AudioEnz news

AudioEnz news
October 2004
Hamilton’s Lakeland into Soundline
Long established Hamilton hi-fi store, Lakeland Hi-Fi, has changed its named and moved. Still run by
Ian and Sue Nicholas, Soundline Audio Hamilton may be found at 910 Victoria Street, Hamilton.
The new store features three sound zones displaying flat panel screens, surround speakers and
electronics (pictured above). Each zone displays different types of systems to make it easy for people to
experience and make their choice. Here you can see and experience a variety of speakers from flush inwall or ceiling speakers to satellite-sub systems to floor standing speakers. The Theatre features a
Stewart Grey Hawk screen, Domino 20H Sim2 DLP Projector and in-wall Triad THX speakers.
Conventional hi-fi is not neglected, with a substantial range of two channel stereo equipment still
available and demonstrated.
Real Music adds a home theatre room
Wellington based retailer The Real Music Company have added a dedicated home theatre demonstration
room to their premises. Home theatre demonstrations are now been given utilising electronics from
Cambridge Audio, Rotel, Arcam through to Naim with tailored speaker packages installed as required
alongside the current Kef KHT package. Infocus provide the majority of projector solutions. The Real
Music Company is at 9-11 Marion Street, Wellington, phone 04 385 8353.
Oh Vienna!
Vienna Acoustics of Austria have appointed
International Dynamics as the distributor of their
designer range of Aluminium speakers The
Schonberg series of speakers is perfectly suited for
today’s flat panel and projection televisions and
are said to be comfortable reproducing classical
music, contemporary pop music or home theatre
sound tracks. Due to their slim design all of
Schonberg series can be wall mounted and angled
to the listeners seating position. The Berg and
Webern are sold as individual units and can be
mounted horizontally as a centre speaker for home
theatre applications. The Subson subwoofer is not
fussy about room placement and is capable a very
deep bass reproduction. The aluminium
construction enables a very slim profile whilst maintaining volume, so important when generating deep
bass notes. To prevent resonances or ringing, rubber coated MDF ribs isolate the aluminium baffles,
creating a very solid resonant free cabinet. The drivers are created from a combination of polypropylene
and KPE - a super lightweight but very rigid thermo-plastic giving the drivers a translucent appearance.
The silk dome neodymium tweeter is slightly offset from the drivers for phase correction and features a
three-piece construction with a long throw enabling a simple crossover network for enhanced sonic
performance.
Feedback
Your say on hi-fi and home theatre
Projector comparisons
Good review of the 4805. I was wondering how you rate it against the Panasonic AE500?
Greg Reed
As it's almost a year since the writer has seen an AE500, he couldn't make any useful comparisons
- Editor.
Paradigm Studio 100 review
I enjoy your articles immensely. I must say I am shocked by the review of these
speakers the Studio 100. I have not heard them but have heard good things about them
and dynamics - micro and macro - are where they excel. I will be going to audition
these speakers in a months time so it will be interesting indeed. Was your amp up to
the job? The test measurements of these speakers reveal a very flat and extended
response and their power bandwidth to be exceptional – anyway I always worry about
the top end in any Paradigm speaker, being used to ribbons electrostatics etc. Keep
reviewing, they are an enjoyable read and I like unbiased reviews.
Roy
Just read your article on the Paradigm 100 V.3.
It would be more helpful if you gave specific examples of the music you were
listening to, how it was recorded, and at what volume levels. Unfortunately, your article
does not really help out anyone as it is more ‘one persons opinion’ without any substantiated facts. Since
no facts are given, my guess is the author doesn’t like Paradigm to begin with and started the test bad to
begin with.
To me, another way is to A/B them with another speaker of choice. I have read very favourable
reviews of this same speaker vs. others where specifics were given, and I have to give more weight to
those.
Thanks for trying, maybe next time you’ll do better.
Larry Chapeski
NAD and HDCD
I just bought an NAD C542 yesterday from Sound Expression on Willis Street, Wellington, and it
sounds wonderful.
The thing though is that it doesn't seem to have HDCD capability. It discusses HDCD extensively in
the manual, and the front panel says "HDCD", but then there's an additional sheet of paper - a
disclaimer? - that says that the player is meant to play only in 16-bit.
Does that mean that NAD has removed HDCD capability and therefore lowered the price? If so, I
don't really mind. But if my player is in fact defective, then I'll have to return it and get a unit that does
in fact do HDCD decoding.
John Go
The NAD C542 does indeed play HDCD CDs with the proper decoding - Editor
Naim CD5i
I recently bought the Naim CD5i player, my first ever, Naim piece of audio gear. It replaced a Pioneer
DV 717 transport and Sonic Frontiers SFD 2 DAC.
The sound of the CD5i is, to my ears and those of several friends that love music but are not hi fi
buffs, is much more entertaining and closer to analogue.
The lack of digital nasties in the way it makes music, makes me think, that there must be some truth
in Naim's idea about two box CD playback ( i.e. separate transport - DAC arrangement increases the
chances of more jitter).
I have access and compared the CD5i with a used Audiolab 8000 CD, a Rotel RCD 970 BX, and a
combination of Meridian 500 + 606. In all instances, the 'little' Naim shone with its musicality and all
round presentation.
Thanks for the great articles and reviews.
Arthur
Quad distribution
Do you have any idea/contact details of who is selling/distributing Quad speakers in NZ.
Phillip Rasmussen
That would be Denco Audio in Christchurch. Ph 0-3-379 0743
Quad speakers are sure to be available through the Soundline Audio stores in Auckland,
Hamilton,Wellington and Christchurch - Editor.
Naim CD5x
Naim that tune
By Brent Burmester
October 2004
Naim CD5x CD Player, $5000
You may not have heard Naim equipment in action, but only those who believe the pinnacle of sonic
achievement is a subwoofer capable of paralyzing household pets can be forgiven for not knowing Naim
Audio by reputation. Emerging as a force to be reckoned with in the 1970s, this British outfit is known
for (a) its ability to unearth the rhythm and drive in the apparent vacuum of a solo flute recital, (b)
dedication to excellence in construction, (c) a pathological hatred of RCA plugs, and (d) a strange
fascination with green.
Once upon a time, Naim built the amplifiers that Englishmen of a certain sensibility plugged their
Linn turntables into. These days, besides some fabulous amplification systems, they also build speakers,
tonearms, home theatre processors, and other weapons of aural seduction. While Naim has retained its
belief in the fundamental importance of musical timing and energy, the consensus in the reviewing
community seems to be that they’ve moved away from a full-frontal-assault approach to music-making,
and have since learned the virtues of soundstaging and tonal subtlety. Let’s see if that is in fact the case.
