CD PLAYERS - UHF Magazine

Transcription

No. 81
$6.49
ISSN 0847-1851
Canadian Publication Sales
Product Agreement
No. 40065638
CD PLAYERS: A new two-box upscale player
from Reimyo, and the magical Linn Majik CD
AS WELL AS: A gorgeous integrated tube
amp from CEC, and a phono cartridge that
is neither MM nor MC
PLUS: The surprising Gershman Sonogram
speaker, headphones from Grado and
Koss’s pro series, how hi-fi really began…in
the 19th Century, and the role of diffusion in
making your listening room sound better
RETURN LABELS ONLY
OF UNDELIVERED COPIES TO:
Box 65085, Place Longueuil,
Longueuil, Qué., Canada J4K 5J4
0
Printed in Canada
40992 74766
8 81
ASW Speakers
Atlas
Audioprism
Sonneteer
Bard Audio
QED
Now available at Bay Bloor
Radio, Toronto, (416) 967-1122
Target
Roksan Kandy LIII
“The Kandy has always been good.
It just got a whole lot better.
Nothing can match the Kandy MKIII's
transparent midrange performance”
What Hi-Fi?, Five-star rating
Vandersteen
McCormack
Harmonix
WBT
Reimyo
Apollo
Audioprism
is back!
GutWire
FIM Accessories
Goldring
Milty
Discwasher
Perfect Sound
Nitty Gritty
Xindek
Gradient Speakers
The Power Foundation III is now available!
Audioprism, you’ve been away too long.
LAST record care
WATTGate
JUSTI
CE
AU
DIO
Justice Audio
111 Zenway Blvd., Unit 9
WOODBRIDGE, ON L4H 3H9
Tel. : (905) 265-8675 • Fax : (905) 265-8595
www.justiceaudio.com
[email protected]
Audiophile CDs
Audiophile LPs
DVD and SACD
Rendezvous
Brian Smith
26
The man behind Presence Audio, the source of the
unique London phono cartridge
Cinema
UHF Chooses Blu-Ray
But it doesn’t mean you should. Yet.
Issue No. 81
34
The Listening Room
The New Reimyo Player
37
When we reviewed the DAP-777 converter, we
figured it was just waiting for the right transport. It
found it!
The Linn Majik CD Player
Strictly Red Book. And strictly music.
41
The London Reference Phono Cartridge
44
An MC cartridge? An MM cartridge? Neither. It is
at once very new and very old.
The Gershman Sonogram
48
This affordable three-way speaker caused a buzz at
the Montreal show. And for good reason.
Cover story: The London Reference phono cartridge,
a new and improved incarnation of the famous (or
infamous) Decca cartridge. It is sitting on the velvet
bag it comes packed in.
The CEC Classic53
Who remembers that CEC used to make tube
amplifiers? Who knew it still does?
52
The Koss Pro 4AAAT Headphone
By an odd coincidence, a new version of our longtime pro reference headphone
54
The Grado SR-125 Headphone
The affordable open-back solution
55
Software
Acoustics
Diffusing Sound
18
by Paul Bergman
Can’t absorb all the sound you want? There may be
another way to limit the damage.
Feature
Battery Technologies
You’ve probably noticed it: more and more audio
gear runs on batteries
24
Flashback: Edison and High Fidelity
The beginning, and we mean the very beginning
28
The Little Sparrow 65
by Reine Lessard
She was born in the street, but her voice electrified
the world
Software Reviews
by Reine Lessard and Gerard Rejskind
73
Departments
Editorial
Feedback
Free Advice
Gossip & News
State of the Art
4
7
9
77
82
ULTRA HIGH FIDELITY Magazine    3    
UHF Magazine No. 81 was published in September, 2007.
All contents are copyright 2007 by Broadcast Canada. They
may not be reproduced or transmitted in any form, or by any
means, electronic or mechanical, including photocopying,
recording, or any information storage or retrieval system,
without written permission from the publisher.
EDITORIAL & SUBSCRIPTION OFFICE:
Broadcast Canada
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Tel.: (450) 651-5720 FAX: (450) 651-3383
E-mail: [email protected]
World Wide Web: www.uhfmag.com
PUBLISHER & EDITOR: Gerard Rejskind
ASSOCIATE EDITOR: Reine Lessard
EDITORIAL: Paul Bergman, Reine Lessard, Albert Simon
PRODUCT PHOTOGRAPHY: Albert Simon
ADVERTISING SALES:
Alberta & BC: Derek Coates (604) 522-6168
Other: Gerard Rejskind (450) 651-5720
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ISSN 0847-1851
Canadian Publications Mail Sales Product No. 0611387
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be taken of materials submitted, we cannot be responsible
for their damage or loss, however caused. Materials will
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Ultra High Fidelity Magazine is completely independent of
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contributors, unless explicitly specified otherwise.
4   ULTRA HIGH FIDELITY Magazine
Editorial
Flashback: where it all began
With the celebrations of this, our 25th anniversary, we have been looking
backward as well as forward, and we have published several
Flashback articles.
When I was looking for a new Flashback topic for this
issue, my attention was caught by a new book by the
New York Times’ Randall Stross, with a title familiar
to me, The Wizard of Menlo Park. And Stross added an
intriguing subtitle: How Thomas Alva Edison invented the
modern world.
Well, yes he did, didn’t he? The light bulb, the movie
camera, the electrical grid, and…oh yes, the phonograph. There was lots more
to Edison, in fact, and that is a good part of the subject of Stross’s book. If
Edison was a prolific inventor, he was also the first celebrity inventor, famous
in the general public for what his company created and marketed. The obvious comparison is Steve Jobs, though Jobs is not an inventor, and has bright
people doing the inventing at Apple Inc.
Because Edison not only invented the music reproduction system that is at
the heart of what today we call high fidelity, but also shaped its early development, he seems a fitting subject for the Flashback feature in this issue.
The soaring Canadian dollar
It seems like just yesterday that a Canadian dollar was worth just 62 cents
US. It was five years ago. Then as now, we were charging the same amount for
the magazine in both Canada and the United States…except that, of course,
US customers were paying in US dollars. We would get (understandable)
complaints from US readers, who doubted that it really cost 60% more to
service a US reader.
Since then, the difference in value between the two dollars has moderated,
and when the Canadian dollar hit US$0.85 things were just about right. It
does cost us more — considerably more in fact — to mail a magazine to the
US: $2.99, compared to $1.86 in Canada. Newsstand distribution is more
costly too, because…well, there are more mouths to feed.
Only now the difference is all but vanishing. As I write this, a Canadian
dollar is close to parity, just under US$0.96. At this point, the high mailing
rates to the US are hitting us hard.
Of course the two dollars have been close in price before, and at one
time we simply listed two different prices for the magazine: $2.99 in Canada
and $3.50 in the USA. That caused an odd problem: newsstands even in
Canada would charge buyers $3.50 because — in the words of the National
Lampoon — everything is “slightly higher in Canada.”
We haven’t yet made a decision concerning the pricing issue. We’ll see
whether the rise in our dollar is just a glitch, or whether parity is, as some
bankers now predict, a sign of things to come.
DOG EARS FOR DOGS, SURE
Long ears only make a dog more adorable,
but it’s not true of magazines. Don’t you
hate those little folded-down corners on
the magazine you just bought?
The way to avoid dog-eared pages might not
be what you would think. It’s actually the expensive
copy that’s likely to be tattered, torn, and… yes,
dog-eared. We mean the newsstand copy.
After all, where do copies sit around unprotected? At
the newsstand. Where do other people leaf through them
before you arrive, with remains of lunch on their fingers? At the newsstand.
Where do they stick on little labels you can’t even peel off? We’ve always wondered
why newsstands do that, but they sure do.
Our subscribers, on the other hand, get pristine copies, protected in plastic,
with the label on the plastic itself, not the cover.
We know you want a perfect copy, even if it means paying a little less.
As if that weren’t enough, there’s the fact that with a subscription you qualify
for a discount on one or all three of our much-praised books on hi-fi (see the offer
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which ones are scams. How to tell a good
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found anything of this nature published
in UHF).
I’m not saying you’re wrong or right,
but your oft-repeated criticisms come
across as having pre-judged the outcome,
either because something so inexpensive
Longueuil, Québec, Canada J4K 5J4
couldn’t possibly work/sound good, or
[email protected]
because your status of being “golden
eared” would be tarnished.
First let me congratulate you for 25 in all aspects.The Carver is a 300 wpc
When you get down to the nittyyears of great work and writing.
amplifier and I know that some high gritty, a “perfect” speaker cable would
I’ve noticed, reading some speaker power amps don’t reproduce the softer have zero inductance, zero capacitance
reviews that you did, that you were talk- musical passages very well or can harden and zero resistance. Thus, as long as
ing about ordinary loudspeakers. Would up at higher output levels. The Carver these three parameters are minimized,
it be possible for a change to review does neither.
and an appropriate gauge cable is used,
Martin Logan loudspeakers? I’ve heard
I don’t think you would consider a speaker cable should not impact the
some on demo at the last Montreal show, the Carver an “audiophile” product; its overall sound of an audio system to
but it was really awful, or should I say “whisper quiet” cooling fan can be heard any measurable or audible amount.
painful. I wanted to hear the Vantage or from ten feet away. The upside is that Furthermore, all speaker cables having
the Summit, but instead it was another the major cause of amplifier failure is the same, or virtually the same values
loud home theatre demo. No music to heat buildup. The Carver because of its for these three parameters should not
be heard there.
design runs cool even after long hours “sound” audibly different regardless of
I went to a shop in Greenfield Park, at high output levels.
the materials or construction techniques
not far from Longueuil, to hear the
Doug MacPherson used.
Vantage. It was a feast for my eyes and
All I’m expecting is objectivity and
THOMPSON, MB
my ears. Now I’m saving to buyUnlike
those with a physical magazine, which forces you to
fairness.
turn pages, the
Vantages
Paul Kittinger
we have
no argument
withalong
anyone
on-line version Doug,
of UHF
Magazine
helps you
with technology. For
So could you please review
the Van-click
HILLIARD, OH
who
product
andtable
is happy
with it. We
instance,
onbuys
anyatitle
in the
of contents
(on page 3), and you’ll
tage? I’m sure I’m not alone who
wants right
haveto
notthe
listened
to itself.
Carver, nor to all of the
be whisked
article
to read about them in UHF. Turn to the
class T
and
amplifiers
now 81
available.
And
table
of similar
advertisers
on page
(and that, by
therightly
way, isso,
a Paul, but we plead not
Daniel Aimé
Butonwe’ve
heard some
of them. or company, and
guilty
this. We admit to never having
link),Major
and click
the name
of a product
an on
an instant
QUÉBEC,
QClooking at the ad itself.
reviewed cables from the Home Depot chain,
you’ll be
is theonsecond
time, I believe, I’ve and we used that store as an example rather
And then tryThis
clicking
an ad…
We appreciate the suggestion,
youtoregarding
youryou’ll
unsolicited
saying
“the hardware store,” or
Daniel.
If you arewritten
connected
the Internet,
be takenthan
rightjust
to the
advercomments
directed
at “Home “a non-audio store,” because stylistically the
We have reviewed Martin Logan
speakers
tiser’s
Web site
in your specifically
default Web
browser.
Depot” speaker
In your response
( favorably, too) on at least three occasions,
specific
is better
than the general. However
Those interactive
featureswires.
were designed
for the paid
electronic
version
Jean-Paul
Haggar
(in Alexandria,
and we even had a pair on the cover
of issuebut to
weversion
have been
in this business a long time, and
of UHF,
they
work every
bit as well
on the free PDF
you’re
Egypt)
Issue
80,it.
you stated, for at least we have had occasion to try out a lot of cables
No. 19. But it’s true that it has looking
been a long
at. We
hopein
you
enjoy
while since we’ve done any. Perhaps its time the third time in Feedback (in so many from many sources. Years ago, we did try a
words) that speaker cables made from number of cables from non audio sources, and
to lend the marque an ear once again.
Home Depot power extension cords we did publish some of the results, though
Gerard Rejskind made some interest- could not and will not provide good not all of them. We could not find the great
results that some critics in other magazines
ing comments based on his observations sound.
Honestly, I have no axe to grind per- have found.
concerning class T digital amplifiers
in the latest State Of The Art (issue sonally, as I do not have any such cables,
We went a little further in fact. We
but I do object to your criticism when it devised a perfectly objective test of cables,
No. 80)
Last year I purchased a Car ver appears you have not made any objective which consisted of comparing a square wave
ZR-1600 class T professional audio tests of such speaker cables. I remember going into a speaker cable with what was
amplifier without having had a chance well your first critical comments directed coming out the other end, and putting that
to audition it first. I made my decision at The Absolute Sound reviewers for difference up on an oscilloscope screen. What
to purchase based on the amplifier’s having stated that some speaker cables we saw varied. With some cables we had a
technical “white paper” and manufac- they made from Home Depot extension nearly blank screen, which indicated that it
turer’s specifications. Web reviews were cords sounded much better than much was passing on everything. With some others
more expensive speaker cables. Yet you we saw high-frequency harmonics, which
generally favorable also.
Well I’m very happy with this new have not offered any contradicting evi- seemed to indicate a rolloff of the extreme
product. It replaces a Bryston 2B-LP dence resulting from a fair comparison highs. And sometimes there was quite a lot
and sonically outperforms the Bryston test with your systems (at least I haven’t on the screen, indicating that not everything
Feedback
UHF on line is interactive!
In your review of the Slim Devices
Squeezebox 3 you recommend a power
supply upgrade. There seems to be a
consensus about this amongst reviewers,
and I can see the logic with regard to
improvement to the analog outputs.
I, on the other hand, intend to use
the Squeezebox with an outboard DAC
(Benchmark DAC1 in this case). In
your opinion, would a power supply
upgrade improve the already quite
good digital output performance of the
Squeezebox?
Gerry Geisler
MONTRÉAL, QC
Yes it would. In our article on the power
supply upgrade (UHF No. 79), we also used
an external digital-to-analog converter, a
Counterpoint DA-10A. Performance was
superior with our larger power supply.
In reading Paul's article, Absorbing
Low Frequencies, I couldn't figure out
where the 7.95 came from in the formula
on page 21. A typo?
Joe Wdowiak
BOWMANVILLE, ON
No, it's the value Paul chose for m, the
mass of a square metre (one metre by one
metre) of the material in the example. The
typo was in stating it as 3.3 kg/m2 in the text
rather than 7.95 used in the calculation.
The value, whatever it is, can be calculated by weighing a piece of the material,
and dividing the weight in kilograms by the
dimensions in square metres (or in pounds
and square feet, but with a different constant, as explained).
I have read your excellent magazine
for many years and have found it to be
the only true successor to the old Absolute
Sound.
That being said, there is one glaring
omission: you have not once reviewed a
piece of equipment from Blue Circle. I
have just become aware of their excellent
products and have been so impressed I
might come out of retirement and work
with them or one of their dealers.
You have rev iewed ot her small
Canadian companies such as Foundation
Research (which led me to purchase two
LC2 line conditioners).
Jim Hickey
Feedback
was getting through. And you know what?
The grand champion in that objective
comparison, leaving our screen blank, was a
plump cable from a non-audio store that had
cost under a dollar a foot. When we actually
listened to it, however, we were horrified. In
subsequent reviews we concluded that there
was zero correlation between the objective test
and performance on music, and we stopped
performing it. If we have, in the meantime,
ceased to test hardware store wire, it’s because
we thought it was time to move on.
We would add that capacitance, inductance and resistance are not the only significant parameters of an audio cable, merely the
ones easiest to test for. We can add a couple
more off the top of our heads: the absence of
hysteresis (behavior that is different when
the voltage is increasing from the way it is
when voltage is decreasing) and absence of
diode effect (resistance that is not the same
in both directions). That’s just for starters.
We recall a critic from one of those magazines claiming a portable CD player from
Radio Shack could give the best audiophile
players a run for their money. Alas, no. We
have never claimed to have “golden ears,”
but we got tired of falling for these things.
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877-980-2400
Free Advice
Which leaves that big opening you’re
not sure what to do with. Wouldn’t that
make a lovely bass trap?
I own a dedicated two-channel Linn
audio
system. At present my entire
system (including power amp and powLongueuil, Québec, Canada J4K 5J4
ered subwoofer) connect to a power bar
which connects to a power outlet. I’ve
[email protected]
been contemplating power conditioning for a while now. I e-mailed Linn
I’ve just moved into a new house and should), and I was thinking of doing customer support and they seem to be
I get my own stereo room in the base- the same thing here. Should I angle my totally against the idea of power condiment. However, my wife says that unless curtains the same way as the speakers? tioning. Also, my local audio retailer is
I finish the room soon she will use it Or should I use curtains at all?
also against power conditioning.
for a home gym. While I could use the
6) Should I look into any other acousI did hear a Richard Gray demo at
exercise, the stereo room will be much tic treatments (I know, I know, don’t the Montreal Festival (using Linn combetter for my health.
overdo it)? If so what do you suggest?
ponents) and at first it sounded “better,”
While your current articles on acousScott Mercier but after a while I found that it seemed
tics have been fascinating I am having a
BARRIE, ON to “change” the sound. Being a music
hard time applying what I am learning to
lover but not a musician, I was not sure if
my own situation and I can’t wait for the
Scott, if your wife’s home gym ambi- this change in sound was realistic or was
series of articles to finish, as I don’t have tions stop at a stationary bike, it’s not so adding something. However, research
much time. My room currently measures bad. Place it right at the sweet spot, and on the Internet seems to indicate that
133 wide, and half the room is 16 long the music can take some of the boredom Shunyata Research does produce excelwhile the other half is 15, the
is mean
out ofthis
building
upbecause
those calf
lent
power
conditioners
(Hydra models)
ceiling
We don’t
version,
youmuscles.
already If
know
how
it works.
It’s a PDF,
76 for half the room and 66 for
the
other
on
the
other
hand
she
is
thinking
along
and
that
these
units
do
not change the
and you open it with Adobe reader, etc.
half. I also have a small opening
at
the
the
lines
of
an
Olympic-grade
training
sound.
But we also have a paid electronic version, which is complete, without banners like
end of my room that is 56 deep,
wide,
room,inthen
preemptive
According to my local audio retailer,
this 1one,
or articles
fluent
gibberish.action to finish
76 tall. Three and a half of the
four
walls
the
room
would
seem
urgent!
if
power
conditioning
or simply chang That one, because it is complete, has to be ordered with a credit
card. To open
are concrete (as is the floor)it,
and
the
16
We
had
to
decode
your
descriping
power
cords
would
actually improve
you also have to download a plugin for your copy of Adobe Reader or Acrobat.
long wall already has 6 framing
on
it,
so
tion,
since
you
didn’t
put
units
on
any
the
sound,
wouldn’t
manufacturers
like
You’ll receive a user name and password to allow you to download your full copy of
I guess the room is actuallythe
129
wide.
of
your
measurements
(but
we
figured
Linn
offer
it?
How
do
you
guys
feel
magazine. You’ll need the same user name and password the first time you open
There is insulation wrap on three
of the on
your
room
wasn’t 133
wide,
nor 133
powerit conditioning?
the magazine
your
computer,
butfeet
only
the first
time. about
After that,
works like anyIs it a necesfour walls. I was planning onother
usingPDF.
2x4’s mm wide). Since the room is mostly sary option or a gimmick?
and drywall construction everywhere
we wouldEdition
be tempted
usebuy anIissue
also read
that certain
For details,unfinished,
visit our Electronic
page.toTo
or subscribe,
visitareas do have
else but the lower half of the
ceiling.
I
the
walls
as
absorbers,
as
we
did
in
the
poor
power
(e.g.
New
York City), and
MagZee.
was thinking of using acoustic ceiling design of our original Alpha room. We places like these would benefit from
tiles to have access to plumbing (it’s not a don’t want to upstage Paul Bergman power conditioning. How is the power
must though), and carpet with underpad and his continuing series on acoustics, in Montreal?
on the floor.
but you might use thin wood panelling Regards,
My questions are:
rather than drywall, and stuff the cavity
Tony Giaccio
1) Are the building materials I’ve behind it with mineral wool. You can add
MONTRÉAL, QC
listed good for my room? If not, what some broadband absorption by using
should I use?
perforated panels on half that surface.
We’re in a Montreal suburb, Tony,
2) Some of the dimensions of my Masonite panels are available predrilled, and our power is well above average in
room are close to being divisible by each though the number of holes is about half quality, with nearly constant voltage
other. What (if anything) should I do the ideal number (if you have a steady (118 to 120 volts), and with no nearby
about that?
hand and a good drill, you can add some heavy industries to shove noise into
3) Should I make one or more of more).
the system. Even so, we have found
my walls crooked? If so, how much and
For the carpet underpad, get a enormous changes for the better with
which ones?
natural felt material rather than the properly-designed filters, and also with
4) Should I use that small opening for plastic derivatives most stores carry. A high-quality shielded power cords.
anything or just drywall over it?
dropped acoustic ceiling might be a good
Do filters change the sound? Well
5) I have always angled my speakers addition. If you angle the speakers, it’s yes, and if they didn’t you wouldn’t want
the way you showed in your book (any probably a good idea to do the same with to spend money for one. However some
readers who haven’t tried this really the drapes.
change the sound for the worse, as you
How the electronic version works
Equations. I have an Audiomat Opéra
and am planning to hold on to it for some
time. Your opinion would be greatly
appreciated.
Cel Azzoli
TORONTO, ON
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have already noticed. Similarly, not all
“high end” power cords are improvements over the $3 cord that comes with
nearly all equipment, although shielding
is always a good thing to have.
We have often been asked why a
company that makes a $10,000 amplifier would include a cheap power cord
that is likely to cripple its performance.
The reason is that adding a good cord
would raise the price substantially, and
in fact more than you might suppose,
because there is a multiplication effect
imposed by the cord’s passage through
the distribution chain. Consumers will
not necessarily accept a higher price on
the basis that they are getting a better
cord. What’s more, some buyers would
ask why did you use wire X and not wire Y?
One of our reference power amplifiers,
the Moon W-5LE, came with a Cardas
power cord, but it was one that Cardas
itself does not recommend for power
amplifiers. And so it goes.
Our experience with Linn components is that their switching power
supplies isolate them from the power
line somewhat more effectively than do
conventional power supplies. Even so,
we run our Linn Unidisk player with
a Quality power cord and through our
MaxCon line filter. One role of the filter
is to protect components from each
other.
I am considering upgrading my
speakers from Reynaud Cantabiles to
the Equation 35. I seem to remember
UHF attending the last Montreal show
and having positive things to say about
the Mutine display, which featured the
Yes, we did say good things about
the Mutine room at the Montreal show
(actually, both Mutine rooms), and we
have heard the Equation 35 speaker
under other circumstances too. It sounds
very good, and when it is carefully
matched to the right gear it can sound
spectacular. It should get along well with
your Audiomat amplifier.
But you know us, we always come
back to the source. There can be flaws
in a source and associated components
that your J-M Reynaud speakers would
forgive but that the Equations will not.
Be sure your source is pure before dropping a substantial amount of money on
loudspeakers. Also be aware that the
Equations are many times larger than
your present speakers, and you will need
to find space and time to make them
sound their best.
I have the chance to buy four different integrated amplifiers. They are
a Sima PW-2000 for $240, a Sima
PW-3000 for $300, a Cyrus Model 1 for
$300, and a Sugden A25 for $300.
Which one should be the most reliable and will match with my loudspeakers? I have Totem Mites (old ones with
8 ohm impedance) and a Cambridge
Audio D300SE CD player
Eric Dumais
OTTERBURN PARK, QC
We think the Cyrus would edge out
the famous Sugden A25, Eric, and that
would be our first choice. The PW-3000
has good dynamics, rivaling the Cyrus
in that respect. Though the PW-2000 is
cheaper, it is also a lot older and a lot less
interesting.
My question is so basic that you’ll
probably find it annoying. I am about
to purchase my first hi-fi system. I’m
probably not like most of your readers,
who know lots about the equipment — I
don’t know anything and I’m not really
looking to know that much. I’d like to
The Totem Forest…
…as it should be heard. At Audioville. In a setting designed for
serious listening, surrounded by some of the greatest audio
equipment ever made. Come and hear it.
CONRAD-JOHNSON•CHORD•CEC•BRYSTON•REGA•ARCAM•ROKSAN
NAD•HARMAN KARDON•TOTEM•KEF•KEF REFERENCE
LIVING VOICE•NEAT•PANASONIC•SHARP•TOSHIBA•SIM2
STEWART FILMSCREEN•GRADO•AUDIOQUEST•MARANTZ
always focused on the speakers (yes, I
read your book on hi-fi and know about
the importance of the source). From
the Mites to the Forests, I was shown
everything. They were nice, but did not
wow me.
I once was shown a system — don’t
remember the components, but the
speakers were the Energy Veritas 2.3
or 2.4 (don’t remember now) — at the
time the sound coming from that system
impressed me. Do these still exist? Are
there equivalents that sound similar?
BBR told me that Energy is done now,
they’re really bad, and that technology
has moved forward so much that there
are much better speakers/systems these
days (they don’t carry Energy anymore — sounded like business/politics
to me).
I listen to various music. I like eclectic
world mixes: e.g. classical with African
drums, or electronic with live improv
of African drums. I love Moby and in
fact that’s what I listened to on Veritas
speakers.
Because I grew up on fairly “organic”
home-made and non-digital systems
built by friends for my dad, is there a
line/sytem that is more “pure/organic”?
For example, I totally don’t mind the
scratching noise on an analog record,
because I hear the warmth that I don’t
notice in CDs. Would tube amps be a
possibility for me? Is it true that they
degrade very quickly and are problematic
and I’ll spend time replacing tubes and
fixing them?
I came accross a company called
ornec.com that sells equipment at good
prices. If they sell Chinese-made equipment, is that a problem with quality?
Once again, please forgive the naive
questions.
Radek Now
TORONTO, ON
Well no, they’re not naive questions,
Radek, but they certainly are broad.
“What system should I buy” is our least
favorite question (right before “what
speaker should I buy”), because there are
a thousand answers. UHF’s very reason
for being is to help you find the path to
choosing the right system for your needs,
and then — if you wish — to continue
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listen to music rather than research
equipment.
Could you recommend a couple of
systems I should test? Would you be able
to list what I need to get if my budgets
are respectively the following: $1000,
$2000, $3000, $4000 and $5000? I will
then attempt to listen to these configurations, or if you’re able to indicate which
package is the best value, I would just
start looking to purchase one.
I’m not sure if these days one could
buy a hi-fi system for $1000, but I
thought I’d ask. I probably won’t spend
the $5000 either, but if you advise me
that this is really what I need, then I’ll
do that.
My system would be in a 10 x 15’
living room. I grew up in Poland listening to vinyl and amps made the “old
fashioned way,” by friends in basements.
I got used to that sound and it’s hard for
me to listen to something like the Bose
systems Bay-Bloor Radio was trying to
sell me.
Bay Bloor demoed the Totem speakers
with various systems for me — Yamaha/
Denon, NAD, Arcam, Roksan. They
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The Reimyo CDT-777
should be coupled to high quality electronics. As for Energy, the reason your
dealer no longer has it is that the Canadian company making Energy was sold
to a US company, Klipsch. The Veritas
speakers are still listed, but we should
add that in our last review of a modern
Energy speaker (the new Reference Connoisseur in UHF No. 75) we didn’t have
a very good time.
Tube equipment can be a very sound
choice, and does rather fit the description
“organic,” but it’s true that now and then
you may need to change a tube, and for
that reason you will want to keep one or
two of each tube type in a drawer. Other
than that, well-designed tube gear can
last for decades.
There are more and more Chinesemade products on the market, and Chinese-designed products as well. As you
might guess, some of it is very good, and
some of it is not. You can probably find
local stores that offer selected Chinese
products and can demonstrate them.
Ornec is a British company, and you
would have to pay overseas shipping. Nor
can we see any sign that they preselect
the products they offer. A competent
dealer should.
its development. If there were a single
answer we really wouldn’t know what to
I’m writing concerning your excelwrite anymore. Fortunately, or unfortulent article on dezoning DVDs in UHF
nately, there isn’t just one answer.
First let’s talk prices. It is possible to No. 77. A reply from you would greatly
build a system between $2500 and $3000 reassure me.
You mentioned that computer DVD
that will reproduce music in a way that
keeps most of the musical values intact. drives can change zones only five times,
Of course $5000, if carefully spent, can and I know the drive in my computer
give you more, possibly much more. has that limitation. To get around the
For years now, we have been publishing, on our Web site, a free PDF
Building a system for $1000 can be done problem you suggested dezoning the
version of our magazine.
and we know someone who has done just DVD itself using a program such as
The reason is simple. We know you’re looking for information, and
that. However he did it by purchasing DVDShrink.
that is almost certainly why you’ve come to visit our site. And that’s why
But here’s my question. The comused products, some of it from garage
we give away what some competitors consider to be a startlingly large
sales (his original turntable was a $15 puter drive has to read the data on the
amount of information…for free.
Thorens), and by searching over about disc so that DVDShrink can use it, even
We would give it all away for free, if we could still stay in business.
if I don’t actually view the film. Does that
three years.
Recent figures indicate that each issue is getting downloaded as many
Whether you can get by with an all- reading count against the five times the
as 100,000 times, and that figure keeps growing.
analog system depends on how willing drive can change zones?
Yes, we know, if we had a nickel for each download…
My wife uses the computer to view
you are to forgo recent music, most of
Truth is, we’re in the business of helping you enjoy music at home
which is strictly digital. Moby won’t be a movies. If the drive ever got blocked
under the best possible conditions. And movies too. We’ll do what we need
problem, whereas some electronic music permanently in Zone 2, there could be
to do in order to get the information to you.
may be. That will certainly lower your repercussions…
Of course, we also want you to read our published editions too. We
Jean Dufresne
record budget, however.
hope that, having read this far, you’ll want to read on.
SHERBROOKE, QC
There are several Totem loudspeaker
models we have recommended warmly,
We can well understand her, Jean, but
but for reasons you already know from
reading us, speakers of that caliber not to worry. Programs like DVDShrink
Why a free version?
“Technologically sound, but it’s the
magic that wins you over”
UHF Magazine No. 81
Acoustic Hardware • Atlas • Apollo
ASW Loudspeakers
audiophile CDs and LPs
Audioprism • DH Labs • FIM • Goldring
Gutwire • Harmonix Reimyo
Last • Milty • McCormack • QED
Roksan • Sonneteer • Target
Vandersteen • Wattgate • WBT
www.arcadiaaudio.com
[email protected]
Elora, Ontario
(416) 994-5571
and Mac the Ripper read the data, not
the film, and they don’t need to switch
your drive from one zone to the other.
You may, however, want to set your
computer’s preferences so that Windows
Media doesn’t launch each time you
insert a DVD into the drive. Otherwise
it will launch and give you the tiresome
warning about how many zone changes
you have left (of course, you can always
say no).
We should add that, even dezoned,
the DVD (or actually its copy) will
remain in PAL format, which differs
from NTSC both in the number of lines
and the number of frames per second.
Three of our players (from Simaudio and
Sony) are unable to play them. Our Linn
Unidisk will. Some very cheap players
can too, but you won’t know until you try
it. Even so, you’ll need to connect it with
a composite cable, not the higher-quality
component video cable set.
Rick, you probably know we recently
reviewed an Audio Space amplifier (the
AS-3i as it happens) and pretty much
fell in love with it. It offered particularly
good value for money. Though we like
Audiomat amplifiers a lot (and we actually own one Audiomat product), we
rather imagine even a used one will cost
a good deal more.
There are also other versions, using
KT66 tubes instead of the EL34, which
we do somewhat prefer to the KT88 version. These amplifiers have front-panel
switches allowing you to run the tubes
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in triode mode, at lower power of course.
That might be a particularly attractive
feature for you.
The Passion i12 is no longer made,
but it is a variant on Antique Sound Lab
amplifiers, and it too offered exceptional
value for money.
I am hoping you can offer some
insight as to what might have happened
to my little Cayin tube integrated amp
when I recently changed the power
tubes from the stock Russian EL84’s to
a matched quad of JJ’s.
About two seconds after I powered
up, I heard a disconcerting noise, not
really a “pop” but more of a loud “foof.”
I’m not sure if it came from the speakers
or from one of the tubes. I could smell
a burnt odor if I put my nose close to
the amp. None of the tubes looked any
different, nor did the amp sound as if
something was wrong.
This amp is either fixed or self-biasing, so I can’t check the bias. I am happy
to report it has not happened since, and
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I have a LA Audio 60 watt tube KT88
amp. I like the amp but it has crackling
and a hum that comes and goes despite
spending money to get it repaired. The
other day there was a burning smell and
now one tube does not work (the tubes
are only 2 month old).
The three amps I have been considering are the Audio Space AS-3i, a used
Audiomat Arpège, and a Passion i12.
I have Castle Severn SE2 speakers
and an Ariston 11s turntable. I like
mainly classical music and play it at low
volume. I like the warmth of tubes and
turntable. I will retire in two years, so
would like something that will last.
Rick Furnival
TORONTO, ON
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there is no longer a burning smell. What
do you think could have happened?
Tim Leeney
GEORGETOWN, ON
We’re going to have to speculate,
Tim, and rather wildly at that. So here
we go.
Assuming the amplifier really is not
damaged, since it sounds no different,
we think there was a strand of wire that
was somewhere it should not have been.
It wasn’t inside the tube itself, because
there is no way that a burned odor can
have escaped from a sealed vacuum. The
only other possibility is that the strand
was either inside the base of the tube
but outside the sealed chamber, or more
likely was touching two of the pins at the
bottom of the tube. That would suggest
the people at the plant should sweep
more often. If we are right, the stray
strand shorted out the high B+ voltage,
until it got vaporized and then all was
well. “Foof” is pretty much the sound an
exploding strand makes. You’re probably
wondering how we know.
If we have guessed wrong, then the
event occurred inside the amplifier, and
that’s a little more serious.
to a binding post for instance) that has
come loose. Some years back, one of our
reference speakers developed a symptom
that sounded for all the world like a
cracked tweeter. In fact the crimped
connection inside one of its WBT binding posts had loosened. Tightening the
small Torx screw solved the problem.
So obviously there are things you can
check before thinking about finding new
drivers.
