Normally, when reviewing cable, I always include a complete set, i.e., interconnect, speaker, power, and if available, digital. Thus selecting only a digital cable in absence of the others merits an explanation.

I was attending a meeting of the Audio Syndrome, a local audio club. The president was expounding on the virtues of an inexpensive digital cable manufactured by a small company located in Illinois, Nagys Audio. He was impressed with its performance, suggesting it preserved musical detail, without any objectionable frequency response imbalances.

Of course, placing 10 audiophiles in a room and soliciting an evaluation of a stereo system, will yield 11 opinions. Yet, having heard the president’s system many times, and have a high regard for his aural acumen, I elected to review the digital cable by itself.

Technical Details

The digital cable is a coaxial design. The center conductor is constructed of steel, copper and silver. The steel is used to provide strength. The steel is covered with extremely pure copper and then silver plated.. It is a silver-copper weld. The silver plating is laser polished, to remove surface imperfections. The center conductor is made up of 7 strands — 38 awg per strand. The dielectric and outer jacket are composed of Teflon. The shield is braided, with silver plated high purity copper. The cable is not directional. The connectors are manufactured by Vampire Wire, machined from a brass-copper alloy. The cable is 75 + or - 3 ohms. Including a 75 ohm resistor would be required to ensure a true 75 ohm cable. According to the designer, as a consequence of the transmission line effect, a length of 1.5 meters or more may reduce jitter. Thus, the designer has selected 1.5 meters as the standard length. Finally, the inner conductor is terminated to the connector using Kester’s Eutectic 63/37 solder, while the shield is compression fit within the barrel of the connector. This coaxial cable is a high quality mil spec’d designed for defense/aerospace applications and operates in the gigahertz region.

Listening Sessions

I frequently begin my evaluation with the CD by Holly Cole, Don’t Smoke In Bed, track 1, Alert ZZ 81020. I observed a full frequency response. The Acoustic bass appeared extended in frequency and balanced with respect to the presence of its wood body. I did notice a slight sizzle, or thinness associated with the word “see”, a bit of “extra” sibilance. Perhaps some elevation in the upper mids or an analytical quality in the same region. I also noticed some additional depth as manifested by a greater distance between listener and musicians.

Another CD which has value in highlighting differences in components is a recording of a solo harpsichord. Sophie Yates performance of a Scarlatti Sonata, track 1, from the disc FANDANGO–SCARLATTI IN IBERIA, Chandos 0635, was selected for this purpose.

Relative to my reference cable, there was a greater emphasis upon the plucking of the strings and a loss of presence of the wood body of the instrument, perhaps indicative of a small dip in the lower midrange region. As all components are imperfect one could observe the contrast between enhanced clarity with some absence of fullness.

Steely Dan AJA, track 3, MCAD 37214 DIDX 55, is another apt recording to possibly elicit the stereotypical “sound” of silver. Voice, cymbal and the tenor sax are the salient instruments to consider on this disc.

I again observed the above mentioned staging phenomenon, namely, a somewhat distant perspective, as compared to my reference copper cable. There was no overtly noticeable imbalance in frequency response. In fact, the sound of the cymbals was softer than usual. The tenor sax seemed natural in timbre both in the lower and upper register, although this mastering has a reputation of a poorly recorded saxophone. Thus the realism of the instrument must be considered in the context of its sound, relative to other components, rather than in an absolute sense. There are more natural representations of a tenor sax on the digital medium.

My last selection featuring a single instrument–actually two of them, is a guitar duet with John Williams and Julian Bream–track 1 from the disc TOGETHER, RCA 09026-61450-2. The wood body of both guitars is slightly obscured. In its place, articulation of notes, fingering and clarity were most noticeable. Lateral separation of instruments was extended and again, greater depth and distance from the listener to the instrument was noticed. Again, Greater resolution was attained with less fullness.

The last instrument I called upon for testing the silver content of the digital cable was the violin. I selected an ensemble work, “Concerti Armonici“, composed by Wessanaer, track5, from which the Aradia Ensemble was led by Kevin Mahon. The performance was taken from a Naxos disc, 8.555384. Once again, soundstage depth was lengthened a bit in comparison to previous auditions of this disc. The cues necessary to identify period instruments were present without the exaggeration in the lower treble, which I have noticed in the past. I believe the perception that instruments were further away from the listener masked the presence of the harpsichord. Overall instruments seemed to exhibit a reduction in the presence of the wood body–a lack of fullness. Perhaps there may be a slight dip in the lower mids and a recessed lower treble as well.

Conclusion

I believe the manifestation of silver were illustrated by the dip in those frequencies responsible for exhibiting the sound (resonance) of the wood body of various instruments. To be fair, it is not possible to know the sound of a recording. Thus there may be a number of interactions of other components (variables) which may be responsible for my observations. however, my hypothesis that the silver content is the cause is based upon my experiences listening to silver cables both in my own system and those of others.

In addition to the possible dip in the lower mids, there was an increase in resolution, which was source dependent. Yet, cymbals were “well behaved”, without calling attention to themselves.

I would not consider any possible criticism as indicative of leanness, and the additional depth, although creating a subtractive effect in one instance, may be considered as desirable by some listeners.

Any trepidations that I may have had prior to the review were eliminated after auditioning the cable, as the occasional deviations from neutrality did not interfere with musical enjoyment.

Associated Equipment

DAC: PS Audio Perfect Wave DAC
Transport: PS Audio Perfect Wave Transport
Preamp: Bent TVC passive
Amp: VTL Deluxe 120
Interconnects: Soundstring Audio and Cryoset copper
Speaker Cable: Ear to Ear
Power Cords Ear to Ear, Western Electric copper
Speakers: Quad ESL and Magnepan 1.6
Accessories: Room Tunes, Egg Crate Mattresses, Sound Fusion Sound Boosters
Chang ISO 64, PS Audio Juice Bar, PS Audio Ultimate Outlet
Nirvana Audio Isolation Transformer

The Nagy Audio Digital Cable Link

Manufactured by Nagys Audio, Inc.

2207 W Grove Ave.
Waukegan, IL 60085
United States

website
email

Price: 0.5 meter $70 — 1 meter $80 — Additional length per 0.5 meter $10
Source: Manufacturer Loan

[The CD title is linked to our affiliate, Amazon.com - Ed]

Recommended New Releases (27/08/10)

John Sheppard – Media Vita [70:16]
Stile Antico
Harmonia Mundi SACD HMU807509 (2010)

It took about 10 seconds of Stile Antico’s debut disc, 2007’s “Music For Compline” (featuring works by Tallis, Byrd, Sheppard and others), to establish that a major new force had arrived on the Early Music scene. The record buying public have responded similarly, propelling their later “Song of Songs” disc to the top of the classical charts. Sheppard is one of the lesser-known figures of the English Renaissance, the details of his life largely obscure; here, a selection of rarely performed works accompany his monumental antiphon Media Vita, a haunting 25-minute plea for long life that, for Sheppard himself, went sadly unanswered. Its slow tempo beautifully showcases the density of the six-part harmonies and the ethereal purity of Stile Antico’s singing, finely recorded in a glorious acoustic. Even the more potentially uplifting pieces, though, seem infected by the title work’s solemnity, and I missed the more outgoing, sunnier aspect of the Compline disc. Nevertheless, highly recommended. AF

J S Bach – Brandenburg Concertos [92:04]
English Baroque Soloists / Gardiner
SDG 707 (2009)
Link to Andy Fawcett’s full review

Saint-Saëns – Works for Cello and Piano [65:18]
Christian Poltéra – Cello, Kathryn Stott – Piano
Chandos 10552 (2009)

Camille Saint-Saëns has been tarred with the reputation of a composer whose music is impeccably tasteful, while lacking in emotional depth. Comparing the two sonatas performed here with Beethoven’s five for the same instrumental duo (a recording of which, by Daniel Müller-Schott and Angela Hewitt on Hyperion, I enthuse over below) does tend to reinforce this view; the energy and gravitas of the Frenchman’s writing often mirroring, yet never matching the extremes of his illustrious forebear. It does not, though, diminish the pleasure to be derived from these lovely, strongly melodic sonatas and the included incidental pieces (including the gorgeous ‘Le Cygne’ from ‘Le Carnaval des Animaux’), sympathetically played by two experienced and accomplished performers. Certainly, none of the dissonance and atonality that Saint-Saëns deplored in his younger contemporaries intrudes! The recording is good; well-balanced and, with a less upfront perspective than many, benefitting from some hall acoustic. AF

Recommended New Releases (02/08/10)

Sibelius/Prokofiev – Violin Concertos [63:56]
Vilde Frang – violin, WDR Sinfonieorchester Köln/Sondergard
EMI 6 84413 2 (2009)

Norwegian prodigy Vilde Frang has already garnered much critical acclaim and, for her debut disc, has stayed close to home (geographically speaking) with these early 20th Century works by Northern European composers. Sibelius reserved his only concerto for his own instrument, debuting it in 1905, while the first of keyboard virtuoso Prokofiev’s two violin concertos had a low-key start in life, waiting several years for its 1923 première. Both of these works are founded upon a solid, almost Brahmsian classicism that was out of step with contemporary trends, and both receive a marvellous performance here. Frang shrugs off their considerable technical challenges with flair and great assurance, and could hardly ask for better support than she receives from the Cologne orchestra, though there were times when I would have liked to hear more projection in her tone. A great recording too – what I’ve come to think of as typical EMI, slightly dark with huge dynamics and a realistic balance.

Brahms – The Symphonies [166:30]
Berliner Philharmoniker/Rattle
EMI 2672542 (2009)
Link to Anthony Kershaw’s full review

Handel – Duets [62:44]
Rosemary Joshua – soprano, Sarah Connolly – mezzo, English Concert/Bicket
Chandos 0767 (2010)

Handel liked to use a duet at key dramatic moments in his operas and oratorios – generally featuring a castrato in the male role, though I promise not to mention it again so readers can uncross their legs now! This inspired selection of arias spans the period 1710 to 1749, almost his entire career as a composer. Connolly and Joshua’s voices achieve a sumptuous harmony, while the period instrument sound of the English Concert (with Harry Bicket having taken over the reins from Andrew Manze) is as flawless as ever. The Chandos recording, which places the singers at opposite sides of the stage for maximum effect, is also very fine; with just the minor quirk that the orchestral sound is imaged at an abnormal elevation, as if the musicians were standing up! Don’t let that discourage you, though – this disc is a joy from beginning to end, and highly recommended.

