Cables, Power Products, Accessories, & Music (Absolute Sound Buyer's Guide) PDF

buyer's GUIDE to
Cables, Power Products,

Accessories, & Music
go to: Contents | On The Horizon | Cables & Interconnects | Power Conditioner & Power Cords | Accessories | Music
Contents
Departments
• From the Editor
• On The Horizon
Cable and
Interconnect
Reviews
• WyWires Blue
• Survey:
New Cables from
Cardas, MIT, and Wireword
•W ireword Equinox 7 and Eclipse
•N ordost Purple Flair
•E nKlein Amphora Phono Cable Power Conditioner
•C rystal Cable Absolute Dream
•M IT Oracle MA-X SHD and Power Cord
•T ransparent Reference XL
Digital Link Reviews
•S ynergistic Galileo LE • Audience Adept Response Accessories Music
•A coustic Zen Absolute Copper • Shunyata Venom PS8 • Klaudio KD-CLN-LP200 • Feature: Beatles in Mono
•M oon Audio Silver Dragon V2 • Shunyata Typhon Record Cleaner •F eature: A Personal Discographic
•W ireworld Platinum Eclipse 7 • Synergistic Tesla • Auralic Gemini 2000 Companion to Inside Llewyn Davis
•A udience Au24 SE • 13 Power Cords Under $500 Headphone Dock • Top Ten New CDs of 2014
• Three Power Cord Upgrades • Audio Desk Systeme Record • Top Ten CD Reissues of 2014
Cleaner • Top Ten New Vinyl of 2014
THIS SECTION Sponsored by THIS SECTION Sponsored by • Critical Mass Systems Sotto •T op Ten Vinyl Reissues of 2014
Voce Equipment Rack •T op Ten Pop/Rock High-Res
Downloads of 2014
•T op Ten Classical High-Res
Downloads of 2014
Cl ick herexttopagoge .to

th e ne
2 Guide to Cables, Power Products, Accessories, & Music www.theabsolutesound.com
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©2014 NextScreen, LLC

FROM THE Editor

Welcome to the 2014 Absolute Sound Buyer’s Guide to Cables, Power Products, Accessories, and Music. You
will find that this edition is filled with expert reviews of some of the best speaker cables, interconnects, power
cords, AC conditioners, record cleaners, and equipment racks on the market. In addition, we have included more
than 40 pages of the best musical releases of 2014.
Technology has come a long way in the past decade, and today’s high-quality speaker cables, interconnects, and Given the sheer number of speaker cables, interconnects, AC
AC power cords can help you realize the potential of your system to an extent never before possible. With all the power cords, and audio accessories on the market, it is always
electromagnetic radiation and RFI floating through our homes and introduced through power lines, upgrading a daunting task for a consumer to choose the products most
power cords can dramatically lower the noise floor of your reference system, while speaker cables and worthy of valuable audition time. With this Buyer’s Guide, you
interconnects that reduce or eliminate colorations can help deliver the transparent, finely detailed soundstage can narrow your list to a few candidates, and rest assured that
you're looking for. Record cleaners have also progressed in leaps and bounds over the past ten years, with new the components recommended are of the highest quality. We
ultrasonic record cleaners that dig deep into the grooves to remove grime that’s been stuck between you and hope this Buyer’s Guide will steer you in the right directions
your system’s true sonic potential for years (or decades). We've even included a review of an equipment rack and help you with your next purchases.
that is both sonically beneficial and visually striking. And we finish up with page after page of the best music of
the year, from LPs to digital downloads. Happy listening,
Spencer Holbert

go to: Contents | On The Horizon | Cables & Interconnects |
Power Conditioner & Power Cords | Accessories | Music
ON THE HORIZON
Hot New Products
Coming Your Way
Cl ick an yanad to
vis it
ad verti ser ' s w eb site.
AudioQuest
Water, Earth, Wind, and Fire Analog Interconnects
AudioQuest’s new “Element” line builds on the company’s 30 years of experience designing some
of the best cables on the market. Each cable in the Element Series uses a 72V dielectric-bias
system to maintain a constant charge, and therefore essentially eliminate the need for break-in.
The Elements also feature high-performance, state-of-the-art technologies, such as a carbon-
based, six- and eight-layer noise-dissipation system, solid perfect-surface conductors, controlled
directionality, and air-tube insulation. The Water, Earth, and Wind interconnects are available in
RCA or XLR terminations, which are cold-welded with hanging-silver plating over red copper; the
Fire interconnects take things to the next level with WEL-type, double-contact, extreme-purity
terminations available in RCA or XLR. As always, the AudioQuest Water, Earth, Wind, and Fire
interconnects are wrapped in a sleek, braided dielectric, which makes a sonic and visual statement.
Starting price: Water, $450/0.5m; Earth, $750/0.5m; Wind, $1495/0.5m; Fire, $2145/0.5m.
audioquest.com
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AudioQuest WyWires EnKlein EnKlein

Chicago Analog Interconnect Diamond Series David Power Cord Big Tom II
Even entry-level systems can benefit Diamond is a brand-new design from WyWires The David Power Cord from EnKlein attempts Compared to other models available from
from high-performance cables. That’s why that features a new Litz-wire, air-dielectric to achieve highest performance by drawing EnKlein, the Big Tom II AC power cord is
AudioQuest has introduced the Chicago Analog design. The Diamond Series cables employ upon years of design experience in the downright bargain-priced. Featuring rhodium-
Interconnect, the newest addition to its River complex architectures optimized to produce government- and commercial-signal industries. plated solid-copper conductors and a nylon/
Series Analog Audio interconnects. Starting at neutral timbre and detail retrieval that far The David features balanced-shield noise fiberglass front plate, the Big Tom II uses
only $64 for a 0.5m pair, the Chicago features surpasses that of previous designs. Stellar cancellation, an electromagnetic-interference trickle-down technology from the more
solid long-grain-copper conductors, double- textures, transparency, and dynamics are system-shield (EMISS), and a patent-pending expensive TReX power cord. With premium,
balanced geometry, hard-cell-foam insulation, hallmarks of the Diamond Series, which shield-energy-dissipation controller, all of which stranded, 14-gauge-copper cores and EnKlein’s
metal-layer noise dissipation, and cold-welded, represents WyWires’ pursuit of the ultimate in aim at lowering the noise floor to an absolute EMISS shielding, the Big Tom II enhances
gold-plated terminations (RCA only). These cables and interconnects. Price starting at: minimum to retain signal purity. The goal is the quality of the power delivered to your
cables can help realize the true sonic potential Interconnects, $4499; speaker cables, $7999. to shield your reference system from all the equipment by removing spurious signals. The
of an entry-level system without breaking the wywires.com extraneous and spurious noises that can be result is a lower noise floor and less grunge.
bank. Price: $64/0.5m pair; longer lengths $59 introduced through electromagnetic radiation Price: $875/1.24m. enklein.com
+ $10 per extra meter. audioquest.com from external sources, as well as from the
myriad radio frequencies floating through your
home. Price: $7500/1.25m; additional lengths
available. enklein.com
6 Guide to Cables, Power Products, Accessories, and Music www.theabsolutesound.com

ON THE HORIZON
Music Interface Technologies Shunyata Research

Oracle Matrix SHD 120 Rev.1 MPC-12 Media Power Center
Pioneered by Bruce Brisson of MIT Cables, The Media Power Center 12 is the most
the latest generation of Oracle Matrix SHD complete, multi-function, high-current power
120 Rev.1 speaker cables features the newest distributor Shunyata has yet produced. Six
iteration of 2C3D (2-channel, 3-dimensional) of the MPC-12’s twelve outlets are designed
technology. According to MIT, 2C3D makes it exclusively for digital system components.
easy to identify individual instruments and These digital outlets are isolated from the
voices within a well-defined, three-dimensional bank of six analog outlets via Shunyata’s
soundstage, at any volume level. The new hand-wound air-coil technology. This custom-
Oracle Matrix SHD 120 Rev.1 speaker cables built coil prevents high-frequency digital
put more energy in front of and behind your noise generated by digital electronics from
reference speakers to produce a deeper stage contaminating the analog components plugged
and more holographic imaging. The 2C3D into the other side of the MPC-12, making for
circuitry can easily be switched on or off in a far lower noise floor, “blacker” backgrounds,
order to compare the difference the technology and less grunge in the audio signal. The MPC-12
makes. The Oracle Matrix SHD 120 Rev.1 is essentially two discrete power conditioners
speaker cables employ the same technology in one box, which allows both superior noise
used in MIT’s new flagship Oracle MA-X SHD reduction and maximum current delivery. On
Rev.1. Price: $27,999. mitcables.com top of the noise reduction, spike-and-surge
protection ensures your valuable components
won’t be fried during electrical storms or power
outages. The MPC-12 comes with Shunyata’s
proprietary “massive-gauge” power cord, the
Venom HC, which normally retails for $295 as a
stand-alone product.
Price: $2495. shunyata.com

Equipment reviews
Cables & Interconnects

SPONSORED BY

WyWires Blue Speaker Cable

and Interconnect
Sweet, Supple, and Sensible
Neil Gader
A
lex Sventitsky, the who behind principles, using air, cotton, and PTFE Teflon
the why of WyWires, says that dielectrics along with WyWires own Litz-wire
he began thinking about making geometry. The Blue line is derived from the
audio cables in 2002, but because of Silver line with key differences that include
his career in the computer-software a less costly combination of conductor, outer
industry had to put that passion on sheathing, and connector. Blue uses Cardas
the back burner—until 2010, that is, RCA and Neutrik XLR connectors whereas WyWires Blue is lightweight and very flexible, were appropriately lively and playful—my
when he made the leap from software Silver is equipped with more costly Xhadow one of the most flexible cables I’ve handled in attention was only diverted momentarily when
to wires. A self-described lifelong connectors. The elite Gold ups the ante in every years. Yet it sounds anything but humble in I noted a hint of added sibilance on certain “s”
audiophile with music in his DNA dimension and, in a unique spin, integrates playback. Its sonic signature is dynamically sounds, as in the line “Get your kicks on Route
(his father was an audio-equipment Bybee Slipstreams for interconnects, phono, energetic, with a potent midrange, plenty 66.” During Mary Chapin-Carpenter’s intimate
manufacturer in post-WWII Europe and and digital, and Quantum Purifiers for the of drive, and a slightly forward tilt. The Blue “When Time Stands Still” I heard the wonderful
Latin America), Sventitsky regards his speaker cables and Juice II Power cords. doesn’t sound juiced-up or overheated; if the way the cabling has with inner detail. It revealed
firm grounding in mathematics as one All WyWires are manufactured by hand goal is high transparency and black-satin the striking amount of piano “pedal” in this
of the keys to WyWires’ development. at room temperature, which according background silences, it can be considered a song along with the breathy details borne of
After Sventitsky completed his own to Sventitsky allows the use of the best real achiever. the close-miked vocal.
intensive research, WyWires was conductor material without fear of damage The Blue may lack the physical bulk of some The purity of the WyWires’ performance
officially launched in March 2010. due to excessive heat. Conductors are ultra- of its competitors, but don’t be fooled. Its makes it awfully difficult to be critical. At the
Today, WyWires is a global company pure copper allowing them to withstand bass response was strong, even intimidating, end of the day it’s less about raw tonality
with distribution in ten countries along prolonged, intensive use. WyWires use the ideal during the Copland Fanfare [Reference]. While and more about fairly minor subtractions. For
with fifteen dealers in the USA. insulator: air with a little assist from cotton. veering slightly to the cooler side of neutral, example, during Norah Jones’ “Sinkin’ Soon”
There are three WyWires lines. The entry- The conductors are wrapped in organic cotton it exhibited fine rhythmic pace, excellent from Not Too Late [Blue Note] the Blue conveyed
level is Blue, the middle-range is Silver, and the (mostly air after all) and then encased in a top-to-bottom balance, and a good sense a presence range with a bit of silvering around
flagship is Gold. A new Platinum line is under larger diameter PTFE tube—that Teflon tube is of dimensionality along the horizontal and the edges of images. During Evgeny Kissin’s
development. They all share the same design three isolating layers away from the conductor. vertical planes. Tierney Sutton’s jazzy vocals performance of “The Lark” piano chords were

EQUIPMENT review - WyWires Blue Series
not as pristinely delineated as I’ve heard from clean top end, very quick delivery of transients,
some cables; there was just a hint of smearing and well-balanced tonality. In comparison, my
that reduced the clarity of individual notes. current reference USB cable, AudioQuest’s
During Ms. Sutton’s “Alone Together,” the Coffee, has a few more ounces of weight in
low-end response from the standup bass had the bass frequencies and a touch more low-
a little added thickness that undercut detail level resolution. However, in image focus and
and subtracted some of the resonant decay at harmonic integration my guess is that both
the end of each vamp of the intro compared to these wires have enough sonic caffeine to keep
more expensive competition. you up all night listening.
WyWires Silver Series Litespd USB Why Not?

I’ve been listening to a lot of hard drive-sourced Some cables just want to be the star of the
music via USB lately so I had a go with WyWires show. But nothing impresses me more than an
Silver Series Litespd USB cable. I’m glad I did. unpretentious component that lets the quality
Like the Blue speaker and interconnects, the of the recorded performance speak for itself.
Litespd is remarkably flexible. I’d recently Here we have a humble cable in the WyWires
downloaded Carol King’s Tapestry [Ode] from Blue—a cable with a small visual footprint but a
HDtracks in 24-bit/192kHz format. It has been mighty sound. WyWires puts the music upfront
nearly a generation since I sat down to listen and centerstage. A truly auspicious debut.
critically to this mega-hit disc. It was both a
disappointment and a delight sonically. Its
vintage analog sound—warm and woolen—was
dated to be sure, but amidst the nostalgic hiss
of tape noise there also rose an acoustically SPECS & PRICING
unprocessed truth and honesty that is so often
missing in today’s recordings, where studios Price: Blue Series Wywires
perform digital plastic surgery to lift, fill, and speaker cables, 16501 Sherman Way,
tune every flaw of a recording. The track “So $599/8' pr.; RCA analog Suite 120
Far Away” held some surprises. There was interconnects, Van Nuys, CA 91406
considerably more definition and punch to the $469/4' pr.; XLR analog (818) 981-4706
simple kick drum downbeat and downward interconnects, $499/4' wywires.com
spiraling bass line; the images were nicely spread pr.; Litespd S/PDIF
and airy. The guitars of James Taylor and Danny digital, $249 for 1m;
Kortchmar, in particular, were more detailed and Silver Series Litespd
defined than I recalled them. The Litespd turned USB digital, $429 for 1m
in a terrifically musical performance with a
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11 Guide to Cables, Power Products, Accessories, & Music

hum and noise.

To preserve my sanity (and yours) and be-
cause most people I suspect would buy wire by
the label, I chose not to report on the results
of mixed-brand listening, although I did give it
a try. My conclusion? Differences among the
interconnect cables outweighed those among
speaker cables. Finally, and again in the interest
of my own sanity, I limited the music material to
three recordings: 96/24 hi-res renditions of Ella
and Louis [Verve] and the Grateful Dead’s Amer-
ican Beauty [Warner Bros.], and Glenn Gould’s
1981 performance of Bach’s Goldberg Variations
New Interconnects and Cables from

on State of Wonder [Sony], ripped to my com-
puter and upsampled to 96kHz.
Cardas, MIT, and Wireworld

Cardas Clear Light Interconnect and Clear
Sky Speaker Cables
There are two things to like about these Cardas
cables even before you connect them up. The
Mid-Priced Cable Survey first is that they are proudly (any other adverb
possible?) designed and made in the U.S.A.
Ron Doering The second is packaging, which is about as
low-key and at the same time environmentally
E
arlier this year I reviewed Dynaudio’s XEO 5 wireless speaker system, Rightly or not, I took as gospel that it was agreeable as you can get: a zip lock plastic bag
which wasn’t truly wireless. While it was true that speaker cables were the goal of cable designers is to eliminate any and two-pieces-of-paper-worth of product info.
relieved of their duties, plenty of work was still found for AC cords, line-level character imparted to the audio signal by the I put the paper in the recycling bin and used the
interconnects, and coaxial and USB cables, which makes me doubt whether such device itself. I also assumed that the more bags for sandwiches. Ok, maybe a brown paper
“wireless” designs will ever be seen as a threat by the wire-makers of the world. there was of the device, the easier it would be bag would beat this, but really! All perfectly
Wire and electronics go together almost inseparably; yes, it’s possible to make one to discern this character. So I asked for three adequate to the purpose, and neither adds
that operates without the other, but it is relatively difficult to do. Wires, or more meters of interconnect—which wouldn’t be out nor detracts from the inherent quality of the
specifically the conductors inside wire, do a splendidly efficient job at two things of place in order to more conveniently place product itself. And, I think, a classy choice.
that make electronics go: transmitting power and isolating small-scale signals. a preamplifier near the listener—and another For the uninitiated, Cardas Audio is built on
But conductors, any conductors—because none can completely remove itself from three meters or thereabouts of speaker cable. the philosophy of the supremacy of the “golden
the process of transmitting an electrical signal—can’t help but impart a signature Although none of the interconnects tested was ratio” otherwise known simply as the irrational
of their own, as subtle as that may be. Thus, paradoxically, the best cable firms marketed as such, I also tried each connected number 1.618 (in short form). It has been argued
are also working hard to make the wires between components “disappear.” Three to a moving-magnet input of my Parasound that this ratio accounts for the most pleasing
of these firms are here under the spotlight in this survey of their latest mid-line Z phono USB preamp, leaving the other end aesthetics in art, architecture, and the human
interconnects and speaker cables. disconnected, as a check for shielding against form. It is also suggested that it explains the

EQUIPMENT review - Interconnects & Cables from Cardas, MIT, & Wireworld
I’ve ever used in my system, and I can’t MA-X Super HD Bi-Wire speaker cable, and I hardly understand it myself, except that
help to think that the visual image I have of you see what I mean. But that’s only the very superficially the numbers (3, 5, 8, 9, and so on)
these cables might have affected my aural top end of a quite large range in cable pricing. stand for the number of “poles of articulation,”
observations (if true, then blind-listening Towards the other end is the new StyleLine of which (you guessed it) the more the better.
tests may indeed have a purpose). So is my series, which starts at $200 per meter pair The company’s high is 159 poles, so you see I’m
mind equating big and fat cables with big, fat, for the SL 3 interconnects and $500 for an really slumming. According to MIT a pole is an
round, bassy sound? I may never know, but I eight-foot pair of SL 5 speaker interfaces (MIT optimized range of frequencies at which a cable
heard good detail along with a slight fullness speak for cables). I reviewed the slightly more most efficiently stores and transports energy
to the upright and electric basses. This warmth expensive SL 8 ($499) interconnect and SL 9 and therefore is the region where it has best
invited me when listening to Ella and Louis to ($799) interface. This line also encompasses articulation. These poles are relatively narrow,
focus a bit more than normal on Ray Brown’s HDMI, digital coaxial, TosLink, and USB cables, so the more you can get in and distribute
bass playing, which is really not a terrible as well as power cords. evenly across the audible range, the higher the
thing, although the record’s presentation now I’m not going to go too deeply into this as articulation achieved.
became that of three headliners rather than
two. However, Phil Lesh’s electric bass on “Box
of Rain” was at the boundary of being a little SPECS & PRICING
growth patterns of some animals, including the too full, and with it suffering a wee loss of
nautilus shell, a cross-section of which is the control and definition, although not unlike an Cardas Clear Light Music Interface ASSOCIATED COMPONENTS
corporate symbol of Cardas. I suppose George experience I had listening to them live in New Interconnect and Clear Sky Technologies Rogue Sphinx integrated amplifier;
Cardas reasoned that if the golden ratio was York’s Madison Square Garden back in the early Speaker Cables 4130 Citrus Avenue, Suite 9 Kenwood KT-8300 AM-FM tuner;
good enough for art and nature, it should work eighties. $692 meter pair Rocklin, California 95765 Rotel RDD-980 CD disc drive;
a treat in cable-conductor geometry. Mind you, this was a relatively small interconnect/$900 for three meter (916) 625-0129 Meridian 203 DAC; Dell Inspiron
At $692 for a meter pair, the Clear Light magnitude effect which could easily have been terminated pair speaker cable mitcables.com 530 PC running Windows Vista,
is Cardas’ second priciest interconnect, but the result of a system mismatch with my Snells J River Media Center 15; Hegel
it’s still a huge step below the top-of-the-line and could be welcome in other setups. Hum Cardas Audio, Ltd Wireworld Equinox 7 HD2 USB DAC; Thorens TD309
Clear’s $1840 price tag, while the Clear Sky rejection was quite good although somewhat 480 Eleventh Street, South East Interconnect and Speaker turntable; Dual CS 5000 turntable
speaker cable, at $900 for a three-meter less so than the Wireworld cable, which was Bandon, Oregon 97411 Cables (78s Only); TP 92 tone arm;
terminated pair, is fourth out of nine in the almost inaudible. (541) 347-2484 $200 meter pair interconnect/$870 AudioTechnica AT-95B cartridge;
Cardas pecking order (the top-range Clear cardas.com for three meter terminated pair Ortofon OMB 78 cartridge;
Beyond is priced at a cool $9884). MIT StyleLine SL 8 Interconnect and SL 9 speaker cable Bellari VP129 phonostage; Snell
Just keeping things in perspective. Speaker Cables MIT StyleLine SL 8 EII loudspeakers; JPS Labs
Aside from the packaging, the fat blue cables I always equated MIT (Music Interface Interconnect and SL 9 Wireworld, Inc. Ultrconductor 2 interconnects;
are suitably physically impressive, and yet the Technologies) audio cables with crazy- Speaker Cables 6545 Nova Drive, Suite 204 Kimber Kable KWIK-12 loudspeaker
soft rubber casings made them very flexible unreachable prices even if you do get a set of $499 meter pair interconnect/$799 Davie, Florida 33317 cable; Staples 5 meter USB cable;
and easy to dress. magic boxes along with the wire. Try $17,000 for eight foot terminated pair (554) 474-4464 Have Canare DigiFlex Gold coaxial
Except for the Wireworld Equinox 7 speaker for the Oracle MA-X Rev. 2 Proline Balanced speaker cable wireworldcable.com digital cable
cables, the Cardas wires were the chunkiest (1 meter) or $53,500 for eight feet of Oracle

EQUIPMENT review - Interconnects & Cables from Cardas, MIT, & Wireworld
Whatever is going on in MIT cables, the results a side benefit of this is superior immunity to
sounded pretty positive to these ears. The SL 8 EMI and RFI noise. Indeed, the 7 interconnect
did have the poorest rejection of 60Hz hum and displayed the best hum and noise rejection of
noise, but when it was used as intended I heard the cables in this review.
a very neutral top-to-bottom balance. Bass The Equinox 7 interconnect is a particularly
was certainly present, but it didn’t overwhelm good value, being possessed of a pleasingly
everything else. On the other hand, I was able rounded and warm presentation not unlike the
to bask in the detail-fest that makes the sport Cardas Clear Light but for less than one-third the
of high-end audio so much fun: mouth sounds, price. The tremendously bulky and stiff Equinox
the signatures of the microphones, the “sound” 7 speaker cable was also very similar to the
of the recording studio, the bite on brass that Cardas Clear Sky in sonics, but in this case the
makes me fear for what Pop’s chops must have prices were similar as well. While the Equinox was
been going through on Armstrong’s solo breaks easy and never fatiguing to listen to, the added
on “Isn’t it a Lovely Day.” How about the sound of warmth was not what my system needed. But in
the action on Glenn Gould’s piano? Clear as day. a hi fi that’s a bit tilted forward towards the right
Magic boxes? Poles of articulation? Just like my of the frequency continuum, the Equinox 7 may
late-model computer-controlled car, it’s beyond be very welcome indeed.
me how it works, but I do like what it does.
Conclusion
Wireworld Equinox 7 Interconnect and Like choosing among mid-priced sedans from
Speaker Cables Honda, Nissan, or Toyota, it will be hard to go
The Equinox is right smack in the middle of wrong with any of the cables reviewed here.
Wireworld’s extensive new Series 7 line of This is really no surprise as Cardas, MIT, and
interconnect and speaker cable, which also Wireworld are “blue chip” companies that have
encompasses HDMI, USB, coax/TosLink, and been in this business for quite some time, and
power cables. Priced at $200/meter pair they know what they are doing. Yet, there are
(interconnect) and $870/3 meter pair (speaker sufficient differences in the sonic personalities
cable), Equinox appears to be good value in a of these components that I highly recommend a
range that tops out at $3000 and $24,400 trial listen before committing to a purchase.
respectively.
Unlike MIT cables, there are no “magic
boxes” to be found; instead, the Equinox is all
about good quality materials and geometry.
The conductors are of Ohno continuous-cast
copper, and these are arranged to minimize
inductance effects in what the company calls
its DNA Helix configuration. Wireworld claims

Wireworld Series 7 Equinox and

Eclipse Speaker Wire and Interconnect
Lucky Sevens
Neil Gader
O
ver the years numerous examples of Wireworld Still, in retrospect, there seemed to be room for improvement bouncing them off one another to illustrate what enthusiasts
Audio speaker cables and interconnects have in its mid-priced offerings, especially in spatiality and low-level can expect when contemplating an upgrade.
crisscrossed my listening room. So many in resolving power. Thus, when I was afforded the opportunity to My impressions of Equinox 7 essentially mirror RD’s with the
fact that a common theme has gradually emerged. hear Wireworld’s popular Equinox and Eclipse wires in their new exception that compared with earlier Wireworld iterations, the
On a tonal basis, Wireworld’s wires have been eerily 20th Anniversary Series 7 configuration, I jumped at the chance. Series 7 wires are a bit brighter and more open in the treble,
consistent model to model—even to the point of These mid-priced wires are the heart of the Wireworld line— and though they have a warm overall signature, low-level veiling
predictability. Their character has always centered what I consider the two most popular upgrade price points. Both has been reduced and the recovery of inner detail improved.
on the midrange first, eschewing frequency-extreme use Ohno Continuous Cast copper conductors (OCC), but Eclipse The Equinox Series 7 is a more tonally neutral and open wire
flashiness in favor of an overall neutral response. At uses a heavier gauge, which results in thicker, stiffer products. and bears a significant tonal resemblance to its pricier sibling,
times I’d characterize them as leaning slightly toward If my coverage of Equinox 7 is giving you a sense of déjà vu, Eclipse 7. However as I listened to Rhapsody in Blue [St. Louis,
the darker side of the tonal spectrum, but that’s an it should. In Issue 236 TAS writer Ron Doering included Equinox Slatkin; Reference Mastercuts], the Equinox Series 7’s balance
impression I don’t want to exaggerate. It is more a in a survey of mid-priced cables. In that article RD pointed out was clearly more midrange-y and just a little brasher and flintier
reflection of the fact that Wireworld doesn’t hype the its “pleasingly rounded and warm presentation,” a conclusion on brass transients. Soundstage width and dimensionality were
treble octaves like many other cables I’ve encountered. that I’d reached in an earlier go-round with Equinox. Even so, I mid-pack for this range with a corresponding hint of congestion
There is no false detail or transient etching. wanted to contrast Equinox 7 with the uptown Eclipse 7 wires, around neighboring orchestral images. On balance Equinox will

EQUIPMENT review - Wireworld Series 7 Equinox and Eclipse

be a tough competitor with the recent reviewed orchestral vinyl like The Wasps Overture [RCA
Nordost Purple Flare and WyWires Blue (Issue Red Seal], certain common traits with Wire-
236). world’s flagship cable, Platinum Eclipse (review
Turning to Eclipse 7, its larger-gauge OCC forthcoming), presented themselves. Foremost
copper conductors seemed to embolden its was the sense of layered depth that brings
sonics. Several differences are obvious. Though symphonic works alive in the listening room.
very good in this regard, the Equinox 7’s mi- String sections and the positioning of individ-
cro-dynamic energy can’t match the vitality of ual players became more finely resolved, each
Eclipse—the perceived rhythm and pace of pia- instrument revealing its own voice blending
nist Jeffrey Siegel playing during Rhapsody is a among many rather than being homogenized
good example. Keyboard feel is crucial to com- into a single melodic line. In essence, Eclipse
municating Gershwin’s music and Eclipse simply reproduced the performance in a fashion that
has more jump and immediacy that makes notes came much closer to the reality of many play-
seem to spring from the keys. Likewise, Donald ers performing together.
Fagen’s “I.G.Y.” from his Nightfly LP is a great ex- The obvious conclusion would be to proclaim
ample of how small shifts in soundstage geogra- Equinox as the bargain choice of these two
phy are differently handled by these two wires. models. But as good as Equinox is, (a genuine go- David Salz on the Series 7 Design
With Eclipse, Fagen drops back a step or two, and to wire in its class) it’s the pricier Eclipse 7 that
the stage widens, allowing the guitar fills on the steals that honor. Admittedly it’s roughly twice Twenty years in business is quite a milestone, no matter how you spin it. But Wireworld’s 20th Anniversary
left and the percussion licks on the right more the Equinox’s price but its vivid performance Series 7 products are not just a collection of cosmetic upgrades, although the commemorative coins inset
elbowroom. Backup voices are more defined and draws closer to “statement”-quality wire (which in some of the models is certainly attractive. I asked founder and designer David Salz the goal Wireworld
layered and Fagen’s lead vocal seems to float on includes my first impressions of Platinum set for itself in developing the Series 7. “Because it marks our 20th anniversary, I felt that Series 7 needed
a raft of air. As I listened to BS&T’s “And When I Eclipse 7) than I would ever have imagined. If to be a real leap toward my ultimate goal of creating cables that preserve every nuance of a live musical
Die” [Direct-Disk Labs] it was easy to hear that your upgrade plans include major system-wide performance.
hard percussive transients, light hi-hat figures, renovations, this particular Eclipse is one you “My development process for Series 7 began with the discovery that the most audible differences
and brass section bursts were generating more don’t want to miss. among cable insulation materials are caused by spectral variations in the noise they create. Furthermore,
texture and complexity, particularly in sustain that noise is modulated and therefore amplified by the electrical energy of the music signal. This discovery
and decay. These are fine distinctions, yes, but led me to focus on custom-blending composite insulation materials to be specifically optimized for sonic
if you ever wondered whether you get what you SPECS & PRICING purity. The result of that effort is our Composilex 2 insulation technology, which provides more vivid sound
pay for, here is proof that you do. on a quieter background than ever before. Composilex 2 insulation technology dramatically reduces the
Key, however, is how Eclipse 7 adds a finer WIREWORLD AUDIO Price: Equinox 7, triboelectric noise (note: static electricity occurring through friction is an example of triboelectric noise)
and richer complexity to performances, partic- 6545 Nova Drive, Suite $200/1m interconnect; generated by the interface between conductor and insulation.
ularly in the way it reproduces ambient space. #204 $870/3m speaker “While our Series 7 speaker cables also benefit from Composilex 2, their greatest improvements result
During the Gershwin the sensation of the or- Davie, FL 33317 Eclipse 7, $450/1m from new versions of our DNA Helix conductor geometry, which channels more electromagnetic energy
chestra pressurizing the venue and launching (954) 474-4464 interconnect; $1800/3m and therefore more music, than the previous designs. Both of these advances improve preservation of
a wave of sound outward into the space be- wireworldcable.com speaker timbre, dimensionality, and dynamics.”
came more palpable. As I listened to a bevy of

The visual look of Purple Flare speaker wire is Not Too Late [Blue Note], there was a natural
unadorned classic flatline. It comprises fourteen amount of vocal air riding along with her voice,
15-gauge silver-plated 99.9999%-purity OFC which imparted a relaxed warmth that settled
solid-core conductors in FEP (Fluorinated the track into a smooth groove. This trait was
Ethylene Propylene) insulation. The interconnect also on display during James Taylor’s “Only One”
is fully-shielded with six 26-gauge, silver-plated from That’s Why I’m Here [Columbia/Legacy], a
99.9999% OFC solid-core conductors wound in track that catches the clarity of Joni Mitchell’s
a minimum cross-section configuration—a design high harmony during the chorus. Like tapping a
Nordost uses to eliminate unnecessary fillers or fine crystal goblet with a fingernail, the “ring” of
padding elements. Insulation is also a high-grade Mitchell’s soprano was pristine and impeccably
FEP. There are two termination options: balanced defined. I can’t say that the Purple Flare fully
or single-ended. Like all Nordost cables, Purple explored the dimensional component that exists
Flare is manufactured and hand-terminated in on this pop track, but more on that later. Still,
the U.S.A. Purple Flare really shines in the midband with a
When a new wire enters my system for an slightly forward, driving energy that imparts a
initial round of listening, my habit is to glean an dynamic liveliness to all genres of music.
overall impression of the cable’s signature. It’s Tracks that I’m especially attuned to, like
a casual, even subliminal process that helps me Rosanne Cash’s “If I Were a Man” from 10 Song
get a handle on tonal accuracy, dimensionality, Demo [Capitol Records], were as familiar as an
dynamic anomalies, general transparency, old friend. This is a cut where you can select the
transient attack, and so on. The more time right volume and almost forget it is a recording as
I spend with the wire, the more specific and Cash eerily begins to materialize in the room. And
critical these impressions become. Straight it’s not just the vocal or the reassuring, almost
out of the blocks the Purple Flare evinced metronomic strumming of the acoustic guitar
Nordost Purple Flare Cable sprinter’s speed and did not suggest any serious
tonal-balance discontinuities. Its treble range
was wonderfully free from constriction. Not
that springs to life; it’s the sound of the strings
radiating off the soundboard, amplifying the note
and projecting its energy in your direction.
My Blue Heaven overly brilliant, it was, on balance, as open and One of the reasons I continue to listen to
transparent as I’ve heard from a cable in this familiar tracks like Holly Cole’s “Take Me Home”
Neil Gader class. It was highly revealing of the finer dynamic on Temptation [Capitol Records] is because
gradations and low-level details of well-recorded the spareness of the arrangement rewards
T
he original Nordost Blue Heaven cable was, for many years, one of my budget orchestral works. (The huge orchestra required the ear with a lot of reverberant information,
reference wires. It debuted in 1994 and featured Nordost’s now iconic Flatline for Ashkenazy and the Berlin Philharmonic’s low-level detail, soundstage layering, and the
cable design. I knew this cable backwards and forwards—its many strengths performance of Stravinsky’s Rite of Spring dimensionality of Cole’s voice. The Purple
(excellent transparency and detail) and its modest weaknesses (a slightly upward [Decca] is a superior test for this purpose— Flare left the familiar cues in place and lined
frequency tilt and a hint of opacity and edge in the top octaves). Blue Heaven has particularly the quieter moments featuring the up remarkably close to my current reference
been improved at least a couple of times since I reviewed it. However, Nordost’s delicate and colorful interplay between clarinet, cables, the Wireworld Platinum and Synergistic
Purple Flare, considered a rung below the current incarnation of Blue Heaven, bassoon, and oboe.) Research Element Tungsten.
doesn’t just conjure up fond memories. It’s a little trip to heaven of its own. During Norah Jones’ “My Dear Country” from One of the few tonal concessions Purple Flare

EQUIPMENT review - Nordost Purple Flare

makes to reference-caliber wire is the lowest Flare is placed in context with the entry-level
bass, where it is not quite as full in extension audio systems it likely will be paired with.
or bloom. Also there’s a bit of coolness in the My recent experience with WyWires Blue
middle treble that leads to a tiny hint of etch (a little cool, pacey, and highly dimensional),
in the sibilance range, although overall this Analysis Plus Silver Oval (superb balance and
critical region is strikingly free from grain or a sweet, smooth treble response), and now
grit. Transient speed is also very good but, as Nordost Purple Flare continues to reinforce my
with the aforementioned sibilance region, there opinion that the world of superior entry-level
remains a bit of hardness on smartly struck and mid-priced cables is actually expanding
percussion and high-intensity brass. rather than contracting. And for those
No doubt about it, Purple Flare has significant naysayers who promulgate the view that wire
macro-dynamic punch. Orchestral crescendos, is wire—blah, blah, blah—I can only recommend
full-blown percussion breaks, brass section they listen to this exciting segment.
blasts, and so forth are impressive. However, Far be it from me to preach to anyone on a
after listening to a great deal of solo piano from budget, but let me offer two cents of advice.
Keith Jarrett to Evgeny Kissin, I noted that No one I know builds a system around cables.
the Purple Flare reduces micro-information Rather, cables permit us to realize a system’s
just enough to suggest a bit of damping of potential. They add polish and patina and need
the player’s touch during lightening-quick to be selected in proportion to the system
arpeggios, such as those flying from the fingers they’ll be use with. How much to allot for wire?
of Kissin’s right hand. Similarly, low-octave There’s no hard-and-fast rule. But Nordost’s
chords that typically rev up the soundboard Purple Flare certainly makes the decision less
with wave-upon-wave of resonances come off painful and expensive. I can’t say it enough—
just a bit lighter in color and power. Purple Flare is like a little trip to (Blue) Heaven
The best cables I’ve heard reveal ambient and for those of us earthbound on a budget.
reverberant cues that ultimately give shape to
the soundstage. They define the venue’s scope,
and if the recording is especially good, its wall
boundaries. As good as the Purple Flare is, some SPECS & PRICING
of this bass bloom and ambient expansiveness
was curtailed a bit during Vaughan Williams’ Price: Speaker: $518/2m, Nordost
The Wasps Overture [Chandos]. The stage $596/3m; Interconnect: Corporation
narrowed ever so slightly and there was the $260/1m, $365/2m 93 Bartzak Drive
distinct sense that orchestral sections were Holliston, MA 01746
cozying up to one another a little more closely. (508) 893-0100
That said, perspective please! These minor nordost.com
flaws will seem almost silly when the Purple
18 Guide to Cables, Power Products, Accessories, & Music

The cable appears to be carefully constructed. with a full body of tone and minute shadings.
Its extreme flexibility means that it would take Particularly noteworthy was the hall ambience
an effort to stress the connectors or otherwise conveyed by the Amphora. This quality also
harm the Amphora. came across on vocals: On an LP I recently
EnKlein suggests that the significance acquired on Deutsche Grammophon of the
of low mass is often underestimated by baritone Dietrich Fischer-Dieskau singing
cable manufacturers. The company works to Richard Strauss lieder, the Amphora provides
minimize disruptive mechanical vibrations, a real sense of the joy and pathos that Fischer-
which can have a deleterious effect upon the Dieskau imparts to each song.
signal. Its director David Kleinbeck, who has Perhaps it was the alacrity of the Amphora
worked for companies such as Sprint, has that was most startling. On Trinity, a
some pretty serious engineering chops when sensational SteepleChase recording of Boulou
it comes to the wireless world. EnKlein’s Web Ferre, Elios Ferre, and Niels-Henning Orsted
site says, “The thin film shield and sacrificial Pederesen (if you’re a jazz or guitar fan, or
ground of 99.999% oxygen-free copper both, snatch up this album if you come across
configuration creates a passive damper for it), the speed and snap of the guitars were
extremely low capacitance and reactance, almost enough to induce whiplash.
EnKlein Amphora targeting the preservation of signals from a

broad range of cartridges including extremely
low-output cartridges.”
Given the staggering variety of phono cables
available, it’s important to emphasize that
careful matching with a cartridge and ’table is
Phono Cable In plain English, EnKlein is saying, I think,

that cables need to have their own version of
bodyguards in order to preserve bandwidth
essential. The Amphora is a reasonably priced
cable that seeks to combine the speed of silver
cables with a more full-bodied tone. If I had
A Promising Debut and detail. And make no mistake: listening my druthers, I would try and add even a little
to its cable was a pleasure. The qualities of more harmonic richness to the sound. But
Jacob Heilbrunn the Amphora were not difficult to detect. It it’s a very promising debut. In a cable world
is fast, precise, and transparent. The bane that is already swarming with competitors,
C
ables, it’s commonly agreed, are one of the more mysterious parts of the high of silver cables, however, can often be that and that continues to attract new entrants,
end. Designs vary wildly. So do prices. But only the most hardened double- that speed is accompanied by an etched and EnKlein looks to be a comer.
blind-testers would deny that cables can significantly influence the sound fatiguing sound, particularly in the treble. This
of a stereo system, changing everything from bass impact to treble extension, was not my impression with the Amphora. On
from perceived instrumental detail to timbres. Thus, in recent years, a number of the contrary, its felicitous character was a
companies have entered the cable marketplace with new designs that promise to welcome surprise. Take the LP I Remember
deliver on the promise of improved sound. Django [Black Lion Records], which, among SPECS & PRICING
Into this very crowded field steps EnKlein, company sent me for review is the Amphora other things, features a languorous version Type: Phono cable EnKlein
a manufacturer that specializes in low- silver phono cable, which boasts the very of the old standard “Honeysuckle Rose.” Price: $3595 (first 1.5 enklein.com
mass cables. EnKlein produces a variety of lowest mass of all its cables, as well as some Both Stephane Grappelli’s violin and Barney meters)
interconnects and speaker cables. The one the exceedingly attractive silver WBT connectors. Kessel’s guitar were beautifully rendered
Comment on this article on the Forum at avguide.com

Crystal Cable Absolute Dream

Speaker Cable, Interconnect,
and Power Cords
Absolutely Wonderful
Jonathan Valin
N
owadays, what I look for in a both sturdy, relatively light, and highly
cable is pretty simple to sum flexible, rather than fragile, bulky, and
up: higher resolution of those stiff. The last thing I need is something
low-level details that bring instruments I have to wrestle with every time I
and vocalists (and the space they change review gear—or that begins to
are playing in) to life; a neutral tonal break down after a half-dozen or so
balance, which doesn’t favor the bass or swaps.
the treble (i.e, isn’t particularly dark, or Like I said, what I want in cables and
bright, or both at the same time); high interconnects is easy to summarize; achieving
transparency to the sources ahead of it—all of it—is a different matter. I haven’t heard
and behind the wire so that differences a cable yet that does all of the things I’m
in recording/mastering quality, digital looking for equally well, although (sonically, at
and analog replay, amplification, and least) Synergistic Galileo comes closest. And
transduction are marked; freed-up now—with some differences in emphasis that
dynamics with no sense that the wire I’ll get to by and bye—so does Crystal Cable’s
(or the network box it may be plugged Absolute Dream.
into) is sitting on the energies of the Despite my aversion to cable reviewing, I
music, either at low levels or high ones; took Crystal Cables’ top-line wire and power
and the complete absence of RFI, hum, cords on for two reasons: sentimentality
and other spurious noises, which some (Siltech, Crystal Cable's partner, was my first
wires seem to tune in like antennae (and indisputable glimpse of “better” in a cable and
others don’t). It is also nice—particularly interconnect) and, well, charm.
for a reviewer, who is prone to plug and The charm part was entirely the work of CEO
unplug his wires a helluva lot more often of Crystal Cable, Gabi van der Kley-Rijnveld.
than the average civilian—if a wire is The TAS crew and I had dinner with Gabi and

EQUIPMENT review - Crystal Cable Absolute Dream

her husband Edwin in Munich last year during complexly engineered by the redoubtable and time shifts) that subtly alter the signals I’ll be honest: While I can follow the
the M.O.C. trade show, and in the course of Mr. van der Kley-Rijnveld (about which, more passing through them. It is also a fact that construction of Absolute Dream this far, its
the meal I got to know a good deal more about in a moment), Absolute Dream cables and the inevitable spaces between the molecular “Bridge system” eludes me. It has something
Ms. vdK-R, whom I’d only met in passing at interconnects are not complex-looking. They crystals in the lattice structures of metals to do with lowering resistance to minimize
previous trade shows. have none of the bulk or doo-dads that previous have similar hysteresis effects, which grow signal loss, filtering ultra-high-frequency noise
A child prodigy—the first I’ve ever had the cables I’ve reviewed have come equipped with. worse as those spaces are filled over time with to prevent amplifier oscillation, and doubling
chance to talk to—Gabi spent her youth and There are no “vacuum dielectrics” that end iron oxides caused by corrosion. up the return path of the cable to neutralize
young adulthood traveling the world, living up making cables and interconnects as thick For a while, van der Kley-Rijnveld sought ground leakage. Like every other part of
the busy life of a professional concert pianist, as corn snakes and about as inflexible and to solve both of these problems by using the Absolute Dream, its purpose is to lower noise,
before retiring to the Netherlands to become prone to snap in two at the connector ends purest silver metal (which has fewer iron enhance low-level resolution, and improve
a teacher. (One of her first pupils was Siltech as bread sticks; there are no massive junction contaminants than copper) for his conductors imaging, but I’d be lying if I said I understood
founder/CEO Edwin van der Kley-Rijnveld boxes with leads so short you have to seat and filling the spaces between the molecular how it does these things.
and…well, you can guess the rest of the the cable box on a riser behind the speaker silver crystals in his wires with gold, which In keeping with Absolute Dream’s all-in
story.) Though she never intended to become or component just to connect it to inputs or doesn’t oxidize. But relatively recently construction, the van der Kley-Rijnvelds
a businessman, life with Edwin and her own outputs; there are no active-biasing boxes metallurgists developed a way to create chose to terminate their cable with extremely
musical training (upon which Edwin grew more that have to be plugged into separate power metals that are essentially one large crystal expensive Furutech Alpha connectors, which
and more dependent for the voicing of his sources, creating a maze of crisscrossing with no internal spaces to fill. Unfortunately, use OCC rhodium-plated conductors housed
cables) gradually changed her mind. Crystal wires that can, under the right (or would that the process used to create these monocrystal in a gorgeous carbon-fiber/eutectic (yeah,
Cable was the outcome. While Edwin still does be, wrong) circumstances, cause ground loops metals was slow and prohibitively expensive I had to look it up, too—it means “a material
the technical design work, it is Gabi’s ear or screaming high-frequency noise or dead until the development of new, less costly of greatest fusibility, i.e., with a melting point
and sense of style that distinguishes Crystal shorts. Nope, the Dreams are surprisingly thin (though nothing like cheap) manufacturing lower than that of any other alloy of the same
products from Edwin’s own Siltech ones. (less than the thickness of your little finger) procedures made commercial use feasible.
In my dinner conversation with her, Gabi and easily manageable. In the “sturdy, light, (Technically and sonically, monocrystal metals
proved to be as musically knowledgeable a and flexible” category they earn an A+. were always superior; they just cost too much SPECS & PRICING
person as I’ve encountered in the high end. They also earn an A+ in the looks to market.)
When it comes to the sound of the real thing, a department, although in this case their beauty In Absolute Dream, the monocrystal silver Price: Absolute (+312) 6 3539045
lot of people talk the talk. Gabi not only talks is literally more than skin deep. Edwin van der core conductor is shielded with helically wound Dream speaker cable, crystalcable.com
it; she has played it in concert and recital halls Kley-Rijnveld has a long history with precious- Kapton and Teflon dielectrics. (Kapton, of $28,100/2m pair;
all over the world. To make a long story short, metal cables; indeed, he was a pioneer in this course, is the selfsame stuff that loudspeaker- interconnect, $13,100/1m Distributor Information
by the end of dinner I was thoroughly smitten. regard. Absolute Dream is the culmination of manufacturers use for voice-coil formers.) pair; power cords, Audio Plus Services (US
Reviewing Absolute Dream from Crystal Cable, his decades of research. The core is further shielded by two braided $7200 apiece Distributor)
the company that Gabi runs and Edwin designs Literally at the core of the Dreams is a single layers of silver-plated monocrystal copper and 156 Lawrence Paquette
for, was my chance to pay homage to both—to conductor made from monocrystal silver— gold-plated monocrystal silver. Four of these Crystal Cable- Industrial Drive
the past and the present. one of the first of its kind in an audio cable. coaxes are twisted into the dual braided layers Siltech Champlain, NY 12919
In one respect Crystal Cable Absolute Dream A good deal of research has been done on of each cable—two signal-bearing coaxes and IAH WTC, Arnhem (800) 663- 9352
is quite a pleasant departure from what I’ve how the impurities (typically iron) in precious two for use in Crystal’s patented “Bridge The Netherlands audioplusservices.com
grown used to over the past decade. Though metals create hysteresis effects (phase technology.”