If the problem really is caused by
a driver, we would consult a company
that sells a wide variety of drivers, such
as Solen, who may be able to suggest a
more or less close equivalent. Yes, you
will need to change the drivers on both
sides, and no the sound won’t be exactly
the same after the operation.
I am now shopping for a good CD
player, and a good FM tuner with no
digital frequency readout. Please suggest
some good brands and the total costs.
Fred Saxon
TORONTO, ON
Well, the tuner is easy enough, Fred,
because hardly anyone still makes tuners
without a digital readout. The reason
is that the tuning/display chip is now
I have an older pair of Castle Chester manufactured in huge quantities for
speakers (12 to 15 years old). One of the mere pennies. there are no prizes for
speakers has developed a buzz at certain guessing in which country.
frequencies. I am assuming that it is the
The one company we know of still
speaker in need of repair. I have visu- making a true analog tuner, Magnum
ally inspected it and the enclosure and Dynalab, uses digital readouts too.
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capacitor in the crossover can cause range, typically, from $600 to $1400.
buzzing too, and so for that matter can
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That can certainly be one explanation, Dave, but after you’ve tried a
number of discs and you still hear the
same snakelike hissing, you come around
to the inevitable question: what do all of
my recordings have in common? Right…
the system I’m playing them on.
Normally this would be a fairly
“The Sonogram is one of Gershman’s best speakers, and indeed
one of the best speakers this sort of money will buy.”
UHF Magazine No. 81
Advice
Feedback
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time I really really need your help. This
is driving me crazy.
On a lot of CDs and SACDs, whenever there’s a female vocal with a “sh” or
an “ss” sound, it’s very, very prominent
and fatiguing, almost like there’s an
extra nasty hiss to it. At first I thought
it was just the CD, but I hear it on a
number of CDs and SACDs including
some audiophile recordings. I would
be very disillusioned to find out that,
after 30 plus years of digital recording,
something like this could still be this
common on CDs and SACDs.
I thought there was something wrong
with my speakers, as I’ve hadn’t noticed
these sounds until recently. However
I tried each speaker individually and
they’re the same. I’ve recently upgraded
a number of things. I’ve got a new PS
Audio passive power conditioner, and
new PS Audio power cables. I’ve recently
upgraded my speaker wire to a biwire
pair of Monster Cable M1000’s. I was
not biwiring before.
The rest of my system consists of a
MSB Link Dac III Gold D/A converter,
Sony SCDXA9000ES SACD player,
Simaudio P-5 preamp, Linn LK 85 amp,
Van den Hul The First Ultimate and
Jubilee interconnects, and Totem Forest
speakers.
I’ve tried swapping almost everything: the preamp, different sources,
different interconnects, power cords,
power conditioners. About the only
thing I haven’t tried is swapping the
speaker cables, as I don’t have another
biwire set, and I don’t have another set
of speakers in the same league as the
Totems either. Is it my system or do I
just have to accept the fact that, since my
system is so clear now, I notice the fact
that many digital recordings, including
expensive audiophile ones, are just plain
bad?
Dave L
Toronto, ON
straightforward question to answer,
because we would have a whole lot of
suggestions for altering your system to
see whether that makes it sound better or
worse. Trouble is, you have tried a lot of
these things already, and you’re no better
off than you were, so what now?
You should know first of all that you
are not alone. We have explained in the
past why it is particularly difficult for
a music system, analog or digital, to
reproduce high frequencies, and overly
aggressive sibilance is something we
ourselves hear a lot. We work hard not
to have to put up with it in our reference
systems, but changing even a minor
component can bring it right back. We
actually have certain recordings that
will trigger the sibilance problem unless
everything is just right, and of course we
use them deliberately. We’re nasty that
way.
So…have you actually tried everything? You should realize first off that
if you change a component and the
problem that concerned you doesn’t
vanish, you could still be on the right
track. You might have substituted one
CAMBRIDGE AUDIO • CLEARAUDIO •EXPOSURE AUDIO • GRADO •ELAC•TRIANGLE•MUSICAL FIDELITY
but one exception that struck us was the
power amplifier. The LK85 design is
from a couple of Linn generations back,
and it doesn’t have the heft to drive the
Totem Forests the way they would like to
be driven. If you haven’t tried a different
amp, that could be your next step.
Then enlist the help of your favorite
dealer, though you shouldn’t be quick
to buy something before you’ve nailed
down the problem. Pick one of your
female vocal recordings whose sibilance
particularly troubles you. Choose a
song and listen to it two or three times
on your own system, trying as best you
can to concentrate on the music itself
rather than on an individual aspect of
it (the “S” sounds, notably). Ask to hear
the same song at the store and try once
more to concentrate on the music. If you
are still bothered, point out the problem
to the salesman and ask whether he has
a solution…not to fix your system (that
will come later) but to fix his. That may
bring you a clue as to what is wrong.
Don’t worry if none of the components
in the store system are ones you own,
because that isn’t the point. There’s
always more than one way to make music
sound right.
Last but hardly least, look around
your own listening room. A re the
speakers optimally placed? Are there
hard surfaces to cause early reflections
of high frequencies? Are you too close
to the speakers? Are you getting highfrequency splash from the ceiling? Are
the spikes tight? What are the source and
electronics sitting on? Your cables may
be great, but are they tightly fastened?
That last point alone can bring major
troubles in the highs.
We know from ongoing experience
that changing one single part of our
system can cause exactly the problem
you’re struggling with. We also know
that sometimes a small adjustment can
have the same result.
possibility (though not a very pleasant
one) that all the links in the chain are
fine, but that they just don’t get along.
You mention having tried substituting virtually everything in your system,
I have been having major static problems with my analogue front end, to the
point that I actually feel resistance when
I take a record off the platter!
I have tried the Zerostat antistatic
pistol, regularly clean my records with
the Goldring Super eXstatic brush and
sprayed fabric softener (diluted in water
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problem component for another, or even
a worse one. There may be some element
of the system that you hadn’t included
in your list of likely suspects, but that
you should have. And then there’s the
according to your suggestion) on the
carpet. All to no avail. What should I do?
and is this dangerous to the system?
Gabriel Fillion
Montréal, QC
I have noticed that you use Reference
3a speakers in two of your reference
systems.
I have a pair of 3a Diffusion Type
70 speakers that I have never been able
to obtain any information on. Have
you ever heard or seen these speakers
before?
Lance Leake
BLOOMFIELD, NJ
No, they’re new to us, Lance, and we
suspect they were originally intended
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for European distribution. The logo
visible in the photo you sent us is that of
3a Design Acoustic, which was Daniel
Dehay’s second company, located in
Antibes, France. Its successor, located
in Switzerland, was called Reference
3a, and it was that company which built
our Suprema reference speakers. The
designer throughout was always Daniel
Dehay, at least but for one minor exception. Dehay has since retired, and Reference 3a subsequently became a Canadian
company.
We have never heard of the Diffusion
line, and we suspect it is from an earlier
time, possibly the late 1980’s, before
Dehay began using the carbon fibre
woofers that characterized a number of
his designs.
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Well, it can be, Gabriel. Modern
electronic components are to all intents
and purposes computers, with actual
microprocessors. This is true of CD
players and many preamplifiers, notably.
Microprocessors are especially vulnerable to static, because a direct discharge
can actually punch a tiny but fatal hole
in the chip substrate.
Before we began treating carpets in
winter with diluted fabric softener (as
you have done too), we found that sometimes just touching a light switch in the
same room would cause our preamplifier
to crash. Yes, crash…just like a computer.
We would have to reboot it, unplugging
it and then restarting it. Scary! About the
same time we actually lost an expensive
hard disc the same way.
We also use the Zerostat, at least in
winter, when it’s dry and sparks fly freely.
Once we had our Linn Sondek (which
replaced an Alphason Sonata that had
no mat), we noticed that the Linn’s felt
mat seemed to be loaded with a powerful
static charge. It got so bad we couldn’t
lift a record off the platter without the
mat coming along for the ride. The
answer for us turned out to be spraying
the bottom (notice, not the top) of the
mat with our 7-to-1 dilute fabric softener
solution. We let it dry and put it back on,
and then it was fine for a few days.
By the way, the hinged dust cover of
our Linn is in storage. If yours is hovering above the turntable, that could be
your problem right there.
Up to *320% more conductivity
than the RCA or Banana plug
you presently use.
Acoustics
Part V
Better Sound Through Diffusion
I
n this continuing series on acoustics for the home listening room,
I have concentrated quite a lot on
absorption of sound. A totally
non-absorbing
room, if such a
thing were possible, would have an
infinite reverberation time:
if you were to make a sound in
it, it would keep rolling around forever. Of course
that is not what we
want, but nor do we want
a totally dead room, with the
acoustical properties of the corn
field I evoked in the very first
installment. Systematic absorption of
sounds is one of the keys.
The other is diffusion.
Most rooms are rectangular, which
means that any one of its surfaces is
perfectly parallel to the opposite surface.
Rectangular rooms allow efficient use of
interior space, and their use is therefore
so common that we tend to think of
that shape as æsthetically pleasing as
well. That is debatable, but the effect
of a rectangular room on acoustics is
not. Parallel surfaces are not good for
sound.
A partial solution might be to build
the room with non-parallel walls and
a sloping ceiling, and indeed this is
commonly done in recording studios
and now and then a listening room.
This requires, however, a purpose-built
room, a luxury not all can afford. It also
requires special construction, and either
adjacent rooms will be similarly nonrectangular, or else there will be wasted
space. The installation will require a
building permit, which is best obtained
if the building inspector does not show
up with T-square in hand.
I need hardly add that such rooms are
options only for the well-off. Even so, a
construction likely to be viewed charitably as eccentric is unlikely to impress an
eventual buyer, and for that reason it may
lower the resale value of what is bound
to be an expensive home.
There are other alternatives for diffusing sound, fortunately, and I shall
here discuss some of them.
Most audiophiles are likely to choose
home-made methods over commercial
products simply because they are likely
to be more economical, and they are also
less likely to make a living space look like
the back room of a laboratory. However,
for reasons we will get to shortly, I shall
begin with the principles behind some
commercial designs.
One such device, a barrel-shaped
diffuser, is shown schematically for
illustration on this page. This device is
at once an absorber (a thin membrane
over mineral wool) and a diffuser. The
way it works is no doubt evident. Because
it is convex, sound striking it will bounce
off at varying angles. It will therefore
be impossible to maintain a standing
wave.
At least that will be true if the module
is very large. As I have explained in a
previous installment of this series on
acoustics, sound behaves differently at
different frequencies. At higher frequen-
by Paul Bergman
cies it behaves as in the illustration,
which is to say the way light rays do.
At low frequencies, on the other hand,
it behaves as waves in the ocean do. At
least that is the
way it is convenient to represent
its behavior.
At high frequencies,
then, the barrel diffuser will work
as shown,
spraying sound
over a variety of angles,
preventing the formation, or
at least the maintenance, of standing waves. Whether this is of
much use is doubtful, however,
because as I have established in the very
first installment, it is at low frequencies
that we need to dissipate standing waves.
That is because, at higher frequencies,
the standing waves are so tightly packed
that their behavior becomes uniform.
A barrel diffuser that is much smaller
than the quarter wavelength of the
incident sound wave will not operate as
expected.
We can, to be sure, make it of very
large diameter and depth, but its cost
will soar, and its appearance will not be
décor-friendly. That is why barrel diffusers are most often found in studios
rather than in homes.
Because we will wish to diffuse
sound vertically as well as horizontally,
we may wish to install both horizontal
and vertical diffusers, or we may wish to
make the diffuser round, so that it can
diffuse in both directions at once. Such
devices, if they are large, as they almost
certainly will be, are best mounted on
the ceiling.
Allow me to open a parenthesis. In
many large halls, especially those of
traditional design, you will find what
appears to be the opposite of a diffuser,
namely a convex cavity. For the most part
these were not designed for any sort of
acoustical benefit, but were the result
Good enough
UHF uses them!
Get UHF on your desktop anywhere in the world!
See them at The Audiophile Store
Page 57
M A G Zee
Acoustics
of the use of an external dome. If the
dome is empty, as frequently it is, it will
be concave on the inside. Concave ceilings cause serious acoustical problems,
notably focusing of sounds from one
part of the space to another. Churches
frequently suffer from this phenomenon,
but so do some older university lecture
halls and other secular buildings. This
photo is of the famed Galeries Lafayette
department store in Paris.
A lot of our readers were excited
about having Paul Bergman expand on
his original series on a coustics. We hope
you’ll want to read on, in our print issue
or our full electronic issue..
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Acoustics
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Acoustics
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Good enough
UHF uses them!
See them at The Audiophile Store
Page 57
M A G Zee
Feature
Batteries for Audio
I
t won’t have escaped your attention
that more and more audio equipment today runs from batteries
rather than power lines. That used
to be true only of junk electronics, but
not anymore. Portable music players,
some of which are crowding the high
end in both price and performance.
Remote controls. Even amplifiers.
The last time we wrote about battery
technology (Power to Go in UHF No. 64),
the newest technology was nickel metal
hydride, like the batteries shown on this
page. We wrote then, and we maintain,
that they are the best general-purpose
rechargeable battery available. They
have higher capacity than the older
nickel cadmium cells, they have come
down radically in price, and the special
chargers they require can often do the
job much faster…a boon in our culture
of instant gratification.
What’s more, an NiMH battery can
provide much more current without
dropping voltage. Even a transistor radio
sounds better with them than with most
other types, notably NiCd. But they
aren’t right for everything.
Rechargeables: good or not?
The reason to use rechargeable batteries is of course to save money, and possibly to reduce our ecological footprint.
If a set of rechargeable batteries can be
reused 1000 times, that means keeping a
lot of those metallic cylinders out of the
landfill.
However rechargeables have some
serious drawbacks. For the most part
they have shorter life, which means
changing them (or recharging them)
more often, which also means the 1000
cycles don’t mean what you would think.
Worse, the duty time between charges
gets shorter and shorter as the battery
ages. This is true even if you treat the
batteries in a way that will maximize
their life, which is of course not what
most people do.
Nor will rechargeable batteries keep
a charge with time. Check the “best
before” date on your alkalines, and
you’ll probably see they can be expected
to work for three or four years. With
most rechargeables, it will be more like
three or four weeks. They can be great
for products that are used often, such as
a portable phone or an iPod, really bad
for that flashlight you keep around for
emergencies.
There is a not her dow nside to
rechargeables, though it is the result of
what would seem to be an advantage.
Rechargeable cells typically maintain
full voltage during their entire discharge
cycle. That’s good, of course, but the
“low battery” warning on an electronic
device, such as a radio, depends on
dipping voltage. With alkaline cells it
may warn you that the batteries will be
depleted in 30 minutes. With rechargeables it will be more like 30 seconds.
Nickel cadmium
That was the first rechargeable battery to displace the lead-acid battery
invented in the 19th Century and still
used in automobiles.
NiCd batteries are less toxic, containing neither lead nor extremely corrosive
acid, but they can contain small amounts
of mercury. They have a favorable
weight-to-capacity ratio too, and some
years back there was an attempt to
market a NiCd car battery.
However NiCds are, in some ways,
not as good. In order to start a large car
engine, the old lead-acid battery can
provide huge amounts of short-term
current, not far from 200 amperes.
NiCds can’t do as well, and for that
reason they perform quite poorly in any
portable audio gear that has high end
pretensions.
The NiCd is also known for its
infamous “memory effect.” If you consistently recharge them when they are
50% depleted, they will “remember” that
and “think” they have only 50% of their
rated capacity. But here comes Catch 22:
run them frequently all the way down,
and you will dramatically shorten their
lives.
We should mention that some battery
experts contest the very existence of the
memory effect. However we “remember”
our experiences with NiCds, and we
“think” the effect is real.
Nickel Metal Hydride
The NiMH rechargeable became
popular a little over five years ago,
despite its then very high price, and the
requirement of a special charger. Their
draw, however, was that they had far
larger capacity, and could therefore go
longer between charges. They also didn’t
have the dread memory effect.
When we reviewed them, we found
that using them in quality audio devices
resulted in noticeably better performance. That was because of their lower
internal resistance: they could deliver
higher current, at least on a short-term
basis, without their voltage dropping.
That’s what audio designers strive for
in amplifiers and other products, of
course.
Since our review, new variants of cells
and chargers have been introduced, some
of them allowing a 15-minute recharge!
Those batteries will probably not have
been optimized for maximum life, needless to say.
NiMH cells have their own weaknesses. They do suffer from what resembles a memory effect, though a weaker
one. And although they are typically
rated at 1000 charge-discharge cycles,
just like NiCds, their internal resistance
will rise faster, and chances are you will
be looking for replacements after 300
cycles or so.
Of course, your mileage may vary.
In the meantime NiCd batteries
have gotten better, and in particular the
memory effect has been much reduced.
However there is a gap between research
and marketing. The newest NiCds are
used in industrial products, whereas the
ones on your store shelf are of the old
design. And because NiMH is what is
selling today, those NiCds may also be
several years old.
Lithium Ion
These batteries are not often found
in consumer sizes (AA, AAA, 9V, etc.).
Rather, they are much used in laptop
computers and in such devices as iPods,
cameras and portable phones. An Li-ion
cell has about double the voltage of a
conventional cell, which makes it suitable
in compact battery packs.
Li-ion batteries have been in the
news for certain problems, including
overheating, bulging and even exploding. They also have a short shelf life.
The future
A capacitor can hold a substantial
charge, and it can release it nearly
If your audio equipment shuts down because its batteries die, no big deal. Just
enjoy the sound of birds and breezes for a bit. But if the gear that doesn’t work is a
smoke detector, all that may be behind you. We believe it’s time for legislation to
make battery companies and their retailers fly right.
Householders on a tight budget get hit with a
one-two punch by battery suppliers. They get
reminded twice a year to change their alarm
batteries, but no one mentions what sort to get.
The correct answer is an alkaline 9 volt battery,
but where do you find that?
At some sources you can pick one up for
under $2, but if you check them at the supermarket, you can pay as much as $9 for the darn thing. That’s not surprising, because
supermarket fruit and veggies also cost two to three times what you could buy them
for elsewhere. But there’s worse.
Right next to those alkaline batteries priced beyond most budgets, there are
other batteries, also overpriced but cheaper. They are generally called Super Heavy
Duty batteries. They don’t fit that description.
They are carbon-zinc cells, a sort of battery invented in the 19th Century (actually
the 1840’s). They have extremely short life, perhaps a tenth that of an alkaline, their
voltage begins to drop as soon as you use them, falling quickly to a level possibly
too low to allow the alarm to awaken a sleeper. Not long after they will leak and
destroy the product.
Some of these batteries bear famous names, such as Sony and Panasonic, though
most have obscure names. We have actually seen “Super Heavy Duty” batteries
with a black body and a copper top, so they look just like the familiar alkaline
Duracells.
Don’t buy them. Don’t let friends buy them. Ask your local fire department why
they just recommend “batteries” for smoke detectors and don’t get more specific.
Next time someone dies in a fire because the alarms were dead, phone and ask
whether the alarms had “super heavy duty" batteries.
And of course don’t put them into your audio equipment.
instantly, delivering very high current.
It cannot hold it for long, however, which
means it needs topping up frequently.
What’s more, its energy density, the
ratio between its electrical capacity and
its physical volume is just dreadful.
But there are new versions, known as
Super Capacitors, which offer interesting possibilities. They are made with
nanotubes, tiny strands so fine they are
invisible to the naked eye. The nanotube structure has much more available
surface than any conventional capacitor.
We have heard of a Super Capacitor that
can deliver a short burst of current of as
much as 1800 amperes! That might be
enough to vaporize the leads attached to
it, but the possibilities are interesting.
Interestingly enough, there is research
still being done on the old lead-acid
battery. Its materials are cheap, though
highly toxic, and special techniques are
being developed that could give them the
highest energy density of any battery.
We have doubts. The European union
bans electronic products containing lead
solder. Lead in batteries? Mercury and
cadmium are bad enough.
For the moment, NiMH is the one
to choose in consumer sizes. Give them
proper care, and they offer cost effectiveness and high performance.
And don’t overlook the good old
alkaline.
Feature
Feedback
Rechargeable alkalines
These batteries appeared about the
same time as NiMH, and they were then
cheaper. Imagine an alkaline battery
you can recharge. Is it the best of both
worlds?
Well, no. Actually normal alkaline
batteries can be recharged too, and some
people do it routinely. However they may
overheat and leak during recharging.
There have also been rare occurrences
of them exploding. Battery makers have
played up the danger for obvious reasons,
but it really can happen, and for that
reason we won’t recommend you do it.
The rechargeable alkaline is a Canadian invention. Though these cells
can be recharged safely, they require a
special charger, and they can withstand
relatively few charge-discharge cycles.
On the other hand they can hold a charge
much longer than other rechargeables.
How Battery Companies
Can Kill You
Rendezvous
The Man Behind the
London Cartridge
Feature
Feedback
Brian Smith is the long-time managing
director of Presence Audio, the distributor
of London phono cartridges, and of Decca
cartridges before that. We caught up with
him shortly before we reviewed the
London Reference, in this issue.
UHF: You’ve been with this company
for a long time.
Smith: I started Presence Audio,
the world distributor of these products, in 1984. When Decca closed
in 1988, John Wright — one of
the engineers with Decca — and
I got a license to make them and
sell them worldwide. But Decca sold
its brand name to someone else, so we
used “London,” which was already a
Decca-owned brand.
UHF: But these are not the original
cartridges.
Smith: They are new products. The
Jubilee was introduced in 1992, and in
2004 the Reference. The new ones were
my idea, though I’m not an engineer.
The idea was to improve on the Super
Gold, which until 1992 had been the
top model.
UHF: This is really an original invention, and it must present some unique
challenges.
Smith: Yes and no. The difficulties
people have had were caused by them
not following instructions. Some people
think it’s like an Ikea product. We have
seen people actually open the cartridge
up to modify it.
UHF: Do they really do that?
Smith: They do, and then they send it
back and say it’s faulty, and make a claim
under warranty! If there were a way to
improve it, we would have done it.
UHF: Are there other challenges?
Smith: There have been problems with
hum induced by turntable motors, but
today the vast majority of turntables have
shielded motors.
UHF: Is there still a problem of compatibility with certain tone arms?
Smith: In the many years I’ve been
working with these cartridges, I have
never had anybody say that “this cartridge doesn’t work in my tone arm.”
Occasionally someone will claim that
it works better with a unipivot arm, or
better with damping, as for instance in
the SME arm. There were also stories
going around in the 50’s that Decca
cartridges carved up records. I’ve never
had a single letter from anybody claiming their records had been damaged. But
I’ve had letters, phone calls and e-mails
from people objecting to a magazine
perpetuating this.
UHF: But it was true for a long time that
these cartridges required more stylus pressure
than others.
Smith: Back in the 50’s they were tracking at 3 grams.
UHF: Quite a lot at the time.
Smith: Yes, but in some cases people
got record damage because they set
the pressure to 2 grams, and damaged
their records from mistracking.
UHF: But 2 grams is what you recommend today.
Smith: It’s 1.8 to 2 g now.
UHF: What are some of the rules to be
followed in setting it up?
Smith: You need a good stylus
gauge, and you need to get the antiskating bias right.
UHF: But that’s true of any cartridge.
Smith: Yes, but we had a reviewer
recently who wrote he had problems
setting up the cartridge. Now, we’ve
had reviews around the world, and that
was the first time we read such a claim.
Maybe he was someone who hadn’t done
much turntable setting up himself.
UHF: That might be true of some dealers
too.
Smith: Yes, there is that problem. Back
before CD, every hi-fi dealer had to know
how to set up a turntable. In England
some stores now specialize in analog, and
they set them up all the time.
UHF: The original Decca cartridge arrived
a very long time ago. How aware are audiophiles of the Decca cartridge and its London
incarnation?
Smith: Apparently some are not. London
cartridges are distributed worldwide,
but some audiophiles still don’t know
about it.
UHF: So there’s still work to be done.
Smith: Thank you for your help in getting out the word.
Margie’s
back!
• Analogue Productions
• Audio Fidelity
• Cisco Music
• Classic Records
• Mosaic Records
• Simply Vinyl
• Speakers Corner
• Sundazed
Many other non-audiophile labels
Over 1,200 new vinyl titles in stock
And she’s at
The
Audiophile
Store
www.diamondgroove.com
1-877-DGROOVE
[email protected]
the whole sound of vinyl
for Canada and the world
Flashback: How Hi-Fi Really Began
Flashback
Feedback
I
was in high school when I won an
oratorical contest with an address
titled The Wizard of Menlo Park.
The subject of the address was of
course the inventor Thomas Edison,
whose laboratory was for some 10 years
in that location. So I was intrigued by a
new book by New York Times columnist
Randall Stross, titled The Wizard of
Menlo Park. I was even more interested
once I got a look at the subtitle: How
Thomas Alva Edison Invented the Modern
World.
Stross shows an Edison who was
the first celebrity inventor, a man who
not only came up with a whole lot of
modern technologies but who came to
personalize the drive to solve problems
with technology. For a number of years,
it was widely believed that, if Edison had
a hand in something, it was bound to be
insanely great.
(“Insanely great” is a phrase coined
by Apple’s Steve Jobs, though as we shall
see Edison and Jobs, notwithstanding
their celebrity, were totally unlike each
other.)
Stross begins with the characterization of Edison as “the patron saint
of electric light, electric power and
music-on-demand, the grandfather of
the Wired World, great-grandfather
of the iPod nation.” I must confess that
this was the way I characterized Edison
all those years ago, except for the bit
about the iPod. Stross largely debunks
the legend, showing a remarkably clever
inventor whose abysmal understanding
of business and constant distractions
by new ideas handed the spoils of his
victories to others.
Among the inventions with which
Edison is popularly credited are the electric light, the battery, the movie camera,
concrete, and…oh yes, the phonograph.
It is with him that high fidelity began,
though of course it had a long way to
go.
A unique invention
Would we have electrically-lit homes
today had it not been for Thomas
Edison? Of course we would. In fact
several other inventors had been working
and it would give us the speech back.”
The idea arrived fully formed, and
another employee, John Kruesi, put
together a device like the one his boss
had suggested. The next morning the
machine was done, though it was crude
in the extreme. The recording medium
was a strip of waxed paper that had to
be pulled past the diaphragm and stylus.
While the strip was pulled through,
Edison began the children’s rhyme,
Mary Had a Little Lamb. The strip was
then pulled through again at about the
same speed, and Edison’s voice, barely
by Gerard Rejskind
recognizable but perfectly audible,
repeated the rhyme.
on an incandescent light bulb and were
It was July 19th, 1877.
close enough to have applied for patents.
It seems evident that Edison didn’t
Edison got the patent because his bulb much realize the potential of what would
was closest to being a practical product, become one of his signature invenbut someone else would have filled his tions, and would certainly be a part of
spot soon enough. Legend aside, the “inventing the modern world.” However
same can be said about a number of there were potential competitors. Two
the inventions with which Edison is French researchers, C. L. Rosapelly and
credited.
Etienne-Jules Marey, were the subject of
The phonograph is totally differ- an article in Scientific American, describent, because until Edison showed his ing their own project. What they had
first device no one else seemed to have was not a true recording, but something
thought of the possibility. So far from like a player piano roll adapted to an
the imagination was the phonograph automaton. It would of course work only
that many observers initially refused to with speech, but since Edison had not
believe their ears, insisting that there thought beyond speech, it was urgent
was some sort of trickery involved.
for him to manifest himself. Another
Alexander
No, this free
version
is would
not complete,
though you
could spend
a couple
Graham
Bell
later Edison
employee,
Edward
Johnson,
of
hours
reading
it.
Want
the
full
version?
claim that he had been close to inventing wrote Scientific American a long letter
phonograph
You can, of course,
the print
which
wehis
have
published
the
himself,order
and had
even version,
detailing
what
boss
was up to. The
for
a
quarter
of
a
century.
You
can
get
it
from
our
back
issues
page.
found a way to turn sound into a graphic letter included the prophetic words,
But
alsoIthave
paidoccurred
electronic
which
is just
like this one,
wave
on we
paper.
hada not
toversion,
"music
may be
crystallized
as well.”
except
that
it
doesn’t
have
annoying
banners
like
this
one,
and
it doesn’t
him, however, that the process could be
Johnson’s letter was
published and
have articles tailing off into faux Latin. Getting
electronic
version
of
reversed.
caused athe
frenzy
in the
press,is pulling
course
faster,
and
it
is
also
cheaper.
It
costs
just
$4.30
(Canadian)
anywhere
And Edison came up with the idea public attention off the telephone,
in the world.
are applicable,
are included.
accidentally,
as Taxes,
he triediftothey
improve
Bell’s which
had been unveiled just two years
It’s
available
from
MagZee.com.
telephone by making a better micro- before. Edison’s group searched for posphone. He experimented with different sible applications for the yet unnamed
diaphragm materials, from aluminum invention, though they seem obvious
to leather to a five-dollar bill, and to us today. The device could be used
noticed something curious. If you talked for talking toys and even clocks that
close to the diaphragm while placing a could speak the time aloud. Almost as
fingertip behind it, you could actually an afterthought it was mentioned that it
feel the vibration. “If we had a point on would be possible to build up a personal
this,” remarked Edison to his employee music collection for the whole family to
Charles Batchelor, “we could make a enjoy.
recording on some material which we
But first some development work
could afterwards pull under the point, was needed. Waxed paper strips were
Get the complete version
tat.
Flashback
Feedback
good enough for a demo, but they were
hardly a practical recording medium.
By December Kruesi had completed a
more practical machine, with tin foil
on a cylinder that could be turned with
a crank. The picture on this page shows
Edison with an early phonograph. The
device was cumbersome, but the Edison
group walked into the offices of Scientific
American on December 7, 1877, put the
machine on the editor’s desk, and turned
the crank.
How do you do?
How do you like the phonograph?
Though of course aware of what was
then the state of the art, the editors were
astounded, and stopped the presses to
make room in the magazine for this new
revelation. The resulting article went
well beyond what seemed to be justified
by the demonstration. Put the talking
phonograph together with life-sized
stereoscopic photos, it said, and “it will
be difficult to carry the illusion of real
presence much further.”
The rest of the article in this free
PDF version of UHF No. 81 is in imitation Latin. We hope you’ll want to read
it all.
tisi.
Flashback
Feature
Feedback
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Cinema
UHF Chooses an HD Format
Cinema
Feedback
E
veryone remembers the great
battle between Beta and VHS,
and there is no one who doesn’t
recall how the battle played
out. Not long ago we had a war between
DVD-Audio and SACD, won by SACD,
which however went limping off the
field. Now we have an even bloodier
battle between high definition video
disc formats: HD DVD (Toshiba) and
Blu-Ray (Sony/Philips). Anyone want to
guess the result?
Not us, and that’s why we are reluctant to recommend you go ahead and
make a choice. Pick wrong, and you’ll
be sorry.
Oh, it’s not the cost of the player
that’s the problem, because you would
probably change players now and then
anyway. No, it’s the software. Buy ten
HD titles, and you’re looking at perhaps
a $350 investment. Pick up 30 titles (if
you can, you have to be willing to watch
just about anything), and you break
through the kilobuck limit. If you’ve
chosen the wrong format, the investment will join your investment in Beta
cassettes. Or in LaserVision movies.
Yes, we’re aware that there are hybrid
players now available, but we don’t see
that as any sort of solution. If you buy
one it won’t run forever, and at some
point you’ll need to replace it with a
player of what will then be the dominant
format. Better hope you guessed right,
because otherwise half your expensive
high definition movie collection will be
toast.
Who’s ahead?
Blu-Ray is ahead…if you believe
Sony. Ask Toshiba and you get a different answer. Claims are difficult to verify,
however, and the two companies are not
above fudging the numbers somewhat.
For instance, Sony claims it has far
more players in consumer hands than
Toshiba does. Toshiba replies that Sony
is (unfairly?) counting the Blu-Ray drives
But why you may not
want to do the same
should we pick one up ourselves? But in
fact we have no choice.
You do.
installed in Sony PSP3 game consoles.
Should those be counted? It depends on
whom you ask. Besides, Microsoft’s new
XBox360 has an HD DVD drive…
The technological superiority of BluRay seems evident, because the Blu-Ray
The HDMI problem
You’ve no doubt read about HDMI,
the “High-Definition Multimedia Interface,” including in our pages (HDMI:
the Magic Cable? in UHF No. 75 and the
somewhat less enthusiastic Tomorrow’s
Cinema Sound in No. 78). HDMI promises a single all-digital cable that will
link the source and other gear, carrying
picture, sound and even control commands in interference-immune digital
form. What’s not to like?
Quite a lot in fact, and a lot of
installation professionals are staying
away from HDMI in favor of older connections: component video for picture,
digital coaxial for sound. That’s because
early HDMI connections worked best
if a pro installer came and lived in your
house, as they are not much inclined
to do. Quality is nice, but reliability
trumps everything else. Some HDMI
components would refuse to connect,
or if they connected this afternoon they
might mysteriously refuse to “see” each
other tonight. Video and sound would
play out of sync. Everyone was waiting
desperately for HDMI v1.3. It’s here…
or is it?
The new HDMI spec offers several
major advantages, at least on paper:
•An expanded color gamut. This advantage is also known as xvYCC (extendedgamut YCC). It’s a color space that can
show nearly twice as many colors as the
sRGB color space. Of course this rather
assumes that your monitor itself has a
wide color gamut, which may not be a
given, especially if you are using an LCD
screen. Oh yes, you can’t have xvYCC
unless you have a Stage 2 cable. How
do you know whether you have a Stage 2
cable? Don’t get us started.
•Deep Color. This enhancement sets
aside 16 bits per pixel for color, and
disc has far more storage capacity However HD DVD originally offered its own
advantages: faster time to market, and
lower manufacturing cost. But Toshiba
frittered away the speed advantage by
dragging its feet, acting more like a
garage startup than a global electronics
powerhouse. The price difference is less
than impressive as well, because in fact
both formats are absurdly expensive, as
you can see by the chart on page 36.
It’s not certain that the “marketplace” (that is to say, you the consumer)
will be the one deciding a winner in any
case. There’s been a lot of talk about the
possibility that the issue could be decided
by just one of the Big Box stores. A recent
rumor had Wal-Mart stacking its shelves
with low-cost HD DVD players, dropping Blu-Ray and killing it. (Not true…
we picked up some of our Blu-Ray stock
at Wal-Mart, which has the best prices,
and fresh stock keeps arriving). A later
rumor had Target doing the opposite.