George Onslow – String Quartets Op. 54-56 [77:41]
Quatuor Diotima
Naive V5200 (2009)

Now almost completely obscure, Onslow was born and raised in France of a wealthy English émigré father and French mother, achieving great popularity and acclaim in his day. He left a substantial body of work, these quartets dating from perhaps his most interesting period; a time when the man labelled “The French Beethoven” was struggling to come to terms with the impact of Beethoven’s late string quartets.

Initially hostile, Onslow soon came to understand and admire these powerful and passionate works, though he could not embrace all of their ferocity and angularity. The Opus 54 to 56 Quartets, written during the early 1830s, undoubtedly bear the hallmarks of his eminent muse, yet suffused with a thoroughly Gallic grace and sensibility that testifies to the aptness of his nickname. The youthful members of Quatuor Diotima handle this material with great panache and obvious relish. I expect, as a matter of course, stimulating musical programme and superb sound quality from any release on the Naive label, and this certainly doesn’t disappoint – though some may find the recorded perspective too forward. AF

J S Bach – Flute Sonatas [66:21]
Joshua Smith – Flute, Jory Vinikour - Harpsichord
Delos DE 3402 (2009)
Link to Anthony Kershaw’s full review

J S Bach – Concertos [58:42]
Julia Fischer – Violin, Academy of St. Martin-in-the-Fields
Decca 4780650 (2009)

As period instrument recordings of Baroque music have become the norm, this modern instrument release stands out as something of an oddity. Forget the bloated, syrupy sound of yore, though – the venerable Academy’s forces are stripped down for action, and they treat us to one of the new breed of “period-informed” performances in which the only thing lacking is the deliciously pungent tone of antique instruments.

The three violin concertos, BWV1041-3, are among the most recorded of Baroque works – the sublime adagio from the Double Concerto surely one of the most memorable in all of music – and this performance achieves a lovely symmetry of energy and grace. Fischer’s sound balances wonderfully with the orchestra, gaining prominence when required before merging seamlessly back into the tutti. My preference remains with period instruments, yet this disc is thoroughly recommendable in every respect bar one; the recording is somewhat ‘glassy’ and bright. AF

On the making of the Bach Concertos disc

Handel – Musick for the Royal Fireworks [68:57]
Zefiro / Alfredo Bernardini
Sony 88697367912 (2009)
Link to Andy Fawcett’s full review

Alfred Brendel – The Farewell Concerts [141:09]
Alfred Brendel – Piano, Vienna Philharmonic/Sir Charles Mackerras
Decca 4782116 (2009)

For all the pleasure he has given us over his 60 years of performing, who could begrudge the maestro one last send-off? Brendel, with his finely articulated technique and cerebral readings will, for many of us, always be considered the definitive interpreter of Mozart’s piano concertos; the first disc fittingly opens with No. 9 in E flat major K271, taken from his final performance on 18/12/08 with the Vienna Philharmonic. The remaining programme was recorded at his last solo recital, four days earlier, featuring works by the great Germanic composers of the Classical period (Haydn, Beethoven, Schubert and Mozart, and closing with a Busoni arrangement of Bach). Not the virtuoso pot-boilers that others might have chosen – though arthritis had caused him to cease playing most of those in recent years – but thoughtful, reflective pieces in which he invests his lifetime of experience. Brendel writes of wishing to cease performing while still in full command, and on this evidence that is exactly what he has achieved. A slice of history, these recordings are captured in very good live sound, the recital especially. AF

Beethoven – Cello Sonatas Op. 102 (Vol. 2) [71:03]
Daniel Müller-Schott – Cello Angela Hewitt – Piano
Hyperion CDA67755 (2010)

I admit to being a huge fan of both these musicians - Müller-Schott’s performance of the Elgar Cello Concerto (Orfeo C621061A) is a Desert Island Disc for me – and they have teamed before on a fine recording of JS Bach Gamba Sonatas (Orfeo C693071A). The first volume of this release, which I have not heard, contains the first three of Beethoven’s sonatas for piano and cello; the final pair, catalogued as Opus 102 and written in 1815, appear here. For the sake of completeness, they are joined by his remaining works for that instrumental duo; three earlier sets of variations, composed around the turn of the century.

Comparison with the fine recording of these same works by Menahem Pressler and Antonio Meneses (Avie AV2103) was instructive. The musicianship of Hewitt and Müller-Schott is simply peerless – both shrug off the technical challenges of these works yet, for me, there is an emotional coolness to their playing that contrasts with the looser, less accomplished but more soulful reading of their experienced rivals. Also, the ringing clarity of Hewitt’s Fazioli piano, so suited to the Baroque music that is her stock in trade, is less convincing here and allows the cello to dominate. The warmer, more muscular sound of Pressler’s Steinway adds gravitas and achieves a better overall balance, I feel. That said, if forced to make the choice I would lean towards this disc, for the stellar playing on offer and the uniquely sublime sound of Müller-Schott’s cello. The quality of the recording is superb, even by Hyperion’s typically high standards. AF

Chopin – Complete Waltzes [67:51]
Ingrid Fliter – Piano
EMI 6 98351 2 (2009)

In addition to the 13 Waltzes published with Opus numbers during Chopin’s lifetime, others received posthumous publication and more emerged later, though not subjected to the careful revision that the composer typically accorded his work; a total of 20, all of which are recorded here. Despite few of these Waltzes being danceable, they have remained popular with audiences and performers and, it barely need be stated, uncompromisingly challenge and extend the constraints of their genre. This up-and-coming Argentine pianist has established a close empathy with Chopin, her performance here being engaging and technically assured, characterful but never showy. Her tempos are sensible, and her crisply articulated style is ideally suited to this material. By comparison, returning to Stephen Kovacevich’s recording of the Waltzes (also on EMI) left an impression of unconvincing tempos and rhythmic waywardness in his playing that I had not detected before. Recording quality is good, though some might prefer a closer perspective and increased dynamics. AF

‘Tapas’ – Tastes Of The Baroque [74:45]
Paul Dyer and members of the Australian Brandenburg Orchestra
ABC Classics 476 3828 (2010)

This wildly original release should appeal both to lovers of Early Music, and those with a taste for the bizarre. Members of Australia’s premier period instrument orchestra tackle a series of improvisations, re-imaginings and reinterpretations of lesser-known, early Baroque compositions in the Spanish, Italian and Austrian styles. These front-rank musicians, equipped with antique instruments, cut loose and flout the accepted conventions of ‘authentic’ performance, allowing a variety of modern influences to intrude; the results span the range from surprising to confronting! If the expression “boogie-woogie harpsichord” intrigues you – and it’s in much better taste than you might fear! – then this vivid and spacious recording merits further investigation, perhaps initially via its YouTube promo [see below]. I’m encouraged that, with the record industry supposedly in the doldrums, there is still room for brave and quirky releases such as this. AF

by Roy Harris

While waiting for the Eastern Electric Sabre DAC, the subject of my next review, which was held at customs in NYC, the importer, Morningstar Audio, suggested that I review another product. I believe he based his assessment upon the fact a customer who borrowed the product, “refused to give it back”.

Its goal is to “improve” the sound of CDs. It is a catalyst in the process and its method of operation is simple. Place the CD on a spindle, which becomes illuminated for 5 seconds. Then, remove the disc and play. Its effect lasts for 82 minutes. It is battery driven by 2 aaa batteries.

Unfortunately, the company’s website offers no explanation as to how/why the product works nor a description of the materials within the device. Although the pamphlet accompanying the product states the expected effect from using the energizer upon the sound of a stereo system The synthetic proof of the efficacy of the product is absent, leaving an air of mystery and one’s senses as the sole mode of evaluation.

Listening Results

While reviewing the Nagy’s digital cable, it seemed to make sense to apply the Energizer following the play of each recording. Thus, I generated a comparison between the sound of a stereo system with and without the use of the energizer. I will therefore, report my findings associated with each recording that was included in my review of the Nagy’s digital cable. I will mention a brief description of each disc so that it will not be necessary to have a copy of the Nagy’s review or refer to it , while reading this review.

Disc #1, was Holly Cole, DON’T SMOKE IN BED, track 1, Alert Z2 81020.

I found the bass frequencies more distinct, yet just as full, I.e., exhibiting the same weight. There was less emphasis upon the word “see”, I.e., a reduction in sibilance. A layer of veiling was removed and the remaining sibilance sounded more natural, perhaps resembling what one would hear at a recording session.
Disc #2 was FANDANGO–SCARLATTI IN IBERIA, Sophie Yates, Harpsichord, track1, Chandos 0635.

The sound of the harpsichord revealed greater weight and less sharpness, when strings were struck. There was more presence of the wood body and there seemed to be a change in the spectral balance away from the treble and towards the mid and upper bass.

Disc #3 was the CD Steely Dan AJA, MCAD 37214 DIDX 55, track 3.

Donald Fagan’s voice exhibited greater separation from the other instruments on the recording. The spectral balance seemed to be unchanged. However, overall, the effect of the sound reminded me of the sound of tubes, in the subtractive sense, creating a sense of euphonic coloration and hence pleasantness, as exemplified by the sound of the chorus, being less focused and slightly less resolved. The tenor sax sounded more natural in its timbral resolution, after using the Energizer.

The application of the Energizer to the CD Together, featuring John Williams and Julian Bream, track 1, RCA 09026-61450-2, restored some of the presence of the wood body that was initially absent . Both instruments sounded more realistic.

Thus, there was a change , again, in the spectral balance, away from the upper midrange/lower treble region toward the lower mids. The frequency response seemed more in balance having treated the disc.. However, the distance between listener and performers seemed to diminish.

