AudioEnz - Dynavector DV-20X

Transcription

AudioEnz
New Zealand’s hi-fi magazine
www.audioenz.co.nz
August 2006
Web page printouts from
the latest issue of AudioEnz
http://www.audioenz.co.nz/acrobat/issues/2006/2006-08.pdf
AudioEnz editor: Michael Jones ph 09-478 1301
http://www.audioenz.co.nz/2006/dynavector_dv20x.shtml
Dynavector DV-20X
By Matthew Masters
August 2006
Dynavector DV-20Xh high output moving coil phono cartridge. $799
On the off chance that you ever find yourself
in Sweden, be very cautious if anyone offers
you surströmming, a sort of fermented,
pickled herring. To say it’s an acquired taste
would be an understatement of the gravest
nature. Foul smelling and with a very strong
flavour, surströmming is actually banned
from most airlines because, they claim, the
tins are an explosive hazard. But you never
know, you may like it. Some people do.
In its own way, Dynavector is a company
well used to customers with, shall we say,
specialised tastes. Exotic moving coil
cartridges and inertia-controlled
tonearms don’t appeal to everyone.
Dynavector's DV-20X is available in both high (as reviewed) and
low output versions
Some bread for the table
The DV-20X is second entrée in Dynavector’s cartridge range. At around $799 it will still be a bit rich for
many people’s taste, but at least it’s available in a high output version so there’s no need for a dedicated
moving coil stage (a low output version is also available).
A light hors d’oeuvre
The cartridge itself is a lovely piece of work. The body is milled from a chunk of solid aluminium, making it a
bit on the weighty side at 8.6g. Although most tonearms should be fine, the standard counterweight on my
Project RPM6 isn’t quite heavy enough to cope.
At the business end is an aluminium cantilever carrying a nude elliptical diamond. No exotic metals and
fancy profiles here, but the DV-20X seems none the worse for it. Indeed, these may contribute to the
remarkable lack of surface noise picked up by the Dynavector.
Time to clear the palate
Mounting the cartridge was straightforward. With flat, parallel sides it’s easy to align and, for me at least, it
required no VTA adjustment.
http://www.audioenz.co.nz/2006/dynavector_dv20x.shtml
My initial impressions, unfortunately, weren’t all that good. The first few discs I span sounding stodgy and
lacking excitement. Was the Dynavector more of a doughnut than a meringue, I wondered?
Fortunately, a quick check of the ingredients revealed that I’d over-egged things a little – the tracking weight
was too high. Dialling it back to the recommended 2g whipped some lightness into the mix.
The main courses
Lightness and a sweet top end is what moving coil cartridges are supposed to be all about. But the Dynavector
offers a rather different flavour. Something altogether more meaty.
Playing Jean Michel Jarré’s Oxygene revealed a smooth, detailed and nicely butch sound. Strong bass
and lower mid-range performance strengthening what can be a slightly weedy and thin sounding album.
This had me thinking. What’s the most irritating album in my collection? Coldplay’s Rush of Blood to the
Head actually became quite pleasant when sprinkled with the Dynavector seasoning. The usual scratchy
whine of The Scientist becoming an entirely different strain of melancholy.
Sticking with melancholy for a moment, the Dynavector revealed the darker side to Nick Drake’s otherwise
sweetly romantic tones on Northern Lights from his Bryter Later album. It was as if the youthful brightness
in his voice had been dimmed by some external force.
From meat to sweet
The Dynavector’s beefy presentation came to the fore with classical records. The harpsichord is not an
instrument known for either darkness or any excess of guts. But with the Smithsonian Institute’s recording of
Bach’s French Concerto (BWV831), that’s exactly what was delivered. The overall effect was life-like and
very subtle, something rarely found with any harpsichord recordings.
At the other end of the orchestration scale, the Dynavector did a luscious job with Thomas Beecham’s
idiosyncratically huge Royal Philharmonic production of Handel’s Messiah. There really are too many
flavours in the mix, but the Dynavector picks each one out with devastating accuracy. Although ultimate
detail probably isn’t the DV-20’s strongest point, it does prevent what can easily become a curdled mess. The
whole performance is warm, lush and sweet. The complete antithesis of sharp tasting modern classical
arrangements.
The aftertaste
With its $799 price tag, the Dynavector DV-20X is remarkable value for money, the astonishing
sophistication of its performance sees to that. Its warm and sweet flavour gives the Dynavector a relaxing and
immediately engaging sound that really is incredibly easy to live with. But somehow, for me, it was also
missing something. I like my music with a bit more aggression, a little, well, sharper. The Dynavector is a
little too sweet for my taste. But then I do like surströmming.
AudioEnz - Project 2 Xperience
http://www.audioenz.co.nz/2006/project_2xperience.shtml
Project 2 Xperience
By Brent Burmester
August 2006
Project 2 Xperience turntable. $1499.
Vinyl just isn't going away. Maybe it's
because there's still so much of the stuff
around, and CD has yet to catch up with a
back-catalogue spanning most of a century.
Maybe it's because music made before the
age of digital discs just sounds more like it
should on the black stuff. Maybe it's because
turntables are just very cool.
Clear as day
Project's 2 Xperience is very cool. It looks
the proverbial million, essentially a slab of
acrylic mounted on three weighty alloy feet,
with everything else fastened to top and
bottom surfaces – simplicity itself in terms of
Project 2 Xperience (click image for larger picture)
concept, but the execution is awesome.
Unpacking and setting-up takes about 45 minutes. Screw the feet to the base, drop the platter onto the
bearing, remove the safety screws securing the motor, slip the drive belt around the motor-pulley and
platter, bung the counter-weight and anti-skate weight on the fitted tonearm, mount your cartridge, align,
plug into your amp with the well-constructed interconnects packed with the turntable, and set the
controls for the heart of the sun.
My old Garrard 401 seems positively Jurassic by comparison to the 2 Xperience. The Project has no mat
(the platter is vinyl-coated and records are fixed with a threaded spindle-clamp), the tonearm tube is made
of carbon-fibre, and you can see right through the plinth. But take a second look. Both my 401 and the
Xperience are non-suspended designs, ie no springs, rubber-bands, or hydraulics to fret over. Project's 9c
tonearm uses the same anti-skate technology as my aged SME 3009 (a weight on a string), and under that
handsome vinyl outer-layer, the platter is humble MDF. Mind you, the Garrard wasn't pretty in 1967,
whereas the Project will still be stunner in thirty years.
Clear as a bell
The 2 Xperience is not only easy on the eye, but provides a most gratifying listen. The character of the Project
is plain speaking. I'm not saying the turntable is boring or fails to engage, rather it adds no adornment to
music, presenting the material in a simple and straightforward fashion. I enjoyed playing a wide range of LPs
http://www.audioenz.co.nz/2006/project_2xperience.shtml
on the 2 Xperience, many of them a long way from pristine. I wasn't overwhelmed by detail or by startling
new perspectives on what I heard, but then, I was using my trusty old Goldring 1022, not a shiny new
cartridge. In fact, what I heard was less – less surface noise, less motor-induced haze, less hesitancy in the
face of steep transients.
Some would hope to hear a more sumptuous rendering of their favorite vinyl, but the 2 Xperience won't play
that game. There are good turntables that sound positively delicious, but not necessarily in an honest to
goodness fashion. The Xperience comes across like a high-end CD player, focused on the facts. It is
rock-solid rhythm-wise, and throws a wide, if not enormously deep soundstage. Bass was clean and
well-extended, if maybe a shade less imposing than on my own record player, while resolution at the treble
end was more than should be expected at this price-point.
Turntables are sensitive souls, and, naturally, experimentation with isolation and support can deliver
tangible rewards. Less predictably, the Xperience showed a preference for its cover in the raised position.
Also of note, the carbon fibre tonearm is an excellent thing, but it has a very low mass and shows a tendency
to balk at little irregularities on pre-loved discs – I ran just a touch more weight on the needle than usual to
keep things in the groove.
Are you Xperienced?
This is a very good turntable. It doesn't make a fuss, it's robust, and it sounds first-rate. If you own records,
but don't want to spend the earth on a player, this is as far as you need to go. The 2 Xperience sounded almost
as good to me as the significantly more expensive RPM 9, and unless you're planning to use exotic moving
coil cartridges and other pricey auxiliaries, I'd guess you'd not discern a difference either. Long live vinyl,
and long live the Project Xperience. Just mind the dust on that lovely plinth.
AudioEnz - Favourite phono cartridges and phono stages
http://www.audioenz.co.nz/2006/favourites_phono.shtml
Favourites: phono cartridges and
phono stages
By Michael Jones and various hi-fi dealers
August 2006
Phono cartridges and phono stages
Of all hi-fi components, phono cartridges are
the component that AudioEnz writers see the
least of. For some curious reason it’s harder
to convince local distributors to supply
fragile items that are impossible to resell
than it is amplifiers or speakers. But between
us, the AudioEnz team can recommend the
following cartridges and phono stages.
Grado Prestige Gold $280
The top model in Grado’s Prestige range of
cartridges, the Gold are the highest
performing models from the cheaper Silver
model. A high output makes the Gold an easy
match for any phono stage and a replaceable
stylus ($170) offers some piece of mind.
Performance is remarkably good, with a
lively and dynamic sound, free of any
nastiness often found with cheaper
cartridges. AudioEnz review
Goldring G1000 range $349-$649
A favourite with AudioEnz writers, with two
using Goldring cartridges regularly, the
Goldring range are easy to find in New
Zealand due to a strong distributor. The four
models in the G1000 range include a
common body with user replaceable and
interchangeable styli. A Goldring owner can
upgrade their cartridge from the 1006 up to
the 1042 merely by changing the stylus,
Grado Prestige Gold
Goldring G1000 series
offering an easy upgrade path.
