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ISSUE 144 I OCTOBER/NOVEMBER 2003

viewpoints
F R O M T H E E D I TO R LETTERS 8 148 4 M A N U FA C T U R E R C O M M E N T S

columns
F U T U R E TA S : P r o d u c t s o n t h e H o r i z o n I N D U S T RY N E W S ABSOLUTE ANALOG 20 26 18

20

Stephan Harrell spins a trio of European imports Roksans Radius 5, Thorenss TD850, and Nottinghams Horizon.

tas journal
3 0 T H A N N I V E R S A R Y F E AT U R E 32

From our third issue, HPs groundbreaking review of the Audio Research SP-3 preamp, the product that launched a tube revival, with a contemporary comment from HP.
E D I TO R S C H O I C E AWA R D S SPECIAL REPORT 67 36

Our second annual assemblage of the very best products reviewed in these pages. Alan Taffel listens to the Acura/ELSs breakthrough DVD-A Auto Sound System.

equipment repor ts
SOPHIA ELECTRIC BABY AMPLIFIER 73

Baby indeed! Wayne Garcia listens to this tiny, good sounding, and inexpensive tube amplifierand shes cute too.
P OW E R TO T H E P E O P L E : N I N E P OW E R C O N D I T I O N E R S S U R V E Y E D AY R E A X - 7 I N T E G R AT E D A M P L I F I E R THIEL CS2.4 LOUDSPEAKER 89 93 85 75

Chris Martens gives you the lowdown on 9yes 9!ways to improve your AC power. Robert Harley likes what he hears from Ayres tasty new integrated amp. Thiels latest floorstander gets a workout from our man in Studio City, Neil Gader.
MERIDIAN 502 ANALOGUE CONTROLLER A N D 5 5 9 P OW E R A M P L I F I E R

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

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SOUNDLINE AUDIO SL2 LOUDSPEAKER

97

Robert E. Greene checks out this hybrid design, and tells you how to save a few bucks, too.
S U T H E R L A N D P H . D. B AT T E RY - P OW E R E D P H O N O S TA G E M U S I C A L F I D E L I T Y T R I - V I S TA C D / S A C D P L AY E R 101 104

No AC = very quiet LP playback. Wayne Garcia on the latest from the mind of Ron Sutherland. The companys name describes the player, according to Shane Buettner.

the cutting edge


LINNS MARVELOUS MUSIK MACHINE: THE KIVOR DIGITAL-AUDIO SERVER 111

Nicholas Bedworth checks out Linns 21st Century music box.


BOULDERS 2008 PHONO PREAMPLIFIER, 119 1 0 1 2 DA C / P R E A M P L I F I E R , A N D 1 0 6 0 P OW E R A M P L I F I E R

Paul Seydor takes an in-depth look at these gorgeously built and ultra-pricey components.
H P S WO R K S H O P 133

75
2

Surround Sound in Action: The Recordings, A Cross Section of Some Hits (and Misses) HP on the current state of multichannel sound.

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

music
CLASSICAL 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
SACD R E C O R D I N G O F T H E I S S U E : 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
DV D - A

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


JA Z Z 163

Randy 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

36

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

111

The Man Who Invented Soul: The Sam Cooke ABKCO remasters Nickel Creek: Nickel Creek and This Time The Kinks: Everybodys In Show-Biz and Low Budget
DV D - A

Steely Dan: Everything Must Go Deacon Johns Jump Blues


ON THE FRINGE

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

tas retrospective

184

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

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WWW.THEABSOLUTESOUND.COM

from the editor

s youll see in this issues Letters, our Recommended Systems feature in TAS 143 stirred up quite a controversy. At issue is how much of ones overall system budget should be allocated to loudspeakers. I had recommended driving an $11,700 pair of Wilson Audio Sophia loudspeakers with a $1550 Naim Nait 5 integrated amplifier. Juxtaposed with this system was Jonathan Valins recommendation of a $128,832 package, of which just $19,000 was spent on loudspeakers. Both of us have lived with and enjoyed our respective choices, and both of us felt confident recommending them as systems we would buy ourselves. But which approach is correct? In the early days of hi-fi, the conventional wisdom held that because the loudspeakers actually produced the sound, they were the most important component and deserved the lions share of the budget. Implicit in this argument was the belief that turntables, preamps, amplifiers, and cables had little or no effect on the sound. This idea was stood on its head in the early 1970s by Linn Products founder Ivor Tiefenbrun, who virtually single-handedly demonstrated to the world the turntables 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 isnt pristine at the start of the chain, nothing downstream can ever make it better. In fact, better loudspeakers at the end of a poor-quality reproduction chain actually sound worse than less good loudspeakers because the better loudspeakers more accurately reveal upstream flaws and distortions. I understand the logic of this position, and partially subscribe to it. Believe me, you dont want a grungy, bright, hard, and flat CD player or digital processor feeding high-resolution electronics and loudspeakers. Nonetheless, my recent experience with very high quality and easy-to-drive loudspeakers, combined with exceptionally musical and affordable amplification, suggests that theres still a strong argument for putting most of your hi-fi budget into loudspeakersprovided that the components are chosen and matched extremely carefully. High-sensitivity loudspeakers with a flat impedance curve can be driven to satisfying levels with low-powered (read low-priced) amplification. And there are a few precious gems of inexpensive amplification that deliver outrageously good sound when matched with the right loudspeaker. Find the right combinations of these 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 sound quality. But it works when bang-for-the-buck is a priority. Its like a Subaru WRX; 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. Thats why we present such a broad spectrum of prices and approaches in our Recommended Systems feature. Putting together a musically rewarding stereo system requires vastly more insight and sensitivity than an x percentage should be allocated to the source, x to the amplification, and x to the loudspeakers mentality. Component matching is an art, with rules and guidelines about how to assemble a system. It therefore seems appropriate to close this piece with a quote from Michael Polanyis Personal Knowledge: Towards a Post-Critical Philosophy: Rules of art can be useful, but they do not determine the practice of an art; they are maxims, which can serve as a guide to an art only if they can be integrated into the practical knowledge of the art. They cannot replace this knowledge.

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 writers John 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 writers Shane Buettner, Dan Davis, Frank Doris, Allan Freeman, 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) 439-6951 Marvin Lewis, MTM Sales (718) 225-8803
subscriptions, renewals, changes of address Phone (888) 732-1625 (U.S.) or (760) 745-2809 (outside U.S.), e-mail absolutemultimedia@hutchins.com or write The Absolute Sound, Subscription Services, PO Box 469024, Escondido, California 92046. Six issues: in the U.S., $42; Canada $45 (GST included); outside North America, $75 (includes air mail). Payments must be by credit card (Visa, MasterCard, American Express) or U.S. funds drawn on a U.S. bank, with checks payable to Absolute Multimedia, Inc. editorial matters Address letters to: The Editor, The Absolute Sound, P . O. Box 1768, Tijeras, New Mexico 87059, or by e-mail to rharley@absolutemultimedia.com. classified advertising Please use form in back of issue. newsstand distribution and local dealers Contact: IPD, 27500 Riverview Center Blvd., Ste. 400, Bonita Springs, Florida 34134, (239) 949-4450 publishing matters Contact Mark Fisher at the address below or e-mail: mfisher@absolutemultimedia.com. Absolute Multimedia, Inc. 8121 Bee Caves Road, Suite 100 Austin, Texas 78746 phone (512) 439-6951 fax (512) 439-6962 e-mail tas@absolutemultimedia.com

www.theabsolutesound.com

Robert Harley

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

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

LETTERS
COLOSSAL IGNORANCE

Editor: Having just read the latest issue (143), I confess I find myself astonishedI never dreamed, after all these years as a subscriber, that I would find myself insulted by The Absolute Sound! However, after reading Mr. Yogi Saxenas letter I find myself in a state of outrage. This may come as a shock to Yogi (he of the 30 years in the high end), but there are actually readers of The Absolute Sound who own some of those supposedly outrageously priced products he saw so fit to lambaste. Even more shockingly, we think we got a bargain. (I consider anything a bargain that will give me a lifetime of pleasure, regardless of price.) So yes, I own [Nordost] Valhalla, both the speaker cable and interconnects. And, I actually drove them home in my Porsche. (Only

IN THE NEXT ISSUE


B&Os BeoLab 5 Loudspeaker Massive SACD and DVD-A Player Survey Golden Ear Awards Recommended Source Components YBA Passion Integrated Amp Conrad-Johnson Premier 140 amplifier Exclusive: Vandersteen 5A Loudspeaker The Most Significant Products of the Past 30 Years

after I had made sure I had enough time by checking my Rolex.) However, my outrage only increased when I read your From the Editor section, in which, to my eyes, it seemed as though you were being a borderline apologist for the criteria used in selecting Product of the Year. To quote you, reader Yogi Saxena raises some interesting points about high-end audio. No, he doesnt. Yogi raises no point worth even a passing thought. He does not speak for me, nor does he speak for the thousands of other high-end enthusiasts he claims to be one of. We, the folks he seems to detest, are the reason that the high-end evolves, because it is we who purchase the $19k amps and $23k speakers. The fact that we do this enables companies like Wilson Audio, Burmester, and Talon to survive, and propagate their cuttingedge technologies into lower-priced fare, from which folks like Mr. Saxena benefit. His letter whines and raves about a product that, most likely, he will never own. Yet, he fails to realize that these products simply do not appear in a vacuum. They are the result of thousands of hours of research and the outlay of serious capital. Capital generated, I might add, by folks like yours truly. Let me conclude by being blunt: we Porsche-driving, Valhalla-listening, Rolex-wearing heathen do not buy and read The Absolute Sound to hear our tastes being trashed in print by what can only be termed colossal ignorance. We buy it to stay informed, entertained, and up to date on what the high-end arena has to offer us. If The Absolute Sound should

start pandering to the Lowest Common Denominator (we were glad to see fewer exclamation points on your most recent cover), then we will go elsewhere, and you will have alienated a crucial core constituency of the high end, to the STEPHEN J. KENNY detriment of all.

MULTICHANNEL QUESTIONS

Editor: I most enjoy Harry Pearsons and J. Gordon Holts columns, and I must ask Harry a few questions. Why would one need, when listening to classical music, a multichannel speaker system where each of the supporting (side and rear) speakers are full range? I ask the question assuming that this supporting information is limited in volume and frequency response. Your positive comments regarding the Acarian Elite speaker remind me of very positive comments made some time ago about the Innersound speaker. Some comparative comments would go a long way toward explaining how these two different, similarly priced speakers compare, and the virtues of each.
HENRY GROSSBARD HP REPLIES: To take your first question first, the supporting channels sometimes contain fullrange information and not just ambient information. There are classical compositions that utilize surround sound, and many of todays younger generation of composers write with that kind of spatial deployment in mind, and, no doubt, more will do so. Im not sure, based on my experimentation (still in its neo-natal stages),

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

LETTERS

that you have to have full-range speakers in the center or rear, as long as the speakers are of similar manufacture and cover most of the frequency range, to wit, the Coincident Technology system I used in the initial SACD sessions, or the Magnepan system I have been listening to of late. Surround is in its infancy and no one, to my ears, has yet mastered the technology. We still await the recordings that use spatial dimensions to create a greater illusion of the real thing. Given that drawback, you probably can see why I am hedging my response: I just dont know enough yet, and it isnt for want of trying. As for your second question, the two speaker systems do not sound at all alike. The only thing they have in common is my enthusiasm for their musicality. I know I am swimming against the tide of modern reviewing in saying this, but I believe the only significant comparison to be made is between any given speaker system and the real thing. However, it ought to be self-evident that the Innersound with its electrostatic panel and cone-type woofer system will have discontinuities that the all-cone drivers of the Alon dont have, as well as a much narrower listening window. By converse measure, the electrostatics will give you a kind of resolution youll get from no cone-type speaker that presently exists, while you wont have to sit with a head vise on to get stereo staging.

SHOCK ABSORBERS AND TURNTABLE SUSPENSIONS

Editor: Issue 142 has an especially meaningful turntable assessment by Robert E. Greene. The Well Tempered review challenges popular notions in a way Mr. Greene expresses quite lucidly. He rightfully defends the old notion of comparing the sound of the turntable to the sound of the master tape! Damping at the cartridge end is an idea whose time has come, even if it has not been commercially successful in the past. No car goes on the road without shock absorbers, but most turntables take on the tracks without them. HPs mention of VPIs peripheral

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

LETTERS

clamp is also an idea for our times. Clamping LPs at the label is good enough, but clamping at the periphery solves obviously audible wow [problems], which is easily confirmed by looking at the arm swinging up and down with peripheral warps. Thanks for the continuing light into phonograph reproduction.
CARLOS E. BAUZA

BUT WHAT ABOUT THE ABSOLUTE SOUND?

Editor: First, Im a long time subscriber and fan of TAS, which is clearly experiencing a renaissance in quality and focus. HP has mused recently about the conundrum one faces upon hearing the state of the art in solid-state and tube amplification gear. To paraphrase HP, at their finest, both paradigms take the listener closer to the absolute sound than weve ever been before. But if thats so, why should the results still sound so different from each other? Well, what if we were comparing beautiful women instead? I would propose Grace Kelly, Charlize Theron, and Catherine Zeta-Jones for our thought experiment. All perfect, all distinct from each other. Even if you substitute your own idea of perfection, (whether the topic is women or amplifiers), should we be surprised that perfection manifests itself in such a way that two (or more) creations might share certain attributes, yet be dissimilar, simultaneously perfect DENNIS POGGENBURG and unique?

provided in your Recommended Systems article in the June/July 2003 issue. First, the entry-level systems do not include inexpensive but quality turntables, e.g., NAD and Pro-Ject, that would not add a great deal to a systems cost. More importantly, the retail prices quoted do not include necessary interconnect cables or speaker wires, or powerline filters or system cabinetry. These items would provide a more realistic estimate of the total price of a highfidelity system. What was most surprising were the speakers chosen for three of the latter systems. It is incompatible one would spend a whopping 61% (System Six), 76% (System Seven) but then just a meager 15% (System Nine) on speakers. I consider myself an Audiophile-In-Training (AIT), and may never be sure if there is a perfect formula of

what percentage to spend on an item, but believe one should always strive for balance among components. When spending over a 1/10 of a million dollars on a cutting edge/cost-noobject dream two-channel system, one would probably not want to buy speakers that will not fill out the bottom two octaves...nor will they give you...midbass authority...will not sound quite as airy or extended as the best ribbon tweeters...nor will they be quite as seamless and low in distortion as the best JAY MANDEL electrostats.

RECOMMENDED SYSTEMS CONTROVERSY, PART II

Editor: For better or worse I have been an

RECOMMENDED SYSTEMS CONTROVERSY, PART I

Editor: I have enjoyed reading The Absolute Sound for many years and recently re-subscribed to your magazine. I was surprised and disappointed at the sometimes incomplete and misleading information

WWW.THEABSOLUTESOUND.COM

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LETTERS

avid reader of all your issues starting with Issue 1 and own all of them. Even though at times I had felt irritated with some reviews and chagrined by [your] not reviewing equipment I thought you ought to I refrained all these years from writing to you about my reservations. But now comes your Issue 143 with its Recommended Systems and [I] find it truly irritating. For starters, you feature nine of them clustered as follows: four systems priced between $1500$5000, four systems between $11,000$20,000, and low [sic] and behold: one lonely system priced at $130,000! Statistically speaking, these prices are not normally distributed. From a logical and practical point of view you should have offered systems in the range of $40,000$60,000 to fill the yawning gap between these two extremes. But now for my real beef with Jonathan Valins contribution. I fail to see his logic in recommending a $130,000 system which includes $19,000 speakers, $41,000 in electronics, $35,000 in analog front end, and $20,000 in assorted cables and powerline enhancer. Any knowledgeable and high-end savvy person will tell you that speakers are the most critical component in a system. To spend a mere 14% of a very costly system on speakers which are great but incapable of filling out the bottom two octaves and will not sound quite as airy or extended makes no sense. There are turntables which cost half the price, and electronic gear which costs much less, not to mention cables which are more reasonably priced to leave enough money to buy excellent speakers which will cover the entire range with accuracy, speed, authority, and closeness to the real thing. Think of the big Kharma, Wilsons MAXX, the Adrenaline, and others. I for one would have allocated $130,000 entirely differently and achieve[d] as good or better results. For now I have to make do with a $50,000 system.
MICHAEL NATHANSON

Thank you, Mr. Mandel, for suggesting we include turntables and cables in the entry-level systems. Well keep that in mind next year when we put together the next Recommended Systems feature. To address the budget-allocation issue raised by Mssrs. Mandel and Nathanson, the Recommended Systems feature reflects the different tastes and sensibilities of our editorial staff. For example, I was perfectly happy to drive the $11,700 Wilson Sophia with the $1550 Naim integrated amplifier. If given a $20,000 budget, Id probably spend more than half of it on loudspeakers and seek out the extraordinary values in electronics and front ends. But thats just my approach. Jonathan Valin has a different view, as his recommendation (which he lives with on a daily basis) shows. Jonathan has had in his home, and has ongoing access to, some of the worlds largest and most expensive loudspeaker systems. Nonetheless, he has chosen to live with the system he described. Finally, HP was slated to recommend a system between $20,000 and our top system at $130,000, but he was unable to turn in the copy before deadline.
ROBERT HARLEY REPLIES:

tions are far less noisome than those of these others, including all of the ones that Mr. Nathanson mentioned. That loudspeakers are arguably the most important part of a system does not mean that they need be the most expensive part of the system. It depends on the loudspeaker, doncha think? (Which is precisely why the Kharma Reference Monitor 3.2s are such an extraordinary deal.) I might add, in passing, that before spending more money onor allocating more percentage points toloudspeakers, Id spend less. Id pick the Magneplanar 20.1s, the Sound Lab M-1s, and the Quad electrostatsall of which cost substantially less than the Kharmasahead of any of the behemoths Mr. Nathanson and, by implication, Mr. Mandel apparently have in mind. And, no, I wouldnt cheap out on the frontend or on electronics or cabling for these either. A good speaker is only as good as what comes ahead of it. And frankly what comes ahead of it can turn good into great.
FM TUNER FANS

The notion that a stereo system should be put together strictly on a percentile basis is, in my opinion, idiotic. What I recommended was not the upshot of a cut-and-dry formula, worked out meticulously by calculator or in consultation with an accountant, but a realworld hi-fi system that Ive lived with for better than a year and whose parts were chosen because they have proven to work superbly well together (regardless of individual prices or percentage points). Moreover, this is a system that will fit into virtually any listening room short of the palatial, and that will play there as accurately and musically and pleasurably as any Ive heard, including many that cost tens of thousands of dollars (and tens of percentile points) more. Sure, the Kharma Reference Monitor 3.2s have their limitationswhich I listed. But so does every speaker Ive heard, regardless of price. Moreover, in the aggregate, the 3.2s limitaJONATHAN VALIN ADDS:

Editor: I wish to thank everyone, especially Neil Gader and Robert Harley, for the excellent June/July issue of The Absolute Sound. Of particular interest to me was the tuner survey. As one of the cofounders of the Tuner Information Center and the FM Tuner discussion group it does my heart good to see interest in FM tuners. We have a young Web site for this very interest. Our Web site [www.fmtunerinfo.com] was established to give the music lover, hobbyist, and FM DXer a place to learn and contribute to the advancement of FM. We have information pages, reviews, and how-to modifications to help improve sound quality on classic and even modern FM tuners. Our discussion group is at 1000 members worldwide and consists of all types of folks from young members starting out to engineers and hobbyists bent on squeezing out the best from their tuners and sound systems.
JIM RIVERS

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

LETTERS

ACOUSTICS PRIMER

Editor: It has occurred to me that it has been a very long time since any articles on room acoustics have appeared, as they did in the days of future past. Given how revealing all our equipment is, it would seem timely to enlist the advice of an acoustician in how best to maximize the room to eliminate bass modes. HP has, periodically, reminded us to damp the first and second reflection points, which is great. However, bass nodes are most likely still a mystery to most readers, and a short explanation of what they do and where they will show up would be helpful. Even reminding people not to put their couches in the middle of the room (incoming waveform!) might be a helpful tip. The equipment most of us have is probably very good, but the chance of us getting everything out of it that we can is unlikely. Given TASs influence, why dont you help out the readership and save them some money? Robert E. Greene seems the logical choice for such an article, scientistand pragmatistthat he is, but its past time for an article like the G. MCLEOD ones between issues 38-50.

A THOUSAND QUESTIONS FOR HP

Editor: The reprints of original articles from The Absolute Sound [our 30th Anniversary features running in Issues 140145] is [sic] impressive in the display of wisdom, eloquence, and fundamental style (in the way Bogart or Orson Welles had it, as opposed to stylish) that is clearly inimitable. The editorial staff appears well aware of this, which makes the obvious disconnect it creates, at the very least, disconcerting. The immediate, overwhelming feeling one has after reading them (more so for people the articles are new to) is How does this connect to the present? What happened to this equipment or the people that cre-

ated it? Did they dissipate their creative energies or move on to new things? What happened to the ideas embodied in these products? Are they represented in other equipment to the same degree since then or now? A thousand questions to be sure, but you have the source to draw upon to answer them. The magazine, your readers, and the public at large would benefit enormously if you prevailed upon Mr. Pearson to put it all in perspective, to give it context. There has never been anyone nearly so successful at sketching out powerful themes and historical perspectives in regards to audio (and no doubt visual) media. Who else could talk about the zeitgeist of the times then and now while making profound sense and never sacrificing artistry[?] I am sure he has all manner of stories to tell from behind as well as in front of the scenes. No one doubts he has led an interesting life; let him tell us about it. Basically, get him to expand on all the possibilities and themes hinted at in these articles and build upon that. It would be good if he could respond to a question 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 are not easily duplicated elsewhere. Im sure this will get you thinking in a number of directions regarding HP. This is entirely the point. Whatever direction you have him galloping in, its bound to JOHN PENTURN be fruitful. Ask and ye shall receive. See this issues 30th Anniversary feature. RH

playing music. Music is a complex signal made up of sine waves, not a single sine wave as in his testing method. I suggest a similar test, but instead of using a static sine wave use white noise, pink noise, or perhaps actual music (what a novel concept). Turn the main amplifier off so that the signal is being reproduced by the subwoofer only. Then do the blindfold test. The results will vary depending on the crossover design and the crossover frequency employed for the test. The ability to localize the signal is greatly enhanced when a complex signal is used. I believe the key to obtaining seamless integration between the main speakers and a subwoofer system is the quality of the crossover used. This is where most subwoofers fall far short of the performance audiophiles expect from their systems. The only subwoofer that I would use in my personal system is the Krell MRS [Master Reference Subwoofer Ed.] The Krells crossover has the flexibility necessary to allow proper system integration. Unfortunately the MRS costs what a nice automobile does, so my audio system remains subwooferless. I prefer faults of omission rather than faults of commission, i.e., no bass is betMR. HARRISON ter than bad bass.
J. GORDON HOLT REPLIES: Of course real music consists of fundamental and harmonic sine waves (plus transients). The whole point of using a bass sine wave for my test is to demonstrate that, without the presence of higher frequencies (which virtually all bass instruments produce), our ears are unable to tell where bass frequencies are coming from. As you point out, it is the function of the subs crossover network to ensure that those musical frequencies high enough for us to locate are sufficiently attenuated (and routed to the upper-range fronts) to place them where they belong. A properly designed crossover will do this. Believe me, there are powered subwoofers available for far less than the MRS costs that will produce superb low end without distortions of bass directionality. Read the subwoofer reviews in TAS and The Perfect Vision.

OF SUBWOOFERS AND SINE WAVES

Editor: I agree with Mr. Holts assertion that the use of subwoofers in an audio system can improve the overall performance in the bass region. However what I take umbrage with is his assertion that a test using a sine wave is proof that a subwoofer cannot be localized while

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

futureTAS
Products on the Horizon Neil Gader

NEAT Sending The Ultimatum

N I

eat Acoustics of the UK has been well regarded for the sonic consistency of its traditional, though rather staid loudspeakers. The U.S. debut of its Ultimatum line should show Neat in a completely new light. The imposing MF9 is a multi-chamber/multidriver enclosure using six proprietary 6.5" mid/woofers (redesigned to meet Ultimatums requirements), an inverted titanium-dome main tweeter, plus two upward-firing EMIT supertweeters. The other Ultimatum models incorporate a similar smorgasbord of features including critically braced birch-plywood cabinets, tri-laminate baffle-coupling, compound (isobaric) bass-loading, and upward-firing area-drive supertweeters. These include the scaled-down MF7 and MF5, and the MFS mini-monitor. A range of finishes can be supplied, including wood veneers 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?


n a complete inside-out redesign, Musical Fidelitys X-CanV3 tube/transistor headphone amp now features very low output impedance in order to drive even the lowest sensitivity, load-challenging headphones. The circuit topology is nearly identical to that of the MFs Tri-Vista SACD player, except for its ECC88 output tubes (in place of the Tri-Vistas 5703s). Frequency response is rated to 100kHz, with an ultra-low-distortion of 0.008%THD from 20Hz20kHz. Channel separation is rated at 76dB. The high-quality Alps volume control is said to keep channel balance within 0.2dB. The low-feedback circuit is housed in a new non-microphonic extrusion, and the font panel is machined from mil-spec aluminum billet.
Price: $395. www.musicalfidelity.com

Upsampling Alive And Well At Arcam

rcams FMJ CD33 CD player upsamples to 192kHz, using four Wolfson WM8740 DACs per channel. The Wolfsons are said to employ analog averaging between DACs to increase linearity and reduce distortion. In comparison with the FMJ CD23T, which it replaces, Arcam says that listeners should hear improvements in soundstaging 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, including an ultra-low-noise toroid for critical audio stages. As with all models in Arcams FMJ (Full Metal Jacket) line, the CD33s faceplate is machined from a solid 8mm aluminum extrusion, and the chassis is constructed of Acousteel, a threelayer laminate utilizing constrained layer damping to greatly reduce chassis resonance.
Price: $2499 www.audiophilesystems.com

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

Plinius Takes The Plunge


eplacing critically acclaimed products is always a risky business. Plinius, however, is confident that its new 9200 and 9100 integrated amplifiers (adios 8200 and 8100!) will match the performance of separates. Both amplifiers have received a thorough reworking. The 9200 received the bulk of the improvements, including a faster power-amp circuit with an output stage tuned for better high-frequency performance. And as in Plinius advanced SA series, each amplifier channel has its own input section regulator. Power output has also increased to 200W, due mainly to a larger transformer. The 120W 9100 boasts many of the same upgrades, as well as a preamp section similar to that in the 9200. New curvaceous cosmetics are derived from Plinius multichannel Odeon amplifier.

Prices: 9200, $3495; 9100, $2295 www.pliniususa.com

Noises Off Or Waiter, Cancel That Hash!

ince 1991 DH Labs has been quietly yet consistently 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 copper for improved conductivity, the Power Plus is also said to use noise-canceling geometries to lower the intraconductor interactions that create noise or hash in the audio and video chain. The Power Plus features two 12gauge conductors and a ground, and is wrapped in an attractive custom insulation that the company claims reduces coloration and improves overall transparency.
Price: $200 (2-meter length) www.silversonic.com

Upsampling Affordability From Simaudio

n another sign that audiophile companies are not conceding the hi-rez ground to SACD and DVD-A, Canadas Simaudio 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 circuitry 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 and in-house developed software. Separate digital and analog power supplies boast seven stages of voltage regulation. Burr-Brown BB1730E 24-bit/96kHz DACs and an 8x-oversampling filter handle the conversion process, while a 25ppm digital clocking system should reduce jitter to very low levels.

Price: $1995 www.simaudio.com

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19

A Look Inside the Wilson


Robert Harley
ilson Audio, already a formidable player in high-end loudspeakers, has taken a significant step forward with the recent introductions of the WATT/Puppy 7 (see my review last issue) and Sophia loudspeakers. As a result of several new design techniques, these products share a sound that represents a departure from the traditional Wilson sound. Indeed, it was the discovery of these new techniques that inspired Dave Wilson to embark on his all-out assault on the state-of-the-art in loudspeakers, the new $125,000 X-2 Alexandria. To learn more about how Wilson loudspeakers are made, and to get an advance listen to the X-2 Alexandria, I visited the Wilson factory in Provo, Utah. The factory, which employs 50 people, was built twelve years ago specifically for manufacturing loudspeakers.

Audio Factory
fiberglass boats against water, seals the loudspeakers cabinet joints, protects it from humidity, and provides a uniform painting surface. The coated cabinets are then hand-sanded to a very tight tolerance: I saw a worker using a thin feeler

The tour began in the cabinet shop where raw sheets of Wilsons M and X materials are machined into cabinet components (see sidebar). The machined panels are glued together and held for seven days in a clamp. Dozens of adhesives were tested before arriving at the current combination of glues. No dowels or hardware are used in the cabinet construction to ensure that the entire enclosure behaves as a single unit, both for improved sonics and longevity. The glued panels are deliberately made larger than necessary so that they overhang each other to provide a stronger and tighter joint than if the panels had mated exactly. After this excess material is machined off, the cabinets are inspected and touched up via hand-sanding. The next stop is the gel-coat booth where a 1/16th-inch-thick layer of a polymer-based plastic is applied to the cabinet. Gel coat, used mainly to seal

Raw X material awaits machining

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

Gel-coat sanding

gauge and a straight edge to check panel flatness, and then sanding certain areas over a vacuum table that instantly sucks dust out of the room. The cabinets are painted with two coats plus an automotive-like clear coat, and left to cure for seven days. This cabinet construction reportedly takes ten times longer than conventional techniques based on wood- or vinyl-veneered medium-density fiberboard (MDF). In another part of the factory, raw loudspeaker drivers are modified, tested, labeled, cataloged, and prepared for insertion in the cabinets. The drivers frequency responses are measured by mounting the drivers in a jig attached to a small anechoic chamber. The drivers

are measured twice, before modification and after. Each driver is matched to the other drivers that will go into a finished loudspeaker, and its individual characteristics are archived. If a customer needs a replacement driver, Wilson looks up the serial number of the loudspeaker and checks the archived characteristics of the

X and M Cabinet Materials


he so-called X and M materials used in all Wilson loudspeakers were developed by Wilson Audio in conjunction with the materials-technology laboratory at Brigham Young University. The goal was to develop a loudspeaker-cabinet material with the ideal properties of low resonance, quick decay of those resonances, and structural rigidity. A loudspeaker cabinet made of such material would contribute less sound of its own, allowing the loudspeaker to exhibit lower coloration, greater resolution, and higher transient fidelity. After experimenting with and measuring dozens of different materials over several years, Wilson settled on what he calls X and M materials, both of which are epoxy-based composites. X material contains no wood products, is machined like metal, and according to Wilson, has vastly better resonance and damping characteristics compared to the mediumdensity fiberboard (MDF) typically used in loudspeaker cabinets. The top-of-theline X material has the rigidity of steel and is very heavya 3"-thick sheet measuring 2' x 2' weighs 115 pounds. M material is slightly less dense, contains 3% wood products, and is used in less critical applications as well as in upperrange enclosures where its properties

make it ideal for mounting small drivers. (You can see the combinations of X and M materials in the raw cabinet photos X is the darker material.) X and M are sometimes augmented with blocks of lead to increase the mass. The upper panels of the X-2 and the WATT side panels, for example, contain lead inserts fitted into machined-out cavities. I saw dozens of cumulative-spectral decay plots (a measurement that shows the frequency and duration of resonances) for different materials, and M and X were orders of magnitude better than MDF. Dave Wilson has the luxury of asking the factory to make identical loudspeakers except for the cabinet material, and after listening to many different combinations, can identify some cabinet materials by their sonic signatures. M and X materials are reportedly as much as fourteen times more expensive than MDF. Moreover, they take much longer to cut because they machine more like steel than woodone side panel for the X-2 loudspeaker takes eight hours to machine. Because the material is so hard, the cutter must move slowly and be withdrawn periodically to cool. Despite the high cost and slow manufacturing associated with these materials, Wilson believes they are essential to producing RH loudspeaker enclosures.

Drivers are measured in the small anechoic chamber

A WATT cabinet is clamped for assembly

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

The X-2 Alexandria


driver in that customers particular product, thus ensuring that the replacement is a perfect match. The crossovers are made with pointto-point wiring rather than on a circuit board. This technique has many advantages, including the ability to position and orient crossover components for lowest interaction among them. Although capacitor tolerances are typically 10% (or worse), Wilson achieves 0.3% precision by measuring every capacitor and then trimming it by adding smaller-value capacitors to realize the target capacitance. This not only ensures that the crossover performs exactly as designed, but also guarantees a perfect match between left and right loudspeakers. The inductors are custom-wound in the Wilson factory, and feature core materials developed by Wilson. The entire crossover assembly is mounted in an enclosure (either plastic, machined aluminum, or machined he great library in Alexandria, Egypt, was the repository of all knowledge in the ancient world. Dave Wilson thinks of the X-2 as the manifestation of everything hes learned about loudspeaker design over the past thirty years, hence the name of his new flagship product. The X-2 employs two woofers (a 15" and 13") in a front-ported cabinet, two 7" midrange drivers, an inverted-dome tweeter, and a rear-firing supertweeter. Sensitivity is rated at 96dB, and the minimum recommended amplifier power is just 20 watts. Each X-2 weighs 750 pounds uncrated. The X-2s predecessor (the X-1) has long used modules that move forward and backward on tracks to achieve correct time alignment. For the X-2, Wilson developed a technique called Aspherical Group Delay in which the midrange and tweeter modules tilt as well as slide back and forth to deliver perfect alignment of the drivers

Buffing a finished cabinet

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

at any listening distance. This not only improves time coherence, but also allows the X-2 to be used in smaller rooms with closer listening distances. After the factory tour, I had an opportunity to spend about 90 minutes with the X-2 Alexandria and my own CDs at Dave Wilsons home. We first listened to the ten-year-old X-1 to establish a reference baseline. Id heard the X-1 at shows, but Wilsons setup was by far the best Id heard this loudspeaker sound. Switching to the X-2 was revelatory; the new design was not only higher in resolution than the X-1, but vastly more musically involving. Driven by a pair of Mark Levinson No.33 amplifiers (fed by 240V lines) and an Audio Research Reference 2 Mk.2 preamp, the X-2 had staggering dynamic contrasts, a huge three-dimensional soundstage with precise imaging, and a gorgeous rendering of tonal colors (the latter was not the X-1s strong suit). The X-2 also beautifully resolved

individual instrumental lines in complex passages. After such a short audition, any listening impressions must be considered preliminary, but based on what I heard, the X-2 Alexandria appears to be a significant achievement and a serious contender for RH the state of the art.

X material, depending on the loudspeaker) and potted. Even the internal wiring harness that connects the crossover to the drivers is made to exact specifications, with a precise number of twists in the wire, an exact length, and a specific type of wire for each driver. The finished crossovers and drivers are mounted in the enclosures, and then packed in wooden crates in front of a loading dock. The entire process is slow and laborious. For example, it takes just under seven weeks to make a WATT and Puppy from start to finish. I came away with the impression that the Wilson factory is more of a large-scale handcrafting shop rather than a small& scale industrial factory.

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25

Three European Imports


Stephan Harrell

rom my first turntable in 1979, the Micro-Seiki DD-7, Ive been intrigued by the various approaches available to and chosen by analog designers. Given the myriad variables, each has its strengths and shortcomings, and the trick is finding the right balance in the implementation. Some do many things well. Few do it all. And by doing it all, what Im really saying is doing little; ideally the device is getting out of the way of the musical signal. Most of us can agree on some desirable goals: low noise floor, stable and proper speed, rapid recovery from disturbances, dissipation of unwanted resonance across a broad frequency range, and, of course, the ability to make music come alive in our homes. The three tables on hand, ranging between $1000 and $2000 (including arm), are different in appearance, design principles and, among other things, sheer physical weightranging from a low of fifteen pounds for the Roksan to a high of forty-eight pounds for the Thorens (whose platter alone weighs in at nearly nine pounds). The only things they have in common are that all come with pick-up arms, spin vinyl, and lack suspensions and dustcovers.

The main plinth (housing the motor assembly) is decoupled at three points from the subplinth (housing the main bearing, platter, and pick-up arm), an approach that is said to minimize acoustic breakthrough. The platter is machined from solid acrylic; three adjustable spike feet allow for leveling. Overall fit-n-finish strikes me as excellent at this price point. The NIMA arm is the only unipivot in this survey. It features a stainless steel bearing, aluminum alloy arm tube, and acrylic yoke and headshell. Setup of the arm was a bit more challenging than with the other models under review. The special, flexible PCB (as in printed circuit board) ribbon arm cable requires careful handling, because its not really all that flexible. Also, since the azimuth and VTF rely on a common counter-

weight, its challenging not to impact one while setting the other. The Radius 5 was great for grooving to Isaac Hayes Hot Buttered Soul [Stax]. Its most obvious characteristic is that it is rhythmically insistent. The Roksan is physically compelling, powerful, wellpaced, beat-based, andbelieve it or notdoes all this while running a bit slow. Considering that Ive heard a number of turntables which ran at correct and precise speed that couldnt get me into the groove of the music, this struck me as interesting. During a chat with Ken Lyon (manufacturer of the Neaunce isolation platforms by Greater Ranges) I mentioned this and his response struck me as quite cogent: Doing pace, rhythm, and timing involves maintaining and preserving the shape and architecture of notes.

Rhythmically Insistent

The Roksan Radius 5


Clearly (and not just in the case of the Plexiglas version, as the Radius 5 comes in a gloss maple finish, too), this is not your fathers Roksan. The Radius 5 looks like no Roksan that came before it, though the drive mechanism does feature the companys resiliently mounted pulley fitted to a custom synchronous motor.

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

Thorens TD850

Speed is only one aspect. How well the table maintains the relationships between its various drive/suspension and pickup sub-components, and how rapidly it can recover from disturbances and suppress resonance evenly across a broad frequency spectrum are equally if not more important than how rapidly the information passes beneath the stylus. We do know that an elevated speed could provide a psycho-acoustic effect of being uptempo but does nothing at all to preserve musics architecture and generally harms it. Moving on, ambience is respectable at this price and the presence of performers is credible, though they tend to linger at the front half of the stage. The rich harmonica and dobro on Dylans Oh Mercy [Columbia] were well delineated on The Man with the Long Black Coat. The wailing lead guitar on Dire Straits Six Blade Knife [Warner] made a surgical strike through the humid summer air in my listening room definitely an attention-getter. What I didnt get was the extended trailing edge (decay) of notes that provides the nuance and related level of emotional connection that I crave. If youre into that kind of detail, or emotional insight, this unit wont be your best choice. But it did engage me, kinetically.

Big, Bold, Pure

Thorens TD850
Thorens has been around through the past three centuries. In 1883, it

began building cylinder-and-disc movements; in the early 1900s it made Edelweiss and Helvetia music boxes and other disc mechanisms, and its turntables, including the TD124 and 124II (made from 1957 to 1966) and the TD125 (from 1968 to 1971) are widely renowned. At the turn of this century, Thorens experienced some challenges and by 2002 had announced a restructuring to begin a step-by-step re-launching of the brand. The new 800 series begins with the $1299 TD800, while the $1999 TD850 is the second in the series. The chassis designsaid to improve signal behavior and resonance absorptionis a sandwich made of two pieces of thick highdensity wood flexibly bonded to a slightly thinner steel plate. Three polymer-damped adjustable feet support the heavy base. The table features a silentrunning bearing made of two sinter bushes with a polished stainless steel axle inside. The tungsten ball at the end runs on a self-lubricating bearing point. An outboard motor controller allows the user to select speed. Like the Roksan, this table also was a bit slow. The TD850 came mounted with a Thorens TP300 (looks like a Rega to me) with VTA adjustability. Other tonearms up to 10 inches can also be used. This table did a good job of revealing production values. The title track from Laurie Andersons Strange Angels [Warner] was big and natural with the lead guitar boldly showing the way. It was deep and articulate on the driving bass and keyboards on Monkeys Paw,

and this immediately helped me connect kinesthetically. Timingwhich is fundamental and manifests itself at all levels of music, including individual notes and subtle shifts and cueswas most respectable. The biggest, and first draw, for me was the Thorens tonal purity. Again, on Monkeys Paw, it was easy to pick out Bobby McFerrins vocals from the mix of six other supporting characters. Though I detected some midbass overhang on acoustic bass at high volumes, the purity of tone everywhere else was admirable. Whether on the adamant tempo of Choctow Hayride or the seductive Let Me Touch You for Awhile from Alison Krauss New Favorite [Rounder], the 850 delivered pace on par with the Roksan, plus some of the nuance and finer detail that allows me to connect more than physically to the music. Music emerged from a dark and quiet backdrop. With a bit of the audible groove rush I hear on every table, the Thorens slipped right into the big ambience of Chet Bakers Chet [Analogue Productions]. His horn was large, loud, subtle, detailed, and nuanced, with precise imaging. I prefer more organic images (densely saturated with an acoustic bloom as the sound moves toward you), but again, thats the good thing about having choices. In short, purity of tone, fine attack, and more roundness to notes than the Roksan. It isnt as insistent as the Radius 5, but can do big and bold (and speak in more hues of color).

Balanced, Smooth and Coherent

Nottingham Horizon
As if its tables werent already unusual looking, Nottingham has gone a step further with this most recent and least expensiveoffering. The Horizons platter (slightly slimmer than the one found on the Space Deck) sits in a well at the center of a plank-of-a-chassis that houses the main bearing. The well holds an Admiralty bronze bearing with soft inner and hardened outer spin-

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

dles, and is oil-filled. To the right is the simple to set up and easy to love Rega 250 arm that uses a split-collet mount to allow easy VTA adjustability. To the left is Nottinghams low-torque motor

system with just enough power to keep records spinning at proper speed (which they did), once started by hand. A pulley about two inches wide drives the comparatively thick belt.