There was a surprise when treating the last disc, Wessanaer’s Concerti Armonici,, for violin ensemble and continuo, track 5, Naxos 8.55384. While there was a greater extension in the bass, as evidenced by a greater presence in the bass viols, as well as greater fullness and warmth, the harpsichord became clearer,I.e., an extension in the treble. Yet, there was observed some veiling which reduced the realism in the sound of the violins–less so than when the disc was not treated. Thus, in spite of greater presence of the harpsichord, the violins still seemed subdued, but less so. It seemed that coloration was reduced, but not eliminated.

Conclusion

Although the AER Energizer has an “air” of mystery as a consequence of a lack of information about the product, there was evidence of a sonic effect each time a disc was treated.

In spite of one surprise, there seemed to be a consistent pattern regarding bass response, and naturalness of timbre, in the context of the components of my stereo system.

The effect of the energizer upon the upper frequencies,, i,e, upper mids, lower and upper treble, varied with the recording. I noticed, in one case, an extension in the treble, in another , I observed no change, while in another case, I heard a reduction in the spl in the upper mid/lower treble region. It is difficult to account for the changes I perceived, as I have no objective data to account for my subjective findings. The lack of “knowledge “ of the sound of the recordings and the limited sample size of the sources renders any hypotheses about why and how the Energizer is affecting the upper frequencies moot.

I feel more confident that the Energizer can enhance the presence of the lower frequencies,and contribute to a sense of fullness. I would say that from my brief exposure to the Energizer, I would say that it creates a less “digital” sounding CD, in the conventional sense, and closer to the sound of an LP. Thus, the AER Energizer may mitigate or address some of the flaws of many recordings and in some way may be synergistic with Nagys digital cable.

The AER Disc Energizer

Manufactured by Innoworks Product Creation Ltd.

Suite 2203, Kowloon Building, 555 Nathan Road, Mongkok, Kowloon, Hong Kong.
Tel (852) 3525 1496

website
email

Price: US$840
Source: Manufacturer Loan

Associated Equipment

DAC: PS Audio Perfect Wave DAC
Transport: PS Audio Perfect Wave Transport
Preamp: Bent TVC passive
Amp: VTL Deluxe 120
Digital Cable: Nagys Audio
Interconnects: Soundstring Audio, Cryoset Copper
Speaker Cable: Ear to Ear
Power Cords: Ear to Ear, Western Electric copper
Speakers: Quad ESL and Magnepan 1.6
Accessories: Room Tunes, Egg Crate Mattresses, Sound Fusion Sound Boosters, Chang ISO 64, PS Audio Juice Bar, PS Audio Ultimate Outlet, Nirvana Audio Isolation Transformer

by Anthony Kershaw

Sandra Mogensen is a Canadian concert pianist at home both as a solo artist and accompanist. Here, she takes center stage in the first of two volumes of Grieg’s much underrated solo piano music.

Mogensen studied in her home province of Ontario as well as the Mozarteum in Salzburg and The Royal Danish Conservatory. To add to her to excellent credentials, Mogensen received extensive training at the Westminster Choir College in Princeton, NJ. As such, she is much in demand as a vocal coach. And this intimate knowledge of the voice imbues this disc with the most magical singing style.

My benchmark for a Grieg solo piano recording is the great Gilels on DGG. That Mogensen had me forgetting a gem of the DG catalogue is no small feat. Her touch, style and interpretation of these Grieg jewels is intoxicating. So much so, that I found myself dipping into the equally fine Volume 2 right after the end of Volume 1. There is so much rhythmic vitality here, none more so than in the justly famous Holberg Suite. I’ve always loved the Tortelier conducted version for string orchestra, but, once again, Mogensen’s sense of pace and energy will have you tapping. Superb! The more reflective tracks are absolutely beautiful — the piano sings and sighs, yet the rhythm never sags, the interest never wanes.

The recording is excellent, with the piano center stage and a nice sense of bloom around the attack, transients and decay. If you are a fan of the Gilels style and phrasing, buy Mogensens’ versions with confidence. Take this as an emphatic recommendation for both volumes. Happily, available at fine Canadian CD stores, iTunes, and from Mogensen’s website.

“It seems to me I am trying to tell you a dream – making a vain attempt, because no relation of a dream can convey the dream-sensation…” Joseph Conrad

There’s nowhere quite like New Zealand; surely the world’s most beautiful country, and an unforgettable experience for any traveller. Now cemented in the popular consciousness as the location where Middle Earth sprang to life, its picture postcard terrain is home to a greater number of sheep than humans (feel free to insert your own joke, but if those critters ever get the vote there’ll be some changes …). Yet you must now cast from your mind those widescreen images of snow-capped peaks and circular front doors – for we are headed instead to the North Island metropolis of Auckland, there to catch up with one of the most intriguing audio companies anywhere on the planet.

Antipodes Audio is the brainchild of Mark Jenkins, and Mark has a passion for audio cables. I know nothing of him beyond the fascinating correspondence we’ve exchanged lately, yet the man’s sheer obsessive focus is apparent in every sentence he writes and every detail of his products. I like obsessive personalities; if not always the best life partners (wife Sonia may have something to say at this point!), they’re certainly the best people to buy audio gear from. Much the same could be said of many other designers and builders, though – what makes Mark special? Well, Antipodes Audio have been operating since 2004 and, as you might imagine, the market for specialist cables in New Zealand isn’t huge; added to which, until a few short months ago, their product range consisted solely of analogue interconnects. While that strikes me as a recipe for commercial suicide, it’s entirely indicative of their commitment to excellence; only when the potential in those interconnects had been fully realised was Mark prepared to consider expanding his line.

Antipodes has a couple more trump cards up its sleeve. One is a dedication to customer service – as evidenced by glowing customer feedback on Audiogon – and the other is some truly original thinking on the topics of signal transmission and cable construction. If the science of cables interests you – and it certainly does me, if only because it is generally so conspicuously lacking – then I highly recommend the very readable Technology page on the Antipodes Audio website. Mark modestly omits to mention that his theories have attracted considerable academic interest, with several university research projects currently probing them. Those theories are fully realised in all of the company’s interconnects, yet it’s the way this is achieved that justifies the plaudit in my opening paragraph.

You see, Mark believes that electrical resonances within the wire are the reason why the commonly-used conductors (copper, silver, gold) each exhibit a characteristic sound. These resonances can be controlled both through physical damping, and by manipulating the wire’s crystalline structure in a very precise way. In this respect, the mono-crystal wire used in some high-end cables is felt to be far from optimal; more than highly resonant, in Mark’s words “it rings like a bell”. His solution was to do something that only the barest handful of cable companies in the world attempt; Antipodes Audio buy raw ingots of silver and gold, melt them down and draw their proprietary SenzaVoce (meaning “without voice”) wire themselves. A microscopic coating of natural oil is then applied to the finished wire, for damping and corrosion protection. A substantial quantity of natural, unbleached cotton – again, using a proprietary weave to incorporate a greater proportion of air – is employed as the dielectric, achieving a measured value close to air itself while also performing useful mechanical damping. Even the robust black fabric used for the outer jacket is a proprietary formulation! Finally, the cable’s conductors are configured in the company’s unique “Antipodal” geometry, which is claimed to yield several important benefits; these including noise rejection superior to shielded cables without employing shielding (generally damaging to a cable’s sonics), supreme phase coherence and a reduction in the electrical synergy issues that make cable performance so unpredictable in real-world systems. Amen to that!

Without wishing to labour this technical stuff, there’s one point I really need to establish. In terms of their construction and materials, these cables are distinctively different to anything else available on the market. Mark also makes a singularly bold claim for their electrical and sonic efficacy; that they “mate components in a way no other design can”. Let’s see, shall we.

The Komako Interconnect

Occupying the middle position in the range, this is the company’s most recent interconnect design and was conceived to offer the technology from the flagship Reference cable, at a much more affordable price. The top model’s gold conductors have thus been replaced with SenzaVoce silver – as they are in the base Katipo interconnect – but the use of some sophisticated metallurgy sees both gold and platinum employed strategically in the Komako, to aid in controlling silver’s characteristic resonance. Priced at an online direct US$670 (including postage) for the 1m RCA pairs with which I was supplied, a 30 day money-back guarantee is offered. Incidentally, “Komako” is the name of a native songbird in the indigenous Maori language – that’s saved you some Googling!

The cables arrived double-boxed in sturdy, foam-lined packaging, with a nicely written set of instructions doubling as an owner’s certificate. Physically, they are surprisingly rotund, with that firm-yet-soft feel of tightly wadded fabric, and while not exactly inflexible you may find yourself needing a fractionally greater length than usual in extremis. Their impressively chunky Xhadow silver RCA plugs also require that the components’ chassis sockets be generously spaced; be sure to measure this before ordering, because if there is less than 17mm centre-to-centre (as was the case on my Meridian CD player) then Xhadow’s smaller variant can be supplied, itself similar in size to an Eichmann Bulletplug. Construction is very neat, as you’d expect, and held in hand they certainly give the impression of being decent material value for money, which is not common for cables in this price bracket.

Burn-in is an issue that needs to be explored. The company warn that these cables require more of it than virtually all of the competition, because their antipodal geometry does not work the wires as hard as conventional designs. The good news, though, is that the assembled cables are “de-stressed” for 10 days prior to despatch using a multi-phase preconditioning process; while this doesn’t reduce the ultimate timeframe required to achieve full burn-in, it allows the cable to sound more acceptable during it. In practice, the advice given is that they will settle down with just 3 weeks of average use, if left undisturbed in your system. I have to say that the Komakos – I ended up burning in two sets independently – had obvious sonic deficiencies when first installed … and then took me on a roller-coaster ride, their sound fluctuating wildly and almost daily, passing through phases of reticence, harshness, boominess, general incoherence and every combination of the same before it all unequivocally came together at the 3 to 4 week mark, much as promised. They have continued to improve thereafter, and not by a small amount either, so take this as fair warning; the Komako certainly does not admit of snap judgements.

