October 2007

AudioEnz
New Zealand’s hi-fi magazine
www.audioenz.co.nz
October 2007
Web page printouts from
the latest issue of AudioEnz
http://www.audioenz.co.nz/acrobat/issues/2006/2007-10.pdf
AudioEnz editor: Michael Jones ph 09-478 1301
NAD T585
By Michael Wong
October 2007
NAD T585 universal disc player. $1800
While universal disc players have been on the
audio landscape for nearly a decade, the T585
is only NAD’s second universal model, the first
being the more expensive Masters Series M55.
Like the M55, the T585 is not aimed at NAD’s
traditional budget market but at the equally
competitive, demanding $2000 price break.
NAD T585 (click for larger image)
The NAD plays all the common audio/video formats such as CD, HDCD, CD-R/RW, DVD-Video, DVD-R/RW,
DVD+R, DVD-Audio, SACD, MP3 and WMA. Notable exceptions to the playlist are DVD-RAM, AAC and of
course high definition video formats Blu-ray and HD-DVD.
Out of the box
Outside the T585 looks like your typical NAD. A simple box in NAD grey, with a full complement of clearly
marked controls allowing operation without resort to the comprehensive but poorly laidout remote handset.
Build quality is simply excellent, never has a mid-line NAD ever been so well made.
The rear panel is well equipped with the usual RCA audio outputs; multi-channel 5.1 and dedicated
two-channel outputs. Video outputs include composite, S-Video, component, Scart, VGA and HDMI for digital
video.
Inside the box
Inside we have a Sony sourced transport, with native SACD/DSD signal processing, 24-bit/96kHz Burr-Brown
DACs. There is on-board 5.1 decoding, but only for Dolby Digital, DTS is only available through the digital
outputs. Faroudja’s DCDi circuitry is used for video processing (de-interlacing and video upscaling to 720p or
1080i).
Setting up the NAD is a breeze but read the detailed manual if you want to get the best out of the T585.
Onscreen menus are colourful and easy to follow however their depth means that adjustments on-the-fly are
tricky to make. The flimsy plastic disc tray opens silently and closes with a muted but reassuring clunk. Disc
initialisation is a little quicker than your average universal.
Workout
As per my usual practice with universal players, they first get a workout in the music system. Here the NAD
shines brightly, with a caveat.
http://www.audioenz.co.nz/2007/nad_t585.shtml
Music from CD is reproduced with gusto and toe-tapping tunefulness. Good dynamics, a sense of scale and
realistic soundstaging helps create a believable, palpable listening experience. Bass has good extension and
agility, midrange is smooth, highs are detailed and just a touch rolled-off. The caveat is that this is not a neutral
sounding player. There is noticeable warmth from the bass up that adds roundness and weight, at the same
time masking a bit of detail and giving the T585 a definite sonic character.
Switching to SACD and DVD-Audio only enhances the listening experience. Unlike many universals where
SACD disappoints, a good SACD disc on the NAD opens up the soundstage, improving focus and allowing you
to hear more of the recorded acoustic. Note SACD output is at a lower level than the other formats. DVD-Audio
in turn brings a greater sense of detail and control, coupled to slightly more dynamic punch.
Visual
Theoretically the digital HDMI connection should give the best picture quality and so it was with the T585. In
this age of advanced display technology any HDMI equipped DVD player should also allow the pass-through of
native video (480/576i) as the video processing in many top of the line displays is often superior to all but the
very best DVD players. It also allows the player to be used with stand alone video processors.
The NAD does not output any native video through HDMI, forcing the user to make do with the NAD’s built–in
de-interlacing to produce a progressive 480/576p video signal.
Compared to the component output, HDMI was sharper and had less video noise. However colour was a little
oversaturated and the digital interface introduced some visible artefacts, notably an occasional
over-sharpened, etched outline to images and very noticeable chroma error and chroma noise in basic
480/576p mode. The colour and etching could be ameliorated by using the T585’s onboard video adjustments
but not completely eliminated.
These problems were not as evident when the player was used in upsampled mode, which was the only real
benefit to engaging upsampling, most of the time there was no readily visible picture improvement.
Swapping between HDMI and component also showed up another quirk; with HDMI the picture was visibly
shifted to the left, enough for a window boxed image to lose the left side window frame. With component the
picture did a large shuffle off stage right.
Not your usual budget NAD
The NAD T585 proved to be something of a mixed bag. This is not your usual budget NAD. Build quality is
excellent and it’s easy to use, albeit with some idiosyncrasies as mentioned. It’s strength is in audio playback,
euphonically coloured for sure but still very enjoyable. Video playback is quirky, generally very good, though
not quite at the level expected of this price point, as exemplified by the leading $2,000 universal players from
Marantz, Pioneer, and Denon et al.
http://www.audioenz.co.nz/2007/nad_t585.shtml
Audiolab 8000Q and 8000P
By Brent Burmester
October 2007
Audiolab 8000Q Pre-Amplifier and 8000P Power Amplifier.
Audiolab is one of those audio makers who
have never been known to produce a dud. That
isn’t to say they’re products suit everyone’s
tastes however, for, as the name suggests, this
manufacturer takes a decidedly scientific
approach to high fidelity sound reproduction.
The associated images of white coats and
oscilloscopes in a distinctly sterile environment
could be a serious turn-off to audiophiles who
demand romanticism or ‘personality’ from their
equipment. Not much of that on show here, for
better or worse.
Under the microscope
In this edition we’re dissecting the pairing of
Audiolab’s pre- and power amplifiers, the
8000Q and P. Most folk know amplifiers in
their integrated form, where the bit that
handles the incoming signal switching, and the
other bit that plumps up that signal and makes
the speakers vibrate, live together in the same
box. Audiolab make one of those in the
Audiolab 8000Q preamp (click for larger image)
Back panel of the 8000Q (click for larger image)
Audiolab 8000P power amp (click for larger image)
Back panel of the 8000P (click for larger image)
8000 series, but in this instance the bits are given their own cases and power supplies.
The primary advantage in keeping these basic amplifier functions separate is that the all the big watts being
chucked around in the power section don’t create electrical nasties that upset the delicate little waveforms
dancing through the pre-amp. This configuration is all very well, but there is a downside, which I’ll come to in
my own good time.
Scalpel please, nurse
Let’s first look at what’s built into these units. The 8000Q pre-amp is a long-time member of the Audiolab
line-up, and an interesting affair. Naturally, it looks after the selection of line inputs, such as CD, tape, tuner,
turntable, and so on and so forth. It also manages signal output to recording devices, which these days will
probably involve something with a hard disc. What sets the 8000Q apart is the ability to adjust gain on the
signal prior to its passage to the power amp. It tickles up the incoming signal via a high quality class A
http://www.audioenz.co.nz/2007/audiolab_q-p.shtml
amplification circuit, which might be very useful if you’re using long interconnects in a bi-amp setup where the
power amps tend to sit very close to the speakers and relatively distant from source components.
Bi-amping wasn’t on the menu for this review, but one could certainly go that way by teaming up the 8000Q
with a pair of Audiolab’s 8000M monoblocs. Instead, I had the stereo 8000P to contend with. This is a
superficially featureless 100W/channel item that closely resembles the monoliths in 2001: A Space
Odyssey. Blank it may be on the surface, but the 8000P is a world of busyness under the lid. Capable of
swinging a 40 amp instantaneous current when under duress from head-bangers and fogeys who want
maximum realism from the cannons in the 1812 overture, this is an amp capable of taming all but the most
evil speaker loads.
