Features

Value Proposition: Digitization 101 with the Rega Fono Mini A2D
By Jerold O’Brien

Journeyman Audiophile

Ortofon SPU Classic GM E. MK.II
By Jerold O’Brien

Old School:  SME 3009 Tonearm
By Ken Kessler

Remembering Dick Clark
By Ben Fong-Torres

Tone Style

Chill Ride: Porsche 911 Carrera S with Burmester Sound
By Jeff Dorgay

Beer Snob: Three Scintillating Brews
By Bob Gendron

Bocca Titanium Watch

Dyson AM02 Tower Fan

KEF: 50 Years of Innovation and Sound

Music

Live Music: SBTRKT and Matthew Sweet

Current Releases:

Fresh Releases in the Pop/Rock World
By the TONE Staff

Audiophile Pressings

Priscilla Ahn, The Band and more…

Jazz and Blues

New releases from Ches Smith’s Cong for Brums, Tomas

Furjikawa and the Hook Up, and Steve Kuhn
By Jim Macnie

Previews

Simaudio Moon 810LP Phonostage

Manley Chinook Phonostage

Coffman Labs G-1A Preamplifier

From The Web:

Project Debut Carbon Turntable

Bob Carver VTA 180M Amplifiers

Reviews:

Origin Live Technics SL-1200 Kit
By Paul Rigby

Audience Au24e Tonearm Cable
By Jeff Dorgay

The Pass Labs XP-25 Phono Stage
By Jacob Heilbrunn

Audio Desk Systeme Vinyl Cleaner
By Lawrence Devoe

The VPI Classic 1 Turntable
By Jeff Dorgay

Slummin’

Reporting on the Porsche/Burmester event for Issue 46’s cover story put me at a dinner table with a new group of writers. Instead of the usual cronies from high-end audio, I encountered a pack of automotive journalists. A staff member from Automobile magazine commented that, on a recent outing with a handful of incredibly wealthy car collectors, he asked everyone the same question: What is the most fun car you own? He became fascinated to discover that, even though the owners all possess stables of exotic machinery, five of the six respondents named the Mini Cooper S Convertible.

Many of my audiophile buddies express a similar sentiment concerning loudspeakers. There’s something enchanting about a pair of small speakers in a modest-sized room. Often, the famous LS3/5A enters the conversation. However, as magic as it is when paired with small-scale music, that speaker does not rock. But greatness is possible in a small box. Modern drivers, computer analysis, and crossover technology make such a goal all the more attainable.

Enter the Penaudio Cenya. Taking up only half a cubic foot (6.4 x 11.2 x 12.6 inches/163 x 280 x 315mm) of space, the tiny two-way uses a 6-inch Seas Excel woofer and 3/4-inch Seas soft-dome tweeter in a ported enclosure. Don’t be scared by the $4,000 price. Small enclosures and understated elegance are Penaudio hallmarks, and the cost is warranted.

For those seeking wife-acceptance factor, look no further. The Cenyas integrate with practically any décor. Yes, getting the best bass response requires a pair of stands with high mass, and placing the tweeters near ear height is essential. A pair of sand-filled Sound Anchors stands works perfectly in both my listening rooms. My smaller 11 x 17-foot living room provides slightly more bass reinforcement, but surprisingly, does not offer the big sound of my dedicated room.

Simple Setup

Setting up the speakers by ear resulted with the speakers landing in the classic equilateral arrangement. In my 16 x 25-foot listening room, the Cenyas are almost seven feet out in the room on the long wall, and seven feet apart. Approximately 15 degrees of toe-in yields the best balance between imaging and high-frequency smoothness, and yes, the Cenyas boast excellent off-axis response. Placed well away from sidewalls, these speakers image like panels. With the last octave of bass response diminished, the Cenyas are easier to position, particularly since they don’t excite room resonances in the manner achieved by a speaker that goes down to the mid-20hz region.

In terms of matching, the 30wpc Unison Research S6 tube integrated amplifier and its deep, rich presentation complements the Cenya’s large soundstage. Unlike the Penaudio Serenades I used for a few years, and which never really matched with a tube amplifier, the Cenyas perform admirably with glass. Given their 86db sensitivity rating, I suggest a minimum of 30wpc, although an amplifier in the 45-70wpc rating is even better. Select tube amplifiers at my disposal from CJ, Audio Research, PrimaLuna, and Grant Fidelity all reveal a warm, friendly sound via the Cenyas, with excellent bass control and supple high end.