I have spent a lot of time with cables over the past couple of years, gradually working my way through the range offered by New York-based MAC and, in the process, gaining a healthy respect for that company’s products and for the importance of the role that cables play in determining a system’s sound. Mark Jenkins states that “cables can make or break a system as easily as any other component”, and that is my experience too. My initial approach to Antipodes was, however, solely to request the loan of a digital interconnect; when Mark proposed sending over some Komakos, at first I declined. I was delighted with the front-rank performance of my MAC Reference and Mystic cables and, with prices comparable to the Komako, failed to see how they could be surpassed to any worthwhile degree. I was also concerned that dropping the Komakos into an all-MAC cable loom might unfairly disadvantage them. And, truth be told, I’d also had an absolute gutful of burning cables in! Mark’s gentle persistence won the day, though – and I’m very glad it did.

Listening

Normally, at this point, I’d ease into the evaluation, keep my cards close to my chest and try to keep you guessing. That’s not going to work here; the simple truth is that, almost from the moment they were installed in my system, the Komakos pretty much spun me out! As wild as their behaviour was during burn-in, they immediately demonstrated some compelling strengths that we’ll get to shortly. For now, let’s start with the basics.

The Komako’s essential character is smooth and full-bodied, yet crisp and with plenty of bite when required. Both frequency extremes are notably extended, particularly the top end; this achieved a real transformation in my system which, for all the years I’ve owned it, and whatever equipment has passed through it, has always previously been rolled-off in the high treble. The bass offers power with accuracy of pitch and a lack of overhang, contributing to a nicely balanced, very open feeling, free of undue emphasis in any part of the musical spectrum. Exceptional speed and articulation through the midrange does a good job of cleaning up those congested, muddy pop/rock recordings, and made it possible to discern the individual notes in very fast piano glissandi (Debussy’s “Feux D’Artifice” springs to mind) that were previously lost in the wash of natural reverberation. Soundstaging is also very fine, noticeably wider and deeper than I had been used to, with a ‘carved from stone’ stability and focus to the imaging. The Komako’s levels of transparency and sheer resolution are simply astonishing, which must to some degree be a consequence of the high order of noise rejection claimed for its geometry. In the most positive way, this superb detail resolution is the only aspect of their performance that could betray the (predominantly) silver conductors; they exhibited not a hint of the negative traits commonly attributed to silver cables. More than just supremely resolved, they also endow music with gloriously authentic colours and textures, presenting a delightfully nuanced view of the subtlety and complexity of live sound and its harmonic structure.

Now that’s all well and good, and unquestionably places the Komako at the forefront of its market sector. Yet what really jumped out of the speakers and grabbed me, right from the get-go, was the music’s palpability and liveliness. The attack and decay of notes is startlingly natural, the leading edge clean and fast; this is one area where audio systems always seem to fall short of the live experience, and the Komako took mine one big step closer to reality. Beyond that, their extraordinary transient ‘snap’ conveyed an impression of speed and pent-up energy, endowing music with a sparkling & effervescent quality that I found quite irresistible. Macrodynamics were equally well served, the system’s ability to swing huge transients with absolute ease taken to a level of which I had not imagined it capable. Ultimately, though, it was the innate coherence of the presentation that was so convincing; a sense of ‘correctness’ definitive enough that the only valid reference point was live music. The usual audiophile adjectives seem woefully inadequate to convey how the sound burst free of its electronic confines, the sheer clarity of the musical message causing even familiar pieces to be heard in a new way. With the finest recordings, the sensation of actually being there in the concert hall could be almost alarming!

The fundamental key to the Komako’s exceptional soundstaging, dynamics and expressiveness could be heard, once my ear attuned to it, to lie in its elevated level of phase coherence – in simple terms, maintaining a correct relationship between all of the frequencies comprising the musical signal. This is claimed to result directly from the Antipodal geometry used in the construction of Antipodes Audio interconnects; Mark Jenkins believes that all of the common configurations, most particularly the twisted pair, are responsible for distorting phase relationships. It is not a topic that’s often raised when cable performance is discussed (though I have touched upon it in previous reviews), yet so confronting were the improvements the Komakos wrought that one is lead inevitably to conclude that lesser cables must indeed be screwing up the signal’s phase integrity. That being the case, you might wonder whether the ability to preserve phase coherence is dependent upon it being there in the first place?! Well, the Komakos do indeed seem to find an extra gear with naturally-recorded acoustic music, including most classical discs, in rendering a believable facsimile of the original musical event. Yet what they do with multi-tracked rock recordings (commonly lacking overall phase coherence) is scarcely less convincing in its vividness and energy. The Komako is a very ‘unfussy’ cable, sonically-speaking, at home with every type of music and highly tolerant of ‘poor’ recordings, which always sounded much better than I was expecting. This is an aspect of performance I invariably monitor closely, as a ‘superb’ component that makes 50% of your music collection unlistenable is somewhat akin to having the ‘best’ compound fracture in the ward! Incidentally, while my testing was mainly conducted with two pairs of Komakos, from CD to pre and pre to power, their unusual capabilities were readily apparent (though less fully realised) with just a single set in place.

So, high praise indeed … yet, when a cable’s properties are as unique as this, surely there’s a downside? Well, I’ve already mentioned the burn-in issue; while more protracted than most competitors, taking several months to achieve its ultimate performance, four weeks of normal use will have it operating at a high level, and that’s not unacceptable. Another quirk is that the cable does not like being moved (ie. having its connections broken) during the break-in period, a phenomenon that Mark recognises and explains as the need for it to re-establish conductive paths. It can perhaps best be conceptualised as the cable burning into the system; all I know is that the Komakos took many hours to regain their sense of coherence when briefly swapped out for comparative testing, and a good couple of days after a week’s lay-off. Antipodes Audio do claim greater electrical compatibility than the norm for their interconnects, but also recognise that highly phase-incoherent systems are less likely to benefit, while any pre-existing earthing problem will be exacerbated. In terms of the sonic performance, those who subscribe to absolute tonal neutrality as the benchmark (a view with which I have some sympathy) may note disapprovingly the hint of warmth and a silky, seductive quality to the presentation. Knowing that Mark is able to exert an extraordinarily high degree of control over the cable’s sonic properties by manipulating facets of its geometry, I suspect he has deliberately voiced it this way; to my ear and preference, it’s spot on! My only real criticism is that, while the cable’s bass performance was certainly good enough to surpass my previous reference, in absolute terms I felt that it lagged a little behind the level of excellence otherwise achieved, occasionally (and it was only occasionally) sounding somewhat diffuse and unfocussed. That said, the bass was the very last element of the sonic jigsaw to fall into place as the cables burned in and, even after four months of daily use, I still harbour a lingering suspicion that I’ve not heard the best of it yet.

Conclusion

Those with the preconceived idea that cables can make only a modest contribution to a system’s sound are in for a shock. Antipodes claim that the difference in electrical terms between their cables and the competition is “very significant” – and everything I heard, from the Komako’s extravagant initial burn-in to its palpability, coherence, energy and sheer believability, tended to support that assertion. I have no doubt that the cables I was previously using are among the leaders in this market sector, and stand by the praise accorded to them, yet the Komakos have comfortably surpassed them in all respects, most notably in the areas where they already excelled. Every aspect of the Komako’s performance harks back to the naturalness of live music; there is a quality to their presentation that my ear instinctively recognises as “correct”. The elevated level of phase integrity they offer opens a window deep into the heart of the music, and invites you to enter.

Starting with some unique theories on the science of signal transmission, Mark Jenkins has spared no effort to see them realised in a cable of exceptional quality – including producing his own wire from raw ingots of silver, gold and platinum. By the standards of the market, a price of US$670 for a 1m RCA pair (US$940 for the balanced XLR version) is eminently reasonable for what the Komako is, and downright cheap for what it does … though be warned that the abnormally labour-intensive nature of the construction process means additional length commands a relatively high tariff. After years spent perfecting their three models of analogue interconnects, the company has now branched out into digital interconnects and power cords, with speaker cables promised in the near future.

The Komako interconnect represents a distinctively different approach to interfacing audio components. Combining innovative science, uncompromising parts quality and fanatical attention to detail, it offers an exhilarating level of performance that surely places it amongst the world’s finest (that ultimate accolade being claimed by Antipodes for their Reference model!). While purchasing any cable is essentially a leap of faith, the potential benefits on offer here are too large to ignore … and the safety net of an unconditional money-back guarantee further sweetens the deal. Very highly recommended.

[It is with great pleasure that we award The Audiophilia Star Component Award to the Antipodes Audio Komako Interconnects. Congratulations! - Ed]

Manufacturer’s Response

Andy’s observations of the Komako are spot-on. Our product is fundamentally about offering superior phase accuracy, which delivers a natural liveliness without peakiness. The side-benefit is that our cables sound the same in any system. All other interconnects cause slightly different phase problems depending on the interfacing components.

Mark Jenkins
Antipodes Audio Limited

The Antipodes Audio Komako Interconnects

Manufactured by Antipodes Audio Limited

16 Bingley Ave, Epsom, Auckland 1023
New Zealand

Phone: +64 9 6244244 or +64 27 4545004 (Mobile)

website
email
Price: US$670 for a 1m RCA pair (US$940 for the balanced XLR version)
Source of review sample: Manufacturer loan.

Associated Equipment

Analogue: Linn LP12 / Lingo PS / Ittok LVII / Audio Technica OC30
Digital: Meridian 507
Amplification: Custom-built AC Magnum dual mono P200 pre and power
Speakers: Acoustat Spectra 1100 hybrid electrostatics
Cables: MAC Reference & Mystic interconnects / MAC Shotgun speaker cable / MAC Burly, HC & Digital power cords
Accessories: Sound Mechanics Performance isolation platforms (on each source component) / Target & Sound Organisation stands / Aerolam & RATA Torlyte shelves / Herbie’s Audio Labs isolation products / Eichmann Toppers / Caig ProGold /Belkin PF40 power conditioner

Press release from NuForce [Full disclosure -- NuForce is a longtime sponsor of Audiophilia] High end gear from NuForce with a small footprint and well priced.