Audiology clinic
Are they good? Absolutely, yes. There is power, delicacy, transparency, high resolution, and neutrality aplenty,
just the attributes I want in my amplification. I have little sympathy for the warm and cuddly school of sound
reproduction, and while tubes can exhibit a beguiling liquidity, the sonic trade-offs are usually too great for my
liking. With the Audiolabs almost everything is where it should be, when it should be, and in the correct
measure, whether the everything in question concerns Rachmaninov, the Klaxons, or Adrian Edmonson
reading Dr Suess’s Cat in the Hat.
Wired for Sound
However, having extolled the virtues of a clinical approach to hi-fi, I should register a note of caution about the
8000Q/P pairing, as to some ears they could err on the side of cool. In an effort to correct a slight reticence in
the lower midrange when connected via my regular Nordost cables, I tried a selection of different interconnects
between the pre- and power amps. You’ll recall I referred to a downside to dis-integrating the main parts of an
amplifier and here it is – you’re in charge of ensuring they’re connected sympathetically via your choice of
cables. Wires from Monster Cable, van den Hul, and, finally, Audiolab served in turn as the bridge between the
Q and P, each imparting a distinct change to the sound delivered by the speakers. I finally settled on a pair that
I don’t normally favour, only because it added a touch of warmth without doing too much harm elsewhere. If I’d
kept looking I’d have found the ideal cable, but time was against me.
My verdict then, is that these units would do wonders for a system with a dark, veiled, or slow character. If your
source and speakers already strike with laser-like precision, perhaps the Q/P pairing would be a little too much
of a good thing. Then again, you can “tune” them with your interconnect selection, so I would not rule them out
from even the more incisive systems. Do consider, though, the prospects for system building via the addition or
replacement of power amps, as this certainly counts in favour of a package of this kind.
For your nearest AudioLab dealer
http://www.audioenz.co.nz/2007/audiolab_q-p.shtml
Q Acoustics 1030
By Matthew Masters
October 2007
Q Acoustics 1030 floorstanding speaker, $999.
Take a look up into the night sky and see if you can spot a black
hole. Should be simple, there are enough of the buggers.
Black holes are just part of the dark matter that accounts,
apparently, for 75% of all the mass in the universe. Yet searching
for dark matter vexes cosmologists considerably. Partly because
the matter is, as its name suggests, dark and therefore hard to see.
But mostly because it’s being looked for in space, which is not
only dark, but rather large too. Millions and millions of dollars
are spent every year in research programmes that finish up
spotting, well, nothing much.
Bizarre really when you consider that for the last three weeks I’ve
had two very substantial lumps of dark matter sitting in my living
room – Q Acoustics 1030 loudspeakers.
Mass (but not in b minor)
With matt black cabinets, black drivers, black grilles and only a
nicely finished aluminium plinth for light relief the Q Acoustic
speakers seem to create a wall of darkness in the room. It’s a
sizeable wall too, each speaker is 930mm tall by 195mm wide
and 295mm deep. [Picture is an alternate finish]
At 19.5kg each they are almost massive enough to have their own gravitational field. But just in case you think
they’re a little lightweight, there’s a chamber in the bottom that can be stuffed with sand or leadshot. Make sure
you reinforce your floor though.
Not that any of this is a criticism. While I’m no fan of the black finish, there are cherry and beech veneers
available, and the solid build bodes well for the sound of these newcomers.
The dark art of speaker design
Q Acoustics was formed from the matter left over after Mission was taken over a year or so ago. Mission’s new
owners decided they didn’t need the old design, manufacturing or marketing departments and shut them down.
The departments, of course, had something to say about this, and shifted themselves into orbit around Armour
Home Electronics (manufacturers of QED cables, among other hi-fi products) to become Q Acoustics with a whole
new range of hi-fi and home theatre speaker systems.
http://www.audioenz.co.nz/2007/qacoustics_1030.shtml
The 1030s are Q Acoustics’ so-called “compact” floorstanding speaker (what on earth would they call “big”?) and
the styling reveals more than a little of the company’s Mission DNA. With a 165mm bass driver, 25mm soft dome
tweeter, six ohm impedance and 90db efficiency, their architecture has much in common with Mission designs
too.
Despite the weighty issue of moving them around, the 1030s were surprisingly easy to set up, proving largely
unaffected by room placement. The spikes are neatly designed to be externally adjustable, making levelling
simple. Less easy were the strange, bi-wirable binding posts that have positive and negative terminals arranged in
a vertical line, but at opposite 90 degree angles. Pointless and awkward.
A mass of music
If the looks and specifications don’t give the ex-Mission game away, listening to the Qs certainly does.
Starting with the Stereo MCs and Step It Up from their first (and frankly, best) album, Connected had me stepping
up right away. There was surprisingly deep bass considering the single driver, but the whole sound was driven by
grippingly rhythmic midrange. Fun, but perhaps not terribly sophisticated, and with a slightly tiresome edge to
the treble.
For something a little more subtle I tried The Real Tuesday Weld’s Bathtime in Clerkenwell from the album I
Lucifer. Recently featured in a Yellow Pages TV commercial, this somewhat eccentric collision of thirties music
hall with contemporary electronica really lets the 1030s show off their rhythmic chops but also reveals a more
balanced high frequency performance. The aggression largely gone, replaced by incisive treble that helps to
create a convincing soundstage.
Even with more complex acoustic music, the story is impressive. Mozart’s horn concerto in D major (K412) from
by David Pyatt and the academy of St Martin in the Fields under Neville Marriner (Erato 0630-17074-2), is
rendered beautifully. Once again, midrange is the star of the show, with a gorgeous bite to Pyatt’s French Horn that
so often gets lost. There isn’t quite the detail and separation of instruments that can be achieved with this
recording, but the deft and bounteous bass keeps the whole piece engagingly listenable.
Stars or just lumps of rock?
The 1030s are clearly party speakers in the classic Mission mould, but there is more to them than just bounce and
exuberance. The Q’s bass performance shines, particularly for a two-way speaker costing just $999 but there’s a
commanding, if slightly forward, mid-range to go with it. And although not the last word in sophistication, their
well-rounded and dynamic performance combines with stellar build quality to make the Qs exceptional value for
money. That really is harder to find than a black hole on a dark night.
http://www.audioenz.co.nz/2007/qacoustics_1030.shtml
Cineversum Blackwing Two
By Fred Jonathan
October 2007
Blackwing Two DILA projector. $15,499.
A few years ago I saw the first DILA projectors
including the SX-21 from JVC. The picture was
very clean but just didn’t have the brightness or
contrast ratio that would of make the projector,
or the technology, truly outstanding.
As time has marched on, the French company
Cineversum with their Blackwing Two has
adopted the DILA three chip in reflective LCOS
form.
Visual statement
The stylish appearance of the Blackwing Two
makes a visual statement, with the unusual
aesthetic design not a box with rounded
corners. The projector I reviewed was black
with a high gloss finish. You can have it painted
within a range of available colours on request.
Cineversum Blackwing 2
The Blackwing Two is native High Definition
resolution of 1920 x 1080 pixels, with 3 x 0.7
DILA chips, native 16:9, and a 16-element glass
lens. On the rear of the projector are 2xHDMI,
1xComponent, 1xS Video and 1xComposite
inputs. The rated or stated light output is 1000
ANSI. The IR remote control is very
straightforward and uncluttered.
Back panel of the Blackwing 2
You can further enhance the Blackwing performance with the Master Three video processing and picture
control. The Master Three processor and Blackwing Two have retail around $19,999.
