TONEAudio MAGAZINE The Concierge of High End Audio

No matter your drug of choice—chemical, horsepower, audio—with prolonged use, you always reach a plateau at which you believe you just can’t get any higher. But sooner or later, something else enters your reality that restarts the cycle, and you’re off and running again. Such is my experience with the Pass Labs XA160.5 monoblocks.

If you are new to the world of high-end audio, you can get the condensed history of Pass Labs here: http://www.passlabs.com/about.htm. The shorter version is simple: Nelson Pass is a genius. He’s probably got more patents for amplifier design than almost everyone else combined. And he’s got a great sense of humor, too. The owner’s manual describes the new amplifier as “tending to run heavy and hot, but elicit high performance and reliability from simple circuits.”

Weighing in at about 130 pounds each and $24,000 per pair, the XA160.5s are not for the light of wallet—or bicep. Or, for that matter, air-conditioning capacity. The power draw isn’t huge, but each unit sucks 600 watts from the power line, whether idling or at full power. Because they only produce 160 watts per channel into 8 ohms, doubling into a 4-ohm load, they get very warm to the touch. Yes, this behavior is normal for a class A design. The extra heat was welcome in March when the amplifiers arrived, as it kept our studio toasty. Yet, as days got longer, the amps forced us to run the A/C well before we normally would.

Super Yet Simple

Pass has always advocated keeping things as simple as possible. While squarely looking at the enormous monoblocks might cause you to question whether he still believes in this basics-minded philosophy, thanks to Pass’ patented SuperSymmetry design, the amplifier has only two gain stages. At the risk of oversimplifying, the SuperSymmetry approach achieves low distortion (and tonal purity) by making each half of the balanced amplifier as close to identical as possible so that the resulting distortion from each half of the amplifier circuit cancels out in balanced mode.

To achieve maximum performance, the amplifier must be run in balanced operation. Fortunately, the ARC REF 5 offers balanced and single-ended outputs, which makes comparisons a snap. And Pass is right again: Utilizing the XA160.5 in single-ended mode proved very good, but it featured a layer of grain not present in balanced mode. Whether you use a Pass Labs preamplifier or a model from another manufacturer, make sure to take the balanced route.

Coming Full Circle

My first experience with Pass’ class A amplifiers came in 1979. I combined a Threshold 400A with a Conrad Johnson PV-2 preamplifier driving a pair of Acoustats, making both an incredibly natural combination and excellent case for pairing a solid-state power amplifier with a tube preamplifier. While many combinations have since passed through my room, the tube pre/solid-state power amplifier is always the one to which I’m drawn, especially when it involves a class A amplifier.

The XA160.5s symbiotically works with all of the preamplifiers at my disposal, but the match with the Audio Research REF 5 linestage and REF Phono 2 preamplifier is heaven-sent. Pass Labs president Desmond Harrington tells me that many customers use the company’s amplifiers with tube preamplifiers. “It’s a popular combination, but when it comes to power, we like to see our amplifiers offering the tube sound without the tears.” Truer words haven’t been spoken.

As someone who’s purchased more than a fair share of power tubes, I am relieved to know that the sound of the XA160.5’s will never change. And, you won’t have to buy new power tubes every year. Continuous operation cuts down on tube life. If only Costco sold tubes by the palette.

Like Luke, I Ignored Yoda Just Once

Pass’ instruction manual cautions against using the XA160.5s with a power conditioner. Nonetheless, I plugged them directly into the wall and then into my Running Springs Maxim power conditioner, with the latter providing an even cleaner presentation. The soundstage opened up significantly, and I didn’t experience any loss of dynamics. Yes, the stock power cords that come with the XA160.5s are very good, but aftermarket power cords (Shunyata and Running Springs models yielded excellent results) offered up a slightly clearer window to the music.

In all fairness, think of superior power cords as being able to take an amplifier that goes to 11 up to 11.2. Besides, you wouldn’t put regular gas in your Porsche, would you?

Super and Scrumptious

Unlike a non-class A solid-state amplifier, the XA160.5s shouldn’t be powered on for 24 hours a day. They generate too much heat. Still, just like a tube amplifier, the XA160.5s need an hour to warm up and stabilize. At first turn on, they still sound great, but once you get used to them, you’ll notice a slight haziness that softly dissipates as the clock ticks. Coincidentally, the ARC REF 5 and REF Phono 2 need an hour to sound their best, too, so if you are using a tube front end, everything will warm up at the same pace.

I initially listened to familiar digital tracks from the Sooloos music server/dCS Paganini combination. I was immediately taken aback by the additional weight and depth, even more so with high-resolution digital files. All of the class A amplifiers with which I’ve lived share a tonal richness that other solid-state amplifiers do not possess. Some might refer to this quality as warmth, but I prefer to call it tonal richness. I associate warmth with slowness, lack of pace, and rounded-off treble; the XA160.5s exhibited none of these characteristics. The Pass monoblocks sport the equivalent of a great guitar’s ability to sustain a note. On a choice Gibson Les Paul, for example, music just seems to hang in the air a little longer.

Switching back and forth between amplifiers at my disposal revealed that the XA160.5s are indeed very special. It was as if the particular characteristics from my favorite amplifiers have somehow taken up residency in one model. Thanks to their monoblock design and huge power supplies (the 160.5 is claimed to have a significantly larger power supply than the 160 it replaces), these amplifiers throw a soundstage that is prodigious in all three dimensions. Image width really stands out.

I noticed such traits on all program material, but they became more obvious when listening to classical. Conveying the size of a symphony orchestra—much wider than most listening rooms—is one of the toughest feats to ask a system to accomplish. When listening to Sir Arnold Bax’s sixth symphony, it felt as if the sidewalls in my listening room had been each moved out about six feet. Not realistic, of course, but much more convincing than without the XA160.5s.

Recorded live and flush with ambience, Hugh Masekela’s “Stimela (The Coal Train)” from Analogue Productions’ 45RPM 2LP version of Hope provides an excellent test. Having just heard Masekela perform the song at the Montreal International Jazz Festival in June, the recorded version via the Pass amps colored me impressed. While the live version claimed a slightly different arrangement, the XA160.5s pushed my GamuT S9s to a realistic sound level and conveyed such nuance and tonal contrast, I felt like I was back in Montreal’s Club Soda venue. Even at the high volume level, the front panel’s deep-blue backlit oval meter barely flinched from its center position, indicating that the amplifier never left class A mode.

Of course, man cannot live on jazz alone. At prime operating temperature, the XA160.5s did not miss a beat on a Japanese vinyl pressing of Michael Schenker’s Built to Destroy. No matter how hard I pushed, I could not destroy the amps or my speakers. And yes, that’s a very good thing. Staying in Japanese LP mode, Bruce Springsteen’s The Wild, The Innocent, and the E-Street Shuffle proved tough to resist, as did David Bowie’s Aladdin Sane. These old favorites never sounded better, and when I quickly switched back to the gear I’ve lived with for some time, across-the-range performance boosts became manifest.

Staggering Pace and Tonality

While classical music plays to one group of the XA160.5s strengths, revisiting the recently remastered Beatles catalog plays to another: These amplifiers offer rock-solid pace. Violins in the mono version of “Eleanor Rigby” (from Revolver) were strongly anchored, and Lennon and McCartney’s voices unwavering. There was so much depth, it almost sounded like a stereo recording! Speaking of the latter, the stereo version of “Penny Lane” from Magical Mystery Tour turned out to be just as exciting. Ringo Starr’s drumming and McCartney’s bass held true throughout the psychedelic soundscape.

I am easily swayed by the big sound of these amplifiers, yet that characteristic only scratches the surface of their capabilities. Concerning tonal accuracy and texture? Spot on. Acoustic instruments sound correct, whether listening to wind, string, or percussion instruments. Dynamic contrasts equate to the best I’ve experienced. A few TONE writers whose tastes skew towards classical remain astonished at the lifelike piano reproduction.

Music fans that crave vocal performances will benefit from the XA160.5’s picture-perfect tonality and resolution. Again, the extra tonal body almost feels as if one is listening to an SET—albeit an SET with nearly unlimited power that you can use with real-world speakers. The extra low-level resolution goes a long way, especially when spinning marginal discs. An ideal example comes courtesy of Keith Richards’ Talk is Cheap. Richards is not known for possessing a terribly strong lead vocal. Yet, when put through the XA160.5s, it actually has some depth. Such is the XA160.5s’ allure. They hover at the optimum point of boasting maximum resolution without being harsh, sounding full bodied and musically natural without introducing tonal distortion— a difficult balancing act.

Bass response keeps in line with the exceptional performance found elsewhere in the frequency range. While the XA160.5s have more than ample weight and slam, the bass reveals a level of texture and detail that I’ve only experienced with a small handful of amplifiers. Remember: It’s easy to confuse “audiophile bass” (usually over-damped and distinguishable from the real thing that has life, texture, and resonance); the XA160.5’s are the genuine article. A cursory listen to your favorite acoustic bassist reveals the way these amplifiers allow the instrument to breath, and brings you that much closer to the actual performance.

Top Contenders

Two years ago, I proclaimed the Burmester 911 Mk.3’s the best amplifiers I’ve heard. And over the course of hundreds of product reviews, I’ve used that dreaded “B” word just once in the absolute sense. After conveying my enthusiasm for these amplifiers to Harrington, he responded, “The 160’s are amazing, but you need to hear the 200s.” So just when I thought I couldn’t get any higher, the quest begins again.

It’s always tough to make comparisons, yet the XA160.5 combines the virtues of my three favorite amplifiers into one (actually two) boxes:  the delicacy of the Wavac EC300B, the texture and dimensionality of the ARC REF 150, and the power, control, and composure of the Burmester 911s.

Independent of the “B” word, the Pass Labs XA160.5 monoblocks orbit the top stratosphere of amplifier design at any price. If you would like that je ne sais quoi that you thought required a vacuum-tube amplifier, these are a consummate alternative. There is nothing that the XA160.5s do not do.

The Pass Labs XA160.5 monoblocks

MSRP:  $24,000/pr.

www.passlabs.com

Peripherals

Conrad-Johnson exudes stability. The look of its equipment never seems to radically change. The black top, the champagne face, the little silver buttons: All attest to a company that’s not fretting about its looks. Instead, it’s confident. But content and resting easy in the saddle? Not a chance. What’s taking place inside the box, of course, is what counts. And here, Conrad-Johnson makes some big changes. Bill Conrad and Lew Johnson, stalwarts of the high-end audio industry, are doing anything but resting upon their laurels. Instead, they seem intent on demonstrating that C-J remains on the cutting edge.

The new ET5 preamplifier offers a case in point. It is the latest expression of C-J’s quest to refine the sound of its product line. Over the past decade, C-J has taken numerous steps to improve its preamplifiers and amplifiers, the heart of the company. It has made occasional forays into producing CD players, but tubed gear is its bread and butter.

Best of Both Worlds

C-J never abandoned the tube, and its traditional house sound has always emphasized musicality—a warm and fairly lush presentation, anything but coarse or grainy. But in recent years, the trend at C-J and elsewhere has leaned toward a more transparent sound. It used to be that musicality came at the expense of transparency, and vice versa. But that’s far from the case today. Very far, in fact. The truth is that improvements in capacitor technology have allowed audio companies to lower the noise floor to levels that might have seemed difficult, if not impossible, a mere decade ago.

After a series of highly regarded (and expensive) ART and ACT preamplifiers, C-J recently broke new ground with its GAT preamplifier, which is loaded with Teflon capacitors. It also employs a circuit design that for gain relies on the venerable 6922 tube. It seems that C-J, for reasons of sound or practicality, abandoned the Russian 6h30 tube that was introduced with much hue and cry, but which is no longer as easily obtained. C-J likes to use a single gain stage and mosfet buffer at the output with the ET5. In theory, using a mosfet is quieter and more reliable than employing a tube. (Although some tube lovers will always swear by the glowing bottle regardless of its position in the circuit.) C-J also makes a big deal about the fact that it doesn’t use electrolytic capacitors anywhere in its preamps—not even in the power supply. It’s a different approach. Electrolytics give you a lot of storage capacity, so they can be useful in power supplies.

That said, few companies disdain them to the extent that C-J does. But C-J feels they degrade the sound, and there’s no doubting that, if possible, electrolytics are best avoided. In addition, the single gain stage in the company’s preamplifiers means that it inverts phase, which, in turn requires reversing the polarity of your speaker cables if you are not using a power amplifier that also inverts phase, as C-J amplifiers do. C-J has always preferred the simplicity of a single-ended design as opposed to the complexity of a fully balanced design. Moreover, all C-J gear is single-ended, which means no doubling of parts, as in a balanced design. C-J’s attitude: Why complicate the gear more than necessary?

Hence, the ET5 is the lineal descendant of the much-extolled GAT. But does it sacrifice too much to be even mentioned in the same breath? Not way. And it weighs in at the much more affordable price of $9,500.

Covering the Bases

The ET5’s winning qualities are immediately apparent. For its price, you deserve transparency, rock-solid imaging, and beauty. The ET5 delivers them all. It does a great job of balancing a somewhat mellow sound with transparency. And that mellowness comes through beautifully on instruments such as flute. Vide, MA Recordings’ stellar CD featuring Diana Baroni playing Johann Sebastian Bach’s flute sonata. This might sound like another fusty, old baroque recording, but believe me, it isn’t. And through the ET5, it truly sounds alive. The ET5 brings to the table a wonderfully rich shower of harmonic overtones. I could practically hear the flute vibrating, every breath that the performer took, all the details that take a performance from the mundane to the sublime. Pure artistry.

Ditto for another of my favorite flute recordings, this one featuring Joshua Smith on a Delos CD. I could practically see Smith’s fingers whizzing up and down the flute as they hit the keypads. The ET5 suffused my room with music, drenched it with harmonics, buzzing sounds, and plangent cellos. The amount of air it produces around instruments? Nothing short of sensational. One easily gets the feeling that the concert stage is right there in front of you.

The ET5’s ability to nail the timbral signature of an instrument equates to another strong point. Many have been the times that I have listened to a recording of multiple trumpets called—what else?—“Baroque Trumpetissimo.” It features an all-star cast, including Raymond Mase and Edward Carroll. These guys can pretty much do anything on the horn, and the ET5 really let me hear how they strut their stuff. Particularly impressive is the facility with which the ET5 allows the initial intonation to come through; that silvery pop signals that a master trumpeter is at work.

Then there is image stability. The ET5 excels at it. With this preamp, you can focus on the performers’ position to your heart’s content. And this particular virtue is probably a product of the preamps’ exceptionally low grain. It simply doesn’t smear the images, but opens up a huge and panoramic soundstage.

The Question of Power

Where does the ET5 come up a little short? That’s easy to answer. It doesn’t pack the punch of its bigger brethren. Preamps retailing for $20K and up—which, believe it or not, has become the routine price for top-drawer models—have more sonic power and impact. My Messenger preamplifier claims more heft and grandeur. But go to the GAT, and you’ll get that as well. Why? The secret, as always, is in the power supply. More capacitance usually means more acoustic thunder. If a preamp is going to navigate complicated passages with aplomb, it needs plenty of dynamic reserves. In audio, you get what you pay for, and sometimes, a little more.

The ET5 unquestionably lands on the “more” side of the equation. This unassuming preamplifier is a quietly devastating piece of equipment, one that may force you to rethink the limits of sonic reproduction, particularly at its price. One of the things that tends to get lost in the audiophile shuffle is that recordings to which many audiophiles listen can feature some pretty amazing playing. However, audiophiles often get distracted by sheer sonic effects as opposed to instrumentalists’ virtuosity.

For my money, the ET5 represents a significant step forward for C-J. Without sacrificing the mellifluous sound that is its trademark, C-J demonstrates that its new products can deliver a transparent sound and more. Anyone looking for a high-end preamp that’s linear, musical, reliable would do well to consider the ET5. It does nothing wrong and pretty much everything right.

Additional Listening

By Jeff Dorgay

Having logged experience using C-J’s ACT 2 series 2 preamplifier for a number of years as a reference component, and having spent considerable time with the CT5 and ART series of preamplifiers (series 1, 2 and 3), the ET5 emerges as an entirely different animal. Even when taking the ART preamplifiers into account, my favorite series has always been the ACT 2, because of the combination of tonal accuracy and dynamic contrast it provides.

If you’ve had a chance to experience the GAT, it is truly the pinnacle of C-J preamplifier design—and perhaps the pinnacle of preamplifier design, period. The ET5 comes shockingly close to it for less than half the price and offers a similar tonal rendition. Listeners with world-beater systems will happily belly up for the GAT, if for nothing else than the bragging rights. And, it genuinely is a step above the ET5. But those happy to reside one step down from the true audio maniacs will be equally happy to keep the additional $10,500 in their pocket.

A Quick Comparison

Since I utilized the ET5 in an-all CJ system with a Premier 350 power amplifier and GamuT S9 speakers, it was rather easy to compare the new model to the ACT 2. Of course, there will always be a difference in sound between anything based on the 6922/6DJ8 tube versus the 6H30. The former possesses a slightly softer and warmer sound than the 6H30, which usually offers more authority in the lower end as well as more punch.

The ET5’s hybrid design brings the two preamplifiers closer together in tonal rendition, and offers an even quieter background than the ACT 2—not dramatic, but enough that those enjoying classical and small-ensemble acoustic pieces will definitely take notice. Listening to David Grisman’s Hot Dawg at a realistically live level via the ACT 2 yielded a bit of tube noise in the interludes. There was markedly less of the latter when I played the disc played through the ET5. Advantage, ET5.

Thanks to only one 6922 tube, the ET5 is easier to manipulate than any other vacuum-tube preamplifier going. When you only have to buy one tube, those $300 Telefunkens and $200 Bugle Boys become more interesting. Considering every C-J tube preamplifier I’ve owned since 1978 has been easy on tubes, I’m going to assume the ET5 will continue in that tradition.

While the ET5 sounds just fine with the stock tube, another world awaits you with aftermarket tubes. The EAT ECC88 is quite possibly the best choice since it does not alter the tonality of the preamplifier; it just offers up more dynamic punch and a lower noise floor. After installing the EAT, I went back to the Grisman record and discovered zero tube noise in the background. The EAT tube also threw a bigger soundstage in all three directions and had more bass weight. When listening to the title track from Thievery Corporation’s recent LP, Culture of Fear, the upgraded tube yielded deeper bass beats with more grip.

Swapping the EAT for a rare Telefunken CCa sacrificed some transient speed but gave the midrange an intoxicating opulence, especially with my favorite 60s rock records.  Jimi Hendrix’s Are You Experienced? proved a revelation. I now truly was experienced.  Similar sensations came courtesy of Incredible Hog’s “To The Sea,” a track from the band’s self-titled album. It was as if I had x-ray vision and could just see the plate reverb vibrating inside one of the group’s Orange amplifiers.

Lew Johnson and Bill Conrad are primarily classical music guys, yet they may have inadvertently created the world’s most incredible rock n’ roll preamplifier with the ET5/Telefunken combination. And while we don’t recommend using tube swapping as a tone control, it’s nice to know you have the option. (Guitar players have been doing it for years, so why not?) With this being such an easy process, the advantage again goes to the ET5.

In terms of dynamics, the ACT 2 is still the king. Whether I was listening to the Who or Shostakovich, the ET5 didn’t as effortlessly move the big air as did the ACT 2. Via the latter, drum thwacks had more punch and were better defined, both on the leading and trailing edge of the sound.

Ladies and Gentlemen, We Have a Winner

The toughest part of describing expensive audio equipment is the degree of importance one should place upon the gear. To many, the difference between C-J’s best may not be quite as dramatic as it is to those that are somewhat more maniacal. Whether you choose to experiment with the tubes or not, the new ET5 remains an outstanding preamplifier in every aspect. Those well-versed with the C-J of old—with a warmer, more romantic sound—may long for the euphonic coloration those units provide.

Personally, I love the current C-J sound. It offers up almost all of the tonal richness that made the company famous, yet adds the dynamic capabilities of a modern preamplifier. Thanks to the CJD Teflon capacitors and a single tube, the ET5 should last even longer than my PV-1, which is still in service after 33 years. I can only think of about six preamplifiers that outperform the ET5. They all have a price that costs two-to-five times greater, and half of them are C-J designs. If that doesn’t say Exceptional Value Award for 2011, nothing does. Highly recommended.

Conrad-Johnson ET5 Preamplifier

MSRP: $9,500

www.conradjohnson.com

Peripherals

If you were to step back into time to the 1950s and look at the decade’s small-scale manufacturing, you’d likely find companies that valued resources, hand-built products, viewed quality over consumerism, took simplified approaches to design, and supplied customers with a most precious commodity: time. Specifically, time to provide support, repair products new and old, and stage face-to-face consultations.

David Shaw’s UK-based Icon Audio follows such a manufacturing philosophy in 2011. Utilizing valves as a mainstay in its products, Shaw constructs products to last. “I’m not a keen environmentalist,” he says, “but I hate to see resources wasted where transformers, chassis, and the like are buried in land-fill. If they’re designed correctly in the first place, it’s economic to fix them. We like hardwiring in our design, which makes repair [easy].”

At heart, Shaw’s designs are socialist—hi-fi for the working classes, as it where. In fact, you could dress Shaw up in miner’s clothes polluted with coal dust or watch him emerge grease-caked from underneath a repaired car and find his deportment, speech, and manner genuinely believable. Primarily offering amplifiers as well as the odd CD and speaker product, Shaw designs luxury products for the rest of us. The approach has resulted in Icon Audio forging a reputation for providing outstanding sound quality at very reasonable prices.

“I realize that if someone has a family and other commitments, their disposable income is often limited. Yes, I’m here to make money, but I wanted to fill the space, providing products for them,” he claims.

The PS2, a moving-magnet phono amplifier, is one such product. Created as a simplified one-box version of the company’s two-box PS1 phono amp, it plugs a budget-model gap in Icon Audio’s lineup.

“We used a simplified power supply and a lot of jiggery pokery to try and get the transformer in there so if won’t cause too much of a problem with noise,” comments Shaw. “It uses the same circuits as the more expensive PS1. I used Mullard valves (ECC 803) or the American equivalent—the 12AX7.”

Valve Selection

Choosing valves is critical. They must be as sympathetic as possible with the typical RIAA curve found on a majority of vinyl albums in order to detract the focus away from pops, clicks, and surface noise. According to Shaw, valves also remove the distortion effects found within a typical solid-state phono amplifier that, when compared to a valve’s infinite margin, has limited signal headroom.

“These valves are also used in the PS1 phono amp,” adds Shaw, “and the power supply is designed sympathetically but simplified so the performance is not degraded to any extent. The construction is completely metal. I used to work in the plastics industry for a time and know that plastics degrade relatively quickly. So I use solid aluminium for the chassis and a solid-steel bottom.”

In keeping with Shaw’s design tenets, the chassis is suitably simple. Spanning 10.5” x 5.5” x 27.5” and weighing in at 5.5 pounds, the front provides a power switch and light indicator. The input/output phono sockets, ground connector, toggled earth lift (to reduce possible hum), and fixed power cable are found along the rear.

Sounding off

Spinning Mobile Fidelity’s edition of the Pixies’ “Where Is My Mind?” from Surfer Rosa, the PS2 exhibited a airy midrange and sparkling treble espoused by Frank Black’s often-cutting vocal delivery and Joey Santiago’s acerbic, soaring guitar wails. It all transpired within a beautifully constructed 3D soundstage.

Before I went any further with listening, I ran the PS2 alongside a solid-state phono amp in order to provide technological contrast. Enter the well-regarded A.N.T Kora (£325). One aspect immediately became apparent. The PS2’s gain was notably higher, by a factor of six or seven notches on my preamp. Even at low volumes, the Kora yielded a high degree of bass drive, with a slight midrange recess that contrasted with the PS2’s cleaner upper frequencies and slightly slimmer bass array. The PS2’s reduction of inherent distortion on LPs encouraged me to increase the volume, a decision that, in turn, enhanced vinyl’s musicality and brought forward more information. In addition, the Icon provided an enhanced instrumental separation that successfully improved clarity and boosted transparency.

Moving onto Kate Bush’s “Mrs Bartolozzi”, a challenging solo piano track fromAerial, told me even more. Despite the A.N.T.’s admirable detail retrieval efforts, the PS2 did a superior job conveying the emotions behind the words, adding consistency and weight, as well as showcasing greater depth and nuance. The PS2’s bass output lacks some depth but feels more truthful to the ear. In addition, when experienced through the PS2, bass possessed more body and structure. The piano danced around Bush with a rhythmic lucidity that dodged in and around her singing.

