AAIssue 6-08

THE
E-ZINE
FOR
FRUGAL
AUDIO
ENTHUSIASTS
Affordable$$Audio
Issue Number 30: June 2008
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Tubing Time
By Mark Marcantonio
[email protected]
This last Sunday (May 25th) I had the opportunity to attend VSAC 2008 (Vacuum tube State of the Art Conference) just
across the river in Vancouver, Washington. This was the first audio conference/event I had the opportunity to attend,
and in reality, until one experiences such an event no amount of reading the various blogs can truly prepare one for
the experience. The enthusiasm for audio not only permeates every hallway, but energizes all who enter. Everyone is
focused with the same general passion.
Though Sunday’s crowd was admittedly thinner by all who attended both days, it was
celebrated by all. Most rooms held not one but two manufacturers, allowing for some fun
interplay. Grant Fidelity shared a second floor conference room with Occam speakers and
it’s full DIY partner Creative Sound Solutions. This pairing was both fun and beneficial to
both. Jeff of Occam Audio has created three very nice semi DIY monitor designs with a
very original look that hopefully we will be reviewing by fall. The crown of the relationship
was the matching of Jeff’s line array design with Ian Grant’s latest amplifier, the pure class
A “Rita”.
A second match was that of
Bottlehead Amplifiers and
The Tape Project, a group
involved selling pristine reel-to-reel recordings. Bottlehead brought in approximately a dozen amps to power
the multiple sets of small drivers. The result, a tremendous jazz music experience during my two trips to the
room.
Just around the corner was one of the “legends” of tube
amplification as one gentleman informed me, Dennis of
Serious Stereo, located in stunning Livingston, Montana. In just ten minutes Dennis gave two of us at that
time a great tour of the qualities of his tube of choice,
and his amplifier design. Dennis also wins the best
quote award, “ It’s all about physics, not electronics” when discussing his design for powering the tubes.
Of the small rooms, terrific monitor sound came from Mr. Peigen Jiang. His Efficion F200 2-way semi triangulated design with a matching inverted stands treated everyone with a terrific rich output. I wish I could have chatted with Mr.
Jiang about his monitors but their was always a line to speak with him in very hushed tones.
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One of the most entertaining rooms belonged to the combination of Two Bald Guys and Pete Riggle Audio. On display
from Pete was his modified Gini’s with bass module and one of the hits of VSAC, a pair of thin column Ziggi’s powered
by only a four inch Fostex driver.
The best sound for my money came from room 331, Jeffrey Jackson’s Experience Music all the way from Memphis,
Tennessee. His giant multi-horn system looked like an MIT experiment gone wild, but oh my, what I experienced and
others as well was the closest thing to a smoky jazz club as I have ever encountered. The sheer space that each instrument created and it’s clarity was absolutely jaw-dropping.
My apologies to everyone not mentioned, but especially those that took the time to chat with me. I deeply appreciate
the contribution each of you makes to our hobby and my best wishes to all. Many thanks to the organizers of
VSAC2008 for bringing back such a terrific conference, I eagerly look forward to next year’s event!
Blue Jean Cable Update
In the May issue I mentioned that Monster Cable had threatened Blue Jean Cable with legal action claiming patent
infringement. Almost two months have past since BJC owner and former attorney Kurt Denke, replied requesting specific documentation. Hopefully, Monster has learned a permanent lesson about frivolous legal activities and will focus
on earning their money through the free market system instead of the judicial system.
High Fidelity Recordings Strike Back
As traditional record companies continue to try and sell early 1970’s recording quality music thru highly compressed
mp3’s and the over use of Dynamic Compression, smart music people are making inroads with high resolution, downloadable tracks. Musician Peter Gabriel in connection with B&W have created the B&W Music Club. A six-dollar a
month paid membership (3 month free trial is available) gains a free album download per month in CD quality lossless
file from Gabriel’s Real World Studios. The benefit for artists is that the live recording creates exposure but doesn’t
lock them into any commitments beyond the two months the music can be downloaded, after that the artist gains sole
control over the recording. A$$A wishes Mr. Gabriel and B&W the best of luck in this unique endeavor.
Two other sites I’ve just started investigating are HD Tracks and Musicishere. HD Tracks has signed up a small but
impressive group of highly regarded musicians including John Prine and Joe Jackson. Musicishere has plenty of indie
artists and some selections by 1950’s notables Frank Sinatra and Billie Holliday. Both offer a variety of file download
types and are DRM free!
Wish I Would Have Thought Of It
Sonic Flare e-zine, which is dedicated to higher-end, more esoteric equipment, has what I consider to be the best way
of explaining the reproduction qualities of equipment. Creator Josh Ray calls it the Sonic Circle, and much of its terrific usefulness lies in its simplicity of the circle. It would be great if someday a version of the Sonic Circle became as
standard as the Audiogon rating scale for used equipment.
Time for some music, cheers everyone.
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McIntosh MC275 Tube Amplifier (original 1960's version)
By Anthony Nicosia
[email protected]
Specifications:
Stereo or twin amplifier
75-watts as stereo
150-watts as monophonic
Harmonic Distortion >0.5% at 20Hz
through 20,000 kHz
Noise and Hum 90db or more below
rated output
Voltage Amplifier-one 12AX7 tube
(drives both amps)
Phase Inverter-Two 12AU7 tubes
Drive Amplifier-Two 12BH7 tubes
Cathode Follower Drive-Two 12AT7 or
12AZ7
Output- Four KT88 or 6550 tubes
Weight 67 ½ lbs
Original price $444
The original McIntosh MC275 stereo tube power amplifier is a thing
of beauty. Looking at it one can
only stare in awe at its craftsmanship and design. That alone would
not be enough if it did not perform
equally well to the task of reproducing music with grace and
power.
Manufactured in Binghamton New York from May 1961 through July 1973,after twelve years McIntosh finally laid the
original 275 to rest. McIntosh, along with many other manufactures during that time, switched over to making
transistor-designed amps. The thought back then was that transistor amps produced more power for less money and
you did not have to fuss with tubes. Looking back at that day in audio history, I wish Frank McIntosh and Gordon Gow
would have changed their mind. If only in that final day of MC275 production they had decided to keep the 275 as well
as producing transistor amps. Perhaps, like Lancelot singing to his love Guenevere in “Camelot” (1960), they might
have looked at the final 275 coming off the production line and sang:
“If ever I would leave you,
How could it be in springtime?
Knowing how in spring I'm bewitched by you so?
Oh, no! not in springtime!
Summer, winter or fall!
No, never could I leave you at all!
The MC275 certainly was a great love to many an audiophile then and now. It wasn't until 1993 that McIntosh reissued
the MC275 to the delight of audiophiles worldwide. For that first run only 4500 were produced and all were pre-sold
before they arrived at the dealers. Following this huge demand the reissue 275 was added to their permanent lineup.
For those of you who missed the original, the reissue MC275's are still in production today. If I get the opportunity this
is definitely on my short list of amps for future reviews.
At $444, in the 60's, the original 275 was not cheap. Remember, its competitor, the Harman Kardon Citation II sold for
$159.95 in kit form or factory-wired for $229.95. The 275 though was a stunner. All that chrome offset by three-shinny
black painted transformers, the old English style lettering on the front and four KT88’s had looks to die for. It was
touted as being two 75-watt amplifiers in one, hence the name 275. There are no balanced inputs, no on-off switch
and not even a detachable power cord, yet if you are a McIntosh lover it doesn’t really matter. Today they are still very
collectable in their original form. However, if you want all those amenities the new 275 has them all and then some.
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For this review I have decided to go through the listening process using Electro Harmonix KT88's instead of my Genelax KT88 tubes. I did this to make this a more “affordable” review as the Genelax tubes are now hard to find and very
expensive. For those who want to know, yes the Genelax’s do add some further magic to the 275 and I use them
whenever I sit down for serious listening. Other tubes used for this review are (2) RCA 5814A's (2) RCA 12BH7A's (2)
Telefunken ECC801S's and (1) Amperex 12AX7. The Telefunken's, being the most expensive tubes used in the amp,
were in excellent condition at $133 delivered to my door. My 275 was just recently gone through by a very competent
McIntosh authorized repair center were some minor work was done to make sure it was up to standard. I used wire
connectors that attach to the 275’s speaker terminals and than to my large spade terminated speaker wires. Like most
vintage equipment of that era it is set up for use with only very small spades, not our larger modern ones, so adaptation is mandatory. Remember this amp was made way before exotic cable manufacturers existed. Bare wired lamp
cord style wires were most common then.
My listening room is 18’ 8” long by 13’ wide. The room has a cathedral ceiling that starts at 8’ high and slopes upward
to 13’ at its peak in the middle. I have a fireplace on the long wall, with an opening opposite it that leads to a hallway.
On the short wall opposite my equipment is another opening going to the dinning room. Tucked away in the corners of
the short wall is a pair of 1989 Klipsch Klipschorn speakers. The Legacy Focus 20/20’s, which are being used for this
review, are about 6 ½ feet from the rear wall to the front of the speakers. They Focus are placed 11 feet apart (from
the center of both tweeters), and only slightly angled in towards the listening position, which is 12 feet away. Behind
me is an opening to another room, no doors.
The Legacy Focus 20/20’s are
each a 5 way 7 driver speaker
weighing in at 185 lbs apiece.
Each speaker consists of (2) 12"
subwoofers and (1) 12" "transition driver”, (2) 7” Kevlar midwoofers (1) 1.25” Dome and one
ribbon tweeter. They are ported in
the rear and have a rated sensitivity of 95db @ 2.83V with an
impedance of 4 ohms. According
to Legacy these 20/20’s can be
used with amps ranging from 10400 watts per channel. The McIntosh MC275 falls toward the lower
end of that range, but I wanted to
challenge the 275. The Threshold
800A, reviewed by me in the April
edition of “Affordable Audio”,
really grabbed hold of these 3 12”
drivers. So now lets see what a
75-watt tube amplifier from the
60’s can do.
I used a Sony DVP-S7700 CD
player with co-axial out to a modified Monarchy Audio DAC player to
play the CD's. I listened to Willie Nelson, Norah Jones, Eric Clapton, Nate King Cole, Tom Petty and James Blunt before I decided to spin the vinyl on my Oracle Delphi Turntable.
I had heard Willie Nelson perform at a small outdoor concert in a California winery two or three years ago. I sat ten
rows from the stage and was treated to a good taste of what Willie sounds like live. On a personal note the concert
was incredible and both my wife and I loved it. First I put on the Willie Nelson (Super Hits) CD and started my listening session with “The Rain”. The 275 announced his voice strong and clear. Individual guitar notes were clearly portrayed with all its intimacy and the soundstage was wide. With the 275 you could clearly hear the beautiful intonations
in Willie’s voice.
Slipping into something a little different from country western, I put on a Norah Jones CD (Feels Like Home). “Those
Sweet Words” sounded, well sweet. There was a definite air around both her voice and the individual piano notes. I
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had the feeling of being in a small club listening to a live performance. There was a very holographic tone to her voice,
which was very SET (single ended triode) like. This song really made me sit up and take notice. Again the soundstage
was wide and individual instruments were easy to find within it.
Switching over to Eric Clapton (Reptile), I listened to “Come Back Baby”. Eric does a very soulful rendition of this song
that you could feel deep down inside you. This CD however did expose the 275’s weakness in the very low bass region. A powerful solid-state amp, like the Threshold 800A(200-watt s in Class A), just does it better in that department.
Again soundstage and midrange magic was all there. When I put on “Broken Down”, one of my favorites, you could
feel the upper mid bass right in front of your chest. It’s just that last few octaves the 275 has trouble with, but remember it is a tube amp. As I said before, 75-watts is not a lot for these Legacy Focus speakers but I wanted to test the
275 with a difficult load to see what it was made of.
Now moving to one of my all time favorite Nate King Cole songs on, The Best Of CD, I played “Unforgettable”. Although a slight edge was noticeable in the string section, his voice was clearer than I have heard before. You could
hear Nates voice rise and fall through the musical scale as his sings his way through the verses of this song. This, like
the Norah Jones song “Those Sweet Words”, really caught my attention. The air around his voice was mesmerizing. It
was like I was hearing it for the first time.
Two other songs particularly brought forth the 275’s strong points. First was Tom Petty and the Heartbreakers CD (Anthology Throughout The Years), the “ Free Fallin’” track, which threw an expansive soundstage before me. The sound
opened up in front of me as if there were no speakers in the room. Music was everywhere and the opening guitar
notes seemed to hang for softly in the air.
Finally, listening to James Blunts Back To Bedlam CD, I was particularly taken by “Goodbye My Lover”. The emotion
coming from James’s singing of this song really touched me. This was another, “Wow” moment.
Ok, here we go lets play some vinyl. Tubes with vinyl what a heavenly combination. Those of you who have not yet
heard Nate King Cole on vinyl in a really long time should stop right now and go listen. Those who do not have a
turntable, even an inexpensive one, should look to purchase one. Old vinyl records can easily be found for very little
money and cleaned up with modern record cleaning machines to be enjoyed once again. I went to the garage to find
an old copy of,” Nature Boy” and played the title song right off the bat. This song has it all, violins, piano, flute and
Nate himself. The 275 lets you hear an expansive soundstage within which all the instruments can clearly be heard.
Moving on to Steely Dans Gaucho album you must play “Gaucho” and if you have not yet heard it “Time Out Of Mind”.