materials”), non-magnetic-copper housing. All say, hung between your speakers—then the
lead connections are made via silver solder Dreams aren’t going to be for you. They don’t
and crimping. “color” anything, not even air. Instead, the CUSTOM DESIGNED AUDIO CABLES
As I said earlier, to look at a length of Dreams reproduce an ambient field the way MORE MUSIC FROM THE GROOVE TO YOU
Absolute Dream cable, interconnect, or the best planars often do: not by adding a
power cord (all of which share these same grainy texture or dark hue to the soundfield
extraordinary parts and construction), one but by seemingly expanding the volume of air
would never guess that it is so rigorously and in your room and charging it with energy (as if
complexly engineered. It looks more like a
strand of gold/silver jewelry than audio wire.
a fan were blowing it in your direction), so that
in a subtle (but fully audible and unmistakable
BUILT FOR YOUR SYSTEM
But then that was Gabi’s intention: to hide the way) it is still air—colorless, grainless—only no PERSONALIZED FOR YOU
engineering beneath something beautiful to longer the still air of your room, but rather
see, exceptionally light and flexible to handle, the moving air of the studio/hall in which the
and sonically without peer. performance was recorded, lit by the energy
Let’s talk about those sonics. of instruments and heard by the microphones.
Here is what Absolute Dream can do: It turns the motionlessness of ambient air
Coupled with the most discerning speakers into motion-filled “miked” air—if that makes
and electronics (for which see my review of the sense—while also altering the dimensions of
Audio Research Reference 250 monoblocks, your room by seemingly moving backwalls
Reference Phono Two SE phonostage, and further back and sidewalls further to the sides
Reference 5 SE linestage in this issue), it in imitation of the volume of the recording
can not only resolve those micro-details venue.
that make instruments and performers very I have no idea if I’m clearly conveying the
nearly visible; it can do this same trick with point I want to make here. But, to put this
things the eye can’t see—it can fill the space more simply, Absolute Dream (like Synergistic
of your room, from wall to wall to wall, with Galileo) is capable of such colorless neutrality,
the sound of the studio or hall in which the limpid clarity, and extremely fine resolution
recording was made, all the while making the of extremely low-level detail (such as the
speakers themselves vanish (in so far as they “sound” of air charged with musical energy
are capable of vanishing) within this three- as heard through microphones) that it is that
dimensional ambient field. veritable transparent window on the recording HAND-CRAFTED IN LOS ANGELES
Now, lots of wire can reproduce “ambience.” we all claim we’re looking for.
And the Dreams’ exceptionalism in this regard Obviously, Absolute Dream is very low PERSONAL AUDIO CABLES
depends entirely on what you take that in distortion. You hear this in the sheer PHONO, INTERCONNECT, DIGITAL,
word to mean. If by “ambience” you mean a abundance of detail it reveals at low levels and USB, SPEAKER & POWER CABLES
consistent darkening or brightening of the high ones—the whispery little vibrato that a
POWER DISTRIBUTOR
air in your room—a “black” scrim-like curtain, singer like Melody Gardot adds to the tail ends
Professional and customer reviews
22 Guide to Cables, Power Products, Accessories, & Music www.theabsolutesound.com available at www.wywires.com
info@wywires.com
818.981.4706

you may recall that Galileo’s freedom from Absolute Dream cable, interconnect, and
hum and noise was one of its most impressive power cords (all three of which have exactly the
virtues). Even with the volume control left same virtues) now joins Synergistic Research
way up after one of my—what is it Paul Seydor Galileo cable, interconnect, and power cords
says?—“head-banging” sessions with Lou (ditto) as my references. That’s how good I
Reed or David Byrne, background silences think they (all) are.
remain very nearly dead-quiet with Absolute
Dream in the system. (And this is with a phono
source.) Break-In
If you’re waiting for the other shoe to The bane of cable reviewing (and buying) is the
drop, you’re going to be disappointed. I don’t fact that wire—any wire—takes time to “break
really hear a downside to Absolute Dream. in.” For a reviewer, this means that for several
Ergonomically, it is superior to Galileo; weeks and sometimes months you’re listening to
sonically, it is fully competitive, although (save a moving target—a component that you can’t be
for the incredible amount of detail the two sure you’ve got a true fix on, because it seems to
of certain notes as she runs out of one breath his; or, for you transparency freaks, the way retrieve) they do not sound the same. change its sound daily.
before taking another; the way that pizzicatos miking schemes (close/distant, spare/multi) In timbre, the Absolute Dream is a bit less In this regard, Crystal’s Absolute Dream was
are passed across the stage from string and engineering (compressed/uncompressed, “bottom-up-sounding,” (to quote Raidho’s no exception. When I first got it I thought it was
section to string section during Bartok’s Music fiddled-with/pure) markedly change on great Michael Borresen yet again) than Galileo. Now, too light in balance then, a week or two later, too
For Strings, Percussion and Celesta, like wind recordings from different labels, and the way the difference I’m talking about is every slight, robust. Somewhere during the good four months
rattling tree limbs; the hilariously explosive the characteristic acoustic differences among but it is there to be heard. Maybe it is because or so I’ve been listening to it, it settled down to
sforzando crash with which the piano answers the halls themselves—the alto note of Kingsway, the Galileo is a little more generous, bloomy, “just right”—to sounding like that transparent
that capering trumpet in the last movement of for instance—are captured by that miking and and deep-reaching in the bottom bass, and window on the recording (and the recording
Shostakovich’s marvelous First Piano Concerto engineering. It is the Dream’s incredibly low the Absolute Dream a little tighter and more process) I’ve described in this review. My point
(and the piano’s own great caper, as it breaks noise floor that permits this astonishingly controlled—kind of like the difference between is that, if you’re fortunate enough to be able to
into that droll Liszt-like dance right before the high resolution, dynamic freedom at low levels tubes and solid-state. I could argue that the spring for this stuff, be aware that it’ll take some
close); or, as I note in my ARC review in this and high, and clear-as-glass transparency to Dream is the more neutral and transparent time to sound its absolute best. As is usually
issue (there will be other cross-references sources. of the pair, but that would be misleading the case, it is the bass octaves that come in
because, after all, a cable or interconnect is But you don’t just hear the Absolute Dream’s because Galileo is not “colored” sounding and last. But they do come in, firming up, gaining
always working in concert with whatever it low noise floor in the timbral, dynamic, and is anything but opaque. I could argue that the color and control, power and extension. (This is
connects), the way the timbre of Lou Reed’s spatial details these cables retrieve from Galileo is denser in tone color, but that wouldn’t particularly true of the Absolute Dream power
voice on “White Heat/White Light” from Rock every kind of music; you hear it in the dead be right, either, as the Dream is capable of cords, which, it seemed to me, took even more
and Roll Animal is magically transformed silences between cuts. The Dream’s immunity swooningly gorgeous string, wind, piano, and time to come into their own than the signal-
from generic Lou Reed to that of a still-very- to RFI, EMI, and hum—of which there is a vocal timbre (if they’re on the recording). Even bearing wires. Nonetheless, they now sound
young man, fueled by the excitement of the superabundance in my 160-year-old house and as a transparency-to-sources kind of listener I marvelous—the perfect match to the cables and
moment and the enthusiasm of the crowd RFI-rich neighborhood—is at least as good as don’t know which I’d pick. interconnects.) JV
and the energy of that great pickup band of that of my reference Synergistic Galileo (and Happily I don’t have to pick. Crystal Cable

When assessing the value of a component it’s reference cables, but wasn’t satisfied with the
a mistake to think of that component in isolation sound. He tweaked and tweaked, but the system
and assign value based on your preconceptions just didn’t cohere. At the end of a long day we
of the component-category. If you used these agreed that he would return in the morning
criteria, no speaker cable could possibly be to keep perfecting the speaker placement.
worth fifty grand. A more insightful approach, An hour into the next day’s work with no
however, is to listen to a system that includes progress, my doorbell rang; it was FedEx with
the cable under evaluation and then substitute the MIT Oracle cables and interconnects. It
a less expensive cable and ask yourself if, in was the middle of winter and the cables were
the context of the entire system’s overall cost nearly frozen to the touch. Nonetheless, we
and performance, you’re willing to live with the put the MIT cables and interconnects straight
performance reduction imposed by the less into the system and instantly the problems
expensive product. Let your ears be the judge of the loudspeaker designer had been battling
what’s worth the price, not prejudice. vanished. The cables literally transformed the
There are two other factors to consider in system, and eventually allowed this statement-
this exercise. The first is the product’s cost in class loudspeaker to achieve its full potential.
relation to the overall system investment. The It was an eye-opening experience.
second is simply your financial means. To the The cables and interconnects under review
vast majority of audiophiles, never mind the here are an evolution of those products. The
general public, a $50k speaker cable can’t developments in the new models include two
MIT Oracle MA-X SHD possibly be worth the asking price. But to those
who can afford the best of everything, why live
technologies that go by the acronyms “SHD”
(Super High Definition) and “FAT” (Fractional
Loudspeaker Cable and MA-X2

with second best in your audio system if you Articulation Technology). I confess that I don’t
don’t have to? understand how these technologies work, so
That raises the question of just how good I asked MIT founder Bruce Brisson to explain
Interconnects the MIT Oracle MA-X SHD and MA-X2 really is.
For this asking price, the performance must be
them in the accompanying interview.
The termination box on the loudspeaker
the absolute state of the art. Before tackling cables is massive, measuring 12" x 7" x 5.5"
Reference Quality that question, I’d like to relate a story about and weighing about 20 pounds (a guess). One
this product’s predecessor, the original Oracle end of the box houses a massive threaded
Robert Harley MA. A few years ago the designer of a six- connector for attaching the cable that runs to
figure reference-grade loudspeaker arrived at the amplifier. The other end has short captive
B
efore I describe MIT’s top-of-the-line loudspeaker cables and interconnects my home to set up the newly arrived review runs of cable terminated with spade lugs. The
and report on their performance in my system, I must address head-on samples. I was to have received the Oracle MA termination housing features a three-position
the issue of their astronomical price. An 8' pair of MA-X SHD loudspeaker loudspeaker cables and interconnects before switch marked SD, HD, and SHD. Two six-
cables is $49,999. A one-meter pair of MA-X2 interconnect is $14,399. Can any the loudspeakers showed up, but the cable position knobs on one end of the termination
cable be worth that kind of money? delivery had been delayed. The loudspeaker box are marked “Articulation,” one for the
designer proceeded with the setup using my bass and one for the treble. Looking next

EQUIPMENT review - MIT Oracle MA-X SHD and MA-X2

at the interconnect, its termination box is tremendous depth, separation among images,
small in comparison (3.5" x 6"). It offers two and very fine resolution of spatial cues. You
adjustments, one to match the cable to the hear this clearly when switching from any
input impedance of the component it is driving, other cable/interconnect system to the MA-X
and the other a five-position knob marked SHD; the soundstage with the MIT is suddenly
“Articulation.” larger, deeper, more finely woven, and has a
The MA-X SHD cables (MIT prefers to call greater sense of the vivid “air” in which the
them “interfaces”) are designed for any images exist. Moreover, the MIT paints a more
loudspeakers. The MA-C interconnects that tangible picture of the recording venue’s size,
I received for review are a variation of the shape, and acoustic characteristics by virtue of
MA-X2 that has been specifically optimized its resolution of micro-details. I also find that
for electronics from Constellation Audio (the this interface system presents a tremendous
impedance selector switch is disabled). My sense of bloom around image outlines, as well
review system includes the Constellation Virgo as “action,” the sense of hearing the expanding
preamplifier and Centaur monoblock power envelope of sound as an instrument projects
amplifiers. The rest of the system is truly of its energy into the room. All these qualities
reference quality, with Magico Q7 loudspeakers, contribute to the system’s realism and life.
a dCS Vivaldi digital front end (reviewed last MIT cables, and particularly those reviewed
issue), and an LP playback system comprising here, are also notable for their fully fleshed-out
the Basis Inspiration turntable, Air Tight PC-1 tonal balance. From the upper bass through the
Supreme cartridge, and the Simaudio 810LP lower midrange, in particular, these cables have
phonostage. The equipment sits on Stillpoints a richness and harmonic density that sets the
racks and the amplifiers rest on amplifier foundation for the rest of the system’s sound.
stands from Critical Mass Systems. AC They have a warmth and saturation that reveal
conditioning is provided by the Shunyata Talos, the power of left-hand piano lines, the body,
Triton, and Typhon. My review samples included
a one-meter pair of MA-X2 from the Vivaldi to
the Virgo, and a 14' pair of MA-C (from the Virgo SPECS & PRICING
to the Centaurs).
The MA-X SHD loudspeaker cables and MA- Oracle MA-X SHD Music Interface
X2 interconnects are an evolutionary step Loudspeaker Cable Technologies
up from their predecessors, which were my Price: $49,999 (8' pair) 4130 Citrus Ave., Suite 9
references for many years. The new SHD Rocklin, CA 95677
versions share certain characteristics that Oracle MA-X2 (916) 625-0129
I’m very familiar with. One thing that all MIT Interconnects mitcables.com
cables do, particularly the upper-end models, Price: $14,399
is present the music’s spatial qualities with
25 Guide to Cables, Power Products, Accessories, & Music www.theabsolutesound.com www.theabsolutesound.com


weight, and size of doublebass and cello, and the clarity, renders timbres with more color,
the “purring” quality of a Fender Precision makes the soundstage more transparent, and
bass. This characteristic, which affects an better resolves individual musical lines within
orchestra’s “power range,” better conveys complex passages. Turn the knob again to
the physicality of orchestral fortes. These MIT SHD and these qualities are magnified yet
cables also have extraordinary depth, weight, again. The difference between SD and SHD
and impact in the bottom octave. is startling; the SD by comparison sounds a
It would be a mistake to read what I just wrote little opaque, lower in resolution, less lifelike in
and infer that these cables have a warmish timbre, a bit congealed, and not as expansive.
coloration that adds a little plumminess to Switching from SD to SHD (bypassing for the
the bass, or a little extra bottom-end bloom, moment the middle HD position), I heard an
or a darkish cast to timbres. Rather, this improvement that was certainly as significant
tonal richness and warmth aren’t instances as changing from an excellent power amplifier
of artificial bloating or ripeness, but rather of to a reference-quality model. Keep in mind the
the more natural rendering of instruments as phrase “by comparison”; the cables in the SD
we hear them in life. So many cables tend to position are superb but the SHD position puts
sound thin in the power region, with “skeletal” them over the top. The sense of seeing through
timbres and threadbare tone colors. These MIT the soundstage to instruments at the back of
cables are unique in my experience in their the hall and hearing them as separate objects
ability to present the full harmonic richness rather than as part of the overall sonic tapestry
of instrumental timbres without a trace of is alone worth the price of admission. The sound
coloration or false warmth. is so much more vivid and immediate in the SHD
Higher up in frequency, the Oracle maintains position. The wooden percussion instrument in
this saturation of tone color and density of the piece “Postcard” from Playing With Fire
information. They are not bright sounding; [Reference Recordings] is audible toward the
yet they present a rich and vivid rendering back of the soundstage behind the orchestra,
of upper-midrange and treble timbres. It’s a and somewhat indistinct in the SD position.
wonderful combination—a highly detailed and Switch to SHD and the instrument is suddenly
resolved presentation without the treble etch separate from the rest of the orchestra, the
that reduces listener involvement and induces pitches are more apparent as are the transient
fatigue. These cables are completely lacking in attacks, and the instrument sounds more
edge, grain, or treble forwardness. like wood being struck rather than simply an
The adjustments are interesting, particularly undifferentiated percussive sound. The cable’s
the “SD, HD, and SHD” knob on the loudspeaker two other adjustments, marked Low Frequency
cables. In the SD position, the loudspeaker cable Articulation and High-Frequency Articulation
is excellent, exhibiting the characteristics I’ve had a similar, though less dramatic effect.
described. Turning the knob to HD increases Given the obvious superiority of the SHD


setting, why would MIT include the SD and
HD settings? One explanation is that some MIT Founder Bruce Brisson Talks with Robert Harley
listeners might value a slightly softer and more
forgiving presentation. Another is that MIT RH: Give us an overview of the Oracle How specifically does the cable design do this? novel device developed by Hewlett-Packard called
wanted to show definitively that SHD is real Technology. By forming what we call poles of articulation. an interval analyzer. I began to look at different
and profound by creating a product that is a BB: The Oracle technology started with me This is simply how much energy a cable or a cables and listen. This is what you’ve got to do
vehicle for instant comparison. Even though designing an optimizing network for each of the network stores and releases. Associated with in this business—measure, listen, measure, listen,
my system is extraordinarily resolving, I can’t octaves. We started at A440, because that’s the that release of energy is a rise time and a fall measure, listen, then send it out for listening to
imagine a listener preferring the SD or HD frequency most musical information surrounds— time, which is accompanied by a settling time. We different beta sites. I went to work on the project—
setting to SHD. Whatever the case, you have and we worked on a network for each subsequent install networks in the cables which are formed it was about a two-and-a-half-year project—and
the ability to listen to the settings and decide octave, up and down, from there. That was the from inductors and capacitors and resistors. We what I found was exactly what I thought. Jitter
for yourself. original Oracle technology. We built on that begin our optimization at A440, and then move affected spatial qualities. But more than that,
The MIT MA-X SHD loudspeaker cable and by coming out with what we call HD, for high out. So first we do the octaves then we do the six and I was bowled over by this, was that it affected
MA-C interconnects are simply without peer, definition. What that meant was that we extended harmonics of the fundamental which is your 7th timbre to such a degree in the lower frequencies.
in my experience. They are singular in their the Oracle technology to ten octaves and harmonic. Then we go between the octaves and We found that reducing jitter made things
spatial resolution, tonal density, and ability to optimized for seven harmonics. The harmonics we add networks to form the poles of articulation. sound much more natural and dense. I think the
resolve upper-midrange and treble information extend linearly from those octaves. Linearly But they don’t have the magnitude that an octave term "dense" is something that your readers will
with sounding bright or forward. I don’t means any harmonic has to be a whole number— would—they don’t store as much energy. We identify with. This all extends from the fact that
understand the technical explanation of SHD no fractions. If there is a fraction involved, and it make sure that the rise time and fall times are audiophiles can’t control the rhythm, the beat, the
and Fractional Articulation Technology, but I deviates much, it becomes a spurious overtone. within certain parameters that we have learned, general pace of the music, but what they do tend
can say that these cables and interconnects Instruments and voices produce overtones, but empirically, doing this over 30 years, that the to try to control is timbre and spatial qualities in
are world-class references. we don’t want to produce them in an audio signal- audiophile’s ear responds to. their systems.
Before dismissing these products out of carrying conductor or in any amplifier. That covers With the SHD line we bring that all together and
hand because of their prices, you should listen the first two evolutions of the Oracle. What do the adjustments on the network it manifests itself as accurate timbre and also an
to them in a reference-quality system and From there we created Fractional Articulation boxes do? accurate soundstage. Within the soundstage you
compare them with other cables. Assuming you Technology, which is where our research led us On the speaker cables, the first switch allows have large images. Within the large images you
can afford them, ask yourself if you’re willing to next; to make optimizing networks for the musical you to play in either standard definition, high have smaller micro-images. You have micro-level
live without the unique musical virtues these information between the octaves. Not extending definition, or super-high definition. In the super- details like backwashes off one wall, the right wall,
cables bring to the table. I think you’ll find that forward from the octave by something greater high definition we do one more thing, which is not the left wall. When you control jitter, all of
the answer to that question is a resounding than one, but the inter-octave spectra, which we reducing analog jitter within the cable down to those things, particularly that backwash off just
“no.” call notes. The distance between one note and 2.8 microseconds. After reading some scientific one wall, become very, very apparent.
another note can be expressed in “cents”—100 information on jitter that suggested we could hear
cents is a half step, 200 cents is a full step. jitter between our right ear and our left ear down
With Fractional Articulation Technology we can to 2.8 microseconds I became fascinated. I’ve got
optimize the spectra between the octaves. to find out why, right? These things control me;
I don’t control them. So I go on the hunt using a

Transparent Reference XL C
lose readers of TAS—and what perhaps a pinch more detail. Once again, I was
other kind are there?—may recall dead wrong.
that I recently contributed The improvement rendered by the new cables
Digital Link Interconnect a sidebar to editor Robert Harley’s

comprehensive review of the new dCS
Vivaldi CD/SACD playback system.
was not subtle or minor or difficult to detect.
On the contrary, inserting them proved to be
one of the most flabbergasting experiences I
Must-Audition In it, I compared and contrasted the have ever had in the high end. The Reference
performance of the dCS Scarlatti, the line did not improve the sound; it took it into
Jacob Heilbrunn company’s longtime flagship, to the another realm. As good as the Vivaldi is—and
Vivaldi, concluding that the latter it is superb—there can be doubt that ancillary
handily surpassed its predecessor. equipment such as the digital cables employed
There I thought the matter rested. on it not only can but do have a profound effect
I was wrong. In recent months, upon its reproduction of music.
there have been rumblings of even This is not an easy concession for me to make
greater gains to be had by employing because it adds substantially to the cost of the
Transparent Audio’s new Reference already costly Vivaldi. But friends, there is no
XL line of digital cables. Transparent way around it. The Transparent digital cable
itself claims new technological makes an immense improvement by banishing
advances in designing these cables. any lingering digital artifacts, opening up
It says, “Reference XL Digital the treble, sending the bass plunging down
Link uses Transparent Advanced another octave, fleshing out the midbass, and
Expanded Foam Technology for precise noticeably increasing the articulation and
impedance control and low noise weight of instruments and voice.
signal transmission. With a solid OFHC Take the recording by the London Brass of
conductor that is significantly larger Francois Couperin’s La Triomphante. The brass
than the Reference 75-ohm Digital Link possess a vibrancy, a snap and sassiness, that
conductor, Reference XL Digital Link simply was not present previously. Somehow
has far more surface area with which micro-dynamics also benefit immensely
to transfer digital signals accurately.” from the Transparent cables. The attacks of
It doesn’t take more than a glance trumpets are resounding—they pop into the
to see that the construction of these air. They sound, to put it another way, as if
handsome cables is exemplary. they are supported by more air. The swells and
But how much further could the performance crescendos of the brass choruses are vastly
of the dCS Vivaldi be taken? Well, the answer clearer. But at the same time, the increase
to that question is not exactly what I thought in dynamic range means that pianissimo
it would be. After Transparent’s Brad O’Toole passages simultaneously sound softer and
sent me the new cables for review, I anticipated clearer. It is as though these cables increase
some improvement in the bass and treble, and the bandwidth of a recording. At the most basic

EQUIPMENT review - Transparent Reference XL Digital Link

level, the intonation of voice and instruments— than a passing resemblance to an arms race
the centering of an individual note—is much in which various manufacturers constantly
more precise. attempt to one-up each other. But for now, the
Nor is this all. Soundstage separation also combination of the dCS Vivaldi and Transparent
benefits. The soundstage seemed to expand Reference XL digital cables exceeds anything
laterally and to deepen. The sense of three- else I have heard. I could tell you that it took
dimensionality, of an actual stage populated a lot of listening and chin-stroking to arrive
by musicians and instruments, is heightened. at this conclusion. Fiddlesticks. It didn’t take
Suddenly a background chorus to Leonard long at all to realize that these cables take
Cohen on his CD Old Ideas isn’t simply floating digital performance to a glorious place. If you
murkily in the background but is its own distinct have a high-end digital rig, then auditioning
entity. Or take John Eliot Gardiner’s recording Transparent Reference XL is not a good idea.
of Bach’s “Advent” Cantatas for Arkiv. There is It is a must.
something profoundly moving about the ability
to hear each chorus gently enter without
intruding on the others. The anchoring of the
instruments, the lack of any sense of drift,
means that it becomes simplicity itself to
track complex passages of music, something
that also becomes abundantly clear on Andras
Schiff’s marvelous recording on ECM of the
Bach Partitas.
But the greatest merit of the Reference XL
is its supernatural ability to help deliver a kind
of clarity on digital playback that I have never
previously experienced. The slightest swish of
the cymbals, a foot tapping on a piano pedal, SPECS & PRICING
the mildest brush of the bow on a cello—nothing
is effaced by these cables. There is a limpidity Reference XL Digital Link Transparent Audio
and tranquility, a sense of ease to the sound, (75 ohm): $3195 (one 47 Industrial Park Road
that are hard to forget once you’ve heard meter) Saco, ME 04072
them. Whether on jazz, classical, rock, or rap, Reference XL Digital Link (207) 284-1100
the Reference XL/Vivaldi possesses the ability (110 ohm): $3595 (one transparentcable.com
to vanish from the signal chain, imposing no meter)
audible coloration. (longer lengths available
No doubt further advancement in digital at additional cost)
playback looms. The high end bears more

Synergistic Research LE Cable, S

ome three or four years ago I the more often you plugged these cables in and
reviewed what remains the most out of your system, the more physical stress
complex and ingenious cable/ you put on the connectors (and on the solder
Interconnect, and Power Cords power-conditioning system I’ve come

across in forty years of audiophilia:
Synergistic Research’s Galileo system.
joints inside the EM junction boxes). When
you added the effects of mass and gravity (if
the equipment you were connecting to was
The State of the Art for Less Sonically Galileo was the very model mounted on a shelf, the wire dangling from
of a gorgeous-sounding, very low- the rear of the component would perforce be
Jonathan Valin noise, very high-resolution cable. pulled down by the not-inconsiderable weight
Ergonomically, however, it proved to of the junction boxes) to so many joints, over
be a bit of a pain—at least it did for a time the interconnects and the junction boxes
reviewer like me who often switches could develop intermittent shorts, making for a
gear. Ironically, the reason Galileo very pretty, very expensive, and utterly useless
sounded great and the reason it was loom of silver, gold, and platinum wires.
relatively fragile were one and the Comes now the successor to Galileo, Galileo
same: its unique architecture. LE. And I’m delighted to report that the LE
To refresh your memories, unlike virtually version gives you all the sonic virtues of the
every other high-end interconnect/cable I can original in a much sturdier (though every bit as
think of (save for flat ribbons) Galileo did not sophisticated and ingenious) package. I’m also
use a Litz-like structure of multiple insulated delighted to report that LE costs about two-
strands of wire twisted, braided, or woven fifths of what Galileo did. That doesn’t make LE
together in a single bundle. Instead, it used “affordable,” of course, but it does make it a lot
individual “air strings”—separate, current- less money than my other references—Crystal
bearing, actively shielded, copper/silver Cable Absolute Dream and Galileo père—and
alloy, pure silver, pure gold, or pure platinum than many other reference-quality wires
conductors that were routed (via LEMO currently on the market.
connectors) into and out of free-standing Like Galileo Senior, Galileo LE is not just a
electromagnetic power-conditioning/active- series of similarly constructed interconnects,
shielding junction boxes (called “Active Mini speaker cables, and power cords. It is an
EM Cells”) that themselves were plugged into entire system of wire and power-conditioning
“quantum tunneled” Mini Power Coupler power products. The main physical differences
supplies (wall-wart-like devices that provided between it and Galileo are structural. The
the DC current for the active shielding and principles behind both cables (e.g., active
EM power conditioning of the cells and the shielding, grounding, and tuning of the wire)
precious-metal “strings” attached to them). remain the same, but where Galileo looked
Obviously Galileo involved a lot of connections like an “exploded view” of a typical cable—with
and a lot of connectors (twenty separate LEMO its separate air strings running between free-
plugs for a single set of interconnects). Alas, standing electromagnetic junction boxes—LE

EQUIPMENT review - Synergistic Research LE

looks more like a conventional, braided, single-piece wire. I could spend pages dissecting the many new features of the
Looks, however, are deceptive. Each leg of LE interconnect Galileo LE system (including its Enigma Tuning Circuit which SPECS & PRICING
actually comprises three to five individual, pure-silver air strings, allows you to “voice” each cable/interconnect from warmer/
each with its own air dielectric and grounding wire (three sets darker to lighter/quicker to better suit your system, and SYNERGISTIC RESEARCH, INC. record player, AMG Viella 12
of these strings per interconnect for RCA connectors and five Synergistic’s new Transporter Ultra SE power supply which, 17401 Armstrong Avenue, Suite 102 Phono cartridges: Clearaudio
sets for XLRs). Although the strings are braided together into in concert with the PowerCell 10 SE Mk III power conditioner, Irvine, CA 92614 Goldfinger Statement, Ortofon MC
a bundle, each one functions independently and each one is provides a tidier, more centralized, and markedly lower-noise (800) 578-6489 A90, Ortofon MC Anna, Benz LP
separately hard-wired into and out of two carbon-fiber-encased way of supplying the juice to the EM Cells built into Galileo LE synergisticresearch.com Prices: S-MR
EM Cells, which are now integral in-line parts of the cable rather cables, interconnects, and power cords), but I’d imagine that Galileo LE interconnect, $7500/1m Digital source: Berkeley Alpha
than free-standing objects. When these EM Cells are powered by most of you are more interested in how the LE system sounds pair RCA and $9500/1m pair DAC 2
Synergistic’s wall-wart-like Mini Power Couplers (supplied with than how it works. And here the news is, as already noted, XLR; Galileo LE speaker cable, Cable and interconnect: Synergistic
each cable), they perform the same function that the outboard entirely positive. $15,000/8' pr. (single-wire) and Research Galileo and Galileo LE,
EM Cells did with Galileo Senior—actively shielding, conditioning, In my current system, Galileo LE is as good as any cable $16,500/8' pr. (bi-wire); Galileo LE Crystal Cable Absolute Dream
grounding, and tuning the air strings for audibly lower noise and I’ve heard at any price—which is to say it is among the most AC power cord, $5600/5' Power Cords: Synergistic Research
higher resolution and transparency. gorgeous-sounding and lifelike on the market, capable (with Galileo LE, Crystal Cable Absolute
the right ancillaries) of a resolution of low-level detail that is JV’s Reference System Dream
unmatched in my previous listening experience. Loudspeakers: Raidho D-5, Power Conditioner: Synergistic
Take, for example, a piece of music I’ve referenced many Raidho D-1, Estelon X Diamond, Research Power Cell 10 SE Mk. II,
times in past reviews: George Crumb’s Four Nocturnes for violin MartinLogan CLX, Magnepan 1.7, Synergistic Research Transporter
and piano. Like so much post-Bartókian chamber music Four Magnepan 3.7, Magnepan 20.7 Ultra SE, Technical Brain
Nocturnes is as much about creating new sounds and textures Linestage preamps: Soulution Accessories: Synergistic ART
from traditional instruments as it is about the eerie moonlit 520, Constellation Virgo, Audio system, Shakti Hallographs (6),
nightscape (and moonlight spell) those sounds conjure up. I’ve Research Reference 10, Siltech A/V Room Services Metu panels
discussed many of these sonoristic effects before: the explosive SAGA System C1, Zanden 3100 and traps, ASC Tube Traps, Critical
Bartók pizzicatos, pizzicatos with glissandos, and pizzicatos Phonostage preamps: Audio Mass MAXXUM equipment and
with harmonics on the violin; the strumming, striking, plucking, Research Corporation Reference amp stands, Symposium Isis
and rubbing of the strings of the “prepared” piano; the rhythmic Phono 10, Innovative Cohesion and Ultra equipment platforms,
drumming and tapping on the bodies of both instruments (often— Engineering Raptor, Soulution 520, Symposium Rollerblocks and Fat
quite amazingly—while they are simultaneously being played in Zanden 120, Constellation Perseus Padz, Walker Prologue Reference
conventional and, occasionally, quite unconventional ways). Half Power amplifiers: Soulution 501 equipment and amp stands,
the fun of hearing this remarkably engaging piece is marveling and 711, Siltech SAGA System V1/ Walker Valid Points and Resonance
at the skills of the performers and wondering how they can P1, Constellation Centaur, Audio Control discs, Clearaudio Double
possibly achieve the unique timbral and dynamic effects they Research Reference 250, Lamm Matrix SE record cleaner,
manage to produce. ML2.2, Zanden 8120 HiFi-Tuning silver/gold fuses,
Well, wonder no longer. The Galileo LE brings so much new, Analog source: Walker Audio Synergistic Research RED fuses
previously unheard, very-low-level harmonic, dynamic, and Proscenium Black Diamond Mk V
textural detail to light it is almost like standing over violinist


Paul Zukofsky’s and pianist Gilbert Kalish’s
shoulders with a pair of binoculars to your eyes.
For example, Crumb specifies that the piano
strings should be rubbed alternately with the
tips of the fingers and with the fingernails to
produce slightly different timbres and textures.
Though other cables certainly reproduce these
“string piano” effects clearly, they can leave
you in doubt as to how they were made. With
Galileo LE you are never in doubt about which
parts of his fingers Kalish is using. (Indeed,
resolution is so high you can actually hear the
sandy catch of Kalish’s nails as they brush the
ridges of the piano’s coiled strings.) Similarly,
the subtle colors that violinist Zukofsky adds
to certain notes by bowing a single string and
then, mid-way through the duration of its tone,
lightly plucking a second string to add a brief
new burst of color to that of the original note
(rather like a delayed double-stop) are made moments as it is on tiny ones. Consider the is a slight (and I mean slight) trade-off involved gorgeous and lifelike cables I’ve heard—and
clearer than I’ve ever heard them sound before sound of the Count Basie Orchestra going in all this electrical conditioning, which I’ve perhaps the highest in very-low-level resolu-
(and this is an LP I’ve listened to a lot). full out on “Steet of Dreams” from Sinatra at also noted with Galileo père. tion of timbre and texture. Yes, you do trade a
To be fair, this is not the sort of detail that the Sands [MoFi]. Like Galileo, Galileo LE has While no one would ever call Galileo or Galileo small measure of transient speed and pace for
you would likely hear in a concert hall; it is the such dense and beautiful color from the bass LE “slow” (which is to say, lacking in pace), LE’s richer, denser, more beauteous tone color
result of extremely close and skillful miking through the power range and lower midrange, neither is it quite as incisive and well-defined and more lifelike weight and authority. But this
(and the extraordinary quality of the rest of the that it gives a big band like this one (or a full on the leading edges of transients, or as toe- is a trade I think many listeners would be more
system I’m currently using). But in a sonoristic orchestra, for that matter) the physical weight tappingly tuneful in the bass, as Crystal Cable’s than willing to make, especially when they con-
piece like this one, where the way the music is and near-avalanche power it actually has in (much more expensive) Absolute Dream. In sider the cost of Galileo LE vis-à-vis the com-
being made is as interesting as—in fact, part life. It is quite literally thrilling to hear tuttis addition to these differences in speed and pany it keeps. Here is state-of-the-art wire
and parcel of—the effect the music is aiming for, reproduced with this kind of authority. timing, I’d also say that the Absolute Dream at a price that many companies ask for their
such very high resolution is truly illuminating. As was the case with Galileo, Galileo LE’s has (at lower volumes—the difference narrows second-tier offerings. It should go without say-
Lest I leave the impression that this plethora remarkable clarity, ravishing color, and at higher ones) a slightly wider soundstage ing that I recommend this stuff most highly and
of detail makes Galileo LE sound analytical, realistic dynamic weight are clearly the than Galileo LE and a somewhat deeper-going enthusiastically. Indeed, alongside Crystal Ca-
let me quickly add that it is anything but. LE result of Synergistic’s clever use of air-string low end, though the differences here are very ble’s Absolute Dream, Galileo LE has become
is perhaps the most purely beautiful-sounding architecture and the lower noise floor afforded small. my reference, and will likely be a Product of the
cable I’ve heard, and it is just as impressive by the active shielding and tuning of those Don’t let any of this bother you. Without Year Award-winner come January.
(and persuasive) on much larger-scale musical strings via the in-line EM Cells. However, there question Galileo LE is high among the most

The Synergistic Research Acoustic ART and HFT/FEQ Systems Using resonators
dates back to
Using things that resonate harmoniously to
override inharmonious sounds or reflections
The ART system is the upshot of this
research. Typical of Denney it is offbeat,
fi); all three devices have an audible and a
measurable effect on room acoustics. The
antiquity.
dates back to antiquity. inspired, and ingenious—and it works. I’ve differences they make can easily be heard—a Do not expect miracles: If you have a
You may not know this but the ancient been using the Acoustic ART system in my presentation that is smoother, clearer, more particularly nasty room resonance in the
Greeks and Romans used just such “room listening room for four years (supplemented neutral, more detailed, more spacious, more bass, for instance, neither the ART nor the
treatments” in their theaters—bronze acoustic by other room treatments—traditional ones transparent-to-sources, and more beautiful HFTs will remove it. For such problems,
vases of various sizes, strategically placed on like ASC Tube Traps and A/V Room Services and dynamic. moving your speakers to more congenial
and about the stage. The size of the vases Metu panels and oddities like the Shakti Just recently Synergistic has added a new spots or, if necessary, installing bass traps
determined their resonances, and those Hallographs, which frankly work along the tool to its room-treatment package: the HFT/ are better bets. (Also I should note that
resonances were intended to make the sounds same lines at the ART system but seem to have FEQ system. The HFT is a mini-Helmholtz when it was plugged via its wall-wart
of speaking or singing voices louder, clearer, slightly different, broader-band clarifying/ radiator that looks rather like a tiny thimble. supply directly into a Synergistic Research
and purer by reinforcing fundamentals and sweetening effects). Because it is so light in weight, it can easily Power Cell SE Mk III into which other gear
suppressing confusing overtones and echoes. ART comprises three different components: be Blu-tack’d to your walls (an ample square was also plugged, the FEQ introduced
The same “technology” was used in Medieval a Bass Station (a small metallic bowl that sits of Blu-tack is supplied with each box of an audible low-level switching noise on
churches to make small choirs sound like on a magnetic pin set into a wooden stand HFTs). The FEQ is a rectangular box that analog sources. This problem completely
larger ensembles; in fact, a variant is still which is placed on the floor in front of the plugs into the wall. Near as I can tell the FEQ disappeared when the FEQ was plugged
used in Buddhist temples, which is where Ted woofer of your speaker), a series of Satellites generates some sort of ultra-sonic pulse that directly into the wall.)
Denney of Synergistic Research discovered (small metallic bowls that sit on magnetic “activates” the tiny HFT, causing them to I can’t guarantee that the Synergistic
that the resonances of Tibetan prayer bowls pins set into wedge-shaped wooden brackets resonate consonantly and uniformly. Thus, Research Acoustic ART and HFT/FEQ
harmoniously altered the acoustics of a shrine which are attached, via Velcro strips, at they not only “ring” in response to the music systems will perform the same magic
he was then visiting. regular intervals to the back and sidewalls being played but they also ring in a controlled on your room that it has on mine, but
It immediately occurred to him that a of your listening room a foot or more above and predictable fashion. The HFTs can also if ART and HFT/FEQ are used properly
system of resonating bowls could be used speaker-height), and the Vibratron (a giant be attached to your gear to improve their (and augmented as necessary by other
to acoustically treat listening rooms: “We resonating globe—actually two large metallic sound (via consonant resonance), as Denney treatments such as Shakti Hallographs,
began our research by studying Helmholtz bowls that face one another with a flat disc of memorably demonstrated with a Bose Radio AV Room Services Metu panels, RPG
resonators, which have been used for over a metal between them—that is attached to a tall at a recent Rocky Mountain Audio Show. Skylines and bass traps, and ASC traps) I
century to tune low frequencies in an acoustic plank of wood at a height approximately six- On walls or on gear or on both, the HFT/FEQ can’t imagine that they won’t have a very
environment. We worked to modify Helmholtz to-eight inches above the speaker’s tweeters systems works, improving the sound (and bet- positive effect—and that that effect won’t
resonator principles to incorporate the full and situated between the speakers, usually on ter “disappearing” your room) in much the same be limited to a single microphone-sized
spectrum of sound; not just low frequencies… the backwall). All three devices use magnetic way that the ART System does, although unless spot at the center of your listening seat.
and found we could tune music with a system materials to control and shape the frequency the HFTs are used in abundance their effect is Highly recommended. JV
of resonators working together in harmony at and duration of the bowls’ resonances (which not as dramatic as that of the ART System.
key acoustic pressure points.” are excited by the sound waves of your hi-

Platinum Eclipse Series 7, as well as the recently and placement cues whereby even the position
arrived Kimber KS6068. In comparison to and angle of the instrument began to material-
these elite wires AZ Copper was very detailed ize in the mind’s eye. In Lisitsa’s performance of
but just a bit cooler in personality. Yet, it’s a the Thalberg Grande fantaisie [Naxos] the Cop-
cable that doesn’t put a foot wrong in terms per’s character was a bit more forward—detailed
of midrange tonal balance. It images well and and quick but not entirely capable of capturing
locks in a rigid soundstage, and for the most some of the softer tactile elements of the per-
part simply gets out the way of the music. The formance, the gradations of touch upon the keys,
all-important sibilance range was seemingly if you will.
unforced, but came up just shy of the rounder, On an absolute level, Acoustic Zen Copper
sweeter voicing that is consonant with acoustic misses tiny morsels of low-level resolution
music and my reference wires. Its overall tonal and articulation. And its modest forwardness
neutrality and macro-dynamic energy, however, provides a little less depth information on
Acoustic Zen Absolute were right on par with these top wires.
The Zen has superb low bass, a bit richer
and plummier than some but addictively so. It
something like the soprano solo that introduces
Rutter’s Lux Aeterna. However, in their proper
perspective such small flaws in no way impinge
Copper Interconnect was a trait that could be instantly appreciated

during cellist Pieter Wispelwey’s reading of
Bruch’s Kol Nidre [Channel Classics]. There
on the near-irresistible musicality these wires
represent.
All told, the Acoustic Zen Absolute Copper is
Must-Audition was a wonderfully immersive character to the a cable so satisfying that it may very well give
soundstage, a nice combination of depth and you pause about spending more. It certainly
Neil Gader dimensionality. At moments there was a slight would give me pause. There are few serious
sense of top-end edge from the cello, but this audio rigs that would not strongly benefit from
A
coustic Zen is best known copper conductors in a flexible twist array. was minor. More importantly, on cello Absolute Absolute Copper’s expressive musicality and
for its high-end loudspeakers Insulation is top-notch, utilizing hollow-core- Copper found the balance between mellow and real-world affordability. A cable that belongs
like the vaunted Crescendo foam Teflon tubing, not polyethylene, “that is melancholy, resonance and throatiness, the on every audiophile’s “must-audition” short
2, warmly reviewed by Dick Olsher symmetrically configured to Acoustic Zen’s near-human voice that makes it such a difficult list.
in Issue 229. It’s no wonder that a patented Constant Air Twist geometry.” Teflon instrument to convincingly reproduce.
statement product like that could is widely considered to be second only to an air During the Rutter Requiem Copper easily
easily overshadow the fine lineup of dielectric. Acoustic Zen’s Absolute Copper can captured the scope and inner detail of the large
cabling which the company also offers. be ordered in any length (1 meter and up) with chorale, the intensely colorful vocal groupings SPECS & PRICING
However, ignoring Acoustic Zen’s wire standard RCA or XLR terminations. of baritones and tenors, while keeping its finger
would be a big mistake. As I listened to Norah Jones’ lead vocal on the pulse of the accompanying harp and ACOUSTIC ZEN
Its Copper Series interconnect isn’t the and overdubbed harmonies during “Wish I cello—elements that are easily buried beneath 16736 West Bernardo Drive
most expensive in the line—in fact by today’s Could” from Not Too Late [Blue Note], I found the sound of the large chorus and intermittent San Diego, CA 92127
standards it’s mid-priced. Construction is the Copper’s smooth sonic performance rumblings of the pipe organ. (858) 487-1988
robust, and terminations are excellent. It’s satisfyingly close (perhaps uncomfortably so) As I listened to solo piano performances of acousticzen.com
also fairly stiff due to its braided jacketing. to the best cables I had on hand, including my Evgeny Kissin and Valentina Lisitsa the Copper Price: $1600, 1m
The Absolute Copper uses zero-crystal ribbon reference Synergistic Tesla CTS and Wireworld provided a wealth of soundstage information

current, state-of-the-art silver cabling has

largely moved on from the thin, dry, tipped-up
treble that this conductor offered once upon a
time. But most of the current crop of sterling
wires are costly no-holds-barred efforts. The
SDV2 is priced quite modestly by comparison.
Nonetheless, it conveyed none of the searing
vices from yesteryear—and I began to breathe
Moon Audio Silver

more easily.
in space. Tom Waits’ throaty, barrel-chested On the aforementioned cut from Soular
voice rumble onstage fully focused, while Energy, the SDV2 did come up a bit shy of
Dragon V2 Interconnect
Renée Fleming’s dark mezzo soared on a thick the pure, unveiled treble-range openness
cloud of air. The lower-mid and bass octaves of of reference wires like the Synergistic Tesla
the SDV2 also had a distinctive weight and heft CTS and Wireworld Platinum Eclipse Series 7.
that reproduced the resonances of orchestral These cables leave behind very few traces of
Dracarys! instruments like bass, cello, and bassoon with their own signatures. That said, Silver Dragon
a gut-level thrum of authenticity. And as I captured the delicacy of the piano’s slowly
Neil Gader listened to the title track of Michael Garson’s decaying upper harmonics, the intensity of
Serendipity, now a Reference Recordings LP Gene Harris’ lightning keyboard trills, and the
A
visit to the Moon Audio Web extensive testing, Moon Audio selected the chestnut, I was reminded of the wonderfully top-end air of the brushed snare and cymbals
site and on-line store reveals new WBT Nextgen WBT 0102Ag for unbalanced raspy attack of the sax and the bell-like sustain quite realistically. Ray Brown’s bass was rich
an honest passion for the high RCA and the Furutech FP-601 in rhodium for of the piano. The Silver Dragon reproduces in dark woody timbre, with a certain creamy
end, with a particular enthusiasm for XLR. these concurrent timbral contrasts and thickness to its rotund resonances.
headphones and head-amps and for It doesn’t take exhaustive listening sessions dynamic energies beautifully. Its “inside” game The Silver Dragon was very specific in
the bespoke cables to drive them. This to understand why Moon Audio cabling has is also very good. Norah Jones’ “Sinkin Soon” placement and perspective—each musician
is Moon Audio’s specialty—custom, already achieved near-cult-like status. The from Not Too Late [Blue Note LP] proved a positioned clearly and each slightly forward
handcrafted cabling for any application Silver Dragon V2 (SDV2) slipped into my feast for the Silver Dragon as it delineated the on the stage. What was interesting was to
from home theater to high-end stereo, system without a hiccup. Key among its inner vocal harmonies and the extreme low- contrast this fairly upfront and slightly flatter
as well as iDevices and laptops. strengths was the noise-free environment it level details from the quirky percussion section
Moon Audio’s top audiophile interconnect established—a dark, dead-silent background of this clever tune.
offering is the Silver Dragon V2, the successor from which music freely and cleanly emerged. Regarding the SDV2’s top end I held my SPECS & PRICING
to the Silver Dragon. It still uses a braided Another key was its smooth, rich midrange— breath as the Ray Brown Trio launched into
geometry made of eight, solid-core, 99.999% elegant in its neutrality, color saturation, and “That’s All” from its classic Soular Energy MOON AUDIO
pure silver, 26AWG wires with Teflon insulation. fluidity. There was a satisfying mellowness to [Groove Note]. This track, in all its acoustic 140 Iowa Lane, Suite 204
However the braiding has been upgraded the SDV2’s character—one that didn’t exactly and naturalistic purity, has become a beacon Cary, NC, 27511
and an external shield added to the mix for soften transients (there’s plenty of snap and of resolution and detail for me. So why the held (919) 649-5018
further noise rejection and durability—handy speed to go around), but that did add a measure breath? Even now my ears remain on alert for moon-audio.com
for lengthy runs across a studio floor. The of overall warmth to the presentation. the colorations/distortions I associate with Price: $500 (RCA & XLR)
connectors have also been upgraded; after Vocals were always unwaveringly positioned earlier iterations of silver wire. It’s true that

EQUIPMENT review - Moon Audio Silver Dragon V2

perspective with that of the Kimber Select I don’t begrudge anyone who has the
1136 pure-silver interconnects—a way, way bankroll buying the high-priced spreads. I’ve
pricier option to be sure, but still an instructive heard some great expensive cables. And in
comparison. When I switched to the Kimber the same general range of the Silver Dragon
(review to come) the performance settled back there is stiff competition from the likes of
into the studio slightly, though it was not laid- WyWires Blue Series and Nordost Purple Flare
back in the tonal sense. Micro-information and (reviewed in Issues 235 and 236). These are
balances were unchanged; rather, the players competitors, however, not dragon-slayers. I’ve
seemed less stiffly regimented in lines across got to give it up for the Moon Audio Silver
the stage, and spatial relationships were better Dragon V2. It’s a David in a world of Goliaths. It
defined and ultimately more immersive. Ray defies every expectation for a modestly priced
Brown’s bass also seemed to open up slightly interconnect. To say I’m impressed doesn’t go
as if shifting from an emphasis on tight pitch far enough. You’re just going to have to hear
control to a looser, thicker, more lifelike these for yourself.
measure of reverberation.
A Few Words with Moon Audio's Drew Baird

Moon Audio President and Founder, Drew Baird, is a self-professed audio junkie. An electronic music DJ
in high school and college, he had early aspirations of becoming a speaker designer and builder. However,
after doing some research during his early years at Penn State as an Electrical Engineering major, he
quickly changed to Structural Engineering after some advisor meetings. In an e-mail conversation, he
adds that “most EE’s don’t believe in the psycho-acoustical effects of audio equipment and especially
changes in sound based on cables, etc. I am a true believer that all pieces in the signal path make a
difference.” In conversation, Baird’s a direct kind of guy and that’s exactly the kind of retail audio store
he runs in Cary, North Carolina. “Moon Audio is a rare type of shop, as we are both a cable manufacturer
and also a high-end-audio retailer. I only sell products that I believe in and use myself as I cannot sell
items that I don’t perceive great value in as a consumer. In addition, our cables are not three inches thick
and stiff as flag poles. They are simply hand-crafted, in house, with passion and high-quality materials.
Moon Audio sells direct to the consumer in order to keep pricing at a minimum and we never discount
our cables. You will rarely see Moon Audio cables on the used market because our cables hold their
value. We also build everything to order and to whatever specs the customer needs and wants for his hi-
fi setup. Overall, we cater to our customer’s passions and desires, plus as a company we try to live by the
golden rule. This has served us well and continues to create long term relationships with our customers,
and for this we are truly thankful.”