Contrasting the largely organic noises of the Pixies and Kate Bush came courtesy of the synth-based noodlings of electronica group Autechre’s Circhsuite. Putting the busy, cacophonous electronic output into an orchestral-like arrangement, the A.N.T displayed admirable clarity and enhanced bass. The PS2, however, offered more pizzazz, extra sparkle, and greater sense of life. Upper frequencies were extended, and the bass felt cleaner. Moreover, the PS2 ably separated the conglomeration of electronic noises into recognizable tones, enhancing the musical interaction.

Conclusion

Since the PS2 is stuffed into a single box, noise is slightly higher than that of a phono amp within a two-box configuration. But it’s not intrusive, and quality is maintained in both construction and sound that, for the price, is impressive. And the £450 cost is important: Users can now go valve without having to shell out for an outrageously expensive design that doubles as a piece of object d’art. The PS2 allows you to discover what all the fuss is about and realize just what a valve-based phono amp can do. – Paul Rigby

Icon Audio PS2

£450

www.iconaudio.co.uk

Peripherals

The good news is that a few hundred dollars grants you access to the analog world. But should you become truly obsessed, you’ll require a better analog front end. Not to worry. Competition is fierce in the $100-$300 phono preamplifier segment, with fewer great choices in the $500-$800 range. Moving to the $1,000-$2,000 plateau offers not only a huge performance jump, but one of the most intense product rivalries in the high end. If you can stretch to this section of the game board, you will be given much more than a get-out-of-jail-free card. To wit, the $1,895 AVID Pulsus. It’s designed, built, and tested at the company’s UK facility. Many other units in its price range come from China.

Matching a phonostage like the AVID Pulsus with a favorite turntable and cartridge for a sum total of a couple thousand dollars will yield a very formidable analog source. Better still, it allows many wallet-conscious listeners to steer clear of megabuck turntables. Such a setup offers more than enough resolution to enjoy the best LPs. Plus, you’re only one Internet forum post away from a healthy argument.

A compact two-box design, the Pulsus allows you to place the power supply about three feet away from the actual preamplifier chassis, thus eliminating noise concerns. Said power supply connects to the preamplifier via a shielded cable with an XLR connector. Unlike AVID’s Pulsare phonostage, which features balanced inputs and a balanced design, the Pulsus is single-ended. Designer Conrad Mas insists that the unit isn’t a “stripped-down Pulsare,” yet a comparison of both models reveals a remarkably similar tonal balance.

When listening to both side by side with smaller-scale acoustic music, the two AVID preamplifiers sounded far more alike than different. However, the Pulsare’s superiority is made evident on symphonic and heavy metal fare. Such traits will appeal to those wanting to “stay in the family.” Why? Should you decide to move up to the Pulsare at some point, you will be rewarded with more instead of different—just as you do with the full line of AVID turntables.

Setup

Underneath the chassis, the Pulsus offers a wide range of adjustment, with three gain settings: 48db for MM cartridges, 60db for MC, and an additional 70db setting as well.  Combined with the Pulsus’ ultra-low noise floor, even the low-output Dynavector 17D3 cartridge (.23mv output) had no trouble delivering. For MM users, the three available capacitance settings (100pf, 200pf and 500pf) should easily handle most combinations.

I began my listening with a suite of reasonably priced cartridges that included the Shure V15vxmr, Denon DL-103R, and Dynavector DV-20xl. All turned in great performances and, in conjunction with the Volvere SP/SME combination, sounded better than when in my budget setup consisting of the Rega P3-24 and Dynavector P75 mk. 2.  Feeling that the Pulsus was capable of more, I substituted the Sumiko Pearwood Celebration II MC cartridge ($2,499) and discovered the AVID still held its own. Thanks to a removable head shell on the SME309 arm, swapping the Pearwood for the Sumiko Palo Santos cartridge ($3,999) was as simple as opening a beer. The Pulsus still yielded enough resolution to tell the difference between the two cartridges, but distinctions were more easily discernable via the Pulsare. Such performance makes for a phono preamplifier with which you should be able to grow through several rounds of cartridge/turntable upgrades.

Please note: Both of the Sumiko cartridges were optimally loaded at 100 ohms with my ARC REF Phono, yet 2,300 ohms suited the Pulsus. As with any cartridge, experimentation always leads to the best results.

Listening

Unlike the Pulsare, which took a week of continuous play to fully blossom, the Pulsus required just 48 hours to come out of its shell. Only slightly congested upon first turn-on, it quickly became a great performer. And since it draws about 10 watts, leave the Pulsus on to maximize your analog experience.

Blondie’s Autoamerican came alive with both the AVID Volvere SP/SME 309 and Rega P9 turntables, each boasting an identical Sumiko Pearwood Celebration II cartridge. While Blondie’s 1980 set is fairly dense and somewhat compressed, marginal LPs can sometimes be more telling of a phono preamplifier’s capability than meticulously mastered audiophile pressings. In this case, “Rapture” extended more pace and depth than I’m used to experiencing with other similarly priced phonostages.

KISS’ Alive! is another LP with very limited dynamic contrast, but again, the Pulsus impressed. The highly processed drum solo during “100,000 Years” actually had life and dimension, effortlessly revealing the differences between the US and Japanese pressings—a revelation that confirms the Pulsus as a serious audiophile tool.

As expected, the Pulsus shined when playing pristine recordings. Classic Records’ remaster of Crosby, Stills and Nash’s self-titled debut had so much depth, it prompted one of my audiophile pals to look behind the equipment rack to be sure that the Volvere wasn’t plugged into the adjacent Audio Research PH6. “Are you sure it doesn’t have at least one tube inside?,” he repeatedly asked, inspired by the natural presentation. The PH6 is similar in the sense that it does not sound overly tubey. Akin to its more expensive Pulsare, AVID managed to create a solid-state phonostage that’s both resolving and quiet, and yet not at all harsh.

The Pulsus’ wide dynamic range is another welcome treat. Music Matters’ recent pressing of Sonny Rollins’ Newk’s Time pinned me back in the listening chair. As Rollins’ sax blasted from between the speakers, felt like I was the dude in the famous Maxell ad. With the turntable already in 45RPM mode, there was no reason not to blitz through my growing 12-inch maxi-single collection. Spread onto the whole side of an album, the Scorpions’ “Rock You Like a Hurricane” volunteered crushing guitars that convincingly approximated the live experience. In addition to verifying that there are many well-produced hip-hop tracks, Eazy-E’s “We Want Eazy” proved that the Pulsus indeed goes deep and advances a highly convincing bass groove.

Comparisons

The Pulsus holds its own amidst a sea of comparably priced products. The Lehman Black Cube SE, a previous favorite in the $1,500-$2,500 solid-state category, doesn’t claim the AVID’s bass grip or expansive soundstage. Another favorite, the EAR 324P, is almost the polar opposite of the AVID. Whereas the EAR puts a warm, romantic feel on everything—great if you have an overly forward-sounding cartridge/system—the AVID gives you what’s on the recording, with an excellent sense of pace that leaves the valve unit, by comparison, sounding slow.

On a related note, the Pulsus’ best aspect is its overall natural tonal balance, which makes it painless to integrate it into any system. By merely revealing the nature of the equipment to which it’s connected, it has neither a forward, etched character nor a warm, embellishing one.

The Verdict

The AVID Pulsus builds on the Pulsare’s success, offering high performance at a more accessible price, and combining neutral tonal balance with excellent resolution and a high degree of dynamic contrast without going so far as to become harsh. Moreover, its low noise floor and ease of adjustability put it at the top of its respective price class.

If you’d like to skip the pointless Internet banter and get down to the business of listening to records, head to your dealer and sample the Pulsus. I’m guessing you’ll take one home.  -Jeff Dorgay

Comparing my Burmester 011 preamplifier to the company’s new 088 preamplifier reminded me of two other German high-performance machines I’ve sampled: Audi’s 430hp eight-cylinder R8 and its new 525hp 10-cylinder model. Both cars are outstanding and from the outside, look virtually indistinguishable. Much as you want to convince yourself that 430hp is enough, all it takes is a quick spin around the block and suddenly, you can’t live without the extra performance. The Burmester 088 is equally exciting—the minute you hear it, your perception is similarly altered.

The 088 is the latest edition to Burmester’s Top Line of electronics. While the latter is one level beneath its Reference Line, everyone that doesn’t hold an American Express Black Card can safely consider it reference gear. The $28,995 088 arrives with either a DAC module or a phono preamplifier stage installed. Our review sample came fitted with the DAC, the very same upsampling module fitted to the Reference Line 077 preamplifier. Interestingly, when connected to my MacBook Pro, system settings in the control panel displayed “Burmester 077.”

At first glance, the 088 looks identical to the 011, with the input selector on the left and volume control on the right. The current preamplifier allows more set-up capabilities on the front panel, as well as switching between SPDIF and USB digital inputs. For listeners that don’t need an onboard DAC or phonostage, the 088 can be configured with an additional unbalanced (RCA) high-level input. At press time, pricing was not available for this configuration.

If you’ve never had the Burmester experience, know that the company’s products are electrically and mechanically built to an incredibly high standard. Front panels are machined to a “jewlers finish” and are of the finest quality we’ve ever experienced. Even when photos of Burmester’s metalwork get zoomed to 400% on a 30” Apple Cinema Display, it appears completely smooth. It’s like chrome-plated glass. If you are even the slightest bit obsessive compulsive, chances are you’ll be using the remote to keep the chrome free of fingerprints—even though it’s easy to clean.

Fortunately, the sound is as exquisite as the casework. The new 088 represents a significant step up from the 011 preamplifier it will replace. (For now, the 011 remains in the Burmester lineup but will disappear in the near future.) While the 088 incorporates a number of evolutionary changes, the biggest difference relates to the incorporation of Burmester’s latest X-Amp 2 gain modules. The latter are used in all of the Reference Line components, as well as the 100 Phono Preamplifier that we recently reviewed. Note: These modules are hand-built with matched discrete components throughout; no op amps are used in the amplification chain.

System Compatibilities

While older preamplifiers like the 011 boast a few unbalanced inputs and a pair of unbalanced variable outputs, the 088 is balanced throughout and utilizes XLR inputs and outputs. This may prove inconvenient for some. Unless you have a studio tape recorder, the tape outputs will require an XLR to RCA adaptor, easily sourced from your Burmester dealer.

The XLR pin out is also different on Burmester gear. Almost every other hi-fi manufacturer follows a standard formula in which pin number one is the ground (as it is in pro audio gear), pin two positive, and pin three negative. Burmester is just the opposite, with pin two being negative. If you mate Burmester gear with other manufacturers’ components, doing so requires a special XLR adaptor, custom cables, or switching your speaker leads from positive to negative to make up for the phase difference between components. Intuitively, the 088 has a phase switch on the front panel. So, when using the ARC REF 2 phono preamplifier, a flick of the switch achieved absolute phase throughout the system.

The 088 offers five balanced inputs and, for those wishing to integrate the 088 in a multichannel system, a surround pass through. A single set of variable level XLR outputs is the only shortcoming. Anyone with a powered subwoofer will have to resort to some kind of “Y” adaptor or purchase different speakers. Hopefully, this limitation will be remedied once a mark II version of the 088 becomes available.

Illusion Nears Closer to Reality

Having lived with the 011 preamplifier and 911 Mk.3 power amplifier for the past two years, the combination’s natural sound became burned into my memory. But after the 088 was powered up for two days and fully stabilized, the difference was immediately noticeable—and all for the better. From its entry-level Rondo Line up to the Reference Line, all Burmester gear has a similar tonality. Still, a higher level of performance exists in four specific areas: increased dynamics, added bass weight, lower noise floor, and greater overall resolution.

With the 088 as quiet—if not more so—as the 011, the unit’s increased dynamic impact revealed itself on “Take It So Hard,” the first track off Keith Richards and the X-Pensive Winos’ Live at the Hollywood Palladium. Decidedly not a record with an audiophile pedigree, the drums are nevertheless miked incredibly well, something I noticed on a recent jaunt in editor Bob Gendron’s car. I also forgot how much fun this record can be. Through the 088, the drums exploded out of my speakers. By comparison, they were noticeably more subdued when I returned to the 011.

Bass detail also stood out from the 011, with the 088 claiming more weight and control. Rock, jazz, and classical music all equally benefited. After queuing up Kanye West’s recent My Twisted Dark Fantasy, the title track’s beats went straight to the gut in a way they never did before. On first listen, even with the 011, West’s album felt fairly dense. Yet the 088 unraveled the layers of texture with fantastic results. This upshot remained consistent with everything auditioned. Moderately dense and compressed recordings sounded more open than I could’ve imagined, and great recordings became sublime.

In projecting an expansive soundstage well beyond the boundaries of the GamuT S9s, the 088 helped the six-foot-tall speakers disappear, as if they were a pair of mini monitors. With such depth, there’s just no need for surround sound! And honestly, there’s no need for vacuum tubes, either.

Burmester’s new preamplifier throws a larger soundstage in all dimensions than any tube preamplifier I’ve tried. If you want enormous, reach-out-and-touch-it sound and do not want to worry about hand-matching expensive NOS tubes, the 088 will painlessly take you there. After living with the 088, it’s tough to believe that it’s “only” Burmester’s Top Line preamplifier, as yet another level of greatness is available in its Reference Line.  (However, moving up requires spending more than double the cost of the 088.)

Resolving low-level detail and texture constitute the most interesting aspects of the 088’s incredible performance. A few of my favorite vocal records instantly brought such traits home. Regardless of playback volume, my system achieved a new level of overall clarity. Digital now sounded almost as grain-free as analog did with the 011. And the analog presentation? Delicious. Spinning Mobile Fidelity’s reissue of Frank Sinatra’s Nice ‘N’ Easy clearly illustrated the 088’s marvelous capability, as it not only succinctly defined the room size, but perfectly reproduced the illusion of height—putting Sinatra front and center with his voice where it would be if he were standing eight feet from my listening position. Such an accomplishment is rarely be achieved when playing music back through electronics, yet the 088/911 combination achieved it with ease.

I’ve never heard Sinatra live, but I have had the privilege of hearing the Fleet Foxes up close and personal. On the 088, the group’s “Tiger Mountain Peasant Song” possessed sizeable body and depth. At this point, the illusion neared much closer to reality. Even after full-day listening sessions, the 088 never ceased to amaze, especially with records often as test tracks, regardless of resolution. Even Rhapsody tracks were more palatable to the senses.

A Capable DAC

The 088’s internal DAC is an upsampling 24 bit/192khz design that upsamples all incoming data to 24/192. While some may shy away from this approach on principal, Burmester’s implementation is one of the most transparent I’ve experienced.

Feeding the DAC section with both the Sooloos via SPDIF and a current iMac running Pure Music nearly finished in a dead heat, with a slight nod to the SPDIF input in terms of overall musicality with 16 bit/44.1khz tracks. When I switched to high-resolution files, the USB input fared better.

The Simaudio 750D ($12,000) and Burmester 089 ($28,995), along with the four-box dCS Paganini ($55,900), offered higher performance than the onboard DAC. Nonetheless, the 088’s digital capabilities should be a great addition for anyone getting started with computer audio. It provides performance that’s on par with the best DACs I’ve heard in the $4,000 – $5,000 range. (And remember, there’s no power cord or interconnects to buy.) It could also prove excellent for vinyl listeners that only occasionally listen to digital. Those that listen to analog and digital with equal enthusiasm will be best served with an outboard albeit higher-performance DAC; Burmester’s 089 is the obvious choice.

A Destination, Not a Journey

While the Burmester 088 preamplifier costs nearly a third more than the 011, the model it’s replacing, the unit is definitely worth the price. Sure, $30k is a healthy sum to pay for a single component, but this is a hand-built, high-performance preamplifier with performance equaled by few preamplifiers at any price.

Because it’s massively overbuilt, the 088 should be a destination that you will never leave. To those always in the hunt for the latest thing, be forewarned: Refrain from trading it in before you’ve really had the chance to realize what the 088 can do. Should you be a music lover that wants to cease the tiring practice of upgrading and simply enjoy nirvana for a very long time, the 088 has the potential to become a family heirloom.

Burmester 088 Preamplifier

MSRP: $28,995

www.burmester.de (factory)

www.burmester-northamerica.com (US and Canada)

Peripherals

While I found singer Hiromi Kanda’s last release, Hiromi in Love, quite charming, her new record offers more of the same—and that’s not necessarily a plus. Think Hello Kitty meets Diana Krall, but without the sparkles. The album credits reveal that Al Schmitt (the engineer on Krall’s early albums) to be present, as well as a 50-piece orchestra. Another household name, Bernie Grundman, turns in an exemplary performance as mastering engineer. And while it doesn’t possess the LP’s last bit of vocal warmth, the CD comes very close, indicating the amount of care given the entire project.

Some might think Kanda’s vocal tone polarizing, but her level of craftsmanship remains indisputable; she is a perfectionist. Having taken four months to produce at Capitol Records, the record is squeaky clean—albeit too clean. But those simply looking for great sound will be pleased; no fault can be had with the recording. This is a sonic spectacular that “deep listening” audiophiles will enjoy when the lights are down low.

Alas, due to the pedestrian arrangements and safe approaches, no musical boundaries are pushed, no borders crossed. Kanda includes three original compositions and utilizes legendary keyboardist Joe Sample to good advantage. Still, the songs unfurl to a monotonous sleepy tempo that seemingly repeats itself on every track.

As one who is bored beyond belief with the vocal grifters of the “Great American Songbook,” I’d love to see what Kanda could do with truly interesting material; she’s definitely got the chops. But I’m of the mind that if you want a Harley, you should buy a Harley and not a Yamaha Gold Wing. Days of Yesterday falls short in a similar way. In the end, if you’d like another sultry female vocalist to add to your stack of scrumptious recordings, Kanda nicely slips in between Diana Krall and Eva Cassidy. Me? I want the real thing and will take Ella any day.

Music Gate, LP and CD

Ala Spinal Tap, the two-word review for this record would be “shit sandwich.” To elaborate a bit further, this two-record set pressed on green vinyl and encased in a beautifully printed cardboard sleeve to keep pace with the best remasters disappoints the second you lower the stylus onto the wax.

The first two sides feature the original 1977 album; the live tracks from the 2008 remaster are on sides three and four. Flat and compressed with a harsh, crunchy high end, this version sounds no better than the 128kb Rhapsody file on my iPhone. A $5 US pressing of this blows the Back on Black edition—currently (over)priced at $38—out of the water.

This is truly a crime against metal. Avoid at all costs.

Back on Black, 2LP

Mosaic’s latest unburied treasure compiles mono recordings produced on the Clef, Norgran, and Verve labels during one of the lowest points in the career of legendary saxophone player Stan Getz, who, at time, was battling heroin addiction and assorted personal problems. Such circumstances made it tough for the jazz icon to land a major recording contract. Indeed, if Getz’s story were written today, it might read that he was “in-between projects.” A quick Google search fills in the gaps on Getz’s career, yet Ashley Kahn’s liner notes offer an even better history lesson.

Independent of how small or large the label for which it was made, the music from the seven albums that comprise this collection should be savored. Even if they can be located, the original LPs command a premium price and are often of questionable quality. Yes, the fare can also be had on CD, but be forewarned: Verve/Hip-O all but squashed the life out of them. Even the most modest analog rig will bring these tunes to life in a manner that’s impossible on the existing CDs.

Mastering engineer Kevin Gray took great care with this set, sourced from the original full-track mono masters. (Well, all save for an alternate take of “Pot Luck” transferred from an original 78.) As with all of the Mosaic titles we’ve sampled, the sound is spectacular. Gray preserves the musical delicacy, and it does not feel like the EQ has been goosed or other alterations made.

Because these records have been cut on a modern lathe, you will not need a mono cartridge to take full advantage of the rich, warm sound presented on these grooves. It’s easy to see why Getz got the nickname “The Sound.” The soundscape feels as if comes through in stereo, as the best mono material always does.

A slight bit of tape hiss exists in the quietest part of some tracks, but everything else is exceptional. How so? These records do not feel “remastered” in the classic sense. Rather, they sound as if you had uncovered a pristine set in a hermetically sealed, temperature-controlled environment.

Mosaic Records, 180g 4LP box set

Staff writer Andy Downing wrote an insightful review of this, Bon Iver’s recent album, in Issue 38. But since he was then only in possession of the advance CD, he was unable to comment on the LP’s sound quality.

Greg Calbi at Sterling is at the helm here, and does an acceptable job but no more. The pressing is quiet, though, which adds to the music’s ethereal feel. Where the CD is slightly flat in terms of soundstage, the LP has more width and a modest helping of depth. But where Justin Vernon’s wispy voice resides on the same plane as the music in the digital version, he’s relegated to the rear of the stage on vinyl. Similarly, the low-level keyboard bits have more room to float, yet the more prominent keyboard riffs now sound more like mellotrons—ironic given that the liner notes specifically say, “No mellotrons were used in this recording.”

So something is gained, and something is lost on the LP version. Also note: The additional warmth gained from going to analog may prove too much for anyone having a system with a tonal balance skewed to the romantic side.

Jagjaguwar, LP

The first two albums from QMS are considered by many devoted fans and critics to be from the “classic period” before the original lineup underwent a series of changes. The reputation is deserved.

TONE staff collector Tom Caselli, always on the alert for additional clean copies of these LPs, notes that early stamper originals are “tough to find that aren’t beat. These were the ultimate party records back in the 60s.” If you can find them, early stamper black label Capitol LP’s are the ones you want. Clean copies fetch about $100 each. UK import pressings can go for twice that amount, and it remains open for debate about whether they sound any better than US versions.

Compared to the later-version Capitol LPs, Pure Pleasure’s reissues sound fantastic and reveal layered sound, not unlike my favorite Dead albums. The sound instantly brings back a 60s jam band vibe, and both records offer tremendous depth and guitar texture.  What the albums lack in modern studio trickery, they make up for in spades with soulful performance. The self-titled set possesses a soundstage with more depth than width, with only an occasional drumstick hitting the rim of a snare on the far right or left to remind you that this is, in fact, a stereo recording. Hearing “The Fool” restored to its former glory is worth the price alone.

While barely a year separate the S/T record and Happy Trails, the latter possesses a much bigger and cleaner sound. The sound spreads well beyond the speaker boundaries, and guitars occupy not only a larger space but enjoy greater prominence on the recording. Happy Trails also has stronger dynamic contrast than the first, with instruments convincingly fading into the distance, and much greater low-level detail, revealing more nuances in the guitar playing.

Pure Pleasure has more QMS titles on the way. For now, this pair makes for an excellent addition to any psychedelic collection.

Pure Pleasure, LP

As she’s done throughout her career, Madeleine Peyroux continues to evolve on her fifth solo effort. Her songwriting has become more sophisticated and choice of covers more intelligent—perhaps even quirky—but it works well. Earlier this summer, a message on her Web site promised a “more roots oriented record,” and Standing on the Rooftop follows up on the pledge.

It starts with a slow, sparse rendition of the Beatles’ “Martha My Dear” that fortunately doesn’t set the vocal tone for the rest of the record. On the song, Peyroux stretches a bit too far, her voice straining to hit and hold the high notes. The next track, “The Kind You Can’t Afford,” picks up on a tempo that’s similar to that of the singer’s from Careless Love. But there’s a much funkier thing going on, thanks to virtuoso guitarist Mark Ribot and bassist Meshell Ndegeocello. As she lazily raps to a male friend, Peyroux jokes about him “cruising in a Mercedes” while she’s “broke down in a Ford.” (Speaking of disparity: It’s too bad Peyroux doesn’t give her poor friends that bought the $30 LP an included CD or download of the album.)

The remainder of the set dramatically slows down, as it’s rich with environmental texture and big, muddy drum beats with slow attack. While Ribot does not play guitar throughout, his influence is everywhere, as it adds a tonal complexity that feels like a soundtrack to a film that takes place in a rainy, desolate location. In the same way that you have to pay close attention to someone speaking softly in a room, the listener is forced to sidle up closely to the music. And we’ learn that we’re suddenly a long way from Careless Love. There are a few light spots, but this is a primarily dark ride.

Mastered by Greg Calbi at Sterling Sound, the two-LP, 33RPM set offers sound on par with Peyroux’s last two Mobile Fidelity LPs. Surfaces are exceptionally quiet, complementing her voice perfectly and allowing Ribot’s reverb-laden guitar to stretch out to infinity. Ndegeocello’s bass is full of rich overtones that perfectly translate, and infrequent bursts of percussion emerge across a very wide soundstage. Props to Peyroux for again taking an enthralling detour from a path she’s already traveled.