Then there’s the Blockbuster decision
to favor Blu-Ray. Who knows what it all
means?
For all of those reasons, we have
been holding out. Since we could not yet
recommend a system to our readers, why
Looking for a high-end processor
A high-definition disc player has…
how many HDMI connectors? One.
Connect it to your new HDTV, and then
what? Are you planning to listen to the
sound track on plastic speakers?
What you need is a preamplifier-processor that is fully HDMI v1.3 compliant. You would plug the cable from your
player or other hi-def component into it,
and it would pass the HDMI video signal
on to your TV. Only where do you find
one of these mythical beasts?
Our Moon Attraction doesn’t qualify,
because it’s five years old and has no
provisions for lossless surround sound
any way, nor of course HDMI. You
won’t find one that does in Simaudio’s
current catalog, either. We checked as
many other manufacturers as we could
think of. There are some expensive units
available, such as the Bryston SP2, the
Classé SSP-600, the Lexicon MC-12,
the Adcom GTP-870HD, the Krell
Showcase, the McIntosh MX136, the
Parasound C1, the Marantz SR8001,
the Meridian 861, the Harman/Kardon
AVR745, and the Theta Casablanca III.
Hardly any of them have HDMI at all,
and the few that do, like the Marantz,
have the older and buggier HDMI v1.2,
and of course no decoders for lossless
surround.
To be fair, some of these companies
may be about to launch more modern
products, but if they are they sure aren’t
letting us know.
We have installed the player in our
Kappa system with a couple of minor
modifications: flat Tenderfeet underneath the player, a GutWire IEC adapter
for the player’s two-pin AC jack, and a
GutWire 16 double-shielded power cable
running through our MaxCon power
filter. The video flows through a set of
Atlas component video cables. For audio
we are temporarily using a long Atlas
Navigator All-Cu (analog) cable, while
we await our Atlas Opus digital cable.
The result so far? The two pictures
above were taken directly from the
screen of our Hitachi HDTV moni-
Cinema
Feedback
reduces “banding” in some images. It
goes pretty much without saying that the
movies you watch need to have the extra
information. Don’t look for confirmation
on the DVD box.
•Lossless audio. It’s well-known that
the two major surround sound systems
used on DVDs (Dolby Digital and dts)
are “lossy,” which means that most of
the original audio information is deemed
inaudible and is discarded. These two
standards are part of both the HD
DVD and Blu-Ray spec (as they must
be for backward compatibility), but
there are new specs for lossless surround
systems with as many as 7.1 channels,
Dolby TrueHD and dts-HD. Neither
is available without HDMI v1.3, and
unfortunately they are not mandatory
in any case.
But it gets more confusing. Some
gear is now appearing with an HDMI
v1.3 label, but that label may not mean
what you suppose. An HDMI component might support Deep Color, for
instance, but might not support lossless
sound. What’s more, even if you buy a
player and a TV monitor that are fully
HDMI-compliant, you may have a
legacy component in the system that is
not (think the set-top box for your cable
or satellite service), and that may be
enough to queer the whole deal.
There’s more.
Our choice: Blu-Ray
Why did we choose Blu-Ray over
HD DVD? Because we think Blu-Ray
is superior, at least in its potential for
expansion. But we’re a little cynical,
because we remember that Beta was
superior to VHS, too. It is common for
inferior technologies to get the upper
hand. Got a computer?
We have selected the Sony BDPS300,
a new generation player with…yes,
HDMI v1.3. Of course it can’t handle
either of the lossless surround formats,
but since there are no high end decoders
that does not (yet) matter.
How Much is That Movie in the Window?
We did some comparisons, and our conclusion is that, whichever system you
opt for, you are going to pay a lot more money for those extra pixels. The high
definition movie prices included are the lowest we have found at either Amazon
or Wal-Mart. The DVD prices are the lowest we found locally. All prices are in
Canadian dollars.
TITLE
HD DVD
BLU-RAY
DVD
N/A
$34.83
$26.83
Superman Returns
$40.99
$33.99
$13.97
Dreamgirls
$33.83
$33.83
$13.99
N/A
$31.16
$14.66
$25.59
$25.59
$9.66
Casino Royale
Chicago
Phantom of the Opera
Cinema
Feedback
Clearly, the high definition price structure is still in “all the market will bear"
mode. If we presume that the stars and the director are not paid more just because
the film is sold as Blu-Ray or HD DVD, the added profit added to the distribution
system is…well, your call.
Note, by the way, that Casino Royale and Chicago are available as Blu-Ray (or, of
course, as a conventional DVD), but not as HD DVD. But that doesn’t mean BluRay has more movies. Universal, Paramount and DreamWorks, notably, release
their films in HD DVD but not Blu-Ray. For now.
tor. The images are of Richard Gere
as lawyer Billy Flynn from the musical
Chicago. The one on the left is from the
conventional DVD played on our Moon
Stellar reference player. At right is the
same scene from the Blu-Ray player.
The Blu-Ray version is quite a
lot sharper, thanks to about a sixfold
increase in data density, but even more
impressive is its wider tonal scale, going
from almost blinding whites to rich
shadow areas with minimal loss of detail.
In the two pictures, check the spangles
on Gere’s jacket. On the DVD version,
they all but vanish, and those on his
shoulders disappear completely. The
Blu-Ray image shows more of them, and
they have more punch as well. As for the
background, it has more color, whereas
in the DVD version it is too dark to hold
much detail.
We think that, as the technology
evolves, it will only get better.
Blu-Ray as a research tool
In our last issue we outlined where the
state of the art of video displays seems to
be, and which way it’s going. We need to
begin the search for what will be, eventually, our next HDTV monitor. We will
be doing hands-on evaluations, and for
that we need our own high definition
source. That, we figured, meant a high
definition player, at least once players
were available with HDMI v1.3 connection. Sony now has it. We have added to
that our own HDMI cable (from Atlas),
which will follow us in our research, so
that we keep things as consistent as we
possibly can. Our older set, as you can
guess, does not have on-board HDMI,
which means we will for the moment
have to use component cables, which are
analog. We will be using HDMI for TV
sets under test, however, and we will not
bother with any sets that don’t have the
latest connectivity.
Sound is another matter, and that
will have to wait. Blu-Ray and HD DVD
discs have not only the usual compressed
sound, but also Dolby TrueHD and
dts-HD, both offering uncompressed
sound. Neither system is accessible
without HDMI v1.3, however, and the
feature has been left out of even recent
players. That seems like one more reason
not to buy an HD player just yet, but in
our case we will be looking initially at
the image, not the audio.
Oh, those software prices!
You might expect HD DVD discs to
be considerably cheaper than Blu-Ray,
because they can be manufactured in
existing DVD plants, whereas Blu-Ray is
a radically new technology and requires
a new and different manufacturing
process. However there is a lot more
information packed onto an HD DVD
than on a standard DVD, and inevitably
that means a higher reject rate. The
result is that the price advantage is
largely imaginary.
Our quick survey indicates that, if
a price difference exists at all, it is not
being passed on to the consumer, and
that is especially true of HD DVD. See
How Much is That Movie in the Window
above.
Should you be paying that sort of
price for movies? For us yes, because
it’s our job, but we can’t recommend
everyone follow our example.
Listening Room
A New Reimyo Player
R
of the top plate looks like the one on the
old player, but fingermarks rub off easily,
something not true of the old one. The
disc is still held in place by a magnetic
puck (which will upset audiophiles who
own CD “demagnetizers”). The fluorescent display is a little larger than most,
and it is bright enough to be read from
a distance.
The transport is gorgeously-finished
in all other ways too, with what seem to
be luxury parts. There are four bolt-on
outrigger feet fitted with spikes. In our
picture they are placed on the included
glossy protectors. With that wide stance
we wondered whether the DAC (shown
on the next page) could slide underneath,
which would have been a neat trick. In
fact it’s too large for that, and so the
complete player occupies two shelves.
And that’s just as well, because the
æsthetic touchups to the transport have
not been brought to the converter. Even
the Reimyo logos are not identical. That
may not be a dealbreaker, but people
spending this sort of money on a CD
player are likely to be fussy about more
than just the sound. You won’t want to
place them next to each other, inviting
unwelcome comparisons.
The transport has a rather luxurious
Room
Listening
Feedback
eimyo is the upscale brand
name of Japan’s Combak Corporation, known for a number
of Harmonix accessories,
such as Enacom power filters. It made
something of a splash with the CDP777 player, which was on the cover of
UHF No. 73. We praised its “virtuoso
performance” and its “smooth, undigital
sound.” Unfortunately…
That player used a JVC transport,
an offshoot of the K2 technology JVC
developed for its much-praised xrcd
recordings. Combak was apparently its
only customer, and JVC stopped production, leaving the Reimyo high and dry.
To be sure, there was still the Reimyo
standalone converter, the DAP-777.
We reviewed it in UHF No. 77, and we
thought it was a good converter in search
of a matching transport. But where
would that transport come from?
Now it’s here. The CDT-777 is a
Philips-based transport that has been
engineered specifically for the Reimyo
converter. Like the old player it is a toploader, but some refinements have been
added. The drawer cover, rather stiff
on the old player, now glides open and
closes with a woosh like the doors on the
Enterprise. The glowing brushed finish
coaxial digital output jack, in contrast
to the jacks on the converter, analog
and digital, which are no better than
mediocre. Oddly, the transport has
no balanced output, even though the
converter does.
We set up the Reimyo pair in our
Omega system, giving them the
required two shelves of our Vecteur
stands. Though Combak has its
own upscale digital and power cords,
we don’t like to introduce unnecessary
variables, and so we used our own: the
Atlas Opus digital cable (1.5 metres long,
for reasons we have explained before),
and the GutWire power cords we usually use. We filtered the AC with our
trusty MaxCon filter. We listened to our
selected test recordings with our reference Linn Unidisk 1.1, then removed the
Linn to make room for the DAP-777.
We began with Norman Dello Joio’s
Fantasies on a Theme by Haydn (Klavier
K11138). Though this energetic wind
band piece can sound very good on
moderately-priced equipment, it takes
first-class gear to get everything off the
CD. From the first drumbeats we were
impressed. The tympani was powerful
and deep, but with no accompanying
heaviness, and the transients were quick.
This recording has a broader dynamic
range than most CDs, and the player did
it justice. The timbres of the brass and
the woodwinds were plausible, making it
easy to follow the complex orchestration.
Far from being “in your face” (as it can
be with all too many players), everything
seemed a little further back, at the same
time contributing to the illusion of
depth.
The tone was somewhat different
from that of our Linn, however. Albert
thought the brass was at once bright and
warm, and Gerard also thought that the
woodwinds in particular seemed warmer
than with our player. “But I’m not sure
that’s wrong,” he said.
We hope you’ll want to read the
complete text of this review in our print
issue, or in the electronic issue. The rest
of the article, as in several cases for this
free PDF version, is in faux Latin.
Room
Listening
Feedback
R
e
facin henis nisl iustrud enim aute duis
dignisc iliscipissi.
tisi.
tat.
Summing it up…
Brand/model: Harmonix Reimyo
CDT-777 and DAP-777
Price: transport US$8500, converter
US$5195
Size (WDH): transport 43 x 32.5 x
9 cm. With feet 46.5 x 36 x 12.2 cm
Converter 42.5 x 32.5 x 6 cm
Most liked: Od tat lor sim nisci tat at
ut iril eum vullaor se ex enim
Least liked: Some cosmetic work
needed
Verdict: Iril iure molobor sustismod
molore mincilit
elenisi.
luptat.
ismodoloreet at.
Good enough UHF uses them!
This remarkable cable is from Atlas.
Unlike so many cable companies, this Scottish
company keeps markups reasonable.
Navigator All-Cu is made from strands of pure
copper, each drawn from a single crystal.
So are the connectors.
The Navigator All-Cu passed a blind test
in UHF No. 71.
Can it pass your test?
THE AUDIOPHILE STORE
www.uhfmag.com/Cables.html
CDs and
LPs
at new,
lower prices!
The
Audiophile Store
begins on
page 57
Serious Audio, Seriously Right
presents
LINN PRODUCTS
The Capital Region’s Premier High End Dealership
376 Churchill Avenue, No. 101
OTTAWA, ON K1Z 5C2
www.stereopassion.com
M A G Zee
nostio commy nim deliqui sciduis non-
sequatue euip ea aut ad eugait, conse ex
augait.
quissent aliquisi.
Room
Feedback
Listening
CROSSTALK
Re facin henis nisl iustrud enim aute duis
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augait am, core tisi.
An hendreet nonsenim dit, ver sustrud
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consequat adipis adiam, consed te ming
esent loborper iure commodio commodit
lum zzriure vullumsan henim iustin utatum
vel ilis aut loborperilla feum do odolore
commodolore dolore dolesto eu feu feu
feuipsu scipit ad molorem ex ero odolobore
dolobortie digna conullaor si bla consecte
et exerit lum alismolore ming esent vullamc
onullan henisl ute core vent volor si.
Sumsandre con hent ilit nim nis accum
nissequam ero eraestrud dolore ese dolore
dolutat, volobore diat praestismod te facilla
facil inci blan et aliquis ciliquiscil dignis am
quis niamet nisse eniamet, sis nibh eraesen
dionum zzrilla feuipis modolut adip euis
dolessi.
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accumsan velessectem dolorpe rostrud dipis
nonsenisi.
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ad eril doloreet lan euismol ortinim digna
autpat lobor sectetum quamconulla commy
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adionsectet alis ex exer sum zzriure eugiam
iriurerit ad eros dit alit num del ullutpat,
sisisl et et volorper si blam, quatem init,
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feuipis modolore dolesse conulla feuis adit
laor ilit lutpatin el in velisci ncilla facinibh
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et enisit prat vulputat iure dunt verit lutpat
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at accumsa ndrercipsum vent nullam, venis
nim ipisim irit num euisis nisl ing elit wis
faccum autet, quis aliquat irilismolore exerat
acidunt dolesto ex er incilis essim numsandrem verosto eummy nim.
Linn Weaves Majik
I
Because of the presence of that
HDCD decoding, we deliberately
included HDCD recordings in our session. To make that a fair comparison (i.e.
to avoid comparing decoded HDCD with
an undecoded version) we connected our
Counterpoint DA-10A converter to our
Linn Unidisk, via an Atlas Opus digital
cable. For non-encoded discs, we listened
to the output of the Unidisk. All listening was done with our Omega reference
system.
We began with our inevitable favorite, the choral recording Now the Green
Blade Riseth (Proprius PRCD9093). The
reason we like to use this recording is
not only that it can sound gorgeous, but
that even on many expensive systems
it can sound so toxic it practically calls
for establishing a security perimeter.
Nothing like that happened with the
Majik. Gerard thought there was some
contamination of female voices, but in
nearly every regard it sounded very good.
There was little increase in graininess,
and the bottom end allowed us to enjoy
the full timbre of the male singers, not
to mention the plucked bass and the
organ at the end of the opening piece.
At the same time there was a more than
satisfactory transparence. The flute,
after its opening solo, was not buried in
the background, and the faint tinkle of
the triangle was clearly audible.
Next we put on a particularly energetic piece, Arthur Wills’ tone poem
The Vikings, for wind band, percussion
and organ, from Reference Recordings’
Pomp&Pipes album. Only on our big
Reference 3a speakers have we ever heard
this wild piece sound even plausible.
Room
Feedback
Listening
f there is one thing this Scottish
company has always stood for, it
is the prime importance of the
source within a music reproduction
system. Linn’s most famous audio source
is of course the LP12 turntable. Its entry
into the digital world took time, since
this fiercely pro-analog company was
determined to swim upstream, and once
ran ads predicting that the CD would
join the 8-track cartridge on the scrap
heap. Eventually, however, it brought out
the magnificent CD-12, the Ikemi, the
Genki, and more recently the Unidisk
1.1. We have reviewed and warmly recommended all of these, and the last one
became our reference player.
The Ikemi and the Genki were Linn’s
best (more or less) affordable players, and
they were more than just pretty good.
Both are discontinued now, and they
are replaced by this player, whose price
(C$4250) is right between them. Linn’s
claim: it’s better than either.
The Majik strongly resembles our far
more expensive Unidisk, even down to
(alas) its doubtful output jacks. Like the
Genki, it uses a Philips transport rather
than the Linn-designed mechanism used
in the old Ikemi, and in the Unidisk. It is
strictly a Red Book CD player, accepting
no other formats.
The Ikemi and the Genki, you may
recall, were notable for their on-board
decoders for HDCD-encoded discs. We
assumed that, like most other manufacturers, Linn had dumped HDCD. Not
so. Play an encoded disc, and the screen
shows the “HDCD” mention on its fluorescent screen. For more on the system,
see Inside HDCD on the next page.
Impressive though it was with our
own DAC, it was even wilder with the
Linn Majik. The dynamic contrasts and
the tension built up by the music were
downright scary. We discovered treasure
after treasure. The brass, whose natural
dissonance was clearly audible, had
plenty of depth, breadth and height in
which to develop its enormous energy.
So did the pipe organ and the full
percussion kit. “It just explodes,” said
Albert, who looked shaken as well as
stirred. “It’s like fireworks.”
Note that, at the time our DA-10A
was discontinued (because the company
sank beneath the waves), it was possibly
the best HDCD decoder in the world.
It had taken just one recording to let us
know it had been dethroned.
And the Majik continued to impress
us. We played another of the superb
HDCD-encoded Reference Recordings, that of Bruckner’s Symphony No. 9
(RR-81CD). Not only is this possibly
the best version of this remarkable work
known to us, but it is sonically dazzling.
The Scherzo includes a powerful mixture
of brass, strings and percussion, but also
a strong rhythmic pattern that is thrilling to hear if the player can do justice to
it, rather confusing if it can’t.
The Linn could and did. The rhythm
was powerful, the strings exquisite,
particularly in the pizzicato passage,
and once the brass came in we couldn’t
help feeling awed. “We’ve gone from
a pleasant breeze to a hurricane,” said
Albert. Reine, who had written little,
merely nodded.
We can forgive a player that cannot
reproduce the full illusion of depth of
a recording, the feeling that the space
extends beyond the walls of our own
room, because depth has only an indirect
relation to musical values. However
if a player is able to reproduce micro
information, it will do well on depth.
We were fairly sure the Majik would do
fine with the famous Proprius recording
of organ and saxophone, Antiphone Blues.
We had on hand the HDCD version of
this familiar duet (FIM CD003). The
feeling of huge space that can be found
on this CD is well known, but it is equally
important that the two instruments be
in perfect balance, because their musical
relationship depends on it.
In fact we all remarked on the excellent balance we heard with the Majik.
The organ was solid, but with a transparent tone that didn’t hog all of the large
space. The surprising saxophone was
bright and sometimes even brash, but
there was no trace of shrillness to pull
our attention away from this original
musical marriage.
No, this article is not quite complete
either, but of course the paid versions
(print and electronic) are complete.
Notwithstanding the acclaim of the Compact Disc as “perfect sound forever,” duis dignisc iliscipissi.
with approving echoes from a number of now-defunct magazines, many observers
clearly heard that CD initially did not sound anything like music.
One of them was Keith O. Johnson. Famous for his recording work at Reference facilit lutpat nibh euguero ea feuguer
Recordings, Johnson built what was then by far the best CD player in the world, the suscing enismod dolorero odiamco
Spectral SDR-1000 (once our reference). He and digital guru Michael Pflaumer then rtiscil lamconsequat wismod modion vel
set out to find a way to push more information through the narrow pipeline.
tisi.
Very simply, 16 bits might be enough if
An hendreet nonsenim dit, ver susone could use more of those bits to repretrud dunt utet autem quam, sis augue
sent the music signal. There were a couple
of ways of accomplishing that. One was to
record louder, and use a volume limiter to
keep the loudest passages from crashing
through the hard digital ceiling. Another was to use a compressor, to bring soft iustin utatum vel ilis aut loborperilla
passages up in level so that they could use more of the 16 available bits.
Though both techniques are much used in pop music recording, they wreak dolesto eu feu feu feuipsu scipit ad molhavoc with the natural dynamics of music. What the HDCD encoder did was keep orem ex ero odolobore dolobortie digna
For years now, we have been publishing, on our Web site, a free PDF
a log of what level changes were made and when they were made. This log was conullaor si bla consecte et exerit lum
version of our magazine.
hidden down in the dithering signal, which is normally made up of random digital alismolore ming esent vullamc onullan
The reason is simple. We know you’re looking for information, and
noise. The decoder can then “read” the log and undo the changes, reconstituting henisl ute core vent volor si.
that is almost certainly why you’ve come to visit our site. And that’s why
the original dynamics of the music.
we give away what some competitors consider to be a startlingly large
HDCD offered one more advantage.
Inside a CD player, a brute force filter is applied to the audio to cut the passband ese dolore dolutat, volobore diat praes We would give it all away for free, if we could still stay in business.
off beyond 20 kHz, to prevent it colliding with the sampling signal (44.1 kHz). tismod te facilla facil inci blan et aliquis
Modern CD players typically use oversampling — transformation of the digital ciliquiscil dignis am quis niamet nisse
signal to a higher frequency — to allow use of a gentler filter. The recording encoder, eniamet, sis nibh eraesen dionum zzrilla
however, cannot get around the use of a sharp filter, with known deleterious effects feuipis modolut adip euis dolessi.
Truth is, we’re in the business of helping you enjoy music at home
on sound.
under the best possible conditions. And movies too. We’ll do what we need
The HDCD solution is to monitor whether, at any given moment, there is utatuer ostinit nos eugiam nos adionsed
to do in order to get the information to you.
musical content at high frequencies. If there isn’t, a much gentler filter can be used. euisi ex eril ilismod te te mod et adionse
Of course, we also want you to read our published editions too. We
During encoding, the circuit chooses among five available filters, depending on quissent aliquisi te doluptat ing enit
hope that, having read this far, you’ll want to read on.
the music. The filter choice is noted in the log, and the playback decoder can use ea alis accumsan velessectem dolorpe
the matching filter at any given moment.
Many player manufacturers incorporated HDCD because the filters in the
Pacific Microsonics chip were the very best available. But then the company was mincilit acing er accum v ulput in
bought by Microsoft. Microsoft is also trying to get more data through a thin utat, quat ad eril doloreet lan euismol
pipeline in its Windows Media Player, and some of the HDCD ideas were incor- ortinim digna autpat lobor sectetum
porated into WMP. The research on high end applications stopped dead, however, quamconulla commy niation sequatie el
and since then player manufacturers have been dropping the system.
Of course HDCD was a transitional technology, nice to have while we were ex exer sum zzriure eugiam iriurerit ad
waiting for true high definition discs. A number of audiophile labels continue to eros dit alit num del ullutpat, sisisl et et
turn out HDCD recordings, however, including First Impressions Music and of volorper si blam, quatem init, consequi
course Reference Recordings. And they still sound great.
Inside HDCD
Room
Feedback
Listening
Why a free version?
tat.
Summing it up…
Brand/model: Linn Majik CD
Price: C$4250 (equiv. US$4000)
Size (WDH): 38 x 35.5 x 8 cm
Most liked: Duis ad dolor adiam
Least liked: Ut lan veliquat facilit
Verdict: Iril iure molobor sustismod
feugait eros nisl utatum ip el ex eu feui
eu facipsusto.
CROSSTALK
dolessi.
nonsenisi.
corperostrud tisi.
acidunt dolesto ex er incilis essim numsandrem verosto eummy nim velendre er ing
euis nonulla faccumm olortionulla feuipsum
eu facipis cipit, volobore erillaor in utpatie
vel iustisl dipisim zzrillutetue corpera esendit
ipisi blandrer susci te magna feugait vel ut
iniam, velis amcore facilisl erit venit augait
lute tem ing ercilit.
Room
Feedback
Listening
An Old Cartridge Is New Again
Room
Listening
Feedback
W
hat is remarkable about
phono car t ridges is
not their differences
but their similarities.
Nearly all the cartridges you are likely to
see are either moving magnet or moving
coil. Not this one.
Nearly all of them have a
diamond stylus attached
to the end of a cantilever, whose other end
has either a magnet
or a coil attached to
it. As the coil moves
relative to the magnet,
or vice versa, a current is
induced in the coil.
The long (and, inevitably,
not quite rigid) cantilever makes
the relationship between stylus
movement and current generation
less than direct, however. For that
reason the cantilever is sometimes
made of exotic materials, such as
beryllium or even diamond. In the
1950’s, Decca did away with the
cantilever altogether, fastening the
stylus to a flexible metal sheet. The
London cartridge works the same
way. For the details, see Inside the
London on the next page.
Because the connection is so direct —
the stylus is a scant 2 mm below the
generating elements), these cartridges
can dig out fine detail, and potentially
they can score better dynamics too. That
they can also have their own problems
goes without saying, because what
alternative technology does not? You
may have heard the claims: it needs a
unipivot arm, the stylus pressure is too
high, they don’t track well, etc. Caution:
most of these claims are without basis.
After Decca stopped making the
cartridge, designer John Wright picked
up a license to it, though he didn’t get
the name. Presence Audio, which had
been distributing the Decca, continued
its work offering the rebranded new
generation. The models now offered are
more than just a version of an old design
with a new name, however. This top-ofthe-line version offers features that the
old Deccas lacked. For that reason, we
would caution you against judging the
new London by what you may have read
about the original Deccas.
The London Reference comes packed
in the substantial alloy box
shown here, with a bolted-on acr ylic lid,
tucked into a gorgeous velvet
bag that will be the env y of every
Scrabble player. The cartridge itself is
a substantial chunk of metal — you can
see it on page 46. The shell is threaded,
so that it can be screwed into the tone
arm without using finicky nuts. The
connection pins are rather short, and
pushing sleeves onto them was delicate
work.
Because of the London Reference‘s
height, greater than that of most cartridges, your arm will almost certainly
need raising. The instructions, by the
way, recommend setting up the arm
The design is from
a long time ago, but
so are tube amps
and electrostatic
speakers
so that the cartridge is parallel to the
record surface, or even with the back
of the arm a little lower than the front.
Parallel turned out to work best, yielding
the clearest focus, and we set it up that
way on both of our turntables.
In the Alpha system
Our listening sessions consisted
of two parts, on two different turntables. However we took a shortcut,
to reduce the time the whole gang
would be waiting around. To do
this, we took a cue from the
last time we did a standalone
cartridge test.
It was in UHF No. 29,
w ho s e c o v e r s howe d
several cartridges on
a marble chessboard.
To be able to recall
instantly the sound
of any cartridge,
we recorded the
sound of each on
the best recording
system then available to us, a VHS Hi-Fi machine
(and a good one: it was a Harman/
Kardon model then going for a thousand
bucks). The best available to us today: a
high resolution (24-bit/96 kHz) recording on a MacBook Pro, with transfer to
a DVD at full resolution. We pulled out
three LPs and played them on our Alpha
system using our own Goldring Excel
MC pickup, then the London. The result
was listened to live, and then evaluated
on our Omega system, playing the DVD
on our Linn Unidisk universal player.
Aligning a cartridge on a straightline tracking arm like our Lurné SL-5 is
a piece of cake, except for correct height.
That is best done by ear, and we pulled
out the original Test Record 1 from Opus
3, whose exceptional focus lets you know
when you’ve got the height (and therefore
the vertical tracking angle) spot on. We
then experimented with tracking pressure. The manufacturer recommends
a pressure between 1.65 and 2 grams
(much lower than the 3 grams once recommended. The higher limit is usually
Inside the London
The official diagram, shown here, seems to be intended to discourage would-be
competitors from ripping off the unique design. So how does the cartridge really
work?
Unlike in other cartridges, which
have a moving coil and a fixed magnet,
or vice versa, London cartridges have
a fixed coil and a fixed magnet. The
fine-line contact stylus is fastened to
a flexible metallized plate. When the
plate moves within the magnetic field,
electrons flow through the coil. There
have been such cartridges before, usually
called “moving iron” or “induced magnet” types, but no other cartridge works the
way the London does.
By the way, what looks like a cantilever in the picture on the next page is actually
the tieback cord, which keeps the stylus under tension. What London has labelled
“cantilever” above is unlike the usual pickup cantilever.
The coil is much larger than in an MC cartridge, and therefore has more inductance, some 130 mH. This is about ten times that of a typical MC coil, but a fifth
that of most MM cartridges. It is not high enough to cause the rolloff found in
those cartridges. On the other hand, the output voltage is very high, some 5 volts,
and it will match MM phono stages.
You probably know that you can’t just slide the stylus off an MC cartridge. It
has to be rebuilt at the factory, and that can cost 80 to 90% of the original cost.
London cartridges have no cantilevers, however, and Presence Audio says changing
the stylus costs less than half of the full price.
The accompanying instruments were a
delight. Albert found the bottom end a
touch lighter, but wasn’t certain whether
that was a bad thing.
Before uninstalling the London, we
ran a couple of test recordings. We began
by playing what is often considered
nearly unplayable: a direct-cut organ
recording from M&K called The Power
and the Glory (RT 114, not that you’re
likely to find it even second hand). The
final piece, titled The Bells of Sainte Anne
de Beaupré, includes a melody played
overtop a steady 16 Hz note, produced
by a pipe the height of a three-storey
house. The piece began well, with the
London having little problem tracking
the cut, but before long we could hear a
pronounced vibrato. We would soon see
why.
Our next test, with our Vinyl Essentials
test disc (Image Hifi LP 003) identified
the culprit: a resonant frequency, close
to 16 Hz, (ouch — much too high!) and
not even well damped. Our Lurné arm
is short, since it is a straight-line tracker,
and its mass is therefore low. Though the
combination had worked quite well with
real-life music, it is not ideal. The leaflet
does recommend an arm of medium to
high mass, and this isn’t it.
Would our other tone arm be a better
match? It was time for a lunch break, but
we would soon see.
In the Omega system
This system’s turntable is a Linn
LP12 with all of the recent improvements except for the Keel subchassis
(see UHF No. 80). The tone arm is an
Alphason HR-100S, made of titanium
with exceptionally hard bearings and
Van den Hul silver wiring.
Because this is a full-length arm, with
higher mass than the Lurné SL-5, we
guessed that it and the London Reference would have a lower resonant frequency. They did. We put the resonance
Room
Listening
Feedback
the best choice with any cartridge, and
that was the case here. Tracking too light
produced not the usual mistracking,
but an odd sort of “groove rattle” we
had never heard before. Running it at a
full 2 g eliminated the rattle…or so we
hoped.
The first recording we tried was
our old favorite, William Walton’s tone
poem Façade, played by the Chicago Pro
Musica on Reference Recordings RR-16.
We have used it a number of times on our
Omega system, and Reine complained
that it sounded duller this time. Was
high-definition DVD not as good as we
had thought? In fact what we were hearing was the difference in our turntables.
Our Audiomeca table was superior to
the Linn LP12 when we acquired it, but
the Linn pulled ahead with its original
Lingo power supply and has never looked
back.
In any case, what we heard was
considerably cheerier with the London
Reference in place. The brass and
woodwinds sounded brighter, but they
had a natural brightness, not the shrillness we hear from too many products.
The clarinet was superb, and even the
troublesome piccolo was improved. The
pizzicato passage in the counterpoint was
a delight, and the piece had regained at
least some of the life it had lost. Whatever the weaknesses of the DVD transfer
might be, they were not masking differences between the cartridges.
Next we played Take the ‘A’ Train from
the Ray Brown Trio’s Soular Energy LP.
Though Brown’s bass was thunderous
enough to rattle glass even with our own
cartridge, it picked up in both richness
and substance. It was more tuneful as
well. The piano was pretty much the way
Gene Harris chose to play it (he clearly
knows it’s a percussion instrument!) but
without exaggeration. The often subtle
percussion work remained subtle, but it
was never less than clear.
We ended that session with Mary
Black’s No Frontiers from the album of
the same title. If it had seemed slightly
dull with our cartridge, it took off with
the London Reference. Black’s voice
was arresting, focused, her words clear
(and they’re worth listening to). Even
individual syllables, such as leading H’s,
were clearer, though not unnaturally so.
Room
Listening
Feedback
around an ideal 8 Hz, though it was
so well-damped we could determine it
only with difficulty. This arm/cartridge
combination might turn out to be a
marriage made in Heaven.
On the M&K organ recording the
London did better than it had with
the SL-5 arm, though it still suffered
from vibrato, and we could actually
see the arm rock from side to side as
it played. However it never exhibited the clicking sounds that are a
sign of mistracking. The Decca’s
reputation for mediocre tracking
certainly doesn’t apply to the London
incarnation.
On the Vinyl Essentials test disc,
the London Reference cartridge easily
negotiated all of the bands right up to
100 µm. We have actually seen the upper
bands throw the cartridge right out of
the groove and onto the label!
It was time to listen. We had a stack
of seven discs, which we first listened to
with our own Goldring Excel cartridge.
We were, as usual, more than happy with
what we heard. “When it sounds like
this,” asked Reine, “why would anyone
think of buying something else?” But we
were in for some surprises.
We began with a two-disc Mobile
Fidelity pressing of Beethoven’s Symphony
No. 9 (MFSL 2-516), with Georg Solti
conducting the Chicago Symphony
Orchestra. Good as it had sounded the
first time, it improved considerably with
the London Reference. “The natural
tone of the strings is what struck me
first,” said Gerard, “that and the greater
sense of space around the orchestra.”
The lower strings, and particularly the
double basses, played with weight and
authority, but with no hint of mushiness.
The voices of the soloists in the final
movement were almost startling in their
purity, and the complex choral passages
hung together well, never turning into
a shapeless mass.
Though the excellent dynamics made
the symphony most satisfying, Albert
asked to hear a passage about 5 dB louder.
No artifacts turned up, just music.
We confirmed, however, that the
London likes its records in good shape.
Two minor scratches that might have
caused mere ticks with other cartridges
actually derailed the London. For46   ULTRA HIGH FIDELITY Magazine
tunately that
never happened again, nor did we note
any increase in surface noise.
We continued with a Pavarott i
recording, Mattinata ( London OS
26669), from which we selected Giordani’s achingly beautiful Caro Mio Ben.
Was it better with the London? Perhaps.