Wireworld Platinum Eclipse Series ous visual difference compared with the flat-
profile of the cable’s immediate predecessor.
Platinum Eclipse Series 7 (PE7) uses
into the soundscape. The point is that it’s the
sheer silence of these cables that provides the
launching pad for all that comes later.
7 Speaker Cable & Interconnects heavy nine-gauge OCC Silver conductors

(interconnects are seventeen-gauge OCC
Tonal balance is essentially neutral with just
a suggestion of midrange warmth and a top end
Silver). The speaker cable is as stiff and that at first blush can sound slightly shaded,
The Sound of Nothing? unwieldy as the interconnects are supple. That but in fact is not. I’ll return to this point further
stiffness made me reconsider my choice of on. Most importantly PE7 possesses a uniform
Neil Gader the delicate banana terminations used for my palette—there are no color shifts across the
review samples. I would opt for the more robust musical spectrum. Rock-steady, its sonics don’t
spades if these were mine. ripen in one octave and then narrow or bleach
Over the years I’ve found that when a system out in another. And these include the frequency
is paired with Wireworld cabling—entry-level extremes where such discontinuities manifest
to cost-no-object—the distinctions are not most audibly. When I listen to Joni Mitchell
(initially) obvious. It’s not a sense of “lights on” singing “A Case of You” as I recently did in
W
ireworld always seems to entry-level Equinox and mid-priced Eclipse in the treble or “fasten your seatbelts” in the my evaluation of the Ortofon Quintet Black
end up on my short list of (Issue 238) Wireworld’s David Salz discussed bass. Platinum Eclipse, for all its technology cartridge (review in this issue) I don’t want
preferred speaker cables Series 7, and his remarks regarding its im- and (let’s face it) awesome cost, is not about to hear splashes of treble harmonics and air
and interconnects. The reason? The provements bear repeating here. He describes hype. If there is one phrase that describes its decoupled from the fundamentals of the vocal.
line embodies uncolored sonics year a developmental process that began with “the character, it would be relaxed but ready. PE7 This is all too common in cables that miss the
in and year out. If we can agree that discovery that most audible differences among is first about balance and about uncovering mark. But Platinum Eclipse’s overall response is
every wire (every component) leaves cable insulation materials are caused by spec- the bundles of inside activity that animate continuous and smooth. At the other extreme,
something akin to fingerprints on a tral variations in the noise they create. Fur- a great recording. These include the details, its bass response is as open, well defined, and
pane of glass—a smear, a smudge that thermore, that noise is modulated and there- dynamic gradations, and harmonic nuances complex as its treble, imparting body and air
impairs transparency and resolution— fore amplified by the electrical energy of the that were preserved during the recording/ proportional to the demands of the music. For
Wireworld, in my experience, has music signal. This discovery led me to focus on mixing process—and the higher the playback instance, listen closely to the final smack of the
consistently left fewer traces of itself custom-blending composite insulation materi- resolution the better (LPs especially). bass drum during John Williams’ Liberty Fanfare
than most others. Actually, as weird als specifically optimized for sonic purity.” The At rest, there’s an underlying silence to this [Wilson Audiophile]. Beyond the immediate
as this may sound, Wireworld wires result of that effort is Wireworld’s Composilex wire that creates something akin to a glassy and immense impact, you’ll hear and feel the
never seem to be actively doing much 2 insulation technology, which dramatically re- expanse of deep black water—a motionless resonance and flutter of the drum head as it
of anything—except making music, and duces triboelectric noise (note: static electric- landscape waiting in anticipation of the micro- does a slow fade into the background.
a whole lot of it, as I discovered with ity occurring through friction is an example of ripples of music to begin. Listening to Malcolm As I alluded to earlier, Platinum Eclipse is at
Wireworld’s latest, Platinum Eclipse. triboelectric noise) at the interface between Arnold’s English Scottish and Cornish Dances its most expressive in the treble octaves—to
(The flagship now carries the Series conductor and insulation. “Additional improve- I could hear the ever-present hall sound my mind audio’s most precarious region where
7 moniker in celebration of the firm’s ments were garnered from new versions of reverberating behind every note and filling most wires either narrow, bleach, or otherwise
20th Anniversary.) Wireworld’s DNA Helix conductor geometry, every pause and musical rest. Or the crackle of wring out the harmonic juices of the signal. The
Beyond its newly refined cosmetics, Plati- which channel more electromagnetic energy the far upstage tambourine that rockets down initial tip-off for me is the sibilance range, the
num Eclipse represents the summit of Wire- and therefore more music, than the previous the center section of the London Philharmonic 6–8kHz regions, where overtones either gently
world’s current thinking. When I reviewed the designs.” The new geometry is the most obvi- orchestra, its reverberation flaring and fading punctuate a singer’s articulation or begin to

EQUIPMENT review - Wireworld Platinum Eclipse Series 7

sizzle like bacon on the griddle. As I listened to and violin there is a consistent sweetness, way to purchase. proven themselves over various criteria,
Norah Jones’ “Wish I Could,” consonants and especially in the treble range, a warm air For those prepared to go all the way, and but Wireworld’s Platinum Eclipse Series7 is
especially “s” sounds were smooth, devoid of enriching each image in the way an artist adds I’m glad there are those of you out there, I the most balanced and musical cable I’ve
trailing smudge off the transient. At first blush, rich swathes of color to a line drawing. wouldn’t hesitate to commend these wires. experienced yet. A component worthy of the
this can lead to the (false) impression that there Beyond its upper-octave performance, I’ve heard plenty of other cables that have designation, the state of the art.
is some shadowing in the treble, but it’s really dimensionality and spatial gradations are
the reduction of distortion. It was a lesson in Platinum’s most persuasive virtues. It sets a
naturalistic reproduction—like I said earlier, no symphonic soundstage with the same precision
hype. What you won’t hear from the Platinum as the staff preparing the dining room table urther Thoughts From Wireworld’s
F
are violin sections losing bits of resonant at Downton Abby. Once again I turned to David Salz
body and sounding stringy, or brass sections Rutter’s Requiem [Reference Recordings], It’s consistent with the Wireworld philosophy the Cable Comparators. With direct switching
depleted of their sparkling golden bloom from a reference album of immersive spatiality that the only valid comparison is against no between cables and the reference bypass, I was
lack of air and truncation of harmonics. and vast staging. As heard through the PE7 cable at all, hence the creation of the Cable then able to test more easily, and I also gained
In these upper octaves PE7 most reminds wire, the Turtle Creek chorale remained fully Comparator. I asked Salz about its development. the capability of demonstrating the audibility
me of my first experience listening to Tara integrated within the reverberant venue yet, Back in 1980, about 14 years before I even thought of cable losses in double-blind comparisons.
Labs Zero and Omega (at JV’s suggestion) if the mind’s eye so chose, the individual vocal of creating a Cable Comparator, I performed my Even though the Cable Comparators are a great
many years ago. They were driving MBL’s nuances of each chorus member could be first cable bypass test by soldering together a pair convenience, I now perform most of my bypass
three-way compact, the mbl 121 Radialstrahler singled out. The presentation never devolved of two-inch-long twisted-pair jumpers to replace testing manually to avoid the sonic losses of
via MBL electronics. This omnidirectional into a slice-and-dice affair that set players the various high-end one-meter interconnects the extra connections within the Comparators.
speaker (since replaced) had a reputation—as apart from their acoustic surroundings. Only I had been using between my preamp and
musically luminous as a loudspeaker could be, the Synergistic Research Tesla CTS, with its amplifier. The moment I listened to my system Do you have more than one reference system
it was equally ruthless in the way it exposed uncanny holographic soundstage, has bettered with the interconnect bypass, I realized that I was and do you use a listening panel?
component impurities. Prior to the Taras it was the Wireworld in this regard. hearing much more music than I had ever heard Throughout my thirty-odd years of performing
also disturbing to me that the vaunted treble What price glory? Platinum Eclipse is through any of the one-meter interconnects. The cable bypass tests, I have always gone out of
purity of the Radialstrahler was proving so certainly well beyond my pay grade. But don’t confusion of only being able to hear differences my way to repeat important tests on multiple
elusive in my listening room. The violin solos of assume that just because it is so costly it between cables was gone, because I had gained reference systems to avoid system-dependent
Arturo Delmoni from Songs My Mother Taught requires an ultra-high-resolution, fancy pants the ability to hear what each cable was losing! I effects or limitations. Despite obvious differences
Me [JMR] had a stridency, a stinging string system to make its magic—or that it wouldn’t also realized that I had discovered the way I could in the sonic impact of various cables on those
tone more penetrating than the instrument make a dime’s worth of difference in a more learn to create cables that let more of the music systems, I have learned that the actual effects of
deserved. Similarly the upper octaves of “real world” high-end system. Unfortunately through, and so I vowed to turn that challenge cables are very consistent from system to system.
Valentina Lisitsa’s piano registered a more it does make a difference, and all too much into my career. I have also enjoyed the benefits of having some
metallic signature as if the felt had worn off of one. Loudspeakers as cost-accessible as Creating excellent cable bypass tests is rarely very talented listeners, including high-end audio
the keyboard’s hammers. The Tara effectively the new Audio Physic Classic 30 floorstander easy and it’s often very tedious to keep switching designers, recording/mastering engineers, and
put an end to that immediately. It smoothed, and the ATC SCM19 stand-mounted monitor among various cables and reference jumpers. The musicians, assist me in my testing and prototype
sweetened, and opened up these octaves. The benefitted to no small degree from these wires. very detailed and tiring work of perfecting and evaluations.
Platinum Eclipse is the first wire since the Tara So much so that it may not be a good idea to performing these tests is what led me to invent
to score as highly in this area. On solo piano try them unless you’re prepared to go all the

Audience Au24 SE Power Cable, J

ohn McDonald, the president of least when it comes to power cords, is that they
Audience cables, has been in come in three gauges. For power amplifiers,
business for several decades, which require a lot of current, Audience offers a
Au24 SE Interconnect, but he isn’t someone who makes a big
fuss about the properties of his cables.
10-gauge cord. For medium power requirements—
between 50–150 watts—you can order a 14-gauge
and Au24 SE Speaker Cable They’re slim and unpretentious, even—

dare I say it?—unprepossessing, at least
cord. And for CD players and other equipment
that doesn’t draw much current, Audience
visually. All this is intentional. Audience offers a low-power version. (Note that owners
A Veritable Steal cables follow a low-mass/low-eddy- of Audience cables can upgrade to the new SE
current design that ensures they look versions.)
Jacob Heilbrunn as if they’ve been put on a starvation If this sounds overly complicated, it’s really
diet next to some of the hulking not. And even if it were, that wouldn’t stop most
monsters out there. Those audiophiles audiophiles. But here’s the deal: The cords work
who equate performance with bulk and extremely well. The first thing I noticed when I
heft probably wouldn’t give Audience inserted the power cords into the dCS rig was that
much of an audience. the noise floor dropped quite a bit. They helped
But does size really matter when it comes to to create a more sumptuous and velvety black
cables? Does bulk determine performance? Is it background. With it came more detail—detail that
imperative to have cables the length and girth of helped create a more lifelike sound. My take is
pythons snaking around your audio gear? that the Audience cords help to reduce distortion,
Judging by the sonic qualities of Audience’s which is to say the smearing between notes that
latest offerings, the answer has to be a our ears subconsciously perceive. Remove that
resounding no. Over the past few months, I’ve almost imperceptible layer of grunge and you
had the opportunity to sample the company’s achieve a new level of clarity, both in rhythm and
latest interconnects, as well as speaker and image solidity. Everything starts to sound better.
power cables. And its new line represents a On digital this was apparent to me on CD after
substantial leap beyond the Audience cables CD. Consider Murray Perahia’s recording on Sony
that favorably impressed me a few years ago— of Handel and Scarlatti. The music may not be
particularly when it comes to power cables. all that complicated, but sometimes a more spare
Audience’s build-quality has always been recording gives you a chance to listen more deeply
exemplary—it’s a sophisticated company that than a bunch of razzle-dazzle sonic fireworks.
sells high-quality capacitors, power conditioners, Here it was clear that the interstitial black space
and, not least, loudspeakers—but quite frankly I between notes was audibly improved. Individual
wasn’t expecting the degree of improvement that notes seemed to linger even longer, decaying
these new wires offer across the board. Whether into the ether. Ditto for the Eagles on the “Hotel
on the dCS Vivaldi CD/SACD playback system or California” cut on the album Hell Freezes Over. It
on preamps and phonostages, improve things was now possible to distinguish even more clearly
they did, and not by a small margin. between the singers and instruments. The power
One of the novelties of Audience designs, at cables helped to create a wall of sound.

EQUIPMENT review - Audience Au24 SE

The same went for vinyl. I plugged the cables my system delivered some of the best sound
into the Ypsilon phonostage and preamplifier. I’ve been able to get from it—the shimmer
On Red Garland’s album All Kinds of Weather on cymbals was so beautifully controlled,
[Prestige], a wonderful mono LP recorded expanding effortlessly into the air as though
in 1958 by the immortal Rudy Van Gelder, it the instruments were hovering right before me.
was clear that the reduction in noise allowed And the bass. Oh, my. It sounded like tectonic
me to hear further into the music. All of plates were shifting on Mavis Staples’ new
the instruments—piano, bass, and drums— album One True Vine. Sometimes these sonic
sounded as though they were being more experiences are just hard to forget.
clearly resolved. You got the benefits of lower Suffice it to say that the Audience speaker and
distortion without any supression of dynamics. interconnect cables may be relatively diminu-
On the contrary, there was greater snap and tive but they will never short-change your sys-
precision to classic numbers such as “Rain” and tem, whether it comes to sonic prowess or nu-
“Stormy Monday.” It almost sounded as though ance. Still, for all their virtues, I have to say that
my mono Miyajima Zero cartridge was tracking it was the power cables that ended up stealing
the LP more accurately, especially on LPs that my heart. The number of power cables on offer
I thought were hopelessly compromised due is daunting, and skeptics love to maintain that
to wear. It was a real treat to discover that the notion that they can improve your system is
they were, in fact, more listenable than I had bogus. My experience with them says otherwise.
previously thought. Their flexibility and extreme performance make
Adding in the Audience speaker cables and Audience’s latest assault on power delivery a
interconnects did nothing to subtract from steal in the world of the high end.
these appealing qualities. The most notable
virtue of the speaker cables is that they follow
the audio equivalent of the Hippocratic oath, SPECS & PRICING
which is to say that they don’t do anything
wrong. These are not cables that have even Prices: Au24 SE powerChord (5 feet,
a trace of etch or tizziness. Nor are they unbalanced (1meter), standard full-gauge),
saccharine or rolled-off. Rather, they seem to $1290; Au24 SE $2250.
conduct the signal with no fuss or muss. They balanced (1 meter),
are accurate, lithe, and taut. When I used them $1895; Au24 SE speaker AUDIENCE
with the Boulder 2050 monoblock amplifiers, cable (2 meter), $2095, 120 N. Pacific St., K-9
which put out an imposing 1200 watts of pure Au24 SE LP powerChord San Marcos, CA 92069
Class A power, the Audience speaker cables (5 feet), $1030; Au24 (760) 471-0202
performed admirably. Coupled with Audience SE MP powerChord (5 (800) 565-4390
interconnects in balanced mode running feet), $1175; Au24 SE audience-av.com
from the dCS into the Boulder preamplifier,

Equipment reviews
Power
Conditioner
& Power
Cords
SPONSORED BY

in Issue 230). These speakers are much more In fact, the aR6-TSS so clarified my sound, I
resolving than my previous reference, the could discern things I hadn’t before regarding
Von Schweikert VR-5 HSE, and challenged matching electronic equipment for optimum
many things about my system and approach. I performance, source changes, and the distinct
found the new speakers so highly resolving, in sonic differences that can be made switching
fact, that I was able to hear profound changes through the various upsampling rates available
any time I swapped electronics or sources. on my Cary 303/300 CD player. The aR6-TSS
Furthermore, they also revealed there was a made a serious improvement in my listening.
lot of noise in the power line that manifested
itself as high-frequency grit and grain in the Background
audio signal, particularly compromising purity Audience AV has been making a version of the
in the upper mids and treble and ruining my adeptResponse conditioner since the summer
enjoyment of violins and choral music. At first, I of 2005, when the first adeptResponse12 was
worried the VR-44 speakers were the problem. released. Since then, there have been steady
Then I noticed that the issues disappeared late improvements in passive parts that Audience
Audience adeptResponse
at night, when the power tends to be cleaner claims have lowered the noise floor, improved
and more constant. It was then I recalled an old soundstaging, and resulted in wider-bandwidth
aR6-TSS AC Power Conditioner

invitation from John McDonald, President of filtration. In 2008, Audience introduced the
Audience AV. We were at RMAF a few years ago, aR-T, which substituted Auri-T Teflon caps for
listening to great sound coming from his demo the Auricaps used in the original units. In 2010,
"You Need A Power Conditioner" room. I was praising his audio cables when John the aR-TS was introduced, featuring another
said, in that beautifully slight and sonorous upgrade in capacitors (to the Auri-TO) and the
Garrett Hongo Texas drawl of his, “We’ve got to get you to try addition of a ground plane inserted into the
our adeptResponse one of these days.” unit. Finally, released just this past year in 2012,
I
n Oregon where I live, audiophiles and the problem goes away. In the fall, So I called McDonald and, after a brief the aR-TSS (the unit under review) features an
I know don’t tend to use any power I switch back to tube amplification. conversation, we quickly agreed I should try optional S-filter that Audience claims lowers
conditioning, believing, rightly or One summer, though, I did try a line the new adeptResponse6-TSS ($6000) along noise even further.
wrongly, that the power we get locally conditioner, a power regenerator with with the new Audience powerChord Au24 (a In a recent phone interview, I asked Audience
and from the Bonneville grid is superior a transformer, but I didn’t like it as $1550 upgrade at 6'). He’d also send along engineer Roger Sheker what his goals were
to the dirty power we read about it obviously compromised dynamics the 6' stock Audience powerChord e (price in designing the adeptResponse and what, in
folks having in big metro areas. I have and added its own whitish haze to the included) as a reference. As this was late in particular, was special about the aR6-TSS. He
mainly done without line conditioning, treble. I sold it. And, up until a few the fall, there was a high demand for his units, said the basic principles were threefold: (1)
although I have noticed that grunge months ago, I’d simply used power and it took a few weeks for all to arrive, but to have a low-impedance power path of less
and grain creeps into the system distribution without filtering, either once they did I immediately put them into the than 40 milli-ohms to allow current to flow
periodically during summers, when from Isoclean, Siltech, or Weizhi, and system and the results were remarkable. All without resistance (the problem with most
everyone’s running A/C. When that had been very pleased with my sound. the problems with line grunge I was having power conditioners on the market); (2) to use
happens, I simply switch from my usual But a new pair of loudspeakers took up simply fell away and I could hear speakers and high-quality parts in capacitors, wire, method
deHavilland KE50A tube monoblocks to residence in my system recently—the Von electronics easily singing together without of assembly, buss bars, and surge protection;
a pair of Herron solid-state M1 monos Schweikert VR-44 Aktive ($25,000, reviewed the scrim of noise riding along on the current. and (3) not to use an IEC, which he considers a

EQUIPMENT review - Audience adeptResponse aR6-TSS

poor connection that doesn’t ensure complete Through the years, Audience has not only to work with than most power cords, largely Installation and assembly were literally a
contact. He said all three contribute to the goal changed the kind of capacitors it uses in the because they are made with stranded copper snap. I plugged in all my power cords, including
of a low impedance path. adeptResponse, but also the capacitor leads wire. the one for my Cary CD player, as recommended
Sheker further explained that they’d observed themselves from standard copper to the by the manual—plugs for high-current units
that the design of most line conditioners current monocrystal. They’ve changed the way Description and Installation closest to the power inlet and plugs for front-
was actually quite good, but that there were the buss bar is built—from at first being drilled The six-outlet aR6-TSS sits at midpoint in the end gear farther away. As each of the six outlets
big differences in execution, coming down and pieced together to soldering those parts Audience line of power conditioners, between is individually filtered and double-filtered from
to choices made in passive parts and power for more direct contact. A big change was the two-outlet aR2-TSS ($5200) and the twelve- every other outlet, the aR6-TSS is claimed to
connections. For instance, from the start, after adding the ground plane with the aR-T—a big outlet aR12-TSS ($9995). My review unit came provide maximum component-to-component
trying dozens of alternatives, Audience chose copper plate on the bottom of the unit that is in silvery brushed aluminum (black is also isolation. I have to admit, though, that plugging
the well-regarded Hubbel receptacles for the weld-connected in a star-ground configuration. available) with a faceplate just slightly bigger my CD player into the same line (via the aR6-
best combination of sound and clamping force. For the TSS, the optional S-filter uses a passive than the chassis, featuring understated lettering TSS) went against my habit of keeping digital
Audience also eschews using the metal oxide Balun transformer that goes between the input that said “adeptResponse/High Resolution sources on a completely separate line from
varistor (MOV) employed by many other line connector and the circuit breaker, lowering Power” with a dot of an LED within an oval logo. my other electronics (more about this later).
conditioners to protect against high-voltage noise from the upper audible range to well
transients. beyond the audible bandwidth, Sheker said, but
“It absorbs surges all right,” McDonald resulting in an improved soundstage. SPECS & PRICING
chimed in (this was a three-way phone hookup). But what about that IEC-business? “It’s a
“But it’s also always in the pathway, storing sloppy connection,” McDonald said. “It doesn’t Current/voltage: 15A or 20A/120V, Raven Two turntable, TW-Acustic Speaker cables: Siltech 330L, 330L
and releasing energy out of phase, creating make good contact and was developed for 220V, 230V, 240V Raven 10.5 tonearm with Zyx Airy jumpers; Audience Au24e with
distortion, and wearing out over time. Ours computers, not audio. We chose the Neutrik Power outlets: Six Hubbell high- 3 cartridge (0.24mV), Ortofon Au24 jumpers
doesn’t wear out and is not in the pathway until PowerCon connector that twists and locks in, conductivity power receptacles RS-309D tonearm with Ortofon RCA Interconnects: Siltech 330i,
there is a surge. ” doesn’t vibrate, and can never fall out of the Dimensions: 10.5" x 4.75" x 8.25" 90th Anniversary SPU (0.3mV), Audience Au24e, Auditorium 23
Sheker also pointed out that they rejected socket, guaranteeing a secure connection and, Weight: 11.1 lbs. Ortofon Cadenza Mono (0.45mV), USB cable: Wireworld Silver
the thermal circuit breaker used by so many again, a low impedance path.” Price: $6000 (6' powerChord e and Ortofon Mono CG 25 DI MKII Starlight
others because it heats up when there’s a Owners of previous adeptResponse models included); PowerChord Au24, (1.5mV) Power cords: Siltech Ruby Hill II,
transient and creates resistance, which ruins can upgrade their older units. Audience $1500/6' (upcharge) Digital sources: Cary 303/300 CD Siltech SPX-800, Cardas Golden
dynamics. Instead, Audience chose a magneto- charges $1000 to upgrade from the TS to the player, Apple iMac with Eximus DP1 Reference, Harmonix XDC Studio
hydraulic breaker at more than twenty times TSS. Upgrading from an aR-T to the new TSS Audience AV USB DAC Master, Silent Source Signature
the wholesale cost as it doesn’t get hot and is more involved, essentially constituting a 120 N. Pacific St., K-9 Preamplifiers: deHavilland Mercury Power conditioner: Siltech Octopus
compromise dynamics. rebuild of the unit, adding the ground plane, San Marcos, CA 92069 3; Herron VTPH-2 phono stage; Signature 8 with 20A Siltech Ruby
“It’s the same reason we chose passive and changing the buss bar from parted pieces to (760) 471-0202 Music First step up Hill II power cord
not active conditioning,” Sheker continued. soldered, adding the S-filter, and changing all audience-av.com Power amplifiers: deHavilland Accessories: Box Furniture S5S
“An active has to use a transformer, which has the capacitors to the TO version that are made KE50A monoblocks five-shelf rack in sapele, HRS
high DC resistance, limiting dynamics. There with Ohno (monocrystal) leads. It costs $2800 ASSOCIATED EQUIPMENT Speakers: Von Schweikert Audio damping plates, edenSound FatBoy
isn’t an active conditioner that doesn’t limit for the 6-outlet version. Analog sources: TW-Acustic VR-44 Aktive dampers, Winds VTF gauge
dynamics.” Both cables are quite flexible and easier


As for the pecking order of plugging the cords line noise was completely gone. To me, this was
for amps closest to the power inlet, McDonald a very big deal, as, after about a week of the
explained this was because the large capacitors aR6-TSS being in the system, I never had any
that stored energy were situated closest to the more of those periodic days of awful sound
Neutrik connecter and that amps, needing that coming from my system. It just never happened
stored power at peaks, worked best connected again. The aR6-TSS had banished the nasties!
as close as possible to them. Finally, I plugged Sometime after everything had settled down,
the Au24 powerChord into the wall outlet and, I put on a CD of Mozart’s Piano Concerto No.
once every component was plugged into the 20 in D minor played by Ivan Moravec with the
aR6-TSS and contacts seated and checked, I Academy of St. Martin in-the-Fields, directed
flipped the circuit-breaker switch, powering by Neville Marriner [hänssler], and what I
the unit on, whereupon the LED’s blue light heard was very promising. The most immediate
appeared. I was ready to go. difference was string sound, which sounded
much smoother. There was more detail, more
Listening sweetness, more mellowness. The aR6-TSS
On recommendation from John McDonald, made a very musical difference. Orchestral
I kept the aR6-TSS powered on constantly violins were open and resolved and, on piano,
and spent about a week burning it in and not the nuances of Ivan Moravec’s pedaling were
taking any notes but just playing through much more noticeable. I concluded the aR6-TSS
a variety of CDs of all genres. On first had lowered the noise floor. Individual piano
impression, there was a noticeable big gain notes sounded a touch more incisive on attack,
in clarity and organicism, perhaps due to the bloomed more palpably in sustain, and seemed
monocrystal wire used throughout the unit, to float in the air, lingering longer in decay. The
orchestral violins in particular sounding more soundstage was noticeably bigger and deeper
natural. But, on subsequent days, I heard and the overall presentation was sweeter,
that dreaded treble grittiness in the violins of prettier! Bass was deeper and more articulate,
another orchestral CD, or a whitish sound in tighter, and more focused. There were deeper
the treble, or occasional episodes of dynamic orchestral space and spatial cues in the string
compression. The unit did indeed need burning notes too. But, though I was starting to feel quite
in. After about sixty hours in use, I could tell it taken with the aR6-TSS, I was not yet completely
was settling down, noticing a marked reduction convinced. The presentation definitely sounded
in the day-to-day sonic variation in the system. more organic and less electronic, but I also
In fact, what had vexed me no end before—that worried the Audience conditioner took some
intermittent grit and grunge in my system juice away, extracting some measure of verve
sound popping up on every odd day—no longer and jump from the overall presentation.
seemed to be a problem. That small yet dire Putting aside my focus on classical strings
tinge of stress I’d been feeling because of the for the moment, I started listening to some jazz


CDs too, and the aR6-TSS did spectacularly Brothers], I heard, without any sharp transients
good things. On James Carter’s Chasin’ the marring the very natural presentation, a
Gypsy [Atlantic], his homage to French guitarist gorgeously articulate string-band-style
Django Reinhardt, although I’d heard it before, interplay among a mandolin playing lead,
that bass drum strike at the beginning of the multiple guitars in accompaniment, an electric
first track was somewhat startling. The drum bass, and drums. The soundstage was huge and
note was full of skin and harmonics, tactile very tall, the instrumental images stable within
and supremely present, then it reverberated it. Though I thought the vocal imaging outsized,
and started dying away, its passing punctuated the clean, airy harmonies among those voices
by a snare roll and the pattering of castanets. told me that the timing was perfect.
When Carter’s dark and blatty bass sax took Throughout my listening, I did wonder about
up the recognizable theme of Reinhardt’s the conditioner’s effect on dynamics. It was
“Nuages,” all was as sinuous and sublime as an clear the system made huge gains in midrange
anaconda flowing over the branches and trunk smoothness, treble and bass extension and
of a rainforest tree. Across the soundstage, an clarity, soundstaging, timing, and noise. But,
accordion wheezed melodically, suspended bells from the start, I thought I’d heard a slight loss of
were deftly struck, an acoustic guitar was being punch and musical weight at times, particularly
rapidly plucked, each string distinct in attack on orchestral crescendi. To test this, I pulled
and decay, and a beaded gourd rattled softly as the CD player’s power cord (a Siltech SPX-800)
a rainstick behind it all. The standup bass was out of the aR6-TSS and plugged it directly into
tight, played deftly, notes distinct but flowing in the wall outlet of a dedicated line separate
an infectious tango rhythm. A purer silence in from where the conditioner got its juice. This
the background made the birth and departure was my longstanding practice anyway, keeping
of each sonic event seem more properly timed digital sources on a different line from other
and clearly presented. There was a fabulous electronics. Going back to the same Mozart
depth to the stage, a palpable sonic imaging of Piano Concerto No. 20 in D minor performed by
each instrument and the feeling of real space Moravec with the Academy of St. Martin-in-the-
around them, particularly around Carter’s bass Fields, I now heard starker dynamic contrasts,
sax as it dug into its lowest registers. I’ll risk more punch in the timpani strikes and more
saying it was evident that what I was hearing emphatic swells in orchestral tuttis. Piano notes
was transparency to the source. were still sweet and clear, but forte keystrokes
Clarity of imaging, a large soundstage of and bass notes gained impact and suddenness.
real depth, and the rhythmic presentation of On the downside, violins sounded glassy in
a complex sonic tapestry of multiple acoustic accompaniment and the fine inner details of
instruments were all also evident on vinyl performance, particularly the coordinated swells
playback. On the Grateful Dead’s “Ripple” of vibrato, were obscured. And the entirety of the
from the classic American Beauty LP [Warner music seemed stripped of its natural overtones,


its harmonic richness, dynamic shifts sounding system, solid-state or tube. passage through an orchestra or choir—a theme dimension to them, soundstaging was grander,
more Spartan than Apollonian. My own home system is put together sometimes taken up in a kind of semaphoric and imaging and spatial cues startling. The ar6-
The conditioner’s effects on my analog chain expressly to meet the challenges I cite above— sequence as the singers or musicians sound TSS contributed a remarkable refinement and
were also somewhat ambiguous, especially on the deHavilland KE50A tube monoblocks, their musical contributions. That my system, brought real precision to my system.
rock and R&B. With my Herron phonostage’s though only rated at 45W of output, nonetheless with the Audience aR6-TSS in it, could render If you’re in the market for line conditioning,
power cord, a Silent Source Signature, plugged have a secondary stage of output (its design this magical thing demonstrated that its I think you ought to take a serious look at this
into the aR6-TSS, I played Otis Redding In incorporates an interstage transformer in contributions benefitting resolution and timing one. There can be differences in performance
Person at the Whiskey a Go-Go [Sundazed]. The addition to the power and output transformers) were more than considerable. depending on the system and the nature of the
horn section on “I Can’t Turn You Loose” had a that sustains power through increasingly I also tried the aR6-TSS with the stock power in your own region, but, for me, it was a
punchy thunk in repeated choruses of the same demanding passages such as required powerChord e instead of the Au24 powerChord no-brainer. Like TAS editor Robert Harley once
riff, punctuating and pushing the driving beat, with choral/orchestral music with operatic and, in general, the system lost a smidge of said to me, “You need a power conditioner.” I
accentuating Redding’s soulful and rhythmic soloists. On the CD of the Bach Society of the intensity. On “Nuages” from James Carter’s have one now. It’s the Audience aR6-TSS.
bluesy hollers. But on “Mr. Pitiful,” I felt that Netherlands performance of Mozart’s Requiem Chasin’ the Gypsy, things became a touch muted
Redding’s hoarse baritone voice sounded more [Channel Classics], what you can hear, when by comparison, the saturation of tonal colors
gut-thunking with the phonostage’s power cord the system is optimized, is the rendering of in the instruments a shade less intense and
plugged directly into the wall. And, absent the multiple thematic lines—men’s voices, women’s, imaging within the soundstage slightly more Robert Harley on
Audience conditioner’s effects, horns were a strings, woodwinds, brass, and horns—with diffuse. It wasn’t a big difference—the overall the aR6-TSS
touch more forward, the midrange generally had deftness and aplomb, giving each its particular character of the presentation was very much I’ve been using the aR6-TSS in my system and
more presence, and the music sounded fuller definition and timbral character, the voices the same, just not quite as dramatic or vivid. largely agree with Garrett’s findings. The unit
and energized the room more. Though very remaining open and clear throughout every Both cables are quite flexible and easier to work significantly lowers the noise floor, which in turn
close with it, I thought PRaT seemed a touch crescendo. For example, there was a moment with than most power cords, though the Au24, leads to increased resolution of very fine detail.
more immediate without the ar6-TSS in line. during Lacrimosa, the eighth movement, when being of stranded copper, is much more so. If This resolution increase is heard as more vivid
On balance, however, I much preferred the I heard a stunning billowing of voices in the it’s within your budget, I highly recommend you timbres and density of tone color. Fine transient
sound of my audio system with the Audience shape of one of Joseph Stella’s Moebius strip spring for the upgrade to the Au24 powerChord. information is also better portrayed; listen to
aR6-TSS in it than without. For me, the real sculptures. The face of the choral wave of sound Or, you might start with the stock “e” cord and brushes on snare drum, for example. With the
test of a system is how it plays large choral moved in a kind of elliptical, figure-eight pattern upgrade to the Au24 later. It’s worth it. aR6-TSS there’s just a greater impression of the
ensembles with full orchestral accompaniment. across the front of the soundstage, surging from mechanism by which the sound is made. The
In this kind of music, there are big demands on the sopranos down through the altos and then Conclusion increased smoothness and reduction in glare
power amps and the timing of all components sweeping up through the basses to the tenors, In the end, I found that I simply could not do that Garrett noted is, in my view, alone worth the
as they try to work together, stressing their then spuming back again—all in an instant. It without the salutary effects of the aR6-TSS price of admission. I don’t hear any reduction in
resolving capabilities and overall sense of was imaging at its astonishing best to me—not a and Au24 powerChord on most of my music, dynamics with the aR6-TSS. In fact, the lower
spaciousness, their abilities to create a bloom mere holographic presentation of sound coming on the entirety of my system. The benefits noise floor fosters the impression of greater
of sound while maintaining musical coherence. from a stable image of an instrument in space, far outweighed any slight downside. With all dynamic range; the silences are quieter and the
I’ve made myself very unpopular at audio but the dynamic movement of a splash of theme my components plugged into the Audience background blacker, making transients seem
shows traipsing around with my demo CDs of moving in the span of seconds across the face of conditioner, violins were unfailingly silkier, as if they are delivered more quickly and with
Mozart’s Mass in C and Requiem. These choral the entire choir as depicted in the soundstage. voices and instruments emerged from a blacker greater impact.
warhorses have crushed many a megabucks It’s the way music actually makes its swift sonic background with more nuance and

Shunyata Venom PS8 M

y history with AC power- using Shunyata’s Alpha process, and a tough
distribution and line- Carling Hydraulic Electromagnetic breaker. It
conditioning products is a sits on thick rubber feet, but steel spiked-foot-
Power Distributor, Venom fairly spotty one. Sonically, they give

and they take away, and I generally
put them aside after a few weeks.
ers with floor protectors are also offered as a
$195 option.
Defender, and Venom HC

The second component is the Venom
Nowadays I just grab a power cord and Defender—a tidy little plug-and-play power
head for the nearest available outlet, conditioner. Chassis-free, it’s a plug-in module
Power Cords
avoiding power-surge-protection strips that incorporates the MPDA (multi-phase-
for critical components. I’ve come to differential-array), thirty-element parallel
view such “convenience” strips as filters found in Shunyata’s flagship Hydra
a hangover from the days of tower models. Ruggedly built, Defender is equipped
How Dedicated Are You? computers, forty-meg hard drives, with 20,000 amps of surge protection and
and 14" monochrome displays, when its own LED fault-detector. It can be plugged
Neil Gader the fear of a brownout sent shivers directly into the PS8 or, ideally, into the same
down the spine. My listening room wall outlet.
isn’t blessed with a dedicated circuit, The final link in Shunyata’s power chain are
either. I’ve considered remedying this the Venom HC power cords. Big brothers to
but just haven’t gotten around to hiring the original Venom cords (still a steal), they
an electrical contractor. The truth is use heavier 10-gauge conductors, and employ
that I’m a little skeptical of monkeying hand-soldered contacts that are crimped to
with power and conditioning products. improve the metal-to-metal contact integrity.
My room is quiet with a seemingly All Shunyata components are cryogenically
low noise floor. Basically what I’m treated. Each can be purchased individually,
admitting is that my listening space is but these three have been designed and priced
probably a lot like yours. Sensible but to perform in trio. With three Venom HC cords,
nothing fancy. the complete Venom system Shunyata set me
Shunyata must’ve seen me coming. It has up with retails for under $1800.
designed a system that takes the existing AC Shunyata’s Grant Samuelson filled me in on
power entering a listening room to the next step Venom system particulars. He reiterated that
without engaging the services of an electrical “all home electronics are extremely peak-
contractor. There are three basic components to current-sensitive. Their power supplies draw
its entry-level Venom Series of power products, current dynamically off the peak and trough
starting with a Venom PS8 power strip. Nicely of the sinewave. Any break or open contact in
constructed of heavy, brushed steel, the PS8 is the electrical chain represents a loss that can
20-amp rated to cover even the most demand- affect system performance.”
ing high-current components, provides eight Shunyata, he says, “views current delivery
Hubbell outlets that are cryogenically treated as a high-frequency event, not a low-frequency

EQUIPMENT review - Shunyata Venom PS8, Defender, and HC

event because systems draw current at Wasps Overture [RCA] followed by the third Weirder still was that when I took out the power cords, I’ve gone from skeptic to believer.
a high-frequency and they output high- and fourth movements of the Beethoven Ninth Venom system the individual artists of St The Shunyata Venom system refined the
frequency noise. It all starts and ends with Symphony [Decca]. In each instance I heard the Martin’s in the Fields, performing excerpts voicing of my system to an extent I never would
junction integrity, material quality, material same thing, which arrived in the form of newly from Stravinsky’s Pulcinella, seemed somewhat have predicted at the outset. And I never felt
manipulation—all aimed to lower the insertion- discovered orchestral weight and a more rigidly abandoned, as if they were separated by the music was being compromised. To be clear,
loss of the device. The overriding design goal of grounded soundstage. The system revealed a acoustic dead zones rather than joined as a Shunyata doesn’t promise a seismic shift in
this system is to minimize peak-current loss at density change in the way I perceived ambient contiguous ensemble. With the PS8 out of system performance, but a subtle clarification
every junction. information. At first I thought I was hearing a the system, the air and dimensionslity, the of previously hidden musicality. Don’t look
“The Defender builds upon the foundation tonal shift downward, as if a darker palette of swirl of ambient activity became spotty. The at me to pull the plug anytime soon. For the
the PS8 establishes. Its filters are computer- colors were being applied to the performance. impression of a single soundspace unbroken dedicated among us (without a dedicated line)
modeled to capture and filter the high- But in truth this was more about system or from one end of the proscenium to the other, the Venom system represents a cost-effective,
frequency noise that exists on any line and line noise being reduced to the extent that upstage and down, sounded more thread-bare, plug-and-play, real-world solution to power
prevent it from re-circulating within the significantly more ambient information and like an unframed musical canvas. Reinserting issues. Another way of saying that I guess I
system. All of this is accomplished without any harmonic minutiae from venue and orchestra the Shunyata into the system, the fully framed better tell my electrical contractor not to wait
added connections and with no loss of peak were freely emerging. picture rematerialized. up for my call.
current integrity—which is our baseline for Celli and bass viols exhibited more pitch When I turned to pop vocals like Shelby
performance.” precision and less bloat. The individual voices Lynne’s “Just A Little Lovin’,” I encountered the
of a chorus were unwavering in space and could same enriched ambient quality that I had with
All Amped Up be more easily pinpointed, almost visualized. symphonic recordings. In this instance it was
My approach to evaluating power strips, power String section layering was better defined the distinctive, heavily damped, reverb-washed
cords, and line conditioners pretty much comes in depth. The Venom system was not just character of the recording studio. Imaging
down to the same tried-and-true methodology. quieting the system down; it was also allowing on this disc was truly stunning. Drums, bass,
After concluding a period of extended listening resolution within those silences of the acoustic/ acoustic guitar cues were so clean, quick, and
with the current reference system, I unplug reverberant life that exists between notes or stable that it was as if someone had applied
the entire rig, substitute the electricals under during musical pauses, but which is so often a squeegee to a grimy window. Even the title
evaluation, and let ’er rip. Electronics in this obscured. It was like the air was fueled with track’s metronomic hi-hat had more drive
instance were the Parasound JC 3 phonostage, a different mixture of energy and harmonics. and a thicker, less tinny quality. The Shunyata
the mbl Corona C11 preamp, and the mbl C21 I listened closely to Copland’s Fanfare For found more sustain in the instrument, while the SPECS & PRICING
stereo amplifier in rotation with the Aragon The Common Man and its near overpowering slight smearing that collected in the wake of
8008 amp (review to come)—a system requiring dynamic swings. Thankfully, what I didn’t hear certain of its transients all but vanished. Bass Venom PS8 Shunyata Research
three power cords. A Meridian Director USB was a softening or smoothing over of transient response was further defined in character and Number of outlets: 8 26273 Twelve Trees
DAC decoded computer-sourced files. detail and contrasts. The textures of music, timbre. For example, the bass vamp that kicks Price: $695 Lane, Ste D
My first impression of the Venom system flat- from the reedy and bristly to the buttery, were off the intro to Holly Cole’s “I Can See Clearly” Defender Poulsbo, WA 98370
out caught me off-guard, largely because my fully represented. Compression of dynamics— didn’t come off as more deeply extended per Price: $195 (360) 598-9935
expectations were built on previous encounters the bane of many conditioning products–was se but as considerably tightened up, with more Venom HC Power Cord shunyata.com
with power distribution products, some good, non-existent on either the micro or macro rhythmic bounce and melodic character. Price: $295/1.75m
some not so good. I began by cueing up The scale. In as little time as it takes to plug in a couple

I
n September, 2012, the TAS Web site as funds allow. I have to say, the two smaller
Shunyata Research ran a short piece announcing the

introduction of the Hydra Typhon, an
optional, dedicated, A/C-line noise-reduction
chassis are also easier to place than a single,
double-sized unit would be. In my setup, the
Typhon is on the bottom shelf of a rack, and
Hydra Typhon unit intended for use with the Hydra Triton
power distributor. Since I’d reviewed (and
highly recommended) the Triton in Issue
the Triton rests on a spiked platform on the
floor next to the rack. Shunyata does not
object to stacking the two units if that works
World's First Two-Chassis Power Conditioner 219, I decided to give Shunyata’s add-on best for you. Shunyata also offers sets of four
Typhon a listen. 1.25-inch-tall stainless-steel spiked feet ($195)
Kirk Midtskog The Typhon and Triton units have the same and matching protective discs for enhanced
cosmetics, dimensions, and price ($4995 each). performance over the stock rubber feet when
The heavier Typhon is an additional, passive, either unit is placed directly on a floor. (More
noise-filtering “slave unit” which simply plugs— on these optional feet later.)
via a Typhon Umbilical cord—into either an Almost the entire internal chassis space of
unused standard A/C receptacle on the Triton the Typhon is devoted to two large cylindrical
or into a Typhon-ready receptacle. (Note Noise Isolation Chambers (NIC) filled with
well: You will have to order an umbilical cord— proprietary ZrCa-2000, a “ferroelectric”
preferably as short as possible—with one of two compound. The hot and neutral A/C power legs
different terminations, depending on the type of are routed through the NICs via Shunyata’s
receptacle you intend to plug the Typhon into.) hollow-core, high-purity, CDA-101-copper
Shunyata recommends using an unused normal “VTX” wiring. The large volume of ZrCa-2000
receptacle, but all Tritons come with an auxiliary material, combined with the large surface
receptacle, so that all eight normal receptacles area of the internal copper cylinders, is said
may be used for electronics if needed. Since the to provide very effective ultra-high-frequency
Typhon is not in the current path, as such, it does noise-dissipation characteristics through “an
not alter the total current-delivery capacity E-field coupling between the ferroelectric
of the Triton (2400W at 120VAC, 4800W at material in the NICs and the electric field of
240VAC). The Typhon simply provides additional the high-frequency noise that rides on the AC
noise-suppression capacity to the Triton. In signal.” The main unit of the tandem, the Triton,
effect, the Triton and Typhon pair becomes one already has three fairly large NICs, so the add-
power conditioner in two chassis. on Typhon increases the total NIC capacity to a
Fairly early in the development of a much more robust level.
new, higher-performing power conditioner, Does the Typhon significantly reduce signal-
Shunyata’s designer Caelin Gabriel ruled out obscuring noise? Yes, and I would add the
offering one large unit in favor of splitting up Typhon’s most prominent sonic effect on the
the two main sections into smaller chassis. connected system is that it enhances the
This offers consumers more flexibility; they system’s ability to portray spatial cues. The
can start with a Triton and add a Typhon later Typhon does not alter tonal balance or macro-