Dynavector DV-20X $799
While the bottom of the Dynavector range,
the $499 10X5, deservedly receives a lot of
publicity, the next model up adds more
subtlety and flexibility. Available in both
high (2.8mv) and low (0.3mv) versions, the
20X matches either moving magnet or
moving coil phono stages. The performance
of the 20XH is full of subtlety and finesse,
offering a classy reproduction of music. A
laid back tonal balance (quite different to the
10X5) will split listeners, but there’s no
doubting the overall quality of sound.
AudioEnz review
Dynavector DV-20X
Cambridge Audio 640P $249
A model in Cambridge Audio’s successful
Azur range, the 640P is extremely well made
and has a classy appearance. Outperforming
the similarly priced NAD PP2, the 640P is
natural and lively sounding with very low
noise levels. A great little phono stage for
moving magnet cartridges and for moving
coils if your cartridge suits the Cambridge's
fixed settings. This would be a bargain at
twice the price. AudioEnz review
Cambridge Audio 640P
Dynavector P-75 $649
The Dynavector is an excellent all-round
performer with a good range of adjustability,
albeit accomplished via very fiddly internal
Dynavector P-75
jumpers. Sadly, the P-75 lacks the 47k Ohm
setting that some people prefer for moving coils. The P-75 offers a huge jump in performance over cheaper
phono stages and makes life very tough for phono stages at under several times the cost of the P-75.
AudioEnz review
What the dealers say
Real Music Company, Wellington
Grado Black $100
For those on a budget we use this cartridge a
lot for the simple reason it punches way
above its weight for non-Rega tone arms.
(For Rega arms we predominately use Rega
cartridges). The strengths of this cartridge
are that it delivers what it can in a very
musical manner, while not pretending to
give an excess of detail at the expense of good
musical fun. The assurance given in the bass
lines and an accurate mid-range mean this
affordable cartridge gives an out-standing
performance. A good all-round,
well-balanced cartridge at a very reasonable
price.
Grado Prestige Black cartridge
Rega Exact cartridge
Rega Exact $575
An indulgent match for our top selling Rega
P3 turntable, the Rega Exact is a one piece
design (like the rest of the Rega line-up) that
plays off the lack of possible stylus
replacement with the audible benefits of a
rigid stylus mounting coupled with a
perfectly flat machined headshell. All Rega
cartridges are hand made by Rega UK, an
investment that repays itself in outstanding
quality control that lets us recommend this
cartridge with confidence.
One of the distinguishing features of this well
priced cartridge is the ability to time, often
surprising customers in the way it presents a
layer of rhythmic information they were
previously unaware of. Perfect to lift a once
bland system out of the mire, the mid-range
is as authoritative as the bass is controlled.
All-round this is a great cartridge to step a P3
into the next level or the ideal level to bring a
Rega P5 to life.
Sumiko Blue Point Special EVO III cartridge
Sumiko Bluepoint Special EVO III $800
For years this high output moving-coil
cartridge has led the market for those
wanting or needing a brighter lift off their
vinyl than other options. Remarkably smooth
in tonal balance with a staggering amount of
detail this cartridge surprises on some
systems that could have previously been considered a little slow or a little flabby.
The evolution of the ever-popular Blue Point
Special, the EVO III raises the performance
bar even higher at this highly competitive
price point. Its tonal balance is remarkably
smooth, exhibiting a fundamental richness
and overall warmth without sacrificing
musical detail and resolution. Sound stage
focus and channel separation are
praiseworthy, as is the cartridges’ ability to
maintain a consistent musical whole.
Lyra Helicon SL $3000
Our Lyra range of cartridges range from the
$1250 Dorian through to the extraordinary
Olympos at $13,750. With that in mind the
Helicon SL at $3000 looks like a relative
bargain. The SL notates a “single layer of
windings” special low-output version of the
regular Helikon, requiring a phono
preamplifier with particularly high gain and
low noise such as the Naim Stageline S or K.
The beauty of the Helcon SL is its ability to
voice evenly throughout the frequency range
without any noticeable bulging in any one
region – often mid to upper bass – that lesser
cartridges deliver. Placed in the right system
and with care taken in pre and phono amp
selection this is a cartridge that redefines
what home audio is all about. The synergy of
the Helicon SL in a Naim system partnered
with an LP12 is now legendary and almost
obligatory with owners of that combination or
owners of appropriate phono stages.
Lyra Helicon cartridge
Cambridge Audio 640P phono stage
Naim Stageline phono stage
Phono Stages
We recommend and use three different levels of phono stage. The Cambridge Audio 640P, which has the
ability to switch between MM and MC, is only $250. It has proven itself to be reliable and delivers a more
than reasonable sound given its price.
Given the excellence of the Rega phono stages included in their integrated and pre-amplifiers, it comes as no
surprise that their add-on phono stages also present a wonderful example of this underrated component.
Given they are assembled by a company world famous for the musicality of their turntables it is clear that
Rega have a no-compromise attitude to their Fono. There are two models, MM and MC at $500 and $650
respectively.
The new Naim reference series requires an outboard phono stage. It is not until you experience the greater
sense of musical detail and some how the reduction in amplified “noise” that you can truly appreciate what a
good phono stage can do for your turntable setup. The Naim Stageline ($850) comes in various matching
levels to suit the cartridge being used. They require power from an additional source, either an appropriate
Naim pre-amplifier or additional power supply. These start with the Naim i-supply ($360) and go up to (not
unheard of!) Naim Supercap ($11,000).
Totally Wired, Dunedin
I believe in the healing power of rock and roll. Get me through the working week, open a homebrew and put a
slab of screaming guitar-driven vinyl on the
old LP12 and I'm off in another world with
tinnitus following close behind.
I could blather on about the qualities on a
good number of cartridges I've owned and
sold - over the years we've been down a
whole series of tracks. Of course styli only
hold their magic for so long and then it's
either back to square one or time for a
change. Personally I like a bit of variety and
have yet to really meet any cartridge I
couldn't get along with – some are just more
engaging than others and so you tend to wear
them out faster.
Dynavector DV-20X cartridge
I've heard some things of rare beauty that I
would immediately buy if we had the readies
but like everyone else we find there is a case
to be made for striking a balance between the
delights of analogue and food on the table.
What we have found out is that the cartridge,
while being very much a focus for analogue
performance, is only part of a system. I'd like
to remind readers and record nuts alike that
Dynavector P-75 phono stage
the quality and set up of the turntable, and
the same for the phono stage, can change anyone’s perceptions of how good a cartridge actually is - even the
lowly OM10 can be satisfying in the right context.
But in a perfect world I believe everyone should be able to come home to a Dynavector DV20 - in either high
or low output version. It would be easy to spend more on a set of tyres but I reckon the Dynavector is better
than boy racer thrills.
I have no doubts it will do wonderful things with jazz, classical and Norah Jones, none of which hold much
interest for me, so I might be dropping you in the deep end there. But people much wiser and greyer than
me have long championed Dynavector so I'll defer to their far more refined tastes and suggest that quality
music listeners will be as happy as I am with the said moving coil.
If you have the spare slush and an urge to consume, of course the more expensive models are better, but
never confuse value for money with outright performance.
The brief for this rant also specified a phono stage. Assuming you don't already have something you have
sunk a significant amount into (and believe me - this is very easy to do but we've never regretted doing so –
you'll keep a phono stage through many cartridge changes and in many ways, the combination of a middling
cost cart and a ripper phono stage is better than the converse), the newish Dynavector P-75 would be the
no-brainer.
Chances are everyone else will have the same choice but why not - it's got the New Zealand connection, is
capable of running with pretty much anything and needless to say is the perfect match for any of the sibling
cartridges. I very much doubt there is an integrated or preamp built that wouldn't benefit from the addition
of this little sucker regardless of how capable their inbuilt stage may purport to be.
Eastern Hi-Fi, Newmarket, Auckland
Goldring G1000 series
Goldring have a long and colourful history in
hi-fi, and this year is their 100th anniversary
as a company. They have been making
cartridges as long as anyone in the business,
and have a proven track record for quality.
The whole G1000 series (of which the G1006
at $349 is the entry level model) unite highly
modern moving-magnet technology with
excellent tracking abilities and an
exchangeable stylus, which allows you to
advance further up the range as funds allow.
Like most in it’s price range the G1006 is MM
design so it has a high output of 6.5mV,
making it suitable for 99.99% of phono
stages out there. This cartridge makes a good
upgrade from the ‘get-you-going’ cartridges
that commonly come with turntables like the
Project Debut. They also work well on Rega
type arms. As a budget cartridge the
Goldring G1006 is superlative value for
money.
As you move up the range through the G1012
and G1022 cartridges the improvements in
transparency and detail are quite obvious.
The G1012 uses the acclaimed Gyger-2
diamond stylus. This is a fine-line type
which gives smooth extended high
frequencies, low distortion and reproduces a
highly detailed and dynamic sound.
Advanced diamond tip polishing ensures
Goldring G1006 cartridge
Goldring G1042 cartridge
Goldring PA-1 phono stage
excellent tracking ability and reduces record wear. This retails for $469.
Moving one up is the G1022. The stylus in
this cartridge is a Gyger-1 fine line-contact
type, which provides increased resolution
and ensures the maximum accuracy of
musical reproduction. This retails at $549,
which is getting a bit out of the budget range,
but I think it is worth it.