Milpitas, California, August 3, 2010. NuForce, Inc., a California-based manufacturer of consumer audio products, announces the release of its Icon-2 and uDAC-2 desktop audio components. Together with the recently released high-end Icon HDP and Icon Amp, this series completes a Modular Systems approach for bringing high-end audio to the mass-consumer market. Built on the highly successful Icon platform, the full NuForce line of 24bit/96kHz audio components offers heretofore unattainable performance levels for desktop or other computer-based music environments.

As a headphone amp, preamp, USB (24bit/96kHz) and S/PDIF (24bit/192kHz) DAC, NuForce’s Icon HDP leads the way with unprecedented accuracy and resolution. The 24Wx2 Icon Amp serves as a companion piece to the Icon HDP. The USB-powered and portable uDAC-2 offers a high quality USB DAC and headphone amp for those seeking high-performance audio from their computer music source. As a step beyond the successful uDAC, the uDAC-2 boasts a highly linear TOCOS volume control for improved channel tracking at low listening levels, in addition to 24bit/96kHz USB DAC and an improved headphone amp. Building upon the award-winning Icon integrated amplifier, the Icon-2 offers 24Wx2 power, 24bit/96kHz DAC, an improved headphone amp and preamp circuit.

With the addition of the uDAC-2, Icon-2, Icon HDP and Icon Amp to its existing product line, NuForce has positioned itself to offer the most comprehensive combination of high-performing 24bit/96kHz desktop and mobile audio solutions to be found anywhere in the marketplace. Jason Lim, NuForce’s CEO: “As a leader in the high-end audiophile market, we want to take the lead in offering high performance audio for portable and desktop market. And we will make it affordable!”

Pricing and Availability
The NuForce Icon uDAC-2 is available worldwide for a suggested retail price of US $129. Icon-2 will be shipping August 16 at a suggested retail price of $349. Icon HDP and Icon Amp have been available for US $449 and $189 respectively.

About NuForce
NuForce is a California-based company devoted to the development of exceptionally fine yet reasonably priced consumer-electronic products. NuForce launched its brand in 2005 with audiophile-quality switching amplifiers based on patented, proprietary technology, thereby promptly becoming a leader in audio’s high-end marketplace. NuForce has won Power Amplifier of the Year awards both in the United States and Japan and has since expanded into other aspects of consumer electronics. In addition to its celebrated two-channel and mono amps, the NuForce line now includes headphones, loudspeakers, a music server, CD player, preamp, multi-channel amplifier, and cables.

Press Contact:
Anna Zhao
NuForce, Inc
Phone: +1-408-890-6840
email

Hephaestus is an interesting and unusual choice of name for an amplifier company. Named after the Greek mythological god of fire, technology, metalwork and craftsmanship, Hephaestus was busily working away on his forge, satisfying the demands, of the Olympian Gods. Joey White, the head honcho and designer of today’s technological marvel, the HMA-1000, must have been inspired by the Gods to pursue such lofty goals and to try and satisfy the even greater demands of the Audiophile. Although, audiophiles can not physically throw lightning bolts at the designer, they will voice their displeasure with pointed barbs on blogs and websites, and can almost be equally destructive or constructive.

Joey White has created his own version of Class D amplification and without using off the shelf amplifier modules or power supplies. He developed his own designs for these critical elements and hand builds each unit. His HMA-1000 monoblocks are of a simple, functional design aesthetic at best called utilitarian and they only come in black. There are no on/off switches, indicator lights or even footers. Joey feels that any switches or lights add circuitry which could have deleterious effects on performance and as well as adding cost. He also reasons that most audiophiles will be using power conditioners with on/off capabilities or leave them on all the time. These highly efficient class Class D amplifiers use minimal current. Another cost cutting decision is the lack of included power cords. He feels that most audiophiles prefer to use their own choice of after market cords anyway so why include some throw away cord at all. That is also the reasoning behind not providing footers. How many footers and vibration absorbing devices do each of us have sitting in a draw somewhere just waiting to be played with to determine which produces the optimum result. Personally, I wouldn’t have minded a discreet, tasteful indicator light, but that’s me.

Now, let’s start the listening. Firstly, I couldn’t believe these diminutive black boxes, at about half the size and weight of my Nuforce V3-SE’s, not exactly large to begin with, would produce 1000 watts (rms) at 4 ohms and 600 watts (rms) at 8 ohms. That’s about three times the rated power output of my Nuforce amps. I installed them in my system, which requires four channels of amplification due to speakers which must be bi-amplified, thus requiring two monoblocks per speaker. How would all this power sound?

I performed a couple of hundred hours of burn-in time with various musical sources. Before burn-in they were thin and a little cold. After burn-in, they burst into life. Absolutely blossomed. One would expect, with all the power and headroom available, bass performance would be superb and one is not disappointed. Solid, deep and tuneful with utter control was the order of the day. And, by control, I don’t mean dry or analytical. This is full and tight with a complete reverberant envelope. Dynamics, as one would expect, were extraordinary with these amplifiers. Along with all this power and dynamics one also noticed that nuance and delicacy were not in any way short changed. If anything, they were equally present. All these factors contributed to a presentation of the music with full authority, weight and realism.

The soundstage that these amplifiers presented was a revelation. There was more air and separation than I’d been accustomed to as well as greater front to back depth placing musicians in a more realistic performance space. Images were more three dimensional with more body and substance then I’ve previously experienced.

Another preconception these amplifiers dispel is that digital means a non-musical presentation — an analytical edginess to the sound. Sorry, not here. The HMA-1000’s are smooth and non-fatiguing, yet replete with inner texture and detail giving them wonderful resolving power greater then my current amplifiers (which are no slouches in that area). And they do all this with an ease and naturalness that says music, not electronics. Voices are more realistically portrayed with more body, texture and intimacy than I’ve heard before. Choose your favorite singer and be prepared to hear them more clearly and with greater presence then you’ve been accustomed to. The HMA-1000’s bring you another step closer to the real thing.

As technology and understanding grow new products emerge. Joey White has hit the bull’s eye, creating a lightweight, powerful, efficient amplifier, miniscule in size, with Herculean performance and at a price/performance ratio that is staggering. It could easily be priced at 2-3 times its current price and you would still be getting a deal. Now, as previously stated, there are no bells and whistles, no carving out of a single billet of aluminum and you will not get a hernia moving them. In fact they are so light in weight that my power cords can pull them off the rack and I had to be very careful to weigh them down to keep them in place.

Bottom line is that if you want to be impressed with eye candy, look somewhere else. But, if you want to be impressed by awesome sonic performance look no further. My suggestion is that you try these amps and White makes it very easy to do with a no question, in home 90 day return policy. He must be congratulated for bringing Class D amplification to a level of excellence that should obviate the prejudices that some audiophiles still maintain. Highly recommended.

[It is with great pleasure that we award The Audiophilia Star Component Award to the Hephaestus Audio HMA-1000 Monoblock Amplifiers. Congratulations! - Ed]

Manufacturer’s Comment

I am absolutely thrilled that Mr. Appel enjoys the HMA-1000!  When an audiophile appreciates my creations it truly means the world to me.  To receive the Audiophilia Star in addition is a wonderful surprise and honor!

Joey White
Hephaestus Audio

The Hephaestus Audio HMA-1000 Monoblock Amplifiers

Manufactured by Hephaestus Audio

940 Little Bardfield Road
Webster, NY 14580
USA

website
email

Price: $4,900.00 (Seven year warranty)
Source: Manufacturer loan

Associated Equipment

Amplifiers: 4-Nuforce 9V2 SE’s monoblocks upgraded to 9V3-SE Status
Speakers: Wasatch Acoustics MUSINA (out of production)
Preamplifier: Marantz SC-7S2
Phono Preamplifier: AQVOX 2 Ci Mk II, PS AUDIO GCPH
CD source: Marantz SA-7S1
Analogue source: Avid Volvere/SME IV arm/
Cartridge: Shelter 7000
Speaker cables: Acoustic Zen’s Absolute, Wasatch’s Ultama (no longer being produced)
Power Cords: Acoustic Zen’s Absolute. Kaplan GS Copper
Interconnects: Acoustic Zen’s Absolute (xlr)
Accessories: Herbie’s Audio Lab Tenderfeet, Black Diamond Racing Cones, Soundcare products, Acme Audio Labs wall outlets
Surge Protection: Brick Wall 2R and 8R Surge Protectors
Power Conditioning: PS AUDIO Power Plant Premier
Processor: DEQX 2.6P Modified

Associated Music

JVC JM-XR24013 TCHAIKOVSKY: CAPRICCIO ITALIEN and RIMSKY-KORSAKOV: CAPRICCIO ESPAGNOL-Kiril Kondrashin and RCA Victor Symphony Orchestra
25264-1 Warner Bros. Records DIRE STRAITS-BROTHER IN ARMS
TRIP JAZZ TLP-5530 BROWN/ROACH INC.- STUDY IN BROWN (mono)
CS 8192 Columbia Dave Brubeck Quartet/TIME OUT-MQ 30443
Richard Strauss: Also Sprach Zarathustra, Bernstein / NY Philharmonic (SQ Quadraphonic)
LSC-2471-200 gram
 CLASSIC RECORDS reissue-RCA LIVING STEREO, RHAPSODIES with Stokowski and RCA Victor Symphony Orchestra
Napua Davoy ALL I WANT, www.napuadavoy.com

Specifications

1.0kWrms into 4Ω / 0.6kWrms into 8Ω
2.5kWpeak transient capability into 4Ω
85% efficiency from ac input to speaker output
20Hz to 20kHz +0.0dB/‐0.5dB frequency response
70uVrms noise floor / 119dB SNR (20Hz to 20KHz)
26dB gain / 10kΩ input impedance
9.0” x 6.75” x 2.25” / 3.5 pounds

By Michael Levy

As birthday presents go, the VPI Classic Turntable is my favorite of all time. My wonderful wife, Maryann, not only gave me a surprise 60th birthday party, she also gave me the one turntable I was most interested in.