EQUIPMENT review - Shunyata Research Hydra Typhon

dynamic behavior, so listening for typical Typhon combo enhances what your electronics musically meaningful ways. I imagine that most get you started and the Typhon can be added
changes after you insert a new device is not can already do, not only by feeding them a audiophiles who would contemplate purchasing later. The benefits the pair brings to bear serve
a standard exercise with the Typhon. What the cleaner A/C stream but also by reducing the two $4995 power conditioner chassis (and the music well and do so without any negative
Typhon does do is allow your system to better noise those electronics feed back into the A/C two good 20-amp power cords) have already effects. Highly recommended—especially for
reproduce depth of both individual images and line. If your system already has a good measure invested a great deal of money in their systems those with relatively high-resolution systems.
of the overall soundstage. Spatial cues around of the qualities you are looking for, you’ll get and would truly appreciate the next level of
individual images are more clearly defined, with more of them with the Triton/Typhon pair. realism the Triton/Typhon combo brings to the
more body and solidity. As a result of clearing Realizing the benefits of the Typhon/Triton equation.
up the surrounding, obscuring, gray electronic pair takes some time. Just as most of us As for those optional spiked Stainless Steel SPECS & PRICING
“fog,” images stand out in greater relief within would not unpack a new piece of electronics Feet (SSF), they simply screw into the sockets
their ambient surroundings. The Typhon also and immediately set about conducting quick of the stock rubber feet they replace. I tried Connection: One 20-amp running JRiver MC 17,
expands soundstage width and height, though side-by-side comparisons against warmed- them only with the Triton because the Typhon receptacle Hegel HD2 and HD20
not to an appreciable degree in my setup. up, familiar gear already in the system, the was sited in a rack without enough clearance to Power rating: 2400W DACs, Ayre P-5xe
The Typhon also subtly clarifies a few Typhon, too, should be integrated into a accommodate the Typhon with the 1.25" SSFs (120VAC) phonostage, Ayre K-1xe
other aspects of music playback: tonal colors system with some “settling time.” Shunyata installed. At $195 for a set of four, the SSFs are Dimensions: 17.25" x linestage, Hegel H200
and textures are more vivid, fine details are recommends plugging it in to an active Triton a good way to deploy the Triton directly on a 5.75" x 16.50" integrated, Gamut
more apparent, transients are cleaner and for at least five days before critical listening. floor—better than the stock rubber feet. The Weight: 43 lbs. M250i power amps,
less smeared, and micro-dynamic shadings— I plugged the Typhon into the Triton and left Triton’s ability to help my system’s electronics Price: $4995 (requires a Dynaudio Confidence
which seem to be so important to reproducing my system on for eight days before I did any make leading edges sound more defined was Typhon Umbilical cord) C1 Signature, Aerial 7T,
“artistic expressiveness”—also come through critical listening. When I first sat down to listen improved when the SSFs were installed. Since YG Kipod II Signature
more readily. What this all points to, in my closely, the Typhon’s effect seemed subtle. As the Triton is situated on a wood platform in my Shunyata Research Passive speakers,
estimation, is a reduction in underlying noise I mentioned, the typical cues we listen for with setup, I also tried a set of three Aurios Pro Max 26273 Twelve Trees Shunyata Anaconda
across the board. Essentially, the Triton/ the introduction of a new piece of gear, such bearings between the Triton’s chassis and the Lane NW, Suite D ZiTron signal cables,
as a shift in tonal balance or macro-dynamic platform. This yielded greater overall clarity Poulsbo, WA 98370 Analysis Plus Big
emphasis, are not there with the Typhon. than either the stock rubber feet or the SSFs. shunyata.com Silver Oval speaker
Rather, the benefits of the Typhon become Since these sorts of individual tuning options (360) 598-9935 cables, Audioquest
readily apparent when you pull it out of the can vary greatly from system to system, listen shunyata.com Coffee USB and Hawk
system for a few songs and then plug it back carefully for your own results if you experiment Eye S/PDIF, Shunyata
in. Those qualities I mentioned (depth, spatial with Triton/Typhon footers. ASSOCIATED Anaconda and Cobra
clarity, vividness of tone colors, etc.) were all In conclusion then, if you already have a EQUIPMENT ZiTron power cables,
better with the Typhon plugged in. I like the Triton main unit and would like to ratchet Basis Debut V turntable two 20-amp dedicated
improvements so much that I would feel a bit up your system’s performance even more, with Vector 4 tonearm, lines, Shunyata
short-changed without the Typhon, especially adding a Typhon is a worthwhile option. If you Benz-Micro LP-S Triton and Typhon
after living with it for over a month. Adding a do not already have a power conditioner and cartridge, Ayre C-5xeMP power conditioners,
Typhon will probably not transform a mediocre are comfortable with the $4995 price tag for universal disc player, PrimeAcoustic Z-foam
system into a “giant-killer,” but it will elevate each unit, the Triton/Typhon combo very much Sony VAIO VGN-FZ-490 panels and DIY panels
an already good system another notch in deserves your consideration. The Triton can

So when the chance came up to try The difference was surprisingly dramatic.
Synergistic Research
Synergistic’s latest power conditioner, I bit. The Einstein preamplifier I’ve been using
Having tried a fair number of conditioners recently is quite dynamic, but can be a little
over the year, I’ve become less enamored of astringent at times. The Synergistic PowerCell
Tesla PowerCell 10 SE AC them the more I’ve used them. The pluses and
minuses almost always seem to balance out
immediately offered a warmer and more relaxed
presentation. It also made the Wilson MAXX 3
Conditioner in the end. Sure, there’s the initial excitement

of hearing a few notes that weren’t there
before or a blacker background. But then
loudspeakers sound more elegant, particularly
in the highs. By comparison, the sound before
I added the PowerCell seemed somewhat
reality begins to intrude. Weren’t the highs a disjointed. In addition, the conditioner endowed
No Tradeoffs little more extended before I put conditioner intricate passages with greater resolution,
X into my system? And so on. If it was just a helping to delineate musical lines more clearly.
Jacob Heilbrunn matter of tradeoffs, it really didn’t seem to be Overall, the PowerCell had a holistic effect,
worth the outlay. Recent exposure to the latest drawing me further into the music.
conditioners from Audience and PS Audio One of the Tesla’s most palpable improvements
suggested, however, that matters have begun was its ability to open up the soundstage. On
to change for the better. Simone Dinnerstein’s intriguing recording of
The $5000 Tesla PowerCell 10 SE, which is Bach’s Goldberg Variations [Telarc], which
supplied with Synergistic’s top-of-the-line Tesla features a reconditioned Steinway Model D
Precision AC cord, thus offered another chance concert grand played in the town council of
to see if the conditioning field has continued to Hull in Northeast England, it was easier to hear
advance. Unlike many conditioners, it doesn’t both the reverberations of the piano within the
feature chokes or transformers. The chassis, concert hall and its rich, earthy sound, closer
Synergistic says, is electromagnetically inert, almost to a Bösendorfer than a Steinway. The
but on the inside it conditions the electricity sound of the felt hammer hitting the string was
by subjecting it to various electromagnetic also more articulate. As always, such clarity
fields. The power cord for the unit also allows may be something of a double-edged sword—
for active shielding. The unit is said to be recordings provide a lens into music-making
non-current-limiting—which many conditioner that a concert hall simply will not offer, further
manufacturers say, but which often turns out proof, I think, that it’s very tricky to compare
not to be the case—and is lightweight, making CDs with live music. But honest to gosh, I
it easy to move around. Nor does it have an almost swear you can hear the aged quality of
A
few years ago at the Rocky Mountain Audio Fest, Synergistic’s Ted Denney III ushered on-off switch. You simply use its locking power the wood.
Neil Gader and me into a small, dark hotel room that featured his latest Tesla cables, cord and plug it into the wall. It’s best to have The ability of the PowerCell to help disentangle
which used active shielding sourced via a complement of different tubes. Different tubes any equipment you intend to use with it turned complicated passages was underscored by a
shouldn’t have affected the sound, but, of course, they did. After that experience, I went on to off before you plug it in. After letting it burn wonderful piece, W.L. Thompson’s “There’s A
try some of Synergistic’s REL subwoofer cables, which added to the potency of the RELs, and in for two weeks, I inserted it into my system, Great Day Coming” [Gala], which is played by six
not by a small margin. adding one component at a time. trumpeters led by the New York Philharmonic’s

Philip Smith. There was no suppression of number of dedicated lines running from it. Even
dynamics; if anything the PowerCell conveyed special wall outlets can make an improvement.
a greater sense of authority and body. The But there’s always more to be had.
burnished sound of six trumpets popping up Conditioning makes a lot of sense, but the rub
seemingly out of nowhere was quite striking. has always been that it often seems to subtract
In fact, I would say that it was the closest as much as it adds. Still, my sense is that it’s
reproduction of the actual sound of a trumpet hard to go too wrong with the PowerCell 10 SE.
that I’ve heard. It ably improved the performance of a number
But the most striking improvement rendered of components and is simplicity itself to use.
by the PowerCell was the ease with which No doubt conditioners will continue to improve
the music unfolded. The presentation simply in coming years, and they seem to represent
seemed more relaxed and self-assured. On something of a black art. But the PowerCell
Angela Hewitt’s recording of Bach’s English represents a startling and welcome advance,
Suites [Hyperion SACD], for example, the suggesting that the inventive mind of Ted
piano simply sounded less constricted and Denney continues to seek new ways to enrich
compressed than it had previously. The musical reproduction. It would be too much
graceful, composed nature of her playing to say that the PowerCell 10 SE provides a
emerged more fully. romantic presentation, but it may well win your
Was the PowerCell, however, blurring heart.
transients? Not to my ear. I can see that not
everyone will gravitate to the PowerCell. If
your system tends to the warm, lush, rich side,
you might not welcome the extra dollop of
plushness that the PowerCell provides. But I
wouldn’t consider my overall system, given the
number of tubes in it, on the dry side, even when
using solid-state amplification. To my mind, the SPECS & PRICING
fuller presentation of the PowerCell was more
authentic. What’s more, the PowerCell really Type: AC power Price: $9500
does seem to be non-current-limiting—it does conditioner with five
not choke amplifiers, which, generally, are best Wave Stabilizer modules Synergistic
run directly into the wall. Supplied accessories: Research, Inc.
Perhaps the performance of the PowerCell Vesuvius II power cord 17401 Armstrong Ave.
shouldn’t be surprising. The blunt fact is that with Furutech IEC Ste. 102
the electricity flowing into most homes is connector and power Irvine, CA 92614
pretty wretched. I have gone to some lengths connector, and Eden synergisticresearch.com
to try and improve it by, among other things, Sound TerraStones silvercircleaudio.com
installing a dedicated, active grounding rod, as footers
well as a separate Isoclean breaker box and a

Equipment Report
Baker’s Dozen
13 Power Cords $500 and Under
Neil Gader
T
here is no easier improvement to an audio system than upgrading from the original equipment power
cord. Unplug the old, plug in the new, and listen. It’s a good reason why this segment of the market
is so competitive and why every cable company wants a piece of the action. And why, in my view,
power cords were crying out for a listening survey. The premise was: Keep it simple. I’d use a reasonably
priced, conventional setup—an integrated amp and CD player—that’s two power cords. I’d listen, note the
differences, compare to a reference pair of power cords, and then move on to the next pair. The price cutoff
was established at $500 or less—which kept the cost within the realm of a reasonable upgrade. I left it to
the invited manufacturers to send a pair of cords of their choosing within that price range.
Note that this is not a discussion about power-cord regarding power cords were that, compared with
technology or philosophy. Manufacturer claims about interconnects and speaker cable, their sonic virtues
the superiority of a given cable geometry or dielectric were less conspicuous and they did not create the same
are set forth at the companies’ Web sites for all to read marked differences in tonal balance. These impressions
and investigate further. This survey only summarizes held (relatively) true throughout the survey (although
my listening conclusions based upon a single reference output level was another issue altogether, with various
system. For that reference system, I used the Audio cables showing some remarkable variations). Mostly,
Research CD-5 compact disc player and the Audio the different cords tended to reframe the sonic tableau
Research DSi200 amplifier. Both excellent, high- by either expanding or contracting the boundaries of
resolution components that, as you will read, reveal any the soundstage in width, depth, and focus. In essence
systemic differences. The power cord reference was they tended to speak the same language but with
the $2600 Synergistic Research Tesla Hologram D for different accents and inflections. The largest single
the digital source and the $1800 Precision AC for the factor that distinguished one cord from another tended
amp. I’m intimately familiar with these cords and they’ve to be immersiveness. I’d call it a density factor, an
performed at a high level with the finest of associated aspect that envelopes the listener in a dimensional
gear. They are the champs at maintaining a seamless soundstage—the sense of music being reproduced as
curtain of ambient sound across the stage, and their fully saturated dynamically and tonally. I will reference
combination of pace, delicacy, micro-dynamic nuance, this factor throughout the survey. In alphabetical order,
and low-level timbral details has always been winning. let’s begin.
Going into this survey my general impressions

EQUIPMENT rePORT - 13 Power Cords Under $500

Acoustic Zen Tsunami Audience powerChords AudioQuest NRG-4
$350 $482 $350
The Tsunami ran smoothly down the middle of this From note-one it became abundantly clear The AudioQuest NRG-4 was impressive in the workmanlike and honest manner it went about its job.
pack in terms of overall performance and sonic that in many ways the Audience was nipping at Modest in appearance, almost electro-retro with its cloth-like jacketing, it was definitively midrange in
character. It possessed a modestly lighter balance, the heels of the survey’s reference cord. Music balance, like the Tsunami. It’s a signature that suffuses a singer’s voice, male or female, with tangible tonal
with a forceful midrange that marks it as just a degree seemed to emerge from a profoundly quiet and richness and physical weight. There was little out of joint here, and only a slightly lighter overall feel tended
or so cooler in presentation. Its strengths were its orderly soundstage and to take on a more vivid to lend it much character at all. The NRG-4 had a delicacy and clarity in the lower half of the treble that
smooth mids and solid soundstage depth and presence and ambience. Imbued with a cleanly enlivened piano harmonics and brass ensembles. It began to narrow in the upper-reaches of the treble, but
dimensionality. Its treble range was properly detailed defined and deeply dimensional soundstage the this was a minor subtraction. The NRG-4 had excellent dimensionality with good lateral presentation and an
yet just a bit dry, so that during Jennifer Warnes’ Audience also offered the bass clarity, weight, exceedingly well-focused center soundstage. A sense of modest micro-dynamic compression of the deep
“Lights of Lousianne” there was a small amount of and pitch resolution that placed it at or near the bass seemed to limit its slam, but this subtraction was more than made up for by a sense of speed and
brightening on the leading edges of the accordion. top of the pack. On a track like Rosanne Cash’s pace that was rhythmically very satisfying. String section layering was smooth and clean, although inner
I thought it could have been a touch sweeter and “God Is In The Roses” there was a sense that detail of violin pizzicatos during the Anne-Sophie Mutter Korngold lacked the finer delineation and decay of
airier on top, but to be fair none of the cords matched the air around images had dissipated somewhat, the reference. Although it didn’t throw a big sonic image, its density factor, soundstaging performance, and
the survey reference in that regard. Bass response but it was still close to the survey reference in dimensionality were very good, indeed. An excellent all-around performer that sweats the smaller stuff.
was very good although the Tsunami couldn’t quite this regard. The feeling of transient speed and
reproduce the full extension or resonant timbre of the sustain from the guitar during this same track was AudioQuest NRG-4
talking-drums in Warnes’ “Way Down Deep.” And enormously satisfying. In fact, except for the slight Conductor: Solid PSC conductors in a self shielding
there was also an aura of micro-dynamic restraint treble congestion and somewhat laid-back overall counter-spiral with two RF stoppers filters to block radio
during violinist Anne-Sophie Mutter’s reading of presentation—a trait that I clocked with many of frequencies
Korngold’s Concerto for Violin and Orchestra [DG]. these cords—there was little deviation from tonal Price: $350
It handled the larger scale of complex symphonic neutrality. I found that only a handful of cords (949) 585-0111
orchestrations with aplomb and very little image approached the reference in creating black-quiet audioquest.com
congestion. While competitive with most of the other backgrounds—an element pivotal to revealing
cords, it couldn’t quite match the low-level resolving music’s micro-dynamic charms. In this area
power of the survey reference, and it gave up just especially, the Audience was one of the standouts
a shred of transparency and that immersive density of the survey.
factor to the very best in this survey. Overall and with
only minor subtractions, this was a very satisfying Audience powerChords
power cord—one that established solid benchmarks Conductor: 10 AWG high purity stranded OFC
for the rest of the pack. Insulation: Flexible PVC
Connector: Wattgate IEC and plug
Acoustic Zen Tsunami Price: $482 (5ft)
Conductor: 10 AWG OCC 6N Zero Crystal Copper (760) 471-0202
Insulation: CL3 rating PE and two center Teflon tubing with audience-av.com
air-twisting geometry Teflon tape, copper braided shielding.
Connector: AC plug and IEC plug custom made gold-plated
OCC copper
Price: $350 (858) 487-1988 acousticzen.com


Harmonic Technology Fantasy Furutech Absolute Power I8P Kimber Kable PK-10AG Purist Audio Musaeus Praesto
AC10SE $352 $371 $360
$500 The Absolute Power 18P won high marks and Years ago, Kimber Kable’s original PK10 Palladian As it turned out the Purist Audio Musaeus Praesto
Harmonic Technology has produced a high- virtually matched the reference in output. It was a jaw-dropper, with revelatory soundstaging, was the first cord plucked out of its box and
output cable that seems to magically raise the always made me consider backing off the volume dimensionality, and openness. The PK-10AG dropped into the deep end of this survey. It set a
volume level—a trait that was likely emphasized a dB or so. Output aside, its general character picks up where the mean green Palladian standard that was often matched throughout these
by its forward-leaning, highly charged was slightly laid-back, almost easy-going to the left off but in a more malleable, far less costly listening sessions of transparency and delicacy in
presentation. Bass response in general was point of relaxation—a trait I ascribe to a darker package. And once again, it connected with me. the midrange, with a lighter overall balance and
very tight, perhaps too much so. But, during the tonal balance and a softening of micro-dynamics. Dianne Reeves’ cover of “How High The Moon” very good upper-frequency air. At the outset, it
Copland Fanfare, dynamics and transient attack My only reservation was a reduction of back-to- was reproduced with a very open and detailed didn’t exhibit any tonal balance anomalies, but later
were nothing short of exhilarating. Although very front dimensionality during Yo Yo Ma’s “1A”—a signature. The Kimber nicely captured the weight on I did note a slightly subtractive character when
smooth and extended in the upper registers, characteristic that left soundstage layering just a and resonance of Reeves’ full-bodied voice in it portrayed Pieter Wispelwey’s cello during the Kol
the Fantasy’s treble never quite opened up bit flat and made the three-dimensional acoustic much the same way it reproduced the resonant Nidre with a little less woody resonance, making the
completely, diminishing air and harmonics with of the venue less enveloping. Similarly the spread and throaty timbre of Pieter Wispelwey’s cello instrument not quite as darkly mysterious. During
high-pitched percussion, winds, and strings. across the soundstage for the three instruments during Bruch’s Kol Nidre. On a track like Holly Holly Cole’s “Heart of Saturday Night,” there was a
The soundstage also didn’t have the expansive (cello, bass, fiddle) narrowed slightly making it a Cole’s “Heart of Saturday Night,” the Kimber little hint of midrange presence lift, a characteristic
spread of the survey reference so that during the little more difficult to follow the interplay of the was an exemplar of the heavy-hitting power that probably bolstered the impression of enhanced
Anne-Sophie Mutter performance of the Saint- musicians. However, its excellent bass and iron- cord—high output, energy, and dynamics. It transient speed (transients seemed to burst forth
Saëns, the orchestra doesn’t have quite the fisted control made following acoustic or electric had a rich dense midrange with an emphasis from the accompanying guitar and pedal steel).
ambient wingspan that I’m use to hearing from bass lines and rock rhythm sections a breeze. on soundstage depth—not unlike Kimber’s The Purist didn’t seem quite as substantial in
this track. And as explosive as the Fantasy is in During Diane Reeves’ “One for My Baby,” I felt topflight Palladian, although not as wide-open orchestral weight and lacked the dramatic depth
the macro sense, it doesn’t throw as much light micro-dynamic energy waver and dip a bit in on vocals as the survey reference. But for bass and ambience retrieval of some of the contenders
into the micro-interiors of the soundstage. Thus terms of outright immediacy—heard as a modest extension and sustain it is deserving of some of in this field. Although it didn’t quite match the lower-
during the “North Dakota” duet between Lyle shortfall of liveliness and transient impact. And the highest marks in the survey. Thus for rock octave bloom and slam of the survey reference
Lovett and Ricki Lee Jones the interplay of their during some of the more electric passages music, it provided a rich heavy beat, even slightly during the Copland “Fanfare,” this cord won high
vocals had softer transient edges and a small from pianist Evgeny Kissin’s performance of overripe depending on your system, but nicely marks for low-level resolution, dynamic energy,
degree of veiling. While other cords may offer “The Lark,” traces of congestion dampened the detailed and uncompressed. Compared with the and a general lack of congestion—attributes that
superior low-level refinement, the Fantasy was piano’s notes. A solid performance that still only reference there were touches of treble peakiness. kept the Purist Audio in the thick of the running.
explosively musical. lands it midpack in this tough field. The PK10 offered an open, colorful, high-density
sound that placed it near the top of this survey. Purist Audio Musaeus Presto
Harmonic Technology Fantasy AC10SE Furutech Absolute Power I8P Conductor: Stranded 14AWG copper OFC
Conductor: 6N copper Conductor: Alpha OCC Kimber Kable PK-10AG Geometry: Twisted
Insulation: PE insulation Insulation: PE with Teflon Conductor: 10AWG copper/ Shielding: Aluminized foil layer
Connector: Furutech Connector: Furutech, rhodium-plated “spiral lay” or traditional twist Insulation: Polyvinyl chloride
Price: $500 Price: $352 Insulation: Chroma-free TPE Connector: Wattgate, screw termination, UL approved
(858) 486-8386 (323) 466-9694 Connector: Wattgate AG connectors, UL approved Price: $360
harmonictech.com furutech.com Price: $370 (979) 265-5114
(801) 621-5530 puristaudiodesign.com
kimber.com


Shunyata Venom3 Synergistic Research Precision AC Tara Labs RSC Prime Wireworld Electra 5.2
$95 Basik $500 $360
If there was a ringer in this field, the Venom was $250 Don’t be fooled by the plain-Jane, black wrapper Whatever smarts Wireworld uses to brew its
it, providing much of the density factor and The kid brother to the survey’s reference, the of the Tara Labs RSC (Rectangular Solid Core) speaker wire must’ve filtered into its power-cord
dimensional qualities of some of the pricier Synergistic Precision AC Basik strode through all Prime. It may look like a stock OEM power cord recipe. Like its elite Platinum and mid-line Eclipse
cords. Only a bit of image definition and focus genres of music with much of the same panache as but its performance was superb. Both fluid and cabling, Electra has no tonal dips or peaks. The
escaped it, and only a hint of image constriction the survey reference. Tonally just a bit cooler than immersive it delivers a big, dense sound in both result is an even and immersive energy that places
deprived the Venom of the last iota of realism. its Hologram cousin, its strengths were evidenced timbre and bass definition. Although there’s a this cord up with the best in this survey. In fact, its
Tonally it was a little darker overall but with a in the way it imparted depth to orchestral good amount of midrange warmth, its character powerful dynamic character, and its composure
very rich signature—so much so that after much sections, its retrieval of ambience, and its lively in the upper octaves was a bit drier and brighter with thickly layered orchestral material, brought to
listening I finally had to concede that there and extended bass response—bigger in fact than than the survey reference. Fortunately, it was mind the Kimber Palladian PK10. Images were not
wasn’t a lean bone in the Venom’s slithery body. that of the Wireworld and Kimber. In many ways largely free of upper-frequency peakiness. On as widely spread as I would have wished, but no
However, transient attack was a tick slower Basik veered very close to the survey reference; Mutter’s violin, the RSC’s voicing was smooth apologies were needed here either. With a vocalist
and Venom didn’t quite have the depth of the the critical differences lay in the fact that it didn’t and refined, with one of the sweetest and most like Jennifer Warnes the Wireworld offered a
reference. As a result the Venom3 sounded a sort out inner voices as neatly as the reference, open upper registers in the survey. With its slight velvety warmth and weight that grounded the
bit more forward but its sound also provided an whose greatest strength is a lack of background forwardness and quick-footed personality, it’s singer’s body to the soundstage. However, I found
exciting experience that really lit up the low-level noise, which allowed instruments to materialize a cord that can do rock or classical. Image or that in comparison to the survey reference Holly
dynamics during the Rutter Requiem chorale. In from the authentic acoustic silence of the venue soundstage congestion was slight even in the Cole’s vocal during “Jersey Girl” was skewed to
this instance the layering was finely graduated rather than from an electronic glaze overlaying the most complex orchestral passages, but there a slightly cooler temperature, and I noted a very
and the decaying organ pedal points sustained the presentation. The Basik was, indeed, quiet, were some instances where I felt the immediacy modest veiling on low-level percussion cues. The
nicely. Wispelwey’s cello was wonderfully but like every other cord in this survey couldn’t factor could be bettered. For example, in the widely detailed soundstage was very impressive.
resonant while the orchestral sections remained quite match the reference benchmark. Still, in hands of the reference power cord I could follow Although there was little congestion per se, the
relatively well focused rather than congealing every other way there was no denying the family in detail the rippling air of Mutter’s vibrato and Wireworld seemed at a slight loss, in comparison
together in soup of timbral generalities. As good resemblance of the Precision AC Basik—from its nearly feel the brushes along the drumhead of the to the survey reference, when it came to sorting
as the Venom was, however, I still felt that during penetrating dynamics, to its finer gradations of snare during “One For My Baby.” With the Tara out the full harmonic and imaging complexities
Anne-Sophie Mutter’s Korngold the cellos and low-level detail, to its immersive density factor. (and to a degree all of the survey’s power cords), of a high-revving orchestra, but on the whole it
doublebasses were not quite as well defined There was just a hint of added sibilance during this kind of low-level resolution was difficult to struck a fluid balance of resolution and natural
and darkly forbidding in weight. Inner detail was Dianne Reeves’ “One For My Baby,” but overall match. All in all, a power cord with no significant weight. The Electra’s flat physical profile made
good if not the final word in refinement. But for I’d have to conclude that, like Shunyata with its weakness. these power cords among the easiest to handle.
less than a hundred bucks, I had to ask myself, is Venom 3, the Synergistic team may well have Though the Wireworld didn’t quite equal the
Shunyata on a mission to embarrass everyone? outdone itself on the value side with Basik and, at TARA Labs RSC Prime preternatural silence and immersiveness of the
$250, ended up picking its own pockets. Conductor: Rectangular solid core conductors survey reference, this is still a cord that struck all
Shunyata Venom3 Insulation: TARA Labs’ proprietary Aero-PE the right notes.
Conductor: 12AWG conductors, OFC, twist-link geometry Synergistic Research Precision AC Basik Connector: Wattgate wall plug and IEC
Insulation: TPE dielectric Conductor: 14 AWG, quantum-tunneled copper, proprietary Price: $500 Wireworld Electra 5.2
Connector: Phosphor bronze contacts, medical-grade AC geometry, highly shielded (541) 488-6465 Conductor: Silver-clad copper-alloy contacts
Connector 100% RFI/EMI shielding, UL approved Insulation: Modified PE taralabs.com Insulation: Composilex Connector: Silver-clad brass contacts
Price: $95 (360) 598-9935 shunyata.com Connector: Synergistic G07, quantum-tunneled Price: $360 (954) 680-3848 wireworldcable.com
Price: $250 (949) 476-0000 synergisticresearch.com


VooDoo Ultra Wave and Vector VooDoo Cable Ultra Wave
Dragon
CUSTOM DESIGNED AUDIO CABLES
Conductor: 10 AWG silver-plated copper/concentric
$375 and $425 geometry
Voodoo specifies the Ultra Wave for analog Insulation: Teflon and polyethylene dielectric/polyethylene- MORE MUSIC FROM THE GROOVE TO YOU
power and the Vector Dragon for digital front mesh jacketing
ends. Since both were within the survey’s price Connector: Wattgate 320i IEC and Hubbell 5266 AC Plug
cap and would likely be offered to customers in Price: $375 (510) 535-9464 voodoocable.net
this configuration, we tried both. The Voodoos
were high-output cords with a forward sound
and hint of a darker tonality that placed Pieter
VooDoo Cable Vector Dragon
Conductor: 10 AWG silver-plated copper/helical geometry
BUILT FOR YOUR SYSTEM
Wispelwey’s cello nearer the edge of the stage Insulation: Teflon and polyethylene dielectric/polyethylene- PERSONALIZED FOR YOU
than in a mid-stage central pocket. In that mesh jacketing
vein orchestral layering and soundstage cues Connector: Wattgate 320i IEC and Hubbell 5266 AC plug
were well defined, but I found the soundstage Price: $425 (510) 535-9464 voodoocable.net
a hint narrower and not quite as immersive
or as dimensional as the survey reference.
Occasionally on a track like Jennifer Warnes’ “If It Conclusion
Be Your Will,” bass could sound slightly overripe My view is that power cords serve
and the vocal less rooted, but overall this was a the system in much the way speaker
very well integrated performer with music always cables and interconnects do—by honing
sounding of-a-piece. More impressive was its and polishing areas of resolution that
reproduction of tracks from Clark Terry’s One the owner considers a little soft, dull,
On One and the soundtrack to Good Night and sharp, or rough around the edges.
Good Luck where transient energy and speed That said, in terms of straight-line
are key elements that really pace the percussion performance, clearly this was a tightly
and rhythm sections and impart a realism and grouped collection—tighter even than
liveliness to this pure acoustic music. The track my descriptions allowed. As alluring
“Misty” produced a gorgeous piano sound that as it is to anoint a single “Best” in a
was both warm and naturalistic—dynamic rather survey, when it comes to wires so much
than hard or icy. The VooDoos captured the is dependent on their synergy with
player’s touch—a feat that made it a near match associated system components that HAND-CRAFTED IN LOS ANGELES
for the survey reference in micro-dynamics. Add these impressions will better serve
to that a sumptuous low end and the net result you as a guide to narrowing down your PERSONAL AUDIO CABLES
was a visceral performance with many satisfying choices to a select two or three for PHONO, INTERCONNECT, DIGITAL,
qualities. audition. After that, your own ears won’t USB, SPEAKER & POWER CABLES
lead you wrong.
POWER DISTRIBUTOR
Professional and customer reviews
58 Guide to Cables, Power Products, Accessories, & Music www.theabsolutesound.com available at www.wywires.com
info@wywires.com
818.981.4706
Dynamic Design AE15 Lotus and Challenger

Dynamic Design AV is a Chicago-based cable
company that currently offers three levels
of power-cord products, the entry-level
Lotus series, mid-level Heritage series, and
the flagship Nebula series. Commemorating
its 15th Anniversary are the AE15 Lotus
Analog power cord for analog components
like amplifiers, and the Heritage Series AE15
Challenger Digital power cord for low-power
or source components. Dynamic Design uses a
variety of proprietary shielding technologies to
improve isolation from EMI/RFI, and maximize
conductivity. The Challenger, for example, uses
Multi Layer Insulation System (MLIS) and or
Unitized Multi Layer Shielding (UMLS) to lower
Three Power Cord Upgrades the noise floor, reduce cross talk, and increase
dynamics. Dynamic Design’s Challenger also
includes a battery-powered shielding circuit to
Dynamic Design, Voodoo Cable, and Audience reduce coupling capacitance and isolate system
noise from the system ground.
Neil Gader The Lotus and Challenger combo exhibited an
openness, a harmonic ease, and lack of tension
W
hether power cords represent the chain clearly benefits. Audience, Voodoo music in unique and subtle ways, not as an EQ that effectively permitted them to disappear
most important component in a Cable, and Dynamic Design each supplied switch but by adding its own “body English” to from the soundspace as convincingly as the
high-end system, or the least, or a pair of power cords. Dynamic Design and the presentation, particularly in the area of low- reference. Their character is neutral-to-warm.
even qualify as a component at all is an Voodoo Cable provided products specified level integrity and focus—the micro-aspects Without losing any speed or attack, solo piano
argument for another day. Controversies for high power and source applications, while of music reproduction with an emphasis on seemed to relax a bit and bloom harmonically.
aside, power cords are a necessity and, Audience opted for identical power cords. dimensional space and depth information, such Lotus and Challenger tended to round off the
technically, the first piece of gear that the Let me state at the outset that there wasn’t as the layering of string players in an orchestra more aggressive elements of string sound in
system sees. For this article I listened to an ounce of dead weight among these entrants. for example. The recordings I used ranged some recordings. During The Wasps overture,
mid/upper-priced power cords from three top Each presented a solid step up in resolution over from pop titles like Holly Cole’s Temptation to they reproduced the brass section in all its airy
players in the field. All represent a serious stock cords and in some areas were threats to Reference Recordings of the Rutter Requiem, intensity from the transient bite emanating
upgrade over stock cords and a significant my reference power cords, like the Synergistic Elgar’s Enigma Variations, and Vaughan- from the mouthpiece of each trombone to
expenditure to boot. Each in its own way Research Hologram A. Ultimately patterns Williams’ The Wasps, MA Recordings’ Sera Una the golden bloom shimmering outward from
suggests that when the AC flows freely and begin to emerge. The three contenders share a Noche, especially the track “Nublado,” and the instrument’s bell. They captured textural
cleanly, and aggressive isolation technology fine resolution of dynamic gradients that adds vinyl ORG reissue of Ricki Lee Jones’ Pop Pop, information that grounds images to the
is used to thwart EMI/RFI, the rest of the liveliness to the presentation; yet each accents particularly the cut “I’ll be Seeing You." stage with superior focus and without the

EQUIPMENT review - Three Power Cord Upgrades

disadvantage of added etch or brittleness. to reproduce dimensional depth bordered threaded and wound in Teflon dielectric. captured the low-level cymbal cues without
It doesn’t take much to smudge the gently on the exceptional. And again, on this disc I Electra’s winding is similar to the Black smearing the finely grained metallic timbre
brushed snare and the sax and bass lines found its character skewing ever so slightly to Diamond, but with the addition of hand-wound of the instrument. Plus the delicate bell cues
during “I’ll Be Seeing You,” but the DD cords the darker, wetter side of the tonal spectrum. copper and silver Litz conductors in a heavier- that ring forth at the four-minute mark were
mastered this challenge with ease. Ricki Lee You can hear it as the pedal points of the pipe gauge Teflon dielectric for lower noise and startlingly clean and sustained. During Holly
Jones’ vocal on this track had a slightly darker, organ charge the space with reverberation. increased harmonic resolution. Both power Cole’s cover of “I Can See Clearly” the Voodoo
richer sound consistent with these cords’ easy- Vocally there was a bit more definition between cords are shielded with heavy-gauge copper pair reproduced the punch and rhythmic pace
going, open treble. Similarly backgrounds were the mezzo-soprano and the ambient environs braid and terminated with rhodium-plated of the opening bass vamp with assurance, and
church-mouse quiet, allowing rich, dense tonal of the auditorium. The DD system’s low-level tellurium-copper IEC and AC connectors. All Cole’s torchy delivery had all the texture and
color to emerge from dark velvet silences. resolution allowed me to hear her rolled the conductive materials and components have come-hither nuance I’ve come to expect from
The “Nublado” track from MA Recordings “r” sound when she pronounced the word been treated in Voodoo’s Cold Fusion cryogenic this track.
conveyed layers of depth and dimension that “requiem.” Once again Lotus and Challenger system—both vapor and deep-immersion In soundstaging, these cords reproduced the
bordered on the holographic, providing plenty demonstrated a bolder, slightly more forward cryogenic processes, depending on the part lush ambient space and immersive qualities
of elbow room for discrete image elements to sound that physicalizes images and sculpts or alloy to be treated. The process is said to of the Rutter Requiem although, again, they
breathe—like the snap and trailing resonances their boundaries. structurally align and fuse the molecular bonds didn’t quite illuminate individual choristers
of the classical guitar, the buttery bandaleon, Conclusion: Hints of warmth and superb bass of the conductive alloys for significantly less quite as clearly as the reference. As an aside,
and fast percussion stabs from the other extension ably underscore the effortless bloom resistance, leading to improved performance. and in light of its strong performance driving
accompanists. The DD seemed to offer thicker, and roomy soundstage performance of this The Voodoo combo conveys a more midrangy the Parasound JC 3+ phonostage (review this
heavier bass as well as a nice combination of power cord. character, with good extension at the frequency issue), I found the Electra the more musically
punch and refinement—impressive but slower extremes, a drier top but with an emphasis on open and revealing power cord of the two that
as well. Voodoo Cable Black Diamond and Electra the wider acoustic environment of the venue
But Lotus and Challenger’s biggest calling The Voodoo Cable Electra and Black Diamond rather than specific and isolated images. To
cards were the high levels of bloom and occupy the midpoint in an extensive line of my ear this is often the way real music sounds. SPECS & PRICING
reverberant information they conveyed. power cords. Black Diamond is recommended Certainly image definition and focus is very
During Holly Cole’s “Train” the slowly decaying for solid-state and tube power amps, whereas good, just not overly individuated—a trait I DYNAMIC DESIGN VOODOOCABLE
vibrations off the kettle drum that punctuate Electra is suggested for source components noted during the Ricki Lee Jones’ track “I’ll CORP. (510) 535-9464
the end of each verse really shifted the air. and preamps. Voodoo reports that the Be Seeing You” where the clarinet, classical (872) 216-0530 voodoocable.net
There was a sense of drumhead movement and primary difference between the two is tonal guitar, and acoustic bass seemed bathed in dynamicdesignav.com Price: Black Diamond,
reverberation not altogether present with other balance and harmonic resolution. It states a warmer, more diffuse ambient atmosphere. Price: AE15 Lotus Analog $1100/6ft; Electra,
cords. (It’s a terrific reference track—especially that “while the Black Diamond offers a clean In the case of orchestral music, the musicians power cord, $1200/1.5m; $1500/6ft
on LP—that presents a potpourri of percussion ‘dead neutral’ tonal balance, the Electra offers assume positions on stage but don’t so much AE15 Challenger Digital
details and textures from the ring of a triangle higher harmonic resolution that reveals subtle stand apart from the orchestra as become fully power cord, $3500/1.5m AUDIENCE
to sandpapery wood blocks, all convincingly musical detail and micro-dynamics.” integrated within it and the ambient space that (760) 471-0202
rendered with good vocal air and articulation.) The winding of Black Diamond is an #8 AWG surrounds the performers. audience-av.com
During the Rutter Requiem the DD system concentric lay of twelve discrete conductors Low-level detailing and transient textures Price: Au24 SE
conjured up a rich and inviting soundspace with made of solid-core silver, solid-core copper, were very persuasive. So much so that during powerChord, $2420/6ft
powerful low-frequency information. Its ability and stranded silver-plated copper, all hand- the “Nublado” track the Voodoo tandem

EQUIPMENT review - Three Power Cord Upgrades

Voodoo supplied. string rattle from the classical guitar. But this
Conclusion: Balanced and immersive big- higher resolution came at the cost of some of
buck performance for half the price of the Big the bloom of the Dynamic Design.
Boys. The bandaleon theme during the “Nublado”
was the most specifically focused in
Audience Au24 SE powerChord soundspace of all three contenders, though
The original Audience Au24 power cords the Audience also held tight to the reverberant
have been a part of my reference systems information from the menagerie of other
for sometime now, but Audience recently regional instruments. Layering and dynamic
introduced an upgraded SE line that offers contrasts and tonal-color rendering were
improved rhodium-plated copper plugs and IEC excellent. During the finale of The Wasps the
connectors, higher-quality metallurgy, lower timbral and harmonic intricacies of the flute
mass, and improved terminations. The Audience line dancing around the accompanying harp
SE is a low DC resistance, low-impedance motif were riveting in their pastoral beauty and
design that uses multi-strand conductors of articulation.
high-purity mono-crystal copper. Jacketing is The Audience’s portrayal of Rutter’s Lux
quite flexible, which will be welcome to anyone Aeterna track was impressive in the energy it
who has wrestled with the implacably stiff gathered from the large men’s and women’s
stuff. Note: Existing Audience Au24 cords are chorus and the weight of the pipe organ
upgradable to SE status for $275. expanding and contracting in the immense
The signature of the Au24 is sophisticated— acoustic space. The Audience made it a breeze
complex, controlled, detailed, with a neutral- to picture the soaring height and scale of the
to-cool character. The Audience established auditorium, and the diminished size of the
the widest, cleanest soundspace, broadening musicians within it. It’s a terrifically balanced
the proscenium to the boundaries of the power cord. Some cords, the Dynamic Design
loudspeakers and inflating the ambience of for one, will nose it out in ultimate bass
immersive acoustic recordings like the Elgar extension, but not a cord surpasses its pitch
and the Rutter with flurries of soft air and top- precision or its charms when it comes to
end extension. Most markedly, Au24 SE has a illuminating dimensional space.
light, delicate touch, an insider’s touch, that Conclusion: Well balanced, and a knack for
illuminates transient and low-level information detail spells reference-level sonics that reveal
like few power cords I’ve encountered. Music the entire musical picture.
seems to emerge from a quieter space and
exhibit wider dynamic contrasts. During the
intro to the Ricki Lee Jones, for example, the
Audience brought out the very articulate and
agile acoustic bass and the organic snap and

Equipment reviews
Accessories

Klaudio KD-CLN-
Recently, a few of the latest commercial units have the Min and Max fill-level in the reservoir window on the front
added a new wrinkle: the use of ultrasonic transducers to panel, this part of the set-up process is done. The next step
scrub the record grooves the way printed circuit boards or is connecting the power cable and turning the unit on. After
LP200 Ultrasonic Vinyl surgical instruments are cleaned after sterilization—through

cavitation in a cleaning bath. Cavitation bubbles are the
that, all that’s left to do is to select washing and drying times.
There are three controls on the Klaudio: a rotary switch for
Record Cleaner result of the high-frequency pressure waves generated by

ultrasonic transducers agitating the liquid inside cleaning
machines. Not only does the agitation produce these tiny
wash time (which can be set from 1–5 minutes), a rotary switch
for dry time (2–4 minutes), and a toggle switch to select a
“wash & dry” or “dry only” cycle. Ease of use and operation
Ne Plus Ultrasonic cavitation bubbles, but it also pushes them into the nooks is where the KD-CLN-LP200 has the biggest advantage over
and crannies of the groove walls and valleys of our records. any other cleaning method I’ve used in the past. The cleaning
Andre Jennings The force exerted on the vinyl by this cavitation bubble- cycle goes like this: Put the record in the top-loading slot;
action dislodges and removes dirt and debris that standard the cleaning starts; in 3–9 minutes (depending on the “wash
cleaning brushes just can’t reach. & dry” settings) the green “completed” LED illuminates; and
In May 2013, Klaudio (based in Auburn, Washington) you are done.
introduced its own version of an ultrasonic record-cleaning After spending some time with the Klaudio, I’ve settled on
machine, the KD-CLN-LP200. What is unique about the a 4-minute wash cycle for most of my new and used records,
Klaudio unit is that it uses ultrasonic cleaning exclusively (no with an occasional 1–2 minute rewash on a few newer LPs. A
brushes), is fully automated, and, perhaps most importantly, 2-minute drying time has worked for nearly all of the records
requires no special cleaning fluids. The unit only needs I’ve cleaned so far. If the record needs more drying, set the
distilled water to work its magic. toggle switch to the “dry only” mode and reinsert the LP to
The KD-CLN-LP200 Ultrasonic Vinyl Record cleaner start an additional rotary-switch-selected dry cycle. (A nice
arrives wrapped in clear plastic, surrounded on all sides by undocumented feature is that if a record requires additional
approximately two inches of dense, closed-cell-foam inserts dry time and you notice this before removing the LP from the
precisely cut to neatly fit into the triple-walled shipping box. unit, after the full “wash & dry” cycle is complete a simple
Included with the unit are a user manual, marketing/feature flick of the toggle switch to the “dry only” cycle will restart
brochure, treated fabric dust cover, rubber funnel (more on the previously selected drying cycle without any need to
this later), PVC drain hose, and AC power cable. remove the record from the unit.)
If you follow the user manual, setup is pretty What is going on inside the KD-CLN-LP200? Inserting a
straightforward. After setting the unit on a level surface in its record into the top loading slot triggers a lever switch; the
final location, use the supplied funnel to slowly add 2.5 liters priming pump fills the stainless steel wash chamber while the
(0.66 gallons) of distilled water through the fill port on the record is supported—half-submerged in the bath (below the
top of the machine. (The use of the supplied funnel prevents label area)—on four internal rollers, three of which are belt-
R
ecord care has been part of the vinyl experience from you from too rapidly filling the wash chamber and creating driven to rotate the record. When the wash chamber fills, the
the dawn of the LP. Over the years the process has an overflow condition that could potentially damage the priming pump continues to run, circulating water to maintain
evolved from a simple wipe of an anti-static cloth internal electronics. In other words, be cautious when filling the proper level, and the four 50-watt 40kHz ultrasonic
or a squirt from a dust blower to an all-out-assault on the reservoir with distilled water, and avoid the temptation to transducers (two horizontally placed per side) start the
uncleanliness via record-cleaning machines equipped with use a larger funnel to fill the Klaudio more quickly, or you may cleaning cycle for the selected wash time. On my review
vacuum pumps, rotating platters, cleaning brushes, and be asking for trouble.) unit, the record appears to complete approximately seven
single-to-multistep fluid-dispensers. Once the unit has been filled so the water line is between rotations every two minutes. The display panel shows current

EQUIPMENT review - Klaudio KD-CLN-LP200

status and washing progress. (The amount what I would call a “yoga exercise”—or flexing— ultrasonic cleaner. speaker positioning change, where the entire
of record wetting during the unsubmerged during the heated wash cycle, only to return Subjectively, Klaudio-cleaned record tend to soundstage takes a wholesale step backwards.
rotation of the cleaning process can vary from to being perfectly flat during the dry cycle. It show across-the-board sonic improvements, This ultrasonic cleaning keeps instruments
barely damp to what I call “juicy.” This wetting should be noted that the record never stopped most notably in the perceived depth of recording where they were, but allows the recording
difference appears to be related to different rotating or got stuck or suffered any damage I venues, the clarity of images and surrounding venue’s full expanse and reverberant clarity to
vinyl formulations. In no case has water made could discern. When I observed this occurrence, areas, and more natural tone, density, and be heard more clearly.
its way on to the record label.) I started measuring the record temperature as texture on instruments. One example would Value is always something of a personal
Once the wash cycle is complete, the priming it emerged from submersion during the wash be Duke Ellington’s Jazz Party In Stereo. The choice, but for me this unit has proven to be
pump stops, the water drains from the wash cycle. What I noticed was that as the water opening track on this record, “Malletoba Spank,” an unflagging asset in the enjoyment of vinyl
chamber and the drying cycle begins. During the temperature increased with continuous use, the is a horn and percussion festival of dynamic playback. Of course, there are many factors to
drying cycle, two centrifugal-type, air-blower submerged surface of the record would follow delight. After I ultrasonically cleaned the disc, consider when purchasing something like the
fans dry the record surface while the display suit. This heated water created a temporary the impact, tone, and decay of every percussion Klaudio ultrasonic unit. Some of you may have a
panel shows drying progress. Once the dry cycle thermal imbalance (via thermal expansion of instrument had greater clarity and less haze, backlog of records numbering in the thousands
is complete, the Klaudio beeps twice when the the submerged grooved area) between the and the horn section went from a moderate wave that are in need of a good cleaning. Others may
“completed” LED illuminates and flashes green outside of the record and the inner label area, of occasionally aggressive sound to a full set of have come to the conclusion, long ago, that it
until the record is removed. which caused this temporary flexing of the vinyl. instruments with greater resolution of individual is highly unlikely they are going to perform
The Klaudio accepts only full-sized records This thermal exercise, in my estimation, may players than I’d heard before. On this opening a multi-minute, multi-step cleaning exercise
in the range of 11.65–12", according to the user increase the cleaning benefit since the record track, the percussion instruments closely for each side of their LPs. To them, let me
manual. Every one of my 12" LPs worked in the temporarily flexes under the temperature followed by the horns are the stars of the show, just say that as the quality of analog playback
unit, including a few warped ones, without any imbalance during ultrasonic cleaning, helping but what’s interesting is that I could also more continues to advance it may be that the level
problems. However, recognizing that there are the cavitation process with debris removal. In clearly follow Jimmy Woode’s bass rhythmically of sonic engagement conveyed by Klaudio’s
KD-CLN-LP200 users with a need to clean 7" short, if you see a record in the cleaner begin plucking along, providing a solid foundation ultrasonically-cleaned records will become
45-rpm and 10" 33/78-rpm records, Klaudio this little “yoga exercise,” don’t panic. Things in the center background. Additionally, Sam increasingly difficult to do without, even if you
has recently introduced two adapters that will return to normal during the dry cycle. Woodyard’s stick work on the cymbals was much hate the time spent washing and drying your
allow these smaller records to be cleaned in the Besides its ease of use, the Klaudio cleans clearer after Klaudio ultrasonic cleaning, to the vinyl.
Ultrasonic cleaner. records deep in the grooves better than any unit point of having increased noticeably throughout
The four 50-watt ultrasonic transducers tend I’ve observed to date. I’ve viewed the before- the entire performance, even though the drum
to generate some heat that increases the bath and-after images of cleaning results under kit is deep in the background on the right side SPECS & PRICING
temperature during repeated cleaning cycles. 400x magnification with my own records. This of the stage. The Klaudio ultrasonic cleaning
During my testing of up to 21 continuous 4-minute has been with lightly dusty records and also took this particular track on the Classic Records Type: Ultrasonic record 2840 W Valley Hwy N
wash-time cleaning cycles, the temperature of with used records that are pretty filthy. In both reissue from moderately enjoyable to clean, cleaner Auburn, WA 98001
the water bath in the wash chamber increased cases, the resulting images showed groove clear, and very near to great sounding. On the Dimensions: 7.12" x (253)249-7813
slowly in a linear fashion with each consecutive walls and valleys that were much cleaner than other end of the musical spectrum, large-scale 11.65" x 17.12" klaudio.com
cleaning cycle, from a room temperature of 72 before. I’ve also tried putting some fresh oily classical recordings gained an abundance of Weight: 45 lbs. info@klaudio.com
degrees to upwards of 100 degrees Fahrenheit fingerprints on test records; they were also, depth and recording-venue expansion from Price: $3999
for the last record in the batch. I first took note somewhat surprisingly given there is nothing Klaudio ultrasonic cleaning. I want to point out KLAUDIO
of this when I observed an LP going through but distilled water in the unit, removed by the that this isn’t the type of effect, similar to a

I
t used to be so simple—all you Design’s original CANCANs headphone stand
needed was a turntable, preamp, to accommodate AURALiC’s electronics; and
AURALiC Gemini 2000 power amplifier, some zip cord, and

a pair of speakers and you had a stereo
system. But then came digital gear
what electronics they are!
Shoehorned into a tight space is what
AURALiC describes as “a cutting-edge
Headphone Dock and DACs, followed by computers and

music files, and finally all manner of
category-busting stuff that combines
decoding computer” that employs electronics
trickled down from AURALiC’s Vega digital-
audio processor.
Lifestyle Meets Audiophile multiple functions and capabilities. The On AURALiC’s Web site you will find an
Auralic Gemini 2000 is one of the new excellent picture of the electronics inside the
Steven Stone generation of components that includes base of the Gemini. Among the technological
several functions normally handled by features are switching and linear power
separate components. It can serve as a supplies that are regulated for the lowest noise
headphone stand, headphone amplifier, levels possible. The volume control is in the
multiple-input DAC, smartcard reader, analog domain, and instead of being labeled
portable phone-charger, and Android “volume,” reads “niceness.” The Gemini 2000
phone player, as well as a preamp to has a discrete Class A (that means 75% of
drive your power amplifier. (Although, its energy is generated as heat) balanced
this last function is not part of the headphone amplification circuit capable of
“official” features list.) producing 2000mW with less than 0.001%
AURALiC, whose products are all the distortion at full power output. The most
brainchildren of Xuanquin Wang, has burst onto important specification difference between the
the U.S. audio scene with its Vega DAC, Taurus $1199 Gemini 1000 and the $1995 Gemini 2000
preamp, and Merek power amplifiers. The is this balanced output. The Gemini 1000 uses
Gemini 1000 and 2000 “headphone docks” are an unbalanced output circuit that doesn’t have
a departure from previous offerings because as much power, but it still supports headphones
they were created to be lifestyle products with 4-pin balanced XLR connections. Also the
that appeal to younger, mobile, entry-level, Gemini 1000 has only a titanium-grey finish
high-performance audio consumers. That’s option instead of chrome or gold.
not to say that a grizzled old audiophile like The Gemini supports all current formats up
me couldn’t find plenty of reasons to like the to 384/24 bit-rates including WAV, ALAC, AIFF,
Gemini 2000. DSD64, DSD128, and DXD via its three inputs—
USB 2.0, Phone (USB A), and Audio (TosLink)
The Tech Tour connections. The Gemini lacks one input that
There is no way you can mistake the AURALiC some prospective users may have wanted
Gemini headphone dock for anything else. to see: S/PDIF. But according to AURALiC’s
It has a unique shape, courtesy of Klutz specifications, the TosLink input will support
Design (seriously). AURALiC adapted Klutz up to 192/24 bit-rates.