We noted the silkiness of the strings, and
the golden sheen of Pavarotti’s voice —
he was in his prime when he made this
recording.
The Dallas Wind Ensemble’s version of 76 Trombones (from Beachcomber,
Reference Recordings RR-62) is so
overwhelmingly dynamic that it poses a
challenge to the entire playback chain,
and that of course includes the phono
pickup. The London Reference had no
difficulty negotiating those awesome
grooves. “It’s like a photograph that
drops into focus,” said Albert, who is of
course a photographer and often makes
Summing it up…
Brand/model: London Reference
Price: US$5295
Output rating: 5 mV
Type: Moving iron
Most liked: Superb clarity and natural timbres
Least liked: Some unexpected artifacts
Verdict: It’s delicate to set up, but
hey — we’re talking about analog
here!
comparisons like this. “We’re just closer
to reality. And did you notice that the
triangle actually plays with different
textures?”
It was warm outside, but we pulled
out a Christmas song any way:
Julsäng (O Holy Night) from the
legendary Cantate Domino album.
This version is noted for the
eerie purity of soprano Marianne Mellnäs’ voice, and for the
emotional punch of the chorale in
the crescendos. It was even better
than with the Goldring, which
frankly seemed unlikely. The choral
voices were easy to keep straight, and
now the ensemble seemed to come from
all around us. “It sounds as though the
singers are gathered right around the
microphones,” said Albert. He asked to
hear the title piece, Cantate Domino, in
which the recording setup was clearly
different.
We went to Opus 3 next, and the
lively jazz piece Comes Love from the
Showcase album (LP20000). It impressed
us less than the previous albums, not
because it didn’t sound good (it was, in
fact, superb), but because the Goldring
had performed so well too. It was
enchanting nonetheless, and the music of
the Swedish Jazz Kings carried us away.
Kenny Davern’s clarinet was gorgeous,
as were the piano and that rollicking
sousaphone. No complaints.
Our next LP was by no means an
audiophile recording, but we like it a
great deal: Dolly Parton’s I Really Got
the Feeling from her RCA album Heartbreaker (AFL1-2797). Parton has a clear
and clarion-like upper register, and with
the London cartridge she seemed to leap
out of the speakers. The music flowed
with purity and ease. In the second part
of the song the arranger slathers on
instruments and backup singers with a
broad putty knife, and with the Goldring
that passage got rather too thick. The
London Reference made it all sound
more natural, if just as ill-advised.
But was it really natural? Reine
found the sound more flashy than realistic, though to be sure “flashy” is what
coproducer Gary Klein was possibly
shooting for. We were disconcerted to
hear another example of “groove rattle,”
clearly audible in the silence at the very
end of the song. But we had heard it
only twice, and briefly at that, over ten
records.
How to end what had been a most
enjoyable session? We always advise that
you evaluate equipment you are thinking of buying not by listening to bass,
treble, “air” and image, but by gauging
the emotional effect that the music has
on you. Our final selection was intended
to determine how much feeling this
cartridge could wring from vinyl.
It was Barbra Streisand’s version of
Stephen Sondheim’s Send in the Clowns
(from the Broadway show A Little Night
Music). It is found on The Broadway
Album, and you should be warned that
if you want to get everything Barbra
put into the song, you will have to find
a copy of the discontinued LP, and not
the disappointingly dull CD. Columbia
should remaster it in both formats.
For this final song we broke out the
adjectives: remarkable, moving, magnificent. No one we are aware of has ever
sung it quite this way, and the cartridge
delivered it all. We were fascinated by
the sensitivity of the performance, and
even by pregnant pauses that bordered
on the heartbreaking.
It was now about suppertime, and
perhaps time to unbolt the London from
our tone arm. But wait a minute, did we
have to?
Reaching a conclusion
We have often explained that our
reference systems are working tools,
and that a reference that keeps changing
is no reference. It isn’t because a tested
component outperforms ours that we
feel compelled to purchase it. And that’s
a good thing, because otherwise we
would have gone broke some time ago.
Of course the London Reference
tempted us. It would be wrong for our
Audiomeca turntable’s SL-5 arm, but oh
so right for our Linn and its Alphason
arm. Ever have a dog follow you home
when you were a kid? Remember what
you said to your parents?
This would a costly addition, and
notwithstanding some conspiracy theories we don’t get our cartridges (nor most
products) free. The London Reference
wasn’t in our budget.
But one can of course rationalize
these things. We own two Goldring
Excel cartridges, one of which is now
quite old, one of which is younger but
has run up a lot more hours. Someday
one of them might fail, and then what?
(See how easy it is?)
We are adding the London Reference
to our Omega system.
But what about…
The Reference is the top model in a
large lineup. Ttwo other versions have
line contact stylii: the Jubilee (US$2875)
and the Super Gold ($1260). We know
we’ll be bombarded with questions about
them, and we need answers.
As this issue goes to press, we have
both of those cartridges in hand, and
we will be making comparisons. We’ll
let you know the cost of dreaming of
something better.
CROSSTALK
The ball is in Gerard’s camp it seems
to me, though I think I can guess the
outcome.
—Reine Lessard
It seems to me I have been hearing about
the Decca cartridge all my life. What do I
recall about it? That it was loaded with bugs,
that it resisted all attempts to make it work
truly right, but that there were diehard fans
who swore by it anyhow.
I don’t know how accurate a picture
this was, but in this, the latest version of
this ancient design, the demons have been
exorcised, and John Wright’s vision has been
vindicated. He believed that this was the
right way to build a phono cartridge, and I
am not tempted to argue.
Does the London Reference still have
flaws? Of course…which of us does not? But
it brings me closer to the music, and helps me
forget that I am listening to a stack of electronic equipment, and not live musicians.
Digital has gotten pretty good over the
past few years. Anyone still listening to the
analog alternative needs to make analog as
good as it can get. This remarkable cartridge
is a powerful tool for doing just that.
—Gerard Rejskind
This test session left me with an ahhhh…
as in a sigh of relief. This cartridge affected
not just the way the music sounded, but the
way I felt. I felt good.
Was it the realism, the natural-sounding
strings, the space opening even wider than I
expected and filling it with more music than
I remembered? I'm not quite sure.
I wanted to hear more of what each performer had to say and I loved even more the
way it was said — the tenderness in a voice,
the sorrow, the elation of a choir. My sigh of
relief didn't appear immediately, however.
First there was an internal wow of surprise,
followed by doubt. What if that sense of wonder
doesn't last after a few pieces? But it did. And
it actually improved with every piece, which
were all too short, somehow.
And I found myself writing less and less,
only wanting to enjoy the beauty. Refreshed.
Ahhh.
—Albert Simon
Room
Listening
Feedback
I am truly enthusiastic about this cartridge. To be quite honest, our reference
cartridge was and is quite formidable, and
until now it would never have entered my
mind that we could possibly put it aside for
another that might be supposedly better. I
would have needed proof, and solid proof
too.
Well, the hours I have spent listening
to a variety of LPs have been exquisite, and
have left me in a state close to euphoria
(nice country, Euphoria, too bad about all
those earthquakes). I was truly touched by
the beauty and the realism of sounds, such
as human voices — male or female — and
orchestral instruments. All of the pieces
we had selected for these sessions were
reproduced in exemplary fashion, sometimes
soothing, sometimes pulsating, sometimes
majestic, spotlighting the virtuosity, the
expressiveness, and the sensitivity of composers and artists alike.
Of course our own cartridge also possesses these qualities, but with the London
Reference it was even better. Faced with this
firm evidence, what now?
Room
Feedback
Listening
Gershman Sonograms
C
an this really be a Gershman
speaker? Aren’t they usually
modif ied py ramids, wit h
slanting fronts and sides?
Why would Eli Gershman, after all
these years, create a ho-hum rectangular
speaker? But create it he did, though
at last April’s Montreal show no one
thought there was anything ho hum
about the sound. Simply put, the Sonogram created a buzz, even upstaging
the impressive Black Swan, which was
playing next door. The relatively low
price was one topic of conversation, to
be sure, but it wasn’t the only one.
Unfortunately the price is a thousand
bucks higher than we were told at the
show, but that’s no surprise, because
before a product goes into full production the manufacturer typically has only
an imprecise idea of what the costs will
be. And it seemed implausible that this
massive and heavy three-way speaker,
with expensive drivers, could be sold at
the low price we were quoted.
So what have we here? No, the cabi-
net is not pyramid-shaped, but the inside
is, in order to reduce resonances and
standing waves. We thought initially that
the speaker was sealed, until we noticed
the reflex slot at bottom rear. The woofer
is custom-made, and it is joined by two
soft-domed drivers, a Morel midrange
and a vifa tweeter. The separation of
frequencies is done by a series crossover,
which means there is only a single pair
of (pretty good) binding posts. The
Sonograms cannot be biwired, nor do
they need to be.
Like other Gershman speakers, these
have been both measured and listened
to extensively at the famous acoustic
facility of the National Research Council
in Ottawa. We can easily document the
fact that going through the NRC does
not guarantee even a listenable speaker,
but it can certainly help a designer avoid
fatal errors.
The Sonograms come with grilles,
which we chose to omit, though you may
feel differently if you have small children
who are fascinated by those shiny convex
domes. Solid brass cones are supplied,
but they have no locking nuts. If you
level the speaker by loosening a spike,
it can wobble, because the machining is
imprecise, as it is on most cones. One of
them did in fact wobble on our uneven
wood floor, and we levelled it by placing
a couple of pennies under one cone.
Our sample speakers photograph
much better than they look. We are
happy to confirm that this matte brown
finish will not find its way into stores
(that’s perhaps another reason for the
price rise). You’ll have a choice of clear
or stained wood veneers, or the familiar
and elegant piano black.
We positioned the Sonograms in
our Omega system right where our
Reference 3a Supremas had been, and
they sounded nearly right that way.
Moving them forward or back allowed
us to dial in more or less bottom end,
and we wound up pulling them toward
us about 12 cm. We also separated them
somewhat. Thus satisfied, we proceeded
with the listening session, done entirely
with LPs.
We began with a wind band recording we know to be a challenge to a
loudspeaker’s ability to reproduce bass
that is not just loud but accurate. It’s
Back Issues
THE ANNIVERSARY COLLECTION:
Issues No.7-19 (except 11, 15, 17 and 18, out of
print): nine issues available for the price of five
(see below). A piece of audio history. Available
separately at the regular price.
No.80: Equipment reviews: From Linn, the
Artikulat 350A active speakers, the updated
LP12 turntable, the Klimax Kontrol preamplifier,
and the Linto phono stage; ASW Genius 300
speakers, ModWright preamp and phono stage.
Also: Bergman on absorbing low frequencies,
emerging technologies for home theatre, and
coverage of the Montreal Festival.
No.79: Digital players: Simaudio’s flagship
DVD (and CD) player, the Calypso, and Creek’s
surprising economy EVO player. Phono stages:
A slick tube unit from Marchand, and the superb
Sonneteer Sedley, with USB input and output.
Plus: the talented JAS Oscar loudspeakers, the
Squeezebox plus our own monster power supply.
Also: Bergman on what absorbs sound and what
doesn’t, what’s next in home theatre, Vegas
2007, and the secrets of the harmonica.
No.78: Integrated amplifiers: the affordable
Creek EVO, and the (also affordable) Audio
Space AS-3i. Loudspeaker cables: six of them
from Atlas and Actinote, in a blind test. Plus:
the astonishing Aurum Acoustics Integris 300B
complete system, and its optional CD player/
preamplifier. Whew! Also: Bergman on taming
reverberation, how to put seven hours of uncompressed music on just one disc, and the one
opera that even non-opera people know.
Audiomat Maestro DAC, ASW Genius 400
speakers, and the Sonneteer BardOne wireless
system. Plus: Paul Bergman on the making of an
LP and why they don’t all sound the same, and
the many ways of compressing video so it looks
(almost) like film.
No.72: Music from data: We look at ways you
can make your own audiophile CDs with equipment you already have, and we test a DAC that
yields hi-fi from your computer. We review the
new Audio Reference speakers, the updated
Connoisseur single-ended tube amp, upscale
Actinote cables, and Gershman’s Acoustic Art
panels. How to tune up your system for an inexpensive performance boost. And much more.
No.71: Three small speaker: Reference 3a
Dulcet, Totem Rainmaker, and a low cost speaker
from France. We do a complex blind cable test:
five cables from Atlas, and one Wireworld cable
with different connectors (Eichmann, WBT nextgen, and Wireworld). The McCormack UDP-1
universal player, muRata super tweeters, the
Simaudio I-3 amp and Equinox CD player. Paul
Bergman reveals the philosophical differences
behind two-channel stereo and multichannel.
No.70: How SACD won the war…or how DVD-A
blew it. Reviews: Linn Unidisk 1.1 universal
player and Shanling SCD-T200 player. Speakers:
Reference 3a Royal Virtuoso, Equation 25,
Wilson Benesch Curve. Other reviews: Simaudio
W-5LE amp, the iPod as an audiophile source.
Plus: future video screens, and the eternal music
of George Gershwin
No.77: Electronics: The Simaudio Moon P-8
preamplifier, the successor to the legendary
Bryston 2B power amp, the Antique Sound Lab
Lux DT phono stage. Plus: the Reimyo DAP-777
converter, an affordable CD player/integrated
amp pair from CEC, and five power cords. Also:
Paul Bergman on room size and acoustics, how
to dezone foreign DVDs, and how to make your
own 24/96 high resolution discs at home.
No.69: Tube Electronics: Audiomat Opéra ,
Connoisseur SE-2 and Copland CSA29 integrated amps, and Shanling SP-80 monoblocks.
Audiomat's Phono-1.5, Creek CD50, a great new
remote control, GutWire's NotePad antivibration
device, and a music-related computer game that
made us laugh out loud. Paul Bergman on the
return of the tube, and how music critics did their
best to kill the world’s greatest music.
No.76: Loudspeakers: a new look at the modern
version of the Totem Mani-2, an affordable ELAC
speaker with a Heil tweeter, and the even more
affordable Castle Richmond 3i. Plus headphone
amps from Lehmann, CEC and Benchmark, a
charger that can do all your portables, and the
Squeezebox 3, which gets true hi-fi music from
your computer to your stereo system. Bergman
on speaker impedance and how to measure it.
No.68: Loudspeakers: Thiel CS2.4, Focus
Audio FS688, Iliad B1. Electronics:Vecteur
I-6.2 and Audiomat Arpège integrated amplifiers, Copland 306 multichannel tube preamp,
Rega Fono MC. Also: Audio Note and Copland
CD players, GutWire MaxCon power filter. And
there’s more: all about power supplies, what’s
coming beyond DVD, and a chat with YBA’s
Yves-Bernard André.
No.75: Amplifiers: The new Simaudio Moon W-8
flagship, and integrated amps from Copland (the
CTA-405) and CEC. Speakers: the Reference 3a
Veena and the Energy Reference Connoisseur
reborn. Plus the Benchmark DAC converter. And
also: Bergman on the changing concept of hi-fi
and stereo, a chat with FIM’s Winston Ma, and
the rediscovery of a great Baroque composer,
Christoph Graupner.
No.67: Loudspeakers: A new, improved
Reference 3a MM de Capo, and the awesome
Living Voice Avatar OBX-R. Centre speakers
for surround from Castle, JMLab, ProAc, Thiel,
Totem and Vandersteen. One of them joins our
Kappa system. Two multichannel amps from
Copland and Vecteur. Plus: plans for a DIY
platform for placing a centre speaker atop any TV
set, Paul Bergman on the elements of acoustics,
and women in country music.
No.74: Amplifiers: Mimetism 15.2, Qinpu A-8000,
Raysonic SP-100, Cyrus 8vs and Rogue Stereo
90. More reviews: Atlantis Argentera speaker,
Cyrus CD8X player, GutWire MaxCon Squared
line filter, Harmony remote, Music Studio 10
recording software. Cables: Atlas, Stager, BIS
and DNM, including a look at how length affects
digital cables. Plus: the (hi-fi) digital jukebox,
why HDTV doesn’t always mean what you think,
and Reine Lessard on The Man Who Invented
Rock’n’Roll.
No.73: Integrated amplifiers: Audiomat Récital
and the affordable Exposure 2010S. Analog:
Turntables from Roksan (Radius 5) and Goldring
(the Rega-designed GR2), plus two cartridges,
and four phono stages from CEC, Marchand
and Goldring. The Harmonix Reimyo CD player,
No.66: Reviews: the Jadis DA-30 amplifier, the
Copland 305 tube preamp and 520 solid state
amp. Plus: the amazing Shanling CD player,
Castle Stirling speakers, and a remote control
that tells you what to watch. Also: Bergman on
biwiring and biamplification, singer Janis Ian’s
alternative take on music downloading, and a
chat with Opus 3’s Jan-Eric Persson.
No.65: Back to Vinyl: setting up an analog
system, reviews of Rega P9 turntable, and
phono preamps from Rega, Musical Fidelity
and Lehmann. The Kappa reference system for
home theatre: choosingour HDTV monitor, plus
a review of the Moon Stellar DVD player. Antivibration: Atacama, Symposium, Golden Sound,
Solid-Tech, Audioprism, Tenderfeet. Plus an
interview with Rega’s turntable designer, and a
look back at what UHF was like 20 years ago.
No.64: Speakers: Totem M1 Signature and
Hawk, Visonik E352. YBA Passion Intégré amp,
Cambridge IsoMagic (followup), better batteries
for audio-to-go. Plus: the truth about upsampling,
an improvement to our LP cleaning machine, an
interview with Ray Kimber.
.No.63: Tube amps: ASL Leyla & Passion
A11. Vecteur Espace speakers, 2 interconnects (Harmonic Technology Eichmann),
5 speaker cables (Pierre Gabriel, vdH ,
Harmonic Technology, Eichmann), 4 power
cords (Wireworld, Harmonic Technology,
Eichmann, ESP). Plus: Paul Bergman on
soundproofing, how to compare components
in the store, big-screen TV’s to stay away
from, a look back at the Beatles revolution.
No.62: Amplifiers: Vecteur I-4, Musical Fidelity
Nu-Vista M3, Antique Sound Lab MG-S11DT.
Passive preamps: Creek and Antique Sound
Lab. Vecteur L-4 CD player. Interconnects: VdH
Integration, Wireworld Soltice. Plus: the right to
copy music, for now. Choosing a DVD player by
features. And all about music for the movies.
No.52: CD players: Alchemist Nexus, Cambridge
CD6, YBA Intégré, Musical Fidelity X-DAC,
Assemblage DAC-2. Subwoofers: Energy ES-8
and NHT PS-8. Plus: Paul Bergman on reproducing deep bass, and behind digital television.
No.51: Integrated amps: YBA Intégré DT,
Alchemist Forseti, Primare A-20, NVA AP50
Cambridge A1. CD players: Adcom GCD-750,
Rega Planet. An economy system to recommend
to friends, ATI 1505 5-channel amp, Bergman on
impedance, why connectors matter, making your
own power bars.
No.50: CD: Cambridge DiscMagic/DACMagic,
Primare D-20, Dynaco CDV Pro. Analog: Rega
Planar 9, Linn LP12 after 25 years. Also: Moon
preamp, Linn Linto phono stage, Ergo and Grado
headphones. Speaker cables: Linn K-400,
Sheffield, MIT 750 Also: 15 years of UHF.
No.49: Power amps: Simaudio Moon, Bryston 3B
ST, N.E.W. DCA-33, plus the Alchemist Forseti
amp and preamp, and McCormack Micro components. Our new Reference 3a Suprema II reference speakers, and a followup on the Copland
277 player. Plus: how HDCD really works.
No.61: Digital: Audiomat Tempo and Cambridge
Isomagic DACs, Vecteur D-2 transport. Speakers:
Osborn Mini Tower and Mirage OM-9. Soundcare
Superspikes. And: new surround formats, dezoning DVD players.
No.48: Loudspeakers: JMLabs Daline 3.1,
Vandersteen 3a, Totem Tabù, Royd Minstrel.
CD: Cambridge CD4, Copland CDA-277. A
interview with the founder of a Canadian audiophile record label.
No.60: Speakers: Monitor Audio Silver 9,
Reference 3a MM De Capo, Klipsch RB-5,
Coincident Triumph Signature. Plus: a Mirage
subwoofer and the Audiomat Solfège amp. Paul
Bergman on reproducing extreme lows.
No.47: FM tuners: Magnum Dynalab MD-108,
Audiolab 8000T, Fanfare FT-1. Speaker cables:
QED Qudos, Wireworld Equinox and Eclipse,
MIT MH-750. Parasound C/BD-2000 transport
and D/AC-2000 converter. Upgrading your
system for next to nothing.
No.59: CD players: Moon Eclipse, Linn Ikemi and
Genki, Rega Jupiter/Io, Cambridge D500. Plus:
Oskar Kithara speaker, with Heil tweeter. And:
transferring LP to CD, the truth on digital radio,
digital cinema vs MaxiVision 48.
No.58: Amplifiers: ASL AQ1003, Passion I10
& I11, Rogue 88, Jadis Orchestra Reference,
Linar 250. Headphone amps: Creek, Antique
Sound Lab, NVA, Audio Valve. Plus: Foundation
Research LC-2 line filter, Gutwire power cord,
Pierre Gabriel ML-1 2000 cable. And: building
your own machine to clean LP’s.
No.57: Speakers: Dynaudio Contour 1.3,
Gershman X-1/SW-1, Coincident Super Triumph
Signature, Castle Inversion 15, Oskar Aulos.
PLUS: KR 18 tube amp. Music Revolution: the
next 5 years. Give your Hi-Fi a Fall Tune-Up.
No.56: Integrated amps: Simaudio I-5, Roksan
Caspian, Myryad MI120, Vecteur Club 10, NVA
AP10 Also: Cambridge T500 tuner, Totem Forest.
Phono stages: Creek, Lehmann, Audiomat.
Interconnects: Actinote, Van den Hul, Pierre
Gabriel. Plus: Paul Bergman on power and current…why you need both
No.55: CD players: Linn CD12, Copland CDA289, Roksan Caspian, AMC CD8a. Other
reviews: Enigma Oremus speaker, Magenta
ADE-24 black box. Plus: the DSD challenge for
the next audio disc, pirate music on the Net, the
explosion of off-air video choices.
No.54: Electronics: Creek A52se, Simaudio W-3
and W-5 amps. Copland CSA-303, Sima P-400
and F.T. Audio preamps (two of them passive).
Musical Fidelity X-DAC revisited, Ergo AMT
phones, 4 line filters, 2 interconnects..
No.53: Loudspeakers:Reference 3a Intégrale,
Energy Veritas v2.8, Epos ES30, Totem Shaman,
Mirage 390is, Castle Eden. Paul Bergman on
biamping, biwiring, balanced lines, and more.
No.46: Electronics: Simaudio 4070SE amp &
P-4002 preamp, Copland CTA-301 & CTA-505,
N.E.W. P-3 preamp. Digital cables: Wireworld,
Audiostream, MIT, XLO, Audioprism, and
Wireworld’s box for comparing cables. Also: YBA
CD-1 and Spécial CD players. Yves-Bernard
André talks about about his “blue diode.”
No.45: Integrated amps: Copland CTA-401,
Simaudio 4070i, Sugden Optima 140. CD:
Adcom GDA-700 HDCD DAC, Sonic Frontiers
SFD-1 MkII. Interconnects: Straight Wire
Maestro, 3 versions of Wireworld Equinox.
Plus: Yamamura Q15 CD oil, and “Hi-Fi for the
Financially Challenged”.
No.44: Digital: Rotel RCD970BX, Counterpoint
DA-10A DAC. Speakers: Apogee Ribbon Monitor,
Totem Mite, more on the Gershman Avant Garde.
Also: Laser-Link cable, “The Solution” CD treatment, AudioQuest sorbothane feet, Tenderfeet,
Isobearings. Plus: Inside Subwoofers, and castrati, the singers who gave their all for music.
No.43: The first HDCD converter: the EAD
DSP-1000 MkII. Speakers: Gershman Avant
Garde, Totem Mani-2 and Rokk, Quad ESL-63
with Gradient sub. Plus: Keith O. Johnson on the
road to HDCD, and our editor joins those of other
magazines to discuss what’s hot in audio.
No.42: Electronics: Spectral DMC-12 and
Celeste P-4001 preamplifiers, electronics from
Duson, Sonic Frontiers SFD-1 converter, power
line filters from Audioprism, Chang, and YBA.
Plus: Inside the preamp.
No.41: Digital: Roksan DA-2, EAD DSP-7000,
McCormack DAC-1, QED Ref. Digit. Cables:
Straight Wire, Wireworld, van den Hul, Cardas
Transparent. Bergman on recording stereo.
To see older issues:
http://www.uhfmag.com/IndividualIssue.html
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Room
Feedback
Listening
Wilson Audio’s Center Stage. Wind
band recordings always present their
own special problems, of course, but the
rolling tympani sound wrong on all but
a few speakers. That’s because the action
occurs at a frequency below the point of
resonance of most speakers, in the band
where reflex-loaded woofers are totally
uncontrolled. You hear lots of bass, but
you can’t make it out.
Get the print or paid electronic issue,
and read the complete review!
tisi.
tat.
Summing it up…
Brand/model: Gershman Sonogram
Price: C$3595
Size (HWD): 106 x 26 x 40.5 cm
Sensitivity: 89 dB
Rated impedance: 6 ohms
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CROSSTALK
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lute tem ing ercilit.
Room
Feedback
Listening
CEC Classic Tube53
Room
Feedback
Listening
L
ike us, you probably know
this Japanese company best
for its unique CD transports,
which — like analog turntables — are mostly belt-driven. Oh,
and it makes amplifiers too…solid state
amplifiers. Whatever persuaded CEC
to bring out a tube amplifier?
In fact the company has been around
for years, and it has a history of building
tube gear. Hence the name. CEC considers this to be a “classic” product, albeit
an updated one.
It is gorgeous to look at, clad in
flawless brushed aluminum whose finish
has clearly been the subject of some
preoccupation. Inside the front with the
curved corners, which looks as though it
might be acrylic but is actually smoked
glass, are the tubes: four CEC-branded
12AU7/ECC82 twin triodes, and four
6L6 output tubes. Now there’s a tube we
don’t see often.
A lthough most common output
tubes, including the EL34, the 6550 and
the different “KT” tubes are all from the
6L6 family, the patriarch of that family is
not often present at the party. The 6L6
is not the choice for maximum power,
as we shall see, but clearly that wasn’t
the emphasis in the CEC engineering
suite.
The front panel is as attractive as it is
simple, with a selector for the three
inputs (bearing numbers rather than
names), a power switch, a small pilot
light, and the volume control. The rear
panel is equally neat, with good quality
connectors, the unused jacks hidden by
plastic dust shields. As in the company’s
solid state amplifier, the volume control
is not the usual potentiometer. Instead
of the usual technique of throwing away
unneeded gain, the CEC control actually
reduces or increases the amplification as
needed. There is no remote, a surprising
omission in what is increasingly a couch
potato world.
With the tubes having little access to
the ambient air, they run hot, and even
the front panel gets rather warm, though
at least the knobs stay cool. We would
be reluctant to let the Tube53 run all the
time, though the same might be true of
many other tube amplifiers.
The Classic53 was already well
broken-in, and we warmed it up in our
Alpha system, whose efficient Living
Voice loudspeakers are well suited to
a moderately-powered amplifier. We
brought in our Linn Unidisk player and
selected some CDs and high-definition
discs to see what this gorgeous little amp
could do.
We listened to the first two recordings with the speakers connected to the
8 ohm output, even though our speakers
are spec’d at 6 ohms and could realistically be rated at 4 ohms. You lose some
power by the mismatch, but the amplifier
may sound better, because the 8 ohm
output transformer winding has half the
wire of the 4 ohm winding. It took but
two recordings for us to conclude that
we didn’t have extra power we could
afford to waste, and we restarted the
session using the 4 ohm setting. Much
better.
Would the CEC have the impact
necessary to do justice to one of our
favorite wind band pieces, Norman
Dello Joio’s Fantasies on a Theme by
Haydn? It opens with energetic work
on large drums, followed by no less
energetic brass and woodwinds. It’s the
sort of recording to make an amplifier
break a sweat.
We were pleased to note that the
impact, quite huge with our powerful
Moon W-5LE reference amplifier, was
gratifyingly solid with the CEC as well.
The brass was bright but — except for
one particularly demanding passage —
not strident. There was a lot of detail
back there, and we could hear it in the
woodwinds and the smaller caliber
percussion.
Of course this amplifier has a tenth
the power of our reference, and that’s
being optimistic. It couldn’t quite fill
the space the way our amplifier did.
It sounded very much at ease in softer
passages, but we couldn’t help noticing
increased strain on louder ones…and
this recording sure has ’em!
We didn’t go easy on the CEC with
our next recording either: a high-energy
pipe organ playing Bach, with generous
use of the pedals. Specifically, we played
the famous (infamous?) Toccata and Fugue
in D Minor from Organ Treasures (Opus 3
CD22031. We were afraid it might sound
thin, that the organ’s large pipes might
be constrained. Not so. The broad space
was well rendered, though the organ no
longer quite filled it. If the main melody
was well reproduced, the myriad high
notes from the smaller pipes were less
at ease, and they were even smeared
in some passages. “With the reference
amplifier I was right there,” said Reine,
“but this is still majestic.”
We pulled out the Super Audio
version of Now the Green Blade Riseth hesitated, adding, “But I’m not sure that’s waveform was really clean only up to
(Proprius PRSACD9093), which is wrong.”
14.3 watts. At 30 Hz we could get a little
always a challenge even for expensive
We ended the session with one of less than 10 clean watts. At 20 Hz there
systems. The CEC handled it with little our favorite Margie Gibson songs, Soft seemed to be no meaningful power at
difficulty, though of course it made it Lights and Sweet Music (from Say It With all, but that was because our test signal
sound a little different. The flute in Music, Sheffield CD-36). Gerard liked (which is of course quite different from
the opening passage was less pure and it less with the CEC, citing increased music) was triggering the CEC’s rather
somewhat distant, though paradoxically effort and somewhat emphasized esses. cautious protection circuit. At the
it was a little too emphasized further on. Reine and Albert disagreed. “Her voice other end of the band, 20 kHz, we got
The choral voices were very good, which is warm and attractive,” said Reine, 16.5 watts. All of these results are below
is not the way they always sound, though “and the sensuality of her singing comes the rated power.
they took on a grainy character in the through. There’s detail. Intimate music
At very low level, just above the noise
You know
howismost
audiofor
magazines
do their reviews:
a number
loud final passage. The organ, which
level, there
was noofsign of problems.
like this
just right
this amplifier.”
reviewers,
some
with
doubtful
“reference”
systems,
are
assigned
reviews
of amplifier that
joins in at the finale but is often difficult Albert nodded, citing with approval the
This is, then,
a small
individual
components.
to hear, came through well.
very good balance between voice and goes for finesse at low level rather than
UHF,instruments
on the other(piano,
hand, maintains
reference
systems,
on which
Gerard asked to hear the piece
adrenaline
at higher
levels. Of course
cello and actual
plucked
all
reviews
are
done.
All
our
reviewers
participate
in
each
review.
again with about 6 dB less volume. bass). “There’s a lot of detail,” he said, small amplifiersThe
are in fashion now, and
is based
on the
concensus,
buthave
sometimes
on power than the
Sure enough, the artifacts we had main
notedarticle
some
much less
adding,
almost
reluctantly,
“ofif there
courseis one,
divergence.
largely went away, leading us to conclude it’s not all there.”
CEC, yet a much larger price tag. What
And thenOur
eachlab
reviewer
gets toconfirmed
write a “Crosstalk,”
a personal
comthat this is an interesting amp if you don’t
to know
is that such amplifiers
instruments
that you need
ment,
which
may
even
disagree
with
the
others.
overdrive it.
the Tube53 is no powerhouse. At 1 kHz, are meant for highly efficient speakers.
Therewith
is noboth
pressure
to confirm.
you readTo
is really
what
we perspective, 15 watts
Our next selection was from a DVDput that
into
channels
driven,What
the amplithink.
And
that
is
what
makes
UHF
unique.
Audio disc: Because from the Beatles fier clipped at 18 watts, and indeed the into a speaker with 94 dB sensitivity (like
soundtrack of the Cirque du Soleil show
our Living Voice reference speakers) will
Summing it up…
Love. The recording is dynamic and
sound like 30 watts into 91 dB speakers,
magical when it is reproduced well, and
or 60 watts into the 88 dB speakers that
the CEC did itself proud. Albert wrote Brand/model: CEC Classic Tube53
are quite common.
little. “I’ve reconciled with this ampli- Price: C$3,290/US$3,090
Over much of its dynamic envelope,
fier,” he said when the piece was over.
Size (WDH): 22 x 37.5 x 18 cm
the CEC Classic Tube53 sounds admiraThough the song features only the Claimed power: 20 watts/channel
bly warm, detailed and lifelike, without
Beatles themselves, without instru- High-level inputs: 3, no tape loop
the coloration that would give it away as a
ments, we could still hear some strain Most liked: Very good clarity and
tube amp. If you need more watts, it goes
now and then. “With our reference musicality
without saying that it’s not for you.
amplifier this song makes me think of Least liked: Limited power
Not all powerful amplifiers can,
Debussy,” said Reine. “It is like a dream. Verdict: Add efficient speakers and a
however, come close to matching its
With the CEC I can hear the individual room below palace-size, and it cooks
finesse and musicality. Big is not always
voices rather than the harmony.” She
beautiful.
Another unique feature!
I could tell you that when this amplifier
operates within its comfort zone it is downright magical…and that outside that zone
you can feel it straining. But then I could
say that about pretty much any good amplifier, so what’s particular about this one?
They key is that the CEC’s comfort
zone is not huge. You’ll want very efficient
speakers (which, fortunately, are not hard
to find), and this is not the amplifier for a
monster home, either.
Within those limits, however, it is a
delight to listen to. The Tube53 is one of
those amplifiers that can reproduce tiny nuances with deftness. And it’s good at loud
sounds too…up to a point.
—Gerard Rejskind
What you need to know is not whether
CEC has street cred with audiophiles, because that is a given. Rather, you want to
know whether this tube product can satisfy
a demanding audiophile.