Under interrogation
This month we’re confronted with the CD 5x, at $5,000 the company’s second CD player, after the CD5i
previously reviewed as part of a system. First impression: heavy. Not only is the internal power supply
clearly up to the job, but the casework is a nice solid alloy casting, so this is a machine that will not
undermine its own talents with a flimsy, vibration-prone box. Second impression: RCA output plugs! On
a Naim! The DIN plugs so beloved of the company are still there, because Naim sincerely believe they
improve the performance of the player, but, probably with great reluctance, RCA plugs have now been
made standard-issue.
Third impression, after power-up: green. The body of the machine is an understated charcoal black,
but the glow from the logo and buttons remains steadfastly bioluminescent. Last impression, prior to
auditioning: the manual swing-arc CD drawer. Put the remote down, there’s no eject button on it: you
have to open and close this one with your own sweaty mitt. The glass-reinforced drawer swings outwards
with a gentle tug, you remove the magnetic puck on the spindle and position your disc, replace the puck
and swing the drawer closed. It recalls the romance of setting an LP spinning on a turntable, and
completely defeats the regular mechanised plastic tray in style and assuredly in substance.
System virtue
We should not make the mistake of appraising this CD player in isolation, however. Naim adheres to a
philosophy of incremental upgrades, especially with regard to power supply, so the analogue circuit in
the CD5x can be powered separately to the digital circuits by external supplies in the form of the FlatCap 2 ($1750) or Hi-Cap ($3200). Experience suggests each upgrade – while not cheap – would yield a
significant performance enhancement.
A rose by another Naim?
Is this another model in the Naim tradition of old, thrilled to play rock, but just too impatient to manage
a chamber concert, and uninterested in the ambience of a listening space? In short, no. Once warmed-up
properly (allow several days on repeat play), the CD5x immediately impressed with a tangible musical
presentation that reminded me at once of a well-sorted record-player. There was no hint of coldness or
flatness – indeed I see the word ‘organic’ in my listening notes.
Not only did the CD5x impart music with genuine body, it showed no signs of favoritism. Well, it’s
true to say Naim has not lost its special way with energetic musical genres, but now it doesn’t matter if
that means rock, jazz, symphonic, or electronic. I’ve not heard The Prodigy’s Breathe reproduced with
so much intensity, yet a quiet little song like Bungalow from XTC was no less captivating. Better still,
quaint little acoustic pieces by The Penguin Café Orchestra, featuring hushed voices and an
assortment of oddly-tuned detritus, were delivered in a perfectly judged manner.
Sum of all perfections?
Shortcomings were few. Compared to Arcam’s similarly priced CD33, the Naim required a little more
effort on the listener’s part to separate out different instrumental strands. The soundstage, while
impressively wide and solid, and with discernible height, did not strike me as especially deep. There’s no
digital output, but these days you’d be spending at least twice as much on a transport if you use a
separate DAC. While I’m at it, I might also take a swipe at the remote – you really shouldn’t have to
search to find the ‘play’ button.
These quibbles amount to little, however, next to the Naim’s undoubted ability to do what CD
player of this price should, and that’s not sound like a CD player.
For your nearest Naim dealer
Yamaha RX-V750
Going For gold
By Jamie Gemming
October 2004
Yamaha RX-V750 AV receiver, $1799
I got home from hockey just in time to catch the Evers-Swindell twins initially stroke away from
the field and then tease the nation with their nerve-wracking finish. You’re probably thinking “I saw this
too and it was an awesome achievement but what does this have to with a hi-fi review?” Well not a lot
really, but I can draw comparisons between the two. Just like the twins, I’ve always liked Yamaha
receivers - they’re all good looking, have plenty of power and just like Caroline and Georgina, I can’t tell
the different models apart just by looking at them.
With specs like 7 x 100 watts RMS, video up conversion, a microphone controlled automated setup,
zone two preouts, the latest decoding formats, learning remote and a selectable subwoofer crossover, the
RX-V750 comes stacked with an abundance of features and tonnes of power.
The automated set up is a brilliant thing. Just
plug the microphone into the front panel, tap a
couple of buttons on the remote and within a
couple of minutes, Bob’s your uncle, its rearing to
go. It magically figures out all the parameters like
distance, room speaker size and time delays.
Simply brilliant.
Blue light disco
The usual problem with home theatre receivers is while all those smart internals make movies great,
those same internals pollute music. Yamaha tries to mitigate this with their “Pure Direct” mode. Pure
Direct bypasses the receiver’s processors, decoders and video circuitry to produce a much cleaner
unmolested sound.
While it sounds like a bit of gimmick, in reality the effect is staggering. I was going to say the change
is like someone has removed the sleeping bags that must have been cocooning my floorstanders but that
would be a little too extreme. It’s more like some big guys have moved away from standing directly in
front of each speaker. Music has sharp detailed treble and good solid bass response, which really suits
driving rock and dance genres.
Warmth is one thing that the RX-V750 doesn’t radiate. It’s with female vocalists such as Norah
Jones that this is most notable. While my floor standers and I enjoyed the music in this mode, those
relying on the sub for their entire bottom end will not be as impressed because Pure Direct sends no
signal to the sub pre out.
To further enhance the sound quality, the receiver goes into an almost “stealth mode”, shutting
down the display to reduce any interference. I say almost “stealth mode” because while the black receiver
sits there staunchly with its blacked-out display, there’s a searing blue LED beaming out from the front
panel.
Dim the lights
While the warmth may be missed with some music as soon as a DVD is run through the receiver, any
issues you may have had will quickly be blown away. Not many movies feature action scenes like the
Omaha Beach invasion in Saving Private Ryan. It begins with a tense but relatively quiet boat ride that
erupts into 10 minutes of utter carnage as soon as the beach is made. There’s the staccato thump of the
German heavy machine guns strafing the beach, mortar shells raining down and exploding, soldiers
yelling and screaming, rifle shots ringing out, flame throwers roaring and grenades detonating. I’ve seen
this movie a few times now and it’s always a very moving and bloody story of courage and honour but
this time it was quite distressing!
The Yamaha almost made this movie like I was seeing it for the first time. The sound was far more
engaging and dynamic and the bullets suddenly whizzed by as if they were now aimed at me. Every
movie sounded better than I remembered it, XXX’s stunts sounded more extreme than ever and the car
chases in The Transporter were more spine-tingling than my memory serves me.