Designer Tom Fletcher says, Like all Nottingham turntables, if wed put a [power] switch on it we would not want you to buy it, because if the motor started the turntable from a standing start there would be too much power in the motor when it reached the right speedtoo much power means resonance, and the record and tonearm vibrate. Just try writing a letter when the table is moving! The Horizon demanded a significant amount of time to settle. Until the 60hour mark, I heard a lot of hardness in the midband. After that, things smoothed out nicely. While not in the same league as the Space Deck (which is 2.5 times the cost), height and depth of stage were admirable at this price. The presentation was good for pop and most jazz, but this combo couldnt handle classical; absent was the gravitas that

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

made for the mood. That is, until I switched from the AT OC-9 to the Dynavector 20x-l cartridge, which was clearly a better match. Piano attack and rubato on Ray Browns Soular Energy [Concord] were very good. I was definitely swayed by the tone of the Laurindo Almeidas guitar on the direct-to-disc version of LA4s Just Friends [Concord]. The Dynavector seemed slightly noisier on the Horizon than on the Space Deck, but it brought correct weight to instruments. Bloom was allowed to build (appropriately) instead of being smothered or smoothed over. And I could more easily sense the body/volume of instruments, when it was there on the recording. The lively snap from percussion was consistently available. Without going over the whole playlist again, the bottom line is this:

Immediately, and over the long haul, the Horizon does not draw attention to itself. In fact, you may find it boring. It does not have the drive of the Roksan, but it does play the beats. It does not offer precision imaging, but thats not something that I demand. It shares, to a lesser degree, many of the attributes of its big brother (reviewed in Issue 138). The images on the stage are slightly less saturated, but still full and dense. The Horizons not as nuanced, not as extended at the frequency extremes, and so on. But, more importantly, it is well balanced within itself. It does, after time, gently pull me in by revealing the flow, texture, and harmonic coherence of musical lines. To my ears, that ability goes a long way towards the goal of capturing the intent of the performer. And that, at this price, & says a lot about its value.

D I S T R I B U TO R I N F O R M AT I O N Roksan Radius 5 MAY AUDIO MARKETING, INC. 2150 Liberty Drive, Unit 7 Niagara Falls New York 14304 (716) 283-4434 www.mayaudio.com Price: $1295 Thorens TD850 TRIAN ELECTRONICS, INC. 5816 Highway K Waunakee, Wisconsin 53597 (608) 850-3600 thorens@triancorp.com Price: $1999 Nottingham Horizon AUDIOPHILE SYSTEMS, LTD. 8709 Castle Park Drive Indianapolis, Indiana 46256 (317) 841-4100 www.audiophilesystems.com Price: $1000

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31

D
32

uring this magazines 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.

Audio Research SP-3 Preamplifier


(from Volume 1, Number 3, Fall 1973)
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 the current crop of Great Experts telling us that there is no inherent difference between the way each sounds. The differences, we are assured, rest in the way each device distorts, in the circuit designs, in the dynamic characteristics of tubes and transistors. The reason, by the way, there is still a debate: Music lovers have begun to rediscover tubes; that is, they have discovered that tube-type equipment often sounds better than even the most elaborate solid-state devices. That brings us, rather prematurely, to Audio Researchs SP3. It was designed by Bill Johnson; it was designed around tubes (although there is a transistor in the power supply); it is, by contemporary standards, hideously expensiveand likely to get more so in the next few months. A properly functioning SP-3 is, in my opinion, the best sounding 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 my own psychology but the psychology of some of the more articulate Audio Research owners, who have a mystique of their own. Part of their rigidity in attitude (The SP-3 is the best and that is the end of that) is, I believe, the result of a defensive-

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

ness that is the end product of the notion that they are the keepers of the flame against transistorized techno-freaks. Well, the technocrats do say tubes are old-fashioned. Certainly Johnsons circuitry is rather basic and conservative, with no gee-whiz noise-reduction-decompression-chamber gollies. Still, if you love music and if you know how it sounds in live performance, you need make no apologies for the SP-3. Rather, it seems to me, the transistor crowd ought to be on the defensive telling us why, after a decade, no one can design a solidstate 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 Research preamp for testing. And I was positively astonished when the first unit borrowed from Audio Research (No. 274021-5) sounded not one whit superior to the Citation 11a, just different. Fat to the point of sloppiness in the bass; reverberation even when there was little present in the recording (a la Command discs), and rather rounded, though satisfactory, in transient detailing. Most amazing of all: It wasnt particularly transparent. I thought then for sure that Audio Research owners were hearing things not available (by ear anyway) to the rest of us. With the help of Alvin Foster, founder of the Boston Audio Society (the classiest audiophiles group in the nation), I concluded that the SP-3 varied rather noticeably from the RIAA equalization curve at opposite extremes of the frequency spectrum. (RIAA compensation, inherent in disc cutting, is usually specified from 50 to 15,000 cycles. Stewart Hegeman, among others, holds the dark suspicion that the main reason there are audible differences between preamps is because of nonlinearities in RIAA compensation.) We postponed the scheduled review of the SP-3. Later, in discussing the preamp with Audio Research, I described symptoms that made the companys representative conclude there were defects in my unit (although I have not learned, to this day, what they were). Unit No. 2 arrived shortly. Instantly I heard a transparency that shattered my complacency about the SP-3. The audible sensation was one of opening a window on the music. That is to say, the second SP-3 sounded instantly and identifiably more authentic, the closest to the live experience of any preamplifier in my experience. There was, though, a slight hardness about the sound (not grain, not grit, but something considerably colder and glassier.) Still, in several long listening sessions, we were able to hear audible colorations in the Citation 11a, including a faintly noxious hooded effect in the mid-range that, on voices particularly, made vocalists sound slightly hoarse, as if their voices had been transposed downward about a quarter-octave. The Citation also exhibited, by comparison, a certain steeliness in the upper mid-range when it was pushed hard. We had, hitherto, assumed that to be a function of American disc-cutting and equalization practices. The Citation 11a is exceedingly crisp up and down the entire range of music. The SP-3, however, particularly in the mid-range, reproduced music with a freedom and a touch of liquidity (that liquidity may be a col-

oration for all I know) that is considerably more like the real thing than the sparse dryness of the Citation 11a. The bass on the second SP-3 is still fat, though not overbearingly so, and the bass detail reminds me of the bass detail attainable with the better Decca Mk V cartridges. That fatness, I would imagine, could be an asset if youre using an acoustic suspension speaker such as the Adventor if you use American recordings, nearly all of which start rolling off at 50 cycles. The bass end of Mark Levinsons preamp outclasses the SP-3. But, limiting comparison only to the extreme bottom, one would have to say its an aesthetic tossup between the Citation 11a and the Audio Research. (The 11a does have a subsonic filter, which the SP-3 does not. The subsonic filter is, like it or not, an absolute necessity in nearly every decent audio system.) The 11a is, subjectively, leaner and tighter when it comes to reproducing extreme bass. In the extreme highs, 10,000 to 20,000 cycles, the SP-3 floats along, openbut without being crisp, verging on graininess in loud passages. In distortion and signalto-noise ratio, the Audio Research wipes out all competition. If its looks and convenience you want in a preamp, forget the SP-3. Its tone controls, for example, color the sound. Its contour control does not, to my ear, achieve anything resembling the Fletcher-Munson curve (but then neither does anybody elses). The thing is, in appearance, the Margaret Rutherford of preamps, although I understand Audio Research will give you a different panel and Marantz-type knobs for an extra $50 if your sensibilities are ravished by the SP-3s looks. And, as we suggested before, Audio Research seems to be having some problems with quality control (which they shouldnt when they charge this much for a product). Technical consultant Frank Richards opened my SP-3 and found, on the phono circuit board, a number of less than satisfactory solder connections. (The other circuit boards were beautifully assembled.) After he doctored these, the sound become even more transparent. (I do not know how to explain this. I just know it is so.) With the solder connections improved, the hardness we sometimes noticed on SP-3 No. 2 simply disappeared. The sound, at this point, was translucent. The bass could be tighter, I think, and the very top octave a touch more lucid. But these are really quibbles, because, when all is said and done, the Audio Research is incomparable in the mid-range (where most of the music is) and it is for this reason more than any other that Id be willing to flatly pronounce this HP preamp the best.
HP COMMENTS: Upon re-reading this review, which had an almost revolutionary impact in its day, I realize how innocent we (all) were, and how very little we understood compared with the hindsight we have acquired in days since. Looked at through todays eyes, I find my comments left much to be desired. In the innocence department, we can all chortle, perhaps wistfully, when I call this $600 unit hideously expensive. Who knew then what lay ahead, once Joe Grado, with his Signature cartridges, started an audio arms race in pricing? I

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

regret that I hadnt yet discovered the three-dimensional soundfield, for one of the things (I learned later) that the Audio Research did that comparable transistorized preamps couldnt was to recreate a sense of front-to-back depth. Also in the who knew department is the absence of any commentary, though much was to come, on the ARCs expansive headroom in handling phono cartridge outputs, a factor that trumped the limited overload characteristics, with their attendant distortions, from the transistor sisters. I also note my obsession with subsonic filters, whose necessity was then occasioned by the primitive turntable isolation systems of the time, a problem compounded by the 45/45-degree groove cutting of the stereo disc. I would spit in the eye of a sub-sonic filter today, knowing how it would color and distort the bottom octave performance of a revealing system. We didnt really have the multiplicity of revealing speaker systems then that we have today, a commanding reason why I insisted, from the outset, that we concentrate on midrange accuracy as our cutting-edge paradigm, and hoped we could get good treble (which we had from the electrostatics of the day) as well. Deep bass? That was in the works, and from Hartley with its 30inch subwoofer, not an entirely practical device for most of us. The real strength of the original SP31 (and how I would love to hear it again with todays ears and associated gears) lay exactly in its ability to create a seethrough effect in the midband, one we called transparency. We failed to say exactly what we heard that wasnt transparent about the solid-state competition, notably, our then reference, the Citation 11, a unit whose virtues receded quickly over time. Much of that lack originated from the inherent grain and texture, or electronic glaze, that all solid-state devices of the day exhibited, that is, until John Curls JC-2 was commissioned by the real Mark Levinson (who now ironically is promoting tubed units). What Curl would do and what his preamp did was lower, by a seeming

order of magnitude, the transistor colorations we had grown accustomed to. Lower, but not eliminate. And part of the lowering came from the very darkness of the units top-octave response. The SP-3 may not have had much extension at the top, particularly above, say, 10kHzbut what it did have sounded both natural and like unto the real thing, that is, the sound of unamplified music in a real space. And it had that touch of what I called liquidity to offset the Sahara sereness of the solid-state gear, though, even then, we suspected a bit too much of that. I dont think wed have been as forgiving of the bottom end of the SP-3s behavior as we then were, but, as noted, flat, uncolored response in the bottom two octaves lay two decades or so ahead of us. The 3, in the context of its time, had bass that compensated for the equipment shortcomings of the day. Over time, I have come to believe that the essential difference between even the best solid-state gear and stateof-the-art tubed designs lies, not in the circuitry, but in the nature of the devices themselves. Tubes produce a continuous flow of electrons. Transistors are, at heart, switching devices. Wish I had been the guy (it was Doug Sax, Ed.)who said: Digital finishes what the transistor started. I think we perceive, however subliminally, those switchings. And that our minds have to work a bit harder to coalesce these into something approximating the continuousness we hear in everyday sounds, musical or otherwise. I said the review was revolutionary. I think, pardon my seeming immodesty, that, in its time, it granted intellectual respectability to tubed circuitry, convincing some of us that wed been sold a prematurely-hatched bill of goods with solid-state and, despite the shortcomings of this review, of that I am & profoundly glad.
1The times were so hard for those searching out tube designs that there developed a lively trade in old Dyna PAS preamps, which Johnson, in the very early days, modified, largely a custom business. Hence, the numerical designations of his early Audio Research gear, a la their Dyna ancestors.

WWW.THEABSOLUTESOUND.COM

35

editors choice W
elcome to TAS Editors Choicea complete listing of The Absolute Sounds Recommended Products. Several formatting changes have been instituted since last years version. First, and most obviously, we have dropped our Class ratings (just as weve already done with our regular Recommended Products features). Although that ranking system served a purpose, it proved too arbitrary for our taste. Instead weve adopted the more straightforward method of ranking products by price category, in order of ascending price within each category. You may also notice that there are price ceilings for each component group. The super-expensive gear will get its day in the sun in next issues Golden Ear Awards. Those products aside, what follows is a list of the stuff thatout of all the components reviewed in these pageswe would buy. Also note, a Best Buy designation is awardedsparinglyto models that we feel, 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.

LOUDSPEAKERS
Under $500
PARADIGM ATOM
$189 www.paradigm.com

mini shouldsounds open and spacious, with precise imaging and good three-dimensionality. The midrange is honest and musically engaging, though bass and dynamics are of course limited.

boom when the speakers pushed too hard. Nevertheless, the Monitor 5 has a lively, engaging sound with a tonal balance that isin a crude way not unsuggestive of Quads.(Reviewed by
Paul Seydor in Issue 133)

PSB IMAGE 5T
$799 www.psbspeakers.com Rich, dynamic, spacious, and easy-going, the Image 5T is yet another remarkable performer from Canadas PSB. What it gives up in ultimate delicacy and detail, it more than makes up for in every other way.
(Reviewed by WG in Issue 137)

MONITOR AUDIO BRONZE B2


$399 www.monitoraudio.com While rather generic looking, this two-way from Monitor Audio is unusually clean, open, detailed, and dynamically nimble in the midrange. The bass is remarkably weighty and powerful, while the metal-dome tweeter is airy and detailed, without edge. (Reviewed by
Wayne Garcia in Issue 140)

B&W 602.5 S3
Price: $700 www.bwspeakers.com Recently spiffed-up with fresh cabinetry, Nautilus tweeter technology, and a newly fashioned Kevlar mid/bass driver, B&Ws 602.5 Series 3 is dynamic, taut, and detailed. Like an English schoolmaster, it lacks warmth and forgiveness, but its speed, detail, and absence of overhang allow the best recordings to shine.
(Reviewed by WG in Issue 137)

SPENDOR S-3/5
$949 www.qsandd.com Its dimensions are Lilliputian, so its dynamic and bass limitations are real, though it lacks neither warmth nor richness. Used as intended, this mini-monitor exhibits neutrality that rivals Spendors SP 1/2, while demonstrating wonderful openness, transparency, and imaging. (The $1250 SE version trades midrange warmth for improved transparency, resolution, and dynamic range.) (Reviewed by Paul
Seydor in Issues 119 and 143)

A killer value, Paradigms tiny Atom does an awful lot right and possesses no glaring flaws. With a smooth frequency response, an open treble and natural midrange, this little guy only falls short in the bottom two octaves, though it will display a coarseness when pushed too loud. (Reviewed by
Robert Harley in Issue 133)

$500$1000
PARADIGM MONITOR 5
$549 www.paradigm.com The prominent top-end mandates careful placement, equipment matching, or preferably a tone control; the midrange has a tiny nasality; and the port exhibits some

SNELL QBx 20
$750 www.snellacoustics.com The pint-sized QBx 20 sets a standard in build quality, cabinet finish, and rigidity in this range. Though it doesnt quite match the overall transparency and extension of the larger Snell K, except for restricted bass output it has no serious shortcomings either.
(Reviewed by Neil Gader in Issue 135)

PSB ALPHA B
$249 www.psbspeakers.com Although it lacks the detail, neutrality, and refinement of the great British minis, PSBs Alpha B nonetheless does what a good

NHT ST-4
$1000 www.nhthifi.com For not much more than massmarket chain-store speakers, the

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products
ST-4s provide a heaping helping of high-end sound, offering extended high- and low-frequency response, open and articulate midrange, excellent dynamic agility, and a tweeter/midrange driver combination that speaks with one coherent voice. Imaging and overall balance are fine, too, provided youre careful with setup. (Reviewed by
Chris Martens in Issue 141)

dynamic and amplitude limits, this speaker is required listening.


(Reviewed by NG in Issue 141)

This time- and phase-accurate, three-way floorstander has striking timbral accuracy, spatial focus, and resolution. The baffle-less design imbues it with an openness reminiscent of planars or electrostats. Benefits from biwiring and attention to adjusting the back-tilt via stands. (Reviewed
by Shane Buettner in Issue 139)

with chamber music and vocals, conveying an involvement and intimacy with the music like few others in this range. (Reviewed by
NG in Issue 135)

AUDIO PHYSIC YARA


$1995 www.immediasound.com Despite its small cabinet volume, this 2-way, downward-firing bass-reflex loudspeaker possesses an exceedingly natural and extended bass, rich midrange, and silky highs. Soundstaging, too, is excellent. Optimized for smaller rooms with average ceiling heights. (Reviewed by NG
in Issue 142)

RED ROSE MUSIC SPIRIT STUDIO MONITORS


$1200 www.redrosemusic.com Possessed of excellent imaging and soundstaging, reasonable volume capabilities, and respectable bass, the Spirit is beautifully balanced, offering plenty of resolution, but with a smooth, extended treble and a gentle middle-of-the-hall perspective that tends not to overemphasize recording flaws. (Reviewed
by CM as part of the Red Rose Spirit system on AVGuide.com, April 2003)

MEADOWLARK AUDIO KESTREL2


$1695 www.meadowlarkaudio.com Meadowlark replaces its Kestrel with the Kestrel2a two-way, time- and phase-aligned, transmission-line design built with premium-quality parts and materials. Youll be drawn in by its energetic dynamics, thrilled by its articulate and extended bass, and stunned by the huge, deep, high-resolution soundstages it creates.
(Reviewed by CM on AVGuide.com, May 2003).

$1000$1500
TOTEM ARRO
$1100 www.totemacoustic.com A minor miracle, is how Editor-in-Chief Robert Harley described Totems Arro, combining extraordinary resolution, transparency, and soundstaging for the price. It is built to the same standard as mega-buck loudspeakers, but on a much smaller scale. You also get a beautiful wood-veneered cabinet, not a vinyl-wrap box.
(Reviewed by RH in Issue 124)

$2000$2500
FOCAL-JMLAB 906
$2200 www.audioplusservices.com A compact two-way with Grand Utopia technology makes for a vivid palette of musical color, dynamics, and definition. Exceptional transparency and freedom from box colorations. The open, airy tweeter has some added brilliance, but this is a compact with a one-two punch of graceful good looks and uncommon musicality. (Reviewed by NG in Issue 140)

INFINITY INTERMEZZO 2.6


$1500 www.infinitysystems.com With a curvilinear aluminum enclosure, ceramic-composite drivers, powered midbass, and Infinitys R.A.B.O.S. system, which smoothes the dominant resonant peak of the room, the 2.6 has a transparent, cool, somewhat clinical personality. Unflappable at nearly any volume, with excellent bass extension. (Reviewed by NG in
Issue 134)

MAGNEPAN MG 1.6
$1725 www.magenpan.com Magnepans 1.6 planar is one of the great high-end speaker values. The bass is just respectable and the highs are a little soft, but with its top-to-bottom frequency coherence, great speed, wideopen soundstaging, and transparency, this moderately priced Maggie is a music lovers delight.
(Reviewed by JV in Issue 124)

DEFINITIVE TECHNOLOGY POWER MONITOR 700


$1200 www.definitivetech.com Possessed of a solid midrange and an extended treble that, nevertheless, doesnt fully bloom, the PowerMonitor yields unstoppable dynamics and bass flat to 30Hz, eliminating the need for a subwoofer. With corner-tocorner soundstaging, the PowerMonitor sounds much larger than it is. (Reviewed by NG in Issue
133)

POLK AUDIO LSI-15


$1740 www.polkaudio.com Strengths are its detailed yet refined highs and smooth open midrange. Where the LSi-15 falls short is in the bass, which has a lot of energy but not quite the tightness and control that would raise this otherwise-excellent effort up a notch.
(Reviewed by Anthony H. Cordesman in Issue 135)

TOTEM HAWK
$2295 www.totemacoustic.com An impeccably finished, overachiever at this price that communicates the soul and spirit of music. With essentially correct tonal balance, tremendous presence, and prodigious soundstaging more typical of a mini-monitor, the two-way, narrowbaffle Hawk is superbly engineered and fundamentally right. (Reviewed
by Peter Braverman in Issue 139)

$1501$2000
VANDERSTEEN 2CE SIGNATURE
$1549 www.vandersteen.com

PROAC TABLETTE
$1200 www.proac-usa.com Dinky dynamite, the Reference 8 is a loudspeaker for connoisseurs who prize precision. It needs a fast subwoofer to keep up with its transient acrobatics. Highs are open and the soundstage threedimensional. Despite its obvious

SONUS FABER CONCERTO


$1895 www.sumikoaudio.net Neutral and transparent in its midrange and treble, and a bit lean in upper-bass energybut never thinthe Concerto excels

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products

THIEL CS1.6
$2390 www.thielaudio.com A sleek little beauty, the CS1.6 delivers a relaxed musical presentation, with an accurate tonal balance, exceptionally low noise floor, a huge expansive soundstage, and excellent dynamic resolution. What this speaker wont do is reproduce the bottom octave or deliver the highest dynamic peaks. (Reviewed by
Tom Miiller in Issue 135)

from the mid-40s through 20kHz, so utterly neutral that when the manufacturer of a highly regarded speaker/room DSP applied it to a pair of them, it made so little difference that he momentarily wondered if his device was working, though the deepest bass requires a subwoofer. (Reviewed by REG in
Issue 90)

DYNAUDIO SPECIAL TWENTY-FIVE


$4800 www.dynaudiousa.com Dynaudios 25th Anniversary compact monitor is a worthy alternative to the larger models in this range. Beautifully wrapped in a burled birch veneer, it reaches down to around 35Hz, presents a large soundstage of tonal richness and dynamically complexity, and, though small, is capable of surprising punch and high output.
(Reviewed by Anna Logg in Issue 141)

MARTINLOGAN AEON i
$3295 www.martinlogan.com The original Aeon (reviewed in Issue 139) displayed a newfound coherence between its electrostatic panel and aluminum-cone bass driver. That model has now been replaced by the Aeon i, using Logans new Generation 2 ESL panel, a newly designed 8" woofer, and a re-designed crossover. If it proves to be better than the original, this will be one terrific speaker.
(Review pending)

speaker for those who thought they could only afford a skinny two-way tower. Exquisitely finished, this 90-pounder has dynamics and extension to burn. It especially shines in low-level resolution and nuance. Some may find the tweeter a bit lean and white in character, but most will revel in this bang-for-the-buck triumph. (Golden
Ear Award, Issue 133)

$5000$10,000
GENELEC S30D ACTIVE
$5700 www.genelec.com This self-powered Finnish design comes equipped with a superb ribbon tweeter essentially flat to 40kHza smooth midrange response, and accurate bass to the mid-30Hz range. Being a professional monitor, the Genelec can also pump out plenty of sound, has digital as well as analog inputs, and adjustments for each driver. (Reviewed by REG in
Issue 142)

REFERENCE 3A MM DE CAPO I
$2500 www.reference3a.com The Reference 3A De Capo uses the latest version of Daniel Dehays famous 8" direct-drive (crossoverless) carbon-fiber driver, along with a custom SEAS silkdome tweeter in a beautifully finished rear-ported enclosure. At a sensitivity of 92dB/watt, it can be used with amps from 8 watts up for excellent performance, and really shines when paired with a first-rate subwoofer. (Reviewed by
Aaron Shatzman in Issue 132)

THIEL CS2.4
$3900 www.thielaudio.com This superbly crafted 3-way floorstander features a unique concentric tweeter/midrange configuration that yields pinpoint images and an ultrawide soundstage. Dynamics, both micro and macro, are invigorating. The CS2.4 is both analytical and musical, with a sweet yet bright treble balance requiring quality amplification and attention to setup. (Reviewed by
NG in this issue)

VANDERSTEEN 3A SIGNATURE
$3495 www.vandersteen.com

VON SCHWEIKERT VR-2


$2500 www.vonschweikert.com Von Schweikerts VR-2 (VR for Virtual Reality) is a tower-type, transmission-line design that offers deeply extended (mid-20Hz range) bass, a midrange and treble with electrostatic-like clarity, and downright explosive dynamics. The ambience recovery driverwhen adjusted for appropriate output levelworks, too, adding plausible depth to the soundstage. (Reviewed by CM on
AVguide.com)

QUAD 988 & 989


$6500 & $8500 www.iagamerica.com The latest incarnation of Peter Walkers classic electrostatic is, from around 40Hz on out, neutral, coherent, linear, and transparent, with lower coloration and distortion than its predecessor. It will not generate the deepest bass, but in normal-sized or smaller rooms it will play at natural levels with a purity and accuracy that spoil you for other designs. The larger 988 retains most of the essential virtues but will play louder and go deeper in the bass. The principal sacrifice is a certain projection in the upper midrange and lower highs that undermines the peerless neutrality of the original.
(Reviewed by PS in Issue 130 & 126)

MAGNEPAN MG 3.6
Like all Vandersteen designs, the 3A Signature is time-and-phase accurate. Its driver complement features the patented midrange and tweeter used in the vaunted Vandersteen 5. A world-class speaker at a real-world price.
(Reviewed by RH in Issue 122)

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

REVEL PERFORMA F30


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

$4375 www.magnepan.com Yet another great deal from Magnepan, this large ribbon/quasi-ribbon dipole gives you much of the sound of its big brother, the 20.1, for considerably less dough. As with the 20.1, be sure to bring a high-power, highquality amp to the party, and make sure you have sufficient space to let these things breathe or the ribbon tweeter will start to glare.
(Golden Ear Award, Issue 121)

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products

quick, detailed, and neutral, while excellent imaging and soundstaging complete the package.
(Reviewed by AHC in Issue 141)

INNERSOUND EROS MK 3
$9500 www.innersound.net Innersounds aptly named Eros marries an electrostatic panel to a cone-bass system backed by a folded eight-foot transmission line; a supplied 200-watt amplifier, in turn, powers the woofer. Remarkably coherent over its range, the Eross sound is alive and very present. (HPs Workshop, Issue 116)

a powered 12" woofer, Vandersteens ingenious technique for smoothing the in-room bass response, and a smooth, unfatiguing tonal balance. The new 5A (review pending) is an upgrade rather than a replacement. (Reviewed by RH
in Issue 118)

trasts, large and small, though its frequency extremes are somewhat soft. (Reviewed by AHC in
Issue 135)

SOUND LAB M-1


$15,270 www.soundlab-speakers.com A huge electrostat, artfully subdivided into angled strips and panels to produce a hemispherical wavelaunch and to reduce drumhead resonances, the M-1 has the biggest soundfield, far and away the best bass, and most lifelike dynamic range of any stat, in addition to the traditional virtues of stats (gorgeous tone color, lightning transient response, single-driver coherence, and phenomenal inner detail).
(Reviewed by JV in Issue 122)

MAGNEPAN MG 20.1
$11,995 www.magnepan.com With better octave-to-octave balance and coherence than the 20R, and the same fabulous treble and nonpareil there-inthe-room-withyou midrange presence, the 20.1 (like all Maggie speakers) is the very definition of great-sound-forthe-dollar. Be aware: All Maggies take lots of space and lots of amplifier power to sound their best. (HPs
Workshop, Issue 136)

SONUS FABER CREMONA


$7500 www.sumikoaudio.net This gorgeous looking and sounding Italian floorstander is warm, airy, and seductive. It excels at resolving low-level information, is dynamically quite nimble as well as forceful, and presents a holographic soundstage. And though the Cremona is a musical as opposed to entirely neutral design, it is very transparent to the source.
(Reviewed by WG in Issue 143)

$10,000$20,000
MARTINLOGAN PRODIGY
$10,995 www.martinlogan.com A descendent of MartinLogans $79,000 Statement E2, the electrostatic-hybrid Prodigy is exceptionally transparent and dynamic from 250Hz on up, below which twin 10-inch woofers kick in. Though very good, here is where the superiority of the stat makes the bass sound ever so slightly slower than the rest. Setup is critical. (Reviewed
by AHC in Issue 134)

$20,000$25,000
KHARMA CERAMIQUE REFERENCE MONITOR 3.2
$20,000 www.gttgroup.com This diminutive two-way floorstander, which won one of our Editors Choice Awards last year, generates a huge, transparent soundstage and a simply ethereal blend of tonal beauty and dynamic nuance. It is also, save for the two bottom octaves (below 40Hz), the most musically detailed speaker JV knows of.
(Reviewed by JV in Issue 140)

WILSON SOPHIA
$11,700 www.wilsonaudio.com Wilsons Sophia has all the hallmarks of Wilson loudspeakers extraordinary transient fidelity, deep bass extension, a huge spatial presentation, and a cabinet that contributes no sound of its own. With surprising bass and dynamics for its size, the Sophia sounds like a much larger speakergorgeous finish quality and attention to detail, too.
(Recommended Systems, Issue 136)

COINCIDENT SPEAKER TECHNOLOGY TOTAL ECLIPSE


$7999 www.coincidentspeaker.com Israel Blooms 94dB-sensitive Coincident Total Eclipse is a divine match with low-powered single-ended triode ampsor any other low- or high-powered amps, for that matter. With its high resolution, beautiful dynamic shading, smooth midrange, and visceral bass, the Total Eclipse veers toward the warm side, and the midrange is a bit laid-back.
(Golden Ear Award Issue 133)

REVEL STUDIO
$10,995 www.revelspeakers.com With astonishing dynamics, extremely low coloration, and gorgeous build quality, Revels Studio is not just a fine performer, but an excellent value. The midband, in particular, combines low coloration with startling resolution of musics dynamic envelope. (Reviewed by
TOM in The Perfect Vision in Issue 21)

LEGACY WHISPER
$14,500 www.legacy-audio.com The Legacy Whisper is all about musical engagement, not the analytical dissection of a recording. A fivefoot-tall, two-hundredpound hunk of Wurlitzeresque wood sculpture, the ten-driver Whisper excels at low-level resolution, transient delivery, and dynamic con-

AVALON EIDOLON
$21,52025,090 www.avalonacoustics.com With the right ancillary components and very careful setup, the Eidolon is capable of astonishing soundstaging, resolution, and transparency. Doesnt go as low in the bass, and wont play as loudly as many similarly priced loudspeakers. Nonetheless, the Eidolon is exceptionally captivating and musical.
(Golden Ear Award, Issue 127)

KEF REFERENCE 205


$8000 www.kef.com British speaker company KEF is back in the U.S. with a full line of high-quality offerings. Part of its top Reference Series, the 205 is a full-range model using KEFs socalled Hypertweeter, with a useful frequency response up to 80kHz. In-room bass response extends to 30Hz; the midrange is

VANDERSTEEN MODEL 5 and 5A


$11,400, $14,700 www.vandersteen.com The Vandersteen Model 5 is a great value. For $11,400 you get

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products

WILSON AUDIO WATT/PUPPY 7


$22,400 www.wilsonaudio.com

ROTEL RB-1090
$1995 www.rotel.com

This classic loudspeaker has taken a significant jump in performance with the new 7 version. Although modest in dimensions, the WP7 has the big sound associated with much larger systems. With astonishing dynamic impact and coherence, coupled with deep bass extension and gorgeous rendering of inner detail, the WP7 is enormously rewarding musically.
(Reviewed by RH in Issue 143)

Voluptuous and yin-like, and ever so slightly laid-back in character, the RB-1090 is capable of extracting the lowest rumble that a speaker can produce. But it also extracts high-frequency information like a hummingbird sips nectar. Transparency might be improved, but for sheer orchestral weight the 1090 has the power to make it one of the best pound-forpound deals in the high end.
(Reviewed By NG in Issue 128)

Designer Dennis Hads affectionately dubbed Rocket 88 is unusual in that there is no driver stage in the amps circuit. That means youll need a high-output preamp to use it, but when so paired expect a sound that Dan Davis said propelled him to the musical bliss we all want from our systems. Outstanding articulation and dynamic definition, especially in the midrange. (Reviewed
by Dan Davis in Issue 139)

complete lack of strain. In addition to keeping its cool during loud and complex passages, the A308 has an astonishingly quiet background that allows low-level details to come alive. The result is massive dynamic contrasts that convey the excitement and drama of large-scale music, in particular. Slightly up-front treble rendering suggests mating with non-aggressive loudspeakers. (Reviewed by
RH in Issue 139)

MCCORMACK AUDIO DNA-225


$2795 www.mccormack.com This 225Wpc amplifier has spectacular soundstaging, dimensionality, and the ability to create a convincing illusion of instruments and voices within an acoustic. Its tonal balance tends to be lean and lively, rather than rich, dark, and fullbodied. These quibbles aside, the DNA-225 is eminently musical and an extraordinary value. (Reviewed
by RH in Issue 134)

QUICKSILVER V4 MONO
$3995/pair www.quicksilveraudio.com

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

POWER AMPLIFIERS
Under $2000
PARASOUND HALO A23
$850 www.parasound.com ARCs formula is simple: Put its latest circuit refinements in a nice but not lavish chassis, keep the power output moderate, and price within reach of most music lovers. The result is the stunning new VS55, which delivers ARCs classic sound in an affordable package. May not be enough power for low-sensitivity loudspeakers or for those wanting to rock the house, but when used with the right speakers at sensible volumes, it is pure magic.
(Reviewed By RH in Issue 141)

SUNFIRE SIGNATURE ARCHITECTS CHOICE MK II


$3395 www.sunfire.com Though it weighs less and is slightly smaller than the Sunfire Signature, the Architects Choice is even more powerful and a little better sounding. Designer Bob Carver has somehow managed to lower an already vanishingly low noise floor; the effect is a startling new cleanliness and purity there is no grainyet with all the muscle of its predecessor. Carver still insists on tailoring the spectral balance with a Gundry Dip that pushes the presence region ever so slightly back.
(Reviewed by PS in Issue 138)

Like past amplifiers from Mike Sanders, these monoblocks demonstrate unrivaled stability and composure under very demanding dynamic conditions, a soundstage of Cinerama-like width, depth, and three-dimensionality, with stunning rendition of height. As with all tube amplifiers, neutrality is somewhat dependent upon speaker impedance, but Sanders has got the gestalt, the big picture, right.
(Reviewed by PS in Issue 138)

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

Parasounds A23 isnt the last word in low-end authority, and its a bit cool in the midrange, but what it lacks in oomph it makes up for in finesse and pitch definition. Moreover, this reasonably priced amp is musically quite involving.
(Reviewed by SB in Issue 138)

QUAD 909
$1499 www.quad-hifi.com Its sound quality not only sets a benchmark for its size and price, but leaves virtually nothing to be desired compared to the best. Its midrange in particular is near state-of-the-art. Up and down the scale this latest iteration of Peter Walkers patented current dumping circuit displays an ease, relaxation, and naturalness that sweeps considerations of mere hi-fi aside. (Reviewed By PS in Issue
128)

MUSICAL FIDELITY A308


$3595 www.musicalfidelity.com colors and textures of instruments and ensembles as well as many far costlier units. Like most Class products, they also get just right the minute dynamic contrasts, and untangle complex orchestral passages with aplomb. They roll off the highs a bit; when two instruments play high notes in unison, their harmonic overtones tend to merge. (Reviewed by Fred Kaplan in
Issue 132)

CARY AUDIO CAD-808


$2500 www.caryaudio.com

This powerhouse (250Wpc into 8 ohms, 450Wpc into 4) can drive virtually any loudspeaker with remarkable dynamic agility and a

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products

ANTIQUE SOUND LAB HURRICANE


$4400/pair www.divertech.com

fiersboth solid-state and tube offer, that is, a melding of the speed, focus, and bass control of the former with the liquidity of the latter. (Reviewed by ASP in Issue 130)

PARASOUND HALO JC 1 MONAURAL AMPLIFIER


$6000/pair www.parasound.com The latest collaboration between the legendary designer John Curl and Parasound has resulted in the Halo JC 1: silky-smooth, crystal clear and abundantly detailed. The kind you could listen to all day long without fatigue.
(Reviewed by SK in Issue 141)

word in dynamic capability, indistinguishable from its Signature big brother. Its sound is so addictively pure, youll want to keep turning it up, which is where the higher-powered Signature comes in. But, at 220 watts per side, and the right setup, you cant go wrong with this amp. (Recomtwo gain stages to deliver a very clean sound across the frequency range. This amp combines a sense of effortless drive with silent backgrounds, outstanding musical articulation, excellent bass and dynamics, and the ability to keep track of the finest musical threads. (Reviewed by
Greg Petan in Issue 136) mended by HP in Issue 143)

Though considerable controversy surrounds the latest incarnation of this amplifier, designer Joseph Lau has fashioned something that, when rigged the way HP initially auditioned it, is redefining what we consider to be the stateof-the-art. A KT-88-driven monoblock design, the Hurricane is easy to set up and not difficult to maintain (though biasing it is an inexact science). (Reviewed in
HPs Workshop, Issue 140)

THETA CITADEL MONOBLOCK


$15,800/pair www.thetadigital.com Thetas Citadel is one of those amps that seem to shine with any speaker or cable. This sculpted aluminum towers strengths include spot-on tonal balance, superior resolution, tremendous dynamic power, deep taut bass, and highs that are detailed without exaggeration. Its overall tonal character is warm, with a natural midband and realistic soundstage.
(Reviewed by AHC in Issue 138)

AIR TIGHT ATM 300


$6300 www.axiss-usa.com

MBL 8011
$9075 www.mbl-hifi.com The 8011 delivers a smooth, clear, grain-free sound that if anything is slightly soft, tonally speaking. With 1100 watts of peak pulse power, the mbl never shows signs of strain, while its low noise and excellent resolution allow recordings to sound as musical as they can. (Reviewed by
REG in Issue 135)

MERIDIAN 559
$4495 www.meridian-usa.com Although it may lack the ultimate in spatial detail and depth, the 559 is an impressive performer refined warm, clear, and well balancedand its 300W are enough to drive any speaker on the market. (Reviewed by SK in this Issue) The Air Tight ATM 300 is one of the handful of 300B SET amplifiers that lays claim to magical sound extending beyond the midrange. This amps airy highs, natural tonality, and low bass extension defy common perceptions of 300B SETs. Gorgeous in build and sonics. (Reviewed by
Scot Markwell in Issue 128)

JOULE ELECTRA GRAND MARQUIS


$16,000/pair www.joule-electra.com If youve never heard a tubed design, sans output transformers, you have no idea of the kind of pure clarity and naturalness of which tubes are capable. This earlier Joule design is a bit klutzy for those with fickle fingers, and will seem underpowered in low efficiency/big room installations, but the sound is so addictive that, once heard, it just somehow seems more right than most anything else. Be wary if your speaker is of ported design. (Reviewed
by HP in Issue 115)

AIR TIGHT 211


$9800/pair www.axiss-usa.com

$5000$10,000
GAMUT D200
$5500 www.gamutaudio.com The original 200Wpc Gamut D200 stereo amplifier was extraordinarily neutral, detailed, and livelywith superb imaging and soundstaging. It was, however, cool and clinical in balance. The new D200 adds richer tone color to the mix at the price of a little large-scale dynamic life.
(Review pending)

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

HERRON AUDIO M150


$5895/pair www.herronaudio.com

BATs VK-75SE is a tube design that, while displaying many of the attributes we love about glowing glasssmoothness, liquidity, depth, harmonic complexity does so with, as reviewer Sue Kraft put it, a lack of candy-coating in the midrange. In addition, the VK-75SE is virtually grain-free and excels at reproducing dynamics. (Reviewed by SK in Issue 133)

At 22Wpc, the single-ended 211s have more than enough juice to drive sensibly chosen speakers. Their refined, extended, dimensional, and dynamically authoritative presentation make them a very attractive choice for someone looking to assemble a superior SET-based system that will not suffer from most of the limitations of its lower-powered brethren.
(Reviewed by SM in Issue 143)

TENOR AUDIO CLASSIC SERIES 75 WP


$18,995/pair www.tenoraudio.com

$10,000$20,000
EDGE NL-10
$10,800 www.edgeamp.com Except for authority and the last Tenors 75Wpc, output-transformerless monoblocks reproduce harmonics and dynamics more realistically than any amps that JV has heard. Like all OTLs, the

This outstanding solid-state design from Keith Herron gives the listener a large slice of what many more expensive ampli-

PASS LABS X350


$9000 www.passlabs.com Nelson Passs X350 employs but

46

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

recommended products
Tenors prefer 816 ohm loads, though they will handle 4 ohms at a substantial reduction in power. Matched to the right speakers, they are simply more alive than the competition. A magical combination with Rockport Hyperions and Kharma Reference Monitor 3.2s. (Reviewed by JV in Issue 136) and yet the thing has very good authority too, though the widest dynamics will not be as dramatically rendered as they are by the very best. (Reviewed by WG in TPV
Issue 46)

CLASS CAV-180
$4000 www.classeaudio.com

$2000$5000
ADCOM GFA-7805
$2400 www.adcom.com Although the CAV-180 is priced somewhere between serious budget multichannel amplifiers ($2k or so) and upper-end amps such as the Theta Dreadnaught, its build and sound quality have more in common with the big boys. With the same circuit topology as Classs two-channel amplifiers, the five-channel, 180Wpc CAV-180 brings audiophile-grade sound to the multichannel party. (Reviewed by RH in
TPV Issue 48)

ohms and 300W into 4 ohms), cool-running, Class T (!), digital switching amp produces a surprisingly ARC-like sound with much of the natural brightness, airiness, and light of ARC tubes. ARC joins the Digital Age with a bang! Whod a thunk it? (Review pending)

THETA DREADNAUGHT II

MULTICHANNEL AMPLIFIERS
Under $2000
ROTEL RMB1075
$999 www.rotel.com

$6750 www.thetadigital.com

Rotels THX Ultra-certified RMB1075 provides a robust 120W into five channels, along with a smooth midrange and plenty of weight down below.
(Reviewed by NG in TPV Issue 44)

This behemoth 300Wpc (x5) amplifier can drive virtually any loudspeaker system to any sane listening level without a hint of strain. The top end may not be as transparent as mega-buck multichannel amplifiers, but this amount of output power and overall sound quality are hard to fault for the price. (Reviewed by RH in
TPV Issue 50.)

