (619) 282-9101 (970) 259-6722 (813) 544-3819 (217) 784-5705 (913) 341-2222

Dealers interested in selling Stercophile, please call (800) 446-3563. Stereophile is also available at selected B. Dalton Booksellers, Blockbuster Video, and Tower

Records stores. US National Distributors: Ingrain Periodicals, (800) 627-6247; International Periodical Distributors, (619) 793-9435.

Stereophile, January 1998 247

 Wichita Ann Arbor NEW HAMPSHIRE Signature Sound

AUDIO/VIDEO
Custom Sound Accutronics Hanover (315) 622-4137
(316) 681-3555 (313) 741-4444 Dartmouth Bookstore Lynbrook
Dearborn (603) 643-1233 American Audiophile Trading
Almas Hi-Fi Stereo (516) 887-7530

CABLES
Nashua
KENTUCKY (313) 584-1860 Manhasset
Ensemble
Lexington Ferndale (603) 888-9777 Audio Video Creations
Barney Miller's Imagery (516) 365-4434
Portsmouth

&
(606) 252-2216 (248) 544-8370 Mt. Kisco
M.C. Audio Systems
Tayiorsvilie Kalamazoo Sound Mill
(603) 431-2796
ET Satellite &Electronic Audio Kiosk (The) (914) 241-1230
(502) 477-6827

MORE
(616) 384-5787 New York
NEW JERSEY Coliseum Books
Royal Oak
Audio Dimensions Dunellen (212) 757-8381
LOUISIANA
(810) 549-7320 Home Theater Shop (The)
Baton Rouge Dina Magazines
(908) 424-8680
Art Colleys Audio Specialties Audio Video Alternatives (212) 674-6595
Franklin Park
(504) 926-0244 (248) 549-3100 Lyric Hi -Fi
DON'T PAY Metairie Saginaw
Sound System
(908) 821-7822 (212) 439-1900
Audio Orleans Stereo Shoppe
Freehold Magazine Store (The)
EXORBITANT PRICES (504) 831-0050 (517) 792-2673
Freehold Stereo Video (212) 246-4766
Audio Resource Traverse City
(732) 866-9500 Park Avenue Audio
!FOR TOP QUALITY! (504) 885-6988 Sound Room ('the)
(616) 947-4710
Linwood (212) 685-8101
New Orleans Sounds and Images Sound by Singer
L A T International, Inc has years of Wilson Audio West Bloomfield
(609) 926-1630 (212) 924-8600
(504) 866-3457 Soundquest Audio &Video
Middletown
experience in wire manufacturing and (248) 737-0005 Stereo Exchange
Stereo Dynamics
Superior Sight &Sound (212) 505-1111
has equaled the high priced brands. MARYLAND (908) 671-1559
(810) 626-2780 Union Square Magazine Shop
Annapolis Ridgewood
Sonic equivalents of the high priced Sounding Board (The) (212) 246-4766
Hi Tech Electronics
Queens
brands at afraction of their price. LA T (410) 266-0818
MINNESOTA
(201) 445-5006
T.D. Electronics
Baltimore Trenton
demystifyies wire technology. Ask for Soundscape
Edina Hal's Stereo and Video (718) 528-4956
Master Media (609) 883-6338 Rochester
(410) 889-1134
explanation literature. (612) 844-9829
Upper Montclair Fairport Soundworks
Burtonsville (716) 264-0410
Hopkins CSA Audio
is Audio
Hi End Audio (201) 744-0600 Sound Concept (The)
(301) 989-2500
8 MORE (612) 933-4064
Verona (716) 442-6050
Ellicott City
Gramophone Ltd Transportation Electronics Audio Connection Stereo Shop
(410) 465-5500 (612) 933-7357 (201) 239-1799 (716) 424-1820

COMPONENTS Kensington
Soundworks
Minneapolis
HiFi Sound Electronics
West Caldwell
Woodbridge Stereo
Syracuse
Clark Music
(301) 929-8600 (612) 339-6351 (201) 575-8264 (315) 446-7020
Laurel Needle Doctor Woodbridge West Babylon
Audio Video Solutions (800) 229-0644 Woodbridge Stereo Center Audio Visions
(908) 636-7777
CD players - solid state and tube (101) 953-7242 Rochester (516) 661-3355
Home Theater Gallery Amalgamated Audio White Plains
Pre-amplifiers - solid state and tube (800) 966-3658 (507) 286-1328
NEW MEXICO Toys From The Attic
(914) 421-0069
Amplifiers solid -state and tube Lutherville Albuquerque
Gramophone Ltd Audio Designs
Integrated amplifiers (410) 465-5500
MISSISSIPPI NORTH CAROLINA
(505) 298-9185
Jackson
Silver Spring Cary
Line conditioners Advanced Systems Hudson's Audio Center
Capital Classics Newsstand (505) 296-6978 Advanced Audio
(601) 362-1502
Phono Cartridges (301) 598-2669
McComb Page One Newsstand &
(919) 481-3880
Graffiti Audio-Video Charlotte
Speakers (301) 589-3444
McLeod's Bookstore
Premier Audio Video
(601) 684-7253 (505) 294-2026
Towson (704) 554-8300
Sound Consultant
Silver Screen 8. Sound ML Airy
8 MORE (410) 296-0202
(505) 821-9626
Electronic Service .1 Sales
MISSOURI Sound Ideas (910) 786-9084
Westminster
Columbia (505) 292-1188
Access Satellite Corp. Mt. Holly
Sound by Johnston Las Cruces Television Video Audio Svc. Ctr.
HOME THEATER (410) 833-6260
(573) 449-6600
Houston
F/X Installation Audio .1
Security
(704) 827-0301
Raleigh
MASSACHUSETTS White Electronics (505) 527-1950 Audio Advice
(417) 967-5522 Santa Fe
Arlington (919) 881-2005
Cameras St. Louis ASound Look Waynesville
Video & Audio wire and cable (617) 648-8111 Best Sound Company (505) 983-5509 Stereo Innovations
(314) 997-7644
Speakers -free standing Stereo Shop Candyman (The) (704) 452-3474
(617) 648-4434 Flip's Stereo Place (505) 988-8933
Speakers -in wall (314) 842-1600
Boston Downtown Subscription OHIO
Line conditioners Looney Tunes Records Vabryc (505) 983-3085 Boardman
(617) 247-2238 (314) 332-6328
Sound Shop
Component stands Brookline (330) 629-8191
Audio Studio NEW YORK
Canton
(617) 277-0111 MONTANA Binghamton Belden Audio
8. MORE Cambridge Billings 1.S.G. Audio Video (330) 493-7727
Audio Lab Inner Sanctum (607) 722-3551
(800) 747-6193 Chillicothe
(617) 864-1144 Brooklyn CHS TV &Audio
Bozeman Ubiquity Distributors
ACCESSORIES Looney Tunes II
(617) 876-5624
Thirsty Ear Hi Fi
(406) 586-8578
(718) 875-5491
(614) 773-1590
Cincinnati
Flushing Audible Elegance
Chicopee
Great Falls Upgrade A/V Center
Essential Hi Fi (513) 793-3737
Rocky Mountain Hi Fi (718) 886-1700
(413) 533-4700 Stereo Advantage
(406) 761-8683 Freeport
Send for afree complete catalog of all Needham
New York Speaker Lab
(513) 321-0083
You Do It Electronics Cleveland
(516) 379-6900
our Audio/video products that also (617) 449-1005 Hi-Tech Hi -Fi and Video
NEBRASKA Ithaca
North Attleboro (216) 449-4434
includes wire and cable demystifying Audio Concepts Lincoln Hi-Way Hi -Fi
(607) 272-7155 Columbus
Audio Systems &Design
literature, or Phone 800 321 2108 24 Norwood
(402) 483-4511 Kingston
Advanced Satellite Audio Video
Megaplez Home Theater (614) 863-3862
hours per day. Fax 609 428 1832 Concepts
Bures Electronics
(914) 331-5011 Progressive Audio
(617) 769-6400
NEVADA Lake Grove
(614) 299-0565
Westport
Boulder City Stereo Lab Service
AUDIO/VIDEO CABLES AND MORE Sound Images
Audio Den
Home Theater Systems (516) 585-5600 (614) 268-5500
(508) 636-3400
IS A SUBSIDIARY OF (702) 294-3039 Little Neck Dublin
Las Vegas Hi Fi Exchange Audio Encounters
LA TINTERNATIONAL ENTERPRISES. INC. MICHIGAN Image &Sound (718) 423-0400 (614) 766-4434
317 PROVINCETOWN 8000 (Ali ROY Hill NJ 0E1034
Allen Park (702) 876-3401 Liverpool Fairborn
Babbage &Sons Upper Ear (The) Audio Excellence NY Audio Etcetera
(313) 386-3909 (702) 878-8212 (315) 451-2707 (513) 429-4434

