The Absolute Sound 2003 10-11 (144)

in th is i ssueISSUE 144 ■ OCTOBER/NOVEMBER 2003

v iewpointsFROM THE EDITOR 4

LETTERS 8

MANUFACTURER COMMENTS 148

co lumnsFUTURE TAS: Products on the Hor i zon 18

INDUSTRY NEWS 20

ABSOLUTE ANALOG 26 Stephan Harrell spins a trio of European imports—

Roksan’s Radius 5, Thorens’s TD850, and Nottingham’s Horizon.

tas journa l30TH ANNIVERSARY FEATURE 32

From our third issue, HP’s groundbreaking review of the Audio Research SP-3 preamp, theproduct that launched a tube revival, with a contemporary comment from HP.

EDITORS’ CHOICE AWARDS 36Our second annual assemblage of the very best products reviewed in these pages.

SPECIAL REPORT 67Alan Taffel listens to the Acura/ELS’s breakthrough DVD-A Auto Sound System.

equipment repor tsSOPHIA ELECTRIC BABY AMPLIF IER 73

Baby indeed! Wayne Garcia listens to this tiny, good sounding, and inexpensive tube amplifier—and she’s cute too.

POWER TO THE PEOPLE: N INE POWER CONDIT IONERS SURVEYED 75Chris Martens gives you the lowdown on 9—yes 9!—ways to improve your AC power.

AYRE AX-7 INTEGRATED AMPLIF IER 85Robert Harley likes what he hears from Ayre’s tasty new integrated amp.

THIEL CS2.4 LOUDSPEAKER 89Thiel’s latest floorstander gets a workout from our man in Studio City, Neil Gader.

MERIDIAN 502 ANALOGUE CONTROLLER 93 AND 559 POWER AMPLIF IER

“Just right” is how Sue Kraft describes this mid-priced pair from Meridian.

SOUNDLINE AUDIO SL2 LOUDSPEAKER 97Robert E. Greene checks out this hybrid design,

and tells you how to save a few bucks, too.

SUTHERLAND PH.D. BATTERY-POWERED PHONOSTAGE 101No AC = very quiet LP playback. Wayne Garcia on the latest from the mind of Ron Sutherland.

MUSICAL F IDEL ITY TRI -V ISTA CD/SACD PLAYER 104The company’s name describes the player, according to Shane Buettner.

the cut t ing edgeLINN’S MARVELOUS MUSIK MACHINE: THE KIVOR DIGITAL-AUDIO SERVER 111

Nicholas Bedworth checks out Linn’s 21st Century music box.

BOULDER’S 2008 PHONO PREAMPLIF IER, 1191012 DAC/PREAMPLIF IER, AND 1060 POWER AMPLIF IER

Paul Seydor takes an in-depth look at these gorgeously built and ultra-pricey components.

HP’S WORKSHOP 133Surround Sound in Action: The Recordings, A Cross Section of Some Hits (and Misses)

HP on the current state of multichannel sound.75

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2 THE ABSOLUTE SOUND ■ OCTOBER/NOVEMBER 2003

WWW.THEABSOLUTESOUND.COM 3

mus icCLASSICAL 151

Handel: Rinaldo; Aci, Galatea e Polifemo

Sibelius: Rondo of the Waves

Prokofiev: Romeo and Juliet, The Stone Flower

Eighth Blackbird: Thirteen Ways

Chopin: Piano works, Mozart: Piano Sonatas, Schubert: Three Piano Sonatas

SACDRECORDING OF THE ISSUE: Rainbow Body (Atlanta/Spano)

Paris: La Belle Epoque (Yo-Yo Ma)

Beethoven: Symphonies 5 and 7; Puccini: La Boheme

Lloyd: Fourth Symphony, Harris/Gould: Symphonies, Schuman: Credendum

DVD-A

Elgar/Payne: Symphony No. 3, Shostakovich: The Bolt, Jazz Suites

JAZZ 163Randy Weston: Randy Weston box set

Shirley Horn: May the Music Never End

Joel Harrison: Free Country, Adam Levy: Get Your Glow On

Lee Konitz with Alan Broadbent: Live-Lee

Ralph Alessi: This and That and Vice & Virtue

Apa Ini: Apa Ini

Miles Davis: The Complete Jack Johnson Sessions box set

SACD

John Coltrane: Blue Trane, Bill Charlap: Star Dust, Miles Davis: Steamin’

POP & ROCK 171

Neil Young & Crazy Horse: Greendale

My Morning Jacket: It Still Moves

Cheap Trick: Special One

Bela Fleck: Little Worlds

Absolute Audiophilia: A Mighty Welcome Wind: Joan Baez and Ian & Sylvia on Cisco LP

SACD

The Man Who Invented Soul: The Sam Cooke ABKCO remasters

Nickel Creek: Nickel Creek and This Time

The Kinks: Everybody’s In Show-Biz and Low Budget

DVD-A

Steely Dan: Everything Must Go

Deacon John’s Jump Blues

ON THE FRINGE

New records from The Mars Volta, Café Tacuba, Tomahawk, Mondo Generator, EELS,Northern State, and various ’60s surf-rock “legends.”

tas re t rospect i ve 184

Neil Gader reminisces on the early days of his lifelong love affair with audio.

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As you’ll see in this issue’s Letters, our Recommended Systems feature inTAS 143 stirred up quite a controversy. At issue is how much of one’soverall system budget should be allocated to loudspeakers. I had recom-mended driving an $11,700 pair of Wilson Audio Sophia loudspeakerswith a $1550 Naim Nait 5 integrated amplifier. Juxtaposed with this

system was Jonathan Valin’s recommendation of a $128,832 package, of which“just” $19,000 was spent on loudspeakers. Both of us have lived with and enjoyedour respective choices, and both of us felt confident recommending them as sys-tems we would buy ourselves. But which approach is “correct”?

In the early days of “hi-fi,” the conventional wisdom held that because theloudspeakers actually produced the sound, they were the most important compo-nent and deserved the lion’s share of the budget. Implicit in this argument was thebelief that turntables, preamps, amplifiers, and cables had little or no effect on thesound. This idea was stood on its head in the early 1970s by Linn Productsfounder Ivor Tiefenbrun, who virtually single-handedly demonstrated to the worldthe turntable’s effect on reproduced sound.

Thus began the movement that held that the further upstream the component,the more influence it had on the overall sound. Source quality was paramount.This school of thought holds that if the signal isn’t pristine at the start of thechain, nothing downstream can ever make it better. In fact, better loudspeakers atthe end of a poor-quality reproduction chain actually sound worse than less goodloudspeakers because the better loudspeakers more accurately reveal upstreamflaws and distortions.

I understand the logic of this position, and partially subscribe to it. Believeme, you don’t want a grungy, bright, hard, and flat CD player or digital processorfeeding high-resolution electronics and loudspeakers.

Nonetheless, my recent experience with very high quality and easy-to-driveloudspeakers, combined with exceptionally musical and affordable amplification,suggests that there’s still a strong argument for putting most of your hi-fi budgetinto loudspeakers—provided that the components are chosen and matched extremely care-fully. High-sensitivity loudspeakers with a flat impedance curve can be driven tosatisfying levels with low-powered (read “low-priced”) amplification. And there area few precious gems of inexpensive amplification that deliver outrageously goodsound when matched with the right loudspeaker. Find the right combinations ofthese components and you get the best sound for the least money.

This is, of course, not the approach one takes when cost is secondary to soundquality. But it works when bang-for-the-buck is a priority. It’s like a SubaruWRX; it gets you much of the BMW 330 experience for a fraction of the price,but no one would choose the Subaru if cost were not the primary consideration.That’s why we present such a broad spectrum of prices and approaches in ourRecommended Systems feature.

Putting together a musically rewarding stereo system requires vastly moreinsight and sensitivity than an “‘x’ percentage should be allocated to the source, ‘x’to the amplification, and ‘x’ to the loudspeakers” mentality. Component matchingis an art, with rules and guidelines about how to assemble a system. It thereforeseems appropriate to close this piece with a quote from Michael Polanyi’s PersonalKnowledge: Towards a Post-Critical Philosophy: “Rules of art can be useful, but theydo not determine the practice of an art; they are maxims, which can serve as aguide to an art only if they can be integrated into the practical knowledge of theart. They cannot replace this knowledge.”

Robert Harley

f rom the ed i to r…founder; chairman, editorial advisory board

Harry Pearson

editor-in-chief Robert Harley

editor Wayne Garcia

associate editor Jonathan Valin

managing & music editor Bob Gendron

acquisitions manager Neil Gader& associate editor

copy editor Mark Lehman

music sub-editor Andrew Quint, Classical

equipment setup Scot Markwell

editorial advisory board Sallie Reynolds

advisor, cutting edge Atul Kanagat

senior writersJohn W. Cooledge, Anthony H. Cordesman,

Gary Giddins, Robert E. Greene, J. Gordon Holt,Fred Kaplan, Greg Kot, John Nork, Arthur S. Pfeffer,

Paul Seydor, Kevin Whitehead, Roman Zajcew

reviewers and contributing writersShane Buettner, Dan Davis, Frank Doris, AllanFreeman, Roy Gregory, Stephan Harrell, John

Higgins, Sue Kraft, Mark Lehman, Arthur B. Lintgen,Anna Logg, Chris Martens, David Morrell, Aric Press,

Derk Richardson, Dan Schwartz, Gene Seymour,Aaron M. Shatzman, Alan Taffel

design/production Design Farm, Inc.

web editor Jerry Sommers

Absolute Multimedia, Inc.

chairman and ceo Thomas B. Martin, Jr.

publisher Mark Fisher

advertising reps Cheryl Smith (512) 439-6951Marvin Lewis, MTM Sales (718) 225-8803

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copyright© Absolute Multimedia, Inc., Issue 144, October/November 2003. The Absolute Sound (ISSN #0097-1138) is published bi-monthly, $42 per year for US resi-dents, Absolute Multimedia, Inc. 8121 Bee Caves Road, Suite 100, Austin, TX 78746.Periodical Postage paid at Austin, TX, and additional mailing offices. Canadian publicationmail account #1551566. POSTMASTER: Send address changes to The Absolute Sound,Subscription Services, Box 3000, Denville, NJ 07834. Printed in the USA.


COLOSSAL IGNORANCE

Editor:Having just read the latest issue

(143), I confess I find myself aston-ished—I never dreamed, after all theseyears as a subscriber, that I would findmyself insulted by The Absolute Sound!

However, after reading Mr. YogiSaxena’s letter I find myself in a state ofoutrage. This may come as a shock toYogi (he of the “30 years in the highend”), but there are actually readers ofThe Absolute Sound who own some ofthose supposedly outrageously pricedproducts he saw so fit to lambaste. Evenmore shockingly, we think we got a bar-gain. (I consider anything a bargain thatwill give me a lifetime of pleasure,regardless of price.) So yes, I own[Nordost] Valhalla, both the speakercable and interconnects. And, I actuallydrove them home in my Porsche. (Only

after I had made sure I had enough timeby checking my Rolex.)

However, my outrage only increasedwhen I read your From the Editor sec-tion, in which, to my eyes, it seemed asthough you were being a borderlineapologist for the criteria used in select-ing Product of the Year.

To quote you, “reader Yogi Saxenaraises some interesting points abouthigh-end audio.” No, he doesn’t. Yogiraises no point worth even a passingthought. He does not speak for me, nordoes he speak for the thousands of otherhigh-end enthusiasts he claims to be oneof. We, the folks he seems to detest, arethe reason that the high-end evolves,because it is we who purchase the $19kamps and $23k speakers. The fact thatwe do this enables companies likeWilson Audio, Burmester, and Talon tosurvive, and propagate their cutting-edge technologies into lower-priced fare,from which folks like Mr. Saxena benefit.

His letter whines and raves about aproduct that, most likely, he will neverown. Yet, he fails to realize that theseproducts simply do not appear in a vac-uum. They are the result of thousands ofhours of research and the outlay of seri-ous capital. Capital generated, I mightadd, by folks like yours truly.

Let me conclude by being blunt: wePorsche-driving, Valhalla-listening,Rolex-wearing heathen do not buy andread The Absolute Sound to hear our tastesbeing trashed in print by what can onlybe termed colossal ignorance. We buy itto stay informed, entertained, and up todate on what the high-end arena has tooffer us. If The Absolute Sound should

start pandering to the Lowest CommonDenominator (we were glad to see fewerexclamation points on your most recentcover), then we will go elsewhere, andyou will have alienated a crucial coreconstituency of the high end, to thedetriment of all. STEPHEN J. KENNY

MULTICHANNEL QUESTIONS

Editor:I most enjoy Harry Pearson’s and J.

Gordon Holt’s columns, and I must askHarry a few questions.

Why would one need, when listen-ing to classical music, a multichannelspeaker system where each of the sup-porting (side and rear) speakers are fullrange? I ask the question assuming thatthis supporting information is limitedin volume and frequency response.

Your positive comments regardingthe Acarian Elite speaker remind me ofvery positive comments made some timeago about the Innersound speaker. Somecomparative comments would go a longway toward explaining how these twodifferent, similarly priced speakers com-pare, and the virtues of each.

HENRY GROSSBARD

HP REPLIES: To take your first question first, the“supporting” channels sometimes contain full-range information and not just ambient infor-mation. There are classical compositions that uti-lize surround sound, and many of today’syounger generation of composers write with thatkind of spatial deployment in mind, and, nodoubt, more will do so. I’m not sure, based on myexperimentation (still in its neo-natal stages),

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The Most Significant Products of the Past 30 Years


that you have to have full-range speakers in thecenter or rear, as long as the speakers are of simi-lar manufacture and cover most of the frequencyrange, to wit, the Coincident Technology system Iused in the initial SACD sessions, or theMagnepan system I have been listening to of late.

Surround is in its infancy and no one, tomy ears, has yet mastered the technology. Westill await the recordings that use spatialdimensions to create a greater illusion of thereal thing. Given that drawback, you proba-bly can see why I am hedging my response: Ijust don’t know enough yet, and it isn’t forwant of trying.

As for your second question, the two speak-er systems do not sound at all alike. The onlything they have in common is my enthusiasmfor their musicality. I know I am swimmingagainst the tide of “modern” reviewing in say-ing this, but I believe the only significant com-parison to be made is between any given speak-er system and the real thing. However, it oughtto be self-evident that the Innersound with itselectrostatic panel and cone-type woofer systemwill have discontinuities that the all-conedrivers of the Alon don’t have, as well as amuch narrower listening window. By conversemeasure, the electrostatics will give you a kindof resolution you’ll get from no cone-type speak-er that presently exists, while you won’t have tosit with a head vise on to get stereo staging.

SHOCK ABSORBERS AND TURNTABLESUSPENSIONS

Editor:Issue 142 has an especially meaning-

ful turntable assessment by Robert E.Greene. The Well Tempered review chal-lenges popular notions in a way Mr.Greene expresses quite lucidly. He right-fully defends the old notion of comparingthe sound of the turntable to the sound ofthe master tape!

Damping at the cartridge end is anidea whose time has come, even if it hasnot been commercially successful in thepast. No car goes on the road withoutshock absorbers, but most turntablestake on the tracks without them.

HP’s mention of VPI’s peripheral

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clamp is also an idea for our times.Clamping LPs at the label is goodenough, but clamping at the peripherysolves obviously audible wow [problems],which is easily confirmed by looking atthe arm swinging up and downwith peripheral warps.

Thanks for the continuing light intophonograph reproduction.

CARLOS E. BAUZA

BUT WHAT ABOUT THE ABSOLUTESOUND?

Editor:First, I’m a long time subscriber and

fan of TAS, which is clearly experiencinga renaissance in quality and focus.

HP has mused recently about theconundrum one faces upon hearing thestate of the art in solid-state and tubeamplification gear. To paraphrase HP, attheir finest, both paradigms take the lis-tener closer to the absolute sound thanwe’ve ever been before. But if that’s so,why should the results still sound so dif-ferent from each other?

Well, what if we were comparingbeautiful women instead? I would pro-pose Grace Kelly, Charlize Theron, andCatherine Zeta-Jones for our thoughtexperiment. All perfect, all distinct fromeach other. Even if you substitute yourown idea of “perfection,” (whether thetopic is women or amplifiers), should webe surprised that “perfection” manifestsitself in such a way that two (or more)creations might share certain attributes,yet be dissimilar, simultaneously perfectand unique? DENNIS POGGENBURG

RECOMMENDED SYSTEMSCONTROVERSY, PART I

Editor:I have enjoyed reading The Absolute

Sound for many years and recently re-sub-scribed to your magazine. I was surprisedand disappointed at the sometimesincomplete and misleading information

provided in your Recommended Systemsarticle in the June/July 2003 issue.

First, the entry-level systems do notinclude inexpensive but quality turnta-bles, e.g., NAD and Pro-Ject, thatwould not add a great deal to a system’scost. More importantly, the retail pricesquoted do not include necessary inter-connect cables or speaker wires, or pow-erline filters or system cabinetry. Theseitems would provide a more realisticestimate of the total price of a high-fidelity system.

What was most surprising were thespeakers chosen for three of the latter sys-tems. It is incompatible one would spend awhopping 61% (System Six), 76% (SystemSeven) but then just a meager 15% (SystemNine) on speakers. I consider myself anAudiophile-In-Training (AIT), and maynever be sure if there is a perfect formula of

what percentage to spend on an item, butbelieve one should always strive for balanceamong components.

When spending over a 1/10 of a mil-lion dollars on a cutting edge/cost-no-object dream two-channel system, onewould probably not want to buy speak-ers that “will not fill out the bottom twooctaves...nor will they give you...mid-bass authority...will not sound quite asairy or extended as the best ribbontweeters...nor will they be quite as seam-less and low in distortion as the bestelectrostats.” JAY MANDEL

RECOMMENDED SYSTEMSCONTROVERSY, PART II

Editor:For better or worse I have been an

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avid reader of all your issues startingwith Issue 1 and own all of them. Eventhough at times I had felt irritated withsome reviews and chagrined by [your]not reviewing equipment I thought youought to I refrained all these years fromwriting to you about my reservations.But now comes your Issue 143 with itsRecommended Systems and [I] find ittruly irritating. For starters, you featurenine of them clustered as follows: foursystems priced between $1500–$5000,four systems between $11,000–$20,000,and low [sic] and behold: one lonely sys-tem priced at $130,000!

Statistically speaking, these pricesare not normally distributed. From alogical and practical point of view youshould have offered systems in the rangeof $40,000–$60,000 to fill the yawninggap between these two extremes.

But now for my real beef withJonathan Valin’s contribution. I fail tosee his logic in recommending a$130,000 system which includes$19,000 speakers, $41,000 in electron-ics, $35,000 in analog front end, and$20,000 in assorted cables and power-line enhancer. Any knowledgeable andhigh-end savvy person will tell you thatspeakers are the most critical componentin a system. To spend a mere 14% of avery costly system on speakers which are“great” but “incapable of filling out thebottom two octaves” and “will notsound quite as airy or extended” makesno sense.

There are turntables which cost halfthe price, and electronic gear whichcosts much less, not to mention cableswhich are more reasonably priced toleave enough money to buy excellentspeakers which will cover the entirerange with accuracy, speed, authority,and closeness to the real thing. Thinkof the big Kharma, Wilson’s MAXX,the Adrenaline, and others. I for onewould have allocated $130,000 entirelydifferently and achieve[d] as good orbetter results. For now I have to makedo with a $50,000 system.

MICHAEL NATHANSON

ROBERT HARLEY REPLIES: Thank you, Mr.Mandel, for suggesting we include turntablesand cables in the entry-level systems. We’ll keepthat in mind next year when we put togetherthe next Recommended Systems feature.

To address the budget-allocation issueraised by Mssrs. Mandel and Nathanson,the Recommended Systems feature reflectsthe different tastes and sensibilities of oureditorial staff. For example, I was perfect-ly happy to drive the $11,700 WilsonSophia with the $1550 Naim integratedamplifier. If given a $20,000 budget, I’dprobably spend more than half of it onloudspeakers and seek out the extraordinaryvalues in electronics and front ends. Butthat’s just my approach.

Jonathan Valin has a different view, ashis recommendation (which he lives with on adaily basis) shows. Jonathan has had in hishome, and has ongoing access to, some of theworld’s largest and most expensive loudspeak-er systems. Nonetheless, he has chosen to livewith the system he described.

Finally, HP was slated to recommend asystem between $20,000 and our top systemat $130,000, but he was unable to turn inthe copy before deadline.

JONATHAN VALIN ADDS: The notion that astereo system should be put together strictlyon a percentile basis is, in my opinion, idi-otic. What I recommended was not theupshot of a cut-and-dry formula, workedout meticulously by calculator or in consul-tation with an accountant, but a real-world hi-fi system that I’ve lived with forbetter than a year and whose parts were cho-sen because they have proven to worksuperbly well together (regardless of indi-vidual prices or percentage points).Moreover, this is a system that will fit intovirtually any listening room short of thepalatial, and that will play there as accu-rately and musically and pleasurably asany I’ve heard, including many that costtens of thousands of dollars (and tens of per-centile points) more. Sure, the KharmaReference Monitor 3.2s have their limita-tions—which I listed. But so does everyspeaker I’ve heard, regardless of price.Moreover, in the aggregate, the 3.2s limita-

tions are far less noisome than those of theseothers, including all of the ones that Mr.Nathanson mentioned. That loudspeakersare arguably the most important part of asystem does not mean that they need be themost expensive part of the system. Itdepends on the loudspeaker, don’cha think?(Which is precisely why the KharmaReference Monitor 3.2s are such an extraor-dinary deal.) I might add, in passing, thatbefore spending more money on—or allocat-ing more percentage points to—loudspeakers,I’d spend less. I’d pick the Magneplanar20.1s, the Sound Lab M-1s, and the Quadelectrostats—all of which cost substantiallyless than the Kharmas—ahead of any of thebehemoths Mr. Nathanson and, by implica-tion, Mr. Mandel apparently have in mind.And, no, I wouldn’t cheap out on the front-end or on electronics or cabling for theseeither. A good speaker is only as good aswhat comes ahead of it. And frankly whatcomes ahead of it can turn good into great.

FM TUNER FANS

Editor:I wish to thank everyone, especially

Neil Gader and Robert Harley, for theexcellent June/July issue of The AbsoluteSound. Of particular interest to me wasthe tuner survey. As one of the co-founders of the Tuner InformationCenter and the FM Tuner discussiongroup it does my heart good to seeinterest in FM tuners. We have a youngWeb site for this very interest. OurWeb site [www.fmtunerinfo.com] wasestablished to give the music lover,hobbyist, and FM DX’er a place tolearn and contribute to the advance-ment of FM. We have informationpages, reviews, and how-to modifica-tions to help improve sound quality onclassic and even modern FM tuners.Our discussion group is at 1000 mem-bers worldwide and consists of alltypes of folks from young membersstarting out to engineers and hobbyistsbent on squeezing out the best fromtheir tuners and sound systems.

JIM RIVERS

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ACOUSTICS PRIMER

Editor:It has occurred to me that it has

been a very long time since any articleson room acoustics have appeared, as theydid in the days of future past. Given how“revealing” all our equipment is, itwould seem timely to enlist the adviceof an acoustician in how best to maxi-mize the room to eliminate bass modes.HP has, periodically, reminded us todamp the “first and second” reflectionpoints, which is great. However, bassnodes are most likely still a mystery tomost readers, and a short explanation ofwhat they do and where they will showup would be helpful. Even remindingpeople not to put their couches in themiddle of the room (incoming wave-form!) might be a helpful tip.

The equipment most of us have isprobably very good, but the chance of usgetting everything out of it that we can isunlikely. Given TAS’s influence, whydon’t you help out the readership and savethem some money? Robert E. Greeneseems the logical choice for such an arti-cle, scientist—and pragmatist—that heis, but it’s past time for an article like theones between issues 38-50. G. MCLEOD

A THOUSAND QUESTIONS FOR HP

Editor:The reprints of original articles from

The Absolute Sound [our 30thAnniversary features running in Issues140–145] is [sic] impressive in the dis-play of wisdom, eloquence, and funda-mental style (in the way Bogart or OrsonWelles had it, as opposed to stylish) thatis clearly inimitable. The editorial staffappears well aware of this, which makesthe obvious disconnect it creates, at thevery least, disconcerting. The immedi-ate, overwhelming feeling one has afterreading them (more so for people thearticles are new to) is “How does thisconnect to the present?” What happenedto this equipment or the people that cre-

ated it? Did they dissipate their creativeenergies or move on to new things?What happened to the ideas embodiedin these products? Are they representedin other equipment to the same degreesince then or now? A thousand questionsto be sure, but you have the source todraw upon to answer them. The maga-zine, your readers, and the public atlarge would benefit enormously if youprevailed upon Mr. Pearson to put it allin perspective, to give it context. Therehas never been anyone nearly so success-ful at sketching out powerful themesand historical perspectives in regards toaudio (and no doubt visual) media. Whoelse could talk about the zeitgeist of thetimes then and now while making pro-found sense and never sacrificingartistry[?] I am sure he has all manner ofstories to tell from behind as well as infront of the scenes. No one doubts he hasled an interesting life; let him tell usabout it. Basically, get him to expand onall the possibilities and themes hinted atin these articles and build upon that. Itwould be good if he could respond to aquestion or two each issue from readers,as well. He responds colorfully and well.It could easily lead to valuable insights.The dynamism of these exchanges arenot easily duplicated elsewhere. I’m surethis will get you thinking in a numberof directions regarding HP. This isentirely the point. Whatever directionyou have him galloping in, it’s bound tobe fruitful. JOHN PENTURN

Ask and ye shall receive. See this issue’s30th Anniversary feature. —RH

OF SUBWOOFERS AND SINE WAVES

Editor:I agree with Mr. Holt’s assertion

that the use of subwoofers in an audiosystem can improve the overall perform-ance in the bass region. However what Itake umbrage with is his assertion that atest using a sine wave is proof that asubwoofer cannot be localized while

playing music. Music is a complex sig-nal made up of sine waves, not a singlesine wave as in his testing method.

I suggest a similar test, but insteadof using a static sine wave use whitenoise, pink noise, or perhaps actualmusic (what a novel concept). Turn themain amplifier off so that the signal isbeing reproduced by the subwoofer only.Then do the blindfold test. The resultswill vary depending on the crossoverdesign and the crossover frequencyemployed for the test. The ability tolocalize the signal is greatly enhancedwhen a complex signal is used.

I believe the key to obtaining seam-less integration between the main speak-ers and a subwoofer system is the quali-ty of the crossover used. This is wheremost subwoofers fall far short of the per-formance audiophiles expect from theirsystems. The only subwoofer that Iwould use in my personal system is theKrell MRS [Master Reference Subwoofer—Ed.] The Krell’s crossover has the flexi-bility necessary to allow proper systemintegration. Unfortunately the MRScosts what a nice automobile does, so myaudio system remains subwooferless. Iprefer faults of omission rather thanfaults of commission, i.e., no bass is bet-ter than bad bass. MR. HARRISON

J. GORDON HOLT REPLIES: Of course real musicconsists of fundamental and harmonic sinewaves (plus transients). The whole point ofusing a bass sine wave for my test is to demon-strate that, without the presence of higher fre-quencies (which virtually all bass instrumentsproduce), our ears are unable to tell where bassfrequencies are coming from. As you point out,it is the function of the sub’s crossover networkto ensure that those musical frequencies highenough for us to locate are sufficiently attenu-ated (and routed to the upper-range fronts) toplace them where they belong. A properlydesigned crossover will do this.

Believe me, there are powered subwoofersavailable for far less than the MRS costs thatwill produce superb low end without distortionsof bass “directionality.” Read the subwooferreviews in TAS and The Perfect Vision.

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futureTASProducts on the Horizon Neil Gader

NEAT Sending The Ultimatum

Neat Acoustics of the UK has been well regarded for the sonic consistency of its traditional, though rather staidloudspeakers. The U.S. debut of its Ultimatum line should show Neat in a completely new light. The imposingMF9 is a multi-chamber/multidriver enclosure using six proprietary 6.5" mid/woofers (redesigned to meetUltimatum’s requirements), an inverted titanium-dome main tweeter, plus two upward-firing EMIT supertweet-

ers. The other Ultimatum models incorporate a similar smorgasbord of features including critically braced birch-plywoodcabinets, tri-laminate baffle-coupling, compound (isobaric) bass-loading, and upward-firing area-drive supertweeters. Theseinclude the scaled-down MF7 and MF5, and the MFS mini-monitor. A range of finishes can be supplied, including woodveneers and a high-gloss “piano” lacquer.Prices: MF9, $17,000; MF7, $13,500; MF5, $9500; MFS, $5500. For more information call Toffco at (314) 454-9966

Headphone Amps In Hi-Res?

In a complete inside-out redesign, Musical Fidelity’s X-CanV3 tube/transistor headphone amp now features verylow output impedance in order to drive even the lowest sen-sitivity, load-challenging headphones. The circuit topology is

nearly identical to that of the MF’s Tri-Vista SACD player, exceptfor its ECC88 output tubes (in place of the Tri-Vista’s 5703s).Frequency response is rated to 100kHz, with an ultra-low-distor-tion of 0.008%THD from 20Hz–20kHz. Channel separation israted at 76dB. The high-quality Alps volume control is said tokeep channel balance within ±0.2dB. The low-feedback circuit ishoused in a new non-microphonic extrusion, and the font panel ismachined from mil-spec aluminum billet. Price: $395. www.musicalfidelity.com

Upsampling Alive And Well At Arcam

Arcam’s FMJ CD33 CD player upsamples to 192kHz, using four Wolfson WM8740 DACs per channel. TheWolfsons are said to employ “analog averaging” between DACs to increase linearity and reduce distortion. Incomparison with the FMJ CD23T, which it replaces, Arcam says that listeners should hear improvements insoundstaging and imaging, high- and low-frequency extension, detail, and dynamics. Like its predecessors, the

CD33 uses independently regulated power supplies for digital and analog circuitry and employs dual transformers, includ-ing an ultra-low-noise toroid for critical audio stages. As with all models in Arcam’s FMJ (Full Metal Jacket) line, the

CD33’s faceplate is machinedfrom a solid 8mm aluminumextrusion, and the chassis is con-structed of Acousteel, a three-layer laminate utilizing “con-strained layer damping” to great-ly reduce chassis resonance. Price: $2499 www.audiophilesystems.com


Plinius Takes ThePlunge

Replacing criticallyacclaimed products isalways a risky business.Plinius, however, is con-

fident that its new 9200 and 9100integrated amplifiers (adios 8200and 8100!) will match the per-formance of separates. Both ampli-fiers have received a thorough

reworking. The 9200 received the bulk of the improvements, including a faster power-amp circuit with an output stagetuned for better high-frequency performance. And as in Plinius’ advanced SA series, each amplifier channel has its owninput section regulator. Power output has also increased to 200W, due mainly to a larger transformer. The 120W 9100boasts many of the same upgrades, as well as a preamp section similar to that in the 9200. New curvaceous cosmeticsare derived from Plinius’ multichannel Odeon amplifier. Prices: 9200, $3495; 9100, $2295 www.pliniususa.com

Noises Off—Or “Waiter, Cancel That Hash!”

Since 1991 DH Labs has been quietly yet consis-tently producing cables of exceptional value.Noted since its inception for its use of silver,DH now offers the Power Plus Reference

Series AC power cord. Handcrafted of high-purity cop-per for improved conductivity, the Power Plus is alsosaid to use noise-canceling geometries to lower the intra-conductor interactions that create noise or “hash” in theaudio and video chain. The Power Plus features two 12-gauge conductors and a ground, and is wrapped in an attractivecustom insulation that the company claims reduces coloration andimproves overall transparency. Price: $200 (2-meter length) www.silversonic.com

Upsampling Affordability From Simaudio

In another sign that audiophile companies are not conceding the hi-rez ground to SACD and DVD-A, Canada’sSimaudio has released the Equinox, one of the most affordable components in its elite Moon Audio Reference Series.The Equinox combines the styling of the Moon Eclipse with the audio cir-cuitry of the Nova and the Orion. With an upsampler

that reputedly converts the signal to 24-bit/352.8kHz,the Equinox employs a Philips-based transport andin-house developed software. Separate digital andanalog power supplies boast seven stagesof voltage regulation. Burr-BrownBB1730E 24-bit/96kHz DACs and an8x-oversampling filter handle the con-version process, while a 25ppm digitalclocking system should reduce jitter tovery low levels.Price: $1995 www.simaudio.com


Wilson Audio, already a for-midable player in high-endloudspeakers, has taken asignificant step forward

with the recent introductions of theWATT/Puppy 7 (see my review lastissue) and Sophia loudspeakers. As aresult of several new design techniques,these products share a sound that repre-sents a departure from the traditional“Wilson sound.” Indeed, it was the dis-covery of these new techniques thatinspired Dave Wilson to embark on hisall-out assault on the state-of-the-art inloudspeakers, the new $125,000 X-2Alexandria.

To learn more about how Wilsonloudspeakers are made, and to get anadvance listen to the X-2 Alexandria, Ivisited the Wilson factory in Provo,Utah. The factory, which employs 50people, was built twelve years agospecifically for manufacturing loud-speakers.

The tour began in the cabinet shopwhere raw sheets of Wilson’s “M” and“X” materials are machined into cabinetcomponents (see sidebar). The machinedpanels are glued together and held forseven days in a clamp. Dozens of adhe-sives were tested before arriving at thecurrent combination of glues. No dowelsor hardware are used in the cabinet con-struction to ensure that the entire enclo-sure behaves as a single unit, both forimproved sonics and longevity.

The glued panels are deliberatelymade larger than necessary so that theyoverhang each other to provide astronger and tighter joint than if thepanels had mated exactly. After thisexcess material is machined off, the cab-inets are inspected and touched up viahand-sanding.

The next stop is the gel-coat boothwhere a 1/16th-inch-thick layer of apolymer-based plastic is applied to thecabinet. Gel coat, used mainly to seal

fiberglass boats against water, seals theloudspeaker’s cabinet joints, protects itfrom humidity, and provides a uniformpainting surface. The coated cabinets arethen hand-sanded to a very tight toler-ance: I saw a worker using a thin feeler

I N D U S T R Y N E W S

A Look Inside the Wilson Audio FactoryRobert Harley

Raw X material awaits machining


gauge and a straight edge to check panelflatness, and then sanding certain areasover a vacuum table that instantly sucksdust out of the room.

The cabinets are painted with twocoats plus an automotive-like clear coat,and left to cure for seven days. This cab-inet construction reportedly takes tentimes longer than conventional tech-niques based on wood- or vinyl-veneeredmedium-density fiberboard (MDF).

In another part of the factory, rawloudspeaker drivers are modified, tested,labeled, cataloged, and prepared forinsertion in the cabinets. The drivers’ fre-quency responses are measured bymounting the drivers in a jig attached toa small anechoic chamber. The drivers

are measured twice, before modificationand after. Each driver is matched to theother drivers that will go into a finishedloudspeaker, and its individual character-istics are archived. If a customer needs areplacement driver, Wilson looks up theserial number of the loudspeaker andchecks the archived characteristics of the

The so-called “X” and “M” mate-rials used in all Wilson loud-speakers were developed byWilson Audio in conjunction

with the materials-technology laboratoryat Brigham Young University. The goalwas to develop a loudspeaker-cabinetmaterial with the ideal properties of lowresonance, quick decay of those reso-nances, and structural rigidity. A loud-speaker cabinet made of such materialwould contribute less sound of its own,allowing the loudspeaker to exhibitlower coloration, greater resolution, andhigher transient fidelity.

After experimenting with and meas-uring dozens of different materials overseveral years, Wilson settled on what hecalls X and M materials, both of whichare epoxy-based composites. X materialcontains no wood products, is machinedlike metal, and according to Wilson, hasvastly better resonance and dampingcharacteristics compared to the medium-density fiberboard (MDF) typically usedin loudspeaker cabinets. The top-of-the-line X material has the rigidity of steeland is very heavy—a 3"-thick sheetmeasuring 2' x 2' weighs 115 pounds. Mmaterial is slightly less dense, contains3% wood products, and is used in lesscritical applications as well as in upper-range enclosures where its properties

make it ideal for mounting small drivers.(You can see the combinations of X andM materials in the raw cabinet photos—X is the darker material.) X and M aresometimes augmented with blocks oflead to increase the mass. The upper pan-els of the X-2 and the WATT side pan-els, for example, contain lead inserts fit-ted into machined-out cavities.

I saw dozens of cumulative-spectraldecay plots (a measurement that showsthe frequency and duration of resonances)for different materials, and M and X wereorders of magnitude better than MDF.Dave Wilson has the luxury of asking thefactory to make identical loudspeakersexcept for the cabinet material, and afterlistening to many different combina-tions, can identify some cabinet materialsby their sonic signatures.

M and X materials are reportedly asmuch as fourteen times more expensivethan MDF. Moreover, they take muchlonger to cut because they machine morelike steel than wood—one side panel forthe X-2 loudspeaker takes eight hours tomachine. Because the material is so hard,the cutter must move slowly and bewithdrawn periodically to cool. Despitethe high cost and slow manufacturingassociated with these materials, Wilsonbelieves they are essential to producingloudspeaker enclosures. RH

X and M Cabinet Materials

Gel-coat sanding

Drivers are measured in the small anechoic chamber

A WATT cabinet is clamped for assembly


driver in that customer’s particular prod-uct, thus ensuring that the replacementis a perfect match.

The crossovers are made with point-to-point wiring rather than on a circuitboard. This technique has many advan-tages, including the ability to positionand orient crossover components forlowest interaction among them.Although capacitor tolerances are typi-cally 10% (or worse), Wilson achieves0.3% precision by measuring everycapacitor and then trimming it byadding smaller-value capacitors to real-ize the target capacitance. This not onlyensures that the crossover performsexactly as designed, but also guaranteesa perfect match between left and rightloudspeakers. The inductors are cus-tom-wound in the Wilson factory, andfeature core materials developed byWilson. The entire crossover assemblyis mounted in an enclosure (either plas-tic, machined aluminum, or machined

The great library in Alexandria,Egypt, was the repository of allknowledge in the ancient world.Dave Wilson thinks of the X-2 as

the manifestation of everything he’s learnedabout loudspeaker design over the past thir-ty years, hence the name of his new flagshipproduct.

The X-2 employs two woofers (a 15"and 13") in a front-ported cabinet, two 7"midrange drivers, an inverted-dometweeter, and a rear-firing supertweeter.Sensitivity is rated at 96dB, and the min-imum recommended amplifier power isjust 20 watts. Each X-2 weighs 750pounds uncrated.

The X-2’s predecessor (the X-1) haslong used modules that move forward andbackward on tracks to achieve correct timealignment. For the X-2, Wilson devel-oped a technique called Aspherical GroupDelay in which the midrange and tweetermodules tilt as well as slide back and forthto deliver perfect alignment of the drivers

The X-2 Alexandria

Buffing a finished cabinet


X material, depending on theloudspeaker) and potted. Eventhe internal wiring harness thatconnects the crossover to thedrivers is made to exact specifi-cations, with a precise numberof twists in the wire, an exactlength, and a specific type ofwire for each driver.

The finished crossovers anddrivers are mounted in the enclo-sures, and then packed in wood-en crates in front of a loadingdock.

The entire process is slowand laborious. For example, it takes justunder seven weeks to make a WATTand Puppy from start to finish. I cameaway with the impression that theWilson factory is more of a large-scalehandcrafting shop rather than a small-scale industrial factory. &

at any listening distance. This not onlyimproves time coherence, but also allowsthe X-2 to be used in smaller rooms withcloser listening distances.

After the factory tour, I had an oppor-tunity to spend about 90 minutes with theX-2 Alexandria and my own CDs at DaveWilson’s home. We first listened to theten-year-old X-1 to establish a referencebaseline. I’d heard the X-1 at shows, butWilson’s setup was by far the best I’d heardthis loudspeaker sound.

Switching to the X-2 was revelatory;the new design was not only higher in res-olution than the X-1, but vastly moremusically involving. Driven by a pair ofMark Levinson No.33 amplifiers (fed by240V lines) and an Audio ResearchReference 2 Mk.2 preamp, the X-2 hadstaggering dynamic contrasts, a hugethree-dimensional soundstage with preciseimaging, and a gorgeous rendering of tonalcolors (the latter was not the X-1’s strongsuit). The X-2 also beautifully resolved

individual instrumental lines in complexpassages. After such a short audition, anylistening impressions must be consideredpreliminary, but based on what I heard, theX-2 Alexandria appears to be a significantachievement and a serious contender forthe state of the art. RH

From my first turntable in1979, the Micro-Seiki DD-7,I’ve been intrigued by the var-ious approaches available toand chosen by analog design-

ers. Given the myriad variables, each hasits strengths and shortcomings, and thetrick is finding the right balance in theimplementation.

Some do many things well. Few doit all. And by “doing it all,” what I’mreally saying is doing little; ideally thedevice is getting out of the way of themusical signal. Most of us can agree onsome desirable goals: low noise floor,stable and proper speed, rapid recoveryfrom disturbances, dissipation ofunwanted resonance across a broad fre-quency range, and, of course, the abilityto make music come alive in our homes.

The three ’tables on hand, rangingbetween $1000 and $2000 (includingarm), are different in appearance, designprinciples and, among other things,sheer physical weight—ranging from alow of fifteen pounds for the Roksan to ahigh of forty-eight pounds for theThorens (whose platter alone weighs inat nearly nine pounds). The only thingsthey have in common are that all comewith pick-up arms, spin vinyl, and lacksuspensions and dustcovers.

Rhythmically InsistentThe Roksan Radius 5

Clearly (and not just in the case ofthe Plexiglas version, as the Radius 5comes in a gloss maple finish, too), thisis not your father’s Roksan. The Radius5 looks like no Roksan that came beforeit, though the drive mechanism does fea-ture the company’s resiliently mountedpulley fitted to a custom synchronousmotor.

The main plinth (housing the motorassembly) is decoupled at three pointsfrom the subplinth (housing the mainbearing, platter, and pick-up arm), anapproach that is said to minimizeacoustic breakthrough. The platter ismachined from solid acrylic; threeadjustable spike feet allow for leveling.Overall fit-’n’-finish strikes me as excel-lent at this price point.

The NIMA arm is the only unipivotin this survey. It features a stainless steelbearing, aluminum alloy arm tube, andacrylic yoke and headshell. Setup of thearm was a bit more challenging thanwith the other models under review. The“special, flexible PCB” (as in printed cir-cuit board) ribbon arm cable requirescareful handling, because it’s not reallyall that flexible. Also, since the azimuthand VTF rely on a common counter-

weight, it’s challenging not to impactone while setting the other.

The Radius 5 was great for groovingto Isaac Hayes’ Hot Buttered Soul [Stax].Its most obvious characteristic is that itis rhythmically insistent. The Roksan isphysically compelling, powerful, well-paced, beat-based, and—believe it ornot—does all this while running a bitslow. Considering that I’ve heard a num-ber of turntables which ran at correctand precise speed that couldn’t get meinto the groove of the music, this struckme as interesting.

During a chat with Ken Lyon (man-ufacturer of the Neaunce isolation plat-forms by Greater Ranges) I mentionedthis and his response struck me as quitecogent: “Doing pace, rhythm, and tim-ing involves maintaining and preservingthe shape and architecture of notes.

A B S O L U T E A N A L O G


Three European ImportsStephan Harrell


Speed is only one aspect. How well thetable maintains the relationshipsbetween its various drive/suspension andpickup sub-components, and how rapid-ly it can recover from disturbances andsuppress resonance evenly across a broadfrequency spectrum are equally if notmore important than how rapidly theinformation passes beneath the stylus.We do know that an elevated speedcould provide a psycho-acoustic effect ofbeing ‘uptempo’ but does nothing at allto preserve music’s architecture and gen-erally harms it.”

Moving on, ambience is respectableat this price and the presence of per-formers is credible, though they tend tolinger at the front half of the stage. Therich harmonica and dobro on Dylan’s OhMercy [Columbia] were well delineatedon “The Man with the Long BlackCoat.” The wailing lead guitar on DireStraits’ “Six Blade Knife” [Warner]made a surgical strike through thehumid summer air in my listening room…definitely an attention-getter.

What I didn’t get was the extendedtrailing edge (decay) of notes that pro-vides the nuance and related level of emo-tional connection that I crave. If you’reinto that kind of detail, or emotionalinsight, this unit won’t be your bestchoice. But it did engage me, kinetically.

Big, Bold, PureThorens TD850

Thorens has been around throughthe past three centuries. In 1883, it

began building cylinder-and-disc move-ments; in the early 1900s it madeEdelweiss and Helvetia music boxes andother disc mechanisms, and its turnta-bles, including the TD124 and 124II(made from 1957 to 1966) and theTD125 (from 1968 to 1971) are widelyrenowned.

At the turn of this century, Thorensexperienced some challenges and by 2002had announced a restructuring to begin astep-by-step re-launching of the brand.

The new 800 series begins with the$1299 TD800, while the $1999 TD850is the second in the series. The chassisdesign—said to improve signal behaviorand resonance absorption—is a sand-wich made of two pieces of thick high-density wood flexibly bonded to aslightly thinner steel plate. Three poly-mer-damped adjustable feet support theheavy base. The ’table features a silent-running bearing made of two sinterbushes with a polished stainless steelaxle inside. The tungsten ball at the endruns on a self-lubricating bearing point.An outboard motor controller allows theuser to select speed. Like the Roksan,this ’table also was a bit slow.

The TD850 came mounted with aThorens TP300 (looks like a Rega tome) with VTA adjustability. Other ton-earms up to 10 inches can also be used.

This table did a good job of reveal-ing production values. The title trackfrom Laurie Anderson’s Strange Angels[Warner] was big and natural with thelead guitar boldly showing the way. Itwas deep and articulate on the drivingbass and keyboards on “Monkey’s Paw,”

and this immediately helped me connectkinesthetically. Timing—which is fun-damental and manifests itself at all lev-els of music, including individual notesand subtle shifts and cues—was mostrespectable.

The biggest, and first draw, for mewas the Thorens’ tonal purity. Again, on“Monkey’s Paw,” it was easy to pick outBobby McFerrin’s vocals from the mix ofsix other supporting characters.

Though I detected some midbassoverhang on acoustic bass at high vol-umes, the purity of tone everywhere elsewas admirable. Whether on the adamanttempo of “Choctow Hayride” or theseductive “Let Me Touch You forAwhile” from Alison Krauss’ NewFavorite [Rounder], the 850 deliveredpace on par with the Roksan, plus someof the nuance and finer detail that allowsme to connect more than physically tothe music.

Music emerged from a dark andquiet backdrop. With a bit of the audi-ble groove rush I hear on every ’table,the Thorens slipped right into the bigambience of Chet Baker’s Chet[Analogue Productions]. His horn waslarge, loud, subtle, detailed, andnuanced, with precise imaging. I prefermore organic images (densely saturatedwith an acoustic bloom as the soundmoves toward you), but again, that’s thegood thing about having choices.

In short, purity of tone, fine attack,and more roundness to notes than theRoksan. It isn’t as insistent as the Radius5, but can do big and bold (and speak inmore hues of color).

Balanced, Smooth and CoherentNottingham Horizon

As if its ’tables weren’t alreadyunusual looking, Nottingham has gonea step further with this most recent—and least expensive—offering. TheHorizon’s platter (slightly slimmer thanthe one found on the Space Deck) sits ina well at the center of a plank-of-a-chas-sis that houses the main bearing. Thewell holds an Admiralty bronze bearingwith soft inner and hardened outer spin-

Thorens TD850


dles, and is oil-filled. To the right is thesimple to set up and easy to love Rega250 arm that uses a split-collet mountto allow easy VTA adjustability. To theleft is Nottingham’s low-torque motor

system with just enough power to keeprecords spinning at proper speed (whichthey did), once started by hand. A pul-ley about two inches wide drives thecomparatively thick belt.