EQUIPMENT review - AURALiC Gemini 2000

Setup and Ergonomics And not only does the base get hot, but the unbalanced pair, the headphones connected to Audeze LCD-2, are a bit stiff to go around the
Installing the AURALiC Gemini in my computer volume knob, which is metal, gets to the same the 4-pin balanced connection will emit a fairly posts easily, but most cables’ excess lengths
audio system was as simple as connecting temperature as the base itself. I guarantee loud click before going silent. coiled neatly around the posts.
a USB cable between my computer and the you won’t be spending much time fondling the If your personal workflow involves heavy
Gemini. With Macs you don’t need to download Gemini’s volume control after the first half- use of smartcards you may be thinking that Sound
a dedicated driver, but with PCs you will need hour of operation. the Gemini’s smartcard reader could see a lot The Auralic Gemini 2000 is a combination of
to go to AURALiC’s site to get the latest drivers To protect itself from excessive heat buildup of use in your system. I must warn you that, several devices, each of which has an effect
before hooking up the unit. Once connected, the Gemini has a protection circuit that turns unless you have very slim fingers, removing the on its overall sound. But since these devices—a
my Mac recognized the Gemini immediately. the unit off after more than ten minutes with card from the Gemini can be difficult. I ended USB converter, DAC, and headphone amplifier—
When I looked in the MIDI Control panel I saw no signal. If you have an SD card in the SD slot up keeping a pair of tweezers on my desk to must be used together, they can only be
that it was capable of 384/24, as advertised. when the Gemini turns itself off, your Mac will make the job do-able. Also the location of evaluated as an integrated unit. Sure, you can
All the controls are on the base of the Gemini. generate an error message, reminding you that the reader slot is not terribly convenient—you use the Gemini as a DAC/preamp if you invest in
It has two pushbuttons – the first for on/off and a USB device was disconnected incorrectly may find that it’s far too easy to jostle or even some adapters and interconnect, and I did try
the second for choosing the input source. The without unmounting it first. You can, by holding disconnect one of the other connections on using it this way. But the Gemini was designed
only other control on the Gemini is the rotary down both the volume and source controls the back of the Gemini while trying to remove principally to be a one-component solution for
volume adjustment. Small LEDs indicate the on start-up, disable this turn-off feature so a card.
overall volume level and the input source. The the Gemini will stay on after ten minutes of I used the Gemini 2000 with a wide variety of
base also has space on its backside for the three inactivity. Another advantage of disabling headphones, from the hyper-efficient Westone SPECS & PRICING
input connections, an SD card slot, and power the auto turn-off is that when you disconnect ES-5 custom in-ear monitors to the least-
connections. The included SD card reader is a 1/4" stereo headphone the Gemini will not efficient and most power-hungry headphones Frequency response: Supported digital
only a card reader; by this I mean that it will turn itself off. This does not happen when you in my stable, the Beyer Dynamic DT990 600- 20Hz–20kHz, +/- 0.1dB formats: All PCM from
read SD cards only if the Gemini is connected disconnect headphones from the balanced ohm version and the Audeze LCD-2 Bamboos. Dynamic range: 124dB 44.1kS/s to 384kS/s
to a computer. The card reader does not turn 4-pin XLR output. With the Westones the AURALiC did add a Output power: Class A in 32-bit, DSD64
the Gemini into a stand-alone digital player One ergonomic difference between the slight amount of hiss to the background, but 2000mW maximum (2.8224MHz) and
for music on SD cards. But when the Gemini is Gemini 1000 and Gemini 2000 is the way the it had more than enough juice to drive the DT- Audio inputs: One DSD128 (5.6448MHz)
connected to a computer any music files that two units handle balanced and unbalanced 990s and LCD-2s to well above my high-volume optical TosLink, one Dimensions: 14cm x
are on the SD card in the Gemini’s card reader headphones. With the Gemini 1000 you can comfort zone without any issues, even on my USB host for Android 29cm x 14cm
will be available for playback by your computer’s have headphones connected to both the own live recordings which typically have lower device, one USB 2.0 in Weight: 2.8 kg
music playback software. single-ended 1/4" stereo and the 4-pin XLR volume than commercial releases. asynchronous mode Price: $1995
Since the Gemini’s analog circuitry is based connections, and they will be simultaneously As a headphone stand the Gemini does a fine Data interface: One
around a Class A amplifier and has over five- active so you can drive two headphones at job. It’s heavy enough that no matter how much SDXC card reader, AURALIC NORTH
hundred individual components situated on once. With the Gemini 2000, when you plug your headphones weigh it won’t be top-heavy support up to 2TB AMERICA INC.
a platform no larger than a human hand, it in a single-ended 1/4" stereo headphone the when loaded down. The two chrome posts on Headphone outputs: One 12208 NE 104th Street
generates a lot of heat during operation. The 4-pin XLR output is muted. This is due to the the opposite side of the balanced 4-pin XLR balanced 4-pin XLR, one Vancouver, WA 98682
Gemini’s base was designed to serve as its Gemini 2000’s balanced circuitry. Also, when connection were created so you can wrap 6.35mm stereo phone (360) 326-8879
primary heat sink. After a couple of hours a balanced connection headphone is already excess cable around them. Some cables, such jack auralic.com
of operation the base can get quite hot. attached to the Gemini and you connect an as the aftermarket Cardas Cable on a pair of


digital-source headphone listening, so that was the way I used it has a beefier and more music-friendly headphone amplifier, it more headphone amplifiers than I can remember, I’ve never
a majority of the time. also has more sophisticated DAC and digital circuitry than what heard them sound better than when connected to the Gemini
Obviously the primary reason for using a dedicated device you’ll find built into a general-purpose computer. The Sony 2000. I should mention that I was driving them in balanced
such as the Gemini instead of the “headphones output” on your VAIO is the only off-the-shelf computer that supports DSD and mode, thanks in large part to an adapter made by Drew Baird of
computer is for better sound quality, and the Gemini certainly DXD playback via its internal sound card, so if you want to play Moon Audio.
delivered on that promise. Even with relatively easy-to-drive back DSD in native format, you are going to need some kind of With many headphone amplifiers the Grado RS-1 can sound
headphones such as the Oppo PM-1, the Gemini 2000 produced external USB DAC, such as the Gemini, to do it. midrange-centric—lacking in bass drive and top-end air. Coupled
greater dynamic contrasts and a larger soundstage than any I used a variety of sources to evaluate the Gemini, including to the Gemini 2000 the RS-1s had some serious bass extension.
of my Mac’s headphone outputs could. But the Gemini not only streaming sources, Internet radio, CDs, and higher-resolution The Grados also had a larger and more precisely located
music files up to and including 128x DSD and 192/24 WAV files. soundstage than I’d heard before. I also noticed more upper-
In every case the Gemini had no issues decoding and playing frequency extension and air around every instrument. If you are
files, but it did generate a tick when I switched from DSD to WAV, a Grado guy or gal and want to hear your RS-1s at their best, you
or AIFF files, when using the Audirvana Plus app. really need to hear the Gemini/Grado combination.
With the highest resolution recordings in my library I was The Audeze LCD-2 also proved to be an excellent combination
impressed by the AURALiC’s ability to render the music in such a with the Gemini 2000. The soundstage was especially large
clear and unconfusing way. Some headphone DACs can generate (which is something the LCD-2s usually do well) and within that
a rich harmonic palette, but at the expense of inner details space the physical location and size of each instrument came
and added intermodulation distortion. The Gemini presented through with a level of specificity and detail that I’ve rarely
music in a way that made it easy to listen deep into the mix, experienced. To say the sound from the LCD-2/Gemini combo
but without any reduction of harmonic complexity. The highest was seductive is an understatement. Only the pressure on the
compliment I can pay to the Gemini is that it never produced sides of my head from the LCD-2’s rather forceful headband after
even the slightest hint of a pervasive subtractive or additive three-plus hours of listening made me take breaks; otherwise I
“personality” in its overall sonic picture that detracted from a could remain tethered to this combo for days.
recording’s original fidelity. Most headphone mavens respect but don’t actually enjoy
Just like a conventional power amplifier, a headphone amplifier listening to AKG K-701 headphones. The expression “dry as
is only half of an amplifier/speaker system. And just as with a desert” definitely applies to these rather matter-of-fact-
loudspeakers, the combination of the two parts, speaker and sounding headphones when attached to most headphone
amplifier, should ideally form a synergistic whole. This synergy, amplifiers. And while I can’t tell you that the Gemini turned the
or lack of it, between amplifier and transducer form the basis AKG’s cold, dry personality into warm and inviting, the Gemini
of much of the overall sonic personality of a system. And while did make the K-701s sound far more musical and involving than
I was not able to assemble any combination of Gemini 2000 other pairings I’ve tried. The Gemini didn’t warm up the K-701’s
and headphones that sounded even remotely sub-par, some bass, but instead gave the midrange a more natural and less
headphones did prove to be especially good pairings with the hard and splitchy character. And while I wouldn’t be so foolish
Gemini 2000. as to recommend getting the Gemini solely for the purpose of
I’ve owned a pair of Grado RS-1 headphones ever since Joe driving a pair of K-701s, if you have a pair of K-701s that you’ve
Grado sent me a pair over fifteen years ago. I’ve gone through never enjoyed much, the Gemini 2000 could change all that.
three sets of foam ear-cups, and in all that time, listening to The Oppo PM-1 headphones were specifically engineered to


be efficient and sufficiently sensitive that they suspect the differences between the two DACs
would not “need” to be coupled to a beefy high- would be more pronounced if there hadn’t
performance headphone amplifier to sound been additional adapters, an additional volume
their best. But even the PM-1 headphones control (on the mPRE), and the additional
garnered some additional fidelity and finesse meter length of cable in the system.
when attached to the Gemini 2000. The
soundstage was noticeably larger than what I Conclusion
heard through my iPod touch, Macbook Pro, or The question of whether a component is a
even the Astell&Kern AK100 (original version). great value or not is often a case of personal
The Gemini also propelled the PM-1’s stellar rather than universal financial considerations.
imaging and low-level detail to a higher level Obviously some readers will consider a $2000
than I’ve heard with any portable device, so far. DAC/headphone amplifier to be well beyond
At the end of the review period I set up an the price range of what they personally
A/B test to compare the Gemini 2000’s single- consider a high-value proposition. But for some
ended output with that of the Resonessence audiophiles the Gemini 2000’s combination of
Labs Herus portable DAC/headphone amplifier features, capabilities, and high performance
(one of my 2014 Golden Ear Award winners). will be exactly what they’ve been looking for,
The signal from the single-ended headphone at a price that is quite reasonable when you
outputs was connected to an adapter that consider the cost of a standalone premium
transformed the 1/4" stereo connection to a headphone amplifier, such as the Bryston
pair of single-ended RCA female connectors. BHP-1, which when combined with a high-
Then a 1m length of cable connected the performance DSD-capable DAC can run well
adapter to an input on a Wyred 4 Sound mPre, above $2000.
which was connected to a pair of Wyred4Sound Although AURALiC calls the Gemini 2000
mAMPs driving Audience Clair Audient 1+1 a “lifestyle product” I think this does the
speakers. After matching gain levels via a 1kHz Gemini a disservice. “Lifestyle” implies that
test tone from the AudioTest app I was ready features and ergonomics were put ahead of
for some rapid/switch A/B comparisons. sonics, and if my experience with the Gemini
After several hours of A/B comparisons I had 2000 is any indication of its performance
to conclude that in this setup the differences in capabilities, it didn’t perform like any lifestyle
sound between the Gemini and the Herus were product I’ve used in the past. No, the Gemini is
so slight that I reliably heard an improvement a high-performance, high-end DAC/headphone
in image specificity and low-level detail through amplifier that will be at home in even the most
the Gemini only when I used my own high- sonically pristine computer-audio system,
resolution live recordings. With the commercial which makes it the best lifestyle desktop
releases the differences were not obvious product I’ve ever heard.
enough for me to tell which DAC was which. I

Follow-Up: Audio Desk Systeme A

fter reading Jacob Heilbrunn’s one is the accurate preservation of the finest
review of the Audio Desk Vinyl details of timbre, microdynamics, and spatial
Cleaning Machine in Issue information. This is why vibration control,
Vinyl Cleaning Machine 234 I had to try one for myself. I was
intrigued by the idea of cleaning LPs
with ultrasonic energy rather than with
for example, can render such a dramatic
improvement in an audio system—it reduces
smearing of low-level information.
Essential conventional bristles and a vacuum. In In the Audio Desk, high-frequency sound
theory, ultrasonic cleaning can reach waves in the cleaning solution create cavitation
Robert Harley into groove modulations that even the bubbles that exert a force on the contaminants,
finest bristle tips can’t reach. Looking dislodging them from the record’s grooves.
at an LP groove under a powerful This force is able to reach the tiniest recesses.
microscope reveals an incredible world Ultrasound cleaning is particularly effective on
of miniscule nooks and crannies. When jewelry and intricately detailed objects because
viewed this way, it’s easy to imagine the cleaning action isn’t reliant on a cleaning
how record-cleaning bristles simply brush or other device physically touching the
don’t have the “resolution” to reach entire surface of the object to be cleaned.
into these infinitesimally small grooves. In practice, the Vinyl Cleaner is very simple
It’s akin to trying to clean the wheels to operate. After you’ve filled the tank with
on a car with a broom handle. Brushes just over a gallon of distilled water, add a small
can remove most dust and large surface bottle of solution (two bottles are included).
contamination, but that’s where their This isn’t a cleaning agent or detergent; rather
utility ends. it simply reduces the water’s surface tension to
And it’s in the smallest features of the groove help the ultrasonic cleaning action. Then insert
where fine detail is encoded. The groove’s the LP vertically into the slot and press the red
shape creates the mechanical motion of the button. You’ll hear a beep, signifying that the
stylus as the groove spins beneath it, and Vinyl Cleaner is ready to start. The longer you
then this motion is converted into an electrical hold down the red button the more beeps you’ll
signal by the cartridge’s coils and magnets. hear, with each beep signifying an additional
By the time this electrical signal reaches your 30 seconds of cleaning time for dirtier LPs.
loudspeakers, it has been amplified by as much The tank fills up with water, the LP starts
as 200,000 times (0.2mV to 40V, for example). spinning partially submerged in the water, and
Small effects at the groove level become large four microfiber brushes spin to remove the dirt
effects at the loudspeaker’s voice coils. dislodged by the ultrasonic cleaning action.
The massive amplification of the cartridge’s At the end of the cleaning cycle the brushes
tiny output voltage is only part of the story of stop spinning, the tank drains, and a powerful
why low-level information is important. The blower dries the LP as it slowly rotates. Both
more experience I gain in audio the more it’s sides are cleaned and dried simultaneously in
apparent that what separates a very good- about five minutes. The German-made machine
sounding system from a spectacular-sounding is solidly made, and performed flawlessly.

EQUIPMENT review - Audio Desk Systeme

I was beyond shocked when I the level of a component upgrade.
performed a before-and-after I repeated these before-and-
test on the first LP I tried, after comparisons on about
an original Pablo release of ten LPs, and then set to work
88 Basie Street. The Audio cleaning as many records as
Desk didn’t just make I could before the Audio
the surfaces quieter Desk review sample
as expected, but had to go back. I went
rendered a wholesale on a binge buying used
increase in clarity, the direct-to-discs through
apparent separation of eBay while I still had
instrumental images in the machine. And then I
space, vividness, and came to the realization
dimensionality. The that the Audio Desk was
opening piano line of indispensable, despite
“Contractor’s Blues” had its considerable expense.
greater tone color and a I worked out a “time-
richer texture, and I could share” arrangement with
better hear the acoustic two other writers on the staff—we
around the instrument. Then as would buy the Audio Desk and each have it for
the ensemble came in playing the melody four months of the year. I suspect that if you
in unison I heard a more convincing sense hear the Audio Desk's effects, you'll also find a
of individual instruments. Before cleaning, way to own one.
the instruments and the space around them
were slightly homogenized, a character
unrecognizable until it was removed. Each
of the solo instruments took on a greater
palpability both in the space it occupied, as well SPECS & PRICING
as in timbre. Textures were denser and more
realistic. Midway in Joe Pass’ swinging solo the Dimensions: 13" x 10.7" Ultrasystems Inc.
drummer drives the rhythm even harder with x 8" 127 Union Square
rim shots, which, after cleaning, had a greater Weight: 12 lbs New Hope, PA 18938
musical effect owing to the way the rim shots Cleaning time: Variable (800) 724-3305
stood out from the mix, the greater sense of (five minutes minimum) ultrasystem.com
air around the sound, and the heightened Warranty: Two years
impression of depth and of the drummer sitting Price: $3995
directly behind Pass. The improvement was on

Critical Mass Systems S

ometimes, if you’re lucky, you Why is this relevant, given that the racks
acquire a component or accessory perform so well from a sonic perspective? Well,
Sotto Voce Equipment Rack

that is so good the thought I happen to believe that aesthetics contribute
of replacing it never comes to mind. mightily to the pleasure of this hobby. Top-
You install it, have a listen, and say notch audio components don’t just sound
to yourself: “Well, that’s that.” For good; they look the part, oozing craft and
Pretty and Smart me, this happened when I replaced workmanship and, yes, style. Some are even
whatever racks I was using to support sexy (“audio porn” as my buddy Karl Schuster
Alan Taffel my system (see, I can’t even remember, calls them). In my view a rack should show off
so thoroughly did I jettison them) with these components to best effect, and also show
a contraption from Goldmund. Back in off the system as a whole within the room. This
the day, when Goldmund was blazing is why, despite the eyesore-Goldmund’s sound, I
trails that others are still following, the have rankled at inhabiting it with the stream of
company made a rack system built from gorgeous components I am fortunate enough to
state-of-the-art materials and with a have flowing through my home. The equipment—
clever method of isolating shelves from not to mention the room—deserved better.
each other. Isolation of the equipment So when Critical Mass came out with a brand
from the shelves was handled by the new entry-level rack, the Sotto Voce, the first
superb Goldmund Cones, which were an thing that intrigued me about it was not its
integral part of the system. I put my potential sonic benefits, which were purely
gear onto those racks, had a listen to theoretical at that point, but rather its looks.
their effect, and I was done. The sound Other CMS racks lean toward a purposefully
had improved substantially in every way. industrial style (though not with the brutality of
Since then, understandably, racks haven’t the Goldmund stuff), but the Sotto Voce has a
been on my radar. Oh, sure, over the years I much friendlier, warmer, and more inviting look.
have read the glowing TAS reviews of some This is because, while metal connections within
pretty fancy-shmancy racks, like the Critical the frame are milled from billet aluminum, the
Mass Systems Maxxum. But they tempted frame and shelves themselves are made of good
me not at all, given their $40k price tags and old-fashioned wood. Sapele African hardwood,
my satisfaction with the Goldmunds. Truth to be exact. Not high tech, to be sure, but
is, I probably would have lived happily with purposefully chosen and certainly appealing
those racks right into my twilight years if not to the eye. The rack also appealed to my value
for their bête noir. You see, these things are detector. Unlike CMS’ ultra-pricey top models,
ugly. I mean seriously ugly. Massive blocks of a four-tier SV system with shelves costs just
sharp-edged black iron form the frame, which $4500 ($5500 if you’d like it in black). That’s
supports equally-square, equally-black slabs of right: the SV is one-tenth the price of the top-
methacrylate shelves. On the style-ometer, the line model.
Goldmund racks earn a solid zero. I took delivery several months later. By the

EQUIPMENT review - Critical Mass Systems Sotto Voce

time CMS’ affable and deeply-knowledgeable visceral. Even better, the footers also nixed The first step in CMS’ multi-layered upgrade ($600 if you buy them with the SV). I found
Joe Lavrencik personally delivered two SV the Cones’ drawbacks; tempos regained their plan is an inexpensive one that doesn’t require it a rewarding upgrade. The difference is in
racks, plus assorted accessories and options, drive, and there was no dullness anywhere in changing anything about the SV itself. Simply the “purity factor”—a measure of how much
I had already seen them at many trade shows. the sonic spectrum. Then there was the wholly insert a set of MXK-SV spikes ($225 for a set of random noise is being banished. The footers
Still, experiencing the Sotto Voce in my own unexpected icing on the cake: The footers four) between a component and its shelf. I found do a better job at this than the spikes, so the
room was something of a revelation. Replacing removed some of what I can only describe that the efficacy of this upgrade depends on the sound clarifies. I’d say the footers get you
the Goldmund racks with the CMS quite literally as “random energy” in the system. You don’t component being spiked. When I slid the spikes about half the way between the spikes and the
transformed the look of my room. Rather than consciously hear this energy; but you can under the CH Precision D1 transport, there was a next step in the upgrade path.
being a blight, the new racks melded into the definitely hear its absence. A layer of electronic loss of transparency, spatial focus, and dynamic For a more profound—and yet again more
décor and showed off the components within to noise recedes, leaving a rare and blissful purity. nuance. But then let’s remember that one of the expensive—upgrade, you can swap out stock
great effect. I took stock. Looks: check. Value: Somehow, the reduction of this stray energy things you get with the CH’s $40k price tag is Sotto Voce shelves for one of CMS’ “filters.”
check. Ah, but would the SV rise to the sonic lets the ear-brain mechanism interpret what an intricately conceived vibration-evacuation These are shaped and function like shelves, but
standard of my long-time reference rack? it is hearing as “music” rather than “sound.” system, of which the feet are an integral part. are mechanically far more complex. The filters
Before I delve into that, let’s talk about the That, in turn, means more realism co-joined The spikes bypass the D1’s feet, thus completely compatible with the SV rack are the very ones
component that doesn’t sit on a shelf: the with more relaxation. defeating CH’s elaborate scheme. In this case, that snuggle into CMS’ high-buck systems. I
speaker. CMS’ solution for SV (and other) buyers I have gone into detail about the effect of it’s not surprising that the D1 preferred to be tried swapping out an SV shelf for the entry-
is their Rize! footers ($225 each). To get a feel footers in what is, after all, supposed to be a right on the SV’s shelf. level filter, the Black Sapphire Mk.2 ($995). I was
for what they do, I first compared the sound rack-system review because it turns out that In contrast, and more typically I suspect, expecting this upgrade to be subtle, but, boy, was
of my speakers with and without their normal the Sotto Voce has the exact same effect the Esoteric K-01 transport/player/DAC virtu- I wrong. The filter is clearly more accomplished
Goldmund Cone underpinnings. Using “God on everything set upon it. Bass tightens, ally breathed a sigh of relief when set atop the at noise abatement, and the “purity quotient”
Bless the Child” from the terrific OMG pressing transients gain more verve yet maintain better spikes. On its own feet, the K-01 had played the takes a sizable jump. Under some components,
of Blood, Sweat and Tears, I could easily detect control, rhythms sharpen, and—perhaps most ravishingly-recorded “Title of This Song” from like turntables, the improvement can be even
that the Cones conferred more air to the brass, significantly—that subliminal low-level noise Beck’s recent Song Reader CD with typical élan. more dramatic. The filter allowed bass from
nicely tightened the bass, brought some needed plummets. All this without any noticeable But compared to the same track through the
control to the top, generated previously-missing sonic degradation, at least not compared to my D1 the Esoteric betrayed some spatial confu-
depth, and gave drums both more realism and reference rack. I knew very quickly that I could sion, paler tonality, and a loss of clarity. With the SPECS & PRICING
more visceral impact. Man do I love these Cones! live happily with the Sotto Voce. Sound: check. MXK-SVs in place, though, the K-01 was suddenly
But if I’m being honest, I must admit that they But wouldn’t it also be nice if, unlike the Gold- doing a mighty close impression of a transport CRITICAL MASS SYSTEMS
also dulled the mids a tad, and rhythms weren’t mund rack, the CMS wasn’t a closed system? costing twice as much. The difference was that Critical Mass Systems
quite as razor-sharp either. Even the most content of us will revisit the up- transformational. My conclusion is that for gear 69 Windsor Dr.
I then replaced the Goldmunds with a set grade situation in the wake of a lottery win, or that has not been as fanatically engineered for Oak Brook, IL 60523
of three Rize! footers under each speaker. My even just a hefty bonus check. Upgrades are es- mechanical grounding as CH is—which is to say, Tel: (630) 640.3814
hope was that they would sound as good as pecially appealing (and tempting) if they can be most gear—this $225 per component upgrade criticalmasssystems.com
the Cones—a tall order since nothing else ever done over time, at incremental cost, and in place. will be worth every penny.
has. To my delight, the footers delivered all As it turns out, while the stock SV will, I believe, The next step up is to place our friends the Price: $4500 for a four-tier, four-shelf system
the benefits of the Cones. If anything, drums, ably serve most audiophiles, it is only the begin- Rize! footers between components and SV ($5500 in black)
and transients in general, became even more ning of what can be done with this system. shelves. This will cost $775 for a set of three

EQUIPMENT review - Critical Mass Systems Sotto Voce

my ’table to really speak out, and there was a stands CMS offers as part of their higher lines.
good deal more timbral information and tonal They won’t match the rack, though.
richness. These filters aren’t cheap (there are I was able to test the latter scenario thanks to
two more models above the Black Sapphire Joe having provided a pair of QXK amp stands
Mk.2), but they deliver the goods. Don’t listen ($1995 each) with the mid-tier Black Platinum
to them if you aren’t prepared to buy them. To Mk.2 filters ($1895 each). Compared to the
be exposed to what they do is to be spoiled for previous Goldmund amp stands, the QXK imparts
anything less. that same wonderful feeling of the electronics
The nice thing about the SV system is that if getting out of the way, letting more music shine
funds do not permit making an upgrade right through. They also make the amps more coherent,
away, it can always be done later. And when the with more air, more dynamics, and more bass, yet
time comes, the process couldn’t be simpler. with more control of spurious elements. The SV
Even installing a filter is a breeze. Heck, there shelves on spikes, however, are impressive as
aren’t even any screws involved; just lift off the well. They give up little—just a smidge—in the by
SV shelf and plop down a filter. Voîlà—better now familiar “purity factor.”
sound. Also, there is no requirement to replace I realize that this has been a highly
all the shelves at once. Instead, you can upgrade deconstructive analysis, so it’s important to
selectively, moving to spikes/footers/filters one sum up by saying that the Sotto Voce not only
by one, starting with the components that will looks good and is more than fairly priced; it
benefit most. Mixing and matching shelves and just plain works. My system has never sounded
filters in the same SV rack is perfectly okay. better. The hallmark of the SV rack, in all of its
The only gap in the SV system, to my mind, is various permutations, is that it gets the crap
the lack of a proper amplifier stand. Depending out of the sound, delivering a less electronic,
on the size and quantity of your amps, they less hurried, less blurred presentation of the
may or may not fit in the SV rack. In my case, music.
with two swank but bulky, inhumanly-heavy
CH Precision A1’s, there was no way they were
going on the rack. Amplifier stands to match the
SV would look cohesive, but CMS offers plenty
of sonically workable possibilities for outboard
amps. For starters, amps that would otherwise
be on the floor can be placed on Rize! footers.
Alternately, an SV shelf ($125) can sit atop a set
of MXK spikes, resulting in an apparition of the
shelf hovering just above the carpet or floor. The
shelf can also be set atop footers. The ultimate
option, sonically, is to use one of the amplifier

Music

The Beatles in Mono

employed the same procedures used in the liner notes), the American-compiled Magical
1960s, right down to referring to the detailed Mystery Tour, and the Mono Masters collection
transfer notes made by the original cutting of non-album tracks produced on 180-gram
engineers, notes that included gain and EQ and vinyl from Optimal Media of Germany. The flip-
Worth the Wait balance settings. Further, the pair spent hours top box, identical in construction to the stereo
comparing the master tapes with first pressings box set of 2012, includes an original 108-page
Neil Gader of the 60s vintage mono records. Using a well- hardbound book specific to the mono pressings
tested Studer A80 machine with a true mono that includes loads of artwork, rare photos, and
playback head, the new vinyl was cut on a further commentary and production notes by
1980s-era Neumann VMS80 lathe. According Keith Howlett.
to Sean Magee the goal was to produce the The overall sonics of these mono recordings,
“original intention” of the band while allowing especially as the band matured into its Help/
the advanced manufacturing procedures and LP Rubber Soul/Revolver phase, are simply
playback systems of today to take full advantage superb right down to the pristinely quiet
of the analog tape’s potential, unimpeded by the surfaces. This was not the narrow tunnel of
cutting limitations and playback equipment of clouded images and compressed sound that
that distant era. many of us have been led to believe define the
Much is made of the importance of The mono listening experience, harkening back to
Beatles mono catalog, and for a very simple AM radio for some of us. For example, cueing
T
he Beatles in Mono, the 14-LP original analog master tapes that audiophiles reason: up until the late 1960’s mono was up the “fast” version of “Revolution” from The
box set of the band’s UK albums, had clamored for. Adding insult to injury, Apple the format. It was how the band and most Beatles Mono Masters, you hear more of a
was released on September 9 and Records decided to go with the 44.1/24 cutting everyone else listened to music. It was as throat-clearing blast, the guitar tracks roaring
completes a journey begun in 2009, the year masters rather than the higher resolution natural for them to mix and master in mono, to life with energy and specificity and seeming
that the fully remastered Beatles catalog 192/24 archival files, a missed opportunity a familiar and popular format, as it would be to shake off the dust of decades. The tracks are
was offered in the compact disc format in in the minds of many, a fatal compromise for to avoid devoting valuable time to a relatively strongly focused, as you’d expect with mono,
both stereo and mono presentation boxes. others. Yet, as if to make amends Apple has obscure and unproven newcomer, stereo. It and the vocals are almost surgically positioned,
The refreshed, compressed, and in some redeemed itself by cutting The Beatles in Mono also explains why the stereo masters were communicating the musical topography in far
instances equalized CD collection, which was (TBIM) from the original analog master tapes. mostly the work of producer George Martin greater detail dynamically, and with a more
derived from high-resolution digital masters, And they’ve employed a pure analog chain, and why his engineers often produced them in colorful tonal palette. I repeatedly marveled
took aim at the broader market but proved with no digital processing whatsoever—an shorter sessions weeks after the fact. Today at how delicately the backing vocals rode so
to be a tantalizing teaser for audiophiles event characterized in its press materials as the Beatles catalog is an admixture of formats smoothly on top of the lead vocal during “Drive
wondering if Apple/UMG were considering “an audiophile-minded undertaking.” that differ materially from one another. While My Car” (Rubber Soul), and how, on an early
an LP reissue. As it happened, 2012 saw the Prior to the release of TBIM TAS music editor the myriad of quirky differences has been well Ringo track like “Honey Don’t” (Beatles for
LP release of the complete UK set of The Jeff Wilson described the methodology used documented for years, ultimately the monos Sale), the vocals retained a discrete quality
Beatles stereo albums in 180-gram vinyl. to bring the new vinyl to light (Issue 246). To represent the truest intention of how The that most would exclaim was stereo territory,
However, controversy ensued, as it often recap, engineer Sean Magee and mastering Beatles wanted their songs to be heard. not mono. The band’s complex yet effortlessly
does in audiophile circles. The vinyl reissues supervisor Steve Berkowitz (Grammy recipients The 14-LP box set includes the band’s nine UK smooth harmonies and George’s touch on his
were also cut from digital masters, not the both), working at Abbey Road Studios, albums (packaged in their original artwork and guitar’s volume pedal on “Yes It Is” (B-side of

Music Feature
“Ticket To Ride”) is truly something to hear tambourine during “Norwegian Wood,” the lead guitar melody of “Lucy in the Sky with Pie” is portrayed with a broader and more
on this vinyl set and makes the case for going vivid cow bell center right during “You Can’t Do Diamonds” is more bell-like and prominent, the open soundstage and a heightened midrange
back to analog masters as well as anything I’ve That,” or the clatter of castanets and tapping vocals and vocal effects more finely focused. presence. “Stunning gradations of texture
heard here. Even the band’s earliest albums, of wood blocks during “Martha My Dear.” Ringo’s distinctive percussion work is more and timbre” is the only way I can suitably
recorded hastily (listen to the mike distortion Moving into the heart of the catalog, grandly featured in “Fixing a Hole,” and “She’s describe the heavier bloom of the drum fills
during Lennon’s performance of “Money”), “Taxman” (Revolver) relaxes the incessant Leaving Home” gives the listener more harp to and the high harmonies near the end of “Long,
sound more present, dynamic, and remarkably forwardness found on the CD reissue, allowing follow, with more of the tactile sensation of the Long, Long.” And “Yer Blues” flat out rocks,
raw and intense. the backing vocals some added depth. During artist’s fingers plucking the strings. dynamically more explosive with the searing
Track to track, these recordings consistently “Good Day Sunshine” there’s a rush of energy By the time I got to “Within You, Without guitar solo that just blazes. “Mother Nature’s
sound as if a veil has been lifted away, allowing and vitality missing from the CD, which You,” it’s just no comparison with either the Son” trends toward more bloom and bass while
more light and contrast to illuminate the comparatively sounds overcast and sodden. CD or the stereo vinyl reissues. The latter mix “Everybody’s Got Something to Hide Except Me
songs—even in comparison to the otherwise “Yellow Submarine” is not as “loud” as the CD shuttles the tabla off to the right channel, and and My Monkey” rumbles forth with more bass
very good CD mono remasters of 2009. The but certainly more detailed with robust low- George’s lead vocal is dry and wiry. Also, the information, extension, and resonant warmth.
discs, in contrast to these LPs, sound more level information and vocal detail, particularly closing chorus of voices isn’t nearly as lively The charming “I Will” possesses greater vocal
midrangy and forward, a bit darker overall, less John’s glib echoing of Ringo’s lines toward the as the mono. Of equal note, I found Paul’s vocal intimacy and a fuller, more articulate bass
transparent, and comparatively flat in regard to song’s end. A real treat is “Eleanor Rigby,” during “When I’m Sixty-Four” much warmer as voicing—that is, Paul literally singing the bass
representing soundspace depth. For example, which truly soars with greater tonal expression compared to the thinner, whiter, right-panned part. And if you haven’t heard the sped-up
Paul’s high harmony backing track during “If I and dynamic transparency and string octet stereo version. One of the biggest poke-in-the- mono version (the stereo is normal speed) of
Fell” (A Hard Day’s Night) is revealed in cleaner detail, as if a dark cloud had been removed. eye differences arrives during the reprise to the “Don’t Pass Me By” you’ll have to admit that it
detail on the vinyl right down to the warble in From Magical Mystery Tour, the sweet piccolo Sgt. Pepper theme. The limp vocal energy of has an air of Alvin and the Chipmunks about it.
his voice as it strains to hit the upper notes. trumpet solo in the middle of “Penny Lane” the stereo CD is replaced by a more aggressive In comparison, the CDs often have tighter and
During “And I Love Her,” George’s classical is spotless, and the full-bodied bass response and satisfying lead linked with more intense more controlled bass, but they can’t match the
guitar solo is fuller, richer, and more authentic during “Baby, You’re A Rich Man” is resonant crowd noise. Paul’s vocal riffing at the end is resonance and decay detail of these LPs.
to the sound of the nylon-stringed instrument, and extended to a degree that would have been restored to prominence while the orchestra The bottom line is that with few exceptions
and the woodblock percussion accompaniment unheard of on a recording back in the day. rising slowly to crescendo during “A Day in the The Beatles in Mono is a sonic triumph running
has greater timbre and clarity. In general Sgt. Pepper’s Lonely Hearts Club Band Life” is more textured and dynamically alive, the gamut from gritty to gorgeous. And
sibilances are crisper and resolve more remains the jewel in the crown. From the almost alarming in its intensity, unlike the more considering that an original mint Parlophone
smoothly, and during the closing guitar vamp eponymous opening theme to the final crashing pacified stereo mix. costs $200, $300, or more a pop, TBIM
you can now easily hear that it’s Paul’s voice piano chord of “A Day in the Life” the mono LP The White Album was the last of The Beatles represents an almost impossibly great value.
humming along. The same cue on the CD puts a paints a more vivid and complete sonic picture. albums to be mixed to both stereo and mono. Now, thankfully, we can all rediscover what
digital edge on that moment. Unlike the stereo LP, Paul’s lead vocal isn’t Both versions are equally listenable but the was once the exclusive territory of a handful of
One of the real surprises in these LPs is ghettoized in the left speaker, the band jailed differences still make me waver in favor of lucky collectors. I think the Beatles themselves
the degree to which they capture more of in the right. During “With A Little Help from the mono. A typical example would be “Cry would certainly agree, “A splendid time is
the inside information of Ringo’s drum timbre My Friends” the timbre and tunefulness from Baby Cry,” where Lennon’s vocal is placed a guaranteed for all.”
and transient action, and also his percussion Ringo’s snare is restored; there’s more dynamic bit more forward, the track itself shedding the
accenting from the pop off the skin of a impact along with its ringing decay. Plus the slightly shrouded character of the CD. “Honey

A Personal Discographic Companion to

Inside Llewyn Davis
Mark Lehman
T
he Coen Brothers’ 2000 comic film Volume 1, are especially relevant sources for the soundtrack isn’t an especially good sampler collection and my youth.
O Brother, Where Art Thou? set in Coens’ film: both men are outsize characters, of early-60s folk music, and listening to it So, in honor of the cultural milieu evoked
rural Mississippi during the Great and both—great talents themselves—also brought to mind how much better many of by the Coens’ movie—the singers, the music,
Depression famously helped bring music ardent admirers and appreciators of other the actual early-60s recordings are. (The the recordings, the zeitgeist—I offer my
from the period—bluegrass, gospel, spirituals, musicians, albeit sharply critical of the recordings of those, at any rate, who sought own personal “discographic companion”
delta blues, country swing—to widespread hypocrisies and corruption engendered by the the unvarnished authenticity of what I, and to the early-60s folk revival: much-loved
attention. Interest in homegrown American hyper-commercialized and celebrity-ridden they, considered real folk music, not the slick, records from palmier days that still delight
“roots” music has increased ever since, and promotion of the music business. No surprise prettified commercial imitations, even if often and surprise, albeit now burnished with
outstanding performers in old-timey styles that each attracted (and cultivated) many the product of quite skilled musicians. Those nostalgia. I make no attempt to be canonic or
(like Ralph Stanley and Alison Krauss who friends and acquaintances, indeed pretty much may have played big on the radio stations, but comprehensive (nor would that be practical):
appeared in the movie) are more widely known everybody in the late 50s-early 60s folk scene when has that ever been evidence of genuine these are my personal favorites. They are
and admired. (centered though certainly not limited to New musical worth?)
The Coens are now set to reprise their York City’s Greenwich Village), from Odetta Many of the best performers and
cinematic influence on popular music with a new and The Weavers and Joan Baez to Phil Ochs, their recordings from those halcyon
film. By the time you read this, Inside Llewyn Ian and Sylvia, Reverend Gary Davis, John days are described in Van Ronk’s and
Davis, inspired by the early-60s folk revival, will Hurt, Tom Paxton, Joni Mitchell, Mary Travers Dylan’s memoirs, and a good portion
have shown in “a theater near you.” The lead and Noel Stookey (who used his middle name of their music is preserved on records
character draws on two of the prominent figures Paul as a member of Peter, Paul, and Mary), I bought a half-century ago when they
of that culture-changing movement: Dave Van Jim Kweskin, John Koerner, Mark Spoelstra, were as fresh and new and packed
Ronk and Bob Dylan. (Both are invoked in the and dozens more, some obscure who became with discoveries as an unexplored
movie’s title, the Welsh origin of “Llewyn” famous, some obscure who stayed obscure, continent. I’ve grown
suggesting the latter’s appropriation of Dylan and some who were highly influential and up with these records,
Thomas’ given name, and “Inside Llewyn Davis” much loved by folkies but never got much listening to them
echoing Van Ronk’s first name as well as the commercial airplay or financial success. over and over, often
title of his album Inside Dave Van Ronk.) The soundtrack to Inside Llewyn Davis trying to untangle
Van Ronk’s pungent memoir The Mayor of (already released as of this writing) collects the intricacies of
MacDougal Street (co-written with Elijah Wald vintage folksongs in new performances played the guitar playing,
but thoroughly saturated with Van Ronk’s by the film’s actors, with the exception of two and they remain a
inimitable personality and voice), and Dylan’s songs, one each sung by Dylan and Van Ronk. treasured part of
fascinating if sometimes spaced-out Chronicles Though no doubt suitable for the movie, this both my record