“Gaucho” uses a beautiful combination of trumpets, horns and drums with a nicely rhythmic beat. Our 275 gets this
right as the bass does not go too low allowing the 275 to really shine. Again the mid to upper midbass in “Time Out Of
Mind” shows off the amps strong points. When the four backup singers chime in you can hear them all as four distinct
voices.
I cannot review an amp like the McIntosh MC275 without listening to Joni Mitchell on vinyl. If you can find a copy of
“Clouds” this is a must listen record. Hearing Joni sing “Chelsea Morning” through the 275 sounds so delicate and
clear. The natural ease of her voice coupled with the resonance from her guitar provides the listener with an understanding of why Joni was so popular in the 70’s and beyond.
In summary the McIntosh MC275 puts forth a very romanticized sound. It has that special ability to make pleasantly
alluring music emerge from it. More than once I found myself enveloped in the performance and constantly thinking of
the musical experience not the equipment playing it. It is best with vocals and small ensembles where its strengths in
the midrange and upper bass truly work its magic.
The MC275 was advertised in the 60’s as being well behaved. You just sit it down, plug it in, and play. You did not
have to adjust anything. Reviewing the Harman Kardon Citation II Tube Amplifier (May issue of Affordable Audio) I had
to adjust the bias and set the AC balance adjustments. Actually it was fun to do and I have no complaints about that. It
does though take a solid hour to do because of the warm up time necessary before adjustments can be made. If you
like to tube roll like me this is a definite plus for the 275. Hey, if I can save an hour’s time that can be put to more listening sessions than I'm all for it.
Ok, now for the big question. Since I have reviewed both the Harman Kardon Citation II and McIntosh MC275 tube
amplifiers which do I prefer? I could easily say both and leave it that way but I am not one to just sit on the fence. The
Citation wins in portraying musical passages as they were actually recorded. Looks however go hands down to the
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McIntosh. Nothing can beat all that
chrome, shinny black paint and old
English style lettering. A McIntosh is
made for display and not to sit inside
an audio rack tucked away behind
screen doors. Easy of use, again the
McIntosh wins, as there are no bias or
AC balance adjustments to be made.
So far McIntosh 2 Citation 1. When
talking of pricing for a used one today
or even back when they were both new
I would say the Citation wins. The
McIntosh was almost twice the price of
the Citation new in the 60’s (McIntosh
$444 to $229.95 factory assembled for
the Citation) and now can be found for
about $3000 used versus $1500 for a
Citation (rough estimates based on
condition and tubes). Ok so what will
the tiebreaker be? I cannot tell you
what you should do, but for me it was
the musicality of the McIntosh MC275
that won me over. I really liked both
amps and I am searching for a used
Citation II amp to purchase as I foolishly sold mine years ago (yes I want
both the MC275 and the Citation II). However my 275 is a fun amplifier that lets me enjoy the music the way I like to
hear it and I have no plans to sell mine. There are certain songs and times when the Citation’s sound for being ruthlessly revealing of music was a great joy for me, but in the longer run I wanted the McIntosh.
The 275,for a tube design, is a very quiet amp. When there was no music playing it was silent unless you place your
ear right up on the speaker and that is not what a good audiophile should ever do. We listen for music not specs of
noise that cannot be heard from the listening position or when music is playing. The 275 is a fun amp, big emphasis
on the word FUN. It has the ability to make you feel the performance much like a good SET amp. No wonder people
all over the world collect it. Talk to McIntosh owners and they speak of their LOVE for the equipment they own. The
275 has a way of making you fall for it even with its shortcomings in the very high and very low regions. Perhaps you
will find, like me, that you do not need to hear it all but rather that you must ENJOY what you hear.
Just because audio equipment is old does not make it worth collecting. To be collectible it must withstand the test of
time and still be functional in today’s home environment. The true test of a vintage piece is that over 40 years later it
can still compare favorably with today's equipment. I find the McIntosh MC275 to be such an amplifier. Never did I feel
that it would be embarrassed by modern day designs and it certainly was better than many. You know how you go
back to your high school class reunion, seeing old friends and lovers, only to be disappointed at how the passage of
time has treated them. Well I went back to my reunion with the McIntosh MC275 and found her still alive, vibrant and
just as wonderful as I had left her. This is one first class Amplifier.
Equipment used in review:
Placette Passive Preamplifier, Sony DVP-S7700 CD player, Monarchy Audio DAC (modified by Monarchy Audio)
Oracle Delphi MK1 turntable with Grace 707 tonearm and Denon 301 II MC cartridge with custom cord from turntable to Phono
Stage, VPI 16.5 Record Clean Machine, Whest PhonoStage.20 + MsU.20 power supply, Legacy Focus 20/20 speakers
Monarchy Audio AC-1 Power Cord, Blue Circle BC86 MKIII Power Line Pillows (2)
Monster HTS-2000 Power Conditioner, PS Audio UPC-200 Power Center
PS Audio Lab II Power Cable, Canare 4S11 Speaker Cables terminated with Monster spades on both ends (two 10' lengths)
PS Audio Transcendent (solid silver series) from the xStream Audio Series
Tek LineTL-500-S (silver) Interconnects
Kimber Kable PBJ Interconnects, Mr_CABLE Musician Power Cord
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VMPS 626 JR Speakers
By John Hoffman
[email protected]
Specifications:
Dehorned Spiral Ribbon Tweeter (7 kHz-20 kHz)
Push-pull neodymium planar mid (280Hz up)
6.5" poly/mica cone woofer w/20oz magnet, 4 layer VC
and cast frame
SR71/BH5 cabinet damping
CDWG - the Constant Directivity Waveguide for 180 degree dispersion full range
Fully CD equalized polpropylene crossover
200W rms power handling, 89dB/1W/1m sensitivity
8 Ohms with 4.6 Ohm minimum impedance
Price: $998, Normally $1598
www.vmps.com
Traditional planar speakers have a set of sonic attributes that are not often emulated by other designs
using conventional drivers. Planar speakers are
highly detailed, produce a huge soundstage, and are
not plagued with cabinet resonance issues. On the
downside, these speakers are physically large, can
be difficult to place in a room, and have limited dynamic range. These speakers need to be placed
several feet from room boundaries, due to reflection
issues created by the rear wave coming off the
driver panel. Only the largest specimens of planar
speakers are capable of reproducing the lower registers of music in a believable manner. In spite of
these limitations, planar speakers offer a sublime
listening experience, and many audio enthusiasts
are willing to face the challenges presented by this
type of design.
Designers often endeavor to build a speaker that integrates a planar driver with a conventional woofer. These speakers usually contain a ribbon style tweeter, and a small bass driver. Even though the woofer diaphragm is quick and
responsive, it often lags behind the ultra-fast ribbon tweeter. Achieving a seamless blend between these markedly different driver technologies is a difficult task, although there have been speakers employing this configuration with varying degrees of success. Incorporating a planar midrange driver into the speaker design is a viable solution for the
problems that plague a two-way design. In a three-way hybrid speaker, the crossover point between the conventional
woofer and the planar type drivers is moved down into the mid-bass region. The planar driver is well suited to keep up
with the ribbon tweeter, and does an excellent job in the midrange spectrum. The bass driver is no longer responsible
for lower midrange information, and does a better job at its assigned task. The cost of producing a three-way hybrid
speaker is significantly higher than those incurred in a small two-way design. The manufacturer has to account for the
cost of an additional set of drivers, the increased complexity of the crossover network, and a significantly larger cabinet. Even with the increased costs factored into the price of a three-way hybrid speaker, the gain in performance is
significant enough to justify the higher selling price.
Brian Cheney has produced VMPS Loudspeakers for thirty-one years. In order to view this achievement in its proper
perspective, remember that in 1977 Jimmy Carter was president of the U.S., and gas sold for 62 cents a gallon. Ford
Motor Company still produced the Pinto, and the compact disc will not be invented for another five years.1 Anyone who
has been around this hobby knows that the lifespan of a small audio company can be quite short, and this knowledge
could be a factor in the purchasing decision that an audio enthusiast makes regarding an expensive piece of gear.
Brian has done far more than survive in the competitive audio market place. In 2002 and 2003 VMPS Loudspeakers
Various publications differ slightly on the time frame the CD was invented. Jack Russell first invented the Compact Disk in 1965.
Phillips formed the engineering team for the CD project in 1979. The earliest date that can be referenced to the production of the
CD is 1980. However, late 1982 is the widely accepted date of the commercial release of the compact disc.
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won the coveted “Best of Show” award at the CES convention. VMPS has legitimately earned its reputation as a high-end loudspeaker manufacturer, and
the audio community recognizes the contributions Brian has made to our hobby.
After thirty years of service in a profession, most people would gladly retire from
the work force. Brian Cheney celebrates his third decade of speaker manufacturing by offering VMPS customers a smoking deal on the VMPS 626 JR
speaker system. These speakers normally sell for $1598 a pair. For a limited
time Brian is offering the 626 JR for $975 a pair. The everyday price for these
speakers is quite reasonable, especially once you compare the innovative design and the substantial cabinets of the 626 JR to other speakers in the $1500
price category. The anniversary price is something special, and Brian has just
basically put $623 back into the pockets of his customers.
The VMPS 626 JR loudspeaker system is a three-way design that combines
planar and conventional speaker technology. The midrange driver is a variation
of the Eminent Technology LFT driver.
The VMPS version uses neodymium magnets, and has incorporated a structural enhancement to the driver frame.2 This driver is crossed in 280 hertz, and
extends up to 7 KHZ. From this point, a spiral ribbon tweeter is pressed into
duty. This driver has also been modified to meet the Brian Cheney’s design criteria. The shallow horn fascia is removed, and the body is dampened with a
resonance absorbing material. The bass driver is a conventional 6.5-inch
woofer, which is used in a bass reflex configuration. The cone material for the
standard driver for the 626JR is a poly/mica blend. It contains a 4-layer voice
coil, and is housed in a cast frame. The review pair I have contains the Megawoofer upgrade.3 This driver uses a woven carbon fiber cone, and has a longer
throw and higher power handling than the stock woofer.4 Brian adheres to the
philosophy that the advantages of first order crossovers are best suited to reproducing music. The 626 JR uses high quality crossover parts, and if necessary there is an upgrade path available if the buyer wishes to up the performance ante of this speaker. 5
The 626 JR cabinets are built from high density MDF. These enclosures are
well built, and surprisingly heavy.6 The inside of the cabinet is heavily braced,
and Blackhole 5 dampening material is used to battle any residual cabinet
resonance issues. A satin black piano finish is applied to the cabinets, and the
overall appearance is top shelf. The 626JR can be had with a conventional fabric covered grill, but VMPS offers their innovative Constant Directivity
Waveguide option for this speaker. The Waveguide grill gives the 626 JR a futuristic appearance, and one could imagine that Darth Vader would have a
similar looking speaker in his two-channel system. As a final note, Brian recThe Eminent Technology version uses ceramic magnets, and has a lower efficiency. More than one company uses this driver
variation, although VMPS has modified the drive frame in order to strengthen it. Brian’s solution eliminates any reliability issues
that plagued early versions of this driver.
2
This driver was developed for use in the upper tier speakers of the VMPS product line. Brian has allowed this technology to
trickle down to his value priced speakers. This upgrade package adds $200 to the cost of the speakers.
3
The Mega-woofer has a FS of 28 hertz and 8mm of excursion. This driver begins to roll off at 200 hertz, and is specifically designed to be a low frequency driver.
4
The 626 JR uses a set of high quality L-Pads to adjust the output level of the midrange and high frequency drivers. The purist
may balk at the inclusion of these parts. In my listening sessions, I found these controls extremely useful in making fine adjustments to the overall tonal balance of the speaker. I think these controls are a great option, and appreciated the flexibility that they
offer to this speaker.
5
The cabinets are custom built for VMPS by Mark Shifters production facilities. Affordable Audio readers will remember that Mark
is owner of AV123. Cabinet dimensions are 24”H x 10.5”W x 13”D, and weigh in at 46 pounds each.
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ommends placing a “beard” on the front of the stands that the 626 JR will reside on. Paul Klispch recommended the
use of a front baffle for stand mounted speakers about 35 years ago. Speaker efficiency below a 100 hertz can be increased by 6DB by extending the front baffle down to the floor.
The planar and ribbon drivers used by VMPS
have certain characteristics that are well suited to
application of Waveguide technology. The center
portion of the midrange panel is responsible for
75% of the driver output. Brian developed a
Waveguide grill that eliminates any off axis information, and allows for uniform dispersion over a
180-degree pattern. The off axis energy is eliminated by sound absorption material that is located
on the backside of the Waveguide grille. The application of Waveguide technology does result in a
1.5DB reduction in midrange output, and a 6DB
per octave roll off for frequencies above 10 KHZ.
The LPAD controls on the midrange and high frequency drivers will allow the user to make subtle
adjustments to the output levels of these drivers.
The 626 JR becomes easier to place in a room,
and certain issues such as early room reflections
are now minimized. Also, first order crossovers
result in a lobing dispersion pattern, which the
Waveguide effectively eliminates. The combination of low order crossover, and Waveguide technology results in a speaker that has low phase
distortion and an even dispersion pattern.
control to 2/3 open.