Designer Tom Fletcher says, “Likeall Nottingham turntables, if we’d put a[power] switch on it we would not wantyou to buy it, because if the motor start-ed the turntable from a standing startthere would be too much power in themotor when it reached the rightspeed—too much power means reso-nance, and the record and tonearmvibrate. Just try writing a letter whenthe table is moving!”

The Horizon demanded a significantamount of time to settle. Until the 60-hour mark, I heard a lot of hardness inthe midband. After that, thingssmoothed out nicely. While not in thesame league as the Space Deck (which is2.5 times the cost), height and depth ofstage were admirable at this price. Thepresentation was good for pop and mostjazz, but this combo couldn’t handleclassical; absent was the gravitas that


made for the mood. That is, until Iswitched from the AT OC-9 to theDynavector 20x-l cartridge, which wasclearly a better match.

Piano attack and rubato on RayBrown’s Soular Energy [Concord] werevery good. I was definitely swayed bythe tone of the Laurindo Almeida’s gui-tar on the direct-to-disc version ofLA4’s Just Friends [Concord]. TheDynavector seemed slightly noisier onthe Horizon than on the Space Deck,but it brought correct weight to instru-ments. Bloom was allowed to build(appropriately) instead of being smoth-ered or smoothed over. And I couldmore easily sense the body/volume ofinstruments, when it was there on therecording. The lively snap from percus-sion was consistently available.

Without going over the wholeplaylist again, the bottom line is this:

Immediately, and over the long haul, theHorizon does not draw attention toitself. In fact, you may find it boring. Itdoes not have the drive of the Roksan,but it does play the beats. It does notoffer precision imaging, but that’s notsomething that I demand. It shares, to alesser degree, many of the attributes ofits big brother (reviewed in Issue 138).The images on the stage are slightly lesssaturated, but still full and dense. TheHorizon’s not as nuanced, not as extend-ed at the frequency extremes, and so on.But, more importantly, it is well bal-anced within itself.

It does, after time, gently pull me inby revealing the flow, texture, and har-monic coherence of musical lines. To myears, that ability goes a long waytowards the goal of capturing the intentof the performer. And that, at this price,says a lot about its value. &

D I S T R I B U T O R I N F O R M A T I O NRoksan Radius 5MAY AUDIO MARKETING, INC.2150 Liberty Drive, Unit 7Niagara Falls New York 14304(716) 283-4434www.mayaudio.com Price: $1295

Thorens TD850TRIAN ELECTRONICS, INC.5816 Highway KWaunakee, Wisconsin 53597(608) 850-3600 [email protected] Price: $1999

Nottingham HorizonAUDIOPHILE SYSTEMS, LTD.8709 Castle Park DriveIndianapolis, Indiana 46256(317) 841-4100www.audiophilesystems.com Price: $1000

Manufacturer: Audio Research Corp., 2843 26th Ave., South,Minneapolis, Minn., 55406. Price: $595. Units tested: No.274021-5 and No. 277211-4. Source: On memo from Audio Research.

The debate over tubes vs. transistors still rages, with thecurrent crop of Great Experts telling us that there is no inherentdifference between the way each sounds. The differences, we areassured, rest in the way each device distorts, in the circuitdesigns, in the dynamic characteristics of tubes and transistors.

The reason, by the way, there is still a debate: Music lovershave begun to rediscover tubes; that is, they have discoveredthat tube-type equipment often sounds better than even themost elaborate solid-state devices.

That brings us, rather prematurely, to Audio Research’s SP-3. It was designed by Bill Johnson; it was designed aroundtubes (although there is a transistor in the power supply); it is,by contemporary standards, hideously expensive—and likely toget more so in the next few months.

A properly functioning SP-3 is, in my opinion, the bestsounding preamplifier available in America today.

I did, however, have problems in coming to this conclusion.Part of the problem was, at least partly, psychological. Not myown psychology but the psychology of some of the more artic-ulate Audio Research owners, who have a mystique of theirown. Part of their rigidity in attitude (“The SP-3 is the best andthat is the end of that”) is, I believe, the result of a defensive-

Audio Research SP-3 Preamplifier(from Volume 1, Number 3, Fall 1973)


During this magazine’s infancy in the early Seventies, solid-state gear was the norm. But a fledgling company

from Minneapolis named Audio Research would soon (and forever) change the shape of the high end with

this, its first readily available product.


ness that is the end product of the notion that they are thekeepers of the flame against transistorized techno-freaks. Well,the technocrats do say tubes are old-fashioned. CertainlyJohnson’s circuitry is rather basic and conservative, with nogee-whiz noise-reduction-decompression-chamber gollies.Still, if you love music and if you know how it sounds in liveperformance, you need make no apologies for the SP-3. Rather,it seems to me, the transistor crowd ought to be on the defen-sive telling us why, after a decade, no one can design a solid-state preamp that has more transparency and more openness(particularly in the mid-range) than the Audio Research.

Still, I was rather keen about having the Audio Researchpreamp for testing. And I was positively astonished when thefirst unit borrowed from Audio Research (No. 274021-5)sounded not one whit superior to the Citation 11a, just differ-ent. Fat to the point of sloppiness in the bass; reverberation evenwhen there was little present in the recording (a la Commanddiscs), and rather rounded, though satisfactory, in transientdetailing. Most amazing of all: It wasn’t particularly transpar-ent. I thought then for sure that Audio Research owners werehearing things not available (by ear anyway) to the rest of us.

With the help of Alvin Foster, founder of the Boston AudioSociety (the classiest audiophile’s group in the nation), I con-cluded that the SP-3 varied rather noticeably from the RIAAequalization curve at opposite extremes of the frequency spec-trum. (RIAA compensation, inherent in disc cutting, is usual-ly specified from 50 to 15,000 cycles. Stewart Hegeman,among others, holds the dark suspicion that the main reasonthere are audible differences between preamps is because ofnonlinearities in RIAA compensation.)

We postponed the scheduled review of the SP-3. Later, indiscussing the preamp with Audio Research, I described symp-toms that made the company’s representative conclude therewere defects in my unit (although I have not learned, to thisday, what they were). Unit No. 2 arrived shortly.

Instantly I heard a transparency that shattered my compla-cency about the SP-3. The audible sensation was one of open-ing a window on the music. That is to say, the second SP-3sounded instantly and identifiably more authentic, the closestto the live experience of any preamplifier in my experience.There was, though, a slight hardness about the sound (notgrain, not grit, but something considerably colder and glassier.)

Still, in several long listening sessions, we were able to hearaudible colorations in the Citation 11a, including a faintly nox-ious “hooded” effect in the mid-range that, on voices particu-larly, made vocalists sound slightly hoarse, as if their voices hadbeen transposed downward about a quarter-octave. TheCitation also exhibited, by comparison, a certain steeliness inthe upper mid-range when it was pushed hard. We had, hith-erto, assumed that to be a function of American disc-cuttingand equalization practices. The Citation 11a is exceedinglycrisp up and down the entire range of music. The SP-3, how-ever, particularly in the mid-range, reproduced music with afreedom and a touch of liquidity (that liquidity may be a col-

oration for all I know) that is considerably more like the realthing than the sparse dryness of the Citation 11a.

The bass on the second SP-3 is still fat, though not over-bearingly so, and the bass detail reminds me of the bass detailattainable with the better Decca Mk V cartridges. That fatness,I would imagine, could be an asset if you’re using an acousticsuspension speaker such as the Advent—or if you use Americanrecordings, nearly all of which start rolling off at 50 cycles. Thebass end of Mark Levinson’s preamp outclasses the SP-3. But,limiting comparison only to the extreme bottom, one wouldhave to say it’s an aesthetic tossup between the Citation 11a andthe Audio Research. (The 11a does have a subsonic filter, whichthe SP-3 does not. The subsonic filter is, like it or not, anabsolute necessity in nearly every decent audio system.) The11a is, subjectively, leaner and tighter when it comes to repro-ducing extreme bass. In the extreme highs, 10,000 to 20,000cycles, the SP-3 floats along, open—but without being crisp,verging on graininess in loud passages. In distortion and signal-to-noise ratio, the Audio Research wipes out all competition.

If it’s looks and convenience you want in a preamp, forgetthe SP-3. Its tone controls, for example, color the sound. Itscontour control does not, to my ear, achieve anything resem-bling the Fletcher-Munson curve (but then neither does any-body else’s). The thing is, in appearance, the MargaretRutherford of preamps, although I understand Audio Researchwill give you a different panel and Marantz-type knobs for anextra $50 if your sensibilities are ravished by the SP-3’s looks.

And, as we suggested before, Audio Research seems to behaving some problems with quality control (which they should-n’t when they charge this much for a product). Technical con-sultant Frank Richards opened my SP-3 and found, on thephono circuit board, a number of less than satisfactory solderconnections. (The other circuit boards were beautifully assem-bled.) After he doctored these, the sound become even more trans-parent. (I do not know how to explain this. I just know it is so.)

With the solder connections improved, the hardness wesometimes noticed on SP-3 No. 2 simply disappeared. Thesound, at this point, was translucent.

The bass could be tighter, I think, and the very top octavea touch more lucid. But these are really quibbles, because, whenall is said and done, the Audio Research is incomparable in themid-range (where most of the music is) and it is for this reasonmore than any other that I’d be willing to flatly pronounce thispreamp the best. HP

HP COMMENTS: Upon re-reading this review, which had analmost revolutionary impact in its day, I realize how innocent we(all) were, and how very little we understood compared with thehindsight we have acquired in days since. Looked at throughtoday’s eyes, I find my comments left much to be desired.

In the innocence department, we can all chortle, perhapswistfully, when I call this $600 unit “hideously expensive.”Who knew then what lay ahead, once Joe Grado, with hisSignature cartridges, started an audio arms race in pricing? I


regret that I hadn’t yet “discovered” thethree-dimensional soundfield, for one ofthe things (I learned later) that theAudio Research did that comparabletransistorized preamps couldn’t was torecreate a sense of front-to-back depth.Also in the “who knew” department isthe absence of any commentary, thoughmuch was to come, on the ARC’s expan-sive headroom in handling phono car-tridge outputs, a factor that trumped thelimited overload characteristics, withtheir attendant distortions, from thetransistor sisters.

I also note my obsession with sub-sonic filters, whose necessity was thenoccasioned by the primitive turntableisolation systems of the time, a problemcompounded by the 45/45-degreegroove cutting of the stereo disc. I wouldspit in the eye of a sub-sonic filter today,knowing how it would color and distortthe bottom octave performance of arevealing system. We didn’t really havethe multiplicity of revealing speaker sys-tems then that we have today, a com-manding reason why I insisted, from theoutset, that we concentrate on midrangeaccuracy as our cutting-edge paradigm,and hoped we could get good treble(which we had from the electrostatics ofthe day) as well. Deep bass? That was inthe works, and from Hartley with its 30-inch subwoofer, not an entirely practicaldevice for most of us.

The real strength of the original SP-31 (and how I would love to hear it againwith today’s ears and associated gears)lay exactly in its ability to create a see-through effect in the midband, one wecalled transparency. We failed to sayexactly what we heard that wasn’t“transparent” about the solid-state com-petition, notably, our then reference, theCitation 11, a unit whose virtues reced-ed quickly over time. Much of that lackoriginated from the inherent “grain” andtexture, or electronic glaze, that allsolid-state devices of the day exhibited,that is, until John Curl’s JC-2 was com-missioned by the real Mark Levinson(who now ironically is promoting tubedunits). What Curl would do and whathis preamp did was lower, by a seeming

order of magnitude, the transistor col-orations we had grown accustomed to.Lower, but not eliminate. And part ofthe lowering came from the very dark-ness of the unit’s top-octave response.The SP-3 may not have had much exten-sion at the top, particularly above, say,10kHz—but what it did have soundedboth natural and like unto the realthing, that is, the sound of unamplifiedmusic in a real space. And it had thattouch of what I called liquidity to offsetthe Sahara sereness of the solid-stategear, though, even then, we suspected abit too much of that.

I don’t think we’d have been as for-giving of the bottom end of the SP-3’sbehavior as we then were, but, as noted,flat, uncolored response in the bottomtwo octaves lay two decades or so aheadof us. The “3,” in the context of its time,had bass that compensated for the equip-ment shortcomings of the day.

Over time, I have come to believethat the essential difference betweeneven the best solid-state gear and state-of-the-art tubed designs lies, not in thecircuitry, but in the nature of the devicesthemselves. Tubes produce a continuousflow of electrons. Transistors are, atheart, switching devices. Wish I hadbeen the guy (it was Doug Sax, Ed.)whosaid: “Digital finishes what the transis-tor started.” I think we perceive, howev-er subliminally, those switchings. Andthat our minds have to work a bit hard-er to coalesce these into somethingapproximating the continuousness wehear in everyday sounds, musical or oth-erwise.

I said the review was “revolution-ary.” I think, pardon my seemingimmodesty, that, in its time, it grantedintellectual respectability to tubed cir-cuitry, convincing some of us that we’dbeen sold a prematurely-hatched bill ofgoods with solid-state and, despite theshortcomings of this review, of that I amprofoundly glad.

1The times were so hard for those searching out tubedesigns that there developed a lively trade in old DynaPAS preamps, which Johnson, in the very early days,modified, largely a custom business. Hence, the numer-ical designations of his early Audio Research gear, a latheir Dyna ancestors.

&


LOUDSPEAKERSUnder $500PARADIGM ATOM$189 www.paradigm.com

A killer value, Paradigm’s tinyAtom does an awful lot right andpossesses no glaring flaws. Witha smooth frequency response, anopen treble and natural midrange,this little guy only falls short inthe bottom two octaves, though itwill display a coarseness whenpushed too loud. (Reviewed by

Robert Harley in Issue 133)

PSB ALPHA B$249www.psbspeakers.com Although it lacks the detail, neu-trality, and refinement of the greatBritish minis, PSB’s Alpha Bnonetheless does what a good

mini should—sounds open andspacious, with precise imagingand good three-dimensionality.The midrange is honest and musi-cally engaging, though bass anddynamics are of course limited.

MONITOR AUDIOBRONZE B2$399www.monitoraudio.com While rather generic looking, thistwo-way from Monitor Audio isunusually clean, open, detailed,and dynamically nimble in themidrange. Thebass is remarkablyweighty and power-ful, while themetal-dome tweet-er is airy anddetailed, withoutedge. (Reviewed by

Wayne Garcia in

Issue 140)

$500–$1000PARADIGM MONITOR 5$549www.paradigm.com The prominent top-endmandates carefulplacement, equipmentmatching, or preferablya tone control;the midrangehas a tinynasality; andthe portexhibits some

“boom” when the speaker’spushed too hard. Nevertheless,the Monitor 5 “has a lively, engag-ing sound with a tonal balancethat is…in a crude way not unsug-gestive of Quads.”(Reviewed by

Paul Seydor in Issue 133)

B&W 602.5 S3Price: $700www.bwspeakers.com Recently spiffed-upwith fresh cabinetry,Nautilus tweetertechnology, and anewly fashionedKevlar mid/bassdriver, B&W’s 602.5Series 3 is dynam-ic, taut, anddetailed. Like anEnglish schoolmas-ter, it lacks warmthand forgiveness,but its speed, detail, andabsence of overhang allow thebest recordings to shine.(Reviewed by WG in Issue 137)

SNELL QBx 20$750www.snellacoustics.comThe pint-sized QBx 20 sets a stan-dard in build quality, cabinet finish,and rigidity in this range. Though itdoesn’t quite match the overalltransparency and extension of thelarger Snell K, except for restrictedbass output it has no seriousshortcomings either. (Reviewed by Neil Gader in Issue 135)

PSB IMAGE 5T$799 www.psbspeakers.comRich, dynamic,spacious, andeasy-going, theImage 5T is yetanother remark-able performerfrom Canada’sPSB. What it givesup in ultimate del-icacy and detail, itmore than makesup for in everyother way. (Reviewed by WG in Issue 137)

SPENDOR S-3/5 $949www.qsandd.comIts dimensions are Lilliputian, soits dynamic and bass limitationsare real, though it lacks neitherwarmth nor richness. Used asintended, this mini-monitorexhibits neutrality that rivalsSpendor’s SP 1/2, while demon-strating wonderful openness,transparency, and imaging. (The$1250 SE version tradesmidrange warmth for improvedtransparency, resolution, anddynamic range.) (Reviewed by Paul

Seydor in Issues 119 and 143)

NHT ST-4$1000 www.nhthifi.comFor not much more than mass-market chain-store speakers, the

Welcome to TAS Editors’ Choice—a completelisting of The Absolute Sound’sRecommended Products. Severalformatting changes have beeninstituted since last year’s ver-

sion. First, and most obviously, we havedropped our “Class” ratings (just as we’vealready done with our regular RecommendedProducts features). Although that rankingsystem served a purpose, it proved too arbi-trary for our taste. Instead we’ve adopted themore straightforward method of ranking prod-ucts by price category, in order of ascending price within each

category. You may also notice that there are price ceilings foreach component group. The super-expensivegear will get its day in the sun in next issue’s

Golden Ear Awards. Those products aside, whatfollows is a list of the stuff that—out of all the

components reviewed in these pages—wewould buy.

Also note, a “Best Buy” designation isawarded—sparingly—to models that wefeel, no matter their price, offer the highest

value within their categories. Finally, complete reviews of the majority of

these components can be found on our Web site, AVGuide.com.

editors’ choice


ST-4s provide aheaping helping ofhigh-end sound,offering extendedhigh- and low-fre-quency response,open and articulatemidrange, excellentdynamic agility, anda tweeter/midrangedriver combinationthat speaks withone coherent voice.Imaging and overallbalance are fine,too, provided you’recareful with setup. (Reviewed by

Chris Martens in Issue 141)

$1000–$1500TOTEM ARRO$1100www.totemacoustic.com “A minor miracle,” ishow Editor-in-ChiefRobert Harleydescribed Totem’sArro, “combiningextraordinary resolu-tion, transparency, and soundstag-ing for the price. It is built to thesame standard as mega-buckloudspeakers, but on a muchsmaller scale. You also get abeautiful wood-veneered cabinet,not a vinyl-wrap box.” (Reviewed by RH in Issue 124)

DEFINITIVE TECHNOLOGYPOWER MONITOR 700$1200www.definitivetech.com

Possessed of a solidmidrange and an

extended treble that,nevertheless, doesn’tfully bloom, the

PowerMonitor yieldsunstoppable dynamics and bassflat to 30Hz, eliminating the needfor a subwoofer. With corner-to-corner soundstaging, thePowerMonitor sounds much largerthan it is. (Reviewed by NG in Issue

133)

PROAC TABLETTE$1200www.proac-usa.com Dinky dynamite, the Reference 8is a loudspeaker for connoisseurswho prize precision. It needs afast subwoofer to keep up with itstransient acrobatics. Highs areopen and the soundstage three-dimensional. Despite its obvious

dynamic and amplitude limits, thisspeaker is required listening.(Reviewed by NG in Issue 141)

RED ROSE MUSIC SPIRITSTUDIO MONITORS$1200www.redrosemusic.com Possessed of excellent imaging andsoundstaging, reasonable volumecapabilities, and respectable bass,the Spirit is beautifully balanced,offering plenty of resolution, butwith a smooth, extended treble anda gentle “middle-of-the-hall” per-spective that tends not to overem-phasize recording flaws. (Reviewed

by CM as part of the Red Rose Spirit

system on AVGuide.com,April 2003)

INFINITY INTERMEZZO 2.6$1500www.infinitysystems.com With a curvilinear aluminum enclo-sure, ceramic-com-posite drivers, pow-ered midbass, andInfinity’s R.A.B.O.S.system, whichsmoothes the domi-nant resonant peakof the room, the2.6 has a transpar-ent, cool, some-what clinical personality. Unflappableat nearly any volume, with excellentbass extension. (Reviewed by NG in

Issue 134)

$1501–$2000VANDERSTEEN 2CESIGNATURE$1549 www.vandersteen.com

This time- and phase-accurate,three-way floorstander has strikingtimbral accuracy, spatial focus,and resolution. The baffle-lessdesign imbues it with an open-ness reminiscent of planars orelectrostats. Benefits from bi-wiring and attention to adjustingthe back-tilt via stands. (Reviewed

by Shane Buettner in Issue 139)

MEADOWLARK AUDIOKESTREL2$1695 www.meadowlarkaudio.com Meadowlark replaces its Kestrelwith the Kestrel2—a two-way,time- and phase-aligned, transmis-sion-line design built with premi-um-quality parts and materials.You’ll be drawn in by its energeticdynamics, thrilled by its articulateand extended bass, and stunnedby the huge, deep, high-resolutionsoundstages it creates.(Reviewed by CM on

AVGuide.com, May 2003).

MAGNEPAN MG 1.6$1725 www.magenpan.com Magnepan’s 1.6 planar is one ofthe great high-end speaker val-ues. The bass is just respectableand the highs are a little soft, butwith its top-to-bottom frequencycoherence, great speed, wide-open soundstaging, and trans-parency, this moderately pricedMaggie is a music lover’s delight.(Reviewed by JV in Issue 124)

POLK AUDIO LSI-15$1740www.polkaudio.com Strengths are itsdetailed yet refinedhighs and smooth openmidrange. Where theLSi-15 falls short is inthe bass, which has alot of energy but notquite the tightness andcontrol that would raisethis otherwise-excellenteffort up a notch.(Reviewed by Anthony H.

Cordesman in Issue 135)

SONUS FABERCONCERTO$1895www.sumikoaudio.net Neutral and transparent in itsmidrange and treble, and a bitlean in upper-bass energy—butnever thin—the Concerto excels

with chamber music and vocals,conveying an involvement and inti-macy with the music like few oth-ers in this range. (Reviewed by

NG in Issue 135)

AUDIO PHYSICYARA$1995www.immediasound.comDespite its small cabinetvolume, this 2-way, down-ward-firing bass-reflex loud-speaker possesses anexceedingly natural andextended bass, richmidrange, and silky highs.Soundstaging, too, is excel-lent. Optimized for smallerrooms with average ceilingheights. (Reviewed by NG

in Issue 142)

$2000–$2500FOCAL-JMLAB 906$2200www.audioplusser-vices.com A compact two-way withGrand Utopia technologymakes for a vivid paletteof musical color, dynam-ics, and definition.Exceptional transparencyand freedom from boxcolorations. The open,airy tweeter has someadded brilliance, but this is a com-pact with a one-two punch of grace-ful good looks and uncommon musi-cality. (Reviewed by NG in Issue 140)

TOTEM HAWK$2295 www.totemacoustic.com An impeccably finished, “over-achiever at this price that commu-nicates the soul and spirit ofmusic.” With “essentially correct”tonal balance,tremendouspresence, andprodigioussoundstagingmore typical of amini-monitor, thetwo-way, narrow-baffle Hawk issuperbly engi-neered and “fun-damentallyright.” (Reviewed

by Peter Braver-

man in Issue 139)

recommended products

THIEL CS1.6$2390 www.thielaudio.com

A sleek littlebeauty, theCS1.6 deliv-ers a relaxedmusical pres-entation, withan accuratetonal bal-ance, excep-tionally lownoise floor, ahuge expan-sive sound-stage, andexcellent

dynamic resolution. What thisspeaker won’t do is reproduce thebottom octave or deliver the high-est dynamic peaks. (Reviewed by

Tom Miiller in Issue 135)

REFERENCE 3A MM DECAPO I$2500www.reference3a.com The Reference 3A De Capo usesthe latest version of DanielDehay’s famous 8" direct-drive(crossoverless) carbon-fiber driver,along with a custom SEAS silk-dome tweeter in a beautifully fin-ished rear-ported enclosure. At asensitivity of 92dB/watt, it can beused with amps from 8 watts upfor excellent performance, andreally shines when paired with afirst-rate subwoofer. (Reviewed by

Aaron Shatzman in Issue 132)

VON SCHWEIKERT VR-2$2500www.vonschweikert.com Von Schweikert’s VR-2 (“VR” forVirtual Reality) is a tower-type,transmission-line design thatoffers deeply extended (mid-20Hzrange) bass, a midrange and tre-ble with electrostatic-like clarity,and downright explosive dynam-ics. The ambience recovery driv-er—when adjusted for appropriateoutput level—works, too, addingplausible depth to the sound-stage. (Reviewed by CM on

AVguide.com)

$2500–$5000SPENDOR SP-1/2$2749 www.qsandd.com Designed by the legendarySpencer Hughes, this three-way is,

from the mid-40s through 20kHz,so utterly neutral that when themanufacturer of a highly regardedspeaker/room DSP applied it to apair of them, it made so little dif-ference that he momentarily won-dered if his device was working,though the deepest bass requiresa subwoofer. (Reviewed by REG in

Issue 90)

MARTINLOGAN AEON i$3295 www.martinlogan.com

The original Aeon(reviewed in Issue139) displayed a new-found coherencebetween its electro-static panel and alu-minum-cone bass driv-er. That model hasnow been replaced bythe Aeon i, using’Logan’s newGeneration 2 ESLpanel, a newlydesigned 8" woofer,and a re-designedcrossover. If it provesto be better than theoriginal, this will beone terrific speaker.(Review pending)

VANDERSTEEN 3ASIGNATURE$3495 www.vandersteen.com

Like all Vandersteen designs, the3A Signature is time-and-phaseaccurate. Its driver complementfeatures the patented midrangeand tweeter used in the vauntedVandersteen 5. A world-classspeaker at a real-world price.(Reviewed by RH in Issue 122)

REVEL PERFORMA F30 $3500 www.revelspeakers.com The three-way, full-range loud-

speaker for those who thoughtthey could only afford a skinnytwo-way tower. Exquisitely finished,this 90-pounder has dynamics andextension to burn. It especiallyshines in low-level resolution andnuance. Some may find the tweet-er a bit lean and white in charac-ter, but most will revel in thisbang-for-the-buck triumph. (Golden

Ear Award, Issue 133)

THIEL CS2.4$3900www.thielaudio.com This superbly crafted 3-way floor-stander features a unique concen-tric tweeter/midrange configura-tion that yields pin-point imagesand an ultra-wide sound-stage.Dynamics,both microand macro,are invigorat-ing. TheCS2.4 isboth analyti-cal and musical,with a sweet yetbright treble balance requir-ing quality amplification andattention to setup. (Reviewed by

NG in this issue)

MAGNEPAN MG 3.6 $4375www.magnepan.com Yet another great deal fromMagnepan, this largeribbon/quasi-ribbon dipole givesyou much of the sound of its bigbrother, the 20.1, for considerablyless dough. As with the 20.1, besure to bring a high-power, high-quality amp to the party, andmake sure you have sufficientspace to let these things“breathe” or the ribbon tweeterwill start to glare. (Golden Ear Award, Issue 121)

DYNAUDIO “SPECIALTWENTY-FIVE”$4800www.dynaudiousa.comDynaudio’s 25th Anniversary com-pact monitor is a worthy alterna-tive to the larger models in thisrange. Beautifully wrapped in aburled birch veneer, it reachesdown to around 35Hz, presents alarge soundstage oftonal richness anddynamically com-plexity, and, thoughsmall, is capable ofsurprising punchand high output.(Reviewed by Anna

Logg in Issue 141)

$5000–$10,000GENELEC S30D ACTIVE$5700www.genelec.com This self-poweredFinnish designcomes equippedwith a superb rib-bon tweeter—essentially flat to40kHz—asmooth midrangeresponse, andaccurate bass tothe mid-30Hz range. Being a pro-fessional monitor, the Geneleccan also pump out plenty ofsound, has digital as well as ana-log inputs, and adjustments foreach driver. (Reviewed by REG in

Issue 142)

QUAD 988 & 989$6500 & $8500www.iagamerica.com The latest incarnation of PeterWalker’s classic electrostatic is,from around 40Hz on out, neu-tral, coherent, linear, and trans-parent, with lower coloration anddistortion than its predecessor. Itwill not generate the deepestbass, but in normal-sized orsmaller rooms it will play at natu-ral levels with a purity and accu-racy that spoil you for otherdesigns. The larger 988 retainsmost of the essential virtues butwill play louder and go deeper inthe bass. The principal sacrificeis a certain projection in theupper midrange and lower highsthat undermines the peerlessneutrality of the original.(Reviewed by PS in Issue 130 & 126)



SONUS FABERCREMONA$7500www.sumikoaudio.net This gorgeous looking and sound-ing Italian floorstander is warm,airy, and seductive. It excels atresolving low-level information, isdynamically quite nimble as wellas forceful, and presents a holo-graphic soundstage. And thoughthe Cremona is a “musical” asopposed to entirely “neutral”design, it is very transparent tothe source. (Reviewed by WG in Issue 143)

COINCIDENT SPEAKERTECHNOLOGY TOTALECLIPSE $7999www.coincidentspeaker.com Israel Bloom’s 94dB-sensitiveCoincident Total Eclipse is adivine match with low-poweredsingle-ended triode amps—or anyother low- or high-powered amps,for that matter. With its high reso-lution, beautiful dynamic shading,smooth midrange, and visceralbass, the Total Eclipse veerstoward the warm side, and themidrange is a bit laid-back. (Golden Ear Award Issue 133)

KEF REFERENCE 205$8000www.kef.com British speaker company KEF isback in the U.S. with a full line ofhigh-quality offerings. Part of itstop Reference Series, the 205 isa full-range model using KEF’s so-called “Hypertweeter,” with a use-ful frequency response up to80kHz. In-room bass responseextends to 30Hz; the midrange is

quick, detailed, and neutral, whileexcellent imaging and soundstag-ing complete the package.(Reviewed by AHC

in Issue 141)

INNERSOUND EROS MK 3$9500www.innersound.net Innersound’s aptly named Erosmarries an electrostatic panel toa cone-bass system backed by afolded eight-foot transmission line;a supplied 200-watt amplifier, inturn, powers the woofer.Remarkably coherent over its range,the Eros’s sound is alive and verypresent. (HP’s Workshop, Issue 116)

$10,000–$20,000MARTINLOGANPRODIGY$10,995www.martinlogan.com A descendent ofMartinLogan’s$79,000Statement E2, theelectrostatic-hybridProdigy is excep-tionally transparentand dynamic from250Hz on up,below which twin10-inch wooferskick in. Thoughvery good, here iswhere the superior-ity of the ’statmakes the basssound ever soslightly slower thanthe rest. Setup iscritical. (Reviewed

by AHC in Issue 134)

REVEL STUDIO$10,995www.revelspeakers.com With astonishing dynamics,extremely low coloration, and gor-geous build quality, Revel’s Studiois not just a fine performer, but anexcellent value. The midband, inparticular, combines low colorationwith startling resolution of music’sdynamic envelope. (Reviewed by

TOM in The Perfect Vision in Issue 21)

VANDERSTEEN MODEL 5and 5A $11,400, $14,700 www.vandersteen.com The Vandersteen Model 5 is agreat value. For $11,400 you get

a powered 12" woofer,Vandersteen’s ingenious tech-nique for smoothing the in-roombass response, and a smooth,unfatiguing tonal balance. Thenew 5A (review pending) is anupgrade rather than a replace-ment. (Reviewed by RH

in Issue 118)

MAGNEPAN MG 20.1 $11,995 www.magnepan.com

With betteroctave-to-octavebalance andcoherence thanthe 20R, and thesame fabuloustreble and non-pareil “there-in-the-room-with-you” midrangepresence, the20.1 (like allMaggie speak-ers) is the verydefinition ofgreat-sound-for-the-dollar. Be

aware: All Maggies take lots ofspace and lots of amplifier powerto sound their best. (HP’s

Workshop, Issue 136)

WILSON SOPHIA$11,700www.wilsonaudio.com Wilson’s Sophia has all the hall-marks of Wilson loudspeakers—extraordinary transient fidelity,deep bass extension, a huge spa-tial presentation, and a cabinetthat contributes no sound of itsown. With surprising bass anddynamics for its size, the Sophiasounds like a much larger speak-er—gorgeous finish quality andattention to detail, too.(Recommended Systems, Issue 136)

LEGACY WHISPER$14,500www.legacy-audio.com The Legacy Whisper isall about musicalengagement, not theanalytical dissectionof a recording. A five-foot-tall, two-hundred-pound hunk ofWurlitzeresque woodsculpture, the ten-driv-er Whisper excels atlow-level resolution,transient delivery,and dynamic con-

trasts, large and small, though itsfrequency extremes are some-what soft. (Reviewed by AHC in

Issue 135)

SOUND LAB M-1 $15,270www.soundlab-speakers.com A huge electrostat, artfully subdi-vided into angled strips and pan-els to produce a hemisphericalwavelaunch and to reduce “drum-head” resonances, the M-1 hasthe biggest soundfield, far andaway the best bass, and mostlifelike dynamic range of any ’stat,in addition to the traditionalvirtues of ’stats (gorgeous tonecolor, lightning transientresponse, single-driver coherence,and phenomenal inner detail).(Reviewed by JV in Issue 122)

$20,000–$25,000KHARMACERAMIQUEREFERENCEMONITOR 3.2 $20,000 www.gtt-group.com This diminutivetwo-way floor-stander, whichwon one of ourEditors’ ChoiceAwards last year,generates ahuge, transparentsoundstageand a simplyetherealblend oftonal beautyand dynamicnuance. It is also,save for the two bottom octaves(below 40Hz), the most musicallydetailed speaker JV knows of.(Reviewed by JV in Issue 140)

AVALON EIDOLON $21,520–25,090www.avalonacoustics.com With the right ancillary compo-nents and very careful setup, theEidolon is capable of astonishingsoundstaging, resolution, andtransparency. Doesn’t go as lowin the bass, and won’t play asloudly as many similarly pricedloudspeakers. Nonetheless, theEidolon is exceptionally captivat-

ing and musical. (Golden Ear Award, Issue 127)



WILSON AUDIOWATT/PUPPY 7$22,400www.wilsonaudio.com

This classic loudspeaker hastaken a significant jump in per-formance with the new 7 version.Although modest in dimensions,the WP7 has the big sound asso-ciated with much larger systems.With astonishing dynamic impactand coherence, coupled with deepbass extension and gorgeous ren-dering of inner detail, the WP7 isenormously rewarding musically.(Reviewed by RH in Issue 143)

POWER AMPLIFIERSUnder $2000 PARASOUND HALO A23 $850www.parasound.com

Parasound’s A23 isn’t the lastword in low-end authority, and it’s abit cool in the midrange, but whatit lacks in oomph it makes up forin finesse and pitch definition.Moreover, this reasonably pricedamp is musically quite involving.(Reviewed by SB in Issue 138)

QUAD 909$1499www.quad-hifi.com Its sound quality not only sets abenchmark for its size and price, butleaves virtually nothing to be desiredcompared to the best. Its midrangein particular is near state-of-the-art.Up and down the scale this latestiteration of Peter Walker’s patented“current dumping” circuit displaysan ease, relaxation, and naturalnessthat sweeps considerations of merehi-fi aside. (Reviewed By PS in Issue

128)

ROTEL RB-1090$1995 www.rotel.com

Voluptuous and yin-like, and everso slightly laid-back in character,the RB-1090 is capable of extract-ing the lowest rumble that aspeaker can produce. But it alsoextracts high-frequency informa-tion like a hummingbird sips nec-tar. Transparency might beimproved, but for sheer orchestralweight the 1090 has the power tomake it one of the best pound-for-pound deals in the high end.(Reviewed By NG in Issue 128)

$2000–$5000AUDIO RESEARCH VS55$2495 www.audioresearch.com

ARC’s formula is sim-ple: Put its latest circuitrefinements in a nice but not lav-ish chassis, keep the power outputmoderate, and price within reachof most music lovers. The result isthe stunning new VS55, whichdelivers ARC’s classic sound in anaffordable package. May not beenough power for low-sensitivityloudspeakers or for those wantingto rock the house, but when usedwith the right speakers at sensiblevolumes, it is pure magic.(Reviewed By RH in Issue 141)

CARY AUDIO CAD-808 $2500www.caryaudio.com

Designer Dennis Had’s affection-ately dubbed “Rocket 88” isunusual in that there is no driverstage in the amp’s circuit. Thatmeans you’ll need a high-outputpreamp to use it, but when sopaired expect a sound that DanDavis said propelled him “to themusical bliss we all want from oursystems.” Outstanding articula-tion and dynamic definition, espe-cially in the midrange. (Reviewed

by Dan Davis in Issue 139)

MCCORMACK AUDIODNA-225$2795www.mccormack.com This 225Wpc amplifier has spec-tacular soundstaging, dimensional-ity, and the ability to create a con-vincing illusion of instruments andvoices within an acoustic. Its tonalbalance tends to be lean and live-ly, rather than rich, dark, and full-bodied. These quibbles aside, theDNA-225 is eminently musical andan extraordinary value. (Reviewed

by RH in Issue 134)

SUNFIRE SIGNATURE“ARCHITECT’S CHOICE”MK II $3395 www.sunfire.com Though it weighs less and isslightly smaller than the SunfireSignature, the Architect’s Choiceis even more powerful and a littlebetter sounding. Designer BobCarver has somehow managed tolower an already vanishingly lownoise floor; the effect is a star-tling new cleanliness and purity—there is no grain—yet with all themuscle of its predecessor. Carverstill insists on tailoring the spec-tral balance with a Gundry Dipthat pushes the presence regionever so slightly back. (Reviewed by PS in Issue 138)

MUSICAL FIDELITY A308$3595www.musicalfidelity.com

This powerhouse (250Wpc into 8ohms, 450Wpc into 4) can drivevirtually any loudspeaker withremarkable dynamic agility and a

complete lack of strain. In addi-tion to keeping its cool duringloud and complex passages, theA308 has an astonishingly quietbackground that allows low-leveldetails to come alive. The resultis massive dynamic contrasts thatconvey the excitement and dramaof large-scale music, in particular.Slightly up-front treble renderingsuggests mating with non-aggres-sive loudspeakers. (Reviewed by

RH in Issue 139)

QUICKSILVER V4 MONO $3995/pairwww.quicksilveraudio.com

Like past amplifiers from MikeSanders, these monoblocksdemonstrate unrivaled stability andcomposure under very demandingdynamic conditions, a soundstageof Cinerama-like width, depth, andthree-dimensionality, with stunningrendition of height. As with all tubeamplifiers, neutrality is somewhatdependent upon speaker imped-ance, but Sanders has got thegestalt, the big picture, right.(Reviewed by PS in Issue 138)

CLASSÉ CAM-200$4000/pair www.classeaudio.com These solidly built, compactly ele-gant monoblock amps capture the

colors and textures of instrumentsand ensembles as well as manyfar costlier units. Like most Classéproducts, they also get just rightthe minute dynamic contrasts, anduntangle complex orchestral pas-sages with aplomb. They roll offthe highs a bit; when two instru-ments play high notes in unison,their harmonic overtones tend tomerge. (Reviewed by Fred Kaplan in

Issue 132)



ANTIQUE SOUND LABHURRICANE$4400/pairwww.divertech.com

Though considerable controversysurrounds the latest incarnationof this amplifier, designer JosephLau has fashioned somethingthat, when rigged the way HP ini-tially auditioned it, is redefiningwhat we consider to be the state-of-the-art. A KT-88-drivenmonoblock design, the Hurricaneis easy to set up and not difficultto maintain (though biasing it isan inexact science). (Reviewed in

HP’s Workshop, Issue 140)

MERIDIAN 559$4495www.meridian-usa.com Although it may lack the ultimatein spatial detail and depth, the559 is an impressive performer—refined warm, clear, and well bal-anced—and its 300W are enoughto drive any speaker on the mar-ket. (Reviewed by SK in this Issue)

$5000–$10,000GAMUT D200$5500www.gamutaudio.com The original 200WpcGamut D200 stereoamplifier wasextraordinarily neu-tral, detailed, andlively—with superb imagingand soundstaging. It was, howev-er, cool and clinical in balance.The “new” D200 adds richer tonecolor to the mix at the price of alittle large-scale dynamic life.(Review pending)

HERRON AUDIO M150$5895/pairwww.herronaudio.com

This outstanding solid-statedesign from Keith Herron givesthe listener a large slice of whatmany more expensive ampli-

fiers—both solid-state and tube—offer, that is, a melding of thespeed, focus, and bass control ofthe former with the liquidity of thelatter. (Reviewed by ASP in Issue 130)

PARASOUND HALO JC 1MONAURAL AMPLIFIER$6000/pairwww.parasound.com The latest collaboration betweenthe legendary designer John Curland Parasound has resulted inthe Halo JC 1: “…silky-smooth,crystal clear and abundantlydetailed. The kind you could listento all day long without fatigue.”(Reviewed by SK in Issue 141)

AIR TIGHT ATM 300$6300 www.axiss-usa.com

The Air Tight ATM 300 is one ofthe handful of 300B SET ampli-fiers that lays claim to magicalsound extending beyond themidrange. This amp’s airy highs,natural tonality, and low bassextension defy common percep-tions of 300B SETs. Gorgeous inbuild and sonics. (Reviewed by

Scot Markwell in Issue 128)

BAT VK-75SE$8500www.balanced.com

BAT’s VK-75SE is a tube designthat, while displaying many of theattributes we love about glowingglass—smoothness, liquidity,depth, harmonic complexity—does so with, as reviewer SueKraft put it, a “lack of candy-coat-ing in the midrange.” In addition,the VK-75SE is virtually grain-freeand excels at reproducing dynam-ics. (Reviewed by SK in Issue 133)

PASS LABS X350$9000 www.passlabs.com Nelson Pass’s X350 employs but

two gain stages to deliver a veryclean sound across the frequencyrange. This amp combines asense of effortless drive withsilent backgrounds, outstandingmusical articulation, excellentbass and dynamics, and the abili-ty to keep track of the finestmusical threads. (Reviewed by

Greg Petan in Issue 136)

MBL 8011$9075www.mbl-hifi.com The 8011 delivers a smooth,clear, grain-free sound that if any-thing is slightly soft, tonallyspeaking. With 1100 watts ofpeak pulse power, the mbl nevershows signs of strain, while itslow noise and excellent resolutionallow recordings to sound asmusical as they can. (Reviewed by

REG in Issue 135)

AIR TIGHT 211$9800/pairwww.axiss-usa.com

At 22Wpc, the single-ended 211shave more than enough juice todrive sensibly chosen speakers.Their refined, extended, dimen-sional, and dynamically authorita-tive presentation make them avery attractive choice for someonelooking to assemble a superiorSET-based system that will notsuffer from most of the limitationsof its lower-powered brethren.(Reviewed by SM in Issue 143)

$10,000–$20,000EDGE NL-10$10,800 www.edgeamp.com Except for authority and the last

word in dynamic capability, indis-tinguishable from its Signaturebig brother. Its sound is so addic-tively pure, you’ll want to keepturning it up, which is where thehigher-powered Signature comesin. But, at 220 watts per side,and the right setup, you can’t gowrong with this amp. (Recom-

mended by HP in Issue 143)

THETA CITADELMONOBLOCK $15,800/pairwww.thetadigital.com Theta’s Citadel is one of thoseamps that seem to shine with anyspeaker or cable. This sculptedaluminum tower’s strengthsinclude spot-on tonal balance,superior resolution, tremendousdynamic power, deep taut bass,and highs that are detailed with-out exaggeration. Its overall tonalcharacter is warm, with a naturalmidband and realistic soundstage.(Reviewed by AHC in Issue 138)

JOULE ELECTRA GRANDMARQUIS$16,000/pairwww.joule-electra.com If you’ve never heard a tubeddesign, sans output transformers,you have no idea of the kind ofpure clarity and naturalness ofwhich tubes are capable. This ear-lier Joule design is a bit klutzy forthose with fickle fingers, and willseem underpowered in low effi-ciency/big room installations, butthe sound is so addictive that,once heard, it just somehowseems more right than most any-thing else. Be wary if your speak-er is of ported design. (Reviewed

by HP in Issue 115)

TENOR AUDIO CLASSICSERIES 75 WP$18,995/pairwww.tenoraudio.com

Tenor’s 75Wpc, output-trans-formerless monoblocks reproduceharmonics and dynamics morerealistically than any amps that JVhas heard. Like all OTLs, the



Tenors prefer 8–16 ohm loads,though they will handle 4 ohms ata substantial reduction in power.Matched to the right speakers,they are simply more “alive” thanthe competition. A magical combi-nation with Rockport Hyperionsand Kharma Reference Monitor3.2’s. (Reviewed by JV in Issue 136)

MULTICHANNELAMPLIFIERSUnder $2000ROTEL RMB-1075 $999 www.rotel.com

Rotel’s THX Ultra-certified RMB-1075 provides a robust 120Winto five channels, along with asmooth midrange and plenty ofweight down below. (Reviewed by NG in TPV

Issue 44)

ANTHEM PVA 7$1499 www.anthemav.com Though not endowed with themuscle and resulting dynamicdrama of larger units, the PVA 7is very refined sounding, withgood resolution and depth. Withsurround music and film sound-tracks the Anthem is both spa-cious and focused, with a smoothand pleasurable balance.(Reviewed by SB in TPV Issue 42)

OUTLAW AUDIO MODEL 770$1799 www.outlawaudio.com

The Model 770 is a no-nonsenseworkhorse design housed in anunadorned box. The unit includesseven modular amplifiers deliver-ing 200W each into 8 ohms and300W into 4 ohms. The sound isseductive and surprisingly sweet,

and yet the thing has very goodauthority too, though the widestdynamics will not be as dramati-cally rendered as they are by thevery best. (Reviewed by WG in TPV

Issue 46)

$2000–$5000ADCOM GFA-7805$2400www.adcom.com

This behemoth 300Wpc (x5)amplifier can drive virtually anyloudspeaker system to any sanelistening level without a hint ofstrain. The top end may not be astransparent as mega-buck multi-channel amplifiers, but thisamount of output power and over-all sound quality are hard to faultfor the price. (Reviewed by RH in

TPV Issue 50.)