However, power rules the day with these mighty marvels, and the heavens part upon inserting an Audio Research REF 150 into the system. Remember, though, that power alone doesn’t get the job done. Think quality. Trying a few budget, high-powered Class D amplifiers makes for a lifeless presentation. The Cenyas claim a very neutral, natural, and lifelike tonal balance—but also offer high resolution. Hence, distinctions between different source components are readily discerned.

Switching between the ARC REF 150, Burmester 911 mk. 3, and Octave Jubilee monoblocks, it’s as effortless to pinpoint the particular characteristics between these top-tier amplifiers as it is when they’re feeding speakers that cost considerably more. Clearly, something special is going on in Finland. Chalk it up to Penaudio designer Sami Pentilla, who loves to rock out. You’ll never hear Patricia Barber in his room at a hi-fi gathering. At this year’s Consumer Electronics Show, as we listened to Rammstein loudly in his space, he smiled and said, “My speakers must have natural sound, but they have to rock.”

Mad Bass Skills

Don’t be thrown off by that small woofer. Given the size of the speaker from which it emanates, the bass line in the title track from Big Head Todd and the Monsters’ Sister Sweetly album produces enormous bass of almost-shocking dimensions. No one-note wonder, the Cenya does equally well with acoustic bass. Scott LaFaro’s bass playing on Bill Evans’ classic Portrait in Jazz provides elegant lines that often feel more like lead runs than backdrops. The Cenyas excel at capturing the texture, as well as the body, of the acoustic bass parts.

Torturing the Cenyas via the massive beats in Madonna’s latest MDNA prove fruitless until the mighty Burmester 911 amplifier starts working up a sweat. With 350 watts per channel on tap, I was able to produce that awful bottoming sound from the woofer cones. Note, however, that this came at beyond-prudent volume levels. Big synth bass from The System’s “Don’t Stop This Groove,” as well as from a few other 80s favorites, is also rendered with so much weight that you won’t hanker for a subwoofer. Ok, maybe when you blast Daft Punk’s Tron: Legacy Revisited, it’s not a bad idea to grab one. Fortunately, the JL Audio Gotham in-wall subwoofer seamlessly mates with the Cenyas, making for a rather stealthy system.

Mighty Mids

Dandy as the Cenyas show with varied program material, midrange remains the mini-monitors’ strong suit. Emphasis is focused on defined placement of musicians and instruments within a soundstage. Ry Cooder’s I, Flathead features a live feel. When Cooder briskly strums his guitar on “My Dwarf is Getting Tired,” you can hear the drumheads rattle. These speakers reproduce the midband in such a transparent way, you’ll forget about your visions of ESLs. And I say this as a happy owner of Quad 57s; the Cenyas have the juice.

All the best audiophile clichés apply to these Penaudio speakers. They paint an enormous sonic canvas extending well beyond the speaker boundaries. Yes, you’ll swear you are listening to larger speakers. Vide, Mobile Fidelity’s brilliant new remaster of Gram Parsons’ GP. The Cenyas capture the pace and air present within this sparse recording. The original CD is flat and lifeless, but the decay-rich MoFi disc feels lush. Vide, the baritone sax on “Cry One More Time For You” leaps right out in front. And, heard via the Cenyas, Parsons and Emmylou Harris’ duet on “We’ll Sweep Out The Ashes in the Morning” gives equal weight to both singers. Lesser speakers leave Harris’ voice fading into the mix.

Dazzling Dynamics

The 24/96 file of Elton John’s Madman Across The Water sounds stunning through the Cenyas. When the barrage of horns kicks in at about 1:37, I got pinned back on the couch, amazed at the drive they muster. Wow, these speakers rock. Transitioning from the slower first half of Jack White’s “Take Me With You When You Go” from Blunderbuss to the song’s raucous second half is painless. White’s signature guitar sound is also reproduced with plenty of grit and texture.

Thanks to the Cenyas’ wide dynamic contrast, the worst recordings now become much more palatable. Even Don Johnson’s Heartbeat sounds pretty good. (Fess up. I know you still have that CD from the 80s.) Getting down with the self-titled Grinderman album, these speakers give up the good stuff the second you hit “play.” The first track, “Get it On,” opens with Nick Cave barking over a larger-than-life distorted guitar out of phase with the rest of the instruments. The Cenyas don’t lose their poise even when cranking this record. The louder you play it, the better it sounds, with the mad guitars burrowing their way into your soul.