248 Stereophile, January 1998

 Where to Buy Stereophile

Findlay Lock Haven Greenwood Lubbock WASHINGTON WYOMING

House of Hindenach Keith Electronics Delta Electronics Sound Wave (The) Bellevue Gillette
(419) 422-0392 (717) 748-1747 (864) 229-3949 (806) 792-7299 Definitive Audio Pro Audio of Wyoming
Lakewood McMurray Hilton Head McAllen (206) 524-5198 (307) 687-1954
Play It Again Sam Goosebumps Amtech Home Satellite 8 Amersat Downlink Kennewick
(216) 228-7330 (412) 941-3326 Electronics (210) 687-5999 Quick Silver Audio PUERTO RICO
Mayfield Heights Philadelphia (803) 689-3600 Sherman (509) 783-7047 Rio Piedras Heights
Hofhan's Audio Video David Lewis Audio Straight Up Audio Puyallup Speaker Warehouse
(216) 461-3707 (215) 725-1177 TENNESSEE (903) 813-0489 Premier Audio (809) 274-0927
Toledo Pittsburgh Johnson City
Seattle
Jamieson's Audio Gallery (The) Soundroom (The)
(423) 928-9233 UTAH
Bulldog News CANADA
(419) 882-2571 (412) 521-9500
(206) 632-6397 National Distributor
Paragon Sound Northern Audio Exchange Livingston Orem
Electrotech Reference Audio Video Classic Audio DeWinton, Alberta
(419) 882-1010 (412) 366-5055
(615) 823-8880 (8011 72i-9804 (206) 706-1561 Ruehle Marketing
Triangle Radio 8Television Box 24, Site One, ROI
Madison Salt Lake City University Bookstore
OKLAHOMA (412) 561-1115
Audio Video Environments Audio Design (206) 545-4387
Tulsa Plains (615) 868-7710 (801) 486-5511
ALBERTA
Phonograph Sound Doctors Calgary
Memphis Audition Audio
(918) 252-5300 (717) 823-3055 KM Audio
Modern Music Audio 8. Video (801) 467-5918 WEST VIRGINIA
Scranton (901) 682-6557 1424 Fourth St SW
South Charleston
OREGON Heart 8Soul Audio
Opus 2Audio 8Video Absolute Sound Loyalty Sound, Ltd
(717) 346-0222
Beaverton (901) 684-5461 (304) 768-7874 1107 Eighth St SW
Selinsgrove VERMONT
Ail of Audio (The) Wheeling
Village TV 8Stereo Shop Nashville Essex Junction Smart Audio Video
(503) 643-5754 Nicholson's Stereo Sterling Sound
(707) 374-0150 Butternut Audio 4216 12th St NE, Bay 1
Chelsea Audio (615) 327-4312 (8021 879-3900 (304) 243-1033
Shillington Sounds of Music
(503) 641-3510
Elements Audio Video 220 Seventh Ave SW
Eugene (610) 775-9325
TEXAS
Ronny's Stereo Edmonton
Austin VIRGINIA WISCONSIN
Shippensburg Audio Ark
(541) 344-2454 Audio by Design
Squires Electronics Abingdon Appleton 10745 124th St
Portland (512) 458-1667 Alpine Audio Suess Electronics
(717) 532-7373 Audio Plus
Fred's Sound of Music High Fidelity (540) 628-3177 (414) 733-6464
Smithport 9934 82nd Ave
(503) 234-5341 (512) 454-5833
Smithport Electronics Centreville Cudahy
Salem Medicine Hat
(814) 887-7753 Bedford Gifted Listener Audio Cudahy News and Hobby
Hear No Evil Home 8Car Audio Excellence
Willow Grove Classic Home Audio (703) 818-8000 (414) 769-1500
(503) 363-3633 657 Second St SE
Soundex (817) 267-6502 Falls Church Glendale
(215) 659-8815 Conroe High Tech Electronic Services Sound Investments
PENNSYLVANIA Jobe Systems (703) 534-1733 (414) 438-1818 BRITISH COLUMBIA
York
Ardmore Electronics Place (409) 441-1112 Moneta Madison Burnaby
Danby Radio (717) 757-1312 Dallas Hi Fi Farm University Audio Book Warehouse
(610) 649-7002 Audio Home (540) 721-4434 (608) 284-0001 4820 Kingsway #M163
Erie RHODE ISLAND (214) 247-1487 Richmond Mequon Coquitlam
Custom Audio Providence Krystal Clear Audio Audio Visions/Stereo Trading Sound Designs Austin Books
(814) 833-8383 Stereo Discount Center (214) 520-7156 Post (414) 242-5599 1105 Austin Ave
Jenkintown (401) 521-0022 El Paso (804) 346-0876 Sheboygan Courtenay
Stereo Trading Outlet (The) Soundquest Regency TV 8Electronics Gene's Sound 8Camera Clarion Books 8Music
(215) 886-1650 SOUTH CAROLINA (915) 779-5421 (804) 740-0788 (414) 458-2141 480 Sixth St
Lancaster Anderson, Houston Virginia Beach Wisconsin Rapids New Westminster
GNT Stereo Advanced Video 8Telephone Dynamic Audio Visual Digital Sound Salon One Royal Book Mart
(717) 393-4471 (864) 716-0200 (713) 266-4555 (804) 424-5850 (715) 421-5910 600 Agnes St

Straight Talk... 1..1 39

"
One of America's Finest
Audio/Video Stores"
Authorized Dealer For:

•
ADCOM •NAD We stock 106 Brands of Audio.
Video and Car Stereo. Only a few
.aos •NAKAMICHI stores in America can make

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virtually all of us
•APATURE •NITTY GRITTY are located in college towns
remarkable home theater

adjacent to hi-tech Universities.

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ALTLANT1C TECHNOLOGY •OMNIMOUNT

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AUDIOCONTROL •PANAMAX AUTHORIZED DEALER
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Floor Tower Speakers
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•HARMAN KARDON •SOUND ANCHORS
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Home Theater Systems
*KEF •THORENS

•LEXICON •TICE AUDIO Visit our 14 Showrooms

Featuring 106 Quality Manufacturers
•MONSTER CABLE •VELODYNE
KIER'S AUDIO/VIDEO
2429 Iowa St., Lawrence, KS 66046
2808 Cahill Road. P.O. Box 224 M-T-W-T Ilkun-Kpm.
F-S lOarn-6pm
Marinette, WI 54143 •(715) 735-9002

1-800-826-0520
http://www.kiefsay.com/

Aus>i<>/vismi()
785-842-Ufl I

Stereophile, January 1998

Where to Buy Stereophile

Richmond Rexdale AUSTRALIA CZECH REPUBLIC INDONESIA SAUDI ARABIA

Book Warehouse Audio Empire National Distributor Borivojova Jakarta Jeddah
6340-9 No .3 Rd 1003 Albion Rd Templestowe, Victoria Ego vos Audio Studio MOS Electronics HiFi House
Vancouver Richmond Hill Audio Q Imports Tel/Fax 42 290001181 Tel: 6221-692-7840 Fax (99) 62-68-24-098
Book Warehouse American Sound Tel (61) 3-01994-8413 Fax: 6221-625-1133
632 W. Broadway 9108 Yonge St Fax. (61) 3-9846-2407
DENMARK SINGAPORE
1150 Robson St Audio Excellence IRELAND
Norager National Distributor
2388 W. Fourth Ave 8763-A Bayview BALTIC STATES National Distributor
Hi Fi Klubben The Adelphi
674 Granville St. 4th Floor Scarborough Riga, Latvia Blackrock County Dublin
Tel (459) 722-4941 Music Box (The)
Elite Electronics Grand Electronics ATTrade Cloney Audio
Fax (65) 33-42-106
2220 W. Broadway #10I 19 Milliken Blvd 13th of January Street 13 Tel: (353) 1-288-8477
Fax (353) 1-283-4887 Stereophile Audio
Sikora's Classical Records TeL (3712) 211-688 FINLAND
Thomhill Tel/Fax: (65) 33-66-790
432 W Hastings St Brack Electronics North Turku
7616 Yonge St
BENELUX HihMesta Dy ITALY
The Soundroom SOUTH AFRICA
National Distributor Tel: (358) 2-2504-888 National Distributor
2205 W Fourth Ave Toronto
Brack Electronics
Durob Audio BV Fax (358) 2-2504-808 Lucca National Distributor
Victoria Dept. DC Publishing Sound 8, MUSIC Alberton, Gauteng
69 Front St E
Sweet Thunder Records Tel: 31 (73) 511 2555 Tel (39) 583-55-301 Hi-Fi Excellence
Great National Sound FRANCE
575 Johnson St Fax: 31 (73) 511 7583 Fax: (39) 583-419-115 Te): (27) 11-907-9092
615 Queen St W
De Hifminkel Paris Fax: (27) 11-907-8399
[Atelier Grigonan
NOVA SCOTIA Tel: 31 (40) 211 3388 Creations Audio JAPAN
70 Yorkville Ave
Halifax Fax: 31 (40) 211 7/34 Tel: (33) 40-20-9528 National Distributor
Unionville SPAIN
The Hifishop Fax (33) 40-20-9533
Atlante News Tokyo National Distributor
Digital Hi-End Tel: 31 (13) 544 3444 Port Royal Audio
5560 Moms St AXISS oration
5221 Hwy 7#3 Valencia
Fax 31 (13) 612 345 Tel: (33) 30-64-9222 Tel: (81) 3-5410-0071 Sane Audio Elite
ONTARIO Waterloo Fax: (81) 3-5410-0622
BRAZIL Tel: (14) 6-351-0798
Concord Soundstage
GERMANY Fax: (34) 6-351-5254
Audio One 59 Regina St N Blumenau, SC
National Distributor MACEDONIA
3200 Steeles Ave W Whitby Sound Image
Fax (047) 322-0305 Geisenheim- I.P. Kodi Export-Import
Hamilton American Sound Whitby SWEDEN
Stephanshausen Tel/Fax: (389) 91 II 83 66
Village Audio —Westdale 233 Brock St S National Distributor
BRUNEI Eclectic Audio
1059 King St W. #2 MALAYSIA Stockholm
Jalan Gadong Tel (49) 6722-8060
Kingston QUEBEC Hi-Fi Art
Aumual Haven Fax (49) 6722-8067 National Distributor
Just Hi -Fi Montreal Tel: (46) 8-661-6300
Fax (011) 024-48841 Kuala Lumpur
239 Princess St Opus Audio Fax: (46) 8-660-2207
The SoundStage
London 5154 Boul. Décane CHILE GREECE Tel: (60) 3-7176969
London Audio Son Or/Filtronique Santiago National Distributor Fax (60) 3-719-4188 SWITZERLAND
716 York St 9343 Laleunesse Comercial Rupaygo Limitada Athens National Distributor
Nepean Quebec Tel/Fax: (562) 2-209-2134 N.M. Acoustics MARTINIQUE, G
Euphones Audio 5Video CO RA Tel: (30) 1-292-2724 Hi-Fi Portier
COSTA RICA FRENCH WEST INDIES
1480 Menvale Rd 131-18 Rue E Fax: (30) 1-293-3168 Tel: (41) 22-784-8050
CurridiabaL San Jose St. Joseph
Oakville Fax: (41) 22-784-2904
Ste -Foy Parlatek SA Frequence Audio Conseil
Oakville Audio
ROTAC electronique HONG KONG Tel: (596) 64 69 63
210 Lakeshore Rd E TeVFax: (506) 225-8231
2873 Chemin Ste-Foy Fax -(596) 57 96 39 THAILAND
Ottawa National Distributor
CROATIA TX Audio Bangkok
Distinctive Audio
ARGENTINA National Distributor Tel: (852) 2524-8775 NEW ZEALAND Music World Co.
903 Carling Ave
National Distributor Split Fax: (852) 2845-0746 National Distributor Tel: (662) 276-3190
Pembroke Buenos Aires Media Audio Kowloon Branch Petone, Wellington Fax: (662) 276-2456
Pembroke Audio Video RJ. Martinez Tel: (385) 21-343-213 Tel: (852) 2392-6368 D.R. Bntlon
69 Pembroke St W Tel/Fax: (54) 1-585-1413 Fax (385) 21-40-376 Fax: (852) 2392-6328 Tel -(64) 4-5688-066 TRINIDAD
Fax: (64) 4-5688-065 Cureta
Sanch Electronix
NORWAY Tel: (809) 663-1384
AUDIOOUEST •
CAL •AUDIO MAGIC National Distributor Fax: (809) 645-2205
Eidsvaagneset
ILLUMINATI •CAMELOT •
JPS LABS Audio Media TURKEY
Tel/Fax: (47) 55-25-62-14 Istanbul
REGA•GRAD3 •
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AUDIOPRISM RKD Muzik
PHILIPPINES Tel: (90) 212-241-3411
TOTEM •
MAGNUM DYNA1AB •EPOS Fax: (90) 212-231-9673
National Distributor
AUDIBLE ILLUS111S•MUSICA1 DESIGN Quezon City
Upscale Audio UNITED KINGDOM
Tel: (63) 2-931-37-42 National Newsstand
What are you buying yourself for Christmas? Fax: (63) 2-741-28-93 Distributor
COMAG Magazine Marketing
AudioWaves suggests: POLAND Tel: 01895 433 BOO
Gdansk-Oliwa Fax: 01895 433 801
Adis Audio 3 National Dealer Distributor
Tel/Fax: (48) 52-0639 Wollaton Audio
Hifi Sound Studio Tel -0115 928 4147
Tel/Fax: (48) 58 -520-639 Fax: 0115 925 0625
Warsaw Berkshire
Hifi Sound Studio Audio T
JP5 Tel/Fax: (48) 2-
774 -
8154 Tel: 01734 585 463
Rego Planet inuniconDuczo, Bury St. Edmunds
-OM
PORTUGAL Bury Audio
National Distributor 47 Churchgate St
Anadora London
• . . Ajasom Kamla Hifi
Tel (351) M74-8709 Tel: 0171 323 2747
Camelot Arthur v30 ix (351) 1475-1367 Musical Images
Tel 0171 497 1346
RUSSIA Sound Organisation
Moscow Tel 0171 403 2255
—CHRISTMAS SALE — A TTrade Oxford