AUDIO REFINEMENTMULTI 5$2495www.audioplusservices.com Along with a startlingly puresound that emerges from a deadsilent background, other virtuesinclude a faithful presentation ofdynamic range, excellent spatialcharacteristics, commanding bassand an easy-going way withrhythms. These strengths easilyovercome a polite top, softenedtransients, and a midrange to thewarm side of neutral. (Reviewed

by Alan Taffel in TPV Issue 37)

CARY CINEMA 5 $3995www.caryaudio.comOnly a handful of moreexpensive ampsbetter what Caryhas achievedwith the Cinema5. It’s immediateand airy, with gooddepth, superior image placement,a fine top-to-bottom-tonal balance(its overall character is warm butnot “dark”), complex harmonics, asmooth top-end, and bass thatseems to go right through thefloor and into the earth.(Reviewed by WG in TPV Issue 50)

CLASSÉ CAV-180$4000www.classeaudio.com

Although the CAV-180 is pricedsomewhere between seriousbudget multichannel amplifiers($2k or so) and upper-end ampssuch as the Theta Dreadnaught,its build and sound quality havemore in common with the bigboys. With the same circuit topol-ogy as Classé’s two-channelamplifiers, the five-channel,180Wpc CAV-180 brings audio-phile-grade sound to the multi-channel party. (Reviewed by RH in

TPV Issue 48)

$5000–$16,500AYRE V-6X$5500 (2 channel), $1250 peradditional channelwww.ayre.com

Ayre’s updated V-6x can be config-ured for up to six channels, andis a fully balanced, zero-global-feedback design. It offers anincredible combination of musical-ity and resolution. Where the V-6was light in the lower registers,which spotlighted the midrange,the V-6x adds low-end weight andextension, making the entiremusical picture richer and moreengaging and involving. (Reviewed by SB in TPV Issue 41)

AUDIO RESEARCH 150M$6495 for 5-channel version($750/additional power mod-ule)www.audioresearch.comA stunning—and stunningly suc-cessful—departure for the high-end Tube Gods at Audio ResearchCorporation. This relatively light-weight, entirely modular (the150M can be fitted with up toseven power amplification mod-ules, each rated at 150W into 8

ohms and 300W into 4 ohms),cool-running, Class T (!), digitalswitching amp produces a surpris-ingly ARC-like sound with much ofthe natural brightness, airiness,and light of ARC tubes. ARC joinsthe Digital Age with a bang! Who’d’a thunk it? (Review pending)

THETA DREADNAUGHT II$6750www.thetadigital.com

The trouble with building an instantclassic like the Theta Dreadnaughtis coming up with an encore. Likethe original Dreadnaught, theDread II is fully balanced with zeroglobal feedback. The new modeldelivers more power and impact,along with better low-end authorityand control. It also has a bit moreenergy in the upper midrange andtreble than its predecessor, andsacrifices just a bit of the warmthand musicality to attain theseimprovements. (Reviewed by SB in

TPV Issue 46)

KRELL THEATER AMPSTANDARD$7500www.krellonline.com A very Krell-like FPB (Fully PowerBalanced) 5-channel amplifier thatgenerates a powerful-sounding200W into 8 ohms and 400W into4. The Krell, like the ARC 150M,shares much of the build qualityand sound of its celebratedmonoblock siblings: a rich, articu-late, slightly dark, and very hard-hit-ting presentation that is voluptuouson music and pin-you-to-your-seatstunning on film soundtracks. Youwon’t lack for weight or impact withthis baby—and its soundstage isphenomenal. (Review pending)

PLINIUS ODEON$9495–$9995 depending onnumber of channelswww.pliniususa.comWith its modular design, user-selectable number of channels,and stunning build quality, theOdeon is a contender for thestate-of-the-art in multichanneldesigns. The Odeon’s sound is



characterized by effortless dynam-ics, a rock-solid and rhythmicallyengaging bottom end, andmidrange and treble purity on parwith the best solid-state two-chan-nel amplifiers. (Reviewed by RH in

TPV Issue 50)

BALANCED AUDIOTECHNOLOGY VK-6200$10,995 (fully loaded)www.balanced.com

BAT’s VK-6200 is a top-flight solid-state amplifier. Powerful, yet capa-ble of great delicacy, it is alsoremarkably transparent, fast, andpossessed of great tonal and tex-tural details as well as beautifuldynamic shading. A knockout withmultichannel music and film sound.(Reviewed by WG in TPV Issue 38)

ROWLAND MC-6$16,500 www.jeffrowland.com This gorgeous 150Wpc six-chan-nel amp is also a superb two-channel performer. In either sur-round or stereo mode, it is rich incolor, very finely detailed, a bitdark in balance, and incrediblyhard-hitting, with the most power-ful and authoritative bass JV hasheard from any amp. (Reviewed

by JV in Issue 132)

INTEGRATEDAMPLIFIERSUnder $1000NAD C 320BEE $399www.nadelectronics.com Like one of those amazing ten-dol-

lar wines that leaves us wonder-ing “Why spend more,” the 50Wrated C 320BEE gives such astrong taste of the high-end thatyou might be tempted to think itdoesn’t get any better than this. Itdoes, of course, but you’ll have tospend at least a grand before thedifference is worth it. Also notewor-thy is NAD’s C 370 ($699), which,though not quite as refined as the320BEE, is a great choice for thosewho simply need more power.(Reviewed by WG in Issue 140)

$1000–$1500PRIMARE I20$1250www.sumikoaudio.net

This beautifully finished 70Wpcdual-mono design has a detailed,pristine character that’s some-what dry and cool with a tightlycontrolled but not especiallyextended low end. Its highlydynamic personality excels withuptempo material. (Reviewed by NG in Issue 143)

SUGDEN A21A$1495www.stanalogaudio.com

The warm rich sonics of the pureClass A Sugden more than madeup for its econo-retro appearance.At 25Wpc, it runs hotter than a fire-cracker and it won’t power everyspeaker, but the speakers that fitthe bill have never sounded sweet-er. (Reviewed by NG in Issue 143)

CREEK 5350SE$1500www.musichallaudio.com

The Creek is a subtle performer,with an appealing combination ofdetail, ease, fluidity, and grace.

Some may prefer a more robustpresentation, but the 5350SE hasa very engaging way with the music.(Reviewed by WG in Issue 136)

$1501–$3000NAIM NAIT 5$1550 www.naimusa.com

Naim’s latest Nait isa sonic wonder, deliv-ering so much musicalpleasure at such a reasonable pricethat one could easily ask if it canget any better. That doesn’t meanthe Nait is the world’s best amp,simply that it pulls you into themusic in a completely satisfyingway. (Reviewed by WG in Issue 136)

PLINIUS 8100 & 8200MK2$1995 & $2995www.pliniususa.com Except for the absence of aphonostage, you’d be hard-pressed to distinguish the soundof the 100Wpc 8100 from its175 watt Big Bro’ 8200 (at$2995, recently upgraded to aMk2 version). Minimalist inappearance with muscular inter-nals, the 8100 never seems torun shy of dynamic reserves. The8200Mk2’s circuit redesign addsmuscle and faster transient reflex-es, sweeter harmonic integrity,and a more spacious treble.(Reviewed by NG in Issue 126)

AYRE AX-7$2950www.ayre.com

The AX-7 has all the hallmarks ofthe Ayre sound, but scaled downin output power. This beautifullymade integrated has an amazingdimensionality, openness, imagespecificity, and transparency thatrival much more expensive sepa-rates. Don’t be put off by themodest 60Wpc output rating; theAX-7 sounds robust and dynamic,and has bass extension thatbelies its modest specification.(Reviewed by RH in this Issue)

$3000–$5000AYON AUDIO 300B $3400www.ayonaudio.com This beautiful 300B-driven inte-grated offers what we expect fromlow-wattage (15W) triodedesigns—palpable dimensionality,lifelike textures, wide open sound-staging, and fine dynamic shad-ing—without the exorbitant pricetags of similar models. Thoughthe Ayon’s tonal qualities veertowards the warm and dark side,the thing is nonetheless well bal-anced, and its midrange (particu-larly vocals) is a major strength.(Reviewed by Stephan Harrell in

Issue 139)

BALANCED AUDIOTECHNOLOGY VK-300X$3995–$5995 (Depending onoptions) www.balanced.com

Available in yourchoice of three dif-ferent outputstages—solid-state, tube,or 6H30 “SuperTube”—BAT’s VK-300X is a great value. The soundis airy, detailed, harmonically wellstructured, and very immediate.And with 150W output, it will notonly drive pretty much anything,but it will do so with dynamicauthority as well as agility.(Reviewed by WG in Issue 138)

BURMESTER 991 RONDO$4495www.immediasound.com

Sweetness was the trait that con-tinually came to mind while listen-ing to this 100Wpc German inte-grated. The treble is easy andeffortless and may just be the bestof this particular breed. Tonally, theRondo is rich and warm with amidrange bloom and a slightly for-ward tilt. This beautifully finishedpiece features Burmester’s trade-mark chrome faceplate, balancedand unbalanced inputs, andadjustable gain for each input.(Reviewed by NG in Issue 137)



YBA INTÉGRÉ PASSION $4650 ($4800 w/phono)www.audioplusservices.comElegant execution and jeweler-quality touches—inside and out—make this 100-watter a top-flightcontender. Isolation of the internalcomponents from vibration con-tributes to the vivid imaging, excel-lent resolution, transparency, andwide soundstage. The Passion iscompetitive with any integrated ofsimilar output near its price. Ahigh-quality remote control isincluded. (Review pending)

$5000–$7000MUSICAL FIDELITY TRI-VISTA 300 $6000www.musicalfidelity.com

The Musical Fidelity Tri-Vista 300is a musically honest amplifierwhose prime virtues are stunning“you-are-there” resolution andfocus, a neutral spectral balance,and an uncanny ability to helpsource components and loud-speakers perform at their best.(Reviewed by CM in Issue 142)

ROWLAND CONCENTRA II$6950 www.jeffrowland.com Rather than sounding spectacular,the Concentra reproduces musicwith subtlety and verisimilitude,and a sonic backdrop of preter-natural silence. Each curve of thechassis and turn of the volumecontrol exudes luxury of the high-est order. (Reviewed by JM and

NG in Issue 125)

PREAMPLIFIERSUnder $1000QUAD 99 and QC-24$999 (each) www.iagamerica.com

Along with a dandy mm and mcphonostage, the Quad 99 fea-tures a novel tilt control for tonecorrection that works like a charmwhen you need it. A solidmiddle-level performer, it lacksmostly the ultimate transparency,liveliness, and dynamic opennessof the very best units. Theall-tube QC-24 linestage is theleast expensive to suggest thatelusive quality of “continuous-ness” in its presentation. The QC-24 has first-rate imaging in alldimensions, and a lively, engag-ing, remarkably neutral presenta-tion. (Reviewed by PS in Issues 128

& 135)

$1000–$2000MARSH P2000$1195www.marshsounddesign.com

The P2000 is animpressively built and fin-

ished model with a slightly laid-back presentation, terrific focus,good dynamics, and a highlycoherent and engaging way withthe music. It’s a little to the warmside, and a bit sibilant, but this isa knockout linestage and anamazing value. (Reviewed by PB in

Issue 137)

ROTEL RC1090$1199www.rotel.com Clean and detailed describes thisfeature-laden unit. Though it tiltsslightly toward the clinical side inbalance, its musicality is unaffect-

ed, and its rich authoritative bassmore than compensates. Includesbalanced inputs for CD and bal-anced outputs. A learning remoteand so-so mm/mc phonostagecomplete the package. (Reviewed

by Anna Logg in Issue 132)

NAIM NAC 112$1250 ($2250 w/Flatcap2power supply)www.naimusa.com This linestage does not come withits own power supply, meaningyou must use it with a Naimpower amp or add the outboardFlatcap2 (an additional $950).Either way, you’ll get a quiet,immediate, and musically com-pelling sound, if not the lastdegree of detail and dimensionali-ty. (Reviewed by WG in Issue 138)

QUICKSILVER REMOTECONTROL LINESTAGE $1395www.quicksilveraudio.com

Quicksilver’s remote control tubelinestage delivers a great senseof weight and power as well as ahuge, 3-D soundstage; the trade-off is a dip in midrange presence.(Reviewed by PS in Issue 138)

AUDIO RESEARCH SP16L$1995www.audioresearch.com

Outstanding dimensionality, richtonal color in the lower registers,and a huge soundstage character-ize this classic-sounding preamp.The review sample sounded a lit-tle forward and grainy in the uppermidrange and lower treble, mar-ring an otherwise superb sound.ARC suggests that this characterwas caused by tube variation, andis not intrinsic to the unit.(Reviewed by RH in Issue 141)

$2000–$3000MUSICAL FIDELITY A308 $2395www.musicalfidelity.com

Musical Fidelity’s A308 hasextremely low levels of tonal col-oration, coupled with an extremelyopen and transparent soundstage.The treble is clean and pristine,with no trace of grain or hardness.The A308’s greatest strength isits ability to resolve high-frequencydetail without sounding etched.Wide dynamics, remote control,and terrific build quality round outthis high-value preamp. (Reviewed

by RH in Issue 139)

MERIDIAN 502$2575www.meridian-usa.com

With plenty of features, includingan optional mm/mc phono mod-ule and dual-room drive-capability,Meridian’s 502 is chock full offirst-rate parts, and delivers asound that’s tonally well bal-anced, smooth, focused, clean,and musically compelling. (Reviewed by Sue Kraft in this issue)

EAR 864 $2995www.ear-usa.comEAR’s tube-driven 864 is built tothe highest standards, with asound so good that reviewerAaron Shatzman said it was “oneof the few preamplifiers I haveheard that delivers sound thatwould satisfy for the long term.” (Reviewed by Aaron Shatzman in

Issues 134 and 141)

$3000–$5000HERRON VTSP-1A$3995 www.herronaudio.com A musical perfectionist’slinestage, this compact all-tubeunit is elegantly engineered andexecuted, with little glitz and noremote. The sound is unusuallyquiet, precisely timed, and three-dimensional. The epitome offinesse: bloomy without lushness



or bloat, with superb resolutionand recreation of space.(Reviewed by ASP in Issue 116)

PLACETTE AUDIO ACTIVELINESTAGE$4000www.placetteaudio.com “Transparency, transparency,transparency” is the holy grail ofthe Placette’s designer, GuyHammel, and he certainly deliv-ers, along with spectaculardynamic range, highest resolution,noise at the residual levels of theparts themselves, and a neutraltonal balance that favors no partof the spectrum. (Reviewed by PS

in Issue 126)

SIM AUDIO MOON P-5$4295www.simaudio.com

A beautifully built two-chassisdesign, the Sim Moon P-5, thoughslightly dark in character, provides alargely uncolored, highly transpar-ent, and highly detailed, if unforgiv-ing, window to the source.(Reviewed by Anna Logg in Issue 131)

$5000–$10,000PASS LABS X-1 $5900www.passlabs.com

Remarkably similar in sound tothe $10,000 XO.2—the main dif-ference is in the power supply—Pass Labs’s X-1 has the kind ofnatural air and harmonic sweet-ness we normally associate withtubes coupled with superb deepbass, overall neutrality, and gooddynamic contrasts. (Reviewed by

AHC in Issue 128)

HOVLAND HP-100$6500 (with MC phono stage)www.hovlandcompany.com The Hovland HP-100 captures theessential “rightness” of music

without sounding nearly as “hi-fi”as most of its competition. It isnot, in longer-term listening, diffi-cult to hear its flaws, but the HP-100 reminds us just how clinical,ultimately, almost all componentssound, and it does so by sound-ing as “unclinical” as anything HPhas heard. (Reviewed by PB in

Issue 131; HP’s Workshop, Issues 131

and 137)

WYTECH OPAL$7500www.wyetechlabs.com Built like a tank, this mauve,tubed, two-piece Canadian power-house projects seamless tonality,top to bottom, with natural,extended mid-and-upper treble,full, uncolored midrange, and pow-erful bass. Outstanding dynamics,with ample microdynamics andeffortless climaxes, wrapped instate-of-the-art transparency withdetailing to die for. (Reviewed by

DD in Issue 127)

EDGE SIGNATURE 1$8950www.edgeamp.com

Unusual because it can be pow-ered by either batteries or AC, theEdge—when powered by batter-ies, please note—has a glorioustop end, a rich middle register, awonderfully complex harmonicstructure, and delivers plenty ofambient information. What itlacks is vocal body, low-frequencypunch, and the last word indynamic wallop. (HP’s Workshop,

Issue 137)

BAT VK-51SE$9000 (with remote option)www.balanced.com

BAT’s top preamp combinesauthority, punch, detail, spacious-ness and precision into one beau-tifully made chassis. (Reviewed by

SB in Issue 143)

AUDIO RESEARCHREFERENCE 2MKII$10,000www.audioresearch.com

The finest linestage ARC has yetmade. With superb soundstagingcombined with a newfound imagefocus and top-to-bottom neutrality,the Ref 2MkII manages to soundbig, airy, and bloomy withoutsounding over-inflated, “whitish,”or aggressive. Superb innerdetail, lovely treble and bass, andexceptional dynamics (for tubes).(Reviewed by JV in Issue 140)

VTL TL7.5$10,000www.vtl.com

This unconventional two-chassislinestage delivers a tube-likesweetness, effortless dynamics,and a brightly illuminated sound-stage. With the subtlety to han-dle everything from chambermusic to the dynamic cloutrequired for heavy rock and heavyWagner, this VTL also deliverssuperb speech and soundtrackreproduction for home theater. Asample RH auditioned exhibitedsome operating quirks. (Reviewed

by ASP in Issue 139)

PHONOSTAGESUnder $500GRAM AMP 2 $219 www.gspaudio.com

This stripped-down little buggerhas a sweet, mellow sound, andvery low noise and perceived dis-tortion. It’s strictly for movingmagnets and high-output movingcoils. The sound is a little veiled(though remarkably grain-free),and, while not the last word inwide dynamics, it has astonishingcomposure and musical integrity.(Reviewed by PS in Issue134)

MONOLITHIC SOUNDPS-1/HC-1 $399/$259www.monolithicsound.com

It’s solidly built (with optionaldual-mono power supply) and flex-ible enough to mate with mostlinestages and cartridges.Harmonically and spatially full,with well-nuanced detail retrieval,admirable dynamics, and solid,rhythmic drive. Slightly lessextended at the extremes thanPlinius Jarrah and Lehmann BlackCube, but the purity of tone andopenness in the mids is quitespecial for a unit at this price.(Reviewed by SH in Issue 128)

$500–$1000GRADO PH-1$500www.gradolabs.comThe wood-bodied PH-1 is a versa-tile unit that works equally wellwith high- and low-output car-tridges. Though it is susceptibleto environmental noise, the sound



is open and easy, with an expan-sive soundstage, natural highs,and lower octaves with texture,tonal refinement, and power.(Reviewed by WG in Issue 141)

LEHMANN BLACK CUBE$695www.audioadvancements.com

This much-praised model nowcomes with a beefier power sup-ply. Otherwise, features remainthe same, including switchablemm/mc and limited options forloading. Now really wowie-zowie inthe dynamics department, withimaging so stable you could mapout each instrument, bass bothample and articulate, and reallygood transparency. Principal reser-vation concerns a certain “white-ness” that translates into a milddryness. (Reviewed by PS in Issue

133)

PLINIUS JARRAH$849www.pliniususa.com

Excellent dimensionality, open-ness, and vocal articulation andbody are among the Plinius’ manystrengths, along with an airy topend and good weight down below,though its overall sound doeslean slightly to the lighter side.(Reviewed by SH in Issue 128)

$1000–$2000PHONOMENON PHONOPREAMP WITH BPSPOWER SUPPLY$1200www.musicalsurroundings.com An Apollonian grace, poise, lownoise, and neutrality characterizethis excellent unit, which includesoptions for fine-tuning the loadingand gain of both moving coils andmoving magnets. Add the externalpower supply for even lower noise

and distortion, and greater trans-parency. Some listeners may wantmore dynamic “punch” and per-sonality, but this is hard to beatfor low coloration. (Reviewed by PS in Issue 133)

BENZ LUKASCHEK PP-1 $1350 www.musicalsurroundings.com A solid-state, miniaturized hide-away box powered by a wall trans-former. External AC plus short sig-nal path yields very wide dynamicsand space retrieval with a comfort-ing middle-of-the-road sonic bal-ance and airy bloom much likethat of the Benz Ruby 2 cartridge,if a little darker. Warmth isenhanced by 22k input impedance.(Reviewed by ASP in Issue 127)

KRELL KPE PHONO $1600 ($2200 for Referenceversion)www.krellonline.com

This surprisingly inexpensive, two-box (power supply/preamp)phonostage from Krell has every-thing going for it, save for tube-like air and bloom: terrific sound-staging, pinpoint imaging, remark-able detail, and exceptional bass.Good sound and a good deal.(Golden Ear Award Issue 133)

$2000–$4000SUTHERLAND Ph.D.$3000www.acousticsounds.com Ron Sutherland’s battery-poweredPh.D. is so quiet that it takes awhile to get used to its sound.Once you’ve adjusted, expect tohear “into” your records in a wayunlike before. Beyond its silence,the Ph.D. has a tube-like liquidity,terrific detail, a wonderful waywith dynamic nuance, and remark-able transparency. (Reviewed by

WG in this issue)

TOM EVANS “THE GROOVE”$3950 www.besthifiintheworld.com Its small, plastic housing may not

be the stuff of audiophile dreams,but its sound is. The Groove hasan immediacy and presence

matched by few others. Its timingand musical interplay are remark-ably “right,” with a dynamic lifemuch like the real thing. Yet it’sthis model’s completeness inevery way and lack of easily dis-cernible colorations that make itspecial. (Reviewed by Roy Gregory

in Issue 132)

$4000–$7000PASS LABS XOno$4200www.passlabs.com One of the great phono preamps,Pass Labs’ dual-chassis XOnocombines the best qualities oftube and solid-state, and its load-

ing and gain can be configured forpretty much any moving magnetand coil cartridge. Sonic attrib-utes include a beautiful, detailedmidrange, high frequencies thatare both airy and transparent, andan accurate rendering of eachacoustic space. (Reviewed by AHC in Issue 128)

AESTHETIX IO $6500 without volume control;$9000 with; $12,000 forSignature versionwww.musicalsurroundings.com

Phono fanatics with both spaceand cash will want to audition this24-tube, two-chassis beauty. Yes,

it eats shelf space; yes, it throwsa lot of heat, and yes, it is aboutas good as it gets. Exquisitedynamic contrasts? Check. Aneasy relaxed presentation?Check. Headroom to spare?Check. A glorious midrange, excel-lent bottom octave, and full rendi-tion of instrumental body? Triple-check. The highs aren’t as airy orextended as some, but they arenatural and non-fatiguing.(Reviewed by Don Saltzman in Issue

121 & JV in Issue 143)

AUDIO RESEARCHREFERENCE PHONO$7000www.audioresearch.com

Like the Ref 2MKII, the Ref Phonois a model combination of sound-staging, dynamics, detail, trans-parency, and gorgeousness of tonecolor. At once big and airy anddetailed and focused, the RefPhono has lost the cloudiness andwhitish grain of previous ARCphonostages, without losing theirlifelike bloom. Although it has abuilt-in transformer for very low-out-put cartridges, this “high gain”input does not sound as pure asthe “low gain” one, which limits thepreamp’s use to relatively high-out-put mc’s (.5mV or more) or mm’s.Like all tube head amps, it is notthe last word in bass definition. (Recommended by JV in Issue 139)

PASSIVE VOLUMECONTROLPLACETTE AUDIOREMOTE VOLUMECONTROL $1000www.placetteaudio.com This 125-step passive control usescostly Vishay resistors to deliver asound as smooth and transparentas a cool spring morning in Idaho’sSawtooth Mountains. Designed



and built in Boise, the Placetteallows for a single line-level inputonly. But if it’s pristine resolutionyou want, look no further. Includesremote control. (Reviewed by NG in

Issue 119)

DIGITAL SOURCESUnder $1000 NAD C 541I$500 www.nadelectronics.com NAD’s C 541i delivers a warm,easy, and open sound, though itis slightly rough around the edges

and a bit forward in perspective.These flaws are hardly a distrac-tion given the NAD’s overall musi-cality and superb value.(Reviewed by WG in Issue 137)

SONY SCD-C222ES $500 www.sony.com For those requiring 5-disc chang-er convenience as well as SACDstereo/multichannel perform-ance, Sony’s lowest price ES-qual-ity player offers solid constructionand dual transformers. Thoughits SACD performance won’t quitematch the dynamism and har-monic opulence of Sony’s upper-crust players, the 222ES comessurprisingly close. Good multi-channel speaker managementand a flexible remote controlcomplete the package. (Review

pending)

PHILIPS DVD963SA $599www.consumer.philips.comAs the name suggests, Philips’DVD963SA (a replacement for the962 Dan Davis reviewed in Issue142) is a versatile machine thatplays back standard CDs (withoptional upsampling to either96k/24-bit or 172k/24-bit),stereo and multichannel SACDs,and DVDs. Though not the lastword in detail, it has a remarkablydirect sound, reasonable amountsof air, and a pleasingly warm pres-entation. (Pending review)

$1000–$2000YAMAHA DVD-S2300$1000www.yamaha.com Universal players are still relative-ly rare beasts and the DVD-S2300 is the first we’ve heardthat doesn’t fall flat on its facewith one format or another.Although its SACD performanceisn’t in the same league as theTri-Vistas of the world, this playeris right in there with the SonySACD players in its price range,and it’s competent with DVD-Video and DVD-Audio alike.(Review pending)

SONY DVP-NS999ES$1199www.sony.com

Though not as beefyas its immediatepredecessor (the

DVP-9000ES), Sony’sDVP-NS999ES remains an

excellent performer. With newlyadded multichannel SACD capabil-ity, only higher-priced SACD-Audio-only players outperform it.(Reviewed by SB in TPV 46)

MARANTZ DV8400$1699www.marantz.com

This solidly built universal playerdoes it all—DVD-Audio, SACD(both in two-channel and multi-channel), DVD-Video, and CD. Inall formats, the sound is remark-ably open, detailed, and dynamic.The treble is a bit bright (particu-larly playing DVD-A), but otherwisethe DV-8300 is an excellent per-former. (Review pending)

REGA JUPITER$1895www.toffco.com

Rega’s Jupiter is a highly musicalplayer that sacrifices the widestdynamic contrasts and ultimateresolution for the ability to “pres-

ent the different elements in amusical performance with theirinterrelationships intact.” A top-loader, the Jupiter does requiresome space above it. (Reviewed

by Roy Gregory in Issue 135)

$2000–$3000NAIM CD 5 $2300www.naimusa.com Naim’s CD 5 shares the samemusical traits found in other Naim5 Series components. It’s got anatural tonal balance, it’s warmwithout being fat, and it deliversfine overall detail with the engag-ing musicality that Naim isfamous for. (Reviewed by WG Issue 139)

AYRE CX-7$2950www.ayre.com

The Ayre CX-7 is a minimalistdesign with great attention lav-ished on the power supply andanalog output circuitry. Highlyinvolving, the Ayre brings anunusual sense of rhythmic right-ness to all music, with deep,defined bass, excellent dynamics,three-dimensionality, and tonalaccuracy. (Reviewed by Sue Kraft in

Issue 141)

GAMUT CD-1 $2950 www.gamutaudio.com

Despite a low fre-quency roll-off

audible in systemsthat extend below 40Hz,

the Gamut reduces digital distor-tions and allows the listener tohear deep into the soundstage.According to Harry Pearson, “TheCD-1 has no obvious ‘character’and is closer to the silver ideal ofcomplete neutrality than even theBurmester….” A tremendousvalue. (HP’s Workshop, Issue 136)

$3000–$5000MERIDIAN 588$3895www.meridian-usa.com

As with the rest of Meridian’s 500series, the 588 CD player hasfinesse, detail, excellent tonal bal-ance, and musicality. (Reviewed

as part of SK’s Meridian article in

this Issue)

SIMAUDIO MOONSTELLAR$3950 ($5995 with Faroudjaprogressive scan) www.simaudio.com

SimAudio’s Stellar is built like theBismarck and is competitive withdedicated CD players in its pricerange. Though its sound is highlyresolved, with excellent extensionat the frequency extremes, itsmidrange is on the forward side.The Stellar is also an excellentDVD-video player with strikingimage depth. While there are noquibbles with its performance, aquestion of value does arise, ascompetitors from Arcam and oth-ers give up no ground in perform-ance and offer DVD-A and/orSACD playback to boot. (Reviewed

by SB in TPV Issue 47)

$5000–$12,000MUSICAL FIDELITY TRI-VISTA$6500 www.musicalfidelity.com

The Tri-Vista would be an easyrecommendation as a standardCD player, so the fact that it also



features near-reference-qualitySACD playback, albeit in twochannels, is just icing on thecake. Its choke-regulated powersupply, upsampling with CDs, anduse of tubes in the analog outputstage allow the Tri-Vista to com-municate the very substance ofmusic. Only 800 of these will bemade. (Reviewed by Shane

Buettner in this issue)

MARK LEVINSON Nº 360S DAC$7500 www.marklevinson.com Delivering extraordinary resolutionwith utter grace and smoothness,the Nº 360S approaches state-of-the-art performance. It offersdetail without etch, has anextremely clean and smooth tre-ble, and conjures up a deepsoundstage. Rivals its biggerbrother, the Levinson Nº 30.6.(Reviewed by RH in Issue 123)

TURNTABLESUnder $1000MUSIC HALL MMF-5W/GOLDRING 1012GXCARTRIDGE$499www.musichallaudio.com

Music Hall’s integrated turntablepackage provides the LP loverwith a warm, musically engaging,and affordable vinyl playback solu-tion. Its bass isn’t the mostdefined, and it’s a bit forward inthe upper midrange, but theMusic Hall is an outstandingvalue. (Reviewed by SH

in Issue 135)

REGA P3$650www.rega.co.uk Rega’s newest edition P3 includesrefinements to the base andmotor-mounting assembly for a

sound that has more air anddetail, better imaging, and lowernoise than earlier versions.Comes equipped with the RB300arm and is available in a rainbowof colors. (Reviewed by David

Morrell in Issue127)

PRO-JECT AUDIOSYSTEMS WOOD CLASSIC $749www.sumikoaudio.net

Pro-Ject’s Wood Classic deliverssurprisingly good vocal and instru-mental shadings, excellent attackand decay, the ability to reveallarge and small dynamic con-trasts, and an unexpected level ofmusical connectedness.(Reviewed by SH in Issue 135)

$1000–$2000REGA P25$1150 www.rega.co.uk

Rich and musicalwith tight bass and

smooth highs, though not theextension or detail found in thevery best, the P25 is a remark-able performer at an amazingprice. Setup is a breeze, thoughthe arm (purposefully) lacks VTAadjustment. (Reviewed by WG in

Issue 141)

BASIS 1400/REGA 300$1200 w/out arm; $1700w/Rega RB300 arm www.musicalsurroundings.com Clean, lively, and nimble, theBasis 1400 lacks the greatauthority, deep black back-grounds, and projection of size

and scale that thereally great turnta-

bles have. But thiscombination proves emi-

nently satisfying and doesn’tleave you hankering for somethingelse. (Reviewed by PS in Issue 132)

ROKSAN RADIUS 5$1295www.mayaudio.com

The Radius 5’s strength is itsrhythmic drive. This model is com-pelling and powerful, with finepace, good presence, and sharptransients. What it lacks is theability to retrieve the finest detailand the trailing edge of notes.(Reviewed by SH in this issue)

THORENS TD850$1999www.thorens.com

The latest from Thorens showsyou what’s in the grooves. Withdeep, well-defined bass, an excel-lent way with timing, a quiet back-ground, and natural tonal balance,its only obvious weakness issome midbass overhang onacoustic bass at high volumes.(Reviewed by SH in this Issue)

LINN SONDEK LP 12$2000www.linninc.com The original high-end turntable,Linn’s LP12 conveys the rhythmand pace that are the very foun-dation of music, and it gets betterwith age—owners of any vintageLP12 can upgrade to the currentmodel. (Recommended Systems,

Issue 136)

$2000–$5000NOTTINGHAM ANALOGUESYSTEMS SPACE DECK andSPACE ARM $2500 www.audiophilesystems.com

From its ultra-quietbackdrop to its masteryof pace and space, explosiveand agile dynamics, harmonicintegrity, tonal continuity, saturat-ed images, and deep yet nimblebass, this combo won SH over.Not the last word in upper fre-quency extension, but so engag-ing the reviewer bought the reviewsample. (Reviewed by SH in Issue

138)

VPI HW-19 MK.IVW/JMW-10 ARM $3190 ($4090 with JMW-10.5Arm; $1850 turntable only)www.vpiindustries.com

Although it doesn’t have some ofthe refinements—mechanical andsonic—that make the top VPI’s soremarkable, the HW-19 Mk.IV isnonetheless a terrific-soundingturntable, providing a large tasteof the sound delivered by its cost-lier brothers. (Recommended

Systems, Issues 124, 130)

VPI ARIES WITH JMW-10.5 ARM$4600 ($3700 with JMW-10 arm;$2400 turntable only)www.vpiindustries.com Using the same platter and bear-ing assembly as the TNT Mk.5,this lovely gloss-black model pro-vides detailed, neutral, anddynamically nuanced LP playback,with a richer, weightier balancethan you’ll find from Linn & Rega.(Reviewed by Tamara Baker in Issue

114; HP’s Workshop, Issue 116)



$5000–$10,000TRANSPARENT AUDIOWELL-TEMPEREDREFERENCE TURNTABLEAND TONEARM$5495 www.welltemperedlab.com

This belt-driven turntable(equipped with the “trapeze-like”Well-Tempered arm) is as richsounding as the best, and aslong-term listenable. All it lacks isa little dynamic oomph, a littleopenness in the top treble, and alittle detail in comparison to thetop arms and tables. (Reviewed

by REG in Issue 142)

VPI TNT MK.5$6000 (turntable with flywheeland SDSpower supply) www.vpiin-dustries.com Lower groovenoise andgreater detail, transparency, andpresence, along with a richer,deeper response from themidrange into the deepest bassare among this classic design’smany hallmarks.(Reviewed by AHC in Issue 129)

SME MODEL 10A (WITH ARM)$6999www.sumikoaudio.net

This magnificent integratedturntable is one of those rareproducts with that difficult-to-define sense of rightness. Thearm is SME’s excellent 309, theplatter/mat/clamping systemrivals some vacuum hold-downs,and the sound has extraordinarystability, control, definition,dynamics, and detail, sacrificingonly that last degree of blacknessof background and size and scale

that larger, heavier turntablesseem to offer. (Reviewed by PS in

Issue 129)

SOTA MILLENNIA$7360 ($6440 Non-vacuumversion)www.sotaturntables.com

A massive, gloss-black affairthat’s hung (not sprung) from foursturdy pillars. Motor and vacuumpump for the platter are housedin outboard boxes. Exceptionalmidrange clarity is its most dis-tinctive attraction, and highs aresilky smooth. Dynamics are good,and the bass is very defined, ifleaner than life. (Reviewed by

AHC in Issue123)

CLEARAUDIO REFERENCE $9000www.musicalsurroundings.com

Clearaudio’s classic combo mar-ries a simple, foolproof design witha straight-line arm whose sonicdisappearing act compensates forfunctional foibles and fussy setup.How a cartridge sounds in thistable/arm is how that cartridgesounds, period (almost). (Reviewed

by ASP in Issue 113)

ARMSUnder $1000REGA RB-300$350 www.rega.co.uk Turntable manufactur-ers who don’t build theirown arms frequently package

their models with Rega’s terrificsounding and affordable RB-300.Musically compelling, with excel-lent balance and good detail, ifnot the final word in any one cate-gory. (Reviewed by David Morrell in

Issue127)

$1000–$2000SME 309$1550 www.sumikoau-dio.net A black taperedtitanium beauty,the 309 is a rarityin today’s high-perform-ance models—an arm with aremovable head shell for easiercartridge swapping. (Also see

Recommended Turntables)

MØRCH DP-6 (PRECISIONARM WAND VERSION)$1890 www.audioadvancements.com The Mørch’s sophisticated engi-neering creates a sound with vir-tually no resonant signature, whilearm tubes of different massesallow you to obtain a perfectmatch for any cartridge. An espe-cially synergistic combo with theEurolab table (offered as a pack-age by Audio Advancements).(Reviewed by REG in Issue 132)

$2000–$3000VPI JMW-10.5 & JMW-12.5$2300 & $2800www.vpiindustries.com Available in 10- and 12-inch ver-sions, this beautifully made unip-ivot may be trickier to set up thansome, but its sound rewards theeffort. It’s highly revealing withoutbeing cold, with some of thedeepest, most powerful bass tobe heard. VTA adjustment duringplayback allows for exceptionalfine-tuning. (Reviewed by AHC in

Issue 129)

$3000–$5000GRAHAM 2.2 $3200 www.musicalsurroundings.com The best unipivot arm ever made,Bob Graham’s exquisitely crafted2.2 is a hi-fi masterpiece:extremely detailed, full in color,

and powerfully dynamic, withtracking that rivals the very best.

SME SERIES V$3500www.sumikoaudio.net Robust and dynamic, the SME Vis rich with features that include acast-magnesium one-piece wand,ABEC 7 bearings, and fluid-con-trolled lateral damping. The Vprojects a ripe, soothing characterwith unsurpassed bass resolu-tion, excellent inner detail, andgreat tracking ability.

TRI-PLANAR VII$3900www.triplanar.com

The new incarnation of the Tri-Planar incorporates the late HerbPapier’s final thoughts on armdesign. Built by his handpickedsuccessor, Dung Tri Mai, the ver-sion VII does, as HP said, “whatthe Koetsu does; it removes col-orations…but leaves the ‘lush-ness’ and ‘sweetness’ of themusic in a field of the highestresolve and definition.” (Preview in

HP’s Workshop, Issue 143, full review

pending)

CARTRIDGESUnder $500GRADO PRESTIGE GOLD$180www.gradolabs.com



Grado’s Prestige Gold cartridgehas its flaws—a lack of innerdetail and an audible grain beingchief among them—but itsstrengths are such that you caneasily listen through them. Theseinclude a somewhat too warm yetvery pleasant (and yes, eupho-nious) balance, sweet if not huge-ly airy treble, and taut if not espe-cially layered bass, and a remark-ably lively presentation. (Reviewed

by WG in Issue 141)

ORTOFON OM20 andOM30$195 and $285 www.ortofon.com

The OM20 has a relaxed, easy lis-tenability that makes it among themost appealing of all pickups; theOM30 is fractionally more transpar-ent, lively, and dynamic, but at aslight cost in the sheer listenabilityof its sibling. Both are superbtrackers and attain a level ofsonic/musical performance dispro-portionate to their bargain-base-ment prices. (Reviewed in Issue 137)

SHURE V15VxMR $400 www.shure.com

A darkish tonal balance maymake for a lush, relaxed midrangeand less detailed treble, but LPssimply sound right with this clas-sic Shure. Terrific tracking, reliabil-ity, and high output. (Reviewed by

NG in Issue 121)

$500–$1000GRADO REFERENCESONATA$500www.gradolabs.comA wonderful performer, the

Sonata may lack the transparen-cy and resolution of the verybest, yet it delivers a naturallysweet treble, refined tone colors,and very good detail, particularlyin the middle band. (Reviewed by

WG in Issue 141)

DYNAVECTOR KARAT17D MK II$750 www.dynavector.co.jp

A lusciousmidrange, superbdynamics, and over-all neutrality from themidbass through the highs trans-late into an impression of bothhigh accuracy and glorious musical-ity. Soundstaging is spectacular,imaging spot-on, tracking superb.(Reviewed by PS in Issue 137)

ORTOFONKONTRAPUNKT B $900www.ortofon.com

A pickup of unusual precision,refinement, and delicacy, with natu-ral detail and transparency. Thougha little on the cool side of neutral,it has no prominent colorations—virtually nothing to call attention toitself— with particularly good layer-ing, and soundstaging that alwaysseems appropriate to the source.Superb tracking. (Reviewed by PS in

Issue 137)

$1000–$2000GRADO REFERENCE $1200 www.gradolabs.com

A beautiful-sound-ing moving-iron car-tridge. Not the lastword in detail or transient speedor top end air, the Reference isnonetheless enormously musical.(Reviewed by Adam Walinsky in

Issue 112)

SUMIKO CELEBRATION $1500www.sumikoaudio.net This low-output moving coil yieldsa dark, mellow sound that, whilefar from accurate, is certainly highon listenability and musicality.Difficult to rate, as it has certainlysucceeded in achieving what itsdesigners set out to do, even ifthat isn’t quite the AbsoluteSound. Average tracking.(Reviewed by PS in Issue 130)

LYRA HELIKON$1995 www.immediasound.com An excellent soundstager withphenomenally good bass, the

Helikon is a little cool-er and whiter in balance

than the Clearaudio Harmony,though not analytical sounding,and is almost the Harmony’sequal in inner detail. The bargainin high-end moving-coil cartridges.(HP’s Workshop, Issues 132, 136)

$2000–$3000GRADO STATEMENT $2500www.gradolabs.com Grado’s Statement combines thevirtues of Grado’s moving ironseries—glorious tone color andrich authoritative midbass—withmuch (though not all) of the

detail, transient speed, and topend extension of moving coils.Because of its low output, theStatement must be used with ahead amp. (Reviewed by JV in

Issue 118)

BENZ RUBY 2$3000 www.musicalsurroundings.com

This low-outputmoving coil’s easy

tonal characterhighlights no single

virtue at the expense of others.It’s got fine harmonic, ambient,and spatial resolution, excellenttracking, sweet and mellow tex-tures, and it plays through groovegrit without a hint of concealment.(Reviewed by ASP in Issue 129)




Economic doldrums notwith-standing, the luxury auto seg-ment is growing strongly andhas attracted a crowd ofmanufacturers.

In order to gain mar-ket share, these car-makers must con-stantly find newways to set theirproducts apart. High-powered, multi-speakeredsound systems have beenmandatory in this market for years, butLexus recently raised the stakes by offer-ing, as an option, a system with indis-

putable high-end credentials. Its MarkLevinson audio system has proven popu-lar across the entire Lexus product line. Soemboldened, Acura has now gone severalsteps further by becoming the firstautomaker to include a DVD-Audio sys-tem as original equipment—in fact, asstandard equipment—in a car. TheAcura/ELS system will debut on the all-new 2004 TL sport sedan being releasedthis fall.

The Concept

The Acura/ELS system is a three-waycollaboration among Acura, PanasonicAutomotive Systems, and five-timeGrammy-winning recording engineerElliot Scheiner. Panasonic created the newELS brand to connote automotive prod-ucts that will be designed specifically for

discrete surround sound, built to highstandards, and customized to each appli-

cation by Mr.

Scheiner. If the concept proves suc-cessful, expect to see the ELS logo onother luxury marques (Panasonic says it istalking to several already).

In the case of the Acura installation,hardware consists of eight speakers: four6.5" front and rear surrounds, two 1"tweeters, a 3.25" center, and an 8"Kevlar-coned subwoofer. A six-channel,

225-watt amp provides the oomph. Thehead unit is a six-disc in-dash changerthat accommodates CD, DVD-A, audioDVD-Rs, CD-R/W, and DTS-encodeddiscs. Neither MP3 nor SACD is sup-

ported. The system willhandle 5.1-channel

DVD-As at up to96/24 resolu-tion, while ster-eo DVD-As can

be up to 192/24. Asa bonus, the head unit supports

XM satellite radio, also standard. Obviously, Acura contributed the car

and Panasonic created the audio hard-ware. Scheiner’s contribution is less visi-ble but highly audible. He tuned the sys-tem, using DVD-As that he’d mixed, tocome as close as possible to the sound hecreated in the studio, paying particularattention to clarity and accuracy of imageplacement. This is the rare case, in eithercar or home audio systems, where thesame set of experienced ears has controlof both the recording and playback son-ics. It’s a laudable model.

But all this effort raises the questionof whether it is actually a good idea toput DVD-A (or any discrete, multichan-

s p e c i a l r e p o r t

After spending a day with these vehicles and a

stack of familiar discs, it was clear that the

Acura/ELS DVD-A system is both a resounding

success and a major breakthrough in auto sound.

The Acura/ELS DVD-A Auto Sound System

Alan Taffel

Recording Engineer Elliot Scheiner


nel, high-resolution format) into a car.Can the format’s higher resolution evenbe heard in such a noisy, acousticallyhazardous environment? Does discretesurround provide a more satisfying expe-rience than those dreadful synthesized“environments” now pervasive in premi-um auto sound systems? What aboutrear seat passengers—how do they fare?

I was able to answer all these ques-tions at the July press launch of the newTL. This event was no passive dog-and-pony show. Acura provided a fleet ofTL’s, over six hours of drive time on bothhighway and mountain roads, and sam-ples of every one of the car’s competitors,including a Levinson-equipped Lexus.

Motoring with CDs

Premium auto sound systemsattempt to envelop the listener primari-

ly through the use of as many as a dozenspeakers scattered throughout the interi-or. Yet there are still only two channelsof information, and the perceived sound-stage usually ends up primarily in frontof the driver. Because the rear speakersare merely duplicating front channelmaterial, the intended illusion of sur-round sound collapses. Engaging DSP-driven surround modes like “ConcertHall” or “Jazz Club” only adds ersatzreverb and dubious EQ to the signal.

The Acura/ELS system dispenseswith these bogus surround modes andrests content with a forward-balancedsoundstage when playing CDs.However, it has two unique assets that,even in this mode, elevate it above thefray. First, there is a center-channelspeaker smack dab in the middle of thetop of the dashboard. In DVD-A mode,of course, this speaker is fed its own dis-crete material; however, in stereo it

receives a judicious mix of L+R informa-tion. The result are that vocals and soloinstrumentalists sound far more precise-ly and solidly planted than in typical carstereos. The system’s second secretweapon is its subwoofer, which for onceis a true subwoofer, capable of gettingdown.

I compared the Acura/ELS to boththe Lexus/Levinson and BMW Premiumsystems. The latter wasn’t really in therunning, being far less transparent orextended (in either direction) than theothers, so I’ll confine my commentsaccordingly. For source material, I used,among others, the Counting Crows’ firstalbum and EMI’s reissue of Previn con-ducting Holst’s Planets. For a car stereo,the Acura/ELS system is quite impres-sive on CDs. My main complaints are arecessed midrange that causes vocals tosound a little hollow, and high frequen-cies that, due to a lack of complete



extension, miss some transient details.However, the system makes up for theseshortcomings with superior imaging, arich tonal balance, and bass that’s power-ful, punchy, and passably tight. I mustsay, it’s nice to hear car bass that is actu-ally deep—as opposed to just loud.

The Levinson system, as we’vereported in these pages, is certainly ofhigh caliber. It is the more neutral of thetwo, with more natural vocals, moreextended highs, and greater overall reso-lution. However, the Levinson’s bass isneither as full nor as deep as that of theELS, and its tonal balance is decidedlyon the thin side. The lack of a centerchannel speaker is immediately evident,as vocals never imaged properly.

All told, the Levinson system ispolite, correct, and rather austere (muchlike the car it inhabits). The Acura/ELSis less refined, but more fun (also reflect-ing its host vehicle). In the past, thismight have been a yin vs. yang toss-up,wholly dependent upon one’s listeningpreferences. Today, however, there isanother factor, for only one of these sys-tems can play DVD-As.

Motoring with DVD-As

To the question, “Is the greater reso-lution of DVD-A audible within theconfines of a car?” Not only can Irespond in the affirmative, I can attestthat there is simply no contest. TheDVD-A system exceeded my expecta-tions to an extraordinary degree. When Iswitched from the CD to the DVD-A ofthe aforementioned Planets, the sound

leapt to an entirely new level ofdynamics, tonal accuracy, resolu-tion, power, and finesse. It wasakin to switching from Polaroidsnapshots to photos taken by aLeica—everything was vastly bet-ter. In addition, the DVD-A’ssoundstage was no longer infront of me, but was now con-vincingly and compellinglyenveloping.

The contrast between for-mats was equally stark withmore subtle recordings. OnSoular Energy by the Ray Brown

Trio, the CD sounded quite good but theDVD-A was markedly more open. Thepiano had far more of the correct ringingcharacteristic in its overtones, anddynamics were less compressed. Perhapsthis was an even more telling compari-son between the two formats, since bothversions of this recording had only twochannels. Thus, the DVD-A’s muchhigher (192kHz/24-bit) resolution wassolely responsible for the sonic improve-ment. Of course, the level of transparen-cy was not on a par with a good homeaudio system, but this is a car system,after all.

At the briefing that kicked off thispress event, Scheiner said that he wasfirst drawn to the concept of DVD-A ina car because it is the only environmentwhere the listener’s positions are knownand fixed. On the road, I listened to theAcura/ELS system from all sitting posi-tions. I found no appreciable differencebetween the driver and front passengerseats. The rear seat, as expected, wasanother matter. From that perch, thefront channels are but wafts in the dis-tance, leaving only the surround chan-nels clearly audible.

This led to some bizarre results. Forinstance, on “Drive” from the DVD-A ofREM’s Automatic for the People, the heavyreverb on Michael Stipe’s voice is sentexclusively to the rear channels. Fromthe back seat of the TL, I could hear onlythat echo, with no associated source. Theeffect was surreal, almost comic. Acuraacknowledges this situation, but says it’snot concerned because its research indi-cates that the back seat is only occasion-



ally occupied. The decision was madenot to compromise the front seat occu-pants’ experience in deference to those inthe rear, and undoubtedly it was theright choice.