The 626 JR speakers are placed on a pair of 24inch Target HS series stands. I built the experimental “beard” from a section of ½-inch MDF. The
speakers are placed nine feet apart, and three
feet off the front wall. A slight degree of tow-in was
necessary to create an even soundstage. With the
Waveguide grilles in place, I set the midrange and
treble LPADS at ¾ open. When I listened to these
speakers without any grille, I reset the midrange
The VMPS 626 JR are 89 DB efficient, with an 8-ohm nominal impedance. At 280 hertz there is a dip to 4.6 ohms in
the impedance curve, which is where the midrange panel is crossed in. Amplification duties are taken care of by a Jeff
Rowland Model 5 stereo amp. This amplifier delivers 150-wpc of power into 8 ohms, and is well suited to drive any
speaker system. A Jeff Rowland Consummate pre-amplifier makes up the other half of the amplification system. The
Bolder modified Squeezebox is used in conjunction with the Audio Magic Kukama DAC. An Audio Magic MiniReference handles all the power conditioner duties. All cables are from the Audio Magic Illusion 4D series. Audio
Magic Extreme series power cords are used with all components that will accept an aftermarket cord. These components reside in a pair of AV123 equipment racks.
The Waveguide grille option for the 626 JR makes this a distinctive speaker. I will admit to being intrigued by the performance claims for this technology, and immediately began evaluating the effect of the grilles. It is necessary to locate the correct settings for the tweeter and midrange controls, but this was a relatively easy task. 7 “Church” by Lyle
Lovett [Joshua Judges Ruth; MCA MCAD 10475] has a diverse mixture of instruments, which includes a small gospel
choir. There should be a distinct separation between the vocalist and the individual choir members. A mediocre
speaker will tend to crowd the voices together, and minimize the spatial cues between the Lyle and the other singers.
The VMPS speaker does a fine job with this track, and generates a well-defined soundstage. The 626 JR clearly deA Stereophile test disc and a SPL meter simplified this adjustment. Once a flat frequency response is achieved, it is then possible to adjust the tonal balance if you prefer a different presentation.
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fines the space between the lead singer and
the choir. Several choir members have a
vocal solo in the song, and the distance between each member is easily heard. Since
this is a gospel choir, hand clapping is certainly mandatory for an up-tempo praise
song. The imaging capabilities of this
speaker are excellent, and it is able to place
the handclaps in the same plane as the
choir members. The Waveguide grilles do
result in a uniform dispersion of information
from the speaker. The VMPS speaker did
not have a traditional sweet spot at the normal listening position; instead the image
was stable at any point in front of the
speakers. Any changes in the angle between the performers and the listening position are clearly experienced, and reproducing what would happen at a live performance. The Waveguide grills work just like
Brian Cheney describes, and minimizes the
effects of room boundaries on the performance of the speaker.
Brian Cheney strongly recommends using a
“beard” to extend the bass response of the
626 JR. Even though Paul Klipsch pioneered this idea, it is an undisputed fact that
the guys of ZZ Top have proven that the
beard is cool. The bass response of the
626JR is deeper, and has more punch when
the extended front baffle is in place. The extended baffle optimizes bass performance by creating a path for the driver
to couple to the floor room boundary. In essence the “beard” bestows the primary advantage that a floor standing
speaker has over a stand mounted one. “Set Adrift on Memory Bliss” by PM Dawn [Of the Heart, Of the Soul, and of
the Cross; The Utopian Experience; GEE STREET314-510 276-2] is an unusual blend of R&B rhythm, a smooth jazz
melody, and lyrics with a psychedelic flavor. While the bass instruments are synthesized, there is a complex arrangement to this song that can be appreciated if you listen closely. The 6.5-inch bass driver is nimble enough to reproduce
the fine detail in the bass line, yet is not overwhelmed by the high output levels that is contained in the song. There are
many highly regarded speakers in the market place that fall short of the 626JR in regards to bass performance. For
instance, the Cabasse Farella 401 that I owned a few years back could not come close to equaling the abilities of the
VMPS speaker. If bass response is an important factor in your choice of a loudspeaker, do not let the modest size of
the 626 JR fool you. This loudspeaker has excellent bass performance, and will stand on level footing with significantly
more expensive speakers.
“Afterglow” by Kendra Shank is one of the best recordings in my library. More importantly, Kendra turns in a masterful performance, and this is one of those times
where a great recording captures the essence of a gifted performer. On “Tres Yeux
Bemol” [Afterglow; Mapleshade MS 02132] Kendra and a piano are transported to
my listening room. Everything on this song sounds just right; the illusion of a live
performance is pulled off without a flaw. Kendra’s voice occupies a space just a
few feet ahead of me, and Larry Willis’ piano has perfect tone and pitch. In my experience, this recording has the ability to elevate the performance of many different
speakers, but very few speakers are capable of unlocking the full potential of this
recording. The VMPS 626 JR is one of the few reasonably priced speakers on that
market that can do this.
It is a fact of life that $1000 speakers have limitations. If this were not the case,
then speaker manufacturers could stop at this point, and spend their time sailing
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yachts, playing golf, and enjoying the fruits of their labor in other various ways. However, in the case of the VMPS 626
JR, there are very few issues that I can address. The points that I can comment on are quite minor, and I had to dig
hard to find them. When the 626 JR speakers are set up with an extended front baffle, the bass is remarkably good.
Still, a 6.5-inch woofer is only capable of producing a finite amount of bass, and it will not equal the performance of a
speaker employing large diameter woofers. If you require the physical impact of the bass region, then consider adding
a subwoofer to fill in the lowest registers. Also, planar drivers have lower efficiency than a conventional speaker. The
neodymium magnet structure of the planar midrange increases the efficiency of this driver; and the 626 JR has a respectable 89dB/1W/1m sensitivity rating. This speaker will need to be used with a moderately powerful amplifier. Low
powered tube amplifiers are not up to the task of driving this speaker. Actually, all the upstream electronics will need to
be of good quality. This speaker will not gloss over any imperfections by generating artificial warmth. If any part of the
system is not up to the task, the 626 JR will immediately point these shortcomings out.8
I thoroughly enjoyed my time with the VMPS 626 JR speakers. Matter of fact, this is one of the best speakers I have
heard for less than $1500. The anniversary pricing package that Brian has put together makes the 626 JR one of the
best buys in today’s market place. These speakers are remarkably easy to place in a room, which is an attribute that
can be directly attributed to the Wavegide grills. The planar midrange and ribbon tweeter are amazingly fast and
transparent. The build quality of the speaker is exceptional, and far exceeds what one would expect at the $1000 price
point. This speaker system offers both performance and affordable pricing. If you are in the market for a pair of affordably priced high-end speakers, make the effort to find a pair of 626 JR to audition. These speakers are the real
deal, and Brian Cheney’s generosity will leave you with several hundred dollars in your audio kitty.
Brian Cheney has developed a speaker that will work well with a wide variety of different components. Between the effects of the
Waveguide, and the effects of the output level controls, the speaker can be tuned to compliment a systems overall tonal balance.
8
Equipment Used For Review:
Jeff Rowland Consummate pre-amplifier
Jeff Rowland Model 5 amplifier
Squeezebox with Bolder Cable Company modifications and Ultimate v1 power supply
Audio Magic Kukama DAC
Audio Magic Mini-Reference power conditioner
Audio Magic Illusion 4D interconnects
Audio Magic Illusion 4D speaker cable
Audio Magic Illusion 4D digital cable
Audio Magic Extreme series power cords
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Audio Magic Pulse Gen ZX: A Multi-Writer Review
By John Hoffman, Mark Marcantonio, Todd Arthur
Specifications:
Dimensions: 1.75 x 2.75 x 1
Price: $400
www.audio-magic.com
JH: The Audio-Magic Stealth series of line conditioners have
carved out a cozy niche in the ultra-competitive power conditioner market. A key component to the Stealth conditioners is
the pulse generator and the activator modules. These units
emit an RF and an EMI canceling signal that effectively deals
with these issues without being in direct contact with the current flow. Jerry Ramsey has developed a new application for
these modules. The Pulse Gen ZX is a black box that contains both of these noise-canceling circuits. These modules
are designed to be installed in any audio component, and
work their magic right at the board level of a component.
I should state that I am not a fan of tweaks. I view all of these audio widgets with a great deal of skepticism. When I
reviewed the Audio-Magic Mini Reference power conditioner last May, I wasn’t convinced that the pulse generator and
the activator modules were responsible for its excellent performance. At that time, I felt that the wiring and the IPF circuit were the primary reasons the great sound of the Mini-Reference. When Jerry told me of this new application for
the pulse generator, I decided to be open-minded and give it a shot. I installed the Gen ZX module inside the chassis
of my Audio Magic Kukama DAC.
Thirty seconds into the first song, I knew that Jerry was onto something here. The first track I played was “Trans-Island
Skyway” [Kamakiriad; Reprise 9 45230-2] by Donald Fagen. The bass performance of my system had become transformed with this module installed in my DAC. Bass extension increased dramatically, and became surprisingly deep
and powerful. The clarity of the bass line also underwent a significant improvement. The combination of these improvements literally transformed the nature of my system. [1] Just this single improvement makes the Pulse GEN ZX
module worth every penny of its asking price.
The Pulse GEN ZX module lowers the noise floor of the component it is installed in. This module will effectively deal
with the spurious noises that are inherent in a power supply. This is especially effective upgrade for components with
onboard power supplies. “Six Blade Knife” by Dire Straits [Dire Straits; Warner Bros 9-47769-2] is a song I use to discern a components ability to present low-level detail. This song has a steel string acoustic guitar located on the right
hand side of the soundstage that is often obscured by a high noise floor. With the Pulse GEN ZX module installed in
my DAC, this time the guitar was heard clearly in the song. The drumbeats also had an improved texture, and a realistic decay pattern to each note. The Audio Magic Kukama DAC is a reference level component; the addition of the
pulse module just adds another level of refinement to an already superb unit.
There have been some unexpected surprises with the Audio Magic module. While the vast majority of my CD library
showed significant improvement when played through the modified DAC, there were a few exceptions. “Jacks Crows”
from John Gorka [Jacks Crows; High Street Records 72902 10309-2] lost a significant portion of its high frequency
detail.[2] This disc has a dark sounding presentation, and the Pulse Gen ZX module pushes it farther into that realm.
“Temptation” by Holly Cole [Temptation; Metro Blue 3165322] is another disc that had an unforeseen change when
played through the enhanced Kukama. This recording has a prominent bass line, which may be enjoyable to listen to
even though it’s technically inaccurate. With the Audio Magic module in the DAC, the bass became overpowering on
this disc. The solution was to lower the output level on my Audio Pro Avantek subwoofer. When an audio system goes
through an upgrade, not every disc in an audio enthusiast’s library will benefit from the change. In my case, I have
only encountered a handful of discs that did not show a marked improvement when played through the Pulse GEN ZX
enhanced digital front end.
The Pulse Gen ZX module is an unusual product that offers an innovative solution to power conditioning issues. Jerry
Ramsey has developed a device that is able to eliminate the effects of RF and EMI at the final stage of audio reproduction; which is something a conventional power conditioner cannot accomplish. The Audio Magic module will work in
any component that is susceptible to the effects of radiated noise, and the benefits of the modules are cumulative. A
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person can have the Pulse Gen ZX module in a CD player, DAC, pre-amplifier, or even a power amplifier. Any audio
enthusiast with rudimentary soldering skills can safely install these modules into their system. I appreciate the effects
of this little black box. It made a noticeable improvement to the sound quality of my system.
[1] This module can make fundamental changes to the character of a system. Be prepared to experiment with speaker set up parameters, tube
choices, cables, or other various tweaks in a system. Matter of fact, I would recommend removing any isolation accessories, then slowly reinstall
them to determine if they are still necessary.
[2] Recordings with limited high frequency information will often sound very good in a system that does not use power conditioning. This is the
case with this disc. I played other recordings from John Gorka, and did not have any issues with the higher frequencies.
MM: Over the years I’ve tried several tweaks, sticking with the low and no cost ones. The most expensive was the
Totem Beaks, which I’d use regularly if I wasn’t swapping speakers for reviews all the time, as the cones do offer a
small improvement. The best tweak I ever used outside of proper speaker positioning was filling my speaker stands
with sand. Hell, my wife even noticed a difference after that effort.
Therefore, when the small box containing the Pulse Gen ZX arrived I wasn’t expecting much. The unit isn’t much bigger than a piece of gourmet Swiss chocolate with two wires. To make things easy I attached alligator clips to the wire
ends. To be on the safe side I did my first tests with my secondary cdp, the
Onix CD-88. But before doing so, I listened to the cdp for a couple of hours
making sure to have a solid focus on it’s auditory abilities. I also took decibel
measurements with my Stereophile disc of several frequencies, carefully
measuring both the number and needle steadiness.
After I quickly attached the clips to the +/- solder points near the power cord
receptacle I powered back up the cdp and began listening again to Paul Simon’s Hearts and Bones cd. My ears were detecting an improved high frequency output in smoothness. Bass output was tighter during various tracks of
Donald Fagan’s Morph The Cat. After those two cds, I pulled out the meter
reader and the test disc and re-measured. No change in the meter level, but
the needle was steadier. I repeated this process over several days and eventually using my modified Jolida cdp. The measurements stayed consistent.
It is my humble opinion that the AudioMagic Pulse Gen ZX does assist the electrical current in a manner that stabilizes the flow of electricity, thus allowing
more consistent output of music. My tests should not be considered pure science by any stretch, but the decibel meter does offer some insight and assists in my auditory perceptions. Therefore, if you are an audio fan with concerns
about current flow and what it does to the audio signal, the Pulse Gen ZX is a unit you should most definitely investigate for yourself.
TA: The Audio Magic Pulse Gen ZX is an active RFI/EMF eliminator that is contained inside a small plastic box and is
designed to be connected via its green and black wires to the to the hot and neutral inside a system component. The
black lead connects to the hot and the green to the neutral. It is designed to be small enough to fit inside a system
components enclosure. I decided to attach the Pulse Gen ZX to my Denon DCD 370 CD player, which could use the
sonic improvement touted by Audio Magic. Once I opened the enclosure and found the hot and neutral I was able to
attach the green and black leads as required via alligator clips. This would also facilitate easy removal for A-B comparison tests.