Music Feature
certainly among the very best early-60s folk/ performances overflow with joyous verve and Hamilton) and Indian Summer (with his brother so packed with distinguished folk musicians
roots recordings, but just as certainly don’t vitality, especially the singing—no one has ever Mike) and the delightful (ten-inch LP) Goofing- (including many I regret not having space to
come close to exhausting that category, nor bettered them for vocal harmonies—and the Off Suite on which he plays the slow movement include here) that anyone interested in the
pretend to do so. Still, my choices are by no program is exhilarating in its inclusiveness and of Beethoven’s Seventh Symphony on solo early-60s folk revival will want to hear every
means idiosyncratic. Though few were huge, variety, ranging through genres and around banjo. (I listened to this before I discovered one of these records. (Peter, Paul, and Mary
money-making “hits” (on the order of Peter, the globe. They could be sweetly charming, classical music and for a while considered it later recorded “Springhill,” in one of their best
Paul, and Mary’s first few albums), most were sonorous and uplifting, defiant and passionate, a slightly odd banjo piece until noticing that it performances, on A Song Will Rise.) Another
well known and praised (if not indeed revered) earthy and impudent—as effective in rousing was actually an arrangement of a symphonic marvelous ballad singer is mountain-born
by folk music devotees of the period, and most spirituals and plaintive love songs as in a hit- movement.) Other gems on Goofing-Off are Kentuckian Jean Ritchie, who specialized in
retain a following even today. All, of course, parade take on a coal miner’s complaint—with Seeger’s banjo-plus-whistling version of “Ode the old songs of the early Appalachian settlers
originally came out on vinyl. Almost all have wonderful performances of “Kisses Sweeter to Joy” from Beethoven’s Ninth (adapted for which she sang in a homespun, almost childlike
been reissued on CD, and a fair portion also Than Wine,” “Wimoweh” (which reappeared the Coen Brother’s film Raising Arizona), and lilt. Her version of “Come All Ye Fair and Tender
have since been reissued on vinyl. Copies in in 1961 on the pop charts as “The Lion Sleeps a dazzling solo banjo rendition of “Blue Skies.” Ladies,” on The Best of Jean Ritchie (Prestige),
both formats (whether nominally “in print” or Tonight”), “Follow the Drinking Gourd,” “Venga “Sally My Dear” (alternating unaccompanied has exquisite melodic nuances all her own.
not) are in most cases easily available from Jaleo,” even Merle Travis’ “Sixteen Tons.” singing and melismatic tootling on a recorder) Also preceding the early-60s revival,
on-line sources. Sonics are as you’d expect all More Weavers albums followed, in concert and and “Empty Pocket Blues” show how appealing Arkansas native Jimmie Driftwood took the
over the map, though many of these records in the studio, but none I’ve heard match the Seeger can be on lover-come-a-courting songs old fiddle tunes, some going back to pre-Civil
(especially the better Vanguards and Elektras) energy and engagement the group sustained (clear also from “Kisses Sweeter Than Wine” War days, and added his own lyrics, recording
boast exceptionally good sound. on that magical Christmas Eve in Carnegie Hall. on the Weavers’ first Carnegie disc). them in the late 50s in Nashville (though he
By far the most famous “Weaver” was Pete Of course many other elder statesmen of too, like so many others, also appears on
The Weavers and Pete Seeger Seeger, of course. Son of musicologist Charles earlier folk music revivals were still performing Vanguard’s Newport Festival recordings).
When I was a kid my parents’ idea of music was Seeger and stepson of the distinguished at the end of the 50s and after. One was Ewan The Wilderness Road from 1959 (on an RCA
Broadway musicals and the occasional ten- modernist composer Ruth Crawford Seeger, MacColl who sang, with his young consort “Living Stereo” with somewhat incongruous
incher of rumbas and mambos (for practicing Pete had a sterling musical as well as politically Peggy Seeger (Pete’s half-sister)—among added reverb and ancillary guitar licks by Chet
the dance steps). But one day my dad brought leftist pedigree. A modest man (still living as hundreds of songs both traditional and original Atkins) is a goldmine of dandy items rendered
home an anomaly: The Weavers at Carnegie of this writing, aged 94) who cares deeply he recorded—“The Ballad of Springhill” about in Driftwood’s leathery Arkansan drawl.
Hall. Recorded on Christmas Eve of 1955 (but about the welfare of the earth and its people, the 1958 Springhill mining disaster. His rustic Highlights include “Tennessee Stud,” “Song of
not released until 1957), this is the first folk Seeger—following Woody Guthrie—imparted burr and commanding delivery blended with the Cowboys,” “Arkansas Traveler,” “The First
music I ever heard (and the only folk music these concerns in his original songs. (One Peggy’s forthright soprano to impart a tragic Covered Wagon,” “Peter Francisco,” and “The
record among my favorites I didn’t buy myself). has the lovely chorus “Well May the World Go grandeur to this grim recounting, strong Battle of New Orleans” (which reached the top
Though I didn’t know anything about this then, When I’m Far Away.”) Seeger is famous for evidence that the Woody Guthrie tradition of of the 1959 Billboard chart in Johnny Horton’s
the Weavers were leftist activists who’d been his protest and solidarity-affirming songs, but memorializing topical events in timeless songs recording).
around long enough to have been black-listed, not as well appreciated for his instrumental was still alive and well. Stark and riveting, the
but now making a comeback just in time to excursions and more playful numbers as couple’s performance was issued on one of the Two Greenwich Villagers:
spark the beginning of what was going to heard on his less-known Folkways albums like early volumes in Vanguard’s superb Newport Van Ronk and Dylan
become the early-60s folk music revival. Their Nonesuch and Other Folk Tunes (with Frank Folk Festival series, a live-in-concert series Dave Van Ronk (who died in 2002), like many

Music Feature
other figures of the 60s folk revival (or “The than on this early recording, though he made rendition (with folk-style instruments) of Peter “Spanish Harlem Incident”? And then there’s
Great Folk Scare” as he called it with his many more records over the following four and the Wolf? “North Country Blues,” in which a miner’s wife
typical sardonic wit), is of the generation after decades. The poignance and simplicity of Dylan’s first record came out in 1962, stoically tells the story of how her family is
the Weavers. A brilliant acoustic guitarist, “He Was a Friend of Mine,” the sly dismissal establishing him as a droll, at times almost destroyed by the rapacious logic of capitalist
powerful singer, outstanding songwriter and of an aging lover in “You’ve Been a Good Old Chaplinesque interpreter of the folk tradition, exploitation. Transcending the sharply-
arranger, marvelous storyteller, and generous, Wagon,” the bluesy longing of “Come Back but it was The Freewheelin’ Bob Dylan from a drawn particularity of its circumstances,
charismatic personality (and bearlike corpus), Baby,” the relentlessly building ferocity of year later that revealed him as an eloquent “North Country Blues” becomes a universal
he soon became an archetypal figure on the “Poor Lazarus” lamenting the murder of a writer of both protest songs (most famously indictment of merciless greed and its victims:
Village scene, influencing and mentoring many runaway slave, the lonely plight of “Motherless for “Blowin’ in the Wind” but more powerfully the so-called “wretched of the earth,” used
younger musicians destined to become iconic Children,” the drug addict’s morose, befogged in “A Hard Rain’s A-Gonna Fall”) and love and discarded by forces beyond their control
stars of the post-folk era, among them Bob passivity in “Cocaine Blues”—one after another, songs (“Don’t Think Twice, It’s All Right” or understanding. Ineffably moving in Dylan’s
Dylan (who often slept on his couch in his early these indelible performances have resonated and “Girl from the North Country”). Still, as understated performance, this is one of his
days in the city). Van Ronk considered himself over the years as a testament to the depth of celebrated as Dylan’s career has been since greatest “protest” songs and indeed one
more of a “cabaret singer” than a traditional expressive power and subtlety possible in the then, I’ve always felt that some of his most of the greatest of the genre ever written.
folksinger, and was comfortable performing “folk music” genre. complex, original, and affecting work, with It wasn’t until two decades later, in “Blind
early jazz, jug band music, and other popular Folksinger remains perhaps the high-water- lyrics of astonishing sophistication and poetic Willie McTell,” his visionary evocation of the
musical styles as well as folk music. Anyone mark of Van Ronk’s career, though there are resonance, came out in the two albums (The pathology and the pathos of the South and its
interested in the history of American roots many other standouts, like his early rendition Times They Are A-Changin’ and Another Side baleful heritage of slavery, that Dylan matched
music as it exploded into prominence in the of Joni Mitchell’s “Both Sides Now” (recorded of Bob Dylan) released in 1964, and remains “North Country Blues” in his anger and
early 60s should read The Mayor of MacDougal a few months before Judy Collins), and his underappreciated. Has any prophesy ever despair at “power and greed, and corruptible
Street. It’s a vivid and fascinating account of a stunning arrangement of “House of the Rising been more enigmatically yet irresistibly seed,” and his encompassing awareness of the
hardworking musician’s life and times, packed Sun” on Just Dave Van Ronk (which Bob Dylan triumphant than “When the Ship Comes misery it causes and has caused down through
with astute commentary on the larger cultural stole from Van Ronk to record on his debut In,” or any paean to sexual electricity more the tormented centuries of human history.
and political arena of those turbulent days. album, whence the Animals stole it for their believably yet amusingly exaggerated than
The recording that brought Van Ronk much- hit rock version). Other stellar performances Rediscovered Old-Timers
deserved fame beyond his Village stomping are “That’ll Never Happen No More” on One of the main sources that Van Ronk and Bob
grounds is Dave Van Ronk, Folksinger, issued Vanguard’s Blues at Newport anthology, and Dylan and most of the other participants in the
on Prestige in 1963. His gravelly but delicately “Sunday Street,” a catchy-as-velcro Van Ronk 60s folk renaissance drew on for inspiration
modulated voice (more indebted to Louis original, on the album of the same title, jauntily in their own music was the
Armstrong than to the genteel traditional reeling off the boastful imaginings of a lowlife archival recordings (taken
“English” ballad style that Joan Baez was loser. Then there’s Dave Van Ronk’s Ragtime from 78s made in the late
then making famous), rock-solid yet intricate Jug Stompers (on Mercury stereo, no less), 20s and early 30s) by the
and harmonically adventurous finger-style featuring stellar run-throughs of “Temptation old-time blues and country
guitar playing, and ability to adopt so many Rag,” “Sister Kate,” “Georgia Camp Meeting,” folk singers. These voices
different kinds of songs to his own immediately “Everybody Loves My Baby,” and lots more. from the past were found on
identifiable manner, are nowhere better heard And did I mention Van Ronk’s incredible Harry Smith’s seminal six-LP

Music Feature
1952 Anthology of American Music (folk, blues, Hurt appears on the cover of his first LP Folk Vanguard, but I prefer the reissues of his more Songs he shared with another street singer,
and country music recorded from 1927 to 1932) Songs and Blues (on Piedmont) with a broad persuasive 78-era performances gathered the genial and comic Pink Anderson, whose “I
and such single-LP releases as Columbia’s smile on his face. I remember the day in 1964 on his one-disc Complete Early Recordings Got Mine” describes how a gambler grabs the
1961 reissue of mid-30s recordings of Robert I first saw him on that cover and bought the (Biograph LP and later Yazoo CD). pot at a crap game broken up by the police.
Johnson, King of the Delta Blues Singers, the record, not knowing I was getting a treasure Another bluesman who’d fallen out of sight Davis lived in New York City; other street
reverberations from which are still felt today by that guitar players and musical storytellers to after recording 78s and returned to record singers and bluesmen had moved (as part of the
many a long-haired rock star. (A second volume this day still marvel at. Hurt was soon picked again in his old age is Sleepy John Estes, great migration of southern Blacks to northern
of Columbia’s Johnson reissues followed some up by Vanguard and made several more who made several fine early-60s albums on cities) to Chicago, Detroit, Philadelphia,
years later, graced by one of the best album records, every one of them memorable. His Delmark with a superb small backup group Boston, Washington, D.C., Cincinnati, and other
covers ever: an Art Deco-ish painting of Johnson best performances—“I’m Satisfied,” “Frankie on harmonica, piano, and string bass. The urban centers. Some fronted small bands with
recording in an improvised hotel-room studio.) and Albert,” “Let the Mermaids Flirt With Me,” Legend of Sleepy John Estes is a wonderful added harmonica, string bass, sometimes
Dozens of other fine reissues from decades-old “Farther Along,” “Trouble, I’ve Had It All My example, with bouncy uptempo numbers like electric guitar, recording for labels like King,
country and blues recordings (many of them Days,” “My Creole Belle”—are the creations “Drop Down Mama” and rending pain coming Chess, Delmark, and Prestige. Anyone drawn
sub-genre anthologies) also began coming out of a unique and imperishable combination of through in Estes’ “crying” blues like “I Been to blues will know splendid records by Muddy
on LPs in RCA’s “Vintage Series” (with records warmth, wisdom, serenity, and musical genius. Well Warned.” Waters and Lightnin’ Hopkins and their many
like Early Rural String Bands, Smokey Mountain Skip James—equally original but More influential was Reverend Gary Davis, contemporaries. Meanwhile more discoveries
Ballads, etc.) as well as on small labels like temperamentally opposite—spun out dark tales a fantastic guitar player with a powerfully were still being made among those who’d
Biograph, Origin of Jazz, and Old-Timey. A of amorous treachery and retribution. “Devil affecting voice who sounded something like stayed in the sharecropper’s fields and hadn’t
whole world of music known only to collectors Got My Woman” is his signature song, and no a rough-hewn Ray Charles (both men, as been recorded until the 60s folk-revival was
of brittle old 78s suddenly became much more one has ever distilled a more brutally cynical it happened, were blind). Davis’ repertoire well underway, one of the best being Mance
widely available. view of the war between the sexes: “Woman included ragtimey instrumentals and Lipscomb, whose brawny, rhythmically driving
To almost everyone’s surprise, however, some I’m loving, stole her from my best friend, but salacious ditties, but he only played these Texas Songster, with foot-tapping standards
of those old folk and blues singers who recorded he’ll get lucky, steal her back again.” James’ when sufficiently lubricated by alcohol. His like “Sugar Babe,” “Bout a Spoonful,” and
in the 20s and 30s were still living—and happy falsetto singing and bluesy guitar playing standard fare was gospel numbers—like “Hold “Baby Please Don’t Go” meant to be danced
to resume their performing careers; soon their are sui generis, spooky-strange and to this to God’s Unchanging Hand” and “Keep Your to in small rural juke joints, became the first
early 78s were supplemented by spanking-new day marvels in a style often crowded with Lamp Trimmed and Burning”—that he shouted album recorded on the ever-adventurous
long-playing vinyl. Among the first and best of cliché. His piano playing is also astonishing out with a street preacher’s fervor and Arhoolie label. (Lipscomb was born in 1895 to a
these rediscovered musicians was John Hurt, in its mix of ruggedness and sophistication. authenticity. Davis also played harmonica with former slave and a Choctaw Indian woman. His
whose inventive and distinctive guitar playing, Jagged and unpredictable, with downbeats a breathy syncopation unlike anything I’ve given name is short for “Emancipation.” Can’t
with its steady, bouncy rhythmic bass beneath made stronger by their absences and phrases ever heard on the instrument. He could make get much “rootsier” than that.)
deftly syncopated tunes, and unforced, old- both foreshortened and elongated, it makes guitar, harmonica, even banjo into a kind of
fashioned singing (of sometimes slyly risqué a brilliantly high-strung accompaniment to vocalizing counterpart to his singing—and vice More New Voices
lyrics) charmed everyone who heard him. Even such songs as “If You Haven’t Any Hay,” (with versa, too. Many of Gary Davis’ recordings The influence of these newly appreciated
his bluesier numbers were resigned rather than chilling verses like “I’m caught in Louisiana are on Prestige (some recorded by Rudy Van old-timers on up-and-coming folk and blues
angry or sullen. A lovable man, unassuming, they’ll hang me sure”). Like Hurt, James Gelder), and all are stellar, though my favorite musicians was immense, and showed up on
soft-spoken, richly humorous, and gentle, recorded in the 60s (at least briefly) for is the Riverside disc Gospel Blues and Street a whole new crop of young “country blues”

Music Feature
musicians who began recording in the early City Scat Band’s twangy take on “Jealous” the jug band genre has strong origins in rowdy recognized (indeed, beloved) as a star, one
60s: John Hammond, Jr. (son of the renown and suitably scrappy “Bald-Headed End of a and racy minstrel show traditions. of the first and brightest to shine in the folk
producer for Columbia Records), “Spider” Broom” cautioning would-be suitors about the Another newcomer to the folk scene was a revival, quickly gaining national fame with her
John Koerner and Dave “Snaker” Ray, Geoff tribulations of hen-pecked husbands. (Both soulful-voiced young man named Perry Miller (sonically as well as musically superlative)
Muldaur, Eric Von Schmidt, and others. Elektra “Projects,” I should add, are among the who made his first recording, Soul of a City Boy, 1960 debut on Vanguard. (An even earlier
Listeners to Hammond’s debut recording very few records in my discography still not yet released in 1964 on Capitol, under his nom de appearance on ’Round Harvard Square issued
(Vanguard) who hadn’t looked at the cover reissued on CD.) plume Jesse Colin Young. This auspicious debut in 1959 on Veritas, a local Boston LP that
were startled to discover he was white, so Of the other new jug bands formed early in was graced by swell renditions of several old- she shared with several other singers, had
completely had he absorbed the braggadocio the 60s who took inspiration not only from timey mountain standards like “Rye Whiskey,” already displayed that unforgettable voice,
and complaint of the old Mississippi Delta their predecessors on old 78s but also from “Black-Eyed Susan,” and “Same Old Man,” notably on “What You Gonna Call That Pretty
bluesmen. Koerner and Ray, with Tony Glover the many and more recent New Lost City along with some dandy original songs including Little Baby.”) No one, before or since, could
on harmonica on a couple of stellar Elektra Ramblers’ Folkways LPs, the best, along “Four In the Morning.” Though City Boy is just sing ballads with Baez’ perfect marriage of
releases entitled Blues, Rags, and Hollers, were with Van Ronk’s Jug Stompers noted earlier a young man and his acoustic guitar, it’s stood breathtaking purity and aching sadness, yet she
more jumpy and revved-up. Their rendition of (which made only one record), was the Jim up pretty well against JC’s later recordings could slip easily into a humorous ditty or peal
“Black Dog,” a gambler’s boast to his doubting Kweskin Jug Band, whose Jug Band Music with the Youngbloods and remains a favorite out a defiant protest-song just as convincingly.
paramour, fueled by Ray’s plangent 12-string (Vanguard) demonstrated its huge advantage of mine and many other fans. (She did a hilariously wicked “Little Town Flirt”
and Koerner’s spiky 7-string, is irresistible. over all competitors: on-stage erotic appeal. Like Dave Ray, Mark Spoelstra (1940-2007) when I heard her in concert.) “Silver Dagger,”
Koerner and Ray also appear on Elektra’s Earthy sex-goddess Maria Muldaur vamping is strongly identified with his virtuoso 12-string “East Virginia,” “Fennario,” “Once I Knew A
1964 anthology of young bluesmen entitled up “I’m A Woman” added a new dimension to guitar playing. He was more of an in-the- Pretty Girl,” “Jackaroe”—the list of immortal
The Blues Project along with Geoff Muldaur the term “jug” band (watching her perform it tradition (albeit quite versatile) folksinger than performances from her early-60s recordings
(singing “Ginger Man” and Skip James’ in concert during my first year in college is a a bluesman, however, as his first two Folkways goes on and on.
“Devil Got My Woman” in his uniquely silken, fond memory), and the group’s moony vocal records, The Songs of Mark Spoelstra and At Joan’s younger sister Mimi found her
insinuating voice), Mark Spoelstra, Von harmonies on “Ukelele Lady” were at once the Club 47 (both from 1963) reveal. Old tunes voice as a folksinger by teaming up with her
Schmidt, and the ever-present Van Ronk, campy and suggestive. Aptly so, I might add, as like “Sugar Babe” and “Drowsy Sleeper” and husband, writer/singer Richard Farina, on a pair
among others—including Bob Dylan playing Spoelstra originals like “The Times I’ve Had” of early-60s Vanguards. The couple married in
guitar under the transparent pseudonym and “Willow Tree” and “Deep Blue Sea Blues” 1963, when Mimi—a striking beauty—was 17.
“Bob Landy.” All the participants on this burble along nicely if fast, or glower quietly, A pal and fellow writer of Richard’s that he’d
anthology were white, a reminder, if any is whether menacing or tender or forlorn, if known from Cornell was best man: Thomas
needed, that, as deeply dependent as they slow. For even more variety Pynchon. (David Hadju’s excellent Positively
were on the pioneering music of rural black Spoelstra threw in virtuoso 4th Street details the rise to prominence
(and rural white) musicians, the younger fingerpicking showpieces like of both Baez sisters along with Dylan and
generation of bluesmen and folksingers were “Buckdancer’s Choice” and Farina, and offers an acute analysis of why
mostly white and mostly lived in cities. Elektra “Deadthumb Roll #1.” folk music became so attractive to artistic kids
followed up shortly after with The String Band Gifted with an angelic voice turned off by Eisenhower-era conformity and
Project featuring contemporary string bands and a relaxed, natural dignity, commercialism.)
playing old favorites, notable for The Dry Joan Baez was almost instantly The Farinas will forever be known for one

Music Feature
supreme masterpiece: On the pair’s second performances as much dramatic enactments dances through a subversively cracked prism. of the Adelphi Rolling Grist Mill,” a spooky
Vanguard album, from 1965, they sang Richard’s as they were singing. In “The Old Man’s The subtexts of “Hesitation Blues” and “Black danse macabre with Fahey’s slashing guitar
haunting, wistful lyrics (in beautiful harmony) Lament” she impersonates an elderly husband Eyed Suzie” devolve into explicit lust, and under a soaring flute. Both these and more
to an equally haunting 14th Century Sephardic whining about his marriage to a young beauty “Born to Lose,” a cautionary portrait of the of Fahey’s best work appear on his early-60s
melody. They called this mating of ancient who “favors the neighbors” while he’s left boozy world of riverboat gamblers and their album entitled, with Fahey’s characteristically
tune and new words “A Swallow Song,” and it “rockin’ the cradle and it’s none of my own.” whores, veers off into an existential recognition morbid flippancy, Death Chants, Breakdowns,
will last as long as men and woman share their Her vocal inflection as she switches from the of a dazed, meaningless irreality. There are no and Military Waltzes.
wondering sorrow at this mortal life. It became storyteller’s pellucid tone to the old man’s duds on those first two albums: every number As multi-cultural and cosmopolitan as Fahey
Farina’s epitaph, for he died in a motorcycle descending wheeze is comically pitiful. More is endearingly and roundly Holymodalized. was American and insular, Sandy Bull’s wide-
accident a year after the recording was made. subtle but equally effective tonal shifts Though of course many if not most good ranging explorations on guitar (electric as
Another man-and-wife duo who also recorded imply the tangled but mostly unspoken web folksingers were quite expert on their well as acoustic), banjo, oud, and pretty much
on Vanguard (again captured in exceptional of tenderness and menace in the exchanges instruments, from Robert Johnson and Blind anything else he could fret, often lengthy
sonics) is Canadian-born Ian and Sylvia Tyson. between brother and sister in “The Incest Blake to Gary Davis, Dave Van Ronk, and improvisations with over-dubbed tracks on
The rugged but plaintive austerity of their Song,” a medieval tale (based on an old ballad Mark Spoelstra (among dozens more), only several instruments, pushed his first two
blended voices (and the hardscrabble tales called “The King’s Daughter”) of forbidden occasionally did folk musicians specialize Vanguard albums to the edge if not beyond
their songs tell) give a special truthfulness to love, betrayal, and doom. So flawless its as instrumentalists, especially considering what might be termed “folk music.” But there
their recordings, and the love expressed by a poetry, so rich in implication, so shimmering that they usually performed and recorded wasn’t any other available category so that’s
girl waiting for her rodeo-riding lover to marry in mystery—and so magnificently realized in as soloists. Early-60s exceptions already what it was filed under. His rendering of the
her in “Someday Soon” (on 1964’s Northern her performance—this song by itself ranks St. mentioned are the instrumental-only albums “Triple Ballade” of 14th-Century master
Journey) is both so real and so fetching that Marie as one of the great 60s folksingers. by Pete Seeger; Gary Davis also made at least Guillaume de Machaut is a stunner, for many
the ever-shrewd judge of musical potential For the early-60s folk revival Wizards of Odd one nifty instrumental-only record. listeners (as for me) a revelation of an utterly
Judy Collins quickly smoothed off the rough Award I nominate the Holy Modal Rounders— A conspectus of notable early-60s folk new (though actually ancient) kind of music
edges and turned it into another hit. She did Peter Stampfel and Steve Weber—whose first instrumental specialists might begin with that bypassed tonality and cadential structures
a good job with it, too, but Ian and Sylvia’s two self-titled records (on Prestige) pretty Stefan Grossman and Englishman Davy entirely, instead spinning out rhythmically
original is the genuine article. much reincarnated “the old weird America” Graham. More of an oddity was John Fahey, complex polyphony with harmonic clashes so
all by themselves. Pairing Weber’s squeaky, who began his own label, Takoma Records, to unexpected and alien they seemed hieroglyphs
Eccentrics and Instrumentalists tottering fiddle, bumpy banjo playing, and release his recordings, and quickly acquired from another world. From Medieval France
Most early-60s folksingers were also, of course, squawky warble of a voice with Stampfel’s a cult following. There’s something runic Bull zoomed to Brazil, with a gorgeous version
instrumental players, and almost all were off-kilter guitar and vocal lunacy, they in his evocative finger-style wanderings, of Luiz Bonfa’s sensuous and luxuriously
independent-minded individuals. The music appropriated funny strange old songs and made curiously enhanced by the dim sonics of atmospheric “Manha de Carnival,” thence to
attracted countercultural types if not indeed them funnier and stranger still, taking “Give his early recordings that made them sound a trippy improv on Chuck Berry’s “Memphis,”
stubborn individualists. Still, some were more, the Fiddler a Dram,” “Same Old Man,” “Hot like missives from the distant past. Fahey’s and on to one of his half-hour Asian-inspired
shall we say, unusual than others. Corn, Cold Corn,” the bumptiously enthusiastic best pieces are seldom catchy or ragtimey raga-like “blends” as he called them. Bull
One such is Buffy St. Marie, a Canadian- “Chevrolet Six,” even the gospel number or showy, but instead tend to be serious and not only anticipated much of the next half-
born Cree Indian, who made her recorded “Better Things For You,” and refracting these unhurried, whether impressionist like “Some century’s “world music,” he invented some of
debut in 1964 on It’s My Way (Vanguard), with and many another traditional country song and Summer Day” or dark, as is “The Downfall the best of it ever recorded.

Top Ten New CD Releases of 2014

induce monotony in less-committed listeners. landscape (overtly on the quiet, dark thump
Lyrically there’s a lot to soak in on Reflektor, of “Tell Heaven,” more subtly elsewhere) but
with songs about Eurydice, Joan of Arc, and sometimes she simply sounds lonesome, even a
the afterlife testing your knowledge of things bit confused, as in the beautiful, music box-like
mythological, historical, and theological. I (with celeste and strings) “Night School.” This
don’t know what “reflektor” means here or is a great songwriter at a new peak of intimacy
why Arcade Fire chooses to spell it that way. with her audience; appropriately, her producer-
But because Reflektor works so well for me on multi-instrumentalist-husband John Leventhal
a visceral level—Reginé Chassagne’s siren-like keeps the rootsy support (guitars, percussion,
vocals, the power-chord bombast of “Normal selectively deployed strings, background
Person,” and the seductive melody of “You vocalists) understated but deeply empathetic
Already Know” are just a few examples—I’m to the texts—the better to insure Rose’s liquid
already on board. Jeff Wilson voice pierces us where we live. David McGee
Further Listening: Tom Tom Club; Talking Further Listening: Rosanne Cash: Interiors
Heads: Remain in Light
Music Sonics Music Sonics
Arcade Fire: Reflektor. Merge. Rosanne Cash: The River & The Thread. Blue
Note.
While listening to Arcade Fire’s Reflektor the
first time I quickly flashed back to the Talking In the five years since last we heard a batch
Heads’ Remain in Light, and there was probably of original tunes from her, Rosanne Cash has
some rationale behind that. Both albums been a dutiful steward of her late father’s
replaced a readily-identifiable sound with legacy while turning to art both to grieve over
something headier. More complex, layered, and his passing and to assess the long shadow
intricate than previous efforts, these records he cast over her life and music. On The River
relied upon studio tweaking plus expanded & The Thread she’s probing aspects of her
personnel to help shape a sonic wonderland southern heritage in a moving effort at self-
and find a funkier groove. Remain in Light is definition (or re-definition). Memphis and
my favorite Talking Heads album, and likewise Mississippi figure prominently in the various
Reflektor stands out for me amongst Arcade mise-en-scenes and many of the songs read
Fire releases. The group’s self-avowed art- like allegories spun from an odyssey to the
rock tendencies show up in full force, but at far reaches of the heart with insecurities and
the same time the band seems gutsier. Also, frailties laid bare. A pronounced, deep spiritual
there’s less reliance on anthems that can yearning has planted roots in this unsettled


in his element. Of course, the Roots, house years up to his own fanciful reimagining—
band for Jimmy Fallon’s Late Night, are used enhanced by the brass’s wild, circus-like
to backing a wide range of artists. Together— interludes—of a legendary life in the vals
and with the Dirty Dozen Brass Band on two mexicano, “El Corrido de Jesse James” from
tracks—these artists reinterpret Costello’s his 2011 album, Pull Up Some Dust and Sit
past work, creating hybrids infused with added Down. Cooder’s guitar work is as authoritative,
bite. The postmodern “Stick Out Your Tongue,” impeccable, and economical as it is emotionally
for example, is a mash-up of “Hurry Down resonant, and he’s in solid, raspy-voiced form
Doomsday,” from 1991’s oft-maligned Mighty throughout. In this revue-styled set, vocalists
Like a Rose, and the grim anti-fascist tome Evans and Arnold McCuller, with an assist from
“Pills and Soap,” from 1983’s Punch the Clock. Ry’s searching, mournful guitar, steal the show
The result is a brilliant set of soul, funk, jazz with a deep, gospel-drenched rendering of
ballads and hip-hop-infused pop. Best to get “Dark End of the Street.” The raw, spacious,
is the deluxe edition, with three bonus tracks live sonics make the experience on disc as
including the surreal Beatle-esque psychedelia memorable for listeners as it surely was for the
of “Can You Hear Me?” Greg Cahill enthusiastic audience. David McGee
Further Listening: Ghost Brothers of Further Listening: Doug Sahm: Groover’s

Fauré: Requiem. J.S. Bach: Partita in D Darkland County; Elvis Costello: King of Fauré: Requiem. J.S. Bach: Partita in D Paradise; RC: Showtime
minor; Chorales. Tenebrae. LSO Chamber America minor; Chorales. Tenebrae. LSO Chamber
Ensemble, Nigel Short. LSO Live (SACD). Ensemble, Nigel Short. LSO Live (SACD).
Elvis Costello and The Roots. Wise Up Ry Cooder & Corridos Famosos: Live in San
Ghosts. Blue Note. Francisco. Nonesuch.
Following a slump in the 90s, Elvis Costello Returning to the Great American Music Hall,
emerged with a string of strong if often scene of his 1977 triumph captured on record
unorthodox albums that at times have left fans in Show Time, Ry Cooder arrived with his
cold (2003’s underrated North, for instance). usual superb band (including son Joachim on
Yet his more recent R&B-influenced projects— drums plus two notables from the ’77 lineup,
including his work with New Orleans great Allen Flaco Jiminez and soul vocalist Terry Evans)
Toussaint and T-Bone Burnett—have reignited supplemented by a muscular 10-piece Mexican
the pop chameleon’s creative spark. This new, brass band. The tunestack is a homecoming as
even bolder project teams the Brit pop star with well, drawing on songs ranging from his 1970
America’s premier hip-hop band, the Roots. It debut (a frisky Tex-Mex rendering of Woody
may seem an odd pairing, but Costello sounds Guthrie’s “Do Re Mi”) with stops through the


coherent brass. The SACD is in Reference’s is alert, rhythmically pointed, and texturally
Fresh! series, and thus not the work of the clarifying; the playing of the Royal Norwegian
venerable engineer Keith Johnson. It is, instead, Navy Band matches the level of the Eastman
the work of the equally venerable Boston- Wind Ensemble of yore. The jewel box holds
based Soundmirror, Inc., with a hand from the audio-only Blu-Ray and SACD versions of the
PSO’s own recordist, Howard Chambers. Five original 24-bit, 352.8kHz “DXD” recording and,
DPA 4006’s constituted the main microphone with both formats, dynamic range and timbral
array, which fed a Pyramix DSD workstation. detail are exceptional. 2L’s multichannel
The result is a spacious yet detailed sonic is characteristically immersive but all the
presentation that “gels” beautifully in stereo, microphones were positioned in front of the
but especially in multichannel. There’s conductor. The rear channels don’t output
nuance and power in equal proportions, with direct sound, just more room ambience than
exceptionally natural scaling and timbral usual. The result: sonic heaven. Andrew Quint
reproduction of both orchestral sections and
individual instruments. Andrew Quint Further Listening: La Voie Triomphale (2L);
Circus Maximus (Naxos)
Music Sonics Further Listening: Strauss: Orchestral Works Music Sonics
(Honeck/SACD)
Dvor̆ák: Symphony 8. Pittsburgh SO, Honeck. Symphonies of Wind Instruments. Royal
Reference (SACD). Norwegian Navy Band, Bergby. 2L (Blu-ray
and SACD).
Manfred Honeck’s recording of Dvor˘ ák’s
Eighth Symphony is as satisfying as any I The Oslo-based 2L label, the outfit that last year
know, including classic versions conducted gave us the sensational La Voie Triomphale, is
by Kertész and Kubelík. This energetically back with another program of symphonic wind
paced performance has a Brahmsian rigor but ensemble music. The results, musically and
doesn’t slight the symphony’s wonderfully sonically, are just as remarkable. This time, the
bucolic character. The disc is filled out with program includes four gems of the 20th century
the Symphonic Suite from Jenu˚fa. With great concert band repertoire—Hindemith’s Concert
economy, the 23-minute work captures the Music for Wind Orchestra and his Symphony in
emotional trajectory of Janác̆ek’s best-known B flat, Schoenberg’s Theme and Variations, and
opera, communicating fully a sense of dread, Stravinsky’s succinct and pungent Symphonies
fear, shame, horror, and—finally, in the Suite’s of Wind Instruments. The disc closes with a
moving final section—redemption through love. more harmonically adventuresome but equally
The ensemble impresses with robustly unified idiomatic piece by Norwegian Rolf Wallin
strings, refined woodwinds, and powerfully titled Changes. Ingar Berghy’s conducting


hatred from every pore. The Bulgarian soprano
Krassimira Stoyanova portrays a poised and
virtuous—yet womanly—Desdemona: we can
understand why she matters so much to Otello.
The real star of the show is Muti, who attends
to every detail in Verdi’s most advanced score
with a profoundly expressive musicality. The
tumultuous scenes with chorus are fully under
control and the momentum towards the opera’s
tragic conclusion is unstoppable. The sound,
courtesy of veterans David Frost (producer)
and Richard King (engineer), is robust, with
ideal vocal/orchestral balances. And there are
some wonderful surround effects, as with the
placement of guitar and mandolin in Act 2. AQ
Music Sonics Further Listening: Verdi: Requiem (Muti/CSO

Resound)
Verdi: Otello. Chicago Symphony, Muti. CSO
Resound (2 SACDs).
Early Verdi is largely for the composer’s most

devoted admirers and you can be forgiven
if the celebrated middle period operas—
Rigoletto, Il trovatore, La traviata—strike you
as too melodramatically calculated. But if you
don’t like Otello…well, you don’t like opera.
Riccardo Muti is surely the greatest living
proponent of the Italian operatic tradition
and he had a stellar international cast for the
concert performances that resulted in this
CSO Resound release. Singing the title role
with thrilling power is Latvian-born Aleksandrs
Antonenko, who convincingly represents
Otello’s descent into murderous irrationality.
As Iago, Italian baritone Carlo Guelfi exudes
87 Guide to Cables, Power Products, Accessories, and Music www.theabsolutesound.com www.theabsolutesound.com


in DownBeat’s International Critics’ Poll. The strategies grow more varied and complex. The
accolades, awards, and commissions reached string quartet is used alone and in settings
a crescendo in September 2013, when Iyer with computer-generated sounds and piano in
received a MacArthur Foundation Fellowship. various combinations. At different points, the
In January of this year, he joined the Faculty of players sustain ascending glissandos like the
Arts and Sciences at Harvard University. slow takeoff of a big jet plane; they saw heavy,
All that—plus collaborations with poet striated slabs of chunky sound; they generate
Mike Ladd, trumpeter Wadada Leo Smith, tartly harmonized pulses around and between
saxophonists Roscoe Mitchell, John Zorn, abstract piano ruminations; and they negotiate
Rudresh Mahanthappa, Steve Lehman, and dynamics that range from breathlessly quiet
many others, as well as Iyer’s academic to robustly orchestral. The performances are
and popular writings about improvisation, occasionally, but subtly, manipulated into eerie
mathematics, Thelonious Monk, “Late Style in echoes and drones. György Ligeti might come
Composers and Improvisers,” and “Embodied to mind in places. Or Philip Glass. Or ominous
Mind, Situated Cognition, and Expressive film noir scenarios. A different portal beckons
Microtiming in African-American Music”—make your imagination at every turn. By the end—
Music Sonics for a great story. But it’s practically humdrum signaled by a thrilling, martial string climax,
compared to the one Iyer tells on Mutations, followed by two lovely piano reveries, one with
Vijay Iyer: Mutations. ECM. his mind-blowing debut for ECM. Of the electronics, one solo—you’ll likely find yourself
meticulously recorded album’s thirteen tracks, in an altered state, indelibly affected by a
Before he moved from the San Francisco Bay ten make up “Mutations I–X,” a stunning suite multifaceted genius.
Area to New York City in 1998, Vijay Iyer had for piano, string quartet, and laptop, originally ECM has more Iyer projects in store—a duo with
become a key figure in the Asian-American jazz commissioned and premiered by the string pianist Craig Taborn and works for small and
movement, worked with influential saxophonist quartet ETHEL in 2005. Joined by violinists large ensembles. Meanwhile, Mutations will
Steve Coleman, earned a Ph.D. in the cognitive Miranda Cuckson and Michi Wiancko, violist likely hold steady as one of most significant
science of music, and recorded the first two of Kyle Armbrust, and cellist Kivie Cahn-Lipman, recordings of 2014. Derk Richardson
his 18 albums. But the upstate New York native, Iyer plays acoustic piano and adds electronics
born to immigrant Indian parents, was not yet and sound-processing. Further Listening: Vijay Iyer: Accelerando;
a household name in jazz. In the East Coast The hour-long journey begins with a Fieldwork: Your Life Flashes
limelight, however, Iyer’s career skyrocketed. deceptively mainstream-sounding, gently
By 2004 he was named Up and Coming flowing, seven-and-a-half-minute piano solo that
Musician of the Year in the Jazz Journalists displays Iyer’s command of the contemplative
Association Jazz Awards. Eight years later, thread in jazz history. Electronic textures—
he won Jazz Artist of the Year, Pianist of the dull thumps and ghostly whirring—accompany
Year, Jazz Album of the Year, Jazz Group of the piano’s drift into the stratosphere on the
the Year, and Rising Star Composer honors second piece. The strings enter on the next.
From track to track, Iyer’s compositional


of his recordings from the past 55 years, from Song” and “In the Moment,” touch the poles of
1959’s The Shape of Jazz to Come with Coleman spirituality (bordering on sentimentality) and
to this year’s duet release, Last Dance, from heady abstraction (pushing Hall into his freest
2007 sessions with Keith Jarrett. No matter improvisations) that demarcated, but never
whom he was playing with—John Coltrane, limited, the range of his playing. Hall’s two
Carla Bley, Pat Metheny, Rickie Lee Jones, pieces, “Down from Antigua” and “Big Blues,”
Abbey Lincoln, his Liberation Music Orchestra, are earthier and more playful. On the first,
his Quartet West, Gonzalo Rubalcaba, or the guitarist paints the sky with harmonics
his gifted offspring (son Josh and triplet and then, as Haden answers him with low- and
daughters Rachel, Tanya, and Petra on 2008’s high-register interpretations of the melody,
countrified Rambling Boy)—Haden’s bass lines embarks on a voyage of syncopated, orchestral
were unmistakable, a resonant, emotionally strumming that picks up momentum and
pregnant pulse that coursed through any idiom creates surging waves upon which the bassist
with the same stalwart equanimity. His may occasionally bounces like a child jumping
have been the most identifiable voice on an on his bed. Glee surfaces here as if it cannot
instrument that has been the vehicle of such help itself. Unrestrained joy may not be the
Music Sonics distinct personalities as Jimmy Blanton, Oscar predominant mood of this set, but it is one of
Pettiford, Charles Mingus, Scott LaFaro, Dave the many signposts these two masters left us
Charlie Haden—Jim Hall. Impulse. Holland, and William Parker. Again, the same on the path of making great music and realizing
goes for Hall, whose axe has been wielded the potential of human creativity. DR
When Charlie Haden died on July 11, 2014, at age by such masters as Charlie Christian, Wes
76, the jazz world lost one of its most pivotal Montgomery, Joe Pass, John McLaughlin, Larry Further Listening: Charlie Haden and Hank
acoustic bassists. The same, in relationship to Coryell, Derek Bailey, and Bill Frisell (perhaps Jones: Steal Away; Jim Hall and Bill Frisell:
the electric guitar, should be said for Jim Hall, Hall’s most explicit if oblique heir). Hemispheres
who passed on December 10, 2013, at 83. Each These eight songs, preserved in exquisite sonic
contributed to some of the greatest recordings detail—warm and sculpted from top to bottom,
of modern jazz. Haden assisted the birth of filling up huge but keenly defined aural space—
free jazz in the Ornette Coleman Quartet of are an unexpected bonanza for lovers of pure
the late 1950s and early 60s; Hall was there melody, improvised harmony, and the radiant
for the 1957 debut of the Jimmy Giuffre 3, the sunset tones that these two men perfected on
1962 Sonny Rollins milestone The Bridge, and their respective instruments. The repertoire
the 1962 Undercurrents duo LP with pianist includes Thelonious Monk’s “Bemsha Swing,”
Bill Evans. This meeting at the 1990 Montreal Hoagy Carmichael’s and Johnny Mercer’s
International Jazz Festival reiterates that “Skylark,” “Body and Soul” (the standard of
Haden and Hall were masters of the duet. standards), Ornette Coleman’s “Turnaround,”
Upon Haden’s death, I surveyed a big sampling and originals from both Haden and Hall. Haden
was the deeper composer, and his pieces, “First


classic “Take the A Train,” while Harper digs
into bar-walking mode on the earthy “Blues to
Africa.” Harper channels Ben Webster on his
majestic reading of “Body And Soul,” and the
two musical partners engage with equal parts
trust and daring on a telepathic extrapolation
of “How High the Moon.” Weston is at his most
buoyant and animated on “Cleanhead Blues,”
a tribute to the great saxophonist-vocalist
Eddie Cleanhead Vinson, and he’s at his most
introspective on the starkly rubato “Timbuktu.”
This precious collection closes with more
powerful discourse between the two seasoned
vets on Weston’s “African Lady.” Bill Milkowski
Further Listening: RW: Earth Birth; BH:

Music Sonics Blueprints of Jazz,
Vol. 2
Randy Weston/Billy Harper: The Roots of
the Blues. Sunnyside.
Here’s the short review on this remarkable

duets project: Two masters at play, profundity
ensues. Pianist Weston and tenor saxophonist
Harper have been colleagues since the early
70s. (Harper was a featured player on Weston’s
1973 large ensemble work, Tanjah, and also
on Weston’s acclaimed 1992 double-disc, The
Spirits of Our Ancestors.) “Blues to Senegal”
and “Berkshire Blues,” both imbued with
Weston’s churchy piano and Harper’s bold,
highly expressive Texas tenor, are intimate
conversations between two old friends. Weston’s
Monkish tendencies come out on his “Carnival”
(title track of his 1974 album) and a herky-
jerky reworking of the Ellington-Strayhorn

Top Ten CD Reissues of 2014

takes of songs recorded during the Moondance posthumous release by Alice Coltrane in 1971,
sessions but that failed to appear in any form but the recent rediscovery of original tapes
on the album. On “I’ve Been Working” you can allows us to now hear all the material, in the
feel the band feeding off Morrison’s energy, order originally recorded, for the first time.
and there’s a nice horn chart on “I Shall Sing,” This will no doubt appeal mainly to hard-core
an Art Garfunkel single that Morrison never fans; for most listeners the original release
previously released. With a single alternate will suffice. But the chance to hear every note,
take of most album cuts plus three other complete with occasional breakdowns and a bit
tracks, the two-CD set may appeal to the less of studio conversation, will delight the many
rabid fan. JW Coltrane devotees who know they will never
get enough. Duck Baker
Further Listening: Them: The Angry Young
Them; VM: Astral Weeks Further Listening: JC: One Down, One Up;
First Meditations
Van Morrison: Moondance. Rhino. John Coltrane: Complete Sun Ship Session.
Mosaic (3-LP set).
The newly remastered Moondance comes in
three versions, the smallest a single CD of John Coltrane assembled his classic quartet
the original album, the largest a five-CD set with McCoy Tyner on piano, Jimmy Garrison
that includes, along with a Blu-ray Disc of the on bass, and Elvin Jones on drums by adding
original album, a plethora of material recorded and subtracting pieces in his working group
during the sessions but unreleased until now. over a two-year period from 1960-62, and
Even Van Morrison devotees might find sifting then kept it intact for 3½ years. The Sun Ship
through fifty previously unissued tracks a bit session of August 1965 was among the last
daunting; they may wonder if they really need and most far-reaching documents this quartet
to hear eight takes of “Caravan.” Perhaps left. The group had moved well beyond the
they don’t. It’s worth mentioning, however, standards, blues, and modal tunes it began
that even in some of the early drafts of these with, as Coltrane pushed for an ever-freer
songs Morrison gives inspired performances. approach, and after A Love Supreme he began
It doesn’t matter if he still has to shout out thinking in terms of large pieces, of which the
instructions to his bandmates—he’s already individual tracks of a record were movements.
fired up, and so are they. Also, this set includes The original release of Sun Ship was edited for


of War Information and a 78rpm recording of Monk at Newport. But should listeners spring
Bob Dylan singing Guthrie’s late 1940s public- for the slightly better sound, especially when
health warning “VD City” (backed by Guthrie’s later releases so often included bonus material
own previously unreleased recording of “The not included here, and the sound is not quite
Biggest Thing That Man Has Ever Done,” an up to the best vinyl stereo reissues? Put it
ode to working men and women). Bill Nowlin this way; this writer is happy to keep this set,
wrote the 60-page booklet (part of a 258-page cutting loose some fancy recent reissues, and
downloadable PDF), and the set’s hardbound not minding some duplications of other things,
portfolio is packed with previously unpublished which we all got used to years ago. But then
photos and many of Guthrie’s own drawings. this writer didn’t have to pay for the privilege.
The result is a complex portrait of a principled Duck Baker
folk-music icon who blazed a trail for the folk,
roots, and Americana movements. Greg Cahill Further Listening: Miles Smiles (Speakers
Corner LP); ESP
Further Listening: ???? (Impex LP)
Woody Guthrie: American Radical Miles Davis: The Original Mono Recordings.
Patriot Legacy (9-CD set).
This lavish seven-disc box set gathers 85 One hesitates to encourage Columbia’s practice
songs plus conversations between singer/ of continually repackaging classic Miles Davis
songwriter Woody Guthrie and historian Alan records, since serious fans have already bought
Lomax (appearing here for the first time in the material long ago, in some cases many
their unedited form). Recorded in 1940 at the times over. But there’s no way around the fact
Department of the Interior studios, these talks that these CDs sound about as good as CDs
find the then-youthful Guthrie, just 27, chatting ever do. The nine records here are those that
about life, music, and politics. Producer Nora were originally issued in mono, and the notes do
Guthrie, Woody’s daughter and the keeper of his a good job of explaining how the new transfers
legacy, has focused on her father’s relationship were made from the originals, and give a good
with the U.S. government; a companion DVD overview of the rise to stardom that coincided
collects songs written while Woody worked with the original releases. The titles involved are
for the Bonneville Power Administration. In all the studio recordings Miles made between
addition to many of Guthrie’s best-known songs 1957’s Round Midnight and 1961’s Someday My
are World War II-era radio skits for the Office Prince Will Come, plus one live record, Miles &


yet their weighty and even mystical lyrics feel playing on Bob Dylan’s Highway 61 Revisited
right at home in a gospel setting. Suddenly brought him to an even wider audience. This
“My Back Pages” hints at spiritual rebirth boxed set covers all the bases—excerpts from
while “The Mighty Quinn” suggests a spiritual key Butterfield albums along with sessions
allegory, and somehow even the more secular and live gigs with Dylan, Electric Flag, and
“Lay Lady Lay” seems appropriate. Along with Al Kooper. But the real gems are the rarities:
adding a new perspective to Dylan’s lyrics, the early audition tapes for legendary producer
Brothers and Sisters also illuminate his gift for John Hammond, an instrumental take of “Like
creating timeless melodies. Released in 1969, a Rolling Stone,” a solo acoustic “I’m Glad I’m
Dylan’s Gospel long remained under the radar; Jewish,” and a Piedmont-style romp through
Light in the Attic did right by bringing it to our “Darktown Strutter’s Ball.” Bill Milkowski
attention. JW
Further Listening: Michael Bloomfield: If You
Further Listening: Bob Dylan: Saved; Shot of Love These Blues; Super Session
Love
The Brothers and Sisters: Dylan’s Gospel. Michael Bloomfield: From His Head to His
Light in the Attic (CD and LP). Heart to His Hands. Legacy.
Ever since he embarked upon a trilogy of This 3-CD set with DVD documentary is a fine
“born-again” albums that are often viewed as a retrospective of the Chicago-born guitarist who
radical departure, Bob Dylan has insisted there turned on a generation with his stinging B.B.
was always a spiritual thread to his lyrics. As King-inspired licks in the service of the Paul
evidence, he might have cited Dylan’s Gospel, Butterfield Blues Band, Electric Flag, and Bob
an album that predated Slow Train Coming by Dylan. A child of privilege who had “fast fingers
ten years and lent a gospel feel to his earlier and brash Jewboy confidence,” as he described
songs. Tellingly, Dylan’s tunes sound perfectly himself at age 15, Bloomfield immersed himself
natural when interpreted by a gospel choir, in the blues scene on Chicago’s South and
even though, aside from “I Shall Be Released,” West Sides. Absorbing the music of Muddy
the lyrics don’t deal directly with spiritual Waters, Buddy Guy, and others, Bloomfield
matters. When the Brothers and Sisters began sitting in with his idols as a teenager
interpret “The Times They Are A Changing,” and by 1965 joined the pioneering Butterfield
“Chimes of Freedom,” and “All Along the band which broke through the following year
Watchtower,” they may not seem like hymns, with the hugely influential East-West, while his