One other aspect of the Acura/ELSsystem is worthy of commendation. Theuser interface is what DVD-A should be,but usually isn’t. Propelled by the needto simplify things for the driver,Panasonic exorcised most of DVD-A’sergonomic demons. The resulting sys-tem works exactly like a car CD, regard-less of each disc’s format. There are nomenus to navigate, no decisions to make.The interface is particularly intuitive ifthe host vehicle is ordered with theoptional navigation system, whichincludes a large, bright touchscreen.

Room for Improvement

The Acura/ELS is the first of a newgeneration of auto sound systems. Assuch, it is bound to have areas whereimprovement can be wrought and featuresnow missing can be added. In the formercategory, I have already discussed the sys-tem’s shortfalls when playing CDs.Panasonic confirms that there was noeffort to oversample, upsample, or other-wise massage the CD bitstream in waysthat typically improve the sound. Itsefforts were directly primarily towardDVD-A performance, and it shows.Hopefully, in the next version a little moreattention can be given to CD performance.

As for missing features, the mostobvious is a means of creating realisticsurround sound from stereo sources,including both CD and satellite radio.Once you’ve grown accustomed to truesurround sound in your car, “duplicatestereo” will no longer cut it. I predictthis will be true even for those who, likeme, prefer to play CDs in pure stereo ontheir home system. Panasonic was rightto shun the path of synthesized environ-ments, but both Dolby Pro Logic II andDTS Neo:6 are now available to generatecredible surround channels. One of thesenew formats ought to be included assoon as possible.

Another welcome addition would bethe ability to access a DVD-A’s menu ifdesired. By maintaining the current unit’sinterface as the default, but offering theability to delve into the menu structureas needed, the current system’s virtue ofsimplicity would be maintained whileits flexibility would be enhanced. As itcurrently stands, for example, the userhas no ability to select a desired, non-default audio mode. Finally, as notedabove, the Acura/ELS system does notplay either MP3 discs or SACDs, and itwould be nice if it did. From a consumerperspective, a universal player in the caris every bit as appealing as one at home.

Conclusion

The Acura/ELS DVD-Audio systemheralds a new era in auto sound. It provesconclusively, and somewhat surprisingly,that the format’s sonic advantages can beabundantly evident within a car. Withfar higher resolution and true, discretesurround sound, there simply is no com-parison between the Acura/ELS systemplaying DVD-As and even the best CD-based car stereo. This obvious sonic supe-riority, combined with a vastly simplifiedinterface, is bound to make the nascentformat more accessible than it has everbeen. As the first of its kind, the systemis not yet perfect. Its CD performance,while very good, could clearly be better.And there are several desirable featuresthat will hopefully find their way ontonext year’s model. But none of this takesaway from the joint achievement ofAcura and Panasonic. The Acura/ELSaudio system is a remarkably auspiciousand successful debut.

Nice car, too. &


M A N U FA C T U R E R I N F O R M A T I O N

AMERICAN HONDA MOTOR COMPANY, INC.

1919 Torrance BoulevardTorrance, California 90501(800) 382-2238www.acura.comPrice: $34,000 (including car)


One thing that often getsoverlooked in this hobby isthat our quest for soundsabsolute is supposed to befun. So imagine how

delighted I was to walk into SophiaElectric’s room at CES this past Januaryand find—nestled between the compa-ny’s exotic single-ended triode 845($7500) and 300B ($5000) amplifiers—a tiny little thing, almost toy-like,called the Baby Amplifier.

Selling for just $899 and measuring amere 7" x 9" x 5", tot-like this amp mostcertainly is. A toy, however, it most cer-tainly is not. Cranking out a manly 10watts per channel in a Class A push-pullconfiguration, the Baby uses four Russianmilitary 6P1T output tubes and twoU.S.-sourced NOS 5670 input/drivertubes. When the time comes, tubereplacement cost is only ten bucks a pop,or $60 for the complete set. Though theBaby is a power amplifier, it does sport avolume control. Assuming your sourcecomponent (sorry kids, just one pair ofinput jacks is provided) has enough out-put voltage to drive it (and most will), nopreamp is required, save for switchingneeds. (This is how I used the Baby.) Aremovable power cord, a single pair ofbinding posts, and a headphone jack arethe only other connections. The unit’schassis is suitably adorable, with paintedmatte surface, sculpted metal cosmeticadornments, and wooden “ears.”

Before I talk about the sound,Sophia’s specs for the amp are worth not-ing (though unverified by me).Frequency response is rated from6–80kHz ±3dB, and signal-to-noiseratio -95dB, with less that 1% distor-tion at full power. Also bear in mindthat, construction-wise, the circuitry isnot hand-wired but laid out on a print-ed circuit board to which the tube sock-ets are attached. (You didn’t reallyexpect hand-soldered point-to-pointwiring for $899, did you?)

The manufacturer recommends50–100 hours of break-in time, andindeed Baby sounds a bit cranky straightout of the cradle—rather thin and edgy.But with time this little amp producessome pretty terrific sound.

Its strengths are a very open andwell-defined soundstage of impressivewidth, depth, and height, good detail,and a pretty natural rendering of instru-mental tone and texture. For instance,on Jascha Horenstein’s reading of theMahler Sixth [Unicorn LP], string choirsare convincingly laid out as groups,there is a nice sense of air and spacebetween and around individual instru-ments, and the percussion, particularlysnare and tympani, are placed well at theback of and above the orchestra, seem-ingly located on risers.

The Baby can rock, too. With CheapTrick’s “Scent of a Woman,” from thenew CD Special One [Big3 Records], theBaby sounds surprisingly ballsy, deliver-ing (within reason) loud, stinging elec-tric guitars, throbbing 12-string electricbass lines, and a taut, propulsive drumsound in my smallish listening room.But given the Baby’s low power, it willrun out of gas with my Sonus FaberCremonas (which are an okay, but notideal match). Once you cross the thresh-old, clipping is sudden and audible,exhibiting both dynamic clamping anddistortion. Ideally, I would recommendspeakers of 90dB+ sensitivity and anominal 8-ohm load.

Listening to Ravel’s Gaspard de lanuit (Argerich [DG Originals CD]), theBaby exhibited a lovely tone—it’s notparticularly romantically tubey, by theway—if not the last word in harmonicstructure or micro- and macro-dynamiclayering.

Ultimately, Sophia’s Baby amp is alot of fun. It’s musically engaging, with agood sense of rhythmic drive, a lot ofmidrange presence and air, good detail,and notably well-defined bass. Match it

with the right speaker, respect its powerlimitations, sit back, and enjoy. Oh, it’sone hell of a nice headphone amp, too. &

Sophia Electric Baby Amplifier

Wayne Garcia

e q u i p m e n t r e p o r t

SPECIF ICAT IONS

Power output: 10Wpc

Inputs: One pair RCA

Dimensions: 7" x 9" x 5"

Weight: 20 lbs.

ASSOCIATED EQUIPMENT

Rega P25 turntable, Cardas Ruby Myrtle

Heart Cartridge; Sutherland PhD phono-

stage; BAT VK-D5 CD player; Philips

DVD963SA SACD/DVD player; Sonus Faber

Cremona speakers; Grado SR 80 head-

phones; Cardas Neutral Reference speaker

cables, Cardas Golden Reference intercon-

nects; Finite Elemente “Spider” equipment

rack; ASC Tube Traps; Richard Gray’s Power

Company 400S and 600S; Essential Sound

Products Power Conditioner/Strip


SOPHIA ELECTRIC, INC.

3715 Yorktown Village PassAnnandale, Virginia 22003(703) [email protected] www.sophiaelectric.com Price: $899


Power conditioners are contro-versial; some people swear bythem, while others regardthem with a suspicion nor-mally reserved for cure-all

medicines or carburetors that promiseyou 120 miles per gallon. The contro-versy is understandable, perhapsbecause—while one can intuitivelygrasp that changes in signal-bearing com-ponents would affect sound—it’s muchharder to envision how changes in thequality of AC power would affect sound(if they affect it at all).

Many audiophiles are familiar withthe claims power-conditioner manufac-turers make in support of their prod-ucts: to wit, conditioners help removenoise from the AC lines, “stiffen up”power supplies by preventing short-term voltage and/or current drops, pre-vent damage that might be caused bysudden surges, and prevent compo-nents—especially digital compo-nents—from transmitting contaminat-ing noise via shared power lines. In theabstract, these all seem like goodthings, yet fundamental questionsremain. Do power conditioners actuallymake a difference you can hear in yoursystem, and, if so, do those “differences”constitute real improve-ments? If there areimprovements, how big are they? Do allcomponents need power conditioning,or just those that handle low-level sig-nals? If your components already havegood power supplies, is power condi-tioning necessary? And if power condi-tioners affect sound, do they have iden-tifiable “voicing” in the sense that otheraudio components do?

I don’t claim to have all the answersto these questions, but I’d like to sharea few of the basic insights I gleanedthrough working on this survey. First,power conditioners do make readily

audible differences in the sound of audiosystems—differences that often repre-sent genuine improvements. Second,the magnitude of improvement can besurprisingly large—at least as signifi-cant as improvements achieved bychanging interconnect or speakercables, and in some cases much moresubstantial than that. (Some condition-ers made it sound as though I hadswitched major components—almostas if I had magically stepped up anequipment class or two!) Third, digitalsource components generally are morelikely to benefit from power condition-ing than amplifiers (which is not to sayconditioning can’t help amplifiers, butrather that with them the effects ofconditioning can be mixed). Fourth, Ifound that when components alreadyhave extremely robust power supplies(as does the amplifier in the test systemused in this survey), it is difficult tofind conditioners that will improve thesound—and some actually degrade it.Finally, I observed that power condi-tioners do have their own equivalent of“voicing,” meaning they impart cer-tain consistent, characteristic sounds tothe audio system. In a moment, I willshare my observations of the character-istic “voices” of the conditioners in thissurvey, but first let me describe thesurvey process.

This survey examines nine differentpower conditioners, which fall into twogroups: those intended primarily for usewith digital source (or low-power ana-log) components, and those intended toprovide “whole-system” conditioning.In the interest of consistency and accu-racy, I used one high-resolution, full-range (i.e., solid bass down to 25Hz)audio system for all my listening tests,and by design that system included fourdifferent digital disc players spanning a

broad range of price/performancepoints. After doing some familiarizationlistening with the conditioners, I per-formed two rounds of concentrated lis-tening tests, first using each condition-er connected to digital source componentsonly, and then—for conditioners ratedwith “whole-system” capabilities—using the conditioners connected to dig-ital sources and the main system amplifier.Below, I provide a capsule review ofeach conditioner, with comments oneach unit’s characteristic sound.

Argentum AcousticsPowerGrid X8

Argentum’s PowerGrid X8 isintended solely for use with digitalsource components or low-power

analog components. The X8 is construct-ed as two completely isolated power con-ditioners (each supporting four Hubbellpower outlets, and each capable of 500watts of output) built on one chassis—atrue “dual-mono” design. Argentum rec-ommends connecting digital sourcecomponents to one set of outlets, andlow-power analog components to theother. The X8’s external appearance iselegant, and fit and finish are superb.

CHARACTERISTIC SOUND: ThePowerGrid X8 gave the test system analmost shockingly high-resolutionsound, and not the sort of artificial reso-lution born of brightness, but the real

Power to the People:

Nine Power Conditioners Surveyed

Chris Martens



thing—resolution made possiblethrough the unit’s extremely low noisefloor and remarkable ability to help sys-tem components resolve exceedingly finevariations in timbre, texture, and dynam-ics. If you picture your system as havingan imaginary “Focus & Resolution” con-trol knob, then the PowerGrid X8 wasthe conditioner that turned that controlup about as far as it could go.

As I listened to reference discs, I wasastonished to hear the X8 help my sourcecomponents show textural and timbralnuances I’d never heard before (nuances Inever dreamed were encoded in my discs).The X8 lifted the performance of sourcecomponents more than a few notches, sothat good $300 CD players sounded morelike $1000 models, and $1000 modelsbetter still. Overall, this conditioner wasa delight whose only drawbacks were aslightly analytical (though not particular-ly bright) sound overall, combined with amoderate tendency to reveal any edginess,

such as sibilance or hard-edged string orbrass tones, present in recordings.

BREAK-IN: The PowerGrid X8 requiresno break-in.

Audio Magic Stealth MiniPower Purifier-Digital andStealth Power Purifier

Audio Magic’s Stealth Mini PowerPurifier-Digital (“Mini Stealth,” forshort) provides two high-quality

outlets and is—as its name suggests—meant for use only with digital sourcecomponents, while the full-size StealthPower Purifier (“Big Stealth,” for short)provides six outlets and is meant as aconditioner for the whole system. AudioMagic feels the Mini Stealth soundsslightly superior to the Big Stealth withdigital sources, and thus recommends

using the conditioners as a synergisticpair. Accordingly, I tested both the MiniStealth and the Big Stealth with sourcecomponents, and then tested the pairtogether powering the whole system.Both Stealth models are housed inextremely modest plastic enclosureswhose appearance is “vintage RadioShack”—meaning they give an impres-sion of both utilitarian ruggedness andcheapness. While I strongly believe it’swhat’s inside a component that counts,conditioners as costly as these deservemuch better packaging.



CHARACTERISTIC SOUND, MINISTEALTH: The Mini Stealth imbued thesystem with three characteristics thatadded up to wonderful musicality.First, the Mini Stealth uncannilyhelped filter out (or at least mitigate)hash, edginess, and glare, yet at thesame time enabled components to ren-der low-level details and textures withgreater refinement and focus. This wasa great combination, since it meant Iheard less of what I didn’t want (noise,sibilance, harsh string or brass tones,overshoot, etc.), but more of what I didwant (textures, timbres, subtle shifts inexpression). The remarkable thing wasthat the Mini Stealth achieved smooth-ness without any dullness or loss of res-olution. Second, the Mini Stealth did agreat job at enhancing the system’spresentation of soundstage layering anddepth. Third, more than most condi-tioners in this survey, the Mini Stealthpromoted excellent bass reproduction,

with great midbass weight and sharpfocus and attack on bass transients. Theonly drawbacks to this conditionerwere: (a) it only provided two outlets,(b) it could be perceived to impart aslightly “dark” tonality, and (c) it wasperhaps not quite as revealing as theArgentum PowerGrid X8. In the end,though, the product stood firmly on itsmany strengths.

CHARACTERISTIC SOUND, BIGSTEALTH: The Big Stealth was “voiced”similarly to the Mini Stealth, but Audio

Magic correctly predicted that the Mini-Stealth would sound better on digitalsources. The three main differences Iheard with the Big Stealth were a slightdullness on fine details, a trace of edge orringing on hard transients, and a tenden-cy toward more flattened soundstage per-spectives. Thus, if all you need is condi-tioning for digital sources, go with theMini Stealth.

USING THE STEALTH PAIR TO POWERTHE WHOLE SYSTEM: The Stealth pairproved excellent in some contexts, butoverall the two conditioners made for asomewhat uneasy marriage. At its best,the Stealth pair helped the system pro-duce big, deep, lively sonic images.However, the “voices” of the two productsdid not always coalesce gracefully; attimes, the Big Stealth’s slight edginessconflicted with the Mini Stealth’s smooth-ness, and the Big Stealth’s slightly less



defined treble likewise sounded at oddswith the Mini Stealth’s silvery harmonicstructures. Given the considerable cost ofthe full-size Stealth, I would forego thelarger model and use the Mini Stealth onits own.

BREAK-IN: Both Audio Magic condi-tioners require considerable break-in.

Chang Lightspeed CLS6400 ISO Mk II and CLSHT 1000 Mk II

Chang Audio’s Lightspeed CLS6400 and CLS HT 1000 Mk II areintended as whole-system power

conditioners, the 6400 being a mid-linemodel and the HT 1000 a high-end one.The CLS 6400 provides six “HospitalGrade” outlets with two outlets provid-ing special filtering for use with digitalsources, and four outlets for general-pur-pose analog use. In turn, the HT 1000provides twelve outlets separated intothree groups: four for digital sources,four with extra current capacity forpower amps, and four for low-poweranalog components. Both models arehoused in wide, matte-black metalenclosures, which, while not particularlystylish, appear well built.

CHARACTERISTIC SOUNDS: Withdigital sources, the 6400 and HT 1000imparted extremely similar (thoughnot quite identical) “signature sounds”on audio systems. The Chang “housesound” favored overall system musical-ity over definition and resolution, offer-ing a delightful blend of digital noisesuppression, excellent and delicatemidrange resolution, plenty of sound-stage depth, and powerful and extend-ed bass. In back-to-back comparisonswith the Mini-Stealth, the Chang con-ditioners gave the system a more lively

and revealing midrange character(albeit at the expense of a minorincrease in perceived “edge”), andtighter, leaner, more muscular bass. Asone of their greatest strengths, bothChangs promoted satisfyingly natural,“organic” system voicing (where noth-ing ever sounded “spectacular” in anartificial way, yet nothing seemed tohave been left out). The only sonic dif-ference I detected between the Changmodels was the HT 1000’s ability tohelp the system produce very slightlylarger and more resolved images thanthe 6400. As two of the least costly con-ditioners in this survey, both Changs

offer exceptional value formoney (though the 6400 is per-

haps the bigger bargain).Both Changs achieved mixed

results when powering the entiretest system. Midrange and uppermidrange smoothness improvedsomewhat, but at the expense of

midbass and low bass weight falling offa bit. These mixed results should not beconsidered a mark against the Changs,since the test system featured a MusicalFidelity Tri-Vista integrated amplifierwhose beefy, choke-regulated powersupply proved very difficult for mostconditioners to improve upon. In sepa-rate testing in a system using Parasoundelectronics, both Changs performedbeautifully, helping the Parasound com-ponents produce clearer midrange andmore solid bass.

BREAK-IN: Both Chang conditionersrequire considerable break-in.

ExactPower EP15A

ExactPower’s EP15A is a whole-sys-tem power conditioner that appliesnine different correction techniques

to produce the best possible AC power.Perhaps most distinctive of these isExactPower’s patented feed-forwardtechnique for making active, real-time



ARGENTUM ACOUSTICS

XLO/ULTRALINK PRODUCTS, INC.

2030 South Carlos Avenue

Ontario, California 91761

(909) 947-6960

www.argentumacoustics.com

Price: $1600

AUDIO MAGIC

18063 East Gunnison Place

Aurora, Colorado 80017

(303) 369-1814

www.audio-magic.com

Prices: Mini, $799; Magic, $1699

CHANG LIGHTSPEED AUDIO

6465 Monroe St. Suite E

Sylvania, Ohio 43560

(419) 885-1485

www.changlightspeed.com

Prices: CLS 6400, $565; CLS HT 1000,

$1200

EXACTPOWER

Atlantis Power Quality Systems, Inc.

9411 Winnetka Avenue

Chatsworth, California 91311

(800) 773-7977

www.exactpower.com

Price: $1995

FURMAN SOUND, INC.

1997 South McDowell Blvd.

Petaluma, California 94954-6919

(707) 763-1010

www.furmansound.com

Price: $3250

QUANTUM PRODUCTS, INC.

943-A Euclid Street

Santa Monica, California 90403

(310) 394-4488

www.quantumqrt.com

Price: $1299

RICHARD GRAY’S POWER COMPANY, LLC

2727 Prytania Street, Suite 6

New Orleans, Louisiana 70130

(504) 247-0300

www.richardgrayspowercompany.com

Price: $2100


voltage corrections. The EP15A pro-vides a highly informative display thatcan show instantaneous output voltage,output current, or output wattage. TheEP15A provides eight high-quality out-lets, and is housed in a lovely brushedsilver case.

CHARACTERISTIC SOUND: With dig-ital sources the EP15A produced a sys-tem sound that combined Chang-likewarmth and naturalness with Argent-um-like resolution and focus. What Iheard was energetic and well-definedbass, midrange textures that wereexquisitely delineated (if not quite theArgentum’s equal), plus a good measureof freedom from midrange and treblehash and grit. Most of the time, and onmost material, this combination ofvirtues worked well, but at moments theEP15A made the system sound a touch“mechanical” or “electronic.” In my lis-tening notes I observed that the EP15A

“always produces good sound, but notalways the sweetness or heartiness of realmusic.” Like the Changs, the EP15Aachieved mixed results when poweringthe whole test system. The EP15enhanced the system’s three-dimensional-ity throughout the midrange, but with ashift in overall balance—where themidrange came forward and the midbassbecame withdrawn—that took away someof the warmth and punch that made theEP15A so enjoyable with digital sourcesonly. Again, given the nearly faultlesspower supply in the test system’s MusicalFidelity amplifier, these mixed resultsshouldn’t be counted against the EP15A.Like the Changs, the EP15A performedsuperbly when tested in my secondary,Parasound-powered system (yieldingsome of the most airy treble and potentbass I’ve ever heard from that system).

BREAK-IN: The ExactPower EP15Arequires no break-in.

Furman IT-Reference

I’ve seen countless Furman condition-ers in professional musicians’ equip-ment racks, but until the IT-

Reference appeared on my doorstep Ihad no idea Furman made products tar-geted toward high-end audio enthusi-asts. Weighing a back-straining eightypounds, Furman’s IT-Reference is oneconditioner that cannot be, umm, takenlightly. The IT-Reference providestwelve high-quality outlets, one groupof four for power amplifiers, and fourisolated “symmetrically balanced”groups of two for use with digital andlow-power analog components. The IT-



Reference is packaged in a massive blackchassis with a raised, brushed-aluminumcenterplate to which a welcome pair ofcarrying handles are attached.

CHARACTERISTIC SOUND: With dig-ital sources the IT-Reference exhibitedtwo sonic qualities that set it apart.First, the IT-Reference gave the systemsimply remarkable dynamic power andagility. Just as Argentum’s PowerGridX8 revealed textures and timbres withgreat focus and clarity, the IT-Referencerevealed the dynamic envelopes ofinstruments and voices with unequaledrealism and freedom from compression.Second, the IT-Reference helped the sys-tem produce extraordinary bass—bassthat was richly textured and deeplyextended, with authority second tonone. Still, the IT-Reference was notwithout flaws. Like the Argentum X8,the IT-Reference gave the system a high-ly resolved sound, but unlike the X8,

the IT-Reference let the system lapseinto brief bursts of edginess and glare(especially on heavily modulated vocalsor string passages). While these lapsesoccurred only occasionally, the combina-tion of unrestrained dynamic power plusupper midrange glare was not a pleasantone (suggesting greater smoothness andwarmth were needed).

Happily, when the IT-Reference wasused to drive the entire system, the sys-tem’s upper midrange became somewhatrounder and more three-dimensional,and its midbass took on an addedwarmth that helped balance out and“humanize” the sound. While the IT-Reference’s occasional rough edges neverwent away completely, connecting theamp to the conditioner helped leverageits great strengths and mitigate itsweaknesses.

BREAK-IN: The Furman IT-Referencerequires no break-in.

Quantum RT800

The Quantum RT800 is one of themost unusual conditioners in thissurvey, as the following excerpt

from its product bulletin makes clear:“The RT800 employs a unique and cut-ting edge technology, QuantumResonance Technology. QRT is a tech-nology based on research into the ran-dom behavior of photons and electrons



in AC electricity (as well as) principlesof electromagnetic field theory andquantum physics. The goal is to affect amore ordered electron behavior.”Interestingly, Quantum claims that theRT800, which operates in parallel to theAC lines, creates a “tuned” electromag-netic field frequency pattern that “har-monizes and tunes the existing electro-magnetic fields in the environmentwithin a given radius of 35 feet.” TheRT800 is a whole-system conditionerthat provides eight “hospital-grade”outlets. The unit is housed in a simpleblack metal enclosure with polished endcaps, and a forward-facing QRT frequen-cy display.

CHARACTERISTIC SOUND: TheRT800 imparted a system sound withfour distinguishing characteristics. First,the treble range took on a soft, gentle,edge-free quality. Second, themidrange—and especially the upper

midrange—took on a subtle prominenceor forwardness. Third, the bass—andespecially the vital midbass—becamesofter and noticeably recessed. Fourth,sonic images became larger, with asmooth and spacious—yet strangely dif-fuse, quality. Taken together, these qual-ities might be interpreted as addingoverall spaciousness and a certain kind ofclarity (or midrange emphasis) to thesound, but my sense was that thechanges in fact dulled the inherent clari-ty and focus of the system, and signifi-cantly reduced its power and impact inthe bass region. I evaluated the RT800with digital sources, with the entire testsystem, and with my secondary(Parasound-powered) test system. In allcases the sonic affects of the conditionerwere similar.

While certain aspects of theRT800’s sound are appealing (e.g., itstreble smoothness and freedom fromedginess and glare), my feeling is that

QRT technology requires further devel-opment before its potential can be fullyrealized in high-end audio systems.

BREAK-IN: The RT800 requires littlebreak-in time.

Richard Gray’s PowerCompany 1200s

The RGPC 1200s is a whole-systemconditioner that provides twelveHubbell outlets organized as two

groups of six (internally, the 1200S is



the equivalent of two RGPC 600S six-outlet conditioners). Unlike most otherconditioners in this survey, the 1200Sconnects in parallel to the AC lines,meaning that components sharing thesame AC lines with the 1200S will enjoymost of its benefits even if they are notplugged directly into the unit. In fact,RGPC even suggests that power ampli-fiers be plugged into an AC outlet adja-cent to the one through which the 1200Sdraws power. The 1200S enclosureappears well made, sporting a lovely artdeco faceplate in which the RGPC logois displayed behind a window shapedlike a funky ’50’s-style TV screen.

CHARACTERISTIC SOUND: TheRGPC 1200S gave the test system a hostof characteristics greatly prized by audio-philes, including unusually puremidrange tonalities with finely-resolvedtextures, vibrant and energetic bass,stunning three-dimensional imaging,

and a huge soundstage. Again and again,though, the uncanny three-dimensional-ity of the RGPC-powered system waswhat grabbed me (that wonderful“reach-out-and-shake-hands-with-the-performers” quality). One could quibblethat the 1200S made the system soundjust a hair midrange-forward, or that itpromoted a midrange that could be a bitaggressive, but that would be to over-look the engaging and unfailingly musi-cal quality the RGPC brought to thesystem.

More than other conditioners in thissurvey, the RGPC really came into itsown when powering the whole test sys-tem. RGPC claims there should be vir-tually no sonic difference between plug-ging the amplifier into a wall socketadjacent to the 1200S versus pluggingit directly into the conditioner, but inpractice I found there was a difference—small, but quite worthwhile. Specific-ally, once the amp was connected

through the 1200S, the system’smidrange pulled back a bit andsmoothed out, while its midbassbecame richer and more powerful. Withthose two changes in place, the endresult was—to my ears—pure magic.

BREAK-IN: The RGPC requires a mod-erate amount of break-in. &



Musical Fidelity Tri-Vista 300 integrated

amplifier; Parasound Halo P3 preamplifier

and A23 power amplifier; Sony DVP-

S9000ES and DVP-NS500V DVD/SACD/CD

players; Roksan Kandy Mk III DVD/CD play-

er; Rega Planet 2000 CD Player; JVC XV-

SA600BK DVD-A/DVD-V/CD player; Von

Schweikert VR-2 and Meadowlark Kestral2

loudspeakers; Audio Magic, Cardas, and

Rega interconnects; Audioquest CV-6 and

Cardas Neutral Reference speaker cables


Not that long ago, integratedamplifiers fit a stereotype:underpowered, ugly Brit-ish boxes, lightweight inbuild quality with funky

connectors and sound suitable only forentry-level systems. That situation wasunfortunate, because the integratedamplifier is the perfect solution formusic lovers with space and budgetconstraints or those who value the sim-plicity of installation and operation anintegrated amp offers.

The high-end audio industry finallywoke up to the fact that integratedamplifiers could be something morethan their stereotype. Witness the explo-sion in very high quality integratedsfrom such marques as Mark Levinson,Krell, Balanced Audio Technology,Perreaux, Musical Fidelity, and nowAyre Acoustics.

Ayre’s first integrated amp, the$2950 AX-7, perfectly understands itscharter: Combine high-end circuitrywith moderate output power in a well-made, easy-to-operate product, and hit

the “sweet spot” in the amplification-pricing curve.

The AX-7 is a solidly built no-frillsproduct. No phonostage is included—you’ll need an outboard phono preampto play LPs. A “processor pass-through”mode sets one of the inputs (either

unbalanced or balanced) to unity gain(input level equals output level). Thisfeature means you can run the left andright channels of a surround-sound con-troller through the AX-7 without dis-turbing the correct channel-level bal-ance established by the audio/video con-troller. It also means you can combine amusic and home-theater system withoutcompromising musical performance,

because music signals never passthrough the controller.

Volume is adjusted either from theremote or via a large bar just above thevolume display. Inputs are selected bypushbuttons marked with “star”“moon,” “planet,” and “comet” icons. I

suppose that with months of use, onewould begin to associate an input withits icon. (I didn’t.) The unusual loud-speaker terminals are outstanding—farbetter than five-way binding posts—andshould be standard-issue on all ampli-fiers. These are the same terminals usedin Ayre’s $10k V-6x amplifier, as well asthe Theta Dreadnaught (also designed,by the way, by Ayre’s Charles Hansen).

Ayre AX-7 Integrated Amplifier

Robert Harley


The AX-7 is simply a high-end preamp and

power amplifier scaled down in features and

output power that happens to be enclosed in

a single chassis.


Overall build quality is excellent;the AX-7 is simply a high-end preampand power amplifier scaled down in fea-tures and output power that happens tobe enclosed in a single chassis.

It takes many hours of critical lis-tening to discern and describe exactlywhy a product is musically communica-tive or not, but sometimes it takes onlya few minutes to know if the product isfundamentally right.

A hallmark of products that areright is the compulsion you feel to listento music. The AX-7 is a case in point. Ihad planned on setting it up and lettingit play with a CD source on repeat for aday, so it could settle in prior to bonafide listening sessions. But before Icould leave the listening room, I felt theurge to sit down and enjoy what I washearing—for several hours. This initialperformance was more akin to that from

warmed-up separates, not an integratedamplifier just out of the box.

Things got even better once the AX-7 had been powered up for severalweeks. The amp got sweeter, more open,detailed, and engaging. The AX-7 has aremarkable ability to present music as acoherent combination of individualmusical lines rather than as a single largeagglomerate sound in which instru-ments congeal tonally and spatially. Icould shift my attention among instru-ments or orchestral sections and clearlyhear subtle lines in the presence of moreprominent ones.

This impression was largely theresult of the AX-7’s overall high resolu-tion, but it was also aided by the amp’sability to convey a sense of bloom and airaround individual instruments. Imageswere not only spatially distinct fromeach other, but were also separated from

the surrounding acoustic. Many ampli-fiers tend to fuse the reverberation andair of an instrument with the imageitself, reducing the impression of hear-ing an instrument surrounded by a realacoustic space. In addition, the sound-stage was remarkably transparent andopen, with tremendous clarity.Soundstage width, depth, and dimen-sionality were all terrific by any meas-ure, and amazing for such a modestlypriced integrated amplifier.

Tonally, the AX-7 tended towardthe lighter side of neutral, with a slightemphasis on the upper midrange andtreble. The bottom end was fairly fulland well-defined, but just a little lack-ing in warmth and the sense of solidity Ihear from larger separate amplifiers.Consequently, basses didn’t “light up”the acoustic as fully, which somewhattruncated the sense of space. The AX-7



also seemed to spotlight the upper mids,emphasizing harmonics over fundamen-tals. This had the effect of renderingtonal colors as somewhat less saturatedthan in life, almost like a slightly under-exposed photograph.

This is the AX-7’s only shortcom-ing, and perhaps my description givesthe false impression that it was a defin-ing characteristic of the amplifier. Itwasn’t. Nor was the AX-7 bright,etched, or overly analytical. Rather, theAX-7 leaned toward a clean, quick,transparent, and highly detailed sound,with a slight concession in warmth andrichness of tonal color.

I greatly enjoyed the AX-7’s senseof pace and the way music flowed natu-rally. I’m not talking about “toe-tap-ping” pace, but the entirely natural waymusic starts, stops, builds, and ebbs.Some amplifiers with terrific dynamicsand “slam” can sound mechanical, stiff,and rhythmically artificial. The AX-7by contrast conveyed a sense of music-making, particularly in grooves laiddown by first-rate rhythm sections.Check out bassist Eddie Gomez anddrummer Peter Erskine on Eliane Elias’wonderful Cross Currents [Denon]. TheAX-7 beautifully conveyed the drive,rhythmic nuances, and delicious flour-ishes these musicians contributed tothis disc.

As for output power, the AX-7didn’t fully exploit the dynamic capa-bilities of the Wilson WATT/Puppy 7nor the Avalon Eidolon Diamond(review in progress)—but I wasn’texpecting it to. Nonetheless, the AX-7drove both these loudspeaker surpris-ingly well, with no sense of congealingor soundstage constriction during loudpassages. Even with a very high drivesignal from the Theta Generation VIIIDAC and the AX-7’s volume at maxi-

mum, I couldn’t get the Ayre to clip. Idid hear a gentle compression ofdynamics and a slight softening of thebass as the AX-7 reached its powerlimitations, but overall the sound hada robustness I didn’t expect from a60Wpc integrated amplifier.

I should further address the AX-7’s modest output power rating. First,the difference between what is consid-ered low output power (60W) andmoderate output power (100W) is just2.2dB. Driving a 90.2dB-sensitiveloudspeaker with 60W will producethe same sound-pressure level as driv-ing a speaker with a sensitivity of88dB with 100W. Choose your loud-speakers carefully and the AX-7 willsound like a powerhouse.

Second, the AX-7 is rated at 120Winto 4 ohms. An amplifier that can dou-ble its output power as the impedance ishalved will sound more powerful in real-world conditions (driving loudspeakerswith impedance dips in the bass) than anamplifier that only marginally increasesits output power as the impedancedrops. The ability to double the outputpower when the impedance is halvedsuggests high current capacity (relativeto 8-ohm output power). In my experi-ence, amplifiers with greater currentcapacity sound more powerful than their8-ohm power rating would suggest.

Finally, there’s a theory that low-output-power amplifiers sound sweeterthan their more powerful counterparts.I’ve found that to be the case in someamplifier lines in which the circuittopology remains identical, with theonly difference being power supply size,and the number of output transistorsand heat sinks.

In other words, don’t dismiss theAX-7 because it has “only” 60 watts perchannel.

Ayre’s new AX-7 knows its mis-sion—high-performance in an afford-able, compact, simple package—anddelivers on it in spades. Rather thanstriving for brute-force output power,the AX-7 puts the emphasis on otherqualities: resolution, transparency,soundstaging, and dimensionality. Inthese respects, the AX-7 sounds morelike expensive separates rather than anintegrated amplifier.

The AX-7 does, however, have atendency to slightly emphasize theupper-midrange and treble, somewhatthinning tonal color. This isn’t a signifi-cant liability in light of the amplifier’sgreat strengths.

Beyond this analysis of the AX-7’ssonic characteristics, this amplifier wasunfailingly musical, enjoyable, andengaging. When mated with moder-ate- to high-sensitivity loudspeakers,the AX-7 is fully up to the task ofbecoming the anchor of a highly musi-cal system. &


SPECIF ICAT IONS

Integrated amplifier with remote control

Power output: 60Wpc continuous into 8

ohms, 120Wpc continuous into 4 ohms

Gain: 35dB (at maximum volume)

Inputs: Two unbalanced on RCA jacks, two

balanced on XLR jacks

Dimensions: 17.25" x 4.75" x 13.75"

Weight: 25 lbs.


Theta Generation VIII digital processor;

Meridian 800 CD/DVD-Audio player; Marantz

DV8400 universal player; Wilson

WATT/Puppy 7, Avalon Eidolon Diamond, and

Totem Arro loudspeakers; Nordost Valhalla,

MIT Oracle, and Cardas Neutral Reference

cables and interconnects; Acoustic Room

Systems room treatment


AYRE ACOUSTICS, INC.

2300-B Central AvenueBoulder, Colorado 80301(303) 442-7300www.ayre.comPrice: $2950

Ayre’s new AX-7 knows its mission—high

performance in an affordable, compact,

simple package—and delivers on it in spades.


Query: How do you make aseventy-pound floorstand-ing loudspeaker disappear?Well, you could hire somemuscle and haul it out of

the room. Or, you couldconsider Thiel Audio’s CS2.4. It has theuncanny ability to generate a w-i-d-esoundstage with impeccable imagingand then, faster than a Buddy Rich rimshot, vanish into thin air.

The Thiel CS2.4 is indeed fast.Fastidious also describes every aspect ofthis loudspeaker. From the precision tol-erances and finish of the cabinetry andtransducers to the superb quality of thepacking materials, it exhibits a near-obsessive attention to detail.

Like the CS2.3 it replaces, the CS2.4is a three-way bass-reflex system thatbenefits from some evolutionarychanges. Thiel designs and builds itsmetal-diaphragm transducers. The 1"dome-tweeter and 3.5" midrange arecoincident-array designs—a driver-within-a-driver setup, sometimes called“coaxial.” The drivers share a single voicecoil and mechanical crossover but—inthe CS2.4—use a neodymium magnetfor improved efficiency. Additionally theventing has been improved, increasingthermal efficiency, reducing resonances,and making the transducer an easier loadto drive. The 8" inverted-dome wooferboasts improved efficiency, and the allnew 7.5" x 11" passive radiator adds 2dBmore output. First-order crossovers areemployed throughout, with crossoverpoints of 1kHz and 4kHz. The highlyrigid cabinet uses 1"-thick walls and amassive 3" front baffle. The baffle is alsomarginally thicker than before, and theradius has been modified to furtherreduce diffraction effects. In classic Thielfashion the front baffle is sloped back-ward for correct time alignment betweenthe woofer and the tweeter/midrange.

Thiel’s optional “Outriggers” were sup-

plied for added stability in my carpeted lis-tening room. They are 17"-long flat alu-minum brackets that are secured in theexisting footer holes in the base of theCS2.4. The ends of the Outriggers angleoutward beyond the edges of the base,widening the footprint of the speaker; theyare pre-drilled to accept the sharp footersthat come with each pair of CS 2.4’s.

Note: Thiel’s set-up parameters needto be respected. Its instruction manualstates that eight feet is the minimumdistance the listener should be seatedfrom the speakers to permit the driversto fully integrate—a recommendationentirely consistent with first-orderdesigns. Thus seating height and dis-tance is a significant variable in mini-mizing lobing effects and creating a

coherent sound. I preferred to be slight-ly lower in my seat at the minimum dis-tance my small listening room limitedme to. This created a richer, more tex-tured sound particularly with low-bari-tone vocalists like Tom Waits [MuleVariations; Epitaph].

The character of the CS2.4 wasbright, bold, and expressive, not warm-ly romantic yet not coldly clinical either.Although not a “hot cocoa by thehearth” kind of speaker, the CS2.4 sur-prised me with a full-throated opennessand expansiveness that I’ve found lack-ing in some other Thiel designs. Thetreble had a “right now” immediacy andclarity that bordered on an electrostat.Following Audra McDonald’s a cappellaintroduction in “Lay Down Your Head,”

Thiel CS2.4 Loudspeaker

Neil Gader



[How Glory Goes; Nonesuch], theentrance of the harp and string quartetwas breathtaking in the intricacy of thesoftest details and the clarity of the spacethey occupied. Clearly the CS2.4 is aspeaker that elucidates the minutiae ofmusic with a resolving power on a parwith any speaker in this price range.

There is a sophistication to thisThiel’s sound that is a balanced mixtureof extension, micro- and macro-dynam-ics, speed, and transparency. A recordingthat shows these sonic attributes wasNickel Creek’s self-titled debut album[Sugar Hill, SACD]. Nickel Creek is anacoustic trio with a fresh folk/country/pop fusion style; its blazing instrumen-tals incorporate bluegrass banjo, violin,mandolin, guitar, and acoustic bass.During each track the mandolin, tiny-bodied and highly percussive, and thebluegrass banjo possessed all the crisparticulation and speed of the real things.Characteristic of the mandolin, the clatterof the flat-pick off the strings almostmatched the volume of the string notebeing struck. The banjo had a forwardsound, accurately pushy in its aggressive-ness. The guitar, larger and warmer,seemed a little thin in body resonance,however. Sara Watkins’s soaring violinimparted rich energy from its soundboard,but as it neared its upper-octave limits itgrew a bit constricted. Images were repro-duced with locked-tight stability andpristine edge definition. On a referencepiano recording like Live At Bernie’s[Groove Note, SACD], the Thielswrapped themselves around the warmishtonality of Bill Cunliffe’s grand conveyingthe lush soundboard and Cunliffe’s gentlemodulation of the sustain pedal. My onereservation was the coolness the Thiel dis-played in the top octaves—a faint hard-ness depriving the keyboard’s hammers ofsome of their felt cushion, and attenuatingthe more delicate interplay of harmonics.

Bass extension was taut and plum-meted confidently into the low 30Hzregion, offering as much bass as most ofus desire (unless your last name isRichter). If there was any overhang orbloating attributable to the passive radi-ator, it was subtle, indeed—low- andmid-bass notes were tuneful and quick,

with natural bloom. Loudspeakers often“thicken” and congeal the lower octavesof a piano, but the CS2.4 never lost sightof individual notes or fast-tempo chordpatterns. During “Wrapped AroundYour Finger” [Synchronicity; A&M,SACD] the marriage of Sting’s melodicbass line steered cleanly free of StewartCopeland’s inventive kick drumrhythms, the textural quality of eachunfudged by the other. And during“Murder By Numbers,” I could hear thecomplete kick drum—from the footpedal impacting the skin from behind tothe depth charge assault out the front.Speaking of murder, there wasCopeland’s ripping snare drum beingmurdered beat by beat, each thwackconveying its own transient signature.

It’s a tribute to Thiel’s cabinet rigidi-ty and baffle design that this relativelylarge speaker is able to soundstage andimage as tightly as a mini-monitor.Orchestral soundstage reproduction wasas wide and as deep as I’ve encountered inmy listening room. And the CS2.4achieved these results honestly withoutrecessing the tonal balance or sucking outthe upper mids. The speaker also delightsin properly scaling orchestral images,especially cello and bass sections and theimmediate ambient envelope aroundthem; the quality of the midbass plays alarge role in recreating the hall acoustic.This was where the CS2.4 was at its mostsatisfying: not merely imaging in thesterile vacuum of a recording studio butsuggesting the reverberant “life” of theambient space surrounding the directsound of a player’s instrument.

If there’s a single speed bump thatlisteners should note prior to dashing offa check, it’s a trait in the lower trebleregion that some will find persuasiveand others bothersome. On a naturalisticrecording of solo violin like ArturoDelmoni’s Bach, Kreisler, Ysaÿe [WaterLily Records], it can heard as a silveryadditive—a narrow spot-light illumi-nating the fiddle’s upper harmonics. Avocal example of this trait can be heardwith former Police frontman Sting. Hehas an upper register that sounds slight-ly hoarse, like air rushing past an altosaxophone reed. On a song like the

aforementioned “Murder By Numbers,”where he gives his upper range a work-out, the Thiels make it easier to key onthis throaty detail, at times almost tothe point of distraction. The retrieval ofthis embroidered harmonic and tran-sient information is interesting in and ofitself, but more than what one wouldlikely hear in an unamplified venue.Like a little extra vanilla icing on achocolate cake it doesn’t upend the over-all balance of the speaker. But it’s there.

For the past quarter century ThielAudio’s high-end credentials havebecome near legendary. The CS2.4 issuch a sonically satisfying loudspeaker,nearly faultless in so many parameters,that I almost feel a little greedy forwishing for less—as in a bit less trebleenergy. But that’s the very personalnature of the pursuit of the absolutesound. Near perfection is always elu-sive, perfection itself an unattainablegrail. On a quest for a loudspeaker?Any audiophile worthy of the nameneeds to hear the CS2.4. &


SPECIF ICAT IONS

Type: Three-way, reflex type

Drivers: 1" dome tweeter/3.5" coincident mid-

range, 8" woofer, 7.5" x 11" passive radiator

Frequency Response: 36Hz–25kHz ±2dB

Sensitivity: 87dB

Impedance: 4 ohms (3 ohms minimum)

Dimensions: 11" x 14" x 41.5"

Weight: 70 lbs.


Sota Cosmos Series III turntable; SME V

pick-up arm; Shure V15VxMR cartridge; Sony

C222ES SACD multichannel, Sony DVP-

9000ES; Plinius 8200 Mk2 integrated amp;

Placette Volume Control preamp; Nordost

Valhalla and Blue Heaven cabling; Kimber

Kable BiFocal XL, Wireworld Equinox III,

Wireworld Silver Electra & Kimber Palladian

power cords; Richard Gray line conditioners


THIEL AUDIO

1026 Nandino Blvd.Lexington, Kentucky 40511(859) 254-9427www.thielaudio.com Price: $3900 (Optional outriggers: $250)


For someone whose “home the-ater” system consists of amicroscopic thirteen-inch TVand a VCR from the DarkAges, it’s inspiriting to know

that a company with the technical cre-dentials of Meridian hasn’t forgottenabout us old-fangled two-channeldiehards. Not that I didn’t think a fullybalanced 500 Series Meridian systemwouldn’t sound good. I just didn’tthink, at least for the money, it wouldsound quite this good. Retailing at$3895, $2575, and $4495 respectively,the 588 compact-disc player, 502 analogcontroller, and 559 stereo power ampmay not be the least expensive compo-nents I‘ve reviewed, but they are easilythe best I’ve heard in their price range.And here’s the kicker. If the siren song ofmultichannel surround ever doesbecome too overpowering to resist, youwon’t be left with a couple of white ele-phants lying around collecting dust.Meridian’s building-block design phi-losophy allows you to use the 559 (forexample) in bridged mode for each ofthe front channels of a 568 digital sur-round processor. Fifteen-hundred wattsper (into 4 ohms) ought to set you backin your listening chair! Or take advan-tage of the two-room software that

comes nested in the 502 controller tolink sources in the main room to a sec-ond location such as study or familyroom. Or if you want to pursue the min-imalist approach and alleviate the angstof fussing with interconnects, simplyconnect the digital output of the 588CD player directly to one of Meridian’sDSP loudspeakers.

The 502 controller has beendesigned as a reference-quality partnerto the 500 series amplifiers or M60active loudspeakers. Inside the simpleyet elegant slim-line case is a fully bal-anced, dual-mono preamp utilizing sep-arate, isolated printed circuit boards andfour separate DC supplies for both itsleft and right channels. A separate DCsupply is also used for the microproces-sor section. High-quality componentsinclude Nichicon and polypropylenecapacitors, ultra-linear amplifier stages,four-layer PCB construction, low-fluxtoroidal transformers, and gold-platedconnectors.

The 502’s many features include apair of balanced (XLR) and unbalanced(RCA) outputs, seven inputs (3 bal-anced, 4 unbalanced), two unbalancedtape outputs, user-adjustable sensitivity,and a phonostage option with mc or mmplug-in modules for each channel. The

front panel has an LED displaywith a row of seven buttons direct-ly beneath it to control variousfunctions such as source, mute,off, and volume. I didn’t think I’dlike the up/down volume controlat first (knobs are so much easierto use when you’re in a hurry), butit turned out to be a moot point,as I ended up using the includedMeridian System Remote (MSR)99% of the time anyway. At first

glance, the four-dozen or so buttons ofvarying shapes, colors, and sizes maylook a bit intimidating, but for the pur-poses of operating the preamp and CDplayer, I found the MSR to be fairly sim-ple and straightforward. I only needed torefer to the owner’s manual once to fig-ure out the phase button.