A cartridge that I can always happily
recommend to people who don’t want to
spend an arm and a leg, but want fantastic
performance for the money is the Goldring
G1042. This is a MM design as well and so
has a fairly high output of around 6.5mV,
Project Phono Box SE
which makes it suitable for any phono stage
out there. This cartridge is also the basis for
many other companies cartridges, ie Audionote UK, DNM etc. The sound could be described as smooth and
detailed, very musical in fact. The ability to replace the stylus is a huge bonus for those who want a cartridge
that will last them for years. The stylus used is a Gyger-S which is good for extracting low level detail from the
grooves.
We sell a lot of these on Project turntables and it seems to be a fantastic pairing, they just work really well
together. I suppose the highest recommendation is the fact that I could happily live with one of these! It sells
for $649.
Rigidity is also of prime importance in the interface between cartridge and tonearm and the Pocan body of
these cartridges enable them to be clamped solidly to the headshell, which keeps energy losses to an absolute
minimum. This is the same proprietry material Goldring use in their flagship Elite cartridges.
Goldring PA-1 phono stage $349
With the rekindled interest in all things vinyl we get a lot of people asking us about playing records on their
hi-fi. Quite often they have systems dating from the mid nineties, sans phono option so Goldring’s PA-1
phono stage is a great product for those who want to add a turntable to their system. It is based on the highly
successful Project phono stage, but has better power supply regulation, which in theory should lower the
noise floor significantly. Goldring say they use ‘audiophile grade’ componentry inside this little box and
whatever that means it sounds good to me. It has good tonal balance, a full musical sound, and none of the
screech most low-cost phono preamps are noted for. It matches up well with Goldring’s cartridges
(obviously) and is a perfect complement to any budget to mid price system. For $349 you can’t really go
wrong with it.
Project Phono Box SE $499
If you want to take it to the next level we also have the Project Phono Box SE. This is a sexy sleek looking black
box that has a sound to match. It features selectable impedance for MC cartridges, a subsonic filter if you
need it, and it’s metal case shields the electronics from vibrational and electromagnetic interference. The
circuit layout is completely dual mono to ensure good channel separation. I have tried one of these at home
on my own system (with a Goldring cartridge) and found the sound is full bodied, natural and warm, with a
surprising degree of detail. It is not the most open in the treble region but this serves to minimize the surface
noise compared to the other models. It is well extended in the bass, the sound is spacious and there is good
width and depth to the image, (if you’re into that sort of thing). This is an excellent phono stage for the
money. The Phono Box SE is a pre-amplifier with a sound that far exceeds its modest price. It is sure to
please anyone.
Soundline Audio, Christchurch
Dynavector Te Kaitora Rua $4000
The preferred analog source competent in the Soundline Christchurch store is the Dynavector Te Kaitora
Rua.
This is the newest version of the Te Kaitora
and features PCOCC coil wire. The Te Kaitora
Rua is not cheap at $4000 but is completely
unfazed with anything we throw at it with the
exception of a brick. It is completely at ease
in any system we have had the privilege to
audition it with. It has been fitted in a variety
of client's turntable and tonearm
combinations, the results are predictably
outstanding.
I am not attempting to ply the reader with all
the analog "buzz words" that generally
surround reviews of cartridges, confident in
the knowledge that the Te Kaitora Rua is at
the pinnacle of moving coil cartridge design.
I also enjoy the associated New Zealand
connotation that goes with the product.
Possibly the last genuine moving coil
cartridge manufacturer (after all, they
invented it) offering a complete range
including high output models that avoid the
use of nauseous step up devices and
beginning at a paltry $499, such as the
Dynavector 10X5. Dynavector continue to
offer cutting edge technology, no frills
perfectly adequate packaging and seriously
good value for the money at all price points.
Refreshing indeed.
Dynavector Te Kaitora Rua
Dynavector 10X5
AudioEnz - Infocus IN76
http://www.audioenz.co.nz/2006/infocus_in76.shtml
Infocus IN76
By Tony Davey
August 2006
Infocus IN76 DLP projector. $6499.
If you have been watching the home theatre
projector scene for any length of time, then
you’ll be familiar with the Infocus line of
projectors. Starting with their Screenplay
range a few years ago, they quickly
developed a reputation for producing
stunning home theatre pictures at modest
prices.
As consumers are becoming more aware of
front projection in their home theatres and as
they get a taste for it, they want better,
brighter, darker (oxymoron?), cheaper and
stylish as not to not intrude into the
ambience of the room.
Infocus have recognised this calling and
totally redesigned the look of their home
theatre projectors. Gone are the dull grey
briefcase looking boxes, in is a sexy black
curved casing. They have a total new line of
projectors, from the base IN72 (858x480
pixels) to the IN74 (1024x576 pixels)
through to the IN76 (1280x720 pixels).
InFocus IN76 and remote (Click for larger image)
InFocus IN76 (click for larger image)
Lies, damned lies and spec sheets
With a contrast rating of 3000:1 and 1000
ansi-lumens brightness on the spec sheets,
the figures (at face value) don’t appear to be
up with some of the cheaper LCD
competition. But don’t be fooled – Infocus
publish “video optimised” ratings, meaning
that those are the performance levels you can
expect when the projector is calibrated for
home theatre.
In effect, the IN76 is significantly brighter
than other machines with similar published
lumens such as my AE700. The 3000:1
contrast ratio is below the rated
5500:1-6000:1 from the Panasonic
PT-AE900, Sony HS60 and Epson TW-600.
but, again, the IN76 is video optimised, this
can have a significant effect on real, rather
than rated, contrast. For example, the IN76
easily beats my AE700 in terms of black
level, shadow detail and depth of image.
A different class
I tested the IN76 with a variety of material,
from standard definition live DVDs (The
Fifth Element, Lord of the Rings:The
Fellowship of The Ring and Meet the
Fockers) to animation (The Incredibles) and
even some high definition trailers and
gaming through my Xbox360. In all
instances, the IN76 showed it is in a different
class than my current projector.
Top of the projector (Click for larger image)
The Fifth Element was the reviewers “disc of
choice” for quite a while, and the IN76 really
helped show why. The colours are just
superb, from the opening scenes in the
Egyptian desert, to the outrageously bright
Connections on the InFocus IN76 (click for larger image)
fluro wardrobe, the colours are bright and
vivid. Of course, The Fifth Element is deliberately filmed this way, but the IN76 was equally adept at
handling more natural colours like the green forest of Shire and the natural skin tones of Frodo’s face in the
early scenes of LOTR:FOTR.
Black levels are good, very good for digital projection. I would best describe them as “city night time” where
its dark but there is a hint of luminescence to them. Black images on a screen look very black (car tyres, black
cars, black suits etc) but give it a totally blackened out image and there is still that “not quite black” look
(night time scenes from LOTR for example).
High def
Being a 1280 x 720 resolution projector, high definition is where it is at its best. Unfortunately for us in New
Zealand, this is mostly limited to some short trailers that are freely downloadable via the interweb. Still, the
trailers through my Xbox360 were very impressive. MI3 and Xmen 3 trailers were stunning, with an
incredibly vibrant picture that leapt off the screen, stunning colours and detail levels that easily surpass good
DVDs.
At $6499 the IN76 has a tough time marketing itself against the cheaper LCD competition. What the IN76
however has going for it is a fantastically bright, punchy image that has tremendous depth, with image
quality ranging from very good (standard definition DVD) to stunning (Hi-Def trailers) and a level of
sharpness and clarity that is sharp as a pin but still doesn’t look fake.
Is it a perfect projector? Of course not, that doesn’t exist yet. The noise level from the projector is a little
louder than I am used to (easily drowned out by the sounds from a movie, but noticeable in quieter scenes)
and I noticed some colour flashes in high contrast scenes (the rainbow effect). Were either of these
problematic enough to be a deal breaker? For me, no!
It wasn’t that long ago that 720P DLP projectors were hugely expensive. Competition, technology maturity
and development have helped bring the price of great performing technology into the realms of us mere
mortals. Even at $6499, the IN76 a a bargain and strongly recommended.
AudioEnz - Cambridge 640H
http://www.audioenz.co.nz/2006/cambridge_640h.shtml
Cambridge Audio Azur 640H
By Matthew Masters
August 2006
Cambridge Audio Azur 640H music server. $2299.
The achievements of mankind are
impressive – art, literature, architecture,
engineering, beer, that sort of thing. But
there’s another triumph that puts every one
of these firmly in their place. Bureaucracy.
Back to the very dawn of civilisation,
The Cambridge Audio 640H music server (click for larger image)
wherever humans have gathered in groups,
there have been organisational structures
and sets of rules to make sure nothing
actually gets done. It seems that mankind’s
true natural inclination is to administrate.
Rear panel of the Cambridge Audio 640H (Click for larger image)
And sometimes we’re just so damned good at
it that the process transcends the task being administered.
Welcome to the brave new world of the music server – that meeting of CD player and computer. Now your
music can be stored, indexed, labelled, organised into appropriate playlists and served up to order. It all
sounds so appealing, so effortless.
Paragraph 5, subsection ii – identifying similarities
The Cambridge Audio Azur 640H is a music server with proper audio credentials. As the name suggests,
the Azur 640 music server shares a great deal with the excellent Azur 640 CD player. The power supply, DAC
and solid build for a start.
But there are differences too. A CD burner for its transport, plus connections for computers, the Internet,
keyboards and a monitor among other bits and bobs. On the inside, there’s a 160 GB hard disk and a separate
processor to manage everything.
Paragraph 7, subsection iv – standards of performance
Thankfully, the Azur music server sounds very much like its CD spinning cousin. The key Cambridge Audio
characteristics are all there – superb detail, excellent sense of rhythm and pace, subterranean bass. All
wrapped up with a beguilingly insightful presentation. Read any Azur 640 CD player review for a better
description, but it really is good.