Listening
I connected the Denon DCD 370 to my Sophia Electric Technologies EL34 integrated amplifier via a pair of Discovery
Cables Plus Four interconnects and connected the amp to my Paradigm Signature S2 monitors via a pair of Zebra
Cables ZC SP14DBI bi-wire cables. As per usual I set up the system in my18’ X 13’ X 7.5’ basement listening room.
After listening to several tracks off of The Look Of Love by Diana Krall I connected the Pulse Gen ZX to the Denon.
The obvious effects that I noted immediately were the greater width of the soundstage and the blacker background.
This had the effect of allowing fine details to come through and presenting a larger picture of the performance. Another thing I noticed was that the music sounded smoother and warmer. It was as if the high-end hash that makes so
many CD players sound unappealing had been removed.
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I dropped the Miles Davis CD Miles Ahead into the drawer and gave it a
spin. The first track “Springsville” has a full orchestra playing with Miles;
the horn section on this track can sound a little over the top and brash on
inexpensive CD players. Without the Pulse Gen ZX installed in the circuit
the horns are in your face and too bright. Adding the Pulse Gen ZX into the
circuit of the Denon had the effect of smoothing out the top end and again
lowering the noise floor. The soundstage was larger and wider while keeping the details intact.
Conclusion
The Pulse Gen ZX seems to have the positive effect of cleaning up the
power supplied to the CD player. This allows the CD player to do a better
job of retrieving the information from the CDs and combating some of the
nasty side effects of an inexpensive power supply. When installed into the
circuit it becomes warm to the touch and is obviously an active device. The
only difference that I noted while using the Pulse Gen ZX with the CD
player that could be construed by some as negative was that the instruments and vocals were placed with slightly less pinpoint accuracy in the
soundstage than I am used to. This is a difference I could live with given the
positive effects overall but some listeners might be picky about such matters. I don’t know how it works but it does
help the listener get closer to the music.
Equipment Used For Review
JH: Electra-Print 300DRD amplifiers, Electra-Print PVA pre-amplifier, Audio Magic Kukama DAC
Bolder Cable Company modified Squeezebox, Audio Nirvana Super 12 drivers with Lovecraft Designs cabinet
Monarchy Audio AC Regenerator, Audio Magic Illusions 4D speaker wire, Audio Magic Illusions 4D interconnects
Audio Magic Illusions 4D digital cable, Audio Magic Extreme power cords
MM: Onix CD88 cdp, Harman/Kardon 680i receiver, Totem Mites, modified Jolida JD100 cdp, Onix SP3 int. amp, Underwood
modified PS Audio Trio C-100 int. amp., Polk Audio LSi9, Celestion si stands, AudioArt cabling.
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Bass in Yo’ Face!: The Benefits of Stereo Subwoofers
By Brad Mitchell
[email protected]
On a whim I purchased a couple of
DIY passive subwoofers in order to
experiment with stereo bass on my
2-channel system. The drivers are
10" Ascendant Audio Arsenal subwoofers. I've owned two different
Ascendant Audio drivers before, so
I know they are top notch performers. At first, I was skeptical about
getting small drivers, but I didn't
have the space near my front
speakers for larger ones, so I figured I'd take a chance and try these
out. The seller made the cabinets
from 3/4" plywood and they are
heavily damped. The subs are 17"
tall, 23" deep, and 12" wide with a
textured finish. They definitely have
that DIY look to them, but who
cares?
Anyway, I'm temporarily powering
them with the 6th & 7th channels of
my multichannel amp (Emotiva
LPA-1). It's only 95 wpc into 4 ohms, but enough power for these particular drivers. I'm using a Reckhorn B-1 bass
management controller. It's a great little device, and perhaps the subject of a subsequent review. The subs are hooked
up to the line outs on my Emotiva LMC-1 pre/pro.
I have a pair of "full range" front speakers (VMPS Tower II SE’s); each speaker has dual 12" woofers and a 12" passive radiator. These speakers create tremendously tight bass, but in spite of their size and power, they still don't pump
out the lowest levels of bass. I always knew it, but was afraid to admit it to myself for fear of spending too much money
on upgrading. The speakers, as impressive as they are with bass, still left me wanting more.
The DIY subs make a HUGE difference! Upon introducing the stereo subwoofers, everything changed. In fact, the
subs catapulted my system to another level and the sound far exceeded my expectations, not only in bass, but in
soundstage, detail and clarity, as well.
With music, the bass is very tight and tuneful. It sounds like an entire wall of sound. Some of my bass heavy music
sounds entirely different with the subs. Even a few of my jazz cuts have surprisingly deep bass.
The subs offer not only bass, but a whole new dimension to the music. The sound is fuller, deeper, and simply more
realistic. For some reason, I can play it louder without fatigue, and the bass is often gut wrenching, even on music I
hadn't heretofore considered bass-heavy. Because I can play music louder, I hear more subtleties, and the ones I
faintly heard before are magnified. I am hearing musical passages that I didn't know were there before, and this has
fueled new excitement and improved listening enjoyment.
To show off my subs, I purchased a couple of bass-heavy CDs – Heartbeat Kodo 25th Anniversary (Japanese drummers) and the old school “Planet Rock” by Afrika Bambataa and the Subsonic Force Remix EP. The Kodo CD has the
lowest bass I’ve ever encountered on a music CD, so when friends visit, they’ll get to hear what serious bass ought to
sound like in a stereo system.
In the past I have used single subs for bass reproduction and it has sounded very good, especially when the sub
blends well with the mains. However, stereo subs are a much better choice because, ugh, music is in stereo. Some
people will argue that most CDs aren’t mixed to produce stereo bass. I won’t argue with such logic. All I can do is re-
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port what I hear, and I hear more bass separation from stereo subs than I do with a single sub. Nevertheless, in my
opinion, one can never have enough bass.
To gain a greater appreciation of subwoofers in a 2-channel system, let’s use the analogy of a home theater system.
Imagine watching a movie with a high end HT system with floorstanding speakers, but no subwoofer. You know there’s
something missing, don’t you? Now imagine the same system with a nice subwoofer. The movie experience has increased dramatically. We’re not done yet. Now imagine adding another well calibrated subwoofer, and the experience
improves even more. So if bass makes such a huge impact on sound quality for home theater, shouldn’t bass have a
similar impact in a 2-channel environment?
Even large floorstanders benefit from a sub, no matter how well the manufacturer claims that their speaker can reproduce the lowest bass frequencies. Moreover, separating the bass is important for other reasons. Typically, optimum
room placement for bass is in the corners. By using stereo subs, there’s more placement flexibility for optimum bass.
OK, so how do the DIY subs sound with movies? Well, think about adding two more killer subs to your HT system and
you'll get an idea of what I'm hearing and feeling. I already had a huge VMPS sub with a 15" driver and 15" passive
radiator. Now I have three subs and the bass is ridiculous. My room size is 13' x 20' x 8'. And no, I haven't reached
overkill yet.
I played scenes 5 & 6 of War of the Worlds. It was insane! A couple pieces of insulation blew out of the port on one of
the subs. The vibration it caused -- I actually thought the whole house was shaking, and maybe it was -- I dunno. It
was an obscene amount of bass. In addition, there was more clarity, too. I heard stuff in those scenes I hadn't heard
before. There is more weight, substance, and overall feeling of realism that was simply remarkable.
And with bass, bigger is better.
In my opinion, subwoofer drivers belong in big boxes, and another reason for separating the bass from the main
speakers. For instance, a small drum gives off a small sound no matter how hard you whack it; the bigger the drum,
the bigger the bass. Small subs are fine for small rooms and certain kinds of music, but if you get a sub for a nice 2channel system in a moderate or large room, it ought to be capable of playing loud and digging deep with minimal
cone movement and little stress on the amp to keep distortion low.
Integrating a subwoofer with the main speakers requires patience with placement and a bit of crossover tweaking. The
main speakers and the subwoofer should overlap each other for at least one full octave. Additionally, the main speakers should have a fairly decent bass so the subs can be crossed over fairly low.
By the way, don't listen to those who tell you that your main speakers are OK if they are flat to about 30 Hz because
the vast majority musical instruments don't go any lower than that. You'd be surprised at what you're not hearing on
your CDs (if that makes sense). Likewise, never take advice from someone who says, “Subwoofer X is equally good
for music and movies.” Most subwoofers are made for home theater. If you are looking for subwoofers for music, your
choices are limited. Check out those manufacturers who design subs primarily for music.
If you decide to take the stereo sub route, watch your spending because stereo subs can quickly become pricey once
you take into consideration the associated components – external crossover, speaker cables, interconnects, power
cords, and amplifier. Don’t even think about using a standard plate amp for music. (The exception is the 1,000 watt
plate amp offered by Parts Express.)
Final Thoughts
No matter how much money you spend on a 2-channel system, it will sound anemic if it does not convey the full spectrum of musical frequencies. Omitting the lowest frequencies doesn't represent an accurate reproduction of music. Unless you have speakers that can easily dig down to about 20 Hz, you need a properly integrated subwoofer or two to
complete the sound.
Most audiophiles constantly swap out gear looking for the elusive holy grail of music (whatever that is). But what we
often forget to realize is that no matter what gear we own, the sound emanates from speakers. And those speakers
should be able to deliver all of the music on the CD and not truncate the lower octaves. It’s kinda like eating dinner
and leaving before dessert is served. So unless you’re on a music diet, treat yourself some bass in yo’
face!
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Polk Audio RTiA3 Monitors
By Mark Marcantonio
[email protected]
Specifications:
Mid/Woofer: 1 - 6-1/2" Diameter (16.51cm) Polymer Composite
Tweeter: 1 - 1" Diameter (2.54cm) Silk Polymer Composite
Dome
Overall Frequency Response: 40Hz-27kHz
Lower -3dB Limit: 50Hz
Upper -3dB Limit: 26kHz
Nominal Impedance: 8 ohms
Recommended Amplifier Power: 20-125 w/channel
Efficiency: 89 dB
Crossover: 2.8kHz, 12dB/octave high and low pass
Inputs: 5-way binding posts
Finish: Brown Cherry or Black Oak veneer
Dimensions: 14-3/4" H x 8-7/16" W x 14" D
(37.47cm H x 21.43cm W x 35.56cm D)
Enclosure Type: Vented with PowerPort and Arc Port
Product Weight: 16.00 lbs. (7.26kgs)
Shipping unit: Pair
Total Shipping Weight: 35.00 lbs. (15.88kgs)
Warranty: 5 years parts and labor (original purchaser)
Designed in USA, Manufactured in PRC
Price: $459 pr.
www.polkaudio.com
Tradition is a big part of the audio experience with audio buyers.
Certain companies have a specific “sound” that
buyers go back to as their personal reference point. For my money the traditional Polk Audio sound is their RTi lineup.
It reminds me in many ways to the original monitor sound from the late 1970’s-80’s. In the past few months Polk has
updated the RTi lineup, using a new teardrop cabinet while keeping their well-regarded Powerport design. The result
is the RTiA series for 2008. Having owned a pair of the RTi38’s a few years ago I was intrigued by what its newest
incarnation could do. After a few emails to find the contact person for review models since Paul DiComo left Polk’s
operation to join the mother ship of Definitive Technology, I was rewarded with a pair of the cherry veneer RTiA3’s in
short order.
Design
First, I was a bit wary that Polk had given up the golden goose by walking away from the spectacular reddish cherry
stain of the previous series of RTi’s. I was quite pleased with the new, more brownish stain. Though not as stunning,
it is very appealing and probably an easier match with other wood finishes. The veneer itself is visually seamless and
beautiful.
Those of you who have followed speaker design in the past few years have noticed the
growing trend towards the tear drop design of such companies as Era and Warfdale to
name a few. It is an elegant look and fits in with 21st century style. The surprise is how
lightweight the RTiA3 feels. They are 3.5 pounds lighter than what I remember the RTi38’s
being, even though the teardrop design creates added depth. The real shocker is the
knuckle rap test. The sound is thin, almost plastic upon contact of bone and wood. I believe this is due to the 6-layered MDF laminate process that Polk states was designed specifically for them and reduces resonances. Using the thin layers allowed for the bending
needed to create the teardrop shape.
The front face hasn’t changed from the previous series. The 1 inch silk/polymer tweeter
and 6.5 inch mid driver return, as does the front port below the driver. The grill still uses a
lattice design under the black fabric. This is a bit controversial to a few, but I didn’t feel as
though the music suffered from its usage. The backside has the now signature Powerport
bass venting cone, with the keyhole for hanging on a wall. Below that is the five-way binding post of serviceable quality. Finally, on the bottom corners are two bumper feet to assist
in wall hanging, a very nice touch IMHO.
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Sound
While at Polk as sales director, Paul DiComo like to “condition” review speakers (his term for breaking in) before sending them out. I was informed that the same occurred with the RTiA3’s. But, just to be fair, they went into a closet for a
week of continuous playing. I do need to disclose that in April I managed to find a minty pair of Polk LSi9 monitors on
Craigslist at a fine price. Therefore, to be fair I didn’t listen to music on my main rig with the LSi9’s for a few days. I
wanted to let the less expensive RTIA3, to stand on their own without any unfair influence. After placing the speakers
in the main rig I started with Trisha Yearwood’s Songbook cd. My first impression of the RTiA3’s, is that of an airy
speaker, very light and nimble. Yearwood’s vocals came out smooth, the upper treble was quite pleasant yet still full.