STORADISC'
Ostozhenka 37, Kor 3 Oxford Audio Consuhants
Plus PA( •HAVE •Billy Bugs •
Target •Bpd.• •.'lerifier Tel: (7) 095-291-5086 Tel 01865 790879
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Suffolk
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Tel: (7) 095-917-4385

AUDIOWAVES
Fine-furniture quality CD storage systems with Tel: 01284 724 337
Fax: (7) 095-917-8762
angled shelves & non-slip surface that holds a Neo Tek
VIETNAM
Tel: (US) (408) 973-0946
single CD upright. Solid hardwoods & textured the finest in affordableWaudio Fax: (US) (408) 725 -
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finishes. Custom sizes and finishes also °RR The Purple legion Show Room
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40/42 Maxim Gorky
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Davidson-Whitehall Company PHONE/FAX 707.677.3299 oudiowoves ,aol.com Tel: (7) 095-233-1442 YUGOSLAVIA
Fax: (7) 095-248-3352 Belgrade

mc
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(404) 524-4534 fax (404) 659.5041 NO LOCAL
FREEDEALER CALL US
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•
Fax: (095) 259 -
2742 Fax: (381) 11-140-689

250 Stereophile, January 1998

 Audio Mart

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and more. Call/fiutfohn Bane,at (303) 691-340Z 2341 provided. No refunds. preamp, $445; Adcom GFP-555 preamp, $375. (
7/4)

1r Yale Englewood, CO 80110. 961-3632 dap, (909) 468-1084 meitings.

Stereophtle, January 1998 251

CODA SYSTEM 100, class-A 100W amplifier, $2850; ACURUS A250, $650; Sony X202ES, $200; Paradigm
Coda 01P preamplifier, $1750; Melos SHA-1 preampli- Hi-H '98 — Export-BP, $600; Paradigm CC-300, $180; Adcom
fier, $600; Legacy Focus speakers, oak, extensive The Home Theater & Specialty Audio Show 2535, $450. All for $1900. All mint, boxes, manuals.
upgrades, $2950; plus shipping. Call (804) 648-6335, The Westin Los Angeles Airport Hotel Sophian, (313) 668-8945; e-mail skurniawan@glasstah.com
fax (804) 643-4012. June 10-11, Trade Only MAGNAN CABLES—Experience what audiophiles
MIT 770 BI-WIRE SPEAKER cable, 10 pair, absolute June 12-14, Open to the Public and audio reviewers have been raving about for years...
mint, ($3995) $1995. Call Keith, (503) 266-6301, PST 8i1O' exhibit booths cost $2200, 13'x18' rooms cost tel./fax (805) 484-9544, e-mail JMagnan904@aolcom ,
$5,300 Check out additional sizes —call Ken umno.magtion.cont
BAT VK60 TRIODE tube amp, perfect, $2970. (310)
Nelson at (914) 476-3157, or fax (914)969-2746. See
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more, hear more — equal to three months of store
USED & DEMO SALE: Adcom GTP-600; Audio by Platinum Audio designer Phil Jones, ($5000) $2295.
visits. Enjoy over 18 hours of live music. Public
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three-day tickets are $25 in advance, $35 at the
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good condition, ($90,000) $26,000 or trade for Krell.
wArr 3/Puppy 2; more. Audition Audio, (801) 467- (416) 703-1942.
Buster@aolcom, unvw.EchoBusters.tom
5918, (801) 467-0290fax. MERIDIAN 504 TUNER, $725; 500 transport,
GO TO SLEEP ONLY IF you have aLift on your
GENESIS 11.5 with larger Genii four-channel bass amp, $1275; 566 DAC, $1225. All mint, in original packag-
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like new, ($22,000) $8990, local. (213) 628-0933, Ken. ing. (904) 398-5450 evenings EST
your records and stylus from wear. A thumbs-up horn
MAGNEPAN Ills, MINT, original owner and shipping reviewers. Flawless performance for amillennium. See NA1M CD3 HI-CAP, ARTEMIS EOS. (972)416-2503.
container, $900. Call (573) 445-9626 evenings CST: it Lifting on the Web!!! unviv.erprissmachiningrom $99.95 CONFtAD-JOHNSON PREMIER 12 mono amps,
WATT/PUPPY VI, $9600; Allis Audio Reference DAC, chrome, $119.95 gold, $6 S8cH in the US, other $15. 140Wpc, current, low hours, like new, ($7000) $4100
Alias CDT III transport, $4950. Chris, (516) 366-3763. PO. Box 641251, San Jest, CA 95164-1251. or best offer. (810) 254-6671.
TRANSPARENT MUSICLINK SUPER 601XL, MONARCHY DIP SUPERDRIVE digital filter FRIED STUDIO IV speakers, $425; PS Audio digital link,
1m, ($475) $225. Purist Audio Design Maximus, 7m, (BNC, S/PDIF outputs), $175; digital interconnect, $225; Linn Akio arm, $195. Stevç (609) 488-2425, EST
RCA, ($1500) $500. AudioQuest Emerald, balanced: 1m (BNC, RCA), $55. (650) 341-0835. DUNLAVY SC-IVs, OAK, ($6000) $4000; 3-SCI,
1m, $.350; 6m, $1150; both for $500. Midnight II, ($600) $400 each; Symphonic Line RG7 amp, ($5700)
RCA: 6', ($245) $100; 12', ($395) $200. Cleat 3', ($495) $2500; Kinergetics THX subwoofer SW150V, ($1600)
$225. Alex, (801) 423-2176, (801) 861-5989 emits». $1000. All mint condition, boxes and manuals. Will
LEVINSON NO.38S PREAMP, mint, warranty, orig- WARNING !!! accept MasterCard and Visa. (402) 498-9974.
inal packing, $4000. (415) 948-0286. Be careful with mail-order dealers CLEAN A/C! TICE SOLO A/V conditioner, 8out-
TEAC CD PLAYERS: VRDS 25 in gold, new in box, who insist on cash/personal check, lets serving digital, line, and power amps. Mint Call
($3000) $2100; and VRDS IOSE in black, ($2100) or who offer alarge discount on the same basis. (804) 378-3786, 5-10 EST only.
$1450. Best-balanced transports in the world. (416) Be secure —pay by credit card. STAX NOVA SIGNATURE AMP, $1250; Audio-
703-1942. Technica AT-0C9, $199. All unused. (212) 966-1355.