Uncompressed files played from the hard drive have the edge for focus and image compared to playing from
http://www.audioenz.co.nz/2006/cambridge_640h.shtml
the CD. But it’s a pretty marginal thing.
The big difference, of course, is in the hard disk and the bureaucrat that controls it.
Paragraph 11, subsection i – storage
In charge of admin is a piece of software called AudioFile that stores (and compresses) CDs, checks the
Internet for track names (if connected) and manages playlists. It does more, of course, but that’s the core of
its job description.
Unfortunately, like so many bureaucracies, the officious little man with a comb-over is where everything
begins to go pear-shaped.
The Azur’s display is small and difficult to read, the remote is slow and vague, and everything seems to take
an age to happen. Just getting a CD to play can take 30 seconds of prodding and waiting. Maybe I didn’t use
the right form.
For some unfathomable reason, the software didn’t always do what it should. Half the time it wouldn’t let me
store CDs. Sure, it presented a “Store CD” option on the teeny screen, but just ignored me when I tried to
select it. When I tried again, a bit later, it decided to let me store a CD after all. Why? I have no idea.
Paragraph 16, subsection vii – retrieval
To be fair, the Azur music server is easier to use when connected to a monitor (your TV will do) and
keyboard. Then you get proper menus that are reasonably easy to navigate. But that won’t make storing CDs
any quicker. The actual store time for each disc is around ten minutes (more if you choose to compress the
data to save space). But that pales into insignificance compared to the time it will take you to enter the artist,
album title and track names. You can do this with the remote (good luck, it’ll take you all day), or with the
keyboard. Or, if happen to have broadband and an Ethernet router, the Azur can gather all the information
from the Internet. Perversely, it won’t check the Internet for the titles of CDs you’ve already stored. Those
must be entered the slow way.
Paragraph 17, subsection iii – regulation footwear
Actually playing tracks from the hard disk is frustrating too. You can choose to play an entire album or
individual tracks, either way it’ll take you 30 seconds to a minute to get some music out.
If you want a music server you’re probably better off using a PC or Mac and spending some money on a good
external DAC. Even free software (such as Apple’s iTunes) is easier to use and more capable than the
Cambridge’s AudioFile system.
In the end, if you enjoy the cut and thrust of dealing with bureaucracy, if you relish the challenge of getting
what you want, and what you want involves good audio performance, the Azur 640H music server could well
have a place in your home. Me? I’m off to organise my sock draw.
For your nearest Cambridge Audio dealer
AudioEnz - Plinius Odeon
http://www.audioenz.co.nz/2006/plinius_odeon.shtml
Plinius Odeon
By John Paul
August 2006
Plinius Odeon multi-channel amplifier. $17,000.
I’ve owned a Plinius M-16 preamp and
their SA-50 “small” class A power amp for
seven years. I’ve dearly appreciated their
natural, clean, lively musical integrity
through whatever material was feeding or
being driven by them. But as I want more
power, those mega-price Halcro, Lamm,
Spectral, and other high-end super amps
may be pretty nice, too. So?
So understand, objectivity in high-end audio
is capricious. And let me further suggest
many audiophile concerns resemble a quip
from Victorian era author Samuel Butler
who said, “Life is the art of drawing sufficient
conclusions from insufficient premises”.
In this conundrum, I did some extended
shopping around before spending $17
kilobucks for my 1.2 kilowatts. In business
and family matters I had to go to Southern
California and New York quite a few times in
the past five years. During “in between”
times, I took a few favourite discs and made a
total and complete pain in the ass of myself
(Mr Bean, or Frank Spencer come to
mind) at several high end “audio
emporiums”. Sometimes I was “purchasing”
and other times I just sniffed around and
eavesdropped. But I always managed to
audition my own discs through one absurd
fib or another.
The Plinius Odeon multi-channel power amplifier (click for larger
image)
Rear panel of the Plinius Odeon. This picture shows the Odeon
with six 200W modules (click for larger image)
Respected high-end amplifiers I spent time
with all had identifiable sonic signatures that weren’t, to my ears, musically correct. I’ve heard soft bass and
“caramel” mids (VTL valves), mid-range
glare (Classe and Bryston), flat mids and dull
highs (Mark Levinson and Rowland) and
over damped bass with fizzy top octaves
(Krell). Of course, some of this could have
been warm-up, cable, or hardware related
artefacts in particular set-ups. Though I
queried shop staff about their optimised
set-up for best performance on auditioned
items. (And, was even told by one busy NYC
dealer that the beautiful gold plated, sweet
liquid sounding Jadis were “very
unreliable”. Thanks.).
As a quick aside, I must mention that in
these stores many big bucks (US$20k+)
connected loudspeaker “statement” systems
all sounded distinctly different from the next
Inside the Plinius Odeon (click for larger image)
premium creation. So notions of “the best
speaker we can make” is objectively suspect.
Then judging amplifier characteristics and colourations vis-à-vis these comparably different speakers
seriously tested my analytic ears to the maximum.
Self solution
Happily, I’ve been a music loving (frustrated musician, actually) audiophile for nearly 50 years. I’ve owned
more pieces of gear than my thinned wallet wants to remember. And as a DIY madman I’ve built or modified
a few nice, and dozens of awful sounding things.
I’m most fortunately aurally imprinted with five solid years of superb musicians playing mainly acoustic
instruments live while working as their sound operator at Blues Alley, an internationally respected small
jazz club in Washington DC. Before that, I played double bass in “geezer” Dixieland bands and a very
un-trendy wedding band enthrallingly named “The Melody-Men”. Thirty or so years in TV production and
broadcast technical operations has also taught me what various devices do to the stuff that starts at a
microphone, then comes out later sometime, and someplace, quite changed.
So if I say the Odeon pushes my happy button, you can be assured that opinion comes from more live music,
hobbyist “gear head” and pro audio experience than your average SWAT (Sell What’s Available Today!)
salesman or advertising copywriter can offer. Now after all that qualifying guff, let me tell you about the
Odeon.
Getting physical
Though the Odeon is multi channel, it sonically competes in all ways with any premium stereo amp around.
An Odeon can be configured as six 200 watt per channel modules, or six stereo 100+100 watt modules. Any
combination of six modules can be ordered and dealer upgraded or changed to give you 6 to 12 channels of
highest quality amplification.
Balanced or single ended RCA inputs are toggle selected on the 200 watt modules, and single ended only
inputs are on the stereos. Provision is made for lifting chassis earth to minimise hum in complex set ups. It
also can be 5 to 12 Volt remote triggered on-off. A trimmer adjusts brightness on 6 very attractive, though
functional, blue “Module OK” status LED’s that are across the front top lid.
Considerable bulk comes from four huge toroidal transformers with many small capacitors supplying basic
power for all the amplifier modules. Then there are additional power supply conditioners on each module. I
suspect there is some very slick engineering in the Odeon power supply because even before it earns it’s
sonic keep on power-up, it actually doesn’t dim my house lights. Other “normal” amplifiers and bigger
appliances do. Understand each Odeon 200 watt module is 40 Amp peak current capable! Lower voltage
yes, but still juice-slurping thrills for power supplier Transpower. Thrills too, for me, on big symphonic
crescendi, dance thumps, or movie blasts and booms.
The Odeon is beautifully built and finished to highest professional standards. It’s a very rigid and solid 54kg,
is 260 mm high by 460 mm wide and 585 mm deep. Internally, military grade boards with tight anchoring
keep all the premium grade bits and pieces plus interconnections inside fixed and steady. To validate this,
Plinius gives a five years full parts and labour warranty.
It’s stretching to call it high end jewellery like Jadis, Goldmund, or FM Acoustics. But the broad rounded
corners front panel and medium blue, thick enamelled rear panel with its’ chunky gold connections is very
tidy, “techno-cool”. It’s much nicer looking than the “tin box” Cello or Theta amps, and friendlier than many
other designs with sharp bloodthirsty metal corners and heatsinks.
Using it
The Odeon’s modular flexibility also allows convenient bi-amping of speakers that are normally set for
bi-wiring. Superior performance can be achieved with 200 watt modules driving the bass/mid sections and
a 100 watt stereo module for the upper frequency drivers.
Another sophisticated option is to use an electronic (active) crossover to do the frequency dividing before
amplification. This gives much more precision and control in directly driving speakers. This is how I use my
Odeon driving a quartet of Image-Peerless XLS (passive) subs, then other modules driving six Audax
Aerogel mid range units, and four Linaeum surface wave (ribbon) dipole tweeters augmented by Audax
piezo film super tweeters. Complicated, but capable of presenting sweet, crisp whispered details up to
startling high transient peaks in natural clarity and definition from absolutely anything on silver or black
discs.
I firmly believe in lots of clean amplifier power. Listen to any live instrument and notice how much body or
“welly” it has. A school kid’s flute, a piano, a guitar, anything, in the hands of even the least competent player
will make its presence known even if it’s not louder than normal conversation. Yes, there is soft and sweet, but
there are also sharp, crisp transients that signal our ear-brain that it’s “live”.
Accurate is more important than “pleasant” sound. I understand the “everybody hears differently” or “my
ears, my money, my preference” arguments. But serious musicians and quality musical instrument
manufacturers carefully develop particular timbre and textures that differentiates and elevates their artistry.
If Jimi Hendrix or Izaak Perlman sounded less dynamic and smoother, would that be respectful of their
art? Do you think anything should deliberately change the sonic character of Henry Rollins, Paul Desmond,
a Bosendorfer Imperial Grand, a Les Paul Gibson? And don’t mess with Supermans’ cape either! The
musicians and producers of quality music and/or movie tracks know what they are doing and we should
appreciate them, or not, via un-coloured, distortion free, accurate, playback devices. Sonic smoothing,
sweetening, or glazing are frankly unethical.