Over several days as I listened to my demo cd certain characteristics of the RTiA3 become quite obvious. First, they
were definitely designed for receivers as the performance didn’t improve dramatically when moving up from my Harman Kardon 680i receiver to the Onix SP3 integrated tube amp. After all, they are 89db and 8ohm nominal. Plus,
they are sold in chain stores where home theater receivers are the power sources.
The best vocal performance from my collection thru the RTiA3 was presented by way of Natalie Meanes and the Dixie
Chicks in “Wide Open Spaces”. The edgy passion of her
performance is outstanding. I caught myself in a head nod
in appreciation of the Polk’s efforts. The timbre and spacious presentation was dead on.
Male vocals across the board were pleasant but not dramatic or attention-grabbing. Both James Taylor and Dan
Fogelberg lacked the last wave of richness that I’m used
to, but once again I’m accustomed to a doubling of price in
my monitors of choice. A perfect example is Mark Knopfler’s vocals in “Skateaway” from Making Movies cd. The
hint of his British accent didn’t quite make it thru. However, the clarity of all vocals (no nasal or fuzziness) makes
for an easy and non-fatiguing listening experience.
One area where the RTi series does well is in presenting a
large soundstage. The A3’s are no exception, the farther
apart they were up to 12 feet, the better they performed.
Even when facing straight ahead in this wide stance, the
RTiA3 had no difficulty finding a respectable center stage
point. With an appropriate toe-in, the results improved
even more so in placing instruments from left to right.
Wanting to challenge the RTiA3’s, I pulled out a classical
presentation of Gerswin’s magical An American in Paris. I
was pleasantly surprised by the clarity of the woodwinds,
in particular the oboe performance. The bottom base was
lacking, but these are monitors with a healthy roll-off at
50hz. The term “roll off” is not a negative term, it’s the nature of speakers, and when done correctly it is considered
a strong point of a speaker’s characteristics. The RTiA3
when properly placed gets this positive check mark.
Since the RTiA3 can be wall mounted, how good do they
sound in that type of configuration? I can’t give an exact as I wasn’t willing to put a couple of screws in a newly
painted wall. I did do the next best thing; I placed them against the wall while on the Celestion Si stands. The results
were mixed, mid range vocals became richer, but at the same time the bass lost its tight, punchy effect for a boomy
response. Imaging also suffered with a blending of instrument placement. If the RTiA3’s are to be your main speaker
in a two channel, or the fronts in a 5.1 or 7.1 system, get them on stands and a few feet away from the back wall.
Caveats and Limitations
At under $500, there are significant tradeoffs in monitor performance. The key for any manufacturer is in accenting
the strengths so they overwhelm the weaknesses. The clarity of the RTiA3’s do a fine job of masking the fact that
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richness and depth are lacking. The depth that make an audio enthusiast stop in their tracks don’t exist, but if they
did, then the A3’s would be playing in Polk’s LSi7 arena, and that would be foolish.
Another caveat is that as good as the left to right accuracy is, front to back depth is lacking. Punchy, impact bass is
limited even with the Powerport unless, as mentioned above they are placed against a wall. On the good side, my
wife wasn’t asking me to turn it down from hearing the “boomy” bass traveling thru the walls. To me, this is a good
thing for those of you in apartments, condos, or townhomes where common walls exist.
Being monitors some will ask about near-field listening. In one instance in my family room while doing some wall repair
work after having our home re-piped, the RTiA3’s were playing and the couch was only 5 feet or so in front of the A3’s,
and the speakers just 4 feet apart. The result was a boomy and undefined presentation. Therefore, those of you looking for a near-field monitor may wish to do some AB comparing against potential monitors.
Final Thoughts
One of the Goals of Polk Audio in updating to the RTiA line was to reduce unwanted resonance that a traditional cabinet creates. Having owned a previous series of the RTi’s I can say conclusively that I heartily agree that they have
done a fine job in this area. The A3’s give off clarity in bucket loads. Matching up a pair with a receiver will yield quite
favorable results without having to empty the wallet for mega-wattage home theater receiver. I found that 60 wpc
made for a fine pairing. In a home theater setting, the RTiA3’s clarity would make for a fine set of front speakers.
Overall, the Polk design team gets a solid nod of approval for improving upon the RTi6 into the tear-drop RTiA3 with
smoother upper frequencies and fine imaging without increasing the cost.
Review Equipment
Onix SP3 int. tube amp
Underwood modified PS Audio Trio C100 int. amp
Modified Jolida JD100 cdp
Harman/Kardon 680i receiver
Onix CD88 cdp
Celestion Si stands
Promitheus DAC
AudioArt Cabling/Interconnects
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SPENDOR SP2/3e
By Greg Johnson
[email protected]
Specifications:
Mid Size 2 Way Monitor
Drive Units HF 19 mm soft dome, ferrofluid cooled
Drive Units LF 200 mm polypropylene cone, 40 mm coil
Frequency Response 60 Hz to 20 kHz ± 3 dB
Pair Matching Within 1 dB
Impedance nominal
8 ohms
Crossover point 3 kHz
Power handling 100 Watts
Dimensions H x W x D 545 mm x 275 mm x 325 mm
Cabinet weight 14.3 kg
Price: $3800 pr.
www.spendoraudio.com
In my search for tube friendly speakers for my Leben CS-600, I reviewed the Vandersteen 1C last month. The Vandersteen was the fifth pair of speakers I'd tried over the last
year to date since purchasing the CS-600. While the Vandersteen 1C were the best pair
thus far, they ultimately had one fatal flaw. They were consistently unable to involve me
in the music. In hindsight, I think the Vandersteen really prefer more power than 30 tube
watts, and higher damping factor solid state ones at that. Consequently, I continued my
search by purchasing a used pair of Spendor SP2/3e.
Background
Spendor was founded in the 1960's by Spencer Hughes and his wife, Dorothy to make broadcast monitor loudspeakers based on Spencer’s earlier work in the BBC sound engineering department. One of Spencer's co-workers at the
BBC was Dudley Harwood, who went on to found Harwood. Spendor is now owned by Philip Swift (of Audiolab fame),
who brought the more "modern" S series to market. The SP2/3e is the mid-sized monitor in their Classic line, now
called Classic R after a recent update. Classic is appropriate since these models are direct descendants the original
designs. Spencer Hughes and Dudley Harwood did much of the early work into the use of polypropylene as a woofer
cone material while at the BBC. Polypropylene has been used exclusively by Spendor and Harbeth since.
The SP2/3e is a simple two-way bass reflex in a now unfashionably large enclosure. Like the Vandersteen 1C reviewed last month, the SP2/3e design is an example of "form follows function." For a given set of drivers, a larger
cabinet and baffle generally provide greater sensitivity a smoother response. The tweeter is made by Scanspeak and
has a 3/4" textile dome, a felt surround and a slight horn loading. The midbass is made in-house by Spendor. It has an
8" translucent, doped polypropylene cone with a soft dust
cap. Below the midbass driver is a large reflex port. The
SP2/3e is the direct descendant of the original BC2 from
1973. The "e" suffix was added in 1994 to denote a few
minor improvements like OFC internal wiring, gold-plated
binding posts and beveling of the cabinet edges.
Like all models in the Classic Series, the SP2/3e remains
true to the original design protocols that Spencer Hughes
was involved in at the BBC. These protocols are based
on psychoacoustic research and include: a neutral tonal
balance, cabinet construction push resonances down
away from the critical midrange, and the so-called "BBC
dip", an intention response trough in the 1-4 KHz "presence" region to offset the ear's natural elevated sensitivity
there. As seen in the Fletcher-Munson loudness curves,
the BBC dip appears well justified.
The fit, finish and veneering are excellent. The biwireable binding posts are mounted individually through
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the rear panel and the drivers are flush-mounted. The cabinets are constructed as a thin-walled MDF substrate
damped with carefully-placed bituminous pads. My pair, which I bought in used but perfect condition, is in a limited edition satin birdseye maple.
Referring to the measurement section in the June, 2004 Hi Fi Choice review, the SP2/3e is true to its 88 dB / watt sensitivity rating at a measured 88.4 dB/watt. Though rated at 8 ohms, the measured average impedance is actually a
very high 18.5 ohms (the implications of this I'll discuss further). As befits their monitor heritage, the overall measured
distortion is also very low, even at rather high output levels.
In addition to tube friendliness, the Spendor Classics have gathered the reputation for sounding warm, dull, even boring. I find this as much an indictment of the typical voicing of contemporary speakers, most of which sound too lean,
bright and fatiguing to me. I suspect there is a second reason for this reputation. Intriguing comments were made by
Bob Neil in his www.enjoythemusic.com review of the Spendor SP1/2e:
“(The SP1/2e) is a very different loudspeaker on
push-pull tubes than it is on hybrid with its solidstate output. I will go into this a little further in the
music listening tests, but let me just say here that
with the (Audiomat) Solfege amp, the SP 1/2's
trade a great deal of their refinement and ease for
a heavy shot of testosterone.”
Mr. Neil goes on to say,
“...there is clearly something about the SP 1/2's
low-end in particular that is very responsive to
push-pull tubes. And the responsiveness, at least
with the high current Solfege, though it appears to
begin in the mid and upper bass, runs well up into
the midrange.”
Because the Spendor Classics share design elements, it's a safe to say Mr. Neil was hearing the
effects of that high average impedance. Whereas
solid state amplifiers generally sound best driving
moderate to lower impedances, tube amplifiers
are the exact opposite. They love higher impedances. The legendary LS3/5a, in spite of its 82 dB/watt sensitivity, works fabulously with low power tube amplifiers like
the 15 wpc Quad II, but not well at all with most high-powered solid state amplifiers. Since the Spendor Classic series
designs date back to the late 1960's and early 1970’s, I suspect they were designed for, and voiced with tube amplification. A loudspeaker with a high average impedance curve certainly wouldn’t flatter a solid state amplifier. Bob Neil
reached the opposite conclusion in his SP1/2e review and I've never seen this confirmed anywhere else. However, it
is a logical assumption, especially after listening to them driven by my tube amplifier.
System & Setup
My amplifier is a Leben CS-600 integrated tube amplifier. The front end is a 47 Labs Shigaraki transport and DAC.
Cables consist of Cardas Twinlink speaker cables, a Cardas Microtwin interconnect, a Cablepro Vista digital cable
(custom terminated with Eichmann RCA's), a Zu Birth power cord for the Leben, and Naim power cords for the transport and DAC. The equipment rack is a Yamamoto OS92. The system is powered from a dedicated AC line terminated
with a Pass and Seymour AC receptacle. A non-filtering Cablepro Revelation II power strip distributes AC. The listening room is 13' wide and 15' long and is acoustically treated.
For the SP2/3e I purchased Tyler Acoustics Model 1 speaker stands in 16" high. These are $300 per pair. They are
made from 1” thick mdf and are sand-fillable. The 16" height was determined from my measured sitting ear height, always an important requirement with stand-mount speakers. The optimal listening axis for the SP2/3e seemed to be
between the tweeter and woofer, though this doesn't seem too critical. The normal listening height at the level of the
tweeter is about equally acceptable and provides a bit more air and resolution. I ended up filling the stands half full
with sand (since fully loaded seemed overkill). I used tiny amounts of blu-tak at the corners to couple the speakers to
the stands.
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I use a shortlist of familiar recordings for evaluation purposes. These recordings range in from audiophile quality to
mediocre, even horrible. Most are in the mediocre range, my justification being that an audio system should sound enjoyable and non-fatiguing regardless the genre or the quality of the recording. I listen primarily to rock, jazz and classical, in that order.
After a few experiments, I placed the SP2/3e in my standard speaker location: 3' from the front wall, 3.5' from side
walls. This left 6' between the speakers and 8' to the listening position, which worked best for the Vandersteen 1C reviewed last month as well. In spite of the front porting, my experiments proved that the SP2/3e needed plenty of free
space around them in my room. As with every bi-wireable speaker I've owned, I immediately replaced the stock jumpers with Cardas magic jumpers. Bi-wiring is apparently irrelevant with these speakers anyway. An online forum query
from other owners was overwhelmingly in favor of
single wiring over bi-wiring. The SP2/3e
sounded best from the 8 ohm tap of the CS-600
and firing straight ahead rather than toed in.
Listening
Unquestionably, the SP2/3e has synergy with
my Leben CS-600, which is to say, they thrive
on tube amplification, even low powered ones. I
have heard of people driving these with singeended triode amplifiers. They are anything but
laid back, dull and boring. And while there is an
added warmth and a slight smoothing of transients (noticeable on guitar strings and vocal
sibilance, for example), it's natural rather than
euphonic.
Befitting its monitoring heritage, the midrange is
neutral, transparent and slightly forward. They
also have a natural ease and relaxed quality,
and distortion seems very low. This forwardness
may be what led Bob Neil to comment on a lack
of refinement when he drove the SP1/2e with tubes. As I am accustomed a more forward, "flat earth" presentation, I
don't consider the SP2/3e unrefined. I find them engaging rather than ingratiating, and listening fatigue is all but nonexistent.
Their non-prejudicial nature is also noteworthy. Unlike many speakers, they do not favor any particular genre. Whether
it's loud amplified rock or delicate strings, everything is catered to equally. They play well at lower volumes without
sounding too lean. They also go plenty loud for my tastes without strain, unlike other smaller speakers I've
owned. Finally, because of their natural warmth, they are forgiving of bad recordings, more so than the Vandersteen
1C in fact. My acid test here, early Radiohead, was tolerable rather than the dry, sterile mess it's typically been on
other speakers I've owned.