According to Meridian, the “coredesign of the 559 employs a radical newamplifier topology first featured in theMeridian flagship DSP8000 loudspeak-er.” This new topology is an implemen-tation of several RF techniques andnovel circuit designs, resulting in a low-feedback design with distortion thatmeasures as low as conventional amplifi-er topologies. Like the 502, the 559 isalso fully balanced and features dual-mono construction. In fact, to drive theamplifier unbalanced via the RCAinputs, the signal is first balanced usinga proprietary “superbal” op amp inputconfiguration before being applied tothe amplifier. Twin low-noise high-mass1.2kVA transformers and more than80,000pF of audiophile-grade smooth-ing capacitors deliver a staunch 300Wper channel into 8 ohms and a stagger-ing 1500W into 4 ohms (when used inmono—bridged—configuration). Theonly parts the left and right channels

Meridian 502 Analogue Controller and 559 Power Amplifier

Sue Kraft



share are the enclosure; even the softstart on the mains primary side is short-ed out when the amplifier is running toavoid any possible interaction.

Unlike the svelte 502, the 559 ishoused in a substantial 82-pound rack-mountable steel chassis with brushedaluminum faceplate. Internal heatsinksmake for a clean and environmentallyfriendly appearance. Controls includefront-panel standby and rear-panel bal-anced/single-ended inputs, twin gold-plated high-current binding posts forbi-wiring, and a switch for stereo/bridge mode.

For the cable tweakers out there, Isettled on a Kaptovator power cord forthe 559 amp and Elrod Signature 2 forthe 502 pre. The Elrod can be a bitunruly to work with (it’s the size of asmall fire hose, only not as flexible), but asonic wonder when it comes to opening

up the midrange. It would have been niceto try a second Elrod on the CD player,but the 588 had to settle for stock. MyHarmonic Technology interconnectsseemed to be the best choice once again,along with a pair of Coincident TotalReference speaker cable.

My first impressions of the Meridiantrio were that of a remarkably well bal-anced, naturally smooth, musically satis-fying, and all-around listener-friendlysystem. A seductive sense of dynamicease and effortlessness immediatelycatches the ear, along with a notablybroad, enveloping soundstage. Bass issolid and extended, with unwaveringcontrol over the dual 10" woofers in theCoincident Totals. The presentation isremarkably linear from top to bottom,with no discernable forwardness in anyfrequency range. Solid-state gear cansometimes become so thin you feel as if

you are hearing through images instead ofaround them. With the Meridian,images were not overly lush by anymeans, but had a palpability and sub-stance more reminiscent of tubes thantransistors. If you like folksy bluegrassmusic, Misty River’s Live at the BackstageGate [MRCD] is right up your alley.With the Meridian, the bass fiddle on“Black Pony” actually sounds like there’sa hollow wooden box attached to thestrings. Vocals are temptingly smooth,natural, and articulate; the last track is afour-part harmony (a cappella) renditionof “America the Beautiful” that willbring tears to your eyes.

The XRCD version of Dave Grusin’sDiscovered Again Plus! [LIM XR] is asuperb recording that could have beentailor-made to accentuate all the positiveattributes of the Meridian. I don’t thinkI’ve heard XRCD sound better on my



system. Transients were quick, clean,and precise; high frequencies sweet andclear; and separation of images superb.I’m not sure exactly how to describe it,but there was a black background thatseemed atypical of solid-state, makingimages appear more rich and distinct incontrast. I didn’t hear any hint of that“white-ish” quality associated with sometransistor designs. On the Brazilian fla-vored “Captain Bacardi,” percussiveinstruments hung magically in mid-air,seeming totally detached from thespeakers and everything else aroundthem. The sound was more than justenjoyable; it was kickback-in-your-favorite-easychair comfortable. And bythat I don’t mean laid-back or polite. Itjust had a rightness and ease about itthat allowed you to forget about thestack of machinery in front of you, andsavor the music.

Although the main focus of thisarticle centers on the 502 and 559, thetechnical and sonic merits of the 588compact-disc player are equally (if notmore) impressive than the analog equip-ment under review. I spent a fair amountof time mixing and matching compo-nents, and although the best synergywas ultimately achieved when using thethree Meridian pieces together as a sys-tem, I wouldn’t have been unhappy withany of these units on its own. The 502preamp was perhaps a little less openand spacious than the Ayre K-5x, but

exhibited better clarity and focus, alongwith a smoother and fuller midrangepresentation.

I was particularly impressed withhow well the 559 performed against the$8500 BAT 75SE tube amp. Throwing atube amp into the mix may be one ofthose apples and oranges things, but Ican remember thinking at the time howthe 559 could have been the solid-statesibling of the 75SE. It didn’t have theextraordinary level of three-dimension-ality or spatial detail, but was almost asclean, smooth, and refined as the 75SE.

So, is there anything I don’t I likeabout the 502/559 combo? For onething, the fact that I’ll have to send itback. In separate listening tests, I slight-ly preferred the 559 amp over the 502preamp, but when partnered together,along with the impressive 588 CD play-er, it was tough to find any faults worththe ink to complain about. What’s notto like about a rig that is clear, focused,naturally smooth, palpable, effortlesslydynamic, and, above all, well-balancedand sonically gratifying? Add to that thebuilt-in system flexibility that comeswith all Meridian components, and youhave a package that’s tough to beat.

I can’t help but be reminded of aquote from the classic children’s storyGoldilocks and the Three Bears: “She tast-ed the porridge from the first bowl.‘This porridge is too hot!’ she exclaimed.So, she tasted the porridge from the sec-

ond bowl. ‘This porridge is too cold,’ shesaid. So, she tasted the last bowl of por-ridge. ‘Ahhh, this porridge is just right,’she said happily and she ate it all up.”Like that last bowl of porridge, theMeridian gear was “just right!” &


SPECIF ICAT IONS

588 Compact Disc Player With System Remote

Outputs: One coax digital SPDIF/IEC1937; one

each unbalanced (RCA) and balanced (XLR)

Dimensions: 3.46" x 12.64" x 13.07"

Weight: 14 lbs.

502 Analogue Controller With System Remote

Inputs: Four unbalanced (RCA), three

balanced (XLR)

Outputs: One each unbalanced (RCA) and

balanced (XLR); two unbalanced tape

Phonostage gain: N/A

Phonostage input impedance: N/A

Features: user-adjustable sensitivity, optional

phono modules

Dimensions: 3.46" x 12.64" x 13.07"

Weight: 10 lbs.

559 Solid-State Stereo Power Amplifier

Power output: 300Wpc into 8 ohms

Dimensions: 7.85" x 18.90" x 18.98"

Weight: 82 lbs.


Ayre CX-7 compact disc player; Ayre K-5x,

BAT VK-3i and VDH P1 preamps; Ayre V-5x

and BAT 75SE amps; Coincident Total

Eclipse speakers; Coincident Total Reference

speaker cable; Harmonic Technology Pro

Silway II and Purist Audio Design intercon-

nects; JPS Kaptovator and EPS Signature 2

power cords; PS Audio Ultimate Outlet;

Symposium Svelte Shelves and Rollerblocks


MERIDIAN AMERICA INC.

Suite 122, Building 24003800 Camp Creek ParkwayAtlanta, Georgia 30331(404) 344-7111www.meridian-audio.comPrices: 588 CD player: $3895; 502 pre-

amp: $2575; 559 amp: $4495


Want to buy a $12,000speaker system for$3495? Welcome tothe world of e-com-merce. When you buy

a $12,000 speaker at a dealer, keep inmind that about $5000 of that stayswith the dealer. A good bit more goes

for distribution, warehousing, advertis-ing, and other kinds of overhead.Soundline has none of this. No dealers,no warehousing—your pair of speakersis made to your order, no overhead toamount to anything. What Soundlinedoes have in the SL2 is a superb speakeroffering amazing value for money.

Of course you give up something.There is no one to hold your hand and tellyou that you are doing the right thing tobuy it; you have to trust your ears. Butyou do have a chance to listen extensive-ly. Even if you don’t live in SouthernCalifornia and can’t stop by the manufac-turer, you have a ten-day home-trial peri-od when your speakers arrive. If you arenot happy, Soundline will pick up yourspeakers and take them back with a fullrefund. But I would be surprised if it getsany returns. Hearing is believing, andthis speaker sounded exceptionally goodin my room. Moreover, it is a design thatis far more nearly room-independent bynature than most, so I am quite confidentit will sound exceptionally good in yourplace, too. Soundline lives in a differentworld from the ordinary, commercial, deal-er-based distribution of most speaker com-panies. But it is a world you most definite-ly ought to explore. All you need is a littlepatience—there is a four-to-six-week wait-ing period while your speaker is assembledand tested after your order is received. Butthe SL2s are worth waiting for.

The SL2 is a hybrid: the lower fre-quencies are handled by a box unit at thebottom of the speaker, and the higherfrequencies are produced by a tall, nar-row ribbon/planar magnetic driver oper-ated as a dipole in a 10"-wide baffle.This driver comes from Bohlender-Graebener, the same people who makethe drivers for Wisdom speakers.

The crossover is second order at250Hz. The speaker is reminiscent inappearance of the Carver Amazing (sec-ond version) and the MartinLoganhybrid electrostatics (except that theline source isn’t visually transparent),and looks graceful. Being a dipole, it hasto be out from the wall a bit, but not toofar, since the dipole operation does notgo down into the bass.

This type of design, with bass close

Soundline Audio SL2 Loudspeaker

Robert E. Greene



to the floor and in effect floor-loaded,and with higher frequencies run indipole fashion, has a considerable histo-ry and a lot to recommend it. For a start,the floor-loading gives the bass a direc-tivity behavior that is not that far fromthe overall directivity of a dipole, so theintegration problem is not too difficult.The wavelength of 250Hz is a bit overfour feet and one is not hearing muchdirectionality vertically at that wave-length, so if frequency response matchesand directivity does not jump much, agood integration will be obtained. I firstencountered this idea in the Gradient1.3 many years ago (a speaker I stillown), but there the transition was to apoint-source dynamic driver operatingas a dipole. The idea worked there and itworks here, too. The blend is good, andof course from 250Hz on up, coherenceis total—there is only one driver.

Since the higher frequencies arereproduced by a line source, there is nofloor bounce to speak of. And since thespeakers are dipolar, a proper setup willput the listener in a null for what wouldotherwise be the first reflection. HPoften and rightly comments on theimportance of damping the early reflec-tions. But here if you set them up right,there is nothing to damp—it is a longtime before anything arrives where youare except the direct sound.

Forget if you wish all this techno-babble, and just listen: What you hear isfirst off an unusually well defined andexpansive (if the material so justifies)soundstage, which seems independent ofyour own listening room. The long timebefore any of your own room’s reflectionsare heard creates a stunning feeling ofbeing immersed in the acoustics of theoriginal venue. This is one of the big

things high end is about, and it works atreat here.

A second big thing—and for manypeople it may be even more important—is that the SL2 sounds remarkablysmooth and flat. If you look at the man-ufacturer’s measurements on the Website, the curve is so flat that one canhardly believe that it was not obtainedunder some sort of, shall we say, opti-mistic conditions. But in fact, it is total-ly legitimate. Just putting up myLiberty Audio Suite mike in a naturalposition, no special tweaking involved,produced an essentially identicallysmooth, flat curve. This speaker is flatterthan a lot of microphones! And this ismore than some anechoic-chamber tech-nical point. The controlled radiationpattern already discussed produces anequally smooth and flat listeningimpression in-room at actual plausible



listening distances. There is no “meas-ures flat anechoically but sounds all overthe map in the real world” effect here, asthere can often be with many floor-standing boxes. (Incidentally, the high-frequency driver has, as I understand it,a resonance that is notched out electri-cally by a suitable notch-filter network.But, contrary to what many audiophilesbelieve, the composite will be not onlyflat but phase and time correct: mini-mum phase frequency correction of aminimum phase resonance yields bothtime and frequency response correctnessat one and the same time. Life wouldimprove in the audio world if peoplewould take this in once and for all.)

A third general point is worth men-tioning before I go on to specific listen-ing experiences: The SL2 is exceptional-ly transparent sounding. One trulyhears far into the recording in everysense, without paying the price of exces-sive peaky, “hi-fi” treble. In fact, noelectrostatic I am aware of is quite assimultaneously clean, smooth, and uni-form in radiation pattern in the treble asthis (most electrostatics get eitherbeamy or resonantly fuzzy a bit abovethe upper mids, although the effect isusually not unpleasant).

While the SL2 certainly soundsquite true to timbre on single instru-ments (more on that in a moment), it ison larger-scaled material that it reallycomes into its own. “My”Waterlily/Philadelphia Orchestra re-cording Nature’s Realm really took meback to the actual experience of listeningon the spot. The Reference RecordingRachmaninoff Symphonic Dances/EtudesTableaux sounded as detailed, spacious,and beautiful as it should, and the SL2handled the deep bass with aplomb.(While the SL2 does not go to truly sub-terranean depths—you might want asubwoofer for earthquakes and volcaniceruptions—it does easily go deepenough in room to make orchestralmusic naturally balanced and convinc-ing in the bottom end.) TheBach/Sitkovetsky Goldberg VariationsCD (string orchestra arrangement)sounded beautifully realistic in tonal

terms and gave one the feeling that onecould almost walk among the players interms of imaging. Finally, the concertrecordings of the orchestra I play in (St.Matthews Chamber Orchestra) gave aremarkable sense of the actual acousticsof the room we play in (where I haveheard from the audience, as well asplayed in, a great many concerts).

One of the things I like to try is toplay along with my own solo recordingsto check how close the reproduced soundgets to the real thing. Of course, thisrequires another listener since the “underthe ear” violin sound is quite differentfrom the sound at listener distance. Oneof my audiophile friends (an astute lis-tener) described the match not only intonal character but in image as so closethat the reproduced violin and the realviolin tended to form a unified whole.This is something that almost never hap-pens. A good tonal match is rare enough,and in combination with a match in spa-tial character of the source is rare indeed.

Audiophiles are social creatures, andit is not easy for a speaker company tomake its way that does not spend moneyon going to shows, on advertising, andin general on making itself “visible” tothe high-end community. It is hard toget the “buzz” going that seems soimportant. But I hope that you will havethe independence of mind to investigateSoundline. The SL2 really is a remark-able speaker. To my ears it is better inte-grated than any hybrid electrostatic I amfamiliar with, not to mention cleanerand smoother in the top end. It is lesscolored through the upper midbandthan any of the Magneplanars I haveauditioned (there is a serious directivityproblem in going from a wide midrangeto a narrow treble ribbon). It “sound-stages” superbly well, and if it gives upa small amount in the department oftotal absence of material-related col-oration in the midrange to somethinglike the Harbeth Monitor 40, it offersother things in return: lower price, lesssensitivity to placement, and greaterreach into the room than most speakers.(Most box speakers, however excellent,need to be carefully placed and listened

to quite close up to get their full quali-ty. Line sources have a greater “roomreach.”) There are always nits one canpick, and, as with every speaker I haveever encountered, a little tweakingaround with the Z Systems digitalequalizer enabled me to make thespeaker sound even smoother than it isby nature. But “little” is the operativeword here; the SL2 is remarkable in itsin-room behavior all on its own. Theoriginal version Carver Amazings,which have dipole line-source bass to gowith the dipole line source, showed thatthere would be something to be gainedin that direction, albeit at much highercost (four expensive woofers per side)and vastly less convenient size (the orig-inal Amazings are room dominators).And if you feel that point-source imag-ing is more natural than line source, theGradient Revolutions would be com-petitive in other respects and offerequally superb soundstaging of thepoint source type.

But let’s be sensible here. These arecomparisons with some of the world’sbest speakers. And people are payingmore than the price of a pair ofSoundlines for little two-way boxes onstands. For the amount of moneyinvolved, the SL2 is truly stunning. Notperfect, but what a truly high-endspeaker at a price many people wouldpay for cables and power cords. Listenup! You’ll be glad you did. &


SPECIF ICAT IONS

Driver complement: 10.4" woofer,

planar/magnetic line-source mid/tweeter

Frequency response: 35–20,000 Hz ±3dB

Sensitivity: 86dB


Weight: 86 lbs.


SOUNDLINE AUDIO

2995 Van BurenRiverside, California 92503(909) 789-5714www.soundlineaudio.comPrice: $3495 per pair plus $89 shipping

and handling (in USA)


Some years ago, Chad Kassemof Acoustic Sounds sent methe Ron Sutherland-designed AcousTech PH-1for review. It was quiet and

had good detail, terrific dynamics, andthat all-important ability to grab andpull you into the music. At $1200 itwas a steal. (I’ve not yet heard it, butthe PH-1 was recently upgraded to a$1500 “Premium Edition.”) Now,under his own banner, comesSutherland’s Ph.D., a $3000 battery-powered phonostage that has foreverchanged the way I listen to records, andis certain to influence how I judge otherphono preamps in the future.

Ron Sutherland isn’t the first guy torealize that AC line noise is to musicalpleasure what a swarm of bees is to apicnic. Nor is he the first to build a bat-tery-powered audio component. Whathe may be the first to do, however, isbuild a battery-powered phonostagewithout an AC cord (most battery-equipped designs have an AC poweroption and use wall current for recharg-ing) or an on/off switch. Given that ashopping basket’s worth of D-cells (16total—8 per side) are used to power theunit, with an estimated active life ofabout a month, I was initially dismayed

to calculate that I’d have to open up thePh.D. once every thirty or so days toswap batteries.

But Sutherland has thought up aclever way of getting around this incon-venience: “I figure if there is a powerswitch, for sure it will sometimes beaccidentally left on. Then a dead batteryis a frustration rather than a sonic advan-tage.” What Sutherland devised is a sig-nal-sensing circuit that automaticallypowers the unit on, puts it into standby,and eventually powers off. But signal-sensing circuits create their own sonicproblems by generating digital switch-ing noise. Sutherland found a wayaround that, too. Here’s how the Ph.D.works: You power it up by either tap-ping the headshell, brushing the stylus,or lowering the stylus into a recordgroove. A pair of green LEDs indicates“on,” and the monitoring circuit—aswell as any associated loading andswitching noise—is removed from thesignal path. After 30 minutes, the mon-itor “peeks” at the signal (indicated by ayellow LED). If a signal is present themonitor is again removed and the yellowLED turns off. This cycle repeats every30 minutes. If no signal is detected, thePh.D. stays in standby for another half-hour, and then shuts off. The peek-a-boo

process (i.e., switching noisetime) lasts about one-half sec-ond. A pair of red LEDs indi-cates when the batteries arespent, and at discount the costof battery replacement shouldbe roughly $16 once a year.

I asked Sutherland aboutwarm-up and break in. “Whiledesigning the Ph.D., I kept avery close lookout for needlesspower consumption. Conse-quently, there is very littlepower used and, thus, very littleheat generated within the com-

ponents. There is essentially no temper-ature rise and no ‘warm-up.’ The designalso has little or no DC voltage acrossthe signal-carrying capacitors, thusdielectric-forming is also not an issue.However, if a listener prefers to powerup (notice I did not say ‘warm up’)before listening, just tap the headshell orbrush off the stylus. It will then kickinto power on.”

At thirty-seven pounds, the Ph.D. isheavier than many a linestage or full-function preamp, and as is typical ofSutherland products it is beautifullybuilt (the brushed aluminum faceplate ishalf-an-inch thick). Changing batteriesrequires the removal of the four feet, atwhich point the chassis’ outer skin slidesoff. The batteries run around the out-sides of the main circuit board, which,in addition to the phonostage, also holdstwo sets of small adjustable sub-circuitboards. One is for gain and the other forcartridge loading (see specs below fordetails). To change values you simplyremove a board (they’re attached viasmall pins), rotate it to the desired set-ting, and plug it back in.

My initial listening sessions withthe Ph.D. have been exciting yet hard toget my mind around. The thing is soquiet that it took me about a month to

Sutherland Ph.D. Battery-Powered Phonostage

Wayne Garcia



adjust to the silence, and I remain mes-merized by the way music emerges fromsuch pristinely uncluttered sonic spaces.What I’m trying to convey is not theusual “black background” reviewersdescribe, but something more akin toviewing the night sky from a place faraway from the glare of city lights. Yes,the “background” of the sky is veryblack, and yet it’s not an opaque, velvetyblack but one of infinite space, depth,and purity.

Translating this notion to theSutherland while listening to, say, IvanMoravec playing Beethoven’s PathétiqueSonata [Connoisseur Society] is to realizeto what extent noise can diminish oursense of a musician’s artistry. The indi-vidual notes of the piano ring truer, withmuch greater precision and a sense of thephysicality behind the attack, be it pow-erful or delicate. Chords have a wealth ofcolors and harmonic textures normallyclouded by grain and fine strands ofelectronic noise. Arpeggios gallop for-ward with a newfound verve. Dynamicexpression is clearer and more varied.And with a poet like Moravec—thebeauty of his “voice,” the cadence of hisline, the precision of his thought—thereward is high.

And with a different kind of poet,Bob Dylan, the interplay of his acousticguitar with his expressive, highly man-nered phrasing on a song such as “Visionsof Johanna” [Live 1966; Classic Records],brings new levels of subtlety, brilliance,and meaning to his surrealist imagery.

And because all this “stuff” isn’t“clinging” to musical notes, like a stickyspider’s web, it’s impossible not to beriveted by what unfolds before us. The

result is very much like that we experi-ence at a great live musical event, wherewe sometimes realize that we’ve stoppedbreathing for several seconds, or that thepace of our breathing has slowed downas a physical and emotional reaction tothe performance.

(Add to the Sutherland’s battery-powered silence a complete lack of anyhum or susceptibility to radio frequen-cies—and I live in a high-RF location.)

Although I’m not usually a freak forsoundstaging, there’s something aboutthe Ph.D.’s silence that has redefined theterm for me. Returning to that notion ofa pure, starlit sky, and using AnalogueProductions’s 45-rpm pressing of JohnColtrane’s Soultrane, I was startled byhow “uncompressed,” for lack of a betterword, the acoustic space of this record is.Through the Sutherland it sounds deepand expansive. There’s a remarkablesense of the instruments occupying therecorded space, and that the spaceencompassing them does so in 360degrees. Moreover, instruments likepiano and especially Paul Chambers’acoustic bass project sound from all sur-faces, not simply from the front.

Tonally, the Ph.D. hits me as close toideal. It has none of the dryness, false hi-fi “detail,” or cool detachment thatplagues some solid-state designs, nor is itjust as falsely—though more pleasant-ly—romantic like certain tube designs.On “Good Morning Heartache,” fromElla Fitzgerald’s Clap Hands, Here ComesCharlie! [Verve], the triangle is clear,metallic, shimmering, yet delicate, andElla’s voice is particularly creamy and lilt-ing, with each turn of phrase gorgeouslyarticulated. The bottom end of the bass

guitar tones on the White Stripes’“Seven Nation Army” [Elephant; ThirdMan] was appropriately fat and fuzz-toned, and the kick drum carried muchof the visceral power heard (and felt)with the real thing.

Dynamics too, seem to be won-derfully realized, on both the microand macro levels. Although battery-driven preamps and amps sometimesseem to suffer dynamically, this seemsto be an ideal way to amplify verylow-level phono signals.

Much as I’m crazy about the Ph.D., abrief follow-up will most likely be calledfor. For one thing I know that, good as itis, my Rega P25 turntable is a limitingfactor here. A new rig will soon beassembled using the latest Tri-PlanarVII. Also, at least one other highlypraised phonostage is on the way forcomparison’s sake. In the meantime, theSutherland Ph.D. strikes me as a signifi-cant achievement, and one that’s broughtme to a new state of vinyl nirvana. &


SPECIF ICAT IONS

Gain: (Selectable) 45dB, 50dB, 55dB, 60dB

Cartridge loading: (Selectable) 100 ohms,

200 ohms, 1 kOhm, 47 kOhms


Weight: 37 lbs.


Rega P25 turntable; Cardas Myrtle Heart

cartridge; Balanced Audio Technology VK-

300X integrated amplifier; Primare SP31.7

A/V controller and BAT VK-6200 multichan-

nel amplifier; Sonus Faber Cremona speak-

ers; Cardas Neutral Reference speaker

cables, Cardas Golden Reference intercon-

nects; Finite Elemente “Spider” equipment

rack; ASC Tube Traps; Richard Gray’s Power

Company 400S and 600S; Essential Sound

Products Power Conditioner/Strip

D I S T R I B U T O R I N F O R M A T I O N

ACOUSTIC SOUNDS

P. O. Box 1905Salina, Kansas 67402(785) 825-8609Price: $3000


At the end of 2002 there wasconsiderable buzz about theMusical Fidelity Tri-VistaCD/SACD player—and notjust because the limited edi-

tion Tri-Vista series signaled thatMusical Fidelity had embarked on amore ambitious course for this particularline of products. In spite of SACD’ssteady gain of momentum in the audio-phile community, just a handful of high-end manufacturers had built players.Some blamed this paucity on the “for-mat war” with DVD-A; some said thelack of an open standard for a digitalinterface was the culprit, while othersspeculated that exorbitant licensing feeswere keeping most high-end companiesout, and causing those that did makeplayers to charge a kidney. Enter AntonyMichaelson.

The Musical Fidelity Tri-Vista is alimited-edition product that costs$6500. In addition to SACD playback,this single-box player incorporates“upsampling” on CD playback and achoke-regulated power supply, tech-niques used in some of Musical Fidelity’s

previous digital playback gear. The Tri-Vista also features vacuum tubes in itsanalog output stage. While the upper-end Sony players have been consistentlygood to excellent SACD players, they areall thoroughly mediocre as CD players.A single-box player with reference-qual-ity playback of both CD and SACD for$6500 would be a hell of a feat forMusical Fidelity—or anyone else.

Whatever else the Tri-Vista mightbe, dainty she ain’t. Her sleek, silvery-finish box weighs 51 pounds, which hadme wondering if the thing was stackedinside with bricks.

Although this player isn’t a videoproduct, Michaelson and Co. couldn’tresist some theatrics. The Tri-Vista seriesproducts sport the ballyhoo touch ofglowing feet that cycle from red toamber as the product is powered up. Thecycle finishes with the feet glowing aglacial blue to indicate all circuits are go.

Worth noting on the back panel arethe two single-ended (RCA) analog out-puts for the left and right channels.That’s right, no multichannel SACD.Dark Side of the Moon notwithstanding,

the promise of multichannel has thus farremained much greater than the sum ofits ridiculous mixes and horrendouschoices of program material (see DVD-Awith 5.1-channel re-mix of DeepPurple’s Machine Head among others).Multichannel’s promise for greater real-ism and musical expression intriguedme for a time, but I’ve given up on it, atleast for now. The precious few tastefulsurround mixes I’ve heard simply addtoo little to the stereo experience to jus-tify the additional expense audiophileswould have to incur in high-qualityamplification, speakers, and cabling.Even for a guy like me, who has a sur-round/home-theater system built aroundhis two-channel rig, there aren’t (as ofnow) any reference-quality multichannellinestages. That means your surroundprocessor is your preamp. And no matterhow good that surround processor is, itisn’t going sound like a BAT VK-51SEor an Audio Research Ref II Mk2. Alsoconsider how much more a player likethe Tri-Vista would have had to cost toinclude three times as many channels atthe same quality level. All this is my

Musical Fidelity Tri-Vista CD/SACD Player

Shane Buettner



(long-winded) way of saying that theomission of multichannel outputs isn’tsomething that bothers me about theTri-Vista.

Two sets of digital audio inputs andoutputs are also on the back panel, eachwith TosLink optical and coaxial connec-tions. These allow you to connect anoutboard DAC to the Tri-Vista, or toturn the Tri-Vista into an outboardDAC. One thing I noticed, though, wasthat although the Tri-Vista’s Philips-based transport mechanism will recog-nize and play DVD-Video standardaudio discs (like the 24-bit/96kHzDADs from Classic and Chesky), thedigital output is down-rez’d from 24/96to 16/48.

Opening up the Tri-Vista, you’re notgoing to feel cheated for your $6500.The analog output stage uses four of thelittle 5703 triode tubes that everyone

except Musical Fidelity is dubbing the“Tri-Vistor.” Sourced from theCumberland Air Force, the 5703 is laud-ed by Michaelson for low noise and longlife, but of course, no manufacturer isgoing to say it chose a particular tube forhigh noise, low bandwidth, and shortlife. In any case, Musical Fidelityincludes one full set of spare 5703s withevery Tri-Vista. Nice insurance policy!

Defining terms in the digital worldis slippery. Virtually all CD playerstoday oversample 16/44 PCM to highersample rates. So what’s upsampling? Inmost of the designs I’ve seen, what thismeans is that an additional oversam-pling filter is cascaded with anotheroversampling filter in front of or in theDAC. It’s important to note thatalthough this technique can improveperceived sound quality, the sample rateis increased by interpolation—the real

resolution of the signal is not increased. In the case of the Tri-Vista, a Cirrus

Logic CS8420 “sample rate converter”chip “upsamples” (oversamples) 16/44signals to 192kHz. According toMusical Fidelity, the signal is then over-sampled again with the 8x filter in theBurr-Brown PCM-1738 DACs that areused to convert both PCM and DSD toanalog. Two PCM-1738s are the heart ofthe Tri-Vista’s digital front end, withone DAC used for CD playback and theother for DSD. Although the PCM-1738 is obviously capable of decodingboth formats, separate signal paths andpower supplies are provided for each,since DSD signals obviously don’t needto be upsampled.

Even with the feet glowing blue theTri-Vista sounds as soggy as yesterday’scorn flakes when it’s new, out of the box.It takes more than a week of continuous



music playing for it to reach its full per-formance capability. Also for the need-to-know file, I found that, unless theplayer is left powered up continuously, itexhibits a hardness in the uppermidrange, a condition that all but disap-pears when it’s left on. Now, let’s get tothe fun stuff.

The Tri-Vista is quite simply a won-derful player that communicates music.As I’ll explain, it does have some charac-ter of its own, but is nevertheless a purejoy to listen to and not so far from neu-tral that you can’t hear what’s on therecordings, with enough romance todraw you in and enough veracity to keepyou enthralled.

Starting at the top, the Tri-Vista’spresentation with SACD is full-bodiedand rich, with rock-solid imaging.Groove Note’s SACD mastering of RayBrown Trio’s Soular Energy brings outthe Tri-Vista’s sonic signature: It is justa bit heavier and warmer with the low-est bass notes, and the piano takes onsome extra sheen; but both instrumentsare so defined and so there in space, withan envelope of air around them and aholographic density that’s astonishing,that the music has real presence. Andyet small details like Brown’s handsslapping up and down the bass and slid-ing on the strings are clearly apparent.The Tri-Vista is no less deft with vocals.On Alison Krauss’ Forget About It[Rounder], Krauss’ voice is pure andethereal with lots of breathiness andgreat focus. With a more densely lay-ered and dynamic production likeBeck’s Sea Change [Interscope], the Tri-Vista is able to combine delicate musi-cal shading, texture, and resolution,with nothing lost in the mix. On “Endof the Day,” when the kick and snaredrums energize the room, you can prac-tically see the little beans in the shakers.The focus and density of images remainconsistent no matter how complex ordynamic the material.

With CDs the Tri-Vista is perhapseven more impressive. The only CDplayer I’ve heard that matches, and per-haps exceeds, the Tri-Vista’s combina-tion of easy-on-the-ears, non-mechanical

sound and high resolution is Wadia’s861. And that player costs $2000 morethan the Tri-Vista and doesn’t playSACDs. Among CD’s shortcomings isits bottled-up, mechanical sound that’sjust not as involving as good vinyl play-back or SACD. So many CD players,even excellent ones, walk a tightropebetween offering the utmost resolutionand revealing too much of the CD’sfaults. Ayre’s phenomenal D-1x is anexample of a player that’s simply so goodand so highly resolved that sometimesyou hear more than you want to. TheTri-Vista does not offer that level of out-right transparency, although it’s certain-ly no slouch in this area, but with theupsampling and tubes has its owncharms. In addition to maintaining thesame midrange allure mentioned above,the Tri-Vista played CDs with a tightlywoven, highly integrated sound thatsimply sounds less like CD than I’mused to hearing. Strikingly, the Tri-Vistamade even my poor recordings soundmore relaxed, open, and involving.

Some have referred to upsampling asthe “magic bullet” that turns an entireCD collection into something as good asSACD. Switching between the layers ofany well-mastered hybrid CD/SACDdisc on this player makes it clear thatthere ain’t a magic bullet powerfulenough to close that gap. But the Tri-Vista is certainly the kind of player thatcan and does improve your whole CDcollection, and will have you draggingdiscs out one by one into the wee hoursof the morning.

Now let me put the Tri-Vista’s per-formance in perspective a bit. I livedwith a Sony SCD-XA777ES for severalmonths. As surprising as this is, theTri-Vista doesn’t separate itself fromthat player by a wide margin withSACD. The Tri-Vista has that tubemagic in the midrange, a bit moresparkle on top, and a bit more resolu-tion overall, but it doesn’t trounce theXA777ES with SACD. Where the Tri-Vista runs away is in its performance asa CD player, where it’s just hands-downsuperior in every way. And it’s gotglowing feet, for chrissake.

During the review period I hap-pened to have a stack of CD/SACD play-back gear from dCS for direct compari-son. The Verdi transport and DeliusDAC carry a retail price of just under$18,995, and they do sound better. ThedCS combo offers more transparency andlayering from the front of the sound-stage to the back, and also pushesimages farther out to the sides, beyondthe speakers. The dCS gear is also free ofthe bass bump and slight uppermidrange sheen of the Musical Fidelity.But these are trifles that will be heardclearly in only the most revealing sys-tems. The Tri-Vista is not embarrassedby this comparison, in spite of the near-ly 3:1 price difference. In fact, withCDs, although the dCS is more resolvedand transparent, the Tri-Vista is morefleshy and natural, making the dCSsound a bit sterile in comparison.

When I think about what it is thatcaptivates me about the Tri-Vista I findmyself reaching for the same adjectives Iuse when telling people why I prefertube preamps to solid-state. There’s asense of vividness and life in themidrange of the music that’s completelyun-hi-fi-like and more engaging to lis-ten to. The Tri-Vista communicatesmusic to me in a way that few compo-nents I’ve used can match—especiallydigital ones. I just melt into the music.The Tri-Vista is far and away the bestCD/SACD player I’ve heard this side ofdCS’s nearly $20k stack. It would be ano-brainer as a CD player at its price;that you can’t get a better SACD playerwithout spending a lot more is gravy. &


SPECIF ICAT IONS

Outputs: Two single-ended on RCA jacks

Dimensions: 18.9" x 6.5" x 15"

Weight: 51.5 lbs.

D I S T R I B U T O R I N F O R M A T I O N

KEVRO INTERNATIONAL

902 McKay Rd., Suite 4Pickering, Ontario L1W 3X8 Canada(908) 428 2800www.musicalfidelity.comPrice: $6500


Many years ago, myparents were givena beautifully lac-quered, burledmaple box, inside of

which was a gleaming Thorensmusic mechanism. After beingwound up with a little key, it playeda number of eighteenth- and nine-teenth-century melodies from MittelEuropa, both popular and classical.This contraption—an object of fasci-nation and delight to the child I wasthen—could as easily have beenbuilt in 1850 or even 1750. What Iremember most was the rich soundemanating from the maple box, andhow strongly it made the cabinet onwhich it sat resonate.

Despite the archaic nature of thismechanical music box, it embodiesthe fundamental principles of themusic recording and playback sys-tems of today. The tunes were encoded via a stubby forest of littlemetal pins on a small, horizontal cylinder. As this cylinder rotat-ed, one or more of the pins would strike some of the perhaps 60comb-like tines of a polished metal plate. After each song, thecylinder would shift a tiny amount along its axis, and a new tunewould play. The Thorens mechanism stored music in a binary,digital, form, so that it could be readily duplicated by an assem-bly worker having no prior knowledge or experience of the origi-nal composition. The lateral position of each pin encoded thepitch of the note, while the circumferential placement determinedits timing. The person who manually programmed several min-utes of music in this way could only have been Swiss.

Fast-forwarding 40-odd years to the present, Federal Expressrecently showed up at the door of my plantation-style bunga-low bearing several large boxes on a skid. The arrival of LinnProducts’ twenty-first-century flagship Kivor digital audioserver components had been eagerly anticipated. A few dayslater, the ever-amiable Brian Morris of Linn “dropped in” (fromGlasgow) to help me set them up and explain the fine points ofthe system’s operation.

The Linn Kivor digital audio server comprises three mainparts: a Tunboks hard-disk digital music archive, an Oktalmultichannel digital-to-analog converter, and within theTunboks, a Linn PCI Musik Machine card that controls the

Linn’s Marvelous Musik Machine: The Kivor Digital-Audio Server

Nicholas Bedworth

t h e c u t t i n g e d g e

With the base configuration of the Kivor capable of storing 250

uncompressed CDs on 152 gigabytes of hard disk, it’s not hard to see

why “music-rendering” devices are a solution with a bright future.


flow of bits to and from the drives. Taken together, theTunboks, PCI Musik Machine, and Oktal make up a (very)high-end digital audio server. In exchange for $16,000 to$20,000, one can simultaneously distribute eight fully inde-pendent stereo channels of wonderful, natural music through-out your (presumably rather extensive) house, boat, or airplane.On its pair of hard drives (expandable to a total of eleven), theTunboks can store, at a minimum, some two-hundred-and-fiftyhours of music, at full, uncompressed CD resolution. The Oktaltakes the resulting digital data streams and converts them toline-level audio for play back by a complement of stereo ormultichannel amplifiers.

Shining Monolithic Design, With A Few Little Lights

Like almost all Linn products, the external appearance ofthe Kivor components expresses a road seldom taken by indus-trial designers. Perhaps this is to be expected by a race thatspeaks with its teeth clenched together. Linn’s minimalist ethicis sharply defined, provocative, yet warm and elegant. The mas-

sive Tunboks chassis sports a gorgeous, almost liquid, silveryfront plate with a deep clear-coated finish, baked on at the Linnpremises. At the center of a chassis-spanning horizontal groove,there is a narrow slot, through which one feeds CDs into theTunboks. Below this, a semi-oval indentation conceals arecessed electric blue light (a rather fashionable color thesedays) that spreads a fan of enticing illumination. Similarlystyled, but much shorter, the Oktal chassis came in the alter-native, deep black finish. By comparison, this surface is ratherdull looking, similar to that of other high-end products. Myvote is clearly for the silver.

The Tunboks has no front-panel controls, not even a powerswitch. The Oktal has a few indicator lights (the most impor-tant of which goes on whenever an HDCD-encoded track isplaying), and, like the Tunboks, lacks front-panel controls.Linn points out that these components are intended for the cus-tom-install market, where multiple remote-control touch-screens are expected. For operating the system, we used a DellLatitude c800 laptop running the rudimentary Windows pro-gram that Linn provides. Ripping CDs is mindlessly simple,with the Tunboks copying the data from plastic to hard driveat 4x to 5x real-time. Given that once the tracks are copied


they’re going to stay in the Tunboks for a very long time, it’sworth a bit of extra effort to give each CD a decent cleaningbefore transferring it. (Music Advancement Company’s disccleaner spritzer makes a significant sonic difference, because,according to the vendor, it removes the residual mold-releasecrud left over from the manufacturing process.)

Sonically, these components are a marvel. I’d start off bysaying they boast high-end credentials, while at the same timeoffering the flexibility of multizone distribution and software-driven remote control. Because they lack obvious colorations ordefects, describing how they do sound is rather problematic.The most enduring impression of the Oktal and Tunboks istheir naturalness. There’s nothing to irritate or draw one’sattention away from the music. They are exceedingly pleasant,without being euphonic. Frequency response goes down toextreme lows, way below 20Hz, while the midrange is trans-parent and open, and the highs extended. In terms of sound-staging and imaging, the representation of the character of thevenue, and of individual sound sources within it, is exemplary.

Certainly the level of resolution and freedom from digitalgrunge far exceed that of a good mid-price-range stand-aloneCD player such as the Rega Jupiter. Because the data are sim-

ply being spooled back from a hard drive, it’s not surprisingthat jitter and related artifacts would be greatly reduced. Ifound that, as usual, replacing the power cords with higher-quality ones yields sonic benefits. In the case of the Oktal, thebest power cord I found for it is the Tara Labs RSC Air AC. TheRSC significantly increased the amount of detail; it was almostas if you could see the pieces of tape on the recording room floorshowing the talent where to stand. All kinds of subtle ambientspatial cues emerged, with voices sounding that much morehuman. In short, the Kivor, together with the recommendedcabling, has a non-electronic sound to it. It simply soundsright, which is a rare quality.

What’s Next?

The few weeks I spent with the Kivor demonstrated howone can have performance and convenience in the same pack-age. A lower-cost Linn digital audio server, the Linn Index, isnow on the market, but for large-scale systems, the Kivor is anelegant solution that stakes out the high-end of the digitalaudio server space.


While the direction that the digitalmedia world is heading in isn’t fullyclear, the speed of transformation is obvi-ously accelerating. Computer technologytends to bring about enormous changeswhenever it’s injected into new applica-tion areas. While all this is fun to watch,it’s a constant scramble to keep up.

Despite its ancient attributes, theThorens music box provides a usefulpoint of reference. It’s deeply satisfyingin its own way, and doesn’t even useelectricity. It will still play beautifulmusic in 100 years—no user’s manualrequired. &

SPECIF ICAT IONS

Linn Kivor Tunboks Hard Disk Music Archive

Two hard disk drives, 76 gigabytes each

Control connectors: Two RS232 ports, one

RJ45 Ethernet, one RJ11 modem


Weight: 26 lbs.

Linn Kivor PCI Musik Machine (mounted

inside the Tunboks)

Digital inputs: AES/EBU interface on RJ12

connector: one stereo channel, one RJ11

socket

Digital outputs: AES/EBU interface on RJ12

connector: eight stereo channels using

four connectors

Linn Kivor Oktal Digital-to-Analog converter

Analog inputs: One single-ended RCA stereo pair

Analog outputs: Eight single-ended RCA

stereo pairs

Digital inputs: AES/EBU interface on RJ12

connector: eight stereo channels using

four connectors; one S/PDIF

on RCA connector

Digital outputs: AES/EBU interface on RJ12

connector: one stereo channel; one

S/PDIF on RCA connector

Dimensions: 19" x 3.5" x 14"

Weight: 11 lbs.


Rega Jupiter CD player; Onkyo TS-DX989

receiver (level 2 upgrade); Paradigm

Reference Series Studio/100 speakers and

Reference Series Servo-15 subwoofers with

X-30 external crossover; Purist Audio Design

system conditioning audio CD; Audioquest

Amazon interconnect, Kilimanjaro double bi-

wire speaker cable, Coral subwoofer cable,

and Python preamp jumper cable; Music

Advancement Company Delta power cord and

“Compact Disk Magic” CD cleaner; Richard

Gray’s Power Company RGPC 1200S;

Sencore SP 295 Audio analyzer; Tara Labs

RSC Air AC power cord; Wireworld Silver

Electra III+ power cord


LINN PRODUCTS INC.

8787 Perimeter Park BoulevardJacksonville, Florida 32216(904) 645-5242www.linninc.com Price: $16,000 to $20,000, installed

My friends who tried out theKivor immediately preferred itto operating a conventionalCD player. There’s somethingquite compelling about sim-

ply picking an album from a list, comparedwith rummaging around for the right CD,placing it in the tray, locating the remote con-trol, and so on. Even Linn’s rudimentary lap-top user interface got the point across. Withthe base configuration of the Kivor capableof storing 250 uncompressed CDs on 152gigabytes of hard disk, it’s not hard to seewhy “music-rendering” devices are a solu-tion with a bright future.

Like most digital audio servers and juke-boxes, from Windows XP desktops withWindows Media Player on up, the KivorTunboks automatically gathers album index-ing details (or “metadata”) by querying anInternet-accessible database (in this case,Gracenote’s CDDB). This approach is great,except when the metadata aren’t right, orthere are no data for your favorite album. Ineither case, you’ll have to enter or correct thedata manually—a reasonably tedious task.

Not all the hardware capabilities of theKivor are supported or accessible by soft-ware. This is typical for a hardware-dominat-ed engineering company: Nobody reallywants to deal with the human issues at theend-user level. Anyway, real men write devicedrivers. While the Tunboks and Oktal canhandle 96kHz samples at 24 bits, there’s noobvious way to transfer such files from a dig-ital audio workstation or PC to the Kivor. Thiswould be a natural application of the Kivor,but if you need this capability, check withLinn first. There’s no upsampling, either, sothe 44/16 data ripped from CDs is whatcomes back out.

Although Linux is a reasonable choiceas an embedded operating system, untilLinn ports the Windows audio codecs, it’s

not possible to use the bit-perfect, WindowsMedia Pro lossless codec. Compressingaudio files with this technology doubles thecapacity of the system. Related codecswould let the Kivor store multichannelmusic, which it doesn’t do at present.

The Kivor does, however, support vari-ous MP3 bit rates. Unfortunately, while themany virtues of the Tunboks and Oktal stillmanage to shine through, so to speak, thetruly dreadful qualities of MP3—a hangoverfrom the days of dial-up Internet access andsmall disks—cannot be disguised. Thiscodec is lossy, providing 5:1 compressionalong with various “psychoacoustic adjust-ments” that supposedly make up for theloss of information. They don’t and can’t.Apart from the distortion of timbres, edgi-ness, and so forth, perhaps the most dis-turbing MP3 artifact is a weird, spatial shim-mering of the soundstage: It’s as if thesound sources are moving around and splat-tering. In any event, it’s no fault of Linn’s, butignore the MP3 encoding option.

Linn doesn’t supply a conventionalremote for this product. Keep in mind thatthe Kivor’s primary application is multizone,multiroom musical enjoyment. Imagine the“digital home” of a few years hence, inwhich there are “user interfaces” at con-venient locations around the house.Because the Kivor is, at its core, a micro-processor-based computer system (in thiscase, an AMD Duron processor runningLinux), there’s no need for mechanicalswitches. Linn was one of the first compa-nies to adopt the XiVA protocol, which is across-vendor, standardized way of communi-cating and controlling consumer electronicsdevices. Crestron and AMX touchscreens,for example, provide a colorful, graphical“control point” that can be used to managethe Kivor, and just about anything else inyour household that runs on electricity. NB

Hits & Misses


When Wayne Garcia first proposed that I reviewBoulder’s new $29,000 phono preamp—that’sright, phonostage only—I thought, “Whynot?” But in fact I had a sizeable chip on myshoulder. I’ve heard many of the so-called best

of the ultra-expensive electronics in systems I know well, includ-ing my own, and never found them worth the money. Oftenerthan not they’re no better sounding than moderately pricedunits, sometimes not as good, on occasion not even as well made.When they do sound better, the margin of superiority is fre-quently so tiny as to render the price differences ridiculous.

Bruce Van Allen, Boulder’s public relations and field rep,requested that I also review the 1012 preamp/DAC ($16,000)and the 1060 stereo power-amp ($19,000). He felt that onlyin a complete Boulder setup would the designs reveal their fullsuperiority.1 I’ll not leave you in suspense. We proceeded tocomparative listening—Van Allen and my colleague NeilGader joining me—the first thing spinning on the SMEModel 20 Analogue Productions’ LP of Sonny Rollins’s WayOut West. My current reference is superb—Phonomena phonostage, Placette linestage, Carver A-720x power amp (thisJames Croft design one of the rare amps ever made that isactually flat into any speaker’s impedance curve)—utterly neu-

tral, dynamic, and detailed. Then weswitched over to the Boulders.Because we were at my place, Neilheld his tongue, Van Allen like-wise. The expression on my face—mouth agape, jaw properly drop-ping—was more eloquent thananything I could say. “Well, Paul,”said Neil at last, “I wasn’t going tosay anything, but it certainly isn’tsubtle, is it?” No, it wasn’t.