Decca, 2LP

Many of my non-audiophile friends would love to have a great music system, but often ask the same question: “Do I really need that rack full of components?” With the Bel Canto C5i DAC Integrated Amplifier  you don’t. For those who want a serious hi-fi system with a diminutive footprint, the C5i is the perfect place to begin. Add speakers, a source, and you are ready to rock.

At $1,895 the C5i includes a 60-watt-per-channel class-D power amplifier, 24/192 DAC, MM phonostage, and a respectable headphone amplifier.  Bel Canto skips the preamplifier stage, driving the amp directly from  the DAC section, utilizing their 24-bit digital level control.  Designer John Stronczer likes to point out that their approach leaves “no stinky pots to wear out.”  The MM and line level inputs go through a 24/192 ADC into the DAC section, eliminating the traditional line level preamplifier function entirely. And it’s all neatly tucked into a box the size of a Stephen King novel. Thanks to the class -D amplifier, the C5i only draws about 13 watts from the outlet, so your carbon footprint won’t be taxed.

Fortunately 60wpc is also enough juice to entertain a wide range of speaker possibilities  Most of my listening sessions took place with the new Dali F5 speakers with 88db sensitivity. Yet the C5i had no trouble when mated with the 83db Harbeth P3ESRs – perhaps due to the fact that it doubles its rated power into 4 ohms and can deliver up to 30 amps of peak current.

A Plethora of Inputs

Along with losing the stack of gear and pile of cables required by a more traditional setup, you need just one interconnect pair to operate a system based on the C5i—another plus. With the C5i, your computer or laptop is only a USB cable away from becoming a first-class digital front end. In addition to the USB port, the unit boasts a pair of RCA SPDIF inputs as well as a pair of TOSLINK optical inputs. You can connect a cable TV box, game console, or whatever other digital device suits your fancy, turning the C5i into a media hub. The USB port offers digital playback up to 24/96, while the SPDIF and Toslink ports take full advantage of the DAC’s 24/192 capabilities.

In addition to the MM phono input with standard 47k ohm loading, a high-level analog input is available should you add another phonostage or perhaps, a tuner – like Bel Canto’s FM1. Using the phonostage with a handful of MM cartridges delivered excellent results. The Shure V15mvxr, Rega Exact, and Clearaudio Maestro Wood all worked well with the on-board phono, and I was also happy with the sound of my recent LP-12/V15 combo. Quiet, dynamic and musical, the on-board phonostage is equal to if not better than any of the sub-$300 external phonostages I’ve experienced.

The Rega RP1/Ortofon OM5e also effortlessly pairs with the C5i. Listening to a handful of budget 70s rock records revealed enough midrange warmth and depth to feel the analog love. Bottom line: If you don’t already have a turntable, the C5i makes adding analog to your system a painless process. True analog fanatics will want more performance, but they aren’t the model’s target audience.

Love digital? So does the C5i. High-resolution and 16/44.1 files via a Mac Mini, Sooloos Control 15, and MSB Universal Transport transmitted without a hiccup. When you push play and the music begins, the sampling rate blinks on the C5i’s main display.  Since most of my high-res collection is at 24/96 I didn’t audition any 24/192 material.

The C5i’s DAC performance also impressed by holding its own with a number of competitors in the $500-$1,000 category. Listening to my fair share of the BBC’s Bax: The Symphonies box set, I couldn’t help but notice the DAC’s level of tonal purity and separation, even on 16/44.1 recordings. Should these options seem like too much work, the C5i works great with an iPod. Plugging in a little 4GB iPod Nano yields fab results, especially with Apple lossless files.

Serious Authority

A prominent sonic wallop is likely the first thing you’ll notice when firing up the C5i. Bass is particularly well controlled, as is transient attack. The California Guitar Trio’s “Led Foot” demonstrates the C5i’s ability to maintain pace while simultaneously keeping separate and clean the three distinct guitar voices. California Guitar Trio records contain a wealth of musical information in a small space, an acoustic that most moderately priced integrated models fail at recreating.

Bill Bruford’s Earthworks lies at the opposite end of the sound spectrum. A skilled drummer that never hesitates to maximize his kit, Bruford provides a great torture test. The C5i has no problem keeping the cymbals in their own distinct space as the percussionist takes flight on several rapidly paced solos.

Comparing the C5i to the much larger REF500M monoblocks reveals a close resemblance at less-than-earthquake levels, and for good reason: The C5i uses the same power modules, albeit in stereo rather than in a bridged mono configuration. Again, Bel Canto doesn’t sacrifice sound quality at a lower power level, making the C5i an even more attractive proposition regardless of where you sit in the audiophile pecking order. And diversity abounds.

The high-level outputs give it even more versatility for listeners that desire a satellite/subwoofer system. Users that either don’t want or can’t get speakers right now should think of the C5i as a wonderful headphone amp that happens to have a great DAC and phonostage. It adequately drove the new Grado PS500, Audeze LCD2, AKG 701, and Sennheiser 650 headphones. Yes, you can drop another $500-$1,000 on an outboard headphone amp, but this one works well and is miles beyond any pod or tablet.

New Balance

As much fun as it is to listen to the C5i, its seamless integration into any environment means there’s no reason not to have a great hi-fi in your house. You don’t need a pile of gear, massive loom of cables, or gaggle of remote controls. If you’d like to build a system a few marks above the budget level, the C5i awaits your discovery. It combines both functionality and performance in a compact package, underscoring the fact that you don’t need to spend a small fortune to get good sound. More, please.

www.belcantodesign.com

The NAD 3020 integrated amplifier was a marvel in its day. While rated at only 20 watts per channel, it boasted a beefy power supply and fair amount of headroom, giving it the ability to drive a wide range of speakers. It also included a bevy of features, not the least of which was a high-quality MM phono preamplifier and “soft clipping” circuit that prevented more than a few tweeters from ruin. All this audio goodness came wrapped in a stark, olive green-tinted black case for just $219.

The C316 BEE power is rated at twice that of the 3020 and claims NAD’s latest PowerDrive circuitry from the company’s flagship amplifiers. Tone controls now offer the option to be entirely switched out of the circuit, and an 1/8” jack on the front panel accommodates the high-level output of a portable music player.

As one of many audiophiles with fond memories of the NAD 3020 (an original, not the later A or B version), I had tons of fun bringing one back into the studio for a serious listening session. Mark Stone and the folks at NAD North America gave the 3020 seen in this issue’s Old School section a complete checkup, verifying that it still more than meets its original design specs. Our test sample exceeded the stated 20wpc at 8 ohms rating by a healthy margin, producing 29 wpc at rated distortion. (Steve Guttenberg lends further insights on page 19.)

Still, while the 3020 is a stout amplifier on the bench and in the listening room, time has come to move on to the entry-level NAD integrated. The new model’s form factor remains similar, albeit slightly slimmer. The LEDs follow modern fashion and are blue instead of the red popular in the late 70s. A remote is included in the box. And, adjusted for inflation, the $329 C316 BEE makes for an even monetary better value than the 3020 in the early 80s.

Better Than I Remember

It’s always easy to wax poetic about the past, deluding oneself into thinking that things were better back in the old days. While the 3020’s power meter was constantly pegged driving my Acoustat 2+2’s during the early 80s, it barely broke a sweat powering my current Verity Audio Rienzes, which present a much more benign load. At modest listening levels, neither amplifier caved, but the difference in sound between the two units proved dramatic—and in favor of the old.

Teamed with the Rienze floorstanding speakers and a dCS Paganini stack, and cabled with a full complement of Cardas Clear, the demonstration epitomized what I’ll call audio-foolery. Who in their right mind would mate a couple of $300 integrated amplifiers with $100k worth of ancillaries? Guilty as charged, but the results were telling.

Differences between old and new models are unmistakable. The current amplifier possesses more extension at the upper end of the spectrum, but the vintage unit wins in every other category. The 3020 enjoys a more vivid, almost tube-like midrange, and takes control of the Rienze’s woofers with more authority.

While the C316 BEE is a great little amplifier, the 3020 is a serious piece of audiophile kit.  When listening to Thomas Dolby’s “My Brain is Like a Sieve” from Aliens Ate My Buick, the electronic effects have an almost buoyant feel, wafting back and forth across the soundstage. Yet they stay in a single plain when experienced via the C316 BEE. The wet and expansive echo in Tim Curry’s voice on the title track of Simplicity has depth on the 3020, but none on the new amplifier. The most explicit revelation occurred during the intro of Keith Emerson’s “Ignition” from his recent Keith Emerson Band. Where the 3020 reproduces the low organ notes, all is silence when played through the C316 BEE.

A similar verdict is reached listening to Tone Loc’s “Funky Cold Medina.” The C316 BEE just doesn’t have the grunt. The final nail in the coffin came courtesy of the acoustic guitar intro to Tracy Chapman’s “Fast Car.” A tonal richness exists with the 3020 that fools you into thinking a much more expensive amplifier is behind the scenes. No wonder the audiophile press labeled this amplifier a “giant killer.” At modest volume, it more than held its own with the industry’s best when introduced in the early 80s.

When swapping my aforementioned setup for an iPad, Aperion Intimus 5 bookshelf speakers ($599/pair), and Radio Shack capable, the differences between the two amps practically disappeared. But that’s what makes the 3020 so cool: You can hook it up to a pair of $11,000 speakers and be impressed. While the C316 BEE may not ultimately appeal to audiophile sensibilities (and let’s face it, what $329 integrated amplifier does today?), it makes for a great graduation present for a music-loving teenager about to head off to college.

Progress Worth the Price

Don’t get me wrong: The NAD C316 BEE represents very good value and performance for the price. Like its predecessor, it serves as a great cornerstone for a budget hi-fi system. If mated with a decent pair of $250-$600 speakers, it’s sure to impress the uninitiated. And if you’ve never experienced a 3020 in great shape, you’ll probably be bowled over by the C316 BEE.

The idea of a brand-spanking new amplifier with no scratches or fingerprints, as well as a warranty, will likely appeal to 99.9% of listeners that would rather not take the chance of getting an abused relic. 3020s usually got passed on from friend to friend, creating a lot of audiophile goodwill. But more often than not, they gathered numerous abrasions in the process. However, if you do happen to stumble across a mint 3020, buy it.

Removing the cover of the C316 BEE reveals a tidy layout that’s a model of simplicity, with a large toroidal transformer and beefy heat sink for the power amplifier’s output stage. By comparison, the 3020 looks like someone emptied a colander of pasta on the circuit board. And the C316 BEE does have a remote, so progress isn’t all bad.

Besides, the NAD C316 BEE offers everything you need around which to build a great budget hi-fi system. It sounds good, fits nearly anywhere, and offers much better sound than what local big-box bandits sell for the same amount of money. Will it shift millions of units like its predecessor, and end up in dorm rooms everywhere? We can only hope.

www.nadelectronics.com

Digital audio doesn’t have a sound, per se. What we describe as digital sound is the sound of analog-to-digital and digital-to-analog conversions. There’s not much we can do about the A-to-Ds used when music you love is recorded, mixed, or mastered, but as for the D-to-A conversions, the MSB Technology Platinum Data CD IV Transport and Platinum Signature DAC IV sound as good as digital gets.

Many analog lovers are certain that vinyl is more musical while digital devotees claim the zeroes and ones approach is by-the-numbers accurate. Vinyl’s sins are mostly additive: analog has higher levels of distortion, speed variability, and noise issues, but digital somehow loses the juicy richness we associate with the sound of the proverbial real thing. Each camp stakes its claim of sonic superiority and often dismisses the opposite side’s formats as non-musical garbage, and I swear the name-calling has been going on since analog was first converted to digital. That’s not to say there aren’t audiophiles that straddle the analog/digital gap. I include myself in that group.

MSB’s Technology Platinum Data CD IV Transport and Platinum Signature DAC IV narrow the analog-digital divide, and again remind me of the source’s role in determining the sound of my hi-fi. It really comes down to this: If musical information is “lost” at the source, it can’t ever be regained with better amps or speakers. The old garbage-in, garbage-out credo still stands, and improvements made at the beginning of the chain—the source—are huge.

Being Discrete

The $3,995 Platinum Data CD IV Transport and $17,489 Platinum Signature DAC IV are available in Matte White (a.k.a. silver) or Satin Black; heat sinks on the chassis sides come in silver, black, or blue. The DAC offers an extensive (and at times, bewildering) range of set-up options. Input switching modes, digital filters, and dither options via the remote. The US-made DAC IV is discrete. It doesn’t utilize Burr-Brown or any off-the-shelf chips to convert digital-to-analog, and that’s a really big deal. MSB rolls its own ultra-high resolution, up to 384-kHz/32-bit DAC modules in-house, achieved straight through with no complicated side operations. The DACs use high-precision aerospace grade resistors, specifically selected and matched for use in the Signature DAC. The modules can be upgraded down the road, so a Platinum can become a Signature and a Signaure can become a Diamond.  The front end of the DAC IV series uses the largest  blank SHARC chipsets available containing four digital filters, input receivers and two upsampler  algorithms  all written in-house. It was designed to be field upgradable with firmware downloads for new digital filters, future formats and many other  pre-conversion functions.  Analog and digital sections are completely isolated from each other.

You can configure your Platinum Signature DAC IV with a range of options, including the Signature volume attenuator for $2,295; the Signature USB 2 384 kHz board for $1,395; a remote control power on/off feature for $485; a second analog input for $995; and an integrated iLink (iPod dock) for $1,995.

After inserting a disc, the Transport starts reading and rereading the disc and puts the data in a memory, like a computer-disc transport would. MSB engineers listened to and tested dozens of drives before selecting the one employed in the Data CD IV. This drive performs just one function—it reads the data from the disc and the Data CD IV’s custom-designed electronics control the drive. This approach is what separates its performance from other transports. Jitter is reduced to the point that MSB had to develop its own measurement system to more accurately monitor the readings.

The Transport requires an outboard 12-volt power supply, and MSB offers two options: a small desktop supply ($595) or a MSB Platinum Power Base that comes with a MSB Platinum DAC. The Data CD IV’s performance is the same with either power supply. The Transport has AES-EBU, RCA coaxial, Toslink optical, and MSB’s proprietary Network digital outputs.

The DAC claims the same connectivity options as inputs, plus a 75-ohm BNC digital input an XLR or RCA analog input that passes through the purist volume attenuator, as well as RCA and XLR analog outputs.  Perhaps the highest resolution is available via MSB’s new Pro I2S MSB-Network connection, featuring ground isolation, higher bandwidth and markedly lower jitter.

Visually, the Data CD IV Transport and DAC IV are much prettier than any previous MSB Tech components I’ve seen. The deeply rounded front fascia and low-slung chassis are flanked by gently curved heat sinks. The underside of the chassis’ four corners are stocked with brass pointed feet, and the corresponding top corners are fitted with inserts to accept a stacked MSB component’s pointed feet.

Physically, the Data CD IV feels nice and solid, but the generic plastic disc-loading tray and tiny transport control buttons seem out of place on gear that pushes the state of the art. Granted, they don’t make a whit of difference to the sound, but I’d love to see a machined metal tray for this kind of money. The tray is the primary point of contact with the Transport, and it breaks the high-end spell. The Transport and DAC are also each shipped with a lightweight aluminum-faced remote control. Again, they’re nothing fancy, but the remote works well, and I prefer it to the massive devices that come with some high-end components.

Who Needs Surround?

I’ll quickly concede that higher-than-CD-resolution digital gets closer to analog’s musical nature, but there’s precious little new music coming out on Blu-ray, SACD, DVD-A, or high-resolution download these days. By far, the CD is still the best-sounding widely distributed digital format. I own around 3,000 CDs and buy on average two per week, and I want to hear them at their best. Presto: The MSB components made the little silver discs sound better than ever. So much so I didn’t shed a tear when I discovered the Platinum Data CD IV Transport doesn’t play SACD or DVD-A discs, but spins DVD-ROMs encoded with WAV files with up to 384 kHz sampling rates with 32-bit resolution. If you possess a large SACD/DVD-A collection, check out MSB’s $3,995 Universal Media Transport. (review in process)

Before starting a review of digital gear, I like to exclusively listen to LPs for a few days. The process clears my head. The MSBs acquitted themselves well during the first few plays—not so much that they sounded analog-like, but sounded good. Really good. As I played a stack of CDs, the MSBs connected the dots better than most digital gear I’ve heard.

I spent some time running the Platinum Signature DAC IV straight into my Pass Labs XA100.5 amps, and controlling the volume from the DAC. Sure, this approach is possible with some other DACs, but I’ve never actually preferred this method to using a preamp between DAC and amp. It makes a lot of sense to eliminate the preamp, but too often, dynamics go south and the sound loses too much of its essential mojo. Not this time. Straight-in, the DAC was a smidge more transparent, soundstaging more open, and focus better. Dynamics were better straight-in than with my Parasound JC-2 preamp in the chain. If you don’t have a lot of other analog sources (the DAC can be configured with up to two RCA and XLR analog inputs), you might want to forgo a preamp altogether.  For those already possessing a high quality linestage, the purist attenuator can be switched out completely.

While listening to 176.4 kHz/24-bit hi-res music from Reference Recordings’ HRx Sampler 2011 DVD-ROM disc, the sound was nothing less than astounding. To my ears, high resolution gets you closer to being in the venue as you hear more low-level atmospherics. The illusion of being in a concert hall ranks ahead of what I’ve heard from SACD or DVD-A surround discs. The soundstage on the Reference disc may be strictly two-channel, but it’s so huge, I felt no loss of surround. Uninhibited large-scale dynamics, like the big bass drum that opens Walton’s Crown Imperial finale, just about knocked me over and had me reassessing my Magnepan 3.7 speakers’ dynamic capabilities.

The small- and large-scale dynamics on the disc’s solo piano tracks were, again, the most lifelike I’ve heard at home. The studio-recorded jazz tracks’ more intimate soundstage perspective added a degree of presence that made returning to CD an unpleasant option. So I popped in a 96-kHz/24 DVD-ROM of Paul Simon’s recent So Beautiful or So What album. It’s not an audiophile recording and, compared to the Reference Recordings’ discs, it’s dynamically compressed and processed-sounding. But it’s not bad. It’s also Simon’s best effort in years, and the lovely acoustic guitar picking on the instrumental “Amulet” is awfully pretty.

The MSBs let me hear more low-level (quiet) sounds in my CDs. Reverb, whether natural or added in the mix, seemed newly apparent in recordings I’d heard hundreds of times. It’s always been there, but no digital playback system I’ve had at home boasted the resolution to reveal it. Having worked on a number of Chesky Records sessions, including dozens recorded at St. Peter’s Episcopal Church in NYC, I can state for certain that the MSB Transport and DAC resurrected more of the 173-year-old building’s sound than I’ve ever heard from the CDs, SACDs, or DVD-As). The CDs never came close to this level of resolution. And, as you hear more deeply into a recording, soundstage focus and dimensionality are also enhanced.

Reconsidering the Analog-Digital Divide

In the great analog-digital divide, for me, engagement remains analog’s key advantage. I feel more connected and involved with music when listening to analog. And yet, the MSBs are distinctly more analog-like on these emotional fronts. Rhythm and pace are better than what I’ve come to expect. Imaging is another key strength: Instruments and voices project sound—if not in a complete 360-degree, omni-directional pattern, then something close to that experience. Of course, it’s rare to reproduce a combination of direct and reflected sound over a hi-fi system. The fact is that information isn’t found on most close mic’d recordings; the “space” is an effect added in the mix.

You’re much more likely to hear these details with so-called audiophile recordings since they take place in acoustically interesting places as opposed to acoustically dead studios. Howard Levy & Miroslav’s The Old Country CD on MA recordings equated to a full-blown, virtual-reality experience. Engineer Todd Garfinkel records with a pair of B&K mics placed above the musicians. Via the MSBs, his mic technique was crystal clear, the spatial relationships between musicians perfectly rendered. No other digital playback gear came close to revealing this kind of accuracy, including my long-standing reference, the Ayre C-5xe mp SACD/DVD-A player. The latter remains a great machine, but blurs the instruments’ outlines and flattens the soundstage. The MSB duo is a much sharper “lens.”

So it came as something of a shock when the MSB worked its magic on less-than-stellar recordings like Trio Beyond’s live Saudades CD. I’ve always enjoyed Jack DeJohnette, Larry Goldings, and John Scofield’s music, but it’s zippy, fuzzy, and nasty-sounding. Yet the MSB somehow toned down the negatives. My Japanese pressing of Jethro Tull’s Bursting Out is another live recording that was previously too aggressively bright and thin to really enjoy, and yet the MSBs fleshed out the sound. That’s good news, because hearing 1978-era Tull blast through “Cross-Eyed Mary,” “Aqualung,” and “Thick as a Brick” is freaking awesome.

Admittedly, the MSB Technology Platinum Data CD IV Transport and Platinum Signature DAC IV are expensive, but the best stuff almost always costs. Then again, the components are also about as future-proof as digital gets, so it’s the sort of digital gear in which you can invest for the long haul. The analog-digital divide has never been smaller.

MSB Technology Data CD IV Transport

MSRP: $3,995

MSB Signature DAC IV with Signature Power Base

MSRP: $17,489

http://www.msbtech.com

Peripherals

Computer audio has grown exponentially in the last few years, its orbit quickly accelerating over the past 18 months. Since they provide many ways to serve CD and high-res digital files, DACs have become the center of this universe. Once headed towards extinction, they’ve become a primary component in many systems, vinyl-centric or not.

An abundance of sub-$1,000 DACs currently exists, similar to the plethora of turntables in the same price range. But, just like in the analog world, if you want cutting-edge sound, there’s a price to be paid. While some argue that with so much evolution, the $11,495 price on the dCS Debussy is a bit much, I beg to differ.

Again, using analog as the benchmark, things become spellbinding as you hover around the $10-$15k mark. It’s where the distinction between the digital and analog worlds blurs—especially for those building a serious collection of high-resolution music files.  Even five years ago, there wasn’t much digital available at any price that sounded natural. Technology trickle-down is solid, albeit not at a level at which every audiophile can participate.

As a four-box dCS Paganini owner, to me the Debussy seems like a bargain, especially if you no longer spin silver discs. And even more so if you haven’t any need for an analog front end and use the Debussy as a control center, eschewing a line-level preamplifier. A prodigious system can be built around the Debussy, a pair of $10,000 speakers, and suitable power amplifier, which is precisely what I did.

The Debussy spent half of its evaluation in my reference system in direct comparison to the Paganini (with and without the Paganini Master Clock) to explore the ultimate limits of its performance. The other half of the review involved the Verity Audio Rienzi speakers ($10k/pair) and Conrad Johnson MV-50C1 power amplifier. Adding a pair of Cardas Clear Light interconnects, speaker cables, two Shunyata Venom 3 power cords, and a Running Springs Elgar power conditioner made for a highly impressive system that came in just under $25k.

Ins and Outs

The Debussy boasts five digital inputs:  an RCA SPDIF, BNC SPDIF, USB, and pair of balanced AES/EBU inputs. All accept 24/96, and the USB and Dual AES interfaces are 24/192 capable. (A single-wire 24/192 software-only update is in development.) The balanced AES inputs can be used in single or dual configuration. The FireWire input of the Paganini is absent but should not be an issue for most users.

Aesthetically, dCS forgoes the mirror finish of its two top line systems in favor of a matte silver finish with black writing that is far easier to read than the markings on the Paganini. After living with the mirrored-surface Paganini, I’d have picked the silver had it been an option. It shows off the Debussy’s smart, curved design, yet it’s more resistant to fingerprints.

The learning curve on the Debussy is less daunting than that on the Paganini, which has more buttons than Sebastian Vettel’s steering wheel. Here, we get power, input, mute, volume+/-, and two DSP filter choices—linear phase with pre-ringing or non-linear phase without pre-ringing. Which is optimum? Log onto an Internet forum and knock yourself out.

As in all dCS DACs, the Debussy uses its proprietary Ring DAC, ultimately oversampling all incoming data to 2.822 or 3.07MHz with a 5-bit depth. When touring the dCS factory, I learned all the DACs share a common “motherboard.” The basic chipset and layout are the same, with more functionality as you go up the range. Such a strategy keeps manufacturing streamlined and designs future-proofed. All updates can be executed via software, further ensuring the unit’s longevity.

These benefits were the paramount reasons I chose dCS for my reference system. With so much change in the digital world, knowing my DAC could stay current by merely downloading new software made it that much easier to write a big check.

Should you use the Debussy as a preamplifier/control center, the digital volume control works brilliantly, with no degradation to the sound even at low listening levels. A switch on the rear panel offers the choice of 2V or 6V output. I can’t imagine anyone needing 6V, and would prefer to see the choices as 1V or 2V, especially with today’s amplifiers having so much gain.