Ell.i t It! Audio

SOLUTIONS

Sell It! Audio Research

Theta Digital
McCormack
Aerial
ProAc
Condor
Thru The
Pass Labs Paradigm
AUDIO Proceed Von Schweikert

TRADING Aragon EgglestonWorks

TIMES /etteuttet'd
"The Nationwide Classifieds" qii9deed S'exence
Each issue typically has over 1000 items .5576 eiga.elee necafflety Zel
for sale from individuals and dealers nou4004. ley:5*i 3033g
around the nation. Used equipment is America's best disc, tape and
organized in an easy to find, alphabetized component storage system
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The RACKIT — System http://www.audiosolutions.com
(since 1984)
pay Just $3/item & run for five consecu-
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hold all recording formats Belles Pioneer Elite
Subscription Rates: and audio/video components Grado Sony Video
6mo/12 issues:$25 1yr/24 issues $45 Free mailorder brochure
(please mention Stereoplule)
Lexicon Sony ES
Visa/MC or send check. Call for foreign rates.
Tara Labs Marantz
PO Box 27, Conover, VVI 54519 Per Madsen Design (415) 822-4883
Ph.715-479-3103/Fax 715-479-1917 PO. Box 882464 Kimber Kable Acurus
Call for brochure San Francisco, CA 94188 Audible Illusions AMFI

252 Stereophiie, January 1998

 Audio Mart

NO REVIEWS, NO EDITORIALS, just lots of used MARK LEVINSON NO26 monoblock reference KRELL MD-2, K1tELL SPB-32X, good condition,
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REFERENCE LINE PREEMINENCE ONE 13 pre- B8cW Signature 30 speakers, new, ($12,000) $9500;
mint, ($2200) $1000 or best offer. (516)796-6990.
amp, RCA. balanced, stepped attenuators ($2395); Audio Research LS213, suint. ($2400) $1500;
Transparent Ultra hi-wire, 15 speaker cables, ($3995) SONIC FRONTIERS SFT-1 CI) transport, Stenvphile
Fourier Triomphe OTL, 85Wpc ($2600). Both less
Class A Recommended Component (October 1997),
than 50 hours, mint, $1400 each. Trade for Rotel $1800. Transparent interconnects: Ultra, 1.5m, very
($2300) $1495/offer. Al, (517) 337-8362, Infve lOpm
RO)-990, Adcom GCD-700, -750. (615) 898-2101, good, ($1700) $500; Ultra, Iin, new, ($2000) $750;
ES7,* leave sprific message.
(615) 895-9329. Reference, 1.5m, new, ($4500) $1995. Synergistic
Research AC fluster coupler, mint, ($400) $150. David, TEAC ESOTERIC P-2s, one year old, under factory
AUI)10 RESEARCH VT100, current, with
(970) 243-9642, evatims &lore 9prn MST warranty, with box, manual, suint condition, must sell,
InfiniCaps, etc., custom black, only 50 hours, $3500;
McCORMACK TLC-1 I)ELUXE, ($1395) $1100; ($7000) $3500 0130. Call 1ko, (714) 532-1624 days,
Clung 96001SO conditioner, $450; PS Audio Lambda (562) 925-0086 evenims.
I)NA-0.5 Deluxe, ($1795) $1250. Both under warran-
11 transport, upgrade, balanced AT&T, $1100. Duane,
ty, low usage, excellent condition, original packings and CARDAS GOLDEN CROSS, 16' balanced inter-
(815) 337-4542, CST
manuals. Call Emil, (303) 790-8962. connect, ($2150) $1075; Ini interconnect, ($750) $375;
MIT TERMINATOR 2, 12' pair and 8' single, B>S, Cardas Golden Power Cord, 10', ($455) $225; 8',
THIEL CS5 (NY), $5350; VAC Renaissance 140s,
$275. (609) 978-1413, devanna@sprynetsom ($405) $200. (503) 620-0149, PST
$8000; VAC CPA II, $2300; Tube Research 400s,
THE ORIGINAL EAR MONITORS FROM $14,000; Tube Research phono, $5500; Fourier FANFARE FT I TUNER, $550; Unity Pamn,
CMC1! Comfortable, extremely high fidelity and wide Pantheres, $5000; $5500; Sans Pareil. $3000; Infinity ($15,000) $3500; PS Ultralink II, $500; Lambda, $500.
dynamic range. ITE-20s feature the same incredible RS-IB, $1800; MIT Tube. 13'. $1000; Audio Alchemy (352) 521-0687, leave mxsage.
drive later copied (and still used) by much-higher- 1YT1 32, DDS, I)DE v3.0, $1500; van den Hul
LEVINSON NO38S PREAMP, mint, warranty, orig-
priced Etymotic ER-4s. Kit includes mirrored case, Grasshopper III, $1500. (510) 830-8369.
inal packing, $3900. (415) 948-0286.
extra ear tips, 90-day limited warranty. 1/8" mini-jack THRESHOLD T2 PREAMPLIFIER, Srerivphi/e Class
works great with CD, 1)AT, more! Satisfaction guaran- DUNLAVY SC-1V, ROSEWOOD, and ARC vriso
A Recommended Component (October 1997),
teed. (800) 642-8063. amps, mint, $10,050. ARC:1 S77, $2795; SPIO, $1895;
($5750) $3695; Threshold T400 amplifiers (2):
VT60, $1380. Quad USA Monitors/stands, $1900.
UNHANI) THAT DWARF, MADAM! And get thee 175Wpc stereo, 500Wpc monoblock, ($5950) $3895
EAI): DSP-9000, $4895; T-8000, $2375. McIntosh
hence to our January Clearance Sale! Sale! Sale! Sale! each. (T200 amplifiers: Stenvphile Class A Recoil>
MC275 MLR. $2500; Counterpoint SA-20, $1045;
Featuring: PSB Stratus Gold-i. Silver-i, Stratus Minis, niended Component, October 1997.) All perfect.
Renco 760W, 55995. (973) 667-6270, NJ.
Subsonic 3-i, Totem Ones, Staffs, Manis; Conrad- David, (517) 337-8362 &jaw lOpm EST leave specific
Johnson amplifiers and preamplifiers. MF2100/PF2L message. McCORMACK DNA-0.5 1)eltute, ($1795) $1095;
closeouts; Sonic Frontiers amplifiers, preamplifiers, and ALÓN PETIT SPEAKERS in rosewood, used 20 Audible Illusions LI, ($1750) $880; Epos ESI2, ($1095)
digital; Anthem by Sonic Frontiers; Meridian digital hours. $695; McCormack DNA-2 amplifier, still in $625; Acurus 100X3, ($895) $460. (908)789-4718, EST
home theater; Aerial loudspeaker systems, Aerial Tens; box. $3650; Adcom 555 II amplifier, $495; NAI) 1300 PROCEED PI)P 3 20-BIT DAC, ($2500) $900;
Plinius amplifiers and preamplifiers. Please call Audio preamp, $140; KEF Kobe for 1053 speakers, $125. All Magneplaiur MG Illa loudspeakers, ($3500) $1250.
Associates, (601) 898-3717 negotiable. Getting M.Irnm.i sale. (910) 70 -
248 (847) 735-1831.

Hear The Best. See The Best. F

.PIR[MIERE Profflufica High End...

Not High Price
RUCIO /PECIRLI/T/

AUDIO VIDEO WE SELL MUSIC: AUDIO EQUIPMENT

IS SIMPLY A MEANS TO THAT END.

ng Angstrom
Arran,
Meadowlark
Noun
Sunnko
Sunf ire
Anthem Monitor Audio
kLevi Lexicon Porachym Symphonn Audioquest Rega
spare arp LCD
ProAr IDI
Audio Alchemy Sharpvision
CarnbrIdge Rego Target
Labs AMC Celeste Rok scan Theta Audio Truth Signet
on A V11 Spendor Vandersteen
Chord Co.
B&K Snell
th Creek

lo CWD California Audio Labs Sons frontiers

Dunlavy
Cary Audio Sumiko
GoidenTube
al Taddeo
Grado Counterpoint
r
H/K
Creek Transparent Audio
•• Joni. Magnum Dynalab Vandersteen
Maranu Von Schweikert
McCormack Well Tempered

eransford Aven EXPERT ASSISTANCE

scum:wowsV V
3400 Monroe Ave. Rochester, New York
INSTALLATIONS •SERVICE
shville, TN 37204