Vocals, while not the equal to my personal standard, the Harbeth HL-P3ES-2, are very lifelike and sibilance is very
smooth and natural, perhaps too smooth. The bass region is rich but adequately tuneful and resolved. The treble region is grain-free, smooth and slightly golden. Dynamics are strong. Finally, imaging is perfectly adequate. Images do
not crowd around the location of the loudspeakers and there is a good sense of separation, width, depth and body.
In direct comparison to the Vandersteen 1C reviewed last month, the two speakers have a similar relaxed and forgiving demeanor. Neither have major sins of commission. The SP2/3e isn't as extended in the bass, nor does it image
quite as well. But the SP2/3e is slightly smoother and fuller. It also has better tonality, resolution, timing and transparency. Thus, taking nothing away from the 1C, which I really like, the SP2/3e is much more organic, involving, and enjoyable in my system. With solid state amplification there may have been a different outcome. An important corollary:
while the 1C will grow with system upgrades, I feel that the SP2/3e will grow further. In fact, I don't think the SP2/3e
can ever be outclassed upstream.
There are three caveats worth noting. First, while I like the slightly forward presentation, sometimes I’m in the mood for
less drama and engagement. Second, the bass tuning took some work to integrate. It was initially too full for my
tastes. I mitigated it through tube rolling, although cable rolling would have also worked. I suspect this bass bloom is at
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least partially a byproduct of the
cabinet design since they are
pretty lively while music is playing.
I agree with this design decision,
though, since it's said to provide a
cleaner midrange and did not add
chestiness to male voices. Finally,
in light of the high average impedance and Bob Neil's SP1/2e review comments, they may sound
very differently driven by solid
state amplification than tubes. I
plan on reviewing a solid state integrated amplifier at some point to
assess this.
Final Thoughts
The SP2/3e are not audiophile
speakers by contemporary standards, either sonically or
appearance-wise. They are not
strictly neutral, and there are many
speakers that provide superior
resolution and extension at the
frequency extremes. Many will find
them too warm, polite and physically bulky. However, in spite of all
this, they possess a certain self-affacing grace and charm in my system that makes all of this irrelevant to me. I personally like the appearance, too. I have ended my search with these speakers. And when I do upgrade, the similar but
larger SP1/2 and SP100 in the Classic series will be on my shortlist.
The original MSRP of the SP2/3e was in the $1800-2000 range. Unfortunately, due to the current weakness of the
American dollar, the price for the current SP2/3R is now $3500, which I don't consider affordable. However, for those
whose preferences lean retro (sonically and appearance-wise), the $1500 used market value for the SP2/3e a serious
bargain, particularly if tube amplification is involved.
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Oehlbach XXL Phono Pre Amplifier
By Kevin Brock
[email protected]
Specifications:
Amplification at 1kHz: 35 dB MM 60 dB MC
Input Impedance: 47 kΩ MM 100 Ω for MC
S/N ratio: >100 dB MM
> 74 dB MC
Dimensions: W 137mm x H 49mm x D 10mm
Weight: 480g
www.oehlbach.de
Publisher’s Note: After taking several months off we are glad
that Kevin has rejoined A$$A to give us some more European
audio flavorings.
For the past six months I have not listened to music. By
that, I don’t mean that I have lived in a world where music
has not existed, but that I haven’t really had the time to sit
down and seriously listen. Too many things have been going on, too many of my hours have been spent working, and what’s more, I just haven’t been in the mood. Which is a
little strange perhaps, because music almost always helps my mood. But not this time, or maybe that should be these
times.
Now, funnily enough, I have added discs to my collection over these quiet days. Many a new and pre-owned CD has
found a home on my ever-expanding shelves, and I have changed the equipment I use for listening quite radically. I
just haven’t used the on switch very often. Instead the relaxation button in my life has most certainly been turned off.
Why? Well, as I suggested, work has been taking too big a hold on my life, which is as it should be when you spend
rather too much time perusing the online audio sites in your spare time. I mean you have to pay for all this music stuff
somehow, even if it is affordable. We have also moved apartment, which is about as stressful an experience as I ever
wish to go through in my life.
But now spring is here and things are changing. Apart from my wife deciding that our small balcony can provide us
with enough herbs and plum tomatoes to turn us into Italians, which has led to numerous excursions to garden centres
and Home Depot type stores, I have a little more time. She’s also intimating that we might move home again, and that
our existence would be better with at least one dog. But that’s another story.
Back to music and its playback. I’m an old fashioned, flat earth, vinyl spinning kind of guy, and so I’ve often dreamt of
adding valves, or as you say stateside tubes, to the system. I’d also long wanted to try a separate phono stage as opposed to the internal device in my solid state Micromega amp. You don’t know how lucky you are across the pond
when it comes to inexpensive, US built and designed, tube electronics and the like. And as for phono stages for pin
money, I envy you just enough to emigrate! However, there are some terrific bits and pieces available from Europe
and beyond if you do a little research, and after some study I found two more than affordable, and quite intriguing,
pieces of kit.
Let’s start with a phono amp that I thought might hit the spot. In the old days, of course, every integrated came with a
phono input, but that was before the music died for LP, and long before it came back to life with a vengeance. Now
you need an extra something, and the choice is growing by the hour. The hi-fi world is awash with inexpensive, moderately priced and down right bank account crushing boxes that amplify the tiny signal your cartridge transmits from an
LP. You can buy solid state, battery powered, transformer based, or tubed equipment to do this vital job. The one I settled upon is, on the face of it, a simple, solid-state design.
I stumbled upon the Oehlbach XXL Phono Pre Amp while surfing the net in search of interesting, affordable equipment available in Vienna. It seemed to be gathering quite a following, and the company itself has gained many admirers, and an award or two, over the past thirty-two years with a small but select portfolio of products. These include ultra affordable high end interconnects, speaker cables, spikes and pucks, and I hope to try some of these in the future.
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This unit is a small, beautifully curved black and silver metal box, with two pairs of RCA sockets, input and output, a
ground connector and an external mains adaptor. It is suitable for MM (35 dB) and MC (60 dB). I use MM cartridges,
but I don’t doubt that any MC of reasonable output would be quite happy plugged into the XXL. The pre-set loadings
are 47 kΩ for MM and 100 Ω for MC, which seem to be the norm. There are two small buttons on the front, one to turn
on the unit and the other to choose MM or MC. The power glows blue when on. And the XXL is reassuringly solid.
I first connected the Oehlbach to my Micromega Minium amp, which I’ve used to listen to vinyl for many years through
its phono input . Using my Rega 25 and Roksan Corus, retipped by Expert Stylus, (highly recommended), the differences were immediately apparent. There was a greater depth to the sound, a smoother top end and a slightly fuller
bass. It was a much more analogue sound, the kind that makes you question digital sources. It was just getting into its
stride, after a week or two of running in, when it had to go
back in the box while we moved house. And then there was
nowhere to put the record deck in the new flat, and so the
XXL stayed hidden away while I tried to make sense of our
new layout.
One valve amp later, and after several months of listening,
happily I might add, to CD, I put an IKEA chopping block on
another bit of furniture designed by Swedes, plonked the
Rega onto it and then into the XXL, and stuck on the first
LP I could lay my hands on. Wow! It sounded great. Now
I’m not going to tell you that every record sounds wonderful, because if the pressing is a bad one, the recording engineer had tin ears, or the chap in charge of mastering had
a night to forget, the XXL won’t cover up the cracks. It does
make every LP I have tried at least halfway listenable, and
of course that’s important, but good recordings are terrific.
Surface noise disappears into the background, and instead music grabs your attention and makes you want to listen.
There’s no point in trying to do your taxes or in teaching the dog to dance, you will wish to sit back and be immersed in
sound. This little beast is quite definitely a slice of the high-end for a pocket money price.
I’ve been listening to Pat Metheny, Keith Jarrett, Steely Dan and Joni Mitchell, and I’ve used LP’s of a certain age that
have been with me for longer than I care to, or in some cases can, remember. Every time the stylus hits the groove
and the music floats, and I do mean floats, clear of my Rega speakers, I realise why I was drawn to this hobby. Once
again I am in the mood to listen to music. I’m also looking for albums I haven’t considered in some time, less than perfectly cut pieces of plastic that I’ve left in dark corners, and in some cases deleted from my mind. Why? Because the
sound I’m getting from my pretty modest system kills digital. There’s air, depth and space in spades, and all for around
€160. What more do you need to know?
I’m told that adjusting the loading and gain of any given cartridge can make enormous differences to the sound produced, and that isn’t possible with this little box. Instead you get simplicity, good design, high quality components and
fine sound. In a market with great competition, and an ever growing list of possible alternatives, this is a must listen
piece of kit if you’re after a phono stage that sings. I know one thing, mine is staying put. I’ll be buying it and giving it a
good home. I also strongly urge you to take a look at the company website. It’s a lot of fun and full of information. It
announces that quite recently the company has been taken over by US based Audiovox, so maybe Oehlbach products
will be heading across the Atlantic to a store near you.
I did say that I’d discovered two bits of equipment that are worth trying. The other is a valve amp of Chinese origin,
and it’s been living in my system for about 4 months now. There is a very, very long story to tell, perhaps next month.
Equipment used in Review
Rega 25, Roksan Corus, Micromega Minium, Bewitch Valve amp
Rega Alya speakers, Kimber, NVA interconnect cables, Kimber speaker cables
Music
Pat Metheny - Offramp, Keith Jarrett - Tribute
Joni Mitchell - Clouds, Steely Dan - Aja
Dan Fogelberg - Captured Angel
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Audioengine AW-1 Wireless USB Adaptor
By Mark Marcantonio
[email protected]
Specifications:
Transmission Protocol 802.11
Wireless Audio Sender
Wireless Audio Receiver
USB AC power adapter
RCA adapter "Y" cable
Mini-jack (3.5mm) audio cables (20")
Setup Guide
Price: $149
www.audioengineusa.com
Is there nothing the USB cannot do?
This little
rectangular male/female connection has
changed how we work with electronic items. Its
ability to plug in and out on the fly makes it
easy for even the most non-techy individual to
use with comfort. iPods and now cell phones
now recharge their batteries via USB instead of
a separate port. Unfortunately, the traditional
audio world has lagged behind in adopting USB
into it’s equipment designs. Luckily, in the past
year due to the pressure of computer-based
audio, mainstream stereo manufacturers are
including USB ports into their products.
One company, Audioengine has always been
ahead of this curve. Their A5 powered speakers
were designed to work using wireless communication from ideally an Apple Airport Express. The A5’s have been a
terrific hit and have become the standard for many in this arena.
Recently, the gang at Audioengine took on the challenge of broadcasting music wirelessly using the general concept
of Bluetooth. Out came the AW1, a two-piece USB design (not including the wall wart power cord), with designated
Sender and Receiver units. In typical classy Audioengine fashion, they also include different mini-jack output adaptors, one a male-to-male cord going from iPod or other mp3 device to the input jack of the AW1 Sender.
Technical Stuff
To gain the necessary distance of 100 meters Audioengine enlisted the help of Avnera to design an 802.11 protocol
that would meet the design goals including 100 feet of range and 92db of signal to noise ratio. In selecting a specific
closed protocol Audioengine avoided interference problems with other broadcast units. As Brady B. explained the research process in an email exchange:
We tried out many different wireless chip suppliers over 2-3 years and didn't like any of them until we were introduced
to the system we're using now. Our goal was to make a product that sounded as good as wired audio, but with really
easy setup in a small package. The main advantages of AW1 are the form-factor (USB dongles for the transmitter and
receiver) and USB power - so you can use any USB power supply to
power the product - or our A5 powered bookshelf speakers, which have a USB charge port built in.
The features that make this system better than most wireless products currently on the market are the ease of setup,
fixed low latency, audio quality, lack of dropouts, and high interference tolerance - all the good stuff that's needed for a
product like this to be of any real use.
Just to let you know about the transmission protocol, we transmit uncompressed PCM audio over an 802.11 network,
using a closed protocol specifically designed for audio. The features that make this better than most wireless systems
currently on the market are the ease of setup, fixed low latency, audio quality, lack of dropouts, and high
interference tolerance.
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Setup
Version 1 Computer to Stereo: I first tested the AW1 out in my classroom using my laptop and stereo receiver. I
plugged the broadcaster into one of the USB inputs, went into the “Sound” category in the System Preferences and
selected AW1, and clicked ”OK”. That was it. On the receiver end I plugged the wall wart into one of the switched outlets on the back of the unit, used a supplied mini-jack to RCA cable and plugged in both ends to the appropriate jacks
and the USB into the wall wart. Then I pressed play and heard the music of Colbie Caillet coming from the speakers.
Version 2 iPod to Stereo: this requires a bit more manipulation and creativity as one must remember the AW1 needs
power at both the transmitter and receiver ends. I plugged the transmitter USB end into a USB jack on the laptop (for
power only), plugged the iPod into the mini-jack of the Sender, and the receiver end stayed the same. Once again,
music played without any technical gyrations.
I figured that the broadcast distance would be
about 90 feet maximum without walls. Not even
close, the AW1 was still playing with full capability and signal at 98 feet and through a classroom
wall, which includes two sheets of commercial
grade drywall. In comparison, when I reviewed
the first generation Sonos I struggled to keep a
signal at 40 feet with an open wall.