Indeed, the speakers deliver an abundance of dynamic contrast and low-level detail, making them just as easy to listen to at low volume. And, as I mentioned earlier, they possess a very natural tonal balance. Violin, banjo, and acoustic bass remain distinctly separate on the title track of Steve Martin’s The Crow: New Songs For Five String Banjo, retaining all the textural properties that make these stringed instruments unique. The violin is particularly tough to get right, yet the Cenyas handle it with aplomb.

Get On Board

The Penaudio Cenya is an absolute delight, no matter the source material. These speakers are limited only by the quality of the electronics with which you mate them. Granted, the Cenyas are not merciless. Your system won’t suck with a $600 integrated amplifier if that’s what you can afford. However, the speakers will constantly improve with better gear, should you jump on the high-speed train to audiophilia.

Fuel the Cenyas with the best electronics you can afford, and you will not be disappointed. It’s not unlike handling a high-performance turbocharged car. If you put low-octane gasoline in the tank, the experience will still be good, but the engine-management system will cut the amount of horsepower delivered to the rear wheels.

Penaudio Cenya Loudspeaker

MSRP:  $4,000

www.penaudio.fi (Factory)

www.tempohighfidelity.com (US Importer)

Peripherals

Preamplifier Burmester 011

Power Amplifier Burmester 911 mk. 3, Audio Research REF 150

Digital Source dCS Debussy DAC/Paganini Clock

Analog Source VPI Classic 1/Lyra Kleos/ARC REF Phono 2

Cable Cardas Clear

Accessories SRA Scuttle rack, Furutech DeStat, DeMag, Audio Desk Systeme record cleaner

Volumes are written about this famous album, celebrating the collaboration of Bob Dylan and his backing band, the Hawks, whose members ended up becoming The Band. Not officially released until the summer of 1975, the set was recorded in 1967, the year after Dylan’s motorcycle crash, which marked a pivotal point in his career.

In a 1969 interview, the Bard told Rolling Stone publisher Jann Wenner: “[This is] really the way to do a recording—in a peaceful, relaxed setting—in somebody’s basement. With the windows open…and a dog lying on the floor.” The mellow vibe certainly comes through in the presentation.

Mobile Fidelity’s reissue features much richer timbres and dynamics than the original. But remember Dylan’s comment about being relaxed. While it’s still crackly in parts, (remember it was produced on the Revox A77 tape recorder shown on the album cover) overall quality is very high, particularly given the stripped-down environment in which the record was captured—essentially, Dylan’s basement, concrete walls and all. Where the original is consistently flat, lacking air and decay, the new pressing comes alive.

Sure, various members of the Band, and even Dylan himself, are still not in agreement about what tracks should have been (or not been) included on the Columbia release. Debates aside, it’s a phenomenal time capsule, a stellar collection of songs.

And there’s more Dylan coming from the Chicago-based audiophile imprint. Josh Bizar, Mobile Fidelity’s Director of Sales and Marketing, says, “The Basement Tapes is one of the most important releases in our history and the perfect title to start the Mobile Fidelity Bob Dylan series.” We anxiously anticipate all of them.

Throughout his career, Bob Carver has made several legendary products and, like most great artists, stirred up controversy in the process. His new line of tube amplifiers aren’t just brilliant, they’re reasonably priced. For those wanting the “Made in America” badge, these crimson beauties—along with every other Carver amplifier—are built by hand in Lexington, using point-to-point wiring techniques.

The VTA180M features a simple and honest design. Its basic, open chassis configuration adds to the vintage feel and keeps costs manageable. You won’t mistake these units for a pair of megabuck tube amps machined from solid billets of aluminum. Well, not until you turn them on. Then, be prepared to be pleasantly surprised.

Having sampled many great tube amplifiers over the last few years, I was immediately impressed by the VTA180M’s level of detail and grunt provided by the 200 watts-per-channel reserve. Vide, Bombay Dub Orchestra’s 3 Cities. This record serves up big, synth-bass beats that challenge any amplifier driving full-range speakers. The Carvers reward my GamuT S9s (that have a -3db point of 17hz) with solid, texture-laden bass and subterranean extension.