Touring the dCS Factory

Earlier this year, I visited dCS’ new factory in Cambridge. The bigger facility condenses all manufacturing to one level, greatly streamlining build and test processes.  Company principal David Steven and Sales Manager Rav Bawa were great hosts, showing off how much dCS grew since I toured the previous facility in 2010. Bawa explains that “assembly centers around a kit of parts, so that a box can be easily followed from beginning to end with one operator. In the old building, we had to go up and down stairs. You can imagine how nerve wracking that got, considering how heavy some of our components are.”

dCS sources mechanisms from Esoteric and keeps a substantial cache of spares on hand in the unlikely event one fails. Casework is machined and anodized nearby, with all engineering, assembly, and testing done in-house. dCS employs around 20 people and ships digital hardware to over 40 countries. When we walked through the shipping department, almost 100 boxes were on their way to dealers worldwide.

All dCS DACs use the same basic circuit board, with different software loaded for various iterations of the final product. Various assembly stations build and test, and the complete unit is tested yet again when complete. Ironically, because of the virtually nonexistent distortion and jitter in its products, dCS must design and build all of its test equipment.  Finished components are burned-in for 48 hours and run through rigorous tests before final packing and shipment.

Proof is in the Listening

Due to its popularity, I figured the new Bon Iver record a perfect place to begin listening.  “Holocene” possesses a wide soundstage with guitars panned to the left and right in the mix. Comparing the CD to the LP proved a close heat, with the Debussy doing an excellent job at keeping what little front-to-back dimension that exists intact. Black Country Communion’s first, self-titled album duplicates the experience. The vinyl sounds decent but not overwhelming, and much like when paired with the first Fleet Foxes record or Tom Jones’ Praise and Blame, the Debussy gets the nod in terms of providing a more liquid presentation, with more extension on the top and bottom ends of the tonal scale.

As with the Paganini, the big surprise arrives when listening to fairly dreadful digital recordings. The Debussy pulls tons of detail from recordings I believed completely lacking such information. Yes, my Japanese copy of Kiss’ Alive! sounds better than ever. Quite possibly the most highly compressed CD in my collection, the self-titled album from Glenn Hughes and Pat Thrall, now leaves me astonished that air actually lurks on the disc.

However good the Debussy is at untangling dense recordings, it does not embellish tonally to either side of neutral. If you’d like a bit of warmth added to the sound of digital files, look to one of the more popular players featuring vacuum tubes in the output stage. But my experience has been that these players give up resolution and transient clarity in return. The Debussy gives you the truth, like it or not.

Like the other players in dCS’ lineup, the Debussy is not harsh or clinical. The best  digital recordings in your collection will sound virtually indistinguishable, if not better, than favorite analog files. Charlie Haden’s The Private Collection (Naim) is excellent for comparison purposes since it is manufactured to an equally high level in analog and digital formats. And now, you can purchase it as a 24/96 download.

Comparing the high-res file played through the Paganini gives the advantage to the dCS stack in terms of sonic dynamics and overall cleanliness. The Debussy comes close, and with the addition of the dCS Paganini Master Clock (an additional $8,000), takes the lead in overall musicality. While I consider myself a devoted analog fan, it’s easy to lose sight of the fact that a lot of records are poorly produced, no matter the generation.

Making similar comparisons between MoFi’s recent remaster of Beck’s Sea Change and the high-resolution files available from HD Tracks uncover revealingly indistinguishable results. The sources are even more similar in sound when I contrast a digital copy I made from the MoFi pressing, recorded to a 24/192 file via Nagra’s LB studio recorder. Even friends with canine-like hearing have a tough time determining the analog pressing from the high-resolution digital copy.

As it does in my Paganini stack, the Master Clock offers extra tonal ease and pace. An early British pressing of Elton John’s Goodbye Yellow Brick Road put against to the latest HD Tracks download shows the digital file again yields more music. The gulls in the background of “Sweet Painted Lady” possess a previously absent palpability, and the bass line stays firmly anchored compared to its somewhat nebulous position on LP.

dCS also offers nearly bottomless bass grip when playing my favorite Deadmau5 and Thievery Corporation tracks. The deep bass on these albums doesn’t come through well on LP, and if it does, no matter how good your turntable might be, at club-level volume, feedback intrudes on the party and greatly diminishes the effect.

I don’t plan on getting rid of my turntables anytime soon, but it is wonderful to know that this level of parity is attainable. Thanks to dCS and a few other great combinations I’ve heard, my analog agnosticism is put to rest. Granted, $10-20k is not a casual purchase for most carbon-based life forms. But a similar investment in the analog domain is necessary to get maximum performance. Digital has matured far beyond the point where your average turntable outperforms a high-dollar digital front end. As always, the recording quality will determine which source gets the nod, but you’ll never have to “settle” for digital with the Debussy.

Fantastic

The dCS Debussy equates to a triumph, bringing world- class digital performance to a price point previously out of most audiophiles’ reach. But don’t listen to the Master Clock unless you are ready to press the “buy now” button. Once you’ve had such insight, it’s tough to go back to listening without it.

If one could exchange their CD and LP collection for high-quality, high-resolution files, this would be an easy choice to make.  But it’s not that easy. Yet. For those that already have a substantial collection of 16/44 digital files, whether ripped on a hard drive or from CD, the Deb makes it easy to not only enjoy them like never before, but to obtain the necessary amount of air and warmth that you enjoy from analog sources. The experience allows you to listen for hours without fatigue. And I can’t give a source component a higher recommendation than that.

dCS Debussy $11,495

Data Conversion Systems, Ltd.

www.dcsltd.co.uk

dCS North America, LLC

www.tempohighfidelity.com

Peripherals

Having owned a pair of B&W 805 Diamond loudspeakers for the past year, I’m tuned into B&W’s current sound: Powerful, detailed and accurate. The latest diamond tweeter and crossover design combine to produce a very musical speaker that handles nuance with aplomb, yet also rocks at realistic levels when the demand arises.

And yes, the speakers are drop-dead gorgeous. Available in two wood finishes and piano black, they are visual as well as aural works of art. Gino Vanelli once said, “Black cars look better in the shade.” This statement easily applies to speakers dipped in high-gloss black. Much like my neighbor’s triple-black Porsche GT3, it looks breathtaking for about five minutes after it exits the car wash.

Much as I love the black finish on my 805 Diamonds, I let out a sigh of relief when I noticed that the 802 Diamonds that arrived for review were marked “Rosenut.” Being slightly obsessive compulsive, I knew there would be no way to roll the 802D’s around without getting them full of fingerprints. Call me traditional, or perhaps lazy, but just don’t call me Shirley—I’m digging the wood finish of the 802 Diamonds. Derived from the original Nautilus speaker system (still hand-built in small quantities), the wood woofer enclosure nicely contrasts the gloss-black tweeter and midrange modules sitting on top of the cabinets.

A Quick Tour

When I visited B&W’s UK factory earlier this year, I watched the assembly of the speakers in the company’s impressive facility. It employs close to 400 people and takes up almost 60,000 square feet in the seaside town of Worthing. Every aspect of 800 series construction takes place there. The administrative offices are on top of the factory and provide a breathtaking view of the plant, which looks more like an aerospace center than a loudspeaker firm.

Akin to an Eames Lounge Chair, which uses damp wood pressed around a die under pressure to achieve its signature shape, Diamond series cabinets are built from layers of sheets of thin wood, which is visible from the cabinet’s edge. Glued together with high-strength adhesive, this sandwich is placed in a curved die and allowed to dry under pressure. Once removed from the die, the rough cabinet back is trimmed to shape and mated to the front face. But, only after the patented Matrix inner enclosure is fitted, giving the 800 series its famed rigidity and eliminating any seam on the curved back of the enclosure.

Meanwhile, mid/tweeter pods are crafted in a clean-room facility on another side of the plant. Craftsmen wear white suits and matching booties, keeping dust to a minimum. This is also where the bare, molded enclosures (made from Marlan resin, claimed to be as rigid as granite) go from primer coat to final finish, and then off to have the drivers installed. Notably, B&W’s skilled workers utilize the same tools my good friends at Scottsdale’s European Detail Specialists use while buffing multi-million-dollar automobiles for the world-renowned Barrett Jackson Auto Auction.

Speaking of fussy, cabinets are wet-sanded multiple times with abrasives so fine that they almost feel like nothing at all. Then, the cabinets are polished to a mirror-like finish that would make a Dusenberg owner drool. Once everything is completed and inspected, any remaining blemishes—no matter how tiny—are sent back for one last pass. The end result is perfection. Driver production takes place in yet another part of the factory. B&W is one of the few speaker companies that designs and builds all of its own drivers in-house; the engineering offices are down the street in a separate location.

Once the woofer cabinets are joined with the midrange/tweeter pod, drivers and crossover networks are installed, with workers still wearing gloves for most of the process. Each finished speaker is run through a mini anechoic chamber at the end of the assembly line; an operator uses a computerized measurement system to compare each speaker to its master reference. All finished Diamond series speakers must be within .5db of the reference standard or they are sent back for another inspection and rework. During my visit to this part of the factory, the six pairs of 802 Diamonds I observed passed their tests on the first go. A technician with whom I chatted said that because of the exhaustive testing on the individual components leading up to final assembly, “precious few don’t make the cut.”

Finally, the 800 series speakers are carefully packaged for staging in B&W’s immense warehouse, ready for shipment to dealers in 90 countries. The cutting-edge packaging involves substantial engineering. My tour guide smiled and said, “We don’t want them harmed after all this work, do we?” B&W includes packaging assembly instructions on the side of the box, but I suggest shooting video while you unpack the speakers. Should you ever decide to move and repack them, you’ll be glad you did.

Luxurious Feel

Unpacking the 802 Diamonds gives you ample opportunity to get up-close and personal with the speakers, and appreciate the care that goes into their construction. Woofer grilles are wrapped in foam and attach via magnets, as do the midrange grilles, enclosed in one of the two accessory boxes accompanying the speakers. Along with a thorough instruction manual, you’ll also find a microfiber cleaning cloth and pair of jumpers, should you not have speaker cables equipped with bi-wired termination.

I highly recommend always keeping the grille on the diamond tweeter. The diaphragm is vapor-deposited a layer of molecules at a time, and is very unforgiving of fingers and noses. Unlike some speakers’ soft-dome tweeters, these will not survive a dent, pulled out with scotch tape or other methods.

They Really Do Roll…

More manufacturers should follow B&W’s lead and put casters (or, as they like to say in the UK, a trolley) on the bottom of speakers weighing more than 100 pounds (45kg). It saves wear and tear on those squishy disks in your spinal column and simplifies the set-up process. The wheels made it easy to fine-tune placement for the best balance of imaging and bass response. For final placement, B&W offers a set of traditional spikes and set of hard-rubber feet to insert in place of the casters.

Your floor’s surface may determine what method you choose, but the soft feet can also be used to slightly fine-tune the bass response, supplying a bit looser sound than that of the spikes. Your room and ears will be the ultimate judge. While the spikes allow a modest amount of tilt, it shouldn’t be necessary, as the primary purpose of Nautilus enclosure provides for proper time alignment of the drivers. Thanks to wide vertical and horizontal dispersion, I gained nothing from tilting the speakers back. However, in typical nervous audiophile fashion, I ensured both speakers were perfectly level.

The smaller speakers in the 800 series have their “flowport”—B&W’s patented and trademarked name for its bass port, dimpled like a golf ball to provide more controlled air flow and less “port noise” than a standard port—mounted on the front face. But the 800 and 802 Diamond have their downward-facing ports, making them even easier to place. Indeed, precious little jockeying was required to optimize the 802 Diamonds in my listening room.

…And They Really Rock

A prerequisite for a great studio monitor is the ability to play loud without fatigue. The Diamonds excel in this area. If you love to crank up the volume, the Diamonds do not disappoint. Peter Gabriel’s “Lay Your Hands On Me” paints a wide and deep soundstage, combining densely layered vocals with delicate percussion and explosive drums, a challenge for any system. The 802 Diamonds remain firmly anchored, breezing through while maintaining detail in all three dimensions. Mixing it up with a 12” 45RPM single of Van Halen’s “I Don’t Want To Hear About It Later” has the same effect, keeping the explosiveness of both Van Halen brothers in check, yet appealingly separating the backup vocals of guitarist Eddie Van Halen and bassist Michael Anthony.

I easily noticed the differences between the original LP pressing, 45RPM single, and recent remaster of the first Van Halen album via the track “Little Dreamer.” With the Burmester 911 mk. 3 fairly warm to the touch, and my walls thumping, the 802 Diamonds segued into “Ice Cream Man” without missing a beat, capturing the delicacy in David Lee Roth’s vocal stylings. My collegiate swim coach used to say, “Finish hard.” So the volume control took a healthy clockwise spin as “On Fire” closed out the LP at maximum volume. I see why these speakers are the tools of choice in so many recording studios.

But Above All, They Balance

An early pressing of the Talking Heads’ “Heaven” from Fear of Music illustrates the 802 Diamonds’ panel-like ability to keep everything in perspective. Tina Weymouth’s bass line lingers in the back of the soundstage yet maintains the plucky, bright bass tone for which she is famous. Moving directly to The Yes Album, the difference between Chris Squire’s growling Rickenbacker and Weymouth’s Hofner presents a study in tonal contrast, while the beats in LL Cool J’s “Big Ole Butt” have the necessary weight and power. Few speakers in this price range possess this level of discerning bass response.

As much fun as those 1989 beats are, the 802 Diamonds also do an exceptional job of anchoring in place the percussion on LL Cool J’s Walking With a Panther. When blasting hip-hop tracks at club volume, it’s easy for the rest of the information on the record to get lost in the powerful bass grooves. However, the 802s retain their composure and wring out detail, even with meters on my prodigious McIntosh MC 1.2kws almost pegged—sending nearly 1200-watt peaks to the 802 Diamonds, which take it in stride without a trace of distortion.

Your favorite vocalist will reveal a marvelous coherence from top to bottom, the transition between woofers, midrange, and diamond tweeter as flawless as one can expect from a three-way cone speaker. For example, the strings on Roberta Flack’s “Jesse” are perfectly placed, occupying their own space without overpowering the singer.

Quite Cooperative

With a somewhat high sensitivity of 90db, but more importantly, a decidedly tube-friendly crossover, the 802 Diamonds should present a formidable experience regardless of amplification. Tube amplifiers in the 20-50wpc range have no problems driving these speakers to more than reasonable levels. The highly resolving nature of the B&Ws will uncloak whatever tonal character your amplifier might possess. I tried more than a dozen amp/preamp combinations, each with disparate characteristics.

My two top pairs comprised the all-tube combination of the ARC REF 5 preamplifier paired with the Decware Zen Torii, and the all solid-state Burmester 011/911mk 3. A pair of Classe M300 solid-state monoblocks also provided an excellent match, yielding a simultaneously fast, nimble and weighty presentation. The only amplifier in my stable that didn’t achieve symmetry? The Channel Islands D-500II. If you have class D amplification, insist on a test drive, as such amplifiers tend to be more speaker-dependent.

While the 802 Diamonds sound their best with world-class electronics, to their credit, they admirably sync with modest gear, making them easy candidates to stand as anchors of a system that will grow with as your budget allows. The 802 Diamonds proved exciting to hear even when paired with the humble PrimaLuna ProLogue One.

Conclusion

I’m pleased to offer the 802 Diamonds one of our Exceptional Value Awards for 2011.  These are truly a destination speaker at a price well under what one would expect for this kind of performance. I’ve heard my share of speakers in the $40-60k range that can’t compare to the meticulous level of finish this model exhibits, and thanks to a massive worldwide retail network, you’re guaranteed great support.

B&W 802 Diamond

MSRP:  $15,000/pair

www.bowers-wilkins.com

Peripherals

With early-stamper US Mercury pressings of this Rod Stewart classic only fetching $10-$12 and early British Vertigo pressings going for as high as $100, Mobile Fidelity Silver Label’s recent edition gets the good value award.

Comparing the Silver Label LP to the somewhat naff Mercury copy at my disposal proved interesting, even as the Mercury gave a good showing. While not as quiet as the new version, drums on the Mercury claim more texture. Cymbals are also more natural, but the Silver Label LP reveals warmer bass response. Stewart’s voice is solid and clean on both pressings, so the burning question becomes: Do you want a quiet record and squeaky clean jacket, or do you prefer a little more soul in the mix? I’ll take the Silver Label pressing, thanks.  – Jeff Dorgay

Mobile Fidelity Silver Label, LP

If you want to understand Jean-Michel Jarre, then you cannot ignore his teacher of three critical years, Pierre Schaeffer. A French musician and giant of the avant-garde scene, the musique concrète pioneer is largely responsible for the musical structures of modern electronica and hip-hop. Musique concrète takes an acousmatic sound approach—that is, you hear the sound but you might not necessarily know its source. Schaeffer lived to play with sounds, and 5 ētudes de bruits/ētude aux objets serves as a superb demonstration of his practice. Indeed, Schaeffer loves to see how sonics interact and react with each other, and how listeners respond to this sequence of noises. As for melody? What melody?

Effectively two works on a single LP, Side A’s 5 ētudes de bruits stems from 1948 and sounds it. The master is clear and content concise, but you get the obvious impression that it’s an archival piece and demands to be listened to as such. The master’s quality far exceeds the capability of the original recording, which is sometimes deficient and distorted, especially in the upper-mid regions.

The flip side finds material captured in 1959. Now that tape enters the equation (as well as improved studio facilities), the quality dramatically improves, making the subtle and startling effects of ētude aux objets more immediate and engaging. The purpose seems to force bystanders to ask, “What comes next?” A playful and often witty recording, the LP teases the senses. Once it finishes, you might feel like a lab rat in a scientific experiment.

Enter Jarre and his new compilation, Rarities. Presented in an attractive gatefold package, the archival LP takes the listener from Jarre’s leaving of Schaeffer’s classroom to the verge of his breakthrough composition, Oxygene. There’s never any doubt that he’s a Schaeffer disciple. The technology might be more advanced, but the musique concrète style drenches the opening “Happiness Is A Sad Song.” While unusual for Jarre, it’s complete with a vocal track, albeit with unintelligible gibberish. An increasingly nightmarish composition, it gives way to the more melodic “Hypnose,” which follows a krautrock arrangement. Organic instruments add a completely unexpected pastoral vibe. The quality of both the mastering and pressing retains a 60s-style analog warmth.

Jarre’s experimental melange continues as the LP progresses. Dabbling with aural flavors as diverse as the technology of the time allowed, he mixes the organic with early electronica. Tempos and mood vary, and it’s not until 1970’s “Windswept Canyon,” the first track on Side B, that Jarre stumbles upon a settled form. Sweeping synth effects play around the bass percussion and arrive at a soft melodic center; the bones of his now-familiar style coming together. Despite various creative hiccups, Jarre is once again drawn back to this newfound approach on 1972’s “Black Bird” and 1973’s “The Burnt Barns.” As the music moves through the 70s, the vinyl mastering maintains reproductive quality that, over such diverse sources, is equally consistent and appealing.

Oxygene, the first of three popular Jarre LPs remastered on vinyl for the first time since their original release, and mastered by the man himself, stands as the artist’s commercial breakthrough. The 1977 release is deservedly viewed as a classic, but the reissue initially doesn’t hit you between the ears. On the contrary, it sneaks up on you, and takes a few seconds to notice that the new mastering introduces a rich, silky smooth, deep chocolate flavor. Two minutes in, a deep bass sequence provides a more rounded low-frequency response than the original. It soon becomes obvious that the original recording is pregnant with silent distortion—the most insidious of varieties, and the type you only know is there only once it has been removed.

Dynamics are also enhanced, and the upper-midrange far superior, particularly given the newly uncovered synth elements. Sure, you could demand more—clarity, bass structure, pizzazz. But doing so would be a tad churlish. This LP takes its place as the best version of Oxygene on the market, leagues better than the original.

One year removed from Oxygene, Equinoxe continues the former’s bubbling synth washes and complex electronic multi-layering. The original pressing doesn’t sound right, especially in the upper mids and treble areas that, again, seem drenched in distortion—the same sort that hampers Oxygene. However, bass is solid, and for an early electronic piece, the soundstage commendable. On the reissue, bass plumbs new depths, and while the introductory synth work doesn’t extend the soundstage, it certainly makes better use of it. Upper mids offer greater transparency, allowing for a greater flow of information. Attention is drawn to different areas of the mix, making the melodic aspects surprising, fresh, and rebalanced.

1981’s Magnetic Fields, provides many magical moments. The recording is quite aggressive in its upper mids and treble attack, with a steady and persistent undulation that doesn’t offer respite. The original suffers from a forwardness and stumbles due to blundering, bloomy-ridden bass levels.

The new pressing brings a sense of calm—not unlike a mother arriving home to a house full of chaotic children, taking over from a flailing father, to not only control wayward energy but direct and put it to good use. Here, the upper mids and treble are steered to provide often-startling high-frequency effects. Bass is largely mellow and structured. Still, like the other LPs, more work could have been done to tighten here and push the envelope there. Nitpicking aside, the reissued Magnetic Fields is a joy to hear, offering a highly immersive experience, especially at high volumes. — Paul Rigby

For all: Dreyfus 180g LPs

Wilco has always championed a dense aural dynamic. On recordings such as Sky Blue Sky and Summerteeth, LP versions unscrambled the band’s mix better than their CD counterparts. In keeping with tradition, Wilco again includes a full-length CD with the vinyl edition of The Whole Love for just $25. But this time, it’s different. Once you hear the disc, you may never go back to the vinyl. Mastered by Bob Ludwig, the latter is compressed and rolled-off—and not by a small margin. The CD is tipped a shade to the bright side, but at least has air and dynamics.

From the first track, “The Art of Almost,” the soundstage on the CD extends well beyond the speaker boundaries, exuding life, whereas the LP just presents the song as a little ball of sound between the speakers. If you didn’t know better, you’d swear the vinyl was the CD and vice versa. Unfortunately, it doesn’t get any better. Blasé sound infects the entire LP.

It’s unfortunate that, for the first release on its new label, Wilco let the analog quality control slide. Get the deluxe version of the CD that comes with four bonus tracks. This is one instance where the vinyl doesn’t guarantee better sound. —Jeff Dorgay

dBPM/Anti, 180g 2LP

Part of its ongoing James Taylor series, Mobile Fidelity’s remaster of the singer/songwriter’s tenth album is a smash. Each side of the 1977 effort begins with big, radio friendly hits—“Your Smiling Face” and “Handy Man,” respectively. Indeed, JT stands as Taylor’s last great record from both creative and sales standpoints. Only his earlier Sweet Baby James equaled this set’s 3x-platinum status; none of his other studio records, however consistent, generated these numbers. (His 1976 Greatest Hits did sell 11 million copies.)

A side-by-side comparison with a 1A Columbia pressing reveals that while the original possesses a smidge of compression, it has more punch on the bottom end, serving a perfect example of how judicious use of a compressor can make a rock record rock.  Everywhere else, the MoFi gains the upper hand. Considering that a majority of songs on JT are of the slower variety, the audiophile label LP’s sumptuous presentation is a treat. Taylor’s voice is large and breathy, and surrounded by great guitar attack.

In addition, the MoFi edition boasts higher quality in two critical areas, the first being surface noise. Many 70s and 80s Columbia pressings are plagued with noise; this record is no different. Thanks to better vinyl and half-speed mastering, the new JT is extremely silent. My pressing lacks any clicks, ticks, or pops. MoFi’s lower overall level eliminates the original’s compression, which benefits all tracks save for the opening numbers on each side.

Moreover, the remainder of the album yields more low-level detail as well as extra space between notes. Taylor’s acoustic guitar playing offers added resonance and decay, drum fills are better defined, and it’s much easier to pick out Carly Simon’s backing vocals. —Jeff Dorgay

Mobile Fidelity, 180g LP

Since even the very best hi-fi systems rarely sound like real live music, the first question one might ask about the sound of any component immediately becomes: What does it add and what does it take away from the music?

Creating the perfect recreation of live music in the home may have yet to happen, but it’s not totally the fault of the hi-fi. Few recordings are made with the intention of capturing reality; artists, producers, and engineers are usually searching for the sound they think best suits the music. And since music is recorded in an endless variety of venues and recording chains, it’s no wonder that recordings all sound very different from each other.

That said, my favorite systems are those that reveal such differences between recordings every time you change a disc. The less a system adds or subtracts from the sound, the easier it is to really hear what’s going on in the recording. By this standard, Simaudio’s MOON 310LP phono preamp is a winner.