Listening
My early experiences were all completed in my
classroom, which consists of a Sherwood RX4103 receiver and a pair of simple Dual speakers. The students were fascinated with the setup
as they regularly request selection while in my
computer lab. Seeing me change songs from a
back table, away from the iPod’s normal location
brought out all sorts of impressed reactions.
With this very basic setup I was hard-pressed to
detect a difference between the AW1 broadcast
and my hardwired comparison with my iPod. I
was particularly interested in hearing the highs
and low frequencies in order to spot any discrepancy. For most choices it was all but impossible to confirm any differences. Until I selected Donald Fagan’s Morph the Cat. With its tremendous bass and clear
high frequencies, the wired setup was able to reproduce a greater frequency range and richness. But still, to my ears
the AW1 sounds quite a bit better than FM radio.
In my main rig the sonic differences were more apparent, but let’s face it, the AW1 isn’t designed for fanatical listening
sessions. Its goal is to bring music and movies into listening spaces where wires just aren’t a viable option. For those
of us not privy to man caves or dedicated home theater rooms, the combination of the AW1 and Audioengine’s A5 or
A2 powered monitors offer a terrific option for rear surround sound.
Final Thoughts
Once in a while I get in a product for review that is combines cutting edge, multiple uses, and ease of use that I know
will be a huge hit. The Audioengine AW1 is just that product. It offers so much that it has the potential to open a
whole new wave of gadget and uses. The gang at Audioengine have a winner on their hands, the next step is to create the various packages that can take advantage of its options. My students came up with several in just a few minutes: Portable wireless PA systems, 5.1 home theater for travelers, music system for company bbq’s, and my own
idea of Audioengine selling a 4 or 5 pair speaker package for real estate agents during open houses.
The AW1 is in my humble opinion, a definite lure in bringing the audio hobby to the iPod generation. The
combination of wireless connection and portability makes it my first choice of 2008 for Product of the Year.
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Recording Techniques #9 : MIDI
By Simon Ashton
[email protected]
The studio technology I'm going to discuss this issue is something called MIDI, which stands for Musical Instrument
Digital Interface. If you are keen on computers you may have heard of MIDI as a file extension for computerized music
that uses sounds built in to the sound card or operating system, but it can do a lot more than that.
MIDI is a language for communication between electronic instruments. It records the note played, the velocity at which
it was triggered, the sustain, and more. The result is a language that can record, and reproduce exactly how any
keyed instrument was played. It is important to make the distinction that MIDI is simply a language describing how
something was played, not a recording of the actual sound. It can also be used to record parts for non-keyed
instruments such as guitar and drum sets, though it is not quite as well suited to describing the playing of these.
To take the case of a Piano piece
played on an electronic keyboard, MIDI
would work by recording how the keys
were pressed, and this would trigger
pre-recorded sounds of a piano held in
an external sound module or on a
computer. In the sound module there
would be a different recording for each
note of the piano, and there would also
be multiple recordings for how each
note is played from soft to hard, as this
obviously changes how it sounds.
Should this MIDI recording be played
back, the same sounds that were
triggered during the original
performance would simply be triggered
from the sound module again. If it were
played back on a different system, the
pre-recorded sounds for each note
could be different, and so it would sound
as though the piece was performed on a
different piano. In the case of a MIDI drum kit, each note in the MIDI system represents a different drum and there are
again multiple recordings that can be triggered for each note dependent on how hard that drum was played.
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So far this may all seem like a very round-about way of recording a performance, but the advantage is in its flexibility.
Unlike with a recording of an instruments actual sound, MIDI having simply recorded how something was played, can
be edited in any way. For example if the wrong note was played, it is possible to simply change the note. If the note
was held too long, or pressed too hard, just edit it! Further to this, the sounds the MIDI is triggering can be changed. A
performance played on a keyboard can, for example, be made to trigger recorded sounds of a Sitar, and the details of
how something was played such as the velocity, sustain, pitch-bend, etc can all be related to how the Sitar is played.
A drum performance could also be played from a midi keyboard, so an electronic drum kit is not strictly required.
This of course leads to the production of virtual, MIDI triggered instrument sound banks, probably the most popular of
which is the VSTi (Virtual Studio Technology Instrument). These are essentially collections of sounds that can be
triggered by any MIDI signal. A superb example of this is the Orchestral VSTi made by Edirol, that is practically an
entire orchestra that can be controlled by
MIDI. It boggles the mind to think of the
dedicated required to record, separately,
every note of each instrument in an
orchestra, in the many ways each note
could be played.
Due to the incredible ability of MIDI to
control the sound of practically any
instrument you can think of, it is the
natural first port of call for composers
writing a first draft of a song. The
composer can write the part of every
instrument in their composition, even if
they don't have the skills to play it in
reality, and are able to hear a
reasonable representation of how the
final performance will sound once all the
flesh and blood performers have
recorded their part. The MIDI part for
each performer can even be converted
to standard musical notation (or 'tab' for
drums and guitar) to be printed out for
the live performer to play.
The physical MIDI interface is based on a pair of DIN connectors, one for outgoing MIDI signals, and one for returning
signals. Most MIDI kit also has a thru connector, such that equipment can be daisy-chained together.
There is another use for MIDI in the studio other than instruments, and that is to control the other equipments settings.
As MIDI is simply a language of numbers to be interpreted in any way, it can be
used to send signals to things like an EQ, reverb, compressors and more. The
codes it sends will control detailed settings such as the gain, the center
frequency, Q, and so on. In this way. a large amount of the equipment in the
studio can be controlled from a central computer system or digital mixing
console. EQ settings, compression thresholds, noise gates, reverb effects and
more can all be saved and recalled. In the days before MIDI, if settings needed
changing in the middle of a song, someone had to be standing there ready to do
it, and all the settings had to be written down by hand so that they could be set
again if you wanted to go back and work on a song at a later date.
Next month I will be covering the basics on one of the most iconic pieces of
equipment in a studio, the mixer desk.
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Art Blakey & The Jazz Messengers, “A Night in Tunisia”
Music Matters Jazz MM BST-4049
Vinyl Double 45 rpm Album
By Peter D’Amario
[email protected]
I clearly remember my first exposure to Art Blakey.
I was living in New
York during the eighties, in my first job out of college, and around ’85 or
’86 a friend invited me to join him at Sweet Basil, one of the pre-eminent
jazz clubs in New York on Seventh Avenue South in the Village (sadly, recently closed). Art Blakey was the headline act that night; I had heard the
name, but knew nothing about Blakey. It did strike me as odd that a
drummer could lead a jazz band, but up to that point my exposure to jazz
had been limited to Dixieland and I knew nothing about the artist. That
ignorance ended that evening over twenty years ago. I had always
viewed drums strictly as the means by which a beat was achieved; never
had I heard drums played quite so polyrhythmically (and almost polyphonically). While I was familiar with drum solos, I was new to the concept of percussion as a lead instrument. Blakey and his cohorts nearly
blew me out of my seat. It was a memorable evening, and one that was brought back to mind immediately when I listened to this LP.
Like a thoroughbred bolting from the starting gate at Churchill Downs, the title track blasts from the grooves of this 45
rpm double LP from Music Matters Jazz, a reissue of the Blue Note label. There is no lead-in, no build-up, no countdown of any kind offered here: Dizzy Gillespie’s A Night In Tunisia explodes into percussion, with Jymie Merritt’s bass
line swiftly joining along with maracas to establish an exotic groove before Bobby Timmons (piano), Wayne Shorter
(tenor sax) and Lee Morgan (trumpet) join in on the fun. The pace is relentless, and continues throughout the track,
only relenting during Morgan’s lyrical solo…an absolute joy.
Things settle into a somewhat more relaxed groove with Sincerely Diana, So Tired and Yama, in which piano, sax and
trumpet hold forth in tight solos with Blakey and Merritt focusing more on rhythm section duty. I’ve read that “A Night
in Tunisia” is a bit of a let down after the first track. While the attitude certainly becomes more laid back, I can’t say
that any track on this LP is a disappointment, even the ones in which we don’t hear Blakey at full tilt. The final cut,
Kozo’s waltz, is a masterpiece of 3/4 cool, with Blakey coming back to the fore with a sizzling drum solo.
The vinyl…well, if you’ve heard any of the other MMJ 45 rpm Blue Note reissues, you will understand just how good
vinyl can sound. These sessions were well-recorded by Rudy Van Gelder to begin with, but these LPs showcase
some of the best mastering that I’ve heard on vinyl…ever. Steve Hoffman and Kevin Gray have done their usual superb job on this reissue. The 180 gram vinyl is pristine: Heavy and dead quiet. The sound floats out of the grooves
with both weight and detail. No muffled bass, no fizzy highs, no honking midrange: This LP has a naturalness that
sounds just right. The first time I heard the performers exchanging exhortations on the LP I thought that someone had
walked into the room behind me. It’s that realistic. There are LPs being released as double 45s in some number at
present. This is one recording that really justifies the higher speed.
The physical condition of the LPs was superb: They emerged from their inner sleeves clean, lustrous, and with no
scuffing or scratches. The folks at Music Matters give full credit for this level of quality to Rick Hashimoto (Plant Manager at RTI) and Don MacInnis (RTI’s owner); their attention to detail has paid off. On various online fora I’ve been
reading complaints about the quality control on some of the records coming out of RTI recently (notably the Doors reissues…though for what it's worth, my Doors box set arrived in perfect condition). I’ve experienced no such issues
with any of the MMJ releases, and as one of the Music Matters principals noted to me: “Why is it that you only hear
about the planes that crash and not the 99.9% that land safely?” Indeed.
My review copy of “A Night in Tunisia” was not provided in the normal Music Matters album cover, however I assume
that this LP will be packaged in the same high-quality gatefold in which the more recent Music Matters releases have
been released. These glossy, highly detailed covers are state-of-the-art, with beautiful black and white photographs of
the sessions inside the gatefold. Someone clever figured out a way to produce covers that have no visible seams…
not sure how this was accomplished, but the result is a superb package. I had to purchase some extra-wide outer
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sleeves to accommodate these Rolls Royce covers. These LPs are not cheap at $50 a pop, but unlike some others
that I’ve bought recently, these Blue Note reissues convince me that I’m getting my money’s worth.
Have you taken out a subscription to the MMJ Blue Note reissue series? If so, you’ll be receiving this LP in due
course, and most likely you will be delighted. If you’re not a subscriber, and are cherry-picking the reissues, here’s
one that you won’t want to miss. Buy it now, because sealed copies will appear on eBay at $300 the moment these
sell out. MMJ’s “A Night in Tunisia” is an absolute delight.
System Used for Review
Speakers:
Acoustic Research LST
Turntables:
Transcriptors Hydraulic Reference with Fluid Tonearm and Shure V-15 VxMR cartridge
Linn Sondek LP-12 with Ittok LVIII Tonearm, Hercules Power Supply and Grado Reference Sonata cartridge
Phono Preamp:
Bellari VP129
Digital Sources:
Toshiba SD-3950 DVD player with Vinnie Rossi mods
Apple iPod Classic, 160 gb
Digital Line Stage:
Musical Fidelity X-10V3 tube buffer
Amplification:
Marantz 2600 Receiver
LPs reviewed were sealed, and prior to playing were cleaned with LAST Power Cleaner.
©
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Music Omnivore
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Jimmy Raney: Bebop’s Quiet Master
By Larry Grinnell
Publishers’s Note: This article originally appeared in MyMac.com. It is republished here by permission of the author.
Jimmy Raney, one of the great unsung heroes of bebop jazz guitar was born in
Louisville, KY, in 1927. He moved to Chicago in 1946, where he played as accompanist to piano player Max Miller. He also worked with Artie Shaw and
Woody Herman before moving to New York City in the late 1940s. Here, he
teamed up with tenor saxophone player Stan Getz, with whom he recorded extensively from 1951 to 1952. He replaced Tal Farlow in the Red Norvo Trio in
1953, and remained with him until some time in 1954. He worked in and around
New York, including working in Broadway theater pit orchestras until he returned
to Louisville in the 1960s.
While away from the jazz scene, Raney taught music, took a number of classes
in music composition, and learned to play the cello. He had a very musical family,
too. One son, Doug, grew into a fine jazz guitarist in his own right, who has lived
in Europe for over 25 years. His other son, Jon, is a jazz pianist, who also maintains a blog site and forum.
In the 1970s, reinvigorated, Jimmy returned to the spotlight, recording for several labels, and touring extensively. He
spent a lot of time in New York at the late, lamented Bradley's, where he often played in duets with fellow jazz guitarist
Attila Zoller. One such recording, though poor in quality, was available for a while from emusic.com. He continued to
tour and record in the 1980s, often with his son, Doug, in Europe, though he hated to travel. Over a 30 year period, his
hearing deteriorated due to Miniere's Disease, often making him completely deaf. When the symptoms let up a bit, he
was able to play, usually by sitting close to the bass, where he could feel the vibrations to help him keep time, though
thankfully his own sense of time was superior. He was also often seen awkwardly putting his ear to the rim of his guitar
to pick up the vibrations, to help him play, and even with these limitations, his recorded output was uniformly superb.
His last recorded performance was on a tribute to Wes Montgomery CD, recorded in the early 1990s. Soon after, he
suffered a devastating stroke, which left him in a vegetative state for several years, before finally passing in 1995.
That's the chapter and verse bio of Raney, one of my all-time favorite players. I hope I will be able to convey his masterful playing in the rest of this blog.