The sound of amplification
Listening to any recorded music certainly starts with the previously mentioned “insufficient premises” as to
whether it is actually an historical event recording or purely commercial creation. Then there are countless
technical variables that deliberately or unwittingly modify that recorded work. From this, we listeners with
our “perfected” systems reach sufficient conclusions of appreciation, or not, of that insufficiently specified
work.
So again, a lifetime of listening to, into, and through all acoustic source and media material nails the
expectation of amplification. And, because it’s all about making it real, which the Odeon does very well, is
what it’s all about.
There are wonderful clever things inherent in Gary Morrison’s unique circuit designs that let music timbre
and textures become amplified in complete sonic honesty. Flipping the extreme cliché, the Odeon really has
no sound to die for.
It has a remarkable number of non-descript qualities. It doesn’t have solid state dryness. It doesn’t have
upper octave haze or glassiness. It doesn’t have a liquid or syrupy midrange. It doesn’t have over-damped,
constipated bass. It doesn’t sweeten or tighten or mellow anything. Small scale, large scale, soft or loud,
delicate pianissimo whispers or bombastic banging, it all comes out through good speakers very much as you
would hear it originally recorded.
Most importantly, the life and energy of vocalists or instruments appearing in your “earspace” simply feels
closer to “reality”. Here in the room, via the Odeon. Good old audiophile favourite “palpable presence” in all
types of recorded material. You audibly enjoy everything in its created continuity and emotional context,
blissfully unaware of time or responsibilities.
The bottom line
An important consideration about pricing is that Plinius products compete and excel in a rarefied specialty
world market. There are lesser priced multi-channel amps around, but they sonically don’t compare, and
there are more expensive units around that also fall short of the total musical excellence within the Odeon.
Five year parts and labour New Zealand warranty is also something to keep in mind.
Let’s face it, high-end amps are all fairly good, especially compared to mass market AV receivers. But the
Plinius Odeon is simply a better, correct sounding, excellent long term value component when considered
against all other premium and exotic amplification devices.
AudioEnz - Cambridge Audio DVD89
http://www.audioenz.co.nz/2006/cambridge_dvd89.shtml
Cambridge Audio DVD89
By Michael Wong
August 2006
Cambridge Audio DVD89 CD/SACD/DVD-Audio Player $599
Cambridge Audio has carved out an enviable
reputation as a producer of well designed
and well built, high performance audio
products with entry-level pricing. Their new
flagship DVD player, the DVD89, introduces
SACD playback and HDMI (High Definition
The Cambridge Audio DVD89 (click for larger image)
Multimedia Interface) digital video output to
the Cambridge Audio lineup.
A universal player, the DVD89 can play all
manner of 12cm disc: DVD-Video/Audio,
CD, including all their R/RW varieties,
SACD, MP3, MP4/DivX and jpeg files.
Video processing is accomplished by the
popular Mediatek chipset (also used in the
successful Pioneer universal players), with
audio by unspecified 24-bit, 192kHz D/A
Converters. There’s onboard Dolby Digital
decoding but DTS is only available as a
digital bitstream.
Build quality is excellent with an Azur style
The DVD89's remote control (click for larger image)
metal faceplate, a simple control layout and
smart blue display. Unfortunately the display is small and hard to read from across the room so users will
need to rely on the onscreen display.
Almost every type of connector under the AV sun is presented on the rear panel. DVI-D and HDMI for digital
video. Component, S-video, composite, RCA audio and Scart (composite, RGB video, two-channel audio)
for analogue duties. Digital audio through coaxial or optical connection. Decoded Dolby Digital and high
resolution audio through a set of 5.1 RCAs. With such comprehensive connection options, this player should
be usable with any audio system and almost any TV, bar the most basic, non-AV input equipped TV’s.
The remote is your standard lightweight, plastic affair controlling track access, menu navigation, digital
http://www.audioenz.co.nz/2006/cambridge_dvd89.shtml
video output selection, PAL/NTSC setting and analogue volume level. Nice to use but the transport buttons
could be larger to add some differentiation from the other similarly sized buttons.
Setup requires a monitor and is a straight forward using the DVD89’s clunky but functional, VGA-style
onscreen menu. Load a disc and like all universal players it takes a while to organize itself before any output
appears. While loading and during playback, the transport is blissfully silent and very responsive to track
changes and the like.
Video
Cambridge’s implementation of HDMI allows for output resolutions of 480/576p or upsampled to
720p/1080i. There is no 480/576i via HDMI for those with third party video de-interlacer/scalers.
Interlaced output is only available through component or S-video. Using the upsampled mode also locks you
into the 16x9 aspect ratio, less than ideal if you watch a lot of non-anamorphic material.
Performance with 720p output was impressive, bringing noticeable improvement over the good 480/576p,
component and S-video outputs (composite wasn’t tested) and with less artifacts than the 1080i mode.
Pictures were sharp and clear, with good detail, and accurate colour palette. Like others that use the
Mediatek chipset, chroma bug is present but not exaggerated. Some dot crawl and horizontal jaggies was also
observed.
Over the course of viewing an entire movie there was the underlying suspicion that the images are a little
artificial in their pristineness, jazzed up with added sharpness. On occasion the component output looked
more realistic.
Despite these reservations, the HDMI option gives the DVD89 enough of an advantage to stand a notch above
the past budget universal player favourites like the Pioneer 676/686 or Yamaha 657.
Sonic success
Balance is the key to the DVD89’s sonic success. Music flows with an ease rare in low priced equipment.
Tonally it is a little darker than life but endowed with a great sense of liveliness without ever getting unruly. A
smooth midrange plus sweet high end results in a very listenable CD player, even more so than the
Cambridge 640C v1 CDP, borrowed to compare CD playback, (thanks to Willie from Image Audio). The
640C was better resolved and extended in the highs but a bit limp in the bass and didn’t have the same drive
and tunefulness.
Switch to the high-resolution formats and the DVD89 ups the sonic ante whilst retaining the balanced
qualities shown with CD playback. SACD producing a more open soundfield with some added ambience and
ease of reproduction, while DVD-Audio brings a more powerful, purposeful sound.
Debits are few; some roll-off at the frequency extremes – not always a bad thing with budget equipment –
and a less than holographic presentation.
Performance and versatility
Cambridge Audio has hit the target squarely with the DVD89. While it doesn’t present a huge advance over
the stalwart budget universal player benchmarks like the Pioneers, it does offer enough improvement to be
considered an evolution of the breed. Excellent all-round performance and extreme versatility, in a stylish
package at a great price makes the DVD89 a winner.
For your nearest Cambridge Audio dealer
AudioEnz - Dave Whittaker
http://www.audioenz.co.nz/2006/davewhittaker.shtml
Remembering Dave Whittaker
By Michael Jones
August 2006
New Zealand’s audio world was dismayed to
hear of the death of Dave Whittaker on July
10, 2006.
Dave Whittaker is perhaps best known as the
designer and manufacturer of the Aura
turntable. The Aura turntable was being
distributed in the USA by TARA Labs
around 1990 when Dick Olsher reviewed it
for Stereophile magazine, with the Aura
receiving a Class A rating in Stereophile’s
Recommended Components.
Dave began making the turntable in New
Zealand but lived in Queensland for a few
years in the late 1980s and early 1990s,
manufacturing the turntable there, before
returning to Auckland in the early 90s. Dave
had continuously developed the turntable
over the years and even recently he was
exploring improvements. He was still
fulfilling orders for the Aura, mostly from
overseas.
Over the years Dave became a well known
expert in renovating and repairing
electrostatic loudspeakers, particularly
Acoustats and Quads, and repairing
Magneplanar speakers.
Dave Whittaker and the Aura turntable (click for larger image)
Dave's large listening room, with his Wharfedale Airedale and
Beveridge electrostatic loudspeakers (click for larger image)
He was particularly fond of classical,
baroque and church music, Choral,
madrigals and the like, predominantly LP,
but also CD. His large, 9mx6m listening
room was tailored especially for this large
http://www.audioenz.co.nz/2006/davewhittaker.shtml
scale music, including in-wall bass sub woofers.
Dave said that he and his wife Trudy have
had no disagreements over audio since their
marriage, for the reason that how Dave goes
about arranging his music listening and
equipment has never been discussed and so
there has never been an argument!
Dave was a friendly, engaging and
welcoming man, as many visitors to his and
Trudy’s home can attest. This writer spent
several enjoyable hours discussing older
hi-fi equipment with Dave some three weeks
ago.
Dave was constantly experimenting. Shown is a tonearm built
from balsa wood (click for larger image)
Dave is survived by his wife Trudy, seven children and a number of grandchildren.
[Thanks to Owen Young for his assistance with this article]
AudioEnz - The Right Spectacle: The Very Best Of Elvis Costello...
http://www.audioenz.co.nz/2006/costello_video.shtml
Elvis Costello's The Right Spectacle
By Fred Muller
August 2006
The Right Spectacle: The Very Best Of Elvis Costello – The Videos
Warner Video
In recent years Elvis Costello thought he
could be all things to all people, recording
with the Brodsky Quartet, Burt Bacharach
and symphony orchestras while making
ponderous, obtuse albums like North.
This video, which thankfully doesn’t include
any of the above, reminded me of why I took
to him in the first place: his late 70s and early
80s songs were instantly engaging and,
although his career commenced round
about the time that punk broke, it soon
became apparent that he had more to offer.