VPI has been known as a manufacturer of fine turntables since before the height of the turntable in the early 80s and has continued to refine its product as it served a rabid group of vinyl lovers. They are now very much a part of the vinyl revival and the Classic Turntable is the perfect example of their philosophy. The talk among vinyl lovers has many calling it a breakthrough product. I was delighted to get one.

I recently had my venerable Kuetsu Rosewood cartridge completely overhauled by A.J. Van Den Hul, including changing the tip to one he had designed. The JMW-10.5i unipivot tone arm (included) handled it beautifully.

Setting up the turntable was remarkably simple. A solid level space was all that was needed. VPI even includes a stylus weight gauge and an easily used metal template for the proper angling and positioning of the cartridge. The arm also has an easily adjusted vertical tracking angle setting. It took but a few adjustments and I was listening.

I was immediately impressed with the dynamics, imaging and smoothness. It made it hard to wait for the cable I had ordered to match my phono pre amplifier and for the usual break in time. My Aqvox phono stage has balanced inputs for moving coil cartridges. The output block on the VPI is situated on top of the base at the rear and is connected to the arm. There are left and right RCA outputs and a ground connector. I needed a specially designed pair of balanced to RCA cables. The results were easily worth the wait.

Robert Lee of Acoustic Zen created a pair of Matrix Reference II RCA to balanced cables that really improved the noise level, reduced electromagnetic interference and opened up the imaging depth and staging. The improvement was phenomenal, although it did take almost a week of listening to break in. I chose to listen to every disc I had used in my Marantz UD 9004 review again. Originally, the turntable bested the Marantz as often as the Marantz sounded better than the turntable when comparing HD audio sources such as SACD and 96/24 DVD-Audio to the vinyl. The Acoustic Zen cable and break in time significantly altered that equation.

On every recording the sound stage had expanded and there was better definition of the wall behind the musicians. The dynamics increased while the solidity of individual instruments was far more palpable. There was an obvious sonic leap forward.

I heard a wonderful improvement on every disc I played, but the difference it made on the few direct to disc recordings I have was amazing.

On John Klemmer’s Straight From The Heart (Nautilus NR4) I could not imagine a more realistic reproduction of a saxophone. On Arabesque, I could hear right into the instrument. Dynamic pulses and little resonances inside the instrument were clear, open, solidly imaged and with a fullness of resonance that went right to the heart. I am a fanatic for first row seats at live events with natural instruments, and it had all of the feeling and presence of the live performance close up.

On The Great Jazz Trio Direct From L.A. (East Wind 10005) the entire stage appeared before me with three dimensional instruments solidly positioned on a three dimensional stage. The impact and the depth of the bass on both the electric bass and the drums were astonishing. It was moving the room and pounding on my chest the way I thought only a live performance could.

The direct to disc recordings achieved an unmatched clarity. The size, definition, impact, and musicality were of a level only surpassed by the live event itself. Recordings that went through the normal mastering process were also much improved, although not to quite the same level.

On Telarc’s Pictures at an Exhibition (Telac 10042) the stage expanded in size and the space between the instruments was clearer, as was the wall behind the performers. The orchestra overwhelmed me. Similar improvements came through every one of my recordings.

The design of this turntable is truly intriguing. It departed in several ways from what I had thought was the proper way to design a turntable. I was taught that in order to isolate the turntable from acoustic feedback the arm and platter needed a second level of isolation. Every turntable I had owned from my first AR to the Linn Sondek had worked on this premise. The platter and arm floated on damped springs over a base. The motor was in the base and its only physical connection to the playback system was the belt. The VPI Classic has the motor, arm and platter all on one assemble that is only isolated from the room by the damped rubber feet. This seemed to break the rules for noise and feedback isolation, but the background was quiet, no motor noise was evident, and I could not induce feedback even with the turntable sitting right nest to my subwoofers as they rattled the room.

The VPI Classic Turntable has sound quality that is first rate on an absolute scale, and, considering the price, it is irresistible. How was this done? I asked the master designer.

Harry Weisfeld is the genius in the workshop at VPI Industries whose marvelous ear for sonic differences in design and materials has helped him create several of the best turntables ever made and this breakthrough product.

Harry, What led you to the design of the VPI Classic Turntable?

The Thorens 124 idler drive and the Rek-O-Kut idler drive lead me to the rim drive for the HR-X and the SuperScoutmaster which gives the same amount of “you are there” bass as the old idler drives but without the noise level of that fast spinning idler.  The rim drive I make rotates at 70 RPM.  The belt drive Empires and Rek-O-Kuts have some of this but with less noise so I tried to get the best of both worlds, the quiet of the belt with the immediacy of the idler drive. The Classic is the result.  A short belt for minimum flex, motor and platter and arm locked together on the same plinth for great detail and no random motion, and a powerful motor to keep the heavy platter spinning no matter what happens in the groove.  All attached to a 60 pound mass that sinks the vibration.  As long as they move together there is no random motion, which leads to amazing clarity and speed control.

How does the aluminum platter alter the sonic characteristics of the turntable?
 


The aluminum platter has more dynamics, greater focus, and a larger deeper soundstage, but most importantly, because we can machine aluminum very accurately and it stays that way (acrylic and Delrin do not) the speed accuracy is amazing.

I see you include a mat, but you recommend going directly on to the metal in the manual. Which do you prefer and why? What are the sonic differences?

I go directly to the platter or on the supplied paper mat, I do not use any rubber, or polymer material on my platter in my listening room.  That does not mean that in some systems the mat may not sound better but my system has no brightness and is very smooth so the aluminum gives me the speed and detail of live music and that is what I prefer.  Besides, the platter is damped with a stainless steel disc glued into the bottom for critical damping.

Please explain the concept of tying the platter/motor/arm together. How does it affect the sound? How does it alter the feedback characteristics.

By putting the platter, motor, and tonearm on the same mounting assembly there cannot be any random motion between the three items and that means perfect speed stability combined with a lack of randomly generated movements of the stylus.  In a standard suspended table the motor is isolated from the platter and arm by a suspension, the suspension allows the platter and arm to move in relationship to the motor producing a frequency modulation that we hear as a time smear.  The Classic has no time smear and is therefore producing sound like the monster megabuck tables for a fraction of the cost.

How does this control acoustic feedback?

Another benefit is if everything moves together then when a sound source like the speaker produces energy in the room all three items move together creating no sound - vastly lowered feedback levels.  Remember, the cartridge only makes sound if the cantilever moves independently of the body and arm.

I find it truly amazing that you have achieved this level of performance from a turntable at this price.

We are doing our best to bring the magic of vinyl to as many people as possible.

Thank you, Harry.

Sound is a science and music is an art, but the two merged the day Thomas Edison made the first recording. Scientific measurements can give us numbers by which we can determine accuracy, but it is the art in audio design that lets the music come through. VPI has managed the perfect blend of engineering and art in the new Classic Turntable, an accurate product that allows the music to flow out of it and through you.

I have only a minor misgiving. It does not come with a dust cover. The available dust cover is not hinged and must be removed for play. The ground wire on the connector block is very close to the RCA connectors and a stray wire could contact them if you are not careful.

I would like to offer the reader a suggestion. If you have recently discovered the sonic quality of vinyl or you are a vinyl enthusiast who is looking to upgrade your turntable without emptying your bank account, look no further. This is as close as you will ever get to the state of the art in turntables without applying for a mortgage.

I therefore wholeheartedly nominate this product for an Audiophilia star component award.

[It is with great pleasure that we award The Audiophilia Star Component Award to the VPI Classic Turntable. Congratulations! - Ed]

Associated Equipment

Turntable: VPI Classic with Kuetsu Rosewood cartridge with Van Den Hul tip
Phono pre: Aqvox Phono 2 CI II
Universal Player: Marantz UD9004
DEQX based preamp/processor/triamplification system. (2400watts digital amplification)

Levy Acoustics speaker system with Levy Acoustics subwoofers

Acoustic Zen power chords and interconnects

The VPI Classic Turntable

Manufactured by VPI Industries, Inc.
77 Cliffwood Avenue #3B
Cliffwood, New Jersey 07721-1087

Phone: 732-583-6895
Fax: 732-946-8578

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Price: US $2,750.00
Source: Purchase

by Anthony Kershaw

Photo credit: Emerson String Quartet

The string quartet. Many music lovers consider the string quartet as the perfect vehicle for musical expression, and the repertoire written for it — especially the late Quartets by Beethoven — the perfect expression of Western music.

My ideals for a quartet are tonal beauty, flawless intonation, expert ensemble, and, most important of all, consummate musicianship. I’ve heard many great ensembles over the years, and a few poor ones. Some have had one, two, or even three tenets, but four remains in the realm of the greats. I’m sure fans of the quartet will have their own favourites. Please add them in the comments. I would love to read them.

A few international competitions keep the modern list of quartets full. Like wine, great quartets stay together for many years and deepen their musical connections with time (and some implode, explode, and break up spectacularly!). That said, there are a few young(er) quartets I’ve heard that deserve your attention. The Ysaÿe, Brodsky, Endellion, Belcea, and St. Lawrence quartets are dynamic and exciting. Others, too. They may nudge their way to a top ten list one day. Honourable mentions of some venerable ensembles should include the Cleveland, Amadeus, Talich, Busch, Borodin and Takacs quartets. But, in the here and now, my list follows. Many of their recordings of the great quartets of Beethoven, Bartok, Debussy, Ravel, etc, are considered definitive.

In no particular order.

1. Emerson String Quartet
2. Melos Quartett, Stuttgart
3. Hagen Quartet
4. Tokyo String Quartet
5. Juilliard Quartet
6. Vermeer Quartet
7. Guarneri Quartet
8. Hungarian Quartet
9. Quartetto Italiano
10. Alban Berg String Quartet

A new album by Renée Fleming. All, and I mean all opera crossovers have been utter failures (Kiri te Kanawa, Fredericia von Stade, Peter Hofmann, Eileen Farrell, etc.) This one succeeds in repertoire and execution. B side Indie rep with zero opera technique = success. I think.

Video is seven minutes, but worth your time. And, on a side note, has she looked any better? Wow!

Purchase at our affiliate, Amazon.