Surprises on the Inside

The MOON 310LP replaces Simaudio’s MOON LP5.3 phono preamp. The new model isn’t a radical rethink of the previous design, but it combines superior parts and a refined circuit to achieve better performance. And for those that invest for the long haul,the MOON 310LP comes with a 10-year warranty.

Taking off the easily removable case cover reveals the MM and MC settings. MC gain has three options: 54, 60,and 66db through RCA outputs, with an additional 6db available through XLR outputs.  Five impedance settings (10, 100, 470, 1K, and 47kΩ) are available for both MM and MC, meaning those with a Grado or SoundSmith moving-iron cartridge can take advantage of the higher-gain settings. Capacitive loading can be set at 0, 100, and 470pf—a bonus for MM users, as it offers more flexibility. The 310LP even offers a jumper setting for RIAA or IEC equalization. While not terribly convenient to access, such functionality isn’t often seen at this price point.

The unit’s rear panel hosts single-ended RCA inputs and outputs, plus balanced XLR outputs. The 310LP is nice and compact, just 7.5″ x 3.2″ x 11.2″ and weighing it at 7 pounds.

Redefines Quiet

Usually, on most phonostages, associated noise occurs when lifting the stylus from the groove at a high volume level. I can often hear such noise from my listening position, which is about ten feet from my Magnepan 3.7 speakers. However, with the 310LP, I only detected the faintest of noise, and only when my ears were pressed right against the speakers—a good sign. Even more importantly, the 310LP sounds cleaner when the music is cranked up, meaning that the contrast between quiet and loud instruments is more apparent than what I’ve experienced from other phonostages in this range.

Richard Barone’s Cool Blue Halo was recorded live at the Bottom Line on May 31, 1987. I was at the show, so listening to the LP is like traveling back through time. I loved that club, and saw hundreds of shows there. Plus, the Bottom Line always had an above-average sound system. However, Barone’s live sound that late spring night wasn’t very good, and it comes through on the LP. Just like the actual concert, there’s too much reverb. But Barone’s vocals sound great, and the Bottom Line’s vibe is there. The 310LP brings it all back to life just as I remembered.

Emotional Rescue, one of the Rolling Stones’ last all-analog efforts, also lit up my speakers. On the title track, drummer Charlie Watts, bassist Bill Wyman, and singer Mick Jagger dominate the mix. Via the 310LP, their pounding groove instantly grabs my attention and connects me to the music. Similarly, “She’s So Cold” transfixes, as I love the way Keith Richards’ rhythm-guitar licks punctuate the beat. I’ve never enjoyed this record more than I do with the 310LP. Tom Petty and the Heartbreakers’ debut possesses even more analog richness than Emotional Rescue. Again, the 310LP helps portray the big soundstage present on this record with ease.

In the female vocal field, Linda Rondstadt’s Don’t Cry Now sounds tighter and more produced—like a recording where every musician is recorded in total isolation from one other. Her take on Neil Young’s “I Believe In You” is simply gorgeous on the 310LP. The latter is undoubtedly a high-resolution design, but one that doesn’t throw detail at you in a way that becomes fatiguing.

On the LP310, some of the better 1950s-era jazz recordings sound more natural to me, perhaps because they have little equalization or studio processing. Clarinetist Jimmy Giuffre’s LPs are so present and tonally accurate that the instruments seemingly appear in the room with me. I didn’t even notice at first that they’re mono recordings!

Back to Basics

Initially, I used the 310LP with the optional 320S power supply, which looks nearly identical to the 310LP. A dedicated and optimized design that only works with the 310LP, it features four stages of DC voltage regulation in a dual-action configuration and a special “pi-type” filter in conjunction with a dual-voltage regulation system to further reduce the 310LP’s already low-noise level.

Fully acclimated to the sound of the 310LP/320S combo, I unhitched the power supply, a change that involves moving a couple of internal jumpers. Listening to the 310LP a la carte, the sound becomes a tad softer. And, in comparison to hearing them via the Simaudio duo, dynamics are blunted, with low-level resolution and air also somewhat diminished.

Those with fairly resolving systems will have a tough time living without the 320S. The device is well worth the money, yet it’s also nice that Simaudio gives you the option to buy into its phonostage one step at a time.

Turn Me On

A few months ago, I had the pleasure of reviewing the Red Wine Audio Ginevra LFP-V Edition phono preamp. It’s a battery-powered, hybrid tube/solid-state design. Yet, it’s very tubey in the sense that the sound is rich and velvety smooth, albeit never lacking in detail. It proved a great experience, but the 310LP turns me on in a very different way. The Ginevra’s beguiling sweetness softens the top- and bottom-end response, whereas in these areas, the 310LP is more neutral.

Dr John’s In the Right Place, arranged and produced by the great Allen Toussaint in 1979, yields pure thrills through the 310LP. The Doctor’s mojo fires on all cylinders, and the Sim unit simply lets be the yummy, bold, 3D, and oh-so funky sound. Sure, some of the better and vastly more expensive phono preamps can get you even closer to the music embedded in the grooves, but in its price class, the 310LP is as colorless a device as you’re going to find.

The TONEAudio staff agrees, and hails the 310LP/320S as a recipient of one of the magazine’s 2011 Exceptional Value Awards.

Simaudio MOON 310LP and MOON 320S

MSRP: $1,800/$1,400

www.simaudio.com

Peripherals

Hyundai covers its engines for 100,000 miles. Bryston guarantees its amplifiers for 30 years. Decware guarantees its amplifiers for life. Any way you look at it, offering long warranties takes guts. It also means you better make a damn good product, or you’re going to go broke servicing warranty repairs.

The Decware Zen Torii Mk.3 is a damn good amplifier.

While I hate to use the “b” word (best), the Torii is my favorite power amplifier based on the EL-34 tube, and that’s saying a lot. I’ve always had a major affection for such amplifiers, which possess many characteristics of great single-ended triode amplifiers and yet, have more power and control than an SET can muster.

Think of the Torii as an SET with benefits—namely, increased bass control and dynamics. Unless you have extraordinarily efficient speakers, a few watts per channel just won’t rock your world. But 25 watts per channel dramatically changes the game, and is more than enough to power the Verity Audio Amadis speakers (93db/1-watt sensitivity) to a sufficiently high level on music of any kind. The Mk.2 does a fine job with the Verity Rienzis (87db/1 watt) and B&W 802 Diamonds (90db/1 watt). Still, the Amadis’ added sensitivity is just what’s needed to push the envelope.

Decware owner and chief engineer Steve Deckert claims his amplifier is “the last one you’ll ever want” and should only be used with a preamplifier if you happen to have a world-class unit at your disposal. Fortunately, I have two: An ARC REF 5 (vacuum tubes) and Burmester 011 (solid-state), each reference components, and both excellent matches for the Torii. At the end of the day, with the Verity speakers, I was willing to relinquish the last bit of the ARC preamp’s front-to-back-image depth for the additional bass grip and slam the Burmester provides. With the GamuT S9s, the ARC has the edge.

An optional $150 stepped attenuator on the Torii makes it easy to keep the preamplifiers used within their respective sweet spot, balancing dynamics and the lowest noise floor in the presentation.  While the sound remains excellent when using the dCS Paganini straight into the Torii, via the Paganini’s digital volume control, I feel that a killer linestage brings maximum dynamics to the table.

Deckert warned me that the Torii would require a long break-in period. Yet it sounded good right out of its supplied Pelican Case—another nice option, and one that certainly beats a cheesy cardboard box. Moreover, it keeps improving over time and, if I had to guess even after 700 hours of listening time, still sounds as if it is advancing. Where many amplifiers sound grainy and two-dimensional after only a few hours on the clock, the Torii’s tonal character just keeps ameliorating as the hours rack up.

My review sample has the optional V-Cap upgrade, which adds $500 to the window sticker. It’s well worth the price. A custom wood base is also available, meaning that a completely tweaked-out version fetches about $3,600. Each Torii is hand-built by one person and given plenty of attention from start to finish, not unlike a master engine constructed at Ferrari or Aston Martin. Such care becomes obvious the minute you take your Torii out of the carton; it’s truly a product to cherish. (Decware products are all built to order and only available factory-direct.)

Rolling, Rolling, Rolling

The only aspect that might drive you nuts with the Torii? The amount of customization you can bring to its sound by swapping various tubes. This amplifier is what a tennis ball is to a Jack Russell terrier; you can chase it forever and you’ll collapse in exhaustion by the time you’re done. If that’s your idea of fun, you’ll never get bored with the Torii. While every tube makes a difference, the output tubes seemingly make the least amount of difference. I tried several combinations, but the input tubes and voltage regulators provide more sonic variance than swapping output tubes.

Deckert attributes this characteristic to his “Hazen grid modification” that involves substituting a non-polarized film capacitor for the piece of wire that normally connects between the suppressor grid and cathode in the output stage. Deckert also touts another benefit of his modification: The basic push-pull output stage makes it less sensitive to tube type. I must concur. This is great news—especially considering that the price of vintage NOS EL-34 tubes can soar as high as $300 each.

The Torii comes with the most informative owners manual I’ve ever seen. Rather than bore you with paragraphs of tube rolling escapades, click here for the manual: http://www.decware.com/newsite/TORIIMK3Manual.pdf

And the adjustments don’t stop with the tubes. You can choose one of two bias settings, and there is a bass and treble control. Not traditional tone controls, mind you, but two more ways to optimize the speaker/amplifier interface. The treble control rolls off the high-frequency response of the amplifier, but simply shunts to ground so it is not in the signal path. Deckert says the “bass control” actually impacts how the amplifier interacts with the speakers, and that there is no fixed “flat” position for these controls. Hence, they must be adjusted with each speaker. Finally, a 4/8-ohm impedance switch is present and, as with any tube amplifier with multiple output taps, should also be sampled, as often times the best match is not what you might think.

Those who stay focused and have the Zen-like patience to settle on a combination (or two) will be rewarded with a presentation that transports them to a special place. Even if you stick with the supplied tubes, the bass, treble, bias, and impedance controls are worth five minutes of your time. Consider: the Torii might actually save you money if you’ve got a pair of speakers that are too forward or a touch boomy. There’s a good chance that making small adjustments will dial in a speaker you may have considered selling. More money for concert tickets never came easier.

Unlike Any Other EL-34 Amplifier

Whereas a Shindo or vintage Marantz amplifier embellishes the sound in a way in which the music tends to sound warm, romantic, and even a bit slow regarding pace and timing (not that this is always a bad thing for many digital and other less-than-stellar recordings), ultimately laying resolution on a sacrificial altar, the Torii strikes a perfect balance of rendering additional tonal richness without altering the music’s fundamental character.

Via the Torii, Moraine’s “Uncle Tang’s Cabinet of Dr. Caligari” from Metamorphic Rock is an absolute prog freak-out, with layer upon layer of maniacal synthesizers and overdubbed guitars all kept in order with larger-than-life drums. Whatever your taste in complex tunes—be it prog, metal, or full-scale orchestral music—you will find intoxicating the Torii’s ability to maintain musical pace.

Without fail, the Torii consistently digs deep into recordings, uncovering morsels of information you may have never heard before. Montrose’s “Rock Candy” is a classic example of a slightly flat recording that comes alive with this amplifier. Usually devoid of any soundstage depth, drums and guitar became invigorated, assuming their own space while lead singer Sam Hagar’s voice remains front and center. And a phenomenal recording like The Band’s Music From Big Pink takes on a life of its own, feeling as if it’s mixed in surround.

The trick the Torii plays better than most vacuum-tube amplifiers stems from its ability to achieve an astonishing balance between tonal richness and tonal purity. And it does so without sliding down the slippery slope of coloration and euphonic distortion. Acoustic instruments retain correct timbre, complete with a fine-grained decay that seems to fade out forever.

Moreover, while most pure tube amplifiers exhibit tube rush when no signal is present, the Torii has none. Chalk it up to the unique utilization of the voltage regulator tubes. The Torii uses them in series, working as active filters rather than in parallel to regulate voltage. This approach also puts almost no stress on the tubes. Unsurprisingly, Deckert claims the latter should practically last the life of the amplifier. While I still notice modest improvements when plugging in to my Running Springs Maxim power line conditioner, the Torii exhibits less improvement than any other vacuum-tube amplifier I’ve plugged into the Maxim. It’s another test that further confirms Deckert’s claims.

Sure. Watts are watts. But thanks to its robust power supply and proprietary output transformers, the Torii has an abundance of headroom and very gently extends past its peak power output, with barely a hint of clipping. Even when playing the heaviest metal, the amplifier always feels bigger than its modest power rating suggests.

All of this adds up to sound reproduction that is rare with most amplifiers, no matter the price, and a practical miracle at $3,600. Granted, 25 watts per channel won’t be optimum for every speaker and room combination. But within this realm, I can’t think of a more enjoyable amplifier than the Decware Zen Torii Mk.2. I bought the review sample and plan on keeping it long enough to see if it will ever break.

One last word to the wise: Those wanting to put a Torii under a Christmas tree should get on the phone now. Orders are currently subject to a 10 week wait. Deckert told me that they have a backlog of 90 to build right now, and hopefully by spring they will be back to the standard 4-6 week wait.

Decware Zen Torii Mk. 3

MSRP: $2,945-$3,700 (depending on options)

www.decware.com

Peripherals

High-end audio products are often subcategorized by a single factor. For instance, in the mid 70s, many speakers built in California had a “West Coast Sound” characterized by a forward treble and somewhat forceful bass. Meanwhile, speakers from the other side of the country were said to possess an “East Coast Sound” favoring midrange accuracy.

While it’s tough to pigeonhole modern speakers according to such parameters, speakers from Denmark seem to share a natural tonality and an ability to capture the essence of instrumental texture without calling attention to their presence. Dali excels at these aspects. Its new F5 Fazon loudspeaker takes prior achievements two steps further by combining timeless styling with great sound and a small footprint.

Available in gloss black, white, or red, the Dali F5 is gorgeous to behold and will look right at home in the most fashionable of homes. Best of all, at $4,495, the F5s are affordable works of art.

Details, Details

Beautiful woodwork is a Danish hallmark, and Dali has always offered great cabinets. Throwing a wrinkle into traditionalism, the curvy F5s are machined from a block of aluminum. The speaker features an absence of parallel surfaces in order to keep to a minimum any cabinet resonance.

The three-driver complement works in a 2 ½-way configuration, with the crossover points set at 800 and 3200Hz, respectively. Dali maintains that their incorporation of wood fibre mixed into the pulp cones utilized in the dual 5-inch woofers are significant contributors to the model’s natural sound; adding increased cone stiffness and a more randomized structure. It also helps with the inner damping of the cone, a claim that only a few minutes of listening confirms as true. I have a personal preference for soft-dome tweeters; I’m always willing to forgo a smidge of ultimate resolution in the service of timbre. And here, the F5 delivers with a 1-inch soft dome tweeter that, as Ice-T would’ve said before he became a “Law and Order” mainstay, keeps it real.

A pair of banana jacks flush-mounted in the silver bases and a tiny compartment that allows you to completely conceal your speaker cables round out the form-and-function factor. Acoustically transparent speaker grilles magnetically attach; your décor and offspring will decide whether they should be left on or off.

Grilles aside, you should have the F5s playing music in a few minutes. Thanks to fairly wide dispersion, they will not suffer terribly if not aligned just right. If you are in the position to fuss over speaker placement, the F5s yield a bit more bass extension if you can keep them about 18 inches from the rear wall. Since the tweeters rise only 29 inches from the floor, lower seating grants the best imaging performance.

Finally, don’t let the 87db sensitivity frighten you: These speakers are incredibly easy to drive and work equally well with tube, transistor, or Class D amplification. Anything from 25 watts per channel and above should get the job done.

The F5’s Evaporative Nature

The F5’s bass response is solid but not overbearing. At first blush, one might think the speakers slightly thin because the upper-mid bass response isn’t goosed to provide a false sense of thickness. However, when called upon to move air, the pair of 5-inch woofers is mightier than the spec sheet suggests. Sampling Peter Gabriel music, old and new—via Genesis’ Lamb Lies Down On Broadway and his more recent Scratch my Back, respectively—the speakers dispense ample impact. Via the F5s, there’s more than enough oomph on “Back in NYC” to sound convincing and hold at bay any thoughts of a subwoofer. Moreover, textures present in the acoustic bass line of “Heroes” on Gabriel’s latest record affirms that’s what is sonically conveyed is anything but one-note bass.

The F5s often remind me of my favorite mini monitors’ midrange clarity. Yet the former take up a smaller footprint than my Harbeth P3ESRs on Sound Anchors stands. Tracking through Pat Metheny’s new What’s It All About? demonstrates how well these speakers keep pace with the guitar icon’s fretwork and harmonics without becoming lifeless and flat.

Of course, enthralling midrange and ample bass don’t alone make a fantastic speaker. Thanks to the small woofers, the F5s offer the degree of coherence required to effortlessly disappear in a room. The resolution will convince you that something very special is happening—an experience that allows you to ease back in the chair and focus on the musical event. Vide, “I’m a King Bee” from Grateful Dead’s Fillmore East: April 1971. The record boasts a wide range of texture and complexity that challenges the best speakers. Answering the bell, the F5s create a wide soundstage that mimics the Fillmore’s hall ambience.

Fatigue-free Finesse

Many speakers make impressive showings during a 10-minute demo. You know the drill: A salesperson plays some plucky guitar bits, runs through some female vocals, and even spruces it up with a touch of classical music or piano fare. It’s often all presented at high decibel levels. Still, you walk away impressed, perhaps so smitten that you reach for your wallet. But somehow, after a few extended listening sessions, those new speakers lose their luster and you’re right back to where you started.

A natural feel, which might initially make the F5s slightly less exciting, is what will keep you enthralled with them down the road. Even after full-day sessions with the F5s, they never become tiring. As much as a crammed Sooloos music server gnaws at my inner DJ and tempts me to spin singles, I find myself listening to many records all the way through with the F5s—truly the mark of a great speaker. I just want to stay in the groove, whether it’s with yet another version of Pink Floyd’s The Dark Side of the Moon or Girls’ Father, Son, Holy Ghost.

No, the F5s do not present the finite level of “pinpoint imaging” that some more decidedly audiophile speakers possess. However, they throw a full-bodied and three-dimensional soundfield. The wood blocks and triangle in Serge Gainsbourg’s “Douze Belles Dans la Peau” from Chant a la Une illustrate this strength. The triangle sporadically pops in all around the room, while the wood blocks are distinctly left of center and somewhat diffused, sounding just like a pair of wood blocks when I strike them in my listening room.

Dynamics are equally impressive. Although small woofers can only move a finite amount of air, these speakers’ woofers give a gold-ribbon performance when faced with heavier fare. Led Zeppelin, AC/DC, and the Who present no problem. But, if your tastes tend towards the heaviest metal, I suggest adding one of Dali’s subwoofers.  AC/DC’s “Back in Black” comes across just fine, but Danzig’s “Am I Demon” requires a stronger push over the cliff. Just as important as dynamics, the F5s retain their open character at low volume levels—not always an easy trick and, perhaps, even more telling of a given speaker’s linearity.

Well? Hello, Dali.

Dali F5 Loudspeakers

$4,495/pair

www.dali-speakers.com (factory)

www.soundorg.com (US importer)

Peripherals

MC Vivo is not the latest hip-hop sensation, but it’s sensational nonetheless. With MC cartridge prices spiraling into the clouds like a missile that lost its ground link to Earth, it’s a relief to hear this aural much value for $400.

Ortofon has manufactured moving-coil cartridges in Denmark since the 50s. While many audiophiles are after the 2M series of MM cartridges, I’m still an MC fan first and foremost. But this cartridge is completely different, made from Lexan DMX (another hip-hop reference!) that reminds me of the MC 20 moving-coil cartridge that in the early 1980s attracted a massive following.

Eschewing pedestrian packaging, the MC Vivo slides out of the standard red-and-white Ortofon box. Mounted to the forthcoming Zu Audio rendition of Technics SL-1200 turntable, replete with techie tricks and a Rega RB-700 arm, the MC Vivo had the Grateful Dead’s “New Speedway Boogie” flowing with ease. Eyeballing the setup with the MoFi GeoDisc works well, and after making any needed adjustments, you’ll be spinning more records in ten minutes. If you have access to better tools (like the Feickert complement at the TONEAudio studio), fine-tuning further improves the performance.

The MC Vivo uses a standard aluminum cantilever with nude elliptical diamond stylus. Seven-nines (99.9999% pure) copper wire is used to wind the coils. Output is .5mv and suggested loading is 500 ohms, the sweet spot with my Pass Labs XP-15 phonostage. Stumped by the specs? You’ll understand them the second you lower the stylus on a record. This cartridge is an excellent tracker, and the stylus profile rides the groove in a manner that doesn’t accentuate groove noise.

While MM cartridges often offer more in the dynamics department, the MC Vivo knocks out even the Clearaudio Maestro via its low-level detail retrieval and grain-free delicacy. Listening to Mobile Fidelity’s recent remaster of Billy Joel’s Piano Man illustrates these strengths. Joel tends to pound the keys, and this record quickly exposes any cartridge lacking in dynamics.

The 45RPM 12-inch single of “The Heart’s a Lonely Hunter,” featuring David Byrne with Thievery Corporation, reveals the MC Vivo provides punchy dynamics and killer bass groves. Moreover, synth riffs that sound like those featured on Mr. Scruff’s “Sweetsmoke” seemingly float around my consciousness, akin to the little pies hovering in the song’s video.

I don’t really care how Diana Krall’s Live in Paris sounds on the MC Vivo, but Doug and the Slugs Cognac and Bologna is awesome. The tom fills in “Soldier of Fortune” go beyond the left speaker’s boundaries, and lead-guitar breaks feature plenty of meat. Should you not have Doug and the Slugs records, any LP rife with multiple layered harmonies and studio trickery will show what this cartridge can do.

Male and female vocals get fleshed-out to satisfactory levels via the MC Vivo. Vide, Amy Winehouse’s posthumous Lioness: Hidden Treasures, which will make you a believer. Revisiting Stevie Nick’s voice on Fleetwood Mac’s Rumours displays her signature breathiness with ample depth and texture; it feels as if a much more expensive cartridge is doing the work. OK, the Meatmen’s We’re the Meatmen and You Suck still sounds terrible, but you can’t win them all, and it isn’t the cartridge’s fault.

Extension at both ends of the spectrum is better than one might expect from a $400 cartridge. Bass response, as well, is excellent, with abundant low-frequency detail accompanying the weight. Just cue up the hard-hitting beats of Run-D.M.C.’s Kings of Rock. Maybe MC Vivo is a hip-hop star after all.  -Jerold O’Brien

Ortofon MC Vivo Cartridge

MSRP: $399

www.ortofon.com

What is it about phonostages? More than almost any piece of audio equipment, they seem to exert a decisive impact upon the sound—at least when it comes to playing analog equipment.

I still remember the day when I fired up my Linn LP-12 and listened to the differences an Audio Research PH-3 made on my Snell E-IV loudspeakers. Suddenly, as if by magic, an enormous soundstage and deep bass emerged. It then became palpably clear to me that a phonostage could expand or crush the sound of a good turntable, and inject air into the soundstage or make it seem lean and emasculated. Much of this probably has to do with the tiny signal that the phono preamplifier sees coming from the cartridge. Over the years, I have never ceased to be shocked at what critical roles phonostages play in making vinyl sing (or not).

Features Are More Than a Curiosity

My experience helps explain why I looked forward to the Monk phonostage with more-than-ordinary curiosity. No, analog’s roaring comeback during the past decade isn’t a secret. New cartridges, ‘tables, and tonearms seemingly appear every week. But the Monk has special qualities that separate it from its peers. For starters, the model possesses no less than five equalization stages, including separate ones for Decca and Columbia LPs. It permits you to adjust the gain up to a whopping 70 dB. With that amount, you’ll never have any troubles driving a black disc to peak levels.

And, not least, it’s equipped with a plethora of capacity and impedance switches. Oh, I almost forgot: It also comes with three phono inputs. If you’re one of those people that own multiple turntables, the Monk might be ideal. Finally, the Monk’s appearance is quite nifty—it’s compact, and can be easily tucked under your arm if you have to move it about. The diminutive size, however, in no way reflects its actual performance. This is a superb unit.