The $1,799 RX-V750 fits about two thirds of the way up Yahama’s RX-V range sitting directly below
the RX-V1400 which Tony Davey raved about in the August issue. If you’re looking for a bang-forbucks receiver that’ll crank sounds as well make your lounge a better theatre than the local cinema, then
look no further.
For your nearest Yamaha dealer
Pro-Ject 1 Xpression
Carbon life forms
By Michael Wong
October 2004
Pro-Ject 1 Xpression, $749. Pro-Ject Speed Box, $149.
There is still a perception amongst the public (and even some experienced listeners) that good vinyl
playback is like some exclusive club where satisfaction can only be achieved by spending up large.
While it is true the best analogue equipment can be expensive, many companies are making
equipment that is both affordable and capable of good performance. Past issues of AudioEnz have
looked at high value analogue products such as the Grado Gold phono cartridge, NAD PP2 phono
preamp and Pro-Ject turntables. The June 2002 issue featured the Debut Phono entry level turntable
with built-in phono preamp system (sadly, no longer available) and in October 2003 Brent Burmester
reviewed the range topping RPM-9 turntable.
Welcoming the new baby
Priced at $749, the 1 Xpression sits at the lower end of the Pro-Ject range between the Debut 2 starter
unit and the RPM range.
In the best audiophile fashion, construction is simple and elegant. A solid, non-suspended MDF
plinth sits on four stiff feet. The rubber isolated motor turns a stepped metal pulley which drives the
plastic inner platter via a flat rubber belt. Onto the polished steel spindle goes a hefty aluminium top
platter that unfortunately rings like a bell, even with the felt mat in place.
Speed (33 1/3 or 45 rpm) is changed manually by shifting the drive belt with a supplied tool. A
simple wallwart supplies the power. An optional Speed Box ($149) provides quartz-generated high
precision electronic speed regulation and electronic push button speed control.
Unprecedented in this price range is the inclusion of a carbon fibre tubed tonearm. This arm
features excellent, bind-free bearings and unlike another popular affordable tonearm, is fully adjustable
for vertical tracking force, vertical tracking angle and arm azimuth. The tapered tube has an inscribed
horizontal line to visually aid in VTA setup. And like some expensive arms there is an optional fingerlift
attachment. Anti-skate is by the true and tested falling weight method. A captive armcable of reasonable
quality completes the package. All that’s missing is a clip on the arm rest to lock the arm down when not
in use.
Instant bliss
Unpacking and setting up was a quick no hassle job. The table was placed upon a dedicated turntable
stand. The only tricky aspects being setting VTA (two set screws are involved) and stylus overhang (the
cartridge mounting slots are a bit short of travel for the cartridges I used). I didn’t have access to a low
cost cartridge that might normally be used on this type of table so my retired Sumiko Blue Point Special
was used.
Operating the Pro-Ject was easy as pie. Place a record on the felt mat, reach under the left front
edge for the hidden power switch, lower the arm and enjoy.
Music flowed with a naturalness and palpability that only good analogue replay can bring. With well
looked after records the common complaint of noise was not a factor. Good recordings were reproduced
with enough depth, dimensionality and vitality to satisfy even this fussy listener. There was a sense of
scale and occasion rare in a budget piece of equipment. Properly sited the little Pro-Ject was surprisingly
well isolated from unwanted environmental influence.
Over the years I have found that the most enjoyable pieces of equipment have the ability to draw
the listener into the music to the exclusion of almost all else, the Pro-Ject succeeded in doing just that.
Instead of taking listening notes, I ended up just listening to music. Yes, there were shortcomings
compared to more expensive turntables but they were relatively minor omissions rather than any gross
additive distortions.
Next the Speed Box was sampled. In addition to providing easy speed switching, the sound took on
greater stability, with greater focus, extended bandwidth, improved dynamics and a lower noise floor. In
stock form the 1 Xpression is very good, with the Speed Box it’s a giant killer.
Playing with the big boys
The importer says the Pro-Ject arm is good
enough for cartridges costing more than the table
itself. To test this I replaced the Sumiko with an
old Koetsu Red, a cartridge worth about five ProJects. Insane? Of course, but the results were
nothing short of amazing, the Pro-Ject carbon
fibre arm allowing the Koetsu to perform largely unfettered. In typical Koetsu fashion music took on a
richer bloom, with greater dimensionality and tonal colour than the Sumiko, at the expense of losing
some of the Sumiko’s wider bandwidth and dynamic drive.
True value for money
Quality build, very good performance, a superb tonearm and ease of use marks the Pro-Ject 1 Xpression
as a value for money leader, more than worthy of comparison with established class leaders like the
Rega P2 ($800) and P3 ($1000). Add a good cartridge and the Speed Box and you have all you could ask
for in a reasonably priced turntable.
Why buy used when a little money can buy so much new turntable?
NAD T533
You sunk my battleship
By Tony Davey
October 2004
NAD T533 DVD player, $499
For a long time NAD have been famous for two
reasons: they make great sounding audio
products and they have kept essentially the same
“battleship grey” look to most of their products
for many years now. This was my first real look at a NAD product, and after having it in my home for
the last few weeks, I would happily welcome it back.
The NAD T533 DVD player is in a tough market segment. It’s not pricey enough to be high end, but
certainly not in the supermarket cheap bracket either. At $499 it is likely to appeal to people who prefer
brand recognition and are willing to pay a small premium for it.
Battleship grey
The T533 supports most current media formats including DVD video (including DVD-R), CD (including
CD-R/RW) and other PC media formats such as MP3’s (including display of MP3 titles via the video
out), JPEG picture discs and Kodak picture CD’s. It also plays DVD-Audio high resolution music discs,
but not SACDs.
The back of the DVD player is full of connections, including the analog 5.1 output for DVD-Audio
(or for use with a “Dolby Digital ready” amplifier utilising the onboard Dolby Digital decoder), the
expected video and audio connections. The T533 also includes a scart connection for outputting a RGB
video signal. This feature can make it extremely handy for owners of European TVs, which traditionally
favour Scart connectors as opposed to the component inputs of Japanese TV manufacturers.
The T533 styling is very much in line with NAD’s traditional battleship grey, with all buttons located
on the front fascia. The T533 is also following the recent trend of smaller sleek designs, measuring just
435mm(w) x 67mm(h) x 243mm(d) and weighing in at a modest 3kg. There is a rationale by some that if
it isn’t big and it isn’t heavy, then it can’t be any good. The T533 blows that theory right out the door this is one small size big performer.