I’d say that this listening session was
rather convincing, and satisfying in many
ways. What struck me first was the abundance of detail and the remarkable dynamic
range. I was surprised by occasional harshness in some highs. With some recordings, featuring large orchestra, pipe organ,
cymbals and the rest, I was left wanting.
It was with the more intimate recordings
that it pleased me most. Don’t overlook this
CEC.
—Reine Lessard
This is a nice amplifier, as long as you
don’t expect it to play large and powerful
orchestral works or other similarly-textured
sounds. You just won’t know how good it can
be.
On other works the sound struck me as
beautifully articulated and clearly defined.
And the music was nicely balanced, voices
and instruments sharing the stage with
transparency.
Some of us have clearly defined tastes
in music and prefer to limit our listening to
specific styles that keep neighbors smiling
in their sleep. If this describes the way you
are, and if you’re looking for an upgrade,
you might be in for a treat.
—Albert Simon
Room
Feedback
Listening
CROSSTALK
Room
Feedback
Listening
The Koss Pro 4AAAT
D
o we own a pair of reference
headphones? Sort of. They
may not be the best in the
world, exactly, because as we
shall see the criteria for “world’s best”
will vary according to your needs, but
we’ve always thought they were really
good.
They are the Koss Pro 4AAA, once
the company’s top “pro” headphone,
clearly aimed at the recording and
professional sound industry, and then
mostly sold through pro sound dealers.
You can see them on the page opposite.
They have large pads that go around
the ear and cut you off totally from the
outside world. Nothing gets in, nothing
gets out…that’s how pros want it. There
is even a little chrome knob to hold an
optional microphone.
It seems like a long time ago that
Koss was a maker of pro gear, but when
this new model came out, with a name
nearly like ours, we perked up our…ears.
The Pro 4AAAT (C$249.99) look a lot
like ours, with similar cushions, and
with similarly high isolation. The “T”
stands for titanium, a very “in” metal
these days, and the material with which
the polymer diaphragms are coated.
Like our older phones, this one has a
coiled cord that drops only from the left
side. It is impossible to tangle. The cord
is tipped with an iPod style miniplug,
plus a screw-on adapter for a full-sized
phone plug.
Despite the obvious similarities
between the two phones, one difference
was evident. The new one is a lot lighter,
and therefore a lot more comfortable.
Even Reine, who found our reference
headphones objectionably heavy and
hot, liked the new ones. “But they didn’t
give any thought to people who wear
earrings,” she said. That, of course today
takes in members of both sexes.
We listened to three recordings, one
CD and two SACDs, using our Linn
Unidisk, our Moon P-8 preamplifier, and
a Grado headphone amplifier connected
to the preamp’s tape out jacks. Though
we normally listen to test products all
three at once, that was of course not
possible with headphones.
The first recording was the SACD version of our favorite choral recording, Now
the Green Blade Riseth (PRSACD9093). It
was evident from the first that there’s
more top end with the new Koss, and
even the tape hiss before the first notes
was audible. The bottom end was still
solid, but Reine asked for more volume to
get the same impact she had heard with
our reference headphones. Even so, the
impact of the plucked bass, downright
startling with our reference, was less so
with these.
“The sound is good right across the
spectrum,” said Reine, “and there sure
is a lot of spectrum.” Albert was less
enthusiastic, finding the voices grainier
and less clear.
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The Grado SR125
C
Like all other Grado models these
are open-backed phones, which means
you’ll hear the telephone ring during all
but the loudest musical passages, and you
will be sharing your musical taste with
anyone sitting next to you. Open-backed
phones are neither better nor worse than
sealed phones, but depending on your
use you may have a preference for one or
the other. Certainly it’s easy to carry on
a normal conversation even with these
headphones on…provided the music isn’t
running of course.
The first thing you notice about these
phones is how light they are. The foam
cushions fit on the ear than around, and
they would be a lot more compatible
with summer heat than the Koss phones
would be. We wish all phones were as
easy on the head as these. In case you’re
wondering, Reine noted that, unlike our
reference phones, these are compatible
with earrings, and with eyeglasses as
well.
We plugged the SR125 into the
Grado RA1 and ran through the same
set of three recordings we had used in
our other headphone test.
ismodoloreet at.
Room
Feedback
Listening
an this well-known audiophile
company compete with the
much larger Koss at the same
price? We asked for a pair of
these phones, which have a street price
of about C$265. While we were at it, we
also borrowed the Grado RA1 phone
amplifier. It is shown on the next page,
along with the RS-1 phones (reviewed
in UHF No. 50 — the “RS” probably
stands for “reference standard”). The
amplifier costs C$625. Note that there
is a battery-powered version available…
heads up to iPod owners.
Grado has been in the headphone
business for about as long as Koss, and
it has made little effort to conceal its
age. The styling suggests the cockpit of
a Lancaster bomber, the sort of phones
you’d see around the neck of someone
nicknamed “Sparks.” The wires are
attached to both ears, and it is easy to
tangle them, because there is nothing to
stop each earphone from rotating. The
phones are light and unlikely to elicit
complaints concerning comfort, but they
will fit more tightly on some ears than
on others. A tight fit is a factor in bass
performance.
velisl ing.
Room
Listening
Feedback
augait.
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augait.
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commod.
TWO CABLES INTO ONE JACK
INTERCONNECTS
ATLAS NAVIGATOR
Oxygen-free continuous
cast (OCC) cable: each
strand is a single copper
crystal. Two separate
internal conductors,
plus double shielding
(“semi-balanced,” though we prefer “pseudo-balanced”). The
double shielding is copper mylar plus close-lapped 99.997% pure
OCC copper multi-stranded screen providing 100% RFI protection.
The premium “All-Cu” version (shown here) uses solid copper
connectors that are also continuous cast. The copper is then silverplated and double-shielded.We use two in our reference systems.
Special-order lengths from the factory.
ORDER: AN-1 pair, 1m, $265, AN-2 pair, 2m, $330
ORDER: ANA-1 All-Cu, 1m, $390, ANA-2 All-Cu, 2m, $450
ORDER: ANAB-1 All-Cu balanced, single crystal XLR, 1m, $699
Need to feed two preamps into two
amps? This solid Y-adapter (two
jacks into one phono plug) is gold
over brass, with Teflon dielectric.
ORDER: FYA, one pair Y adapters, $20
SPEAKER CABLES
ATLAS HYPER SPEAKER CABLES
A big winner in one of UHF’s blind tests of speaker cables is
Hyper 2, an oxygen free stranded wire in Teflon dielectric.
Inexpensive too. (Sorry, no picture yet). Plus connectors (we
recommend Eichmann Bayonet Bananas, $57.95/set.
ORDER: AH2, Hyper 2 cable, $29.95/metre
Want to biwire? Hyper Biwire is a great way to go
ORDER: AHB, Hyper Biwire cable, $49.95/metre
57
CONNECTORS
EICHMANN BAYONET BANANAS
The Eichmann Bayonet
Banana uses a minimum of
metal, and tellurium copper
at that, but clicks tightly
into any binding post with
spring action. For soldering or
crimping, or both.
ORDER: EBB kit 4 bayonet
bananas, $57.95
FURUTECH CONNECTORS
ATLAS ICHOR SPEAKER CABLE
Rhodium-plated banana tightens under pressure.
Installs like WBT-0645 banana. The spade's great too!.
ORDER: FTB-R, set of four bananas, $70
ORDER: FTS-R, set of four spades, $70
ATLAS VOYAGER
A cable with superior performance at an
economical price. Oxygen-free copper,
continuously cast, double-shielded with conductive
PVC plus close lapped 99.9997% pure OCC copper
multi-stranded screen, for 100% coverage against
RFI. Direct gold-plated, non compressing, doublescreened, self cleaning RCA plugs. Also available
with the All-Cu connectors like those of the
Navigator (above).
ORDER: AV-1, Voyager 1m pair, $235, AV-2, 2m pair, $285
ORDER: AVA-1, All-Cu 1m pair, $375, AVA-2 2m pair, $420
Continuous-cast single-crystal cable, ready for biwiring. It costs
just $235 per meter of double cable (a 2 m pair has 4 meters of
wire). We suggest adding the Eichmann Bayonet bananas, $57.95
per set of 4, or Furutech connectors (at right).
ACTINOTE LBD SPEAKER CABLE
We bought Actinote for our Alpha system! With gold bananas.
ORDER: LBD-317, Actinote 3m pair, $1590
ORDER: LBD-530, Actinote 5m pair, $1990
ATLAS QUESTOR
This could be the world’s lowest-cost
interconnect with single-crystal copper. It has
the same connectors as the Equator (below),
and we thought it sounded like a much more
expensive cable.
ORDER: AQ-1, 1 m pair Atlas Questor, $125
ORDER: AQ-2, 2 m pair Atlas Questor, $155
SINGLE CRYSTAL JUMPERS
Not biwiring? Dump the free
jumpers that came with your
speakers. Atlas jumpers are
made from single-crystal
copper, gold-plated spades.
ORDER: ACJ, four single
crystal jumpers, $99.95
ATLAS EQUATOR
We figured it was perhaps the
best $150 interconnect cable
you could buy. Only it costs
just $90. And yes, that’s in
Canadian funds. Other lengths
on order.
ORDER: AE-1, 1 m pair Atlas Equator, $85
ORDER: AE-2, 2 m pair Atlas Equator, $115
DIGITAL CABLES
EICHMANN BULLET PLUGS
The first phono plug to maintain
the impedance of the cable itself, by
using metal only as an extension
of the wire. Hollow tube centre pin
and tiny spring contact for ground.
Two easily accessible contacts for
soldering, two-screw strain relief. Gold over pure copper. Got silver
cable? Get the unique Silver Bullets!
ORDER: EBP kit 4 Bullet Plugs, $54.95
ORDER: EBPA kit 4 Silver Bullets, $139.95
EICHMANN CABLE PODS
Minimum metal, gold over tellurium
copper. Unique clamp system: the back
button turns but the clamp doesn’t.
Solder to it, or plug an Eichmann
banana into it, even from inside!
ORDER: ECP, set of four posts, $54.95
MICHELL BINDING POSTS
ATLAS COMPASS DIGITAL
ACTINOTE MB INTERCONNECTS
Excellent performance at an affordable price. Single crystal pure
copper. The 1.5m version sounds way better than a 1m.
ORDER: ACD-1.5 digital cable, 1m, $120
ATLAS OPUS DIGITAL
These cables use WBT NextGen locking connectors, and they are a
virtual match for our own reference cables.
ORDER: MB-130, 1.3 meter pair Actinote MB, $740
PRISMAL DUAL INTERCONNECT
This Swiss-made cable is back, at a big discount The connectors
are especially good, with Teflon dielectric. 174 strands of oxygenfree copper, braided shield. Toss out your “free” interconnects!
ORDER: PD-1, 1 meter pair Prisma Dual Interconnect, $39.95
ORDER: PD-05, 0.5 meter pair Dual Interconnect, $29.95
We dumped our reference cable for this one! And to be at its very
best, it has to be this length.
ORDER: AOD-1.5 digital cable, 1.5m, $360
CONNECTOR TREATMENT
ProGold cleans
connections
and promotes
conductivity as well.
Small wipes for
cleaning accessible contacts, or a squirt bottle for connections you
can’t reach. We use both regularly.
ORDER: PGW box ProGold wipes, $35
ORDER: PGS, can ProGold fluid (now called DeoxIT), $35
ORDER: PGB, both when ordered at the same time, $56
www.uhfmag.com/AudiophileStore.html
Michell’s Big Mother posts are machined to stay tight. Gold-plated.
Long, long shank for mounting in speaker cabinets. Limited stock.
ORDER: Big Mother, 4 gold posts for speakers $55
POSTMAN WRENCH
Think you can tighten
your speaker and amp
binding posts with your
fingers? Try the Dynaclear
Postman wrench (for 1/2”
or 7/16” hexagonal posts)
and find that yours weren’t tight after all. Retighten often.
ORDER: Dynaclear Postman, $13
ORDER ON LINE
www.uhfmag.com
58
WBT CONNECTORS
The unique WBT phono plugs have a collar which you turn so
that the plug tightens around and into the jack! The cable would
tear before the plug would come out.
The Topline series (heaviest construction, 5-layered gold
plating), includes the 0108 (above), which uses reliable crimping
technology, not soldering. Slip a gold-plated sleeve over the
bared wire, and crimp it on with the special WBT crimping tool.
The crimped end is held in the plug with a Torx screw. Buy the
tool at the same time as the connectors, and we’ll buy it back at
the price you paid when you’re through.
ORDER: WBT-0403 crimping tool (refundable), $125.
The sleeves are shown here, actual size.
ANALOG PRODUCTS
MORE ANALOG…
SOON: LONDON CARTRIDGES
TITAN STYLUS LUBRICANT
By the time you read this, we will have
the awesome London Reference phono
cartridge that we have adopted for
ourselves, and we are considering two
other London models as well. Contact us
or visit our Web site:
REGA FONO
We can’t get
over how
good it is…
and how
affordable.
The Rega
Fono is a
superb way to
add vinyl to your system. For low sensitivity MC cartridges. While
stocks last.
ORDER: RF-MC high sensitivity phono preamp, $565 now $495
GOLDRING
PHONO
WBT-0431 0.75 mm sleeve $0.50
WBT-0432 1 mm sleeve
$0.50
WBT-0433 1.5 mm sleeve $0.50
WBT-0434 2.5 mm sleeve $0.50
$0.60
$0.70
WBT-0437 10 mm sleeve $0.85
WBT-0438 15 mm sleeve $0.95
ORDER: WBT-0108, kit 4 Topline crimp plugs, $190
ORDER: WBT-0101, kit 4 Topline solder plugs, $190
Basic MM phono,
amazingly good, and
especially not shrill.
Besides, it’s very affordable.
ORDER: PA-100, $225
LP RECORD CLEANER
Amazing, but true: dabbing
a bit of this stuff on your
stylus every 2 or 3 LPs makes
it glide through the groove
instead of scraping. Fine artist’s brush not included, but readily
available in many stores.
ORDER: TSO-1 Titan stylus oil, $39.95
ELECTRONIC STYLUS GAUGE
When we got our
sample of this
new gauge, we
discovered that
our (discontinued)
plastic pressure
gauge had been
lying to us. Glad
we checked!
ORDER: ALM, electronic stylus gauge, $185
ZEROSTAT ANTISTATIC PISTOL
A classic
adjunct to
the brush is
the Zerostat
anti-static
gun. Squeeze
the trigger
and release: it
ionizes the air,
which becomes
conductive and drains off the static charge. By the way, it works
for a lot more than LP’s. No batteries needed.
ORDER: Z-1 Zerostat antistatic pistol, $94..95
LP SLEEVES
The 0144 Midline version has “only” three layers of gold plating,
smaller and lighter, with the same locking action.
ORDER: WBT-0144, kit 4 Topline solder plugs, $90
NEW! The high-tech minimum metal “nextgen” phono plugs.
Easy to solder, with locking collar. Silver version available.
ORDER: WBT-0110, kit 4 nextgen copper plugs, $170
ORDER: WBT-0110Au, kit 4 nextgen silver plugs, $280
WBT makes banana plugs for speaker cables, all of which lock
tightly into any post. All use crimping technology.
Concentrated cleaner for LP vacuum cleaning machines.
Much safer than some formulas we’ve seen! Half litre, mix with
demineralized or distilled water to make 4 litres.
ORDER: LPC, $19.95
EXSTATIC RECORD BRUSH
the Goldring
Super eXstatic. It
includes a hard
velvet pad to get
into the grooves,
plus two sets of
carbon fibre tufts. We’ve worn one out already, because we use it
every time!
ORDER: GSX record brush, $36
J. A. MICHELL RECORD CLAMP
ORDER: WBT-0644 Kit 4 Topline straight bananas, $90
ORDER: WBT-0645 Kit 4 angled bananas, $110
ORDER: WBT-0600 Kit 4 Topline bananas, $180
ALSO AVAILABLE: a full line of quality binding posts, phono
jacks, etc. Plus a spade lug that connectors under pressure.
Clamp your LP to the turntable platter. We use the J. A. Michell
clamp, machined from
nearly weightless
aluminum. Drop it
on, press down,
tighten the knob.
ORDER: MRC
Michell record
clamp, $75
ORDER: MRC-R
clamp for Rega and
short spindles, $85
Keep your records clean and
scratch free. Replace dirty,
torn or missing inner sleeves
with soft-plastic-in-paper Nitty
Gritty sleeves.
ORDER: PDI, package of 30
sleeves, $30
TURNTABLE BELT TREATMENT
What this is not
is a sticky goo for
belts on their last
legs. Rubber Renue
removes oxidation
from rubber belts,
giving them a new
lease on life. But what astonished us is what it does to even a brand
new belt. Wipe down your belt every 3 months, and make analog
sound better than ever.
ORDER: RRU-100 drive belt treatment, $14.95
VINYL ESSENTIALS TEST LP
This precision-made German test record lets you check out channel
identification, correct phase, crosstalk, the tracking ability of your
cartridge (it’s a tougher test than the old Shure disc was, and the
resonance of your tone arm and cartridge. When we need to test a
turntable, this is the one we reach for.
ORDER: LP 003, Image Hifi Test LP, $48.95
IF WE DON’T LIKE IT YOU WON’T SEE IT HERE
SUPER ANTENNA
MkIII
INSTANT CIRCUIT CHECKER
Plug it into an AC outlet, and the three lights can
indicate a missing ground, incorrect polarity,
switched wires — five problems in all. Some of these
problems can be fatal, but none of them is good for
feeding your music or home theatre system. The
first thing we did after getting ours was phone the
electrician.
ORDER: ACA-1, Instant Circuit Checker, $21
Ours has no stupid rotary switch to muck
things up, and with a 1.8m low-loss 75
ohm cable and gold-plated push-on F
connector, it has low internal loss. Covers
analog and digital TV bands as well as FM.
ORDER: FM-S Super Antenna, MkIII, $55
GUTWIRE G CLEF POWER CABLE
CLEANER POWER
MAXCON2 POWER FILTER
Looks great,
and does a
wonderful
job. Made
from milled
aircraft-grade
aluminum,
with Furutech and Hubbell connectors. Parallel filtering, so it can
be used even with very large power amplifiers. List $1299, but…
ORDER: GMC, MaxCon2 power line filter, $995
Needs IEC power cord: order one at the same time at 20% off!
Multiple shielding, including external electrostatic shield
connected to a clip. Used by UHF. Now in an upgraded version,
with performance “squared.” Length 1.7 m, longer cords on order.
G Clef 2 has 195 conductors, 3 shields providing 98% shielding.
Available with 20A IEC plug (for amplifiers requiring special plug)
ORDER: GGC G Clef, Square 1.7m, $385
STINGRAY POWER BAR
Most power bars knock voltage to your equipment way down,
and generate more noise than
a kindergarten class. The
Gutwire Stingray Squared
doesn’t. 12 gauge doubleshielded cable, Hubbell
hospital grade connectors at
both ends. Indispensable!
ORDER: GSR-2 Stingray Squared power bar, $285
We dumped our
cheap power
strip, added a
GutWire 16 power
cord, and made
our system sound better, even though no major component was
plugged into it. ORDER: EPS power strip, $61.95
Take $10 off any one of our IEC power cords or cord kits with
an EPS purchase
MORE POWER TO YOU
Better access to
electrical power.
Change your 77-cent
duplex outlets for
these Hubbell hospital
grade outlets. Insert a
plug and it just snaps
in. A tighter internal
connection as well.
Possibly the cheapest improvement you can make to your system.
ORDER: AC-DA Hubbell duplex outlet, $23.95
ORDER: AC-DB (more than one outlet), $21.95
ORDER: AC-D20 20A duplex, red color, $28.95
When we put a quality
AC plug on our kettle,
boiling time dropped by
90 seconds! The best AC
plug we have ever seen is
the Hubbell 8215 hospital
grade plug. It connects to wires under high pressure, and it
should last forever.
ORDER: AC-P2 Hubbell cord plug, $25.95
Amazingly good at a much lower price are these two cord plugs
from Eagle. No hospital rating, but a rather good mechanical
connection. Male and female versions.
ORDER: AC-P1 Eagle male cord plug, $5.95
ORDER: AC-PF Eagle female cord plug, $5.95
Making your own power cords for your equipment? You’ll need
the hard-to-get IEC 320 connector to fit the gear. We have two
sizes.
Gutwire’s B12 is a fat pipe, well-shielded, to which we’ve added a
Hubbell 8215 hospital grade wall plug and the Furutech IEC copper
connector. We use a couple of these ourselves, and we love them!
Optionally available as an easy-to-assemble kit, with the blue jacket
pre-stripped and shrink-wrapped at one end.
ORDER: GWB12, 1.5 m B12 power cord, $285
ORDER: GWB12K, 1.5 m B12 power cord kit, $240
Need it longer? Add $95 per metre extra
ORDER: AC-P3 10 ampere IEC 320 plug, $9.95
ORDER: AC-P4 15 ampere Schurter IEC 320 plug, $18.95
GUTWIRE 16
EICHMANN POWER STRIP
HOSPITAL GRADE CONNECTION
GUTWIRE/UHF B12
ENACOM LINE FILTER
Economy price, but astonishingly effective, we wouldn’t run our
system with less. It actually shorts out the hash on the power line.
ORDER: EAC Enacom line filter, $105
59
No budget for a premium cable? Make your own! We use several
ourselves, and they even
make our computers run
better! Double-shielded,
to avoid picking up
or transmitting noise.
GutWire 16, assembled
or as a kit. (If you are
not comfortable around
electricity, we suggest
the assembled one.) With
the Hubbell 8215 hospital
grade plug and the
Schurter 15 A IEC 320 connector. Highly suitable for digital players,
preamplifiers, tuners, and even medium-powered amplifiers.
ORDER: GW16-1.5K, GutWire 16 gauge power cable kit, $79.95
ORDER: GW16-1.5 GutWire 16 cable, assembled, $119.95
Need it longer? Add $28 per metre extra
IEC ON YOUR DVD PLAYER
Why do big name DVD players come with those tiny two-prong
plugs for their cords? A
good shielded power cable
will do wonders! Take $18
off if you order an adapter
at the same time as a G
Clef or B12 cable, or $8
off if you order one with a
GutWire 16.
ORDER: DVD-A, GutWire adapter, $39
SILVER SOLDER
This is a lovely solder, from the
company that makes Enacom
line filters (which we also like).
Wakø-Tech solder contains 4%
silver, no lead.
ORDER: SR-4N, 100 g solder
roll, $59.95
BETTER DIGITAL
IMPROVED CD WITH FINYL
This is the most famous of all the treatments for
Compact Discs. The maker of Finyl claims it reduces
surface reflections and provides a higher contrast
image for the laser cell of your player. Use it just
once. We get a lot of repeat orders on it. One kit can
treat over 200 discs. Or order the refill.
ORDER: F-1 Finyl kit, $40.00
ORDER: F-1R Finyl refill, $35.00
CLEAN YOUR PLAYER
After as little as three
months, your new
player will have more
trouble reading your
CD’s. Why? Dust on
the lens. We’re happy
to have found the
new Milty CD lens
cleaner. Unlike some
commonly-available
discs, the Milty is nonabrasive, so we use it and rest easy. Can be used wet or dry.
ORDER: 2021 Milty CD lens cleaner, $35
60
SUPPORT SYSTEMS
THE SUPERSPIKE
TENDERFEET
Machined cones are wonderful
things to put under speakers or
other audio equipment. They
anchor it mechanically and
decouple it acoustically at the
same time. Tenderfeet come in
various versions: tall (as shown)
or flattened, in either anodized
silver or black. Tall Tenderfeet
have threaded holes for a machine screw, or for the optional
hanger bolt, which lets you screw it into wood. If you have a
fragile hardwood floor, add the optional Tendercup (shown
above) to protect it.
ORDER: TFG, tall silver Tenderfoot, $15
ORDER: TFGN, tall black Tenderfoot, $16.50
ORDER: TFP, flat silver Tenderfoot, $10
ORDER: TCP, silver Tendercup, $10
ORDER: THB, hanger bolt for Tenderfeet, each $0.80
This is unique: a sealed unit containing a spike and a cup to
receive it. It won’t scratch even hardwood floors. For speakers
or equipment stands, on bare floors only. Four sizes of threaded
shanks are available.
ORDER: SSKQ, 4 Superspikes, 1/4” shank, $75
ORDER: SSKT, 4 Superspikes, 5/16” shank, $75
ORDER: SSKS, 4 Superspikes, 6 mm shank, $75
ORDER: SSKH, 4 Superspikes, 8 mm shank, $75
WHAT SIZE SUPERSPIKE?
Do you prefer spikes for your speakers? Target spikes and sockets
mount in wood. Available with or without tools.
ORDER: S4W kit, 8 spikes, sockets and tools, $39
ORDER: S4WS kit, 8 spikes and sockets, $30
A good ruler will let you figure it out. The stated size is the outer
diameter of the threaded shank. Then count the threads:
1/4” shank: 20 threads/inch
5/16” shank: 18 threads/inch
M6 (6mm) shank: 10 threads/cm
M8 (8mm) shank: 8 threads/cm
We have also have a Superspike foot
(at right) that replaces those useless
feet on CD players, amps, etc., using
the same screws to fasten them. And
there’s a stick-on version (not shown)
for other components.
AUDIO-TAK
It’s blue, and it’s a sort of modelling
clay that never dries. Anchor
speakers to stands, cones to speakers,
and damp out vibration. Leaflet with
suggested uses.
ORDER: AT-2, Audio-Tak pack, $10
ORDER: SSKF, 4 Superspike replacement feet, $80
ORDER: SSKA, 3 stick-on Superspike feet, $50
AN ON-THE-WALL IDEA
Need to fasten a speaker
securely to the wall? Nothing
beats the Smarter Speaker
Support for ease of installation
or for sheer strength. And
it holds the speaker off the
wall, so it can be used even
with rear-ported speakers.
Easily adjustable with two
hands, not three, tested to an
incredible 23 kg! Glass-filled
polycarbonate is unbreakable.
Screws and anchors included,
available in two colors.
ORDER: SSPS, pair of black speaker supports, $29.95
ORDER: SSPS-W, pair of white speaker supports, $29.95
FOUNDATION STANDS
Absolutely the
best speaker
stand known to
us. They’re filled
with a proprietary
material that
deadens the stand
completely. Matte
black, with spikes
adjustable from the
top. Height 61 cm
(24”).
ORDER: FFA, one
pair Foundation
stands, $1295
SEE EVEN MORE PRODUCTS
IN OUR ON-LINE CATALOG
www,uhfmag.com/AudiophileStore.html
AUDIOPHILE RECORDINGS, RECOMMENDED BY UHF STAFF
REFERENCE RECORDINGS
Hammersmith Prelude and Scherzo. Fine power playing by the Dallas
Wind Symphony.
30th Anniversary Sampler (HDCD)
A collection of excerpts from recent Reference albums.
Yerba Buena Bounce (HDCD)
The (terrific) Hot Club of San Francisco is back, with great music,
well-played, wonderfully recorded by “Profesor” Johnson!
Serenade (HDCD)
A collection of choral pieces, wonderfully sung by the Turtle Creek
Chorale, with perhaps the best sound Keith has given them yet.
Nojima Plays Liszt (HDCD)
The famous 1986 recording of Minoru Nojima playing the B Minor
Sonata and other works is back…in HDCD this time!
Trittico (HDCD) �
Large helping of wind band leader Frederick Fennell doing powerhouse music by Grieg, Albeniz, Nelhybel, etc. Complex and energetic.
Fennell Favorites (LP)
The Dallas Wind Symphony: Bach, Brahms, Prokofiev and more.
Fireworks on this rare Reference LP.
The Oxnard Sessions, vol. 1 (LP) �
Pianist Michael Garson, of Serendipity fame, takes on familiar standards, backed by five fine musicians. Inventive and beautiful.
Dick Hyman - Fats Waller (LP)
Analog version of this famous recording, cut to CD during the performance. Keith Johnson simultaneously recorded the performance on
his own hand-built analog recorder.
Nojima Plays Ravel (HDCD)
Nojima’s other hit disc, now also in glorious HDCD.
Garden of Dreams (HDCD)
David Maslanka’s evocative music for wind band.
Beachcomber (LP/HDCD) �
Fennell and the Dallas Wind Ensemble.Includes Tico Tico, A Chorus
line, and a version of 76 Trombones you’ll remember for a long time.
Holst (LP) �
From the composer of The Planets, 3 suites for wind band, plus the
Blazing Redheads (LP)
Not all redheads, this all-female salsa-flavored big band adds a lot of
red pepper to its music.
Felix Hell (HDCD)
The young organ prodigy turns in mature versions of organ music of
Liszt, Vierne, Rheinberger and Guilmant. Huge bottom end!
American Requiem (HDCD)
Richard Danielpour's awesome Requiem mass is all about war, and
about the hope for peace too, with a dedication tied to 9/11.
World Keys (HDCD)
Astonishing young pianist Joel Fan amazes with music from all the
world, including that of Prokofiev and Liszt
Ikon of Eros (HDCD)
Huge suite for orchestra and chorus, by John Tavener. Inspired by
Greek Orthodox tradition. Overwhelming HDCD sound.
PLUS THESE HDCD RECORDINGS:
Pomp&Pipes (HDCD) �
Requiem (HDCD) �
From the Age of Swing (HDCD) �
Swing is Here (HDCD) �
Copland Symphony No. 3 (HDCD) �
Medinah Sessions, two CDs for one (HDCD)
Ports of Call (HDCD)
Tutti (HDCD)
Bruckner Symphony No. 9 (HDCD) �
Ein Heldenleben (HDCD) �
SHEFFIELD
Say It With Music (CD) �
Margie Gibson sings Irving Berlin in what may be one the greatest
jazz vocal recordings of all time. And she’s right in your living room!
Growing Up in Hollywood Town (XRCD) �
FIM's XRCD version of the original Amanda McBroom LP.
the other musicians, all playing strictly acoustic instruments, have
done a fine recording, and Opus 3 has made it sound exceptional.
I’ve Got the Music in Me (CD) �
This was originally Sheffield’s LAB-2 release. If you haven’t heard
Thelma Houston belt out a song, you’re in for a treat.
Tiny Island (HDCD/SACD)
If you like Eric Bibb and his group Good Stuff as much as we do, pick
this one up.
Harry James & His Big Band (Gold CD)
Harry said he would have done this recording for free, because he
sounded better than ever.
20th Anniversary Celebration Disc (HDCD) �
A great sampler from Opus 3. Includes some exceptional fine pieces,
jazz, folk and classical. The sound pickup is as good as it gets, and the
HDCD transfer is luminous.
The King James Version (CD)
Harry James and his big band, live from the chapel!
Levande (LP/CD) �
The full recording from which “Tiden Bara Går” on Test Record No.1
is taken. Believe it or not, this great song isn’t even the best on the
album! A fine singer, doing folklike material…and who cares about
understanding the words?
Drum/Track Record (XRCD2) �
OPUS 3
Unique Classical Guitar Collection (SACD)
An SACD, mastered from analog, of some of Opus 3’s long-discontinued classical guitar LPs. Terrific!
Showcase 2005 (SACD)
The latest Opus 3 sampler, with Eric Bibb, Mattias Wager, the Erik
Westberg Vocal Ensemble and lots more, in glorious SACD.
Peder af Ugglas (SACD/LP)
Ugglas plays a number of different guitars, and borrows from jazz,
Blues, and (yes!) country. Piano, organ, trombone, bowed saw, etc.
Organ Treasures (SACD) �
All those showpieces for big organ you remember hearing through
huge systems…only with all of the power and the clarity of Super
Audio. 4.1 channels, plus 2-channel CD.
Just Like Love (SACD/LP) �
The newest from Eric Bibb, less oriented to Gospel and more to Blues.
Bibb’s group, Needed Time, is not here, but he’s surrounded by half a
dozen fine musicians. A nice recording. Hybrid SACD.
Comes Love (HDCD) �
Another disc by the terrific Swedish Jazz Kings, led by saxophonist
Tomas Ornberg, proving again Sweden understands jazz. The sound
is luminous, sometimes dazzling.
It’s Right Here For You (HDCD) �
Is there, anywhere, a better swing band than The Swedish Jazz Kings
(formerly Tömas Ormberg’s Blue Five)? Closer to Kansas City than to
Stockholm, they are captivating.
Test CD 4 (SACD)
A sampler of Opus 3 performers, clearer than you’ve ever heard them
before. Hybrid disc.
Test CD 5 (HDCD) �
Another of Opus 3’s wonderful samplers, including blues, jazz, and
classical music. A number of fine artists, captured with the usual pure
Blumlein stereo setup. A treat.
Concertos for Double Bass (CD/SACD) �
This album of modern and 19th Century music is a favorite for its
deep, sensuous sound. And the music is worth discovering. It is sensuous and lyrical, a delight in every way.
Across the Bridge of Hope (SACD)
An astonishing choral recording by the Erik Westberg Ensemble,
famous for its Musica Sacra choral recording.
Musica Sacra (HDCD/SACD) �
Test Record No.4 (LP) �
PROPRIUS
Antiphone Blues (CD) �
This famous disc offers an unusual mix: sax and organ! The disc
includes Ellington, Negro spirituals, and some folk music. Electrifying performance, and the recording quality is unequalled.
Antiphone Blues (SACD/HDCD) �
This is the Super Audio version, with a Red Book layer that is HDCDencoded. The best of both worlds!
Now the Green Blade Riseth (CD/SACD) �
Religious music done a new way: organ, chorus and modern orchestra. Stunning music, arranged and performed by masters, and the
effect is joyous. The sound is clear, and the sheer depth is unequalled
on CD. The new SACD version is the very best SACD we have yet heard!
Jazz at the Pawnshop (LP/CD/SACD-HDCD) �
A double album of live jazz, with nearly perfect sound. It has been
famous among audiophiles for years. Also available as double SACD/
HDCD gold disc on FIM label, or single CD.
Jazz at the Pawnshop 2 (CD/SACD) �
From the original master, another disc of jazz from this Swedish pub,
with its lifelike 3-D sound. Now a classic in its own right.
Good Vibes (CD)
The third volume of Jazz at the Pawnshop. And just as good!
Cantate Domino (CD/SACD) �
This choral record is a classic of audiophile records. The title selection is stunningly beautiful. The second half is Christmas music, and
includes the most stunning version of O Holy Night we’ve ever heard.