Esoteric, the Japanese manufacturer of super high end gear and producers of some amazing CD remasters, has released its remastering of a seminal event in the recording arts — the John Culshaw produced The Ring of the Nibelungen by Wagner. Originally recorded for Decca at the Sofiensal in Vienna with a stellar cast, the Vienna Philharmonic Orchestra conducted by Georg Solti, these performances are considered definitive, with superb recording, no weaknesses in the complicated casting, the magnificent Vienna Phil and the white hot conducting of Solti.

The set is limited to a 1000 sets, in SACD/CD format, 14 discs, and comes in at a hefty price. $900

by Anthony Kershaw

Considered by many who hear them as the pinnacle of loudspeaker design in the here and now, the grandly named Focal Utopia III Grande Utopia EMs are huge, heavy and very expensive loudspeakers from France. I’ve been fortunate enough to review a pair. Will I add my name to the chorus of fans or do I consider the few reviewers that have gone before me sycophants? Stay tuned.

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The kind folks at Sieben Technology passed on one of of their AV Docks as a giveaway to one of our readers. I’ll figure out a silly question to answer, and first correct email to publisher@audiophilia.com scores the dock [see below!].

They describe it as: ‘The elegant AV{DOCK} is ideal for connecting your iPhone or iPod to a range of accessories including mains power, your TV (via single plug or the S-Video connector), your Hi-Fi (via gold plated RCA connectors) and PC or Mac for sync and charge. A miniature remote control is included along with a mains charger and USB cable. Cast in zinc and weighing over 300g / 10.58oz, it works with all iPods and iPhones and was designed with Sieben Technology.’

Z{DOCKS} was formed in 2010 to design, manufacture and sell high quality audio products and accessories to the global market, with operations in California, Sydney and Taiwan.

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Easy skill testing question! :)

What year did Audiophilia debut online?

Answer to publisher@audiophilia.com

Update: WE HAVE A WINNER (very quickly after the post went live). Thanks to ALL who emailed.

Newhall, CA USA — Schiit Audio introduced its first products today, the Asgard and Valhalla headphone amplifiers. Designed for use with audiophile headphones, Asgard and Valhalla set new standards for performance and aesthetics at their price points.

Asgard is a fully discrete, Class A, single-ended FET headphone amplifier with no overall feedback and a noninverting circuit topology. Its high-current design makes it uniquely suitable for low-impedance headphones. It is priced at $249, direct from the manufacturer.

Valhalla is a fully discrete, Class A, single-ended triode headphone amplifier with no overall feedback and noninverting circuit topology. It provides classic tube sound and can drive headphones with impedances as low as 32 ohms. It is priced at $349 direct from the manufacturer.

“We think we’ve reset the price-performance bar with these products,” said Jason Stoddard of Schiit. “We are designing and manufacturing in the USA, providing innovative circuit topologies which deliver amazing performance, and selling at super-competitive prices.”

Both Asgard and Valhalla are covered by a limited 5 year warranty, with the exception of the Valhalla tubes, which are covered by a 90-day warranty. Replacement tubes are available from the manufacturer for $20 for a pair of matched input tubes and $30 for a pair of matched output tubes.

Asgard and Valhalla are made in the USA, primarily of USA-sourced components. Innovative engineering has allowed Schiit Audio to keep the overall prices of their products similar to those from Chinese companies manufacturing in China.

About Schiit Audio

Schiit Audio is a US-based manufacturer of headphone amplifiers. Founded by Jason Stoddard, formerly of Sumo, and Mike Moffat, formerly of Theta, Schiit is dedicated to providing great-sounding, high-quality products made in the USA for highly competitive prices.

Press Contact:

Jason Stoddard
22508 Market Street
Newhall, CA 91321
jason@schiit.com
(323) 230-0079

by Anthony Kershaw

I’ve always enjoyed Lyra cartridges. I’ve had lots of experience with the Lydian and Helikon. They are such musical and lush cartridges. They offer value and fantastic sound. Fair prices, too, especially for what you get.

A friend of mine wrote a few words about his Argo i experience on a forum I read. He’s very enthused about it. So much so, that I’m placing my order for a review copy.

He continues: ‘Well friends, I finally got to spend some quality time with this cartridge over the weekend and am genuinely enjoying it. It’s taken my analog rig to another level in sound quality. I think what I like most about the cart is how accurate it is on instrument timbre. String instruments simply sound like they do in real life. This makes for a more satisfying listening session with jazz and classical records and well classic rock as well. Electric and acoustic guitar are so natural and smooth sounding.

A close second is level of resolution. No surprise to many that this is more detailed a cart than my Grado Sonata but it is so much so that I am just pulling out old favorites all night to hear the LPs again for more detail and more information buried in the grooves. If there are massed vocals for instance it just unravels the separate vocals. And it does all this while remaining musical.

Third on the list is the separation of instruments. Really pinpoint musician placement is really nice, especially on orchestral and small ensemble music (jazz and classical).

My reference LPs nowadays are really two - Neil Young at Massey Hall and the Doors live at the Felt Forum, a direct to disc by Bruce Botnick. Both of these sound incredible. Massey Hall is one of the best live recordings I have heard although I still have a soft spot for Van Morrison’s Too Late to Stop Now.

So really this is a bit of a rave, but if this sonic profile extends across the Lyra line (and I believe it does) then I would encourage you to look at this line if the price range works for you.’

He produces records for a living and I trust his ears. Hopefully, you can find a dealer that has one setup and post your thoughts in comments.

Specifications:

Builder: Yoshinori Mishima / Designer: Jonathan Carr
Type: Low impedance, low output Moving Coil
Frequency range: 10Hz - 50kHz
Channel separation: 30dB or better at 1kHz
Cantilever system: Solid boron rod with LYRA original, natural diamond line-contact stylus (3 x 70 micrometers profile)
Internal impedance: 4ohms
Output voltage: 0.45mV (5.0cm/sec., zero to peak, 45 degrees)
Cartridge weight (without stylus cover): 6.4g
Compliance: Approx. 12 x 10-6 cm/dyne at 100Hz
Recommended tracking force: 1.7 - 1.8g
Recommended load: Direct into non-inverting RIAA phono input: 100ohms - 47kohms / MC step-up transformer: 4 - 10ohms (not more than 10ohms)
Recommended tonearm: High-performance, tight tolerance bearing(s), resonance-free, medium mass radial or linear tracking type with adjustable anti-skating force

Price: US$1675

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A good day for us with a Google search for ‘audiophile’.

We’ll take third after Wikipedia and Stereophile. A search for ‘Audiophilia’ always gave us the first hit, but we’re happier with the bronze for this particular search. Only took 13 years :)

Special thanks to all the writers and sponsors for your support and sage advice over the years.

Cheers, a

by Roy Harris

While there are many reasons for reviewing a product, the thought of possibly purchasing that product is often a salient motivation, and in fact, was a consideration in my decision to review this DAC. At a retail price of $1349, it won’t bust your wallet.

The subject of this review is an unusual DAC designed by Wesly Miaw. I had the good fortune of a brief audition of the DAC in a stereo system containing Thiel speakers and a BAT solid state amp. I have auditioned this system several times, as its owner is a co-member of an audio club to which I belong. Ordinarily, when listening to CDs, the sound was somewhat bright. When the Neko DAC was inserted into the system, the brightness abated.

The uniqueness of design comprises the absence of op amps and capacitors in the signal path. This is a solid state DAC. In lieu of op amps and capacitors, Jensen transformers are used. Its design could be described using a phrase reserved for preamps, namely, “a straight wire with gain”.

The DAC is diminuitive in size, namely, 10 3/8 x 6 3/8 x 2 ¼ inches. It includes an IEC facilitating the selection of ones favorite after-market power cord. The DAC accepts both coax and fiber optic inputs. I selected coax. The DAC had 244 hours of playing time prior to critical evaluation.

Listening Results

When evaluating audio components, my prime directive is “do no harm”, i.e., I wish to be able to enjoy music without wanting to turn off the stereo system.

A good test of the aforementioned adage is Holly Coles’s recording, DON’T SMOKE IN BED , track 1, Alert Z2 81020. This CD provides an opportunity to hear a close-miked female voice. Listeners vary in their tolerance to imbalances in the upper mids and lower treble. Too much sibilance can be unpleasant. While a significant deemphasis may be palatable, it may lead to uninvolvement with the performance. Thus, there is a range which renders the enjoyment of music possible for all listeners. Fortunately, neither situation occurred. Sibilance was observed, was unobjectionable and did not detract from enjoying the music. Since the recording is an unknown variable, it is not possible to determine whether what is perceived represents what exists on the recording. I would surmise that what I heard would confirm the absence of a peak in the upper midrange and lower treble regions.

The acoustic bass evinced a balance between the articulation of the strings and the body of the instrument. However, I have heard greater bass extension using other digital hardware. Perhaps there is a slight dip in the bass region.

Another attribute of this DAC is instrumental separation. This trait can be corroborated when listening to the CD NATTY STICK , track 2, Hip Pocket HD105. A woodblock is positioned deep in the background, behind the left speaker and significantly separated from any all other instruments. The degree of separation is greater than experienced using any digital components I have auditioned in the past. This is the first time I have experienced such an extreme position of one instrument
relative to others. In addition, the decay time of a bell struck at the beginning of the track seemed longer than I had experienced with other players or DAC/transport combinations.

Separation is one aspect of the term dimensionality which includes, stage width stage depth and separation. Although many audiophiles value dimensionality highly as part of the musical experience, and evaluating stereo systems, primarily because the visual sense is not used when listening to recordings, it is unrelated to music. Music refers to pitch, timbre, tempo, harmonics, and dynamics. Thus dimensionality is not a musical attribute. I think non-musical factors are an impetus to the analytical mode of listening, whereas, the components of music are more likely experienced non-intellectually.

I am implying a hypothesis that different sides of the brain are involved in the experience of non-musical aspects in comparison to the elements of music.

What about depth ?

In my collection of “reference” recordings, is a percussion ensemble performing the music of Bizet, Pachelbel and Beethoven. It is an apt test of depth and a well recorded CD on the VOX label, featuring the All Star Percusssion Ensemble, conducted by Harold Faberman, self-titled. I selected the first track. It is currently out-of-print. Its designation is MCD 10007.