Warm tones
As mentioned earlier, NAD have for a long time been well respected for the musicality of their
components, and the T533 is no exception. Although left until close to the end of my testing, I was
impressed with the warm tone that the DVD player produced. Many DVD players, particularly those
within a similar price bracket (or even the “supermarket specials”) can produce a lifeless, cold and brash
sound for CD playback. Not so with the T533.
Music had tremendous dynamics, enough to allow me to leave the subwoofer off and yet remained
easy to listen too. Bass was tight and fully extended, and even the highs of Sarah Brightman at high
volume didn’t turn nasty. I tested most varieties of music and found no real favourite. This has to be a
good thing as it will fit in with anyone’s tastes.
The audio from DVDs was equally impressive as CD playback. Musical scores sounded rich and lush
with plenty of dynamic extension, voice tones were clear and even the obligatory whiz, bang, crash of
action movies carried plenty of punch.
A video oddity
One small oddity, was that although this unit is progressive scan capable, it is for NTSC only, PAL
images are interlaced. Bizarre for a country whose native video format is PAL but other than that, for
video performance I found the T533 to be satisfactory. The picture presented all the detail expected from
DVD, colours were vibrant and shadow detail was acceptable (even the tent scene in Gladiator). It had a
“me too” feel to the picture, nothing inherently wrong, just not “wow”.
As mentioned earlier, the NAD533 is in a tough price bracket. Based solely on its video performance
or its DVD audio performance, I would be struggling to recommend this over a player at doublle the cost
from many of their competitors. However, throw into the mix the NAD’s superior CD playback
performance, and the additional cost suddenly seems not only justifiable, but also a worth while
investment.
If you spend any amount of time listening to CD’s through the one system (lets face it, not many can
afford the cost or space of two separate entertainment systems) and don’t want to go down the path of a
separate CD/DVD player (again cost and/or space constraints) then demo one of these players as a truly
viable all in one solution.
For your nearest NAD dealer
Too much information
More is better?
By John Groom
October 2004
Psychobabble is a column to explore the twilight zone of hi-fi. That strange place where the
improbable meets the impossible, the fussy meets the obsessional, and the physical meets the
psychological.
I have made a lot of mistakes in my years of messing
with hi-fi gear. Some of these mistakes arose from my
misunderstanding about information. I thought simply
that less information was a bad thing and therefore more
information was automatically a good thing. I gave little
thought at that stage to how the information was arranged,
questions of emphasis, or the need to filter.
A no-brainer?
A practical example of my logic was as follows: large, stiff
housing mains cable mostly carries the mains power to my
wall socket. The cable from the wall socket to my CD player
is soft and built more like an extension cord. So first I
inserted an extension cord into the system and sure enough, the sound became softer and less present.
The next step was to build the CD player its own short stiff cable from the identical wire that was in the
wall. Why hadn’t anyone thought of it before?
Well I was right: there was more information, it seemed louder and with more detail. However, over
time I tired of the sound. It was literally more fatiguing and it was a harsher sound that was poorly
integrated. So out the cable went.
A little of what you like
Recently I have been thinking of the obvious thing… that hi-fi equipment is designed by people, who at
the end of the day have to make subjective decisions about components. Each component has a different
sound according to who manufactures it, how it is arranged or its relationship to other components, ie,
its synergy. It is a deep understanding of these principles that has given the Naim school such consistent
results and such a dedicated following.
For simple examples of what I am saying; try swapping the IEC cord from your computer onto your
hi-fi. Hopefully the hi-fi one should sound better, but certainly they will sound different. If you have easy
access to the fuse in the back of the amplifier, try reversing the fuse. It will sound better in one direction.
For the more adventuresome try swapping the Asian mains plug for an old fashioned NZ piggy- back
mains plug. In these examples the more informative experience is also the ‘right’ one.
It touches the heart strings
Hi-fi will remain part science and part magic; and it needs to. When we are evaluating system changes at
home Juliet has one simple criterion. When she plays certain Beethoven and Mozart pieces, does the
music have the power to bring her to tears? (This process made courtship very simple.) She is
responding to the system’s ability to evoke emotion.
Fortunately for my bank balance, this quality is present in quite modest equipment. She is quite
happy with the sound from my dated Pioneer cd player and Harmon Kardon amplifier.
It isn’t just to do with the equipment however. This emotional quality depends on having the right
power supply, interconnect, equipment stand and even having the cables suspended. In these examples
it is certainly not a matter of ‘more’ information but how that information is packaged.
Not all sounds are created equal
The brain is not wired to treat all information evenly. As long ago as the 1930s the Fletcher Munsen
curve was developed to show how selective our hearing is. We give much more emphasis to the
information around the mid-band. Imagine an upturned U-curve with its peak around 2kHz and
dropping away quite sharply towards the bass and treble. When the volume drops these phenomena
become acute. Most ‘loudness’ switches boost the bass and treble, and cheap speakers can sometimes
impress initially, though ‘boom and tizz’.
In selecting speakers for myself I have chosen the Royd Albions essentially for their ability to
produce an informative and balanced sound picture at quite low sound levels. In the past I was
impressed by the Gail 401 loudspeakers for their open (but coloured) mids and the little Quad 22
amplifier for its liquid mid range.
Do it with a friend
No, I am not suggesting that hi-fi is all about the midrange. I do suspect however that the ‘emotional’
quality that Juliet is picking up on may be a slightly full and forward upper midrange sound. Certainly
sound that is receded in the midrange can be inoffensive to the point of boredom.
On a practical level I am suggesting that when you are buying or evaluating equipment, trust the
intuitive and feeling part of yourself. It is simply telling you which part of the musical information you
are naturally drawn to.
For an even better decision-making process, take your partner with you and listen ‘through their
ears’. As I have suggested, evaluating music this way will save you a lot of money, as you are not chasing
the latest and greatest way to tweak the last ounce of information out of the performance. The danger is
you may just learn to lie back and enjoy what you have.
Other Psychobabble columns
John Groom is a psychologist working in private practice on Auckland's North Shore.
John has over three decades experience in both hi -fi and psychology.
Epos ES14
Glory in the midrange
By Charles Thomson
October 2004 (originally appeared June 1989)
Epos ES14 loudspeaker. $2135 in 1989
Have you heard of Epos Acoustics? Don't feel embarrassed if the
answer is no. When our Editor arrived at home one day and asked
if I would review the Epos ES14 he was greeted with a blank stare
from yours truly. When the carton was opened to reveal two black
speaker boxes of compact size 488mm x 266mm x 290mm (HWD),
my spirits did not exactly soar. Our Editor's comment of "Boring
Black Box" coming to mind. The next eight hours were spent trying
to find out who Epos are, what they make and who is behind them.