No mess, no fuss
Setting up the projector was very easy and is really a “plug and play” device. There is no messing around with
keystone correction with the optical lens shift. When zooming the picture size the image remained central on
the screen.
http://www.audioenz.co.nz/2007/Cineversum_blackwing2.shtml
The projected screen size was 2600 x 1500mm, as this is quite a large screen. It did not present any problems at
all and the Blackwing filled the screen with ease.
Viewing was with a variation of sources. Sony DVD player was used for the HDMI and the component sources. I
used my Lumagen scaler/processor for DVD upscaled to 1080i. High Definition viewing was done using a Sony
Playstation PS3 as a Blu-Ray player with the HDMI output selected.
Throughout the viewing of DVD’s the projector’s light output was set at the low (700 ASNI) mode. It was too
bright at the full output setting.
Impressions
Impressions of the projector were excellent. I found with my Sony DVD player outputting at 1280p did deliver a
good noise free image, but when reset to 576p thing definitely took a turn for the better.
Once sorted I selected my normal test DVDs: Monsters Inc, The Fifth Element, Avia Test, Star Wars Episode
3. The processing within the projector was good in every respect. The images were artifact free, clean and very
satisfying.
Blu-Ray discs were something else – visually stunning, no video noise, and with colour range, contrast, black
level being simply excellent. I have the Superbit DVD and the latest Blu-Ray versions of The Fifth Element.
This definitely displayed the differences between the formats. The Blu-Ray player images on screen were
stunning with notably no video noise, greater depth of view, sharp images. Whilst the Superbit DVD was very
good but just didn’t compare with the HD image. Other titles played in HD were Casino Royale, Planet Earth
and Layer Cake.
If you’re still using a CRT projector, then the Blackwing is for you. It is the first projector I’ve had that can be
installed at the same point as the CRT projector and project the same sized image. I recommend this projector
as direct replacement any CRT projector.
In summary, the Blackwing Two is a projector that sets the standard higher and setting a new benchmark for
Home Cinema projection. If you are looking for a high-end projector this is the one.
http://www.audioenz.co.nz/2007/Cineversum_blackwing2.shtml
Systems: dealer top picks
By Michael Jones
October 2007
Previous issues of AudioEnz have set some specific constraints of the systems chosen by our five dealers usually by price, room size of type of system. For this systems article I've asked our dealers to come up with their
best hi-fi systems, with only one constraint - that the components chosen be either in stock or normally in stock
in their stores.
Here's the wide variety of systems chosen by our dealers:
The Listening Post, Christchurch
McIntosh Audio have been at the pinnicle of
audio development for generations. Founded
in the late 1940's their list of world wide
aclaimed audio components stretches down the
road, arround the corner and along the street a
little. Still hand made in New York, the pride,
attention to detail and build quality of
McIntosh is second to none.
McIntosh MCD-201
We are very proud to be the agents for Mcintosh
Audio.
Our current "no holds bared" system in-store
will rock your socks off and drag the tears from
your eyes:
McIntosh MCD-201 CD/SACD player
$7495
McIntosh MC-2200 tube pre-amp
$10,995
McIntosh MC-252 250w stereo power
amp $9995 x 2
Paradigm S-8 floor standing speakers
$11,995 (in Piano Black)
Wire World Gold Eclipse interconnects
$3000 x 2
Nordost Heimdale speaker cable $2800
Custom made audio rack $1300
http://www.audioenz.co.nz/2007/systems_top.shtml
A total of $60,575 and worth every cent.
The disc spinner is divine. Detail, emotion,
timing and transparency. Its transport runs at
four time normal speed on CD play back and
two times on SACD, drawing down this "extra"
data to ensure perfect error free reading of
digital information. Its DAC's are, after even
just a quick listen, obviously flawless...
The Tube pre-amp offers a warm and inviting
sound while doing the basics so well that even
at very low volumes, you would think it was not
there. The power amps are both stereo, but with
the click of a small switch they become
"push/pull" 500w mono blocks.
The sound... well, where do I start? The
combination of amps Autoformer out-put
tranformers and perfect amplification stages
means power and effortless control of all
frequencies. The speakers sound as impressive
as they look and love the control delivered and
never sound vailed or under whelming.
Play Norah, Diana, Eric and Mark... you will
know them so well after a listen, that the music
masters will be on a first name basis from here
on...
Turning this system on each morning and
pressing play makes you feel like you have
"arrived" and having to turn it off each night
seems like such a waste.
Gear of this quality makes you understand why
the best things in life and not free—Crighton
Weir
Totally Wired, Dunedin
Paradigm S8
http://www.audioenz.co.nz/2007/systems_top.shtml
Sometimes you find something so unarguably better that it seems to make a mockery of all the preconceptions
you might have harboured. This is what we
have found with the new Quad Electrostatic
panel speakers. We’ve all been bought up with
speakers in boxes, shops full of them. Big ones,
small ones. Tall ones, short ones. Endless
variations on a slab sided theme. Some even
sound pretty good. But we are going to suggest
you seriously consider something else.
The original Quad Electrostatic was introduced
some 50 years ago. Today it is a collectible and
appreciating audiophile classic and almost
every pair made is still in use. They do some
things very well indeed, but are also limited in
many ways when compared with modern
dynamic designs. However we are not asking
you to look at a 50 year old speaker. The new
models ESL 2905 and 2805 are completely
reworked and modern expressions of the
electrostatic design, making the most of
contemporary materials science, engineering
and production values.
Let’s consider a few factors of a practical nature.
The Quads are a reasonable size, but being flat
panels, they don’t actually register as speakers and their positioning is more domestically
friendly in that they can be widely spread,
going within centimetres of side walls. This
actually makes for an even more expansive
sound stage. They do sound best when a metre
or more from a rear wall, but in some rooms this
can be a positive advantage - the very nature of
their design means that Quad Electrostatics
Quad ESL-2905
Perreaux SX60
have an uncanny ability to make even modestly
powered amplifiers fill the room with music.
They plug into the mains yet only consume a
miserly 6 watts - less than one tenth of the
power of your average light bulb.
With the two models of ESL - the 2905 (at
NZ$14,000 the pair) being the larger, the 2805
(NZ$12,000) less tall - there is no difference in
terms of quality. Simply put, the 2805 is more
suitable for smaller rooms where the physical
Meridian G91a
presence of the bigger brother may simply be too much.
Don’t assume that you’ll have to spend a fortune on partnering electronics - they really are a breeze to drive.
http://www.audioenz.co.nz/2007/systems_top.shtml
Perreaux’s overachieving miniatures - the Silhouette series SX60 mono power amplifiers $2000 the pair) are
often in use with the ESLs down here. Match these with the latest Quad CDP2 ($2000) and we’d challenge you
to find any combination that sounds nearly as good for this amount. That would make a system for as little as
$16K.
However you’ll also find that the qualities of the very best amplifiers and source components are even more
readily apparent with these speakers. Our own choice would be Meridians G91A - a combined DVD/CD player,
radio tuner and full featured surround sound preamp at $13,600. It does everything we want, delivers great
performance in all formats and manages to be both easy to use and technically advanced at the same time.
Even at this level. I’d still start any audition with the little Perreauxs - we regard them that highly.
It would be easy to continue on with a sequence of ever more esoteric and expensive components. But that
would almost defeat the design ethos behind the Quad Electrostatics - they are an original loudspeaker design
that any aspiring audiophile or music lover should take the time to hear, regardless of musical tastes, system,
budget or room considerations. Everything else will then fall into place on its own accord...—John Ransley
The Listening Post, Hamilton
This is an article that we can get truly excited about! We all know that the better a system is, the closer it brings
us to the performances we love. And as we all
know, being completely and utterly immersed
in great performance is one of life’s most
rewarding experiences.