Holographic Width and Depth

A low noise floor, the sine qua non of fine audio reproduction, is the first characteristic that comes to attention. Few things are more obtrusive than a noisy phonostage, the audio equivalent of a flickering television screen. Inevitably, noise, whether hum or tube rush—or, heaven forbid—both at the same time, also masks detail and disrupts the soundstage. Nothing of the sort occurs with the Monk. Instead, while listening to a very well-recorded LP of Mahler’s Symphony No. 4played by the Concertgebouw Orchestra on the Philips label, I’m immediately and most favorably impressed by the soundstage’s depth and width. You can almost hear the string players shuffling their feet or turning a page of sheet music. When noise is banished, there’s a sense of ease. As a piece begins, music emerges from black space in a more holographic way.

The Monk provides a real feeling of space and scale, as well as delicacy. It gives you an idea of the cavernous character of a concert hall, a trait upon which I place a high premium. Stereo systems sound more “live” when you can discern spatial cues. At the same time, the Monk’s timbral accuracy is quite good. On the Mahler Fourth, the strings shimmer and possess a genuine sheen, while the brass sections have the blat only a good phonostage can convey. It’s also easy to discern the different sections of the orchestra. Due to the Monk’s lack of smearing, music does not simply sound like a homogenous blur.

Nor does the Monk falter when it comes to reproducing the Concertgebouw at full volume. Mahler is often hard to duplicate simply because his orchestral works erupt into thunderous, anguished crescendos that overwhelm stereo systems that can’t really handle so much volume and detail. The Monk remains unfazed.

Loud and Clear

This phonostage communicates infectious excitement—it makes you want to listen.The Black Motion Picture Experience features the Cecil Holmes Soulful Sounds and “Across 110th Street,” a cut on which blaring trumpets and throbbing bass provide a clear path to detecting the performance of any piece of equipment in the chain. The Monk does very well indeed.

No, the trumpets are not as distinct as they are my reference Ypsilon phonostage. Nor is the sound quite as natural. But consider the price differential: $3,500 versus $26,000. I’m not missing all that much on the Monk, and what I do lose is more a matter of sins of omission rather than commission. The blunt truth is that the Monk allows the music’s raw, surging power to come through loud and clear.

Such grip and clarity are partly attributable to the fact that the Monk is a solid-state unit. Here, we arrive at the divide between tube devotees and solid-state fans. The differences are well known. Solid-state tends to have more grip and sheer impact, at least in the nether regions. Tubes, by contrast, offer a billowy soundstage and warmer midrange. Are some of the qualities associated with tubes simply colorations? Sure. But then again, tubes seemingly mirror the sound you actually hear in the concert hall.

The Monk lands firmly on the solid-state side; it sounds a shade more electronic in timbre than a tubed unit. On the other hand, tube virtues are firmly in evidence. And the build quality looks impeccable. I’d be very surprised if the unit doesn’t prove ultra-reliable. Best of all, the Monk delivers the musical goods. It never blushes when called upon to deliver full-scale rock or classical works. At the same time, it’s more than capable of providing subtle dynamic gradations. I’m more impressed by what it does than by what it does not, to say nothing of the fact that the price point for excellence keeps getting reduced.  – Jacob Heilbrunn

Additional Listening:

Jeff Dorgay

The desires of the true vinyl enthusiast are diametrically opposed to the desires of the Highlander: there can’t be only one – cartridge, that is.  As your collection becomes more diverse, it will require at least one if not more cartridges in your arsenal to get the maximum listening enjoyment from all of your records.  The Monk Audio Phonostage does this at a much lower price than any of the other affordable multiple input phono stages we’ve reviewed.

Considering the brilliant performance of the Monk, adding a second or third turntable (or tonearm if your table has the option) is simple.  With all the necessary settings on the front panel, you can move between setups at will, and if you possess a table with removable headshells, the possibilities are infinite.  I suggest one highly resolving setup, perhaps one a bit more forgiving and maybe a mono cartridge for those new to turntable polygamy.

The Monk takes a slightly different approach to cartridge loading, offering multiple options for MM cartridges, with a range of 15k to 220k offered.  I’ve never experienced a cartridge requiring a 220k loading, but the ability to go up to 56k was a bonus with my Shure cartridges.  MC step up is via a pair of high quality transformers, and a special hex screw on the case made opening the case out of the question for now to further investigate.  Switching between Koetsu, Denon, Rega and Lyra MC cartridges was no problem.

All the right boxes are ticked with the Monk.  It is extremely quiet, possesses great dynamic range and contrast, remaining highly musical while doing so.  Those longing for even blacker backgrounds can ditch the wall wart power supply and add the Red Wine Audio Black Lightening battery supply for a substantial performance upgrade.

With a second (or third) analog setup at your disposal, you’ll wonder how you ever got by with only one.

Monk Audio Phonostage

MSRP: $3,500

Manufacturer Information:

www.monk-audio.com (mfr)

www.avataracoustics.com (US Importer)

Variations on panel-speaker themes are so widespread, they’re enough to make one’s head spin: magnetic planar, ribbon, electrostatic, and hybrid combinations constitute the bevy of options. And woe to the audiophile that doesn’t agree with one approach. For instance, admitting to a Magnepan aficionado that you like MartinLogan speakers can be the equivalent of treason, sparking reactions that will leave you thinking you just argued with a bunch of soccer hooligans in a pub.

Having owned pretty much all panel types over the years—from the Quad 57 to the mighty Magnepan Tympani to the phenomenal MartinLogan CLX—I love ‘em all. However, they all have limitations that, when minimized, allow for captivating musical presentations one will either adore or despise. Much that of like a single driver/SET system, an ESL speaker’s midrange is positively dreamy. Vocals, in particular, sound amazingly lifelike.

Other than its CLX and earlier CLS, all full-range electrostatic designs, MartinLogan hangs its hat on a hybrid design that mates a dynamic (cone) woofer to an ESL panel. The approach looks great on paper, with the cone woofer bringing the necessary punch and the ESL panel providing the trademark finesse. In practice, however, it’s a tough marriage, as the woofer and ESL panel dissipate sound pressure in different ways, making for a slight disconnect in the frequency spectrum.

Critics of the hybrid approach argue that the woofer doesn’t have the necessary speed to keep up with the ESL panel, robbing the otherworldly coherence that draws us to the design in the first place. So, often like that other marriage of convenience, the SUV, it isn’t always as sporty or utilitarian as some might prefer. I’ve always been willing to excuse a bit panel/woofer integration perfection for weight and slam. I can’t play Metallica on Magnepans, but I can on the MartinLogans.

No manufacturer does a better job of joining a cone woofer to an ESL panel than MartinLogan. It’s for good reason—the company has more seat time with the breed than anyone else. MartinLogan’s constant refinement of woofer and crossover designs (and improvements to the ESL panel) cheats physics rather handily. Enter the $9,995 Montis.

Up and Running

MartinLogan provides some of the best manuals in the business, so you will be rocking out before you can even say “vertical dispersion.” These speakers weigh only 58 pounds each and are easily unpacked by one person. If your room accommodates such a setup, start with the speakers about 8-9 feet apart and with slight toe-in. MartinLogan’s “flashlight” method for setting toe-in works very well and, even though these speakers can nicely when placed close to the side walls of a listening room, the further you can keep them away from side walls results in a larger overall sound field.

When listening to the Montis on both the long and short wall in my 16 x 25 foot listening room, the former gets the nod for producing an expansive stereo image. I suggest moving the speakers apart in 6-inch increments until the stereo image collapses, then back in ever so slightly. The Montis are shipped with hard rubber feet that can be swapped with spikes. The latter results in slightly faster bass transients, but thanks to the great improvements I didn’t hear as much of a difference between spiked and unspiked operation as in past ML models.

The bass control, located on the rear panel, affects the output level of the woofer +/-10db at 100hz. Start at the center (zero) position and optimize speaker placement for the best balance of bass definition and midrange clarity, sparingly using the bass control for best results. Also, the Montis has a lighted “ML” logo on top of the woofer cabinet and a small blue LED on the front face. A three-position switch allows users to choose maximum blue, dim, and off.

Beauty Beneath the Surface

Looking much like the earlier Spire, reviewed very enthusiastically in Issue 20, the Montis uses the same ESL panel as the Summit X and a slightly different 10-inch woofer that crosses over to the panel 10hz higher at 340hz. (It was 330hz in the Spire.)

A new Vojkto-designed 24-0bit DSP crossover enables a far better match between woofer and panel than ever before. With custom slopes on the high- and low-pass frequency segments, the Montis boasts more bass drive than the Spire. Plus, integration improved tremendously. MartinLogan designers never sit still, and as scary as “equalized” sounds in product literature referring to the woofer, the concept works splendidly. According to Devin Zell, MartinLogan product manager, the DSP crossover yields another benefit: consistency. “We were able to achieve much more consistent results within the crossover, holding values to a much tighter tolerance than with passive components. This also provides more consistency from one sample of the product to another.”

Acoustic jazz tracks underscore how far the Montis has come. While the Summit and Spire never struggled in this area, acoustic bass always lacked a bit of texture. No longer. Grant Green’s Idle Moments exemplifies this newfound fluidity. The bass playing here is subtle, seldom taking center stage. Yet the additional texture supplied by the Montis keeps the bass in the center of the pocket, right where it belongs, allowing the listener to forget about it and providing a better foundation for the music.

Whether real or imagined, the increased clarity in the lower register permits more midrange detail to shine through. Grace Jones’ Nightclubbing features a more detached electric bass line that, while great on a pair of Cerwin Vegas, usually sounds somewhat out of place on a high-end system. The Montis nails it, retaining the force albeit tightening up the overall feel.

Tube Friendlier

Many ESL enthusiasts clinging to the notion that tubes are the only way to go with beloved panels forget that hybrid designs are a different animal. Earlier MartinLogan hybrids sport a minimum impedance in the 2-3 ohm range, making them easier to drive than recent models that drop to a .25-ohm impedance at 20khz.

While the Vantage, Summit, and Spire are not amplifier destroyers in the way that my full-range ribbon Apogees are, the high-frequency response nose-dives with practically every tube amplifier, often making for a combination that sounds similar to a traditional dynamic speaker, albeit with a blown tweeter. Happily, the Montis sports a minimum impedance of .56 ohms (with an overall impedance of 4 ohms)—making these speakers much easier to drive with a tube amplifier.

The match with the ARC REF 150 is downright spooky—plenty of high-end sparkle, taut bass response, and a wonderful, airy midrange that one usually associates with the finest vacuum-tube/ESL combinations. This amplifier stands as the one of the best companions for the Montis—the very best I’ve heard yet.

The Montis has no problem being driven by the 25-watt Grant Fidelity SET monoblock amplifiers, which utilize the gigantic 845 output tube. High frequencies don’t roll off; however, a slight midbass hump considerably warms up the sound. Some will welcome the more romantic sound, the pairing sounding more like a pair of Sound Labs or Acoustat 2+2s with more bass drive. Either way, the fact these speakers can be comfortably driven by an SET is remarkable. Listeners whose musical taste leans toward female vocalists should be enraptured by this marriage. Sinead O’Connor’s How About I Be Me (and You Be You?) proves exquisite, yielding the larger-than-life vocals at which ESLs excel.

Equally Adept With Solid-State

These speakers are no slouch with the Burmester 911 mk.3, either. Thanks to the Montis’ resolving abilities, the massive solid-state amplifier brings an equally tasty albeit different flavor to the fore. Whereas the REF 150 has a definite ceiling regarding how loud it can play, the 911 mk. 3 easily drove the efficient (91db/1 watt) Montis to brain-damage levels. Even when cranking the title track from AC/DC’s For Those About To Rock, there’s still plenty of headroom for the parting canon shots.

Fast speed metal, served up via Megadeth, Anthrax, and Motorhead, presents no issue for the Montis when the Burmester amplifier is at the driver’s seat, keeping the sound from the panels clean and controlled. Akin to the Summit, Spire, and Summit X, these ESLs rock—provided your amplifier is up to the task. An amplifier of lesser quality has more trouble driving the panels, a deficit that’s often be mistaken for a woofer/panel coherence issue. The better your power amplifier, the smoother these speakers sound.

Slowing the pace, the acoustic guitar interlude in the middle of Crosby, Stills, Nash and Young’s “Déjà Vu” from the 25^th Annual Bridge School Concerts becomes particularly moving. You can easily discern the sound of each individual guitar in its space and, when the players hit the occasional low string, the additional coherence of the new woofer/crossover keeps you in the groove, never drawing attention to the speakers.

Solid Evolution

Should you trade-in your Vantage, Spire, or Summits for Montis? It depends on your room, system, music, and pocketbook. If you absolutely must have the latest/greatest, snag a pair. Is this speaker a significant upgrade? Unquestionably.

When MartinLogan developed the current Spire and Summit X via crossover advances made on the CLX model, the speakers’ added midrange clarity impressed but the main quibble with the hybrid ESL design still lurked. The Montis makes the biggest jump to date at integrating a cone woofer with an ESL panel. If that’s what you’ve been craving, you will enjoy the Montis.

MartinLogan Montis

MSRP: $9,995/pair

www.martinlogan.com

Peripherals

Looking at speakers at high-end audio shows often gives one the impression that audiophile speakers are designed to exclusively appeal to audiophiles. I’m a card-carrying audiophile, so sure, I think 73-inch tall, 600+-pound Wilson Alexandria X2 Series 2 speakers in “Fly Yellow” are drop-dead gorgeous. But the average dentist, business executive, or banker would probably think they’re monstrosities. Meaning that, even if they could afford to buy a pair, they wouldn’t consider living with them. Few “civilians” subscribe to high-end speakerdom’s form-follows-function aesthetic.

Which is why I smiled when I spotted the Davone Ray speakers at last year’s Rocky Mountain Audio Fest. On stands, the speakers didn’t come up to my waist, and their curvy styling, inspired by the iconic Charles Eames chair, stopped me in my tracks. Since the Danish-made Ray stands out in the overcrowded world of rectangular box speakers, I’m guessing non-audiophiles might be intrigued.

Moreover, the sound did not disappoint. MA Recordings’ Todd Garfinkel used a pair to demo his music, and I was totally smitten. The Rays projected a deep and wide soundstage, and the bass was more potent than I’d have expected from such a modestly sized speaker. I returned to listen again and again, so I was curious about how the sound would hold up at home.

Unique Design

Coming in at just 28.5″ high mounted on its stand, the Ray is small in stature. Granted, its modern styling won’t be a great fit with all decors, but its spouse-acceptance factor should be well above that of most full-range audiophile speakers.

The Ray sports a black cloth grille mounted on a plywood frame—something you won’t find on many speakers. Remove the grille, and you’ll see the front baffle is covered with nicely finished real black leather (the rear panel is leather-clad, too). I asked company founder and aeronautical engineer Paul Schenkel about why he opted for genuine leather. He said he prefers natural materials—not for sonic reasons, but for the quality they impart.

The Ray boasts just one (coaxial) driver, and it’s unique to this design. The driver incorporates a 1″ Illuminator silk-dome tweeter that sits in the center of an 8″ Volt woofer. No wonder the Ray produces a more coherent soundstage than speakers with a row of drivers arrayed over their front baffles. I’m sure other high-end speakers utilize a single coaxial driver, but the only one that immediately comes to mind is the Thiel SCS4. I remember being knocked out by the SCS4’s precise imaging, but the Ray is a more full-range design.

The powdercoat-black-finished solid-steel stands are also works of art. Their curves perfectly complement the speakers, and while I first thought the stands looked too spindly to securely support the Davone, there’s almost no give when I nudge the speaker with my finger.

The Ray’s curved, walnut-veneered, sixteen-ply beechwood cabinet is fitted with medium-density fiberboard front and rear baffles. Impedance is listed at 7.5 ohms, yet it gets down to 4.1 ohms at 20kHz. A Cardas speaker-wire clamp accepts spades, bare wire, and, in a pinch, banana plugs. The backside also sports a large bass port, so don’t even think of placing the Ray near a wall. This speaker needs room to breathe.

The Joys of Cooking

The Ray’s even-tempered balance is its prime virtue, but its big-as-life imaging is what kept me grabbing records. Older 1960s recordings, like the live Modern Jazz Quartet works with Jimmy Giuffre, sound wide-open. There’s a lot of “leakage” between mics on these albums, so when you play speakers as time-coherent as the Rays, you feel like you’re in a huge sound space. The solidity/presence of Guiffre’s clarinet, as well as that of the drums, bass, and piano, is nothing less than thrilling. The Rays more completely conjure the recording venue—not so much in the look-at-me, high-resolution sense—but in a manner that relates to the soul of the music and how live instruments actually sound.

These characteristics account for why the Ray’s midrange glories don’t require agonizing analysis. “Homeless,” from Paul Simon’s Graceland CD, elicits goosebumps. The track is almost a capella, with Ladysmith Black Mambazo’s vocals recorded at Abbey Road Studios. The voices sound strikingly human, an increasing rare quality on contemporary recordings. And on Simon’s  “My Little Town,” from Still Crazy After All These Years, I hear aspects of the mix I’ve never noticed before. Consider the opening solo piano, occupying an actual acoustic space. As acoustic guitar, horns, bass, and drums enter, the tune starts to sound like a standard 1970s multitrack pop recording. Listening over the Rays, you genuinely hear the mix evolve.

By contrast, Leonard Cohen’s Live Songs is a sparsely populated, purely acoustic affair. And Cohen is right there, between the Rays, as live as can be. This illusion is what high-end audio is about. It’s supposed to generate these epiphanies.

Satisfied the Rays can sound sweet, I pulled out the Black Keys’ Attack & Release CD to indulge my blues-rock fantasies. No worries—the Rays can boogie when the urge strikes. But if you live on a steady diet of high-decibel tunes, the speaker will not provide the necessary impact—certainly not like the kind you get from a pair of heavyweight towers.

That said, the Ray easily conveys the Dirty Dozen Brass Band’s meaty, big and bouncy rhythms. The swinging ensemble doesn’t have a bass player; instead, the sousaphone’s blatting bass lines provide the music’s pulse. Lesser speakers gloss over such contributions, but the Ray never misses the beat. Indeed, the Dirty Dozen Brass Band’s Mardi Gras in Montreux LP could have been called The Joy of Cooking, New Orleans Style. There’s no Pro Tools messing with the sound, so the music speaks for itself.

Truly Original

Listening over the long term, the Rays constantly surprise me, with every record sounding different from the last—always a good sign. All LPs and CDs are recorded under wildly different circumstances, and the Ray made these facts abundantly clear.

There’s a lot to love about this speaker: Its small stature, unique styling, and the way its single driver presents an unusually transparent view of the music. I just wish more speaker companies were coming up with such truly original designs.

Manufacturer’s Information

Davone Ray

MSRP: $7,500 per pair

www.davoneaudio.com

Peripherals

Audiophiles have a habit of prematurely discarding things. In the 70s, a proliferation of low-efficiency box speakers and transistors convinced many enthusiasts to abandon vacuum tubes for high-powered solid-state amplifiers. Listeners were on a quest for “perfect measurements,” only to wonder if they’d made the wrong choice after the fact.

History repeated itself again in the 80s with the compact disc, as many of the same devotees ditched vinyl in favor of “perfect sound forever” and the digital medium’s superior measurements. Fortunately, technology always seems to come full circle and often reaches its development pinnacle years after introduction. The ARC REF 150 power amplifier exemplifies this trend.

Tradition

The $12,995 REF 150 builds on the success of the previous $10,995 REF 110, the consummate one-box solution for audiophiles that don’t require the power of the larger REF 250 and 750 monoblocks. ARC executive Dave Gordon notes: “The REF 110 is a great amplifier. Yet the extra output of the REF 150 is perfect for our customers wanting the REF sound, but don’t want to commit to the space a pair of monoblocks required.” One chassis also has an advantage in that the REF 150 only requires replacing eight power tubes (approximately every 5000 hours) and, subsequently, produces less heat. Tubes are cooled by a pair of back-panel fans that only make themselves faintly known when the music is off. And even then, one must listen intently to hear them.

Looking virtually identical to its predecessor, the REF 150 sports major internal changes. There’s a much bigger power supply, with double the storage capacity of the REF 110, and redesigned output transformers to maximize the capacity of the KT120 output tubes. Past ARC power amplifiers use the 6550. However, the increased dissipation of the new KT120 tube allows for a substantial power increase. Proprietary capacitor technology utilized in the 40^th Anniversary Reference Preamplifier significantly contributes to the new amplifier’s improved transparency. Currently, there’s no upgrade option for REF 110 owners. Still, Gordon mentions that the KT120 tube can be a drop-in replacement for the 6550 in the REF 110 and “provides a bump in power output, close to 20 watts per channel.” Not a bad upgrade for about $600.

Having owned numerous ARC power amplifiers during the past 30 years, I love that the company prefers a path of measured evolution rather than ricochet from one design to the next. This approach keeps high both demand and resale value for vintage ARC gear. Some older models are now worth more used than they were when new. The current hybrid design, featuring low noise JFETs in the first input stage, began back in the late 80s with the Classic 120 and Classic 150 monoblocks. The latter models ran eight 6550 tubes in each channel in triode mode. By comparison, the REF150 utilizes ARC’s patented “cross cathode coupled” output stage, delivering more power from half as many tubes—and providing better overall sound.

Listeners that find the last generation REF 110 amplifier slightly forward in tonal balance and requiring more juice to push will likely feel that the improvements made to the REF 150 a welcome change. ARC diehards, take note: The change in overall sound is almost identical to the improvement between the REF 3 preamplifier and REF 5.  Audio Research achieves a delicate balance of delivering extra, almost-indefinable tonal tube richness while avoiding the common trap of masking resolution with warmth—or speed with an overblown soundstage. In other words, the REF 110 goes to 9.3 and the REF 150 goes to 11.

Compatibility

The REF 150 features a single pair of balanced XLR connections for the input and three output taps (4, 8, and 16 ohm) for speaker outputs. Thankfully, ARC employs quality copper binding posts instead of the awful, plastic-coated connectors used on too many of today’s power amplifiers. Solid connections are important, and these do the job. A 20-amp IEC socket is used for power transfer, as is a heavy-duty power cord.

Integrating the REF 150 into both of my reference systems—one featuring ARC’s REF Phono 2 phonostage and REF 5 preamplifier,  the other comprised of the Burmester 011 preamplifier and Vitus Audio MP-P201 phonostage—proves seamless. Note: the design of the REF series power amplifiers is such that they will not work with single ended (RCA outputs only) preamplifiers.  A balanced preamplifier must be used, or distortion will rise dramatically, accompanied by a substantial decrease in power.  This is due to the omission of the phase inverter stage – a small price to pay for signal purity.  Excellent synergy is also achieved running it direct from the dCS Paganini stack, in effect making the ARC an all-digital control center. No matter your front end, the REF 150 will deliver.

The REF 150 is equally versatile with a wide range of loudspeakers. While it can’t push my power-hungry Magnepan 1.7s to ear-busting levels, it plays them at coherent levels with all but heavy-rock tracks—a major feat for most amplifiers, and an incredible achievement for a tube amplifier. The new MartinLogan Montis speakers make for a fabulous combination with the REF 150, a match previously problematic due to the speakers’ low impedance (.56 ohms at 20kHz), The Montis’ slightly higher impedance combines with the REF 150’s superior drive to play extreme music at any level desired, with no loss of high-frequency information. It all reminds me of the synergy achieved years ago with ARC’s legendary D-79 power amplifier and MartinLogan’s CLS speakers.

Outstanding Impressions

I’m instantly struck by two characteristics: The REF 150 sounds more lifelike right out of the box than recent ARC components, and it possesses colossal bass grip. Those of the opinion that vacuum tube amplifiers can’t produce prodigious amounts of bass weight or control are in for a major paradigm shift. In these respects, the REF 150 amazes.

The Chemical Brothers “Galvanize,” from Push The Button, reveals wet and loose beats that challenge amplifiers to capture their gravitas. The REF 150 aces the test. Sampling everything from Pink Floyd to Stanley Clark shows the amplifier claims immense power and control over lower registers. Regardless of the speakers, the REF 150 goes deep, and yet, stops on a dime with bass transients. No, I don’t believe “tube watts” sound more powerful than “transistor watts.” But there’s no substitute for a well-designed power supply with ample reserve capacity. The REF 150 sounds much bigger and more dynamic than its power rating suggests.

Texture is treated in equal measure, leading me to an old audiophile favorite, The Three, a JVC direct-to-disc LP featuring Shelly Manne on drums, Joe Sample on piano, and Ray Brown on bass. Listening to Brown’s playing on “Satin Doll” is sublime, with every up-and-down movement of his fingers smartly distinguishable.