Epos Acoustics are a small English loudspeaker manufacturer
of recent origin (six years). While these facts are not exactly earth
shattering, interest certainly started to quicken when the name of
Robin Marshall appeared in connection with this company.
Ten years ago Robin Marshall was a designer for Audiomaster
Loudspeakers, which enjoyed considerable success in the UK and
Europe. He then moved to Monitor Audio and developed their R-Series speakers, which have enjoyed a
worldwide reputation for quality. Credentials having been established, it was obvious that this was not
going to be just another box speaker but something special.
From a technical point of view, this speaker has many original innovations. A summary is as
follows: Epos make the entire speaker - drivers and all. Bass drive unit - 200mm plastic cone employing
a double opposed rear suspension to promote linear cone movement. The pole piece on this driver has a
vent hole drilled through the centre so as to relieve any changes in pressure behind the voice coil as the
cone moves. No crossover components are used for this driver.
The tweeter features an aluminium dome/voice coil former as one piece - most domes have the
former bonded to the dome. A vent hole is incorporated in the pole piece of the tweeter also. The
crossover consists of one capacitor hardwired at the positive tweeter terminal to stop bass signals going
to the tweeter. A bracing rod inside the cabinet pushes the side walls apart to tension them.
Installing the ES14s in ones system is easy
enough; just one set of speaker terminals, but
positioning these speakers in the listening room is
more time consuming. The enclosed instruction
sheet gives good advice on this subject and time
spent in finding the right placement will be well
rewarded. In my room 500mm from the rear wall
and 1100mm from the side walls was the ideal.
Correct stands for these speakers are a must.
Epos stands are of the open frame variety (see
photo) and in my view have to be included in the
purchase 0f ES14s. Substituting stands with a
solid plate for the speaker to sit on spoiled the
sound stage and muddied the bass.
Equipment used in this review included Onix
801 monoblock power amplifiers, Onix preamp
and power supply, Roksan Xerxes Turntable with
Rega RB300 arm rewired with van den Hul cables,
Dynavector 17D2 cartridge and Sony 557 CD
Player. Interconnects were van den Hul
Thunderline with the speaker cable Esoteric Ultra
Path.
After positioning the speakers correctly one has to decide whether the foam plugs should be inserted
in the rear firing ports or not. In my case it was preferred to leave the plugs in place - without them bass
became overblown and smeared. Room factors will determine which is correct for you. [In my room it
was necessary to remove the foam plugs to get any bass - Editor.]
Initial reaction to the Epos ES14's was almost one of disbelief - was I really listening to a small box.
Everything seemed to be just right. The disc being played was Mozart's Quartet in F Major as performed
by the Philharmonic Quartet of Berlin. Oboe, Violin, Viola and Violoncello were well separated, natural
in sound and beautifully detailed. Aha! said I, these speakers are obviously suited to small scale works;
The Mobile Fidelity UHQR LP of Holst's Planets will sort them out - and indeed it did. It showed the
Epos ES14s to be an exceptionally good speaker.
So often when writing a review, one feels it necessary to mention treble midrange bass etc, usually
because something is not quite right in one of these areas. The Epos isn't like that. It just says "Listen to
the music". I was not conscious of strengths and weaknesses while listening to these speakers.
Sure, they don't plummet to subterranean depths in bass, but there is enough there to satisfy all but
heavy rock fans. At the other extreme treble is beautifully detailed without a hint of harshness on strings
on sibilance in voices. Our Editor said it all in his earlier comments where he stated, "the real glory of
the ES14 is the midrange". Most of the sound we hear is in the midrange - bass and treble adding colour
and interest to the music. To me the E.S. 14 does everything right in this area.
Listen to Stevie Nick's Bella Donna or Dionne Warwick Hot, Live and Otherwise on Mobile Fidelity.
Both voices naturally portrayed and one can really appreciate the contribution of the backing bands. The
Dionne Warwick album, which is a live recording, also gives a feeling of audience participation and hall
ambience. Records listened to during the review period covered everything from 20 year old jazz LP's to
state of the art UHQR Mobile Fidelity recordings.
On completion of 100 hours of listening, sometimes up to eight hours continuously, my feelings
were best summed up by one word – enjoyment. Every recording played was enjoyable to listen to. I was
involved with the performance, not concerned with the equipment.
What is it that makes the Epos so special? For me it is their ability to produce the texture, timbre
and detail of instruments correctly. The two drivers work so well together that the speakers seem to
disappear, leaving only a soundstage that is wide and deep.
The appearance of these speakers on their stands is not really that attractive when it comes to room
décor considerations. Speakers with their drive units showing can often look ugly and out of place in the
domestic living room. With the Epos, home conscious audiophiles (or their wives) can relax. The ES14s
have a retrofittable grill available for $70 and a Walnut veneer finish is also available.
While the ES14 has a suggested retail price of $2135, an prospective purchaser of these speakers
must be prepared to outlay an additional $425 for the correct stands. In my opinion the ES14 should be
sold as a complete package at $2560 – the stands are that important. Enthusiastically recommended.
October music reviews
Tim Beverage: Come Rain Come Shine
Columbia
This is a great ‘time travel’ album, for those of us struggling
with the 21st Century. There is something reassuring about
returning to a time when men wore hats, the tunes had melodies
and girls were girls.
I have to say that as a rule I don’t like the 50’s big band sound.
It can so easily overwhelm the singer, is often difficult to properly
record and reproduce and at the end of the day can tend to give all
of the melodies an unnecessarily ‘upbeat’ feel. On these criteria I
give this recording two out of three, which is high praise for me.
Tim Beverage was fortunate to have Hollywood arranger and
conductor Russ Garcia as his mentor, and it shows. The music is beautifully arranged and Tim’s voice
comes through strongly and clearly. The recording is hard to fault particularly if you like that Hollywood
movie sound quality.
The music is also hard to fault including classics such as I’ve got you under my skin, Can’t take my
eyes off you and The Girl from Ipanema. Tim can certainly sing, and has delightfully clear diction. I am
just a bit uncomfortable at times when he adds a slight American twang; without it, he could be our
answer to Mel Torme: such great control and sense of timing.