$5000$16,500
AYRE V-6X
$5500 (2 channel), $1250 per additional channel www.ayre.com

AUDIO REFINEMENT MULTI 5


$2495 www.audioplusservices.com Along with a startlingly pure sound that emerges from a dead silent background, other virtues include a faithful presentation of dynamic range, excellent spatial characteristics, commanding bass and an easy-going way with rhythms. These strengths easily overcome a polite top, softened transients, and a midrange to the warm side of neutral. (Reviewed
by Alan Taffel in TPV Issue 37)

The trouble with building an instant classic like the Theta Dreadnaught is coming up with an encore. Like the original Dreadnaught, the Dread II is fully balanced with zero global feedback. The new model delivers more power and impact, along with better low-end authority and control. It also has a bit more energy in the upper midrange and treble than its predecessor, and sacrifices just a bit of the warmth and musicality to attain these improvements. (Reviewed by SB in
TPV Issue 46)

ANTHEM PVA 7
$1499 www.anthemav.com Though not endowed with the muscle and resulting dynamic drama of larger units, the PVA 7 is very refined sounding, with good resolution and depth. With surround music and film soundtracks the Anthem is both spacious and focused, with a smooth and pleasurable balance.
(Reviewed by SB in TPV Issue 42)

KRELL THEATER AMP STANDARD


Ayres updated V-6x can be configured for up to six channels, and is a fully balanced, zero-globalfeedback design. It offers an incredible combination of musicality and resolution. Where the V-6 was light in the lower registers, which spotlighted the midrange, the V-6x adds low-end weight and extension, making the entire musical picture richer and more engaging and involving.
(Reviewed by SB in TPV Issue 41)

OUTLAW AUDIO MODEL 770


$1799 www.outlawaudio.com

CARY CINEMA 5
$3995 www.caryaudio.com Only a handful of more expensive amps better what Cary has achieved with the Cinema 5. Its immediate and airy, with good depth, superior image placement, a fine top-to-bottom-tonal balance (its overall character is warm but not dark), complex harmonics, a smooth top-end, and bass that seems to go right through the floor and into the earth.
(Reviewed by WG in TPV Issue 50)

AUDIO RESEARCH 150M


$6495 for 5-channel version ($750/additional power module) www.audioresearch.com A stunningand stunningly successfuldeparture for the highend Tube Gods at Audio Research Corporation. This relatively lightweight, entirely modular (the 150M can be fitted with up to seven power amplification modules, each rated at 150W into 8

$7500 www.krellonline.com A very Krell-like FPB (Fully Power Balanced) 5-channel amplifier that generates a powerful-sounding 200W into 8 ohms and 400W into 4. The Krell, like the ARC 150M, shares much of the build quality and sound of its celebrated monoblock siblings: a rich, articulate, slightly dark, and very hard-hitting presentation that is voluptuous on music and pin-you-to-your-seat stunning on film soundtracks. You wont lack for weight or impact with this babyand its soundstage is phenomenal. (Review pending)

PLINIUS ODEON
$9495$9995 depending on number of channels www.pliniususa.com With its modular design, userselectable number of channels, and stunning build quality, the Odeon is a contender for the state-of-the-art in multichannel designs. The Odeons sound is

The Model 770 is a no-nonsense workhorse design housed in an unadorned box. The unit includes seven modular amplifiers delivering 200W each into 8 ohms and 300W into 4 ohms. The sound is seductive and surprisingly sweet,

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49

recommended products
lar wines that leaves us wondering Why spend more, the 50W rated C 320BEE gives such a strong taste of the high-end that you might be tempted to think it doesnt get any better than this. It does, of course, but youll have to spend at least a grand before the difference is worth it. Also noteworthy is NADs C 370 ($699), which, though not quite as refined as the 320BEE, is a great choice for those who simply need more power.
(Reviewed by WG in Issue 140)

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

$3000$5000
AYON AUDIO 300B
$3400 www.ayonaudio.com This beautiful 300B-driven integrated offers what we expect from low-wattage (15W) triode designspalpable dimensionality, lifelike textures, wide open soundstaging, and fine dynamic shadingwithout the exorbitant price tags of similar models. Though the Ayons tonal qualities veer towards the warm and dark side, the thing is nonetheless well balanced, and its midrange (particularly vocals) is a major strength.
(Reviewed by Stephan Harrell in Issue 139)

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

characterized by effortless dynamics, a rock-solid and rhythmically engaging bottom end, and midrange and treble purity on par with the best solid-state two-channel amplifiers. (Reviewed by RH in
TPV Issue 50)

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

BALANCED AUDIO TECHNOLOGY VK-6200


$10,995 (fully loaded) www.balanced.com

BATs VK-6200 is a top-flight solidstate amplifier. Powerful, yet capable of great delicacy, it is also remarkably transparent, fast, and possessed of great tonal and textural details as well as beautiful dynamic shading. A knockout with multichannel music and film sound.
(Reviewed by WG in TPV Issue 38)

This beautifully finished 70Wpc dual-mono design has a detailed, pristine character thats somewhat dry and cool with a tightly controlled but not especially extended low end. Its highly dynamic personality excels with uptempo material.
(Reviewed by NG in Issue 143)

Naims latest Nait is a sonic wonder, delivering so much musical pleasure at such a reasonable price that one could easily ask if it can get any better. That doesnt mean the Nait is the worlds best amp, simply that it pulls you into the music in a completely satisfying way. (Reviewed by WG in Issue 136)

BALANCED AUDIO TECHNOLOGY VK-300X


$3995$5995 (Depending on options) www.balanced.com

PLINIUS 8100 & 8200MK2


$1995 & $2995 www.pliniususa.com Except for the absence of a phonostage, youd be hardpressed to distinguish the sound of the 100Wpc 8100 from its 175 watt Big Bro 8200 (at $2995, recently upgraded to a Mk2 version). Minimalist in appearance with muscular internals, the 8100 never seems to run shy of dynamic reserves. The 8200Mk2s circuit redesign adds muscle and faster transient reflexes, sweeter harmonic integrity, and a more spacious treble.
(Reviewed by NG in Issue 126)

SUGDEN A21A
$1495 www.stanalogaudio.com

ROWLAND MC-6
$16,500 www.jeffrowland.com This gorgeous 150Wpc six-channel amp is also a superb twochannel performer. In either surround or stereo mode, it is rich in color, very finely detailed, a bit dark in balance, and incredibly hard-hitting, with the most powerful and authoritative bass JV has heard from any amp. (Reviewed
by JV in Issue 132)

Available in your choice of three different output stagessolid-state, tube, or 6H30 SuperTubeBATs VK300X is a great value. The sound is airy, detailed, harmonically well structured, and very immediate. And with 150W output, it will not only drive pretty much anything, but it will do so with dynamic authority as well as agility.
(Reviewed by WG in Issue 138)

The warm rich sonics of the pure Class A Sugden more than made up for its econo-retro appearance. At 25Wpc, it runs hotter than a firecracker and it wont power every speaker, but the speakers that fit the bill have never sounded sweeter. (Reviewed by NG in Issue 143)

BURMESTER 991 RONDO AYRE AX-7


$2950 www.ayre.com $4495 www.immediasound.com

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

CREEK 5350SE
$1500 www.musichallaudio.com

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

The AX-7 has all the hallmarks of the Ayre sound, but scaled down in output power. This beautifully made integrated has an amazing dimensionality, openness, image specificity, and transparency that rival much more expensive separates. Dont be put off by the modest 60Wpc output rating; the AX-7 sounds robust and dynamic, and has bass extension that belies its modest specification.
(Reviewed by RH in this Issue)

Sweetness was the trait that continually came to mind while listening to this 100Wpc German integrated. The treble is easy and effortless and may just be the best of this particular breed. Tonally, the Rondo is rich and warm with a midrange bloom and a slightly forward tilt. This beautifully finished piece features Burmesters trademark chrome faceplate, balanced and unbalanced inputs, and adjustable gain for each input.
(Reviewed by NG in Issue 137)

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51

recommended products
YBA INTGR PASSION
$4650 ($4800 w/phono) www.audioplusservices.com Elegant execution and jewelerquality touchesinside and out make this 100-watter a top-flight contender. Isolation of the internal components from vibration contributes to the vivid imaging, excellent resolution, transparency, and wide soundstage. The Passion is competitive with any integrated of similar output near its price. A high-quality remote control is included. (Review pending)

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

ed, and its rich authoritative bass more than compensates. Includes balanced inputs for CD and balanced outputs. A learning remote and so-so mm/mc phonostage complete the package. (Reviewed
by Anna Logg in Issue 132)

NAIM NAC 112


$1250 ($2250 w/Flatcap2 power supply) www.naimusa.com This linestage does not come with its own power supply, meaning you must use it with a Naim power amp or add the outboard Flatcap2 (an additional $950). Either way, youll get a quiet, immediate, and musically compelling sound, if not the last degree of detail and dimensionality. (Reviewed by WG in Issue 138) Musical Fidelitys A308 has extremely low levels of tonal coloration, coupled with an extremely open and transparent soundstage. The treble is clean and pristine, with no trace of grain or hardness. The A308s greatest strength is its ability to resolve high-frequency detail without sounding etched. Wide dynamics, remote control, and terrific build quality round out this high-value preamp. (Reviewed
by RH in Issue 139)

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

Along with a dandy mm and mc phonostage, the Quad 99 features a novel tilt control for tone correction that works like a charm when you need it. A solid middle-level performer, it lacks mostly the ultimate transparency, liveliness, and dynamic openness of the very best units. The all-tube QC-24 linestage is the least expensive to suggest that elusive quality of continuousness in its presentation. The QC24 has first-rate imaging in all dimensions, and a lively, engaging, remarkably neutral presentation. (Reviewed by PS in Issues 128
& 135)

QUICKSILVER REMOTE CONTROL LINESTAGE


$1395 www.quicksilveraudio.com

MERIDIAN 502
$2575 www.meridian-usa.com

The Musical Fidelity Tri-Vista 300 is a musically honest amplifier whose prime virtues are stunning you-are-there resolution and focus, a neutral spectral balance, and an uncanny ability to help source components and loudspeakers perform at their best.
(Reviewed by CM in Issue 142)

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

Quicksilvers remote control tube linestage delivers a great sense of weight and power as well as a huge, 3-D soundstage; the tradeoff is a dip in midrange presence.
(Reviewed by PS in Issue 138)

With plenty of features, including an optional mm/mc phono module and dual-room drive-capability, Meridians 502 is chock full of first-rate parts, and delivers a sound thats tonally well balanced, smooth, focused, clean, and musically compelling.
(Reviewed by Sue Kraft in this issue)

AUDIO RESEARCH SP16L


$1995 www.audioresearch.com

ROWLAND CONCENTRA II
$6950 www.jeffrowland.com Rather than sounding spectacular, the Concentra reproduces music with subtlety and verisimilitude, and a sonic backdrop of preternatural silence. Each curve of the chassis and turn of the volume control exudes luxury of the highest order. (Reviewed by JM and
NG in Issue 125)

EAR 864
$2995 www.ear-usa.com EARs tube-driven 864 is built to the highest standards, with a sound so good that reviewer Aaron Shatzman said it was one of the few preamplifiers I have heard that delivers sound that would satisfy for the long term.
(Reviewed by Aaron Shatzman in Issues 134 and 141)

The P2000 is an impressively built and finished model with a slightly laidback presentation, terrific focus, good dynamics, and a highly coherent and engaging way with the music. Its a little to the warm side, and a bit sibilant, but this is a knockout linestage and an amazing value. (Reviewed by PB in
Issue 137)

Outstanding dimensionality, rich tonal color in the lower registers, and a huge soundstage characterize this classic-sounding preamp. The review sample sounded a little forward and grainy in the upper midrange and lower treble, marring an otherwise superb sound. ARC suggests that this character was caused by tube variation, and is not intrinsic to the unit.
(Reviewed by RH in Issue 141)

$3000$5000
HERRON VTSP-1A
$3995 www.herronaudio.com A musical perfectionists linestage, this compact all-tube unit is elegantly engineered and executed, with little glitz and no remote. The sound is unusually quiet, precisely timed, and threedimensional. The epitome of finesse: bloomy without lushness

ROTEL RC1090
$1199 www.rotel.com Clean and detailed describes this feature-laden unit. Though it tilts slightly toward the clinical side in balance, its musicality is unaffect-

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

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53

recommended products
or bloat, with superb resolution and recreation of space.
(Reviewed by ASP in Issue 116)

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

PHONOSTAGES
Under $500
GRAM AMP 2
$219 www.gspaudio.com

PLACETTE AUDIO ACTIVE LINESTAGE


$4000 www.placetteaudio.com Transparency, transparency, transparency is the holy grail of the Placettes designer, Guy Hammel, and he certainly delivers, along with spectacular dynamic range, highest resolution, noise at the residual levels of the parts themselves, and a neutral tonal balance that favors no part of the spectrum. (Reviewed by PS
in Issue 126)

SIM AUDIO MOON P-5


$4295 www.simaudio.com

without sounding nearly as hi-fi as most of its competition. It is not, in longer-term listening, difficult to hear its flaws, but the HP100 reminds us just how clinical, ultimately, almost all components sound, and it does so by sounding as unclinical as anything HP has heard. (Reviewed by PB in
Issue 131; HPs Workshop, Issues 131 and 137)

BATs top preamp combines authority, punch, detail, spaciousness and precision into one beautifully made chassis. (Reviewed by
SB in Issue 143)

AUDIO RESEARCH REFERENCE 2MKII


$10,000 www.audioresearch.com

WYTECH OPAL
$7500 www.wyetechlabs.com Built like a tank, this mauve, tubed, two-piece Canadian powerhouse projects seamless tonality, top to bottom, with natural, extended mid-and-upper treble, full, uncolored midrange, and powerful bass. Outstanding dynamics, with ample microdynamics and effortless climaxes, wrapped in state-of-the-art transparency with detailing to die for. (Reviewed by
DD in Issue 127)

This stripped-down little bugger has a sweet, mellow sound, and very low noise and perceived distortion. Its strictly for moving magnets and high-output moving coils. The sound is a little veiled (though remarkably grain-free), and, while not the last word in wide dynamics, it has astonishing composure and musical integrity.
(Reviewed by PS in Issue134)

A beautifully built two-chassis design, the Sim Moon P-5, though slightly dark in character, provides a largely uncolored, highly transparent, and highly detailed, if unforgiving, window to the source.
(Reviewed by Anna Logg in Issue 131)

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

The finest linestage ARC has yet made. With superb soundstaging combined with a newfound image focus and top-to-bottom neutrality, the Ref 2MkII manages to sound big, airy, and bloomy without sounding over-inflated, whitish, or aggressive. Superb inner detail, lovely treble and bass, and exceptional dynamics (for tubes).
(Reviewed by JV in Issue 140)

MONOLITHIC SOUND PS-1/HC-1


$399/$259 www.monolithicsound.com

EDGE SIGNATURE 1
$8950 www.edgeamp.com

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

Remarkably similar in sound to the $10,000 XO.2the main difference is in the power supply Pass Labss X-1 has the kind of natural air and harmonic sweetness we normally associate with tubes coupled with superb deep bass, overall neutrality, and good dynamic contrasts. (Reviewed by
AHC in Issue 128)

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

Unusual because it can be powered by either batteries or AC, the Edgewhen powered by batteries, please notehas a glorious top end, a rich middle register, a wonderfully complex harmonic structure, and delivers plenty of ambient information. What it lacks is vocal body, low-frequency punch, and the last word in dynamic wallop. (HPs Workshop,
Issue 137)

This unconventional two-chassis linestage delivers a tube-like sweetness, effortless dynamics, and a brightly illuminated soundstage. With the subtlety to handle everything from chamber music to the dynamic clout required for heavy rock and heavy Wagner, this VTL also delivers superb speech and soundtrack reproduction for home theater. A sample RH auditioned exhibited some operating quirks. (Reviewed
by ASP in Issue 139)

Its solidly built (with optional dual-mono power supply) and flexible enough to mate with most linestages and cartridges. Harmonically and spatially full, with well-nuanced detail retrieval, admirable dynamics, and solid, rhythmic drive. Slightly less extended at the extremes than Plinius Jarrah and Lehmann Black Cube, but the purity of tone and openness in the mids is quite special for a unit at this price.
(Reviewed by SH in Issue 128)

$500$1000
GRADO PH-1
$500 www.gradolabs.com The wood-bodied PH-1 is a versatile unit that works equally well with high- and low-output cartridges. Though it is susceptible to environmental noise, the sound

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55

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

and distortion, and greater transparency. Some listeners may want more dynamic punch and personality, but this is hard to beat for low coloration.
(Reviewed by PS in Issue 133)

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

LEHMANN BLACK CUBE


$695 www.audioadvancements.com

BENZ LUKASCHEK PP-1


$1350 www.musicalsurroundings.com A solid-state, miniaturized hideaway box powered by a wall transformer. External AC plus short signal path yields very wide dynamics and space retrieval with a comforting middle-of-the-road sonic balance and airy bloom much like that of the Benz Ruby 2 cartridge, if a little darker. Warmth is enhanced by 22k input impedance.
(Reviewed by ASP in Issue 127)

matched by few others. Its timing and musical interplay are remarkably right, with a dynamic life much like the real thing. Yet its this models completeness in every way and lack of easily discernible colorations that make it special. (Reviewed by Roy Gregory
in Issue 132)

it eats shelf space; yes, it throws a lot of heat, and yes, it is about as good as it gets. Exquisite dynamic contrasts? Check. An easy relaxed presentation? Check. Headroom to spare? Check. A glorious midrange, excellent bottom octave, and full rendition of instrumental body? Triplecheck. The highs arent as airy or extended as some, but they are natural and non-fatiguing.
(Reviewed by Don Saltzman in Issue 121 & JV in Issue 143)

AUDIO RESEARCH REFERENCE PHONO


$7000 www.audioresearch.com

This much-praised model now comes with a beefier power supply. Otherwise, features remain the same, including switchable mm/mc and limited options for loading. Now really wowie-zowie in the dynamics department, with imaging so stable you could map out each instrument, bass both ample and articulate, and really good transparency. Principal reservation concerns a certain whiteness that translates into a mild dryness. (Reviewed by PS in Issue
133)

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

KRELL KPE PHONO


$1600 ($2200 for Reference version) www.krellonline.com

PLINIUS JARRAH
$849 www.pliniususa.com This surprisingly inexpensive, twobox (power supply/preamp) phonostage from Krell has everything going for it, save for tubelike air and bloom: terrific soundstaging, pinpoint imaging, remarkable detail, and exceptional bass. Good sound and a good deal.
(Golden Ear Award Issue 133)

ing and gain can be configured for pretty much any moving magnet and coil cartridge. Sonic attributes include a beautiful, detailed midrange, high frequencies that are both airy and transparent, and an accurate rendering of each acoustic space.
(Reviewed by AHC in Issue 128)

Excellent dimensionality, openness, and vocal articulation and body are among the Plinius many strengths, along with an airy top end and good weight down below, though its overall sound does lean slightly to the lighter side.
(Reviewed by SH in Issue 128)

Like the Ref 2MKII, the Ref Phono is a model combination of soundstaging, dynamics, detail, transparency, and gorgeousness of tone color. At once big and airy and detailed and focused, the Ref Phono has lost the cloudiness and whitish grain of previous ARC phonostages, without losing their lifelike bloom. Although it has a built-in transformer for very low-output cartridges, this high gain input does not sound as pure as the low gain one, which limits the preamps use to relatively high-output mcs (.5mV or more) or mms. Like all tube head amps, it is not the last word in bass definition.
(Recommended by JV in Issue 139)

$2000$4000
SUTHERLAND Ph.D.
$3000 www.acousticsounds.com Ron Sutherlands battery-powered Ph.D. is so quiet that it takes a while to get used to its sound. Once youve adjusted, expect to hear into your records in a way unlike before. Beyond its silence, the Ph.D. has a tube-like liquidity, terrific detail, a wonderful way with dynamic nuance, and remarkable transparency. (Reviewed by
WG in this issue)

AESTHETIX IO
$6500 without volume control; $9000 with; $12,000 for Signature version www.musicalsurroundings.com

PASSIVE VOLUME CONTROL


PLACETTE AUDIO REMOTE VOLUME CONTROL
$1000 www.placetteaudio.com This 125-step passive control uses costly Vishay resistors to deliver a sound as smooth and transparent as a cool spring morning in Idahos Sawtooth Mountains. Designed

$1000$2000
PHONOMENON PHONO PREAMP WITH BPS POWER SUPPLY
$1200 www.musicalsurroundings.com An Apollonian grace, poise, low noise, and neutrality characterize this excellent unit, which includes options for fine-tuning the loading and gain of both moving coils and moving magnets. Add the external power supply for even lower noise

TOM EVANS THE GROOVE


$3950 www.besthifiintheworld.com Its small, plastic housing may not Phono fanatics with both space and cash will want to audition this 24-tube, two-chassis beauty. Yes,

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57

recommended products
and built in Boise, the Placette allows for a single line-level input only. But if its pristine resolution you want, look no further. Includes remote control. (Reviewed by NG in
Issue 119)

$1000$2000
YAMAHA DVD-S2300
$1000 www.yamaha.com Universal players are still relatively rare beasts and the DVDS2300 is the first weve heard that doesnt fall flat on its face with one format or another. Although its SACD performance isnt in the same league as the Tri-Vistas of the world, this player is right in there with the Sony SACD players in its price range, and its competent with DVDVideo and DVD-Audio alike.
(Review pending)

ent the different elements in a musical performance with their interrelationships intact. A toploader, the Jupiter does require some space above it. (Reviewed
by Roy Gregory in Issue 135)

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

DIGITAL SOURCES
Under $1000
NAD C 541I
$500 www.nadelectronics.com NADs C 541i delivers a warm, easy, and open sound, though it is slightly rough around the edges

$2000$3000
NAIM CD 5
$2300 www.naimusa.com Naims CD 5 shares the same musical traits found in other Naim 5 Series components. Its got a natural tonal balance, its warm without being fat, and it delivers fine overall detail with the engaging musicality that Naim is famous for.
(Reviewed by WG Issue 139)

SONY DVP-NS999ES
$1199 www.sony.com and a bit forward in perspective. These flaws are hardly a distraction given the NADs overall musicality and superb value.
(Reviewed by WG in Issue 137)

As with the rest of Meridians 500 series, the 588 CD player has finesse, detail, excellent tonal balance, and musicality. (Reviewed
as part of SKs Meridian article in this Issue)

AYRE CX-7
$2950 www.ayre.com Though not as beefy as its immediate predecessor (the DVP-9000ES), Sonys DVP-NS999ES remains an excellent performer. With newly added multichannel SACD capability, only higher-priced SACD-Audioonly players outperform it.
(Reviewed by SB in TPV 46)

SIMAUDIO MOON STELLAR


$3950 ($5995 with Faroudja progressive scan) www.simaudio.com

SONY SCD-C222ES
$500 www.sony.com For those requiring 5-disc changer convenience as well as SACD stereo/multichannel performance, Sonys lowest price ES-quality player offers solid construction and dual transformers. Though its SACD performance wont quite match the dynamism and harmonic opulence of Sonys uppercrust players, the 222ES comes surprisingly close. Good multichannel speaker management and a flexible remote control complete the package. (Review
pending)

MARANTZ DV8400
$1699 www.marantz.com

The Ayre CX-7 is a minimalist design with great attention lavished on the power supply and analog output circuitry. Highly involving, the Ayre brings an unusual sense of rhythmic rightness to all music, with deep, defined bass, excellent dynamics, three-dimensionality, and tonal accuracy. (Reviewed by Sue Kraft in
Issue 141)

GAMUT CD-1
This solidly built universal player does it allDVD-Audio, SACD (both in two-channel and multichannel), DVD-Video, and CD. In all formats, the sound is remarkably open, detailed, and dynamic. The treble is a bit bright (particularly playing DVD-A), but otherwise the DV-8300 is an excellent performer. (Review pending) $2950 www.gamutaudio.com

PHILIPS DVD963SA
$599 www.consumer.philips.com As the name suggests, Philips DVD963SA (a replacement for the 962 Dan Davis reviewed in Issue 142) is a versatile machine that plays back standard CDs (with optional upsampling to either 96k/24-bit or 172k/24-bit), stereo and multichannel SACDs, and DVDs. Though not the last word in detail, it has a remarkably direct sound, reasonable amounts of air, and a pleasingly warm presentation. (Pending review)

SimAudios Stellar is built like the Bismarck and is competitive with dedicated CD players in its price range. Though its sound is highly resolved, with excellent extension at the frequency extremes, its midrange is on the forward side. The Stellar is also an excellent DVD-video player with striking image depth. While there are no quibbles with its performance, a question of value does arise, as competitors from Arcam and others give up no ground in performance and offer DVD-A and/or SACD playback to boot. (Reviewed
by SB in TPV Issue 47)

REGA JUPITER
$1895 www.toffco.com

Despite a low frequency roll-off audible in systems that extend below 40Hz, the Gamut reduces digital distortions and allows the listener to hear deep into the soundstage. According to Harry Pearson, The CD-1 has no obvious character and is closer to the silver ideal of complete neutrality than even the Burmester. A tremendous value. (HPs Workshop, Issue 136)

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

Regas Jupiter is a highly musical player that sacrifices the widest dynamic contrasts and ultimate resolution for the ability to pres-

The Tri-Vista would be an easy recommendation as a standard CD player, so the fact that it also

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recommended products
features near-reference-quality SACD playback, albeit in two channels, is just icing on the cake. Its choke-regulated power supply, upsampling with CDs, and use of tubes in the analog output stage allow the Tri-Vista to communicate the very substance of music. Only 800 of these will be made. (Reviewed by Shane
Buettner in this issue)

sound that has more air and detail, better imaging, and lower noise than earlier versions. Comes equipped with the RB300 arm and is available in a rainbow of colors. (Reviewed by David
Morrell in Issue127)

$2000$5000
NOTTINGHAM ANALOGUE SYSTEMS SPACE DECK and SPACE ARM
$2500 www.audiophilesystems.com and scale that the really great turntables have. But this combination proves eminently satisfying and doesnt leave you hankering for something else. (Reviewed by PS in Issue 132)

PRO-JECT AUDIO SYSTEMS WOOD CLASSIC


$749 www.sumikoaudio.net

MARK LEVINSON N 360S DAC


$7500 www.marklevinson.com Delivering extraordinary resolution with utter grace and smoothness, the N 360S approaches state-ofthe-art performance. It offers detail without etch, has an extremely clean and smooth treble, and conjures up a deep soundstage. Rivals its bigger brother, the Levinson N 30.6.
(Reviewed by RH in Issue 123)

ROKSAN RADIUS 5
$1295 www.mayaudio.com

TURNTABLES
Under $1000
MUSIC HALL MMF-5 W/GOLDRING 1012GX CARTRIDGE
$499 www.musichallaudio.com

Pro-Jects Wood Classic delivers surprisingly good vocal and instrumental shadings, excellent attack and decay, the ability to reveal large and small dynamic contrasts, and an unexpected level of musical connectedness.
(Reviewed by SH in Issue 135)

From its ultra-quiet backdrop to its mastery of pace and space, explosive and agile dynamics, harmonic integrity, tonal continuity, saturated images, and deep yet nimble bass, this combo won SH over. Not the last word in upper frequency extension, but so engaging the reviewer bought the review sample. (Reviewed by SH in Issue
138)

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

The Radius 5s strength is its rhythmic drive. This model is compelling and powerful, with fine pace, good presence, and sharp transients. What it lacks is the ability to retrieve the finest detail and the trailing edge of notes.
(Reviewed by SH in this issue)

VPI HW-19 MK.IV W/JMW-10 ARM


$3190 ($4090 with JMW-10.5 Arm; $1850 turntable only) www.vpiindustries.com

THORENS TD850
$1999 www.thorens.com

Music Halls integrated turntable package provides the LP lover with a warm, musically engaging, and affordable vinyl playback solution. Its bass isnt the most defined, and its a bit forward in the upper midrange, but the Music Hall is an outstanding value. (Reviewed by SH
in Issue 135)

Rich and musical with tight bass and smooth highs, though not the extension or detail found in the very best, the P25 is a remarkable performer at an amazing price. Setup is a breeze, though the arm (purposefully) lacks VTA adjustment. (Reviewed by WG in
Issue 141)

The latest from Thorens shows you whats in the grooves. With deep, well-defined bass, an excellent way with timing, a quiet background, and natural tonal balance, its only obvious weakness is some midbass overhang on acoustic bass at high volumes.
(Reviewed by SH in this Issue)

Although it doesnt have some of the refinementsmechanical and sonicthat make the top VPIs so remarkable, the HW-19 Mk.IV is nonetheless a terrific-sounding turntable, providing a large taste of the sound delivered by its costlier 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 bearing assembly as the TNT Mk.5, this lovely gloss-black model provides detailed, neutral, and dynamically nuanced LP playback, with a richer, weightier balance than youll find from Linn & Rega.
(Reviewed by Tamara Baker in Issue 114; HPs Workshop, Issue 116)

LINN SONDEK LP 12
$2000 www.linninc.com The original high-end turntable, Linns LP12 conveys the rhythm and pace that are the very foundation of music, and it gets better with ageowners of any vintage LP12 can upgrade to the current model. (Recommended Systems,
Issue 136)

BASIS 1400/REGA 300


$1200 w/out arm; $1700 w/Rega RB300 arm www.musicalsurroundings.com Clean, lively, and nimble, the Basis 1400 lacks the great authority, deep black backgrounds, and projection of size

REGA P3
$650 www.rega.co.uk Regas newest edition P3 includes refinements to the base and motor-mounting assembly for a

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recommended products
$5000$10,000
TRANSPARENT AUDIO WELL-TEMPERED REFERENCE TURNTABLE AND TONEARM
$5495 www.welltemperedlab.com that larger, heavier turntables seem to offer. (Reviewed by PS in
Issue 129)

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

their models with Regas terrific sounding and affordable RB-300. Musically compelling, with excellent balance and good detail, if not the final word in any one category. (Reviewed by David Morrell in
Issue127)

$1000$2000
SME 309
$1550 www.sumikoaudio.net A black tapered titanium beauty, the 309 is a rarity in todays high-performance modelsan arm with a removable head shell for easier cartridge swapping. (Also see
Recommended Turntables)

and powerfully dynamic, with tracking that rivals the very best.

SME SERIES V
$3500 www.sumikoaudio.net Robust and dynamic, the SME V is rich with features that include a cast-magnesium one-piece wand, ABEC 7 bearings, and fluid-controlled lateral damping. The V projects a ripe, soothing character with unsurpassed bass resolution, excellent inner detail, and great tracking ability.

This belt-driven turntable (equipped with the trapeze-like Well-Tempered arm) is as rich sounding as the best, and as long-term listenable. All it lacks is a little dynamic oomph, a little openness in the top treble, and a little detail in comparison to the top arms and tables. (Reviewed
by REG in Issue 142)

A massive, gloss-black affair thats hung (not sprung) from four sturdy pillars. Motor and vacuum pump for the platter are housed in outboard boxes. Exceptional midrange clarity is its most distinctive attraction, and highs are silky smooth. Dynamics are good, and the bass is very defined, if leaner than life. (Reviewed by
AHC in Issue123)

MRCH DP-6 (PRECISION ARM WAND VERSION)


$1890
www.audioadvancements.com

TRI-PLANAR VII
$3900 www.triplanar.com

VPI TNT MK.5


$6000 (turntable with flywheel and SDS power supply) www.vpiindustries.com Lower groove noise and greater detail, transparency, and presence, along with a richer, deeper response from the midrange into the deepest bass are among this classic designs many hallmarks.
(Reviewed by AHC in Issue 129)

CLEARAUDIO REFERENCE
$9000 www.musicalsurroundings.com

The Mrchs sophisticated engineering creates a sound with virtually no resonant signature, while arm tubes of different masses allow you to obtain a perfect match for any cartridge. An especially synergistic combo with the Eurolab table (offered as a package by Audio Advancements).
(Reviewed by REG in Issue 132)

$2000$3000
VPI JMW-10.5 & JMW-12.5
$2300 & $2800 www.vpiindustries.com Available in 10- and 12-inch versions, this beautifully made unipivot may be trickier to set up than some, but its sound rewards the effort. Its highly revealing without being cold, with some of the deepest, most powerful bass to be heard. VTA adjustment during playback allows for exceptional fine-tuning. (Reviewed by AHC in
Issue 129)

SME MODEL 10A (WITH ARM)


$6999 www.sumikoaudio.net Clearaudios classic combo marries a simple, foolproof design with a straight-line arm whose sonic disappearing act compensates for functional foibles and fussy setup. How a cartridge sounds in this table/arm is how that cartridge sounds, period (almost). (Reviewed
by ASP in Issue 113)

The new incarnation of the TriPlanar incorporates the late Herb Papiers final thoughts on arm design. Built by his handpicked successor, Dung Tri Mai, the version VII does, as HP said, what the Koetsu does; it removes colorationsbut leaves the lushness and sweetness of the music in a field of the highest resolve and definition. (Preview in
HPs Workshop, Issue 143, full review pending)

CARTRIDGES
Under $500
GRADO PRESTIGE GOLD
$180 www.gradolabs.com

This magnificent integrated turntable is one of those rare products with that difficult-todefine sense of rightness. The arm is SMEs excellent 309, the platter/mat/clamping system rivals some vacuum hold-downs, and the sound has extraordinary stability, control, definition, dynamics, and detail, sacrificing only that last degree of blackness of background and size and scale

ARMS
Under $1000
REGA RB-300
$350 www.rega.co.uk Turntable manufacturers who dont build their own arms frequently package

$3000$5000
GRAHAM 2.2
$3200 www.musicalsurroundings.com The best unipivot arm ever made, Bob Grahams exquisitely crafted 2.2 is a hi-fi masterpiece: extremely detailed, full in color,

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recommended products
Grados Prestige Gold cartridge has its flawsa lack of inner detail and an audible grain being chief among thembut its strengths are such that you can easily listen through them. These include a somewhat too warm yet very pleasant (and yes, euphonious) balance, sweet if not hugely airy treble, and taut if not especially layered bass, and a remarkably lively presentation. (Reviewed
by WG in Issue 141)

Sonata may lack the transparency and resolution of the very best, yet it delivers a naturally sweet treble, refined tone colors, and very good detail, particularly in the middle band. (Reviewed by
WG in Issue 141)

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

$2000$3000
GRADO STATEMENT
$2500 www.gradolabs.com Grados Statement combines the virtues of Grados moving iron seriesglorious tone color and rich authoritative midbasswith much (though not all) of the

DYNAVECTOR KARAT 17D MK II


$750 www.dynavector.co.jp

ORTOFON OM20 and OM30


$195 and $285 www.ortofon.com A beautiful-sounding moving-iron cartridge. Not the last word in detail or transient speed or top end air, the Reference is nonetheless enormously musical. A luscious midrange, superb dynamics, and overall neutrality from the midbass through the highs translate into an impression of both high accuracy and glorious musicality. Soundstaging is spectacular, imaging spot-on, tracking superb.
(Reviewed by PS in Issue 137) (Reviewed by Adam Walinsky in Issue 112)

SUMIKO CELEBRATION
$1500 www.sumikoaudio.net This low-output moving coil yields a dark, mellow sound that, while far from accurate, is certainly high on listenability and musicality. Difficult to rate, as it has certainly succeeded in achieving what its designers set out to do, even if that isnt quite the Absolute Sound. Average tracking.
(Reviewed by PS in Issue 130)

detail, transient speed, and top end extension of moving coils. Because of its low output, the Statement must be used with a head amp. (Reviewed by JV in
Issue 118)

The OM20 has a relaxed, easy listenability that makes it among the most appealing of all pickups; the OM30 is fractionally more transparent, lively, and dynamic, but at a slight cost in the sheer listenability of its sibling. Both are superb trackers and attain a level of sonic/musical performance disproportionate to their bargain-basement prices. (Reviewed in Issue 137)

BENZ RUBY 2
$3000 www.musicalsurroundings.com

ORTOFON KONTRAPUNKT B
$900 www.ortofon.com

SHURE V15VxMR
$400 www.shure.com

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

A darkish tonal balance may make for a lush, relaxed midrange and less detailed treble, but LPs simply sound right with this classic Shure. Terrific tracking, reliability, and high output. (Reviewed by
NG in Issue 121)

A pickup of unusual precision, refinement, and delicacy, with natural detail and transparency. Though a little on the cool side of neutral, it has no prominent colorations virtually nothing to call attention to itself with particularly good layering, and soundstaging that always seems appropriate to the source. Superb tracking. (Reviewed by PS in
Issue 137)

This low-output moving coils easy tonal character highlights no single virtue at the expense of others. Its got fine harmonic, ambient, and spatial resolution, excellent tracking, sweet and mellow textures, and it plays through groove grit without a hint of concealment.
(Reviewed by ASP in Issue 129)

$500$1000
GRADO REFERENCE SONATA
$500 www.gradolabs.com A wonderful performer, the

Helikon is a little cooler and whiter in balance than the Clearaudio Harmony, though not analytical sounding, and is almost the Harmonys equal in inner detail. The bargain in high-end moving-coil cartridges.
(HPs Workshop, Issues 132, 136)

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special

report

The Acura/ELS DVD-A Auto Sound System


Alan Taffel

conomic doldrums notwithstanding, the luxury auto segment is growing strongly and has attracted a crowd of manufacturers. In order to gain market share, these carmakers must constantly find new ways to set their products apart. Highpowered, multi-speakered sound systems have been mandatory in this market for years, but Lexus recently raised the stakes by offering, as an option, a system with indis-

discrete surround sound, built to high standards, and customized to each application by Mr.

Scheiner. If the concept proves successful, expect to see the ELS logo on other luxury marques (Panasonic says it is talking to several already).

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.
putable high-end credentials. Its Mark Levinson audio system has proven popular across the entire Lexus product line. So emboldened, Acura has now gone several steps further by becoming the first automaker to include a DVD-Audio system as original equipmentin fact, as standard equipmentin a car. The Acura/ELS system will debut on the allnew 2004 TL sport sedan being released this fall. In the case of the Acura installation, hardware consists of eight speakers: four 6.5" 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. The head unit is a six-disc in-dash changer that accommodates CD, DVD-A, audio DVD-Rs, CD-R/W, and DTS-encoded discs. Neither MP3 nor SACD is supported. The system will handle 5.1-channel DVD-As at up to 96/24 resolution, while stereo DVD-As can be up to 192/24. As a bonus, the head unit supports XM satellite radio, also standard. Obviously, Acura contributed the car and Panasonic created the audio hardware. Scheiners contribution is less visible but highly audible. He tuned the system, using DVD-As that hed mixed, to come as close as possible to the sound he created in the studio, paying particular attention to clarity and accuracy of image placement. This is the rare case, in either car or home audio systems, where the same set of experienced ears has control of both the recording and playback sonics. Its a laudable model. But all this effort raises the question of whether it is actually a good idea to put DVD-A (or any discrete, multichan-

The Concept
The Acura/ELS system is a three-way collaboration among Acura, Panasonic Automotive Systems, and five-time Grammy-winning recording engineer Elliot Scheiner. Panasonic created the new ELS brand to connote automotive products that will be designed specifically for

Recording Engineer Elliot Scheiner

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special report

nel, high-resolution format) into a car. Can the formats higher resolution even be heard in such a noisy, acoustically hazardous environment? Does discrete surround provide a more satisfying experience than those dreadful synthesized environments now pervasive in premium auto sound systems? What about rear seat passengershow do they fare? I was able to answer all these questions at the July press launch of the new TL. This event was no passive dog-andpony show. Acura provided a fleet of TLs, over six hours of drive time on both highway and mountain roads, and samples of every one of the cars competitors, including a Levinson-equipped Lexus.