Showcase (SACD/LP) �
Available as a hybrid SACD/CD disc, or a gorgeously-cut LP, with
selections from Opus 3 releases.
Good Stuff (DOUBLE 45 LP/HDCD/SACD) �
As soothing as a summer breeze, this disc features singer Eric Bibb
(son of Leon), singing and playing guitar along with his group. Subtle
weaving of instrumentation, vivid sound.
Spirit and the Blues (DOUBLE 45 LP/CD/SACD) �
Like his father, Leon Bibb, Eric Bibb understands the blues. He and
61
Eybler Quartets (CD)
Even Mozart said he was a genius. The Eybler Quartet rediscovers
some of the works of this forgotten master.
Graupner: Vocal & Instr. Music vol.1 (CD)
Geneviève Soly and Les idées heureuses play music from a lost genius
whose reputation once outshon Bach’s.
Graupner: Partitas, vol.1 (CD)
Geneviève Soly plays some of Christoph Graupner’s incredibly rich
harpsichord music
Graupner: Vocal & Instr. Music vol.2 (CD)
Graupner: Partitas vol.3 (CD)
Graupner: Christmas in Darmstadt (CD)
SPECIAL PRICE ON ALL 8 CDs (see last page)
Violonchello Español (CD) �
I Musici de Montréal comes to Analekta, with a stunning album of
Spanish and Spanish-like pieces for cello and orchestra: Glazunov, de
Falla, Albéniz, Granados, and more.
Vivace (CD) �
Classical or rock? Claude Lamothe plays two cellos at the same time
in an amazing recording of modern compositions.
Pauline Viardot-Garcia (CD) �
Soprano Isabel Bayrakdarian steps into the role of 19th Century
singer and composer Pauline Viardot so convincingly that listening
to her is like going back in time. One of the best classical recordings
of all time!
Beethoven: Hammerklavier Sonatas (CD)
Anton Kuerti tackles the two impressive sonatas.
Brahms Lieder (CD)
Canadian mezzo-contralto reveals what she truly is: one of the truly
great voices.
Beethoven: Symphonies 5 & 6 (CD)
Tafelmusik steps outside its usual repertoire of Baroque on period
instruments. Under Bruno Weil, this orchestra turns in a gorgeous
rendition of two of Beethoven’s most memorable symphonies.
Mozart: Auernhammer Sonatas (CD)
A double CD of sonatas for violin and piano. It’s Mozart, of course, but
it is also gorgeously played.
Bach Sonatas for violin & harpsichord, vol.1 (CD)
Two Analekta superstars come together: violinist James Ehnes and
harpsichordist Luc Beauséjour. Irresistible
Bach Suites, Airs & Dances (CD)
Keyboard music from J.S. and C.P.E. Bach, arranged for concert
accordion by Canadian virtuoso Joseph Petric. it just had to be done!
Romantic Pieces (CD) �
How does James Ehnes manage to get such a sweet sound from his
Stradivarius? Czech pieces from Smetana, Dvorak and Janacek.
The playing is as glorious as the tone, and the sound is sumptuous.
Bonus: Analekta’s 10th sampler is included.
Sketches of Standard (CD)
ANALEKTA
Mozart: AComplete Piano Trios (CD)
A wonderful (and wonderful-sounding) two-disc set by the verytogether Gryphone Trio.
Once Upon a Time… (Video DVD)
Violinist Angèle Dubeau et her La Pietà string group with a spectacular video of music inspired by the Underworld…with the devil
himself in attendence. Includes other videos plus two CD’s worth of
uncompressed music. Superb!
62
Cantabile (CD)
The Duo Similia is made up of striking blonde twins, who play flute
and guitar. Familiar airs from Mozart, Fauré, Elgar, Ravel, lots more.
Fine listening.
is t as good as the first. These songs have powerful rhythm, and can
make you smile and cry at the same time.
Nota del Sol (CD) �
The Labrie twins are back, with a delightful recording of flute and
guitar music by Piazzola, Pujol and Machado. Joyous works, wonderfully played and recorded
SILENCE
Fantasia (CD)
A third, gorgeous, recording by the twins, on flute and guitar.
Fritz Kreisler (CD)
Possibly the best recording of Kreisler’s delightful violin music: James
Ehnes and his Strad bring a new magic to this fine disc.
French Showpieces (CD) �
Awesome violinist James Ehnes, with the Quebec City Symph. takes on
Saint-Saëns, Berlioz, Chausson, Massenet, and more.
Bach: Coffee Cantata (CD)
The celebrated Tafelmusik ensemble does two secular cantatas
(inluding Peasant Cantata). Fine singers, lifelike sound!
Bluesquest sampler (CD)
Tres Americas (CD)
A gold audiophile disc of lively Latin fusion music. Irka Mateo and
Tadeo de Marco sing and play, drawing their influence from Africa as
well as their native Brazil. Clear, close-in sound.
Caprice (CD) �
Can harp be spectacular? Believe it! This famous Klavier recording
features Susann McDonald playing Fauré, Glinka and Liszt, is a
powerhouse! Engineered by Keith O. Johnson, with a great transfer by
Bruce Leek.
Djembé Tigui (CD)
This gold disc features the voice and percussion of African artist
Sekou Camara, captured by the famous Soundfield microphone.
Camara died just before the disc was released.
Sonatas for Flute and Harp
These same great artists with sonatas by Krumpholz and Damase, as
well as Spohr and Glinka. Oh yes, and a spectacular solo harp version
of Ibert’s hilarious Entr’acte .
Styles (CD)
Is this ever a surprising disc! Violinist Marc Bélanger worked up these
string études for his music students, but they actually deserve to be
put out on a gold audiophile disc! The more strings he adds, the better
it gets.
Norman Dello Joio (CD) �
This contemporary composer delights in the tactile sound of the wind
band, and the Keystone Wind Ensemble does his music justice. So
does the sound, of astonishing quality!
Fable (CD)
Easygoing modern jazz by Rémi Bolduc and his quartet, on this gold
disc. Some exceptional guitar and bass solos.
Mozart: Soprano Arias (CD)
Soprano Lyne Fortin, with the Orchestre Métropolitain, totally at ease
with all three soprano roles from The Marriage of Figaro.
Handel (CD) �
Superb soprano Karina Gauvin is joined by the Toronto chamber
ensemble Tafelmusik in a series of glowing excerpts from Handel’s
“Alcina” and “Agrippina.” The sound is smooth and lifelike, with an
acute sense of place.
Little Notebook of Anna Magdalana Bach (CD) �
Over 30 delightful pieces, most by Bach himself. Soprano Karina
Gauvin’s voice is mated to Luc Beauséjour’s harpsichord work. The
sound is deep, detailed and warm, truly of audiophile quality.
Vivaldi: Motets for Soprano (CD) �
The wonderful soprano Karina Gauvin tackles the gorgeous but very
difficult vocal music of Vivaldi: two motets and a psalm.
Musique Guy St-Onge (CD)
One-man band St-Onge plays dozens of instruments — scores for
fourteen films which never existed outside of his imagination. Fun
pretext, clever, attractive music that makes you wish you could see
the films!
HI-RES MUSIC (FOR DVD PLAYERS)
Brazilian Soul (24/96 DVD)
Guitarists Laurindo Almeida and Charlie Byrd, plus percussion and
bass, in an intimate yet explosive recording of samba and bossa nova
music. Great!
Jazz/Concord (24/96 DVD)
It's 1972, and you have tickets to hear Herb Ellis, Joe Pass, Ray Brown
and Jake Hanna at the Concord Jazz Festival. You won’t ever forget it.
You can be there, with this high resolution disc that goes in your DVD.
Rhythm Willie (24/96DVD) �
Guitarists Herb Ellis and Freddie Green, With bassist Ray Brown and
others. This is an uncompressed 24 bit 96 kHz disc that can be played
on any video DVD player. Awesome!
Vivaldi: Per Archi (CD)
Telemann Sonatas for 2 Violins (CD)
Mendelssohn: 2 Violin Concertos (CD
Opera for Two (CD)
Villa-Lobos (CD)
AUDIOQUEST
Mississipi Magic (CD/SACD)
The legendary Blues, Gospel, rock and world beat singer and musician Terry Evans, in an energetic recording we loved.
Come to Find (CD) �
The first by Bluesman Doug McLeod, as impressive as the second, and
no Blues fan should resist it.
You Can’t Take My Blues (CD) �
Singer/songwriter Doug MacLeod and colleagues present one of the
most satisfying Blues records ever made.
Unmarked Road (SACD)
The third disc from the great blues singer and guitarist Doug McLeod
is every bit as good as the first two.
Whose Truth, Whose Lies (SACD) �
The third disc from the great blues singer and guitarist Doug McLeod
Ghosts (CD) �
This haunting(!) wind band recording features a suite of music that
could be the soundtrack to a film that will keep you awake nights. A
recording of astonishing dynamics and depth
Trio (24/96 DVD) �
Pianist Monty Alexander with Herb Ellis and Ray Brown. “Makes CD
sound seem as if it’s coming through a drinking straw.” Playable on
any DVD player, uncompressed.
Seven Come Eleven (24/96 DVD)
Herb Ellis and Ray Brown again, but this time with guitarist Joe
Pass (he and Ellis alternate playing lead and rhythm), and a third
guitarist, Jake Hanna. This is a live recording from the 1974 Concord
Jazz Festival.
Soular Energy (24-96 DVD/ 24-192 DVD-Audio) �
Perhaps the world’s greatest bassist, the late Ray Brown, playing with
pianist Gene Harris, whom Brown called one of the greats. The proof
is right on this 24/96 recording, made from the analog master. Side 2
has a 24/192 DVD-A version.
KLAVIER
Poetics (CD) �
A superb wind band recording which includes a breathtaking
concerto for percussion.
Carmina Burana (CD)
The celebrated Carl Orff oratorio sends chills down your spine, thanks
to the huge orchestra, gigantic choir, and of course the clarity and
depth of the Klavier sound.
Obseción (CD)
The Trio Amadé plays Piazzola, Berstein, Copland, and Emilion
Cólon…who is the trio cellist. The Colón and Piazzola is definitely
worth the price of admission. Lifelike sound.
Misbehavin’ (CD)
The superb Denver Brass does Gershwin (Cuban Overture, Porgy and
Bess), plus On the Town, Sweet Georgia Brown, and of course Ain’t
Misbehavin’. Great sound.
Hemispheres (CD)
The North Texas Wind Symphony with new music by contemporary
composers who know how to thrill. Some of the best wind band sound
available.
Illuminations (CD)
Absolutely great chamber musicians take on music by Villa-Lobos,
Malcolm Arnold, and some composers you may not know but you’ll
wish you did. Sublime sound, nothing less.
Mozart Serenade and Divertimenti (CD)
Lowell Graham (of Center Stage fame, Wilson Audio) conducts a
glowing version of these pieces, including the famous “Grand Partita.”
The engineering, by Bruce Leek, is absolutely first-rate.
Kickin’ the Clouds Away (CD)
Gershwin died more than 60 years ago, but you can hear him playing
piano in glowing stereo. Nineteen of his pieces are on this fine CD,
including a solo piano version of the Rhapsody in Blue.
FIRST/LAST IMPRESSIONS
La Fille Mal Gardée (XRCD)
A fine ballet with the Royal Ballet Company orchestra, from the
original 1962 Decca recording. Exceptional
Film Spectacular II (XRCD)
The orchestra of Stanley Black plays some of the greatest film music
of bygone years. From the original Decca Phase 4 tape.
Mozart: Sinfonia Concertante (XRCD)
Igor and David Oistrakh with the Moscow Philharmonic, in a glorious
1963 recording, from the original master tape
Artistry oi Linda Rosenthal (HDCD) �
The great violinist Rosenthal plays favorites: Hora Staccato, Perpetuum Mobile, Debussy’s Beau Soir, etc.
Suite Española (XRCD) �
The Albéniz suite, gorgeously orchestrated by Rafael Frühbeck de
Burgos, who conducts the New Philharmonia. Beautifully remastered
from the original 1963 tape.
Audiophile Reference IV (SACD) �
A stunning sampler, with recognizable audiophile selections you have
never heard sound this good!
Songs My Dad Taught Me (HDCD)
Jazz pianist Jeremy Monteiro and three other musicians, with a retro
collection of unforgettable tunes.
A Time for Us (HDCD)
Orchestral versions of music from great movies. Easy to love!.
Café Blue (HDCD/CD) �
Gold HDCD version of jazz singer Patricia Barber’s 1994 classic, an
audiophile underground favorite. Or get the original CD, at lower cost.
MISCELLANEOUS
All We Need to Know �
Jazz singer Margie Gibson’s first album since Say It With Music, on
63
Sheffield. No one sings the way she does!
Michael Row the Boat Ashore, Brown Skin Girl, etc.
Classica d’Oro (CD)
All of the classical world’s most important heritage, on 50 audiophilequality gold CDs, at under $4 per CD. Fine artists from Germany,
Austria, the UK, Eastern Europe. Listen to excerpts on line.
Sources (CD) �
A wonderful recording by Bïa (pronounced Bee-yah). She’s Brazilian,
lives in France, recorded this terrific album (in 5 languages!) in
Montreal. Just her warm voice and guitar,
Audiophile (XRCD) �
A fine jazz recording, including Secret of the Andes. We never test a
speaker without it.
La mémoire du vent (CD)
The original recording by Bïa, in French, Portuguese and English. If
you love her second one, don’t hesitate.
Blues for the Saxophone Club (HDCD) �
Swing jazz pianist Jeremy Monteiro, with guest artists, including
saxophonist Ernie Watts. The HDCD sound is explosive!
Carmin (CD) �
The third by Bïa. Different this time, with more money for production,
but it has been spent wisely. Superb songs, gloriously sung in Portuguese, French and the ancient Aymara language.
My Foolish Heart (CD)
A collection of live and atudio pieces by Monteiro and other musicians, notably saxophonist Eernie Watts
Coeur vagabond (CD)
Bïa sings French songs in Portuguese, Brazilian songs in French. A
delight, as usual from this astonishing singer
Neil Diamond: Serenade (CD)
Just eight songs on this European CBS disc, but what songs! I’ve Been
This Way Before, Lady Magdalene, Reggae Strut, The Gift of Song,
and more. Glowing sound too.
Nightclub (CD) �
Patricia Barber, doing nightclub standards rather than her own
songs. But can she do them!
Harry Belafonte (CD)
We haven’t heard Belafonte sound like this except on analog. The 16
songs include Island in the Sun, Jamaica Farewell, Midnight Special,
Modern Cool (CD)
The previous release from Patricia Barber, including songs she does
live on the Companion live disc.
Payment by VISA or MasterCard, cheque or money order (in Canada). All merchandise is guaranteed unless explicitly sold “as is.” Certain
items (the Super Antenna, the EAC line filter, and most standard-length cables) may be returned within 21 days less shipping cost. Other
items may be subject to a restocking charge. Defective recordings will be exchanged for new copies.
HERE’S HOW TO CALCULATE YOUR SHIPPING COST:
IN CANADA: up to $30, 7%, up to $60, 5%, above $60 not counting taxes, free. In Canada shipping costs are taxable.
TO THE USA: up to $30, 10%, up to $60 7%, above $60, 5%.
TO OTHER COUNTRIES: up to $30, 18%. Up to $60, 15%. Above $60, 10%. Magazines, books and taxes are not counted toward the total.
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Box 65085, Place Longueuil, LONGUEUIL, Québec, Canada J4K 5J4
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64
VINYL ALBUMS
Beachcomber
Blazing Redheads
Dick Hyman — Fats Waller
Fennell Favorites
Good Stuff (2 LP)
Holst
Jazz at the Pawnshop
Just like Love
Levande
Peder af Ugglas
Showcase
Spirit and the Blues (2 LP)
Test Record No.4
The Oxnard Sessions
Trittico
Vinyl Essentials (test)
RR-62
RR-26
RR-33
RR-43
LP19603
RR-39
7778-79
LP20002
7917
LP22042
LP20000
LP19401
OPLP9200
RR-53
RR-52
LP003
35.00
25.00
25.00
25.00
47.95
25.00
65.00
27.95
24.00
27.95
27.95
47.95
27.95
25.00
32.00
48.95
NEW MEDIA
Across the Bridge of Hope
CD22012
37.95
Antiphone Blues (SACD)
7744SACD 37.95
Audiophile Reference IV
SACD 029
40.00
Beethoven/Mendelssohn
5186 102
29.95
Brazilian Soul (DVD)
HRM2009
24.95
Cantate Domino (SACD)
PSACD7762 29.95
Conc. for Double Bass (SACD) CD8522
37.95
Good Stuff (SACD)
CD19623
37.95
Jazz at the Pawnshop (SACD) FIM-JZ
82.00
Jazz at the Pawnshop 2 (SACD)PRSACD7079 37.95
Jazz/Concord (DVD)
HRM2006
24.95
Just Like Love (SACD)
CD21002
37.95
Mississipi Magic (SACD)
AQSACD1057 37.95
Musica Sacra (SACD)
CD19516
37.95
Now the Green Blade Riseth PRSACD9093 29.95
Once Upon a Time… (DVD) ANDVD 9 8720 34.00
Organ Treasures (SACD)
CD22031
37.95
Peder af Ugglas (SACD)
CD22042
37.95
Rhythm Willie (Audio DVD)
HRM2010
24.95
Seven Come Eleven (DVD)
HRM2005
24.95
Showcase (SACD)
CD21000
37.95
Showcase 2005 (SACD)
CD22050
37.95
Soular Energy (DVD/DVD-A) HRM2011
24.95
Spirit & the Blues (SACD)
CD19411
37.95
Tchaikovsky: Symph. #6 (SACD) 5186 107
29.95
Test CD 4 (SACD)
CD19420
37.95
Tiny Island (SACD)
CD19824
37.95
Trio (Audio DVD)
HRM2008
24.95
Unique Classical Guitar (SACD).CD22062
37.95
Unmarked Road (SACD)
AQ1046SACD 29.95
Whose Truth, Whose Lies?
AQ1054SACD 29.95
COMPACT DISCS
20th Anniversary Celebration
30th Anniversary Sampler
Alleluía
All We Need to Know
An American Requiem
Antiphone Blues
Artistry of Linda Rosenthal
A Time for Us
Audiophile
Bach: Coffee Cantata
Bach Sonatas, violin & harpsi.
CD19692
RR-908
AN 2 8810
GG-1
RR-97CD
7744CD
FIM022VD
FIM051
jvcxr-0016-2
FL 2 3136
AN 2 9829
21.95
17.95
21.00
21.00
17.95
21.95
27.95
27.95
39.95
21.00
21.00
Bach Suites, Airs & Dances
Beachcomber
Best of Chesky & Test, vol.3
Best of the Red Army Chorus
Beethoven: Hammerklavier
Beethoven Symph. 5 & 6
Blues for the Saxophone Club
Bluesquest
Bossa Nova
Brahms Lieder
Bruckner: Symph. No.9
Café Blue
Café Blue (HDCD gold)
Cantabile
Cantate Domino
Caprice
Carmin
Carmina Burana
Classica d’Oro (50 CDs)
Come to Find
Come Love
Companion
Coeur vagabond
Concertos for Double Bass
Copland Symphony No.3
Djembé Tigui
Drum/Track Record
Ein Heldenleben
Eybler Quartets
Fable
Fantasia
Felix Hell
Flm Spectacular II
French Showpieces
Fritz Kreisler
From the Age of Swing
Garden of Dreams
Ghosts
Gitans
Good Stuff
Good Vibes
Graupner: Instr.& Vocal,, v1
Graupner: Partitas v.1
Graupner: Instr. & Vocal, v2
Graupner: Christmas in…
Graupner Discovery: all 8 CDs
Growing up in Hollywood Town
Handel
Harry Belafonte
Harry James & His Big Band
Hemispheres
Illuminations
Infernal Violins
It’s Right Here For You
I’ve Got the Music in Me
Jazz at the Pawnshop
Jazz at the Pawnshop 2
Jazz/Vol.1
Keep on Movin’
FL 2 3133
21.00
RR-62CD
17.95
JD111
21.95
AN 2 8800
21.00
FL 2 3187
21.00
AN 2 9891
21.00
26-1084-78-2 21.95
AQCD1052 21.95
JD129
21.95
AN 2 9906
21.00
RR-81CD
17.95
21810
21.95
CD 010
39.95
AN 2 9810
21.00
7762CD
21.95
K11133
21.00
ADCD10163 21.00
K 11136
21.00
GCM-50
149.95
AQCD1027 21.95
CD19703
21.95
22963
21.00
ADCD10191 21.00
OPCD8502 21.95
RR-93CD
17.95
SLC9605-2 22.00
LIM XR 005 38.95
RR-83CD
17.95
AN 2 9914
21.00
SLC9603-2 22.00
AN 2 9819
23.00
RR-101CD
17.95
XR24 070
35.00
FL 2 3151
21.00
FL 2 3159
21.00
RR-59CD
17.95
RR-108
17.95
K11150
21.00
Y225035
24.95
CD19603
21.95
PRCD9058 21.95
FL 2 3162
21.00
FL 2 3109
21.00
FL 2 3180
21.00
FL 2 3164
21.00
FL 2 3181
21.00
AN 2 9116
21.00
AN 2 9118
21.00
AN 2 9115
21.00
GDP-8
157.00
LIM XR 001 38.95
FL 2 3137
21.00
295-037
19.95
10057-2-G
24.00
K11137
21.00
K11135
21.00
AN 2 8718
21.00
CD19404
21.95
10076
21.00
PRCD-7778 21.95
PRCD9044 21.95
JD37
21.95
AQCD1031 21.95
Kickin’ the Clouds Away
K77031
La Fille Mal Gardée
XR24 013
La mémoire du vent
ADCD10144
Les matins habitables
GSIC-895
Levande
OPCD7917
Leyrac chante Nelligan
AN 2 8815
Liszt-Laplante
FL 2 3030
Little Notebook of Anna M. BachFL 2 3064
Masters of Flute & Harp
KCD11019
Medinah Sessions
RR-2102
Mendelssohn: 2 Violin Conc. FL 2 3098
Misbehavin’
K77034
Modern Cool
741-2
Mozart: Auernhammer Sonatas AN 2 9823-4
Mozart Complete Piano Trios AN 2 9827-8
Mozart: Sinfonia Concertante XR24 069
Mozart: Soprano Arias
FL 2 3131
Musica Sacra
CD19506
Musique Guy St-Onge
SLC9700-2
Musiques d’Europe centrale 88001
My Foolish Heart
26-1084-92-2
Neil Diamond: Serenade
465012-2
Nightclub
27290
Nojima Plays Liszt
RR-25CD
Nojima Plays Ravel
RR-35CD
Non-Stop to Brazil
JD29
Norman Dello Joio
K11138
Nota del Sol
AN 2 9817
Now the Green Blade Riseth PRCD9093
Obseción
K11134
Opera for Two
FL 2 3076
Pauline Viardot-Garcia
AN 2 9903
Poetics
K11153
Pomp&Pipes
RR-58CD
Ports of Call
RR-80CD
Requiem
RR-57CD
Rio After Dark
JD28
Romantic Pieces
FL 2 3191
Sans Domicile Fixe
19012-2
Say It With Music
CD-36
Serenade
RR-110
Sketches of Standard
PRCD 9036
Songs My Dad Taught Me
FIM0009
Sources
ADCD10132
Spirit and the Blues
CD19401
Styles
SLC9604-2
Suite Española
XR24 068
Swing is Here
RR-72CD
Telemann Sonatas for 2 Violins FL 2 3085
Test CD 5
CD20000
The King James Version
10068-2-F
Tres Americas
SLC9602-2
Trittico
RR-52CD
Tutti
RR-906CD
Ultimate Demonstration Disc UD95
Villa-Lobos
FL 2 3051
Violonchelo Español
AN 2 9897
Vivace
AN 2 9808
Vivaldi: Motets for Soprano
FL 2 3099
Vivaldi: Per Archi
FL 2 3128
World Keys
RR-106
Yerba Buena Bounce
RR-109
You Can’t Take My Blues
AQCD1041
21.00
38.95
21.00
21.00
21.95
21.00
21.00
21.00
21.00
17.95
21.00
21.00
21.95
27.50
27.50
38.95
21.00
21.95
22.00
24.95
21.95
17.95
21.95
17.95
17.95
21.95
21.00
21.00
21.95
21.95
21.00
21.00
21.00
17.95
17.95
17.95
21.95
21.00
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The Little Sparrow
by Reine Lessard
F
rom the extreme indigence in
which she was born, from the
street about which she would
sing as no one before or since,
she emerged, buoyed only by the unique
timbre of her voice, by the sincerity of
her passion, and by her mesmerizing
effect on others. Excessive in all, she
lived a thousand lives outside the bounds
of social convention. She loved beyond
reason. Her romances, temporar y
because she willed them so, were mostly
tumultuous, sometimes tragic, but she
celebrated them all with a voice that
came from her soul. So authentic are
her songs, so far outside the realm of
mere fashion, that even today they can
overwhelm all who hear them.
She is, you will have understood,
Edith Piaf. Physically she was hardly
imposing, standing a mere 1.42 m — just
4-foot-8 — yet she had it all. The most
popular artist Europe had ever produced,
she was also the most adored.
A thousand, a hundred thousand,
articles and books have been written
about Piaf. Movies too. Can mine be
more credible? Perhaps not, but I am
certain the voyage will be worthwhile
for both of us.
The sidewalk for a crib
Edith Giovanna Gassion sees the
light of day at dawn on December 19,
1915, on the sidewalk outside the home
of her parents at 72 boulevard de Belleville. It is in the 19th arrondissement,
an immigrant neighborhood.
The Great War is raging, and her
father, Louis Alphonse Gassion, is at the
front as a 2nd class infantryman. He is on
leave when the child is born. Except in
wartime he works as a contortionist in a
traveling circus, as did his father before
him. Between tours of the circus he
performs in the street. His talents also
extend to drinking and skirt-chasing,
and he boasts of having fathered children
left and right when on leave.
Her mother Anetta Giovanna Maillard is 16 when she marries Alphonse,
whom she meets at a fair where she
herself works. It is wartime and money
is scarce. She is reduced to working as
a café singer, though her superb voice
might have led her to a grand career on
the stage. The child receives the name
Edith, in honor of British nurse Edith
Cavell, whose murder by the Germans
is then a cause célèbre.
How to explain the meteoric rise of
this fragile little being, born in misery
of parents so ill-prepared to take on
responsibilities, with aptitude for entertainment, but slaves to the bottle? What
made it possible for this little girl, born
in rags, her adolescence spent among
rogues, to reach the top of the ladder?
How is it possible that, as capricious,
fiery, exalted, dominating, thirsting for
freedom, unfaithful, as changing as the
sea, she nevertheless drew about her a
coterie of loyal friends and lovers? How
is it that, even early on in her professional life, she could, like Pygmalion,
give birth to an astonishing number
of male artists and push them onto the
stage and into the recording studio? How
is it that today, more than four decades
after her death, she remains France’s
most famous singer? How is it that her
tomb remains one of the most visited
monuments in what is the world’s most
famous cemetery?
The author standing before Piaf’s birthplace, 72 boulevard de Belleville
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mother, a woman with
decidedly round heels.
The children they are
and the adults they will
become will be linked
everlastingly. They also
share the misery of their
childhoods and many
affinities that make them
perfect for one another.
Momone is endlessly
amusing, with a fertile imagination and
an exceptional talent for playing master
of ceremonies to her sister, the artist.
She will be indissociable from Edith’s
story. Piaf’s frequent accomplice in her
escapades, she will also be her memory.
The only one to know all of her story
and a witness to all, she will be distrusted
by many of the men gravitating around
Piaf.
The street singer
Edith is already attending
school when the local priest,
alarmed by the milieu in which
she is being brought up, demands
to see Gassion, who comes frequently to see his mother and
daughter, and also to benefit
from the charms of the working
girls. The priest upbraids him.
When Edith was blind it wasn’t
so bad, he says, because then she The wheel of misfortune
In a bistro in 1931, Edith meets
couldn’t see what was going on
in that house, but now that she Louis Dupont, moves in with him, and
has recovered her sight, “What becomes pregnant. She gives birth to
she sees in that house isn’t good a daughter, Marcelle, but the birth is
followed by a separation. For Edith it is
for a child her age,” he adds.
An orphan…or almost
Gassion is thus coerced into remov- a first romantic disappointment and she
Did her mother truly abandon her?
There is little doubt. One day she tells ing Edith from a place where she is takes it hard, but the wheel continues to
her husband that all is over between loved, and she leaves in tears. Her fate turn. A mother at the age of 17, like her
them. She has a voice, after all, and she is now sealed. The well-meaning cleric own mother, she does what she can to
intends to work to become known. She has condemned her to a childhood in avoid sinking into despair and try to rise
pawns her baby off on her own mother, the street, with her father the only one above her poverty. Like her mother, she
Aïcha, a picturesque character who — it left to care for her. At the age of eight often leaves her child alone, while she
is said — quiets the crying baby by spik- she follows her father in his wanderings, goes to sing.
While awaiting better days Edith and
sharing a trailer with him and his many
ing her bottle with wine.
Momone work at the Boîte à Lulu, a parIn 1917, on leave once again, Gassion conquests.
Edith will speak little of that time, but ticularly vile club. It is in Montmartre,
finds his child in a deplorable state and
takes her away to the home of his own we know that while her father performs which Simone knows well, convinced
No, this free version is not complete, though you could spend a couple
mother, “Maman Tine,” who runs a she passes the hat. Since she cannot or that it is the best place to pick up some
of hours reading it. Want the full version?
bordello in Normandy. On arrival the will not do acrobatic tricks herself, he money, which both urgently need. And
You can, of course, order the print version, which we have published
child is in a state of indescribable filth, makes her sing. She is unhappy with a so it goes until one day Dupont reappears
for a quarter of a century. You can get it from our back issues page.
to the point where her eyelids are stuck father for whom a blow is as quick as a to take little Marcelle away, just as Gas But we also have a paid electronic version, which is just like this one,
shut. The “girls” of the house clean her word, and for whom one glass of wine sion had come for Edith all those years
except that it doesn’t have annoying banners like this one, and it doesn’t
up, and give her care and affection, but follows another. By the time she is 16 she ago. Not long after, he reappears to tell
have articles tailing off into faux Latin. Getting the electronic version is of
they notice that she keeps bumping into realizes that she can sing without him, Edith that Marcelle is gravely ill with
course faster, and it is also cheaper. It costs just $4.30 (Canadian) anywhere
things, and realize that she is blind.
and she leaves to become a solo street meningitis. She rushes to the hospital,
in the world. Taxes, if they are applicable, are included.
And here follows a touching story. singer. At a time before radio becomes where she is refused access. It is only the
It’s available from MagZee.com.
The girls offer prayers to St. Thérèse widespread, it is thanks to street singers next day that she sees her daughter…at
de Lisieux, and apparently it works, for like her that the public discovers new the morgue!
As if that loss were not enough, she
the young girl does in fact recover her songs.
One day, Gassion introduces Edith lacks the money to cover the funeral
sight. Maman Tine encourages the girls
to undertake a pilgrimage to the saint’s to “Momone” — Simone Berteaut — expenses, and even the contributions by
shrine, and even contributes personally. as her half sister. He declares himself the owner and colleagues at the club are
Edith will throughout her life express to be Momone’s father, which is not insufficient. It is then that for the first
implausible, since he well knew her time, if the legend can be believed, she
adoration toward St. Thérèse.
offers her sexual services to a passerby.
The man asks what many a John has
asked a woman of the night, namely why
she has turned to the oldest profession.
On hearing her story, he gives her the
money she needs as a gift.
Edith learns her way around Pigalle,
where she becomes known and begins
to earn some money. She moves in the
underworld, frequenting seedy characters, pimps, and thugs. There are shady
dealings and crimes, situations where
indecency is the mother of cynicism. Yet
Pigalle is also fertile terrain for poets,
agents and composers. Still traumatized,
Edith launches herself into a licentious
life that, far from strengthening her,
leaves her all the more vulnerable.
Tragedy strikes
All is going well for Edith, when one
morning comes the stunning news that
Louis Leplée has been found murdered
in his apartment. Edith, who frequents
underworld figures, some of whom are
her protectors, not to mention the sailors
whose company she enjoys, becomes a
prime suspect. She is arrested in full view
of the photographers, and her name fills
the scandal sheets.
She is of course innocent. Leplée had
money, and he opened his door to young
men at all hours. Was theft the motive?
Or the jealousy of one of his lovers? The
crime will never be solved, but Edith is
absolved.
The murder has made Edith Piaf
famous, but for all the wrong reasons,
and her bright future now seems compromised. Club owners hope to profit
from her ill fame by offering to hire her
for pitiful pay.
Her faithful friend Jacques Canetti
gets her engagements at local cinemas,
but the young singer feels herself pulled
more and more into the abyss. She and
Momone sink into a life of debauchery
that alienates potential employers. Her
last impresario drops her because of what
he calls “the stupidity of a drunkard.”
A master appears
Though Papa Leplée began Edith’s
musical education, her voice has not
been truly placed, and it still lacks the
texture and the sensuality that will
make it so unique. Her ill temper and
willfulness alienate even those with the
best intentions. In 1937 she is penniless
and desperate and goes to see the noted
lyricist Raymond Asso, an acquaintance
of some months before. The apprentice
has met her master.
Asso is a former Foreign Legionnaire
who works with the concert pianist and
composer Marguerite Monnot. She
will write melodies well suited to Piaf’s
offbeat voice, powerful and unaffected,
vibrant, lending itself naturally to a wide
range of emotions, able to bewitch her
listeners. Monnot will later be recognized as Edith’s musical soul, her true
sister in creation.
Asso had already been in love with
Edith, and soon makes contact with the
most remote corners of her personality.
Falling in love in turn, Edith submits
to his highly demanding schedule. Asso
teaches her everything he knows about
voice, gestures and pronunciation. No
more the misbehavior that could only
kill her inestimable talent and lead to
self-destruction. Only one thing matters
now, and that is work.