This album will be a best seller and deserves to be. It is a great example of the ‘swing’ sound. I
personally preferred the bits that had a more laid back late night feel, and I would welcome a follow-up
album with more of this sound. John Groom
Ana Caram: Hollywood Rio
Chesky
Describing voices is not easy. Think of Julie Andrews on
Viagra. Think of Patricia Barber on Prozac. Think of a warm
afternoon and Linda Lovelace working her way slowly through a
hoki-poki ice cream covered in hot chocolate. None of these
pictures come close to capturing the unique combination of
sweetness and sensuality that is Ana Caram.
A native of Brazil, Ana is over-qualified as a singer with a
degree in music and accomplished on the flute and the guitar. As
you would expect with this background, she brings a lovely sense of
expression and pacing to her work. When you combine that with
Chesky’s signature 96/24-bit technology and beautifully simple and clear recording technique it gives an
experience that is so smooth and none fatiguing.
What about the music you may well ask? Hollywood Rio refers to the process of bringing the
Brazilian sound to songs from the movies. So we are talking classic tracks like As Time Goes By
(Casablanca) or The Shadow of your Smile (The Sandpipers). Throw in a laidback but still upbeat jazz
twist or two and yes, it does work. This album has been spinning on repeat since I got it. I am so happy,
I want to pop out and buy an ice cream. John Groom
Mary Chapin Carpenter: Between Here and Gone
Columbia
For those of us that have followed Mary Chapin Carpenter's
songwriting since the 1987's debut Hometown Girl, it comes as no
surprise that this release, her first of all-new material in three years,
covers the gamut of events in her life over that period, including
her 2002 marriage (tracks Elysium, River) and '9/11'.
The other big change is the move away from longtime
producer/collaborator guitarist John Jennings (who, however,
continues to play throughout) to the production skills of
keyboardist Matt Rollings. This has given an overall more singer
songwriter feel to this new release than its Nashville origins would first suggest. I don't mean there is no
slippery dobro (there is), or that the fringe country/folk sound has departed, but that there is more
emphasis placed on the lyrical structure of each song with a only a few returns to the cliche structure of
verse chorus, verse chorus, bridge, verse chorus (repeated).
Lyrically Mary Chapin Carpenter has always been a cut above the pack, providing a welcome
substance to the alt-country scene, while the voice itself is a deeper, more restrained and not at all
twangy instrument that is naturally well written for give all the material is self penned. The stand-out
track for me after many listens remains the first on the CD, What Would You Say To Me, an infectious
little ditty that gets you away from surrounding pressures with a welcoming tug. Some tracks have more
substance lyrically, other tracks are more reflective (Girls Like Me), and still others that have a little
lyrical twist, but be in no doubt, overall this is a very recommendable release.
Fans need not hesitate, but note the impact is not immediate, a few listens are required before the
new set works its magic.
I'm pleased to report that the Australasian pressing is, for a change, sonically the match of the US
release, and comes with the benefit of a removable booklet, unlike the American one that is glued in.
Allan McFarlane
De-Lovely: Music From The Motion Picture
Columbia
The more familiar you already are with Cole Porter’s music, the
less likely you are to approve of what’s come through on this
soundtrack for the recently-released biopic. Seasoned fans of this
towering figure of twentieth century popular music will be well
aware of Porter’s gift for combining timeless melodies with timeless
lyrics – and probably well equipped with a repertoire of inspired
interpretations of these songs, (bring on Ella et al).But hopes of rediscovery delights are largely disappointed here.
Lead actors Kevin Kline and Ashley Judd, plus chirping chorus,
cannot get beyond poncy ostentatiously-enunciated renditions which frequently veer disconcertingly
into the cringe zone. And what should have been an impressive roll of guest males (Costello, Hucknall,
R.Williams) isn’t much cop either; only Lemar (What Is This Thing Called Love) and Mario Frangoulis,
soaring through an up-tempo version of So In Love with Lara Fabian, appear to have the nous to escape
the cliché of a svelte pompous vocal treatment.
With the contemporary divas, it’s mostly a different story: Natalie Cole (Ev’ry Time We Say
Goodbye), Vivian Green (Love For Sale) and Sheryl Crow, with a lush languid interpretation of Begin
The Beguine, all extract emotional range; although Alanis wheedles her way through Let’s Do It (Let’s
fall in Love), sounding like she doesn’t want to, and Diana Krall’s version of Just One Of Those Things is
laconic and sultry to the point of sounding off-hand. Compounding the impact issue is the musical
arrangement which too often fails to move beyond the overly understated and bland. As with so many of
the vocal performances, we wait in vain for some flourish and spirit. Paul Green
The Jacksons: The Very Best of the Jackson
Epic
The Jacksons burst on to the US music scene in 1969 as the
Jackson 5 with a series of chart topping hits. Lead singer Michael,
then not completely mad, was also launched as a solo star in 1971,
concurrent with the Jackson 5’s activities. After several years they
left Motown and shortened their name to The Jacksons, and
continued to have hits.
In a nice example of inter-company co-operation, this double
CD contains songs from all periods of their success. The early
Motown hits (I Want You Back, ABC, I’ll be There), Michael’s solo
hits (Rockin’ Robin, Ben) and later Jackson hits (Can you Feel It,
Blame It On The Boogie, Shake Your Body).
This is a well put together compilation. Excellent stuff. Michael Jones
Peggy Lee: Fever – The Music Of Peggy Lee
Capitol DVD
“She was as cool as they got, and as hot as they got” declares
k.d. lang, about a woman who sustained a respected performing
career that lasted over half a century – reviewed on this DVD in a
TV doco style which moves briskly through a medley of filmed
performances, stills, and interviews. Keynote themes swiftly
emerge: her song-writing skills, her voice/attitude/look/sexuality,
and her ability to make every song hers – she apparently "always
found the groove”.
And it’s hard to disagree with any of these claims as you watch
her at work with a host of frontline figures including Benny
Goodman (the utterly engaging swing of Why Don’t You Do Right?
from 1942), Mel Torme (A Fine Romance), Bing Crosby, Judy
Garland, and a big brassy St Louis Blues with Andy Williams. Lee’s
first marriage to jazz guitarist Dave Barbour is highlighted by their
daughter, who recalls how at the end of the day dinner wouldn’t always be ready “but the lyrics would”;
proof of her song-writing strength is promptly provided by a 1946 studio session of It’s a Good Day, a
stand-out number which she delivers with warm effortless charm.