Motoring with CDs


Premium auto sound systems attempt to envelop the listener primari-

ly through the use of as many as a dozen speakers scattered throughout the interior. Yet there are still only two channels of information, and the perceived soundstage usually ends up primarily in front of the driver. Because the rear speakers are merely duplicating front channel material, the intended illusion of surround sound collapses. Engaging DSPdriven surround modes like Concert Hall or Jazz Club only adds ersatz reverb and dubious EQ to the signal. The Acura/ELS system dispenses with these bogus surround modes and rests content with a forward-balanced soundstage when playing CDs. However, it has two unique assets that, even in this mode, elevate it above the fray. First, there is a center-channel speaker smack dab in the middle of the top of the dashboard. In DVD-A mode, of course, this speaker is fed its own discrete material; however, in stereo it

receives a judicious mix of L+R information. The result are that vocals and solo instrumentalists sound far more precisely and solidly planted than in typical car stereos. The systems second secret weapon is its subwoofer, which for once is a true subwoofer, capable of getting down. I compared the Acura/ELS to both the Lexus/Levinson and BMW Premium systems. The latter wasnt really in the running, being far less transparent or extended (in either direction) than the others, so Ill confine my comments accordingly. For source material, I used, among others, the Counting Crows first album and EMIs reissue of Previn conducting Holsts Planets. For a car stereo, the Acura/ELS system is quite impressive on CDs. My main complaints are a recessed midrange that causes vocals to sound a little hollow, and high frequencies that, due to a lack of complete

68

THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

special report

extension, miss some transient details. However, the system makes up for these shortcomings with superior imaging, a rich tonal balance, and bass thats powerful, punchy, and passably tight. I must say, its nice to hear car bass that is actually deepas opposed to just loud. The Levinson system, as weve reported in these pages, is certainly of high caliber. It is the more neutral of the two, with more natural vocals, more extended highs, and greater overall resolution. However, the Levinsons bass is neither as full nor as deep as that of the ELS, and its tonal balance is decidedly on the thin side. The lack of a center channel speaker is immediately evident, as vocals never imaged properly. All told, the Levinson system is polite, correct, and rather austere (much like the car it inhabits). The Acura/ELS is less refined, but more fun (also reflecting its host vehicle). In the past, this might have been a yin vs. yang toss-up, wholly dependent upon ones listening preferences. Today, however, there is another factor, for only one of these systems can play DVD-As.

Motoring with DVD-As


To the question, Is the greater resolution of DVD-A audible within the confines of a car? Not only can I respond in the affirmative, I can attest that there is simply no contest. The DVD-A system exceeded my expectations to an extraordinary degree. When I switched from the CD to the DVD-A of the aforementioned Planets, the sound

leapt to an entirely new level of dynamics, tonal accuracy, resolution, power, and finesse. It was akin to switching from Polaroid snapshots to photos taken by a Leicaeverything was vastly better. In addition, the DVD-As soundstage was no longer in front of me, but was now convincingly and compellingly enveloping. The contrast between formats was equally stark with more subtle recordings. On Soular Energy by the Ray Brown Trio, the CD sounded quite good but the DVD-A was markedly more open. The piano had far more of the correct ringing characteristic in its overtones, and dynamics were less compressed. Perhaps this was an even more telling comparison between the two formats, since both versions of this recording had only two channels. Thus, the DVD-As much higher (192kHz/24-bit) resolution was solely responsible for the sonic improvement. Of course, the level of transparency was not on a par with a good home audio system, but this is a car system, after all. At the briefing that kicked off this press event, Scheiner said that he was first drawn to the concept of DVD-A in a car because it is the only environment where the listeners positions are known and fixed. On the road, I listened to the Acura/ELS system from all sitting positions. I found no appreciable difference between the driver and front passenger seats. The rear seat, as expected, was another matter. From that perch, the front channels are but wafts in the distance, leaving only the surround channels clearly audible. This led to some bizarre results. For instance, on Drive from the DVD-A of REMs Automatic for the People, the heavy reverb on Michael Stipes voice is sent exclusively to the rear channels. From the back seat of the TL, I could hear only that echo, with no associated source. The effect was surreal, almost comic. Acura acknowledges this situation, but says its not concerned because its research indicates that the back seat is only occasion-

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ally occupied. The decision was made not to compromise the front seat occupants experience in deference to those in the rear, and undoubtedly it was the right choice. One other aspect of the Acura/ELS system is worthy of commendation. The user interface is what DVD-A should be, but usually isnt. Propelled by the need to simplify things for the driver, Panasonic exorcised most of DVD-As ergonomic demons. The resulting system works exactly like a car CD, regardless of each discs format. There are no menus to navigate, no decisions to make. The interface is particularly intuitive if the host vehicle is ordered with the optional navigation system, which includes a large, bright touchscreen.

Another welcome addition would be the ability to access a DVD-As menu if desired. By maintaining the current units interface as the default, but offering the ability to delve into the menu structure as needed, the current systems virtue of simplicity would be maintained while its flexibility would be enhanced. As it currently stands, for example, the user has no ability to select a desired, nondefault audio mode. Finally, as noted above, the Acura/ELS system does not play either MP3 discs or SACDs, and it would be nice if it did. From a consumer perspective, a universal player in the car is every bit as appealing as one at home.

Conclusion Room for Improvement


The Acura/ELS is the first of a new generation of auto sound systems. As such, it is bound to have areas where improvement can be wrought and features now missing can be added. In the former category, I have already discussed the systems shortfalls when playing CDs. Panasonic confirms that there was no effort to oversample, upsample, or otherwise massage the CD bitstream in ways that typically improve the sound. Its efforts were directly primarily toward DVD-A performance, and it shows. Hopefully, in the next version a little more attention can be given to CD performance. As for missing features, the most obvious is a means of creating realistic surround sound from stereo sources, including both CD and satellite radio. Once youve grown accustomed to true surround sound in your car, duplicate stereo will no longer cut it. I predict this will be true even for those who, like me, prefer to play CDs in pure stereo on their home system. Panasonic was right to shun the path of synthesized environments, but both Dolby Pro Logic II and DTS Neo:6 are now available to generate credible surround channels. One of these new formats ought to be included as soon as possible. The Acura/ELS DVD-Audio system heralds a new era in auto sound. It proves conclusively, and somewhat surprisingly, that the formats sonic advantages can be abundantly evident within a car. With far higher resolution and true, discrete surround sound, there simply is no comparison between the Acura/ELS system playing DVD-As and even the best CDbased car stereo. This obvious sonic superiority, combined with a vastly simplified interface, is bound to make the nascent format more accessible than it has ever been. As the first of its kind, the system is not yet perfect. Its CD performance, while very good, could clearly be better. And there are several desirable features that will hopefully find their way onto next years model. But none of this takes away from the joint achievement of Acura and Panasonic. The Acura/ELS audio system is a remarkably auspicious and successful debut. & Nice car, too.

M A N U FA C T U R E R I N F O R M AT I O N AMERICAN HONDA MOTOR COMPANY, INC. 1919 Torrance Boulevard Torrance, California 90501 (800) 382-2238 www.acura.com Price: $34,000 (including car)

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equipment report

Sophia Electric Baby Amplifier


Wayne Garcia

ne thing that often gets overlooked in this hobby is that our quest for sounds absolute is supposed to be fun. So imagine how delighted I was to walk into Sophia Electrics room at CES this past January and findnestled between the companys 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 a mere 7" x 9" x 5", tot-like this amp most certainly is. A toy, however, it most certainly is not. Cranking out a manly 10 watts per channel in a Class A push-pull configuration, the Baby uses four Russian military 6P1T output tubes and two U.S.-sourced NOS 5670 input/driver tubes. When the time comes, tube replacement cost is only ten bucks a pop, or $60 for the complete set. Though the Baby is a power amplifier, it does sport a volume control. Assuming your source component (sorry kids, just one pair of input jacks is provided) has enough output voltage to drive it (and most will), no preamp is required, save for switching needs. (This is how I used the Baby.) A removable power cord, a single pair of binding posts, and a headphone jack are the only other connections. The units chassis is suitably adorable, with painted matte surface, sculpted metal cosmetic adornments, and wooden ears. Before I talk about the sound, Sophias specs for the amp are worth noting (though unverified by me). Frequency response is rated from 680kHz 3dB, and signal-to-noise ratio -95dB, with less that 1% distortion at full power. Also bear in mind that, construction-wise, the circuitry is not hand-wired but laid out on a printed circuit board to which the tube sockets are attached. (You didnt really expect hand-soldered point-to-point wiring for $899, did you?)

The manufacturer recommends 50100 hours of break-in time, and indeed Baby sounds a bit cranky straight out of the cradlerather thin and edgy. But with time this little amp produces some pretty terrific sound. Its strengths are a very open and well-defined soundstage of impressive width, depth, and height, good detail, and a pretty natural rendering of instrumental tone and texture. For instance, on Jascha Horensteins reading of the Mahler Sixth [Unicorn LP], string choirs are convincingly laid out as groups, there is a nice sense of air and space between and around individual instruments, and the percussion, particularly snare and tympani, are placed well at the back of and above the orchestra, seemingly located on risers. The Baby can rock, too. With Cheap Tricks Scent of a Woman, from the new CD Special One [Big3 Records], the Baby sounds surprisingly ballsy, delivering (within reason) loud, stinging electric guitars, throbbing 12-string electric bass lines, and a taut, propulsive drum sound in my smallish listening room. But given the Babys low power, it will run out of gas with my Sonus Faber Cremonas (which are an okay, but not ideal match). Once you cross the threshold, clipping is sudden and audible, exhibiting both dynamic clamping and distortion. Ideally, I would recommend speakers of 90dB+ sensitivity and a nominal 8-ohm load. Listening to Ravels Gaspard de la nuit (Argerich [DG Originals CD]), the Baby exhibited a lovely toneits not particularly romantically tubey, by the wayif not the last word in harmonic structure or micro- and macro-dynamic layering. Ultimately, Sophias Baby amp is a lot of fun. Its musically engaging, with a good sense of rhythmic drive, a lot of midrange presence and air, good detail, and notably well-defined bass. Match it

with the right speaker, respect its power limitations, sit back, and enjoy. Oh, its one hell of a nice headphone amp, too. &
S P E C I F I C AT I O N S Power output: 10Wpc Inputs: One pair RCA Dimensions: 7" x 9" x 5" Weight: 20 lbs. A S S O C I AT E D E Q U I P M E N T Rega P25 turntable, Cardas Ruby Myrtle Heart Cartridge; Sutherland PhD phonostage; BAT VK-D5 CD player; Philips DVD963SA SACD/DVD player; Sonus Faber Cremona speakers; Grado SR 80 headphones; Cardas Neutral Reference speaker cables, Cardas Golden Reference interconnects; Finite Elemente Spider equipment rack; ASC Tube Traps; Richard Grays Power Company 400S and 600S; Essential Sound Products Power Conditioner/Strip

M A N U FA C T U R E R I N F O R M AT I O N SOPHIA ELECTRIC, INC. 3715 Yorktown Village Pass Annandale, Virginia 22003 (703) 204-1429 sales@sopohiaelectric.com www.sophiaelectric.com Price: $899

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Power to the People:

Nine Power Conditioners Surveyed


Chris Martens

ower conditioners are controversial; some people swear by them, while others regard them with a suspicion normally reserved for cure-all medicines or carburetors that promise you 120 miles per gallon. The controversy is understandable, perhaps becausewhile one can intuitively grasp that changes in signal-bearing components would affect soundits much harder to envision how changes in the quality of AC power would affect sound (if they affect it at all). Many audiophiles are familiar with the claims power-conditioner manufacturers make in support of their products: to wit, conditioners help remove noise from the AC lines, stiffen up power supplies by preventing shortterm voltage and/or current drops, prevent damage that might be caused by sudden surges, and prevent componentsespecially digital componentsfrom transmitting contaminating noise via shared power lines. In the abstract, these all seem like good things, yet fundamental questions remain. Do power conditioners actually make a difference you can hear in your system, and, if so, do those differences constitute real improve-ments? If there are improvements, how big are they? Do all components need power conditioning, or just those that handle low-level signals? If your components already have good power supplies, is power conditioning necessary? And if power conditioners affect sound, do they have identifiable voicing in the sense that other audio components do? I dont claim to have all the answers to these questions, but Id like to share a few of the basic insights I gleaned through working on this survey. First, power conditioners do make readily

audible differences in the sound of audio systemsdifferences that often represent genuine improvements. Second, the magnitude of improvement can be surprisingly largeat least as significant as improvements achieved by changing interconnect or speaker cables, and in some cases much more substantial than that. (Some conditioners made it sound as though I had switched major componentsalmost as if I had magically stepped up an equipment class or two!) Third, digital source components generally are more likely to benefit from power conditioning than amplifiers (which is not to say conditioning cant help amplifiers, but rather that with them the effects of conditioning can be mixed). Fourth, I found that when components already have extremely robust power supplies (as does the amplifier in the test system used in this survey), it is difficult to find conditioners that will improve the soundand some actually degrade it. Finally, I observed that power conditioners do have their own equivalent of voicing, meaning they impart certain consistent, characteristic sounds to the audio system. In a moment, I will share my observations of the characteristic voices of the conditioners in this survey, but first let me describe the survey process. This survey examines nine different power conditioners, which fall into two groups: those intended primarily for use with digital source (or low-power analog) components, and those intended to provide whole-system conditioning. In the interest of consistency and accuracy, I used one high-resolution, fullrange (i.e., solid bass down to 25Hz) audio system for all my listening tests, and by design that system included four different digital disc players spanning a

broad range of price/performance points. After doing some familiarization listening with the conditioners, I performed two rounds of concentrated listening tests, first using each conditioner connected to digital source components only, and thenfor conditioners rated with whole-system capabilities using the conditioners connected to digital sources and the main system amplifier. Below, I provide a capsule review of each conditioner, with comments on each units characteristic sound.

Argentum Acoustics PowerGrid X8

rgentums PowerGrid X8 is intended solely for use with digital source components or low-power analog components. The X8 is constructed as two completely isolated power conditioners (each supporting four Hubbell power outlets, and each capable of 500 watts of output) built on one chassisa true dual-mono design. Argentum recommends connecting digital source components to one set of outlets, and low-power analog components to the other. The X8s external appearance is elegant, and fit and finish are superb.

CHARACTERISTIC SOUND: The PowerGrid X8 gave the test system an almost shockingly high-resolution sound, and not the sort of artificial resolution born of brightness, but the real

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thingresolution made possible through the units extremely low noise floor and remarkable ability to help system components resolve exceedingly fine variations in timbre, texture, and dynamics. If you picture your system as having an imaginary Focus & Resolution control knob, then the PowerGrid X8 was the conditioner that turned that control up about as far as it could go. As I listened to reference discs, I was astonished to hear the X8 help my source components show textural and timbral nuances Id never heard before (nuances I never dreamed were encoded in my discs). The X8 lifted the performance of source components more than a few notches, so that good $300 CD players sounded more like $1000 models, and $1000 models better still. Overall, this conditioner was a delight whose only drawbacks were a slightly analytical (though not particularly bright) sound overall, combined with a moderate tendency to reveal any edginess, such as sibilance or hard-edged string or brass tones, present in recordings. BREAK-IN: The PowerGrid X8 requires no break-in.

Audio Magic Stealth Mini Power Purifier-Digital and Stealth Power Purifier
udio Magics Stealth Mini Power Purifier-Digital (Mini Stealth, for short) provides two high-quality outlets and isas its name suggests meant for use only with digital source components, while the full-size Stealth Power Purifier (Big Stealth, for short) provides six outlets and is meant as a conditioner for the whole system. Audio Magic feels the Mini Stealth sounds slightly superior to the Big Stealth with digital sources, and thus recommends

using the conditioners as a synergistic pair. Accordingly, I tested both the Mini Stealth and the Big Stealth with source components, and then tested the pair together powering the whole system. Both Stealth models are housed in extremely modest plastic enclosures whose appearance is vintage Radio Shackmeaning they give an impression of both utilitarian ruggedness and cheapness. While I strongly believe its whats inside a component that counts, conditioners as costly as these deserve much better packaging.

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CHARACTERISTIC SOUND, MINI STEALTH: The Mini Stealth imbued the system with three characteristics that added up to wonderful musicality. First, the Mini Stealth uncannily helped filter out (or at least mitigate) hash, edginess, and glare, yet at the same time enabled components to render low-level details and textures with greater refinement and focus. This was a great combination, since it meant I heard less of what I didnt want (noise, sibilance, harsh string or brass tones, overshoot, etc.), but more of what I did want (textures, timbres, subtle shifts in expression). The remarkable thing was that the Mini Stealth achieved smoothness without any dullness or loss of resolution. Second, the Mini Stealth did a great job at enhancing the systems presentation of soundstage layering and depth. Third, more than most conditioners in this survey, the Mini Stealth promoted excellent bass reproduction, with great midbass weight and sharp focus and attack on bass transients. The only drawbacks to this conditioner were: (a) it only provided two outlets, (b) it could be perceived to impart a slightly dark tonality, and (c) it was perhaps not quite as revealing as the Argentum PowerGrid X8. In the end, though, the product stood firmly on its many strengths. Magic correctly predicted that the MiniStealth would sound better on digital sources. The three main differences I heard with the Big Stealth were a slight dullness on fine details, a trace of edge or ringing on hard transients, and a tendency toward more flattened soundstage perspectives. Thus, if all you need is conditioning for digital sources, go with the Mini Stealth.

CHARACTERISTIC SOUND, BIG STEALTH: The Big Stealth was voiced similarly to the Mini Stealth, but Audio

USING THE STEALTH PAIR TO POWER THE WHOLE SYSTEM: The Stealth pair proved excellent in some contexts, but overall the two conditioners made for a somewhat uneasy marriage. At its best, the Stealth pair helped the system produce big, deep, lively sonic images. However, the voices of the two products did not always coalesce gracefully; at times, the Big Stealths slight edginess conflicted with the Mini Stealths smoothness, and the Big Stealths slightly less

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defined treble likewise sounded at odds with the Mini Stealths silvery harmonic structures. Given the considerable cost of the full-size Stealth, I would forego the larger model and use the Mini Stealth on its own. BREAK-IN: Both Audio Magic conditioners require considerable break-in.

Chang Lightspeed CLS 6400 ISO Mk II and CLS HT 1000 Mk II

hang Audios Lightspeed CLS 6400 and CLS HT 1000 Mk II are intended as whole-system power conditioners, the 6400 being a mid-line model and the HT 1000 a high-end one. The CLS 6400 provides six Hospital Grade outlets with two outlets providing special filtering for use with digital sources, and four outlets for general-purpose analog use. In turn, the HT 1000 provides twelve outlets separated into three groups: four for digital sources, four with extra current capacity for power amps, and four for low-power analog components. Both models are housed in wide, matte-black metal enclosures, which, while not particularly stylish, appear well built. CHARACTERISTIC SOUNDS: With digital sources, the 6400 and HT 1000 imparted extremely similar (though not quite identical) signature sounds on audio systems. The Chang house sound favored overall system musicality over definition and resolution, offering a delightful blend of digital noise suppression, excellent and delicate midrange resolution, plenty of soundstage depth, and powerful and extended bass. In back-to-back comparisons with the Mini-Stealth, the Chang conditioners gave the system a more lively

and revealing midrange character (albeit at the expense of a minor increase in perceived edge), and tighter, leaner, more muscular bass. As one of their greatest strengths, both Changs promoted satisfyingly natural, organic system voicing (where nothing ever sounded spectacular in an artificial way, yet nothing seemed to have been left out). The only sonic difference I detected between the Chang models was the HT 1000s ability to help the system produce very slightly larger and more resolved images than the 6400. As two of the least costly conditioners in this survey, both Changs offer exceptional value for money (though the 6400 is perhaps the bigger bargain). Both Changs achieved mixed results when powering the entire test system. Midrange and upper midrange smoothness improved somewhat, but at the expense of midbass and low bass weight falling off a bit. These mixed results should not be considered a mark against the Changs, since the test system featured a Musical Fidelity Tri-Vista integrated amplifier whose beefy, choke-regulated power supply proved very difficult for most conditioners to improve upon. In separate testing in a system using Parasound electronics, both Changs performed beautifully, helping the Parasound components produce clearer midrange and more solid bass. BREAK-IN: Both Chang conditioners require considerable break-in.

M A N U FA C T U R E R I N F O R M AT I O N 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 GRAYS POWER COMPANY, LLC 2727 Prytania Street, Suite 6 New Orleans, Louisiana 70130 (504) 247-0300 www.richardgrayspowercompany.com Price: $2100

ExactPower EP15A

xactPowers EP15A is a whole-system power conditioner that applies nine different correction techniques to produce the best possible AC power. Perhaps most distinctive of these is ExactPowers patented feed-forward technique for making active, real-time

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voltage corrections. The EP15A provides a highly informative display that can show instantaneous output voltage, output current, or output wattage. The EP15A provides eight high-quality outlets, and is housed in a lovely brushed silver case. CHARACTERISTIC SOUND: With digital sources the EP15A produced a system sound that combined Chang-like warmth and naturalness with Argentum-like resolution and focus. What I heard was energetic and well-defined bass, midrange textures that were exquisitely delineated (if not quite the Argentums equal), plus a good measure of freedom from midrange and treble hash and grit. Most of the time, and on most material, this combination of virtues worked well, but at moments the EP15A made the system sound a touch mechanical or electronic. In my listening notes I observed that the EP15A always produces good sound, but not always the sweetness or heartiness of real music. Like the Changs, the EP15A achieved mixed results when powering the whole test system. The EP15 enhanced the systems three-dimensionality throughout the midrange, but with a shift in overall balancewhere the midrange came forward and the midbass became withdrawnthat took away some of the warmth and punch that made the EP15A so enjoyable with digital sources only. Again, given the nearly faultless power supply in the test systems Musical Fidelity amplifier, these mixed results shouldnt be counted against the EP15A. Like the Changs, the EP15A performed superbly when tested in my secondary, Parasound-powered system (yielding some of the most airy treble and potent bass Ive ever heard from that system). BREAK-IN: The ExactPower EP15A requires no break-in.

Furman IT-Reference

ve seen countless Furman conditioners in professional musicians equipment racks, but until the ITReference appeared on my doorstep I had no idea Furman made products targeted toward high-end audio enthusiasts. Weighing a back-straining eighty pounds, Furmans IT-Reference is one conditioner that cannot be, umm, taken lightly. The IT-Reference provides twelve high-quality outlets, one group of four for power amplifiers, and four isolated symmetrically balanced groups of two for use with digital and low-power analog components. The IT-

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Reference is packaged in a massive black chassis with a raised, brushed-aluminum centerplate to which a welcome pair of carrying handles are attached. CHARACTERISTIC SOUND: With digital sources the IT-Reference exhibited two sonic qualities that set it apart. First, the IT-Reference gave the system simply remarkable dynamic power and agility. Just as Argentums PowerGrid X8 revealed textures and timbres with great focus and clarity, the IT-Reference revealed the dynamic envelopes of instruments and voices with unequaled realism and freedom from compression. Second, the IT-Reference helped the system produce extraordinary bassbass that was richly textured and deeply extended, with authority second to none. Still, the IT-Reference was not without flaws. Like the Argentum X8, the IT-Reference gave the system a highly resolved sound, but unlike the X8, the IT-Reference let the system lapse into brief bursts of edginess and glare (especially on heavily modulated vocals or string passages). While these lapses occurred only occasionally, the combination of unrestrained dynamic power plus upper midrange glare was not a pleasant one (suggesting greater smoothness and warmth were needed). Happily, when the IT-Reference was used to drive the entire system, the systems upper midrange became somewhat rounder and more three-dimensional, and its midbass took on an added warmth that helped balance out and humanize the sound. While the ITReferences occasional rough edges never went away completely, connecting the amp to the conditioner helped leverage its great strengths and mitigate its weaknesses. BREAK-IN: The Furman IT-Reference requires no break-in.

Quantum RT800

he Quantum RT800 is one of the most unusual conditioners in this survey, as the following excerpt from its product bulletin makes clear: The RT800 employs a unique and cutting edge technology, Quantum Resonance Technology. QRT is a technology based on research into the random behavior of photons and electrons

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in AC electricity (as well as) principles of electromagnetic field theory and quantum physics. The goal is to affect a more ordered electron behavior. Interestingly, Quantum claims that the RT800, which operates in parallel to the AC lines, creates a tuned electromagnetic field frequency pattern that harmonizes and tunes the existing electromagnetic fields in the environment within a given radius of 35 feet. The RT800 is a whole-system conditioner that provides eight hospital-grade outlets. The unit is housed in a simple black metal enclosure with polished end caps, and a forward-facing QRT frequency display. CHARACTERISTIC SOUND: The RT800 imparted a system sound with four distinguishing characteristics. First, the treble range took on a soft, gentle, edge-free quality. Second, the midrangeand especially the upper midrangetook on a subtle prominence or forwardness. Third, the bassand especially the vital midbassbecame softer and noticeably recessed. Fourth, sonic images became larger, with a smooth and spaciousyet strangely diffuse, quality. Taken together, these qualities might be interpreted as adding overall spaciousness and a certain kind of clarity (or midrange emphasis) to the sound, but my sense was that the changes in fact dulled the inherent clarity and focus of the system, and significantly reduced its power and impact in the bass region. I evaluated the RT800 with digital sources, with the entire test system, and with my secondary (Parasound-powered) test system. In all cases the sonic affects of the conditioner were similar. While certain aspects of the RT800s sound are appealing (e.g., its treble smoothness and freedom from edginess and glare), my feeling is that QRT technology requires further development before its potential can be fully realized in high-end audio systems. BREAK-IN: The RT800 requires little break-in time.

Richard Grays Power Company 1200s

he RGPC 1200s is a whole-system conditioner that provides twelve Hubbell outlets organized as two groups of six (internally, the 1200S is

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the equivalent of two RGPC 600S sixoutlet conditioners). Unlike most other conditioners in this survey, the 1200S connects in parallel to the AC lines, meaning that components sharing the same AC lines with the 1200S will enjoy most of its benefits even if they are not plugged directly into the unit. In fact, RGPC even suggests that power amplifiers be plugged into an AC outlet adjacent to the one through which the 1200S draws power. The 1200S enclosure appears well made, sporting a lovely art deco faceplate in which the RGPC logo is displayed behind a window shaped like a funky 50s-style TV screen. CHARACTERISTIC SOUND: The RGPC 1200S gave the test system a host of characteristics greatly prized by audiophiles, including unusually pure midrange tonalities with finely-resolved textures, vibrant and energetic bass, stunning three-dimensional imaging, and a huge soundstage. Again and again, though, the uncanny three-dimensionality of the RGPC-powered system was what grabbed me (that wonderful reach-out-and-shake-hands-with-theperformers quality). One could quibble that the 1200S made the system sound just a hair midrange-forward, or that it promoted a midrange that could be a bit aggressive, but that would be to overlook the engaging and unfailingly musical quality the RGPC brought to the system. More than other conditioners in this survey, the RGPC really came into its own when powering the whole test system. RGPC claims there should be virtually no sonic difference between plugging the amplifier into a wall socket adjacent to the 1200S versus plugging it directly into the conditioner, but in practice I found there was a difference small, but quite worthwhile. Specifically, once the amp was connected through the 1200S, the systems midrange pulled back a bit and smoothed out, while its midbass became richer and more powerful. With those two changes in place, the end result wasto my earspure magic. BREAK-IN: The RGPC requires a moderate amount of break-in. &
A S S O C I AT E D E Q U I P M E N T Musical Fidelity Tri-Vista 300 integrated amplifier; Parasound Halo P3 preamplifier and A23 power amplifier; Sony DVPS9000ES and DVP-NS500V DVD/SACD/CD players; Roksan Kandy Mk III DVD/CD player; Rega Planet 2000 CD Player; JVC XVSA600BK 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

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Ayre AX-7 Integrated Amplifier


Robert Harley

ot that long ago, integrated amplifiers fit a stereotype: underpowered, ugly British boxes, lightweight in build quality with funky connectors and sound suitable only for entry-level systems. That situation was unfortunate, because the integrated amplifier is the perfect solution for music lovers with space and budget constraints or those who value the simplicity of installation and operation an integrated amp offers. The high-end audio industry finally woke up to the fact that integrated amplifiers could be something more than their stereotype. Witness the explosion in very high quality integrateds from such marques as Mark Levinson, Krell, Balanced Audio Technology, Perreaux, Musical Fidelity, and now Ayre Acoustics. Ayres first integrated amp, the $2950 AX-7, perfectly understands its charter: Combine high-end circuitry with moderate output power in a wellmade, easy-to-operate product, and hit

the sweet spot in the amplificationpricing curve. The AX-7 is a solidly built no-frills product. No phonostage is included youll need an outboard phono preamp to play LPs. A processor pass-through mode sets one of the inputs (either

because music signals never pass through the controller. Volume is adjusted either from the remote or via a large bar just above the volume display. Inputs are selected by pushbuttons marked with star moon, planet, and comet icons. I

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.
unbalanced or balanced) to unity gain (input level equals output level). This feature means you can run the left and right channels of a surround-sound controller through the AX-7 without disturbing the correct channel-level balance established by the audio/video controller. It also means you can combine a music and home-theater system without compromising musical performance, suppose that with months of use, one would begin to associate an input with its icon. (I didnt.) The unusual loudspeaker terminals are outstandingfar better than five-way binding postsand should be standard-issue on all amplifiers. These are the same terminals used in Ayres $10k V-6x amplifier, as well as the Theta Dreadnaught (also designed, by the way, by Ayres Charles Hansen).

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Overall build quality is excellent; 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. It takes many hours of critical listening to discern and describe exactly why a product is musically communicative or not, but sometimes it takes only a few minutes to know if the product is fundamentally right. A hallmark of products that are right is the compulsion you feel to listen to music. The AX-7 is a case in point. I had planned on setting it up and letting it play with a CD source on repeat for a day, so it could settle in prior to bona fide listening sessions. But before I could leave the listening room, I felt the urge to sit down and enjoy what I was hearingfor several hours. This initial performance was more akin to that from

warmed-up separates, not an integrated amplifier just out of the box. Things got even better once the AX7 had been powered up for several weeks. The amp got sweeter, more open, detailed, and engaging. The AX-7 has a remarkable ability to present music as a coherent combination of individual musical lines rather than as a single large agglomerate sound in which instruments congeal tonally and spatially. I could shift my attention among instruments or orchestral sections and clearly hear subtle lines in the presence of more prominent ones. This impression was largely the result of the AX-7s overall high resolution, but it was also aided by the amps ability to convey a sense of bloom and air around individual instruments. Images were not only spatially distinct from each other, but were also separated from

the surrounding acoustic. Many amplifiers tend to fuse the reverberation and air of an instrument with the image itself, reducing the impression of hearing an instrument surrounded by a real acoustic space. In addition, the soundstage was remarkably transparent and open, with tremendous clarity. Soundstage width, depth, and dimensionality were all terrific by any measure, and amazing for such a modestly priced integrated amplifier. Tonally, the AX-7 tended toward the lighter side of neutral, with a slight emphasis on the upper midrange and treble. The bottom end was fairly full and well-defined, but just a little lacking in warmth and the sense of solidity I hear from larger separate amplifiers. Consequently, basses didnt light up the acoustic as fully, which somewhat truncated the sense of space. The AX-7

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Ayres new AX-7 knows its missionhigh performance in an affordable, compact, simple packageand delivers on it in spades.

also seemed to spotlight the upper mids, emphasizing harmonics over fundamentals. This had the effect of rendering tonal colors as somewhat less saturated than in life, almost like a slightly underexposed photograph. This is the AX-7s only shortcoming, and perhaps my description gives the false impression that it was a defining characteristic of the amplifier. It wasnt. Nor was the AX-7 bright, etched, or overly analytical. Rather, the AX-7 leaned toward a clean, quick, transparent, and highly detailed sound, with a slight concession in warmth and richness of tonal color. I greatly enjoyed the AX-7s sense of pace and the way music flowed naturally. Im not talking about toe-tapping pace, but the entirely natural way music starts, stops, builds, and ebbs. Some amplifiers with terrific dynamics and slam can sound mechanical, stiff, and rhythmically artificial. The AX-7 by contrast conveyed a sense of musicmaking, particularly in grooves laid down by first-rate rhythm sections. Check out bassist Eddie Gomez and drummer Peter Erskine on Eliane Elias wonderful Cross Currents [Denon]. The AX-7 beautifully conveyed the drive, rhythmic nuances, and delicious flourishes these musicians contributed to this disc. As for output power, the AX-7 didnt fully exploit the dynamic capabilities of the Wilson WATT/Puppy 7 nor the Avalon Eidolon Diamond (review in progress)but I wasnt expecting it to. Nonetheless, the AX-7 drove both these loudspeaker surprisingly well, with no sense of congealing or soundstage constriction during loud passages. Even with a very high drive signal from the Theta Generation VIII DAC and the AX-7s volume at maxi-

mum, I couldnt get the Ayre to clip. I did hear a gentle compression of dynamics and a slight softening of the bass as the AX-7 reached its power limitations, but overall the sound had a robustness I didnt expect from a 60Wpc integrated amplifier. I should further address the AX7s modest output power rating. First, the difference between what is considered low output power (60W) and moderate output power (100W) is just 2.2dB. Driving a 90.2dB-sensitive loudspeaker with 60W will produce the same sound-pressure level as driving a speaker with a sensitivity of 88dB with 100W. Choose your loudspeakers carefully and the AX-7 will sound like a powerhouse. Second, the AX-7 is rated at 120W into 4 ohms. An amplifier that can double its output power as the impedance is halved will sound more powerful in realworld conditions (driving loudspeakers with impedance dips in the bass) than an amplifier that only marginally increases its output power as the impedance drops. The ability to double the output power when the impedance is halved suggests high current capacity (relative to 8-ohm output power). In my experience, amplifiers with greater current capacity sound more powerful than their 8-ohm power rating would suggest. Finally, theres a theory that lowoutput-power amplifiers sound sweeter than their more powerful counterparts. Ive found that to be the case in some amplifier lines in which the circuit topology remains identical, with the only difference being power supply size, and the number of output transistors and heat sinks. In other words, dont dismiss the AX-7 because it has only 60 watts per channel.

Ayres new AX-7 knows its missionhigh-performance in an affordable, compact, simple packageand delivers on it in spades. Rather than striving for brute-force output power, the AX-7 puts the emphasis on other qualities: resolution, transparency, soundstaging, and dimensionality. In these respects, the AX-7 sounds more like expensive separates rather than an integrated amplifier. The AX-7 does, however, have a tendency to slightly emphasize the upper-midrange and treble, somewhat thinning tonal color. This isnt a significant liability in light of the amplifiers great strengths. Beyond this analysis of the AX-7s sonic characteristics, this amplifier was unfailingly musical, enjoyable, and engaging. When mated with moderate- to high-sensitivity loudspeakers, the AX-7 is fully up to the task of becoming the anchor of a highly musi& cal system.

S P E C I F I C AT I O N S 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. A S S O C I AT E D E Q U I P M E N T 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

M A N U FA C T U R E R I N F O R M AT I O N AYRE ACOUSTICS, INC. 2300-B Central Avenue Boulder, Colorado 80301 (303) 442-7300 www.ayre.com Price: $2950

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equipment report

Thiel CS2.4 Loudspeaker


Neil Gader

uery: How do you make a seventy-pound floorstanding loudspeaker disappear? Well, you could hire some muscle and haul it out of the room. Or, you could consider Thiel Audios CS2.4. It has the uncanny ability to generate a w-i-d-e soundstage with impeccable imaging and then, faster than a Buddy Rich rim shot, vanish into thin air. The Thiel CS2.4 is indeed fast. Fastidious also describes every aspect of this loudspeaker. From the precision tolerances and finish of the cabinetry and transducers to the superb quality of the packing materials, it exhibits a nearobsessive attention to detail. Like the CS2.3 it replaces, the CS2.4 is a three-way bass-reflex system that benefits from some evolutionary changes. Thiel designs and builds its metal-diaphragm transducers. The 1" dome-tweeter and 3.5" midrange are coincident-array designsa driverwithin-a-driver setup, sometimes called coaxial. The drivers share a single voice coil and mechanical crossover butin the CS2.4use a neodymium magnet for improved efficiency. Additionally the venting has been improved, increasing thermal efficiency, reducing resonances, and making the transducer an easier load to drive. The 8" inverted-dome woofer boasts improved efficiency, and the all new 7.5" x 11" passive radiator adds 2dB more output. First-order crossovers are employed throughout, with crossover points of 1kHz and 4kHz. The highly rigid cabinet uses 1"-thick walls and a massive 3" front baffle. The baffle is also marginally thicker than before, and the radius has been modified to further reduce diffraction effects. In classic Thiel fashion the front baffle is sloped backward for correct time alignment between the woofer and the tweeter/midrange. Thiels optional Outriggers were sup-

plied for added stability in my carpeted listening room. They are 17"-long flat aluminum brackets that are secured in the existing footer holes in the base of the CS2.4. The ends of the Outriggers angle outward beyond the edges of the base, widening the footprint of the speaker; they are pre-drilled to accept the sharp footers that come with each pair of CS 2.4s. Note: Thiels set-up parameters need to be respected. Its instruction manual states that eight feet is the minimum distance the listener should be seated from the speakers to permit the drivers to fully integratea recommendation entirely consistent with first-order designs. Thus seating height and distance is a significant variable in minimizing lobing effects and creating a

coherent sound. I preferred to be slightly lower in my seat at the minimum distance my small listening room limited me to. This created a richer, more textured sound particularly with low-baritone vocalists like Tom Waits [Mule Variations; Epitaph]. The character of the CS2.4 was bright, bold, and expressive, not warmly romantic yet not coldly clinical either. Although not a hot cocoa by the hearth kind of speaker, the CS2.4 surprised me with a full-throated openness and expansiveness that Ive found lacking in some other Thiel designs. The treble had a right now immediacy and clarity that bordered on an electrostat. Following Audra McDonalds a cappella introduction in Lay Down Your Head,

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[How Glory Goes; Nonesuch], the entrance of the harp and string quartet was breathtaking in the intricacy of the softest details and the clarity of the space they occupied. Clearly the CS2.4 is a speaker that elucidates the minutiae of music with a resolving power on a par with any speaker in this price range. There is a sophistication to this Thiels sound that is a balanced mixture of extension, micro- and macro-dynamics, speed, and transparency. A recording that shows these sonic attributes was Nickel Creeks self-titled debut album [Sugar Hill, SACD]. Nickel Creek is an acoustic trio with a fresh folk/country/ pop fusion style; its blazing instrumentals incorporate bluegrass banjo, violin, mandolin, guitar, and acoustic bass. During each track the mandolin, tinybodied and highly percussive, and the bluegrass banjo possessed all the crisp articulation and speed of the real things. Characteristic of the mandolin, the clatter of the flat-pick off the strings almost matched the volume of the string note being struck. The banjo had a forward sound, accurately pushy in its aggressiveness. The guitar, larger and warmer, seemed a little thin in body resonance, however. Sara Watkinss soaring violin imparted rich energy from its soundboard, but as it neared its upper-octave limits it grew a bit constricted. Images were reproduced with locked-tight stability and pristine edge definition. On a reference piano recording like Live At Bernies [Groove Note, SACD], the Thiels wrapped themselves around the warmish tonality of Bill Cunliffes grand conveying the lush soundboard and Cunliffes gentle modulation of the sustain pedal. My one reservation was the coolness the Thiel displayed in the top octavesa faint hardness depriving the keyboards hammers of some of their felt cushion, and attenuating the more delicate interplay of harmonics. Bass extension was taut and plummeted confidently into the low 30Hz region, offering as much bass as most of us desire (unless your last name is Richter). If there was any overhang or bloating attributable to the passive radiator, it was subtle, indeedlow- and mid-bass notes were tuneful and quick,

with natural bloom. Loudspeakers often thicken and congeal the lower octaves of a piano, but the CS2.4 never lost sight of individual notes or fast-tempo chord patterns. During Wrapped Around Your Finger [Synchronicity; A&M, SACD] the marriage of Stings melodic bass line steered cleanly free of Stewart Copelands inventive kick drum rhythms, the textural quality of each unfudged by the other. And during Murder By Numbers, I could hear the complete kick drumfrom the foot pedal impacting the skin from behind to the depth charge assault out the front. Speaking of murder, there was Copelands ripping snare drum being murdered beat by beat, each thwack conveying its own transient signature. Its a tribute to Thiels cabinet rigidity and baffle design that this relatively large speaker is able to soundstage and image as tightly as a mini-monitor. Orchestral soundstage reproduction was as wide and as deep as Ive encountered in my listening room. And the CS2.4 achieved these results honestly without recessing the tonal balance or sucking out the upper mids. The speaker also delights in properly scaling orchestral images, especially cello and bass sections and the immediate ambient envelope around them; the quality of the midbass plays a large role in recreating the hall acoustic. This was where the CS2.4 was at its most satisfying: not merely imaging in the sterile vacuum of a recording studio but suggesting the reverberant life of the ambient space surrounding the direct sound of a players instrument. If theres a single speed bump that listeners should note prior to dashing off a check, its a trait in the lower treble region that some will find persuasive and others bothersome. On a naturalistic recording of solo violin like Arturo Delmonis Bach, Kreisler, Ysae [Water Lily Records], it can heard as a silvery additivea narrow spot-light illuminating the fiddles upper harmonics. A vocal example of this trait can be heard with former Police frontman Sting. He has an upper register that sounds slightly hoarse, like air rushing past an alto saxophone reed. On a song like the

aforementioned Murder By Numbers, where he gives his upper range a workout, the Thiels make it easier to key on this throaty detail, at times almost to the point of distraction. The retrieval of this embroidered harmonic and transient information is interesting in and of itself, but more than what one would likely hear in an unamplified venue. Like a little extra vanilla icing on a chocolate cake it doesnt upend the overall balance of the speaker. But its there. For the past quarter century Thiel Audios high-end credentials have become near legendary. The CS2.4 is such a sonically satisfying loudspeaker, nearly faultless in so many parameters, that I almost feel a little greedy for wishing for lessas in a bit less treble energy. But thats the very personal nature of the pursuit of the absolute sound. Near perfection is always elusive, perfection itself an unattainable grail. On a quest for a loudspeaker? Any audiophile worthy of the name & needs to hear the CS2.4.
S P E C I F I C AT I O N S Type: Three-way, reflex type Drivers: 1" dome tweeter/3.5" coincident midrange, 8" woofer, 7.5" x 11" passive radiator Frequency Response: 36Hz25kHz 2dB Sensitivity: 87dB Impedance: 4 ohms (3 ohms minimum) Dimensions: 11" x 14" x 41.5" Weight: 70 lbs. A S S O C I AT E D E Q U I P M E N T Sota Cosmos Series III turntable; SME V pick-up arm; Shure V15VxMR cartridge; Sony C222ES SACD multichannel, Sony DVP9000ES; 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

M A N U FA C T U R E R I N F O R M AT I O N THIEL AUDIO 1026 Nandino Blvd. Lexington, Kentucky 40511 (859) 254-9427 www.thielaudio.com Price: $3900 (Optional outriggers: $250)

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equipment report

Meridian 502 Analogue Controller and 559 Power Amplifier


Sue Kraft
front panel has an LED display with a row of seven buttons directly beneath it to control various functions such as source, mute, off, and volume. I didnt think Id like the up/down volume control at first (knobs are so much easier to use when youre in a hurry), but it turned out to be a moot point, as I ended up using the included Meridian System Remote (MSR) 99% of the time anyway. At first glance, the four-dozen or so buttons of varying shapes, colors, and sizes may look a bit intimidating, but for the purposes of operating the preamp and CD player, I found the MSR to be fairly simple and straightforward. I only needed to refer to the owners manual once to figure out the phase button. According to Meridian, the core design of the 559 employs a radical new amplifier topology first featured in the Meridian flagship DSP8000 loudspeaker. This new topology is an implementation of several RF techniques and novel circuit designs, resulting in a lowfeedback design with distortion that measures as low as conventional amplifier topologies. Like the 502, the 559 is also fully balanced and features dualmono construction. In fact, to drive the amplifier unbalanced via the RCA inputs, the signal is first balanced using a proprietary superbal op amp input configuration before being applied to the amplifier. Twin low-noise high-mass 1.2kVA transformers and more than 80,000pF of audiophile-grade smoothing capacitors deliver a staunch 300W per channel into 8 ohms and a staggering 1500W into 4 ohms (when used in monobridgedconfiguration). The only parts the left and right channels

or someone whose home theater system consists of a microscopic thirteen-inch TV and a VCR from the Dark Ages, its inspiriting to know that a company with the technical credentials of Meridian hasnt forgotten about us old-fangled two-channel diehards. Not that I didnt think a fully balanced 500 Series Meridian system wouldnt sound good. I just didnt think, at least for the money, it would sound quite this good. Retailing at $3895, $2575, and $4495 respectively, the 588 compact-disc player, 502 analog controller, and 559 stereo power amp may not be the least expensive components Ive reviewed, but they are easily the best Ive heard in their price range. And heres the kicker. If the siren song of multichannel surround ever does become too overpowering to resist, you wont be left with a couple of white elephants lying around collecting dust. Meridians building-block design philosophy allows you to use the 559 (for example) in bridged mode for each of the front channels of a 568 digital surround processor. Fifteen-hundred watts per (into 4 ohms) ought to set you back in your listening chair! Or take advantage of the two-room software that

comes nested in the 502 controller to link sources in the main room to a second location such as study or family room. Or if you want to pursue the minimalist approach and alleviate the angst of fussing with interconnects, simply connect the digital output of the 588 CD player directly to one of Meridians DSP loudspeakers. The 502 controller has been designed as a reference-quality partner to the 500 series amplifiers or M60 active loudspeakers. Inside the simple yet elegant slim-line case is a fully balanced, dual-mono preamp utilizing separate, isolated printed circuit boards and four separate DC supplies for both its left and right channels. A separate DC supply is also used for the microprocessor section. High-quality components include Nichicon and polypropylene capacitors, ultra-linear amplifier stages, four-layer PCB construction, low-flux toroidal transformers, and gold-plated connectors. The 502s many features include a pair of balanced (XLR) and unbalanced (RCA) outputs, seven inputs (3 balanced, 4 unbalanced), two unbalanced tape outputs, user-adjustable sensitivity, and a phonostage option with mc or mm plug-in modules for each channel. The

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share are the enclosure; even the soft start on the mains primary side is shorted out when the amplifier is running to avoid any possible interaction. Unlike the svelte 502, the 559 is housed in a substantial 82-pound rackmountable steel chassis with brushed aluminum faceplate. Internal heatsinks make for a clean and environmentally friendly appearance. Controls include front-panel standby and rear-panel balanced/single-ended inputs, twin goldplated high-current binding posts for bi-wiring, and a switch for stereo/ bridge mode. For the cable tweakers out there, I settled on a Kaptovator power cord for the 559 amp and Elrod Signature 2 for the 502 pre. The Elrod can be a bit unruly to work with (its the size of a small fire hose, only not as flexible), but a sonic wonder when it comes to opening

up the midrange. It would have been nice to try a second Elrod on the CD player, but the 588 had to settle for stock. My Harmonic Technology interconnects seemed to be the best choice once again, along with a pair of Coincident Total Reference speaker cable. My first impressions of the Meridian trio were that of a remarkably well balanced, naturally smooth, musically satisfying, and all-around listener-friendly system. A seductive sense of dynamic ease and effortlessness immediately catches the ear, along with a notably broad, enveloping soundstage. Bass is solid and extended, with unwavering control over the dual 10" woofers in the Coincident Totals. The presentation is remarkably linear from top to bottom, with no discernable forwardness in any frequency range. Solid-state gear can sometimes become so thin you feel as if

you are hearing through images instead of around them. With the Meridian, images were not overly lush by any means, but had a palpability and substance more reminiscent of tubes than transistors. If you like folksy bluegrass music, Misty Rivers Live at the Backstage Gate [MRCD] is right up your alley. With the Meridian, the bass fiddle on Black Pony actually sounds like theres a hollow wooden box attached to the strings. Vocals are temptingly smooth, natural, and articulate; the last track is a four-part harmony (a cappella) rendition of America the Beautiful that will bring tears to your eyes. The XRCD version of Dave Grusins Discovered Again Plus! [LIM XR] is a superb recording that could have been tailor-made to accentuate all the positive attributes of the Meridian. I dont think Ive heard XRCD sound better on my

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ond bowl. This porridge is too cold, she said. So, she tasted the last bowl of porridge. Ahhh, this porridge is just right, she said happily and she ate it all up. Like that last bowl of porridge, the & Meridian gear was just right!