What caught my ear was the terrific
Attractions as backing group plus his talent
with words as he peppered songs with lines
like “put on the brakes to get out of her
clutches” (New Amsterdam) and “you may
not be an old-fashioned girl but you’re gonna
get dated” (Girls Talk).
The main menu features 27 chronologically
arranged videos from (I Don’t Want To Go
To) Chelsea and Pump It Up – filmed on the
same evening, after much whiskey, against a
white backdrop with Elvis discovering that
his ankles are double-jointed – to his last
Warners single. My view is that as the videos
became more expensive and arty –
Accidents Will Happen excepted – song
quality fell away.
The Right Spectacle is a collection of Elvis Costello videos.
It would have been an improved package
AudioEnz - The Right Spectacle: The Very Best Of Elvis Costello – The Videos
AudioEnz - The Right Spectacle: The Very Best Of Elvis Costello...
http://www.audioenz.co.nz/2006/costello_video.shtml
had there been more than just Don’t Let Me Be Misunderstood from the King of America album – but
perhaps no others were filmed. Also,
something from his work with Bill Frisell
would have been welcome – again, perhaps
there’s no visual record available.
There’s a commentary from Elvis too. As one
has come to expect from his ramblings in his
sometimes bewildering CD re-issue
programme, this adds value. One can hear
his comments on another soundtrack but, as
this places the music in the background, I
found it preferable to leave the soundtrack
unchanged and bring up the commentary as
subtitles. I’m fairly new to this video/DVD
thing so perhaps this is a standard feature.
Costello's commentary is also available as subtitles. The video is
Oliver's Army.
The secondary menu takes one through an
hour of TV appearances spanning 1977 to 1983 and commences with a fragment of Alison followed by No
Dancing and Lip Service from Granada TV’s So It Goes which, the booklet informs us, was hosted by Tony
Wilson who would later found Factory Records and who was portrayed by Steve Coogan in the film 24 Hour
Party People. On his first album, My Aim Is True, on which these songs were released, Elvis was backed by
Huey Lewis’ band; here the Attractions do the honours.
A spirited Radio Radio is seen in a performance taped for the Revolver show – complete with pogo-ing
youngsters down front and a large portrait of the late comedian Peter Cook at the back of the stage. And so on,
with film from the Dutch Pink Pop Festival in 1979 where they shared the bill with the Police, Dire Straits and
headliner Peter Tosh, via his diatribe against the Falklands War, Shipbuilding, from The Tube and ending
with the live debut of Peace In Our Time from Swedish TV.
I suspect that, as more recent TV footage is found and copyright clearance obtained, further compilations
will appear. For now, though, these artefacts show that early Elvis was maybe the best. And isn’t that also the
case with the other Elvis?
AudioEnz - The Right Spectacle: The Very Best Of Elvis Costello – The Videos
AudioEnz -
http://www.audioenz.co.nz/2006/vinyl_upgrade.shtml
The Vinyl Anachronist: Upgrade
Fever!
By Marc Phillips
August 2006
“So why do I want the Wilson Benesch
turntable with the Breuer arm? Why do I
want a pair of Audio Note AN-Es? When will
this all stop?!?”
This recent meltdown of mine occurred on
an on-line audio forum, where someone had
just complimented me on having an
“awesome” stereo system. I know many of
you, however, can identify with this type of
thinking, often referred to as audiophilia
nervosa. No matter what we own, it’s never
enough. Or, more accurately, the more we
own, the more we want.
A lot of gear has passed through my listening
room in the last two years. I went through my
vintage equipment phase, with a
beautiful-sounding yet slightly unstable
Scott 299B integrated amp. I went on to the
Quad II Classic monoblocks, paired
(unwisely so, according a few) with Naim
preamplification. That combo lasted just a
few months, and I’m still not sure why. Then,
of course, I went on to the whole
high-efficiency/low-powered SET chapter of
my life, with Yamamoto Sound Craft
amplification and Zu Cable Druid
loudspeakers. I’m still a believer in this type
of system, but recently I heard a Unison
Unico SE integrated amp paired with
one of my faves, the Harbeth Monitor 30
The Vinyl Anachronist's Michell Orbe turntable (click for larger
image)
Wilson Benesch turntable with Breuer tonearm, courtesey of Globe
Audio (click for larger image)
AudioEnz -
AudioEnz -
loudspeakers, and it made me think that this was really the way to go.
I knew I was in trouble, however, when I
started thinking about replacing my analog
rig. You know, my Michell Orbe SE/SME
V/Koetsu Rosewood combo, the one I once
swore would last me for the rest of my life. In
fact, it’s been over three years since I put it
on my credit card, and I still haven’t paid it
off. And here I am, unfaithful again, lusting
after what I can’t have. Well, actually, I can
have it, I’d just have to go further into debt to
get it.
I’m a victim!
I blame the audio shows. The Consumer
Close-up of the Breuer tonearm on the Wilson Benesch turntable,
courtesey of Globe Audio (click for larger image)
Electronics Show. The T.H.E. Show. The
Rocky Mountain Audio Fest. The Stereophile
Home Entertainment Show. The Vacuum Tube Valley Show. I’ve attended all these shows in the last year or
so, and all they’ve done is stoke my disease, the audiophilia nervosa, and now I want everything. I want a
pair of Hyperion HSP-938 loudspeakers with DeHavilland electronics, which combined to provide the
most realistic soundstage I’ve ever heard. I want a Shindo-modified Garrard 301 turntable, which may be
the most gorgeously retro thing I’ve ever laid my eyes on. I want Brinkmann. I want First Watt. I want mbl. I
want Schroder.
Most of all, I want one of the original Wilson Benesch turntables, alternately called the Act ONE or just
The Wilson Benesch Turntable. And I want it with a Breuer tonearm.
My love affair with the WB turntable started many years ago, when my friend, Dr Cameron, purchased the
ultimate audio rig after his wife died. I’ve written about Dr Cameron twice in the past, but for those
unfamiliar with the story, Mrs Cameron was an accomplished pianist who supplied her husband with a
lifetime of beautiful, live music in their home. And while he was a serious LP collector, he always had a
rather modest system, because his wife thought high-end audio was too costly and frivolous, especially when
she could supply the real thing anytime he desired.
When she died in 1998, however, he felt that buying an exquisite system would be the ultimate tribute to
her… not a replacement, but as close as he could get. So he purchased an Audio Note Ongaku integrated
amplifier, Avantgarde Acoustics Trio loudspeakers, and a Wilson Benesch Act ONE turntable, complete
with a WB arm and cartridge. Later he added a Meridian 508-24 CD player when he reluctantly entered the
digital age.
What was that tenth commandment again?
Well, I thought the WB turntable was the best I’d heard up to that point. At the time I owned a Rega Planar 3,
which is a great product in its own right, but no match for something like the Act ONE. As I upgraded
through the years, going to a Rega Planar 25, buying a Rega Exact, then a Koetsu Black, I felt I was getting
closer to the sound of Doc’s rig, which put me into a trance every time I ever listened to it. And when I bought
my Michell/SME rig, I finally felt that I was very, very close. And for a time I was happy, and I stopped
thinking about the WB.
AudioEnz -
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Then, a couple of years ago, I attended an audio show, I forget which one, and I heard an extraordinary
system based upon products I was unfamiliar with, including Audio Aero amplification. I did, however,
recognize the turntable – it was Doc’s WB, albeit with a different arm. The sound in that room (Globe
Audio Marketing was the distributor) was perhaps the best I’ve ever heard in a show, which, considering
my experiences at Doc’s house, led me to believe that it was indeed the WB providing the magic.
At Stereophile’s HE Show a few weeks ago, I found the same guys at Globe Audio, and their room again
sounded extraordinary. They had replaced the WB, however, with an impressive-looking Brinkmann
Balance turntable. I asked about the WB, and the Globe distributor’s face lit up. “That is my favorite
turntable,” he told me, confirming my suspicions. He told me, however, that the WB was getting harder and
harder to find, especially since they were discontinued several years ago, and they didn’t make many of
them. “I can get you one,” he said under his breath. “I know two owners who might be persuaded to sell.”
In fact, I could probably get the very one I had heard two years prior. It had been matched with the
legendary Breuer tonearm, which is finally making its way back into the world. (It never really left, it’s just
that Mr Breuer makes them one at a time, and there’s a long waiting list). The bad news is that the Breuer
arm is very expensive, about US$6000. The good news is that used WB turntables probably aren’t that
expensive, considering that they originally sold for about US$5000. I know that sounds like a lot of money
(and I’m not even sure what cartridge I’d put on it, although I’d probably want to keep my Koetsu), but I’ve
heard the Continuum Caliburn and the Rockport Sirius III and the Clearaudio Statement, and I still
think the WB is the best turntable I’ve heard. And I think one day soon I’ll give that guy at Globe a call.
The good ol’ days
A couple of days ago I received an e-mail from someone who had just read The Art of Surface Noise and
was intrigued by my comment that I longed for simpler days, with Rega turntables, and he wondered if the
world had passed Rega by. I told him no, that Regas are still producing very competitive ‘tables, especially
with the new P5 and P7 models. And I think about the two Regas I owned, and how things did seem simpler
then. I worried about less, and I wanted less. A few days ago I said yes to a new step-up transformer from
Yamamoto Sound Craft that would quiet down the phono stage in my preamp, and I thought about Regas,
and how I didn’t have to think about VTA or matching impedances, or tube noise, or fragile stylii, or
adjusting and leveling suspensions, or even about keeping the dust away. Regas are reliable, easy to use, and
trouble-free. How can the world leave those qualities behind?