The tributes are paid, the performance extracts flow (though complete rather than edited numbers
would often have been preferable), and we’re left with a heartening impression of a singing star who
always had her ear open for something different, and who could convincingly move from the sassy savvy
likes of Hey Big Spender to the pragmatic disillusionment of Is That All There Is? (“If that’s all there is,
my friend, then let’s keep dancing…”). She was a gem. Paul Green
Dean Martin: Dino - The Essential Dean Martin
Capitol
Dino was essentially the coolest lounge singer from the 50’s
generation. If this is news to you then please feel free to ignore this
review and go back to your rap music. Given who he was, there are
only two important questions in a review. Firstly, has it got enough
music on the CD from a long and distinguished career, and
secondly how well has it been re-mastered? To put you out of your
misery, it is a great selection of songs and the re-mastering sucks.
With a generous collection of 30 songs, Capitol has aligned a
wonderful collection of classics from both the Capitol and Reprise
labels. That’s Amore slides easily into Memories are made of this.
Standing on the Corner is still as refreshingly politically incorrect as ever and the whole thing finishes
with a lovely upbeat version of Gentle On My Mind.
Given it is a great collection, what is wrong with the re-mastering? Imagine you had only heard
Dino on your next-door neighbour’s radio through a concrete wall. The sound is distant and lacking any
sense of presence or ‘air’. No this is not an obscure ‘golden ears’ phenomena, the sound of these
wonderful recordings on this CD is lifeless. I am told that the noise reduction process, used to remove
any trace of tape hiss, probably causes this lifelessness. Pity it also removes a lot of the music. Don’t buy
this CD. Instead, go and find one of the earlier collections now available at half price from most music
stores. John Groom
Gilles Peterson: Worldwide Exclusives
Talkin Loud
Radio Active and Beeb listeners will know Gilles Peterson as
the host of ‘Worldwide’, a show dedicated to the latest in
jazz/soul/R’n’B/electronic/hip-hoppy sort of things. On this album
Peterson has tapped his A-list club contacts to compile a set of
unreleased good stuff. The bag is quite mixed, 14 tracks ranging
from straight up-tempo acoustic jazz to ambient trip-hop, but the
CD retains a laid-back, late-night feel throughout.
Gilles declares himself in search of the perfect beat, but he
better keep looking because it’s not here. Still, there’s something for
everyone, although it’s also a fair bet that everyone will find something to dislike. For me it was the
slightly dreadful hip hop schmaltz of Couldn’t Hear Me from Eric Robertson, and although I’m a Moloko
fan, The Night of the Dancing Flames featuring Roison Murphy didn’t inspire either. UMOD’s thumpy
Puffin Dance also seemed somewhat out of place, but I can recommend the rest, especially Batacumbele
care of Deadline vs Batacumbele, Paris Texas by the Gotan Project, and Cinematic Orchestra’s Wheel
within a Wheel. You won’t get these tracks elsewhere, and owning this CD will make you at least half a
degree cooler than you are now, even if you never play it. Brent Burmester
Red Hot Chili Peppers: Live In Hyde Park
Warner Brothers
‘If you didn’t see the show: the perfect substitute for the real
thing’ – the traditional Live Album publicity line goes. Yes, maybe…
but when it comes to the RHCPs you have to wonder whether the
real thing is in fact those sharp studio cuts that ooze cool, any place
any time. Perhaps there are good reasons why it’s taken them a
couple of decades to pull out a live album. Anthony Kiedis’s voice
often sounds strained, there is routine reiteration of many of the
standards (Around The World, Scar Tissue, By The Way etc), and a
questionable choice of covers (including a mercifully brief and
pointless rendition of Donna Summer’s I Feel Love, and an equally
forgettable trot through Looking Glass’s Brandy). In characteristic RHCP style, some songs (such as
Right On Time) mix beautifully phrased passages with discordant grinding and thrashing about, and at
their least appealing the band sound like an over-amped Duran Duran.
However, there are plenty of redeeming moments: The Zephyr Song, Californication, Parallel
Universe and Don’t Forget Me all demonstrate their capacity to sustain sweeping intense electric music.
And in both the opening Can’t Stop and closing Give It Away numbers there are inventive extended
interactions between guitar and bass. Of the three new songs featured here, only Rolling Sly Stone bears
the trademark of another Chilis minor classic; it’ll be good to hear the studio version. Paul Green
Jackie Ryan: This Heart Of Mine
OpenArt Records
There are various things I want in a jazz singer. Pitch is
number one followed closely by the ability to breathe some fresh air
into what is often a well worked repertoire. If you can add the
ability to swing into this mix you're onto a winner. For the big prize
though I want to feel that all the above traits are coming from
within the artist, not something that they've overlayed their natural
inclinations and talents with. Ladies and gentlemen, meet Jackie
Ryan.
This one snuck up on me actually. I got it some months ago
and I was playing it quietly in the background and thinking, yeah, this is okay. (I think actually the less
than exciting cover had led me astray, somehow lowering my expectations.) Then by chance I tuned in
for the first phrase of Make It Last, the lyrics of which are nothing special in and of themself, "Hold me
close while we kiss". However after hearing Ms Ryan weave her voice around the notes I was utterly and
totally sold. Here was a supple, rich, warm, womanly voice that simply exuded jazz. The best I can come
up with for a "sounds like" comparison is one that's mentioned in the liner notes - a cross between Betty
Carter and Sarah Vaughan. I know that's a big call but listen to this album and I think you'll agree.
I've since devoured this album many times, always marvelling at how she bends notes, how she
takes a song like East Of The Sun and makes it like no other version I've ever heard. She's able to belt
out Ellington’s Jump For Joy in true gospel form or to wind it right back and gently ease her way
through Sari which gives the album a wide range of songs and moods. Three backing bands are used,
one from Holland, her regular Los Angeles group and her regular San Francisco group. All are very
good with the pianist Jon Mayer really shining out for me. To fill it out somewhat Ernie Watts and Toots
Thielemans make quite notable guest appearances.
What can I say? There are a lot of people out there singing jazz or jazz influenced music but there
aren't that many real jazz singers. Jackie Ryan is certainly part of that very small latter group. Craig
Fenemor
Paul Simon: The Paul Simon Songbook
Columbia/Sony Legacy
Following the complete disinterest shown by the public in the
first Simon and Garfunkel album (Wednesday Morning 3AM) Paul
Simon left for England. While in London, Simon recorded several
tracks, which were released as this album. Around the time
Songbook was released, Tom Wilson, the Simon and Garfunkel
producer, thought that the new folk-rock approach might suit one
of the songs on Wednesday Morning 3AM. So he added electric
guitar, bass and drums to a song called The Sound of Silence and
changed Art Garfunkel and Paul Simon’s lives forever.