S P E C I F I C AT I O N S 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

system. Transients were quick, clean, and precise; high frequencies sweet and clear; and separation of images superb. Im not sure exactly how to describe it, but there was a black background that seemed atypical of solid-state, making images appear more rich and distinct in contrast. I didnt hear any hint of that white-ish quality associated with some transistor designs. On the Brazilian flavored Captain Bacardi, percussive instruments hung magically in mid-air, seeming totally detached from the speakers and everything else around them. The sound was more than just enjoyable; it was kickback-in-yourfavorite-easychair comfortable. And by that I dont mean laid-back or polite. It just had a rightness and ease about it that allowed you to forget about the stack of machinery in front of you, and savor the music. Although the main focus of this article centers on the 502 and 559, the technical and sonic merits of the 588 compact-disc player are equally (if not more) impressive than the analog equipment under review. I spent a fair amount of time mixing and matching components, and although the best synergy was ultimately achieved when using the three Meridian pieces together as a system, I wouldnt have been unhappy with any of these units on its own. The 502 preamp was perhaps a little less open and spacious than the Ayre K-5x, but

exhibited better clarity and focus, along with a smoother and fuller midrange presentation. I was particularly impressed with how well the 559 performed against the $8500 BAT 75SE tube amp. Throwing a tube amp into the mix may be one of those apples and oranges things, but I can remember thinking at the time how the 559 could have been the solid-state sibling of the 75SE. It didnt have the extraordinary level of three-dimensionality or spatial detail, but was almost as clean, smooth, and refined as the 75SE. So, is there anything I dont I like about the 502/559 combo? For one thing, the fact that Ill have to send it back. In separate listening tests, I slightly preferred the 559 amp over the 502 preamp, but when partnered together, along with the impressive 588 CD player, it was tough to find any faults worth the ink to complain about. Whats not to like about a rig that is clear, focused, naturally smooth, palpable, effortlessly dynamic, and, above all, well-balanced and sonically gratifying? Add to that the built-in system flexibility that comes with all Meridian components, and you have a package thats tough to beat. I cant help but be reminded of a quote from the classic childrens story Goldilocks and the Three Bears: She tasted the porridge from the first bowl. This porridge is too hot! she exclaimed. So, she tasted the porridge from the sec-

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. A S S O C I AT E D E Q U I P M E N T 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 interconnects; JPS Kaptovator and EPS Signature 2 power cords; PS Audio Ultimate Outlet; Symposium Svelte Shelves and Rollerblocks

M A N U FA C T U R E R I N F O R M AT I O N MERIDIAN AMERICA INC. Suite 122, Building 2400 3800 Camp Creek Parkway Atlanta, Georgia 30331 (404) 344-7111 www.meridian-audio.com Prices: 588 CD player: $3895; 502 preamp: $2575; 559 amp: $4495

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equipment report

Soundline Audio SL2 Loudspeaker


Robert E. Greene
Of course you give up something. There is no one to hold your hand and tell you that you are doing the right thing to buy it; you have to trust your ears. But you do have a chance to listen extensively. Even if you dont live in Southern California and cant stop by the manufacturer, you have a ten-day home-trial period when your speakers arrive. If you are not happy, Soundline will pick up your speakers and take them back with a full refund. But I would be surprised if it gets any returns. Hearing is believing, and this speaker sounded exceptionally good in my room. Moreover, it is a design that is far more nearly room-independent by nature than most, so I am quite confident it will sound exceptionally good in your place, too. Soundline lives in a different world from the ordinary, commercial, dealer-based distribution of most speaker companies. But it is a world you most definitely ought to explore. All you need is a little patiencethere is a four-to-six-week waiting period while your speaker is assembled and tested after your order is received. But the SL2s are worth waiting for. The SL2 is a hybrid: the lower frequencies are handled by a box unit at the bottom of the speaker, and the higher frequencies are produced by a tall, narrow ribbon/planar magnetic driver operated as a dipole in a 10"-wide baffle. This driver comes from BohlenderGraebener, the same people who make the drivers for Wisdom speakers. The crossover is second order at 250Hz. The speaker is reminiscent in appearance of the Carver Amazing (second version) and the MartinLogan hybrid electrostatics (except that the line source isnt visually transparent), and looks graceful. Being a dipole, it has to be out from the wall a bit, but not too far, since the dipole operation does not go down into the bass. This type of design, with bass close

ant to buy a $12,000 speaker system for $3495? Welcome to the world of e-commerce. When you buy a $12,000 speaker at a dealer, keep in mind that about $5000 of that stays with the dealer. A good bit more goes

for distribution, warehousing, advertising, and other kinds of overhead. Soundline has none of this. No dealers, no warehousingyour pair of speakers is made to your order, no overhead to amount to anything. What Soundline does have in the SL2 is a superb speaker offering amazing value for money.

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to the floor and in effect floor-loaded, and with higher frequencies run in dipole fashion, has a considerable history and a lot to recommend it. For a start, the floor-loading gives the bass a directivity behavior that is not that far from the overall directivity of a dipole, so the integration problem is not too difficult. The wavelength of 250Hz is a bit over four feet and one is not hearing much directionality vertically at that wavelength, so if frequency response matches and directivity does not jump much, a good integration will be obtained. I first encountered this idea in the Gradient 1.3 many years ago (a speaker I still own), but there the transition was to a point-source dynamic driver operating as a dipole. The idea worked there and it works here, too. The blend is good, and of course from 250Hz on up, coherence is totalthere is only one driver.

Since the higher frequencies are reproduced by a line source, there is no floor bounce to speak of. And since the speakers are dipolar, a proper setup will put the listener in a null for what would otherwise be the first reflection. HP often and rightly comments on the importance of damping the early reflections. But here if you set them up right, there is nothing to dampit is a long time before anything arrives where you are except the direct sound. Forget if you wish all this technobabble, and just listen: What you hear is first off an unusually well defined and expansive (if the material so justifies) soundstage, which seems independent of your own listening room. The long time before any of your own rooms reflections are heard creates a stunning feeling of being immersed in the acoustics of the original venue. This is one of the big

things high end is about, and it works a treat here. A second big thingand for many people it may be even more important is that the SL2 sounds remarkably smooth and flat. If you look at the manufacturers measurements on the Web site, the curve is so flat that one can hardly believe that it was not obtained under some sort of, shall we say, optimistic conditions. But in fact, it is totally legitimate. Just putting up my Liberty Audio Suite mike in a natural position, no special tweaking involved, produced an essentially identically smooth, flat curve. This speaker is flatter than a lot of microphones! And this is more than some anechoic-chamber technical point. The controlled radiation pattern already discussed produces an equally smooth and flat listening impression in-room at actual plausible

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listening distances. There is no measures flat anechoically but sounds all over the map in the real world effect here, as there can often be with many floorstanding boxes. (Incidentally, the highfrequency driver has, as I understand it, a resonance that is notched out electrically by a suitable notch-filter network. But, contrary to what many audiophiles believe, the composite will be not only flat but phase and time correct: minimum phase frequency correction of a minimum phase resonance yields both time and frequency response correctness at one and the same time. Life would improve in the audio world if people would take this in once and for all.) A third general point is worth mentioning before I go on to specific listening experiences: The SL2 is exceptionally transparent sounding. One truly hears far into the recording in every sense, without paying the price of excessive peaky, hi-fi treble. In fact, no electrostatic I am aware of is quite as simultaneously clean, smooth, and uniform in radiation pattern in the treble as this (most electrostatics get either beamy or resonantly fuzzy a bit above the upper mids, although the effect is usually not unpleasant). While the SL2 certainly sounds quite true to timbre on single instruments (more on that in a moment), it is on larger-scaled material that it really comes into its own. My Waterlily/Philadelphia Orchestra recording Natures Realm really took me back to the actual experience of listening on the spot. The Reference Recording Rachmaninoff Symphonic Dances/Etudes Tableaux sounded as detailed, spacious, and beautiful as it should, and the SL2 handled the deep bass with aplomb. (While the SL2 does not go to truly subterranean depthsyou might want a subwoofer for earthquakes and volcanic eruptionsit does easily go deep enough in room to make orchestral music naturally balanced and convincing in the bottom end.) The Bach/Sitkovetsky Goldberg Variations CD (string orchestra arrangement) sounded beautifully realistic in tonal

terms and gave one the feeling that one could almost walk among the players in terms of imaging. Finally, the concert recordings of the orchestra I play in (St. Matthews Chamber Orchestra) gave a remarkable sense of the actual acoustics of the room we play in (where I have heard from the audience, as well as played in, a great many concerts). One of the things I like to try is to play along with my own solo recordings to check how close the reproduced sound gets to the real thing. Of course, this requires another listener since the under the ear violin sound is quite different from the sound at listener distance. One of my audiophile friends (an astute listener) described the match not only in tonal character but in image as so close that the reproduced violin and the real violin tended to form a unified whole. This is something that almost never happens. A good tonal match is rare enough, and in combination with a match in spatial character of the source is rare indeed. Audiophiles are social creatures, and it is not easy for a speaker company to make its way that does not spend money on going to shows, on advertising, and in general on making itself visible to the high-end community. It is hard to get the buzz going that seems so important. But I hope that you will have the independence of mind to investigate Soundline. The SL2 really is a remarkable speaker. To my ears it is better integrated than any hybrid electrostatic I am familiar with, not to mention cleaner and smoother in the top end. It is less colored through the upper midband than any of the Magneplanars I have auditioned (there is a serious directivity problem in going from a wide midrange to a narrow treble ribbon). It soundstages superbly well, and if it gives up a small amount in the department of total absence of material-related coloration in the midrange to something like the Harbeth Monitor 40, it offers other things in return: lower price, less sensitivity to placement, and greater reach 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 quality. Line sources have a greater room reach.) There are always nits one can pick, and, as with every speaker I have ever encountered, a little tweaking around with the Z Systems digital equalizer enabled me to make the speaker sound even smoother than it is by nature. But little is the operative word here; the SL2 is remarkable in its in-room behavior all on its own. The original version Carver Amazings, which have dipole line-source bass to go with the dipole line source, showed that there would be something to be gained in that direction, albeit at much higher cost (four expensive woofers per side) and vastly less convenient size (the original Amazings are room dominators). And if you feel that point-source imaging is more natural than line source, the Gradient Revolutions would be competitive in other respects and offer equally superb soundstaging of the point source type. But lets be sensible here. These are comparisons with some of the worlds best speakers. And people are paying more than the price of a pair of Soundlines for little two-way boxes on stands. For the amount of money involved, the SL2 is truly stunning. Not perfect, but what a truly high-end speaker at a price many people would pay for cables and power cords. Listen & up! Youll be glad you did.

S P E C I F I C AT I O N S Driver complement: 10.4" woofer, planar/magnetic line-source mid/tweeter Frequency response: 3520,000 Hz 3dB Sensitivity: 86dB Dimensions: 70" x 10" x 22" Weight: 86 lbs.

M A N U FA C T U R E R I N F O R M AT I O N SOUNDLINE AUDIO 2995 Van Buren Riverside, California 92503 (909) 789-5714 www.soundlineaudio.com Price: $3495 per pair plus $89 shipping and handling (in USA)

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Sutherland Ph.D. Battery-Powered Phonostage


Wayne Garcia
process (i.e., switching noise time) lasts about one-half second. A pair of red LEDs indicates when the batteries are spent, and at discount the cost of battery replacement should be roughly $16 once a year. I asked Sutherland about warm-up and break in. While designing the Ph.D., I kept a very close lookout for needless power consumption. Consequently, there is very little power used and, thus, very little heat generated within the components. There is essentially no temperature rise and no warm-up. The design also has little or no DC voltage across the signal-carrying capacitors, thus dielectric-forming is also not an issue. However, if a listener prefers to power up (notice I did not say warm up) before listening, just tap the headshell or brush off the stylus. It will then kick into power on. At thirty-seven pounds, the Ph.D. is heavier than many a linestage or fullfunction preamp, and as is typical of Sutherland products it is beautifully built (the brushed aluminum faceplate is half-an-inch thick). Changing batteries requires the removal of the four feet, at which point the chassis outer skin slides off. The batteries run around the outsides of the main circuit board, which, in addition to the phonostage, also holds two sets of small adjustable sub-circuit boards. One is for gain and the other for cartridge loading (see specs below for details). To change values you simply remove a board (theyre attached via small pins), rotate it to the desired setting, and plug it back in. My initial listening sessions with the Ph.D. have been exciting yet hard to get my mind around. The thing is so quiet that it took me about a month to

ome years ago, Chad Kassem of Acoustic Sounds sent me the Ron Sutherlanddesigned AcousTech PH-1 for review. It was quiet and had good detail, terrific dynamics, and that all-important ability to grab and pull you into the music. At $1200 it was a steal. (Ive not yet heard it, but the PH-1 was recently upgraded to a $1500 Premium Edition.) Now, under his own banner, comes Sutherlands Ph.D., a $3000 batterypowered phonostage that has forever changed the way I listen to records, and is certain to influence how I judge other phono preamps in the future. Ron Sutherland isnt the first guy to realize that AC line noise is to musical pleasure what a swarm of bees is to a picnic. Nor is he the first to build a battery-powered audio component. What he may be the first to do, however, is build a battery-powered phonostage without an AC cord (most batteryequipped designs have an AC power option and use wall current for recharging) or an on/off switch. Given that a shopping baskets worth of D-cells (16 total8 per side) are used to power the unit, with an estimated active life of about a month, I was initially dismayed

to calculate that Id have to open up the Ph.D. once every thirty or so days to swap batteries. But Sutherland has thought up a clever way of getting around this inconvenience: I figure if there is a power switch, for sure it will sometimes be accidentally left on. Then a dead battery is a frustration rather than a sonic advantage. What Sutherland devised is a signal-sensing circuit that automatically powers the unit on, puts it into standby, and eventually powers off. But signalsensing circuits create their own sonic problems by generating digital switching noise. Sutherland found a way around that, too. Heres how the Ph.D. works: You power it up by either tapping the headshell, brushing the stylus, or lowering the stylus into a record groove. A pair of green LEDs indicates on, and the monitoring circuitas well as any associated loading and switching noiseis removed from the signal path. After 30 minutes, the monitor peeks at the signal (indicated by a yellow LED). If a signal is present the monitor is again removed and the yellow LED turns off. This cycle repeats every 30 minutes. If no signal is detected, the Ph.D. stays in standby for another halfhour, and then shuts off. The peek-a-boo

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adjust to the silence, and I remain mesmerized by the way music emerges from such pristinely uncluttered sonic spaces. What Im trying to convey is not the usual black background reviewers describe, but something more akin to viewing the night sky from a place far away from the glare of city lights. Yes, the background of the sky is very black, and yet its not an opaque, velvety black but one of infinite space, depth, and purity. Translating this notion to the Sutherland while listening to, say, Ivan Moravec playing Beethovens Pathtique Sonata [Connoisseur Society] is to realize to what extent noise can diminish our sense of a musicians artistry. The individual notes of the piano ring truer, with much greater precision and a sense of the physicality behind the attack, be it powerful or delicate. Chords have a wealth of colors and harmonic textures normally clouded by grain and fine strands of electronic noise. Arpeggios gallop forward with a newfound verve. Dynamic expression is clearer and more varied. And with a poet like Moravecthe beauty of his voice, the cadence of his line, the precision of his thoughtthe reward is high. And with a different kind of poet, Bob Dylan, the interplay of his acoustic guitar with his expressive, highly mannered phrasing on a song such as Visions of Johanna [Live 1966; Classic Records], brings new levels of subtlety, brilliance, and meaning to his surrealist imagery. And because all this stuff isnt clinging to musical notes, like a sticky spiders web, its impossible not to be riveted by what unfolds before us. The

result is very much like that we experience at a great live musical event, where we sometimes realize that weve stopped breathing for several seconds, or that the pace of our breathing has slowed down as a physical and emotional reaction to the performance. (Add to the Sutherlands batterypowered silence a complete lack of any hum or susceptibility to radio frequenciesand I live in a high-RF location.) Although Im not usually a freak for soundstaging, theres something about the Ph.D.s silence that has redefined the term for me. Returning to that notion of a pure, starlit sky, and using Analogue Productionss 45-rpm pressing of John Coltranes Soultrane, I was startled by how uncompressed, for lack of a better word, the acoustic space of this record is. Through the Sutherland it sounds deep and expansive. Theres a remarkable sense of the instruments occupying the recorded space, and that the space encompassing them does so in 360 degrees. Moreover, instruments like piano and especially Paul Chambers acoustic bass project sound from all surfaces, not simply from the front. Tonally, the Ph.D. hits me as close to ideal. It has none of the dryness, false hifi detail, or cool detachment that plagues some solid-state designs, nor is it just as falselythough more pleasantlyromantic like certain tube designs. On Good Morning Heartache, from Ella Fitzgeralds Clap Hands, Here Comes Charlie! [Verve], the triangle is clear, metallic, shimmering, yet delicate, and Ellas voice is particularly creamy and lilting, with each turn of phrase gorgeously articulated. The bottom end of the bass

guitar tones on the White Stripes Seven Nation Army [Elephant; Third Man] was appropriately fat and fuzztoned, and the kick drum carried much of the visceral power heard (and felt) with the real thing. Dynamics too, seem to be wonderfully realized, on both the micro and macro levels. Although batterydriven preamps and amps sometimes seem to suffer dynamically, this seems to be an ideal way to amplify very low-level phono signals. Much as Im crazy about the Ph.D., a brief follow-up will most likely be called for. For one thing I know that, good as it is, my Rega P25 turntable is a limiting factor here. A new rig will soon be assembled using the latest Tri-Planar VII. Also, at least one other highly praised phonostage is on the way for comparisons sake. In the meantime, the Sutherland Ph.D. strikes me as a significant achievement, and one thats brought & me to a new state of vinyl nirvana.

S P E C I F I C AT I O N S Gain: (Selectable) 45dB, 50dB, 55dB, 60dB Cartridge loading: (Selectable) 100 ohms, 200 ohms, 1 kOhm, 47 kOhms Dimensions: 17" x 4" x 14" Weight: 37 lbs. A S S O C I AT E D E Q U I P M E N T Rega P25 turntable; Cardas Myrtle Heart cartridge; Balanced Audio Technology VK300X integrated amplifier; Primare SP31.7 A/V controller and BAT VK-6200 multichannel amplifier; Sonus Faber Cremona speakers; Cardas Neutral Reference speaker cables, Cardas Golden Reference interconnects; Finite Elemente Spider equipment rack; ASC Tube Traps; Richard Grays Power Company 400S and 600S; Essential Sound Products Power Conditioner/Strip

D I S T R I B U TO R I N F O R M AT I O N ACOUSTIC SOUNDS P . O. Box 1905 Salina, Kansas 67402 (785) 825-8609 Price: $3000

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equipment report

Musical Fidelity Tri-Vista CD/SACD Player


Shane Buettner

t the end of 2002 there was considerable buzz about the Musical Fidelity Tri-Vista CD/SACD playerand not just because the limited edition Tri-Vista series signaled that Musical Fidelity had embarked on a more ambitious course for this particular line of products. In spite of SACDs steady gain of momentum in the audiophile community, just a handful of highend manufacturers had built players. Some blamed this paucity on the format war with DVD-A; some said the lack of an open standard for a digital interface was the culprit, while others speculated that exorbitant licensing fees were keeping most high-end companies out, and causing those that did make players to charge a kidney. Enter Antony Michaelson. The Musical Fidelity Tri-Vista is a limited-edition product that costs $6500. In addition to SACD playback, this single-box player incorporates upsampling on CD playback and a choke-regulated power supply, techniques used in some of Musical Fidelitys

previous digital playback gear. The TriVista also features vacuum tubes in its analog output stage. While the upperend Sony players have been consistently good to excellent SACD players, they are all thoroughly mediocre as CD players. A single-box player with reference-quality playback of both CD and SACD for $6500 would be a hell of a feat for Musical Fidelityor anyone else. Whatever else the Tri-Vista might be, dainty she aint. Her sleek, silveryfinish box weighs 51 pounds, which had me wondering if the thing was stacked inside with bricks. Although this player isnt a video product, Michaelson and Co. couldnt resist some theatrics. The Tri-Vista series products sport the ballyhoo touch of glowing feet that cycle from red to amber as the product is powered up. The cycle finishes with the feet glowing a glacial blue to indicate all circuits are go. Worth noting on the back panel are the two single-ended (RCA) analog outputs for the left and right channels. Thats right, no multichannel SACD. Dark Side of the Moon notwithstanding,

the promise of multichannel has thus far remained much greater than the sum of its ridiculous mixes and horrendous choices of program material (see DVD-A with 5.1-channel re-mix of Deep Purples Machine Head among others). Multichannels promise for greater realism and musical expression intrigued me for a time, but Ive given up on it, at least for now. The precious few tasteful surround mixes Ive heard simply add too little to the stereo experience to justify the additional expense audiophiles would have to incur in high-quality amplification, speakers, and cabling. Even for a guy like me, who has a surround/home-theater system built around his two-channel rig, there arent (as of now) any reference-quality multichannel linestages. That means your surround processor is your preamp. And no matter how good that surround processor is, it isnt going sound like a BAT VK-51SE or an Audio Research Ref II Mk2. Also consider how much more a player like the Tri-Vista would have had to cost to include three times as many channels at the same quality level. All this is my

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(long-winded) way of saying that the omission of multichannel outputs isnt something that bothers me about the Tri-Vista. Two sets of digital audio inputs and outputs are also on the back panel, each with TosLink optical and coaxial connections. These allow you to connect an outboard DAC to the Tri-Vista, or to turn the Tri-Vista into an outboard DAC. One thing I noticed, though, was that although the Tri-Vistas Philipsbased transport mechanism will recognize and play DVD-Video standard audio discs (like the 24-bit/96kHz DADs from Classic and Chesky), the digital output is down-rezd from 24/96 to 16/48. Opening up the Tri-Vista, youre not going to feel cheated for your $6500. The analog output stage uses four of the little 5703 triode tubes that everyone

except Musical Fidelity is dubbing the Tri-Vistor. Sourced from the Cumberland Air Force, the 5703 is lauded by Michaelson for low noise and long life, but of course, no manufacturer is going to say it chose a particular tube for high noise, low bandwidth, and short life. In any case, Musical Fidelity includes one full set of spare 5703s with every Tri-Vista. Nice insurance policy! Defining terms in the digital world is slippery. Virtually all CD players today oversample 16/44 PCM to higher sample rates. So whats upsampling? In most of the designs Ive seen, what this means is that an additional oversampling filter is cascaded with another oversampling filter in front of or in the DAC. Its important to note that although this technique can improve perceived sound quality, the sample rate is increased by interpolationthe 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) 16/44 signals to 192kHz. According to Musical Fidelity, the signal is then oversampled again with the 8x filter in the Burr-Brown PCM-1738 DACs that are used to convert both PCM and DSD to analog. Two PCM-1738s are the heart of the Tri-Vistas digital front end, with one DAC used for CD playback and the other for DSD. Although the PCM1738 is obviously capable of decoding both formats, separate signal paths and power supplies are provided for each, since DSD signals obviously dont need to be upsampled. Even with the feet glowing blue the Tri-Vista sounds as soggy as yesterdays corn flakes when its new, out of the box. It takes more than a week of continuous

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music playing for it to reach its full performance capability. Also for the needto-know file, I found that, unless the player is left powered up continuously, it exhibits a hardness in the upper midrange, a condition that all but disappears when its left on. Now, lets get to the fun stuff. The Tri-Vista is quite simply a wonderful player that communicates music. As Ill explain, it does have some character of its own, but is nevertheless a pure joy to listen to and not so far from neutral that you cant hear whats on the recordings, with enough romance to draw you in and enough veracity to keep you enthralled. Starting at the top, the Tri-Vistas presentation with SACD is full-bodied and rich, with rock-solid imaging. Groove Notes SACD mastering of Ray Brown Trios Soular Energy brings out the Tri-Vistas sonic signature: It is just a bit heavier and warmer with the lowest bass notes, and the piano takes on some extra sheen; but both instruments are so defined and so there in space, with an envelope of air around them and a holographic density thats astonishing, that the music has real presence. And yet small details like Browns hands slapping up and down the bass and sliding 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 and ethereal with lots of breathiness and great focus. With a more densely layered and dynamic production like Becks Sea Change [Interscope], the TriVista is able to combine delicate musical shading, texture, and resolution, with nothing lost in the mix. On End of the Day, when the kick and snare drums energize the room, you can practically see the little beans in the shakers. The focus and density of images remain consistent no matter how complex or dynamic the material. With CDs the Tri-Vista is perhaps even more impressive. The only CD player Ive heard that matches, and perhaps exceeds, the Tri-Vistas combination of easy-on-the-ears, non-mechanical

sound and high resolution is Wadias 861. And that player costs $2000 more than the Tri-Vista and doesnt play SACDs. Among CDs shortcomings is its bottled-up, mechanical sound thats just not as involving as good vinyl playback or SACD. So many CD players, even excellent ones, walk a tightrope between offering the utmost resolution and revealing too much of the CDs faults. Ayres phenomenal D-1x is an example of a player thats simply so good and so highly resolved that sometimes you hear more than you want to. The Tri-Vista does not offer that level of outright transparency, although its certainly no slouch in this area, but with the upsampling and tubes has its own charms. In addition to maintaining the same midrange allure mentioned above, the Tri-Vista played CDs with a tightly woven, highly integrated sound that simply sounds less like CD than Im used to hearing. Strikingly, the Tri-Vista made even my poor recordings sound more relaxed, open, and involving. Some have referred to upsampling as the magic bullet that turns an entire CD collection into something as good as SACD. Switching between the layers of any well-mastered hybrid CD/SACD disc on this player makes it clear that there aint a magic bullet powerful enough to close that gap. But the TriVista is certainly the kind of player that can and does improve your whole CD collection, and will have you dragging discs out one by one into the wee hours of the morning. Now let me put the Tri-Vistas performance in perspective a bit. I lived with a Sony SCD-XA777ES for several months. As surprising as this is, the Tri-Vista doesnt separate itself from that player by a wide margin with SACD. The Tri-Vista has that tube magic in the midrange, a bit more sparkle on top, and a bit more resolution overall, but it doesnt trounce the XA777ES with SACD. Where the TriVista runs away is in its performance as a CD player, where its just hands-down superior in every way. And its got glowing feet, for chrissake.

During the review period I happened to have a stack of CD/SACD playback gear from dCS for direct comparison. The Verdi transport and Delius DAC carry a retail price of just under $18,995, and they do sound better. The dCS combo offers more transparency and layering from the front of the soundstage to the back, and also pushes images farther out to the sides, beyond the speakers. The dCS gear is also free of the bass bump and slight upper midrange sheen of the Musical Fidelity. But these are trifles that will be heard clearly in only the most revealing systems. The Tri-Vista is not embarrassed by this comparison, in spite of the nearly 3:1 price difference. In fact, with CDs, although the dCS is more resolved and transparent, the Tri-Vista is more fleshy and natural, making the dCS sound a bit sterile in comparison. When I think about what it is that captivates me about the Tri-Vista I find myself reaching for the same adjectives I use when telling people why I prefer tube preamps to solid-state. Theres a sense of vividness and life in the midrange of the music thats completely un-hi-fi-like and more engaging to listen to. The Tri-Vista communicates music to me in a way that few components Ive used can matchespecially digital ones. I just melt into the music. The Tri-Vista is far and away the best CD/SACD player Ive heard this side of dCSs nearly $20k stack. It would be a no-brainer as a CD player at its price; that you cant get a better SACD player without spending a lot more is gravy. &

S P E C I F I C AT I O N S 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 TO R I N F O R M AT I O N KEVRO INTERNATIONAL 902 McKay Rd., Suite 4 Pickering, Ontario L1W 3X8 Canada (908) 428 2800 www.musicalfidelity.com Price: $6500

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Linns Marvelous Musik Machine:

The Kivor Digital-Audio Server


Nicholas Bedworth

any years ago, my parents were given a beautifully lacquered, burled maple box, inside of which was a gleaming Thorens music mechanism. After being wound up with a little key, it played a number of eighteenth- and nineteenth-century melodies from Mittel Europa, both popular and classical. This contraptionan object of fascination and delight to the child I was thencould as easily have been built in 1850 or even 1750. What I remember most was the rich sound emanating from the maple box, and how strongly it made the cabinet on which it sat resonate. Despite the archaic nature of this mechanical music box, it embodies the fundamental principles of the music recording and playback systems of today. The tunes were encoded via a stubby forest of little metal pins on a small, horizontal cylinder. As this cylinder rotated, one or more of the pins would strike some of the perhaps 60 comb-like tines of a polished metal plate. After each song, the cylinder would shift a tiny amount along its axis, and a new tune would play. The Thorens mechanism stored music in a binary, digital, form, so that it could be readily duplicated by an assembly worker having no prior knowledge or experience of the original composition. The lateral position of each pin encoded the pitch of the note, while the circumferential placement determined its timing. The person who manually programmed several minutes of music in this way could only have been Swiss.

Fast-forwarding 40-odd years to the present, Federal Express recently showed up at the door of my plantation-style bungalow bearing several large boxes on a skid. The arrival of Linn Products twenty-first-century flagship Kivor digital audio server components had been eagerly anticipated. A few days later, the ever-amiable Brian Morris of Linn dropped in (from Glasgow) to help me set them up and explain the fine points of the systems operation. The Linn Kivor digital audio server comprises three main parts: a Tunboks hard-disk digital music archive, an Oktal multichannel digital-to-analog converter, and within the Tunboks, a Linn PCI Musik Machine card that controls the

With the base configuration of the Kivor capable of storing 250 uncompressed CDs on 152 gigabytes of hard disk, its not hard to see why music-rendering devices are a solution with a bright future.
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flow of bits to and from the drives. Taken together, the Tunboks, 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 independent stereo channels of wonderful, natural music throughout your (presumably rather extensive) house, boat, or airplane. On its pair of hard drives (expandable to a total of eleven), the Tunboks can store, at a minimum, some two-hundred-and-fifty hours of music, at full, uncompressed CD resolution. The Oktal takes the resulting digital data streams and converts them to line-level audio for play back by a complement of stereo or multichannel amplifiers.

Shining Monolithic Design, With A Few Little Lights


Like almost all Linn products, the external appearance of the Kivor components expresses a road seldom taken by industrial designers. Perhaps this is to be expected by a race that speaks with its teeth clenched together. Linns minimalist ethic is sharply defined, provocative, yet warm and elegant. The mas-

sive Tunboks chassis sports a gorgeous, almost liquid, silvery front plate with a deep clear-coated finish, baked on at the Linn premises. At the center of a chassis-spanning horizontal groove, there is a narrow slot, through which one feeds CDs into the Tunboks. Below this, a semi-oval indentation conceals a recessed electric blue light (a rather fashionable color these days) that spreads a fan of enticing illumination. Similarly styled, but much shorter, the Oktal chassis came in the alternative, deep black finish. By comparison, this surface is rather dull looking, similar to that of other high-end products. My vote is clearly for the silver. The Tunboks has no front-panel controls, not even a power switch. The Oktal has a few indicator lights (the most important of which goes on whenever an HDCD-encoded track is playing), and, like the Tunboks, lacks front-panel controls. Linn points out that these components are intended for the custom-install market, where multiple remote-control touchscreens are expected. For operating the system, we used a Dell Latitude c800 laptop running the rudimentary Windows program that Linn provides. Ripping CDs is mindlessly simple, with the Tunboks copying the data from plastic to hard drive at 4x to 5x real-time. Given that once the tracks are copied

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theyre going to stay in the Tunboks for a very long time, its worth a bit of extra effort to give each CD a decent cleaning before transferring it. (Music Advancement Companys disc cleaner spritzer makes a significant sonic difference, because, according to the vendor, it removes the residual mold-release crud left over from the manufacturing process.) Sonically, these components are a marvel. Id start off by saying they boast high-end credentials, while at the same time offering the flexibility of multizone distribution and softwaredriven remote control. Because they lack obvious colorations or defects, describing how they do sound is rather problematic. The most enduring impression of the Oktal and Tunboks is their naturalness. Theres nothing to irritate or draw ones attention away from the music. They are exceedingly pleasant, without being euphonic. Frequency response goes down to extreme lows, way below 20Hz, while the midrange is transparent and open, and the highs extended. In terms of soundstaging and imaging, the representation of the character of the venue, and of individual sound sources within it, is exemplary. Certainly the level of resolution and freedom from digital grunge far exceed that of a good mid-price-range stand-alone CD player such as the Rega Jupiter. Because the data are sim-

ply being spooled back from a hard drive, its not surprising that jitter and related artifacts would be greatly reduced. I found that, as usual, replacing the power cords with higherquality ones yields sonic benefits. In the case of the Oktal, the best power cord I found for it is the Tara Labs RSC Air AC. The RSC significantly increased the amount of detail; it was almost as if you could see the pieces of tape on the recording room floor showing the talent where to stand. All kinds of subtle ambient spatial cues emerged, with voices sounding that much more human. In short, the Kivor, together with the recommended cabling, has a non-electronic sound to it. It simply sounds right, which is a rare quality.

Whats Next?
The few weeks I spent with the Kivor demonstrated how one can have performance and convenience in the same package. A lower-cost Linn digital audio server, the Linn Index, is now on the market, but for large-scale systems, the Kivor is an elegant solution that stakes out the high-end of the digital audio server space.

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While the direction that the digital media world is heading in isnt fully clear, the speed of transformation is obviously accelerating. Computer technology tends to bring about enormous changes whenever its injected into new application areas. While all this is fun to watch, its a constant scramble to keep up.