Still, I continue to covet the finest in high-end audio. I know many of you do, too. As Winona Ryder once
said, “It’s nice to want things.” But as I just said a few paragraphs ago, “When will this all stop?” So for those of
you who own Rega turntables and are wondering if it’s time for an upgrade, caveat emptor.
Marc Phillips has been writing about hi-fi and music under the Vinyl Anachronist banner since
1998. His earlier columns can be found on the Perfect Sound Forever website. You can discuss
vinyl with Marc at [email protected]
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August music reviews
Concord Dawn: Chaos by Design
Uprising
New Zealand's answer to the Chemical Brothers? I bet they're tired of
that comparison, but while they may not yet be in the British pair's
league in terms of fame or inventiveness, it's a fair one in terms of what
the two duos seek to achieve. That is, blend of electronic and studio
techniques with live musicians and singers to create music with the
drive to propel a dance party, but with colour and depth that calls to
more than your feet. It's not always easy listening, but good synthesised
music should push the sonic frontiers outwards a little – no use having
all that digital firepower and sounding like James Last.
After a couple of listens I began to pull the threads of this rather densely
woven album apart a little – the artists' predilection for a furious ecstasy-friendly tempo throughout can
mask the variety on offer at first. However, there is a good deal more to this album than beat and bass: it floats
and soars, jumps and bounces, whispers softly and kicks you in the groin. Minuit, Tim Phinn, North Shore
Pony Club, and Strawpeople, have been flying the flag for computer-powered music, now Concord Dawn
raises the standard another notch. Brent Burmester
Elvis Costello with the Metropole Orkest: My Flame Burns Blue
Deutsche Grammophon
Elvis Costello has been a busy fellow the last few years. He has released a
new album, composed a classical music for a ballet and made this live
recording at the 2004 North Sea Jazz Festival. Not one to rest on his
laurels he has been exploring jazz for some time and this CD is a good
example of his approach. The recording is dense and lush and at times
it is easy to forget this is a live recording, but you would expect that from
a label known for its classical recordings.
The Metropole Orkest is no ordinary big band as it has a full string
section as well as the usual array of brass and woodwind. As you can
imagine, the combination of the Metropole Orkest and Elvis Costello
produce a vast array of music from traditional big band to piano ballads with delicate strings. An example of
the latter is Favourite Hour which is reminiscent of Costello’s 2003 album North. My Flame Turns Blue
includes compositions by Charles Mingus and other jazz notables and a mix of new and old songs by Costello.
Clubland, Almost Blue and Watching the Detectives get the new treatment and are barely recognisable in
their new form.
The problem with genre jumping is that it can confuse the fans. Is Elvis a pop singer or a jazz singer? My
Flame Turns Blue is an ambitious project that proves that Elvis has a foot planted firmly in both camps.
Richard Nelson
Donald Fagen: Morph the Cat
Reprise
How does Donald Fagen do it? Morph the Cat is yet another tour de
force from the granddaddy of jazz-rock. Morph could be considered a
Steely Dan clone and is very similar to Steely Dan’s Everything Must
Go. The grooves are slick and bouncy and the vocals sinister and dry. It
must also be said that this is an excellent sounding album. The mix by
Elliott Scheiner has amazing bass presence without compromising the
middle or top end.
This New York-centric album delivers a running commentary of life in
the Big Apple but lacks the more adroit humour of the earlier offerings.
On one hand the title track is about the great city regaining its mojo, and
on the other Mary Shut the Garden Door is an ominous commentary on political manipulation. Fagen uses
thick vocal harmonies much in the same way he did on The Nightfly, drawing comparisons to that much
loved album. The usual array of session musicians are joined by trumpet player Marvin Stamm who plays a
Miles-like solo on The Great Pagoda of Funn, and the harmonica of Howard Levi who cuts loose on What I
Do.
If you liked The Nightfly then you must get Morph the Cat, you may even like it better. I know I do. Of course
it is a mandatory purchase for Steely Dan fans. I don’t know how he does it but Fagen has done it again. He’s
produced a pearler. Richard Nelson.
Donavon Frankenreiter: Move By Yourself
Lost Highway
Donavon Frankenreiter is the former pro-surfer who is great mates of
Jack Johnson and released (on Johnson’s Brushfire Records) a self
titled debut album in 2004 that was produced by Johnson, and in parts
sounded very much like him (acoustic guitar, surfy, beachy).
On this, his second album, Frankenreiter has moved to Lost Highway –
and in doing so has lost a lot of the stylings that drew comparison to
Johnson. This album is very different from the debut – being more funk
laden (in a 70s Boz Scaggs/Doobie Brothers kind of way) and more
band based rather than just Frankenreiter and his acoustic guitar.
Keyboards feature prominently on a number of tracks, as do some soulful backing singers. Apparently the
album was recorded on some old style equipment (two inch tape) and it certainly has a mid 70s feel to much
of it.
There is some real variety across the 11 tracks on the album, from the keyboard driven title track, to the Curtis
Mayfield feel of The Way It Is, to the bluesy jam of That’s Too Bad and the gospel of All Around Us.
An honest uplifting work from a group of musicians making simple and unpretentious music. Douglas
Lang
Peter Gabriel – Still Growing Up, Live and Unwrapped DVD
Real World 2DVD set
Dolby Digital 5.1 Surround Sound. DTS 5.1 Surround Sound. Dolby Digital 2.0 PAL Region 4
The Peter Gabriel DVD release continues apace. With two live sets and
the video package already on the shelf what does this latest offering add?
Not too much actually other than to report the voice is even more
gravely and the production is as immaculate as ever from this source
(this means excellent).
The main point of interest is actually in the accompanying film and live
footage included on the second DVD where Gabriel talks candidly about
his role in Gabriel Inc and his relationship with the music, the
musicians the crew and the audience. Even more could have been
made of this, but as always with Gabriel the finest production and
photography/editing makes the viewing vastly more worthwhile.
For the music itself, only completists need to duplicate the live
performances caught here, (indeed the absence of Don’t Give Up is
hugely noticeable), the other live sets find a younger voiced Gabriel and the video clips on Play – The Videos
remain the obligatory examples of this art that they are. Allan McFarlane
Emmylou Harris and Mark Knopfler: All The Roadrunning
Universal
Massive expectation in our home for this release. Having enjoyed both
artists hugely for decades, and having our appetites whet with the title
track slipped onto the recent Dire Straits compilation, it was a
tantalising wait for this release to a finally appear.
I guess it’s a wee bit of building expectations too high but this is not the
life enhancing all changing artistic landmark I’d hoped for. But I’m not
sure it’s pretending to be either. The storytelling simplicity of Emmylou
is not as poignant as the diva can be, and the lengthy pastiches of sound
colour that Knopfler can engender are absent.
With ten of the twelve songs written by Knopfler the mood is kept to more practical than emotional themes.
Emmylou turns in some fine performances, the vocal duets are well harmonized if not overly well blended,
and Knopfler gets more than a few moments to pick out without breaking the short track formula.
Seven years in the making, that is more fun than art. Surely that’s okay. It is by me. I’m reminded of
Knopfler’s The Notting Hillbillies side project of the early 1990’s. One of those albums bereft of life changing
substance that continually makes its way to the player for a non-stretching blob.
This disc is such a disc. It sneaks up on the listener as bit of toe-tapping/sing-along fun. Nothing more but
certainly nothing less. Enjoy. Allan McFarlane
Keane: Under the Iron Sea
Universal
These guys have just gone to number one in the UK album charts,
again, so I don't suppose they're going to care what I think of their work.
Their first hit single, Somewhere Only We Know, immediately
distinguished this young British trio as a force to be reckoned with.
Melody is a commodity sorely lacking in pop these days, and when it
appears it's often in the context of something unfortunate by Robbie
Williams.
This, their second album, is the real deal: charming and evocative
songs, sung with feeling and with those little switches and changes that
make the music simultaneously familiar and strange. Much is made of
the fact that the band lacks a bass player, but more important is that fact that they have imagination. Think
Travis without the cheekiness, Manic Street Preachers if they were afraid of the dark, or Coldplay minus the
desperate need for attention. Brent Burmester
The Kooks: Inside In Inside Out
Virgin Records
Hailed as one of the latest ‘big things’ in the UK, Brighton-based The
Kooks have delivered a debut album that stands up to scrutiny and
repeated plays. I’ve had it on high rotate in my car and at home over the
past few weeks, and I’ve fallen for the cute vocal stylings (so very
English) and the catchy pop songs.
Sounding a bit like a mixture of The Arctic Monkeys, Blur, The Kinks
and Supergrass, they also have an originality about them that’s
refreshing in an era where we seem to be getting more and more
cookie-cutter bands lumped on us. There is a definite 60s/70s feel to
the album, in a good way!
The album starts with 90 seconds of Seaside - a gentle opener that showcases the vocal talents of Luke
Pritchard, and then rushes into the weightier See the World, complete with chunky guitar riffs and a strong
chorus.
Other favourites are the sing-along Ooh La and the Kinks-like She Moves in Her Own Way.
Most of the 14 tracks on the album clock in around the 2:50 to 3:00 minute mark. A perfect length for perfect
pop songs.
This will be a great summer album, although it even works on a rainy Auckland winter’s day. The Kooks
sound like they’re having fun, making good, solid, pop songs. You could do a lot worse than spend your hard
earned cash on this! Douglas Lang
KD Lang: Reintarnation
Sire/Rhino
Largely comprising bumptious cowpunk reels, this collection of
formative years country kd is unlikely to much move those more taken
with contemp-crooner kd. It’s a fine line between convention and
cliché, and by adhering too tightly to the former most of these tunes
dissolve too readily into the latter. Characteristic Nashvillean lines (“tall
in the saddle”, “she’s a natural”, “reelin’ an’ a-rockin’” etc) are trotted
out amid glibly nifty pedal steel and fiddle licks, while the rhythm
section is dutifully boisterous. Fine for a barn dance bash (led by
lesbian anthem Big Boned Girl – “the song came out in ’89, and I came
out in ’92”), but predominantly tending towards the trite – in spite of the rosy nostalgia in the songstress’s
sleeve notes about how “the original is always the most poignant” and “you respect what existed”.