Bloomfield. and Roll Hoochie Koo” and “Still Alive and
He’s also an expressive and at times Well” by bandmate Rick Derringer. In concert
incendiary vocalist, a true blues shouter when Derringer and Winter shared some chemistry
he wants to be. If, during the 1970s, his studio too, as evinced by Live Johnny Winter and the
efforts grew less consistent, enough strong lick-trading on a live “Small Town Blues.”
cuts appear to make the four-disc True to the Like Clapton and McLaughlin, Winter is a
Blues: The Johnny Winter Story a welcome once-ferociously-loud guitarist who ultimately
compilation—especially because, after Winter turned down the volume, and like Clapton he
returned to his roots, he was back on his went back to his roots. When he pays tribute
game. And because the compilation includes a to Jimmy Reed (“Honest I Do”) and J.B. Lenoir
healthy dose of live material (some previously (“Mojo Boogie”) you sense that he’s back in the
unissued) from places like the Fillmore East, driver’s seat artistically. Clearly he’s a blues
Woodstock, and the Atlanta International Pop master, but he’s equally impressive playing
Festival, it also shows how Johnny Winter built the other types of music he grew up with in
a reputation as a fireball in concert. Beaumont, Texas. In the end that’s what’s most
One Johnny Winter cut that belongs on every revelatory about this compilation. On all four
Music Sonics compilation is “Mean Town Blues” from his CDs the intangible been-there authenticity
first album, The Progressive Blues Experiment. with which he blends soul, R&B, early rock and
Johnny Winter: True to the Blues: The This self-penned song is 4:28 minutes of hard- roll, and Zydeco with the blues reveals a rare
Johnny Winter Story. Legacy (4 CDs). driving blues rock that exemplifies what people depth of artistry. True to the blues? Sure—and
mean by down and out. Along with being a true to himself, too. Jeff Wilson
Somehow the countless books, documentaries, classic Johnny Winter album, Second Winter
radio stations, and compilations that put offers music fans an early audio lesson. The Further Listening: Johnny Winter: Guitar
popular music under the microscope left holes decision to press a three-sided record so the Slinger; Third Degree
in the story. It’s one thing to overlook musicians vinyl would be “as loud as technically possible”
who were ignored originally but warrant a taught many people that side length matters,
reappraisal. More curious are those artists and the extra length also allowed Winter to cast
who had an impact initially but were neglected a wide musical spectrum, as the four anthology
later, like Johnny Winter. So let me just come cuts testify: Percy Mayfield’s “Memory Pain,”
out and say it: once Johnny Winter started “Highway 61 Revisited,” Little Richard’s “Miss
recording albums and playing high-profile Ann,” and a JW original, “Hustled Down in
gigs, word quickly spread that he was one of Texas.”
the hottest players around. As a white blues This anthology confirms that the bluesman
guitarist known for his stinging, lightning-fast could also rock. Like Hendrix, in concert Winter
leads, he breathes the same rarified air as Mick could slay with the most widely-covered
Taylor, Duane Allman, Eric Clapton, and Mike material (“Johnny B. Goode” and “Jumping Jack
Flash,” for examples). He also shines on “Rock


songwriting sharpened considerably, and Yes offset by a compact sound. I found the Rhino their most bizarre—until the closer, that is. Both
now boasted a remarkably versatile guitarist remasters neither revelatory nor inferior (and grounded and transcendent, “To Be Over” is a
who excelled in a highly structured context. sometimes superior) to the standard US vinyl sunny pop song that features what may well be
Steve Howe’s lengthy solo on “Yours Is No pressings I’ve heard, which—due in part to a Steve Howe’s best solo to date.
Disgrace” seems a strategy to show off the world’s record worth of splicing—never won With Going for the One Yes returned to a
new guy, and it succeeds. More transformative, awards for realism. simpler pop-oriented style. Sounds good in
though, is his work in a supportive role (his All the pistons were firing by their fifth theory, but the record often seems overworked,
laúd-playing* on “Your Move,” for instance). album, Close to the Edge. Everything about self-conscious, and self-derivative. “Turn of the
During the middle section of “Starship Trooper,” “Siberian Khatru”—Howe’s otherworldly steel Century” broke new ground, however, and on
where Howe does some acoustic finger-picking guitar, Anderson’s two-syllable vocal lines, a the epic “Awakening” the thick, billowing sound
and sings along with Anderson and Squire, it passage where he sings staccato wordless that seems incongruous with pop fare finds a
becomes clear that the band had traveled a vocals—signals a band with an endless supply nice match.
long way in the space of an album. of creativity. The piece de resistance, “And Their next album, Tormato, was so
After Rick Wakeman joined Yes for their You and I,” provides ample evidence that their unimpressive it’s hard to deem its follow-up
fourth album, Fragile, much was made of his ambition—for this was definitely a band that Drama blasphemous. Replace two key members
gold cape, virtuosity, and classical training. aimed high—had paid off. with guys from a so-so New Wave band? Heck,
Music Sonics To this I would add this important attribute: For the Close to the Edge tour drummer why not; what did Yes have to lose? In hindsight
restraint. Originally Wakeman excelled at small Alan White replaced Bill Bruford at the last the record comes off less as a strained attempt
Yes: The Studio Albums 1969-1987. Rhino (13 touches: the oscillating keyboard sounds over minute, a situation that, considering the at relevancy and more as an unforced return to
CDs). Howe’s acoustic guitar during a quiet passage music’s complexity, was asking a lot. Yet both the dark side of Yes (cf. “South Side of the
in “Roundabout,” the jazzy piano interlude on White sparked something new in the band, Sky” and Relayer) and a quirky pop sensibility.
Rhino’s 13-CD compilation The Studio Albums “South Side of the Sky,” the way his Mellotron galvanizing Yes in concert in a way that no Much of what follows is a band done in by a
1969-1987 contains Yes’ first 12 studio albums creeps in during Chris Squire’s bass solo one could have predicted. One wonders, then, timid streak. I heard about a Yes concert where
along with a generous supply of outtakes, on “Heart of the Sunrise.” By leaving other why White was mostly relegated to little more the band announced that because it was the
alternate versions, remixes, rough mixes, run- band members space and acting as more of than a timekeeper for the next studio album, end of the tour they would only play what they
throughs, and singles. The bonus material a colorist, Wakeman allowed an elite rhythm Tales From Topographic Oceans. Ironically, wanted. I wish they did that all the time—and
seems thoughtfully compiled; of particular section to become even better. Like Mitch the record is dominated by its sharpest critic, wonder, at this stage, what they would lose by
note is a full-length cover of Simon and Mitchell, Ginger Baker, and Michael Shrieve, Bill Rick Wakeman, whose Mellotron casts an doing so. As Studio Albums makes clear, that
Garfunkel’s “America” that finds the British Bruford is a drummer whose affinity for jazz anesthetizing gloss over the music. I like parts instinct once came quite naturally. JW
prog-rockers in top form. I’m also so fond of the influenced his approach to rock. He found a of Topographic Oceans, but I like Close to the
original rhythm section that I even enjoyed the perfect foil in Chris Squire, whose fluid, high- Edge better—and Fragile, and The Yes Album, Further Listening: Moraz and Bruford: Music
somewhat bumpy early stabs at “Roundabout” frequency sound took harmonic and melodic and Yessongs. for Piano and Drums; Jon and Vangelis: The
and “Siberian Khatru.” bass-playing to new heights. Sonically Bruford- And Relayer. On this follow-up to the too- Friends of Mr. Cairo
Even this Yes fan finds little to like in their era Yes albums are their own beast, the tame Topographic Oceans two good things
first two albums and believes their next LP, The squeaky-clean bass and drums nearly sharing happened: Alan White was let off his leash, and *A laúd is a plectrum-plucked chordophone from Spain. It belongs to the
Yes Album, marked a quantum leap. Here the the foreground with instruments that had a Steve Howe broke out a Telecaster. Relayer cittern family of instruments and has six pairs of strings, and is traditionally
tendency to sound grainy, the grand themes is the band’s most aggressive album. It’s also used in folk-song groups together with the guitar and the bandurria.


songs that did. Vocally the 7" and 12" versions albums but also during the much later second
of “Pale Shelter” that preceded the album lack era, when recognition finally arrived but little
the urgency of the album cut, as is the case new material was recorded. No argument
with the recently re-recorded “Change.” As for there, but the issue of proportion arises, as
the original album, some Tears For Fears fans barely a third of the tracks are from the albums
praise the songwriting while finding the sound that launched its legacy while more than half
too synthetic. Because drum machines tend to are live tracks recorded after a long hiatus.
make my skin crawl, I should be put off by that Like The Beatles—an acknowledged influence—
as well. (Also, I generally don’t gravitate toward Big Star was accomplished in the studio, and
mopey lyrics or quintessentially eighties while I envy everyone who saw either band live,
music.) However, for me the strong songcraft that’s not what their legacies were built on.
and inspired performances on The Hurting put This isn’t to say, by the way, that Playlist isn’t
those issues to rest. JW good-to-great power pop throughout. Buy it for
the overview, then go back to the beginning.
Further Listening: Tears For Fears: Songs Jeff Wilson
from the Big Chair
Music Sonics Music Sonics Further Listening: Big Star: #1 Record; Radio
City
Sir Colin Davis: The Philips Years. Sir Colin Davis: The Philips Years.
Decca (15-CD set) Decca (15-CD set)
Tears For Fears: The Hurting. Universal (two Big Star: Playlist—The Very Best of Big Star.
CDs). Legacy.
Sometimes an album is so consistent that The “cult band” label incites expectations of
deluxe reissues seem especially intriguing. something remote or obscure, if not downright
Even though it was a debut album, Tears for off-putting to outsiders. Yet I suspect that if
Fears’ The Hurting is just such a record. At the you introduced the seemingly quintessential
heart of it is solid songwriting, a focused mood, cult band Big Star to listeners steeped in
and a sound that fit the times. Due to those 70s rock they’d find its brand of power pop
attributes, a new 2-CD retrospective with a full as approachable as the musicians the group
disc of B-sides and remixes would lead you to begins to resemble (like The Raspberries,
expect some lost gems. There don’t seem to Wings, George Harrison, and Badfinger). The
be any great discoveries, however. Here the first compilation to represent all phases of the
three B-sides of tunes that never appeared in band, Legacy’s new best-of assumes Big Star
any form on the original record fall short of the was a vital force not only during its first three

Top Ten New Vinyl Releases of 2014

script, as finally a lost album has come fully to the instruments in general the drums and the
life. deep, dark, ominous bass lines come through
And considering the remarkable chemistry clearly, revealing the energy and intricacy of a
of this band, that’s no small thing. Here the remarkable rhythm section.
list of veteran James Brown sidemen includes On the high-energy material priority is given
drummers John “Jabo” Starks and Clyde to new songs, the older hits receiving quick
Stubblefield, trombonist Fred Wesley, and long- run-throughs or getting bundled into medleys.
standing right-hand man Bobby Byrd (who, For this superbly paced set, however, James
like Vicki Anderson, sings lead on a couple Brown is given all the time he needs to deliver
cuts). Three essential new members were from dramatic performances of ballads that evoke
Cincinnati, home of King Records, where Brown early deep soul records on King, Federal, and
went from an unknown to an icon. Although dozens of other great labels. These renditions
he was only 19, William “Bootsy” Collins was of “Georgia on My Mind,” “It’s a Man’s Man’s
already an innovator on the bass; both he and Man’s World,” “Try Me,” “Bewildered,” and
his older brother, guitarist Phelps “Catfish” “Who Am I”—all songs where James Brown
Collins, were pivotal in shaping the new sound pours emotion into every line—make Love
Music Sonics of the group. A brilliant and innovative arranger, Power Peace even more memorable. On the
David Matthews was an ideal collaborator as last side of the record “Super Bad,” “Get Up,
James Brown: Love Power Peace. Sundazed James Brown’s music became more intricate, Get Into It, Get Involved,” and “Soul Power”
(3 LPs). complex, and mind-blowing. return the energy level to its previous heights.
An amazing lineup—but it was also short- Jeff Wilson
In 1971 James Brown recorded a concert at lived and under-recorded. James Brown must
the Olympia in Paris. He planned to release a have thought something special was brewing if Further Listening: James Brown: Sex
triple album of the event, and he got as far as he decided to release what would have been his Machine; Gettin’ Down To It
a test pressing before the project was shelved. first-ever triple LP, and I’d be hard-pressed to
In 1992 a single CD of the show omitted some disagree. By the end of the first side the band
cuts and scrambled the track order. Mastered is already crackling with an intensity that other
for the first time from the original mixdown groups would struggle to match during their
reels, the new vinyl release of Love Power encore. When Brown shouts encouragement
Peace duplicates the album James Brown during “Ain’t It Funky Now,” you sense the
envisioned down to the mid-song side breaks soloists being driven to new heights and feel
that make the listening experience unusually the electricity of a band that’s completely in
choppy as well as his studio version of “Who synch. Although the sound isn’t great, overall
Am I” that’s slipped in as if it were part of the it has the impact you would want from a live
live performance. Odd choices initially, but album. The horns and strings seem submerged
I applaud the decision to follow the original while the vocals are sometimes too forward. On
the other hand, in spite of distant staging for


Definition” is also suggested), all members of the builds slowly to an impassioned climax, the is an old-fashioned bravura dazzler for “rock-
Cleveland Orchestra, are flat-out superb. And dusky viola encircled by more and more fervent star” violin and piano, with wild gypsy roulades
they’re obviously having a great time, too. The musical embraces from the piano as it spins off that build to an abruptly-truncated finale. Strong
ideal mix of finesse and verve these “happy dogs” ever-increasing cataracts of notes. Piazzolla’s contrast is offered by Debussy’s gorgeous Prelude
bring to the music is a joy, and it’s impossible to music, charged with vernacular dance rhythms to the Afternoon of a Faun, the primary avatar of
ignore the excitement and sense of occasion that and sexual electricity, works especially well here, dreamy, sensuous musical Impressionism, done
radiates throughout this recording of confident, happier in the midst of an excited crowd than on a here in an aquamarine distillation for flute and
bold, persuasively virtuosic one-time-only takes. sedate concert stage. piano.
Add to that the recording’s holographic detail and Curiously, the piece that comes next, Anton We- Worlds away in emotion and style, the final two
transparency, tonal richness, realistic ambience, bern’s brief Movement for String Trio, three min- movements of Shostakovich’s somber and bitterly
and dynamic impact, and the only response is utes of delicate pizzicatos and disjunct fragments mocking Second Piano Trio—written in 1944, it’s
to murmur, as the French say: “Ah, to have been in unhurried, elaborate contrapuntal overlappings, a memorial protest against the Holocaust—takes
there.” Honestly it’s something of a miracle how which would seem to be utterly out of place at us to a much darker place, especially in the final
close Live at the Happy Dog comes to fulfilling the Happy Dog, has a kind of hypnotic effect on “Dance of Death” on brave but doomed Hebraic
Music Sonics that impossible dream. (For details about the the audience. You can feel (and share) both the melodies. Consolation after this heartbreaking
recording’s staging, miking, mastering, etc., players’ and audience’s concentration on every music comes in three concluding pieces: a se-
Live at the Happy Dog: Ensemble HD. S&W see http://ensemblehd.bandcamp.com/album/ exquisitely-chosen note, every lapidary inflection raphic cello-and-piano duo from Messiaen’s post-
(2 LPs). ensemble-hd-live-at-the-happy-dog.) chiseled from silence. That this recondite music apocalyptic Quartet for the End of Time; a stately
Ensemble HD includes performers on flute, should materialize in a bar, played with such tech- rendering of a Handel passacaglia for violin and
Here’s something I haven’t seen before: a classical oboe, violin, viola, cello, and piano, and all sorts nical aplomb and expressive shapeliness—and hold viola; and the gentle, otherworldly Spiegel Im
music concert recorded before a live audience of combinations of these are used, whether to the crowd in its spell—is astounding. But it does. Spiegel (“Mirror in Mirror”) by Estonian composer
in a bar, specifically, Cleveland’s Happy Dog—and play the works in their original instrumentation or Much more follows. William Bolcom’s piano rag, Arvo Pärt, here rendered by flute, oboe, and piano.
released as a two-LP set. On the program: eleven in arrangements, so there’s lots of variety in the Graceful Ghost, is a lovely, nostalgic homage to a There’s no “barroom music” on this ambitious
pieces (or movements from them) that range from timbres and textures on display. And despite the bygone era and genre; it comes right after Webern, and wide-ranging program; indeed it would be
Handel and Beethoven to Messiaen and Bolcom. rowdy setting, there’s no dumbing-down on the reminding us, however catchy its tunes, lilting its an impressive recital at Carnegie Hall or the
Amazingly, this cockamamie idea not only works, program. Just the opposite: it offers a splendid rhythms, and sweetly tinted its Tiffany-shade American Academy of Arts and Letters. I can’t
it does more than that: it recreates a thrilling and mix of fine music, and the Happy Dog’s patrons harmonies, that ragtime and twelve-tone music help thinking that many of those in the Happy
often brilliant concert (complete with audience respond to its many and various attractions with are turn-of-the-century near-contemporaries— Dog’s audience came away surprised to discover
applause and a few spoken introductions) that the attention, enjoyment, and wonder that it and that both, at their best, balance consummate themselves being entranced by the energy, beauty,
engages the listener more than I would have deserves. craftsmanship and carefully nuanced imagination. and emotional power of music they might not
thought possible, and does so without pandering The concert begins with the sprightly One wrong note and the entire structure crumbles. have ever really listened to before—perhaps even,
to its high-spirited (and no doubt boozed-up) Mozartean elegance of the two final movements of Britten’s Phantasy (for oboe and string trio), for some, the beginning of a lifelong love affair.
audience. Beethoven’s Serenade for Flute, Violin, and Viola, a pungent hybrid mating a perky march with Mark Lehman
How is this possible? For one thing, the showing Mr. B in one of his airy, pastoral moods. (as the title suggests) fantasy-like episodes, is
performers who make up Ensemble HD (the letters Things quickly intensify with Astor Piazzolla’s Le a very early work in this precocious composer’s Further Listening: Live at Lockenhaus
no doubt standing for “Happy Dog” though “High Grand Tango, for viola and piano, twelve minutes career (he was still a teenager when he wrote (Philips, ECM, LPs and CDs); Rubinstein:
of sultry Argentinian sighing and swaying that it). Rhapsodic and improvisatory, Ravel’s Tzigane Recital in Moscow (RCA)


like “Nobody,” “Jitterbug Waltz,” and the jungle Duke Ellington’s “Mood Indigo” and the Oscar
jazz ditty, “You Bring Out the Savage in Me,” Levant and Edward Heyman chestnut, “Blame
and there’s a loose, relaxed feel to much of It on My Youth.” Both performances put such
WomanChild, though things get tumultuous a fresh spin on these old favorites that you’ll
during her self-penned title track, where the end up loving them even more. Sonically, too,
music surges, pounding like waves. WomanChild No Place to Fall is a treat. Recorded at Carriage
is one of several Mack Avenue recordings that, House Studios and engineered by Todd Burke
along with CDs and downloads, is available on and Sheldon Gomberg, this intimate live-in-
two-LP 180-gram vinyl. Considering the deep the-studio recording sounds as natural as
history of this music, that seems appropriate. Kathleen’s voice. JW
JW
Further Listening: Kathleen Grace: Sunrise;
Further Listening: Valaida Snow: Vol. 1, Songbird
1935–1947
Cecíle McLorin Salvant: WomanChild. Mack Kathleen Grace: No Place to Fall. Monsoon
Avenue (CD and LP). Records (CD and LP).
Two albums into her career Cecíle McLorin Shortly after Kathleen Grace established herself
Salvant has emerged as a distinct talent. On as a jazz vocalist, country music started to lure
WomanChild the young vocalist seems equally her away, and on her fourth album, No Place to
poised and confident singing standards, folk, Fall, this stylistic turn fits her so well that there
blues, originals, or early jazz songs recorded isn’t a weak cut on the album. The record kicks
by Bessie Smith and Valaida Snow. Salvant has off with a powerful reading of the title track,
a deep voice, and when the situation warrants a Townes Van Zandt composition that’s a fine
she can unleash a mean vibrato that works vehicle for Grace’s soft, pure voice as well as
wonders on the old-timey numbers. In a variety some sweet steel guitar by Greg Leisz. In spite
of small-group settings (piano trio mostly), she of stiff competition the three compositions
and her band members even bring a fresh spin that follow stand up well against the elite cadre
to such well-known jazz standards as “I Didn’t of songwriters she draws from elsewhere,
Know What Time It Was” and “What A Little Tom Waits and the Meatpuppets among them.
Moonlight Can Do” or the folk perennial “John Further into the record she stretches the
Henry.” She’s marvelous on early jazz numbers canvas a bit, blending jazz and country on


Thomas (granddaughter of fife legend Othar The Accused Huntsman, Dukas’ Sorcerer’s
Turner), and Lightnin’ Malcolm. Field recordings Apprentice, Arnold’s Tam O’Shanter, and J.
of R.L. Burnside and Othar Turner also are Strauss’ Lucifer Polka. Mephisto & Co. may be
incorporated into these tracks. Sonically this series’ guiltiest pleasure yet, with half-
this album won’t suit everyone’s taste—its speed mastering by Paul Stubblebine using
electrifying lo-fi approach favors performance custom Pass electronics, and discs plated and
over production. But World Boogie Is Coming pressed at QRP in Kansas. The sound? About
is a testament to the region’s primitive folk as good as it gets. Johnson’s signature wide
tradition, which spawned the Dickinson dynasty yet natural dynamic range is fully evident,
and helped to fuel everything from the Allman as are rich, throaty brass, plush strings, and
Brothers’ Southern rock to the 80s jangle-pop deeply powerful percussion. And as befits a
revival. GC true demo disc, there’s depth and air aplenty.
Okay, I’ll admit it: it’s also a whole lot of fun.
Further Listening: R.L. Burnside: A Ass Wayne Garcia
Pocket of Whiskey; J.L. Dickinson: I’m Just
Dead, I’m Not Gone Further Listening: Respighi: The Pines of
Music Sonics Music Sonics Rome (Minnesota, RR); Witches Brew (RCA)
North Mississippi AllStars: World Boogie Is Mephisto & Co. Minnesota Orchestra, Oue.
Coming. Songs of the South (CD and LP). Reference (two 200-gram 45rpm LPs).
After the 2009 death of legendary Memphis Reference Recordings is an audiophile enabler:
producer and session player Jim Dickinson This storied label knows how to draw even
(Big Star, the Replacements, Ry Cooder), his the most serious audiophile into a world
sons Luther and Cody Dickinson gathered a of deeply guilty pleasures. Exhibit A: RR’s
few friends for a tribute to their dad. These ongoing “Mastercuts” series, which is bringing
roughly sculpted sessions tap a mélange of some of Keith Johnson’s recordings to LP for
idiosyncratic regional styles, including the raw the first time. In recent issues I’ve reviewed
blues of the Mississippi hill country (revived Respighi’s Pines of Rome, and a sampler of
in the 1990s by the Fat Possum label), hard- bonbons called Exotic Dances from the Opera.
driving John Lee Hooker-style boogie, voodoo- Both featured the same Minnesota team listed
laced swamp rock, and even the fife-and-drum above. Both offer good if not great music,
idiom. The Dickinsons are joined by Robert wonderfully performed, in spectacular sound.
Plant (on harmonica), Duwayne and Garry Featuring Liszt’s Mephisto Waltz #1, Saint-
Burnside (sons of Fat Possum blues guitarist Säens’ Danse Macabre, Mussorgsky’s Night on
R.L. Burnside), Alvin Youngblood Hart, Sharde Bald Mountain, Liadov’s Baba Yaga, Franck’s


the outskirts of our metastasizing cities. What miss it if you’re not paying attention. “Speed
makes his songs so memorable and moving is Limit” glorifies Dot’s driving (“VERY fast,”
the penetrating intelligence and unvarnished according to Krakow), but its redux makes it
truth of the people brought to life in Fulks’ lyr- into art: “Speed Limit 2” is hilariously muted
ics: a suburbanite sadly admitting in “That’s and nervous, like Dot slinking down in the seat
Where I’m From” that he can neither forget nor after passing a cop. The feedback, backwards
return to his poverty-blighted rural home; an tape, and hard rock beat are just...nucking futs.
outsourced factory worker sourly reflecting Then there’s her glorious cover of the Skeeter
on his decline into the barely-surviving work- Davis hit “End of the World” complete with a
ing poor in “Where I Fell”; and, most starkly, Beach Boys-esque a cappella break. Pure gold,
“I’ll Trade You Money for Wine,” a drunk whose folks; pure gold. Stephen Estep
shiver-inducing cri de coeur fuses bleak exis-
tential dread with bitter ferocity as it builds to Further Listening: Florence Foster Jenkins:
a terrifying climax urged on by the furious wail- The Glory (????) of the Human Voice
ing of Scheinman’s fiddle. Mark Lehman
Music Sonics Further Listening: Pat Conte: Songs for Music Sonics
Fiddle and Banjo

Robbie Fulks: Gone Away Backward. Dot Wiggin Band: Ready! Get! Go!
Bloodshot (CD and LP). Alternative Tentacles (CD and LP).
Sometimes country, sometimes honkytonk, How did I get myself into this? How do you
sometimes bluegrass, sometimes old-timey, review the second coming of The Shaggs? Yep,
sometimes mountain-music lonely, Rob- Dot Wiggin was one of the original Shaggs,
bie Fulks’ Gone Away Backward is indeed and Jesse Krakow, who organized a tribute
“backward”-looking, full of regrets and lost concert to them, got old lyrics from her, set
chances; but it looks forward, too, mostly with them to music, wrote the arrangements, then
darkening fear and sorrow. With his twangy, cajoled her into singing again. It made my wife
rueful voice and uncluttered accompaniment leave the room. It made me want to lick the
from a crew of talented sidemen on guitar, stairs. And I’m no stranger to the best in awful
banjo, dobro, mandolin, and especially Jenny music, now euphemistically called “outsider
Scheinman’s “high, lonesome” fiddle with its art.” While there’s a backdrop of maturity (it
heartache keening and ragged drone, Fulks has been 44 years since Philosophy of the
channels the disillusioned, the rootless, the World, after all), there’s still the innocence of
downtrodden seeking anesthesia for their pain phrasing. The post-breakup picker-upper “Boo
who populate our decaying small towns and Hoo” is so civil of a revenge song, you might


skyrockets to number one on Amazon. Her capable of a poet’s intimacy with a real lyric
many videos soon get more than 60 million impulse, as the Ballade readily demonstrates.
hits and she acquires over a hundred thousand The Naxos CD displays her intelligence for
YouTube subscribers. The couple mortgage programming, going from the Appassionata,
their house to finance an integral recording one of the Beethoven’s most forward-looking
of the complete Rachmaninoff for piano and pieces, through Schumann’s Kinderszenen
orchestra with the London Symphony (Norman and Thalberg’s Rossini pastiche, concluding
Lebrecht, no pushover, calls it “the most with Liszt’s equally forward-looking Totentanz:
compelling . . . since Ashkenazy’s”). Before long, a journey from radical classicism to radical
she has an international career, a contract with romanticism. The Liszt is stupendous in every
Decca, and is in demand everywhere. Though sense of the word, the coda crushing in its sheer
at 44 she’s still got looks and body for the glam force, while the Beethoven is made to sound
shots and a personality with charm to burn, she as if it were influenced by Liszt. A distortion?
needs neither because she’s actually good—a Perhaps: but powerfully illuminating as only a
bona-fide sensation, in fact, with technique very gifted musician can manage.
second to none and a lot to say. Sonics on the Naxos are clean, clear, and
Music Sonics I’m talking about Valentina Lisitsa, who dynamic, nicely mixing detail and ambience,
once again defies convention by releasing those on the Decca big, warm, and reverberant,
Valentina Lisitsa Plays Liszt. Decca (LP and and all-Liszt recital on CD and vinyl but with a with bass notable more for richness and
CD). difference: the vinyl originates in analog tape, impressive scale than for definition. Heavy
each piece presented unedited. But whether vinyl, but surfaces not consistently quiet (an
Music Sonics edited or not, hers is always real caution-to-the expanded version of the same recital is on
winds music-making of flawless technique and Decca CD). There is no pianist whose next
Beethoven, Liszt, Thalberg, Schumann. great imagination. The Second Ballade and the recording I anticipate more eagerly than
Valentina Lisitsa. Naxos. Hungarian Rhapsody No. 12 bracket Liszt’s free Lisitsa’s. Paul Seydor
adaptations of melodies by Verdi, Schubert,
Try this for a fairy tale: a Kiev-born child piano and Bach. As the end of the Rhapsody Further Listening: Valentina Lisitsa:
prodigy wins a duo-piano competition with demonstrates, there’s a quality to her virtuosity Rachmaninoff Concertos (Decca); Ives
her Russian fiancé and they move to America that smacks not of egotism but of the need to sonatas, with Hilary Hahn (DG)
to launch their careers as duo-pianists. push herself just because she can. I’ve rarely
Unsuccessful together or separately, he moves heard anyone make the keyboard explode with
into real estate while she supplements their the ferocity and power of this woman, yet never
income by selling Sunbeam mixers on eBay. does it sound like mere banging or showing
Eventually she uses YouTube and other social off—instead, as if she’s testing the limits of self,
media to kick start a solo career, uploading of instrument, and of the music. But it’s not
her DVD of the 24 Chopin Nocturnes, which all about strength and loudness either—she’s


articulated, as when Robbie Robertson slips
Bakersfield takes full advantage of that. The in one sweet lick after another on “Pledging
high point has to be “Together Again,” where My Time,” “Leopard Skin Pill-Box Hat,” and
Gill stretches and melts the vocal line perfectly, “Obviously Five Believers.” You hear this on
and Franklin turns his better-than-average fills other vinyl pressings but in less detail; here I’m
into a Dali-esque solo. Two or even three lines more conscious of his warm tone and intricate
bend and flex, parting, wandering, rejoining, phrasing. I’m a fan anyway, for many reasons,
and sinuously complementing each other. but this Mo-Fi has deepened my appreciation
The LP sounds great, and the Cracker Barrel of Robbie and for that matter the whole band,
restaurant chain has put out a deluxe CD with including the guy behind the mike. So I’m
four extra songs they coaxed Gill and Franklin putting the Mo-Fi on my A shelf—right next to
back into the studio to do (crackerbarrel.com). my original pressing. JW
Steve Estep
Further Listening: Bob Dylan/The Band: The
Further Listening: Dwight Yoakam: Dwight Basement Tapes
Sings Buck
Music Sonics
Music Sonics
Bob Dylan: Blonde on Blonde. Mobile Fidelity

Vince Gill & Paul Franklin: (Three 45rpm-LP box-set).
Bakersfield. MCA Nashville (CD and LP).
I’ve known music fans bitten by the audiophile
Vince Gill is a great traditional-country singer, bug who start collecting high-quality reissues—
but an affinity for the songs of Merle Haggard but then, convinced reassessments distort
and Buck Owens wasn’t a well-known aspect by revealing too much, go original-only. Were
of his musical personality, making this an I to sing from that hymnal, Blonde on Blonde
unexpected and refreshing surprise, a fine might be my centerpiece. It is, after all, sacred
album of some of the West Coast’s best country ground, and partly because, in the recording
songs. Gill gives Owens and Haggard some studio, the baffles were removed to allow more
subtle nods with his singing, but his phrasing bleed-through for a more blended sound, it has
is still 100% his own. Paul Franklin’s mastery of original analog vinyl written all over it. However,
the steel guitar improves the lyrically weaker I also love the Mobile Fidelity Blonde on Blonde.
“Holding Things Together” and “The Fightin’ Here the lines are less blurred, revealing more
Side of Me,” and Gill provides some outstanding clearly the chemistry and communication
guitar work of his own. The phrasing of of a band that’s locked into Dylan and each
country music has always left ample room for other. Individual contributions are also more
instrumental commentary on the words, and

Top Ten Vinyl Reissues of 2014

series of installments over the next year. iPod on my car stereo.
Each of these double-LP versions offers the Led Zeppelin II and III fare much better on vinyl.
original studio album on one disc and a second In some cases, the sonic differences between the
disc of rarities. The expanded edition of Led 2007 remasters and these new versions are quite
Zeppelin, one of the first to be released only in noticeable, especially in the amount of detail
stereo, has an additional eight concert tracks in the acoustic instrumentation and the tighter
recorded in 1969 at the Olympia Theatre in Paris bass (a real plus on the bass-heavy mixes found
(performing songs from both the first and second on Led Zeppelin II).
albums). Led Zeppelin II offers eight new “rough” In addition to the double-LP treatment, fans
mixes and includes the previously unreleased have a chance to hear these new remasters in
“La La.” Led Zeppelin III also has eight bonus a variety of formats and packages: the Super
tracks, three of which are previously unreleased: Deluxe Edition Box includes a remastered album
the instrumental “Bathroom Sound” (a rough on CD in a vinyl replica sleeve; companion
mix of “Out on the Tiles”), the oft-bootlegged audio in a new sleeve and on 180-gram vinyl; a
instrumental “Jennings Farm Blues” (an early, code to download hi-def 96kHz/24-bit audio; a
electrified version of “Bron-Y-Aur-Stomp”), and hardbound, 72-page book; a high-quality print
Music Sonics Page, vocalist Robert Plant, bassist John Paul an acoustic-blues medley of “The Key to the of the original album cover (the first 30,000 of
Led Zeppelin. Atlantic/Rhino (LP). Jones, and drummer John Bonham—as the kings Highway/Trouble in Mind”). which will be numbered); and a replica of the
of album rock. All three albums, out of print Overall, these new recordings have a wide- band’s first Atlantic press release.
Music Sonics domestically in the vinyl format for seven years, open, lively soundstage. Sometimes that’s There also is a two-CD deluxe edition that
Led Zeppelin II. Atlantic/Rhino (LP). were produced by Page. awesome, other times, not so much. For instance, mirrors the deluxe LP edition; a single CD
Rhino’s just-released expanded deluxe LP the B-3 organ in the introduction to “Good Times, version of the albums (Led Zeppelin III includes
Music Sonics editions—newly remastered by engineer John Bad Times,” from the 1969 debut, is stellar when the die-cut holes and illustrated wheel from the
Led Zeppelin III. Atlantic/Rhino (LP). Davis, who also oversaw the band’s 2007 digital compared to an older pressing from the ’94. But original album sleeve); a single album version
remasters, the 2007 Mothership compilation, and there’s a harshness on the highs when listening on 180-gram vinyl; and digital downloads of the
Like a lightning bolt hurled from on high by the the Celebration Day reunion concert soundtrack, to “You Shook Me,” from the same new album— remastered original studio recordings and the
ancient rock gods—that’s how Led Zeppelin’s also released that year—deliver beefed-up, perhaps just a limitation of the original source bonus outtakes.
eponymous 1969 debut arrived on the pop ready-for-Spotify sonics, alternate mixes, and material. In that latter case, the difference If you don’t have Zep on vinyl, these remasters
scene. With its thunderous blues-based British previously unreleased tracks. “If you’re in the between the old and new is stark: the older LP has are a definite bargain—unless you can afford to
rock, a crunchy guitar tone that sounded like it music business, every few years, you need to deep, full bass that while not as tightly focused spring $200–$300 for each title in the out-of-
had been forged by Odin himself, a caterwauling reassess how your music is being heard,” Page as the remaster, delivers a lot of bottom. To my print Classic Records catalog (on 200-gram
vocalist, a rumbling rhythm section, and studio said at a recent press conference, explaining that ears, the older album has the kind of warmth vinyl). If you’re a completist, well, what are you
production that ranked among the era’s best, the advent of digital downstreams and hi-def many vinyl buyers find missing in digital formats. waiting for? Greg Cahill
Led Zeppelin set a high standard in the recording audio necessitated revisiting the catalog. These That said, the digital version of this remaster
world. The success of the two follow-up albums three initial releases are the first of nine expanded sounds great when streamed to my NAD stereo Further Listening: Led Zeppelin: complete
firmly established the band—guitarist Jimmy editions that will be issued chronologically in a with KEF LS50s via Airplay or when played on an recordings (Classic Records Quiex editions)


Shaw may have been the perfect trumpeter. while “Turning Point” is a funny, childlike ditty.
Saxophonist Shafi Hadi (aka Curtis Porter) is Mastered by Bernie Grundman and pressed at
wonderful here, and pianist Bill Triglia exceeded RTI, this 45rpm reissue is outstanding (though
himself, as sidemen so often did with Mingus I have no original for comparison). If not a wow
over the years. Later reissues added many ’em type of audiophile recording, the sound
alternate takes, and cleaned up an edit or two, nevertheless has excellent clarity and balance,
but while these are vital to Mingus specialists, exhibits a lovely purity of instrumental tones
his vision is probably rendered in its clearest and textures, and has a nice dynamic punch and
form in the original version. Especially when it vibrancy. Simone’s voice is slightly highlighted,
is rendered on 180-gram vinyl as it is here, and and very well captured. By the way, the original
packaged with the original artwork, so daring was a Dynagroove pressing. As Simone herself
in its day, so “incorrect” in ours. Duck Baker once sang, ’nuff said! Wayne Garcia
Further Listening: Charles Mingus: East Further Listening: Nina Simone: Sings The
Coasting; Oh, Yeah! Blues; Four Women
Charles Mingus: Tijuana Moods. Speakers Nina Simone: Silk & Soul. ORG (two 45rpm
Corner (LP). LPs).
When Charles Mingus recorded Tijuana Released in 1967, Silk & Soul was Nina Simone’s
Moods in July 1957 he was really hitting his follow-up to her RCA debut, Nina Simone Sings
stride. The previous year saw the release of the Blues. As with most of this remarkable
Pithecanthropus Erectus and The Clown for musician’s records, the mix of songs here is a
Atlantic, and by the end of 1957 he would highly eclectic blend of blues, soul, and pop,
produce two more masterpieces for the with a few civil rights-related themes Simone
Bethlehem label. For some reason, RCA chose was known for. One of these, the gospel-tinged
not to release Tijuana Moods until 1962, at “Love o’ Love,” in which Simone accompanies
which time the mercurial bassist declared it his herself on piano, is arguably the album’s
best record. Certainly it is among his greatest, highlight. TAS readers will be interested to hear
a musical impression of a border-town spree by Simone’s take on “The Look of Love,” a sultry
Mingus and drummer Danny Richmond, brought yet buoyant interpretation, while “Cherish” is
to life by musicians who truly understood what another beautifully rendered pop classic. “Go
the composer wanted. Jimmy Knepper was the To Hell” is a smoking R&B number that lost
perfect trombonist for this band, and Clarence its Grammy to Aretha Franklin’s “Respect,”


frequently that predicting what the next album touching “One Together,” and a warm cover of
would sound like—or even the next song—was the Donnie Brooks single “Mission Bell.”
pointless. In such a wide-open environment, of And then, for two records, a stable lineup
course, it helps to have talent, and there was featuring three songwriters: Kirwan again,
no shortage of that. This period marks the end along with newcomers Bob Welch and Christine
of founding members Peter Green and Jeremy McVie. A mellow California-rock sound
Spencer and the beginning for Bob Welch and emerged, and we tend to view these records
Christine McVie. The one songwriting constant as laying the groundwork for Fleetwood Mac
on all four albums is Danny Kirwan. and Rumours. I prefer Future Games and Bare
On Then Play On founding member Peter Trees, however. Though the Buckingham-Nicks-
Green and Danny Kirwan run neck to neck McVie era boasts extremely well-crafted, ultra-
when it comes to creating mean, nasty blues catchy pop songs with pristine engineering, the
songs with sizzling guitar licks. Both musicians Kirwan-Welch-McVie LPs also have no shortage
benefit from Mick Fleetwood’s versatile of hooks, and to me Future Games and Bare
percussion work: the tribal beat on Kirwan’s Trees seem more engaging both musically and
“Comin’ Your Way” has a nice earthy feel, and sonically. The lacquers for the new Rhino box
Music Sonics the tambourine on Green’s “Show Biz Blues” set were cut at Bernie Grundman Mastering,
conjures up a church revival. If you like the raw, and these 140-gram platters sound cleaner
Fleetwood Mac: 1969 to 1972. Rhino (4 LPs + primitive sound of early Black Keys, consider and more vivid than early American pressings
one 45rpm 7-inch disc). Then Play On required listening. Listening to without losing their analog warmth. Jeff Wilson
Green’s “Closing My Eyes” and “Before the
For its first two albums Fleetwood Mac was Beginning” and Kirwan’s “Without You,” it’s Further Listening: Fleetwood Mac: Mystery
a straight blues band. Many records later, also apparent that both artists were capable to Me; The Band: Moondog Matinee
after endless shifting of personnel, the Mac of delivering haunting, heart-wrenching songs
transformed into a pop music juggernaut. with remarkable sensitivity. They may not have
Critically and commercially these two phases been soulmates, but it’s uncanny how much
were high points for the band. The “in-between” their musical sensibilities overlapped.
period has been less celebrated; instead of When Fleetwood Mac next entered the
judging the music on its own merits, we tend to studio, what once was a blues band became a
focus on how it planted the seeds for the future roots rock group—for one album, that is. With
Fleetwood Mac. Here’s a chance to rectify that: Kirwan and the re-enlisted Jeremy Spencer
Rhino’s new vinyl box set Fleetwood Mac: 1969 up front, the Mac created a record that invites
to 1972 contains the first four albums from the comparisons to Moondog Matinee and Exile on
band’s middle period. It captures Fleetwood Main Street. Much of Kiln House is a playful nod
Mac at its most restless, when musicians to early rockers like Buddy Holly and Elvis, but a
drifted in and out of (and back into) the group so sweeter side emerges on Side B, with a dreamy
Kirwan instrumental (“Earl Gray”), Spencer’s


remastered by Bernie Grundman, this two-disc Chris Bellman has delivered an outstanding
45rpm ORG reissue must rank as one of Evans’ reissue of this pivotal LP that features the last
finest-sounding dates. Expansive yet warmly of Davis’ acoustic groups. Compared to my
intimate, it has layers and layers of beautiful original Columbia pressing, which sounds very
instrumental tones and textures, from the good, there’s a greater sense of immediacy—
impressionistic palette of colors in Evans’ check out Williams’ beautifully textured drum
brilliantly subtle playing, to the plucky lilt of intro to “Agitation,” followed by Davis’ muted
Chuck Israels’ bass, to the brush and stick horn, given more subtle as well more explosive
work of Larry Bunker’s tasteful drumming. It’s dynamics, and a finer sense of instrumental
like basking in the morning sun. Dynamics, too, detail, body, and texture. On “Iris,” Shorter
though naturally not especially wide, capture steals the show, and “Mood,” with Miles at his
the lovely interplay of this fine trio. Strongly most rarified, inward, and lapidary, is like an
recommended. Wayne Garcia intimate conversation between close friends.
Wayne Garcia
Further Listening: BE (with Cannonball
Adderley): Know What I Mean? Further Listening: Herbie Hancock: Maiden
Music Sonics Music Sonics Voyage; Miles Davis: Miles Ahead
Bill Evans Trio: Trio ’65. ORG (two 45rpm Miles Davis: E.S.P. Impex (LP).
LPs).
When Miles Davis lured tenor saxophonist
By the mid-60s Bill Evans’ heroin addiction Wayne Shorter from Art Blakey’s band in late
was taking a toll on his music, which went 1964 he created his “second great quintet.”
through a rocky, uneven period. But Trio ’65 Shorter would become the band’s most prolific
is a gem. With his working band of the time, composer, and alongside pianist Herbie Hancock,
Chuck Israels, bass, and Larry Bunker, drums, bassist Ron Carter, and Davis—on drums the
Evans took the occasion to re-record some of brilliant Tony Williams—here was a remarkable
his favorite tunes penned by others. Among compositional force: one showcased on 1965’s,
them, “’Round Midnight,” “Our Love is Here to modal-themed E.S.P. The opening title track
Stay,” “Come Rain, Come Shine,” “Israel,” “If illustrates the record’s uneven sonics—initially
You Could See Me Now,” and “How My Heart a bit cool and lean, but nevertheless nimble and
Sings.” The results show a remarkable synergy with fine delineation. As Impex’s note states,
among these musicians, arguably the finest the LP really takes off musically and sonically
Evans achieved since his famed 1961 Village on the second side, which boasts richer,
Vanguard dates, and the death of bassist Scott more cohesive sound. Employing an all-tube
LaFaro. Recorded by Rudy Van Gelder and mastering chain at Bernie Grundman’s facility,


Ultimately all the styles we associate with afraid to demand some R-E-S-P-E-C-T from the
King were (in the deepest sense of the term) opposite sex (“Watch Dog,” “Bump on a Log”).
folk music; whether it was soul, rhythm and If you think you’ve heard all the great R&B
blues, funk, blues, country, or bluegrass, what singers and you haven’t heard Lula Reed, check
distinguished the music was a “real” quality out Blue and Moody.
that listeners could sense in a heartbeat. Along Albert King’s 1962 release The Big Blues
with the best-sellers, King and its subsidiaries is a compilation of earlier recordings on King
released a plethora of lesser-known 45s, 78s, and Bobbin. Already the pieces were all there:
and LPs that are just as good. So the fact that mean guitar licks, a commanding voice, and
Sundazed has now released two lesser-known solid songwriting, as King penned most of the
gems on 180-gram vinyl mastered from the album, including his major hit, “Don’t You Throw
original tapes and pressed at RTI is cause for Your Love on Me So Strong.” Other highlights
celebration. The Lula Reed album is the only include the clever Sonny Thompson number,
one she ever released. The Albert King is his “Had You Told It Like It Was (It Wouldn’t Be Like
first LP and his only full-length King recording. It Is),” and the take-no-prisoners opener, “Let’s
Both records are testaments to a time when Have a Natural Ball.” In case you didn’t get
Music Sonics blues, R&B, rock and roll, jump blues, and enough guitar elsewhere, King ends each side
gospel all blended together to make timeless with uptempo instrumentals that include some
Lula Reed: Blue and Moody. Sundazed (LP). music. fiery sax. Both the King and Reed titles sold
Lula Reed’s 1958 Blue and Moody boasts a modestly and originals now fetch a high price,
Music Sonics classic R&B sound, strong arrangements, and making these reissues on thick, quiet platters
a voice so soulful you can understand why especially welcome. Jeff Wilson
Albert King: The Big Blues. Sundazed (LP). Sonny Thompson chose Reed to front his band
after a competition where 50 singers vied for Further Listening: Freddy King: Goes Surfin’;
There’s never been another label like King the role. The album is a compilation of singles Gives You a Bonanza of Instrumentals
Records. Somehow the Cincinnati-based that benefited from strong songwriting by
record company achieved major-label status long-term King multi-taskers Sonny Thompson
at the same time that it embodied all the and Henry Glover. Lula Reed proves herself
capricousness of a small independent label for a master of slow, late-night, done-me-wrong
reasons that had much to do with the caprices songs like “My Poor Heart,” “Let’s Call It a
of its founder and owner. Syd Nathan won’t be Day,” and “I’ll Drown in My Own Tears,” a Sonny
remembered for his passion for music; instead Thompson number that later became a hit for
we know him as a guy who liked to make a buck, Ray Charles. Sly and sultry when she wanted
and his indifference to what style was recorded to be, Reed had some swagger in her (“Sample
as long as he deemed it market-worthy paved Men,” “Every Second”) and some sauciness too
the way for a wildly unpredictable discography. (“Three Men,” “Last Night”), and she wasn’t