They also require little warm-up time. With just a half hour on the clock, the amps piqued my interest when playing Chemical Brothers’ “Galvanize” from Push The Button. The assault of bombastic bass waves encouraged me to twist the volume control to nightclub-like levels. As the GamuT S9s’ six 11.5-inch woofers pumped, I felt like the guy in the Maxell chair, with the system moving major air sans strain or distortion. The amps sound enticing even after the first five minutes, but require 45 minutes to thermally stabilize and reach full bloom. Once there, an enormous, three-dimensional soundfield awaits. Vacuum-tube newbies will experience an entirely different sonic landscape.

Midrange Options

Reach-out-and-touch-it midrange is almost always a given with tube amps; the extra airiness draws music lovers to vacuum tubes. The VTA180M lets you pick a preferred presentation, offering two feedback settings: 11db (contemporary amplifier) and 20db (classic amplifier) that affect the upper bass/midrange presentation. According to the concise instruction manual, Carver leans toward the classic setting, and it’s nice to have the option. Plus, you can switch the setting on the fly without suffering any annoying or potentially harmful pops.

The extra feedback provides a warmer, more saturated sound, much like many beloved vintage tube amplifiers. Meanwhile, the 11db setting possesses a punchier sound and tighter bass response. It’s also great for fine-tuning an amplifier to speakers. So, even if your taste in speakers changes, your amplifier can remain in the system. This is a great way of making the VTA180Ms obsolete-proof. One note: Should you have a pair of speakers that already have a bump in the upper-bass/lower-midrange region, a romantic-sounding tube amplifier can be too much.

In addition, you can use the feedback switch as a tone control. Regardless of your system’s overall tonal balance, if you listen to a fair amount of MP3s via MOG, Spotify, or another online service, extra tonal warmth supplied by the VTA180M in the classic amplifier mode goes a long way towards making harsh digital sources more listenable.

For Those About to Roll

Tube rolling with the VTA180M is effortless. Its open casework allows easy access. The stock tubes sound awfully good, so your degree of OCD will determine whether they constitute the equivalent of a quick jaunt down the bunny hill or a Double Black Diamond run. Should you swap them out, you will need a dozen power tubes—not for the faint of checkbook. A set of Gold Lion reissued KT-88s imparts a less grainy feel, and sacrifices nothing in the top and bottom ends of the frequency spectrum. Just be sure to check the front-panel bias meter and adjust accordingly when fitting a different set of output tubes. Again, the Carver manual goes into great detail explaining the process and makes it all simple.

Experimenting with the 12AX7 input and the 12AT7 pre-driver tubes offers a wider range of tonal change than fiddling with the output tubes. With only one of each tube per monoblock, it’s a basic exercise. While NOS 12AX7s can soar as high as $300 each (for super high-zoot Mullards and Telefunkens), Mullard 12AT7s rarely top $30.  The 12AX7 is the tonemeister: Changing it affects overall tonality as much if not more than the feedback switch. Or, you can just leave the VTA180M stock and enjoy as is. Or can you? Decisions aside, Carver offers an impressive one-year warranty on the factory tube set and seven-year warranty on the amplifier.

The Whole Enchilada

Tube amplifiers live and die on the top and bottom of the audio spectrum. Some offer a dreamy, creamy, albeit slightly rounded off high-frequency response, a trait especially attractive to digital music collections. Other units put forward a very refined, extended, clinical sound that gets so close to the character of solid-state gear, one ponders why valves were ever chosen.

The VTA180Ms provide excellent overall tonal balance, regardless of feedback setting. Low-end extension is particularly healthy. Tube amplifiers rarely possess great bass texture, yet the VTA180M excels in this region. Tom Petersson’s bass on Cheap Trick’s self-titled album enjoys alluring growl. The opening bass riff on “Mandocello” bites and feels natural. As his hand slides up the instrument’s neck, it sounds like you’re standing in the front row of a small venue peering right at a big Ampeg bass cabinet. A similar experience occurs with an early British pressing of the Beatles’ Revolver. Even at high volume, Paul McCartney’s bass line stays solid and easy to follow, with plenty of definition.