So break out your cheque books, gentlemen,
and let us show you Nirvana.
Start getting used to the words “worlds finest”.
We have spent the last 30 years travelling,
listening, comparing, and enjoying the best
equipment in the world. Our recommended
system is comprised of our favourites.
Wadia 921/931
Our source is the four box Wadia. The 270SE
transport spins the disk and outputs a high
quality digital feed. The two 921 mono block
decoding computers turn this pure digital data
stream into extraordinarily music. The 931
Digital Controller coordinates the whole affair
and offers choice of decoding algorithms,
volume control, input selection and so on.
Performance is the finest we’ve heard from a
digital source. $78,998
We’d recommend connection of the Wadia
with The Aural Sympohonics optical
interconnects. These are custom made for the
Wadia four box, and are the only interconnects
we’ve heard which will let the Wadia deliver
everything it’s capable of. $9,000
http://www.audioenz.co.nz/2007/systems_top.shtml
VTL TL7.5 preamp
For amplification we’d recommend the VTL TL7.5II/VTL Siegfried combination. This is one of the two best
amplification products on the planet, and
certainly the best valve amplifier product. The
Siegfried’s deliver a staggering 800W of
glorious valve power. Both units use extensive
use of microprocessors to keep the valves
operating at their absolute best, and to make
owning valves a stress free experience. $32,995
and $89,995 respectively.
In an ideal world we’d partner these with the
phenomenal Wilson Audio Alexandria X2’s
($284,000). Unfortunately we don’t have a
pair of these in stock so are beyond the scope of
this article. Instead we’ll use the legendary
Watt Puppy 8’s. At less than one fifth the price
of Alexandria’s, the Watt Puppy 8’s offer
extraordinary value. $50,000.
We’d recommend connection of the VTL’s and
Wilsons with the Analysis Plus Gold Oval
interconnects and speaker cables. These cables
Wilson Audio Watt/Puppy 8
use a mixture of pure gold and high purity
oxygen free copper. The Gold Ovals are Analysis Plus statement product, and represent the best cable design
possible with current technology. They are certainly the most transparent and communicative cables we’ve
heard.
No high end system would be complete without room treatments and vibration control. For vibration control
we’d recommend the Still Points. Typically they will lower your noise floor, allowing fine detail and musical
textures to shine through. In most systems we also find they remove a layer of “grain” and offer a more relaxed
and liquid presentation.
For room treatment we’d recommend a Rives consultation. One of our technicians will visit you listening room,
make a detailed plan of it, then make a number of acoustic measurements using a calibrated microphone and
high end acoustics software. We then send this information to Rives Audio in the USA, who will do the analysis
and provide a treatment plan for the listening environment. Once the treatment plan is approved by the client,
and installed by our technicians, we complete a second set of measurements and fine tune the treatment plan
for optimum performance. At $5000 (excluding treatments) this is one of the best investments any one with a
high end system could make. Few people realise just how much impact their room has on the performance of
their system till they hear differences.
We shan’t bore you with all the normal audiophile crap. When you get into this league neutrality, dynamics,
speed, clarity, and authority should all be givens. The only possible criticism would be that sound stage height
could be a little greater, which is precisely what you get when you move up to the Alexandria’s. What makes this
system breath taking is the way it can transport you to your favourite performances, and connect you so directly
with the emotional in your music.
The only way to really understand why some one would invest in a high end system is to experience one. Till
you’ve spent some time with a great system you simply can’t understand what a rewarding and uplifting
http://www.audioenz.co.nz/2007/systems_top.shtml
experience recorded music can be. Once you’ve lived with one, life without one seems empty. Our system
comes in at a total of $306,310.
In the immortal words of Friedrich Nietzsche “Without music, life would be a mistake”.—Romesh Anandaraja
The Real Music Company, Wellington
Recommending a top-line system from usually stocked items is easy when you are a Naim dealer, albeit near
impossible to do in 500 words! This gives us
access to a system based around the
remarkable Naim CDX2 CD player ($9,000)
and the Rega P9 turntable ($7,500)
resplendent with a Lyra Helicon SL cartridge
($3,250), with the preamplifier duties
performed by Naim’s NAC202 ($5,000), with
Naim Stageline ($750) and connected to the
matching NAP 200 power amplifier ($5,000),
assisted by power delivery from the Naim
HiCap ($3,200) and PSC power supply unit
($3,200), all ideally matched to the Naim
Allae speakers. All the electronics are further
Rega P9 turntable
enhanced by their placement on the peerless
Naim Fraim (base level $2,200, additional
levels $1,400) and the addition of Naim
speaker cable ($35/m) and the obligatory
Naim CD interconnect, the Naim HiLine
($1600).
The sources. The similarity of the Naim CDX2
and the Rega P9/Lyra is their unhesitating
musicality. While the P9 comes a
comprehensive outboard power supply the
CDX2 can add one as an option, giving too
sources that will ensure hours of “what is the
better source’ debate. Rest assured that
whatever you feed this system with, the
cohesion and overriding musicality of both
sources will continue to astonish you.
Naim CDX2
Naim NAC202
The pre/power combination is mid-field in the
Naim range, and offers a tantalising glimpse of
what their bigger brothers can get up to. A good
pre-amp gets out of the way allowing the signal
to pass through without coloration while
offering a balanced output that the power amp
can then deliver in as pure a form as possible.
To assist in this the pre-amp is a capable of
accepting two additional power supplies, one
for the digital circuitry and one for the pre-amp
itself. Without these add-ons the pre-amp gets
http://www.audioenz.co.nz/2007/systems_top.shtml
Naim NAP200
it power from the power amp so by adding them we release that requirement from the often hard working power
amp.
The Naim Allae speakers respond to whatever
we can provide a signal from, effortlessly
detailing the enhancements of different
combinations of source components. Placing
the turntable and the electronic on Naim’s own
in-house designed stand called the Naim
Fraim is always a great demonstration of just
what a good stand can do for a system. The
new-ish Naim interconnect, the Naim HiLine
is also another dramatic demonstration of how
to free the sound from those shiny silver discs,
providing a freedom around the artists that is
immediately captivating. As Naim make their
own speaker cable, you only have to decide
between the white and black options to have a
perfectly matched cable.
As always full installation is obligatory with a
system from Naim and is included in the prices
listed below. Note that prices are fluctuating
along with the New Zealand dollar as I write so
are all “subject to change”.—Allan McFarlane
Eastern Hi-Fi, Newmarket, Auckland
http://www.audioenz.co.nz/2007/systems_top.shtml
Naim Allae
Everyone wants to show off the biggest, baddest systems they have in their stores and we never get the chance.
Whilst I could get a bigger and even badder
system the AudioEnz publisher restricted it to a
system that we actually have in store.
I start with the speakers, these being the mighty
Dynaudio Confidence C4s ($29,999). These
are so good I bought a pair myself, as I couldn’t
stand having to listen to them everyday at work
and not have them at home. They do need a
big(ish) room to really allow the bass to fully
develop, as they can put out so much it could
be too easy to create a bass monster in your
room.
What I find to be a stand out feature of these
speakers is the midrange which is completely
natural sounding, and as most will know, if you
get the midrange right then any deficiencies at
the frequency extremes can be forgiven to some
degree. Fortunately the C4’s have a grain free
transparent treble and a prodigious bass that
will blow you away. They offer a huge slice of
the Evidence series pie for a fraction of the cost.