Right off, three things hit us.First, a transparency and sheer clar-

ity—the speakers my trusty Quad988s—that I had never heard before. Calling it bril-

liant, as if lights had illuminated what was previously dim,suggests the reference system is considerably less superb than itis and that the Boulders exhibit glare. Neither is the case. As Iam not a photographer, I can’t use Harry Pearson’s photo-graphic analogies, though I suspect they are close to what I’mtrying to get at: a vividness in the rendition of Rollins’ saxo-phone, present seemingly without veils.

Second was the dynamics. Mind you, this is not all thatdynamically wide a recording, but the music emerged with anease and freedom seemingly without dynamic limitations. Thewooden blocks (or whatever) that set the initial tone and tempocame across with an immediacy that left us in disbelief. Oncethe cymbals and bass kicked in, the ensemble became tactile.Not necessarily realistic, for this is after all early stereo: Rollinsleft, his percussionist and bassist right, nothing much between.That’s how the Boulder rendered them.

t h e c u t t i n g e d g e

1This is true, but a single Boulder component will still make its presence obvious in any good or better system.

Boulder’s 2008 Phono Preamplifier,1012 DAC/Preamplifier, and 1060 Power Amplifier

Paul Seydor


Third, there were a grip and control as difficult to define asthey were confidence-inspiring to hear. Words like “rhythm” or“timing” applied to electronic equipment make little sense tome, but that elusive ability of a component to keep the presen-tation whole, integral, unfettered, unfrayed and unfrazzledunder the most grueling of real-world dynamic conditions iswhat really separates a good to excellent system from a trulyoutstanding one. This the Boulder units accomplish to thehighest, rarest degree.

Among other things, this translates into bass responsestunning in its extension, articulation, and clarity. It’s commonknowledge Quads need a subwoofer for the deepest bass, butthese electronics made me feel the need for one less than everbefore. Put on Ray Brown’s Soular Energy—in PureAudiophile’s magnificent new vinyl pressing or GrooveNotes’sfabulous SACD reissue—and I doubt you’d even miss a sub-woofer, so full, rich, and strong is the double bass, while GeneHarris’s piano floats above, around, and through it.

On full-scale symphonic material, like the glorious vinyl ofBernstein’s Carmen [DG], the impression of being in a theateris breathtaking. Placement of the brass instruments as theysound and resound is such that you can practically diagramthem on their tiers, while bells and cymbals dazzle with crys-talline clarity. The whole vast panorama of orchestra, soloists,and multiple choruses was reproduced with such transparencyof texture, truth of tone and timbre, and size and depth ofsoundstage that visualization became not just easy but almostsecond-nature.

Tube fans may find the Boulders dry, because they complete-ly lack the bogus bloom of tubes—an effect I blissfully succumbto, though it’s still an overlay, however lovely. The Boulders, bycontrast, reproduce every recorded ambience uniquely. A some-what distant, beautifully atmospheric recording like Cincinnati’snew Stravinsky program [Telarc SACD] blooms as ripe and juicyas you please, while the multi-miked Levine Don Quixote [DG]sounds both luscious and ravishingly intimate.

The Boulders make an unprecedented amount of detailavailable. Please note my word choice: available. They don’tshove detail at you or flood arclights everywhere by hyping theupper midrange and lower highs. At first, the control anddetail are so extraordinary you might think the sound analyti-cal. But once you get used to it—the review units were alreadybroken in, so I can’t address break-in issues—it feels utterlynatural: there for you to notice if you like yet never detracting

from the gestalt. Nor do they give you a false mel-lowness and depth by building a Gundry Dip intothe response. Which means that closely mikedvocalists are rendered with the full intimacy that isin the recording (on Muddy Waters: Folk Singer[MCA Chess, SACD or vinyl], the added reverb isinstantly, nakedly audible).

So far I’ve discussed sonics as if these Boulder unitswere more or less interchangeable, because that is how theysound. But this review has mixed products from the company’stwo lines: the all-out-assault-on-the-state-of-the art 2000Series, of which the 2008 is the phonostage, and the “lesser”1000 Series, to which the 1012 and 1060 belong (there is noseparate phono preamp). A complete Series 1000, whichincludes the 1012 and 1060 stereo or 1050 mono amps, costsbetween $35,000 and $50,000. A complete Series 2000, whichincludes 2008, 2010 linestage, 2020 DAC, and 2060 stereoamp or 2050 mono amps, costs between $135,000 and$161,000. Inasmuch as I’ve not heard the whole line together,I have no way of knowing how much better those componentsare. But considering that the 1012 and 1060 are obviously,demonstrably state-of-the-art, how much better could the oth-ers be?

I did compare the 2008 with the 1012’s built-in phono-stage. Since for many audiophiles (and, alas, far too manyreviewers), super-expensive equipment is sort of what they havein place of God, I am unsure what I can say without causingdisappointment. Of course, the 1012’s phono section isn’t asgood as the 2008. The former exhibits nearly all the trans-parency without quite the combination of the latter’s absolutesmoothness and absolute control. But it’s still world-class.

Circuitry, topography, features, and overall design of thesethree units are far too complex to do anything but summarizehere. Build, workmanship, and parts quality raise the bar sohigh it’s virtually out of sight of most other manufacturers,even those who market similarly priced equipment. Before hefounded Boulder, Jeff Nelson worked in film sound inHollywood, where he met Deane Jensen, who developed astate-of-the-art gain stage called the 990 circuit. This becamethe basis of the 993 module, which lies at the heart of the 2000Series electronics. The 2008 employs three 993s per channel,plus an additional gain circuit, called the 995, for low-level MCsignals. A separate chassis houses the independent power-sup-plies: one for the relays and one each for the left and right chan-nels and for the logic circuitry.


The three inputs come witheasily removable “Personality”cards, one for moving magnets andtwo at 100 ohms for moving coils.Two additional cards are providedfor those who wish to solder intheir own resistors to match anygiven MC exactly. There are twopairs of outputs, and a provisionfor connecting a demagnetizerthereafter available with the pushof a button. All connections are balancedonly (this is true of all Boulder products). The frontpanel has buttons for power, mute, demag, input selection, mono(hooray!), a low-cut filter (5, 10, 20Hz, or Out). Finally, there arethree equalization selections: RIAA and two custom slots for asmany as three optional cards.

Nelson’s philosophy is as anti-minimalist as it gets.According to Van Allen, “The fewest parts in the signal path canwork well under ideal conditions, but not where you don’t havecontrol over everything. Jeff’s designs can be taken out into theworld and hooked up into any system, any product, any config-uration and they will work, assuming they’re being used for thefunction they’re designed to be used for. And they will work formany decades, a minimum of fifty years.” The principal differ-ence between the 1000 and 2000 Series is not in the circuitry orthe topography, which is mostly identical, but in the execution.In place of all discrete circuitry and components, the 1000 Seriesemploys a combination of discrete transistors and microcircuit-ry. Power supplies are internal (those in the 2000 line external),their feet less complex in their damping and isolation character-istics. According to Van Allen, 2000 Series components will notbenefit from any after-market power cords or isolation feet orplatforms; they are self-contained, to be used as is.

The 1012 preamplifier is a full-function unit designed toperform as both a state-of-the-art analog and digital preampli-fier. In addition to its phono input (a switch selects 47kOhmmm or mc, fixed at a sensible 100 ohms), there are three otheranalog inputs. There are also three AES/EBU and one TosLinkdigital inputs. A substantial part of the 1012’s circuitry isdevoted to an exceptionally sophisticated digital-to-analog con-verter. Again, there’s not space to detail the circuitry, nor do Ihave the technical competence to do so. Suffice it to say that the1012’s DSP employs a proprietary algorithm, called rathercoyly “upandoversampling,” that sends, in Van Allen’s words,“the maximum number of bits that the DAC can handle to theconverter. If it’s a regular CD, we bring it up as far as possiblewithout choking the DAC. The algorithm effectively makes a16-bit word length 24-bits; then we resample it with anothermathematical algorithm—it’s the same technology thatenhances digital photography—from 44k to 705k per second,all done as one process. It was the most powerful DSP we couldfind at the time of the 1012’s design, and it’s still one of the fastest and most powerful.”

I can address only the sonic manifestations. With theBoulder being fed by the transport of Sony’s SCD-XA777ES, Ihave heard no finer reproduction of standard digital sources inmy system this side of the Elgar. As with everything else fromBoulder, the paramount impression is of peerless control, clari-ty, transparency, immaculate separation of line and texture, insum, less “stuff” between you and the music. What makes theElgar better? The dCS removes virtually any trace of electron-ics as such. Even with the best sources, the 1012, outstandingthough it is, doesn’t quite achieve that, but then neither hasany other Red Book digital reproduction in my system. Myonly other observation is that with some less than good sourcesI occasionally found myself wishing that discretion constituteda greater part of its valor.

The Boulder 1012 is my idea of a near-ideal preamplifier,its features and ergonomics so intelligently thought out theyshould become the textbook for the rest of the industry. Theonly reason for that “near” is the absence of a mono switch.Despite its complexity, the 1012’s operation is so intuitive Iused it for days before consulting the manual. A large illumi-nated display, with adjustable brightness, lets you read all set-tings from across the room. A beautifully machined handsetaccesses volume, balance, polarity, mute, and source selection.Balance and volume pots move in 0.5dB steps, the volume pothaving a hundred increments. Until you’ve enjoyed a balancecontrol like this one, you have no idea the precision of imaging


that is possible no matter where you sit. The 1012 allows youto assign a name to each input, which appears in the displaywhen you select it, and also to equalize levels among the inputs.When you switch from digital to analog, the digital electron-ics are turned off. According to Van Allen, “it’s the high speedclocks that create the noise, so what is turned off are the clocks,the DSPs, and the D/A converters. All that stays on is the front-panel display.”

I feel a bit silly using the word “bargain” in reference to asingle component that costs this much, but in the context ofsuper-expensive equipment the 1012 really does constitute anamazing deal. Consider that so-called state-of-the-artlinestages, D/A converters, and phono preamps these days seemto start at four to five thousand, that few (if any) can boast com-parable performance (and virtually none comparable build), andthat this preamplifier combines three true state-of-the-art com-ponents into one chassis—suddenly that sixteen grand seemsconsiderably less outrageous (the dCS Elgar alone is $12,000,Boulder’s own 2020 DAC $34,000).

2

If I have left little space for the 1060 amplifier, it is becauseI don’t have much to say about an amplifier that seems to do itsjob perfectly. At 300 watts a channel, class AB, completely dualmono, with some of the most sophisticated and effective pro-tection circuitry built into any amplifier, it drove every speak-er I hooked up to it as if it weren’t there. In my system, it per-formed far, far better, especially with respect to neutrality andaccurate tonal balance, than a competing amplifier costingalmost twice as much (and to which the adjective “revolution-ary” has been ludicrously applied).

These Boulder products are for all practical purposesbeyond criticism in the normal sense of the word. Would I buythem for myself? The easy answer is that I can’t afford them.But that’s a feeble dodge to a serious question. When they weretaken away and I hooked up my Quad 99 preamp to theCarver/Croft amp, I initially missed some of the Boulders’ fan-tastic detail and superhuman control. But within a day, espe-cially once my old units, turned off for several months, hadwarmed up, I was enjoying music with no frustrated longingfor “something better.” Indeed, this setup has a quite wonder-ful neutrality and musicality that I’d be hard-pressed to give upfor any amount of money.

Perhaps the most honest answer would be to say that, alongwith the dCS Elgar, Boulder’s are the first and only stratos-pherically-priced audio components that I’d be tempted to buyif I could afford them. But even then, being a music lover first,an audiophile second, I could think of other, better things to dowith the money, such as—sticking strictly to enjoyment ofmusic—a concert tour of several of the musical centers ofEngland and Europe, where my wife and I could hear theVienna and Berlin Philharmonics, the AmsterdamConcertgebouw, the London Symphony, not to mention the

great opera houses, all with a transparency, naturalness, dynam-ic range, width and depth of soundstaging, and freedom fromdistortion that are more like the real thing than any reproduc-tion because they are the real thing.

Of course, no audio components could withstand such acomparison, though these Boulders would certainly come upmuch less wanting than almost all others. Even if you can’tafford them, I urge a serious listen, if only to hear for yourselfwhat can be done with electronics not just now but more thanlikely in the foreseeable future. Nelson designs them, and guar-antees their performance, for literally a lifetime of music repro-duction. Nothing I heard during the several months I was priv-ileged to use them suggests there is the slightest hint of ironyor hyperbole in that statement. &

SPECIF ICAT IONS

2008 Isolated Phono Preamplifier

Gain: mc: 64 or 54dB; mm: 44 or 34dB

Input impedance: mc: 1000 ohm; mm: 47kOhm

Dimensions: 18" x 5.25" x 15.5" (main and power supply each)

Weight: N/A

Boulder 1012 DAC Preamplifier

Inputs: Three balanced line level, one phono

Outputs: Two balanced main, one balanced record

Features: Sampling rates: 32, 44.1, 48, 88.2, 96kHz (AES/EBU)

Upandoversampling: 32, 44.1, 48kHz; 16X, 88.2, 96kHz

DSP Speed: 1GFLOP, 167MHz clock

Dimensions: 10" x 5.75" x 15.75"

Weight: N/A

1060 Stereo Power Amplifier

Power output: 300W per channel into 8, 4, or 2 ohms

Dimensions: 18" x 9.5" x 22.5"

Weight: 140 lbs.


SME Model 20/IVvi; Dynavector Karat, Sumiko Blue Bird, and Ortofon

cartridges; Phonomena phono stage; Quad 99 and Placette Audio pre-

amps; Quad 909, Sunfire Signature and Architect’s Choice, and

Carver/Croft amps; Sony STD777ES and Quad 99-CDP CD players;

Quad 988, Sonus Faber Amati, and Spendor S3/5 and S3/5SE speak-

ers; Audio Physic Minos and REL Studio 3 subwoofers; Kimber,

Hovland, and Nordost cables and interconnects

M A N U FA C T U E R I N F O R M A T I O N

BOULDER AMPLIFIERS

3235 Prairie AvenueBoulder, Colorado 80301 (303) 449-8220 www.boulderamp.com Prices: 2008 Isolated Phono Preamplifier: $29,000; 1012 DAC

Preamplifier: $16,000; 1060 Stereo Power Amplifier: $19,000

2Those who believe that stand-alone CD players are preferable to transport/DAC sepa-rates can rejoice. By the time this reaches print, Boulder will have made the 1012 avail-able sans DAC as the 1010 for $11,000.


After listening to the recordings evaluated here, andmany that aren’t, I’ve come to the conclusion thatthe art of engineering multichannel sound remainsyet in its infancy. And I don’t believe that many ofthe record companies are doing us any favor in fail-

ing to describe the surround techniques you’re going toencounter on their discs.

For one thing, with the exception of Telarc’s SACDissues, Channel Classics’s work, and some of the most recentmultichannel recordings from the Big Boys, many so-called“surround” issues are simply remixes of eight (or more) trackmasters. That is, they were not specifically conceived to makethe most of the surround experience. That some of themdo—I am thinking here of Columbia’s Bernstein reissues, theSam Cooke disc, and the Chailly Messiaen Turangalila—is atribute to the intelligence of the remix producers and engi-neers. Still, you never really will know, necessarily, how someof these discs are meant to be heard. Unless there is goodcause for it, I don’t see the point in remixing just to putinstruments or voices in the rear speakers (as Decca has doneon its complete La Bohème or DG on its reissue of Bernstein’scomplete West Side Story).

We also have the tantalizing prospect of hearing some of thelast century’s Golden Age recordings in their three-channeloriginals, vide, the review of Antill’s Corroboree on Everest. AndI regret that certain three-channel originals, i.e., Columbia’sBernstein series, couldn’t have been engineered for a straighttransfer of the mastertapes, despite the care and skill with whichthese, and four of that company’s old Quad recordings, havebeen rejuvenated. Just because we have six channels to play withdoesn’t mean we always have to use them. (I have included thedates of the Bernstein sessions so you can identify the recordingtechnology then in use. See the review for specifics.)

There is also a lack of standardization when it comes to thedeployment of the channels and with certain exceptions almostno recording notes to let you know how to adjust the levels ofthe respective channels. Telarc lets you know it uses the so-called subwoofer channel to carry ambient information; Chesky,on the other hand, with its unique system of encoding, tells yousquat. Ditto for Columbia and most of the others. “They thinkit’s too expensive to insert a sheet of notes with the discs,”according to one well-placed guy in the industry. It seems tome that this kind of corporate penny-pinching is antithetical to

the promotion of a new recording process, and certainly not inthe best interests of the music lover or audiophile.

I thought of giving our readers the settings I used for themost natural playback of the discs under discussion, butthought again when I came to the conclusion that no two lis-teners were likely to have the same spatial distribution oftheir speakers or even similar room acoustic characteristics.All I can say is, for almost all of the recordings I’m reviewinghere, you shouldn’t hear anything from the rear speakers otherthan hall ambience.

I had hoped to have the space to update my generalthoughts on surround sound and the equipment available tohear it at its best. There still is no player on the market thatrecording professionals recommend for best DSD sound, save fora discontinued Philips 1000 (as modified by electronics whiz,Ed Meitner). Meitner’s quite expensive decoder, the DAC-6, isbeyond the reach of most, but well worth the investment, shortof the day when his technology will find its way into commer-cial units.

For these reviews, I used the Meitner gear, a SunfireTheater Grand III A/V preamp/control center (soon to giveway to sessions with a Meitner control unit), Nordost SPMReference, Quattro Fil, and Blue Heaven cabling, and twoPlinius solid-state amplifiers (the SB300 and the Odeon), aswell as three surround speaker setups: an Alón system basedaround the new Lotus Elite Signature and LCR models, aCoincident Speaker Technology system built around its TotalVictory and Total Eclipse Center speakers, and a Magnepansystem based on 3.6s as main speakers, a CC3 center channel,and a pair of MG-MC1 surrounds. I’m sure you won’t be sur-prised to learn that the last two of these systems worked bestin Room One in Sea Cliff, with the dipolar back-channelMaggies giving an incredibly good sense of hall ambience.

Surround Sound in Action: The RecordingsA Cross Section of Some Hits (and Misses)

h p ’ s w o r k s h o p

We have the tantalizingprospect

of hearing some of last century’s

Golden Age recordings in their

three-channel originals....


The Super Surround Discs

Antill: Corroboree. Villa-Lobos: The Little

Train of the Caipira. Ginastera: Estancia;

Panambi. Sir Eugene Goossens, London

Symphony Orchestra. Bert Whyte (prod. &

eng.). DSD version: David Baker (prod.);

Tracy Martinson (eng.). Everest/Vanguard

Classics VSD 512.

T his is the recording that has blown the socks off every-one for whom I have played it. And interestinglyenough, it’s a straight transfer from the Everest original

three-channel tapes, done without alteration of the originals,electronic or otherwise. Which means we have just threechannels up front, no surround, and no low-frequency effects(or ambience) channel.

The Antill and Ginastera pieces were recorded on half-inchmasters by Bert Whyte at Walthamstow Assembly Hall inLondon in the late 1950s, theVilla-Lobos on 35mm magneticfilm, whose use Everest pio-neered. And so we find, partic-ularly in the case of the Antill,a recording at least 45 years oldand a sonic hair-raiser so spec-tacular you’d think the tapeswere made yesterday. We alsocan hear, quite clearly, the dif-ference between the sound oftape and 35mm. To these ears,the 35mm sound is etched andforward—not bad, mind you,but considerably different from the top-octave response of tape,which I prefer, and so will you when you grab up this disc.

The Antill ballet has long been around, and on both SuperLP and CD lists; but two channels just don’t do its complexi-ties justice. With a true third and center channel, you get aclarity of delineation within orchestral textures and between itssections that lets you hear deeply into the complex scoring. Thedynamic range is staggering, confirming what those familiarwith mastertape sound have always said: that LP and CD arebut “lite” imitations of what was recorded. This, as we shall see,has provocative implications.

Corroboree, a ballet, is an orchestral interpretation ofAustralian aboriginal ceremonies that throws in a few nativeinstruments, especially the ultra-low-frequency bull-roarer(inaudible in other transfers, but very much present here if yoursystem goes down really far), in the wilder moments of the finale(which is, of course, the house-buster I play for visiting poten-tates). There is extensive percussion, which floats, as it does inthe concert hall, above and separated from the main ensembleforces; a gong crash that will rivet you into undivided attention;

and a widescreen cross-stage tympani attack in the last secondsthat ends the composition with a most satisfying bang.

My first reaction was to ask Sony’s Colin Cigarran, whosupplied me with most of the initial SACD issues (includingthis one, of which he was justly proud) whether there were anymore Everest three-channel issues forthcoming. I was fantasiz-ing about Whyte’s recordings of Khachaturian’s Gayneh, Falla’sEl Amor Brujo, the spectacular Stravinsky Petrouchka, evenVanguard’s The Weavers at Carnegie Hall. (Vanguard owns therights to the Everest catalog.)

Which set me to thinking. During the late 1950s, almosteveryone was using a three-track recorder. The thinking thenwas that multichannel, when it came, would be a three(upfront) speaker affair. The pack was led by Mercury, followedby RCA, Everest, Vanguard, and, yes, even Columbia, i.e., theNew York crew, people who made up a close-knit communityof technicians who then shared the now quaint belief that thebest (classical) sound was the one that most nearly captured theconcert experience.

Cigarran told me that since the (recent) death of Vanguard’sSeymour Solomon, its cataloghad passed into someone else’scontrol, so we could expect noimmediate three-channelreleases. And whether or notSony can persuade the currentowners of the RCA andMercury catalogs to releasethree-channel recordings oftheir catalogs is an issue yet tobe resolved. (There is an onlinemovement afoot to rouse HighEnders on behalf of a campaignto have these old three-tracks

transferred, exactly as recorded, to the multichannel medium.)I have no idea what kind of politics has to be played out,

but if we could get the original Mercury and RCA three-track recordings issued with the same skill and integrityevinced in this Everest issue, think of the joy in Mudville.Think of what such a move would do to further the cause ofmultichannel music.

The originals as they were meant to be heard: Dorati’sFirebird, Reiner’s Scheherazade, Munch’s Berlioz, Paray’s Saint-Saëns’ Organ Symphony—the prospects seem almost celestial. Ofcourse, this would put SACD on the map in the high-end com-munity and, I believe, lead to its universal acceptance as thepremier surround medium. Or just maybe the forces behindDVD-A multichannel will get the drop on the DSD folks.(Keep in mind that I have not begun my DVD-A explorations.These sessions will be in progress by the time you read this.)

And so: If only one of the multichannel discs I commend toyour tender mercies could be called indispensable, this onewould be it. A sonic-super—make that supersonic—thrillerthat foretells great things that could yet come to pass.

I have no idea what kind of

politics has to be played out, but if

we could get the original Mercury

and RCA three-track recordings

issued with the same skill and

integrity evinced in this Everest

issue, think of the joy in Mudville.


Bernstein in “Surround” Sound

All of these recordings were conducted by Leonard Bernstein andplayed by the New York Philharmonic. Most were originally producedby John McClure, save for The Planets, which was produced byRichard Killough. The SACD remixes were produced by Louise de laFuente and engineered by Richard King. Most were recorded atManhattan Center, save for the Copland Billy the Kid, which wasrecorded in Boston’s Symphony Hall, the Britten Sea Interludes,recorded at Columbia’s 30th Street Studio in Manhattan, and theHolst Planets, recorded in Avery Fisher (né Philharmonic) Hall,prior to its many sonic modifications.

Tchaikovsky: Symphony No. 4; The Nutcracker Suite. Sony 87982.

The Symphony was recorded in 1973. The Nutcracker in 1960.

Copland: Appalachian Spring. El Sálon México. Billy the Kid.

Rodeo. Sony 987327. Rodeo was recorded in 1960. Billy the Kid

in l959. Appalachian in 1961. El Sálon Mexico in 1961.

Britten: Four Sea Interludes (from the opera Peter Grimes). Holst:

The Planets. Sony 87984. The Holst was recorded in l971. The

Britten in l973.

N ever let it be said that Leonard Bernstein’s death beforethe second coming of surround sound was a deterrent tohis resurrection in multichannel. The earliest recordings

in this Sony reissue come from three-track masters, and thelast—the Holst and Britten—from eight-track originals. EvenDG has gotten into the act with a recent multi-remix ofBernstein’s complete West Side Story, the curious hybrid withthe leads sung by opera stars (who sound wrong and much tooold for the characters they play), made curiouser by splayingvoices all round you in the rear.

The thing that took me by surprise about these versions ofthe original Columbia LP issues was just how good some of theoriginal “mastertapes” were, purely in terms of fidelity andwidth of frequency and dynamic range. The LPs were cut fromtwo-track production tape mixdowns that had been juiced upby the head of the original recording team, John McClure,whose ear I had thought bordered on the metallic (tin), giventhe sound we could then hear. Little did I know (even though Ihad my suspicions) that, at the corporation’s insistence, thecommercial releases were eq’d to adhere to Columbia’s housesound of the time—that is, no extreme bass, sharply boostedand equalized highs, compression limiting, and so on. Had tosound “good,” thought the in-house geniuses of the day, oncheap equipment. But as it turns out, many of McClure’s mas-tertapes are quite respectable, a few better than that. The faultlay not necessarily in his ears, m’dears, but in the productiontapes he turned out, at Columbia’s insistence.

What Sony insisted upon, to showcase its new SACD pro-cessing, was that these Bernstein’s issues be remixed employing

all six channels, instead of, Vanguard-like, just adhering to themiking of the originals, which, in this case, would have meantthat most of these issues would have been three-channelsupfront like the Vanguard Corroboree. The bigger surprise hereis how skillfully, subtly, and, most importantly, tastefully, pro-ducer Louise de la Fuente and her engineer, Richard King, havemanaged to “sweeten” the sound to suggest an authentic six-speaker sonics. The rears and the low-frequency effects channelare discreetly used to suggest both ambience and sometimesjust a touch more low-frequency bang for the buck, the kindyou get from the best multichannel recordings, even those thatdo not use the LFE speaker for added bass. In the case of thesixth, or so-called “.1” track, the team used orchestral funda-mentals below 120Hz (at reduced levels) to enrich the sound,and it works—because the low bass sounds the way it does in agood hall. Understand that, in other hands, such reprocessingcould become a joke. As it has with the DG West Side Story.

Columbia, now Sony, has gone through three “periods” ofrecording. First, a three-track era from 1957 to the late 1960s;then in the early 1970s, it was four-track quadraphonic; andafter, and until now, multitracks, starting with eight channels.In this instance, the Copland and Tchaikovsky come from three-channel originals, the others from either four-channel quadra-phonics or the multitracks. On the quad recordings, where therewas no center channel, de la Fuente and King derived a centerby using a bit of left- and right-channel information.

Understand that, these kind words about McClure aside,few of his recordings of Bernstein are anywhere near the state-of-the-art, but because Bernstein was a creature of intense per-sonal loyalties, he stuck with McClure, despite McClure’sstring of mediocrities. (The only one I can readily think of is hisrecording, for DG, of the complete Bizet Carmen.) Many ofthese were, after all, recorded in Manhattan Center, a cow barnof an auditorium (now owned by the Moonies and used forwrestling spectaculars) that has a quite reverberant tilted-upcharacter (and is highly susceptible to downtown Manhattantraffic noises), although what you hear much depends on howthe microphones were placed. In this case, closer is better. Thebest sounding of the bunch is the Copland Billy the Kid, record-ed in an empty Symphony Hall in Boston, although, truth totell, the Britten and the Tchaikovsky aren’t far behind in qual-ity. The Tchaikovsky and Holst recorded in the much-despisedPhilharmonic Hall don’t sound half bad. Who knew?

For example, Copland’s El Sálon México is quite impressive,with its huge bass drum, even if Manhattan Center’s ambient

1 If you do not have the Meitner decoder, the DAC-6 and a Philips deck, all of these recordings will sound far less attractive in the upper frequencies.


signature lends a mild boost to the range in which much of thepercussion falls.1 The sound is forward and vivid. And who canbeat Bernstein doing Copland? Nobody, methinks.

Interestingly enough, that bass drum has all but disap-peared from the Rodeo reading, which has more distant mik-ing and thus more of the singularly unattractive reverb char-acteristic of Manhattan Center. That reverb lends an “edge” toforte sections that will remind you why we never boughtColumbias back when. It was that traffic noise outside theCenter in lower Manhattan that sometimes tempted the engi-neers to whack off the bottom end of the bass spectrum. Onthe right surround speaker system, the Tchaikovsky Fourthsounds pretty good, and the studio-recorded Britten SeaInterludes are beauties. I had hoped that Bernstein’s classicreading of Appalachian Spring would be similarly rejuvenated,but really, for all of the de la Fuente/King magic, it couldn’tbe rid of its froggy original sonic.

As with so many SACD recordings, a careful adjustment ofthe output levels of your speakers can sometimes work nearwonders. With these, you’ll want to run the rear channels downa bit, and perhaps, depending on your listening room’s acoustic,take the bass up a decibel or two (in my system, I keep the bassthree to four decibels down from reference level). If things geta bit too tweety-pie, you can back off a step or two in the cen-ter channel.

You’ll want these discs for the Britten, some of theCopland, and the Tchaikovsky. His Nutcracker and the Fourthare played to a fare-thee-well by a much less finely tunedPhilharmonic than we have around these days. Surely nodancers outside of The Matrix could keep up with the tempi ofthis Nutcracker. I am not much impressed with the Holst (hatedthe Saturn movement and that door-bell-like chime Bernsteinused at the conclusion), though I really like the way Uranus andJupiter came off. I’d guess Bernstein recorded this as a sop ren-dered unto some Columbia commercial edict. But Bernstein isstill Bernstein, and he is “actualized” on these in better soundthan you could have heard on discs during his prime. One thingseems certain: There will never be better realizations, on disc,of his artistry in these sessions.

Bach: The Four Great Toccatas and Fugues. E. Power Biggs (organ).

Andrew Kazdin (orig. prod.); Hellmuth Kolbe; Raymond Moore, Ed

Michalski (engs.); SACD: Louise de la Fuente (prod.); Richard King

(eng.). Sony 87983

H ere is a wonderfully crazy disc.Columbia sent its team, back inl973, at the height of the four-

channel quadriphonic craze, to Freiberg,Germany, whose cathedral boasts fourseparate organ manuals at four places inthe church. All can be played from one

central console. And even though the four organs are not locat-

ed in the four corners of the church, Kazdin and his teamrecorded them as if they were. (The liner notes will show youthe actual position, and you could replicate those positions ifyou care to heave your speakers hither, thither, and yon.)

Biggs, an organ popularizer who had more than one best-selling disc 30 years (or so) ago, has never had much of a repu-tation in the circles of those devotees of the instrument whoknow their stuff. (They called him E. Bower Pigs.) But it can’tbe said he isn’t fun to listen to if you don’t know any better, andon this disc, there is that—fun.

The cut I used to demonstrate a key point of the surroundexperience is the last on the disc, the Fugue from the Toccata,Adagio and Fugue in C Major [BMV 564]. The point, made to meby Telarc’s Robert Woods some time ago, was that you reallyhaven’t heard a pedal point’s pressure wave until you hear it insurround. Boy, was he ever not kidding. The piece starts outinnocently enough, with the main melody of the fugue up front.But as it progresses, you can hear the other manuals joining inaround you. A fugue in 4-D. Which makes Bach’s scoring per-fectly clear. But just you wait: As we near the final moments,low and lower pedal points enter the sonic soundstage as theoverall volume of sound increases (with no distortion) untilthere are some low-frequency pulses that not only shake theroom, but you and your innards as well. If you are mischievousand have the money, you can throw in a couple more subwoofersin the back of the room and really come close to replicating whatwe might, half-wittingly, call The Power of the Organ.

Sam Cooke at The Copa. Al Schmitt (orig. prod.); Bernard Keville

(eng.). Recorded live July 7 and 9, l964. Restoration and 5.1

remix by Steve Rosenthal of The Magic Shop; Bob Ludwig (mas-

tering). ABKCO 99702.

T he big shock you’ll get from thisrecording, particularly if you lis-ten in the dark, is just how

incredibly “real” Sam Cooke’s voicesounds. This may well be the most life-like recording of a human voice I’veheard—ever! It is so good, it’s almost

scary. If multichannel sound can attain and adhere to this kind ofrealism, then it really will become the sonic advance that it mustbe to decisively improve on the best two-channel stereo.

The recording was made at Manhattan’s Copa, in those daysthe premier nightspot for a rising young artist. (The originalCopa, alas, is long gone. And so is Cooke.) Cooke had failed atthe Copa the first time around, and this time, he came bril-liantly prepared, and with a stunning back-up band. RCA’sBernard Keville, underrated in his day, was on hand to capturethe sonics during the two concerts from which this disc isderived. You won’t have a problem telling which session iswhich, because on the one, Cooke’s voice sounds frayed andhoarse (the second night?) and the band somewhat more dis-tantly miked. These are not the cuts that are the killers. It’s the


ones made when his voice was fresh and his “presence” moredynamic—for example, his renditions of “When I Fall in Love”and the knockout punch “Twisting the Night Away” duringwhich you’d swear you can “feel” his gyrations to the music.

Rosenthal’s genius in this restoration/remix lies in thecanny way he uses the new medium. The back channels,which I expected to be filled with nightclub noise, aren’t. Justthe right touch of ambience from behind to complete the illu-sion that you, too, are there.

I received this note from Colin Cigarran of Sony when Iwrote to tell him how impressed I was with the recording,and it bears repeating: “When we demo-ed it in Chicago for alistening party with about 250 invited guests (many of whomare in Sam’s immediate and extended family), I saw somethingI never would have ever imagined at a SACD demo; it actual-ly made people get up out of their seats and begin dancingspontaneously. It was incredible. About 25 people just got upand rushed near the front speakers and all began twisting to“Twisting the Night Away” and were having the greatest time.Needless to say, this enthusiasm made the whole room erupt

into one giant dance party. It was just amazing.”An essential SACD issue for anyone who wants to hear the

potential of the multichannel medium and a surefire demo discto convince the skeptical that there may be reason to rejoice.Who knows? You too may wind up doing the twist, once again.

Higdon: blue cathedral (cq). Barber: Symphony No. 1. Copland:

Appalachian Spring. Theofanidis: Rainbow Body. Robert Spano

(cond), Atlanta Symphony Orchestra. Elaine Martone (prod); Jack

Renner (eng). Telarc SACD 60596.

L et’s get the sonics out of the way atthe outset. This disc, like manyanother SACD issue these days, is

not sonically consistent. For example, onthe Bernstein/Copland SACD issue wetalked about above, there aren’t two cutsthat sound alike. And even though each

of the cuts on this Telarc disc does share the basic features of thecompany’s house sound (more so than the Sony issue), there is onecut, and unfortunately the Barber, that sounds less transparent,cloudier, and more veiled than the other three. Those constitutea showcase for good sonics and they have considerable trans-

parency and impact, and perhaps they are the best examples ofstate-of-the-art surround per se. I did some checking with mysources in Atlanta to see if Telarc had changed its basic mikesetup during the two sessions (April and September) and learnedthat only Jennifer’s Hidgon’s work was recorded separately. Theother three were recorded in a session on April 12 and, accordingto sources there, the mikes weren’t moved. Both the Theofanidisand Copland works are up to Telarc’s standard of excellence—andboth, particularly the Theofanidis, are of demonstration discquality. So, pondereth I, what happened?

There was no change in the weather. So it pretty much hadto be a change in the orchestra itself or the orchestration. Andsure enough, the Barber requires more players; and given the (rel-atively) small size of the stage in the Woodruff hall, those extraplayers made the difference between a thick cloudy sound and thetransparent one bestowed on the other two pieces. To wit: theCopland performing forces: two flutes, piccolo, two oboes, twoclarinets, two bassoons, two horns, two trumpets, two trom-bones, timpani, percussion, harp, piano, and strings.

Barber performing forces: three flutes, piccolo, two oboes,English horn, two clarinets, bass clarinet, two bassoons, contra-bassoon, four horns, three trumpets, three trombones, tuba, tim-pani, percussion, harp, and strings.

If the mikes had been moved somewhat further back for theBarber, who knows what might have been the sonic result?

Why is all this important? Because the use of additionalchannels in the recording of sound means you are going to hear,with ever-increasing precision, into the recording venue itself,indeed, into the recording process. Things you can get away within two-channel stereo will be nakedly exposed with the addi-tional sound sources. As an arresting aside, and from an sonical-ly educated observer on the scene, Telarc producers (Martone andBob Woods) use headphones to check the orchestral detail andthey listen to a two-channel mix, one that Telarc’s engineers(Renner and Michael Bishop) mike separately from the multi-channel mix, a wrinkle added to their recording brew about twoyears ago. Telarc’s folks, our observer reports, have learned that aconvincing stand-alone two-channel recording cannot be mixeddown from a multichannel setup. The engineers, when inAtlanta, do have a sound system for playback in the controlroom, and switch their attention from the two-channel mix tothe surround one. When the SACD hybrid discs are released,they contain the two separate recordings of the same session, nota mixdown from the surround.

What this suggests and one of the themes of these reviews isthat the recording professionals are still in the process of discov-ering how to make multichannel recordings that demonstrate themedium’s strengths.

Back, at last, to the music. I was hoping that Spano would breathe fire into the Barber

symphony, the kind that so infused the old Mercury/HowardHanson reading, the touchstone for this terrific one-movementwork (actually, you can hear three in the one). In some respects,the Barber reminds me of some of Bartók’s nervy edginess and

This may well be the most realis-

tic recording of a human voice

I’ve heard—ever! It’s so good,

it’s almost scary.


that, rather than sheerly coloristic touch-es, ought to be the driving force behindthe piece. The Copland, beautifullyrecorded and played, is missing panache(the sort of thing Bernstein could providewith both conducting hands tied behindhim). And it is missing the sense ofatmosphere, the pure lyricism, you’ll findon the old (and classic) RCA/Koussevitskyrecording. It’s decent enough, mind you,but nothing special, which is what we’dexpect of Spano. That Spano shows up forthe Theofanidis piece, which has quitestriking sound, with a bass drum to knockyour fillings out, but seems to me to belike Crumby George on a bad day. Thecomposer in this instance is writing varia-tions on a theme by Hildegard vonBingen, the medievalist tunester. It startsnowhere, and, to these ears, goes nowhere.

The genuinely striking piece on thedisc and the one worth buying it for is theJennifer Higdon work, entitled blue cathe-dral. Higdon has written a concerto fororchestra for the Philadelphia, whichTelarc will record with Atlanta after thisyear’s September performance there. Muchgrinding of molars for the Philadelphi-ans, who commissioned the piece, butwho languish without a recording con-tract. The piece was a succès d’éstime whenperformed there. (It was also played atTanglewood’s New Music Festival thissummer.) Higdon’s liner notes about hershort piece (12 minutes) are as moving asany I’ve read from a composer.

She wrote it in memory of heryounger brother who died of melanoma.He was a clarinet player; she, a flutist; andthe piece is something of a dialoguebetween the two instruments as they pro-ceed down the aisle of a glass cathedralhigh among the clouds. The flute, towardthe work’s end, fades away and the clar-inet, alone, quietly plays into eternity.

Wonderful wonderful sound Rennergave this work, down to the 60 Chineseexercise balls that the string section play-ers shake at a critical moment. (If you’venever heard these, you should; they shim-mer.) If you let your imagination runwild, you too can walk down that aisle andsee and hear what they see and hear.


Messiaen: Turangalila Symphonie. Chailly (cond). Concertgebouw.

Andrew Cornall (prod); John Dunkerley (eng). Decca 470-627.

T his is, just maybe, the one orches-tral DSD recording that bestshows the virtues of excellent sur-

round sound. Not only does the record-ing have wider dynamic range than I’veheard from any digital encoding, it alsohas an equally expansive frequency spec-

trum. The low bass is nothing short of the sensational, and thehigh percussion and Ondes Martenot2 float in the realistic-

sounding spaces afforded by Amsterdam’s Grotezaal. The pro-ducer’s notes about the remix for multichannel are illuminat-ing. He and his engineer decided to run much of the game-lan-like percussion section up your listening room’s left wall,while the Ondes float eerily free on the right. The soundsaren’t behind you, but rather in a deep semi-circle close towhere you sit. It makes musical sense given the density ofMessiaen’s complex scoring, and allows you to hear “into” thepiece as no conventional two-channel recording ever could.

The use of additional channels in the recording of sound means you

are going to hear with ever-increasing precision into the recording

venue itself, indeed, into the recording process. Things you can get

away with in two-channel stereo will be nakedly exposed.

2 An electronic descendant of the Theremin that uses a keyboard and sounds like a dis-turbed angel’s wail.


Whether you’ll be able to abide Turangalila and its tenmovements is strictly up to you. This recording, by Chailly, isthe most convincing of the work, even better than the oldPrevin/EMI sonic spectacular and far ahead of a too limpidOzawa/RCA effort of days long ago. (I heard the Philadelphiaplay this live at the Academy of Music, thanks to Dr. Quint,once upon a time. Andrew Davis was at the helm, helpful in hisexplanations of how the symphony functions.) But I have totake the symphony in doses (about half at a sitting) because thework is just too rich to absorb in one shot, unless you’re hear-ing it live. Messiaen’s lushness is like falling into a pool ofvanilla Haagen-Dazs ice cream, and as much as I like ice creamI don’t often feel inclined to swim in it. But you certainly won’twant to pass up a strong dose of the sonics here (try cuts oneand six). They are revelatory. And a sensation.

Recommended, Without Reservations:

Baroque Music: For Brass and Organ. Empire Brass Quintet;

William Kuhlman (organ). recorded live at Iowa’s Luther College.

Robert Woods (prod.); Robert Friedrich (eng.). Telarc SACD

60614.

I f the opening Purcell (the basis forBritten’s Young Person’s Guide) doesn’tthrill you out of your socks, then you

need to readjust your surround system.There’s nothing quite like multichannelto give you the feel of a large organ’spressure waves. Whether this sort of

music, per se, gets you in your jollies, who can say?


Don’t Bother:

Norah Jones: Come Away with Me. Blue Note Records 72435-

411747.

S he deserves better than the thin,anemic, and utterly unspectacular5.1 sound she gets here.

Stravinsky: Petrouchka. The Firebird Suite. Sir Charles Mackerras

(cond.). London Symphony. Vanguard Classics VSD 506.

T he liner notes will give you fair warning: And we quote:“Petrouchka is an eight-track recording…the concept forthe recording was to create a recording heard from the

vantage point of the conductor. In order to make a more plau-

sible balance from the listener’s point ofview, certain instruments, such as thedrums and piano, were placed to the rearof the conductor, so that effectively, onthis disc, the conductor and the listeneras well are placed literally in the center ofthe orchestra.” Reminiscent of the disas-

trous Andrew Kazdin/Columbia Bartók Concerto for Orchestra,which used four-channel quad to immerse the listener amongthe instruments.

Tchaikovsky: Piano Concerto No. 1. Francesca da Rimini.

Christopher Seaman (cond.). Rochester Philharmonic Orchestra.

Olga Kern (piano). Harmonia Mundi HMU 807323.

T his doesn’t even come close to the stunningRachmaninoff Concerto Harmonia Mundi recorded inRochester not long ago, a recording that did justice to

the wonderful acoustics in the same hall Mercury once used.It isn’t good surround, and it has the earmarks of a recording


made without the use of Ed Meitner’s brilliant DSD encod-ing/decoding equipment. What a disappointment. And not avery electric interpretation of the Tchaikovsky, either.

Sibelius: Symphony No. 2. Tubin: Symphony No. 5. Paavo Järvi

(cond.). Cincinnati Symphony Orchestra.

D ry acoustics. Somewhat veiledsound. You would have thoughtJärvi would bring something spe-

cial to the Sibelius as he has done for somany other north European composers,including the Tubin done here.

Mozart: Night Music. Andrew Manze (cond.). The English Concert.

Harmonia Mundi HMU 807280.

A gain, messy highs, like SACD can be without theMeitner magic touch. And on these old instruments, it’sexcruciating.

AUDIO MAGIC STEALTHSI would like to thank Chris Martens

for taking the time to listen to theStealths; he is a true professional.However, I am going to use the oldexcuse that we manufacturers use: Aftertalking with Wayne Garcia it came tomy attention that Chris was under theimpression I did a full burn-in beforesending the Stealths, when in fact, I hadnot done a full cooker-burn. The Stealthsstill required 300-500 hours of hard loadtime; Chris cooked them for a week (168hours), still 200-300 hours short ofrequired time. The Mini dig usuallyburns in 100 hours sooner than the bigStealth, so this would explain the resultsChris got. I’m just sorry Chris reallynever heard the Stealths. After selling500 units or more, I’ve learned, and mycustomers would agree, they are a bear tobreak-in, but when they do it’s heaven.Perhaps a follow-up review is in order tojustify my claims. As for the cosmetics,yes, they are modest boxes (which by theway aren’t exactly cheap) but most of theeffort was put inside the Stealths (I pre-fer performance over looks any day). Ifyou want both worlds, I guess the retailcould be jacked up...nah.

JERRY RAMSEY, AUDIO MAGIC

RICHARD GRAY POWER COMPANY1200S POWER CONDITIONER

We thank Chris Martens for includ-ing us in his power conditioner surveyand are delighted at the positive resultsachieved with the RGPC 1200S in hisreference system. He raises two issuesthat we want to address for the benefit ofyour readers.

The “moderate break-in” time of theRGPC unit that Chris refers to is actual-ly needed for the components pluggedinto it and not the RGPC unit itself. Allcomponents on the same circuit requiretime to adjust to the more laboratory-grade of current, and within 15 to 30minutes users will begin to notice thepositive effects on their equipment.

Chris does advise correctly that werecommend plugging basic poweramplifiers directly into AC wall outlets.This is an option for the consumer toconsider and one we recommend becauseall components plugged into the sameAC circuit receive Richard Gray’s non-current limiting, parallel powerenhancement whether or not they areplugged into an RGPC unit. Since thetwo inductors within the RGPC 1200Shave no sonic signature of their own, webelieve the audible difference heard byChris is merely the additional minimalresistance of the six-foot power cord.Many amplifier manufacturers who rec-ommend plugging their equipmentdirectly into a wall outlet, and never intoa current limiting, traditional “powerline conditioner,” recommend RGPCbecause their amplifiers can be pluggeddirectly into the wall yet still receive theparallel RGPC benefit.

Again, thanks to Chris. His conclu-sion that the unit was “pure magic” saysit all!

DICK MCCARTHY, PRESIDENT,

RICHARD GRAY’S POWER COMPANY

THORENS TD850 TURNTABLEWe would like to thank Mr. Harrell

for taking the time and effort to reviewthe TD850. Since the release of the ini-tial production run, we also discoveredthe speed variances. The TD850, like allthe 800 series products, includes anexternal power supply that has the abili-ty to fine-tune the platter speed. Wehave found this adjustment to changeafter shipment due to vibrations andsuch, and the current versions are lockedin more precisely, solving the low speedproblem. In addition, the TD850 is nowavailable in both a Silver or Black finishand with the TP300 arm or without anarm ($1599) with an optional, add-ondust cover. The three polymer-dampedfeet are precision-adjustable for precisetable-leveling.

BRIAN ANDERSON


M A N U F A C T U R E R C O M M E N T S


Handel: Rinaldo. Vivica Genaux (Rinaldo),

Inga Kalna (Armida), Miah Persson

(Almirena). Freiburger Baroque Orchestra,

René Jacobs, conductor. Martin Sauer,

producer; René Möller, engineer.