Things are equally good up top. Without surrendering any tonal saturation, the VTA180M provides a clean, resolute high end. Cymbals are portrayed with plenty of air and texture, feeling neither rolled off nor exaggerated. Switching back to a few vintage amplifiers on hand from Dynaco and Marantz reveals similar tonal saturation, but to the point of obvious coloration and grain, particularly when listening to Joe Sample and Co. on The Three, an incredibly well-recorded direct-to-disc LP. Shelly Manne’s drumming loses the air present via the Carver, through which the percussion sounds like real cymbals.

When spinning Revolver, the background handclaps in “And Your Bird Can Sing” are not as prominent as it is with the best amplifiers at my disposal. This slight loss of ultimate low-level resolution, in comparison to that delivered by big-dollar gear, is the VTA180M’s only apparent weakness. But these cherry-red monoblocks do everything else so well, you won’t notice it.

The VTA180Ms feature a single-ended RCA input and work flawlessly with the handful of on-hand preamplifiers from Audio Research, Conrad Johnson, Burmester, McIntosh, and the new Coffman Labs model currently under review. Thanks to 2-, 4- and 8-ohm output taps, the Carvers show no problem driving the MartinLogan Montis speakers and even produce enough juice to drive the Magnepan 1.7s to fairly high levels.  If you are nervous that the rated 230 watts-per-channel isn’t enough for your Magnepans, Carver’s VTA305M monoblocks should get you there.

Award Winning Performance

I am very excited about the VTA180M amplifiers. Designed by a legend, they offer a no-nonsense approach, with money spent in the right places. We could talk in circles about parts and topology choices, sure. But in the end, these amplifiers do everything well, volunteering a sensory experience that normally commands a higher price.

Indeed, this is a tube lover’s pair of amplifiers. They provide more than enough power to drive all but the most inefficient speakers, and boast an extraordinary level of refinement. The ability to drive low-impedance loads, as well as the option to change feedback and alter the amps’ character to suit personal tastes, are bonuses.

If there’s a better pair of 200-watt-per-channel tube amplifiers out there for this kind of money, I haven’t heard them yet. The Carver VTA180M monobocks richly deserve an Exceptional Value Award for 2012.

Carver VTA180M Monoblock Power Amplifiers

MSRP: $7,400/pair

www.bobcarver.com

Peripherals

Analog Source             AVID Acutus Reference SP/TriPlanar/Lyra Atlas

Digital Source              dCS Paganini 4-box stack, Sooloos Control 15

Phonostage                  Audio Research REF Phono 2SE

Speakers                      GamuT S9

Cable                           Cardas Clear

Accessories                 Furutech DeMag, DeStat, Audio Desk Systeme RCM

Many audiophiles have started their vinyl journey with the Pro-Ject Debut turntable in one version or another, and for good reason: The models offer great performance, stunningly good looks, and excellent value. They are also very easy to set up and operate, essential to keeping the analog flame burning for any newbie. The new Debut Carbon pictured here again raises the bar for what one can expect from a $400 turntable. In addition, it’s about as fool-proof as an analog device can get.

To wit: My daughter and her tech savvy friends were pretty excited by the cool, green record spinner while I unboxed it, so I turned it over to them for setup. They had the Carbon rolling in about ten minutes. A quick tracking-force check with a digital stylus-force gauge revealed that they were only a tenth of a gram away from the  suggested 1.8-gram setting. I suspect their attempt was as good as anyone else could muster without proper tools.

Played through an older Pro-Ject Tube Box phonostage with NOS Telefunkens (an audiophile dad can’t let his daughter have a stock phonostage, can he?), and plugged into a B&W Zeppelin Air, the Carbon began its existence with fantastic results. Listening to Sharon Van Etten’s Tramp LP sounds light-years better than the same track heard via a nearby iPhone and downloaded from iTunes. There’s more depth and body to Van Etten’s waif-like voice, and her acoustic guitar possesses extra decay and air. I replicated the experience in my photo-studio system, comprised of a Marantz 2220B receiver and JBL L-100 speakers. The Carbon represents a massive step-up from my regular go-to Dual 1219/Ortofon OM5E.

Back in the Batcave

For those concerned about tech bits, the Carbon uses a Sorbothane-damped AC motor powered by a wall-wart supply, and requires manual changing of the belt on the pulley to achieve 33 and 45RPM speeds. Or you can purchase a $159 Speed Box II, which volunteers speed changes at the push of a button—as well as improved speed stability.  Pro-Ject also offers an acrylic platter (the Acryl-it) for $125. Welcome to the wacky world of audiophilia.