60-93 716 284.0410

2236 N. CLARK CHICAGO, IL 60614 773.883.9500

Stereophile, January 1998

ARC V140 MONO AMPS, ($8000) $4200; ARC SONIC FRONTIERS: Line 3 preamp, ($4995) AUDIO RESEARCH CLASSIC 30, new tubes, mint,
LS211 preamp, ($3000) $1425; ARC DAC 2, ($3500) $3500; Power 3amps, ($10,000) $5295; SFD-2 Mk.II, $1150; Krell KSA-250, mint, $3400; KSA-3005, mint,
$1400; Krell KSA-200S, ($7500) $4200. All mint with ($5295) $3000; SET-1 transport, absolutely mint, gold $4900; Levinson No23.5, RCA. mint, $3900; PS
packing.. Larry, (801) 268-3028, MST face, ($2300) $1595. All original boxes and manuals. Audio 200 Delta, mint, $1100; Rowland Model 3
ARC LS22 PREAMP WITH REMOTE, pristine, one Call (201)934-6605, km- ?presage. monos, near mint, $2000; Sonic Frontiers Power 1, low
owner, ($4500) $2600; ARC 13300, ($4000) $2100. AUDIO ORLEANS - Featuring Conrad-Johnson. hours, mint, $1625; VTL Deluxe 225 Triode monos,
Scott, (801) 272-1259, MST Krell, MIT, NHT, Onkyo, Parasound, Thera, Thiel, Von mint, $2300; Audio Research LS3, mint, $925; LSZ
Schweikert, VPI, and many others... Trade-ins accept- near Mint, $800; SP14 with phono, near mint, $1150;
LEVINSON NO.333, PERFECT, $5495; Krell KRC-
ed. Call for used and clearance equipment list. Audio B&K Pro 5with phono, near mint, $190; Coda 02B,
HR, $4395; Balanced Audio Technology VK-5, $2295;
Orleans, 2031 Metairie Road, Metairie, LA 70005. (504) near mint, $900; Conrad-Johnson Premier 14, mint, 6
Adcom GFA-555, $395; Bryston 411 with NRB
831-0050. Visit our KM site at wuneaudioorleans.com months old, $2800; Levinson No28 with high-gain
toroidal transformers. $1195. Offers, trades, credit
EARMAX -MINIATURE TUBE HEADPHONE phono, mint, $1550; Sonic Frontiers Line 1, low hours,
cards. (9/4) 953-85/7 days, (914)667-5430 evenings.
amplifier (5th year!) with battery pack -the only mint, $1625; VAC CLA la, mint, $1000; Lexicon CPI
JADIS 13PL LINE STAGE, ($5000) $2300; Sonic
portable amp in the world! Premax. Trimax electronics; surround, Mint, $375; 500T A/V system controller,
Frontiers SFM-160 monoblocks, ($5500) $2350;
Klimo preamps; the March toncarms; the Verdier mint, $1000; Theta TLC jitter filter with TLC supply,
Melos 333R Reference line stage, balanced/
turntable (now with PolyCrystal base), and Verdier's mint, $210; Audio Research DAC2 converter, mint,
unbalanced, with remote and warranty, $2200; Audio
fabulous 300B amplifier, assembled or kir, Maneen(a) $1250; CAL Alpha, mint, $550; Classé DAC1, mint,
Note DAC 3 with warranty, $2100; C-J MV-125,
loudspeakers; Monopole connectors; Top Hat tube $2400; EA!) DSP-1000 Series II, mint, $400; DSP-
($4000) $1950; Fosgatc 3A, ($3500) $1200;
dampers; D'Feet resonance dampers; European LPs 1000 Series III, mint, $700; Musc 2, balanced, Bessel,
Transparent Reference interconnects, 15m, ($2000)
and CDs! Audio Advaruemersts, Box 100, Lincoln Park, NJ mint, $1275; Sonic Frontiers SFD-1 Mk.II, mint,
$890. All mint with original boxes. Plus shipping. (619)
07035. (973) 633-1151. $1000; Theta DS Pro Basic II, balanced, 1111111t. $1000;
485-2617 days, (619) 277-0987 mereire.
Timbre TT1, mint, $2000; AMC CD6 player, excel-
THETA PRO BASIC 3A, $1100; Symphonic Line
TIMING IS EVERYTHING! What is flat frequency lent, $220; Krell KSP-20i, mint, $5400; Resolution
RG-1 Mk2, $1100; Paradigm Studio 100, 51150. Jim,
response without accurate phase response? Anyone can Audio C13-50, mint, 1month old, $2000; CAL Delta
(702) 362-9553.
reproduce the loudness of anote correctly; no one but transport, mint, $450; Classé C131-1, mint, $1500;
Daniels Audio releases these notes in the same time PIONEER SX-1980 SX-1980 receiver, $3000. Chris,
Levinson No37, mint, 5 months old, $2500; Sonic
frame as the original performance! For those who are (520)408-0830.
Frontiers SFT-I, mint, $1400; Theta Data Basic, bal-
familiar with the sound of unamplified instruments, MIT 770 TUBE TERMINATOR speaker cable, 8', anced, mint, $800;13unlavy SC-IV, mint, 3months old,
and who are interested in the accurate re-creation of ($3100) $1280; Reference 350 interconnect, Im, ($2000) $3900; Infinity 1152000 speakers. near mint, $60;
the original musical performance, Daniels Audio offers $940; Magnum Dynalab 101A tuner, latest design, 5550; RSI000, near mint, $45; KEF Reference Series 107/2
a complete line of phase-coherent loudspeakers signal enhancer with Mullard I2AX7, works perfectly with Kube, mint, $3200; Thiel 3.5, near mint, $1100;
53500+, preamplifiers 52350+. Cl) players 51450+, with tuner, Cascade interconnect, Im, $120; New Gold Wilson WATTs 2/Puppys 2, mint, $5300; WITTs,
and cables. Daniels Audio Guporation, 1001 N.Humphny Lion ICT138, $1000 firm. (610) 525-8416 evenites mint, $4600; AudioQuest Sterling pure-silver speaker
AM', Oak Park, IL 60302. (708) 383-3319,ktx (708) 383- GOLDMUNI) MIMESIS 9 amplifier, ($13,000) cable, 8' (2), 5900 each; 4', $450; bi-wire, 10', $2300;
3230. On the 144.1r: unmedanielsaudio.wm . $6500. (770) 487-6022. Clear, 4', $300; Diamond, RCA, 2m, $540; Lapis, RCA,
2m. $400; 1in, $200; Ruby. RCA, 2m (2), 590 each;
Cardas Heidink Golden 5C. RCA, 27', $975; Graham
DIN-to-RCA phono adapter, $110; MIT Mi-350
CVTenninator Proline Reference, XLR, perfect, lm,
Audio Mart Order Form
$1500; Mi-350 CVTerminator, RCA, 15', $760;
NEW 1998 RATES: Private, $1.25 per word; Commercial, $4.15 per word; $166 minimum on MITenninator 2, RCA, 15, $210; Z-Cord II, power (2),
all commercial ads. A word is defined as one or more characters with aspace, dash, or slash on either $110 each; Panamax Max 1000+, new, $180; Purist
side. (Telephone and fax numbers, e-mail and WWYV addresses count as one word.) PAYMENT: All ads Colossus Rev.11, XLIt, luis, $530; Colossus Rev.A,
'mot be prepaid with order. Visa/MC/AmEic or checks are accepted. MAIL TO: Sretivphik Classified Ad XLII, 24', $900; Maximus Rev.A. XLR, 2m, $360;
Department, P.O. Box 5529, Santa Fe, NM 87502-5529, or FAX (505) 983-6327. (Faxed ads are credit- Colossus Rev.A, digital, RCA, Ins, $150; SitnplyPhysics
card only.) DEADLINE: Ads arc duc on the first working day of the month, two months in advance of Byteline 001, digital, RCA/HNC, Ins, $100; Synergistic
the issue in which your ad will appear. For example, if you want your ad to mn in the March 1998 Resolution Reference Mk.II, RCA, 3m, 51225;
Staraphik you must submit it with payment by January 2, 1998. Ad material dut reaches us after deadline Transparent Reference speaker cable, 10', $2300; Ultra
will appear in the next available issue. No refunds. If you have questions, call (505)982-1411. speaker cable, 10', $1150; 8', $1050; Reference, XL11,
2m, $2000; Ultra, XLIt, $900; RCA, 1.5m, $450; Super,
J Enclosed is payment in the amount of 5 for words. )(Lit, 15', $500; RCA, 1.5m, $210; XLO Reference,
RCA, 2m, $220; Signature digital, XLR, 2m, $265;
Yaniamura Millennium 5000 speaker cable, 5m,
J Iprefer to pay by check, made payable to Stereophile.
$1200; digital, XLR, 0.8m, $310. Trevor, (302) 737-2606.
J Iprefer to pay by j Visa j MasterCard U American Express
WADIA 7, ($12,500) $7950; Counterpoint NPS-400A,
My card 41 is Exp. date
($5000) $2800; NBS 6-outlet Power Strip, ($8OO) 5339;
Signature
Hales Concept 2, sipeli finish, s/419502-1029A, optional
Please run my ad in the following months: grilles, some scratches, ($3000) $1650; Proceed PRE,
OP 1203, ($2000) $1400; SF SFD-1 DAC, s/#L94IC49,
Category heading: U General U CDs/LPs/Tapes ',.1 Wanted U Employment ($2100) $800; Genesis Stealth amp, ($9000) $4500;
'Umber 8AG, 8', ($3400) $1950; KTCG, lm, ($720)
Copy (Please type or print; attach separate sheet if necessary):
$400; Krell pikes, (AMDs, $200) $100; Apogee DAR
with external PS, s/#41197, ($4000) $1400; Transparent
Reference, Itn, s/#2034XL, ($2000) $1200. COD with
shipping prepaid. (8/8) 9204938, fax (8/8) 920-1989, e-
ntail hellohyi@aol.com

ESOTERIC P-2 TRANSPORT, $1200. (704)544-329&

WE OFFER PERFECT CONDITION with war-

ranty: Anna-Sphere, Audio Research, Conrad-Johnson,
Gershman Acoustics, Krell, Levinson, Martin-Logan,
subl, MIT, NBS, Sonic Frontiers, Transparent, Wadia,
and limy more high-end components. Call for inven-
tory list, or visit our showrooms at 35-62 166 St,
limiting NY 11358. (718) 961-8842, fax (718) 886-
Name Company 9530. High End Audio.

Street City SI LTECH LS-90 SPEAKER CABLE, the best for half
off, 20' pair, can be split, ($3200) $1600; AudioTruth
State Zip Tel. Fax
Opal X3, 2m pair, unbalanced, ($350) $195. Thu, (806)
756-4425 belOre 10pror CST