The sides with tenor saxophone player Stan Getz in the early 1950s introduced to the world an extremely talented guitarist with superior bebop sensibilities. One of the things, to my mind, that distinguished Raney from many of the other
early bebop players was his sense of time and space. He was unafraid to use musical rests to let the previous musical
statement soak in more fully. He was capable of playing at a rapid clip when he needed to (almost a requirement with
early bebop), but could also play ballads with equal skill and aplomb. While not necessarily the most skilled chordal
player (though his chordal solos and comping had a very distinctive sound that I could easily recognize), he was able
to use "the right chords" where they were needed, especially when "comping" with other musicians, but single-string
solos were his main forte. His recordings with Norvo, while technically excellent, were, in my estimation, probably not
the most satisfying for him. He was forced to play in a very different style than he was used to, as if Norvo pushed him
to sound as much like Tal Farlow (the guitarist with whom the Red Norvo Trio achieved its greatest fame) as possible.
Later recordings with Dick Garcia, Bob Brookmeyer, and others were much more satisfying. He could play light, melodic swinging pieces, all the way up to blisteringly fast bebop, often with a decidedly "outside" feel.
His 1970s recordings on the Xanadu label demonstrated he hadn't lost anything, and in fact, was better than ever. Albums like Live in Tokyo, The Influence, and Solo also demonstrated his compositional skills as well as his technical
chops. Like a lot of guitarists who found it difficult to convey exactly what they were looking for from other guitarists,
Raney seemed to prefer to overdub himself as accompanist. His first album as leader, A, on Prestige, demonstrated
this with skill and above all, musicality. "The Fugue" on his Solo album on Xanadu, while technically not a fugue, was a
fascinating display of contrapuntal movement between two guitars (both Raney). He could play a tune in entirely different tempos, conveying a totally different "feel" when the mood or situation required. A great example of this was the
tune "The End of a Love Affair", which was done as a slow ballad on the Solo album, and on that last recording from
the 1990s, Project G5: A Tribute to Wes Montgomery, was a blisteringly fast, swinging piece with guitar, organ, bass,
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and drums that was just breathtaking. All in all, a great
way to go out.
For you equipment junkies out there, he was most often
seen in the late 40s and early 50s with a first-generation
Gibson ES-150 (the so-called "Charlie Christian" model).
In the 60s and 70s, he mostly played either a Gibson ES175 or an ES-350. In his last years, he most often played
a custom-built Höfner Attila Zoller model, a gift from Atilla,
which his son Doug now owns.
His guitarist son, Doug, is very much his father's son, and
while Doug has developed his own voice, especially in
more recent years, his father's influence is certainly there.
In fact, the first time I heard Doug, I thought it was Jimmy.
I was on a bus in Bodø, Norway in about 1980 (long
story...), and heard this wonderful duet, and had to have
the record. The tune was still playing when the bus arrived
at my destination. I raced out and went to my room, unearthed my radio, and caught the final notes, after which
the announcer, in Norwegian, of course, announced the
tune. Thankfully, I didn't need a translator to understand
Chet Baker and Doug Raney! A few years later, according
to son Jon, Jimmy heard the same recording and thought
he was playing. Jimmy and Doug recorded three or four albums together in the 1980s, on the Danish Steeplechase or
the Dutch Criss Cross labels. All are uniformly excellent.
Jimmy Raney recordings, while a little hard to come by, are worth the searching. Amazon.com carries pretty much
everything currently available on the Steeplechase, Criss Cross, Xanadu, Prestige, Roulette, and Vogue labels. There
are only two downloads on Amazon.com. Emusic.com (DRM-free downloads) offers three albums from his Xanadu
days, along with A from Prestige. If I had to choose from those, I'd go with A and The Influence. The iTunes Store has
at current count, about 55 tunes. One of my favorite Jimmy and Doug Raney albums, Nardis, on the Steeplechase label, is on there. The one tune above all that I would pick from this album is "All God's Children Got Rhythm, a perfect
blend of bebop, swing, and delicious interplay between father and son. Also on the Nardis album is "There Will Never
Be Another You", though it may be a bit more "challenging" to a newer listener of bebop-style jazz, due to some of the
dissonance and playing more "outside." On that same album, the tune "What's New" demonstrated Jim and Doug's
amazing interplay--especially when "trading fours" toward the end of the tune. Simply jaw-dropping.
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About Affordable$$Audio:
Is a privately held venture, published via the Internet, the content is delivered free of charge to readers.
Created using Apple Computer’s Pages software program and translated into .pdf document format.
Writing Opportunities:
If you have an interest in audio equipment, especially quality affordable or vintage gear, please contact the publisher
for guidelines. Specific areas of interest being looked for are vintage wood-sided equipment and tube fanatics.
Advertising:
Retail shops dealing in both new and used audio equipment are highly encouraged to advertise as this e-zine was
created specifically to support your business. For rates please contact the publisher at:
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Affordable$$Audio: is now accepting manufacturers advertising. You’ll find our monthly rates very appealing. Please
contact the publisher for an advertising packet.
[email protected]
Copyright Notice
All articles are the property of Affordable$$Audio. Manufacturers need only to ask permission to reprint or post a link to
the web page.
Staff Biographies:
Mark Marcantonio- Editor, Owner, Publisher
Is a school teacher in the Portland, Oregon metro area. Audio has been a fascination/budget drain since his early
teenage years.
John Hoffman, Assoc. Editor. Resides in the sunny Tri Cities of Washington state. Enjoys spending his time with his
lovely wife, Michelle, three kids, two dogs, and one cat. Anybody need an extra cat?
Todd Arthur, is a Project Manager by day and Audiophile by night, who resides in the Seattle Washington area
with his wife Roberta and their two sons. He enjoys playing guitar, bicycling and listening to music of all types;
especially Jazz and Blues guitar.
Stew Nelless, Currently reside in southern Alberta (Canada) about 150 miles south east of Calgary. I'm in my early
40's , 2 grown kids, been with the same girl for 25 years. One thing I have impressed upon my kids is that music is important in life and we often mark our lives by the music we hear along the way.
Patrick Dillon lives in Austin TX with his wife and son. He works in academia, plays guitars, and considers music a
central part of a well-lived existence.
Clarke Robinson is a 37 year old Web Designer from the San Francisco Bay Area. He wastes countless hours of his
life listening to jazz on headphones, at times long after his wife and two daughters have gone to bed.
Review Calendar Index:
Issue 1, January 2006
Adcom GFA 535 Amplifier
Linn Keilidhs Speakers
Outlaw RR2150 Receiver
Polk Audio LSi9 Speakers
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Totem Dreamcatcher Speakers
Issue 2, February 2006
Advent Baby II Speakers
Audiolab 8000A Integrated Amplifier
ElectriPrint 300DRD Amplifier
Energy Connoisseur C-9 Speakers
Infinity Kappa 200 Speakers
Nakamichi SR4A Receiver
Paradigm Titan V Speakers
Issue 3, March 2006
GR Research AV-1 Speakers
HSU STF-2 Subwoofer
Marantz CD-5000
Sansui TU-7900
Issue 4, April 2006
Alegria Audio Rosa Speakers
QSC PLX-2402 Amplifier
Totem Acoustic MITES Speakers
Issue 5, May 2006
AV123 Onix x-ls Speakers & x-subwoofer
Bozak B-302A Speakers
iPod iPhoto 60 Gig (music server)
Zebra ZC-SP12SD Speaker cables
Issue 6, June 2006
Aperion Intimus 533 PT Speakers
Sony TA-F444ES
Audio Magic Interconnect Cables
Adcom GTP 450 Preamplifier/Tuner
Issue 7, July 2006
Audioengine5 Powered iPod/mp3 Speakers
Athena AS-B1 Speakers
Insignia 6-1/2" Bass-Reflex Bookshelf Speakers
Ramsey SHA1 DIY Headphone Amp
Issue 9, September 2006
Behringer DEQ 2496
NeoSpeak NeoTetra Speakers
True RTA Sound Analyzing Software
Issue 10, October 2006
Tyler Acoustics Taylo Ref. Monitors
Transcendent Grounded Grid Preamp
Headroom Total Bithead
Totem Beaks
Aperion Audio S8-APR Subwoofer
Issue 11, November 2006
Tube Research Labs Modified CD Player
Onix SP3 MkII Integrated Tube Amplifier
BADA HD-22 CD Player
Alegria Audio Arias Speakers
Era Design 4 Mini-Monitors
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Issue 12, December 2006
Atelier Audio First Horn
Jolida SJ502A Integrated Tube Amp
Polk Audio LSi7 Monitors
41Hz Amp 6 Basic
Issue 13, January 2007
RudiStor NX-01 & Ultrasone Proline 2500 Sistema
VMPS Tower II SE
Technics RS-1506
Aperion Audio Intimus 632 LR
Monarchy M24 Tube DAC
Issue 14, February 2007
Audio Nirvana Super DIY Speaker
Music Hall a25.2 Integrated Amplifier
Music Hall cd25.2 CD Player
Era Design 5 Mini-Monitors
Lite Audio DAC 62
Hsu HB-1 Mini-Monitors
Real Traps Acoustic Panels
Sapphire XL vs. Rothschilde A2 Monitors
Hemp Acoustic FR8.0 DIYHQ Driver
Issue 15, March 2007
Monarchy AC Regenerator
Era Sub 8 Powered Subwoofer
Promitheus Transformer Volume Control
Bellari VP129 Vacuum Tube Phono Stage
Onix CD-5 Compact Disc Player
PS Audio Noise Harvester
Audio Art Interconnects IC-1 & IC-3
Issue 16, April 2007
Ascend Acoustics CMT-340 SE
ASL MG 15 SI DT Tube Amp
Interview David Fabrikant
NAD 3020 Integrated Amp
Oppo DV970-HD
Signal Cable MagicCable
Sonic Impact 5066 T-Amp
Totem Acoustic Rainmaker monitors
Underwood XCD-5 (modded Onix CD-5)
Issue 17, May 2007
Audio Magic Mini-Reference Power Conditioner
LiTe DAC Ah
Pioneer SX-780
RAW Acoustic HT2 Monitors
Tyler Acoustic Linbrook Super Mini Monitors
Issue 18, June 2007
ACI Force Subwoofer
AV123 x-cs Center Channel
Benchmark DAC1 USB
Ferguson Hill Mini System Speakers
Fostex FE206/208 Sigma Cabinet
Jolida JD1501A Integrated Hybrid Amp
Affordable$$Audio 45
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Planet_10 HiFi Fonken Speaker
Vista Audio i84 Integrated Amplifier
Issue 19, July 2007
AudioArt Interconnect Matching System
Basic Guide to PC Audio
Bonnaroo Music Festival
Harman/Kardon PM665VXi Integrated Amp
MapleTree Audio 2SE Preamplifier
Zebra Cable Speaker Wire ZC-SP14DBI
Issue 20, August 2007
Monarchy NM 24 DAC/Linestage
Pro-Ject 1.2 Turntable
Role Audio Sampan FTL
Totem Acoustic Storm Sub-Woofer
Issue 21, September 2007
Ascend Acoustics Sierra 1
AudioArt Power 1 Cords
KEF iQ7 Speakers
Slim Devices Squeezebox
Vandersteen 2CI
Issue 22, October 2007
Eminent Technolgy LFT-16 Planar Monitors
Mark & Daniel Topaz Monitors
PS Audio Quintet Surge Suppressor
Setton RS-440 Vintage Receiver
Trends TA 10.1 Amplifier
Issue 23, November 2007A F F O R D A B L E $ $ A U D I
Arena X-3 SET Integrated Tube Amplifier
Emotiva RPA-1 Amplifier
Etymotic ETY Ear Plugs
NAD C555 Turntable
Odyssey Audio Epiphany II Monitors
Shanling PCD-3000A CD Player
Shugaung S-8 Tube Amplifier
Issue 24, December 2007
Aperion Audio 422 Harmony 5.1 system
Budget Power Cord Comparison
Onix Rocket RS 450 mini-towers
Usher S520 Monitors
Issue 25, January 2008
Audiosmile Modified Behringer SRC2496
Grant Fidelity CD 327A, PIII, & P307
H20 Signature 100
Monarchy SE 250
Selah MF7
Swan HiVi 2.1SE
Underwood Modified PS Audio Trio C-100
Virtual Dynamics Cables
Zingo Cables
Issue 26, February 2008
46
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Aperion Audio Intimus 533-T mini-towers
Blue Circle DAR integrated amp
Dignity Audio DA08SE SET tube amp
Mark & Daniel Maximus Mini speakers
tec-on Audio SE34i integrated tube amp
Totem Acoustic Forest Tower Speakers
Issue 27, March 2008
Audio Magic Illusion 4D
Carver C-9 Sonic Hologram
Emotiva XPA-5
Promitheus DAC
Recording Techniques: Dynamic Compression
Issue 28, April 2008
Acculine A3 Speakers
Audio Nirvana Super 12 Driver
Grant Fidelity A534B Integrated Tube Amp
Harman Kardon 3470 Receiver
nOrh ACA2b Preamplifier
Skiing Ninja Crossovers
Threshold 800A Amplifier
Issue 29, May 2008
Audio Nirvana Super Eight Loudspeaker System
Bolder Squeezebox Modifications
Dali Mentor 5 Towers
Harman Kardon Citation II Amplifier
KCI Cables/Interconnects
Monica III DIY DAC
Musiland MD10 DAC
PS Audio GCP-200
Vandersteen 1C Speakers
Issue 30, June 2008
Audioengine AW-1 Wireless USB Adaptor
AudioMagic Pulse Gen ZX
McIntosh MC275
Oehlbach XXL Phono Preamplifier
Polk Audio RTiA3
Spendor SP2/3E
VMPS 626JR
Affordable$$Audio 47