Gerry Mulligan pioneered this approach in the Heath as well as drummer Connie Kay. But this
early 1950s with Chet Baker, and returned to record was the only collaboration with Tyner,
it frequently throughout his career. Among which is a shame because they work together
his most engaging frontline partners in this beautifully. The program is weighted towards
endeavor was the lyrical altoist, Paul Desmond. originals by band members, and only two
The aptly titled Two Of A Mind was the fourth tracks exceed four minutes; plainly Limelight
collaboration by the pair, and it’s terrific. Both was hoping for airplay. It didn’t get much, but
saxophonists are in fine form as soloists, certainly could have. This is a great jazz record
though someone seems to have forgotten to that could make an excellent introduction for
remind Mulligan that he was not supposed to be neophytes. DB
a “hot” player, and they really spur each other
on in the collectively improvised choruses that Further Listening: Milt Jackson & Wes
highlight every track. Duck Baker Montgomery: Bags Meets Wes; Milt Jackson
& John Coltrane: Bags Meets Trane
Further Listening: Desmond Blue; Gerry
Mulligan Quartet
Paul Desmond/Gerry Mulligan: Two Of A Milt Jackson: In A New Setting. Speakers

Mind. Speakers Corner (LP). Corner (LP).
Once bebop had established a beachhead for The last time In A New Setting was reissued,
modern jazz in jazz history, the next two waves in 1999 (on CD), reviewers lamented the
were divided between the hard boppers and impossibility of reproducing the lavish design
cool schoolers, the former being generally of the gatefold LP cover and that the sound
considered the hard-swinging extroverts had been compromised owing to deterioration
and the latter the more cerebral introverts. of the master tapes. I never found either of
Generally the free jazz revolutionaries that those failings to be all that serious, but all
followed took their cues from the hard boppers, will welcome Speakers Corner’s restoration of
but they did appropriate two important cool- the record to its former glory. It would take a
school innovations: the jettisoning of a chordal careful comparison with an original pressing to
instrument in the rhythm section, and the use say whether it’s quite a perfect restoration, but
of contrapuntal improvisation by two horns in there’s no doubt it sounds much better than the
such a quartet. These go hand-in-hand, since CD. The “new setting” refers to the presence
it’s the open sonic space that leaves room for of pianist McCoy Tyner; by 1964, Jackson had
the horns to run loose. Baritone saxophonist a long shared history with tenorman Jimmy

Top Ten Pop/Rock/Jazz High-Res Downloads of 2014

The Clash The recording, at least as reflected in the compressed. The effort is saved by the power squeezed out. Digititis is harsh enough to be
The arc of the Clash’s discography bears a 2000 digitally-remastered CD, is abysmal. of the music, performance, and production off-putting; rare for a 96/24 download.
striking resemblance to that of another highly Instruments and vocals all sound like they are (although some passages are by now wince- The SHR DSD file thankfully restores volume
experimental band: The Beatles. Consequently, emanating from a tin can; no highs, no lows, no inducingly campy). Once again the collector to sane levels and banishes the digititis.
the Clash’s first studio album serves much dynamics. I purposely used the singular form is confronted with many choices, even within Unfortunately, these benefits are undermined
the same role as, for example, The Beatles’ of “can” in the previous sentence, because the lowly CD format. Besides the original, I also by monodynamics and a rolled-off top end that,
Live at the BBC. Neither album is one you’re most tracks have so little stereo separation had on hand the 2001 “Special Edition,” which once again, leads to cabin fever. The HDtracks
likely to play repeatedly, nor will either reveal they might as well have been mixed in mono. contains additional tracks and was remastered 176/24 download smokes this one—and all
hidden depths over time. Rather, knowing Overall the sound is as monochromatic as the by the estimable Bernie Grundman. Aside from others—and is highly recommended.
what we do now about what was to come, both emotional range of these songs. Given this being louder and brighter than the CD, neither
albums are primarily of historical interest. baseline, it’s surprising how much better the of which are pluses, there is not much to say Stan Getz and Joao Gilberto: Getz and
The Clash showcases a raw, undeveloped band HDtracks download sounds. This will never be about this version. Gilberto. HDtracks (96/24, 192/24);
whose final lineup was not yet set, and whose anyone’s demo disc, but the download at least Both SHR and HDtracks have expanded the SuperHiRez.com (96/24, 192/24, DSD)
ultimate potential is only hinted at. Far from banishes the “tin can” phenomenon. There digital collector’s options with recent releases. Most audiophiles already have some form of
exploring new terrain, which was to become the are hints of highs (but not lows), a side-to- Interestingly, no two share the same resolution. this album on their shelf—and for good reason.
group’s hallmark, The Clash rarely veers from side soundstage (but not depth), and rhythms HDtracks has added a 176/24 version to Few recordings are capable of this level of
standard slash and burn punk: guitar-fueled are more convincing. Tonally, though, this is complement its standing 88/24 offering, while “right there”-ness. To prepare for the marathon
instrumentation, bitter sensibilities, and a brisk still a threadbare recording and the 96/24 SHR has just weighed in at 96/24 and DSD. listening session before me—what with all the
4/4 tempo. There are flashes, albeit brief, of the version can’t fix that. Nonetheless, for Clash I can’t say the HDtracks 88/24 version download versions suddenly popping up on
strong melodic talent that would later surface, completists, the download is definitely the does much for me. Its compression extends both SuperHiRez.com and HDtracks—I revisited
as well as of the group’s facility with reggae. version to get. beyond dynamics into spatiality, which feels the superb SACD. On this version, every
I don’t mean to diminish The Clash’s claustrophobic. Furthermore, this version instrument, from the self-effacing string bass
significance as a peek into a historically Michael Jackson: Thriller. HDtracks (88/24, obscures plenty of Quincy Jones’ small, clever to the front-and-center sax, and everything in
significant band’s formative period, just as I 176/24); SuperHiRez.com (96/24, DSD) musical details. The new 176/24 download is between, sounds natural and lifelike. Vocals
would not belittle Live at the BBC. But in marking After being so mellowed out by listening to far better. Here, the soundstage opens up and are no exception. The music, of course, is well
the Clash’s catalog being released in high-res, a half dozen versions of Stan Getz that I felt the music has space to breathe. Dynamics have known, led by the unlikely mid-60s smash hit,
we have the luxury of picking and choosing like a marshmallow, it was a delight to turn more jump and there’s a lot less digital edge. “The Girl from Ipanema.” I found the album’s
which releases to buy in this new format. The to Michael Jackson’s Thriller. It probably The difference between the sound of Jackson’s relaxed vibe a soothing balm in today’s troubled
Clash doesn’t really foreshadow what the band goes without saying that the root recording vocals on these two versions is nothing short world.
would become. And while it succeeds as a punk doesn’t hold a candle to the Getz album. of stark. Compared to the SACD, the CD loses the
album, that genre in its purest form—as it is Thriller is prototypical of the highly polished, From the first note, it’s obvious that SHR’s lovely lightness, and both instruments and
here—never delivered much in the way of long- multi-tracked, predominantly electronic pop 96/24 release is mastered at a way higher level voices are noticeably more opaque. Overall,
term satisfaction. For these reasons, I wouldn’t recording. There is no reference of a “right” than either HDtracks version. Goosed levels despite the sax still sounding wonderfully
recommend The Clash over other Clash albums sound here (well, unless you’re Quincy Jones). are never a good sign, since they augur clipped spitty, the CD’s realism factor is significantly
any more than I’d recommend Live at the BBC The original 1982 CD is surprisingly wan waveforms. Sure enough, on this version the lower than that of the SACD’s. So how do these
over pretty much any other Beatles album. tonally, with dynamics that are unsurprisingly music just plods along, all life having been new downloads compare?


Let’s start with the lowest resolution versions. release, and adds a full dose of the openness I the uplifting “Jolie Jolie”—and richly deserves audiophile’s reference LP. The title track earns
Both SHR and HDtracks offer 96/24 files. The had previously heard only in the SACD. So if you your attention. its place on the list of all-time top demos
SHR version is a nice, clean, quiet transfer that have a DSD-capable DAC, this is the version to Traffic has always been an excellent because it snags the listener with a startlingly
makes for a relaxed listen in a way the CD does get. Otherwise, you can scarcely go wrong with recording. Indeed, listening to the CD layer of realistic drum entry, backs that up with a true-
not. Vocals and instruments, especially the the SHR 192/24. the Analogue Productions hybrid CD/SACD sounding piano, then—boom!—blows everyone
acoustic guitar, once again sound convincing—if disc, you might well feel that no improvement away with a right there saxophone.
not quite as open (either spatially or tonally) as is possible. Jones’ voice is palpable, and And now we can have it as a DSD download!
the SACD. The 96/24 from HDtracks is far more otherwise the sound is clear and true. However, Meanwhile, HDtracks offers the same album as
satisfying. It has a much wider soundstage than deeper listening reveals the vocal glare that a 176/24 FLAC file. How do they compare? The
the SHR version, and bass comes through more is nearly unavoidable on CD. The SuperHiRez first thing to say is that the HDtracks version
clearly, too. While not quite as transparent 176/24 FLAC file handily dispenses with that sounds incredible. Brushed drums are so
as the higher-res versions (see below), this glare, but in every other respect fails to match tangible you feel like you could reach out and
download is nonetheless a solid option. the AP disc’s CD layer. The FLAC version loses touch the bristles. Brubeck’s piano is open, airy,
Moving on up in terms of resolution, SHR’s some of the wonderful sense of life and intimacy punchy, rich on the low notes and tangy on the
192/24 file crosses an invisible threshold— that imbues the AP CD. That’s a surprising highs—just like a real piano. Bass is absolutely
hard to describe but, as they say, you know it result, but here is an even more surprising tight and solid, yet obviously from a hollow-
when you hear it—into the highly-sought realm one: the DSD version is even more timid and bodied instrument. The sax is sooo breathy,
of sounding right there. Several elements restrained—both tonally and dynamically—than and dynamics are extraordinary. Clearly, this
contribute to this effect. One is tighter bass, the FLAC. (At least that is the case through version of Time Out is a delectable delight.
which makes it more easily heard without over- both the CH Precision C1 DAC/Pre and the dCS Then what of the new DSD version? It’s
emphasis. Another is that edges that aren’t Rickie Lee Jones: Traffic from Paradise. (DSD Scarlatti. Other DACs may favor DSD; that has smoother sounding, and the bass is a tad
supposed to be rough, but sometimes are and 176/24) SuperHiRez.com. yet to be determined.) firmer. But the DSD is also far less visceral than
at lower resolutions, here receive a lustrous Rickie Lee Jones’ 1979 eponymous debut So, does anything sound better than that the 176/24 PCM due to restrained dynamics
polishing. album introduced the world to a quirky, lowly CD layer? Why, yes: the very same disc’s and subdued high-end extension. Once again
I expected HDtracks’ 192/24 download to singular, and immense talent. That release had SACD layer. Take the CD layer, steady out the I had on hand the AP CD/SACD and once
sound identical to the SHR version, and indeed enough melodic hooks and bebop rhythms to beat, purify the voice, enrich the bass, add scads again the SACD proved distinctly better than
they are very close. However, I couldn’t shake reach number three on the pop charts and to more inner detail, and you have the SACD layer. the DSD download. The SACD is more open
the feeling that the HDtracks version had a field a radio hit, the contagious “Chuck E.’s So, unfortunately, I can’t recommend either and transparent, yet maintains an analog-like
skosh more noise. I went back and forth several in Love.” But with each subsequent release SuperHiRez download of this album. Instead, liquidity. Still, the SACD is no match for the
times, and in the end I confirmed this impres- Jones moved further away from radio-ready you’ll have to plunk down the roughly $35 it’ll HDtracks 176/24 download, which you should
sion. Ultimately, the SHR’s quiet background fare, and by the time she recorded Traffic from cost you for the AP hybrid disc. Musically and purchase immediately.
and unruffled edges gives it an advantage over Paradise in 1993, she clearly was working to sonically, it’s worth every penny. There’s no getting around the fact that this
the HDtracks at this resolution, but just barely. please only her core audience. Like much of is a disappointing outing for SuperHiRez.com.
But wait, there’s more! SHR also offers a Jones’ output in that era, is an uneven affair. Dave Brubeck Quartet: Time Out. Hopefully, this small sampling is either atypical
DSD download! I like this one the best. The DSD But the album has many brilliant moments— SuperHiRez.com (DSD); HDtracks (176/24) of its catalog or simply represents teething
version preserves the best of the SHR 192/24 from the incandescent “A Stranger’s Car” to Here’s a jazz classic that’s also many an pains. We’ll find out together.


which I admit to having approached with some the 96/24 in air (though I would wish for even puzzles me, as the original recording was to
Kind of Blue in High-Res skepticism. The liner notes promise that the more) and dynamics, while still preserving three-track tape. I will say that compared to
Not for nothing is Miles Davis’ Kind of Blue K2HD process resolves all problems short of the latter’s superior timing. The higher-res its stereo counterparts, the mono editions’
available in a torrent of formats, re-masters, world peace, then concludes with this immortal download is also more tonally fleshed out than effectively doubled bass makes that instrument
re-mixes, and re-releases. The album is that line: “The process of K2HD mastering is the any of my CDs. So you have to go to the 192/24 more prominent. Otherwise, unless the hard
rare recording treasured by jazz aficionados same as the one of normal mastering.” Holy download to get something from HDtracks L/R panning of the stereo mix really bugs you, I
and audiophiles alike. Those of us in the second mixed messages, Batman! Anyway, after that is uniformly superior to a well-done CD. see no need to experiment with yet more ways
category (whether or not we’re also in the first) having given it a listen I must say the K2HD That said, I am not entirely happy with either to play this album.
have spent a lot of time—and bucks—on the disc doesn’t do much for me; it sounds coarse HDtracks version, since both seem (to different While some may be excited (rightly, in my
prowl for the very best version. Consequently, and unrefined, and fails to capture the un- degrees) a bit suffocated. opinion) about the presence of Kind of Blue on
most of us have multiple editions of Kind of hyped realism innate to this recording. Let’s set the HDtracks mono downloads download sites, others are no doubt sick and
Blue. Looking under “D” on my own bookshelf, In contrast, the Sony/Legacy SBM disc serves aside for the moment and proceed directly to tired of buying new releases, or of the music
I unearthed a Columbia/Legacy CD that uses as a nice reminder of why we cherish Kind of the SuperHiRez 192/24 FLAC. In my first and itself, or both. I feel you. However, the good
Sony’s typically-excellent Super Bit Mastering, Blue. Here, the bass is fat, the piano round, very limited exposure to SHR, I hadn’t heard news is that out of the six new downloads
a MasterSound gold disc that was also SBM- the trumpet spits, and the sax bites. All the a release that bettered its equivalent from out there, I heartily recommend just one: the
mastered, plus yet another CD featuring while imaging is pinpoint. Nor do I have major HDtracks. But that was not the case here. SuperHiRez 192/24 FLAC. It’s so good that it
something called K2HD mastering. And that qualms with this disc’s dynamics or timing; my Bluntly put, the SHR 192/24 download of Kind will reignite your love affair with this landmark
was just in the digital section! main complaint is that the horns can get out of Blue is simply awesome. Not only does it album.
Given its musical and sonic stature, Kind of of hand. Yet despite this version’s many assets, deliver a heaping dollop of air, dynamics, and
Blue was bound to get the white-glove, high- the MasterSound gold CD handily beats it with drive, but the instruments cross an invisible Paul McCartney: New. (96/24) HDtracks.com
res treatment sooner or later. That inevitable a quieter background, tighter bass, and an threshold; they simply sound “right.” Add to The beauty and wonder of Paul McCartney’s
time has come—in spades. Both HDtracks overall—dare I say it—analog-like sense of ease. that a liveliness that outshines every other just-released New is that it sounds fresh
and SuperHiRez.com have recently spawned Horns on this version are less strident, too, digital version I’ve heard, and this download is and modern even as it evokes more than a
multiple Miles downloads. HDtracks alone further contributing to a more inviting listening something worth getting excited about. whiff of the Fab Four. The combination, let
offers four versions: the expected 96/24 and experience. I had my baseline, so it was on to But SHR also offers a DSD version of Kind of me tell you, is thrilling. It’s also surprising.
192/24 in FLAC, as well as monaural mixes of the download candy store. Blue. This file sounds rather different from any McCartney’s recent releases have been hugely
each. Not to be outdone, SHR has released I’m happy to report that the HDtracks of the PCM variants. Immediately noticeable disappointing, perhaps none more so than
its own 192/24 FLAC file, as well as the only 96/24 download most closely resembles the is the greater sense of space, while further 2005’s Chaos and Creation in the Backyard.
available DSD download. To find out how they MasterSound disc. In particular, the horns listening reveals that instruments have a Expectations for that album ran high when, at
all sound, I imposed on both merchants, who on this version never screech as they can on slightly lighter timbre. The piano, for example, George Martin’s suggestion, McCartney hired
graciously granted me full reign over their Kind the non-gold 44.1 releases. The download has sounds more wood-y. In fact, the entire tonal super-producer Nigel Godrich. “Finally!” fans
of Blue collections. a distinct edge over the gold CD in rhythmic balance is shifted upward—not by a lot, but thought. “Someone who can work with Macca
As a first step in this undertaking, I wanted drive, but the latter boasts clearer bass and is audibly. Certainly the DSD sounds wonderful, as an equal.” Unfortunately, Godrich decided
to establish a baseline. So I started by listening both airier and a tad more dynamic. Overall, I but to my ears SHR’s more sonorous and richer to “let Paul be Paul”—always a big mistake.
to my three CDs (an SACD exists but I didn’t prefer the MasterSound. Fortunately, HDtracks’ PCM version is just right. McCartney needs a foil—a John Lennon, a
have access to it). Up first was the K2HD disc, 192/24 file is a significant improvement over The rationale for HDtracks’ mono releases Denny Lane—to spur his best work. Now that


he’s a solo artist, that role must fall to the Since New is brand new, Amazon is making these not-so-subtle distinctions are all but lost.
producer. the CD available in conjunction with its AutoRip Meanwhile, as already noted, the CD doesn’t
Fortunately, for New Sir Paul put himself service. For those not familiar with it, AutoRip have a lot of dynamic range; still, the MP3
completely in the capable hands of four young, provides a free MP3 download with most new manages to squash what undulations there are
capable producers. The result is the most (and many old) releases. If you opt in, the MP3 into perfectly flat pavement.
consistently rewarding McCartney outing is automagically downloaded to your PC and As a result of all this, the MP3 version of
since his days with Wings. Indeed, New is the transferred to your iTunes library, whence it a track like “Save Us” is actually easier to
first album since that era in which McCartney winds up on your iPod or iPhone the next time listen to than the CD. However, the CD, though
doesn’t seem to be trying to prove something; you sync. I wondered how this version would far from exemplary, still succeeds at having
instead, he’s just having a blast making new compare to a ripped CD, and decided to make verve whereas the MP3 just lays there. I had
music in new ways. His playful enthusiasm and New a test case. hoped to report that AutoRip is a boon for the
renewed spirit of adventure are infectious. As you’d expect from an album recorded serious-but-mobile audiophile, offering at least
Depending upon the producer at the helm, by multiple hands at multiple studios, New’s acceptable sound quality at a fair price (zero).
tracks alternate between catchy, straight- sound quality varies. On the CD, brash, upbeat Sorry to report that its sound is every bit as
ahead pop, such as the opening “Save Us,” and numbers like “Save Us” can get coarse and a bad as MP3’s reputation would suggest. As
equally catchy but more novel arrangements little shrill. Mid-tempo, mid-level tracks like the saying goes, “Sometimes when you fill a Beck: Morning Phase. (96/24) HDtracks.com
like the subsequent “Alligator.” McCartney’s “Alligator” fare significantly better, though vacuum, it still sucks.” (Or as Mark Twain put it, Morning Phase finds Beck, the ever-restless
Beatles-like willingness to push boundaries they still suffer from the dynamic compression “Free and worth every penny.”) singer/songwriter/producer/instrumentalist, in
reaches its zenith on “Appreciate.” If his old that afflicts the entire record. Unsurprisingly, The 96/24k download from HDtracks is the same mellow, thoughtful mood he unveiled
band were still working today, with modern the best sound comes from the simpler, mastered at a lower overall level than the on 2002’s Sea Change. The songs unfold
instruments and production techniques at their acoustic songs. A case in point is “Early Days,” CD—always a good sign. And indeed, on the at unhurried tempos—there’s not an upbeat
disposal, one could easily imagine them coming the first of McCartney’s “looking back” efforts challenging tracks the hi-res version is a number in the batch—forcing you yourself to
out with this song. that actually works. The song’s emotional well little smoother and less harsh than the CD. slow down and simply listen. The experience is
Another difference between New and is deepened by a subtle, wizened cragginess The other advantage of the hi-res download a stark contrast to current pop, which strives
past solo releases is the quality of its lyrics. that seeps into Sir Paul’s still-versatile voice. is that McCartney’s bass lines, as glorious as so desperately to impress. Here, the music
Perhaps this is due to McCartney’s recent That quality comes through beautifully, as do ever, come through more prominently. That doesn’t try to grab you—you must approach it.
close encounter with the lyrical brilliance of the various acoustic stringed instruments. In said, be it noted that the hi-res’ forgiveness is Doing so proves immensely satisfying. As is
the standards repertoire, which he recorded the midst of sometimes sonic mayhem, a demo caused by a curtailment of high-end extension. typical of Beck albums, the first layer of reward
for last year’s wonderful Kisses on the Bottom. track. This also explains why the download doesn’t is aural. The man has an ear for arrangements,
Whatever the reason, the lyrics on New are The MP3 banishes concerns over shrill “breathe” as well as the CD, and why some and the production chops to realize his vision.
clever and crafted in a way we haven’t seen highs or coarseness; the former are truncated instruments are more cloaked. In sum, there Morning Phase’s songs are unfailingly ravishing.
from McCartney in a long time. Make no completely and there isn’t enough resolution are tradeoffs involved in choosing between Though Beck is an electronics wiz, this
mistake—this is still a mainstream pop record, to reveal the latter. While on the subject of these two formats on this release. I prefer the materials’ humility calls for an acoustic touch.
so don’t expect deep reflections or complex resolution, McCartney is famous for changing CD, but then I always opt for more airiness. You Thus, Beck anchors every track with either
character studies. However, there are plenty of his vocal tone from song to song, and on New might differ. The most important thing is to buy an acoustic guitar or strings. He then crowns
sly surprises and not a silly love song in sight. he carries on that tradition. Yet on the MP3 the album (except in MP3!). the instrumental beauty with stunningly lush


harmonies. on the acoustic guitar. Since that’s Morning high bar against which to judge the downloads. into the perils of suburban existence. About
Which leads to the second layer of reward: the Phase’s bedrock instrument, and since you But this is where the format similarities end, the most romantic thing Mitchell can summon
words. Beck is an intelligent lyricist; he chooses don’t already own any version of this album, because the Come Away With Me downloads in that context is a begrudging, “Still, she stays
a subject, then finds unique ways to treat it. you should go for the download. are not the equal of the Feels Like Home high- with a love of some kind.”
The subject of Morning Phase can be summed res files. Listening all these years later, it’s still the
up in one word: parting. Parting from spent Norah Jones: Come Away With Me and Feels To begin with, the 96k version disappoints for tracks with one foot in the past and one in the
relationships, from the past, or from present Like Home. (96/24, 192/24) HDtracks.com two reasons. One is that it superficially sounds future that fare best. Tracks like “Edith and the
circumstances. And what does all that parting Between Jones’ first two releases, my almost identical to the CD—so what’s the point? Kingpin” and the title cut succeed not through
lead to? Beck’s prognosis isn’t hopeful. “Wave,” preference is for the second, Feels Like Another is that with extended listening the musical experimentation but by combining
for example, ends with the word “isolation” Home. This highly satisfying album, featuring CD proves to be significantly more relaxed. haunting melodies with dark lyrics and edgy
repeated like a mantra. wonderful songs and uniformly tasty I suspect that some nefarious form of digital arrangements. They make the album worth
Yet, musically, none of these songs succumbs arrangements, is a reference-quality pop noise has crept into the download. The 192k owning.
to despair. Indeed, their sunny spirit imbues recording. Neither vocals nor accompaniment version is much better in this respect, and is Unfortunately, the original CD doesn’t do
the album with optimism. And that’s the third are pushed or processed; natural sound rules also subtly more revealing than the CD (listen the music any favors. Its sound is washed
layer of reward: the music itself. Gorgeous the day. Put the plain old original CD in your to the string bass on “Don’t Know Why”). out and monodynamic. Hissing features some
arrangements take a song only so far; demo pile—it’s well-nigh perfect save for the However, this version has a disconcerting adventurous instrumentation, but on the CD it
underneath, there must be something you usual CD-format’s pinched dynamic transients. tendency to “shout” Jones’ vocal exclamation all sounds pretty much the same. The 96/24
can carry with you. On first listening, all these The 96k download is likewise excellent, points, which are many. So, in contrast to Feels download is blessedly superior. Gone is the
songs, with their unified theme and pace, though not necessarily better. It offers a tad Like Home, the CD is Come Away With Me’s CD’s digital patina, replaced by a relaxed,
sound similar. But over time each reveals its more dynamic headroom, but gives up as much most rewarding format. natural, and effortless sound. The download
individuality. Eventually they all worm their in bass fullness. The choice between these two also restores timbres, bass, and a modicum of
way inside you—but ever so gently. is one of personal preference. Meanwhile, the Joni Mitchell: The Hissing of Summer dynamics. Instruments that are supposed to
It’s always a treat when an album is released unqualified best version is of this album is the Lawns. (96/24, 192/24) HDtracks.com stand out, like a ride cymbal, finally do. So do
simultaneously on CD and HDtracks, as was 192k download, which has even more dynamic 1975’s Hissing of Summer Lawns, Joni Mitchell’s Max Bennett’s inventive bass lines. HDtracks
Morning Phase. Thank you, Norm Chesky! freedom than at 96k, plus a truly beguiling follow-up to the masterful Court and Spark, also offers the album at 192/24. This version,
Both the disc and the 96/24 download are vocal purity. Indeed, this version crosses that opens with the infectious pop-rocker “In France I’ll grant you, is ever so slightly more open
what I would term pleasant recordings. They invisible, ephemeral boundary at which point They Kiss on Main Street.” But it’s a misleading than the 96/24 file. However, the bulk of the
have neither digital glare nor other noxious digital starts sounding believably analog. If tease. Indeed, Hissing was not as immediately or improvements over the CD can be had at 96/24.
elements, and are carefully mixed so you you’re perfectly happy with the CD, I can hardly warmly embraced as its predecessor precisely
can easily hear every musical layer. Yet the blame you. But there is more realism available because it veered far from such confections
recording isn’t open or immediate enough to from the master tape. To hear it, you’ll need to into the realms of jazz and the abstract. These
fall into audiophile territory. go for the 192k download. musical excursions would soon absorb Mitchell
That said, the download has an extra pillow of Unsurprisingly, Jones’ debut album sounds completely. The opening track is misleading
air and dynamic headroom that gives it a small very similar to its follow-up. Both were lyrically as well. Far from its sunny, romantic
but distinct advantage over the CD. You won’t recorded in the same studios by the same man, sentiments—“Kisses like bright flags hung on
hear this on vocals, but it’s clearly audible Jay Newland. And, once again, the CD sets a holidays”—the remainder of the album delves

Top Ten Classical High-Res Downloads of 2014

Mozart: Clarinet Concerto. Kegelstatt Trio. life as an admirer of Wagner and Bruckner right at home working on a larger canvas. The You’re thinking: “Do I really want to spend
Martin Fröst; Bremen Kammerphilharmonie. but soon gravitated back to less overbearing 42-minute work has the structural rigor and $34 on a DSD multichannel recording of a solo
Stenhammar: String Quartets 5 and 6. Scandinavian models. The F minor quartet advanced tonality of other twentieth century violin playing baroque music?” You bet you
Quartet in F minor. Stenhammar Quartet. features a turbulent opening Allegro and a symphonic masters ranging from Hindemith do. If approaching reality is one of your goals
Wagner: Wesendonck-Lieder. Siegfried-Idyll. songful Adagio, expressive in the manner and Martinu to Bax and Hanson. The BBC as an audiophile—it shouldn’t be your only
Nina Stemme, Swedish Chamber Orchestra. of Grieg; the third movement of No. 5 has a Philharmonic, under Gianandrea Noseda, goal, of course—this will be one of your closest
Casella: Symphony 3; Italia. BBC Mendelssohnian effervescence The sonics plays everything with authority. This Chandos approaches yet. Jared Sacks recorded Rachel
Philharmonic, Noseda. provide a satisfying representation of bow recording is typical of that company’s efforts Podger in a Haarlem church, the artist 20 feet
ALL: (96/24) eClassical.com grabbing string. Stenhammar’s music is often in recent years; the sound isn’t what you’d call from an array of five microphones, two pointed
Robert von Bahr, who founded BIS in 1973, is contrapuntally elaborate and BIS’s clarifying immediate, but it’s certainly not “swimmy,” away from the player to provide the surround
accustomed to separating himself from the acoustic makes that aspect of the composer’s manifesting a good balance of detail and hall channels for the 5.0 mix. Podger’s Genoese
pack—how else could an independent classical art evident. ambience. instrument illuminates the space, her sound
record label have remained robustly successful Nina Stemme is arguably the finest Isolde emanating from a fairly diffuse area in front
after 40 years? Buying music at von Bahr’s of the moment and her performance of A Walking Fire. Brooklyn Rider. (96/24) of the listening position. The soloist’s audible
download site, eClassical.com, is like getting Wesendonck-Lieder is stunning. Her soprano HDtracks.com breathing is much more specifically localized
a salad at the hospital cafeteria. The cashier is fresh, earthy, sexy, and possesses the kind Courtesy of HDtracks comes a recital of string than the musical sound—an utterly believable
weighs it and you pay accordingly; eClassical’s of laser beam precision associated with her quartets from Brooklyn Rider, the latest hipster aural phenomenon. The program is sublime
downloads are priced by the minute. The quality late fellow Scandinavians Kirsten Flagstad and chamber music group, who follow in the honored and surprisingly varied. A Bach flute sonata is
of eClassical’s HD holdings is unmatched, Birgit Nilsson. The remainder of the program, tradition of Tashi, Kronos, and eighth blackbird. fluently relaxed while two minor-key sonatas by
offering not only BIS but also many other available as well as a BIS SACD, fascinates A Walking Fire is thoroughly engrossing: two Tartini are more melancholic. Three rhapsodic
worthy labels, some available nowhere else. for notably scaled-back realizations of some superb contemporary works surround an pieces by Nicola Matheis, a sonata by Johann
Martin Fröst is one of those musicians who pretty large-scale music—two versions of The accomplished performance of Bartók’s Quartet Georg Pisendel, the last of Biber’s “Mystery
can do something quite difficult—say, play a Flying Dutchman overture and the Prelude No. 2. There’s Culai by Ljova (aka Lev Zhurbin) a Sonatas,” and an upbeat gigue by Antonio
long melodic line softly and absolutely evenly— to Die Meistersinger. There’s also a setting of celebrated Russian-born violinist and composer Montanari complete the 80-plus-minute recital.
and make it sound like the easiest thing in the one of the Wesendonck songs for violin and whose music incorporates jazz, gypsy, and folk,
world. And while it’s true Mozart’s concerto orchestra and an alluringly shaped rendition of as well as classical elements. After the Bartók, Mozart: Così fan tutte. Chamber Orchestra of
doesn’t require a terribly advanced technique, the Siegfried-Idyll. If the soundstage is a little there’s Three Miniatures for String Quartet— Europe, Nézet-Séguin. (96/24) HDtracks.com
it’s a real test of a young artist’s musicianship constricted, balances and ensemble blend are the final movement is “A Walking Fire”—by When Yannick Nézet-Séguin, 38-year-old
and Fröst has that in spades. Fröst eschews the unassailable. Colin Jacobsen, one of BR’s violinists. It’s more music director of the Philadelphia Orchestra,
usual pairing of the K. 581 Clarinet Quintet and Alfredo Casella was of the generation of genre-bending stuff, executed with flair and takes the stage with a bunch of opera singers,
programs instead the exquisite Kegelstatt Trio, Italian composers who followed Puccini’s, technical perfection. The sound is airless and the visual effect is pretty amusing. Opera
for clarinet, viola, and piano. Leif Ove Andsnes but focused their efforts on instrumental dynamically compressed, in the manner of a singers are large people and Nézet-Séguin is
takes on the keyboard duties. The recording music rather than opera; the best known is pop recording, but you won’t mind a bit. a compactly muscular 5’5”. Mezzo-soprano
provides plenty of dynamic nuance without Respighi. Anyone who likes Pines of Rome will Joyce DiDonato dubbed him “Mighty Mouse,”
spotlighting the solo instrument. go for Italia, and Casella’s Third Symphony Guardian Angel. Rachel Podger. (DSD but the label fits as much for the conductor’s
Wilhelm Stenhammar began his musical amply demonstrates that the composer is multichannel) ChannelClassics.com energizing performances as for his size. Così fan


tutte’s irresistible good spirits—a never-gets- husband. Kradjian explores the legend of this Sono Luminus label, this very-well-recorded Schumann: Piano Sonata 2.
old slant on the Battle of the Sexes—takes off earlier vocalizing Isabel in five movements program of nine American works written Papillons. Carnaval. Jon Nakamatsu.
the moment Nézet-Séguin hits the Overture’s culminating in “Duel with Elias Carrel,” between 1953 and 2012 fully exploits the Berg: Lyric Suite. Schoenberg: Transfigured
Allegro and never looks back. The conductor Ysabella’s only poem surviving from the 13th harpsichord’s potential for rhythmically-driven Night. Ensemble Resonanz, Queyras.
effectively contrasts the feminine and the century. The orchestration, which includes oud, drama—some would say, melodrama—when a All: (96/24) eclassical.com
masculine strains inherent in Mozart’s music: darabukka, and bouzouki, is highly evocative. 20th/21st century harmonic language is in play. These three recent Harmonia Mundi releases
just listen to the musical change of gears from Seven Ravel songs complete the program. Listen to the first two selections, Mel Powell’s offered at 96/24 resolution are among the
Scene 1 to Scene 2 in the first act. YNS has a The recording, from a Winnipeg cathedral, Recitative and Toccata Percossa and “Ostinato” many from that label available from eclassical.
terrific cast to work with—Miah Persson, Angela manifests appealing warmth without any loss from Set of Four by Henry Cowell and you’ll get com.
Brower, Mojca Erdmann, Rolando Villazón, in clarity. the idea. Compositions by Ned Rorem, Samuel Every other year, Les Arts Florissants, the
Adam Plachetka, and Alessandro Corbelli—but The Soviet Experience, Vol. 4 completes the Adler, Robert Muczynski, Thomas Benjamin, early music ensemble founded by William
it’s their collaboration in the many ensemble Pacifica Quartet’s traversal of Shostakovich’s Robert Moevs, Stephen Blumberg, Patricia Christie in 1979, holds auditions for Le jardin
numbers that makes this Così treasurable. The 15 string quartets for Cedille Records. Each set Morehead, and Harold Meltzer continue in de voix, an academy for young singers with
brilliant, buoyant, nuanced sound matches the has included a work by one of Shostakovich’s this vein. Jory Vinikour’s blazing technique an interest in Baroque repertoire. Following
performance perfectly. comrades, in the this case Alfred Schnittke, certainly doesn’t hurt matters. two weeks of intense preparation with Christie
whose penchant for musical quotation is in The Van Cliburn Competition comes around and the distinguished tenor Paul Agnew, the
Troubadour and the Nightingale. Isabel full flower with his Quartet No. 3. The Pacifica every four years, and Harmonia Mundi is 30-and-under vocalists tour internationally.
Bayrakdarian. Manitoba Chamber Orchestra, plays Shostakovich’s final three quartets, there to document the prize-winning recitals The 2013 edition of Le jardin de voix recorded
Manson. (88/24) music obsessed with death. These are dark and for commercial release. Beatrice Rana, a this spirited and stunningly well-performed
The Soviet Experience, Vol. 4. Pacifica brooding works, but also adventuresome ones: 20-year-old Italian who’s the daughter of two program—two CDs worth—of music by Jean-
Quartet. (96/24) by virtue of his fame and illness, the composer professional pianists, won second place in Philippe Rameau and several of his French
BOTH: eclassical.com recognized he was finally beyond the reach 2013 and her ambitious “Preliminary Phase baroque contemporaries. The six young singers
The Armenian-Canadian soprano Isabel of the Soviet regime. The performances are 2” program is presented here. Schumann’s all have appealing voices and considerable
Bayrakdarian possesses an exceptionally competitive with the best and Cedille’s recording Variations on the Name “Abegg”—published technical polish—check out soprano Daniela
flexible and alluring vocal instrument as well as is engrossingly immediate. as the composer’s Opus 1—is at once yielding Skarka’s lovely rendering of “Quelle voix
a remarkably wide-ranging résumé: she’s sung and assertive, manifesting a fully mature suspend mes alarmes” from Dauvergne’s
Mozart at the Metropolitan Opera and had a Toccatas: Modern American Music for command of the musical idiom. Rana plays nearly-forgotten opera Hercule mourant—and
hit song (“Evenstar”) in one of the Lord of the Harpsichord. Jory Vinikour. (192/24) Ravel’s fiendishly difficult Gaspard de la also, it would seem, mature dramatic skills, as
Ring movies. The focus of this program with Beatrice Rana: Fourteenth Van Cliburn Nuit so fluently that the opening movement, with mezzo-soprano Emilie Renard’s over-the-
the Manitoba Chamber Orchestra, conducted International Piano Competition Silver “Ondine,” truly takes on an aqueous character. top performance of Grandval’s nine-minute
by Anne Manson, is the medieval-era female Medalist. (48/24) Bartok’s Out of Doors is suitably percussive comic cantata Rien du tout. The nonpareil
troubadour. Bayrakdarian performs four songs BOTH: HDtracks.com but not aggressively noisy. HM provides tonally period instrument ensemble is beautifully
by the revered Armenian poet and composer A well-made harpsichord recording tests the complex and dimensional piano sound. recorded, with plenty of 17th century SFX, like
Sayat-Nova (1722-1795) and then proceeds to mettle of an audio system: speed, dynamic sheet-metal thunder and a miniature wind
Trobairitz Ysabella, a Woman from Périgord, range, and timbral resolving power are required Le Jardin de Monsieur Rameau. Les Arts machine.
composed by Serouj Kradjian, the singer’s or you’re left with tinkly mush. Released on the Florissants, Christie. The core Romantic repertoire is right


in Jon Nakamatsu’s wheelhouse, and the and richly textured, with pizzicato dynamics and Debussy Sonata is more labile, while Bartók’s just so.
American pianist shines in a program of sul ponticello techniques vividly reproduced. Rumanian Dances have a touch of gypsy The Absolute Sound’s Fund for Recording
three Schumann masterpieces. Nakamatsu’s The intense emotion of the Lyric Suite—it’s now abandon and Somei Satoh’s contemplative Arts provided financial backing for Wilson’s
playing is expressive without ever becoming known that there was a secret narrative, namely Birds in Warped Time II is a welcome bonus for two magnificent concert band recordings.
overwrought. A formidable technique is placed Berg’s passion for the “honorably married” wife which there wasn’t room on the LP. (Harry Pearson and then managing editor
in the service of the music, rather than the of the writer Franz Werfel—and the generous Wilson clearly relishes the challenge of Sallie Reynolds are credited for “moral
artist’s greater glory. Passagework in the G spirit of the male protagonist portrayed in the recording pipe organs and four of his 17 support” on the album jacket.) Remarkably,
Minor Sonata is light, even, and clear. The final movements of Transfigured Night come scheduled download releases feature The two albums worth of music were recorded in a
soloist’s gift for producing a singing melodic through loud and clear. King of Instruments. With The Organ at Grace single day in September of 1988 and the level
line on what is essentially a percussion Cathedral San Francisco, it’s not the lease- of execution and inspiration didn’t flag much.
instrument is best heard with many of the Brahms/Debussy/Bartók/Satoh: Violin breaking moments of the all-French recital that Winds of War and Peace features marches
short pieces from Papillons and Carnaval; a Sonatas. David Abel and Julie Steinberg. impress most, but rather the quieter sections and other military themed compositions—two
notable example is movement XVI of the latter, Music of Chopin. Hyperion Knight. of the program when John Fenstermaker, who examples are Samuel Barber’s Commando
“Valse allemande.” HM’s piano sound is honest, The Organ at Grace Cathedral. John was the resident organist at Grace Cathedral March and a ten-minute reworking of Richard
recorded at a reasonable distance to assure Fenstermaker. and knew its possibilities well, employed Rodgers’ music for the TV series Victory at
that it’s Nakamatsu and not the engineers and Winds of War & Peace. National Symphonic magical registrations using a mere fraction Sea—plus a couple of Latin-themed pieces by
editors that make decisions about dynamic Winds, Graham. of the Aeolian-Skinner’s 123 ranks of pipes famed band composers Alfred Reed and Clifton
range. ALL: Wilson Audiophile. (176/24) HDtracks.com to energize the space of the church with Williams. There’s exceptional specificity to the
Both Alban Berg’s Lyric Suite and Arnold The occasion of the download release of the exquisitely textured reed and flute sonorities. placement of instrumental sections yet the
Schoenberg’s Transfigured Night were originally David Abel/Julie Steinberg program gives me The Chorale from Louis Vierne’s Symphony tutti band sonority is as richly blended as you’d
chamber works subsequently arranged by their one more chance to say it: Sonatas for Violin II and the Adagio from Charles Marie Widor’s experience it from a good seat in person.
respective composers for string orchestra. In and Piano, originally LP W-8722, is the best- Symphony IV are especially sublime. Andrew Quint
the case of the Lyric Suite, Berg orchestrated sounding chamber music recording I’ve ever Hyperion Knight was Wilson’s gifted house
three of the six movements in 1928 and Theo heard. By the time this recital was taped at Mills pianist. He’s better suited to the Beethoven, My Favorite Dowland. Paul O’Dette, lute.
Verby scored the other three in 2006: Ensemble College in Oakland, California, David Wilson Stravinsky, Mussorgsky, and Gershwin works (96/24)
Resonanz was the first French group to perform was fully experienced with the Ultramaster he recorded for the label, but his Chopin São Paulo Brass Quintet Play Brazilian
the newly arranged material. The two works tape recorder designed and built for him by program—if less yielding and lyrical than Works. (96/24)
stand on opposite sides of the divide between John Curl and captures the full dynamic and Ashkenazy, Argerich, Perahia, Kissin or, of BOTH: eClassical.com
tonality and atonality. Transfigured Night frequency ranges of Abel’s 1719 Guarneri violin course, Rubinstein—is by no means negligible. Paul O’Dette, widely regarded as the world’s
demonstrates well how it must have seemed to and his accompanist’s Hamburg Steinway. The In Chopin’s Sonata No. 3, Ballade No. 4, and finest lutenist, previously issued all of John
composers steeped in Wagner and Brahms that, recording has very little of the room in it: the Polonaise in F minor, Op. 44, Knight applies a Dowland’s solo works for the instrument on
harmonically, there was nowhere else to go. The two musicians, perfectly scaled, are present glittering technique, crystalline voicings, and a five-CD set for Harmonia Mundi in 1997.
highly programmatic Schoenberg work and the in your room with an uncanny palpability. The meticulous pedaling. The recording isn’t at The 23 selections here are new recordings
12-tone Berg both get transparent and lucidly performances are superb. The Brahms G Major quite the same exalted level as other Wilsons, of the pieces the artist most enjoys playing
structured readings from Queyras and the Sonata displays a perfect tension between with a slight smearing in rapid passages and a in concert. “It is not an attempt to identify
chamber orchestra. The string sound is warm restraint and emotional outpouring. The failure of the attack, body, and decay to join up Dowland’s ‘greatest’ works,” states O’Dette in


his liner note, “but instead represents a cross- BOTH: SuperHiRez.com
section of his output from the most profound to Antal Dorati and Paul Paray were both
the most witty and unpretentious.” There are versatile, underrated conductors who were also
galliards and pavans, “Mrs. Vaux’s Gigge” and accomplished composers. Both were Europeans
“Mrs. Winter’s Jump.” At the very center of the successfully leading second-tier American
program is “Farewell,” which O’Dette feels is the orchestras. And both had the good fortune to
composer’s supreme piece for solo lute, music be recorded by the legendary recording team
with an almost unbearable intensity of feeling. led by producer Wilma Cozart Fine for Mercury.
Engineer Brad Michel’s sound is outstanding: Dorati offers three Rimsky-Korsakov works,
the attack, body, and decay of each note are an exuberant Capriccio espagnole, an ecstatic
perfectly joined. Russian Easter Overture, plus a four-movement
The six Brazilian composers respon-sible for suite extracted from Rimsky’s last opera, Le
the music on the São Paulo Brass Quintet’s 2014 Coq d’Or. The profound influence of the third
release for BIS all have produced immediately on Stravinsky’s Firebird is very apparent. The
appealing material employing Brazilian program is completed with Borodin’s Polovtsian
dance rhythms and jazz harmonies. Those Dances, memorable mostly for the contribution
six composers—Fernando Morais, Alexandre of one bellowing tenor.
Brasolim, Raimundo Penaforte (three brief Not surprisingly, Paray excelled in French
pieces), Osvaldo Lacerda, José Alberto Kaplan, repertoire, and his program of short works
and Edmundo Villani-Côrtes—won’t likely be by Emmanuel Chabrier (España, Suite
known to non-Brazilian listeners but, rest pastorale, Fête polonaise, Joyeuse marche,
assured, they’ve got the medium down and the Bourée fantasque, plus music from the operas
entire program is must-have stuff for brass Gwendoline and Le roi malgré lui) as well as
aficionados. The group substitutes a bass Albert Roussel (Suite in F) is performed with a
trombone for the usual tuba as the quintet’s charming urbanity—and just the right amount
lowest voice and, as a result, the ensemble’s of grit.
sound is edgier and more incisive. The excellent We now have three options when it comes to
recording easily differentiates tenor from bass high-resolution renderings of these Golden Age
trombone and you can tell when a trumpet analog recordings. In addition to these DSD files,
player switches to a smaller instrument. HDtracks has issued 88/24 and 176/24 FLAC
versions, and, of course, there’s the SACD. On
Rimsky-Korsakov and Borodin: Orchestral careful comparison, to my ears the DSD versions
Music. London Symphony Orchestra & have a better-tamed top end, more convincing
Chorus, Antal Dorati. (DSD) scaling of solo instruments, and superior depth.
Chabrier and Roussel: Orchestral Music. These differences aren’t enormous and if you
Detroit Symphony, Paul Paray. (DSD) already have the HDtracks files, don’t sweat it.

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buyer's GUIDE to

Cables, Power Products,

Cl ick herexttopagoge .to

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FROM THE Editor

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AudioQuest WyWires EnKlein EnKlein

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Music Interface Technologies Shunyata Research

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Cables & Interconnects

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WyWires Blue Speaker Cable

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EQUIPMENT review - WyWires Blue Series

WyWires Silver Series Litespd USB Why Not?

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hum and noise.

New Interconnects and Cables from

Cardas, MIT, and Wireworld

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Wireworld Series 7 Equinox and

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EQUIPMENT review - Wireworld Series 7 Equinox and Eclipse

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EQUIPMENT review - Nordost Purple Flare

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EnKlein Amphora targeting the preservation of signals from a

Phono Cable In plain English, EnKlein is saying, I think,

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Crystal Cable Absolute Dream

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EQUIPMENT review - Crystal Cable Absolute Dream

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EQUIPMENT review - Crystal Cable Absolute Dream

EQUIPMENT review - Crystal Cable Absolute Dream

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Loudspeaker Cable and MA-X2

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A Few Words with Moon Audio's Drew Baird