She is docile enough in professional
matters, but when Asso dares to complete
her education, to teach her fine manners,
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“Papa” Leplée
One day in 1935, when she is 20,
she wanders to the Champs-Élysées
to sing for passersby, hoping they are
better off than those of Pigalle. She has
little success, yet she is observed by an
elegant man, who appears surprised. He
asks her why she is wasting such a voice
on street singing. The man is Louis
Leplée, a former female impersonator
turned proprietor of the chic Gerny’s
restaurant-cabaret nearby. He hires her
and comes up with a stage name suited
to her small stature: “la Môme Piaf,”
literally “the little sparrow.”
For her premiere at Gerny’s Edith
has nothing suitable to wear. She begins
to knit a dress but has only enough wool
for one sleeve. Leplée is beside himself,
and at the last moment the wife of
Maurice Chevalier drapes a scarf over
her shoulders.
Gerny’s is filled with many of the
usual customers, but also the curious,
eager to hear this street singer whose
name has been buzzed about. Behind
the curtain Edith, still terrorized by
Leplée’s outburst, awaits her cue. The
orchestra plays her introduction, the
curtain opens, and then…
She stands in the spotlight, more
vulnerable than ever. There is a silence,
after which, from her throat, rise the
words of a first song, from a voice of
enormous power whose sheer emotional
intensity is capable of calling forth cries
of enthusiasm or reducing an audience to
silence. Undecided at first, the spectators
reward her with sustained applause. She
is a hit, and the few days of her engagement will turn into months.
One of those mesmerized by her
voice, Jacques Canetti, founder of the
famed cabaret Les Trois Beaudets, offers
her a first spot at Radio-Cité, and gets
her to make a first recording, Les mômes
de la cloche, probably jointly with Leplée.
Also in 1936, Leplée introduces Edith
to Jacques Bourgeat, a poet and a noble
being. He teaches her to write and
inculcates in her the love of reading. He
will become a lifelong friend, and they
will share a voluminous correspondence.
Edith will write him over 200 letters.
and to inculcate in her habits of hygiene A second film
reburied in what will become the family
that have never been hers, she rebels.
Piaf conquers the hearts of renown plot.
It will take three years to tame the intellectuals. One of them, Jean Cocteau,
The closing of a sad chapter may be
beast.
will be a lifelong friend. He writes for the moment to mention a filmed interAsso is, I believe, the most important Piaf a script inspired by what Piaf has view Piaf gave late in her life, during
link in the chain that leads to the jewel told him of the apparently diffident Paul which she explained that she does not
that will become Piaf, the singer. “You Meurisse. Titled Le bel indifferent (which like the nighttime. Why?
will sing at the ABC,” he tells her one could be translated as “handsome but
“Because I’m afraid,” she replied.
day, and indeed she does sing at the aloof”), it gives Piaf the opportunity to
“Afraid of what?”
famous music hall. Now officially using showcase her talent as a dramatic actress.
“Of…things.”
her stage name of Edith Piaf, she is Impressed, another filmmaker, Georges
The immense sadness in her eyes
acclaimed as the opening act of a concert Lacombe, hires Meurisse and Piaf for his speak volumes on the regrets and the
by Charles Trenet, then goes on tour film Montmarte sur scène, also starring unhappiness in her past. Such is the
with Réda Caire, a popular singer of the great Jean-Louis Barrault. But by mystery of the great human solitude.
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records
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Why a free version?
She is the toast of Paris when war
breaks out in 1939. Asso leaves for the
front, leaving her alone but greatly
enriched by his unforgettable lessons.
The discipline he has taught her will
never leave her.
Edith is active during the Occupation. She sings for German officers,
which is frowned upon, but uses her
popularity to perform in prisoner of war
camps, donating her fees to the prisoners. The “godmother” of Stalag III D,
she asks to be photographed with her
“godchildren,” so that their faces can be
cut out of the group photos and used to
make false passports, which she passes to
them on her next visit. In the first year of
the Occupation, she donates money used
to spirit Jews into the (as yet) unoccupied
south of France.
In 1940 she has a serious infatuation with a sophisticated personality
hesitating between the careers of singer
and actor, Paul Meurisse (he will finally
choose the cinema). She lives with him
for two years. Elegant and reserved he
is Piaf’s opposite, and he will teach her
the workings of polite society.
of Paris”), which will be simultaneously
number one on the hit parades of Britain
and the United States.
He w il l also be t he aut hor of
L’accordéoniste, which I had the pleasure
of seeing her perform in a video documentary. I was shattered.
At the age of 29 Edith Piaf is an
experienced artist well aware of her
charisma, which she does not hesitate
to use. Because of her generous nature
(and, to be frank, her need to dominate),
she gives support to artists whom she
believes to be deserving, becoming their
lover one after the other, holding them
in her grip as long as it pleases her. She
drops them once they fail to inspire her,
or if they threaten to overshadow her.
In 1944 Edith’s father dies. He long
lived by choice in a flea-ridden hotel,
though Edith has used her growing
fortune to buy him some comfort. His
funeral is held in the presence of family
members and the prostitutes of the
bordello of Edith’s childhood. He is
buried at the Père Lachaise cemetery,
and by the same occasion Edith has her
infant daughter Marcelle exhumed and
Just as Asso transformed her so marvelously, and as she will do with all her
lovers, she takes him in hand, deciding
everything from his choice of songs to
his wardrobe. The new lovers go on the
road. In 1945 Edith’s ex-lover Henri
Contet, with Marcel Blistène, casts them
in the film Étoile sans lumière.
In 1946, while she is playing the
Comédie française, she discovers a group
of nine young singers working under the the tabloids reveal all with titles like, New York in October. Cerdan is schedname of Les compagnons de la chanson. It is “The king of the ring and the queen uled to arrive by boat, but a passionate
their first appearance in Paris, and Edith of song.” There is no jealousy between and impatient Piaf convinces him to fly.
invites them to work with her. She ends them, for they are stars each in their She asks her impresario to wake her as
her liaison with Montand, which is very respective domains, and theirs is one of soon as he arrives.
hard on both of them if we can believe the most torrid love affairs of the time.
In the night of the 27th to the 28th of
Momone’s biography. Yet she can choke
One fine day — or perhaps it is one October, the Constellation FDA-ZN
back her pain and tears when she feels fine night — in New York…at Coney smashes into a peak in the Azores, with
her career threatened. Yves Montand’s Island…at Astroland…the Scenic Rail- 48 passengers aboard, including Marcel
lightning success and growing stardom way, the Ferris wheel, among miles Cerdan. There are no survivors. He was
had begun to worry her.
of rides… We hear the exclamations, 33.
Initially reluctant to accept author- the squeal of wheels on steel rails, the
ity, especially coming from a woman, thumping of bumper cars, cries, laughthe nine finally accept her guidance, ter, the scent of frying hamburgers and
impressed by her disinterested savoir- cotton candy… Hidden in the crowds,
faire. In 1946 she records with them the the two lovers enjoy themselves like
international hit Les trois cloches (The kids.
Three Bells), which becomes a millionBut then they are recognized. The
seller and makes of the Compagnons crowd demands a song…
overnight sensations. They make a
Do you see what I see? No longer the
movie together, Neuf garçons, un cœur, tiny lady dressed in black, she is beautiThat evening, at the Versailles,
and inevitably she becomes the lover of ful, glowing, radiant, impeccably chic.
against the advice of her entourage and
group founder Jean-Louis Jaubert.
friends, it is a woman with a battered
Do you hear what I hear?
Loulou lands them a contract for The
heart who cries out her torment before
Quand il me prend dans ses bras
Playhouse on Broadway, and in October
a sympathetic full house..
Qu’il me parle tout bas,
1947 they leave for New York. Audiences
Si un jour, la vie t’arrache à moi
Je vois la vie en rose.
are thin and exhibit little enthusiasm, but
Si tu meurs, que tu sois loin de moi
Il me dit des mots d’amour
the reviews are good enough to get Edith
Peu m’importe, si tu m’aimes
Des mots de tous les jours,
a week’s engagement at the Versailles
Car moi je mourrai aussi...
Et ça m’fait quelque chose
in Manhattan. She applies herself four
The crowd which has quickly formed She has, with permission, borrowed her
hours a day, day in day out, to perfect about the two celebrities acclaims the own song which Yvette Girard was to
her English. She will finally sing at the singer, unknown in the US not long ago, record, L’hymne à l’amour.
If the sun should tumble from the
Versailles 21 weeks, and she will return but now an idol.
sky,
numerous times. As for the CompaIl est entré dans mon cœur
What long-time readers tell us they most like about UHF is that it
If the sea should suddenly run dry,
gnons, in 1948 they find themselves in
Une part de bonheur
does more than review amplifiers and speakers.
If you love me, really love me,
Hollywood.
Dont je connais la cause…
In every issue, we discuss ideas.
Let it happen, I won’t care.
While in New York Edith meets
The words, written in 1946, are from
We try to tell you what you need to know, besides what CD player to
When at last our life on earth is
Marlene Dietrich who, in a spontaneous Edith herself, set to music by the young
buy.
through,
gesture of admiration and affection, composer Louiguy. Translated into
It’s one of the features that makes UHF Magazine unlike any other
I will share eternity with you.
removes a chain with a crucifix and several languages it will be a worldwide
audio magazine.
If you love me, really love me,
places it about Edith’s neck. Theirs will success, selling three million copies in a
Then whatever happens, I won’t care.
be a lasting bond.
year. There are cover versions by Bing
With Cerdan’s death, Edith finds
Crosby and Louis Armstrong, and it
Serendipity
turns up in the film Sabrina. Louiguy herself on a slippery slope from which
Jaubert has left for Hollywood with will also pen the music to Bravo pour le she tries to escape by drawing on her
deep faith in God and in the little saint
the Compagnons, leaving Edith alone. It clown on lyrics by Henri Contet.
of Lisieux.
is then that she falls head over heels in
For your nose that lights up, bravo,
Her piety has long seemed a paradox
love with the boxer Marcel Cerdan. Born
bravo!
to many, and does so even many years
in Algeria and brought up in Morocco,
For your hair they pull out, bravo,
after her death. Though she is strongly
he lives in France and becomes in 1948
bravo!
attracted by pleasures banned by society,
the middleweight champion of the world.
For your unfaithful wife, bravo,
living in what we are pleased to call
He is already the best French pugilist of
bravo!
all time, and the road to America is wide
It is a song all should hear for the debauchery, she continues her heartfelt
devotion to her favorite saint. God is
open.
unequalled performance by Piaf.
present in her private life, a crucifix
Though Cerdan is married with two
always about her neck, making the sign
children, his romance with Piaf takes a Looming tragedy
serious turn. They meet in secret until
The lovers agree to meet again in of the cross before stepping out onto
Not just hardware…
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the stage. One of her songs, Et moi… is
Her love affairs become less sub- kind. They go through an elaborate
nothing less than a prayer. To atone for stantial. She has a new idyll with the religious ceremony as well, in New York
having insisted that Marcel Cerdan come young American singer and actor Eddie this time, and settle down in a spacious
by plane, she attends morning Mass for Constantine, and they play together apartment on boulevard Lannes that Piaf
months to come.
in an operetta, La p’tite Lili. When the turns into a music factory and will live
She is indeed a paradox. She who show closes after seven months they in until her death. She meets the singer
sings of Love, who is possessed by Love, part. He will later recall that Piaf gave Gilbert Bécaud, who with Jacques Pills
has but temporary liaisons, and is so him renewed confidence in himself by writes for her Je t’ai dans ma peau (I’ve
often torn apart when they end. She who making him believe he was talented.
Got You Under My Skin).
cries out her suffering, who drags behind
Her career is at its peak, exceptional
Such a bizarre woman, marginal,
her a thousand wounds and regrets, has stubborn, hard-nosed, flighty, unfaith- recordings arriving one after another,
an uncontainable need to laugh
and pages
yet theStore.
loss of Marcel Cerdan has left
ful, tyrannical,
strange,
a monster
The eight
that follow are
a catalog
for Thefor
Audiophile
make others laugh. Her laughter,
like
her
its
traces,
and she will never recover
her
entourage.
She
is
pitiless
with
her
The store belongs to UHF, and it is stocked with accessories and recordvoice, is as powerful as it isings
contagious.
entirely.
In
1953 she undertakes a first
musicians,
though
she
has
selected
them
that we recommend?
She is even given to practical
jokes.
All
session
of
rehabilitation,
after which
all
personally.
Her
tantrums,
unex Do we have a conflict of interest? Actually we don’t, because anything
who knew her speak of that
side
of
her
she
goes
on
tour:
New
York,
Mexico
plained
and
unexplainable,
are
legend.
we don’t like doesn’t make it to the store. We’re not tempted to cheat, becharacter. Which brings me
to
talk
of
City,
Rio.
Perhaps
to
dull
her
pain
and
She
can
be
possessive.
She
forbids
one
cause the credibility we’ve built up over the years is worth a lot more than
her smile, which illuminated
her
face,
overcome
her
distress,
she
travels
even
of
her
composers
of
the
day
(who
will
a few sales. If a competitor makes something better, so be it, and we’ll even
making it radiant and beautiful.
last 10 months), the Canadian pianist between engagements.
say so in a review.
Claude
Léveillé,
to sing;
he must
stay conflicts.
at
However the mix of drugs and alcohol
And the store
actually
protects
us from
potential
Singing, despite…
his
instrument
and
write.
He
will
pen
are
for her health. Sadly, some
In the past, advertisers have attempted to shake us down, disastrous
threatening
In the senseless hope to
of cancel
somehow
several
fine
songs
for
her:
Boulevard
du
of
her
friends,
certain that they are helptheir ads if we published something negative. It hasn’t happened
mak ing Marcel live again,
she
has
crime,
Ouragan,
and
Le
vieux
piano
(with
ing
the
great
star,
for a while, but then everyone knows it won’t work. The Audiophile Store actually obtain for her
recourse to spiritualism. Dark
rooms,
by Henry
though
once are
thepages
drugsnothat
puts eight
pageswords
of advertising
in Contet,
every issue,
and those
oneare destroying her. Some
shaking tables, much money
paid
to
back
in
Canada
Léveillé
will
sing
it
himare
naïve
no
doubt, or hoping to profit,
can cancel.
mediums, and finally the realization
it
self
with
his
own
lyrics).
He
even
writes
for
in
orbit
about
Check out the store, ot its on-line counterpart. We think there’s great her are not only true
is for naught. She abandonsstuff
the hope.
her
a comedy-ballet,
which however
she friends but also profiteers, drug dealers
there. If we
didn’t
think so, it wouldn’t
be there.
Despite her cruel bereavement, the will not live to perform.
and even blackmailers. The end of 1953
need to sing and go on stage has not left
and the next year are particularly diffiher. In 1950, while performing at the The blushing bride
cult. She is in a pitiful state, in no form to
Salle Pleyel, she meets the young Charles
Constantine is replaced by cyclist show herself in public, and she knows it.
Aznavour, possibly the only protégé not André Pousse, but they have a serious She allows no visits, and people around
to become also her lover (not that she car accident, and he too is replaced.
her speak not a word to the press.
and her friends don’t try, going so far as
In July 1952, in a civil ceremony Edith
Yet in 1955 she is buoyed by enthuto get him drunk). She has no trust in marries French singer Jacques Pills, with siasm when she learns that for the first
him as a composer, and uses him rather Marlene Dietrich as witness.
time she will sing in the most famous
as a sort of handyman. At once secretary,
music hall in Paris, the Olympia. There
chauffeur and confidant, the young man
she scores a triumph, well deserved for
has countless opportunities to observe
her incomparable voice and her dramatic
her, and once he has his own career he
ability. They still speak of it today.
will apply the immense experience and
The same year she is on the road
advice he received from her.
again, bound for the United States, a
He even writes a song in homage to
hazardous voyage in her state. She is a
her blue eyes, Plus bleu que le bleu de tes
hit at Carnegie Hall singing no fewer
yeux, which becomes a hit. They will
than 22 songs. It is her consecration as
finally perform together, and he will
an international star, a status that will be
remain a friend to the end.
hers forever.
Regaining strength to everyone’s
Cast adrift
surprise, more determined than ever,
In 1951 Piaf will have not one but two
she pursues her travels, accumulating
car accidents. The second is particularly
triumph upon triumph. She has now
serious, and to kill the pain and allow
been with Jacques Pills five years — a
her to continue her career, she is given
record for her — but she divorces him.
Pills is also a prolific songwriter,
strong doses of morphine. Of course she
becomes addicted, but what of that? She popular in France, throughout the Moving on
continues her career, which resembles French-speaking world, and even in the
A final circuit of Latin America
US. He is handsome, affectionate and brings Piaf back to Paris and the Olymmore and more her way of the cross.
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Edith Piaf at the Olympia, with Georges Moustaki
alcohol. The young man flees, and she
is once more alone.
Another young man arrives on the
scene, Claude Figus, who has been a
fan of Piaf since he was 13 and dreams
of sharing her life. Now adult, he is
welcomed and becomes one of Piaf’s
secretaries. He is tender with her, but
gives in to her slightest whim. His
weakness and thoughtlessness drive her
to another session of rehab. As for him,
he eventually takes his own life.
Je sais comment…
In 1959 she records a song that must
be sung, for it is the final message of
Edith Piaf to all those who have been
crushed by tragedy, have suffered all the
indignities, have felt all the pains.
Je sais comment…
Comment scier tous ces barreaux
Qui sont là en guise de rideaux
Je sais comment…
Comment faire sauter les verrous
Entre la liberté et nous
Je sais comment
Comment faire tomber en poussière
Ce mur énorme d’énormes pierres
Je sais comment
Comment sortir de ce cachot
Fermé comme l’est un tombeau
Je sais comment revoir les fleurs
Sous un ciel bleu
Je sais comment avoir le cœur
Libre et heureux
The words are by Julien Bouquet,
the music by Robert Chauvigny. It is
a cry of hope from an artist convinced
she has found a way to overcome all, to
have risen above all that misfortune may
reserve.
I know how…
How to saw open the bars
That are our curtains
I know how…
How to break open the locks
Between freedom and ourselves…
I know how…
To find the flowers once more
Under a sky of blue
I know how to have a heart
Happy and free
Yes, she knows how. Indefinable,
unclassifiable, incomparable is her
voice when she sings the word comment.
She flies free of all barriers toward the
zenith.
Je ne regrette rien
Her finances are plunging toward
zero. Upkeep of an expensive home,
boundless generosity, a perpetual open
house, jewelry for former lovers, acts of
charity of which she never boasts, houses
of convalescence, alcohol, drugs…in
the midst of this arrives a proposal for
a two-month singing tour. She is newly
recovered from a hepatic coma, she is
extremely weak, and more and more
often she staggers and forgets lyrics.
During a 1959 concert in New York she
faints on stage and is rushed for emergency surgery. It is a woman exhausted,
drugged, ill, prematurely old, almost
ugly, a woman at the end of her rope,
who returns to Paris.
Meanwhile yet another young man,
Charles Dumont, is awaiting his chance.
He has long tried to pass his songs to
Piaf, but she has little empathy for him,
and she is even willing to humiliate him.
In 1960, when Bruno Coquatrix asks Piaf
to play his Olympia theatre once more to
save it from bankruptcy, her pitiful state
leads her to refuse. And then something
astonishing happens. She finally accepts
to listen to one of the young man’s songs,
titled Non, je ne regrette rien, and she is
conquered at once by the song and its
author. His name is Charles Dumont.
The words could stand in as the testament of the great little lady.
Putting aside the superb songs of
Marguerite Monnot she had in hand, she
programs instead ten songs by her new
lover. Lover? It is as if, since he is promoted to the post of favorite songwriter,
and he moves in with her.
Shaky and misshapen by pain, she
surpasses herself once again.
Non! Rien de rien ...
Non ! Je ne regrette rien
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pia. The year 1956 marks what is to be
her final attempt at rehabilitation, but it
may be too late. Yet she goes on, leaving
once more for America.
And here arrives Michel Rivgauche,
just in time. He will not fill her need for
love, but he offers her marvelous songs,
such as La foule, adapted from a song he
picked up in South America, and Mon
Manège à moi.
You make my head go round
My merry-go-round, that’s you
I’m always at the fair
When you take me in your arms.
She includes several of his songs
in her third recital at the Olympia, as
well as those of Pierre Delanoë, whose
songs will also be applauded at Carnegie
Hall.
In 1958 she meets the sublime singersongwriter Georges Moustaki. He writes
for her, on music by Marguerite Monnot,
Milord. I think I can safely say that it is
difficult to listen to this song without
tears. Beyond the music and the words,
it is her contagious emotion that is staggering in its expressive power.
Like other before him Moustaki
becomes Piaf’s lover. She has not lost
her taste for domination, but both
have strong egos and their relation is
a rocky one. In September they have a
serious car accident, Edith’s third. The
mishap leaves her in pain dulled only
by new administrations of morphine.
This time the damage to her health is
beyond repair, and her relationship with
Moustaki does not survive.
Arrives next a young American who,
rather like Alfredo in the Verdi opera La
Traviata, comes each day, unidentified, to
gather news of his beloved, all of whose
concerts he has attended. Hoping to
cheer Edith up, Loulou arranges to have
the young man, painter Doug Davies,
meet her. He is delighted to meet the
woman of his dreams, and he paints a
portrait of her of which she is proud. The
public laughs, of course, but what of it?
One evening, when they and Michel Rivgauche are leaving Paris for a tour in the
car Edith has bought for her young lover,
they roll over. With two broken ribs and
numerous contusions, Piaf ignores her
doctors, and after an injection of painkillers she sings anyway. Alas, the old
demons return: barbiturates, cortisone,
and Sarapo knew it would be so. He does life, yet accomplished many acts of charall he can to comfort his wife in her last ity and remained ever devoted to her
months. In February of 1963 they sing faith and her favorite saint?
together the duet, À quoi ça sert l’amour?
There are no answers.
at the Bobino theatre, a song written for
At this point I question whether one
them by Michel Emer.
should even attempt to list Piaf’s lovers.
Two months after that concert, Such a list would neither take away nor
in Plascassier in the south of France, add to her aura, and the number of one
Edith Piaf slips into a coma, and will night stands and actual loves in her life
only occasionally drift in and out of was so large they should be assigned
consciousness.
numbers rather than names.
•••
And there have been numerous men
One morning, October 11 1963, millions of genius — Schubert, Mozart, Georges
of Frenchmen and citizens of the world learn Simenon, Hemingway — and women
that they are orphaned, for “The Voice” too, who led lives free of convention, and
is no more. For reasons difficult for us to who enriched us with their works, their
understand, her death the previous day in sweat, even their blood. Is that not what
the south of France was kept secret, and her is important? Must we not accept that
body brought back to Paris, for how could she these beings are different, that they live
have expired elsewhere? Her “official” time in their own universe, in which morality,
Ni le bien qu’on m’a fait
of death, then, is 8 o’clock that morning.
physiology and psychology are different
No, this
complete,
though
you could
spend a couple
Ni le mal tout ça m’est
bien free
égal !version is notThree
days later
the streets
of the French
from the norm?
hours reading
it. Want
the fullare
version?
That evening,ofDecember
29, 1960,
is capital
filled with hundreds of thousands
But there is something unique about
You
course, order
the print
whichsince
we have
published
a triumph. The next
Junecan,
she of
is awarded
of persons,
theversion,
largest crowds
the LibPiaf in this regard. Can you name a
quarter of Charles
a century.eration
You can
it from
the grand prix offor
thea Académie
inget
1944,
who our
haveback
comeissues
to see page.
the single one of the paramours of the (male)
But
we
also
have
a
paid
electronic
version,
which
is
just
Cros for the sum of her career.
funeral procession of Edith Piaf pass like
by. this one,
geniuses already mentioned? A number
except
that it doesn’t
have annoying
like of
this
and it doesn’t
Other talented
songwriters
will write
Despite banners
the obstinacy
theone,
Archbishop
of Piaf’s lovers, on the contrary, are
have
articles
faux Latin.
Getting
electronic
version
is of to us as stars of the stage or as
for her, but the end
is near,
andtailing
it willoff
be into
of Paris,
who decrees
thatthe
Mass
not be sung
known
course
faster,
and
it
is
also
cheaper.
It
costs
just
$4.30
(Canadian)
anywhere
painful.
for her, the funeral takes place in a church, composers and songwriters, thanks to
in the world. Taxes, if theySaint-Honoré
are applicable,
are included.
d’Eylau.
From there the pro- her emotional performances and her
It’s
available
from
MagZee.com.
Je t’aime
cession moves to the Père Lachaise cemetery, magnetism. By her, they were many to
In early summer of 1961, exhausted where some 40 thousand people watch her find fame and even glory. Their names
from a series of operations and loaded laid to her final resting place.
and their melodies are familiar, and their
with drugs, she meets her last lover.
In more than four decades since then, songs are as hypnotic as ever.
Theophanis Lamboukas, 20 years her there has never been more than a few days
As for the young Sarapo, said by the
junior, is a Greek hairdresser. She gives without an admirer placing fresh flowers on scandal sheets to have married Piaf for
him a new surname, Sarapo, which in the tomb in Division 97, avenue No. 3.
her money, he did inherit millions…but
Greek means “I love you.”
millions in debts. He did, it was finally
In September of 1962 comes her My final word
accepted, marry for love.
last concert at the Olympia. The same
Shall we be surprised that, abandoned
With, without and despite, Edith Piaf
month, at the launch of the film on by a mother addicted to drugs and has reached the highest spheres, and can
D-Day, The Longest Day, she sings alcohol who would eventually die of an now be considered an immortal.
from the first floor of the Eiffel Tower, overdose…living her childhood with
accompanied by fireworks. Below her an acrobat father who depended on her
are crowned heads, heads of state and a to take in a few miserable francs…that
constellation of stars, as well as 20,000 with one foot in misery and the other
Parisians and visitors. They are enrap- in the street, receiving more blows than
tured, though the violent wind drowns affection…that exploited by all…that
her out, and she must resort to lip sync unschooled, illiterate, scorned by the
to be heard.
show business elite…that she tried to
That same year she writes, with outwit her apparent destiny and even
Charles Dumont, Les amants, a sad control others? Shall we be surprised
and beautiful song flowing from their that she had liaison after liaison, forbidrelationship.
den by moral society, as if for her to
In October Edith Piaf marries Théo express love sexually is natural and will
Sarapo in a Greek Othodox ceremony. guarantee her the love of her men? Shall
The marriage is the subject of a scandal, we be surprised that she lived a libertine
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Software Reviews
by Reine Lessard
and Gerard Rejskind
Mozart: Complete Piano Trios
The Gryphon Trio
Analekta AN 2 9827-8
Lessard: Here, on two CDs, is an assortment of chamber music of great beauty,
composed by Mozart between 1786 and
1788. The trios are usually referred to as
works of Mozart’s maturity, which always
amuses me when I know that he died at
the age of 35. In such a brief life, when
does “maturity” occur?
In the second half of the 18th Century,
when the pianoforte began to displace
the harpsichord, it became more than
a solo instrument. If pianists desired to
make music with friends and family, they
needed a repertoire of works that could
bring the new instrument together with
the violin and cello. Joseph Haydn was
the first to respond to the demand with
some 40 major works, though to many
ears his chamber works are more like
piano sonatas with string accompaniment. Mozart wrote only a handful of
such works, but brought to them the
fruit of his genius by initiating a “conversation” among the three instruments,
so that each might carve out a special
place.
One is therefore surprised at the
major role given to the violin and the
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Symphonie Espagnole, Capriccio
Espagnol
Chicago Symphony/RCA Victor
Symph.
HDTT HDDVD124
Lessard: The first piece is by Edouard
Lalo (1823-1892), who was French but of
Spanish extraction. A violinist and cellist, he was in great demand as a chamber
musician. His early career was spent popularizing the German masters before he
composed his first string quartet in 1859.
He also wrote an unsuccessful opera,
Fiesque, which he later cannibalized for
other works, including his Divertimento
for Orchestra of 1872.
His greatest works were still to come,
since he emerged as a major composer
only in his 50’s. It was then that he wrote
his Concerto for Violin and his Concerto for
Cello, and especially the work found on
this recording, the Symphonie Espagnole
in D Minor, which made him famous.
Considered a violin concerto in five
movements rather than the usual four, it
was composed for the illustrious violinist
Pablo de Sarasate, who premiered it in
Paris in 1875 and scored a triumph. It
remains Lalo’s best-known work, hardly
surprising considering its fine melodies
and orchestral arrangement.
One of his last works, by the way, was
the official music of the 1889 World’s
Fair, which was played at the official
inauguration of the fair and its central
showpiece, the Eiffel Tower.
This recording has been remastered
from an original RCA Victor four-track
tape of 1961, featuring the Chicago
Symphony Orchestra, one of the world’s
best, conducted by Walter Hendl. It was
possibly one of the last open-reel tapes
to be marketed by RCA, three years into
the reign of the stereo LP. Can good
sound be recovered from that old a tape?
Definitely. The sound is faultless. The
orchestra deploys exhilarating forces,
with ferocious attacks and stunning
tuttis.
Touched by Mauresque and Gypsy
accents, played with energy, the entire
work is gorgeous. The virtuosity of the
violinist, the great Henryk Szering, is
perfectly reproduced. His dazzling bow
draws forth trills, glissandos, modulations and endless inflections, all carried by an extreme sensitivity through
which the music lover will let himself
be conquered.
R i m s k y- K o r s a k o v ’s C a p r i c c i o
Espagnol, which follows, is from 1887.
It is known that he did visit Spain,
specifically Cadiz, in the course of his
many voyages as a Russian navy officer.
Its billing as a “caprice” is convenient, it
seems to me, to allow stylistic departures
from recognized musical genres without
attracting the criticism of academic
purists.
There are five movements, labeled
Alboradas and Variazoni, with lovely
violin solo passages. The conductor
this time is Richard Mohr, conducting
what is essentially a pickup ensemble,
billed as the “RCA Victor Symphony
Orchestra.”
In the first movement a lively dance
greets the rising of the sun. French horns
open in gorgeous fashion the variations
of the second movement, and there follows a fugue, with other instruments and
orchestral sections making their entry
one after the other. The opening dance
is repeated in the third movement, but
with very different instrumentation and
tone. In the fourth movement there are
sections throwing the spotlight respectively on the strings, brass, woodwind,
harp and various percussive effects, not
to mention an important passage for
solo violin. The final Fandango asturiano
is an energetic dance from the north of
Spain.
The work is fiery, sensitive, highly
e vo c at ive of Spa i n , a nd f r a n k ly
exhilarating.
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cellos in what are billed as “piano trios.”
Notwithstanding the well-deserved
fame for Mozart’s operas and sonatas,
these trios, brimming with attractive
melodies for all three musicians, are
masterpieces as well. Their charm lies
in their blend of serenity, joy, elegance
and interiority.
Note that, at the time these works
were composed, Mozart was also working on his Sonata in F Major, K. 497, on
his operas The Marriage of Figaro and
Don Giovanni, on his String Quintets
K.515 and K.516, A Little Night Music,
compositions for solo piano, his Concerto
in D Major (Coronation) K.537, on three
symphonies: the Symphony No. 39 in
E-Flat, the Symphony No. 40 in G Minor,
and the fabulous Jupiter Symphony. Oh
yes, and several other remarkable works.
Oof! Not bad for three years’ work!
The Gryphon Trio, whose members
are true virtuosos, continue to make
their mark by their exemplary cohesion.
The sensitivity they bring to the music
they perform is at once impressive and
contagious.
The recording of this superb anthology was completed last year, in time for
Mozart’s 250th anniversary. It is fully up
to the standards of this excellent Canadian label.
After hunting for music that can
soothe me on long car trips, I think I’ve
made a choice. These trios are going into
my iPod.
Serenade
Seelig & Turtle Creek Chorale
Reference Recordings RR-110
Lessard: Must I repeat once again our
opinion of this exceptional Dallas-based
all-male chorale, now celebrating its 27th
season? We have heard them before. To
mention but two examples, their recording Testament (RR-49) was the very
first recording encoded in HDCD. The
chorale also participated in the recording
of John Rutter’s Requiem (RR-57).
For two decades the chorale has been
led by Timothy Seelig, who conducted
this final concert before handing his
baton to Jonathan Palant. The group
is a member of the Gay and Lesbian
Choirs of America. Not only are its
200-some singers not paid, but on the
contrary they insist on paying a fee for
membership. Trained in the vocal arts,
they consecrate a considerable number of
hours in rehearsal, concerts and recording sessions for their own pleasure above
all, and to offer their many fans a unique
auditory delight.
They are served on this recording
by excellent musicians: 2 violins, two
violas, two cellos, plus oboe, double bass,
piano and celeste. I was impressed by the
finesse with which the conductor uses
the instruments as a setting for music
and words.
The composers selected include
Morten Lauridsen, an American whose
music is infused with an almost mystical
serenity (track 4, Dirait-on), a melody
that runs through your head despite
your best efforts; John Rutter, from
Great Britain, long a legend (track 5,
Chorus Fanfare); Giulio Caccini (15511618), celebrated Florentine singer and
composer, founder of a veritable music
dynasty (track 10, Dona nobis pacem, with
an arrangement by James A. Moore
of an unbearably gorgeous melody);
Ennio Morricone, who won prizes for
composition, arrangement and conducting, before becoming one of the world’s
prime composers of film music (track 14,
Nella Fantasia); Leos Janacek, and other
admirable composers.
The poems set to the music are no
less consummate. Poetry is intrinsically
musical. Add a carefully-chosen melody
to a poem, and you will see your pleasure
increase a hundredfold. Let us see what
makes this recording truly a jewel.
The album opens with a musician
who selected the poet. Eric Holmuth has
written admirable music for Siegfried
Sassoon (1886-1967), a war poet who
attempted to exorcise the horrors of
armed conflict by his poetry.
Everyone’s voice was suddenly lifted;
And beauty came like the setting
sun;
My heart was shaken with tears; and
horror
Drifted away... O, but Everyone
Was a bird; and the song was
wordless;
the singing will never be done.
On track 6 it is the contrary, the poet
Ludwig Rellstab (1789-1860) used the
music as his canvas, the Serenade of his
contemporary, Franz Schubert.
D o yo u hear the nightingal es
calling?
Ah! They are imploring you.
With the sweet music of their notes
they implore you for me
They understand the bosom’s yearning, they know the pangs of love,
They can touch every tender heart
with their silvery tones.
Pierre Corneille, one of the classic
French poets, who lived from 1606 to
1684, inspired some two centuries after
his death gorgeous music by Emile
Paladihe (1844-1926), the ravishing
Psyché on track 8.