Despite its ancient attributes, the Thorens music box provides a useful point of reference. Its deeply satisfying in its own way, and doesnt even use electricity. It will still play beautiful music in 100 yearsno users manual required. &

S P E C I F I C AT I O N S 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 Dimensions: 17" x 7" x 20" 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. A S S O C I AT E D E Q U I P M E N T 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 biwire speaker cable, Coral subwoofer cable, and Python preamp jumper cable; Music Advancement Company Delta power cord and Compact Disk Magic CD cleaner; Richard Grays Power Company RGPC 1200S; Sencore SP 295 Audio analyzer; Tara Labs RSC Air AC power cord; Wireworld Silver Electra III+ power cord

Hits & Misses

y friends who tried out the Kivor immediately preferred it to operating a conventional CD player. Theres something quite compelling about simply picking an album from a list, compared with rummaging around for the right CD, placing it in the tray, locating the remote control, and so on. Even Linns rudimentary laptop user interface got the point across. With the base configuration of the Kivor capable of storing 250 uncompressed CDs on 152 gigabytes of hard disk, its not hard to see why music-rendering devices are a solution with a bright future. Like most digital audio servers and jukeboxes, from Windows XP desktops with Windows Media Player on up, the Kivor Tunboks automatically gathers album indexing details (or metadata) by querying an Internet-accessible database (in this case, Gracenotes CDDB). This approach is great, except when the metadata arent right, or there are no data for your favorite album. In either case, youll have to enter or correct the data manuallya reasonably tedious task. Not all the hardware capabilities of the Kivor are supported or accessible by software. This is typical for a hardware-dominated engineering company: Nobody really wants to deal with the human issues at the end-user level. Anyway, real men write device drivers. While the Tunboks and Oktal can handle 96kHz samples at 24 bits, theres no obvious way to transfer such files from a digital audio workstation or PC to the Kivor. This would be a natural application of the Kivor, but if you need this capability, check with Linn first. Theres no upsampling, either, so the 44/16 data ripped from CDs is what comes back out. Although Linux is a reasonable choice as an embedded operating system, until Linn ports the Windows audio codecs, its

not possible to use the bit-perfect, Windows Media Pro lossless codec. Compressing audio files with this technology doubles the capacity of the system. Related codecs would let the Kivor store multichannel music, which it doesnt do at present. The Kivor does, however, support various MP3 bit rates. Unfortunately, while the many virtues of the Tunboks and Oktal still manage to shine through, so to speak, the truly dreadful qualities of MP3a hangover from the days of dial-up Internet access and small diskscannot be disguised. This codec is lossy, providing 5:1 compression along with various psychoacoustic adjustments that supposedly make up for the loss of information. They dont and cant. Apart from the distortion of timbres, edginess, and so forth, perhaps the most disturbing MP3 artifact is a weird, spatial shimmering of the soundstage: Its as if the sound sources are moving around and splattering. In any event, its no fault of Linns, but ignore the MP3 encoding option. Linn doesnt supply a conventional remote for this product. Keep in mind that the Kivors primary application is multizone, multiroom musical enjoyment. Imagine the digital home of a few years hence, in which there are user interfaces at convenient locations around the house. Because the Kivor is, at its core, a microprocessor-based computer system (in this case, an AMD Duron processor running Linux), theres no need for mechanical switches. Linn was one of the first companies to adopt the XiVA protocol, which is a cross-vendor, standardized way of communicating and controlling consumer electronics devices. Crestron and AMX touchscreens, for example, provide a colorful, graphical control point that can be used to manage the Kivor, and just about anything else in your household that runs on electricity. NB

M A N U FA C T U R E R I N F O R M AT I O N LINN PRODUCTS INC. 8787 Perimeter Park Boulevard Jacksonville, Florida 32216 (904) 645-5242 www.linninc.com Price: $16,000 to $20,000, installed

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Boulders 2008 Phono Preamplifier, 1012 DAC/Preamplifier, and 1060 Power Amplifier
Paul Seydor
tral, dynamic, and detailed. Then we switched over to the Boulders. Because we were at my place, Neil held his tongue, Van Allen likewise. The expression on my face mouth agape, jaw properly droppingwas more eloquent than anything I could say. Well, Paul, said Neil at last, I wasnt going to say anything, but it certainly isnt subtle, is it? No, it wasnt. Right off, three things hit us. First, a transparency and sheer claritythe speakers my trusty Quad 988sthat I had never heard before. Calling it brilliant, as if lights had illuminated what was previously dim, suggests the reference system is considerably less superb than it is and that the Boulders exhibit glare. Neither is the case. As I am not a photographer, I cant use Harry Pearsons photographic analogies, though I suspect they are close to what Im trying to get at: a vividness in the rendition of Rollins saxophone, present seemingly without veils. Second was the dynamics. Mind you, this is not all that dynamically wide a recording, but the music emerged with an ease and freedom seemingly without dynamic limitations. The wooden blocks (or whatever) that set the initial tone and tempo came across with an immediacy that left us in disbelief. Once the cymbals and bass kicked in, the ensemble became tactile. Not necessarily realistic, for this is after all early stereo: Rollins left, his percussionist and bassist right, nothing much between. Thats how the Boulder rendered them.

hen Wayne Garcia first proposed that I review Boulders new $29,000 phono preampthats right, phonostage onlyI thought, Why not? But in fact I had a sizeable chip on my shoulder. Ive heard many of the so-called best of the ultra-expensive electronics in systems I know well, including my own, and never found them worth the money. Oftener than not theyre no better sounding than moderately priced units, sometimes not as good, on occasion not even as well made. When they do sound better, the margin of superiority is frequently so tiny as to render the price differences ridiculous. Bruce Van Allen, Boulders 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 only in a complete Boulder setup would the designs reveal their full superiority.1 Ill not leave you in suspense. We proceeded to comparative listeningVan Allen and my colleague Neil Gader joining methe first thing spinning on the SME Model 20 Analogue Productions LP of Sonny Rollinss Way Out West. My current reference is superbPhonomena phono stage, Placette linestage, Carver A-720x power amp (this James Croft design one of the rare amps ever made that is actually flat into any speakers impedance curve)utterly neu-

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

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Third, there were a grip and control as difficult to define as they were confidence-inspiring to hear. Words like rhythm or timing applied to electronic equipment make little sense to me, but that elusive ability of a component to keep the presentation whole, integral, unfettered, unfrayed and unfrazzled under the most grueling of real-world dynamic conditions is what really separates a good to excellent system from a truly outstanding one. This the Boulder units accomplish to the highest, rarest degree. Among other things, this translates into bass response stunning in its extension, articulation, and clarity. Its common knowledge Quads need a subwoofer for the deepest bass, but these electronics made me feel the need for one less than ever before. Put on Ray Browns Soular Energyin Pure Audiophiles magnificent new vinyl pressing or GrooveNotess fabulous SACD reissueand I doubt youd even miss a subwoofer, so full, rich, and strong is the double bass, while Gene Harriss piano floats above, around, and through it. On full-scale symphonic material, like the glorious vinyl of Bernsteins Carmen [DG], the impression of being in a theater is breathtaking. Placement of the brass instruments as they sound and resound is such that you can practically diagram them on their tiers, while bells and cymbals dazzle with crystalline clarity. The whole vast panorama of orchestra, soloists, and multiple choruses was reproduced with such transparency of texture, truth of tone and timbre, and size and depth of soundstage that visualization became not just easy but almost second-nature. Tube fans may find the Boulders dry, because they completely lack the bogus bloom of tubesan effect I blissfully succumb to, though its still an overlay, however lovely. The Boulders, by contrast, reproduce every recorded ambience uniquely. A somewhat distant, beautifully atmospheric recording like Cincinnatis new Stravinsky program [Telarc SACD] blooms as ripe and juicy as you please, while the multi-miked Levine Don Quixote [DG] sounds both luscious and ravishingly intimate. The Boulders make an unprecedented amount of detail available. Please note my word choice: available. They dont shove detail at you or flood arclights everywhere by hyping the upper midrange and lower highs. At first, the control and detail are so extraordinary you might think the sound analytical. But once you get used to itthe review units were already broken in, so I cant address break-in issuesit feels utterly natural: there for you to notice if you like yet never detracting

from the gestalt. Nor do they give you a false mellowness and depth by building a Gundry Dip into the response. Which means that closely miked vocalists are rendered with the full intimacy that is in the recording (on Muddy Waters: Folk Singer [MCA Chess, SACD or vinyl], the added reverb is instantly, nakedly audible). So far Ive discussed sonics as if these Boulder units were more or less interchangeable, because that is how they sound. But this review has mixed products from the companys two lines: the all-out-assault-on-the-state-of-the art 2000 Series, of which the 2008 is the phonostage, and the lesser 1000 Series, to which the 1012 and 1060 belong (there is no separate phono preamp). A complete Series 1000, which includes the 1012 and 1060 stereo or 1050 mono amps, costs between $35,000 and $50,000. A complete Series 2000, which includes 2008, 2010 linestage, 2020 DAC, and 2060 stereo amp or 2050 mono amps, costs between $135,000 and $161,000. Inasmuch as Ive not heard the whole line together, I have no way of knowing how much better those components are. But considering that the 1012 and 1060 are obviously, demonstrably state-of-the-art, how much better could the others be? I did compare the 2008 with the 1012s built-in phonostage. Since for many audiophiles (and, alas, far too many reviewers), super-expensive equipment is sort of what they have in place of God, I am unsure what I can say without causing disappointment. Of course, the 1012s phono section isnt as good as the 2008. The former exhibits nearly all the transparency without quite the combination of the latters absolute smoothness and absolute control. But its still world-class. Circuitry, topography, features, and overall design of these three units are far too complex to do anything but summarize here. Build, workmanship, and parts quality raise the bar so high its virtually out of sight of most other manufacturers, even those who market similarly priced equipment. Before he founded Boulder, Jeff Nelson worked in film sound in Hollywood, where he met Deane Jensen, who developed a state-of-the-art gain stage called the 990 circuit. This became the basis of the 993 module, which lies at the heart of the 2000 Series electronics. The 2008 employs three 993s per channel, plus an additional gain circuit, called the 995, for low-level MC signals. A separate chassis houses the independent power-supplies: one for the relays and one each for the left and right channels and for the logic circuitry.

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The three inputs come with easily removable Personality cards, one for moving magnets and two at 100 ohms for moving coils. Two additional cards are provided for those who wish to solder in their own resistors to match any given MC exactly. There are two pairs of outputs, and a provision for connecting a demagnetizer thereafter available with the push of a button. All connections are balanced only (this is true of all Boulder products). The front panel has buttons for power, mute, demag, input selection, mono (hooray!), a low-cut filter (5, 10, 20Hz, or Out). Finally, there are three equalization selections: RIAA and two custom slots for as many as three optional cards. Nelsons philosophy is as anti-minimalist as it gets. According to Van Allen, The fewest parts in the signal path can work well under ideal conditions, but not where you dont have control over everything. Jeffs designs can be taken out into the world and hooked up into any system, any product, any configuration and they will work, assuming theyre being used for the function theyre designed to be used for. And they will work for many decades, a minimum of fifty years. The principal difference between the 1000 and 2000 Series is not in the circuitry or the topography, which is mostly identical, but in the execution. In place of all discrete circuitry and components, the 1000 Series employs a combination of discrete transistors and microcircuitry. Power supplies are internal (those in the 2000 line external), their feet less complex in their damping and isolation characteristics. According to Van Allen, 2000 Series components will not benefit from any after-market power cords or isolation feet or platforms; they are self-contained, to be used as is. The 1012 preamplifier is a full-function unit designed to perform as both a state-of-the-art analog and digital preamplifier. In addition to its phono input (a switch selects 47kOhm mm or mc, fixed at a sensible 100 ohms), there are three other analog inputs. There are also three AES/EBU and one TosLink digital inputs. A substantial part of the 1012s circuitry is devoted to an exceptionally sophisticated digital-to-analog converter. Again, theres not space to detail the circuitry, nor do I have the technical competence to do so. Suffice it to say that the 1012s DSP employs a proprietary algorithm, called rather coyly upandoversampling, that sends, in Van Allens words, the maximum number of bits that the DAC can handle to the converter. If its a regular CD, we bring it up as far as possible without choking the DAC. The algorithm effectively makes a 16-bit word length 24-bits; then we resample it with another mathematical algorithmits the same technology that enhances digital photographyfrom 44k to 705k per second, all done as one process. It was the most powerful DSP we could find at the time of the 1012s design, and its still one of the fastest and most powerful.

I can address only the sonic manifestations. With the Boulder being fed by the transport of Sonys SCD-XA777ES, I have heard no finer reproduction of standard digital sources in my system this side of the Elgar. As with everything else from Boulder, the paramount impression is of peerless control, clarity, transparency, immaculate separation of line and texture, in sum, less stuff between you and the music. What makes the Elgar better? The dCS removes virtually any trace of electronics as such. Even with the best sources, the 1012, outstanding though it is, doesnt quite achieve that, but then neither has any other Red Book digital reproduction in my system. My only other observation is that with some less than good sources I occasionally found myself wishing that discretion constituted a greater part of its valor. The Boulder 1012 is my idea of a near-ideal preamplifier, its features and ergonomics so intelligently thought out they should become the textbook for the rest of the industry. The only reason for that near is the absence of a mono switch. Despite its complexity, the 1012s operation is so intuitive I used it for days before consulting the manual. A large illuminated display, with adjustable brightness, lets you read all settings from across the room. A beautifully machined handset accesses volume, balance, polarity, mute, and source selection. Balance and volume pots move in 0.5dB steps, the volume pot having a hundred increments. Until youve enjoyed a balance control like this one, you have no idea the precision of imaging

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that is possible no matter where you sit. The 1012 allows you to assign a name to each input, which appears in the display when you select it, and also to equalize levels among the inputs. When you switch from digital to analog, the digital electronics are turned off. According to Van Allen, its the high speed clocks 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 frontpanel display. I feel a bit silly using the word bargain in reference to a single component that costs this much, but in the context of super-expensive equipment the 1012 really does constitute an amazing deal. Consider that so-called state-of-the-art linestages, D/A converters, and phono preamps these days seem to start at four to five thousand, that few (if any) can boast comparable performance (and virtually none comparable build), and that this preamplifier combines three true state-of-the-art components into one chassissuddenly that sixteen grand seems considerably less outrageous (the dCS Elgar alone is $12,000, 2 Boulders own 2020 DAC $34,000). If I have left little space for the 1060 amplifier, it is because I dont have much to say about an amplifier that seems to do its job perfectly. At 300 watts a channel, class AB, completely dual mono, with some of the most sophisticated and effective protection circuitry built into any amplifier, it drove every speaker I hooked up to it as if it werent there. In my system, it performed far, far better, especially with respect to neutrality and accurate tonal balance, than a competing amplifier costing almost twice as much (and to which the adjective revolutionary has been ludicrously applied). These Boulder products are for all practical purposes beyond criticism in the normal sense of the word. Would I buy them for myself? The easy answer is that I cant afford them. But thats a feeble dodge to a serious question. When they were taken away and I hooked up my Quad 99 preamp to the Carver/Croft amp, I initially missed some of the Boulders fantastic detail and superhuman control. But within a day, especially once my old units, turned off for several months, had warmed up, I was enjoying music with no frustrated longing for something better. Indeed, this setup has a quite wonderful neutrality and musicality that Id be hard-pressed to give up for any amount of money. Perhaps the most honest answer would be to say that, along with the dCS Elgar, Boulders are the first and only stratospherically-priced audio components that Id be tempted to buy if I could afford them. But even then, being a music lover first, an audiophile second, I could think of other, better things to do with the money, such assticking strictly to enjoyment of musica concert tour of several of the musical centers of England and Europe, where my wife and I could hear the Vienna and Berlin Philharmonics, the Amsterdam Concertgebouw, the London Symphony, not to mention the
2Those who believe that stand-alone CD players are preferable to transport/DAC separates can rejoice. By the time this reaches print, Boulder will have made the 1012 available sans DAC as the 1010 for $11,000.

great opera houses, all with a transparency, naturalness, dynamic range, width and depth of soundstaging, and freedom from distortion that are more like the real thing than any reproduction because they are the real thing. Of course, no audio components could withstand such a comparison, though these Boulders would certainly come up much less wanting than almost all others. Even if you cant afford them, I urge a serious listen, if only to hear for yourself what can be done with electronics not just now but more than likely in the foreseeable future. Nelson designs them, and guarantees their performance, for literally a lifetime of music reproduction. Nothing I heard during the several months I was privileged to use them suggests there is the slightest hint of irony & or hyperbole in that statement.
S P E C I F I C AT I O N S 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. A S S O C I AT E D E Q U I P M E N T SME Model 20/IVvi; Dynavector Karat, Sumiko Blue Bird, and Ortofon cartridges; Phonomena phono stage; Quad 99 and Placette Audio preamps; Quad 909, Sunfire Signature and Architects 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 speakers; 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 AT I O N BOULDER AMPLIFIERS 3235 Prairie Avenue Boulder, 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

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Surround Sound in Action: The Recordings


A Cross Section of Some Hits (and Misses)
fter listening to the recordings evaluated here, and many that arent, Ive come to the conclusion that the art of engineering multichannel sound remains yet in its infancy. And I dont believe that many of the record companies are doing us any favor in failing to describe the surround techniques youre going to encounter on their discs. For one thing, with the exception of Telarcs SACD issues, Channel Classicss work, and some of the most recent multichannel recordings from the Big Boys, many so-called surround issues are simply remixes of eight (or more) track masters. That is, they were not specifically conceived to make the most of the surround experience. That some of them doI am thinking here of Columbias Bernstein reissues, the Sam Cooke disc, and the Chailly Messiaen Turangalilais a tribute to the intelligence of the remix producers and engineers. Still, you never really will know, necessarily, how some of these discs are meant to be heard. Unless there is good cause for it, I dont see the point in remixing just to put instruments or voices in the rear speakers (as Decca has done on its complete La Bohme or DG on its reissue of Bernsteins complete West Side Story). We also have the tantalizing prospect of hearing some of the last centurys Golden Age recordings in their three-channel originals, vide, the review of Antills Corroboree on Everest. And I regret that certain three-channel originals, i.e., Columbias Bernstein series, couldnt have been engineered for a straight transfer of the mastertapes, despite the care and skill with which these, and four of that companys old Quad recordings, have been rejuvenated. Just because we have six channels to play with doesnt mean we always have to use them. (I have included the dates of the Bernstein sessions so you can identify the recording technology then in use. See the review for specifics.) There is also a lack of standardization when it comes to the deployment of the channels and with certain exceptions almost no recording notes to let you know how to adjust the levels of the respective channels. Telarc lets you know it uses the socalled subwoofer channel to carry ambient information; Chesky, on the other hand, with its unique system of encoding, tells you squat. Ditto for Columbia and most of the others. They think its too expensive to insert a sheet of notes with the discs, according to one well-placed guy in the industry. It seems to me that this kind of corporate penny-pinching is antithetical to

the promotion of a new recording process, and certainly not in the best interests of the music lover or audiophile. I thought of giving our readers the settings I used for the most natural playback of the discs under discussion, but thought again when I came to the conclusion that no two listeners were likely to have the same spatial distribution of their speakers or even similar room acoustic characteristics. All I can say is, for almost all of the recordings Im reviewing here, you shouldnt hear anything from the rear speakers other than hall ambience.

We have the tantalizingprospect of hearing some of last centurys Golden Age recordings in their three-channel originals....
I had hoped to have the space to update my general thoughts on surround sound and the equipment available to hear it at its best. There still is no player on the market that recording professionals recommend for best DSD sound, save for a discontinued Philips 1000 (as modified by electronics whiz, Ed Meitner). Meitners quite expensive decoder, the DAC-6, is beyond the reach of most, but well worth the investment, short of the day when his technology will find its way into commercial units. For these reviews, I used the Meitner gear, a Sunfire Theater Grand III A/V preamp/control center (soon to give way to sessions with a Meitner control unit), Nordost SPM Reference, Quattro Fil, and Blue Heaven cabling, and two Plinius solid-state amplifiers (the SB300 and the Odeon), as well as three surround speaker setups: an Aln system based around the new Lotus Elite Signature and LCR models, a Coincident Speaker Technology system built around its Total Victory and Total Eclipse Center speakers, and a Magnepan system based on 3.6s as main speakers, a CC3 center channel, and a pair of MG-MC1 surrounds. Im sure you wont be surprised to learn that the last two of these systems worked best in Room One in Sea Cliff, with the dipolar back-channel Maggies giving an incredibly good sense of hall ambience.

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and a widescreen cross-stage tympani attack in the last seconds that ends the composition with a most satisfying bang. My first reaction was to ask Sonys Colin Cigarran, who Antill: Corroboree. Villa-Lobos: The Little supplied me with most of the initial SACD issues (including Train of the Caipira. Ginastera: Estancia; this one, of which he was justly proud) whether there were any Panambi. Sir Eugene Goossens, London more Everest three-channel issues forthcoming. I was fantasizSymphony Orchestra. Bert Whyte (prod. & ing about Whytes recordings of Khachaturians Gayneh, Fallas eng.). DSD version: David Baker (prod.); El Amor Brujo, the spectacular Stravinsky Petrouchka, even Tracy Martinson (eng.). Everest/Vanguard Vanguards The Weavers at Carnegie Hall. (Vanguard owns the Classics VSD 512. rights to the Everest catalog.) Which set me to thinking. During the late 1950s, almost his is the recording that has blown the socks off everyeveryone was using a three-track recorder. The thinking then one for whom I have played it. And interestingly was that multichannel, when it came, would be a three enough, its a straight transfer from the Everest original (upfront) speaker affair. The pack was led by Mercury, followed three-channel tapes, done without alteration of the originals, by RCA, Everest, Vanguard, and, yes, even Columbia, i.e., the electronic or otherwise. Which means we have just three New York crew, people who made up a close-knit community channels up front, no surround, and no low-frequency effects of technicians who then shared the now quaint belief that the (or ambience) channel. best (classical) sound was the one that most nearly captured the The Antill and Ginastera pieces were recorded on half-inch concert experience. masters by Bert Whyte at Walthamstow Assembly Hall in Cigarran told me that since the (recent) death of Vanguards London in the late 1950s, the Seymour Solomon, its catalog Villa-Lobos on 35mm magnetic had passed into someone elses I have no idea what kind of film, whose use Everest piocontrol, so we could expect no neered. And so we find, partic- politics has to be played out, but if immediate three-channel ularly in the case of the Antill, releases. And whether or not we could get the original Mercury Sony can persuade the current a recording at least 45 years old and a sonic hair-raiser so specowners of the RCA and and RCA three-track recordings tacular youd think the tapes Mercury catalogs to release were made yesterday. We also three-channel recordings of issued with the same skill and can hear, quite clearly, the diftheir catalogs is an issue yet to integrity evinced in this Everest ference between the sound of be resolved. (There is an online tape and 35mm. To these ears, movement afoot to rouse High issue, think of the joy in Mudville. Enders on behalf of a campaign the 35mm sound is etched and forwardnot bad, mind you, to have these old three-tracks but considerably different from the top-octave response of tape, transferred, exactly as recorded, to the multichannel medium.) which I prefer, and so will you when you grab up this disc. I have no idea what kind of politics has to be played out, The Antill ballet has long been around, and on both Super but if we could get the original Mercury and RCA threeLP and CD lists; but two channels just dont do its complexitrack recordings issued with the same skill and integrity ties justice. With a true third and center channel, you get a evinced in this Everest issue, think of the joy in Mudville. clarity of delineation within orchestral textures and between its Think of what such a move would do to further the cause of sections that lets you hear deeply into the complex scoring. The multichannel music. dynamic range is staggering, confirming what those familiar The originals as they were meant to be heard: Doratis with mastertape sound have always said: that LP and CD are Firebird, Reiners Scheherazade, Munchs Berlioz, Parays Saintbut lite imitations of what was recorded. This, as we shall see, Sans Organ Symphonythe prospects seem almost celestial. Of has provocative implications. course, this would put SACD on the map in the high-end comCorroboree, a ballet, is an orchestral interpretation of munity and, I believe, lead to its universal acceptance as the Australian aboriginal ceremonies that throws in a few native premier surround medium. Or just maybe the forces behind instruments, especially the ultra-low-frequency bull-roarer DVD-A multichannel will get the drop on the DSD folks. (inaudible in other transfers, but very much present here if your (Keep in mind that I have not begun my DVD-A explorations. system goes down really far), in the wilder moments of the finale These sessions will be in progress by the time you read this.) (which is, of course, the house-buster I play for visiting potenAnd so: If only one of the multichannel discs I commend to tates). There is extensive percussion, which floats, as it does in your tender mercies could be called indispensable, this one the concert hall, above and separated from the main ensemble would be it. A sonic-supermake that supersonicthriller forces; a gong crash that will rivet you into undivided attention; that foretells great things that could yet come to pass.

The Super Surround Discs

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Bernstein in Surround Sound


All of these recordings were conducted by Leonard Bernstein and played by the New York Philharmonic. Most were originally produced by John McClure, save for The Planets, which was produced by Richard Killough. The SACD remixes were produced by Louise de la Fuente and engineered by Richard King. Most were recorded at Manhattan Center, save for the Copland Billy the Kid, which was recorded in Bostons Symphony Hall, the Britten Sea Interludes, recorded at Columbias 30th Street Studio in Manhattan, and the Holst Planets, recorded in Avery Fisher (n 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 Slon Mxico. Billy the Kid. Rodeo. Sony 987327. Rodeo was recorded in 1960. Billy the Kid in l959. Appalachian in 1961. El Slon 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.

ever let it be said that Leonard Bernsteins death before the second coming of surround sound was a deterrent to his resurrection in multichannel. The earliest recordings in this Sony reissue come from three-track masters, and the lastthe Holst and Brittenfrom eight-track originals. Even DG has gotten into the act with a recent multi-remix of Bernsteins complete West Side Story, the curious hybrid with the leads sung by opera stars (who sound wrong and much too old for the characters they play), made curiouser by splaying voices all round you in the rear. The thing that took me by surprise about these versions of the original Columbia LP issues was just how good some of the original mastertapes were, purely in terms of fidelity and width of frequency and dynamic range. The LPs were cut from two-track production tape mixdowns that had been juiced up by the head of the original recording team, John McClure, whose ear I had thought bordered on the metallic (tin), given the sound we could then hear. Little did I know (even though I had my suspicions) that, at the corporations insistence, the commercial releases were eqd to adhere to Columbias house sound of the timethat is, no extreme bass, sharply boosted and equalized highs, compression limiting, and so on. Had to sound good, thought the in-house geniuses of the day, on cheap equipment. But as it turns out, many of McClures mastertapes are quite respectable, a few better than that. The fault lay not necessarily in his ears, mdears, but in the production tapes he turned out, at Columbias insistence. What Sony insisted upon, to showcase its new SACD processing, was that these Bernsteins issues be remixed employing

all six channels, instead of, Vanguard-like, just adhering to the miking of the originals, which, in this case, would have meant that most of these issues would have been three-channels upfront like the Vanguard Corroboree. The bigger surprise here is how skillfully, subtly, and, most importantly, tastefully, producer Louise de la Fuente and her engineer, Richard King, have managed to sweeten the sound to suggest an authentic sixspeaker sonics. The rears and the low-frequency effects channel are discreetly used to suggest both ambience and sometimes just a touch more low-frequency bang for the buck, the kind you get from the best multichannel recordings, even those that do not use the LFE speaker for added bass. In the case of the sixth, or so-called .1 track, the team used orchestral fundamentals below 120Hz (at reduced levels) to enrich the sound, and it worksbecause the low bass sounds the way it does in a good hall. Understand that, in other hands, such reprocessing could become a joke. As it has with the DG West Side Story. Columbia, now Sony, has gone through three periods of recording. First, a three-track era from 1957 to the late 1960s; then in the early 1970s, it was four-track quadraphonic; and after, and until now, multitracks, starting with eight channels. In this instance, the Copland and Tchaikovsky come from threechannel originals, the others from either four-channel quadraphonics or the multitracks. On the quad recordings, where there was no center channel, de la Fuente and King derived a center by 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 stateof-the-art, but because Bernstein was a creature of intense personal loyalties, he stuck with McClure, despite McClures string of mediocrities. (The only one I can readily think of is his recording, for DG, of the complete Bizet Carmen.) Many of these were, after all, recorded in Manhattan Center, a cow barn of an auditorium (now owned by the Moonies and used for wrestling spectaculars) that has a quite reverberant tilted-up character (and is highly susceptible to downtown Manhattan traffic noises), although what you hear much depends on how the microphones were placed. In this case, closer is better. The best sounding of the bunch is the Copland Billy the Kid, recorded in an empty Symphony Hall in Boston, although, truth to tell, the Britten and the Tchaikovsky arent far behind in quality. The Tchaikovsky and Holst recorded in the much-despised Philharmonic Hall dont sound half bad. Who knew? For example, Coplands El Slon Mxico is quite impressive, with its huge bass drum, even if Manhattan Centers 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.

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signature lends a mild boost to the range in which much of the percussion falls.1 The sound is forward and vivid. And who can beat Bernstein doing Copland? Nobody, methinks. Interestingly enough, that bass drum has all but disappeared from the Rodeo reading, which has more distant miking and thus more of the singularly unattractive reverb characteristic of Manhattan Center. That reverb lends an edge to forte sections that will remind you why we never bought Columbias back when. It was that traffic noise outside the Center in lower Manhattan that sometimes tempted the engineers to whack off the bottom end of the bass spectrum. On the right surround speaker system, the Tchaikovsky Fourth sounds pretty good, and the studio-recorded Britten Sea Interludes are beauties. I had hoped that Bernsteins classic reading of Appalachian Spring would be similarly rejuvenated, but really, for all of the de la Fuente/King magic, it couldnt be rid of its froggy original sonic. As with so many SACD recordings, a careful adjustment of the output levels of your speakers can sometimes work near wonders. With these, youll want to run the rear channels down a bit, and perhaps, depending on your listening rooms acoustic, take the bass up a decibel or two (in my system, I keep the bass three to four decibels down from reference level). If things get a bit too tweety-pie, you can back off a step or two in the center channel. Youll want these discs for the Britten, some of the Copland, and the Tchaikovsky. His Nutcracker and the Fourth are played to a fare-thee-well by a much less finely tuned Philharmonic than we have around these days. Surely no dancers outside of The Matrix could keep up with the tempi of this Nutcracker. I am not much impressed with the Holst (hated the Saturn movement and that door-bell-like chime Bernstein used at the conclusion), though I really like the way Uranus and Jupiter came off. Id guess Bernstein recorded this as a sop rendered unto some Columbia commercial edict. But Bernstein is still Bernstein, and he is actualized on these in better sound than you could have heard on discs during his prime. One thing seems certain: There will never be better realizations, on disc, of his artistry in these sessions.

ed in the four corners of the church, Kazdin and his team recorded them as if they were. (The liner notes will show you the actual position, and you could replicate those positions if you care to heave your speakers hither, thither, and yon.) Biggs, an organ popularizer who had more than one bestselling disc 30 years (or so) ago, has never had much of a reputation in the circles of those devotees of the instrument who know their stuff. (They called him E. Bower Pigs.) But it cant be said he isnt fun to listen to if you dont know any better, and on this disc, there is thatfun. The cut I used to demonstrate a key point of the surround experience is the last on the disc, the Fugue from the Toccata, Adagio and Fugue in C Major [BMV 564]. The point, made to me by Telarcs Robert Woods some time ago, was that you really havent heard a pedal points pressure wave until you hear it in surround. Boy, was he ever not kidding. The piece starts out innocently enough, with the main melody of the fugue up front. But as it progresses, you can hear the other manuals joining in around you. A fugue in 4-D. Which makes Bachs scoring perfectly clear. But just you wait: As we near the final moments, low and lower pedal points enter the sonic soundstage as the overall volume of sound increases (with no distortion) until there are some low-frequency pulses that not only shake the room, but you and your innards as well. If you are mischievous and have the money, you can throw in a couple more subwoofers in the back of the room and really come close to replicating what we 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 (mastering). ABKCO 99702.

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

ere is a wonderfully crazy disc. Columbia sent its team, back in l973, at the height of the fourchannel quadriphonic craze, to Freiberg, Germany, whose cathedral boasts four separate organ manuals at four places in the church. All can be played from one central console. And even though the four organs are not locat-

he big shock youll get from this recording, particularly if you listen in the dark, is just how incredibly real Sam Cookes voice sounds. This may well be the most lifelike recording of a human voice Ive heardever! It is so good, its almost scary. If multichannel sound can attain and adhere to this kind of realism, then it really will become the sonic advance that it must be to decisively improve on the best two-channel stereo. The recording was made at Manhattans Copa, in those days the premier nightspot for a rising young artist. (The original Copa, alas, is long gone. And so is Cooke.) Cooke had failed at the Copa the first time around, and this time, he came brilliantly prepared, and with a stunning back-up band. RCAs Bernard Keville, underrated in his day, was on hand to capture the sonics during the two concerts from which this disc is derived. You wont have a problem telling which session is which, because on the one, Cookes voice sounds frayed and hoarse (the second night?) and the band somewhat more distantly miked. These are not the cuts that are the killers. Its the

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ones made when his voice was fresh and his presence more dynamicfor example, his renditions of When I Fall in Love and the knockout punch Twisting the Night Away during which youd swear you can feel his gyrations to the music. Rosenthals genius in this restoration/remix lies in the canny way he uses the new medium. The back channels, which I expected to be filled with nightclub noise, arent. Just the right touch of ambience from behind to complete the illusion that you, too, are there. I received this note from Colin Cigarran of Sony when I wrote to tell him how impressed I was with the recording, and it bears repeating: When we demo-ed it in Chicago for a listening party with about 250 invited guests (many of whom are in Sams immediate and extended family), I saw something I never would have ever imagined at a SACD demo; it actually made people get up out of their seats and begin dancing spontaneously. It was incredible. About 25 people just got up and 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

This may well be the most realistic recording of a human voice Ive heardever! Its so good, its almost scar y.
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 disc to 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.

ets get the sonics out of the way at the outset. This disc, like many another SACD issue these days, is not sonically consistent. For example, on the Bernstein/Copland SACD issue we talked about above, there arent two cuts that sound alike. And even though each of the cuts on this Telarc disc does share the basic features of the companys house sound (more so than the Sony issue), there is one cut, and unfortunately the Barber, that sounds less transparent, cloudier, and more veiled than the other three. Those constitute a showcase for good sonics and they have considerable trans-

parency and impact, and perhaps they are the best examples of state-of-the-art surround per se. I did some checking with my sources in Atlanta to see if Telarc had changed its basic mike setup during the two sessions (April and September) and learned that only Jennifers Hidgons work was recorded separately. The other three were recorded in a session on April 12 and, according to sources there, the mikes werent moved. Both the Theofanidis and Copland works are up to Telarcs standard of excellenceand both, particularly the Theofanidis, are of demonstration disc quality. So, pondereth I, what happened? There was no change in the weather. So it pretty much had to be a change in the orchestra itself or the orchestration. And sure enough, the Barber requires more players; and given the (relatively) small size of the stage in the Woodruff hall, those extra players made the difference between a thick cloudy sound and the transparent one bestowed on the other two pieces. To wit: the Copland performing forces: two flutes, piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, percussion, harp, piano, and strings. Barber performing forces: three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, and strings. If the mikes had been moved somewhat further back for the Barber, who knows what might have been the sonic result? Why is all this important? Because 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 with the additional sound sources. As an arresting aside, and from an sonically educated observer on the scene, Telarc producers (Martone and Bob Woods) use headphones to check the orchestral detail and they listen to a two-channel mix, one that Telarcs engineers (Renner and Michael Bishop) mike separately from the multichannel mix, a wrinkle added to their recording brew about two years ago. Telarcs folks, our observer reports, have learned that a convincing stand-alone two-channel recording cannot be mixed down from a multichannel setup. The engineers, when in Atlanta, do have a sound system for playback in the control room, and switch their attention from the two-channel mix to the surround one. When the SACD hybrid discs are released, they contain the two separate recordings of the same session, not a mixdown from the surround. What this suggests and one of the themes of these reviews is that the recording professionals are still in the process of discovering how to make multichannel recordings that demonstrate the mediums 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/Howard Hanson reading, the touchstone for this terrific one-movement work (actually, you can hear three in the one). In some respects, the Barber reminds me of some of Bartks nervy edginess and

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that, rather than sheerly coloristic touches, ought to be the driving force behind the piece. The Copland, beautifully recorded and played, is missing panache (the sort of thing Bernstein could provide with both conducting hands tied behind him). And it is missing the sense of atmosphere, the pure lyricism, youll find on the old (and classic) RCA/Koussevitsky recording. Its decent enough, mind you, but nothing special, which is what wed expect of Spano. That Spano shows up for the Theofanidis piece, which has quite striking sound, with a bass drum to knock your fillings out, but seems to me to be like Crumby George on a bad day. The composer in this instance is writing variations on a theme by Hildegard von Bingen, the medievalist tunester. It starts nowhere, and, to these ears, goes nowhere. The genuinely striking piece on the disc and the one worth buying it for is the Jennifer Higdon work, entitled blue cathedral. Higdon has written a concerto for orchestra for the Philadelphia, which Telarc will record with Atlanta after this years September performance there. Much grinding of molars for the Philadelphians, who commissioned the piece, but who languish without a recording contract. The piece was a succs dstime when performed there. (It was also played at Tanglewoods New Music Festival this summer.) Higdons liner notes about her short piece (12 minutes) are as moving as any Ive read from a composer. She wrote it in memory of her younger brother who died of melanoma. He was a clarinet player; she, a flutist; and the piece is something of a dialogue between the two instruments as they proceed down the aisle of a glass cathedral high among the clouds. The flute, toward the works end, fades away and the clarinet, alone, quietly plays into eternity. Wonderful wonderful sound Renner gave this work, down to the 60 Chinese exercise balls that the string section players shake at a critical moment. (If youve never heard these, you should; they shimmer.) If you let your imagination run wild, you too can walk down that aisle and see and hear what they see and hear.

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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.

Messiaen: Turangalila Symphonie. Chailly (cond). Concertgebouw. Andrew Cornall (prod); John Dunkerley (eng). Decca 470-627.

his is, just maybe, the one orchestral DSD recording that best shows the virtues of excellent surround sound. Not only does the recording have wider dynamic range than Ive heard from any digital encoding, it also has an equally expansive frequency spectrum. The low bass is nothing short of the sensational, and the high percussion and Ondes Martenot2 float in the realistic-

sounding spaces afforded by Amsterdams Grotezaal. The producers notes about the remix for multichannel are illuminating. He and his engineer decided to run much of the gamelan-like percussion section up your listening rooms left wall, while the Ondes float eerily free on the right. The sounds arent behind you, but rather in a deep semi-circle close to where you sit. It makes musical sense given the density of Messiaens complex scoring, and allows you to hear into the piece as no conventional two-channel recording ever could.
2 An electronic descendant of the Theremin that uses a keyboard and sounds like a disturbed angels wail.

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Whether youll be able to abide Turangalila and its ten movements is strictly up to you. This recording, by Chailly, is the most convincing of the work, even better than the old Previn/EMI sonic spectacular and far ahead of a too limpid Ozawa/RCA effort of days long ago. (I heard the Philadelphia play this live at the Academy of Music, thanks to Dr. Quint, once upon a time. Andrew Davis was at the helm, helpful in his explanations of how the symphony functions.) But I have to take the symphony in doses (about half at a sitting) because the work is just too rich to absorb in one shot, unless youre hearing it live. Messiaens lushness is like falling into a pool of vanilla Haagen-Dazs ice cream, and as much as I like ice cream I dont often feel inclined to swim in it. But you certainly wont want to pass up a strong dose of the sonics here (try cuts one and 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 Iowas Luther College. Robert Woods (prod.); Robert Friedrich (eng.). Telarc SACD 60614.

f the opening Purcell (the basis for Brittens Young Persons Guide) doesnt thrill you out of your socks, then you need to readjust your surround system. Theres nothing quite like multichannel to give you the feel of a large organs pressure waves. Whether this sort of music, per se, gets you in your jollies, who can say?

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Dont Bother:
Norah Jones: Come Away with Me. Blue Note Records 72435411747.

S T

he deserves better than the thin, anemic, and utterly unspectacular 5.1 sound she gets here.

sible balance from the listeners point of view, certain instruments, such as the drums and piano, were placed to the rear of the conductor, so that effectively, on this disc, the conductor and the listener as well are placed literally in the center of the orchestra. Reminiscent of the disastrous Andrew Kazdin/Columbia Bartk Concerto for Orchestra, which used four-channel quad to immerse the listener among the instruments.

Stravinsky: Petrouchka. The Firebird Suite. Sir Charles Mackerras (cond.). London Symphony. Vanguard Classics VSD 506.

Tchaikovsky: Piano Concerto No. 1. Francesca da Rimini. Christopher Seaman (cond.). Rochester Philharmonic Orchestra. Olga Kern (piano). Harmonia Mundi HMU 807323.

he liner notes will give you fair warning: And we quote: Petrouchka is an eight-track recordingthe concept for the recording was to create a recording heard from the vantage point of the conductor. In order to make a more plau-

his doesnt even come close to the stunning Rachmaninoff Concerto Harmonia Mundi recorded in Rochester not long ago, a recording that did justice to the wonderful acoustics in the same hall Mercury once used. It isnt good surround, and it has the earmarks of a recording

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made without the use of Ed Meitners brilliant DSD encoding/decoding equipment. What a disappointment. And not a very electric interpretation of the Tchaikovsky, either.

Mozart: Night Music. Andrew Manze (cond.). The English Concert. Harmonia Mundi HMU 807280.

Sibelius: Symphony No. 2. Tubin: Symphony No. 5. Paavo Jrvi (cond.). Cincinnati Symphony Orchestra.

gain, messy highs, like SACD can be without the Meitner magic touch. And on these old instruments, its excruciating.

ry acoustics. Somewhat veiled sound. You would have thought Jrvi would bring something special to the Sibelius as he has done for so many other north European composers, including the Tubin done here.

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MANUFACTURER COMMENTS
AUDIO MAGIC STEALTHS

I would like to thank Chris Martens for taking the time to listen to the Stealths; he is a true professional. However, I am going to use the old excuse that we manufacturers use: After talking with Wayne Garcia it came to my attention that Chris was under the impression I did a full burn-in before sending the Stealths, when in fact, I had not done a full cooker-burn. The Stealths still required 300-500 hours of hard load time; Chris cooked them for a week (168 hours), still 200-300 hours short of required time. The Mini dig usually burns in 100 hours sooner than the big Stealth, so this would explain the results Chris got. Im just sorry Chris really never heard the Stealths. After selling 500 units or more, Ive learned, and my customers would agree, they are a bear to break-in, but when they do its heaven. Perhaps a follow-up review is in order to justify my claims. As for the cosmetics, yes, they are modest boxes (which by the way arent exactly cheap) but most of the effort was put inside the Stealths (I prefer performance over looks any day). If you want both worlds, I guess the retail could be jacked up...nah.
JERRY RAMSEY, AUDIO MAGIC

Chris does advise correctly that we recommend plugging basic power amplifiers directly into AC wall outlets. This is an option for the consumer to consider and one we recommend because all components plugged into the same AC circuit receive Richard Grays noncurrent limiting, parallel power enhancement whether or not they are plugged into an RGPC unit. Since the two inductors within the RGPC 1200S have no sonic signature of their own, we believe the audible difference heard by Chris is merely the additional minimal resistance of the six-foot power cord. Many amplifier manufacturers who recommend plugging their equipment directly into a wall outlet, and never into a current limiting, traditional power line conditioner, recommend RGPC because their amplifiers can be plugged directly into the wall yet still receive the parallel RGPC benefit. Again, thanks to Chris. His conclusion that the unit was pure magic says it all!
DICK MCCARTHY, PRESIDENT, RICHARD GRAYS POWER COMPANY

THORENS TD850 TURNTABLE

RICHARD GRAY POWER COMPANY 1200S POWER CONDITIONER

We thank Chris Martens for including us in his power conditioner survey and are delighted at the positive results achieved with the RGPC 1200S in his reference system. He raises two issues that we want to address for the benefit of your readers. The moderate break-in time of the RGPC unit that Chris refers to is actually needed for the components plugged into it and not the RGPC unit itself. All components on the same circuit require time to adjust to the more laboratorygrade of current, and within 15 to 30 minutes users will begin to notice the positive effects on their equipment.