The C4’s like power, and to keep those woofers
under control we have a Musical Fidelity
KW550 integrated ($14,999). This beast
supplies the C4’s 4 ohm load with nearly
1000watts, which is enough to bludgeon any
speaker into submission. Somehow the MF
amp manages to use all this power in a way that
is still able to confer delicacy to music that I
wouldn’t normally expect from such a high
powered amp. It does have a 6SL7 valve
preamp section though which I expect helps a
lot. Anything from girl and guitar through to
death metal is served well by this amp, which
Dynaudio Confidence C4
has the ability to present a deep wide image.
The on board phono stage is actually quite nice,
and is switchable between MM and MC, but no
adjustable loading. In a nod to the ipod
generation there is a 3.5mm input jack on the
front of the amp to allow the connection of a
portable player of whatever flavour you like.
Front end for this system at the moment is the
matching KW SACD player ($12,999). It is in a
massive chassis, which I suspect is there not
http://www.audioenz.co.nz/2007/systems_top.shtml
Musical Fidelity KWSACD player
only for bling factor, but to provide some sort of mass loading to prevent vibration infiltrating the circuitry. It
has both a solid state and a tube output, I prefer
the tube output myself, as it seems to be a little
bit smoother and slightly less edgy then the
solid state output, its pretty close though. The
only annoying thing is the time it takes to read
the TOC and decide if it has to play a CD or an
SACD, but most SACD players that I have dealt
with have similar issues. You can’t argue with
the sound though as it is rich and expansive
and very detailed but not to the point of edgy
brightness.
For every enlightened being vinyl is the only
path to Nirvana so I have hooked into this
system a Project RPM10 turntable ($3499)
with a Grado Master Reference cartridge
($1549). They are just so much turntable for
the money. It has the right combination of
attributes to make the end product so much
Project RPM10
better than the individual parts would suggest.
The 10” carbon fibre tonearm can take some pretty serious cartridges without stifling them. Once you hear this
turntable it is hard to justify spending more than its modest price tag on a vinyl front end.
We have used Audioquest Mont Blanc speaker cable ($2999/3m) and Niagara interconnects ($1699/1m) to
hook everything together, with typical great results.
I love this system, it isn’t the most expensive option we could offer by any stretch, but it is one we enjoy everyday
here in the shop.—Neil Young
http://www.audioenz.co.nz/2007/systems_top.shtml
Private Ear: Noise control
By John Groom
October 2007
Sennheiser PXC 450, $949. Phitek Black Box M14, $380. Qantas Zero Headphones,
$75
Sometimes the life of a hi-fi reviewer can seem
flash. Hi-fi writer Ken Kessler for example
recently stated that he had spent more than 50
days of his last three months travelling. A tough
life. It seems appropriate then, to slip into this
column that I have been to both New York and
the outback of Australia in the last couple of
months. This was a great chance to approach
the publisher for some noise cancellation
headphones (NCH’s). Comfort on long flights is
important and I am too short to benefit much
from the extra space of business class. NCH’s
however are a built in ‘upgrade’ in lessening the
fatigue of the engine noise even in economy
class.
Sunny side up
First the good news. My small sample of noise
cancellation headphones suggests that they do
in fact work. Without access to sophisticated
laboratory testing to give measurements, it was
still obvious that they simply and significantly
reduced the level of the background drone in
an aircraft. A dramatic proof of this was when I
fell asleep with the Sennheisers switched on,
after a few hours the batteries gave up and I
woke up suddenly with the noise, dreaming I
was next to a huge waterfall.
Another bit of good news is that they can all be
used without plugging them into anything.
With the more expensive gear you can even
remove the cable and wander around the plane
http://www.audioenz.co.nz/2007/privateear_noise.shtml
that way. Be careful with the Phitek cable however as, unlike the Sennheiser, it doesn’t lock in and, like me, you
might end up losing it. The final bit of good
news is that all three of the NCH’s tested are in
fact significantly better than the airline
provided gear and all were particularly strong
in portraying dialogue.
Take a walk on the dark side
There is always some bad news. The first
impression of all these headphones is that they
lack any sense of visual style. None are ultra
lightweight, in the ear or minimalist like the
Sennheiser PXC300.They can be prone to
picking up some ‘interference’ such as a slight
buzz in the domestic or office environment, so
check them out near a computer before you
buy.
The most common incorrect assumption with
the more expensive equipment is that we are in
fact getting a hi-fi sound. This is not exactly
true. All of the headphones of this type that I
have heard, colour and compress the sound.
This phenomenon is there, whether the noise
cancellation process is switched on or not. As
noted above, this is usually done to favour the
midrange. So before we go any further, if your
only criterion is raising the sound quality of
in-flight entertainment, buy cheaply and don’t
expect much; then, spend the money you have
saved on some good hi-fi headphones for use at
home. There are other reasons to spend a bit of
money however.
Sennheiser PXC 450
Everyone gets a bargain
One way that this type of equipment varies a lot
is in the issue of comfort. For a laugh (and
remembering that I do have to return review
equipment) I dipped into the Qantas duty free
magazine and purchased a pair of Zero
headphones at $65 Australian. These have a
hard plastic piece that folds in the middle to go
Phitek Black Box M14
over the head. To make them more comfortable
I simply used them while wearing a cap, which
is not a bad thing under the air-conditioning of a plane anyway. Cost has been kept down by having the
electronic controls inserted in the cabling. I would put comfort at 4/10 and sound quality the same (muddy
when busy) but bang for your buck at 8/10.
Buy NZ?
http://www.audioenz.co.nz/2007/privateear_noise.shtml
Phitek is a fast growing NZ company that is establishing a name for itself in the NCH business. They have been
successful in getting their gear into Singapore Airlines business and first class compartments. The Black Box
M14 sit comfortably on the ear and the headband is nicely padded. The sound is sweet and only slightly
congested when under duress. I liked the elegance and ruggedness of this gear, its only control being a simple
on and off switch. I ranked comfort, sound quality and bang for your buck all at 7/10.
Hey big boy
Sennheiser is a huge German company, well known for its high production standards, and a forgiving sound.
The PXC 450s fit exactly into this profile. Like Phitek, they come in an attractive zip travel case, are ruggedly
made and fold away easily. There are added controls here that include the volume level and ‘talk through’
option though I didn’t find myself using either of them. The design is around the ear rather than on it and to
give you some idea of the level of comfort I wore them for 10 of the 12 hours from Papeete to New York. As you
would expect, the sound from the PX 450s came the closest to Sennheiser’s own top of the line, 650 model and
though still restrained, competed well in detail and level of resolution. I ranked this as 9/10 on comfort and
8/10 on sound quality but only 3/10 on bang for your buck.
Where to from here?
As indicated, the Qantas duty-free option is functional, and can be considered for short flights. If like me you
tend to lose things when travelling, then they are cheap to replace. The Sennheisers have to be on the short list
for all lengthy flights just for the comfort factor. It is a lot of money to spend however, for something that while
very capable, does not really compete with its own (non NCH) benchmarks. I would rate the Phitek
highly in flight conditions, as it gave a very satisfying rendition of airline music and film content and certainly
brought the dialogue well out of the mire. It came out as the best all-rounder, considering its price.
John is an executive coach and mentor who lives on the North Shore of Auckland
http://www.audioenz.co.nz/2007/privateear_noise.shtml
The Vinyl Anachronist: The price of
admission
by Marc Phillips
October 2007
I just received an e-mail containing pictures
from the CEDIA convention in Denver, which
included a few shots of the new McIntosh
turntable. Retailing for $8000, this new analog
rig, the first ever to come out of Binghamton,
New York, looks like one of McIntosh's many
current models of preamps and power amps,
only with a giant acrylic platter and tonearm
placed precariously on top. Yes, there's even a
giant blue meter on the front of the plinth,
which indicates RPMs. Personally, I think this
thing looks amazing in a fascinating, retro sort
of way, and I'd buy one if I had the green. The
Internet buzz, however, is a bit less
enthusiastic.