But man cannot live by bass alone, and the REF 150 excels with practically every other aspect of music reproduction. The amplifier’s ability to hold its poise when pushed very, very hard leaves me stunned. Warner Bros.’ analog remaster of Van Halen’s Van Halen II is no audiophile masterpiece, and the third track, “Somebody Get Me a Doctor,” often collapses into a one-dimensional experience. Yet, even at close-to-concert decibel levels, Eddie Van Halen and Michael Anthony’s background vocals retain distinct separation rather than just sounding like a single vocal.

Imagined or not, electric guitars reproduced through tube amplification represent the proverbial equivalent of an extra push over the cliff. The REF 150’s resolution is particularly tasty when listening to bands featuring multiple lead guitar players; think Judas Priest, Slayer, or Metallica. The title cut to Judas Priest’s Ram it Down personifies the increased power such tracks exert when you can easily discern multiple guitarists in the mix.

For those preferring to twirl rather than bang their head, look no further than Mobile Fidelity’s recent remaster of the Grateful Dead’s Live Dead. Filled with layer upon layer of guitar and keyboard tracks, the LP takes on new life via the ARC, revealing previously obscured tidbits. Consider: Jerry Garcia’s guitar begins as a whisper on “Saint Stephen,” yet when he ramps up the volume, the organ way off in the background doesn’t lose its integrity.

Power and Delicacy

The REF 150 never stumbles, handling the power of a guitar solo or delicacy of a flute passage with ease. Without question, this amplifier roars when required. But thanks to its wide dynamic range and bandwidth, it retains a full-bodied sound at low playback levels. Those subscribing to the “first watt” theory (i.e., if the first watt isn’t great, the rest won’t be either) can rest assured the REF 150 is up to the task.

Rounding out my evaluation with wide range of vocal standards confirms initial impressions. The REF 150 is a very natural-sounding amplifier—never forward, bright, or harsh. Bob Dylan’s Bootleg Series Volume 8 comes off with the depth of a stereo record.

At first listen with any component, dynamics usually woo you into further listening sessions. However, tonal accuracy and overall natural sound are the sonic sauces that keep you on the couch for hours, seeking out “just one more record.” Sure, many Internet pundits complain that recorded music sounds nothing like the real thing. Pish. If your speakers and source components are up to task, the REF 150 will produce such sensations with the best recordings—and amply seduce you the rest of the time. Cream’s “Sleepy Time, Time” from its 1995 performance at Royal Albert Hall splendidly reproduces the venue’s ambience. I feel as if I’m sitting in the center of the 15^th row in this famous concert hall—no surround speakers needed!

If you’re seeking classic tube-amplifier sound that is larger than life and full of romance, the REF 150 isn’t your bag. However, if you desire a modern amplifier possessing musical integrity, timbral accuracy, and wideband frequency response—yet still boasting the three-dimensionality, air, and tonal saturation hallmarks of mighty vacuum tubes—the REF 150 offers emotional engagement few amplifiers at any price can match.

Audio Research REF 150 Power Amplifier

MSRP:  $12,995

www.audioresearch.com

Peripherals

Somehow, the Rocky Horror Picture Show is still going strong after almost 40 years.  Now tame in comparison to half of the stuff you see on Fox News, it still has a sexy, kitchy charm.

Featuring a much younger and larger Meat Loaf as Eddie, a mostly forgettable Brad Bostwick (asshole) as Brad and introducing an incredibly hot Susan Sarandon as Janet, the semi frumpy chick who’s sexuality is awakened by the despicable Dr. Frank-n-Furter (played by Tim Curry) this record will either bring back fond memories, or augment the current soundtrack of your life.

This one won’t win any awards for sound or mastering quality, as the overall recording is slightly compressed from what you’ll hear in a theater with a great sound system, but if cranking the Time Warp doesn’t get you up off the couch to shake your groove thing, nothing will. It’s a must for your record collection.

“I’m a stat guy at heart. I wanted that midrange openness and neutrality,” remarks Mark Suskind, Polk Audio’s VP of Product Line Management, as we listen to the nuances in Ginger Baker’s drumming through Polk’s latest creation, the LSiM707 speakers.

Incredibly, the $3,999 pair of floorstanders is right at home in a six-figure reference system, throwing out a wide soundstage that both extends well beyond the speaker boundaries and claims three-dimensionality—each member of Cream takes up a distinct space in the listening room—that paints a vivid picture of a seemingly in-progress live event. Wait: Polk Audio and a six-figure reference system? What gives? Is this a Fringe episode where in an alternate universe Polk Audio rules the world of high-end speakers and Walter Bishop blasts Cream in his laboratory while he investigates the unknown? Nope. Just another instance of TONEAudio exploring exciting possibilities.

In the early 70s, Polk Audio grabbed the audiophile world’s attention with its legendary SDA-SRS speaker system and has since counted a number of significant milestones. The LSiM707 brings the history full circle by leaning on nearly 40 years of speaker-production knowledge. Yes, these are handsome speakers, available in a Mount Vernon Cherry medium wood finish or Midnight Mahogany a black ash wood finish. Slim, magnetic grilles keep fingers, noses, and prying guests away from the drivers, or you can use the speakers bare and showcase the gorgeous gloss-black front panel.

A Serious Audiophile Speaker in Every Way

When introduced in 2001, the LSi series garnered rave international reviews, proving Polk a solid contender in the audiophile speaker market. And you won’t find a more loyal group of speaker owners; take a cursory look at the Polk Audio Owners Group on the Web.

The LSiM707 constitutes a four-way system with many new features, some of which break new ground and some that refine past processes. A cutaway view highlights the attention paid to every facet of the design—from the Dynamic Sonic Engine that incorporates Polk’s latest ring radiator tweeter and Extended Motion midrange driver to the meticulously assembled crossover network, featuring premium capacitors and inductors. And, there are a few things the naked eye cannot see, such as the aerated polypropylene woofer cones and rigid internal cabinet bracing. For in-depth tech explanations of these aspects, visit the Polk Web site at http://www.polkaudio.com/homeaudio/lsim/index.php.

To ensure the speakers would perform at the top level, Polk made substantial upgrades to its in-house listening room. Visiting the company’s Baltimore office reveals a full complement of Audio Research Reference electronics—amplifier, preamplifier, CD player. No surprise, then, that the LSiM707 yields excellent results when plugged into my ARC REF 5 preamplifier and REF 150 power amplifier.

Setup

Placing the speakers five feet from the rear wall, with the tweeters nine feet apart— combined with five degrees of toe-in and a slight rearward rake—proves optimum in my room. The LSiM707s sound good without critical placement, but taking the time to make adjustments to rake angle results in superior imaging. Sure, the process requires a few minutes per speaker, but it’s made even easier with the iLevel Pro app for the iPhone. Or you can go old-school with a traditional level. Just have both speakers raked back at the identical amount and use the supplied wrench.

I utilized three distinctly diverse systems to audition the LSiM707s. The ARC REF gear and dCS Paganini CD player highlight how the speakers perform in very high-end systems. My recently rebuilt (fresh power supplies and full CJD Teflon cap upgrades for both units) Conrad Johnson MV-50 amplifier and PV-12 preamplifier, along with a BelCanto CD player, makes for a great setup that won’t break the piggy bank yet still renders highly satisfying performances. For budget-conscious music lovers that might make the LSiM707s a foundation on which to build, a vintage Pioneer SX-434 receiver and 563 universal disc player only add $200 to the cost of the Polk speakers.

I’ll Take Polk Audio For $4000, Please

The LSiM707s’ slight out-of-the-box stiffness vanishes after about 50 hours of playing time, unveiling speakers much more sophisticated than what’s intimated by their price. A few snooty local audiophile associates experienced the LSiM707s (albeit with the Polk logos hidden from view) in my full ARC system. When asked to guess the cost of the mystery component, they estimated between $10-$20k, a conclusion spurred on by my spinning of well-known audiophile favorites. After the guinea pigs became convinced they were listening to $20k speakers, I finally dropped the bomb by informing them the Polks fetch $3,995 for the pair. Consider the so-called experts successfully duped.

While listening to a $20k pair of speakers reveals the areas in which the LSiM707s fall short, this review isn’t meant as a shootout. Big bucks gear possesses extra resolution and refinement—and that’s how it should be. Comparing the LSiM707s to speaker favorites in the $4,000-$5,500 bracket is more useful and interesting.

The $4k Penaudio Cenya and the $5k B&W 805D both present more upper-range resolution, but only solidly go down to 50Hz. Also, each requires a pair of expensive stands to achieve maximum bass performance. Meanwhile, the $5,500 Magnepan 3.7s color a more grandiose aural picture but don’t really rock. Plus, to be all they can be, they necessitate a $10k high-current, solid-state power amplifier.

A Serious Music Lover’s Speaker

The 50 watts per channel that the CJ amp provides is great for most listening, but the configuration particularly excels at vocals and mellower music, as illustrated by Mobile Fidelity’s 24K CD of Tom Petty’s Full Moon Fever. The album’s multiple layers stay intact, with not only the woodblock in “Face in a Crowd” anchored in space but its timbre and scale sounding exactly right. They seem minor, yet these minute details allow you to forget about the system and concentrate on the music. Gram Parsons’ Grievous Angel and CSN’s Déjà vu supply similar experiences. The LSiM707s unfailingly render subtle shadings without missing the larger dynamic swings.

Swapping the CJ gear for the C500 preamplifier and the 450Wpc MC452 power amplifier, I effortlessly buried the big, blue power meters courtesy of albums from Van Halen, Slayer, and Nine Inch Nails. Todd Martens’ column (on page 88) inspired a maximum-volume romp through The Downward Spiral that left me invigorated and convinced that the LSi707s play at high levels without instilling listener fatigue.

Jazz and classical listeners should be equally enthralled with the Polks. It’s one trick to play really loud, but these speakers possess the necessary finesse to capture the essence of acoustic instruments. With a recent listening session to the mastering of Music Matters’ analog edition of Herbie Hancock’s Empyrean Isles burned in my memory, I eagerly played a test pressing of the LP via the LSiM707s. They did not disappoint. Hancock’s piano and Freddie Hubbard’s coronet blast from between the speakers with great dynamics and zero overhang. Cymbals are natural, and bass is pregnant with texture—no one-note bass here.

Man Up and Grab a Pair

The LSiM707s’ greatest virtue owes to their overall performance level; they have no shortcomings. Honestly. The speakers offer major bass grunt—Polk claims 22Hz-40kHz, with a -3db point at 42Hz. However, when listening to test tones, the 30Hz band remains very solid. Moreover, the smooth high-end is grain-free and the mid-band extremely natural. The well-designed crossover network also provides a top-to-bottom coherence that’s rare at this price.

It would be easy to say that these speakers’ only errors are those of omission, but such a statement sells them short. When used with the ARC REF gear, the LSiM707s easily resolved the differences between the $12k dCS Debussy, $30k TAD 600, and $55k dCS Paganini. Most sub-$10k speakers fail this challenge.

Most importantly, for music lovers on a budget, the LSiM707s still deliver a very musical performance when paired with a garage-sale receiver. No matter with what they’re mated, they put forward such substantial resolution that it will feel as if you acquire a whole new system any time you upgrade your amplification and/or source components. This experience translates to unending fun—and a TONEAudio Exceptional Value Award.

Revealingly, on our way to the airport, Suskind commented that Polk “wants the LSiM707 to be a gateway to the high end on a reasonable budget.” The company accomplished this feat—and much, much more.

Vinyl’s resurgence notwithstanding, none of my twentysomething friends own a turntable. Yet they’ve all got a Mac Mini. And just as my friends like to argue about what turntable/cartridge combo reigns supreme, I’ve overheard younger music lovers debate what music player makes for a superior experience on the Mac Mini—as well as what hard drive sounds best and what memory configuration proves superior.

All of which might explain why these Gen Y listeners were excited to see the CEntrance DACmini CX. Built to the same dimensions as a Mac Mini, this silver box makes a ton of sense for anyone craving high performance in a compact cabinet. If you’d like even fewer boxes cluttering up your living space, CEntrance makes an alternate version that incorporates a Class-D power amplifier. That’s another review for another day.

Versatile Midget

Akin to prior Mac Minis, the DACmini CX is fed via a wall wart. Should you lose the latter, anything will do as long as long as it yields 9-19 VDC (the included supply produces 19VDC). Nice touch. The unit gets up and rolling in 30 seconds, offering USB, Coax, and Toslink digital inputs along with a single analog input—the key to the device’s viability. The RCA/SPDIF digital input accommodates sources up to 24bit/192khz while the USB is, for the moment, limited to 24/96. A headphone jack helps make the box a highly versatile option in a main or second system.

For the main digital source, I used a MacBook Air via an AudioQuest Diamond USB cable and rustled up an old reliable CD player, the Pioneer 563 via SPDIF, to keep within the product’s budget-minded parameters. A pair of Vandersteen 1C speakers and a vintage Adcom 535 comprised the rest of the system; Audeze LCD-2 headphones were employed for headphone listening.

Bad is Good

I waited a full 24 hours to begin serious listening sessions. An old-school audiophile, I remain amazed at what great sound comes from this tiny box. Take the title track from Bad Boy’s Private Party. I’m impressed at the amount of separation that shines through between the multiple lead guitars, particularly given that the record is a marginal remaster. Audio Fidelity’s reissue of Bad Company’s debut presents an even bigger surprise. The opening cymbals on “Ready for Love” fade out with a delicacy that I expect from a fancier digital front-end.

Sticking with the bad bad bad theme, Badfinger’s Straight Up admirably conveys the disc’s analog mastering, showing off harmonies and maintaining spaciousness that otherwise sounds cloudy via budget DACs. Or marvel at the textures in guest singer Wendy Lewis’ vocals on the Bad Plus’ For All I Care. Whether it’s Wendy Lewis or Wendy O Williams, the DACmini CX possesses a realism and tonal richness that always suggests performance in line with that of more expensive hardware. Not that the box can work wonders. Paul Simon’s So Beautiful, So What sucks no matter the conduit. It’s no fault of the DACmini CX; it’s just an awful album.

Jazz standards also signal significant acoustic texture and body, along with smart sense placement within the soundstage. Miles Davis’ Live in Europe 1967? Absolutely riveting. Davis’ signature horn stays way out in front of the speakers, with the rest of the band spread out behind him. This record stands as an excellent test of pace, the rapid-fire drum rolls never getting lost in the mix as Davis hypnotizes. And the bass groove remains thoroughly locked in place.

Hi-Res Reveals More

High-resolution tracks cast the DACmini CX in an even better light. Taking advantage of albums downloaded from HD Tracks and 24/96 files captured from LPs—the latter converted at TONEAudio with the Nagra LB Pro 2 track machine—music came even more alive. HDT’s version of Fleetwood Mac’s Rumours simply rocks. Sure, we’ve all heard “The Chain” too many times, but the song epitomizes bass dynamics, and the DACmini CX offers more than enough resolution to easily discern the differences between standard and high-res versions.

Headphone listening is equally enjoyable. The LCD-2s are my go to ‘phones, and there’s more than enough power on tap to drive them to damaging levels. The Grado PS 500s also result in a great match, with smooth tonal balance and plenty of bass grip.  Even the notoriously tough-to-drive AKG 701s do not pose a problem for the headphone section. If you don’t control your whole system with the DACmini CX, it makes for a killer bedroom system, with minimal footprint, regardless of digital source.

As much fun as my new, younger friends had putting this DAC through its paces with myriad headphone and music player combinations, using it as a full-function preamp is where it’s at—along with two turntables and a microphone, of course. It drove every power amplifier with which it was paired.

Go to 11

A tweakophile, I couldn’t resist the urge to connect the DACmini CX to a Red Wine Audio Black Lightning battery power supply. Here’s some advice: For those wanting to take the DACmini CX further, toss the wall wart. It’s always a great idea to keep such little switching power supplies away from your audio gear, and adding the clean power supplied by the Black Lightning enhances the listening experiences. Backgrounds grow even quieter, with more low-level detail—especially on high-res files of acoustic music, giving the overall presentation a more natural, organic feel. Lovely.

Additional Listening:  Jeff Dorgay

Since everyone and their brother seems to make a cheeseball DAC in $500 range, it’s nice to see a company with major engineering talent bring a product like the DACmini CX to market. A digital brainiac, CEntrance principal Michael Goodman has done work for Mackie, Alesis, Harman Pro, and Benchmark, to name a few. He’s quoted in ProSound News Europe as “the one they call in when someone can’t crack a tough problem.”

Popping the top of this unit reveals attention to detail you might expect from a manufacturer such as dCS, or Vitus. The layout is impeccable. I’d love to see better rubber feet on the bottom, similar to those on the Wadia 1, but that’s about it.

I have zero complaints with the sound, and applaud the decision to include an analog input, which elevates the device from merely great to outstanding. Should the urge arise, you can add a phonostage and turntable, which is what I did for half of my listening. Plugging in the Rega RP3/Exact via an EAR 834P functions as a can’t-miss combination through the Conrad Johnson MV-50C1 and Polk Audio LSiM707 speakers. Indicative of its robust output stage, the DACmini CX suffers no fatigue driving a 15-foot pair of cables to the power amp.

The unit’s overall sound is very neutral. And the match with the CJ amp is scintillating—but remember, I prefer things ever so slightly on the warm side. For $795, a budding music lover/audiophile can fit one of these in the budget without going broke. I am proud to award the CEntrance DACmini CX a Publisher’s Choice Award for 2011.  Is there a better building block with which to start a system?

www.centrance.com

Notes From San Francisco features a previously unreleased, decades-shelved 1978 studio album as well as a newly unearthed 1979 live set. Music On Vinyl’s gatefold 3LP edition also features a 36-page booklet plus a download coupon for the Osaka Jam Sessions and bonus tracks.

How does it fare when compared to the digital editions?

The studio effort offers surprising bass strength and punch, competing well with the CD issue. On “Rue The Day,” the LP’s inherent analog filtering provides a more organic presentation, giving the drums that desirable “dead skin” tone. Soundstaging is also more alive on LP, yielding greater presence and depth. Dynamically, the album is not the most exciting on either format, as it lacks the impact that careful studio engineering can provide. Instead, you get more of an authentic live sound (and this is the studio album, mind you).

This collection’s archival nature is made evident by the original master’s distinct unevenness, distinctly revealed on “B Girl,” which sounds far dynamically superior to previous tracks on the same album—and also possesses an open, airy upper midrange. This stark difference, plainly heard on the vinyl version, is not as blatant on the digital edition, confirming the LP’s extra transparency.

Recorded at a higher volume that doesn’t help the dynamics, the live portion of the set showcases an intense sound that struggles to maintain its structure on CD format. Although the mic’ing is a touch eccentric, this is a live album that, on the vinyl version, teems with vibrant energy, passion, and gut-driven rock. Basically, a typically great Rory Gallagher gig, then. — Paul Rigby

Music On Vinyl, 180g 3LP

By bringing popular African sounds to massive western audiences during the 60s, Miriam Makeba became the most important female vocalist to emerge from South Africa. The World Of Miriam Makeba, her third album, features her soon-to-be husband, Hugh Masekela, as conductor of the orchestra.

When compared to the original pressing, Speakers Corner’s newly remastered version stands out for its level of stark clarity. On “Forbidden Games,” a Spanish guitar line sits alongside basic percussion with a quiet precision that exudes textural details absent on the original. Such concentration on informational extraction is enhanced, via this new stereo version, by a broad-brushed soundstage that allows instruments more room to breathe. When a drum solo comes to fore on “Pole Mze,” for example, it resonates with a deep, throbbing sound notable not so much for its resident power but its physical potential. The drum skin’s give is readily apparent.

Vocally, Makeba is clear and concise. A slight hardening within the upper-midrange regions makes itself known but seems more a facet of the original recording. That said, Makeba’s fine vocal performance might challenge brighter hi-fi rigs. Even so, the singing is more enjoyable here than on the original. And on “Umhome,” the new master reveals wide, dynamic improvements with sculpted ambience that reflects the backing instrumentalists’ understated albeit perceptible preparation. You can hear their careful shuffling, breathing, and adjusting.

Featuring admirable reproduction of the original packaging, Speakers Corner’s LP is both faithfully considered and wonderfully enthralling. —Paul Rigby

Speakers Corner, 180g LP

“These things take time,” crooned Morrissey on the Smiths tune of the same name, the B-side to 1984’s “What Difference Does It Make.” How right he was. After more than a decade of pleas from fans eager to clutch the group’s drama as close to their hearts as possible, the Smiths—the iconic, 80s jangly indie-rock group that reigned supreme as the spotty, angst-ridden, back-bedroom touchstone of a generation—are finally the subject of a magnificent, career-spanning retrospective box set that’s among the most-sought after collector pieces of the year.

Contained in a 20” x 13” x 2” box replete with a hinged opening and magnetically sealed lid, Complete (Deluxe Boxset) documents every professionally recorded note of the band’s tenure via eight vinyl LPs, eight CDs, and 25 7” singles. The CDs and the vinyl duplicate the content—four studio albums (The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986), Strangeways, Here We Come (1987)), the live Rank (1988), plus the compilations Hatful Of Hollow (1984), The World Won’t Listen (1987), and Louder Than Bombs (1987).

Visually, a bonus DVD presents all of the band’s official videos. Large poster of the box cover art, a 12”-square booklet detailing the albums, and batch of eight, 12”-square art prints of each album’s sleeve art round out this mammoth beauty that, for those lucky enough to find a copy, will probably tip the scales as the heaviest box set they’ll ever own. More importantly, the sonics justify the expense.

Compared to the original LP pressings, improvements abound. “Reel Around The Fountain,” from the band’s debut, shows enhancements in more expansive soundstaging. Bass is stronger and more forceful, giving the track added presence; upper mids are also more focused, giving the vocals extra impact.

Comparing the box set’s vinyl with Rhino’s 2009 LP reissues proves the most intriguing study. In 2009, the vinyl was remastered from the original master tapes with the help of guitarist and co-writer Johnny Marr and London’s Metropolis Studios mastering engineer, Frank Awkright. Reportedly, duplicate vinyl is included here. However, audiophiles should be aware that this is not the case. The pressings are wholly different in terms of both aesthetics (the center labels are changed) and sonics. They sound much more confident and transparent.

Hence, “The Headmaster Ritual,” from Meat Is Murder, exhibits stronger bass levels and an appreciable reduction in midrange compression, reducing distortion and making Morrissey’s lyrics easier to discern. In addition, the superior soundstage gives each instrument more room to manoeuvre.

The CDs are somewhat disappointing. “Girlfriend In A Coma,” from Strangeways, Here We Come, is mastered too loudly, with compression hardening the upper mids. Digital fans would do well to seek out the original mid-80s CD issues, mastered to lower volume levels that give the ear more clarity and transparency. No matter.

(Complete) Deluxe Boxset is about collectablity and the vinyl. It’s not only to be desired, but is an absolutely essential purchase. Grab one now: Limited to 4,000 worldwide copies, it’s already out of print in several territories. —Paul Rigby

Rhino UK, 180g 8LP, 25 x 7”, 8CD, DVD Box Set

If Journey is at best a guilty pleasure at best, or perhaps a bit of reliving part of your youth during a time when you had just as much hair as these guys did (hopefully you left your shirt buttoned), and your favorite Journey albums are worn and weathered, you might consider this pair of greatest hits collections.

However, if you are a Journey fan looking for remastered treasure that sounds better than the band’s originals LPs, forget these newly issued editions. These LPs are terribly harsh and compressed. Using a Linn LP-12/Shure V15 combo tends to forgive such sonic sins, but not enough to make these LPs palatable. It’s too bad.

That said, the studio albums from which the songs on these two collections are taken can be picked up used bins for between $2-$5 a shot. Go that route. Look for low-stamper copies first, and enjoy one of arena rock’s most successful bands as originally captured. —Jeff Dorgay

Sony/Legacy, 180g 2LP (each)

More than 50 years ago, Decca, the renowned UK recording company, ushered in the stereophonic era with its trademark “FFSS” (or “full frequency spectrum sound”) classical LPs. The Decca Sound is a limited-edition box of six LP reissues selected for their outstanding performances and, well, their sound. Unlike the 140g British-stamped predecessors, these new 180g vinyl heavyweights are minted in Czechoslovakia. Four are analog recordings, while two stem from digital originals and make their vinyl debut.  A souvenir booklet on Decca’s fascinating history of making great recordings completes the box.

The oldest analog recording, The Golden Ring, offers well-known excerpts from Wagner’s operatic ring cycle performed by Sir Georg Solti and the Vienna Philharmonic. I’m immediately struck by the record’s silent surfaces (never one of Decca’s strong points) and brilliant, bright, orchestral sound. The final scene of Das Rheingold, complete with anvil splitting and the gods’ entry into Valhalla, conveys the huge soundstage and dynamic range achieved by producer John Culshaw and his studio magicians. Remember, this excerpt was taped in 1958.