254 Stereophile, January 1998

 Audio Mart

CASTECH 8455E AMPS, latest, new, ($2995) $2050; EA1)ULTRAI)ISC 2000T tranqxm, brand new, sealed EAD T-8000 SERIES III universal transport, black,
Audible Illusions 3A, $1650; Cabasse FareIla 400 in box, silver, ($2395) $1250 finn. (203) 622-0200. ($5500) $2500 0130. ELP LT1-XA laser turntable
speakers, $1550. All new with papers and warranties. MUSIC REFERENCE ItM -9 Mk .1 I, former with VI'l HW-17S record cleaner, 78 filter, lifetime
All plus shipping. (810)751-4393 before 11pm EST Stereoplide Class A (October 1996), with box and man- defect warranty, new, $20,000. Call (505) 662-1415.
MERCEDES BECKER CD PLAYER, genuine ual, 5.23(8). Pin, (815) 439-9003. SONIC FRONTIERS SFT-1 TRANSPORT, ($2650)
Mercedes accessory, $300 OBO. Call Andrew, (847) THRESHOLD T400, 6 months old, mint, $4000 $1350; Audio Alchemy 1)11 Pro 32, ($1500) $500.
692-7443, after 8pm CST OBO. (732) 431-5684. Digital interconnects: Illuminati I)X50, XLR, ($350)
Gad) TRANSPORT, $395; Reference Line Silver $150; Signature XL0, RCA, ($325) $125. Call Eat,
QUICKSILVER M60 mono amplifiers, mint, $1125.
interconnects, 0.5m, $125; VastEvers power cords, $65. (914) 763-6595.
(732) 223-7472 befoœ 9:30pm EST
Call (615) 650-3418. MARTIN-LOGAN CLS, New York-area buyers pre-
PASS A 1.2, $8700; Aleph I' remote, $2800; Aleph 5,
AUDIBLE ILLUSIONS M3A, $1650; Audio ferred. $899. Call Eric, (212)725-2682.
$2600; Cary CAD88SE1 20W triode SE integrated,
$1600; 300SE Signature, $2800. (801) 226-1018, (801) Electronics SE 811s, $1195; API Power Wedge, $195; AWESOME CITATION SYSTEM 7000 Home
Cary CAD5500, $395. Conrad-Johnson: DR1, $1075; Theater!! Most pieces in unopened boxes. Save S!! Call
253-4130.
EF1 phono stage, $1195; MV55, $1195. Expressive (808) 261-1215, 10ani- 11
pm; fax anytime
REFERENCE LINE AUI)10 —Preeminence Two
Technologies: R2, 1 in, $150; ICI, 4', XLR, $295. AMPLIFIERS: Audio Research Classic 60, Svetlana
passive preamplifier, Silver Signature version, latest,
Muse Model 2 liessel+FIDCD, $1650. Music Metre 6550, $1650; Carver AV405 5-channel, ($900) $375;
($2000) $1200. (408) 372-9133.
Signature (flat): 10' spades, $175: 15' spades, $225. Cary CAI) 50SL class-A monoblocks, $1095; Classé
LEVINSON NO.39, mint, $4295.John, (407)249-0444. Nairn: (:1)3, $1300; 82, 53100. Reference Line Fifteen, ($3000) $1595. Preamplifiers: Sonic Frontiers
PROAC RESPONSE FOUR, rosewood, $9200 OBO Preeminence: (ne, $595; One A remote +2 outputs, SFL-2, $1895; Conrad-Johnson PVIO, $595; Classé
(pickup only); Mark Levinson No38S, $3200 OBO; $995. Soliloquy 5.2, hirdseye maple, $1300. Five, ($2100) $995; Theta 1)ata Basic 11 transport,
Mark Levinson No.36, 52300 0130; Threshold 550e, Sonographe: SC26, $595; SA250, $725. Spendor: $1295; Mendiai, 206 Cl) player, ($1700) $895; Sony
$3200 0110, (pickup only); AudioQuest Dragon SP2/3, walnut, stands, $1200; SP7/1, light cherry, XA3ES Cl) player. $400; Aragon D2A II DAC,
speaker cable, $1600 0110; Lexicon CP-1 Plus, $450 $1650. Swans Esquire, rosewood. 51650; Theta Data ($1600) $595. (408) 245-4054.
OBO. Call Ramon, (718) 830-9562, NYC Basic, $595; VSI' I)igital I)oinain jitter reduction, $595. MUSICAL REVELATIONS, GRAND RAPIDS,
AUDIO RESEARCH VT100 AMP, ($4500) $3675; (616) 866-8528, eluiliosquidg‘zotrom . Michigan — Audible Illusions, Audio Electronics, Cary,
Thiel 22 speakers, ($2950) $2175; Levinson No33I, AUDIO RESEARCH VT100 in box, ($4500) $3250; Chord Co., Conrad-Johnson, 1)ynavector, Flatline,
($5000) $3500; Counterpoint SA 220, ($2500) $1375; LS15, (53000) $2000; CD2, ($3500) $2350; extra tubes Illuminations, Kimber, Kuzma, Mesa Engineering,
Counterpoint 5000 preamp, ($3500) $1625. (606) and cables, all unused. Call Bob, (619) 459-4159 days, Muse, Music Metre, Naim, Platinum, Reference Line,
581-3763. (619) 578-8131 etynisigs. RoomTune, Soliloquy, Sonographe, Spendor, Swans,
McINTOSH MC-2500, mint, $2500; C-J ART' pre- AUDIO PHYSIC VIRGO II, highly detailed, smooth Tributaries. Ikino and used deals. (616) 866-8425,
amp; Rowland 7Series III, $4700; JBL Everest, collec- and warm, ,(554(10) $3500. Local (NY/NJ) sale MiiRevelati@aolcom .
tor's item, ($12,000) $6500; Cary CAD805, $4450; preferred. No boxes. Call Allen, (212) 902-9741, days. KRELL FBI' 600, new in box, ($12,500) $9500;
Carver Amazing panels, piano black, new, $1600; Plintos MUSE II AES/EliU, Bessel, $1150; TARA Conrad-Johnson PFR, ($2600) $1700; Conrad-
M-16 prcamp + SA-100 amp, 6 months old, ($8500) Decade, AES/EliU digital, 1m, $195; Pass Aleph Ppre- Johnson MF2300A, ($3000) $2150; Von Schweikert
$5200; EAD I)SP-7000, $650; ARC SPIO, $2200; VPI amp, $1900; Levinson No23.5, RCA, warranty, $4000; VR4.5, natural cherry, ($6000) $3900; Parasound
HW-19 Mk.4 with SME 4arm, ($3700) $1700; Oracle TAI )Power Purifier, $630; XLO 2.1 Signature, bal- P/SP-1500, new, ($1500) $1000; Parasound C/DP-
Delphi with Magnepan arm, $750; ET-2 arm, $450; anced, It,,, $300. Wadia 2000 transport, $1900; 64.4 1000, new, ($500) $350. (504) 887-4382, nights before
Krell SBP-32X, ($3500) $990. (909)627-3869. DIA, $1700; hod,. $3-150. All mint. (718) 339-6778. lip,,, CST

/, 11>Wili"`
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'NN
ELECTRONICS AudioNideo Systems

AUDIO
Electronics &
Adcom •Anthem •Audio Alchemy Surround Processors
B&W* •Bright Star •Benz-Micro Krell •Audio Research •Pass •Theta
Wadia •Audible Illusions •Aragon
Audio and Home Theatre Classic Records •Grado •Hitachi
Acurus •AdcoM •Jolida •Angstrom
Infinity •Infinity Compositions Ayre •Lexicon •Sony ES •Pioneer Elite
Klipsch •Mirage •M.I.T. AmFi •Fanfare •Magnum Dynalab

M.I.T. -ZSeries •MonsterCable

Thiel •WilsoSn
pAukde
iors•Magnepan
REGA Niles •Michael Green •Pinnacle ea

Definitive Technology •Vienna Acoustics

roe .' Gm ESTICeel
CEL Roomtunes •RCA •RCA D.S.S.
PA RAP
Verity Audio •Celestion •Mordaunt Short
,,pt
RVEK Sony •Sony D.S.S. •Sony XBR
AVAL"'
.010 CA
Subwoolers
oyNA' AresLci" SOTA •Sound Dynamics Rel •Velodyne •Definitive Technology
JA DIS
00 0 Salamander •Terk •Target
MI T use Video
HO 5 ELleg
GE Erg ARA - Velodyne •V.P.I. •Yamaha' Ampro •Vidikron •Pioneer
REF ER r4 05 co vEKg
R; LE Sony •Proton •Sony DSS
RIPIA OCR 5-r 'Not available by mailorder
woto
i
d"' °ale Accessories
THO S'
_cEE o_jor
P ,1450N AuP I 044440414•101401•401
14$14, Transparent Audio •Synergistic Research
Ro c._ Tributaries •Goertz •Ocos •Audioquest
corie
e HAsE
i E Audio •Video Niles •Sound Anchors •Sanus •Lovan
Acc
CA
..55
IL LU5 I
O Custom Installation Plateau •Panamax •Sumiko

A u0113

DEMO AND USED MODELS

2000 Lincoln Way East, Chambersburg Digital Ear
(717) 263-4960 17602 East 17th Street, Ste. 106
ALWAYS AVAILABLE
226 W. King St., Shippensburg Tustin, CA 92780
323 WEST MAIN STREET
ABINGDON, VIRGINIA 24210
(717) 532-7373
(714) 544-7903
Visit us at our Web site
(540) 628-3177 (4' www.innernetnet e-mail hifi@digitaleancom
•local market only e-mall: ratlef@preferred.com www.digitaleancom