The Paul Simon Songbook has never been available on CD, so
this marks the belated completion of the Paul Simon catalog on CD. It’s a simple recording, consisting of
Simon’s voice and acoustic guitar, along with varying amounts of reverb. All tracks are in mono,
presumably because the original recording device was a full track (ie, one track) tape recorder.
The songs will be familiar to Simon and Garfunkel fans, as most of the tracks appeared on the next
S&G album, Sounds of Silence, with three tracks emerging on 1966’s Parsley, Sage Rosemary and
Thyme album. Simon was never the most prolific of composers.
And what songs they were! At least four (I Am A Rock, April Come She Will, The Sound of Silence
and Kathy’s Song) are S&G classics, with another couple near that status. Hearing them in this way, with
just acoustic guitar accompaniment and shorn of Garfunkel’s vocals, allows these well-worn songs to
stand afresh. There are two bonus tracks – alternate recordings of I Am A Rock and A Church is
Burning.
Sony Music uses the “Legacy” name for many of their reissues. From what I’ve heard of releases on
Sony Legacy, it’s clear that Sony Music feel a commitment to the recorded music legacy that they
control. Mastered by the incomparable Vic Anesini (look out for his name – anything mastered by
Anesini sounds very good) this CD sounds startlingly good.
Sure, this is a CD for completists only, but if that’s you, then have no hesitation. Michael Jones
Strawpeople: Count Backwards from 10
Sony Music
The uniqueness of Strawpeople’s first album, Hemisphere,
pretty much defined the summer of 1991 for me. Since then
Strawpeople albums have become increasingly pop-orientated and
I’ve bought and sold a couple in the interim. The lone Strawperson
behind the music is Paul Casserly, former bFM DJ, operating in
cahoots with a number of Kiwi musical luminaries, such as Fiona
McDonald, Mahinarangi Tocker, Jordan Reyne, and Boh Runga.
Count Backwards from 10 continues in the Strawpeople style of
not-too-challenging beats and samples, a bit of live
instrumentation, and girlie vocals, where vocals are called-for.
On the whole this is quite a pleasant listen. The songs tend to follow a formula of slightly insipid
verses shifting gear into strong choruses. There’s no essential fast-forward moment, unless you find the
remake of The Psychedelic Furs’ Love My Way sacrilegious. Those preferring the songs will probably
find the instrumental electronica of The Andy Warhol Effect annoying, although it captures something
of the pioneer spirit of Hemisphere. So too does my favorite, Wire, redolent of Lamb crossed with Alanis
Morrisette. The album tended to weaken after the mid-point, and struggled to hold my attention. I can
see this being one of those CDs in my collection that just never seems to get any play after track 6.
Sound quality is average, featuring the soft edges and rounded corners that characterize
Strawpeople of late, and vocalists are somewhat distanced by the processing they’ve received in the
studio. A bit more edge and energy wouldn’t go amiss. Brent Burmester
Swing our Sister: Where Our Love Grows
EMI
Having read a few extremely positive reviews of this release by
people I respect I was (somewhat perversely) keen to dish it, pan it,
and tell them their ears are finally defective, but to my total
bewilderment I couldn’t help enjoy but enjoy it. Maybe we’re all
losing the plot but this is a seriously good disc waiting to be
discovered.
While it twenty plus years since this pop-duo crowned the
charts with some wonderful pure pop – think Burt Bacharach, Matt
Bianco or Abba and you’ll get the idea – this release sticks to a
proven formula that surprisingly makes for a lot of fun. The
undisputed highlight and surely possible single is the horn laden Love Won't Let You Down, a
masterpiece of SOS harmonization and arrangement. Other stand outs were Certain Shades Of
Limelight, Caipirinha, From My Window and Happy Ending.
Deliciously uncompromisingly retro if this can get past the preconceptions of radio programmers
this has the potential to be the sound of summer. (Remember summer?) Find it, have a listen. I
guarantee a smile will cross your dial. Allan McFarlane
Daby Toure: Diam
Real World
First the press release: “Daby relentlessly pursued the grail of a
new Afro-centric pop sound. After disbanding Toure Toure, Daby
locked himself away for several years to work on his first solo album
Diam, collaborating with electronic musician and digital wizard
Cyrille Dufay. Daby may be proud of his African roots but he values
creative freedom above all else, and shuns any obligation to be more
'African' than his heart and soul tell him to be. Diam is a superblycrafted contemporary pop record, that blend the sounds of Africa,
Paris and international pop in equal measure. After being touted to
almost every single record label in France, Diam eventually found
its way to the offices of Real World Records, who are releasing it worldwide”.
After repeated listening I need to say that unless you want to study some at times quite brilliant
guitar playing, then this release sadly has little merit. The impact that ‘world music’ has made over the
last two decades is due in no small part to the introduction of numerous musicians and instruments that
were largely unknown to Western listeners. To have Toure multitracking and over-dubbing himself
vocally and on a variety of instruments surely leaves that potential impact left wanting. If it is a ‘pop’
release then what is it doing on the Real World label?
The songs may well be meaningful but English speaking listeners are given only a brief synopsis and
no lyrics. As a contempory pop record this will have little of interest in New Zealand for those that lack
the French language expertise required, while the instumental and rhythmic interplay is so lacking that
disappointment is here in abundance. Allan McFarlane
The Who: Then and Now
Polydor
The Beach Boys. Creedence Clearwater Revival. The Who. What
these three very different bands have in common is the sheer
number of compilation albums that have been released for each.
Indeed, for the latter two groups, there may have been more
compilation albums than studio releases!
So, another year, another Who compilation. So how does this
album stack up? Who completists will flock to it, as there are two
newly recorded tracks (Real Good Looking Boy and Old Red Wine)
from the now two-piece Who. The remaning tracks include the
usual Who suspects, ranging from I Can’t Explain to You Better,
You Bet.
I recommend against this CD for two reasons. One is track selection, the second is sound. Then and
Now is missing several songs found on the 1988 compilation Who’s Better, Who’s Best – probably the
best single CD Who compilation released – including Anyway, Anyhow, Anywhere, Pictures of Lily and
Join Together.
But the killer reason is the sound. Since the Who catalog was butchered in remastering a few years
back by Jon Astley, it’s never sounded right. (Astley also did a hack job on the Abba catalog).
My suggestion is to find a copy of Who’s Better, Who’s Best. You may have to look in a second hand
record store, but you’ll be happy you did – almost as happy as Happy Jack. Michael Jones