While many simply don't like the looks of the
McIntosh, saying that it looks like a Photoshop
nightmare, a few others have complained about
the fact that McIntosh chose to target the high
end of the spectrum and not introduce a more
modest player as their first offering. I think this
is a little silly, considering that the cheapest bit
of Mac gear is their “entry level” integrated
amp, which still retails for $3000. (They might
offer a CD player for slightly less.) McIntosh was
never known for cheap, affordable kit. Why
would their first table, especially considering
that Clearaudio designed the whole thing, be
inexpensive?
If anything, this proves that the Vinyl
Renaissance as its peak. Latecomers to the
http://www.audioenz.co.nz/2007/vinyl_admission.shtml
Rega P1
turntable game aren't coming up with entry-level turntables, since there's no money in it. Ask Roy Gandy of
Rega how he offers so much value for so little
money. (Hint: it has something to do with
investing a lot of capital, and using the best
technology to manufacture more efficiently,
and in high volumes.) In other words, the only
way a little guy making turntables in his garage
can hope to make any money is to build
expensive handmade behemoths, where he
can make an immediate profit on each unit
sold.
So as new companies try to take advantage of
the current surge of interest in vinyl, we're
going to see a lot more of these expensive
newcomers flood the market. And yes, we're
going to see established companies such as
McIntosh and Creek (who are planning to
introduce a $5000 turntable within the next
few months) jump in as well.
Benz MC20
Don't call them cheap... call them affordable
This market skew, however, underlines the paucity of new and decent entry-level 'tables. Sure, it was exciting
to see Rega introduce the P1 turntable earlier this year, and I think they're selling everyone they make. At the
same time, it was a little disheartening to see that wobbly MDF platter, and that somewhat ordinary Ortofon
OM-5e cartridge, which is actually slightly too tall for the arm. It's no wonder why a large percentage of P1
owners have opted for the glass platter upgrade offered by many Rega dealers, and have also upgraded the
OM-5e to the much more musical OM-10, OM-20, OM-30 or even OM-40. For me, these upgrades, combined
with a 1mm spacer underneath the arm, transform the P1 into a true Rega, something not far in performance
from the old P2.
But other than the P1, what's really happening with the entry-level turntable market? Shouldn't the success of
the P1 be a bellwether for the industry? Why isn't everyone climbing over each other to take advantage of this
lucrative end of the market? Does it really take that much money to make a cheap turntable? No wonder the
Technics SL-1200 fans grow in number with every passing month. It's a safe, reliable choice. And that SL-1200
platter certainly doesn't wobble when it spins.
You can still buy affordable turntables from the likes of Pro-Ject and others. And for the most part they're
decent-sounding. But to paraphrase Thomas Marshall, what the audio world needs a good $300 turntable. I
know it can be done. The other day, I heard a vintage Thorens TD-160 with an old, modest Shure cartridge, and
it didn't sound half-bad. Sure, it was mated to some very expensive amplification, and a $70,000 pair of
speakers. But it worked. It made music. It sounded better than most of today's entry-level 'tables as well.
So I think it's time for these manufacturers of affordable turntables to take some of their profits and put it back
into the design. I don't know about you, but I'd pay an extra $100 bucks for some better isolation feet, or some
sound-deadening material to be sprayed on the underside of the plinth, or for adjustable VTA on the fly... in
other words, all the little things the so-called tweakers are already doing to make inexpensive turntables sound
just a bit better.
http://www.audioenz.co.nz/2007/vinyl_admission.shtml
The flip side (pardon the pun)
What's really strange about the sudden influx of hyper-expensive turntables, however, is that it's being
countered by an equal amount of inexpensive cartridges. High-end companies such as Benz-Micro, Shelter
and Clearaudio are suddenly offering good-sounding US$200 cartridges. Benz-Micro, in fact, recently
introduced a low-output moving-coil version of their classic MC-20 cartridge. That's right, a US$200
low-output moving coil! Maybe they saw how many Audio-Technica OC-9s flew out of dealer's doors when they
lowered the price from US$400 to US$199.
So what does this mean? Should we throw inexpensive cartridges onto our expensive turntables? Well, while I
do know one individual who put a Grado Black onto a VPI Scoutmaster because he ran out of money after
blowing his budget on the turntable. But no, inexpensive cartridges were designed for inexpensive turntables.
At the same time, however, I find myself being very impressed with the sound from these modest devices. For
instance, I am currently using the aforementioned Ortofon OM-10 on my Technics SL1200. (That's right...I
now own an SL1200! So there!) And I think the little Ortofon does a very nice job of rendering a believable
soundstage, coupled with a smooth yet believable presentation. I think the Ortofon is what makes the SL1200,
well, tolerable.
In other words, I think that maybe these affordable yet competent cartridges are a response to the lack of
choices when it comes to inexpensive turntables. I do believe that a good cartridge will easily elevate the
performance of a mediocre turntable. After all, I put my Koetsu Rosewood on my SL1200, and it sounded
pretty decent!
Marc Phillips has been writing about hi-fi and music under the Vinyl Anachronist banner since
1998. His earlier columns can be found on the Perfect Sound Forever website. You can discuss
vinyl with Marc at [email protected]
http://www.audioenz.co.nz/2007/vinyl_admission.shtml
October music reviews
Michael Brecker: Pilgrimage
Heads Up
This final effort album from the premiere jazz saxophonist is remarkable
for several reasons. First, indifferent to a rare type of leukaemia which
finished him off a few months after these sessions, Mike shows magnificent
class by simply playing his ass off.
His characteristic logical solo development from basic variation phrase
into extreme, but understandable, “out there” wailing within a very short
time is demonstrated throughout. That exciting, totally polished and
professional approach (as he always was) shows why he’s on nearly 900
pop, fusion, or jazz albums.
Second, all nine compositions are from Mike, and to a note, they are all very good hard-bop vehicles, lovely
intricate ballads, or catchy groove tunes. Of course, having superb interplay with heavyweights Herbie
Hancock or Brad Mehldau on piano, Pat Metheny, guitar, John Patitucci, bass, and Jack DeJohnette on drums
means some serious quality jazz interplay can, and does happen. Everybody gets good solo space to extend
Mike’s compositions. And excellent ensemble, comping and covering is heard on the funky Tumbleweed, the
hard bop The Mean Time, and melodically convoluted Anagram. Excellent recorded sound here too.
Although Mike has appropriately titled ballads Five Months From Midnight, When Can I Kiss You Again,
Loose Threads, and Pilgrimage, there actually is not a maudlin or morose moment to be heard anywhere here.
Collectively, this CD is highest quality jazz from a gifted artist who will sadly be missed, but never forgotten.
Highly recommended. John Paul
Dave Brubeck: Indian Summer
Telarc
Living legend jazz pianist, 86 year old Brubeck treats us to 16 selected old
standards, obscure, or original tunes that he says are reminiscent of
particular moments in a very eventful life.
Employing the solo format throughout, Dave intelligently re-harmonises I
Don’t Stand A Ghost of A Chance Without You, Spring Is Here, and
Memories of You, making these old favourites fresh and interesting while
preserving their timeless sweetness.
Other old tunes such as Georgia On My Mind and September Song, have
their melodies lovingly stretched and massaged in pleasant, charming
http://www.audioenz.co.nz/music_current.shtml
ways.