She cites Pullin’ Back The Reins as the stepping stone piece that marked the transition from Patsy
Cline-inspired country to the Rickie Lee/Joni/Kate Bush lonesome heroine mode which swept her to
centre-stage. And the handful of songs here in that same vein bear testament to the baleful beauty of her
voice, strident in its grieving or celebrating, and entirely keyed in with the lush and subdued sound of the
backing band. Clearly emerging here too, in these precious few, is the familiar ruminative strength of the
lady’s lyrics, with their focus on emotional blindness, buried memories or tables turned. Aside from these
periodic in-the-element gems, however, there’s too lumpy a quota overall of stock spangled country fare.
Paul Green
Charles Lloyd: Sangam
ECM
Charles Lloyd (saxophones etc); Zakir Hussain (tabla etc); Eric Harland (percussion etc)
The master saxophonist Charles Lloyd has embarked on totally new
direction for his eleventh ECM album, resulting in a true audio
adventure. Lloyd has been in the studio for over four decades now, with
the obligatory interludes to meditate and “escape commercial
pressures”. This latest release finds the saxophonist in the company of
two percussionists of immense talent, recorded live in Santa Barbara,
California.
There is something Californian about the whole concept of a solo wind
instrument meeting percussionists of this nature (tabla etc), the three
needing the alert and responsive (but not intruding) audience this part
of the world can almost guarantee to bounce their considerable imagination off. Expect Lloyd to stretch has
ideas to the max, with no restrictions to his boundless imagination. None of the soft mood making sessions of
the 90’s here, this is full on improvisation.
As a concert it works well, as a record of a remarkable night it is well worth hearing, and if, like me, you see
CDs as cheap concerts, then this is well worth checking out. Allan McFarlane
Pat Metheny Group: The Way Up
Nonesuch
Every album tells a story, even one without words. This is the first album
from Pat Metheny Group on a new label and their twelfth studio album.
The approach is also new. The Way Up is not a collection of stories but a
novel, a kind of progressive jazz masterpiece. Metheny strives to concoct
a series of moods that take you on his journey. The Way Up is not an
easy listen but challenging, it changes moods and beats often.
After the opening Part One begins with a theme that builds wave upon
wave to an unbelievable climax, before easing and building to a second
bigger climax. The song continues with Lyle Mays piano who takes the lead in a virtuoso style reminiscent of
Hiromi. Next Cuong Vu delivers a swaggering trumpet solo in the manner of Freddie Hubbard and then
trumpet and guitar duel to yet another climax. Part Two is quieter and more reflective. The composition is
completed with Part Three that develops another theme much in the same way.
Metheny and Mays have attempted to create an opus not an album, and it is certain that this is a substantial
work. Whether you like it depends on how you listen to your music and whether you like short stories or epic
tales. Richard Nelson
Charlie Musselwhite: Delta Hardware
Real World
Charlie Musselwhite is such an authentic blues musician he can record
for the Real World label, a label normally associated with discovering
and recording interesting and vibrant as well as traditional/authentic
world musicians.
At 62 he seems almost too young to carry the mantle of the original
bluesman but he is uncompromisingly just that. Raw, stripped down no
frills with the odd bit of irony thrown in for good measure.
As a harmonica player Musselwhite is legendary, and is joined on this
set by guitarist Chris “Kid” Anderson, a guitarist to often steal the
limelight. Interestingly this is an album that gets better as you play through it, with some excellent material
on the outer tracks. This is swamp Mississippi blues, no Chicago or Californian frills here. So, if you have the
slightest interest in the blues, this is for you. If you are sampling before buying make sure you get to the end.
Recommended, particularly with a pending NZ tour. Allan McFarlane
Gary Numan: Jagged
Cooking Vinyl
Only Numan's diehard fans kept him in view after his heyday in the
early 1980s. Now, with Jagged he strikes anew, at a time when Cars is
being sampled everywhere you listen. This is a real return to form: his
instantly-recognised voice is set against giant ethereal chords, great
dark synthesised landscapes, oppressive bass, and is always
melancholic and always stirring. The mood in Jagged is unrelenting –
Mr Newman was never brimming with twinkling good humour. We're
reminded that before the heavy duty seriousness of Nine Inch Nails,
Marilyn Manson, the Smashing Pumpkins, Killing Joke, or the Prodigy,
there was Gary.
From an audiophile perspective, this might be found a little dynamically limited, but the engineering is
otherwise clean and clear - subwoofers sweat blood, and your speakers will fall away into a much larger space
than your living room. If you're looking for evidence that being an Eighties has-been need only be a
temporary inconvenience, this is for you. Brent Burmester
Pink: I’m Not Dead
Zomba Records
Being in my forties I’m not supposed to like Pink, but being in my forties
I have children that do and that means I have heard each of her releases
– sometimes repeatedly. Confession – I actually think she is a major
talent. Sure some of the lyrics are banal, but that becomes their appeal.
Sure, she can crank up the volume and pump it out, but that’s been
happening for decades.
What I like is her total belief in what she is doing and her conviction to
say what she wants and to sing about subjects she feels she needs to.
Subjects from how America cultivates “stupid girls” to a war protest song
– with the Indigo Girls – that is destined for anthem status. Highly
refreshing in this commercial age. Allan McFarlane
Taking Back Sunday: Louder Now
Warner Bros.
Third album by US ‘emo’ band Taking Back Sunday, starts with a bang
in the shape of the guitar-fuelled What’s it Feel like to be a Ghost? and
manages to keep up the pace for most of its duration.
While their music is a fairly typical example of the melodic hardcore
punk/rock that is commonly termed ‘emo’, Taking Back Sunday feature
dual lead vocalists. This helps to bring a little more variation and
interest than is the case with other bands of the genre (who can all get to
sound a bit similar after a while e.g. A Chemical Romance, Matchbook
Romance, etc, etc.)
The band has recently supported Green Day, and it’s easy to see their sound complementing that of their
bigger and, in my view, more talented, label mates.
What does it sound like?- Hard riffing guitars; thudding bass; pounding drums; soaring vocals and
alternating quiet passages to add a bit of light and shade.
Particular faves are Up Against (Blackout) - full of angst and emotion; Miami – sing-along chorus and great
interplay between the two vocalists.
Good for a blast on the motorway or annoying the neighbours/cat! Douglas Lang
Cassandra Wilson: Thunderbird
Bluenote
I’ve been following the work of Cassandra Wilson since she signed to
Bluenote records over a decade ago. The inspired work of the early
releases has been absent on some of the later offerings. This release has
a great line up of guest musicians – Keb Mo, Marc Ribot among them –
and starts extremely well. The first two tracks had me thinking, “finally,
she’s done it”. Sadly the lack of angst returns, this woman is far to safe in
the studio to bring off what I feel she is trying to achieve. Look elsewhere
for inspired singing; this is another “contract album. Allan
McFarlane
Hilary Hahn plays Mozart Violin Sonatas
Deutsche Grammophon
Hilary Hahn (violin); Naalie Zhu (piano)
Mozart: Violin Sonatas K. 301, 304, 376 & 526
Hilary Hahn is a young violinist whom we have heard on a number of
recordings from both Sony Classical and now Deutsche Grammophon.
I have held off reviewing this CD for some time. Mainly because I feel I
should like it more that I do. Most times. I say that because this is
elegant Mozart, too much so for my ears that search for a more varied
tone, a little more angst on occasion, and just a touch more variety in all
than Hahn delivers. And then, just when I launch into the above
comments, there is something about these performances that intrigues.
It is the sheer simplicity (deceptive simplicity that is) of the works that
has makes me wish for more, often delivered by that likes of Grumiaux
and Dumay. Then I stop to think, is it actually there on the score? I am no longer convinced that it is. To
summarise, these are important recordings that I have enjoyed hearing. Are they how you want you Mozart?
Only you can decide but either way you will enjoy the experience. Allan McFarlane
Martin Setchell: Pink and White – New Zealand organ music 1994-2004
Attoll
Martin Setchell plays the Rieger organ, Christchurch Town Hall
I confess that I had this on the “must-listen” pile for some time before
finding the right headspace to have a listen. A disc with the title New
Zealand organ music 1944–2004 does not normally get the heart
racing, even given the interesting line-up of composers.
Martin Setchell has self-promoted his playing and recording of the
organ with considerable aplomb. Not to be taken lightly as earlier titles
such as Organ Bonbons would suggest, he has caught the attention of
the international organ followers and as a result this release of New
Zealand works should, and deserves, to find a place amongst those that
are following his recorded work.
One of the youngest composers featured, Anthony Ritchie leads the offering with a pictorial work inspired by
the now disappeared Pink and White terraces, once described as they eighth wonder of the world. A
colourful piece that shows a deep understanding of the instrument, this is a substantial work that will replay
repeated listening.
The major work on the disc, Douglas Lilburn’s Prelude and Fugue in G minor (Antipodes) proves to be a
gem, expertly crafted with a true understanding of the instrument in question. John Ritchie’s Let the pealing
organ blow again shows this composers unique gift of combining a strong harmonic and melodic gift into
modern setting.
All in all this a worthwhile discovery, and provides a glimpse into rarely aired repertoire. Allan McFarlane

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