Stereophiie, January 1998 255

Audio Mart

PREMIUM-GRADE PARTS! Absolutely the best 180-GRAM REISSUES ARE EVERYWHERE! EMI,
selection of audiophile-grade parts at fair prices! Warners, Alto, ARS, MCA...and they're not cheap. ...AND THE
laudCaps, Hovland, MIT MultiCaps, SCR, Black Which are the good ones? Better Records can help you
Gate, Elna, Nichicon, Vishay, Caddock, Holco, Mills, choose the best and avoid the rest. We audition and OTHER HALF
Yarnamura, etc. capacitors, resistors. All types audio review virtually all the new Heavy Vinyl releases. Call
connectors, chassis wires, custom cables, Alps, Noble, for recommendations on those, as well as the best ftom WENT INTO
TICD, Hexfred diodes, copper-foil inductors, tubes, Decca, EMI, DCC, Classic, OJC, Blue Note, Impulse!,
vibration damping sheets, isolators, Deflex panels, hos- and more —at guaranteed better prices. (800) 487-8611. THE TUITION
pital-grade AC connectors, tools, accessories, free cata- BEATLES COLLECTION (LPs) by Mobile Fidelity,
log! Michael Posy, Box 526, Inverness; CA 94937 (415) totally sealed in original MFSL shipping carton. Shows FUND.
669-7181, (415) 669-7558fax. UPS shipping date (1982). Best offer! Hart, (973) 633-
GRAAF 5050 TUBE AMP, ($4000) $2350. Rich, (516) 1151.
333-3441. WANTED: SUPER ANALOGUE DISC K35P-
BAT VK-3i PREAMP, ($2500) $1950; Transparent 70005, IC35P-70009, K33C-70017, and KILC-9143.
Reference XL interconnect, 15m, new in box, ($4400) Volkrnar Schroth, Am Stadtpark 43, D-90409 Nürnberg,
$2900; Transparent Reference XL interconnect, 10', Gennany, fax (49) 911-3658110.
($5000) $3300; Transparent Reference speaker cable,
8', 1year old, ($4800) $1900; Transparent Reference
interconnect (2), 17 months old, (12100) $900 each;
RoomTune large custom amp stand with cones (2),
($775) $550 each; RoomTune TunePak, ($285) $190;
Wanted
Transparent Powerlink Plus AC cord with 20-amp IEC WANTED: TUBE HI-FI AND SPEAKERS, tube
(2), new, $175 each. Ken, (212) 691-2641. theater amps, corner speakers, horn drivers, coaxial/tri- Superbly
axial speakers, crossovers, tubes. Altec, ElectroVoice,
NEUMANN M-149 TUBE MIKES (2), new; Stax
Nova Signature headphones, TWI amp, new. (973)
JBL, Jensen, McIntosh, Quad, Dynaco, Scott, Lowther, performing products.
Fisher, Heath, Eico, RCA, Tammy, Leak, Marantz,
746-2794.
Western Electric, etc. Also high-end ARC, Conrad- Sensibly priced.
Johnson, Linn speakers, etc. Also old guitars and guitar
amplifiers. Sonny Goldson, 1413 Magnolia Lane Midwest ARCHIVE AUDIO
CDs, LPs, Tapes City, OK 73110. (405) 737-3312, fax (405)737-3355. Columbus, Ohio
RCA LSC SHADED DOGS, Mercury 90000, WANTED: OLD, NEW McINTOSH, MARANTZ, 614-237-5699
London ffss blucbacks, Lyrita, Argo, EMI ASD, British JBL, EV, Bozak, Altec, Tannoy, Jensen, Dyna, Fairchild,
Decca, rare monos. Call (212) 496-1681, five (212) 496- EMT, Linn, SME, Thorens, Krell, Levinson, Cello, Arcmv •Von Schwedred •Copland •
Coincident Spiv Tech.
0733. Harvey Gilman, 243 W 76th Sc, Apt. 1B, New York, Goldmund, Koetsu, tubes, etc. Maury Cork, (713) 728- Audio Magc• EKSC Eagle •
NE. W •
Diapason •
Black Diamond
NY 10023. 4343,fax (713)723-1301.
Reference Line •Van Den Hul •JPS Labs •
Chang Lightspeed
HIGHEST PRICES PAID for classical LPs, mono and WANTED: MARANTZ TUBE EQUIPMENT, WE
Om •Near •Chapman • Tice •Museatex •Music Metre •MSB
stereo. Will travel for large collections. Call Lawrence 1086 amps, BEL, AVO tube tester, Sequerra FM-1. Top
O'Toole, P.O. Box 138, Bearsville, NY 12409, tel/fruc (914) Daniels •
Thorens •Minn. Aud. Labs •
Cade •Monarchy
prices paid. (818) 241-3344, fax (818) 242-4433.
679-1054. WANTED: VACUUM TUBE HI-FI COMPO-
TOP DOLLAR PAID FOR CD & LP collections. No NENTS and large speakers by Western Electric (tubes,
collection too large! Classical, Opera, Jazz, Rock, amps, speakers), Marantz, McIntosh, Brook, Fisher,
Alternative, Audiophiles (SR/LSC/EMI-ASD), more. REL FM tuners, Fairchild, Altec, Leak, Quad,
150,000 titles in stock. Free brochure! Princeton Record ElectroVoice, Jensen, JBL, Tannoy, and others. Also. ecr -i
- rq -1
-1(z)ni

OMAHA
Exchange, 20 Tulane St, Princeton, NJ 08542. (609) 921- tubes: Western Electric 252A, 300B, and ICT66, ICT77.
0881, http://www.proccom. ICT88. Richard Sharisky, PO. Box 521, Belmont, MA
WANTED: 2-TRACK OPEN-REEL TAPES (RCA, 02178. (617) 484-5784, fax (617)489-6592.
Merairy, etc.). Volkmar Schroth, Am Stadtpark 43, D- WANTED: MARK LEVINSON PREAMPS Nos26
90409, Nürnberg, Germany, fax (49) 911-3658110. and 26s; power amps Nos23 and 23.5. Mc Choi, (718,

Give 'em
RECORDS FOR SALE: Hundreds of Classical tides, 969-1086.
including many HP listed, TAS recommended, "hot"
and otherwise highly collectible audiophile LPs. Write

MARTIN.
or call for free list: Hot Chair Records, PO. Box 629,
Walkenville, MD 21793, USA. (301) 845-8997
LPs & REEL TAPES: Audiophile, Classical, Opera.
Write, call, fax, or e-mail for monthly list of 3500 Employment

LOGAN!
items. Irvington Music, 9580 NW Cornell Rd, Portland, MADRIGAL AUDIO LABORATORIES has long
OR 97229, USA. (503) 297-2117 (503) 297-2138 fax, e- been aleader in high-end audio/video consumer elec-
mail inunusic iritonewm tronics. We have adynamic work environment that
JAZZ LOVERS! Europe's premier jazz labels, Black appreciates the importance of engineering develop- • •Audio Pimer Kedge
Saint/Soul Note LPs, arc now available in the US for a ment. Our continued growth and expansion have cre- •Audio Research •Billy Bags •CWL)
limited time only. Over 100 selected tides. Send SASE ated opportunities for afew technical professionals. Wc •CAL •Chiro by Kinergetics
or fax Black Biscuit Records, (941) 366-6155, 1732 Cunliif have immediate openings for the following positions, •Definitive ter hnology •Dunlavy
Sarasota, FL 34239. each requiring aBS in Engineering: •[AD •Genesis •Grado •HK
RETIRED COLLECTOR, 800+ LPs. Imports and Jr. Deign Engineer: will be involved in hardware •lolida •Krell •Magnan
quality pressings: DG, London, Philips, etc. Opera, design of digital audio products, including: FPGA •Aladin Logan •Magro •AkCormask
symphonies. Mint to well-played. Offers. (604) 669- design; embedded controller design, including low- •MIT •Monster Cable •Onkyo •Panama.,
8004. level S/V/ drivers; data conversion; schematic capture •ProAc •PSR •Rega •Sanus •Sound ArK hors
WANTED: QUALITY USED CLASSICAL LPs, and board layout. •Standesign •Soutire •Synergistic Research
Randall Goldman, Box 1, Rancho Mirage, CA 92270. •Thiel •Van den hut cartridge,
Senior Software Design Engineer: will design and imple-
TeL/Jav (888) 872-6929. •VPI •Wilson Audio ... and ire.
ment software systems. Requires experience in the fol-
CLASSICAL LPS, 78s, and CDs. LPs include audio-
phile, violin, piano, vocals, 20th-century, unusual reper-
lowing areas: structured software system design;
embedded control systems; scheduling/tracking soft- Audio-Video
toire. All records arc play-graded. Please write or call for
my next ser sale list. Stanky Higgins, 11819 S. Eucalyptus
ware designs; user interface design.
L•0•G•leC
Madrigal Audio Laboratories offers competitive 1he .11illweAt's IIiimaie Stereo .Store
Ave #8, Hawthorne, CA 90250. (310)679-8906. wages, health/dental insurance, 401k retirement plan, 3702 Beaver Ave.
HOT LPS — FERRAS, FRANCESCATTI, Heifetz, Des Moines, IA 50310
childcare voucher program, and more. Send résumé to:
Milstein, Oistrakh, Perlman, Rosen, Sul. Ricci, Szigeti. Madrigal Audio Laboratories, Ama: Personnel, PO. Box 781, 515-255-2134
Specials on our Website: http://wwwaudio-logic.coni
2000 recordings. Send SASE to: Hot LPs, 2025 E Middletown, CT 06457 For more information call, (860)
Fennvood Ave, Milwaukee, WI 53207 356-0896.

256 Stereophile, January 1998

 Advertiser Index

Audio Research 68 JVC Music 186 Seneca Group 110

Audio Solutions 252 Kiefs 249 Sennheiser 114
Advertising published in Stereo-
Audio Trading Times 252 Kimber Kable 30 Signature Sound 246
phile is accepted on the premise
Audio-Video Logic 230 Krell 78 Sim Audio 164
that the merchandise and services
AudioWaves 250 LAI International 248 Soliloquy Speakers 52
as offered are accurately described,
Axiss Distribution 146 Legacy Audio 184 Sonic Frontiers 86
and are available to customers at Lyle Cartridges 65 Sony 12
B&W Loudspeakers 19
the advertised price. Advertising Balanced Audio Technology 62 Madrigal 84 Sorice 174
that does not conform to these Billy Bags 119 Magnepan 149 Sound by Singer 104-105
standards, or that is deceptive or Brickwall (Price Wheeler) 168 Magnum Dynelab 172 Sound City 196
misleading, is never knowingly ac- Bryston 96 Magro 189 Sound Connections 168
cepted. It.any Stereophile reader Cable Company 200 Mango Audio Lab 135 Sound Exchange 226
encounters noncompliance with Cardas Audio 99 Martin-Logan 98 Sound Images 244
these standards, please write Nel- Cary Audio 4-5 MBL 162 Sound Lab 161
son & Associates, Inc., 62 Wen- Chesky Records 228 McCormack 152 Sound Seller 249
dover Rd., Yonkers, NY 10705. Classé Audio 56 Meridian 118 Sounder 206
Classic Records 204 Mesa Engineering 158 Soundings 246
Conrad-Johnson 58,70 Mobile Fidelity 188 SoundWorks 190,214
Acarian Systems 174 GSA Audio 224 Mondial 50 Source Technologies 154
Acoustic Image 238 David Lewis Audio 216 Motorola 128 Squires Electronics 255
Acoustic Sounds 202-203 Davidson-Whitehall 250 Muse Electronics 57 Stereo Exchange 212
Adcom 16 Denon Electronics 24-25 Music Direct 192 Stereo One 240
Aerial Acoustics 126 Digital Ear 255 Musical Surroundings 150 Stereo Trading Outlet 246
Alpha-Core/Goertz 166 Dynaudio 142 Naim Audio 134 Straight Wire 44
Alpine Audio 255 Electrocompaniet 144 Northstar Leading The Way 46 Sunshine Stereo 236
Ambrosia Audio 242 Elusive Disc 180-181 Nova USA 168 Synergistic 14
Analog Shop 208 Energy Loudspeakers 64 Now Hear This 28 Tannoy 158
Antique Sound Lab West 154 Ensemble 136 Nuts About Hi Fi 232 TARA Labs 20,40
AR Higher Fidelity 92 Fairport Soundworks 253 Overture 199 Theta Digital 122
Archive Audio 256 Fanfare 85 Panamas 88 Thiel 60
ARS Electronics 235 Freehold Stereo Video 238 Paradigm 10 Tice Audio 162
Artemis Systems 172 Front Row Center 234 Parasound 8-9 Toys From the Attic 191
Audio Advisor 174,176,230 Gershman Acoustics 156 Parts Connection 172 Transparent Audio 132
Audio Classics 191 Graaf 138 Pass Laboratories 163 Trema Sounds 115
Audio Connection 42 Hales Design Group 34 Per Madsen Design 252 Tubes by Design 236
Audiolab 234 HCM 210 Phase Technology 124 Twisted Pair Designs 172
Audio Magic 136 HeadRoom 194-195 Philips 26-27 Valve Amplification Company 76
Audio Nexus 220 Hi-Fi Farm 222 ProAc 120 Van L Speakeiworks 246
Audio Note 48 Holm Audio 232 Premier Audio Video 253 Vandersteen Audio 138
Audio Outlet 218 Home Theater Shop 249 Pro Musica 253 Velodyne 80
Audio Plus (Cambridge Audio) 152 Hsu Research 61 PSB 182 VTL 82
Audio Plus (.1Mlab) 22 Innovative Audio 240 Purist Audio Design 150 Wadia 259
Audio Power Industries 164 Jason Scott (Electrocompaniet) . 156 Reference Audio Video 244 Western Electric 2
AudioPrism 166 Joseph Audio 111 Revel 38 VereWodd 173
AudioQuest 36,260 JS Audio .228 Rotel 43 Wisdom Audio 140