Throughout this very mellow disc Brubeck’s elegant classicism and signature use of block chord sections are
present. But there are no earlier Brubeck polyrhythms, fast runs, or tricky turn-arounds. Just meditative,
introspective, sensitive, yet dynamic, performances of songs that been his life’s accompaniment for him, and
now us. John Paul
Chick Corea: The Ultimate Adventure
Stretch Records
Multi-keyboard jazz and fusion master Corea assembles an all-star group
to perform 12 original compositions based on a novel by his guru L. Ron
Hubbard.
Forgetting the Scientology politics, religion, or other BS, and just
concentrating on the music finds a very mixed bag of quasi- pompous
short themes, spacey segues, extended groove vamping and noodling, all
with very good musicianship.
Percussionists Steve Gadd, Airto Moreira, and Vinnie Colaiuta (recently in
Auckland with Herbie Hancock) keep the beats solid and interesting.
Whilst Hubert Laws has the flute melodic lead efforts amidst guitars, synths and reeds backing him up.
You probably have to like the fusion style quick change ups of rock to jazz styles in and out of Latin or other
rhythms to appreciate this well produced and recorded work. I’ve listened to it dozens of times and quite
regularly flip-flop whether it’s trite or terrific. I’ve loved Chick from his early Circle and Return to Forever
groups and have most of his Acoustic Band CD’s, so this disc is an on-going question. I suggest you listen to the
demo tracks on Amazon or wherever, and decide for yourself. It’s very good in its’ own way, but sometime too
busy or predictable or yadda, yadda, yadda. Sorry. John Paul
Corey Harris: Zion Crossroads
Telarc
Hey Editor, has there been a mistake? I thought I was reviewing Donny
Osmond’s greatest hits this month? Why was this CD with a mean looking
rasta dude on the cover sent to me? If I listen to this am I going to have to
issue public statements in later years that I breathed but “I did not
inhale”?
Seriously, this is a fascinating disk musically and it just shows that you
can’t judge a book (or a CD) by its cover. The musical style is 110%
Caribbean. Corey Harris’ voice could pass for a relation to Bob Marley, and
there are tin steel drums every where – well that is pretty much what you
would guess from the cover.
Where the disk becomes interesting is perhaps hinted at in the word “Zion” in the title. Track 2 No peace for
the wicked – concepts emerge in this song such as judgement, the wicked burning up, and reaping the fruits of
what you sow. All “from the good book” as Corey Harris would say. There are also anti slavery and anti
sweatshop messages in other songs. I don’t think Corey Harris would fit in very well at a Rastafarian party, but
then I wouldn’t either!
http://www.audioenz.co.nz/music_current.shtml
However it is not all judgement and doom, (thank goodness), track 10 Cleanliness is next to Godliness is I think
played for laughs. The clue is in the first verse “It was written in the scripture.” It wasn’t actually; it is a quote
from a Charles Wesley sermon of 200 years ago. A bit of an in joke really and I would have to wonder how many
people would really get it.
So a mixed bag, in my opinion, great vocals, the usual high Telarc standard of recording but pretty sombre
subject matter. Having said that, the music is fun in tempo and the tunes start to stick in your head. It grows
with a second listening. My children said, “Why are you still listening to that?”. Worth a listen and I have
forgiven the editor for not sending me the Donny Osmond hit parade. Matthew Strack
Maroon 5: It Won’t Be Soon Before Long
AM Records Octone
It was snowing in Dunedin the day this CD arrived at my house. One of my
teenage daughters collected the mail late in the day and there was a cheer
from two of them when I opened the package and showed them the disk.
If you enjoyed Songs about Jane you will enjoy this. Some groups seem to
be popular across a range of ages and Maroon 5 seems to be one of these.
The boys are still singing about love – must be all that time on the road –
but the musical style is still tuneful rock. Not as common as you might
think in these days of rap and “wall of sound” rock.
Included is the hit Wake up Call which has had good radio air time. There
are a lot of other good tracks ranging from drum driven Can’t Stop, to the slower and more melodic Goodnight
Goodnight. The title list showed track 10 as Kiwi, this caught my interest, but on further listening it seems to be
comparing a girl to eating a kiwifruit – not of huge local interest to a New Zealand audience.
So an enthusiastic recommendation in the easy listening rock category, with the added bonus that if you have
teenage children you can buy this and they will probably think that you are cool. Well for a day or two anyway.
Matthew Strack
Claire Martin: He Never Mentioned Love
Linn Records
This is a collection of 13 songs by well known UK jazz vocalist Clare Martin,
dedicated to the memory of Shirley Horn, who was a friend and mentor. If
I have followed the cover notes correctly, eleven of the songs are Shirley
Horn’s and two are recent compositions, one by Claire Martin, dedicated to
Shirley Horn. Shirley Horn (1934-2005) was an influential female jazz
vocalist who had strong links with jazz greats as Miles Davis in the 1960s.
After raising a child she returned to performing in the late 1980s, winning
a Grammy in 1999 for her album I Remember Miles.
So, what is a New Zealand born reviewer to do with an album that has such
a deep heritage in jazz history? Not to mention the reputation that Claire
Martin carries with her. It’s all a bit intimidating really.
I decided the best approach was simply to sit down and listen. Understanding the background does help to
understand the music, but in this case it is not essential. The overwhelming presence in all tracks is the rich
and velvet coated voice of Claire Martin. The sound and recording quality is very high as seems to be a feature
http://www.audioenz.co.nz/music_current.shtml
with all Linn CD/SACD’s that I have heard recently. To my ear the best tracks were those with simple jazz trio
accompaniment, Claire Martin’s voice seemed to integrate well in this setting. The few tracks where the “small
band” approach was tried worked but the vocals tended to become separated from the instruments, good but
not as enjoyable.
If you like jazz vocals, this is a must listen album. So make you self comfortable and let the rich layers of Claire
Martin’s voice work their magic. Personally, I would recommend listening with the help of a rich Pinot Noir or a
well aged Merlot! Matthew Strack
Over the Rhine: The Trumpet Child
Redeye
Virtually unknown in this part of the world prior to their appearance at the
2006 International Arts Festival in Wellington, the somewhat confusingly
named Over the Rhine are in fact an Ohio group that features the alluring
vocals of Karin Bergquist with clever and diverse accompanists.
One of the delights of this latest (of 12+) studio album is the impeccable
engineering, uncompromising in its tonal accuracy, no mean feat given
the diverse range of instruments that are called on from track to track.
Now the title track music be singled out as being worth the price of
admission. Plumbing an unexpected depth given the frivolity of some of
the lyrical content, with an inspired arrangement that is both unerringly simple and gloriously orchestrated for
maximum impact, this is as well crafted a song as you will find.
The set as a whole takes a few plays to unearth the rewards of some of the more oblique settings but as a total this
package is highly recommended. Allan McFarlane
The Storys: The Storys
Korova Records
The Storys sound like some kind of 2007 UK (Welsh) version of The Eagles
on this, their debut album. The music is very much towards the soft rock
end of the spectrum and it’s all quite innocuous and hard to dislike.
The band have a sound that is very West Coast – think CSNY among others,
with lots of acoustic guitars, close harmonies and clean production.
It’s probably the kind of album that will make more sense in the middle of
summer, out on the deck, with the windows open and a cold beer in your
hand.
Stand out tracks for me are the opener – I Believe in Love even if it’s a little sugary at times (“I believe in love
‘cos love is all we have – it guides us to dry land; I believe in hope because hope is all we got when everything is
lost”); the very Eaglesy Cinnamon (sounding very much like Take it Easy); and album closer Is it True What
They Say About Us? – all heartfelt emotion, close-miked lead vocals and a soaring chorus.