Harmonia Mundi 901796.98 (3 CDs)

Handel: Aci, Galatea e Polifemo. Sandrine

Piau (Aci), Sara Mingardo (Galatea),

Laurent Naouri (Polifemo). Le Concert

d’Astrée, Emmanuelle Haïm, conductor.

Daniel Zalay, producer; Jean Chatauret,

engineer. Virgin 45557 (2 CDs)

The rediscov-ery of Han-

del’s Italian oper-as is among thegreat legacies ofthe Baroque re-vival. Their glo-ries are easilyheard in this newpair of releasesrevealing thegenius of a com-poser still in hisgreen twenties.

Rinaldo is a prime example. A“magic” opera full of special effects (thepremiere featured sparrows released overthe heads of the audience), it’s a complextale of love set during the Crusaders’ssiege of Jerusalem. All the ingredients ofstirring spectacle are here: Christiansand Muslims (including sorcerers ofboth persuasions pitted against eachother), brave warriors, a captive princess,and much more. Handel’s music burstswith life, especially in this vividly per-formed version by René Jacobs and afaultless cast.

Jacobs pulls out all the stops—wide-ly varied tempos and dynamics, fierceattacks, free embellishments, vibrantpercussion, and over-the-top soundeffects. It’s invidious to single out indi-viduals other than the leads, but eventhose put off by countertenors should

enjoy Lawrence Zazzo’s full-voicedGoffredo. Leading the cast is the viva-cious Vivica Genaux, a mezzo singingthe castrato role of Rinaldo in a voicefull of color and expression, with truck-loads of personality and exciting highnotes. Miah Persson is an excellentAlmirena, Rinaldo’s love interest.Though Persson is superior to theaggressive Cecilia Bartoli in theHogwood set, it is Inga Kalna as Armidawho almost steals the show. As theMuslim sorceress, she tears into heropening “Furie terribili” and flauntsdazzling coloratura fireworks in her bigscene at the end of Act II. A greatrecording of a great opera.

Written a few years earlier, in 1708,Aci, Galatea e Polifemo is a cantata forthree voices—really a chamber opera,not to be confused with Handel’s latermasque on the same subject, the EnglishAcis and Galatea. Both are based on themyth from Ovid’s Metamorphoses depict-ing the ill-fated lovers and the jealousgiant Polifemo, whose unrequited lovefor Galatea triggers tragedy.

Again, terrific sing-ing and lively conductingmake this rarity must lis-tening for Handelians.Polifemo requires a basswith an incredibly widerange; here he’s sung bybaritone Laurent Naouri,who ranges from treble Ato a convincing low Dwhile fully encompassingthe complex feelings rag-ing within the giant.Sandrine Piau is a wonder-ful Aci; her high-flyinglyric soprano eloquentlydepicts the brave butdoomed lover. TheGalatea, Sara Mingardo, isthe star of the show, herrich alto packed withpower and emotion.

Emmanuelle Haïm conducts the crackperiod-instrument group with spot-onpacing and keeps the drama moving.Sonics (except for some awkward internalbalances) are fine, but Harmonia Mundi’ssound for Rinaldo is outstanding—allthose colorful sound effects (e.g., windmachine) and bird chirps register; thepercussion has bite and excitement; andthe voices are true. DAN DAVIS

Sibelius: Rondo of the Waves. Fragments

from a Suite. The Oceanides. Seven Early

Works. Lahti Symphony, Osmo Vänskä,

conductor. Robert Suff, producer; Ingo

Petry, engineer. BIS 1445

This compilationof orchestral

rarities—all butthe famous Ocean-ides in recorded pre-mieres—vividlyillustrates the evo-

lution of Sibelius the practical musicianfluently turning out serviceable occa-sional pieces into Sibelius the uncom-

Classical Caps

m u s i c c l a s s i c a l

Conductor Rene Jacobs


promising, austere, hyper-critical per-fectionist who finally succumbed to self-imposed silence when he felt he could nolonger live up to his own exalted stan-dards. Cassation, Music for a Scene,Coronation March, Romantic Piece, Marchof the Pori Regiment, Cortège, and the gor-geous Spring Song are all distinctly minoralbeit skillful and enjoyable efforts fromaround the turn of the century. Part oftheir interest, in addition to unfailingmelodic appeal, is in how they mixfamiliar Sibelian trademarks withuncharacteristic ideas that the moremature composer would jettison fromhis musical arsenal. Touches ofTchaikovsky, Dvorák, Bizet, Chabrier,the Johann Strausses, and others flitcasually by as if returning from a pleas-antly inebriated fin de siècle dinner party.

But by 1914 Sibelius had long

achieved his own, utterly individualvoice. The struggle now was to createonly masterpieces in that voice, with theresult that the composer experimentedwith two preliminary versions of the sea-inspired tone poem that was to becomeThe Oceanides. These fascinating test runsare entitled Fragments from a Suite andRondo of the Waves. Both are shorter andless developed than the exquisite finalversion, the Rondo more impressionistand prismatic, as if Sibelius had to re-calibrate his response to Debussy intackling this subject. The Oceanides thatwe’ve come to know and love—Sibelius’s greatest tone poem until thevaledictory and ineffably elusiveTapiola—is more lucid, more shapely,more dramatic (with the billowy“storm” music moved back, to become aclimactic culmination). Like all of

Sibelius’s best music, it seems somehowmore discovered than written. In short,the composer expanded and tinkeredand reordered and refined until he had afar better composition. But that, myfriends, is what makes a genius: he keepson working when others would havebeen satisfied with less.

Osmo Vänskä and the LahtiSymphony play Sibelius like they ownhim—which, considering this is the fifty-first volume of BIS’s ongoing completerecorded Sibelius edition—they prettynearly do. The recording takes full advan-tage of the clear, warm, spacious acousticsof the Lahti Sibelius Hall. It’s airy, imme-diate, detailed, dynamic, and tonallyresplendent—ideal for this Nordic mas-ter’s sensuous, majestic, and meltinglylovely paean to the water nymphs ofancient Greece. MARK LEHMAN



Prokofiev: Romeo and Juliet. Royal

Philharmonic Orchestra, Vladimir

Ashkenazy, conductor. Andrew Cornall, pro-

ducer; Colin Moorfoot, Michael Mailes,

engineers. Decca B0000226

Prokofiev: The Stone Flower. BBC

Philharmonic Orchestra, Gianandrea

Noseda, conductor. Mike George, producer;

Stephen Rinker, engineer. Chandos 10058

Prokofiev wasnot really a

great composer ofsymphonies. Histalents as a melo-dist and orchestra-tor with a uniquelyoriginal style andpenchant for shortdances are bettersuited for ballet.He has actuallybeen called a suitewriter, as opposed

to Shostakovich, the symphonist. Romeoand Juliet is probably Prokofiev’s greatestscore. It is a long way from the formerenfant terrible’s Scythian Suite, but thegrand symphonic scope and seeminglyendless melody punctuated by dazzlingorchestration and gentle dissonancesmake it the natural modern successor tothe great Tchaikovsky ballets. LorinMaazel’s brilliantly engineered versionwith the Cleveland Orchestra (Decca)provides the ideal combination of drama,rhythmic precision, and lyrical beauty.Andre Previn (EMI) and DmitriKitajenko (Chandos) emphasize theromantic elements at the cost of losingmuch of the excitement and dynamiccontrast inherent in the music. Prokofievextracted three orchestral suites, andmany others of varying length have beenrecorded. Riccardo Muti’s (EMI) flam-boyantly performed and garishly record-ed version of music from Prokofiev’s firsttwo suites presents a dazzling display ofthe Philadelphia Orchestra’s virtuosity,but Michael Tilson Thomas (RCA) hasarranged the best collection of excerpts.His lengthy suite concentrates more onthe plot and still makes an effective con-

cert piece. MTT plays it lean, light, andgenerally fast, and the sound is excellent.

Vladimir Ashkenazy established hiscredentials as an interpreter of Pro-kofiev’s ballets with a translucently engi-neered digital recording of Cinderella,also with the Cleveland Orchestra(Decca). His approach to Romeo and Julietis generally similar to Maazel’s, andpreferable to Previn and Kitajenko.However, neither he nor the RoyalPhilharmonic Orchestra can matchMaazel and the flawless execution of theCleveland Orchestra in performance orsound. Ashkenazy’s rhythms are margin-ally more flaccid; the hairpin dynamicsare missing; and, surprisingly, he tendsto rush the love music at the end of ActI. Decca’s sound is more opaque, glassy,and just plain digital. It lacks the analogbloom and sharp transients clearly evi-dent even on the digital remastering ofMaazel’s analog original. Ashkenazy issolid, but Maazel is special.

The Stone Flower will not be mistakenfor Romeo and Juliet. The silly plot is a farcry from Shakespeare; themelodic content and evenmuch of the orchestrationare feeble when comparedto Prokofiev’s masterpiece.Nevertheless, it has itsmoments. The strikingorchestral coloring (brassand winds) for the theme ofthe Mistress of the CopperMountain contrasting withDanilo’s simple melodycombine to make an out-standing prologue. “Sever-yan’s Death” concludingAct 3 generates a level ofpower reminiscent of primeProkofiev. There are a fewother interesting newdances mixed with materiallifted from previous works,but not enough to justifyrepeated hearings of thecomplete ballet.

Gianandrea Noseda ispresently Principal Con-

ductor of the BBC Philharmonic. Hewas presumably exposed to Russian bal-let during a previous stint as PrincipalGuest Conductor at the MariinskyTheatre. The sound is big and bold inthe usual Chandos manner, with hugeinstrumental images within a hyper-reverberant soundstage. Noseda and theengineer do all they can for a painfullylong score that only rarely approachesthe level of Romeo and Juliet.

ARTHUR B. LINTGEN

Eighth Blackbird: Thirteen Ways. Judith

Sherman, producer and engineer. Cedille

Records 90000 067

The six youngmusicians of

Eighth Blackbird—flute, clarinet, vio-lin/viola, cello, pi-ano, and percussion—started playing

together as undergraduates at Oberlin inthe mid-1990s. They’ve since won anumber of prestigious awards, have


Eighth Blackbird

toured extensively, and are currentlyensemble-in-residence at two Chicagouniversities. On the evidence of ThirteenWays, its first commercial recording,Eighth Blackbird may be the most vitaland accomplished chamber group com-mitted to contemporary music toemerge since Peter Serkin’s Tashi morethan a quarter century ago.

The sextet offers four works byAmericans of three generations. Theelder statesman here is George Perle (b.1915), who wrote Critical Moments 2 forEighth Blackbird in 2001: nine briefand finely limned movements that fullyexploit the expressive and coloristicpossibilities of this particular instru-mental combination. Perle still worksin the rigorous academic style in vogue50 years ago, but don’t be put off—thepiece rewards close attention andrepeated hearings. The other well-known composer represented is JoanTower (b. 1938) whose 1980 Petroush-skates was arranged for EighthBlackbird by Allen Otte. This six-minute piece successfully combines,believe it or not, Tower’s love of bothStravinsky and figure skating—“a sortof musical carnival on ice,” according tothe composer. David Schober’s (b. 1974)Variations is dramatically charged,employing an advanced musical syntaxincluding some of Olivier Messiaen’s“modes of limited transposition.” (Idon’t think I’ve ever before encounteredanother composer who actually utilizedthe late Frenchman’s ingenious harmon-ic system.) Variations is a highly absorb-ing work for which no program is pro-vided—or required.

The disc concludes with the half-hour-long Thirteen Ways by ThomasAlbert (b. 1948), based on WallaceStevens’s set of poems Thirteen Ways ofLooking at a Blackbird (from which thegroup takes its name). Albert creates 13aphoristic movements, each preceded byStevens’s verse that is recited by the sixartists. The imagery is striking in itsclarity yet laden with meaning, and themusic is quite evocative. The styleranges from John Adams-like minimal-ism to tender tonal lyricism; composi-tional materials include the Fibonacci

series of numbers and (very subtly) theaccompaniment to The Beatles’s“Blackbird.” But none of these factorsregister as you attend to this compellingand very beautiful music.

The six players are all young mastersof their instruments. The sound isdetailed and uncolored, with the pianoproperly scaled and positioned behindthe other musicians. Percussion hasimmediacy and loads of character.Urgently recommended. ANDREW QUINT

Chopin: Piano works. Ivan Moravec, piano.

Todd Landor, producer; Tim Martyn, engi-

neer. Vox 7908

Mozart: Piano Sonatas, Fantasy in D

minor. Alfred Brendel, piano. Martha de

Francisco, producer; Jean-Marie Geijsen,

engineer. Philips 473689

Schubert: Three Piano Sonatas. Murray

Perahia, piano. Andreas Neubrenner, pro-

ducer; Christian Starke, engineer. Sony

87706

Now in his early70s, Ivan Mor-

avec, treasured byaudiophiles andpiano buffs alikefor his famousC o n n o i s s e u rSociety LPs thatwedded greatsound to legendaryperformances, isback in the record-ing studio. Record-ed in vibrant son-ics, Moravec’s newall-Chopin recitalis not to be missed.He illustrates hismastery of the elu-sive art of rubato,displaying won-

drous keyboard touch and control alongwith infinite degrees of shading anddynamics.

His interpretations are like no oneelse’s but remain faithful to themusic’s spirit and letter, making thatold warhorse, Chopin’s B flat minor

Sonata, sound fresh, even its “FuneralMarch” movement. There, he neverwallows in sentiment, giving thequiet, almost hesitant, middle sec-tion’s frail beauties an emotional wal-lop by flanking it with a spare, meas-ured tread in the march. The FourthBallade is marginally more cogentthan his 1963 version; the Berceusesparkles; a trio of Mazurkas is full oflife. Best is the great F minor Fantasie,which can seem episodic but here is astightly knit as a “fantasy” can be. It’splayed with the magisterial command,dramatic power, and weight befittingperhaps the greatest of all Chopin’sworks.

Another choice release by a veteranpianist is Alfred Brendel’s new Mozartdisc. At 72, he’s embarked on a new,more exalted career stage, his probinginterpretations now enhanced by agreater communicativeness that paysspecial dividends in Mozart, whosedeceptive simplicity cloaks deepercurrents. In concert and on discs, histone is now rounder, his poeticimpulses more fully developed, histendency to didactic interruptions ofthe musical flow virtually banished.

This is apparent in the D minorFantasy, K. 397, where he venturesinto the composer’s depths with adirectness and gravity matched in thethree sonatas—the hybrid F major, K.533/494 and the great A minor, K.310, where his nuanced playingeclipses his earlier recordings, and theD major, K. 311. The disc teems withspecial delights such as Brendel’s gor-geous singing slow movements, histelling use of Mozart’s apt pauses inthe K. 311, and the relaxed, naturalphrasing and runs in the F majorsonata. This is by far Brendel’s bestsolo Mozart recording, enhanced bybeing one of the few that realisticallycaptures his actual sound and timbre.

Recently, Murray Perahia has alsoscaled higher peaks of interpretiveinsights. His new set of Schubert’s lastthree piano sonatas displays beautifultone (he never resorts to banging, evenin the most acerbic loud passages),crystal-clear articulation, and a new




rhythmic tautness. The D. 958 and D.959 sonatas are the highlights on thisCD, Beethovenesque in their sweep andpower. In the wrenching Andantino ofthe A major Sonata, D. 959, one of themost hair-raising depictions of thebreakdown of rationality ever written,Perahia’s approach may seem coollyclassical, eschewing the unbridledRomanticism more commonly heard,but his restraint actually intensifies itsemotional power. The last of the trio,the great B flat minor, D. 960, disap-points. Perahia differentiates the firsttwo long, slow movements but at thecost of making the Sonata’s first move-ment sound glib. Despite stunningpianism and a stirring finale, it seemsan interpretation still being formedrather than a full-blown statement. Butfresh sonics and two first-rate readingsout of three make this highly recom-mendable. DD

SACD

Rainbow Body. Barber: Symphony No. 1.

Copland: Suite from Appalachian Spring.

Theofanidis: Rainbow Body. Higdon: blue

cathedral. Atlanta Symphony Orchestra,

Robert Spano, conductor. Elaine Martone,

producer; Jack Renner, engineer. Hybrid

multichannel. Telarc 60596 (Sonic rating: 9)

These days, Robert Spano is the mosttalked about American conductor of

his generation and the Atlanta orches-tra’s playing is consistently world-class.The upward trajectory of this partner-

ship continues on the follow-up to theirGrammy-winning A Sea Symphony.Spano and Atlanta give us Rainbow Body:something familiar (the Barber), some-thing very familiar (the Copland), andtwo immediately appealing new compo-sitions. The entire program has a youth-ful freshness and a distinctly Americanflavor. Samuel Barber wrote his FirstSymphony at 25, a 20-minute essay inone movement that’s concise, yet stillRomantic in scale and outlook. Spano’sreading is propulsive, with lovely sym-phonic textures. His Appalachian Springis a highly contrasted and emotionallypotent performance, worthy of consider-ation alongside Bernstein’s 1961 record-ing (now available as a Sony multichan-nel SACD). The opening pages featurebeautiful instrumental balances and col-ors, and a great sense of expectancy; thefaster sections are emphatic and rhyth-mically pointed. The final rendering of


RECORDING

O F T H E

I S S U E


“Simple Gifts” towards the end is noble,without seeming overblown.

The two recent works, fromChristopher Theofanidis (b. 1967) andJennifer Higdon (b. 1962), are both pow-erful and knowingly constructed piecesthat utilize a sophisticated but fully acces-sible harmonic language. For RainbowBody the melodic material derives, thecomposer tells us, from the chant ofHildegard von Bingen—yet it seems toshare some genetic material with a centraltheme from its Copland disc mate. It’sexpertly scored, rising to a glorious con-clusion. Higdon aims for a musical esthet-ic as big as the outdoors with her bluecathedral: “I found myself imagining ajourney through a glass cathedral in thesky.” This moving and dramaticallyshaped work was commissioned to honorthe 75th anniversary of the CurtisInstitute but also serves as a tribute toHigdon’s prematurely deceased youngerbrother—there are moments of lovingdialogue between clarinet (his instru-ment) and flute (Higdon’s).

The surround mix is conservative forTelarc—and very successful. It’s like astereo recording, but the most dimen-sional two-channel recording you’ve everheard. Rear channels are sonically invis-ible; the soundfield extends from wellbehind the front speakers to a point justin front of the listening position. There’sgreat dynamic impact and a satisfyingbottom end. The treble is a bit soft but,increasingly, I’m wondering about therole of my Sony player in this regard. AQ

Paris: La Belle Époque.

Massenet: Meditation from

Thaïs. Fauré: Sonata, Opus

13. Saint-Saëns: Havanaise.

Franck: Sonata in A Major.

Yo-Yo Ma, cello; Kathryn

Stott, piano. Steven Epstein,

producer; Richard King,

engineer. Single-layer multi-

channel. Sony 87287

(Sonic rating: 6)

Gathering these fourstaples of the late-

Romantic French reper-toire under theheading of Paris—La Belle Epoque isYo-Yo Ma’s way oftrying to distractattention from hisgreedy appropria-

tion of violin territory: Every-thinghere was originally written for thesmaller, brighter, more agile instru-ment, though the Franck was tran-scribed for cello over a century ago andhas long been considered a cello stan-dard. Ma himself transcribed the otherthree items.

In truth, the glorious FranckSonata, with its vaulting melodies andrichly glowing, stained-glass chromati-cism—a work of august nobility andcelestial splendor—does nicely with thecello’s baritone replacing the violin’ssoprano. It benefits from the largerinstrument’s greater warmth and regalease in sustaining long, mellifluouslines. The cello conveys the high-mind-ed Victorian sentiment of Massenet’scelebrated Meditation just as well, butseems a bit cumbersome for the fleeterSaint-Saëns and Fauré; this is painfullyevident, despite Ma’s superb virtuosity,in the allegro vivo Scherzo of Fauré’sOpus 13 Sonata. One wonders why Macouldn’t have chosen one of Fauré’s twoperfectly fine cello sonatas.

Amazingly, there is competition forthe Franck Sonata—in the cello version,no less—on multichannel SACD. PieterWispelwey, with pianist Paolo Giaco-metti, performs it on Channel Classics

18602 (along with a Schumann pieceoriginally for horn and the Brahms FirstViolin Sonata also arranged—absurd-ly—for cello). Yo-Yo Ma on Sony ismore tightly focused and more intense,with cello attacks noticeably more inci-sive; Wispelwey on Channel Classics issmoother, sweeter, more introspectiveand atmospheric. These are two of thefinest cellists in the world today, bothwith distinguished accompanists, andboth enjoy engineering that adds therefinement, ambience, depth, and full-ness at which SACD multichannelexcels. That said, I prefer the Wispel-wey, both the playing and sonics. Therecording has a magic that simply drawsme deeper into the music, and, in therapturous central recitativo-fantasia—surely one of the most sublimely beauti-ful movements in all of Western artmusic—Wispelwey casts an enchant-ment that holds me transfixed everytime I listen. ML

Beethoven: Symphony No. 5. Symphony

No. 7. Vienna Philharmonic, Carlos

Kleiber, conductor. Werner Mayer and

Hans Weber, original producers; Andrew

Wedman, new stereo and surround mixes.

Hybrid multichannel. Deutsche Gram-

mophon 471 639 (Sonic rating: 6)

Puccini: La Bohème. Angela Gheorghiu

(Mimi); Roberto Alagna (Rodolpho). La

Scala Orchestra and chorus, Riccardo

Chailly, conductor. Andrew Cornall, produc-

er; Jonathan Stokes and Philip Siney, engi-

neers and SACD mix. Hybrid multichannel.

Decca 470 624 (Sonic rating: 3)

Kleiber’s mid-1970s Beet-

hoven symphonyrecordings are rich-ly deserving oftheir “classic” sta-tus—at the sametime emotionallydirect and sensitive,nuanced, full ofsubtle shadings andinflections. Theopening movementof No. 5 is furious,


Conductor Robert Spano


a rhythmic juggernaut; the subsequentAndante con moto alternates flowinglyricism and an imposing weightiness.The finale blazes triumphantly. All fourmovements of Symphony No. 7 are trulyballetic. After an eloquently shapedintroduction, the main body of the firstmovement has a joyous stride, as Kleiberintroduces small accelerandos that con-tribute to the headlong rush. TheAllegretto unfolds with an organicinevitability while the concludingAllegro con brio has an infectious swing.

If the multichannel here sounds alittle synthetic (which, generated frommultimiked tapes, it is), it’s tastefullyexecuted, with a sensible amount ofreverberation in the rear channels. Iactually prefer the stereo program—there’s more than enough spaciousnessin the two-channel mix. The SACD has

less of a bite and edge to the stringscompared to the LPs (especially withNo. 5), but there’s as much air, andinstrumental signatures are just asappealing. The SACD version is at leastthe equal of the vinyl with dynamics;both the LPs and SACD are way aheadof the CD reissue (in DG’s “TheOriginals” series) in terms of refinementand lack of grain.

To the best of my knowledge, this1998 Bohème is the first full-length operato appear in surround sound on SACD orDVD-A. While the performance won’teclipse De los Angeles/Björling/Beecham or Freni/Pavarotti/Karajan, itis an excellent one, strongly cast wellbeyond the superstar leads. Chailly leadswith a terrific sense of dramatic impetusand attention to orchestral color. TheDSD remastering characterizes the voic-

es beautifully. But the multichannelpresentation disappoints. Mostly, thesingers are positioned in front of theorchestra, and that’s OK—I can acceptthis perspective as a “concert” perform-ance (even though a more ambitiousengineer might have taken a stab at por-traying vocalists on a stage and orchestrain a pit between them and the listener).But episodically, voices appear in thesurround channels in misguidedattempts at staginess. Take, for instance,Mimi’s entrance in Act III when shepops up, coughing consumptively andthen singing in the right rear channel,moving over the course of about 10 sec-onds up to the front. It’s irrational,annoying, confusing, and ultimatelyderails the dramatic flow of the action. Alow grade for this one, sonically, for set-ting a bad example. AQ



George Lloyd: Fourth Symphony, “Arctic.”

Albany Symphony Orchestra, George Lloyd,

conductor. No producer credits. Albany

Records TROY 498 (Sonic rating: 6)

Roy Harris: Symphony No. 2. Morton

Gould: Symphony No. 3. Albany Symphony

Orchestra, David Alan Miller, conductor.

Gregory Squires, producer and engineer.

Albany Records TROY 515 (Sonic rating: 6)

William Schuman: Credendum. Concerto

for Piano and Orchestra. Symphony No. 4.

Albany Symphony Orchestra, David Alan

Miller, conductor; John McCabe, piano.

Gregory Squires, producer and engineer.

Albany Records TROY 566 (Sonic rating: 8)

All: Hybrid Stereo.

If ever composersfulfilled Arnold

Schoenberg’s reas-surance that there’sstill plenty ofmusic to be writ-ten in good old Cmajor, it’s the fourrepresented on thissuperb trio ofSACDs from Al-bany Records. De-spite considerablestylistic differ-ences, their musicis tonal, themati-cally and/or rhyth-mically driven,and traditional inform and struc-ture. You’d even

be forgiven for using the word “old-fash-ioned,” inasmuch as their aesthetic isromantic in the sense that they clearlybelieve music must be about somethingbeyond itself: feelings, emotions, ideas,places and things, stories and dramas.

The British composer George Lloydis the most conservative—almost reac-tionary. If you weren’t told his “Arctic”symphony was written over a four-yearperiod after his ship was struck by a tor-pedo in the North Atlantic during theSecond World War, an incident that left

him physically impaired and emotionallytraumatized, you wouldn’t guess it fromthe music. Almost unvaryingly pretty,the symphony evokes the British pastoralidiom of early Vaughan Williams,Moeran, even Grainger; only the mostbenignly dissonant chords darken hori-zons otherwise blue and sunny. There aresome epic ambitions that aren’t quiterealized, the span of the last two move-ments rather exceeding their inspiration.During his career, Lloyd was criticized forhis conservatism and for lacking a gen-uinely individual style, charges the“Arctic” by no means escapes. All thesame, filled with “big tunes” so belovedof early-to-mid-Twentieth CenturyBritish composers, it affords much pleas-ure if you just allow yourself to bask in itssensuous warmth and sunlight. TheAlbany Symphony Orchestra, conductedby the composer, plays with great convic-tion and the 1989 recording is rich inatmosphere, with a very accommodatingdynamic range.

Whatever else you might say aboutthe three Americans here, they are cer-tainly not lacking in stylistic individual-ity, Roy Harris and William Schumanespecially. Harris’s Second and MortonGould’s Third Symphonies both sufferedtroubled births that resulted in pre-mieres of compromised versions. DavidAlan Miller, Albany’s music director,reinstated the many cuts Harris himselfmade under duress and restored Gould’soriginal fourth movement. The Harrisdoesn’t represent his best work, its ideasrather too insistently stated, but it cer-tainly deserves this fine performance.The big surprise is the Gould Third, animaginative piece, full of sharp wit andmordant irony, with one of the mostinventive scherzos written by any com-poser of the last century. Known mostlyfor pops-oriented scores, Gould plainlyhad some chops as a serious composer(his greatest advocate was DimitriMitropoulos, no less).

Schuman’s solid craftsmanship anddisciplined manipulation of classic formsare all the more remarkable given that henever heard a classical concert until hewas nineteen. The compositions in thiscollection are three-movement structures

(typically fast-slow-fast), characterized byhis uniquely New York kind of electricenergy. Credendum is a strong declamatorywork scored for huge orchestra with aug-mented brass, wind, and percussion(including steel plates), while the PianoConcerto (John McCabe the probingsoloist) is a moving chamber piece. Theintense Symphony No. 4, much admiredby Copland, begins in somber tones andends with a flourish in the form of—shades of Schoenberg—a C major chord.

Released in SACD but derived fromstereo PCM sources, the clean, transpar-ent recordings ideally mediate proximityand soundstage, with superior definition.The Schuman, in particular, is of refer-ence quality. The Albany plays with ded-ication, skill, and an apposite bite to thesonority, while Miller’s conducting isrhythmically incisive and expressivelyalert. These are two of the most impor-tant recordings of modern Americanmusic in recent years. PAUL SEYDOR

DVD-A

Elgar/Payne: Symphony No. 3.

Bournemouth Symphony Orchestra, Paul

Daniel, conductor. Andrew Walton, produc-

er; Tony Faulkner, engineer. Naxos

5.110003 (Sonic Rating: 5)

Shostakovich: The Bolt. Jazz Suites Nos. 1

& 2. Tahiti Trot. Russian State Symphony

Orchestra, Dmitry Yablonsky, conductor.

Lubiv Doronina, producer; Aleksander

Karasec, engineer. Naxos 5.110006

(Sonic Rating: 8)

When AnthonyPayne’s “elab-

oration” of thesketches for Elgar’snever-completedSymphony No. 3—and its first record-ing, from AndrewDavis and the BBCSymphony Orch-estra—burst ontothe scene five yearsago, two questionswere frequently



raised. First, (given the composer’s well-known, if ambivalent, deathbed pro-nouncement in 1934 that no one should“tinker” with his unfinished opus) shouldit have been done? And second, as it hasbeen done, how good was it? Theanswers, to most fair-minded listeners,seem to be “yes” and “quite good.” TheElgar family ultimately supported theproject, and Payne’s 55-minute cre-ation is remarkably coherent, especiallyif you consider that he had a lot less togo on than Deryck Cooke did for hisperforming version of Mahler’s Tenth.The composer’s spirit pervades everypage; both the Edwardian stolidity anda Wagnerian harmonic richness—asjust one example, take the strivingmelody that serves as the first move-ment’s second subject. The darklysomber Adagio solenne is quite success-ful; the finale, which required the mostinventiveness on Payne’s part, offerscharacteristic marching figures and asoulful hymn-like theme that sticks inthe mind long after the piece ends. PaulDaniels conducts with feeling andinsight, and the Bournemouth orches-tra is a full-voiced and technicallyaccomplished ensemble. This perform-ance isn’t that far off the standard set bymy current favorite, Colin Davis (onLSO Live).

The material on the ShostakovichDVD-A may come as a revelation tothose who know the composer frommonumental symphonies and anguish-ed, encrypted string quartets. Shosta-kovich, in fact, had a real affinity forpopular idioms; but if all the music hereis on the lighter side, none of it is triv-ial. (Well, maybe Tahiti Trot, an arrange-ment of “Tea for Two” that Shostakovichorchestrated in 40 minutes on a bet, isn’tone for the ages.) Best is the eight-movement suite from The Bolt, a tale ofindustrial sabotage—scintillating, tune-ful, and brilliantly scored, utilizing thelanguage of the First Symphony and TheAge of Gold. The two Jazz Suites areimmediately appealing as well, thoughdon’t expect evocations of DukeEllington or Charlie Parker: What weget is more like Offenbach and KurtWeill. The more substantial Suite No. 2

was assembled by the composer fromvarious film scores, ballets, and theaterworks, and includes a waltz used promi-nently in the final Stanley Kubrick film,Eyes Wide Shut.

Both DVD-As were original multi-channel recordings (a stereo version isincluded as well, of course, along with

5.1 MLP, DTS, and AC3 programs). TheElgar’s surround sound is no moredimensional than a good two-channeleffort, and instrumental textures aren’tespecially refined. But the Shostakovichdisc is a real winner, sonically as well asmusically—very atmospheric and spa-cious, yet loaded with detail. AQ


The Best in New-Format Software(All titles multichannel unless otherwise noted)

SACD

Bach: The Four Great Toccatas and Fugues. Biggs, organ. Sony 87983 (9) (TAS 143)

Patricia Barber: Modern Cool. Mobile Fidelity Hybrid Stereo 2003 (8) (TAS 137)

Beck: Sea Change. Geffen 0694935372 (9) (TAS 141)

Big Brother and the Holding Company: Cheap Thrills. Legacy 65784 (8)

John Coltrane: Soultrane. Mobile Fidelity 2020 (8) (TAS 143)

Sam Cooke: All the ABKCO Remastered Collection Hybrid Stereo titles (review this issue)

Dvorák: Symphonies 8 & 9 (Fischer). Philips 470 617 (9) (review, TAS 142)

Exceptional Masterpieces. Combattimento Consort. Bona Nova 10011 (9) (Golden Ear, TAS 139)

Bill Evans: Waltz For Debby. Analogue Productions Hybrid Stereo 9399 (8) (TAS 136)

Alison Krauss: Now That I’ve Found You. Rounder Hybrid Stereo 0325 (9) (Golden Ear, TAS 139)

Love & Lament (Cappella Figuralis). Channel Classics 17002 (9) (TAS 137)

Natalie MacMaster: In My Hands. Rounder Hybrid Stereo 7025 (8) (TAS 137)

Mahler: Symphony No. 1 (Tilson Thomas). SFS Media 0002 (10) (TAS 139)

Music of Turina and Debussy (Lopez-Cobos). Telarc 60574 (9) (TAS 135)

Art Pepper: Meets the Rhythm Section. Analogue Productions Hybrid Stereo 7532 (8) (TAS 140)

The Police: Outlandos d’Amour. A&M Single-layer Stereo 493 602 (8) (TAS 141)

Poulenc: Concerto for Organ. Linn Records CKD 180 (9) (TAS 138)

Rainbow Body. Barber. Copland. Theofanidis. Telarc 60596 (9) (review, this issue)

The Rolling Stones: All 20 ABKCO studio records and collections. ABKCO Hybrid Stereo (TAS 138)

Rossini: Famous Overtures (Marriner). PentaTone 5186 106 (9) (TAS 142)

Saint-Saëns/Tchaikovsky/Bruch: Cello Works. Channel (10) (Golden Ear, TAS 133)

Stravinsky/Brahms: Violin Concertos (Hahn). Sony 89649 (8) (Recording of the Issue, TAS 135)

Vaughan Williams: A Sea Symphony. Telarc 60588 (8) (TAS 138)

DVD-A

Deacon John’s Jump Blues. AIX 81004 (9) (review, this issue)

Grateful Dead: Workingman’s Dead. Warner Brothers 78356 (9) (TAS 135)

Mickey Hart: Best Of: Over the Edge and Back. Rykodisc 10494 (10) (TAS 137)

John McEuen and Jimmy Ibbotson: Nitty Gritty Surround. AIX 80008 (8) (TAS 135)

R.E.M.: Automatic for the People. Warner Brothers 78175 (8) (TAS 140)

John Williams: A.I. Warner Brothers 48096 (9) (TAS 135)

Zephyr: Voices Unbound. AIX 80012 (10) (Golden Ear, TAS 139)

Key: Number in parenthesis refers to sonic rating, with 10 being the best


Randy Weston: Randy Weston. Jack

Lewis, Lee Kraft, Teddy Reig, original pro-

ducers; Michael Cuscuna, reissue produc-

er; Malcolm Addey, remastering. Mosaic

Select MS-004 (3 CDs; Mail order only:

www.mosaicrecords.com)

Randy Westonis a tall man

who takes thelong view—overother people’sheads, toward amother conti-

nent, or another time. When he emergedin the 1950s, no American jazz musicianhad more African pride, or acted morelike the ’20s Harlem Renaissance wasstill in full swing. Langston Hugheswrote his liner notes—and lyrics, whichPorgy and Bess/Carmen Jones star BrockPeters sang (like a lugubrious Ellingtonbaritone, alas). Weston took piano les-sons from Thelonious Monk, from whomhe learned how to really reduce his mate-rials. He hired father-of-the-saxophoneColeman Hawkins for a 1959 quintetdate. He was world music before thatwas a bad idea.

This three-CD mini-box includesfive 1957-63 albums for four labels—including Little Niles for sextet, Live atthe Five Spot with Hawkins and KennyDorham, plus a newly issued 1960 datewith Ron Carter, Roy Haynes, and barisaxist Cecil Payne (whose incisive tim-ing and dark sound make him a perfectfit). Weston has written some enduringtunes, here including “Little Niles,”“Kucheza Blues,” “Congolese Child-ren,” and “Hi Fly” (reprised, all butunaltered, as “204”). Each has a strongmelodic/rhythmic hook, those two ele-ments fused. (That sounds like Monktoo.) “Nice Ice” plays with a plain ris-ing and falling major scale, anticipat-ing jokey Carla Bley.

Weston’s a terrific pianist, a drumchoir. Like Monk he picked up on

Ellington’s starkness: the combinationof jabbing attack, sturdy no-frillschords, and lines voiced octaves apart.He likes Monk’s broken tumbles downthe keys too, but Weston has his ownlong-legged lope. The trio date Piano-a-la-Mode includes a standout “Honey-suckle Rose,” where he recasts thebridge as an ascending series of fastrepeated notes, a witty rewrite thatleaves the original intact. (Connie Kay’schiming-cymbals solo’s a beaut, too.)

Trombonist Melba Liston arrangedevery session with multiple horns, fromquintet up, using Monkish adjacent-notedissonances to make the mid-size bandssound bigger. That said, she brings outWeston’s own character as composer,even with Monk’s horns Johnny Griffinand Ray Copeland in the sextet.

The two big-band projects on thelast disc, previously available on oneCD, get a hard, clarified remix fromMalcolm Addey. (Jazz was recorded wellback then; he knows enough to get outof the way.) Uhuru Afrika from 1960 isthe grandest and least of these sessions.Even Afrocentrists were vague aboutdetails then, and the particulars of lyri-cist Hughes’s African landscape are lim-ited to the jungle and flowing Congo.“Kucheza Blues” aside, the multipledrummers (Max Roach, Olatunji, andCandido among them) and Liston’sorchestral ya-yas flirt with bachelor-padexotica and Hollywood Bible-epickitsch, without going quite that far. ByHighlife three years later, Weston hadmade his first African trip, to Nigeria,and the pieces are shorter, more tunefuland merry: more true to the source, notto mention congenial to his own musicaltemperament. (Liston sounds happierwith this stuff too.) Weston’s next stepwas logical. Five years later he was run-ning a nightspot in Morocco, theAfrican Rhythms Club. KEVIN WHITEHEAD

Shirley Horn: May the Music Never End.

Horn, producer; David Baker, engineer.

Verve 440 076 028

No jazz singeralive has a surer

way with a lyricthan Shirley Horn.In the pantheon,she belongs next toBillie Holiday, not

because she sounds like her—she does-n’t, at all—but because, like Holiday,she cuts quick to the core of a song,possesses it, and crafts the sensationthat it’s telling her story, that she’scomposing it, re-living its sorrows andjoys, on the spot.

Horn has had it rough lately. Herbass player of 20 years died. One of herlegs was amputated, a complication ofdiabetes, preventing her from playingthe piano (her self-accompanimentrelied greatly on the sustain pedal,which she can no longer press). Her

Jazz Caps

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Harry Pearson


new album, May the Music Never End,features another pianist, and that’s aproblem, especially on the love ballads,which Horn sings very, very slowly.She would use the piano to stir moodsbetween the lines, ornamenting thespace or prolonging the silence; hervocal and keyboard stylings shapedeach other in a way that two separatepeople, one singer, one pianist, couldnot replicate. Still, her fill-in here,George Mesterhazy, is competent, andthe guest pianist on two songs, AhmadJamal, playing at his peak these days,is much more. Horn sings not onlywith her customary attunement to alyric, but also with an emotional rawnessunheard from her till now. On “Never LetMe Go,” listen to the regret in the line“all my bridges burned,” the smolderingpassion in “by my flaming heart,” and thedesperation underlying the whisperedconfidence of “You’d never leave me,

would you/uh-uhh.” On “Ill Wind,” shegets the full malice of the force at hand,telling the gust to “blow away” with anicy fear. Her recitations of “Yesterday”and the title tune seem so nakedly auto-biographical, so naturally intense, youalmost want to turn away. She retains hertouch on the breezy numbers, too. Noone else can glide through an upbeatblues as sensuously yet insouciantly as shedoes on “Take Love Easy.”

The recording puts too much reverbon Horn’s voice (a recent concert atCarnegie Hall suggests she needs no sonicsweetening), and I wish drummer SteveWilliams—Horn’s rhythmic soulmate—had been mixed more prominently.Otherwise, the sound quality is very good.

Coda: At that Carnegie concert, Horntook her encore at the piano bench; sheplayed well, and her voice—the wholeensemble—took on an easiness from daysold. She said she’s been experimenting

with a trick pedal and will start playingagain soon. Even without Horn at thepiano, May the Music Never End is her bestalbum since 1998’s I Remember Miles. Hernext album could be amazing.

FRED KAPLAN

Joel Harrison: Free Country. Harrison, pro-

ducer. ACT 94192

Adam Levy: Get Your Glow On. Jay

Newland, producer. Lost Wax 0301

On their latestr e c o rd ing s ,

bop-savvy gui-tarists Adam Levyand Joel Harrisontap pop divaNorah Jones for a

little vocal magic. Like Charlie Hunter,the avatar of new jazz-fusion guitar, Levyand Harrison transplanted themselves

m u s i c J A Z Z


from the SanFrancisco BayArea to the poten-tially higher pro-files offered byNew York City.Levy’s career in-

cludes stints with Tracy Chapman andJones. While Get Your Glow On illumi-nates his sleek and biting electric guitartone, bright acoustic soloing, and pop,funk, and soul sides, he puts his eloquentpicking in the service of guests vocalistson four tunes, including soul singersOtis Clay (for Bob Dylan’s “Tonight I’llBe Staying Here With You”) and theubiquitous Ms. Jones (Elvis Presley’s“Love Me Tender”). He also allows gen-erous room for Tin Hat Trio’s RobBurger to stretch out on country-tingedpiano and funky-space organ. ProducerJay Newland (co-producer and engineerof Jones’s breakthrough) gives everyinstrument plenty of distinct presencewithout having to battle through anyunnecessary studio sheen.

Harrison, who concentrated on com-posing on such previous releases asTransience, flexes his arranging chops onthis “jazz Americana” collection of folkand country tunes. Jones utters thealbum’s first notes on an exquisitely slowversion of Johnny Cash’s “I Walk theLine,” and returns for a dreamy“Tennessee Waltz.” Harrison’s quintet(including Lost Tribe saxophonist DavidBinney and String Trio of New York vio-linist Rob Thomas) pushes Jones andother guest singers (Jen Chapin, RazKennedy) into adventurous territory withtricky tempos and complex harmonies.Sampled sounds and additional guests—including accordionist Tony Cedras, key-boardist Rob Burger, and pianist UriCaine—further complicate the textures,all of which are mixed cinematically withattention to depth and breadth on asoundstage where Mingus, Gil Evans,Henry Threadgill, and Bill Frisell allmight feel comfortable. Harrison’s guitartone ranges from ringing to weepy, heoccasionally putting blues- and acid-rockexclamation points on this delivery ofPony Express music into the post-modernage. DERK RICHARDSON

Lee Konitz with Alan Broadbent: Live-Lee.

Orrin Keepnews, producer; Phil Edwards,

engineer. Milestone 9329

Lee Konitz playsfor adults—not

that jazz extrovertsdon’t, necessarily,but the alto saxo-phonist alwaystrusts his audience

to meet him half way. Stick with hislong, leisurely-developed argument, andhe’ll repay your time and attention. Cool,folks call him, but who makes a moreintimate bargain with the listener, or hasa more confidential timbre? His sound’soften soft, sometimes bracing, alwayssensitive to fine nuances of emotionalweather or musical syntax. Improvisingon the most trod-upon standards—“Cherokee” for instance—he squirrels hisway through thickets of chords, stayingoff well-cleared paths without gettingtangled in the briars. Admirers say healways avoided imitating Charlie Parker,and his more pliant tone is certainly hisown. But Parker’s knack for makingevery improvised phrase seem like anaphorism, and for swinging to an implic-it double-time beat, inspires Konitz still.

All he needs, really, is good company,and he finds it in pianist AlanBroadbent, who plays with more clarity,economy, and acuity here than in othersettings where I’ve heard him. (He maybe best known to jazz folk for his workwith Charlie Haden’s Quartet West.) Anautumn 2000 week at LA’s Jazz Bakerywas his first on-stage encounter withKonitz; Live-Lee was recorded on theweekend. From the top of “I’llRemember April,” where the saxophon-ist instantly picks up on the pianist’sunderstated but cloddish march—agambit each immediately drops,Broadbent moving on to terse staccatochords, and then rolling harmonies—it’sclear Konitz is with someone who under-stands him, gets the game, and has theresources to keep up.

Both musicians studied with LennieTristano, and inherited his love of walk-ing time and long snaky syncopated

lines: an improbably sturdy amalgam ofParker and Bach. Still, they’re lessindebted to Tristano’s mannerisms thanhis contrapuntal outlook; they tug ateach other all sorts of ways. Konitz hasmade other nice duo records (like therecent Gong with Wind Suite with MattWilson on SteepleChase), but this onematches any for simpatico.

Sound is more present and lessreverbed-up than on many live dates, therecording detailed enough to pick upLee’s faintest feints. And the audience isso graciously quiet you’ll wonder if theapplause was dubbed in. KW

Ralph Alessi: This Against That and Vice &

Virtue. Alessi and Ravi Coltrane, producers;

Bobo Fini, engineer. RKM 003 and 002

RKM is a new,a r t i s t - c o n -

trolled label set upby Ravi Coltrane(John’s son and afine tenor saxman),but it’s no vanityoperation; Coltranedoesn’t even playon its first threereleases. Two areled by Ralph Ales-si, the trumpeter inSteve Coleman’s

band. This Against That sports a quintetof stars, including clarinetist Don Byronand pianist Jason Moran. Vice & Virtueconsists of duets and trios with drums ortrombone.

Alessi blows with a pure tone thatsegues into a knife-edged blues, and oftenends phrases a half-tone off target whilesounding just right. Both albums mightveer toward “chamber jazz”—a bit cere-bral and precious—but for the simmer-ing ensemble work, loosely structured yettightly coordinated, which thickens thetension and makes the resolutions all themore satisfying. On This Against That,bassist Drew Gress anchors the rhythm,while drummer Nasheet Waits klook-a-mops around its edges and guitaristDavid Gilmore stirs the spice. Vice &Virtue consists mainly of little-playedstandards: a contemplative take on

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Ornette Coleman’s “Peace,” with drum-mer Shane Endsley prodding from wayoutside the beat; a loose-swing version ofMonk’s “Bye Ya,” with Endsley poundingthe sharp angles. There are some trum-pet-flugelhorn-trombone trios, each horntracing a separate melodic line but har-monizing like a church hymn. This isheady stuff from a promising venture.The sonics are vivid, too—a bit too muchbass, but a spacious soundstage, clarionhorns, and very clear, crisp percussion. FK

APA INI: APA INI. Tobias Delius and Dick

Lucas, producers; Lucas, engineer. DATA 033

There are manyvarieties of that

hardy jazz offshootcalled Europeanimprovised music.A few of them:blow-off-the-roof

free play, full of rough-housing horns;pointillism, in which the sonic texture isconstructed incrementally, from small orisolated sounds; vamp-based wailingsparked by West African drummers. Anew Amsterdam quartet combines all ofthe above in a wholly natural way. APAINI—Indonesian for “What is that?”—includes two mainstays of the city’swell-developed jazz-and-improvisingscene, tenor saxophonist (and occasionalclarinetist) Tobias Delius and bassistWilbert de Joode, alongside two morerecent arrivals, Senegalese percussionistSerigne C. M. Gueye and English trom-bonist Hilary Jeffery.