We would like to thank Mr. Harrell for taking the time and effort to review the TD850. Since the release of the initial production run, we also discovered the speed variances. The TD850, like all the 800 series products, includes an external power supply that has the ability to fine-tune the platter speed. We have found this adjustment to change after shipment due to vibrations and such, and the current versions are locked in more precisely, solving the low speed problem. In addition, the TD850 is now available in both a Silver or Black finish and with the TP300 arm or without an arm ($1599) with an optional, add-on dust cover. The three polymer-damped feet are precision-adjustable for precise table-leveling.
BRIAN ANDERSON

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Classical Caps
Handel: Rinaldo. Vivica Genaux (Rinaldo), Inga Kalna (Armida), Miah Persson (Almirena). Freiburger Baroque Orchestra, Ren Jacobs, conductor. Martin Sauer, producer; Ren Mller, engineer. Harmonia Mundi 901796.98 (3 CDs) Handel: Aci, Galatea e Polifemo. Sandrine Piau (Aci), Sara Mingardo (Galatea), Laurent Naouri (Polifemo). Le Concert dAstre, Emmanuelle Ham, conductor. Daniel Zalay, producer; Jean Chatauret, engineer. Virgin 45557 (2 CDs)

he rediscovery of Handels Italian operas is among the great legacies of the Baroque revival. Their glories are easily heard in this new pair of releases revealing the genius of a composer still in his green twenties. Rinaldo is a prime example. A magic opera full of special effects (the premiere featured sparrows released over the heads of the audience), its a complex tale of love set during the Crusaderss siege of Jerusalem. All the ingredients of stirring spectacle are here: Christians and Muslims (including sorcerers of both persuasions pitted against each other), brave warriors, a captive princess, and much more. Handels music bursts with life, especially in this vividly performed version by Ren Jacobs and a faultless cast. Jacobs pulls out all the stopswidely varied tempos and dynamics, fierce attacks, free embellishments, vibrant percussion, and over-the-top sound effects. Its invidious to single out individuals other than the leads, but even those put off by countertenors should

Conductor Rene Jacobs

enjoy Lawrence Zazzos full-voiced Goffredo. Leading the cast is the vivacious Vivica Genaux, a mezzo singing the castrato role of Rinaldo in a voice full of color and expression, with truckloads of personality and exciting high notes. Miah Persson is an excellent Almirena, Rinaldos love interest. Though Persson is superior to the aggressive Cecilia Bartoli in the Hogwood set, it is Inga Kalna as Armida who almost steals the show. As the Muslim sorceress, she tears into her opening Furie terribili and flaunts dazzling coloratura fireworks in her big scene at the end of Act II. A great recording of a great opera. Written a few years earlier, in 1708, Aci, Galatea e Polifemo is a cantata for three voicesreally a chamber opera, not to be confused with Handels later masque on the same subject, the English Acis and Galatea. Both are based on the myth from Ovids Metamorphoses depicting the ill-fated lovers and the jealous giant Polifemo, whose unrequited love for Galatea triggers tragedy.

Again, terrific singing and lively conducting make this rarity must listening for Handelians. Polifemo requires a bass with an incredibly wide range; here hes sung by baritone Laurent Naouri, who ranges from treble A to a convincing low D while fully encompassing the complex feelings raging within the giant. Sandrine Piau is a wonderful Aci; her high-flying lyric soprano eloquently depicts the brave but doomed lover. The Galatea, Sara Mingardo, is the star of the show, her rich alto packed with power and emotion. Emmanuelle Ham conducts the crack period-instrument group with spot-on pacing and keeps the drama moving. Sonics (except for some awkward internal balances) are fine, but Harmonia Mundis sound for Rinaldo is outstandingall those colorful sound effects (e.g., wind machine) and bird chirps register; the percussion has bite and excitement; and DAN DAVIS the voices are true.
Sibelius: Rondo of the Waves. Fragments from a Suite. The Oceanides. Seven Early Works. Lahti Symphony, Osmo Vnsk, conductor. Robert Suff, producer; Ingo Petry, engineer. BIS 1445

his compilation of orchestral raritiesall but the famous Oceanides in recorded premieresvividly illustrates the evolution of Sibelius the practical musician fluently turning out serviceable occasional pieces into Sibelius the uncom-

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promising, austere, hyper-critical perfectionist who finally succumbed to selfimposed silence when he felt he could no longer live up to his own exalted standards. Cassation, Music for a Scene, Coronation March, Romantic Piece, March of the Pori Regiment, Cortge, and the gorgeous Spring Song are all distinctly minor albeit skillful and enjoyable efforts from around the turn of the century. Part of their interest, in addition to unfailing melodic appeal, is in how they mix familiar Sibelian trademarks with uncharacteristic ideas that the more mature composer would jettison from his musical arsenal. Touches of Tchaikovsky, Dvork, Bizet, Chabrier, the Johann Strausses, and others flit casually by as if returning from a pleasantly inebriated fin de sicle dinner party. But by 1914 Sibelius had long

achieved his own, utterly individual voice. The struggle now was to create only masterpieces in that voice, with the result that the composer experimented with two preliminary versions of the seainspired tone poem that was to become The Oceanides. These fascinating test runs are entitled Fragments from a Suite and Rondo of the Waves. Both are shorter and less developed than the exquisite final version, the Rondo more impressionist and prismatic, as if Sibelius had to recalibrate his response to Debussy in tackling this subject. The Oceanides that weve come to know and love Sibeliuss greatest tone poem until the valedictory and ineffably elusive Tapiolais more lucid, more shapely, more dramatic (with the billowy storm music moved back, to become a climactic culmination). Like all of

Sibeliuss best music, it seems somehow more discovered than written. In short, the composer expanded and tinkered and reordered and refined until he had a far better composition. But that, my friends, is what makes a genius: he keeps on working when others would have been satisfied with less. Osmo Vnsk and the Lahti Symphony play Sibelius like they own himwhich, considering this is the fiftyfirst volume of BISs ongoing complete recorded Sibelius editionthey pretty nearly do. The recording takes full advantage of the clear, warm, spacious acoustics of the Lahti Sibelius Hall. Its airy, immediate, detailed, dynamic, and tonally resplendentideal for this Nordic masters sensuous, majestic, and meltingly lovely paean to the water nymphs of MARK LEHMAN ancient Greece.

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Prokofiev: Romeo and Juliet. Royal Philharmonic Orchestra, Vladimir Ashkenazy, conductor. Andrew Cornall, producer; 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

rokofiev was not really a great composer of symphonies. His talents as a melodist and orchestrator with a uniquely original style and penchant for short dances are better suited for ballet. He has actually been called a suite writer, as opposed to Shostakovich, the symphonist. Romeo and Juliet is probably Prokofievs greatest score. It is a long way from the former enfant terribles Scythian Suite, but the grand symphonic scope and seemingly endless melody punctuated by dazzling orchestration and gentle dissonances make it the natural modern successor to the great Tchaikovsky ballets. Lorin Maazels brilliantly engineered version with the Cleveland Orchestra (Decca) provides the ideal combination of drama, rhythmic precision, and lyrical beauty. Andre Previn (EMI) and Dmitri Kitajenko (Chandos) emphasize the romantic elements at the cost of losing much of the excitement and dynamic contrast inherent in the music. Prokofiev extracted three orchestral suites, and many others of varying length have been recorded. Riccardo Mutis (EMI) flamboyantly performed and garishly recorded version of music from Prokofievs first two suites presents a dazzling display of the Philadelphia Orchestras virtuosity, but Michael Tilson Thomas (RCA) has arranged the best collection of excerpts. His lengthy suite concentrates more on the plot and still makes an effective con-

cert piece. MTT plays it lean, light, and generally fast, and the sound is excellent. Vladimir Ashkenazy established his credentials as an interpreter of Prokofievs ballets with a translucently engineered digital recording of Cinderella, also with the Cleveland Orchestra (Decca). His approach to Romeo and Juliet is generally similar to Maazels, and preferable to Previn and Kitajenko. However, neither he nor the Royal Philharmonic Orchestra can match Maazel and the flawless execution of the Cleveland Orchestra in performance or sound. Ashkenazys rhythms are marginally more flaccid; the hairpin dynamics are missing; and, surprisingly, he tends to rush the love music at the end of Act I. Deccas sound is more opaque, glassy, and just plain digital. It lacks the analog bloom and sharp transients clearly evident even on the digital remastering of Maazels analog original. Ashkenazy is solid, but Maazel is special. The Stone Flower will not be mistaken for Romeo and Juliet. The silly plot is a far cry from Shakespeare; the melodic content and even much of the orchestration are feeble when compared to Prokofievs masterpiece. Nevertheless, it has its moments. The striking orchestral coloring (brass and winds) for the theme of the Mistress of the Copper Mountain contrasting with Danilos simple melody combine to make an outstanding prologue. Severyans Death concluding Act 3 generates a level of power reminiscent of prime Prokofiev. There are a few other interesting new dances mixed with material lifted from previous works, but not enough to justify repeated hearings of the complete ballet. Gianandrea Noseda is presently Principal Con-

ductor of the BBC Philharmonic. He was presumably exposed to Russian ballet during a previous stint as Principal Guest Conductor at the Mariinsky Theatre. The sound is big and bold in the usual Chandos manner, with huge instrumental images within a hyperreverberant soundstage. Noseda and the engineer do all they can for a painfully long score that only rarely approaches the level of Romeo and Juliet.
ARTHUR B. LINTGEN

Eighth Blackbird: Thirteen Ways. Judith Sherman, producer and engineer. Cedille Records 90000 067

he six young musicians of Eighth Blackbird flute, clarinet, violin/viola, cello, piano, and percussion started playing together as undergraduates at Oberlin in the mid-1990s. Theyve since won a number of prestigious awards, have

Eighth Blackbird

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toured extensively, and are currently ensemble-in-residence at two Chicago universities. On the evidence of Thirteen Ways, its first commercial recording, Eighth Blackbird may be the most vital and accomplished chamber group committed to contemporary music to emerge since Peter Serkins Tashi more than a quarter century ago. The sextet offers four works by Americans of three generations. The elder statesman here is George Perle (b. 1915), who wrote Critical Moments 2 for Eighth Blackbird in 2001: nine brief and finely limned movements that fully exploit the expressive and coloristic possibilities of this particular instrumental combination. Perle still works in the rigorous academic style in vogue 50 years ago, but dont be put offthe piece rewards close attention and repeated hearings. The other wellknown composer represented is Joan Tower (b. 1938) whose 1980 Petroushskates was arranged for Eighth Blackbird by Allen Otte. This sixminute piece successfully combines, believe it or not, Towers love of both Stravinsky and figure skatinga sort of musical carnival on ice, according to the composer. David Schobers (b. 1974) Variations is dramatically charged, employing an advanced musical syntax including some of Olivier Messiaens modes of limited transposition. (I dont think Ive ever before encountered another composer who actually utilized the late Frenchmans ingenious harmonic system.) Variations is a highly absorbing work for which no program is providedor required. The disc concludes with the halfhour-long Thirteen Ways by Thomas Albert (b. 1948), based on Wallace Stevenss set of poems Thirteen Ways of Looking at a Blackbird (from which the group takes its name). Albert creates 13 aphoristic movements, each preceded by Stevenss verse that is recited by the six artists. The imagery is striking in its clarity yet laden with meaning, and the music is quite evocative. The style ranges from John Adams-like minimalism to tender tonal lyricism; compositional materials include the Fibonacci

series of numbers and (very subtly) the accompaniment to The Beatless Blackbird. But none of these factors register as you attend to this compelling and very beautiful music. The six players are all young masters of their instruments. The sound is detailed and uncolored, with the piano properly scaled and positioned behind the other musicians. Percussion has immediacy and loads of character. Urgently recommended. ANDREW QUINT
Chopin: Piano works. Ivan Moravec, piano. Todd Landor, producer; Tim Martyn, engineer. 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, producer; Christian Starke, engineer. Sony 87706

ow in his early 70s, Ivan Moravec, treasured by audiophiles and piano buffs alike for his famous Connoisseur Society LPs that wedded great sound to legendary performances, is back in the recording studio. Recorded in vibrant sonics, Moravecs new all-Chopin recital is not to be missed. He illustrates his mastery of the elusive art of rubato, displaying wondrous keyboard touch and control along with infinite degrees of shading and dynamics. His interpretations are like no one elses but remain faithful to the musics spirit and letter, making that old warhorse, Chopins B flat minor

Sonata, sound fresh, even its Funeral March movement. There, he never wallows in sentiment, giving the quiet, almost hesitant, middle sections frail beauties an emotional wallop by flanking it with a spare, measured tread in the march. The Fourth Ballade is marginally more cogent than his 1963 version; the Berceuse sparkles; a trio of Mazurkas is full of life. Best is the great F minor Fantasie, which can seem episodic but here is as tightly knit as a fantasy can be. Its played with the magisterial command, dramatic power, and weight befitting perhaps the greatest of all Chopins works. Another choice release by a veteran pianist is Alfred Brendels new Mozart disc. At 72, hes embarked on a new, more exalted career stage, his probing interpretations now enhanced by a greater communicativeness that pays special dividends in Mozart, whose deceptive simplicity cloaks deeper currents. In concert and on discs, his tone is now rounder, his poetic impulses more fully developed, his tendency to didactic interruptions of the musical flow virtually banished. This is apparent in the D minor Fantasy, K. 397, where he ventures into the composers depths with a directness and gravity matched in the three sonatasthe hybrid F major, K. 533/494 and the great A minor, K. 310, where his nuanced playing eclipses his earlier recordings, and the D major, K. 311. The disc teems with special delights such as Brendels gorgeous singing slow movements, his telling use of Mozarts apt pauses in the K. 311, and the relaxed, natural phrasing and runs in the F major sonata. This is by far Brendels best solo Mozart recording, enhanced by being one of the few that realistically captures his actual sound and timbre. Recently, Murray Perahia has also scaled higher peaks of interpretive insights. His new set of Schuberts last three piano sonatas displays beautiful tone (he never resorts to banging, even in the most acerbic loud passages), crystal-clear articulation, and a new

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rhythmic tautness. The D. 958 and D. 959 sonatas are the highlights on this CD, Beethovenesque in their sweep and power. In the wrenching Andantino of the A major Sonata, D. 959, one of the most hair-raising depictions of the breakdown of rationality ever written, Perahias approach may seem coolly classical, eschewing the unbridled Romanticism more commonly heard, but his restraint actually intensifies its emotional power. The last of the trio, the great B flat minor, D. 960, disappoints. Perahia differentiates the first two long, slow movements but at the cost of making the Sonatas first movement sound glib. Despite stunning pianism and a stirring finale, it seems an interpretation still being formed rather than a full-blown statement. But fresh sonics and two first-rate readings out of three make this highly recomDD mendable.

SACD RECORDING
OF THE

I S S U E
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)

hese days, Robert Spano is the most talked about American conductor of his generation and the Atlanta orchestras playing is consistently world-class. The upward trajectory of this partner-

ship continues on the follow-up to their Grammy-winning A Sea Symphony. Spano and Atlanta give us Rainbow Body: something familiar (the Barber), something very familiar (the Copland), and two immediately appealing new compositions. The entire program has a youthful freshness and a distinctly American flavor. Samuel Barber wrote his First Symphony at 25, a 20-minute essay in one movement thats concise, yet still Romantic in scale and outlook. Spanos reading is propulsive, with lovely symphonic textures. His Appalachian Spring is a highly contrasted and emotionally potent performance, worthy of consideration alongside Bernsteins 1961 recording (now available as a Sony multichannel SACD). The opening pages feature beautiful instrumental balances and colors, and a great sense of expectancy; the faster sections are emphatic and rhythmically pointed. The final rendering of

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Paris: La Belle poque. Massenet: Meditation from Thas. Faur: Sonata, Opus 13. Saint-Sans: Havanaise. Franck: Sonata in A Major. Yo-Yo Ma, cello; Kathryn Stott, piano. Steven Epstein, producer; Richard King, engineer. Single-layer multichannel. Sony 87287 (Sonic rating: 6)

Conductor Robert Spano

Simple Gifts towards the end is noble, without seeming overblown. The two recent works, from Christopher Theofanidis (b. 1967) and Jennifer Higdon (b. 1962), are both powerful and knowingly constructed pieces that utilize a sophisticated but fully accessible harmonic language. For Rainbow Body the melodic material derives, the composer tells us, from the chant of Hildegard von Bingenyet it seems to share some genetic material with a central theme from its Copland disc mate. Its expertly scored, rising to a glorious conclusion. Higdon aims for a musical esthetic as big as the outdoors with her blue cathedral: I found myself imagining a journey through a glass cathedral in the sky. This moving and dramatically shaped work was commissioned to honor the 75th anniversary of the Curtis Institute but also serves as a tribute to Higdons prematurely deceased younger brotherthere are moments of loving dialogue between clarinet (his instrument) and flute (Higdons). The surround mix is conservative for Telarcand very successful. Its like a stereo recording, but the most dimensional two-channel recording youve ever heard. Rear channels are sonically invisible; the soundfield extends from well behind the front speakers to a point just in front of the listening position. Theres great dynamic impact and a satisfying bottom end. The treble is a bit soft but, increasingly, Im wondering about the role of my Sony player in this regard. AQ

athering these four staples of the lateRomantic French repertoire under the heading of Paris La Belle Epoque is Yo-Yo Mas way of trying to distract attention from his greedy appropriation of violin territory: Every-thing here was originally written for the smaller, brighter, more agile instrument, though the Franck was transcribed for cello over a century ago and has long been considered a cello standard. Ma himself transcribed the other three items. In truth, the glorious Franck Sonata, with its vaulting melodies and richly glowing, stained-glass chromaticisma work of august nobility and celestial splendordoes nicely with the cellos baritone replacing the violins soprano. It benefits from the larger instruments greater warmth and regal ease in sustaining long, mellifluous lines. The cello conveys the high-minded Victorian sentiment of Massenets celebrated Meditation just as well, but seems a bit cumbersome for the fleeter Saint-Sans and Faur; this is painfully evident, despite Mas superb virtuosity, in the allegro vivo Scherzo of Faurs Opus 13 Sonata. One wonders why Ma couldnt have chosen one of Faurs two perfectly fine cello sonatas. Amazingly, there is competition for the Franck Sonatain the cello version, no lesson multichannel SACD. Pieter Wispelwey, with pianist Paolo Giacometti, performs it on Channel Classics

18602 (along with a Schumann piece originally for horn and the Brahms First Violin Sonata also arrangedabsurdlyfor cello). Yo-Yo Ma on Sony is more tightly focused and more intense, with cello attacks noticeably more incisive; Wispelwey on Channel Classics is smoother, sweeter, more introspective and atmospheric. These are two of the finest cellists in the world today, both with distinguished accompanists, and both enjoy engineering that adds the refinement, ambience, depth, and fullness at which SACD multichannel excels. That said, I prefer the Wispelwey, both the playing and sonics. The recording has a magic that simply draws me deeper into the music, and, in the rapturous central recitativo-fantasia surely one of the most sublimely beautiful movements in all of Western art musicWispelwey casts an enchantment that holds me transfixed every ML time I listen.
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 Grammophon 471 639 (Sonic rating: 6) Puccini: La Bohme. Angela Gheorghiu (Mimi); Roberto Alagna (Rodolpho). La Scala Orchestra and chorus, Riccardo Chailly, conductor. Andrew Cornall, producer; Jonathan Stokes and Philip Siney, engineers and SACD mix. Hybrid multichannel. Decca 470 624 (Sonic rating: 3)

leibers mid1970s Beethoven symphony recordings are richly deserving of their classic statusat the same time emotionally direct and sensitive, nuanced, full of subtle shadings and inflections. The opening movement of No. 5 is furious,

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a rhythmic juggernaut; the subsequent Andante con moto alternates flowing lyricism and an imposing weightiness. The finale blazes triumphantly. All four movements of Symphony No. 7 are truly balletic. After an eloquently shaped introduction, the main body of the first movement has a joyous stride, as Kleiber introduces small accelerandos that contribute to the headlong rush. The Allegretto unfolds with an organic inevitability while the concluding Allegro con brio has an infectious swing. If the multichannel here sounds a little synthetic (which, generated from multimiked tapes, it is), its tastefully executed, with a sensible amount of reverberation in the rear channels. I actually prefer the stereo program theres more than enough spaciousness in the two-channel mix. The SACD has

less of a bite and edge to the strings compared to the LPs (especially with No. 5), but theres as much air, and instrumental signatures are just as appealing. The SACD version is at least the equal of the vinyl with dynamics; both the LPs and SACD are way ahead of the CD reissue (in DGs The Originals series) in terms of refinement and lack of grain. To the best of my knowledge, this 1998 Bohme is the first full-length opera to appear in surround sound on SACD or DVD-A. While the performance wont eclipse De los Angeles/Bjrling/ Beecham or Freni/Pavarotti/Karajan, it is an excellent one, strongly cast well beyond the superstar leads. Chailly leads with a terrific sense of dramatic impetus and attention to orchestral color. The DSD remastering characterizes the voic-

es beautifully. But the multichannel presentation disappoints. Mostly, the singers are positioned in front of the orchestra, and thats OKI can accept this perspective as a concert performance (even though a more ambitious engineer might have taken a stab at portraying vocalists on a stage and orchestra in a pit between them and the listener). But episodically, voices appear in the surround channels in misguided attempts at staginess. Take, for instance, Mimis entrance in Act III when she pops up, coughing consumptively and then singing in the right rear channel, moving over the course of about 10 seconds up to the front. Its irrational, annoying, confusing, and ultimately derails the dramatic flow of the action. A low grade for this one, sonically, for setAQ ting a bad example.

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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.

f ever composers fulfilled Arnold Schoenbergs reassurance that theres still plenty of music to be written in good old C major, its the four represented on this superb trio of SACDs from Albany Records. Despite considerable stylistic differences, their music is tonal, thematically and/or rhythmically driven, and traditional in form and structure. Youd even be forgiven for using the word old-fashioned, inasmuch as their aesthetic is romantic in the sense that they clearly believe music must be about something beyond itself: feelings, emotions, ideas, places and things, stories and dramas. The British composer George Lloyd is the most conservativealmost reactionary. If you werent told his Arctic symphony was written over a four-year period after his ship was struck by a torpedo in the North Atlantic during the Second World War, an incident that left

him physically impaired and emotionally traumatized, you wouldnt guess it from the music. Almost unvaryingly pretty, the symphony evokes the British pastoral idiom of early Vaughan Williams, Moeran, even Grainger; only the most benignly dissonant chords darken horizons otherwise blue and sunny. There are some epic ambitions that arent quite realized, the span of the last two movements rather exceeding their inspiration. During his career, Lloyd was criticized for his conservatism and for lacking a genuinely individual style, charges the Arctic by no means escapes. All the same, filled with big tunes so beloved of early-to-mid-Twentieth Century British composers, it affords much pleasure if you just allow yourself to bask in its sensuous warmth and sunlight. The Albany Symphony Orchestra, conducted by the composer, plays with great conviction and the 1989 recording is rich in atmosphere, with a very accommodating dynamic range. Whatever else you might say about the three Americans here, they are certainly not lacking in stylistic individuality, Roy Harris and William Schuman especially. Harriss Second and Morton Goulds Third Symphonies both suffered troubled births that resulted in premieres of compromised versions. David Alan Miller, Albanys music director, reinstated the many cuts Harris himself made under duress and restored Goulds original fourth movement. The Harris doesnt represent his best work, its ideas rather too insistently stated, but it certainly deserves this fine performance. The big surprise is the Gould Third, an imaginative piece, full of sharp wit and mordant irony, with one of the most inventive scherzos written by any composer of the last century. Known mostly for pops-oriented scores, Gould plainly had some chops as a serious composer (his greatest advocate was Dimitri Mitropoulos, no less). Schumans solid craftsmanship and disciplined manipulation of classic forms are all the more remarkable given that he never heard a classical concert until he was nineteen. The compositions in this collection are three-movement structures

(typically fast-slow-fast), characterized by his uniquely New York kind of electric energy. Credendum is a strong declamatory work scored for huge orchestra with augmented brass, wind, and percussion (including steel plates), while the Piano Concerto (John McCabe the probing soloist) is a moving chamber piece. The intense Symphony No. 4, much admired by Copland, begins in somber tones and ends with a flourish in the form of shades of Schoenberga C major chord. Released in SACD but derived from stereo PCM sources, the clean, transparent recordings ideally mediate proximity and soundstage, with superior definition. The Schuman, in particular, is of reference quality. The Albany plays with dedication, skill, and an apposite bite to the sonority, while Millers conducting is rhythmically incisive and expressively alert. These are two of the most important recordings of modern American PAUL SEYDOR music in recent years.

DVD-A
Elgar/Payne: Symphony No. 3. Bournemouth Symphony Orchestra, Paul Daniel, conductor. Andrew Walton, producer; 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)

hen Anthony Paynes elaboration of the sketches for Elgars never-completed Symphony No. 3 and its first recording, from Andrew Davis and the BBC Symphony Orchestraburst onto the scene five years ago, two questions were frequently

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raised. First, (given the composers wellknown, if ambivalent, deathbed pronouncement in 1934 that no one should tinker with his unfinished opus) should it have been done? And second, as it has been done, how good was it? The answers, to most fair-minded listeners, seem to be yes and quite good. The Elgar family ultimately supported the project, and Paynes 55-minute creation is remarkably coherent, especially if you consider that he had a lot less to go on than Deryck Cooke did for his performing version of Mahlers Tenth. The composers spirit pervades every page; both the Edwardian stolidity and a Wagnerian harmonic richnessas just one example, take the striving melody that serves as the first movements second subject. The darkly somber Adagio solenne is quite successful; the finale, which required the most inventiveness on Paynes part, offers characteristic marching figures and a soulful hymn-like theme that sticks in the mind long after the piece ends. Paul Daniels conducts with feeling and insight, and the Bournemouth orchestra is a full-voiced and technically accomplished ensemble. This performance isnt that far off the standard set by my current favorite, Colin Davis (on LSO Live). The material on the Shostakovich DVD-A may come as a revelation to those who know the composer from monumental symphonies and anguished, encrypted string quartets. Shostakovich, in fact, had a real affinity for popular idioms; but if all the music here is on the lighter side, none of it is trivial. (Well, maybe Tahiti Trot, an arrangement of Tea for Two that Shostakovich orchestrated in 40 minutes on a bet, isnt one for the ages.) Best is the eightmovement suite from The Bolt, a tale of industrial sabotagescintillating, tuneful, and brilliantly scored, utilizing the language of the First Symphony and The Age of Gold. The two Jazz Suites are immediately appealing as well, though dont expect evocations of Duke Ellington or Charlie Parker: What we get is more like Offenbach and Kurt Weill. The more substantial Suite No. 2

was assembled by the composer from various film scores, ballets, and theater works, and includes a waltz used prominently in the final Stanley Kubrick film, Eyes Wide Shut. Both DVD-As were original multichannel recordings (a stereo version is included as well, of course, along with

5.1 MLP, DTS, and AC3 programs). The Elgars surround sound is no more dimensional than a good two-channel effort, and instrumental textures arent especially refined. But the Shostakovich disc is a real winner, sonically as well as musicallyvery atmospheric and spaAQ cious, yet loaded with detail.

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) Dvork: 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 Ive 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 dAmour. 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-Sans/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 Johns Jump Blues. AIX 81004 (9) (review, this issue) Grateful Dead: Workingmans 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

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Jazz Caps
Randy Weston: Randy Weston. Jack Lewis, Lee Kraft, Teddy Reig, original producers; Michael Cuscuna, reissue producer; Malcolm Addey, remastering. Mosaic Select MS-004 (3 CDs; Mail order only: www.mosaicrecords.com)

andy Weston is a tall man who takes the long viewover other peoples heads, toward a mother continent, or another time. When he emerged in the 1950s, no American jazz musician had more African pride, or acted more like the 20s Harlem Renaissance was still in full swing. Langston Hughes wrote his liner notesand lyrics, which Porgy and Bess/Carmen Jones star Brock Peters sang (like a lugubrious Ellington baritone, alas). Weston took piano lessons from Thelonious Monk, from whom he learned how to really reduce his materials. He hired father-of-the-saxophone Coleman Hawkins for a 1959 quintet date. He was world music before that was a bad idea. This three-CD mini-box includes five 1957-63 albums for four labels including Little Niles for sextet, Live at the Five Spot with Hawkins and Kenny Dorham, plus a newly issued 1960 date with Ron Carter, Roy Haynes, and bari saxist Cecil Payne (whose incisive timing and dark sound make him a perfect fit). Weston has written some enduring tunes, here including Little Niles, Kucheza Blues, Congolese Children, and Hi Fly (reprised, all but unaltered, as 204). Each has a strong melodic/rhythmic hook, those two elements fused. (That sounds like Monk too.) Nice Ice plays with a plain rising and falling major scale, anticipating jokey Carla Bley. Westons a terrific pianist, a drum choir. Like Monk he picked up on

Ellingtons starkness: the combination of jabbing attack, sturdy no-frills chords, and lines voiced octaves apart. He likes Monks broken tumbles down the keys too, but Weston has his own long-legged lope. The trio date Piano-ala-Mode includes a standout Honeysuckle Rose, where he recasts the bridge as an ascending series of fast repeated notes, a witty rewrite that leaves the original intact. (Connie Kays chiming-cymbals solos a beaut, too.) Trombonist Melba Liston arranged every session with multiple horns, from quintet up, using Monkish adjacent-note dissonances to make the mid-size bands sound bigger. That said, she brings out Westons own character as composer, even with Monks horns Johnny Griffin and Ray Copeland in the sextet. The two big-band projects on the last disc, previously available on one CD, get a hard, clarified remix from Malcolm Addey. (Jazz was recorded well back then; he knows enough to get out of the way.) Uhuru Afrika from 1960 is the grandest and least of these sessions. Even Afrocentrists were vague about details then, and the particulars of lyricist Hughess African landscape are limited to the jungle and flowing Congo. Kucheza Blues aside, the multiple drummers (Max Roach, Olatunji, and Candido among them) and Listons orchestral ya-yas flirt with bachelor-pad exotica and Hollywood Bible-epic kitsch, without going quite that far. By Highlife three years later, Weston had made his first African trip, to Nigeria, and the pieces are shorter, more tuneful and merry: more true to the source, not to mention congenial to his own musical temperament. (Liston sounds happier with this stuff too.) Westons next step was logical. Five years later he was running a nightspot in Morocco, the African Rhythms Club. KEVIN WHITEHEAD
Harry Pearson

Shirley Horn: May the Music Never End. Horn, producer; David Baker, engineer. Verve 440 076 028

o jazz singer alive has a surer way with a lyric than Shirley Horn. In the pantheon, she belongs next to Billie Holiday, not because she sounds like hershe doesnt, at allbut because, like Holiday, she cuts quick to the core of a song, possesses it, and crafts the sensation that its telling her story, that shes composing it, re-living its sorrows and joys, on the spot. Horn has had it rough lately. Her bass player of 20 years died. One of her legs was amputated, a complication of diabetes, preventing her from playing the piano (her self-accompaniment relied greatly on the sustain pedal, which she can no longer press). Her

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new album, May the Music Never End, features another pianist, and thats a problem, especially on the love ballads, which Horn sings very, very slowly. She would use the piano to stir moods between the lines, ornamenting the space or prolonging the silence; her vocal and keyboard stylings shaped each other in a way that two separate people, one singer, one pianist, could not replicate. Still, her fill-in here, George Mesterhazy, is competent, and the guest pianist on two songs, Ahmad Jamal, playing at his peak these days, is much more. Horn sings not only with her customary attunement to a lyric, but also with an emotional rawness unheard from her till now. On Never Let Me Go, listen to the regret in the line all my bridges burned, the smoldering passion in by my flaming heart, and the desperation underlying the whispered confidence of Youd never leave me,

would you/uh-uhh. On Ill Wind, she gets the full malice of the force at hand, telling the gust to blow away with an icy fear. Her recitations of Yesterday and the title tune seem so nakedly autobiographical, so naturally intense, you almost want to turn away. She retains her touch on the breezy numbers, too. No one else can glide through an upbeat blues as sensuously yet insouciantly as she does on Take Love Easy. The recording puts too much reverb on Horns voice (a recent concert at Carnegie Hall suggests she needs no sonic sweetening), and I wish drummer Steve WilliamsHorns rhythmic soulmate had been mixed more prominently. Otherwise, the sound quality is very good. Coda: At that Carnegie concert, Horn took her encore at the piano bench; she played well, and her voicethe whole ensembletook on an easiness from days old. She said shes been experimenting

with a trick pedal and will start playing again soon. Even without Horn at the piano, May the Music Never End is her best album since 1998s I Remember Miles. Her next album could be amazing.
FRED KAPLAN

Joel Harrison: Free Country. Harrison, producer. ACT 94192 Adam Levy: Get Your Glow On. Jay Newland, producer. Lost Wax 0301

n their latest recordings, bop-savvy guitarists Adam Levy and Joel Harrison tap pop diva Norah Jones for a little vocal magic. Like Charlie Hunter, the avatar of new jazz-fusion guitar, Levy and Harrison transplanted themselves

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from the San Francisco Bay Area to the potentially higher profiles offered by New York City. Levys career includes stints with Tracy Chapman and Jones. While Get Your Glow On illuminates his sleek and biting electric guitar tone, bright acoustic soloing, and pop, funk, and soul sides, he puts his eloquent picking in the service of guests vocalists on four tunes, including soul singers Otis Clay (for Bob Dylans Tonight Ill Be Staying Here With You) and the ubiquitous Ms. Jones (Elvis Presleys Love Me Tender). He also allows generous room for Tin Hat Trios Rob Burger to stretch out on country-tinged piano and funky-space organ. Producer Jay Newland (co-producer and engineer of Joness breakthrough) gives every instrument plenty of distinct presence without having to battle through any unnecessary studio sheen. Harrison, who concentrated on composing on such previous releases as Transience, flexes his arranging chops on this jazz Americana collection of folk and country tunes. Jones utters the albums first notes on an exquisitely slow version of Johnny Cashs I Walk the Line, and returns for a dreamy Tennessee Waltz. Harrisons quintet (including Lost Tribe saxophonist David Binney and String Trio of New York violinist Rob Thomas) pushes Jones and other guest singers (Jen Chapin, Raz Kennedy) into adventurous territory with tricky tempos and complex harmonies. Sampled sounds and additional guests including accordionist Tony Cedras, keyboardist Rob Burger, and pianist Uri Cainefurther complicate the textures, all of which are mixed cinematically with attention to depth and breadth on a soundstage where Mingus, Gil Evans, Henry Threadgill, and Bill Frisell all might feel comfortable. Harrisons guitar tone ranges from ringing to weepy, he occasionally putting blues- and acid-rock exclamation points on this delivery of Pony Express music into the post-modern DERK RICHARDSON age.

Lee Konitz with Alan Broadbent: Live-Lee. Orrin Keepnews, producer; Phil Edwards, engineer. Milestone 9329

ee Konitz plays for adultsnot that jazz extroverts dont, necessarily, but the alto saxophonist always trusts his audience to meet him half way. Stick with his long, leisurely-developed argument, and hell repay your time and attention. Cool, folks call him, but who makes a more intimate bargain with the listener, or has a more confidential timbre? His sounds often soft, sometimes bracing, always sensitive to fine nuances of emotional weather or musical syntax. Improvising on the most trod-upon standards Cherokee for instancehe squirrels his way through thickets of chords, staying off well-cleared paths without getting tangled in the briars. Admirers say he always avoided imitating Charlie Parker, and his more pliant tone is certainly his own. But Parkers knack for making every improvised phrase seem like an aphorism, and for swinging to an implicit double-time beat, inspires Konitz still. All he needs, really, is good company, and he finds it in pianist Alan Broadbent, who plays with more clarity, economy, and acuity here than in other settings where Ive heard him. (He may be best known to jazz folk for his work with Charlie Hadens Quartet West.) An autumn 2000 week at LAs Jazz Bakery was his first on-stage encounter with Konitz; Live-Lee was recorded on the weekend. From the top of Ill Remember April, where the saxophonist instantly picks up on the pianists understated but cloddish marcha gambit each immediately drops, Broadbent moving on to terse staccato chords, and then rolling harmoniesits clear Konitz is with someone who understands him, gets the game, and has the resources to keep up. Both musicians studied with Lennie Tristano, and inherited his love of walking time and long snaky syncopated

lines: an improbably sturdy amalgam of Parker and Bach. Still, theyre less indebted to Tristanos mannerisms than his contrapuntal outlook; they tug at each other all sorts of ways. Konitz has made other nice duo records (like the recent Gong with Wind Suite with Matt Wilson on SteepleChase), but this one matches any for simpatico. Sound is more present and less reverbed-up than on many live dates, the recording detailed enough to pick up Lees faintest feints. And the audience is so graciously quiet youll wonder if the KW applause was dubbed in.
Ralph Alessi: This Against That and Vice & Virtue. Alessi and Ravi Coltrane, producers; Bobo Fini, engineer. RKM 003 and 002

KM is a new, artist-controlled label set up by Ravi Coltrane (Johns son and a fine tenor saxman), but its no vanity operation; Coltrane doesnt even play on its first three releases. Two are led by Ralph Alessi, the trumpeter in Steve Colemans band. This Against That sports a quintet of stars, including clarinetist Don Byron and pianist Jason Moran. Vice & Virtue consists of duets and trios with drums or trombone. Alessi blows with a pure tone that segues into a knife-edged blues, and often ends phrases a half-tone off target while sounding just right. Both albums might veer toward chamber jazza bit cerebral and preciousbut for the simmering ensemble work, loosely structured yet tightly coordinated, which thickens the tension and makes the resolutions all the more satisfying. On This Against That, bassist Drew Gress anchors the rhythm, while drummer Nasheet Waits klook-amops around its edges and guitarist David Gilmore stirs the spice. Vice & Virtue consists mainly of little-played standards: a contemplative take on

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Ornette Colemans Peace, with drummer Shane Endsley prodding from way outside the beat; a loose-swing version of Monks Bye Ya, with Endsley pounding the sharp angles. There are some trumpet-flugelhorn-trombone trios, each horn tracing a separate melodic line but harmonizing like a church hymn. This is heady stuff from a promising venture. The sonics are vivid, tooa bit too much bass, but a spacious soundstage, clarion horns, and very clear, crisp percussion. FK
APA INI: APA INI. Tobias Delius and Dick Lucas, producers; Lucas, engineer. DATA 033

here are many varieties of that hardy jazz offshoot called European improvised music. A few of them: blow-off-the-roof

free play, full of rough-housing horns; pointillism, in which the sonic texture is constructed incrementally, from small or isolated sounds; vamp-based wailing sparked by West African drummers. A new Amsterdam quartet combines all of the above in a wholly natural way. APA INIIndonesian for What is that? includes two mainstays of the citys well-developed jazz-and-improvising scene, tenor saxophonist (and occasional clarinetist) Tobias Delius and bassist Wilbert de Joode, alongside two more recent arrivals, Senegalese percussionist Serigne C. M. Gueye and English trombonist Hilary Jeffery. Serignes hand drums (including djemb and the conga-set-like bugarabu) and rhythms rooted in Senegalese traditions set the pace, but a key reason the band succeeds is that everyone can get percussive. De Joode shuns amplification in favor of high

string-tension and a pushy, front-loaded attack like Jimmy Blantons. Jeffery possesses a range of expressive effects, from forceful plosives to misshapen, muted tones, gleaned from his new music (hes a James Fulkerson protg) and jazz experience. And Delius, as those of us whove heard him keep saying, is one of the tenors well-kept secrets, with the lavish, sumptuous tone of a 30s swing hero, an original harmonic ear, and a full quiver of attacks; he can slide a note in sideways, let it burst like a bubble, or pop like a champagne cork. This isnt your vamp-happy, minimalism-on-the-cheap world-music scam. Once the groove is established the improviserss instincts take over, and from there the texture may get thicker or thinner. Bugar, for one, takes off from a complex bugarabu doubletime dance, whose rhythm Delius picks up on and elaborates; Jeffery grabs that elaboration

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and follows his own vector, as De Joode embroiders the drum tempo, sometimes layering his own cycles over the top. And Gueye is no beat box; he too knows when to change up and lay back and acknowledge the changing terrain. The long and short improvisations have those good close-listening jazzy qualities: surprise, variety, momentum. Dutch wiz Dick Lucass sound is typically pristine, if mastered at a typically low level. For contrast they play two of Deliuss shapely tunes so well you KW wish theyd play some more.
Miles Davis: The Complete Jack Johnson Sessions. Teo Macero, producer, original sessions; Bob Belden, producer, compilation. Columbia/Legacy 86359 (5 CDs)

istening to all five CDs of The Complete Jack Johnson Sessions is something like poring over the transcripts

and blackboard drawings of the Manhattan Project, the WWII research group that developed the atomic bomb. Theres more detail than the average citizen would ever need, but for the Miles Davis or jazz-rock fusion completist, it yields a mother lode of seminal information. A pair of 25-minute tracks, Right Off and Yesternow, famously stitched together with additional material by Teo Macero, filled the two sides of the original 1971 LP, A Tribute to Jack Johnson, which writer Bill Milkowski calls Davis rock manifesto. Here they take up only a portion of the last disc of music recorded between February and June 1970. Whoever invests in this expansive box setwhich includes

Davis original notes, essays by Bob Belden, Michael Cuscuna, and Milkowski, and four-and-a-half hours of previously unissued material (34 of the 42 tracks)will be someone who takes it on faith that more is more. The Complete Jack Johnson Sessions raises the question, how many takes of Willie Nelson and Nem Um Talvez does anyone need? That depends on how closely one wants to examine this crucial transitional period between Davis relatively tame electric experiments on Bitches Brew and full-blown Africanized funk of On the Corner. The session-by-session breakdown finds the then-44-year-old trumpeter exploring hardcore funk rhythms and psychedelic guitar-driven textures in a workshoplike setting over the course of four months (during which Davis undertook many live test runs at Fillmore East and West). A parade of all-star musicians

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came through the studio and made brief appearances, including Ron Carter, Gene Perla, Airto, Hermeto Pascoal, and Wayne Shorter. The late Coltrane-inspired guitarist Sonny Sharrock finally gets credit for his contribution to several of the Willie Nelson tracks; Chick Corea and Keith Jarrett share electric keyboard duties, with Herbie Hancock dropping in on organ, and soprano saxophonist Steve Grossman emerging as an impressive foil. But what makes this Daviss rock manifesto, indeed what makes it rock harder than any jazz had before, are the rhythm sectionsone with guitarist John McLaughlin, bassist Dave Holland, and drummer Jack DeJohnette, the other with McLaughlin joined by bassist Michael Henderson and drummer Billy Cobham. And while some jams range between ten and 15 minutes, Davis had not yet suspended his interest in songforms, and his oft-cited obsession with the funk innovations of James Brown and Sly Stone is palpable in the surging pulses and staccato phrasing. The keyboardists provide intriguing color and texture, but the bassists Holland grooving with surprising ferocity, and Henderson introducing pivotal repetitive patternsand drummers Cobham likewise adding even more focus and hitting harder than DeJohnetteexert far greater sway. In this exploded and up-close view (made intimate by meticulous remastering that yields clean instrumental presence and separation), however, McLaughlin is the player who most rivals Davis, preparing himself for lift-off into the Mahavishnu stratosphere with radical rhythm comping and Hendrix-like wah-wah manipulations. Should anyone think Davis was at all tentative about his funky moves, his forceful trumpeting conveys no reticence whatsoever; he blows with exhilaration of a man who knows exactly where hes been and where hes going. DR

stereo SACD (vs. Classic Records 200gram mono LP). Blue Note 41757 (Sonic Rating: 7) Bill Charlap: Stardust. Joel Moss, engineer. 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)

SACD
John Coltrane: Blue Train. Rudy Van Gelder, engineer & remastering. Hybrid

few mainstream jazz labels have started venturing into SACD, most with puzzlingly mixed results, but Blue Notes maiden voyage seems on track. Blue Train, Coltranes 1957 anthemic mix of hard-bop blues and ballads, is a natural first choiceone of the labels all-time best sellers and sonic wonders. Its a superb SACD: Tranes sax seems right there, as do Lee Morgans trumpet and Curtis Fullers trombone; Philly Joe Jones drums crash and simmer; Paul Chambers bass slaps and growls. For fuller fidelity, go to Classic Records new 200-gram mono LP, which reveals a bit more of the horns brass bite and subtle phrasing. Still, the sonic difference isnt as huge as vinylphiles might assume. Bill Charlaps Stardust came out, on standard CD, just last year and deserves a listen now if you missed it then. Charlap is a traditional pianist, bordering on cabaret but for his mastery of dynamics and a quietly adventurous way with chords. Kenny and Peter Washington, on bass and drums, keep the pressure up. Guitarist Jim Hall and Basies tenor saxman, Frank Wess, sit in on a few songs. Tony Bennett sings two

(weakly), Shirley Horn one (marvelously). All the songs are by Hoagy Carmichael, and theyre delights. The sonics are extraordinarily vivid; Wess sax sounds very nearly real; Horns voice is more present than on her own albums. The piano sparkles. Only the bass is a bit bloated. Steamin is the second classic-jazz SACD released by Mobile Fidelity (the first being the wondrous remastering of Coltranes Soultrane). Its the least of the five albums that stemmed from the Miles Davis Quintets legendary marathon sessions for Prestige in 1956, but thats like being the least-delicious dish in a five-star restaurant. The sound is jaw-droppingly 3-D; Red Garlands piano never sounded so full on any previous issue; Coltrane sometimes sounds a bit harsh, but thats due to a stiff reed, FK not the format.