If you’re a fan of soft rock from the late 70s and early 80s and looking for an up to date version, you might want to
check out The Storys. You might just like them. Apparently Sir Elton rates them highly. Douglas Lang
Billy Taylor & Gerry Mulligan: Live at MCG
http://www.audioenz.co.nz/music_current.shtml
MCG
October 1-3, 1993 found jazz pianist Taylor and his old baritone sax
playing pal at the Manchester Craftsmen’s Guild, Pittsburgh, PA, USA.
Happily, the sessions were recorded and produced for release on the small
MCG Jazz label.
Mind reading, quasi-telepathic, intention connection, or whatever you
can call superior communication between individuals is all over this disc.
Dr. Taylor (one real Education PhD, and 23 honorary PhD’s!) and baritone
sax king Mulligan are seriously into each other’s musical ideas and simply
smoke through 10 jazz standards.
Highlights of this CD are Mulligan taking the sax players’ “moment of truth” song, Body And Soul and superbly
re-defining it for his instrument. There’s some magical interweaving of sax and piano lines throughout All The
Things You Are that makes you think they practised this one for at least 100 years, and there’s a version of
Indiana (Back Home In), that traditionalist, swingers, and hard-boppers will all appreciate because it’s so “in
the pocket” you simply must dance or sing along with it. Other tunes fascinate and amuse with their skilfulness
and cleverness that rarely happens like this.
Quality support comes from bassist Chip Jackson, and veteran drummer Carl Allen. And the recording is clean
and well balanced. John Paul
Rufus Wainwright: Releasing the Stars
Geffen Records
Operatic; dramatic; emotional; over the top sometimes; brilliant at times.
There you have it in short – Rufus Wainwright’s fifth album. Probably
something you’ll either love or hate.
Wainwright has a distinctive vocal style which I like, although I know a
number of people who find it all a bit too theatrical. For those who aren’t
familiar with his work, I’d refer you to the likes of Jeff Buckley, Thom Yorke
of Radiohead if you want an idea of the kind of vocals to expect – at times
quiet and reflective and then the next track big and loud.
There is plenty of light and shade on the album. We move from Going To A
Town in which Wainwright has a go at America - “You took advantage of a world that loved you well; I’m going
to a town that has already been burnt down” to the very dramatic and orchestra-driven Slideshow in which he
reflects on the situation with a current love with whom things don’t seem to be going so well. Tulsa was allegedly
written after a one night stand with The Killers’ Brandon Flowers (“Your suit was the whitest thing since you
know who”).
A couple of other tracks - the ballad Leaving for Paris No.2 and the Lisa Minnelli/Cabaret-like title track
contain all the elements of Wainwright at his best – big tunes; emotion; interesting vocal stylings and some
clever lyrics.
I think this is going to be one of those albums that will continue to find its way onto my CD player regularly over
coming months and perhaps years. In wine parlance – ‘It’s got legs’. Douglas Lang
Lucinda Williams: West
http://www.audioenz.co.nz/music_current.shtml
Lost Highway
Unbelievably it is nearly ten years since the quintessential Lucinda
Williams album Car Wheels On the Gravel Road made its impact on us
all. With West we have at long last had a sequel of equal merit.
Without a doubt this is going to be one of my records of the year. The
haunting vocal lines are beyond cliché, bringing an all to often missed
depth to the lyrical content of each track.
Having heard of the subject matter Williams tackles on this release, death,
departure, and being not so young any more, along with both lust and love,
I originally didn’t need this release in my own life. Purchase was however made, with the subsequent discovery
that here we have something quite magical.
I read somewhere that Williams has used her initial demo tapes for the majority of the vocal lines, a decision
that at times reduces the possible perfection some may seek, but it is more than made up for by the emotional
rawness of delivery that leaves you feeling very privileged, if at times uncomfortable, to have been given the
opportunity to share such an intimate experience from one of today’s great singer songwriters. Essential. Allan
McFarlane
J.S. Bach: Goldberg Variations
Simone Dinnerstein
Telarc
This is a fabulous recording and a “must-own” for new and old classical
collectors. That statement totally surprises me, as until now I would have
said that Murray Perahia’s (2000) interpretation was the one to beat.
Perahia brings a gentle, almost poignant approach, which has you hanging
on every note. This subdued quality is deeply satisfying for intense and
reflective late night listening and yet unobtrusive for those people looking
for dinner music.
Given Perahia’s benchmark, what could any artist possibly add? A
fabulous piano certainly helps. When the UK city of Hull was bombed
during the second world war, this piano was the one to survive in a town
hall that was badly destroyed. In true British style, the piano was then used in a concert to raise the spirits of the
people of the city. Amazingly, it was shipped to America after 9/11 and again used in a concert at the World
Trade Centre to uplift the spirits of New Yorkers.
One theory of the sound of a great violin is that carries some of its memory of playing to the present moment. I
am now starting to wonder the same thing about this piano. This is an instrument capable of the full range, from
the subtlest suggestions through to the most emphatic attacks. If this doesn’t move you, then check your pace
maker or your Prozac levels.
So far it sounds as though we have another great pianist who simply has a more expressive piano. Obviously
there is more to the story. At 33, with a young child in Brooklyn, Dinnerstein decided on a do or die approach to
the big time and funded her own Carnegie Hall appearance. The rest, as they say, is history. This is a young
woman with attitude and self-belief.
With that history you would not expect this to be a reticent recital… and it isn’t. Like the piano, Dinnerstein has
http://www.audioenz.co.nz/music_current.shtml
also “modernised” the pieces by breathing new life into them. She can evoke an amazing emotional range that
is totally engrossing. On the old head to heart continuum of musical interpretation she is clearly on the heart
end. I have only just realised that Barenboim has also recorded the Goldberg variations and he is a man known
for wearing his heart on his keyboard so I suspect that I will soon own a third recording. It is pianists like
Dinnerman who have helped me move (cringe) from thinking that anyone who owned more than one recording
of a classical piece was a poser. Thank you Simone. John Groom
Boccherini: Quintettes Avec Deux Violincelles
Ensemble Explorations
Harmonia Mundi
This album was a welcome arrival to my house on a very cold winter’s day.
It has typical Harmonia Mundi packaging, classical and elegant;
comprising an anonymous oil portrait of Luigi Boccherini on the cover,
also included was a helpful short essay on the quintets and Boccherini
himself.
I have always enjoyed the work of Boccherini; his music is not as well
known as that of his contemporaries, Mozart and Haydn. This is possibly
because he spent the greater part of his life composing in Spain. Cultural
influences from there have been slower to drift into mainstream European
culture than new ideas originating from say France or Italy. Anyway, I
enjoy the slightly nonconformist approach to classical composition that Boccherini adopted. In this case he has
taken the traditional string quartet and made it a quintet by adding an extra part for a second cello, his own! I
must say in my case, as a self confessed classical music lover, I usually avoid string quartets as I find them too
dry.
These compositions are full of charm and warmth, in my opinion the extra bass part gives a pleasing lift in
dynamics to the traditional string quartet. There is variation with two of the quintets having four parts and one
consisting only of three parts. The quality of sound recording is up to Harmonia Mundi’s usual high standard
and the playing of the Ensemble Explorations is also excellent.
Overall, a most satisfying disk. If you find classical string quartets unsatisfying, you might just strike gold here.
A little off beat, but full of charm and just the thing to settle down to with a book on a cold winter’s night.
Matthew Strack
http://www.audioenz.co.nz/music_current.shtml