Je suis jaloux, Psyché, de toute la
nature.
On track 15, you may be surprised
to hear How Sweet the Moonlight from
Shakespeare’s The Merchant of Venice.
The Bard inspires musicians with his
texts of remarkable beauty, more than
three centuries later.
How sweet the moonlight sleeps upon
this bank!
Here will we sit and let the sounds
of music
Creep in our ears: soft stillness and
the night
B e c o m e t he t o u c he s o f s we e t
harmony.
The album ends with a gentle melody
by Ernest Charles, arranged by Seelig,
on his own poem, a long cry of love I
want to share with you.
When I Have Sung my Songs to You,
I’ll sing no more
T’would be a sacrilege to sing at
another door.
We’ve worked so hard to hold our
dreams, just you and I.
I could not share them all again, I’d
rather die
With just the thought that I had loved
so well, so true,
That I could never sing again, except
to you.
When a recording can nourish at
once the spirit, the intelligence and the
heart, and to caress the informed ear,
don’t hesitate.
The texts are in different languages,
and Reference has, as in the past, taken
the trouble to publish the original and
the English translation. Much thanks for
this exemplary service.
This is an audiophile disc par excellence, in glorious HDCD. I recommend
it warmly.
at times lively and syncopated, at other
times as gentle as a lullaby.
Even though the different tracks were
from different venues, in Singapore,
Taipei and Switzerland, the sound varies
but it is very good throughout. Jazz
lovers, this is an album for you. If you
don’t mind being thrown off balance
now and then, take the right to dream,
hum along, or tap your foot. There is no
surer road to a happy heart.
Adieu mon cœur
Edith Piaf
Membran 12281
Rejskind: Collections of the songs of
Edith Piaf have never gone out of distribution, and with the release of the recent
film on her life (La môme in France, La
Vie en Rose elsewhere), there are more of
them than ever. This one caught my eye
because it seems to offer a particularly
good value. The box contains 10 CDs,
and its price tag is under $15. Even the
second-hand collections I’ve seen cost
more than that. True, the discs are short,
running about 45 minutes each, which
makes me suspect the set was originally
mastered for LP. Even so there is no
cheaper way to get your hands on so
many of her songs without risking jail
time.
The order of the songs is odd, as
though all the titles had been thrown
into a hat and picked out blindfolded.
The very first song Piaf recorded, Les
mômes de la cloche, is on the fourth disc
(not surprisingly it doesn’t sound much
like the Piaf we know), but so are the
much later Johnny tu n’es pas un ange
and the iconic La vie en rose. That’s the
English version, with the song repeated
in its original version on disc 6. Mon
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My Foolish Heart
Jeremy Monteiro & others
CD Baby 26-1084-92-2
Lessard: This acoustic jazz anthology
covers seven years of recordings by this
brilliant pianist, composer, teacher,
singer, who has a knack for surrounding
himself with the cream of the jazz world,
to dazzle his fans on record and live.
Monteiro was born in Singapore in
1960. Now 47, he was named last year a
fellow of the Royal Society of the Arts
in the UK (other members: Nelson
Mandela, Stephen Hawking, Benjamin
Franklin, Charles Dickens and Yehudi
Menuhin — perhaps you’ve heard of
them). Monteiro is billed as “Singapore’s
king of swing,” and is visiting chair at a
Singapore arts college.
Songs My Dad Taught Me…does that
title ring a bell? It’s that of another
recording we’ve reviewed, and it’s by
Jeremy Monteiro.
In this attractive compilation you’ll
find some of the best excerpts from his
many studio albums, plus some live
pieces never before released. I think
you’ll like them.
The album opens with All the Things
You Are, recorded live in Singapore,
with Monteiro and his band. Monteiro
performs a highly syncopated version of
this Hammerstein-Kern song, with the
magic sax of Ernie Watts adding brilliant
backup. The superb bassist Paul Martin
gets a superb solo, as does the lively
percussionist Tama Goh
In A Night in Tunisia, the trumpet
of Leroy Jones, the tenor sax of Charlie
Gabriel and the bass of Eldee Young
compete tirelessly. I do wish they had
done a retake to get rid of some flat
notes by Gabriel, understandable in a
live recording, but inexcusable in a studio
recording like this one.
Just as effervescent is Orchard Road,
composed jointly by Monteiro and
Watts, capable of rousing the most
jaded listener. The famed bassist Charlie
Haden delights us, while Ernie Watts’
sax is electrifying.
Track 4 is of course the title tune, My
Foolish Heart.
You’ll be delighted by the ver y
personal interpretation of Gershwin’s
Summertime, by an unnamed vocalist (why isn’t he identified?), possibly
Monteiro himself. The spectacular
singing is accompanied by the fiery piano
work of Monteiro, with the backing of
Eldee Young, who does a long bass solo.
Magnificent!
There is also a long number from
Monteiro’s album Blues for the Saxophone
Club (J-J-Jazz 26-1084-78-2)
I could end the review right here, but
I can’t bear the idea of passing over any
of these pieces, or any of these musicians
either.
In Always in Love, Watts’ tenor sax
takes possession of your sensitivity with
his captivating feats, with Haden on
bass.
In All Blues…well, the title says it all.
It runs some 13 minutes, which is not a
minute too long. Just listen to the playing of the already mentioned Monteiro,
Young, Holt, O’Donell and Levy, with,
as a bonus, John Stubblefield on tenor
sax.
The jazz advent ure closes with
Carousel in a Child’s Mind. Recorded at
the Montreux jazz festival, it’s superb,
legionnaire and Le fanion de la legion, two Rejsk ind: Céline Dion's EnglishQui s’est laissée mourir
early songs from the same author are language albums hardly need reviews to
It opens with a clip of Callas herself,
respectively on the second and tenth become popular, but she has a parallel and with superb music by Erick Benzi
discs. It’s so strange that I wondered career in France and other French- it is moving and beautiful. From that
whether the order might actually be speaking countries, and her French song onward, I was ready to buy the
alphabetical, but no.
recordings are worth attention too. Sony concept.
But I don’t want to quibble. Most of doesn’t seem to understand that, and has
I also liked the love ballad from the
the truly great songs are in this collec- no plans to distribute this new album pen of Lise Payette, Je cherche l’ombre, on
tion: L’homme à la moto, Bravo pour le in the US. They must know something music by Jacques Veneruso.
clown, Ça ira, Padam padam, Les amants about business that I don’t understand.
But those are by no means the only
d’un jour, Dans les prisons de Nantes, Sous
But revenons à nos moutons, as Molière terrific songs on the album. I very
le ciel de Paris, La goulante du pauvre said. First the title, which is based on much liked the opening song, Et s’il n’en
Jean, L’accordéoniste, Les trois cloches, a pun. An earlier album with French restait qu’une, with words by Françoise
and L’hymne à l’amour. There are some singer-songwriter Jean-Jacques Gold- Dorin, who is a professional songwriter
lesser-known songs you may be pleased man, was titled D’eux, which means lit- and a terrific one, and music by David
to discover, such as N’y va pas Manuel erally “of them,” but is also pronounced Gategno.
and La fête continue. There is even a to mean “two.” D’elles is the feminine
Oui, s’il n’en restait qu’une
song sung by her husband, Jacques Pills, equivalent, and it refers to the fact that
Pour l’amour grand format
Ça gueule ça madame, with Piaf herself all of the lyrics were written by women,
Oui s’il n’en restait qu’une
appearing only at the end.
including
Quebec
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The sound, inevitably,
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Once
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view. like any
the Imagazine
on your
computer,
but through
only the the
firstdisc
time.
Afterpoint
that, it
liked, but then most modern
amplifiers however, I was reconciled with the idea,
Je ne suis pas celle que les lumières
other PDF.
have remote controls. For details, visit and
I delved into
the fine
print
in the
our Electronic
Edition
page.
To buy
an issue oréclairent
subscribe, visit
Because of the serious
omissions I booklet.
Je ne suis pas celle qui change avec
MagZee.
can’t recommend this set as one’s only
First, the four women already menle temps
Edith Piaf collection, but it’s a wonder- tioned. They include Lise Payette (once
Et si malgré tout je suis restée la
ful exploration tool, to allow you to a popular talk show host, then an author
même
discover — or rediscover — one of the of television series, and then a cabinet
C’est pour approcher mes rêves
greatest voices the world has ever known. minister in the PQ government of René
d’enfant
It may give you a taste for finding the Lévesque), Denise Bombardier (best
It is moving particularly because
missing songs.
known as a journalist, public affairs TV it gives Céline the chance to show her
host, and novelist), Marie Laberge (a huge vocal range rather than just her
best-selling novelist), and Janette Ber- maximum volume.
trand, who has been an advice columnist,
The most unusual song is a setting of
television author, and writer, among a a letter written in 1834 by George Sand
lot of other things. Dion’s long-time (who was of course a woman, despite her
collaborator, Jean-Jacques Goldman, chosen name and mode of dress) to her
was around to polish the texts so that then lover, the poet Alfred de Musset.
they could actually be set to music. The It begins with the reading, and then
experiment was successful.
becomes a song, with music by Erick
The best of the songs from the four Benzi. It is the most beautiful breakup
celebrities is from Denise Bombardier, letter I have ever read. Or heard.
the one about whom I had the most
You like Céline Dion or you don’t,
misgivings. It is itled La Diva, and in it and there’s no arguing about that. If you
Dion thinks about the great opera singer, do, you may want to add this recording
Maria Callas, that even the bravos could to your collection. Depending on where
not save.
you live, your local record store may not
D’elles
Tous les bravos du monde
have it, or even have access to it. Thank
Céline Dion
N’ont pas pu secourir
Heavens for Amazon!
Sony Music 88697047962
Maria la magnifique
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How the electronic version works
Gossip&News
The End of Record Stores?
This wasn’t good news for anyone
who loves music on disc. Toronto’s
legendary record store, Sam the Record
Man, was closing up. There was an auction, and there were sales of…well, you
know what store closings are all about.
It happened at the end of June.
Sam was on Toronto’s Yonge Street,
its main drag, for 46 years, and he had
actually begun selling records 70 years
ago. Though it had closed once before
reorganizing, it was still in the hands
of two of Sam’s sons, Bobby and Jason
Sniderman.
Sam Sniderman (shown below right)
set up the store, which was originally
much smaller, when the LP was king. He
grew to have hundreds of thousands of
titles, and he expanded to take over adjacent businesses, one of them a tavern! It
was a favorable place for big music stars
to come visit when they were in town.
Among the treasures being auctioned
off were over 100 autographed posters,
framed gold and platinum records, and
pictures of Elvis and Patsy Cline. The
auctioneers even sold off a piece of wall,
bearing the signatures of Tina Turner,
Steven Tyler, Ray Charles, Burton Cummings, Gordon Lightfoot and David
Bowie.
And the death of Sam is perhaps a
grim portent. The huge Tower Records
store down Yonge Street closed years
ago, long before the whole chain went
bust. HMV, a block away, is hanging on,
largely on the strength of its movies it
seems, but it is bleeding cash.
The week before the auctioning off
of Sam‘s memorabilia, an interesting
set of statistics came out concerning
record distribution in the US, specifically NPD Research's list of the top ten
music retailers.
Number one: Wal-Mart. Number
two: Best Buy? Surprised? You had never
thought of them as record stores?
In third place was Apple's iTunes
on-line store, which of course sells
downloadable music, with mucho compression. Amazon came fourth, and
another large-surface store, Target,
fifth. The only “real” record store on the
list was the Virgin Megastore, and it was
in 9th place!
Two years ago it was different. Apple's
iTunes was then in 7th place, tied with
Tower Records…remember them?
So bad has it gotten that one large
real-estate company in the US has said
bluntly it doesn't want to rent to record
stores anymore, because it got stuck with
a lot of bad debt when Tower folded (so,
by the way, did UHF).
In the US, some cities no longer have
any record stores at all. That's the case
of Las Vegas. In Canada we aren't there
yet, but the closing of Sam the Record
Man doesn't make us optimistic.
HDMI Switching
enough to store from 45 to 50 complete
We’ve complained long and loud lite, or broadcast hi-def set-top/boxes CDs.
Trouble is, the iPod is more than
about the phantom support for HDMI or tuners (gee, isn’t that more than
(High Definition Multimedia Interface), four?) — and output signals to a single a music player, and that is true even
of the new Nano. It also plays videos,
billed as the audio/video digital connec- HDMI component.
But that isn’t all. It also includes and putting even a moderate amount of
tion of the future. The cables have been
around for years now, and some video optical and coaxial S/PDIF digital-audio video on it will quickly fill up that scarce
gear comes with those funny connectors, ports for each input and allows the audio memory. A full-length movie typically
but a lot of home installers are giving and video signals to be routed indepen- eats up some 700 Mb, even with major
HDMI a pass. Why? The sad story is in dently. That’s more than a little useful compression.
As you probably know, there actually
if not all your components have HDMI
the Cinema section in this very issue.
is an “official” UHF iPod, complete with
So Tributaries caught our attention v1.3. And we bet they don’t.
The unit includes active equaliza- engraving on the back. It’s an iPod Photo
when they announced a pair of remotecontrolled HDMI switchers that just tion to maintain full-integrity HDMI with 60 Gb of capacity on it, of which
might solve some problems. The larger transmissions even over long cable runs, some 34 Gb is filled currently, with more
arriving
up to
30 publishing,
meters of 1080p
Anda free
model, the HX410A, may
beyears
particularly
For
now, we have
been
on oursignal.
Web site,
PDF each week. That had us looking
yes, it’s compliant with all the specs in at the less flashy but more accommodatinteresting for us, and
possibly
you.
version
of our
magazine.
ingand
iPod Classic, introduced at the same
HDMI v1.3.
The unit can select
HDMI
from
The four
reason
is simple.
We know you’re looking for information,
time.
The
Tributaries
has aAnd
list that’s
sources — DVD,that
Blu-Ray
andcertainly
HD
is almost
why
you’ve
come toHX410A
visit our site.
why
price
of US$400.
DVD players, as well
as cable,
satel-some
we give
away what
competitors
consider to be a startlingly large
We would give it all away for free, if we could still stay in business.
It had been a year
since new
iPods
Now that
exactly
Ourat home
Truth
is, we’re
in the business
of isn’t
helping
you peanuts.
enjoy music
had appeared, andunder
withthe
thebest
holiday
Reine Lessard
owns too.
an iPod
Nano
possibleown
conditions.
And movies
We’ll
do what we need
shopping season coming,
was about
with
8 Gb of capacity,
to do initorder
to get the
information
to you. filled with music
time Steve Jobs called
together
in Apple
compression.
loves too. We
the
Ofpress
course,
we also want
youLossless
to read our
publishedShe
editions
once more.
And
hope that, having read it.
this
far,Apple’s
you’ll iTunes
want tosoftware,
read on. mandaThe iPod that grabbed our attention tory for use with the iPod, makes it easy
was the most spectacular one, the iPod to move music in an out of the player,
Touch, shown top right.
so that you always have a good selection
Its capacity is 160 Gb, enough for
Yes, it looks like an iPhone without of music available. A 16 Gb player can some 535 albums. Now we’re talking!
the phone, and not only does it play handle double that capacity. It’s huge This is the audiophile’s iPod.
music and video, but it has a Web storage for anyone wiling to live with
We’d love an iPod Touch with the
browser and can hop on a WiFi network. what’s left of music after ruthless MP3 same capacity, but it’s too soon. The
We were so enthusiastic that we nearly or AAC compression. That of course Classic still contains a hard disc, whereas
called Apple. But then we noticed the doesn’t include us, and possibly not you the Touch has expensive solid state
capacity: maximum 16 Gb.
either. For us 16 Gb is a little tight, just memory. We’re waiting…
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Why a free version?
Tempting New iPods
A Successor (Yawn!) to the CD
out this paragraph from Warner's MVI
end user “agreement”:
By registering your MVI, you agree to
the terms and conditions of this Policy. If you
do not agree to the terms and conditions of
this Policy, please do not register your MVI.
We reserve the right to change this Policy
without prior notice. Any changes to our
Policy will become effective upon our posting of the revised Policy. Your registration
of your MVI or retrieval of bonus content
following such changes constitutes your acceptance of the revised Policy then in effect.
Franz Kafka would have loved it! But
do you figure anyone at Warner has a
clue who Kafka was?
The UHF Reference Systems
Equipment reviews are done on at least one of
UHF’s reference systems, selected as working
tools. They are changed infrequently.
The Alpha system
Our original reference is in a room with special
acoustics, originally a recording studio, letting
us hear what we can’t hear elsewhere.
Main digital player: Linn Unidisk 1.1
Additional CD player: CEC TL-51X
belt-driven transport, Counterpoint DA10A converter with HDCD card.
Digital cable: Atlas Opus 1.5m
Digital portable: Apple iPod 60 Gb
Turntable: Audiomeca J-1
Tone arm: Audiomeca SL-5
Pickup: Goldring Excel
Phono preamp: Audiomat Phono-1.5
Preamplifier: Copland CTA-305
Power amplifier: Simaudio Moon
W-5LE)
Loudspeakers: Living Voice Avatar
OBX-R
Interconnects: Pierre Gabriel ML-1,
Atlas Voyager All-Cu
Loudspeaker cables: Actinote LB/Eclipse
III
Power cords: Gutwire, Wireworld Aurora
AC filters: Foundation Research LC-2
(power amp), Inouye SPLC.
The Omega system
It serves for reviews of gear that cannot
easily fit into the Alpha system, with its small
room.
Digital players: shared with the Alpha
system
Turntable: Linn LP12/Lingo II
Tone arm: Alphason HR-100S MCS
Pickup: London Reference
Phono preamp: Audiomat Phono-1.5
Preamplifier: Simaudio Moon P-8
Power amplifier: Simaudio Moon W-8
Loudspeakers: Reference 3a Suprema II
Interconnects: Pierre Gabriel ML-1,
Atlas Navigator All-Cu
Loudspeaker cables: Pierre Gabriel ML1 for most of the range, Wireworld Polaris
for the twin subwoofers.
Power cords: BIS Audio Maestro,
Wireworld
AC filters: GutWire MaxCon Squared,
Foundation Research LC-1
Acoustics: Gershman Acoustic Art panels
The Kappa system
This is our home theatre system. As with
the original Alpha system, we had limited
space, and that pretty much ruled out huge
projectors and two-metre screens. We did,
however, finally come up with a system whose
performance gladdens both eye and ear, with
the needed resolution for reviews.
HDTV monitor: Hitachi 43UWX10B
CRT-based rear projector
DVD players: Simaudio Moon Stellar
with Faroudja Stingray video processor,
Sony BDPS300 Blu-Ray player
Preamplifier/processor: Simaudio Moon
Attraction, 5.1 channel version
Power amplifiers: Simaudio Moon W-3
(main speakers), bridged Celeste 4070se
(centre speaker), Robertson 4010 (rear)
Main speakers: Energy Reference
Connoisseur
Centre speaker: Thiel MCS1, on UHF’s
own TV-top platform
Rear speakers: Elipson 1400
Subwoofer: 3a Design Acoustics
Cables: Atlas, Van den Hul, MIT,
GutWire, Wireworld
Line filter: GutWire MaxCon Squared
All three systems have dedicated power
lines, with Hubbell hospital grade outlets.
Extensions and power bars are equipped with
hospital-grade connectors.
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Let's see now...we have DVD-Audio,
we have SACD, and we have highresolution DV D, all three of them
incompatible with the Compact Disc...
which, incidentally, has just turned 25.
And of course we have a whole alphabet
soup of compressed and downloadable
formats. Ready for yet another?
No, neither are we, but it's here. It's
called the MVI (Music Video Interactive) disc, and what it has in common
with the three formats already mentioned is its incompatibility with anything else. It plays in DVD players and
computers, but dropping one into a CD
player scores you an error message. With
its increased storage capacity, allegedly
superior sound and interactive capability,
its developers see a potential to revitalize
physical album sales.
USA Today has a list of the first MVI
releases: Linkin Park's Minutes to Midnight, (which quickly sold about 60,000
copies in MVI, about 10% of the album’s
total sales), Rush's Snakes & Arrows,
Donald Fagen's The Nightfly Trilogy box
set, and some others.
The prices? Well, of course they're
higher, some $24 to $28 US, but that
dough gets you videos, bonus games, and
other shovelware. Like we need that.
So who is clamoring for an even more
overpriced format? Billboard director
of charts Geoff Mayfield is quoted as
answering: “The CD is for someone who
just wants the tunes. A real fan wants the
pricier package. A computer unlocks the
goodies: ringtones, wallpaper, MP3s.
The idea is: Let's put one version out for
the masses and a completist (sic) edition
for the die-hard.”
“The masses” (at least he didn’t refer
to “Joe Lunchpail”), we would guess,
include people with car CD players,
high-end systems, and even large iPods
who do not want to mulch music into
MP3. Especially for 28 bucks. As for
the "real fans," we think the industry
is counting on one being born every
minute. On the other hand, some
MVI sets include a normal CD. Why
bother?
While you're mulling that over, check
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Addio Signore Luciano
Of course we saw it coming. The
great tenor Luciano Pavarotti was
gravely ill, recovering poorly from one
of the most unforgiving of cancers, that
of the pancreas. On September 6th, he
died at home of complications at the age
of 71.
We were fans of his here at UHF, and
it so happens that in one of the equipment reviews in this issue, we included a
Pavarotti recording: Giordani’s Caro Mio
Ben from the now unavailable Mattinata
album.
However we are somewhat dismayed
by the rather shallow portrait of him
popping up in the media following his
death. Is it true that he “popularized”
opera? One newspaper actually ran a
poll on this question (and a substantial
number of participants answered yes
to this leading question). If so, how did
he do it? By singing Neapolitan songs
instead of arias, as he did in more and
more concerts? By stretching his voice
beyond the breaking point, so that he
was forced to lip-synch, as he did at one
London concert? By singing (or more
correctly howling) a deplorable duet with
Céline Dion?
We are also reading that the peak of
his career came with the many concerts
of "The Three Tenors." He was, it is true,
amazing in the very first of the concerts,
in 1990, though even then he was no
longer what he had been. As one concert
became a series, there was less
opera, and there was less good
singing too. It scarcely helped
that one of the other tenors,
Jose Carreras, was also much
weakened after a nearly fatal
bout with leukemia.
A pianist, violinist or conductor is young at the age of
71, but an opera singer is a
couple of decades past normal
(and desirable) retirement age.
Pavarotti went on and on,
shouting more than singing,
even shifting the pitch of a
song downward because he
could no longer approach the
high C’s he was once famous
for.
Yet it is true that his was one of the
greatest opera voices of our time, perhaps
the greatest. Listen to his earlier recordings, when he was in his 30's and 40's,
and you can't help being overwhelmed
by his golden timbre, by the richness
and power of his voice. Listen especially
to his recital recordings, where he was
always at his best, even more than in
full-length operas.
It is in these older recordings that
you can be reduced to tears by what
would become his signature aria, Nessun
dorma from Puccini’s Turandot. Listen
to his older recordings of Vesti la giubba
from Pagliacci, Che gelide manina from La
Boheme, or Tosti’s Aprile. You don’t have
to be an opera fanatic to be overcome by
awe, an impression that here was a singer
who could do what no one else could.
Or hardly anyone. Some comparisons
are being made, inevitably, to the turn
of the century tenor Enrico Caruso. Are
they comparable? It's hard to be certain,
because Caruso's recordings were made
by singing into a brass horn, and the
sound that emerges from our loudspeakers today is but a dim shadow of the voice
that was. How fortunate we are, then,
to have Pavarotti's vocal legacy in clear
fidelity and full stereo. Collect them, and
listen to them often. They are a treasure
beyond compare
Grazie Luciano.
News From the Front
An active electrostatic
It’s from MartinLogan (which is the
way the company now spells its name),
and it’s called the Purity. It’s a hybrid
speaker, with a tall electrostatic panel
and a pair of dynamic 16.5 cm aluminum woofers, it looks like any number
of hybrid speakers MartinLogan has
produced over the past 20 years. But have
a look at the rear…
are the world’s smallest in-ear phones.
They are of course intended to compete
with Shure and Etymotic for the attention of the iPod crowd. The phones will
cost US$349, and be sold directly from
the Klipsch Web site.
By the way, Image was a trade mark
of Audio Products International, used
for a now defunct speaker line. But then
Klipsch bought API last year.
ct i v e
a
r
e
t
n
i
s
’
Yes, it
Applause Audio . . . . . . . . . . . . . 16
Arcadia Audio . . . . . . . . . . . . . . 12
Atlas. . . . . . . . . . . . . . . . . . . . 39
Audiophileboutique.com . . . . Cover 3
Audio Dream. . . . . . . . . . . . . 10, 23
Audiophile Store. . . . . . . . . . . 57-64
Audioprism. . . . . . . . . . . . Cover 2
Audio Space. . . . . . . . . . . . . . . 19
Audioville. . . . . . . . . . . . . . . . . 11
Aurum Acoustics . . . . . . . . . . . . 23
BC Acoustique. . . . . . . . . . . . . . 23
BIS Audio. . . . . . . . . . . . . . . . 35
Blue Circle. . . . . . . . . . . . . . . . 10
CEC . . . . . . . . . . . . . . . . Cover 3
Charisma Audio. . . . . . . . . . . . . 19
Cyrus. . . . . . . . . . . . . . . . . . . 13
Diamond Groove. . . . . . . . . . . . 27
DNM. . . . . . . . . . . . . . . . . . . 14
Ecosse. . . . . . . . . . . . . . . . . . . 10
Eichmann . . . . . . . . . . . . . . . . 17
Entre’acte. . . . . . . . . . . . . . . . . 10
Europroducts International . . 13, 14, 17
Gershman Acoustics . . . . . . . . . . 15
Harbeth . . . . . . . . . . . . . . . . . 27
Hifisupply.ca. . . . . . . . . . . . . . . 14
Justice Audio. . . . . . . . . . . Cover 2
Linn. . . . . . . . . . . . . . . . . . . . 39
MagZee. . . . . . . . . . . . . . . . . . 12
Marchand Electronics. . . . . . . . . 27
Moon. . . . . . . . . . . . . . . . . . . 8
Mutine. . . . . . . . . . . . . . . Cover 3
Klipsch says its new Image ear buds
The TI display featured a three-chip,
1080p projector producing trillions of
colors with a contrast ratio of 15,000:1.
There was also a DLP HDTV with
DarkChip 4 and LED illumination, with
claimed contrast performance beyond
100,000 to 1. Wow!
Most DLP sets use one chip, not
three, plus a rotating color wheel, so
this is upscale stuff, unlikely to turn up
at your local Costco. Still, we’ll watch
for shipping products.
Planet of Sound. . . . . . . . . . . . . 27
Roksan. . . . . . . . . . . . . . . Cover 2
Simaudio. . . . . . . . . . . . . . . . . 8
Signature Audio. . . . . . . . . . . . . 16
Stereo Passion . . . . . . . . . . . . . . 39
Sugden. . . . . . . . . . . . . . . . . . 14
Totem Acoustic. . . . . . . . . . . 11, 19
UHF Back Issues. . . . . . . . . . . . 49
UHF Books. . . . . . . . . . . . . . . . 6
Feedback
Gossip&News
A darker DLP screen
Television set manufacturers like
to boast about the brightness of their
screens, and they compete to have the
brightest display in the store (because,
alas, some consumers do think brighter
is better. So why is Texas Instruments
boasting about a way to make screens
That’s right, there’s a coaxial input, darker?
allowing you to plug a preamplifier into
TI was once a giant consumer elecit. That’s because the Purity contains a tronics brand, with scientific calculators
200 watt power amplifier. It’s a digital and even computers, but they are today
amp, of course, but if you want to com- best known for the Digital Light Procespare its quality to whatever you have, sor, the chip at the heart of DLP televithere is also a conventional input.
sion sets. DLP sets are plenty bright, but
We were surprised that the Purity early ones were criticized for not being
now that were
contains just one amplifier, rather than dark enough,
for having
d you kblacks
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with
and
like
Of cou
large
the legendary Klipschorn. So you don’t
expect to find the expression “world’s
smallest” in its literature.
ADVERTISERS
D
State of the Art
o you believe that audio (and
for that matter video) equipment needs to be broken in
before it performs at its best?
I do, because I have long experience
with this. Been there. Heard it. Seen it.
Convinced.
But is running equipment in 50 or
100 hours enough? There have been
many claims that this is only the beginning. The claims sound downright weird,
but then again lots of weird claims turn
out to be founded. Ask any theoretical
physicist. Some of these theories seem
difficult to confirm, though with a few
moments’ thought we can dispose of
them. Or so we hope.
And because I make my living evaluating audio gear, I admit to looking with
a jaundiced eye any “discovery” that
would make my work impossible, or at
least extremely difficult. Let me suggest
a couple of examples.
Nearly three decades ago, there
was a rumor running about…wherever
rumors used to run before the Internet.
It said that the huge physical pressure
on the groove of an LP (which was the
hi-fi source then) caused massive heating of the groove wall, and therefore led
to temporary loss of information. The
result, if this rumor were true, was that it
would be impossible to use an LP for an
equipment comparison, since whatever
we listened to second would not sound as
good as what we had listened to first. At
least not unless we let the disc cool down
before the second play. This could take
from 30 minutes to four hours, depending on which version of the rumor you
ran across.
Could this actually be true? Perhaps
you frowned at the words “huge physical
pressure,” since most tone arms are set
up for a stylus pressure of under two
grams…and that ain’t much. Ah, said
the rumor mongers, but the tip of the
stylus is extremely small, and so the pressure is actually many tonnes per square
centimetre. Scary!
That explanation was the tipoff that
the theory was bogus, however, The tip
of the stylus may be small, but it doesn’t
by Gerard Rejskind
tough the groove! It is the stylus sides that
contact the groove…don’t these people
know that?
I admit I didn’t want this theory to
be true, because it would make my work
pretty much impossible. Waiting hours
between comparisons? Or having several
samples of each recording?
I admit to having lent the theory a
sympathetic ear, however, and fortunately it is easy to check out. Play a short
segment of an LP on a top system and
listen carefully, then play it a second
time right away. And a third. Hear
any difference? With much relief I can
report I have never detected the slightest
change.
It was inevitable that an updated
version of the hot-groove theory would
pop up. A CD is played with a laser isn’t
it? And anyone who has seen Star Wars
knows what a laser can do. So here's the
theory. The powerful laser scanning the
pits on the CD produces tremendous
heat, with resulting distortion of the
aluminum substrate. Since the hot pits
are no longer the same length, there
will be massive error correction on the
STATE OF THE ART:
THE BOOK
Get the 258-page book
containing the State of the Art
columns from the first 60 issues
of UHF, with all-new introductions.
See page 6.
second play, as well as error concealment,
and vastly increased jitter.
So, do we need to buy three or four
samples of each CD we want to use in
equipment evaluations? This theory can
of course be disposed of in the same way
as the old hot-LP theory. Listen to a CD
segment four times in quick succession.
Hear any difference? I don’t. And I’ve
made an effort to listen particularly
carefully because I knew I didn’t want
this theory to be correct. Fortunately,
playback lasers just ain’t that powerful.
Other theories of the sort abound,
however. Of course we make sure a piece
of gear is broken in before we evaluate it,
and we also plug it in well before a test
session so that it will be fully warmed up
when it comes time to listen. That should
be enough, right?
But along comes a scary warning
from a major amplifier manufacturer I
shall not name: if his amplifier is shut off,
even briefly, it can take as much as three
days before it returns to its maximum
level of performance.
From the point of someone who does
comparison testing, this is worrisome,
because you pretty much have to shut
off a piece of gear when you are making
connections to it. Do you then have to
wait three days before listening?
Checking that theory is slightly more
time-consuming. Leave your amplifier
running for at least three days, listen
critically, shut it off for five minutes, let
it warm up again for perhaps 20 minutes,
and listen again. Does it sound different?
I’ve tried this, and as with the other
theories I couldn’t spot a change. True,
I probably didn’t want to notice a change,
but I really did put my heart into it.
We might as well recognize that the
mysteries of lasers and electronics are
not the only factors that can affect what
we hear in uncontrolled, chaotic fashion.
Listen critically to your system, then
have an argument with your Significant
Other, and listen to the same piece
again. Does it sound the same the second
time?
I thought not. Now there’s a really
scary theory!
Luxury audio electronics of unique value and reference quality at unique prices.
Some of the best-built high-end products ever made
The legendary Van den Hul amplifiers and preamps at less than half the original price
M-1 Monoblocks, US$7350 now $3350
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See them at÷
www.audiophileboutique.com
New, with one-year North American warranty
Shipped from points in either Canada or
USA. Billed in Canadian dollars, equivalent to stated price in
US dollars.
audiophileboutique.com
a division of Broadcast Canada, publisher of UHF Magazine
[email protected]
(450) 651-5720
What do we know about
indoor FM and TV antennas
that they don’t?
A lot, it turns out. With the stampede to satellite and cable
over the past 20 years, the design of dipole antennas has been
left to the makers of junk.
It was years ago that UHF designed a high-quality antenna for its
own use. It was so good we offered it for sale as the Super Antenna,
and saw thousands of them sold. Why? Because it’s better.
In this, the Super Antenna’s third incarnation, we buy one of
those trashy antennas, rip everything out until we are left
with the rods and the case, and we rebuild it. We add our own
high-quality transformer (can you believe the junk antenna
didn’t even have one?), and a double-shielded cable with a 24K
gold plated F-connector.
The broadband design covers the range from analog channels 2 to 69, including the
entire FM band. And a number of our customers around the world tell us they’re
getting great results with over-the-air HDTV.
SEE THE SUPER ANTENNA MkIII at The Audiophile Store, page 59
Why do
UHF readers
start reading
their magazines
at the back?
Countless readers have confirmed it over the
years: when they get their hands on the
latest issue of UHF, they open it to the last
page.
The reason all of them mention: Gerard
Rejskind’s last-page column, State of the Art. Since
the magazine’s founding, the column has grappled
with the major questions of high end audio. It has been
acclaimed by readers around the world.
Now, the columns from the first 60 issues of UHF are
brought together into one book. Each is exactly as it was originally
published, and each is accompanied by a new introduction.
Order your copy today: $18.95 in Canada or the US, C$32
elsewhere in the world, air mail included.

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