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Pop Caps
Neil Young & Crazy Horse: Greendale. Young and L.A. Johnson, producers. Reprise 48533

That guy just keeps singin/Cant somebody shut him up?/I dont know for the life of me where he comes up with this stuff lyric from Grandpas Interview ith Greendale, the ever-restless Neil Young has made a new masterpiece, the scope of which hasnt been seen or heard since 1976s Rust Never Sleeps. A musical novel, Greendale intertwines the plausible story of a small town and its residents with imperative issues of homegrown militancy, government spying, personal privacy, media supremacy, corporate greed, and environmental destruction. That Young pulls it off without drowning is remarkable; that he does it so cohesively, cleverly, and coherently is astonishing. Greendale is a modern parable of humanity and ethics. At its core are the values that Young has always supported: family, freedom, honor, and especially, love and affection. While hes remained active and made a string of solid albums, Young hasnt been this sharp, agitated, or motivated in some time. Hes timed Greendale to arrive just as the battle for Alaskas natural resources is heating up. Though he could have chosen another setting, Young picked the site of Americas last wilderness as ground zero, and its there where the narrative culminates. For a story to which no synopsis does justice, Youngs loaded up on lyrical scenery. Tiki torches, dusty Cadillac Eldorados, news helicopters, drug stashes, and concealed money are among the props that illuminate his vision, each subtly revealing their importance after

Neil Young

every listen. To emphasize characters speech, Youngs voice assumes different timbres and goes as far as blaring messages through a megaphone. In channeling Jimmy Reeds relaxed, slow, smoldering electric blues and pairing it with folk melodies, Young has found the perfect musical accompaniment to his spoken-sung lyrics. Theres precedent in the undulating waves of The Days That Used To Be and progressive momentum in the autobiographical I Am the Ocean, but Crazy Horse has never loped, shuffled, or rollicked quite like this. Eight of the ten songschapters, reallyare variations on basic, groove-heavy blues riffs which Young opens like an aluminum can, rocks back and forth, works up and down, and bobs like a buoy at sea. Crazy Horse veterans Ralph Molina and Billy Talbot lean their loose rhythms into Youngs hypnotic guitar sway and howling harmonica. (Guitarist Frank Sampedro doesnt appear on the record, allowing Youngs playing to roam freely and sound more open.) Ironically, its an acoustic song thats most likely to be embraced. An instant classic, Bandit is a subconscious soul-searcher speared by Young slapping a slackened E-string as

he whispers hopeful lyrics. Falling in the middle of Greendale, its the records transitional moment. Sonically, the music floats by, taking on a cameras-rolling feel. If theres one minor flaw, it comes via a few schmaltzy lyrics and layered choruses during the album closing Be the Rain. But the song possesses one of the sturdiest, catchiest hooks Youngs ever written. It comes on like a flooda huge release after the nine previous tracks that keep building tension until it all explodes in one nine-minute rush. True to form, Young leaves some questions unresolved, some mysteries open-ended, but provides enough detail without giving everything away. Like every Young record, Greendale is available on vinyl. Initial pressings of the CD come with a DVD of Young acoustically performing the album in its entirety, and Youngs hand-held feature film scripted for the record arrives on DVD in the fall. Reprise has also reissued and remastered the four long out-of-print records Young made before his brief, controversial stint with Geffen. Of these, 1974s On the Beach is the decades forgotten gem, a dark reflection on American politics,

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paranoia, and shattered culturefrom the failed hippie dream to the emptiness of celebrity to Nixon. The other albums are spotty yet have their own secret rewards, especially 1981s Re-ac-tor, which finds Young charged up about Japanese automobiles on Motor City and riffing over the same lyrical phrase for nine minutes on T-Bone. The Chinese calendar says 2003 is the Year of the Sheep, but have no doubt: this is the BOB GENDRON Year of the Horse.
My Morning Jacket: It Still Moves. Jim James, producer. ATO RCA 52979

he third album from Louisvilles My Morning Jacket, It Still Moves is an evershifting sonic tapestry, incorporating

reverb-drenched psychedelic ballads, Southern-flavored rockers, flashes of Exile on Main Street-era Stones (Memphis horns and all), as well as hints of the Yardbirds, The Band, Grateful Dead, Led Zeppelin, Pink Floyd, and The Beach Boys. And Ive yet to mention the guy MMJ is most often compared to, Neil Young. While its true that bandleadersinger-songwriter Jim Jamess voice does sound like Youngsthough Jamess tenor is the sweeter instrumentand the bands many influences are worn like proverbial hearts-on-the-sleeve, such comparisons both simplify and discount what MMJ is aiming at and achieving. None of these musical inspirations come off as self-conscious copycatting, but rather like an amalgamation of experimental forces being channeled through five guys who love to play and create music together, with a fair dash of 60s-

style innocence thrown in for good measure. Though It Still Moves is not quite the equal of MMJs last full-length outing, At Dawn, it is ambitious and lengthy, clocking in at 70-plus minutes. The first nine songs are particularly strong, hinting at the imagination and power the group is reported to display in concert. But the last three tracks run out of steam, and a shorter playlist would have made for a better album. The sound of the record is very good. The acoustic ballads, with their layers of reverb, are spacious, and like the songs they contain rather dreamy, while the electric numbers nicely capture the feeling 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 you will want to get It Still Moves. If you dont know them you shouldbut start WAYNE GARCIA with At Dawn.

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Cheap Trick: Special One. Cheap Trick, Chris Shaw, et al., producers. BIG3 Records 36333

n their first studio release in six years, musics power-pop geniuses have made whats their finest and first must-have studio album since recording Dream Police nearly 25 years ago. Having spent the 80s and early 90s wallowing in mawkish self-parody, Cheap Tricks future didnt look bright. By the decades close, the band managed two decent sets, but both fell victim to hard-luck circumstance Warner didnt promote 1994s Woke Up With A Monster and Red Ant went bankrupt three weeks after 1997s Cheap Trick hit streets. Smelling the Spinal Tap irony, Trick took matters into their own hands. Refusing to die, they returned reinvigorated to their playful arena-rock roots, hit the road, and self-released two fantastic live records. Made on its own terms, Special One is their reward. The music has all the hallmarks of the bands heyday: crunchy guitars, grappling hooks, fervent songwriting, sweet melodies, blue-eyed soul, and wacky humor. The lynchpin is the strutting Scent of a Woman, one of the catchiest singles ever penned by the very unit that wrote the pop-dictionary entry for mesmeric. On the song, Rick Neilson cranks out hyper power chords and interjects clipped country-blues riffs; Bun E. Carlos pounds out a simple but insistent backbeat; and Robin Zander shifts his soaring dynamic vocals into full throttle, demonstrating a range that no rock singer his age (50) has a right to possess. The remainder of Special One follows suit. Longtime fans will delight in slight references to the bands classic songs. The Nirvana-meets-Harry Chapin dirge Best Friend recalls the bizarro The Ballad of TV Violence; the Japaneseinflected guitar on the title track is a tip of the hat to their favorite country; the burnt ZZ Top shuffle on the instrumental Low Life In High Heels/Hummer

Cheap Trick

complements 1977s 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, Tom Peterssons 12-string bass is particularly prominent, and on top, Zanders high notes are well preserved. Initial pressings come with a bonus DVD. A triumphant return for one of rocks great bands. BG
Bla Fleck & The Flecktones: Little Worlds. Fleck, producer. Columbia 90358 (3 CDs)

ittle Worlds may be the first album in over three years by Bla Fleck & The Flecktones, but that doesnt mean the brilliant banjo player and his equally talented bandmates have been idle. Clocking in at roughly two hours and twenty minutes, this 3-disc set runs the range from Irish jigs to dirges, hiphop to jazz, bluegrass to new age, world to technopop. And though not every song is a winner (there are a few jazz lite numbers I could do without), remarkable quality and connectedness are 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), Fleck invited a staggering array of guest talent to collaborate on the project. Vocalists Bobby McFerrin and Divinity turn out a charming hip-hop take on Flatt and Scruggs The Ballad of Jed Clampett, the song which inspired Fleck to pick up the banjo at age 15 and which also includes Sam Bush on mandolin. Branford Marsaliss soprano sax is sprinkled throughout, most beautifully in Captive Delusions, a lovely and wistful duet with Jeff Coffins tenor. Derek Trucks lends his electric guitar to a few cuts, Jerry Douglas his dobro, and The Leaning Tower features The Chieftains. This is just a partial list of the musicians and layers of instrumental tones and textures found on Little Worlds. Co-mastered by audiophile veteran Doug Sax, the sonics are excellent, with a super-clean flat studio perspective, exceptionally snappy dynamics, and a taut, well-articulated bottom end. Granted, three CDs is a lot of music. But Fleck, the Tones, and their friends pull it off. For the less hardcore fan, a condensed single-disc version is also WG available.

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SACD
The Man Who Invented Soul: The Sam Cooke ABKCO Remasters
Sam Cooke: Aint That Good News. 98992 Sam Cooke: At The Copa. 99702 Sam Cooke: Keep Movin On. 95632 Sam Cooke: Portrait of a Legend 19511964. 92642 For all: ABKCO. Hybrid stereo save for At the Copa, hybrid multichannel. Various original producers; Jody Klein and Teri Landi, restoration producers. (Sonic Rating: 8)

am Cooke had one of the all-timegreat voicespretty but not feminine, warm yet exceptionally pure, slightly gravelly but never rough. And though its tempting to call him a soul singer, he was really far too versatile to wear but a single badge. With his roots planted deeply in the soil of southern gospel, Cookes drive to succeed (he was the first black artist to start his own

record label) and far-ranging musical interests led him to write an extraordinary string of pop hits (beginning with 1957s You Send Me) and soul classics (such as Shake), in addition to covering country (Tennessee Waltz) and folk (If I Had a Hammer, Blowin in the Wind). But whatever he sang even the schmaltzy stuffsoulful it certainly was.

A Mighty Welcome Wind


JONATHAN 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) n 1960, when Joan Baez recorded her first eponymous album for Vanguard, in that famously pure, flame-like soprano, folk music meant English and Scottish ballads from Francis Childs collection, a smattering of protest songs from the thirties and forties, a few oft-performed Negro spirituals and laments, and a bit of left-leaning international repertory. By the time she recorded her heavily Dylan-influenced Farewell Angelina in 1965, the world had changed irrevocably. It had taken Dylan to remind us that 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 genre into living poetry. The two wonderful Vanguard albums that Cisco has reissued on 180-gram vinyl span the divide between traditional folk music of 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 recorded Northern Journey in 1963, soon after making a splash at the Newport Folk Festival. The album contains two of their best selfpenned songs, Some Day Soon and You Were on My Mind (both, like so many other Ian and Sylvia songs, hits for other artists, though neither better performed than they are here), along with bluegrass and c&w-tinged fare, as well as traditional folk ballads. Traditional or contemporary, all of the numbers on this album are terrific. And Ciscos sound is to die for. The roughhewn timbres of Ian and Sylvias voices and the down-home twang

of their harmonies were distinctively different than the planeddown prettiness of groups like Peter, Paul, and Mary. The album captures this authentic rawness, sexiness, and playfulness with you-are-there realism. Joan Baez was mixing Dylan with folk as early as 62. But on Farewell Angelina she stepped out, to use a phrase that Dylan was fond of. The first three numbers on Side One are Dylan tunes Farewell, Angelina, Daddy, You Been On My Mind, Its All Over Now, Baby Blueand Side Two ends with A Hard Rain Rains 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 Dylan is a bit too much like Cecilia Bartoli singing The Beatles. To me, The Voice Meets The Poet is an entire successa bit high-flown, sure, but nonetheless incredibly lovely, spirited, and chaste. Ciscos remastered sound, taken like that of the Ian and Sylvia album from the original half-inch tape and mastered pure analog (with tubes, at that), is the best Ive heard from this recording and Ive been living with various iterations of this great disc since it first came out. While it is only too easy now to laugh at the earnestness and innocence and, yes, phoniness of the folk craze (Baez, for example, knew not one blessed thing about the history of the songs she immortalized), if you were there at the timeand I wasyou will always look back on albums like these, and the four or five years that the folk revival flourished, with immense love and sadness, for in looking back on them youre looking back on yourself, before, during, and after time, tide, and the terrible sixties beat all or most of the yearning hopefulness out of you. For Bob Pincus and the other good folks at Cisco, I have only one request: More, please.

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Aint That Good News was Cookes first record on his own Tracey label. At this point in his career (late 63/early 64) Cooke had moved beyond the teen love songs (Cupid, Only Sixteen, Wonderful World) that had made him so popular, and into a more mature, worldly, and funky style. (Revisiting these records is a sad reminder at just how great was his loss, gunned down at 33.) Although the spine-tingling anthem, A Change Is Gonna Come (inspired by Dylans Blowin in the Wind), is arguably Cookes greatest song, Good News contains any number of unforgettable numbers, and Falling In Love is a heartbreaking unrequited love song. At The Copa is an interesting snapshot of live Cooke, though one taken with a somewhat distorted lens as the singer deliberately reverted to more popular fare to please the nightclubs toney audience. Regardless, the band is superb, the arrangements classy, and Cooke, who had flopped at the venue six years earlier, is in top form. Highlights include Nobody Knows You When Youre Down and Out, Cookes standard medley of hits, and a rollicking Twistin the Night Away. The sound here is the best of the batch, the most transparent, holographic, and dynamically free. Copa also has a carefully crafted 5.1-channel surround mix, with the listener placed in the audience (occasional conversation and tinkling ice cubes and all) and Cooke and his musicians where they should bein front of us, dammit. The compilations, Keep Movin On and Portrait, duplicate much of the same material, with Movin On basically covering the last year of Cookes career and Portrait, with its 30 tracks and staggering 83-minute playing time, spanning the entire breadth of it, including his first recording with the Soul Stirrers, 1951s Jesus Gave Me Water. The sound of the studio cuts varies, naturally, but as with the Stones titles ABKCO has knocked another one out of the park, and the liner notes by Peter Guralnick (whos currently writing Cookes bio) are WG outstanding.

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.

hen the bluegrass-plus acoustic trio Nickel Creek (NC) released its self-titled debut album in 2000, critics and audiences were won over in equal measure. Nickel Creek went on to sell over 800,000 discs and earned a Grammy nomination. In August 2002, the group released This Side, which has since been awarded the Grammy for Best Contemporary Folk Album. Its easy to hear why. The charm of this Southern Cal-based band stems from its fresh challenge to our preconceptions of homespun musical genres like folk and bluegrassNC simultaneously honors old-world traditions while respinning them with contemporary country-pop hooks and hill-country accents. Here, the echoes of bluegrass legends Flatt & Scruggs and The Dillards rub shoulders with those of The Beatles and Eagles. With Sara Watkins on violin and Sean Watkins on guitar (both sing lead as well), NC offers crisp ensemble playing, but its Chris Thiles mandolin virtuosity and quirky singing that puts the caffeine in the coffee and keeps it percolating. When he lies out, Nickel Creek loses a few pennies. Whereas NCs debut album hewed closely to the roots-oriented folk periphery, This Side finds the trio striding toward mainstream center. But with just one instrumental (compared to five on Nickel Creek), the added songwriting chores result in growing pains. There is no contest between these hybrid discs PCM and SACD layers. The

SACD stereo layer returns the resonant body to the instruments and removes a layer of grunge from the top end. Dimensionality and separation of images are improved as well. The multichannel mixes couldnt be less similar. The mix on Nickel Creek is flat and lacking an acoustic envelope, while the more creative, involving mix on This Side is discretely immersive with a wide, dimensional soundstage. Sugar Hill has also made available on SACD Dolly Partons Little Sparrow and Halos and Horns, the country stars mountain-roots albums from 2001 and 2002, respectively.
NEIL GADER

The Kinks: Everybodys In Show-Biz and Low Budget. Mobile Fidelity 2010 & 2008 For both: Hybrid stereo. Ray Davies, original producer; Shawn Britton, remastering. (Sonic Rating: 7)

obile Fidelitys decision to put The Kinks on SACD is a good one. Like The Animals, this British bands catalog has been crying out for better mastering for years. The downside to these two records is that they arrived after The Kinks had peaked, and are stepchildren to classics like The Village Green Preservation Society. 1972s Everybodys In Show-Biz is a concept double album, with half dedicated to live performances and the other to songs about life on the road. But the music suffers from Ray Davies pop eccentricities. The studio sides quirky musical arrangements play like a defective melding of The Band and E.L. Doctorows Ragtime; the live performances are similarly jumbled. Released in 1979, Low Budget was the last good Kinks record. That the albums title, and songs like A Gallon of Gas, refer to the American economic recession and oil crisis is fitting, since a handful of

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watered-down pop-rock songs (Catch Me Now Im Falling, Superman) and their glitzy Broadway choruses now sound like a time capsule containing Bad Company and Eddie Money. These discs continue MoFis ongoing streak of Super Audio sonic success. Both are remastered from original, Ray Davies-approved analog tapes. The studio material is wide open, with significant depth, taut bass, and impeccable phasing. Davies voice cracks with attitudinal emotion, the rhythm pops, and the drums seem thisclose to being right in front of our noses. We hear without interference the fussed-over guitar tones, specifically dialed in for each song. Get Low Budget for its snapshot of late 70s America, dirty crank (Low Budget, In A Space), and thick, thumping sound, but hope that MoFi gets its hands on The Kinks mid-to-late Sixties catalog and BG does it this kind of justice.

DVD-A
Steely Dan: Everything Must Go. Walter Becker and Donald Fagen, producers. Reprise 48435 (Sonic Rating: 9)

hen Steely Dan is at its considerable best, one feels as if hes dropping in on a believable situation, a vignette taken from a larger, complex reality. Certainly, the events of the past few years, since 2000s Grammy-winning Two Against Nature, have provided plenty of mise-en-scnes for Donald Fagen and Walter Beckers darkly cynical sensibilities: Godwhacker is a strangely ambivalent take on post9/11 American vengefulness and the title track considers Enronesque corporate malfeasance. But throughout Everything Must Go, the composer/lyricists more often adopt a stance of distanced ironic observation, rather than truly inhabiting their creations. Much seems very familiar: Fagen under the spell of another unbalanced free spirit (now half his age) in Lunch

with Gina or nostalgically recalling the good life (Things I Miss the Most). Textual details seem familiar, tooits Jill St. John instead of Tuesday Weld that our hero is reminded of this time out; were drinking Tanqueray instead of Cuervo Gold or kirschwasser-from-ashell. Apart from the words, many of the songs sound like other Steely Dan songs. Walter and Donald may devise new adventuresome harmonic excursions, but the backing vocals, horn arrangements, the facile guitar curlicues youve heard it all before. Its nice to have Beckers amiably loping bass on every cut, though his guitar solos can wear thin and one lead vocal from the guy (Slang of Ages) is one too many when his partner still has one of the most arresting voices in all of pop music. The sound on the CD is what youd expectopen, dynamic, detailed, great bass. The DVD-A was released simultaneously and, presumably, the 5.1 multichannel is not a revisionist afterthought. Its rational, consistent, and clarifying. Lead vocals, bass, drums, and sax solos are solidly anchored in front; behind, there are subsidiary guitar parts, horn sections, some sweetening vocals. For once, there isnt the sense of the music being pulled apart but, rather, a pleasing three-dimensional mass of sound, the preferred way to experience this material.
ANDREW QUINT

Deacon Johns Jump Blues. Cyril E. Vetter, producer; Mark Waldrep, DVD-A producer. Image 0557 (CD); AIX 81004 (DVD-A) (Sonic Rating: 9)

ouisiana blues guitarist/vocal ist Deacon John Moore is a session player whos played with the likes of Irma Thomas and Lee Dorsey over a 40-year career. Here, he leads a cast of New Orleans legends through an homage to 50s and 60s Crescent City jump blues, gospel, and R&B. Allen Toussaint and Dr. John are among the guests, but this projects appeal is in how well it captures the

periods feel without sounding at all derivative, forced, or canned. Its loaded with talents that, for one reason or another, never got their names on the marquee the way Professor Longhair and Fats Domino did. In Moores case, he never made a solo record that gave him national exposure. On this, his dulcet rhythms and gilded tones sound best where theyre atin the thick of the music, modest so that they never subtract from the songs intent or stick out in an ensemble where no individual is the star. Another Big Easy performer, pianist Henry Butler tinkles the ivory on Jumpin In The Morning, the discs sweaty opener. Butler, who collaborated with acoustic blues sensation Corey Harris on 2000s Vu-du Menz, is one of jazzs unsung greats, a visionary artist with the potential to revitalize anything he plays. Other standouts include The Zion Harmonizers spiritual a cappella reading of Jesus Is On The Main Line and a swaying big-band version of the Dave Bartholomew standard Someday, which Moore sings in a mellifluous voice that makes the song a classy throwback to the late Forties. We can almost taste the Mint Julep and picture women in their crisp white dresses twirling in front of a bandstand. If theres one complaint, its that the music is occasionally too safe. Rather than allow this to be a distraction, listeners should explore the original music that inspired this disc the eight-disc Mercury Rhythm N Blues Story is a terrific touchstone. Sonics are spectacular and incredibly clean. The DVD-A is two-sided, one holding 5.1 Dolby Digital and DTS, PCM, videos, and liner notes, and the other, the superior 5.1 MLP mixes. Originally recorded with tube amps and Neumann mikes onto an analog 24track master, its the first entry in AIXs Analog and Vintage Gear Series. The stereo presentation is beautiful, but surround enthusiasts should opt for the 5.1 Audience mixwonderful balance, huge imaging, and nice use of the rear channels. Conversely, the 5.1 Stage program is oppressive, with too much going on behind the listeners head. BG

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McIntosh, B & W, Krell, Klipsch, Tannoy, CJ, VPI, Sunfire, Marantz, Levinson, Lexicon, & more Bought sold-traded-repaired www.audioclassics.com 3501 Old Vestal Road, Vestal,NY 800-321-2834

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New Music from The Mars Volta, Caf Tacuba, Tomahawk, Mondo Generator, EELS, Northern State, and 60s surf-rock legends
Bob Gendron
Third in an occasional series presenting some of the freshest and most creative new rock and pop music out there, from innovative artists worth getting to know. he most intoxicating headtrip of a record youll hear this year is The Mars Voltas De-Loused in the Comatorium [GSL/Strummer/Universal 00593]. In 2001, when poised to break into the mainstream, At the Drive-In hastily called it quits, three-fifths of the band went on to form Sparta, a good but unspectacular emo-rock unit, while the other two-fifthsthe two members with Afro hairdos, Omar Rodriguez and Cedric Bixlerfounded The Mars Volta. Now its clear why ATDI split: That group could never possibly contain the intergalactic sounds forged by Mars Volta. This is the psychedelic crossroads at which The Grateful Deads freak-out acid tests come face to face with Parliaments mothership funk, where Led Zeppelins monster-boogie firewater mixes with Cans complex art-rock elixir. Granted, when Bixler pushes into the upper peaks of his vocal register, he sounds pinched, somewhere betwixt Rushs Geddy Lee and Queensryches Geoff Tate. But this record is so extremely strangeand so extremethat the ambition fits. None of this would be possible without Rick Rubins mind-boggling production. So many sounds happen concurrently battery rounds of drums going off like cherrybombs, cooing organs, knots of heat-baked electronics, boiling AfroBeat syncopation, speak-and-spell guitar tones, threatening bass linesthat its a marvel not to hear this collapse in one messy heap. But Rubin has balanced these kinds of loads before, with Rage Against the Machine and Slayer. He does it again here, but makes it all sound even larger, bolder, more imminent. DeLoused is a 10-song cycle inspired by a childhood friend of the bands who died young, whose story the band will soon make available. But knowing the lyrics isnt necessary, for this is as musically astonishing and psychologically thrilling as it gets from a band thats challenging itself and listeners into another dimension. While the adage of music as a universal language that doesnt need translation may not hold true for all artists, it does for Caf Tacuba. On its fifth outing, Mexico Citys premier pop quartet continues to make International Relations sound sublime. Cuatro Caminos [MCA 32492] isnt as musically encompassing as 1999s double-supreme Reves/Yosoy, but its more cohesive and focused, taking the band ever closer to being the Latin Beatlesthats Beatles circa 1967, with a larger palette at their disposal. Whether its a strummed pop-rock stimulant (Cero y Uno) or an urgent electro-acoustic flamenco-tinged ballad (Eres), the music sounds natural, native. Which of course, it is not. Caf Tacuba continues to have one ear monitoring Latino traditions, and the other on the pulse of American and British culturelush walls of orchestrated strings, slivers of ambient loops, fizzing box-echo percussion, and spring-loaded guitars acknowledge The Flaming Lips, Radiohead, Grandaddy, and Super Furry Animals. But none of those groups manage bossa nova, folk hip-hop, and psychedelic Britpop on the same record. Caf Tacuba does. Like a magic wand, Elfuego Buendias waves his sizzling phrasing and gamut-running tonalities over the music, flavoring it with madcap spice that crosses the sound of The Clashs Joe Strummer with Robyn Hitchcock. If you still need further reassurance that Caf Tacuba is one of the ten most exciting groups in pop today, the band landed soundscape producerextraordinaire Dave Fridmann, who has mighty select taste. As hes done with the Lips and Mercury Rev, he gives the sonics a panoramic feel and a mediumsoft texture no other producer has yet mastered. Fun. Smart. Irreverent. Indispensable. Rock groups dont come more pedigreed than Tomahawk. Fronted by former Faith No More vocalist Mike Patton, the quartet counts exJesus Lizard guitarist Duane Denison, Melvins bassist Kevin Rutmanis, and past Helmet drummer John Stanier as members. On its second go-round, Mit Gas [Ipecac 40], Tomahawk crosses Angel Dust-era Faith No More with Down-era Jesus Lizard, mixing up tempos, helicopter-blade-chop rhythms, and buckled guitar leads in creating a soundscape that runs from grinding to moonlit. One of musics dynamically gifted singers, Patton is in prime form, manipulating accents and syllables to match the musics theatrical effects and go-stopturn-go velocity. He taunts, cheers, comforts, and snarls, and when called for, channels Nick Caves sternness, Axl

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W h e r e To B u y
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Roses demonic register, and Bootsy Collins offbeat disposition. Rutmanis funky bass drills like a bit plunging into bedrock. Staniers walloping cementblock beats sit at the center of the musics closed-fist tightness. Occasional surpluses of electronic and pre-recorded effects (the records last two songs are forgettable) are the only kinks. Those aside, this is an involving, surprising, noisy rideone well worth taking, if only to hear Pattons vocal acrobatics. Tomahawk and Joe Barresi handled the production, giving the record a rocksolid foundation on which dry, concussive rhythm instruments blend with warmer keyboards and vocals. Queens of the Stone Age bassist Nick Oliveri is one of the craziest minds in music. His shaved eggshaped head, shirtless chest, nicotine appetite, and microphone-swallowing jaws make for quite a fiendish sight onstage. The same zealousness is heard in his songs. A Drug Problem That Never Existed [Ipecac 41], the second album from Oliveris Mondo Generator side project, claims the energy and insanity many records are hyped at delivering but seldom do. While the music leans toward the punk-metal side, Oliveri is a throwback of sortsa musician who couldnt care less what people think, and who plays for fun without regard to trends, political correctness, or neatness. He also writes some pretty good tunes, his gonzo humor matching his chemical curiosities and spastic eruptions. In between the rafter-swinging chaos, Oliveri ventures to interesting corners: Do the Headright is a warped update on the girl-group sing-along of the 60s, All I Can Do is starkly naked folk-rock laid bare on an acoustic guitar with a background church vocal supplying the choral swell, and Im Free is a blistering Steppenwolf road jam for the new century. Foo Fighters producer Brad Cook co-produced with Oliveri. Its an average-sounding rock record, with a loud, crunchy midrange and a nondescript low-end.

Mark Oliver Everett has been making great records under his EELS moniker since 1992, when he was just 20 years old. His pop goldmine streak continues with Shootenanny! [Dreamworks 50442], one of the years happiest records. In the past, Everetts songs have been concerned with disaster (he even looked like Ted Kazcinski on the cover of 2001s Souljacker), but somethings caused him do a near-180-degree spin. Songs like Rock Hard Times and Restraining Order Blues would appear to follow Everetts previous trajectory, but theres a difference. He sounds liberated, comfortable, relaxed, and accepting of his imperfectionsof his humanity. These sentiments abound in his glittering music, in his halfgauzed, half-smoked voice, but most of all, in his uplifting lines. On Love of the Loveless, he sounds like hes singing the Coca-Cola song to the whole world; on the giddy Saturday Morning, hes jumping off sofas recalling what its like to get up as a kid on the first day of the weekend and have the whole day ahead; on the perfect jangle-pop of Dirty Girl, hes made a back-porch ditty that reflects on lifes fleeting good times. Though Everett is a multi-instrumentalist, his cosmic blues, pop waltzes, and American-style pub rock get help from a four-piece band. Shootenanny! has spotless production, the kind of realism and warm presence we expect from an LP. Occasionally, Everetts vocal timbre sounds a lot like Becks, making Shootenanny! the warm and fuzzy counterpart to the merry pranksters 2002 masterpiece of lost love, Sea Change. Those who think they hate all rap, consider the women of Northern State: Julie Potash served on Hillary Clintons Senatorial campaign, Correne Spero has a degree from Oberlin, and Robyn Goodmark is a kindergarten

teacher. Not exactly your typical hip-hop biography, but these white Long Island females arent your typical contemporary rap group. In taking the music back to its Brooklyn rootssimple beats, firm grooves, turntable scratches, real instruments, and best of all, sensible messagesNorthern State has made 2003s smartest, freshest hip-hop EP, Dying In Stereo [Star Time 16]. The lyrics are devoid of guns, gangsta, and ganja; there are no braggadocio sex boasts, violent fantasies, or personal vendettas. Songs like Vicious Cycle and All the Same address politics, womens equality, and social consciousness, yet never bog down in idealism or preachinessthe delirious wordplay and grinning pop-culture name-checking on Trinity and At the Party make certain of that. The trios melodies, harmonies, and poetic licenses flow, rhyme, and explode like old Beastie Boys and De La Soul singles, and Northern State embraces their independence in a similarly confident, punky, and funky mannertheyre having fun, theyre good at what they do, and they know it. Dying In Stereo is the most infectious female-group hip-hop record since Luscious Jacksons 1992 roots-based In Search of Mannyonly better. Finally, grab your towel, Coppertone, and Mai Tai. For those who cant get enough of Hawaii or California, and for whom the labels 40-other surfmusic releases arent enough, Sundazed has issued Lost Legends of Surf Guitar Volumes I III [11126/7/8] 60 tracks (many previously unreleased) of reverb-soaked Fender Jazzmaster and Telecaster guitars teamed with bongo beats, carefree horns, stretchy bass lines, and muscle-car sound effects. These wave-crashing chords and chiming scales arent anything we havent already heard, but nonetheless provide a lighthearted Polaroid of an innocent time. All three volumes come with song-by-song liner notes, memorabilia, and informative sidebars of whosBG who in 60s surf-rock.

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Ind e x t o A d v er ti s er s

Accuphase ................................Cover II & page 1 www.accuphase.com Acoustic Sounds ....................................116,117 www.acousticsounds.com Acoustic Zen ..................................................30 www.acousticzen.com Airtight ..........................................................56 www.axiss-usa.com Alon By Acarian ..............................................77 www.alonbyacarian.com Antique Sound Lab ........................................152 www.divertech.com Art Audio ........................................................82 www.artaudio.com Atma-Sphere Music Systems..........................143 www.atma-sphere.com Audio Advisor ................................................110 www.audioadvisor.com Audio Connection ..........................................166 www.audioconnect.com Audio Note......................................................96 www.audionote.co.uk Audio Outlet..................................................120 www.audiooutlet.com Audio Plus Services ........................................48 www.audioplusservices.com Audio Tweakers ............................................174 www.audiotweakers.com Audio Video Logic..........................................172 www.audiovideologic.com AudioQuest ..............Cover IVwww.audioquest.com Avalon Acoustics ............................................62 www.avalonacoustics.com AvantGarde ..................................................107 www.avantgarde-usa.com Ayre Acoustics ................................................58 www.ayre.com B & W Loudspeakers ......................................27 www.bwspeakers.com Boulder Amplifiers ..........................................66 www.boulderamp.com Burmester ......................................................60 www.burmester.de Cable Company ............................................160 www.fatwyre.com Cardas Audio ..........................................Cover III www.cardas.com CES..............................................................118 www.CES.org Chesky Records ............................................167 www.chesky.com Cisco Music ..................................................149 www.ciscomusic.com Classe Audio ..................................................45 www.classeaudio.com Conrad Johnson ..............................................10 www.conradjohnson.com Dali Loudspeakers ........................................112 www.dali.usa.com Delve Audio ..................................................169 www.delveaudio.com DEQX..............................................................88 www.deqx.com Dynaudio ........................................................84 www.dynaudio.com Edge Electronics ............................................83 www.edgeamp.com Electrocompaniet ............................................74 www.electrocompaniet.com Elusive Disc ..................................................155 www.elusivedisc.com Flat Earth Audio ............................................152 www.flatearthaudio.com Furman Sound ................................................68 www.furmansound.com

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The Start of the Affair


Neil Gader

ithin my circle of friends during the 1970s, I wasnt the first one bitten by the audio bug. It was my oldest friend, Steve. And he was bitten hard. Although we were both avid TAS readers and had been since Issue 1 (and how could we not be with the ever-persuasive HP as a mutual friend?), Steve was the enthusiast who read each issue cover to cover with what amounted to near religious fervor. And it was Steve who took that high-end high dive and laid down some serious moolah for a true reference system. Steve set his sights on the ARC D-150 stereo amplifier, its stable mate, the SP3a preamplifier, and Magnepans tri-panel Timpani 1D planar-magnetic loudspeakers. When the Revox straight-tracking turntable received rave notices from HP, Steve pronounced himself ready to take the plunge. Completing the system with ADCs XLM cartridge (soon to require a fresh stylus due to its tendency to suffer SCCSSudden Collapsing Cantilever Syndrome) and Bob Fultons dangerously thick and unwieldy Gold speaker cables, Steve was on the fast track to audio nirvana like no one Id known besides HP himself. I was living in NYC at the time and only learned of Steves resolve to acquire this system when he called requesting a favor. He had a bead on the amplifier, retubed, in mint condition, and available from a reputable high-end dealer on the Upper East Side, the legendary Lyric Hi-Fi. The price was $2750. This was used? I was convinced that Steve had gone nuts. I was also green with envy. Steve asked that I 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 up Lexington Avenue to Lyric where I encountered the D-150a 100-plus-pound beast overflowing with fat 6550 output tubesresting ominously in a corner. The chunky aluminum faceplate was mobbed with huge meters for tube biasing and line voltage readout, and a large black knob to individually select output tubes for rebiasing. Back in L.A., Steve was busy purchasing the other gear, including the ARC preamp. The SP3a, however, was making a quick stop prior to

its arrival at Steves house. He was having it shipped directly from the factory to mod-specialist Frank Van Alstine for the installation of a toggle switch to bypass the tone controlsa tweak that had been validated in the pages of TAS. Even the guys at ARC were a little awed by someone buying one of their products and not even listening to it before having it modified! But that was the power of TAS. It mattered less to our readers what the manufacturer said than what HP and the senior writers heard. When I moved back to L.A., Steve left me a key and an open invitation to fire up the system whenever he was at work. This was also a new experience: a friend of mine having a genuine reference system in his own home. Somehow this was distinctly different from visiting HP in his Sea Cliff digs and listening to systems that always seemed otherworldlyand unattainable. As a heavy listener of the singer-songwriters of the era, I fell in love with the right there quality of this systems vocal reproduction, the huge images, the veritable wall of sound. The speed of snare drum transients, the complexity the system extracted from the lowest level information, and, of course, the sustain of the bell at the close of Peace Train (never again I promise!) from Lincoln Mayorgas Sheffield direct-to-disc LP were nothing if not magical. This was also the first system outside of Sea Cliff that enabled me to identify what was going right and going wrong with recordings. Eventually, I started hearing the systems limitations too: It required scads of volume to come alive dynamically and to breathe; it wasnt happy playing loud, as the Maggies simply couldnt impart the unbridled dynamism of orchestral crescendos; and the D-150 didnt have the control at the bottom that we take for granted in finer amplifiers today. But these shortcomings were hardly dismaying then. Even now its sound remains indeliblefast, palpable, romantic, and remarkable. Ultimately, Steve managed to unhook himself from the hobby, hooking me in the bargain. He sold the ARC gear to a collector in Japan for pretty much what hed paid for it. Today it seems clearer than it did at the time that as Steve closed this chapter in his life, a fulfilling and extended chapter was just beginning in my own. One that continues to this day. &

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THE ABSOLUTE SOUND I OCTOBER/NOVEMBER 2003

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