While the steel platter with felt mat is straightforward, the new carbon-fiber tonearm and upgraded Ortofon cartridge constitute the biggest improvements over what’s available in the preceding Debut III. Where Ortofon’s OM5e has always struck me as slightly thin, the company’s 2M Red possesses more tonal clarity and saturation, bringing you closer to the music than you might expect for the price.

Mated to the ICON Audio PS2 phonostage, the Carbon proves even more formidable. The twangy guitars in Best Coast’s “Up All Night” from the group’s new The Only Place are positively dreamy. Tracking Frank Zappa’s “Let Me Take You To The Beach” from Studio Tan does not throw any sand in the gears; the multiple levels of synthesizers and percussion are tidily kept in check. In the jazz department, the title track from Gato Barbieri’s Ruby, Ruby paints the headliner’s trademark saxophone lines across the entire soundstage, yielding plenty of tone while keeping the rest of the band anchored with oodles of width and depth. Plus, female vocal tracks, whether belonging to Diana Krall or Anne Bisson, sound great.

The 2M Red cartridge is a great tracker, easily handling not only dense but loud passages. Exploring some recent Blue Note releases from Music Matters shows the Ortofon fully capable of expertly managing Wayne Shorter’s horn playing and Art Blakey’s drumming without mistracking—a testament to the tonearm’s performance.

No Excuse Not To Spin

While the Carbon does not offer the level of refinement generated by top-notch vinyl rigs, it’s a fantastic place to start an analog crush, as it does a superb job with fundamentals. Moreover, when used in concert with modest gear, it provides musicality that MP3 players and inexpensive CD players cannot match. Yes, this ‘table is all you need to get hooked on analog. Hence, we are thrilled to give the Carbon an Exceptional Value Award for 2012. A snap to set up, it offers fantastic performance and an easy upgrade path.

For those looking to maximize the value, the Carbon tonearm can extract even greater details if you acquire a cartridge that’s a level beyond that of the 2M Red. The $139 Denon DL-110 (reviewed in Issue 45) is a smart move, as swapping it in bears further resolution and a larger soundstage. Thanks to the Denon’s 1.6mv output and 47k loading, you won’t require an upgraded phonostage to take advantage of its benefits.

Finally, since the ‘table comes with a detachable phono cable that uses standard RCA jacks, listeners have yet another chance for another modest upgrade for minimal cost. Now, the only choice you face is what color to get – they are also available in black, white, gray, yellow, red and blue!

Pro-Ject Debut Carbon Turntable

MSRP: $399

www.sumikoaudio.net

Following their assault on digital playback last year with their 650D and 750D DAC/Transports, they’ve given analog lovers a real treat with their new 810LP phonostage.  And it’s a beauty.

Priced at $12k and featuring the same slim case design as the 650D/750D, the 810LP is a full scale assault on high performance analog reproduction. The 810LP is meant as a destination phono stage and is a purist design throughout.  With only one input and no switching in the circuit path (though the 810LP offers a balanced input as well as balanced output), this phonostage is truly for the analogaholic with one turntable.

How does it sound?  So far, fantastic, but it only has about four days of playing time logged.  Our experience with Simaudio components shows they open up after the first 48 hours of being powered up continuously and come into their own around the 200 – 400 hour range; so what sounds great now promises to be fantastic with a few more hours on the clock.

The overhead view reveals a fully discrete design with a massive, shielded power supply. All business here, folks. (inside photo courtesy of Simaudio)

Watch for a sneak preview with more details in the upcoming issue of TONEAudio…

The Munich High End show opened yesterday and it’s clear that the Europeans are serious about analog!

This display from Pro-Ject is just a smattering of the wide range of turntables here on display.  Stay tuned for more tomorrow!

Nagra announced yesterday that they are introducing their new Jazz preamplifier here at the Munich Hi End Show.  Named in homage to the legendary Montreux Jazz Festival that Nagra has sponsored for years, the Jazz preamplifier follows in the line of the famous PL-L and PL-P preamplifiers.

Compact size, high performance and top notch build quality are all hallmarks of the Nagra experience, and we look forward to bringing you a full review as soon as the Jazz is available to the public.