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Stereophile, January 1998 257

 The Final Word
Larry Archibald

M
ichael Zeugin, a long-time sound quality (or high-end magazines) oriented toward "cocooning" in the home,
friend of ours from Audio In- when we're nothing but X-rays. Paperless and uninhibited by depression-era inse-
flux, raises great points in his let- publishing, indeed! curity. Does that sound like adisaster re-
ter this month (pp.13-17), and I'm going To begin with, Idisagree with many of cipe for companies selling luxury products
to take advantage of them — to disagree, Zeugin's factual and assumptive assertions. for home entertainment?
thus illustrating his complaint that jour- Sure, lots of additional high-end com- The reality is that we're in the grip of
nalists always get the final word. panies made D/A converters once Arcam massive change without an already-popular
Zeugin's primary point is that high-end and Maranta got the ball rolling, but that's new technology on which to hang our hats.
two-channel audio is being sucked into a like criticizing the saine companies for Just as the music business rises and falls
Black Hole whose characteristics are making CD players once Sony and Philips based on big hits, the consumer-electronics
legion. On the one hand, high-end manu- got things started — or making acoustic- business rises and falls on new technologies
facturers bring it on themselves — atheme suspension speakers once Edgar Villchur — usually source technologies.
echoed by other readers in this issue — by defined the concept. The reality is that Historically, big growth has always fol-
too-high prices, too-weird products, or D/A converter sales went down once the lowed new stuff LP, stereo LP, acoustic-
"bandwagoning": jumping on the band- buying public had purchased all it wanted. suspension speakers, solid-state amplifi-
wagon of whatever new product category The only surprising thing is that sales fell cation, the compact cssette, CD. And
seems popula4 whatever its merits. off acliff in 1996, rather than declining every era of big growth has been preceded
On asecond hand, high-end audio buy- gradually from 1993. by adepression, just like our economy used
ers are aging and, desperate to provide at to behave (and still may in the future). It's
least $1 million for themselves in re- Historically, big growth as if consumers know that if they hold off
tirement funds, opting out of the expen- on buying long enough the industry will
sive-goods world. On still athird hand — has always followed come up with something truly great.
stay with me here, no matter the ana- Consumers want to be excited by their
tomical challenge — the youngsters are new stuff, and every
consumer-electronics purchases, espe-
playing with computers, not listening to
era of big growth cially if they're high-priced. Ipity the re-
music. (The problems of the music busi- tailers Zeugin cites as having been
ness are constantly bewailed in these has been preceded "forced" to sell TVs. Gee, abig-ticket item
pages.) Everyone's ignoring music and that plays television and movies, entertain-
buying computers instead. by adepression. ment activities participated in by Amer-
There's no question that this has been a icans more than any others — should /sell
tough year for consumer electronics. It is true that we boomers have ahard it, or should Isend my customer to Circuit
"Same-store" sales at all the big chains time identifying musical taste in the City, where they'll buy DVD, Divx, and
have been down on asame-quarter basis younger generations, but we can't set our- much more?
for almost ayear and ahalf now. TV man- selves apart from our parents in that The retailer for whom that's atough
ufacturers have been struggling because respect. The music business may be trou- choice deserves to join Zeugin's 20% who
of the announcements of new video for- bled at the retail level — some chains built are out of business or no longer selling the
mats, though EIA figures show relatively way too many stores, just as the con- category. The successful retailers Iknow
little drop in sales (big-screen and projec- sumer-electronics chains tend to do (until — and, surprisingly, there's alarge bunch
tion TV sales are actually up). Anecdotal they go out of business) — but the almost of them — love the opportunities they
earnings reports from high-end compa- $13 billion that will be spent on recorded currently have to provide their customers
nies are negative (you have to rely on music this year is still more than twice with greater service than ever before. Sure,
anecdotal evidence because high-end what was spent in 1985. alot of the systems involve home theater,
manufacturers are too stubbornly inde- And boomers running out of money? and many are built into the customer's
pendent or insecure to report their results According to American Demographics, amag- home — but they all deliver satisfaction,
to the EIA), and retailers talk about far azine that specializes in such things, the and almost all play music.
fewer customers — but generally higher- boomer generation represents the largest We already have the next exciting tech-
ticket sales to the customers they do have. pool of wealth in world history, possessed nology, though its gestation as a music
Ad pages in magazines dedicated to audio by people entering their retirement years, medium will certainly be extended for a
are down across the board, except at Art couple of years. Isu 14; est that high-end
Dudley's recent startup, Listener. manufacturers look seriously inside them-
©Stereophilc —1021 Net January 1998, Issue Number
But Idisagree that adown year con- 2/6. Stercophile (ISSN 40585-2544) is published month- selves to find their own sources of excite-
stitutes aBlack Hole into which all of us ly, $35 per year for US residents, 17 Stermphile, Inc, 208
ment, and align themselves with retailers
Delgado, Santa Ise, NM 87501. Pen'odical postage paid at
will inevitably be sucked — until, in Zeu- Santa Fe, NM and at additional mailing office. POSTMAS- who are similarly inclined. Those who
gin's apocalyptic language, the Blackness TE.R: Send address changes to Stcrcophile, PO. Box survive will do aton of business, and we
implodes on itself and becomes aquasar. 469027 Escondido, CA 92046-9027
Printed in the U.S. consumers will have great stuff to look
Kind of hard to say what will happen to forward to.

Stereophile, January 1998

258
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 r,

\
is moving album from an enormously gifted
singer, Terry Evans offers a vision of a river where
healing, cleansing, salvation, and plenty of amazing ;
music take place." -Living Blues
"You'll be swept away by Terry Evans." -Billboard
"Here is one blues singer who climbs the mountain,
goes to the river, drowns and floats out to sea. And
Cooder absolutely kills." -LA Weekly
AQ1044

"Robert Lucas sounds as if he is on aone man mission

to resurrect the vintage post war sound and make it
relevant to contemporary music." -Living Blues
"Robert Lucas is a knock out. One of the best CDs of
the year." -Tom Cullen, WRTI, Philadelphia, PA
"His voice remains a rich, grainy wonder, full of
authority yet naturally playful and convincingly
vulnerable." -Los Angeles Times
"Lucas plays the blues with deep conviction and from
vast experience. Lucas' new album is Completely Blue
and thoroughly captivating" -Blues Print
A01045

Doug MacLeod
"MacLeod is one of the vibrant voices that will keep
this sound alive into the next century." -Blues Revue
Multiple Handy Award nominee Doug MacLeod's
last album for AQM was named one of the ten best
albums of 1996 by the managing editor of Pulse!
magazine. Doug makes a breakthrough on this, his
third AudioQuest Music release. The songs are deeply
personal, the soulful observations of a man steeped
in the blues but unafraid to cross boundaries of style.
MacLeod is beautifully supported by a stellar group
of players from the west coast blues scene as well
as the gospel vocal group "Black Cherry".
AQ1046

• • .1\ if
Bruce Katz Band M/SSiSS/ppiivran

"I'm tellin' ya, he's down-home and uptown all at once

and that's awinning combination." -Boston Phoenix
Keyboard wizard Bruce Katz has jaw dropping technique,
and something else -awhole lotta soul! Following dues
paying stints with Big Mama Thorton, Albert Washington
and Mighty Sam McClain, Bruce Katz has been tearing
it up and gathering widespread acclaim in recent years
with Ronnie Earl and the Broadcasters. This is the
blues drenched album Katz' fans have been waiting for.
Features special guest vocals by Mighty Sam McClain.
AQ1047

P.O. Box 6040, San Clemente, CA 92674 TEL 714-498-1977 • FAX 714-498-6223
e-mail: aqm@audioquest.com web: http://www.wwmusic.com/audioq
audioquest
Also available from: Justice Audio in Canada 514-641-8601, May Audio in USA 423-966-8844 LJSIC
AudioQuest Music Order Line 800-474-1977 State of the Art Mos, Stale ut Ine Ad Sound