The excellent sonic signature is consistently maintained throughout the other analog recordings. Ernest Ansermet and his Orchestre de la Suisse Romande give a pulse-pounding rendition of de Falla’s Three-Cornered Hat featuring authentic Flamenco effects. Rachmaninoff’s Third Piano Concerto, played by Vladimir Ashkenazy and sympathetically supported by maestro Anatole Fistoulari and the London Symphony Orchestra, is as good a reading as this romantic work gets. There is nigh-perfect balance between piano and orchestra; listen to the heart-on-a-sleeve second movement adagio.  The LP also sports the most natural sound balance of the bunch. The final analog entry showcases Lorin Maazel and the Cleveland Orchestra delivering two Respighi blockbusters, The Pines of Rome and Roman Festivals. These evocative images of ancient and modern Rome generate a massive wall of sound without swamping excellent instrumental details.  Superb handling of the dynamic extremes rightly earns the LP perennial audiophile-favorite status.

When Decca went to all-digital recording consoles in the 1980s, it continued to issue LPs cut from digital masters. However, newer technology never guarantees better sound, and many early digital-era LPs suffer from excessive glare, a trait shared by their CD counterparts. Fortunately, the news is better concerning the two digitally sourced LPs here. Riccardo Chailly and the Concertgebouw Orchestra generate a hell-for-leather rendering of Messaien’s massive Turangalila Symphony, with strong contributions from piano virtuoso Jean-Yves Thibaudet.  Young violin star Janine Jansen’s takes on Beethoven’s warhorse concerto and Britten’s modern classic hold their own against stiff competition.

In comparing the contents of the box to the original LPs of the analog recordings and to the CDs of the digital editions, the analog reissues are reasonably accurate facsimiles of the originals. However, their much quieter surfaces enable more detail to come through. The digitally sourced LPs improve upon the previous CD releases in terms of warmth and ambience.

Limited-edition deluxe box sets are all-or-nothing propositions. Should classical lovers drop more than $100 on The Decca Sound? On the basis of the four analog recordings alone, yes. If you don’t have the originals, you would have to shell out far more money to get pristine first-stamper pressings. And even if you already own the original records, they’re not “heavy” vinyl or don’t possess noise-free surfaces. Besides, all of these records offer head-of-the-list performances of works that should be in every classical library.  —Lawrence Devoe

De Falla: The Three-Cornered Hat/La Vida Breve (Ansermet/Orchestre de la Suisse Romande)

Rachmaninoff: Piano Concerto No. 3 in D Minor (Ashkenazy/Fistoulari/London Symphony Orchestra)

Respighi: Feste Romane/Pini di Roma (Maazel/Cleveland Orchestra)

Wagner: The Golden Ring (Various soloists/Solti/Vienna Philharmonic Orchestra)

Messaien: Turangalila –Symphonie (Chailly/Thibaudet/Harada/Royal Concertgebouw Orchestra)

Beethoven: Violin Concerto in D Major; Britten: Violin Concerto (Jansen/Jaarvi/Die Deutsche Kammerphilharmonie Bremen/London Symphony Orchestra)

Universal, 180g 6LP box set

Damn! This record is what bop is all about. The early Blue Notes don’t capture it and the Rudy Van Gelder CD remasters squelch it. “The Egyptian” gets to business right away, taking up the first side of this two-record set.

More than one engineer has stated that percussive impact is tough to capture, but it’s perfection here. Art Blakey authoritatively slams down his drumsticks on the side of his kit and you can feel the resonance as they bounce off the rim. Meanwhile, Lee Morgan, Curtis Fuller, and Wayne Shorter battle for the limelight, each coming to the front of the stage, then stepping back while the other prepares to take a shot.  And that’s just the opening cut.

The sonics are larger than life, with Blakey keeping rock-solid time, the glue holding the band together. Surfaces are dead-quiet, yet full of life. Yes, it’s hard to believe these records were made from tapes now more than 50 years old. Music Matters continues to set the jazz standard for aural bliss.  —Jeff Dorgay

Music Matters, 180g 45RPM 2LP

Sade’s debut was all the rage in 1985, grabbing major MTV airplay as well as time on popular and jazz radio stations. Lead singer Sade Adu combined a soulful sound and sexy demeanor to the tune of six-times platinum.

Kevin Gray at Cohearent Mastering took the helm here, and eliminated about half of the original’s top-end crunchiness.  Fortunately, this Audio Fidelity reissue possesses a considerably wider soundstage. The original keeps percussion bits and keyboard fills tightly wrapped towards the center of the speakers, while the presentation here is more relaxed, with low-level details more ethereal. The intro to “Why Can’t We Live Together” is the best cut on the record, with bongos bouncing back and forth beyond the speaker boundaries, and the bass line locked in place as Adu’s voice wafts up from the silence.

Interestingly, there’s a much greater sense of vertical dimensionality in the new pressing. The original rendition of Adu’s voice is more diffuse; here, her voice feels right at microphone height. And the remaining audiophile boxes are properly ticked. My pressing is free of clicks and pops, has a much lower noise floor, and features an exquisitely printed gatefold cover.  A very worthwhile addition to any record collection.  —Jeff Dorgay

Audio Fidelity, 180g LP

Arguably the jazz fusion band’s best album, Heavy Weather is indisputably Weather Report’s most commercially successful effort courtesy of the memorable song “Birdland,” which in the late 70s could be found on a jukebox in just about every fern bar. This is also the Weather Report set on which bassist extraordinaire Jaco Pastorius became fully involved, writing two tracks and playing on all of them.

Columbia made some pretty grotty-sounding records during this era, and Heavy Weather is no exception. Many of the nuances are lost in the original, and my 1A/1B pressing feels like a brick-walled CD, with mids pushed up so far it feels like Wayne Shorter is playing his sax in my lap—quite unnerving. Lest we forget, this is when the loudness wars began, with record companies trying to get better sound in everyone’s cars and on table radios.

ORG’s pressing is silky smooth, the percussion is more listenable and handclaps natural, no longer sounding like someone beating a stick against a wall. Shorter returns to playing with the band, and overall balance is restored. The added dynamics gleaned from spreading the recording out onto a pair of 45RPM discs brings out new feelings of excitement. Pastorius’ bass riffs snarl with authority, Shorter’s sax flows through the soundstage, and the rest of the players’ contributions disclose the presence of a spaciousness this recording never had before. Another triumph from ORG.  -Jeff Dorgay

Original Recordings Group, 180g 45RPM 2LP

Mobile Fidelity did a great job last year resurrecting Carole King’s Live At Carnegie Hall double album. The reissue label backs it up with Music, mining major treasure from the early 70s master tape. While King’s third album failed to match the 11-times platinum success of Tapestry, Music achieved gold status soon after its release. It also contains a handful of hits that were more successful for artists that later covered them than they were for King.

Using an early Ode copy for comparison reveals the original pressing possessing more sparkle on the top end, but more surface noise, too. Thanks to the MoFi edition’s extra resolution, it’s much easier to hear the expressiveness of King’s voice and keyboard overdubs. Listeners with cartridges featuring a more romantic tonal balance might be a bit disappointed. My Koetsu Urushi Blue is too polite for this record, yet the more resolving Rega Apheta is suited to extracting every bit of detail. Both the original and remaster suffer from modest distortion lurking in the loudest passages. However, said offense is nowhere as egregious as that plaguing Joni Mitchell’s Court and Spark.

Mobile Fidelity 180g LP

How many times have you shouted, “Play some Skynyrd” at a lousy bar band? Better yet, how many times has this thought crossed your mind when you were subjected to another female vocal track demoed at a hi-fi show? Unfortunately, as much as you may love Lynyrd Skynyrd, most of the band’s albums are not mastered with much care. Flat, compressed, and grainy are the general rules. The recent Japanese/Universal pressings are most unrighteous.

However, Mobile Fidelity again proves that “audiophile pressing” and “fun” can coexist on the same planet. And, it’s pretty awesome that the label includes the now-famous “flaming” cover originally limited to about 5000 copies after several members of the group got killed in an airplane crash only days after the record was released in 1977.

Instead of sounding like a veil is removed, the MoFi pressing is akin to hearing an entire shower curtain taken away, with every aspect of the record greatly improved. Lead singer Ronnie Van Zant is now way in front of the mix, and you can actually hear guitarist Steve Gaines right behind him. It all comes together on “That Smell” when Van Zant goes “Awwwwww…” and seemingly fades out forever. The overplayed radio classic takes on new life.

Also, what’s the point of having three guitarists in a band if it all just sounds like one big, fat guitar in the final mix? While a bit of compression sneaks in now and then, it’s glorious to hear all three guitarists distinctly, all with their own individual space and tone. It’s like having a fishbowl full of guitars. Grab a second helping before you put this LP back in the jacket.  -Jeff Dorgay

Mobile Fidelity Silver Label LP

The Least We Can Do Is Wave To Each Other   – H to He: Who Am The Only One   – Pawn Hearts

Prog lovers rejoice! Four Men With Beards label does a super-freaky job with these genre cornerstones. TONE’s resident prog maniac says the original British pressings represent the pinnacle, yet even if you can find them, they run from $200-$350. And the remastered CDs are but mere sonic carcasses of these complex recordings.

Keeping the 4 Men With Beards underground vibe, there’s no mastering information listed. For that matter, 4MWB doesn’t even have a Web site, meaning it’s impossible to know what tapes were utilized. However, these three albums have an equally high quality level—with very quiet surfaces, and overall sound quality that makes it tough to discern if they were made with high-quality digital masters or original analog masters. Considering they hail from 1970-1971, anything is possible.

All three LPs feature a vast soundstage that practically wraps around your head, with plenty of ping-pong stereo effects throughout. Compression is kept to a minimum, and the recordings feel uncluttered and spacious, with a smooth high end. Better-than-average printing remains true to the original artwork, and the $18 price is a bargain.

Four Men With Beards, 180g LP

If you’re looking for an ideal example of the wealth of information available in a record’s grooves versus a high-resolution digital file, this is it. I favorably reviewed the SACD of this set several issues ago, yet the LP uncovers far more sonic treasures.

The additional layers of texture, echo, and spaciousness in the oft-played title track are revelatory. It feels as if MoFi even captures the smokiness conveyed in the tune; such is the degree of piano texture available on this analog version.

Mobile Fidelity, 180g LP

The final chapter in the major Pink Floyd remasters trilogy is the best. While the analog remasters of Dark Side of the Moon and Wish You Were Here are okay, they don’t come close to the early-stamper British, German, and Japanese pressings.

Unquestionably, the rare pressings remain tops, yet they’re insanely collectible and accordingly priced. Collector wonks will turn up their noses, but this is The Wall for the rest of us. If you’d like a significantly better edition that what’s available for $10-$20, get on board. Anyone new to vinyl will be shocked at how much better it sounds than any CD version, even on a modest turntable.

EMI, 180g 2LP

Originally recorded at the legendary Blackhawk club in San Francisco on April 21 and 22, 1961, this two-record set captures Miles Davis at an interesting crossroads. Transitioning from the band that produced Sketches of Spain, Davis pairs here with players that would be featured on his following studio album, Someday My Prince Will Come, released in the fall of 1961.

Davis once said he could assemble the ultimate rock n’ roll band, and this effort definitely rocks. The performances are spectacular—and the recording quality equally worthy. The Blackhawk was known for great sound, and the Impex pressing does not disappoint. Via a wide stereo image, Davis’ quintet spreads across the room in lifelike fashion. Kevin Gray takes charge of mastering duties, and if you’ve been subscribing to Music Matters’ jazz series, you know Gray’s track record. LP surfaces are unblemished and perfectly quiet. There’s no hint of groove distortion, even in the loudest passages. The natural timbre may fool you into thinking you are sitting at the Blackhawk, glass of whiskey in hand.

Impex does everything right, from the glossy jacket to the period record label and killer sound. Let’s hope the imprint produces more Columbia titles in this fashion. If you only have the CDs of this masterwork, you owe it to yourself to hear the music as it should be experienced.

Impex Records, 180g 2LP

Like the rest of the hifi industry, it’s becoming increasingly important for the torch to be passed on to the next generation of enthusiasts who will forge its future.

Equally important are the dealers and manufacturers, the lifeline that will provide the products to these future enthusiasts.  Some of today’s top hifi companies have a solid plan of succession in place, while others do not.

Here, we investigate two different companies: VPI Industries, which has been producing turntables in the US for over 35 years now, and SoundStageDirect, a mail order retailer from Philadelphia, that began just over 10 years ago, and has now expanded to equipment sales, albeit only analog related ones.

Mat Weisfeld grew up around turntables, working with his father at VPI, while SoundStageDirect was formed by Seth Frank, a music lover and Rolling Stones fan extraordinaire.  Frank began his career at the legendary Princeton Record Exchange.  Weisfeld is in his late 20s and Frank his late 40s, yet both share an amazing passion for the sound, smell and feel of the vinyl record.  These guys are a big part of analog’s future, both full of infectious enthusiasm, ready to lead another generation to the virtues of the LP.

Mat Weisfeld and VPI: The Manufacturing Side of the Equation

As the son of Harry and Sheila Weisfeld, the founders of VPI, Mat Weisfeld grew up around turntables.  In typical father/son tradition, he would go to work with his father after school.  The younger Weisfeld laughs, saying, “I was the kid always playing in the packing peanuts in the back room. But seriously, I did make almost all of the motor mounts for the HW-19 turntables back in the ’90s.  I thought they were educational toys from my mom!”

Through the formative high school years, Mat worked at VPI more and more, with his parents taking care of his incidentals, more like an allowance/work study. His nimble fingers proved their worth, making him an expert at stringing delicate wires.  “At one point I was wiring most of the HRX motors and I had quotas to fulfill.  Mom and Dad kept me very busy.”

But as fate would have it, Mat would not enter the family business before college.  His dedication to martial arts and training led him to working with a problematic student at his local gym, inspiring this student, who had been written off by others, on to success.  This sparked an interest in teaching, leading him down a path that led to a master’s degree in education.  His mother, also an educator, encouraged this direction, and he finally settled on teaching technology.  Things came full circle years later when one of his best students became an employee at VPI, working on their website and social media campaign.

After Mat’s mother passed away in 2011, Weisfeld senior discovered that Mat wanted to continue the VPI tradition and run the company rather than have him put the company up on the auction block.  The decision became final on the way home from the 2012 Consumer Electronics Show.  Mat originally intended to attend the show with his mother, who had planned to accept an award from Stereophile magazine for the Classic 3 turntable and say her final farewells to all of her industry friends, but fate would have Mat attending alone.  He got the brainstorm for the Traveler turntable on the flight home. Looking back, he says, “I was in with both feet at that point.”

For 2011 and 2012, Mat tried to juggle his teaching career and continue working at VPI, but it proved taxing. By the spring of 2013 he took over full-time as the head of VPI, with his father Harry sticking around as a professor emeritus of sorts, still guiding product development and tinkering.  Weisfeld senior still maintains the main listening room at VPI and is always happy to share a listening session with visitors.  Smiling as he switches to a Lyra Atlas cartridge on a final prototype of their new direct-drive turntable, he says, “I have a lot more time to listen for fun these days.”  Mat is quick to point out his father’s contributions as well.  “Dad is a repository of information on all of our legacy products back to day one.  He and I do a lot of brainstorming on new products, but his knowledge is invaluable to the company.”

While Harry continues to listen, Mat has brought this highly successful company into the 21^st century.  Launching a new ad campaign, discovering a “VPI Girl” and establishing a formidable Facebook presence, they have made tremendous headway connecting with younger buyers, specifically with their Traveler.

It’s clear that Mat is very proud of his contribution to the VPI lineup. “It’s not intimidating and it’s at a perfect price point.  It’s easy to use and easy to set up.  It really helps that dealers are buying them in bulk and keeping stock on hand.  It’s not uncommon for a dealer to buy 10 or 20 at one time.  The Traveler has joined the 16.5 record cleaning machine as one of our most popular sellers, and it’s not uncommon for a customer to buy both at the same time – this pair offers tremendous value for the money.”

He’s also quick to note that many of these new buyers are in their 20s and 30s, many coming from the ranks of their Facebook audience.  “We’ve sold quite a few Travelers to women, so I see this as very exciting.”

Going forward, the toughest challenge facing Mat is “trying to absorb 30-plus years of my dad’s knowledge as quickly as I can.”  VPI has expanded quite a bit into global markets, but the rest of the world is still tough, if for no reason other than the language barriers, but that hasn’t stopped them from going full steam ahead.

It’s clear that VPI Industries has found an excellent steward with Mat Weisfeld.

www.vpiindustries.com

Seth Frank and SoundStageDirect: The New Face of Online Retail

With his signature baseball cap on, Seth Frank looks a lot younger than the age on his driver’s license.  He started his journey towards his own record store, working at the renowned Princeton Record Exchange since he was ten years old, where they let him stock the shelves.  Frank confesses, “It started with my sister’s copy of Tommy. That’s all I wanted to do was work in the record business.”

Frank speaks highly of his mentor, Barry Weisfeld. (owner of PREX and no relation to the VPI crew) “He gave me my work ethic and we still talk weekly.  We’re not competitors at all and I refer people to his store every day.  He’s still one of my best friends after 37 years.”  Frank worked at PREX through college and after an internship at Virgin Records and a brief stint in the telecom industry: “I wore a tie every day and hated it.” He started Sound Stage Direct with $2,000 in the spare bedroom of his house.

Starting with a $660 order of jazz pressings from Scorpio music and a very understanding wife, he jokes, “I bought music I liked, just in case it didn’t sell, and my wife was very cool about the move.  We had a baby on the way and I was giving up a steady job with decent health insurance.”  Up substantially from their original inventory of 50 titles, they now carry over 30,000 titles. It appears that the gamble has worked to Frank’s advantage.  He mentions that they are growing “exponentially” at this point.

Looking back on the early days, Frank’s time spent working in the record industry helped him make the necessary connections to start the ball rolling.  He still remembers the day that Warner Records called and inquired about his getting an open account to further expand his business.  “That was a big day for us.”

In classic American entrepreneurial fashion, SSD grew from the bedroom to the living room, eventually taking over the garage, with a couple of high school kids working a few days a week after school as assistants.  Looking no worse for the wear and tear, Frank says, “I did everything.  In the beginning, money was so tight, I drove to pick up my orders to save on shipping. It was always an adventure – and it continues to this day!”  This careful attention to the bottom line has made their growth possible, and today SSD employs 14 full-time employees.

Three years later, SSD struck gold, when space in the building across the street became available, and today they occupy almost the entire second floor.  A recent remodel made for more inventory space as well as a showroom for their retail operation, which includes three listening rooms for the audio gear they sell.  While the building is in a very safe neighborhood, with a major alarm system in place, the tight-knit community provides an additional line of security.  “My neighbors are great, and keep their eyes on the place when I’m not there.”

Their sales have been brisk since starting the showroom, confirming that this was indeed a good move. Frank makes it a point to say that they expect a lot of future business from the retail shop.  “People trust us enough to purchase via mail order, but many of them, if they are within a few hours, love to come in, give things a listen, and take their purchase home with them.”

And it helps the record business as well.  Often customers who drop in to pick up a turntable or integrated amplifier, leave with a few hundred dollars worth of new vinyl treasures under their arm in addition to their new hardware.  A formidable combination to say the least.  It’s also a great opportunity for longtime mail order customers to stop by, say hello and meet the people whom they’ve been doing business with for some time – and another great way to strengthen the customer/retailer relationship.  Frank is quick to point out that they are “not a stuffy stereo store; we’re a record store full of great employees who share my love of music.”

A visit to the showrooms reveals them set up more like real-world rooms that you might live in, no elaborate room treatments, cables or accessories that might be out of the norm in an average house.  Featuring Rega, Luxman, PMC (to mention a few) and of course, VPI turntables, customers can get a great feel for what this gear might sound like in their own listening room.

The ambiance is definitely a mix of the classic record stores many of us remember from our youth, along with plenty of audio gear to peruse.  With almost 20 paintings and lithographs from Rolling Stones guitarist Ron Wood and a major gallery of rock memorabilia, it feels a lot more like a Hard Rock Cafe than a hifi shop.  In short, shopping at SoundStageDirect is a ton of fun.  Like a proud father, Frank is quick to point out that “we’ve got a fun staff that enjoys working here.  It makes the job a lot easier for me and for my customers.  We’ve got four full-time sales reps, so you are always talking to the same people when you call to buy hardware or software.”

To personalize things even further, every record shipped has a little note inside that says, “Thank you for keeping analog alive.”  When asked if he will ever expand his line of products to the digital realm, Frank is adamant.  “No digital ever.  I don’t want to go digital. I’m an analog guy and our customers love it that we only sell analog gear.  It keeps us different and helps us to stand out from the herd.”

Like VPI, Frank also sees the major importance of social media. He’s quick to point out that “Facebook and Instagram drive a ton of traffic to our site.”  This has grown so much in the past year that they have recently hired a director of social media to help them expand further.

And what about his daughters, 5 and 9 years of age?  Will they become the third generation of analog?  Frank smiles, “Only if they want to.  But they do help on the weekends…”

www.soundstagedirect.com

Sexy girl, and seductive cha-cha-cha tune sung in French? What’s not to love? Likely produced to cash in on the current popularity of the annual Record Store Day, this $10 EP sounds like one of those plastic records that used to be attached to cereal boxes back in the Mad Men era. Yikes.

Even if you aren’t a fan of the aforementioned hit show that re-birthed this song, this release could have been the audiophile track of the year—if not the decade—had it been done with care, i.e., pressed on the single side of a 12-inch 45RPM disc, as Classic Records did with Dusty Springfield’s “The Look of Love.” A missed opportunity.

Lions Gate Records, 7-inch EP

Available from Music Direct

Recorded in December of 1980 at San Francisco’s Warfield Theater, these three mega guitarists convened to create one of history’s most memorable acoustic-guitar records.  Five of the seven tracks are duos, and the final two feature the trio. Bernie Grundman, the original mastering engineer, returns for remastering duties on this sweet ORG pressing. All the compression in my 1A original is swept away; spreading the music over two discs yields myriad benefits.

If there was ever an acoustic disc that encourages you to crank the volume, this is it. When the applause swells up at the end of songs, it’s easy to close your eyes and be transported to that magical winter evening. Every nuance gets captured; every toe tap, every whack of the guitar body comes alive, and if your system is up to snuff, these guys sound as if they are right in the room. You can almost hear the guitar strings picking up weight as they become coated with sweat as the performance progresses.

The most exciting aspect of this recording, now restored to full brilliance? A toss-up between the rapid attack of the players’ blazing speed and the low-level detail in the quietest passages. It’s a shame unreleased material couldn’t be included; this legendary evening begs for bonus tracks.

ORG, 180g 45RPM 2LP

Available from Music Direct

Originally produced in 1976, arguably when records pressed at Columbia were at their sonic worst, this record now finds its volatile tracks split onto a pair of LPs. What a difference. Spinning Jaco Pastorius at 45RPM rules.

Released at the beginning of the instrumentalist’s tenure with Weather Report, the record includes heavy hitters Lenny White, Herbie Hancock, and Wayne Shorter, to name a few. The mix is not straight-ahead jazz, but it’s not fully locked into fusion, either. Some pieces sound like they could have been culled from the outtakes of Hancock’s Blow Up sessions.

Bernie Grundman takes the production helm here and fully utilizes his lifetime of jazz-related experience to give this masterpiece the attention it deserves. Pastorius’ bass is finely depicted, his parts effortlessly gliding through the soundstage. Hancock’s piano soars, liberated from the sonic grunge of the original. My speakers can barely contain this record!

Note: To naysayers claiming today’s remasters lack the vitality of the original recordings, grab this record now and await pleasant discoveries.

ORG, 180g 45RPM 2LP

Available from Music Direct

For anyone that believes great vinyl can’t be pressed from a digital master, look no further than Anne Bisson’s Blue Mind, recorded live with minimal overdubs (only one track, “Dragonfly” features overdubbing) at Reference Studio in Saint-Calixte, Quebec. Vacuum-tube Neumann microphones contribute greatly to the pressing’s enormous, breathy sound.

Bisson breaks no new stylistic or artistic ground, but she keeps the tunes upbeat. Drummer Paul Brochu and bassist Normand Guilbeault helm sparse arrangements that aid in accentuating her fluid voice. Fidelio brilliantly captures this essence, with Kevin Gray extracting every last ounce of dynamic range on LP. The result? It sounds like a master tape. Count on hearing this gem in many rooms at upcoming hi-fi shows.

Fidelio, 180g LP

Available from Music Direct