Serigne’s hand drums (includingdjembé and the conga-set-likebugarabu) and rhythms rooted inSenegalese traditions set the pace, but akey reason the band succeeds is thateveryone can get percussive. De Joodeshuns amplification in favor of high

string-tension and a pushy, front-loadedattack like Jimmy Blanton’s. Jeffery pos-sesses a range of expressive effects, fromforceful plosives to misshapen, mutedtones, gleaned from his new music (he’sa James Fulkerson protégé) and jazzexperience. And Delius, as those of uswho’ve heard him keep saying, is one ofthe tenor’s well-kept secrets, with thelavish, sumptuous tone of a ’30s swinghero, an original harmonic ear, and a fullquiver of attacks; he can slide a note insideways, let it burst like a bubble, orpop like a champagne cork.

This isn’t your vamp-happy, mini-malism-on-the-cheap world-music scam.Once the groove is established theimprovisers’s instincts take over, andfrom there the texture may get thicker orthinner. “Bugar,” for one, takes off froma complex bugarabu doubletime dance,whose rhythm Delius picks up on andelaborates; Jeffery grabs that elaboration

m u s i c J A Z Z


and follows his own vector, as De Joodeembroiders the drum tempo, sometimeslayering his own cycles over the top. AndGueye is no beat box; he too knows whento change up and lay back and acknowl-edge the changing terrain. The long andshort improvisations have those goodclose-listening jazzy qualities: surprise,variety, momentum.

Dutch wiz Dick Lucas’s sound istypically pristine, if mastered at a typi-cally low level. For contrast they playtwo of Delius’s shapely tunes so well youwish they’d play some more. KW

Miles Davis: The Complete Jack Johnson

Sessions. Teo Macero, producer, original

sessions; Bob Belden, producer, compila-

tion. Columbia/Legacy 86359 (5 CDs)

Listening to all five CDs of TheComplete Jack Johnson Sessions is some-

thing like poring over the transcripts

and blackboarddrawings of theM a n h a t t a nProject, theWWII researchgroup thatdeveloped the

atomic bomb. There’s more detail thanthe average citizen would ever need,but for the Miles Davis or jazz-rockfusion completist, it yields a motherlode of seminal information. A pair of25-minute tracks, “Right Off” and“Yesternow,” famously stitched togeth-er with additional material by TeoMacero, filled the two sides of the orig-inal 1971 LP, A Tribute to Jack Johnson,which writer Bill Milkowski callsDavis’ “rock manifesto.” Here they takeup only a portion of the last disc ofmusic recorded between February andJune 1970. Whoever invests in thisexpansive box set—which includes

Davis’ original notes, essays by BobBelden, Michael Cuscuna, andMilkowski, and four-and-a-half hoursof previously unissued material (34 ofthe 42 tracks)—will be someone whotakes it on faith that more is more.

The Complete Jack Johnson Sessions rais-es the question, “how many takes of‘Willie Nelson’ and ‘Nem Um Talvez’does anyone need?” That depends onhow closely one wants to examine thiscrucial transitional period betweenDavis’ relatively tame electric experi-ments on Bitches Brew and full-blownAfricanized funk of On the Corner. Thesession-by-session breakdown finds thethen-44-year-old trumpeter exploringhardcore funk rhythms and psychedelicguitar-driven textures in a workshop-like setting over the course of fourmonths (during which Davis undertookmany live test runs at Fillmore East andWest). A parade of all-star musicians

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came through the studio and made briefappearances, including Ron Carter,Gene Perla, Airto, Hermeto Pascoal, andWayne Shorter.

The late Coltrane-inspired guitaristSonny Sharrock finally gets credit for hiscontribution to several of the “WillieNelson” tracks; Chick Corea and KeithJarrett share electric keyboard duties,with Herbie Hancock dropping in onorgan, and soprano saxophonist SteveGrossman emerging as an impressivefoil. But what makes this Davis’s “rockmanifesto,” indeed what makes it rockharder than any jazz had before, are therhythm sections—one with guitaristJohn McLaughlin, bassist Dave Holland,and drummer Jack DeJohnette, theother with McLaughlin joined by bassistMichael Henderson and drummer BillyCobham. And while some jams rangebetween ten and 15 minutes, Davis hadnot yet suspended his interest in song-forms, and his oft-cited obsession withthe funk innovations of James Brownand Sly Stone is palpable in the surgingpulses and staccato phrasing.

The keyboardists provide intriguingcolor and texture, but the bassists—Holland grooving with surprising feroc-ity, and Henderson introducing pivotalrepetitive patterns—and drummers—Cobham likewise adding even morefocus and hitting harder thanDeJohnette—exert far greater sway. Inthis exploded and up-close view (madeintimate by meticulous remastering thatyields clean instrumental presence andseparation), however, McLaughlin is theplayer who most rivals Davis, preparinghimself for lift-off into the Mahavishnustratosphere with radical rhythm comp-ing and Hendrix-like wah-wah manipu-lations. Should anyone think Davis wasat all tentative about his funky moves,his forceful trumpeting conveys no reti-cence whatsoever; he blows with exhila-ration of a man who knows exactlywhere he’s been and where he’s going. DR

SACD

John Coltrane: Blue Train. Rudy Van

Gelder, engineer & remastering. Hybrid

stereo SACD (vs. Classic Records 200-

gram mono LP). Blue Note 41757 (Sonic

Rating: 7)

Bill Charlap: Stardust. Joel Moss, engi-

neer. Hybrid multichannel. Blue Note

41746 (Sonic Rating: 7)

Miles Davis: Steamin’. Rudy Van Gelder,

engineer. Shawn R. Britton, remastering.

Hybrid mono. Mobile Fidelity 2019 (Sonic

Rating: 8)

A few main-stream jazz

labels have startedventuring intoSACD, most withpuzzlingly mixedresults, but BlueNote’s maiden voy-age seems on track.Blue Train, Col-trane’s 1957 an-themic mix ofhard-bop blues andballads, is a naturalfirst choice—one ofthe label’s all-timebest sellers andsonic wonders. It’sa superb SACD:Trane’s sax seemsright there, as doLee Morgan’s

trumpet and Curtis Fuller’s trombone;Philly Joe Jones’ drums crash and sim-mer; Paul Chambers’ bass slaps andgrowls. For fuller fidelity, go to ClassicRecords’ new 200-gram mono LP, whichreveals a bit more of the horns’ brass biteand subtle phrasing. Still, the sonic dif-ference isn’t as huge as vinylphilesmight assume.

Bill Charlap’s Stardust came out, onstandard CD, just last year and deservesa listen now if you missed it then.Charlap is a traditional pianist, border-ing on cabaret but for his mastery ofdynamics and a quietly adventurousway with chords. Kenny and PeterWashington, on bass and drums, keepthe pressure up. Guitarist Jim Hall andBasie’s tenor saxman, Frank Wess, sit inon a few songs. Tony Bennett sings two

(weakly), Shirley Horn one (marvelous-ly). All the songs are by HoagyCarmichael, and they’re delights. Thesonics are extraordinarily vivid; Wess’sax sounds very nearly real; Horn’s voiceis more present than on her ownalbums. The piano sparkles. Only thebass is a bit bloated.

Steamin’ is the second classic-jazzSACD released by Mobile Fidelity (thefirst being the wondrous remastering ofColtrane’s Soultrane). It’s the least of thefive albums that stemmed from theMiles Davis Quintet’s legendarymarathon sessions for Prestige in 1956,but that’s like being the least-deliciousdish in a five-star restaurant. The soundis jaw-droppingly 3-D; Red Garland’spiano never sounded so full on any pre-vious issue; Coltrane sometimes sounds abit harsh, but that’s due to a stiff reed,not the format. FK

m u s i c J A Z Z


Neil Young & Crazy Horse: Greendale.

Young and L.A. Johnson, producers.

Reprise 48533

“That guy just keeps singin’/Can’tsomebody shut him up?/I don’t knowfor the life of me where he comes upwith this stuff”

—lyric from “Grandpa’s Interview”

With Greendale,the ever-rest-

less Neil Young hasmade a new mas-terpiece, the scopeof which hasn’tbeen seen or heard

since 1976’s Rust Never Sleeps. A musicalnovel, Greendale intertwines the plausi-ble story of a small town and its resi-dents with imperative issues of home-grown militancy, government spying,personal privacy, media supremacy, cor-porate greed, and environmentaldestruction. That Young pulls it offwithout drowning is remarkable; that hedoes it so cohesively, cleverly, and coher-ently is astonishing.

Greendale is a modern parable ofhumanity and ethics. At its core are thevalues that Young has always supported:family, freedom, honor, and especially,love and affection. While he’s remainedactive and made a string of solid albums,Young hasn’t been this sharp, agitated, ormotivated in some time. He’s timedGreendale to arrive just as the battle forAlaska’s natural resources is heating up.Though he could have chosen another set-ting, Young picked the site of America’slast wilderness as ground zero, and it’sthere where the narrative culminates.

For a story to which no synopsis doesjustice, Young’s loaded up on lyricalscenery. Tiki torches, dusty CadillacEldorados, news helicopters, drug stash-es, and concealed money are among theprops that illuminate his vision, eachsubtly revealing their importance after

every listen. To emphasize characters’speech, Young’s voice assumes differenttimbres and goes as far as blaring mes-sages through a megaphone.

In channeling Jimmy Reed’srelaxed, slow, smoldering electric bluesand pairing it with folk melodies,Young has found the perfect musicalaccompaniment to his spoken-sunglyrics. There’s precedent in the undulat-ing waves of “The Days That Used ToBe” and progressive momentum in theautobiographical “I Am the Ocean,” butCrazy Horse has never loped, shuffled, orrollicked quite like this. Eight of the tensongs—chapters, really—are variationson basic, groove-heavy blues riffs whichYoung opens like an aluminum can,rocks back and forth, works up anddown, and bobs like a buoy at sea. CrazyHorse veterans Ralph Molina and BillyTalbot lean their loose rhythms intoYoung’s hypnotic guitar sway and howl-ing harmonica. (Guitarist FrankSampedro doesn’t appear on the record,allowing Young’s playing to roam freelyand sound more open.) Ironically, it’s anacoustic song that’s most likely to beembraced. An instant classic, “Bandit” isa subconscious soul-searcher speared byYoung slapping a slackened E-string as

he whispers hopeful lyrics. Falling in themiddle of Greendale, it’s the record’stransitional moment.

Sonically, the music floats by, takingon a cameras-rolling feel. If there’s oneminor flaw, it comes via a few schmaltzylyrics and layered choruses during thealbum closing “Be the Rain.” But thesong possesses one of the sturdiest,catchiest hooks Young’s ever written. Itcomes on like a flood—a huge releaseafter the nine previous tracks that keepbuilding tension until it all explodes inone nine-minute rush. True to form,Young leaves some questions unre-solved, some mysteries open-ended, butprovides enough detail without givingeverything away.

Like every Young record, Greendaleis available on vinyl. Initial pressings ofthe CD come with a DVD of Youngacoustically performing the album in itsentirety, and Young’s hand-held featurefilm scripted for the record arrives onDVD in the fall.

Reprise has also reissued and remas-tered the four long out-of-print recordsYoung made before his brief, controver-sial stint with Geffen. Of these, 1974’s Onthe Beach is the decade’s forgotten gem, adark reflection on American politics,

Pop Caps

m u s i c p o p u l a r

Neil Young


paranoia, and shattered culture—fromthe failed hippie dream to the emptinessof celebrity to Nixon. The other albumsare spotty yet have their own secretrewards, especially 1981’s Re-ac-tor,which finds Young charged up aboutJapanese automobiles on “Motor City”and riffing over the same lyrical phrasefor nine minutes on “T-Bone.” TheChinese calendar says 2003 is the Year ofthe Sheep, but have no doubt: this is theYear of the Horse. BOB GENDRON

My Morning Jacket: It Still Moves. Jim

James, producer. ATO RCA 52979

The third albumfrom Louis-

ville’s My MorningJacket, It StillMoves is an ever-shifting sonic tap-estry, incorporating

reverb-drenched psychedelic ballads,Southern-flavored rockers, flashes ofExile on Main Street-era Stones (Memphishorns and all), as well as hints of theYardbirds, The Band, Grateful Dead,Led Zeppelin, Pink Floyd, and TheBeach Boys. And I’ve yet to mention theguy MMJ is most often compared to,Neil Young.

While it’s true that bandleader-singer-songwriter Jim James’s voice doessound like Young’s—though James’stenor is the sweeter instrument—andthe band’s many influences are worn likeproverbial hearts-on-the-sleeve, suchcomparisons both simplify and discountwhat MMJ is aiming at and achieving.None of these musical inspirations comeoff as self-conscious copycatting, butrather like an amalgamation of experi-mental forces being channeled throughfive guys who love to play and createmusic together, with a fair dash of ’60’s-

style innocence thrown in for goodmeasure. Though It Still Moves is notquite the equal of MMJ’s last full-lengthouting, At Dawn, it is ambitious andlengthy, clocking in at 70-plus minutes.The first nine songs are particularlystrong, hinting at the imagination andpower the group is reported to display inconcert. But the last three tracks run outof steam, and a shorter playlist wouldhave made for a better album.

The sound of the record is very good.The acoustic ballads, with their layers ofreverb, are spacious, and like the songsthey contain rather dreamy, while theelectric numbers nicely capture the feel-ing of a live-in-the-studio rock band,with a bit of depth and surprising focus.Quibbles about the last few songs aside,if you know My Morning Jacket youwill want to get It Still Moves. If youdon’t know them you should—but startwith At Dawn. WAYNE GARCIA



Cheap Trick: Special One. Cheap Trick,

Chris Shaw, et al., producers. BIG3

Records 36333

On their first stu-dio release in

six years, music’spower-pop geniuseshave made what’stheir finest and firstmust-have studio

album since recording Dream Police near-ly 25 years ago. Having spent the ’80sand early ’90s wallowing in mawkishself-parody, Cheap Trick’s future didn’tlook bright. By the decade’s close, theband managed two decent sets, but bothfell victim to hard-luck circumstance—Warner didn’t promote 1994’s Woke UpWith A Monster and Red Ant went bank-rupt three weeks after 1997’s Cheap Trickhit streets. Smelling the Spinal Tapirony, Trick took matters into their ownhands. Refusing to die, they returnedreinvigorated to their playful arena-rockroots, hit the road, and self-released twofantastic live records.

Made on its own terms, Special One istheir reward. The music has all the hall-marks of the band’s heyday: crunchy gui-tars, grappling hooks, fervent songwrit-ing, sweet melodies, blue-eyed soul, andwacky humor. The lynchpin is the strut-ting “Scent of a Woman,” one of thecatchiest singles ever penned by the veryunit that wrote the pop-dictionary entryfor mesmeric. On the song, Rick Neilsoncranks out hyper power chords and inter-jects clipped country-blues riffs; Bun E.Carlos pounds out a simple but insistentbackbeat; and Robin Zander shifts hissoaring dynamic vocals into full throttle,demonstrating a range that no rocksinger his age (50) has a right to possess.

The remainder of Special One followssuit. Longtime fans will delight in slightreferences to the band’s classic songs.The Nirvana-meets-Harry Chapin dirge“Best Friend” recalls the bizarro “TheBallad of TV Violence”; the Japanese-inflected guitar on the title track is a tipof the hat to their favorite country; theburnt ZZ Top shuffle on the instrumen-tal “Low Life In High Heels/Hummer”

complements 1977’s “Mandocello.” Produced by an all-star lineup that

includes Steve Albini and Jack Douglas,the production has a big, edgy sound.With a genuine bottom end, TomPetersson’s 12-string bass is particularlyprominent, and on top, Zander’s highnotes are well preserved. Initial pressingscome with a bonus DVD. A triumphantreturn for one of rock’s great bands. BG

Béla Fleck & The Flecktones: Little

Worlds. Fleck, producer. Columbia 90358

(3 CDs)

Little Worldsmay be the

first album inover three yearsby Béla Fleck &The Flecktones,but that doesn’t

mean the brilliant banjo player and hisequally talented bandmates have beenidle. Clocking in at roughly two hoursand twenty minutes, this 3-disc set runsthe range from Irish jigs to dirges, hip-hop to jazz, bluegrass to new age, worldto technopop. And though not everysong is a winner (there are a few “jazzlite” numbers I could do without),remarkable quality and connectednessare present in every track, adding up to

an impressive arc of musical invention. In addition to the basic Flecktones

lineup (Fleck, banjo; Victor Wooten,bass; Future Man, synth-axe drumitar;Jeff Coffin, tenor and alto saxes), Fleckinvited a staggering array of guest talentto collaborate on the project. VocalistsBobby McFerrin and Divinity turn out acharming hip-hop take on Flatt andScruggs’ “The Ballad of Jed Clampett,”the song which inspired Fleck to pick upthe banjo at age 15 and which alsoincludes Sam Bush on mandolin.Branford Marsalis’s soprano sax is sprin-kled throughout, most beautifully in“Captive Delusions,” a lovely and wist-ful duet with Jeff Coffin’s tenor. DerekTrucks lends his electric guitar to a fewcuts, Jerry Douglas his dobro, and “TheLeaning Tower” features The Chieftains.This is just a partial list of the musiciansand layers of instrumental tones and tex-tures found on Little Worlds.

Co-mastered by audiophile veteranDoug Sax, the sonics are excellent, witha super-clean flat studio perspective,exceptionally snappy dynamics, and ataut, well-articulated bottom end.Granted, three CDs is a lot of music.But Fleck, the ’Tones, and their friendspull it off. For the less hardcore fan, acondensed single-disc version is alsoavailable. WG


Cheap Trick


SACD

The Man Who Invented Soul: The SamCooke ABKCO Remasters

Sam Cooke: Ain’t That Good News. 98992

Sam Cooke: At The Copa. 99702

Sam Cooke: Keep Movin’ On. 95632

Sam Cooke: Portrait of a Legend 1951-

1964. 92642

For all: ABKCO. Hybrid stereo save for At

the Copa, hybrid multichannel. Various orig-

inal producers; Jody Klein and Teri Landi,

restoration producers. (Sonic Rating: 8)

Sam Cooke had one of the all-time-great voices—pretty but not femi-

nine, warm yet exceptionally pure,slightly gravelly but never rough. Andthough it’s tempting to call him a “soulsinger,” he was really far too versatile towear but a single badge. With his rootsplanted deeply in the soil of southerngospel, Cooke’s drive to succeed (he wasthe first black artist to start his own

record label) and far-ranging musicalinterests led him to write an extraordi-nary string of pop hits (beginning with1957’s “You Send Me”) and soul classics(such as “Shake”), in addition to cover-ing country (“Tennessee Waltz”) andfolk (“If I Had a Hammer,” “Blowin’ inthe Wind”). But whatever he sang—even the schmaltzy stuff—soulful it cer-tainly was.


In 1960, when Joan Baez recordedher first eponymous album forVanguard, in that famously pure,flame-like soprano, folk music meantEnglish and Scottish ballads from

Francis Child’s collection, a smattering ofprotest songs from the thirties and forties,a few oft-performed Negro spirituals andlaments, and a bit of left-leaning interna-tional repertory. By the time she recordedher heavily Dylan-influenced FarewellAngelina in 1965, the world had changedirrevocably. It had taken Dylan to remind usthat we, too, were folk who made music.And it had taken the devastating history of

the early sixties to turn a tradition-bound, quasi-academic genreinto living poetry.

The two wonderful Vanguard albums that Cisco has reissuedon 180-gram vinyl span the divide between traditional folk musicof the early ’60s and the post-Dylan folk music of the mid-’60s,though his influence is felt on each.

The Canadian duo of Ian Tyson and Sylvia Fricker recordedNorthern Journey in 1963, soon after making a splash at theNewport Folk Festival. The album contains two of their best self-penned songs, “Some Day Soon” and “You Were on My Mind”(both, like so many other Ian and Sylvia songs, “hits” for otherartists, though neither better performed than they are here),along with bluegrass and c&w-tinged fare, as well as traditionalfolk ballads. Traditional or contemporary, all of the numbers onthis album are terrific. And Cisco’s sound is to die for. The rough-hewn timbres of Ian and Sylvia’s voices and the down-home twang

of their harmonies were distinctively different than the planed-down prettiness of groups like Peter, Paul, and Mary. The albumcaptures this authentic rawness, sexiness, and playfulness with“you-are-there” realism.

Joan Baez was mixing Dylan with folk as early as ’62. But onFarewell Angelina she “stepped out,” to use a phrase that Dylanwas fond of. The first three numbers on Side One are Dylantunes— “Farewell, Angelina,” “Daddy, You Been On My Mind,” “It’sAll Over Now, Baby Blue”—and Side Two ends with “A Hard RainRain’s A-Gonna Fall.” In between she sings traditional ballads,with particularly gorgeous renditions of “Wild Mountain Thyme”and “The River in the Pines.” For some, Joan Baez singing Dylanis a bit too much like Cecilia Bartoli singing The Beatles. To me,The Voice Meets The Poet is an entire success—a bit high-flown,sure, but nonetheless incredibly lovely, spirited, and chaste.Cisco’s remastered sound, taken like that of the Ian and Sylviaalbum from the original half-inch tape and mastered pure analog(with tubes, at that), is the best I’ve heard from this recording—and I’ve been living with various iterations of this great disc sinceit first came out.

While it is only too easy now to laugh at the earnestness andinnocence and, yes, phoniness of the folk craze (Baez, for exam-ple, knew not one blessed thing about the history of the songsshe immortalized), if you were there at the time—and I was—youwill always look back on albums like these, and the four or fiveyears that the folk revival flourished, with immense love and sad-ness, for in looking back on them you’re looking back on yourself,before, during, and after time, tide, and the terrible sixties beatall or most of the yearning hopefulness out of you.

For Bob Pincus and the other good folks at Cisco, I have onlyone request: More, please.

A B S O L U T E A U D I O P H I L I A

A Mighty Welcome WindJONATHAN VALIN

Joan Baez: Farewell Angelina. Maynard Solomon, producer. Vanguard VSD 79200/Cisco Records (180-gram vinyl)

Ian and Sylvia: Northern Journey. Maynard Solomon, producer. Vanguard VSD 79154/Cisco Records (180-gram vinyl)


Ain’t That Good News was Cooke’sfirst record on his own Tracey label. Atthis point in his career (late ’63/early’64) Cooke had moved beyond the teenlove songs (“Cupid,” “Only Sixteen,”“Wonderful World”) that had madehim so popular, and into a moremature, worldly, and funky style.(Revisiting these records is a sadreminder at just how great was his loss,gunned down at 33.) Although thespine-tingling anthem, “A Change IsGonna Come” (inspired by Dylan’sBlowin’ in the Wind”), is arguablyCooke’s greatest song, Good News con-tains any number of unforgettablenumbers, and “Falling In Love” is aheartbreaking unrequited love song.

At The Copa is an interesting snap-shot of live Cooke, though one takenwith a somewhat distorted lens as thesinger deliberately reverted to morepopular fare to please the nightclub’stoney audience. Regardless, the band issuperb, the arrangements classy, andCooke, who had flopped at the venue sixyears earlier, is in top form. Highlightsinclude “Nobody Knows You WhenYou’re Down and Out,” Cooke’s stan-dard medley of hits, and a rollicking“Twistin’ the Night Away.” The soundhere is the best of the batch, the mosttransparent, holographic, and dynami-cally free. Copa also has a carefully craft-ed 5.1-channel surround mix, with thelistener placed in the audience (occa-sional conversation and tinkling icecubes and all) and Cooke and his musi-cians where they should be—in front ofus, dammit.

The compilations, Keep Movin’ Onand Portrait, duplicate much of the samematerial, with Movin’ On basically cover-ing the last year of Cooke’s career andPortrait, with its 30 tracks and stagger-ing 83-minute playing time, spanningthe entire breadth of it, including hisfirst recording with the Soul Stirrers,1951’s “Jesus Gave Me Water.” Thesound of the studio cuts varies, natural-ly, but as with the Stones titles ABKCOhas knocked another one out of the park,and the liner notes by Peter Guralnick(who’s currently writing Cooke’s bio) areoutstanding. WG

Nickel Creek: Nickel Creek. Sugar Hill

3970 (Sonic Rating: 7)

Nickel Creek: This Side. Sugar Hill 3970

(Sonic Rating: 8)

For both: Hybrid multichannel. Alison

Krauss, original producer; Gary Paczosa,

SACD producer.

When the “blue-g r a s s - p l u s ”

acoustic trio NickelCreek (NC) re-leased its self-titleddebut album in2000, critics andaudiences were wonover in equal meas-ure. Nickel Creekwent on to sell over800,000 discs andearned a Grammynomination. In

August 2002, the group released ThisSide, which has since been awarded theGrammy for Best Contemporary FolkAlbum. It’s easy to hear why. The charmof this Southern Cal-based band stemsfrom its fresh challenge to our precon-ceptions of homespun musical genreslike folk and bluegrass—NC simultane-ously honors old-world traditions whilerespinning them with contemporarycountry-pop hooks and hill-countryaccents. Here, the echoes of bluegrasslegends Flatt & Scruggs and TheDillards rub shoulders with those of TheBeatles and Eagles. With Sara Watkinson violin and Sean Watkins on guitar(both sing lead as well), NC offers crispensemble playing, but it’s Chris Thile’smandolin virtuosity and quirky singingthat puts the caffeine in the coffee andkeeps it percolating. When he lies out,Nickel Creek loses a few pennies.

Whereas NC’s debut album hewedclosely to the roots-oriented folk periph-ery, This Side finds the trio stridingtoward mainstream center. But with justone instrumental (compared to five onNickel Creek), the added songwritingchores result in growing pains.

There is no contest between thesehybrid discs’ PCM and SACD layers. The

SACD stereo layer returns the resonantbody to the instruments and removes alayer of grunge from the top end.Dimensionality and separation of imagesare improved as well. The multichannelmixes couldn’t be less similar. The mixon Nickel Creek is flat and lacking anacoustic envelope, while the more cre-ative, involving mix on This Side is dis-cretely immersive with a wide, dimen-sional soundstage. Sugar Hill has alsomade available on SACD Dolly Parton’sLittle Sparrow and Halos and Horns, thecountry star’s mountain-roots albumsfrom 2001 and 2002, respectively.

NEIL GADER

The Kinks: Everybody’s In Show-Biz and

Low Budget. Mobile Fidelity 2010 & 2008

For both: Hybrid stereo. Ray Davies, origi-

nal producer; Shawn Britton, remastering.

(Sonic Rating: 7)

Mobile Fidelity’sdecision to put

The Kinks onSACD is a goodone. Like TheAnimals’, this Brit-ish band’s cataloghas been crying outfor better masteringfor years. Thedownside to thesetwo records is thatthey arrived afterThe Kinks had

peaked, and are stepchildren to classicslike The Village Green Preservation Society.

1972’s Everybody’s In Show-Biz is aconcept double album, with half dedi-cated to live performances and the otherto songs about life on the road. But themusic suffers from Ray Davies’ popeccentricities. The studio side’s quirkymusical arrangements play like a defec-tive melding of The Band and E.L.Doctorow’s Ragtime; the live perform-ances are similarly jumbled.

Released in 1979, Low Budget was thelast good Kinks record. That the album’stitle, and songs like “A Gallon of Gas,”refer to the American economic recessionand oil crisis is fitting, since a handful of



watered-down pop-rock songs (“CatchMe Now I’m Falling,” “Superman”) andtheir glitzy Broadway choruses nowsound like a time capsule containing BadCompany and Eddie Money.

These discs continue MoFi’s ongoingstreak of Super Audio sonic success. Bothare remastered from original, RayDavies-approved analog tapes. The stu-dio material is wide open, with signifi-cant depth, taut bass, and impeccablephasing. Davies’ voice cracks with attitu-dinal emotion, the rhythm pops, and thedrums seem thisclose to being right infront of our noses. We hear withoutinterference the fussed-over guitar tones,specifically dialed in for each song. GetLow Budget for its snapshot of late ’70sAmerica, dirty crank (“Low Budget,” “InA Space”), and thick, thumping sound,but hope that MoFi gets its hands on TheKinks’ mid-to-late Sixties catalog anddoes it this kind of justice. BG

DVD-A

Steely Dan: Everything Must Go. Walter

Becker and Donald Fagen, producers.

Reprise 48435 (Sonic Rating: 9)

When Steely Danis at its consid-

erable best, one feelsas if he’s droppingin on a believablesituation, a vignettetaken from a larger,

complex reality. Certainly, the events ofthe past few years, since 2000’sGrammy-winning Two Against Nature,have provided plenty of mise-en-scènes forDonald Fagen and Walter Becker’s dark-ly cynical sensibilities: “Godwhacker” isa strangely ambivalent take on post-9/11 American vengefulness and thetitle track considers Enronesque corpo-rate malfeasance. But throughoutEverything Must Go, the composer/lyri-cists more often adopt a stance of dis-tanced ironic observation, rather thantruly inhabiting their creations.

Much seems very familiar: Fagenunder the spell of another unbalancedfree spirit (now half his age) in “Lunch

with Gina” or nostalgically recalling thegood life (“Things I Miss the Most”).Textual details seem familiar, too—it’sJill St. John instead of Tuesday Weldthat our hero is reminded of this timeout; we’re drinking Tanqueray instead ofCuervo Gold or kirschwasser-from-a-shell. Apart from the words, many of thesongs sound like other Steely Dan songs.Walter and Donald may devise newadventuresome harmonic excursions,but the backing vocals, horn arrange-ments, the facile guitar curlicues—you’ve heard it all before. It’s nice tohave Becker’s amiably loping bass onevery cut, though his guitar solos canwear thin and one lead vocal from theguy (“Slang of Ages”) is one too manywhen his partner still has one of themost arresting voices in all of pop music.

The sound on the CD is what you’dexpect—open, dynamic, detailed, greatbass. The DVD-A was released simulta-neously and, presumably, the 5.1 multi-channel is not a revisionist afterthought.It’s rational, consistent, and clarifying.Lead vocals, bass, drums, and sax solosare solidly anchored in front; behind,there are subsidiary guitar parts, hornsections, some sweetening vocals. Foronce, there isn’t the sense of the musicbeing pulled apart but, rather, a pleasingthree-dimensional mass of sound, thepreferred way to experience this material.

ANDREW QUINT

Deacon John’s Jump Blues. Cyril E. Vetter,

producer; Mark Waldrep, DVD-A producer.

Image 0557 (CD); AIX 81004 (DVD-A)

(Sonic Rating: 9)

Louisiana bluesguitarist/vocal

ist Deacon JohnMoore is a sessionplayer who’s play-ed with the likesof Irma Thomas

and Lee Dorsey over a 40-year career.Here, he leads a cast of New Orleans leg-ends through an homage to ’50s and’60s Crescent City jump blues, gospel,and R&B. Allen Toussaint and Dr. Johnare among the guests, but this project’sappeal is in how well it captures the

period’s feel without sounding at allderivative, forced, or canned. It’s loadedwith talents that, for one reason oranother, never got their names on themarquee the way Professor Longhair andFats Domino did.

In Moore’s case, he never made a solorecord that gave him national exposure.On this, his dulcet rhythms and gildedtones sound best where they’re at—inthe thick of the music, modest so thatthey never subtract from the song’sintent or stick out in an ensemble whereno individual is the star. Another BigEasy performer, pianist Henry Butlertinkles the ivory on “Jumpin’ In TheMorning,” the disc’s sweaty opener.Butler, who collaborated with acousticblues sensation Corey Harris on 2000’sVu-du Menz, is one of jazz’s unsunggreats, a visionary artist with the poten-tial to revitalize anything he plays.Other standouts include The ZionHarmonizers’ spiritual a cappella readingof “Jesus Is On The Main Line” and aswaying big-band version of the DaveBartholomew standard “Someday,”which Moore sings in a mellifluous voicethat makes the song a classy throwbackto the late Forties. We can almost tastethe Mint Julep and picture women intheir crisp white dresses twirling infront of a bandstand. If there’s one com-plaint, it’s that the music is occasionallytoo safe. Rather than allow this to be adistraction, listeners should explore theoriginal music that inspired this disc—the eight-disc Mercury Rhythm ’N’ BluesStory is a terrific touchstone.

Sonics are spectacular and incrediblyclean. The DVD-A is two-sided, oneholding 5.1 Dolby Digital and DTS,PCM, videos, and liner notes, and theother, the superior 5.1 MLP mixes.Originally recorded with tube amps andNeumann mikes onto an analog 24-track master, it’s the first entry in AIX’s“Analog and Vintage Gear Series.” Thestereo presentation is beautiful, but sur-round enthusiasts should opt for the 5.1“Audience” mix—wonderful balance,huge imaging, and nice use of the rearchannels. Conversely, the 5.1 “Stage”program is oppressive, with too muchgoing on behind the listener’s head. BG



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C L A S S I F I E D S


Third in an occasional series presenting someof the freshest and most creative new rock andpop music out there, from innovative artistsworth getting to know.

The most intoxicating head-trip of a record you’ll hearthis year is The Mars Volta’sDe-Loused in the Comatori-um [GSL/Strummer/Univer-

sal 00593]. In 2001, when poised tobreak into the mainstream, At the

Drive-In hastilycalled it quits,three-fifths of theband went on toform Sparta, agood but unspec-tacular emo-rock

unit, while the other two-fifths—thetwo members with Afro hairdos, OmarRodriguez and Cedric Bixler—foundedThe Mars Volta. Now it’s clear whyATDI split: That group could never pos-sibly contain the intergalactic soundsforged by Mars Volta. This is the psy-chedelic crossroads at which TheGrateful Dead’s freak-out acid testscome face to face with Parliament’smothership funk, where Led Zeppelin’smonster-boogie firewater mixes withCan’s complex art-rock elixir. Granted,when Bixler pushes into the upper peaksof his vocal register, he sounds pinched,somewhere betwixt Rush’s Geddy Leeand Queensryche’s Geoff Tate. But thisrecord is so extremely strange—and soextreme—that the ambition fits. Noneof this would be possible without RickRubin’s mind-boggling production. Somany sounds happen concurrently—battery rounds of drums going off likecherrybombs, cooing organs, knots ofheat-baked electronics, boiling Afro-Beat syncopation, speak-and-spell guitar

tones, threatening bass lines—that it’s amarvel not to hear this collapse in onemessy heap. But Rubin has balancedthese kinds of loads before, with RageAgainst the Machine and Slayer. He doesit again here, but makes it all soundeven larger, bolder, more imminent. De-Loused is a 10-song cycle inspired by achildhood friend of the band’s who diedyoung, whose story the band will soonmake available. But knowing the lyricsisn’t necessary, for this is as musicallyastonishing and psychologicallythrilling as it gets from a band that’schallenging itself and listeners intoanother dimension.

While the a-dage of music as auniversal languagethat doesn’t needtranslation may nothold true for allartists, it does for

Café Tacuba. On its fifth outing,Mexico City’s premier pop quartet con-tinues to make International Relationssound sublime. Cuatro Caminos [MCA32492] isn’t as musically encompassingas 1999’s double-supreme Reves/Yosoy,but it’s more cohesive and focused, tak-ing the band ever closer to being theLatin Beatles—that’s Beatles circa 1967,with a larger palette at their disposal.Whether it’s a strummed pop-rock stim-ulant (“Cero y Uno”) or an urgent elec-tro-acoustic flamenco-tinged ballad(“Eres”), the music sounds natural,native. Which of course, it is not. CaféTacuba continues to have one ear moni-toring Latino traditions, and the otheron the pulse of American and Britishculture—lush walls of orchestratedstrings, slivers of ambient loops, fizzingbox-echo percussion, and spring-loadedguitars acknowledge The Flaming Lips,

Radiohead, Grandaddy, and Super FurryAnimals. But none of those groups man-age bossa nova, folk hip-hop, and psy-chedelic Britpop on the same record.Café Tacuba does. Like a magic wand,Elfuego Buendia’s waves his sizzlingphrasing and gamut-running tonalitiesover the music, flavoring it with madcapspice that crosses the sound of TheClash’s Joe Strummer with RobynHitchcock. If you still need further reas-surance that Café Tacuba is one of theten most exciting groups in pop today,the band landed soundscape producer-extraordinaire Dave Fridmann, who hasmighty select taste. As he’s done withthe Lips and Mercury Rev, he gives thesonics a panoramic feel and a medium-soft texture no other producer has yetmastered. Fun. Smart. Irreverent.Indispensable.

Rock groups don’t come more pedi-greed than Tomahawk. Fronted by for-mer Faith No Morevocalist Mike Patton,the quartet counts ex-Jesus Lizard guitaristDuane Denison,Melvins bassist KevinRutmanis, and pastHelmet drummer John Stanier as mem-bers. On its second go-round, Mit Gas[Ipecac 40], Tomahawk crosses AngelDust-era Faith No More with Down-eraJesus Lizard, mixing up tempos, heli-copter-blade-chop rhythms, and buckledguitar leads in creating a soundscapethat runs from grinding to moonlit. Oneof music’s dynamically gifted singers,Patton is in prime form, manipulatingaccents and syllables to match themusic’s theatrical effects and go-stop-turn-go velocity. He taunts, cheers,comforts, and snarls, and when calledfor, channels Nick Cave’s sternness, Axl

New Music from The Mars Volta, Café Tacuba, Tomahawk, MondoGenerator, EELS, Northern State, and ’60s surf-rock “legends”Bob Gendron

O N T H E F R I N G E


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The Absolute Sound is available throughout North America at Barnes & Noble, Borders, and Tower Records

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Rose’s demonic register, and BootsyCollins’ offbeat disposition. Rutmanis’funky bass drills like a bit plunging intobedrock. Stanier’s walloping cement-block beats sit at the center of themusic’s closed-fist tightness. Occasionalsurpluses of electronic and pre-recordedeffects (the record’s last two songs areforgettable) are the only kinks. Thoseaside, this is an involving, surprising,noisy ride—one well worth taking, ifonly to hear Patton’s vocal acrobatics.Tomahawk and Joe Barresi handled theproduction, giving the record a rock-solid foundation on which dry, concus-sive rhythm instruments blend withwarmer keyboards and vocals.

Queens of theStone Age bassistNick Oliveri is oneof the craziestminds in music.His shaved egg-shaped head, shirt-

less chest, nicotine appetite, and micro-phone-swallowing jaws make for quite afiendish sight onstage. The same zealous-ness is heard in his songs. A DrugProblem That Never Existed [Ipecac41], the second album from Oliveri’sMondo Generator side project, claimsthe energy and insanity many records arehyped at delivering but seldom do. Whilethe music leans toward the punk-metalside, Oliveri is a throwback of sorts—amusician who couldn’t care less what peo-ple think, and who plays for fun withoutregard to trends, political correctness, orneatness. He also writes some pretty goodtunes, his gonzo humor matching hischemical curiosities and spastic erup-tions. In between the rafter-swingingchaos, Oliveri ventures to interesting cor-ners: “Do the Headright” is a warpedupdate on the girl-group sing-along ofthe ’60s, “All I Can Do” is starkly nakedfolk-rock laid bare on an acoustic guitarwith a background church vocal supply-ing the choral swell, and “I’m Free” is ablistering Steppenwolf road jam for thenew century. Foo Fighters producer BradCook co-produced with Oliveri. It’s anaverage-sounding rock record, with aloud, crunchy midrange and a nonde-script low-end.

Mark OliverEverett has beenmaking greatrecords under hisEELS monikersince 1992, whenhe was just 20

years old. His pop goldmine streak con-tinues with Shootenanny! [Dream-works 50442], one of the year’s happiestrecords. In the past, Everett’s songs havebeen concerned with disaster (he evenlooked like Ted Kazcinski on the coverof 2001’s Souljacker), but something’scaused him do a near-180-degree spin.Songs like “Rock Hard Times” and“Restraining Order Blues” wouldappear to follow Everett’s previous tra-jectory, but there’s a difference. Hesounds liberated, comfortable, relaxed,and accepting of his imperfections—ofhis humanity. These sentiments aboundin his glittering music, in his half-gauzed, half-smoked voice, but most ofall, in his uplifting lines. On “Love ofthe Loveless,” he sounds like he’ssinging the Coca-Cola song to thewhole world; on the giddy “SaturdayMorning,” he’s jumping off sofas recall-ing what it’s like to get up as a kid onthe first day of the weekend and havethe whole day ahead; on the perfect jan-gle-pop of “Dirty Girl,” he’s made aback-porch ditty that reflects on life’sfleeting good times. Though Everett isa multi-instrumentalist, his cosmicblues, pop waltzes, and American-stylepub rock get help from a four-pieceband. Shootenanny! has spotless produc-tion, the kind of realism and warm pres-ence we expect from an LP.Occasionally, Everett’s vocal timbresounds a lot like Beck’s, makingShootenanny! the warm and fuzzy coun-terpart to the merry prankster’s 2002masterpiece of lost love, Sea Change.

Those who thinkthey hate all rap,consider the womenof Northern State:Julie Potash servedon Hillary Clinton’sSenatorial campaign,Correne Spero has a degree from Oberlin,and Robyn Goodmark is a kindergarten

teacher. Not exactly your typical hip-hopbiography, but these white Long Islandfemales aren’t your typical contemporaryrap group. In taking the music back toits Brooklyn roots—simple beats, firmgrooves, turntable scratches, real instru-ments, and best of all, sensible mes-sages—Northern State has made 2003’ssmartest, freshest hip-hop EP, Dying InStereo [Star Time 16]. The lyrics aredevoid of guns, gangsta, and ganja; thereare no braggadocio sex boasts, violentfantasies, or personal vendettas. Songslike “Vicious Cycle” and “All the Same”address politics, women’s equality, andsocial consciousness, yet never bog downin idealism or preachiness—the deliri-ous wordplay and grinning pop-culturename-checking on “Trinity” and “At theParty” make certain of that. The trio’smelodies, harmonies, and poetic licensesflow, rhyme, and explode like oldBeastie Boys and De La Soul singles, andNorthern State embraces their inde-pendence in a similarly confident,punky, and funky manner—they’re hav-ing fun, they’re good at what they do,and they know it. Dying In Stereo is themost infectious female-group hip-hoprecord since Luscious Jackson’s 1992roots-based In Search of Manny—onlybetter.

Finally, grab your towel,Coppertone, and Mai Tai. For those whocan’t get enough of Hawaii or California,and for whom the label’s 40-other surf-music releases aren’t enough, Sundazed

has issued LostLegends of SurfGuitar Volumes I –III [11126/7/8]—60 tracks (many pre-viously unreleased)of reverb-soaked

Fender Jazzmaster and Telecaster guitarsteamed with bongo beats, carefree horns,stretchy bass lines, and muscle-car soundeffects. These wave-crashing chords andchiming scales aren’t anything wehaven’t already heard, but nonethelessprovide a lighthearted Polaroid of aninnocent time. All three volumes comewith song-by-song liner notes, memora-bilia, and informative sidebars of who’s-who in ‘60s surf-rock. BG

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MARKETPLACEADA Music ....................................................126www.ada-music.comArchive Audio ................................................129Audio Consultants ........................................127www.audioconsultants.comAudiophile Intl ..............................................131www.audiophileusa.comAudio Limits..................................................130www.audiolimits.comAvantGarde Music ........................................132www.avantgardemusic.bizCanary Audio ................................................127www.canaryaudio.comCoincident Speaker Technology ......................128www.coincidentspeaker.comDigiphase ....................................................131www.digiphase.comEqui-Tech ......................................................129www.equitech.comFab Audio ....................................................158www.fabaudio.comGutwire Audio Cables ....................................132www.gutwire.comHagerman Technology....................................132www.hagtech.comManley Labs ................................................128www.manleylabs.comPer Madsen Design ......................................129www.rackittm.comRix Rax ........................................................126www.rixrax.comSilversmith Audio ..........................................130www.silversmithaudio.comSounds Real Audio ........................................131www.soundsrealaudio.comStereo Trading Outlet ....................................130www.tsto.comTenor Audio ..................................................126www.tenoraudio.comTMH Audio....................................................132www.tmhaudio.comVibrapod ......................................................128www.vibrapod.comWireworld......................................................127www.wireworldaudio.com

Index to Adver t isers



Within my circle of friends dur-ing the 1970s, I wasn’t thefirst one bitten by the audiobug. It was my oldest friend,Steve. And he was bittenhard. Although we were bothavid TAS readers and had

been since Issue 1 (and how could we not be with theever-persuasive HP as a mutual friend?), Steve was theenthusiast who read each issue cover to cover withwhat amounted to near religious fervor. And it wasSteve who took that high-end high dive and laid downsome serious moolah for a true reference system.

Steve set his sights on the ARC D-150 stereoamplifier, its stable mate, the SP3a preamplifier, andMagnepan’s tri-panel Timpani 1D planar-magneticloudspeakers. When the Revox straight-trackingturntable received rave notices from HP, Steve pro-nounced himself ready to take the plunge.Completing the system with ADC’s XLM cartridge(soon to require a fresh stylus due to its tendency tosuffer SCCS—Sudden Collapsing CantileverSyndrome) and Bob Fulton’s dangerously thick andunwieldy Gold speaker cables, Steve was on the fasttrack to audio nirvana like no one I’d known besidesHP himself.

I was living in NYC at the time and only learnedof Steve’s resolve to acquire this system when he calledrequesting a favor. He had a bead on the amplifier,retubed, in mint condition, and available from a rep-utable high-end dealer on the Upper East Side, thelegendary Lyric Hi-Fi. The price was $2750.

This was used? I was convinced that Steve hadgone nuts. I was also green with envy. Steve asked thatI confirm its condition prior to him sending the cash.But I knew that his mind was already made up.

On my lunch hour I took the subway upLexington Avenue to Lyric where I encountered theD-150—a 100-plus-pound beast overflowing with fat6550 output tubes—resting ominously in a corner.The chunky aluminum faceplate was mobbed withhuge meters for tube biasing and line voltage readout,and a large black knob to individually select outputtubes for rebiasing. Back in L.A., Steve was busy pur-chasing the other gear, including the ARC preamp.The SP3a, however, was making a quick stop prior to

its arrival at Steve’s house. He was having it shippeddirectly from the factory to mod-specialist Frank VanAlstine for the installation of a toggle switch to bypassthe tone controls—a tweak that had been validated inthe pages of TAS. Even the guys at ARC were a littleawed by someone buying one of their products andnot even listening to it before having it modified! Butthat was the power of TAS. It mattered less to ourreaders what the manufacturer said than what HP andthe senior writers heard.

When I moved back to L.A., Steve left me a keyand an open invitation to fire up the system when-ever he was at work. This was also a new experience:a friend of mine having a genuine reference system inhis own home. Somehow this was distinctly differ-ent from visiting HP in his Sea Cliff digs and lis-tening to systems that always seemed otherworld-ly—and unattainable.

As a heavy listener of the singer-songwriters of theera, I fell in love with the “right there” quality of thissystem’s vocal reproduction, the huge images, the veri-table wall of sound. The speed of snare drum transients,the complexity the system extracted from the lowestlevel information, and, of course, the sustain of the bellat the close of “Peace Train” (never again I promise!)from Lincoln Mayorga’s Sheffield direct-to-disc LP werenothing if not magical. This was also the first systemoutside of Sea Cliff that enabled me to identify whatwas going right and going wrong with recordings.

Eventually, I started hearing the system’s limita-tions too: It required scads of volume to come alivedynamically and to breathe; it wasn’t happy playingloud, as the Maggies simply couldn’t impart theunbridled dynamism of orchestral crescendos; and theD-150 didn’t have the control at the bottom that wetake for granted in finer amplifiers today. But theseshortcomings were hardly dismaying then. Even nowits sound remains indelible—fast, palpable, romantic,and remarkable.

Ultimately, Steve managed to unhook himselffrom the hobby, hooking me in the bargain. He soldthe ARC gear to a collector in Japan for pretty muchwhat he’d paid for it. Today it seems clearer than itdid at the time that as Steve closed this chapter in hislife, a fulfilling and extended chapter was just begin-ning in my own. One that continues to this day. &

T A S R E T R O S P E C T I V E

The Start of the Affair

Neil Gader

The Absolute Sound 2003 10-11 (144)

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