As I listened, I observed depth. Instruments were emanating from the foreground and background and I noticed percussion instruments emerging from a position deep in the background. The sound pressure level increased as the instruments moved to the front of the stage.

I have listened to this disc many times, both for pleasure and to assess depth as I replaced a component in my stereo system. I would say that the degree of depth exhibited by the Neko DAC was not significantly different from what I have heard when using other digital components.

My favorite test of timbre is the tenor sax solo from “Deacon Blues”, the third track on
Steely Dan’s recording of AJA. Some veiling was noted from the vocal ensemble located behind Donald Fagan. The word “saxophone” sounded like “saxofone”. The tenor sax did not exhibit any imbalance in frequency response. This is no small feat, considering that it is believed that the sound quality of this recording is less than ideal. On other stereo systems, the tenor sounded more like an alto sax, but not so in this instance.

Another aspect of the performance of this DAC is palpability. I selected a recording by Andre Previn, LIKE PREVIN, track 6, Contemporary OJC CD 1702. Shortly after the track begins, there is a brief tambourine solo. The instrument sounded very life-like, vivid and palpable and thus timbrally accurate. I could hear the rings, skin and the wood rim, while the instrument was vibrating. One can also notice in detail Andre Previn’s gentle touch, as if his finger’s are barely touching the keyboard.

Summary and Further Thoughts

The Neko DAC paired with the PS Audio transport demonstrated wide staging, average depth, excellent separation, minimally inaccurate timbre, and a slight softening of transients, as its salient characteristics. In addition, there seemed to be slight dip in the bass region. At times the perspective reminded one of nearfield listening—as if the listener was brought close to the musicians, or was sitting in row five of a concert hall.

All components are imperfect. In comparison to other CD players or DAC/transport combinations, it seems to exhibit fewer errors than most digital equipment, in comparison to digital hardware I have auditioned. The DAC’s subtractive colorations did not interfere with its listenability. That is, one’s ears were never assaulted by peaks within the audible frequency range. I truly believe that this DAC was consistent with the dictum “do no harm”. Of course, such a conclusion, depends upon one’s stereo system, perceptions, and idiosyncratic preferences.

Associated Equipment

CD Player: Audionote CD 2
Preamp: ACL Innovation Bent TVC passive
Amplifiers: VTL Deluxe 120
Speaker: Magnepan 1.6, Quad 57
Interconnect: Cryoset Vampire copper wire with Cardas gold connectors
Speaker Cable: Ear to Ear
AC Cords: Soundstring, Ear to Ear, Clarity Audio, Distech,
Power Conditioning: PS Audio Noise Harvesters,PS Audio Juice Bar, Chang, Iso 6400, Nirvana Audio isolation transformer, IDOS, Bob Young line filter, Alan Maher Designs Circuit Breaker Filter
Anti Resonant Devices: Room Tunes, Corner Tunes, egg crate mattresses, Sound Fusion Sound Boosters, cocobolo wood blocks, Enacom Filters, Millenium weight, lead weight

The Neko Audio DAC 100 MK II

Manufactured by Neko Audio LLC
P.O. Box 23405
San Jose, CA 95153-3405

408-476-3276

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Price: US$1395

Source: Manufacturer loan

Review forthcoming.

The Clearaudio CONCEPT Turntable sets a new timeline in turntable manufacturing.

Highest demands and made in Germany, combined with technology and a timeless design start a New Era. It is equipped with an innovative tonearm with a friction free magnetic bearing. A high quality moving magnet cartridge is completing this set up. All adjustments are already completed at the Clearaudio factory, even the tracking- and antiscating force are adjusted. This genuine, timeless and modern design guarantees a flawless musical enjoyment for decades.

CONCEPT = Innovative concept at a very attractive price quality ratio.

The advantages of the clearaudio CONCEPT turntable :

+ all parameters completely adjusted at the clearaudio factory
+ absolute perfection in finishing, made in Germany
+ Innovative technology and materials
+ friction free tonearm magnetic bearing technology
+ all three speeds possible, 33 1/3, 45 und 78 RPM
+ decoupled DC motor with extreme low noise bush bearings
+ precision belt drive
+ separate made in Germany power supply

by Anthony Kershaw

French company Focal is the manufacturer of very refined, expensive loudspeakers for the high end market. I’ve heard the complete Utopia line, at least the models manufactured in the mid nineties. They are lovely looking monoliths with Porsche “911 Carrera” lacquer with touches of Anigre and Tauri, exotic African woods. The speakers exhibit a house sound through proprietary drivers, enclosures, and the very cool Beryllium tweeters. Though stunning to look at, the Focal sound was not a favourite of mine. They were meticulously made and designed, but I felt something — life or sparkle — was missing.

Now, Focal have made some design changes and produced a new line of Utopias called the Utopia III. There are five models — the stand mounted Diablo, Scala, the Maestro, (the subject of this review), the Stella Utopia EM and the mighty (expensive!) Grand Utopia EM.

I was lucky enough to review the superb Scala, a diamond of a speaker. Its brilliant sound made me think again about the Focal ‘house’ sound. In fact, it garnered a rave. The refinement and power was still there, but with more sparkle and life. Not pizzazz, simply, a very fine replication of real events.

I feel equally lucky to have spent some time (I wish more) with the next in line model to the Scala, the Maestro. Aptly named, this magnificent speaker holds court majestically in the listening room (medium to large only, please) and directs the beautiful and detailed sounds to the ears with the dexterity of Gustavo Dudamel and the depth and intensity of Wilhelm Furtwangler.

The Maestro has a difference in price of almost $30,000 with the smaller Scala. It adds another woofer and has a much larger cabinet (the cabinet finishing is exquisite and the Maestro’s heft and girth add much to the look and cost). The essence of the Scala sound is there — natural, deep bass with zero bloat, gorgeous mids that blend well with the sometimes criticized Beryllium tweeter. But like many fine speaker lines, up the food chain is more of everything. Even deeper bass, bigger soundstage, the same fantastic imaging, and highs that go to heaven. For the difference in price, many audiophiles will wonder, why bother with the big (not biggest) brother. But, if you have the room and the dosh, it’s an easy choice for the garden variety, Type A audiophile. Cha ching!

The Maestros offer even more options than the Scala to ‘tune’ the sound to suit a particular room or acoustic anomaly. From my Scala review: ‘The speakers have some self tuning components that can compensate for difficult rooms and positioning. In general, I’m a bit of a purist and do not like adjustable speakers, especially bass enhancements. I figure, hey get it right on the drawing board, don’t “fix it in the mix”.’

My Maestros were positioned well away from the back and side walls like the Scalas so I did not test the adjustments. As such, I left the settings exactly as the image shows below. Normal. The sound can also be adjusted by JMLab’s ‘Focus Time’, a mechanical phase optimization for the drivers that can angle them towards the listener. Along with treble, midrange and bass adjustments, the Maestros should fit into any medium or large room.

Rear tuning plate

Listening to well recorded CDs was awe inspiring through the Maestros. It’s hard to believe there is much better in the box speaker market. The distributor suggests I should listen to the largest Grande Utopia when they are delivered.

Many of the JVC XRCDs are magnificent examples of reissues/remastering. RCA’s ‘The Reiner Sound’ on JVC is a perfect case in point. I’ve heard every iteration of this recording. It’s a desert island disc for orchestral fans. The grumpy one gets superlative playing from the late 50s/early 60s Chicago Symphony Orchestra. Ravel’s Rhapsodie Espagnole is so beautifully conceived as a treatise in orchestration that even lesser speakers sound detailed from this source. The other track, Rachmaninov’s very dense Isle of the Dead, is a different animal. Murky, miserable and with a 25 minute long crescendo. The Maestros replicated Reiner’s amazing conception with awesome power. Driven with extraordinary ease by a borrowed Boulder 2060 amplifier, the sounds coming out of the drivers was overwhelming in both power and beauty. Every nuance was heard, even the quiet bowing in the basses at the 5/8 melismatic opening. Fantastic. The speakers had me drooling and mesmerized. At the same time!

I didn’t listen to rock music, but these powerhouses will eat up and spit out any crappy pop you can throw at it. One of my favourite jazz CDs sounded spectacular, however. Power of Three, a live set from Montreux, with Michel Petrucciani, Wayne Shorter and Jim Hall, is another island disc. The opening track, Limbo, exhibits Shorter’s legendary and fluid tenor sax technique, and his original composition puts it to the test. The tweeter is so damned fast, nothing escaped — slapping, ghost notes, overblowing, harmonics, and the terrific speed of the form and head. I know this track intimately, but I did hear things, especially with some of Shorter’s tricks between the notes, that were hitherto unheard. This was simply spectacular.

I spent many hours trying to nail down the essence, the gestalt of the Maestro’s sound. It’s a world unto its own. In fact, it’s bloody fabulous. Focal has really produced the goods with this new line. I have not heard the entry level Diablo, the penultimate Stella or the Grande (to come), but both the Scala and the Maestro are representative of the finest in the art of box speaker design. The Maestro is diaphanous in sound, comely in looks, advanced in technology and will give the lucky owner almost limitless musical pleasure. Audition at your peril.

[We are proud to award this product an Audiophilia Star Component Award. Congratulations! - Ed]

The Focal - JM Lab Utopia III ‘Maestro Utopia’ Loudspeaker

Manufactured by Focal/JMLab
Website
Price: US$50,000
Source of review sample: Canadian distributor

Specifications/Technology

Type: 3 1/2 way, floorstanding vented loudspeaker

Drivers:
11″(27cm) “W” subwoofer with a Magnetic Damping System (MDS)
11″(27cm) “W” woofer 6 1/2″(16.5cm) “W” Power Flower Midrange
1″ (27mm) IAL2 pure Beryllium inverted dome tweeter

Frequency response: 25Hz - 40kHz

Sensitivity: 93dB

Dimensions: 57 7/8×18x30 5/16″ (1470×455x770mm)

Weight: 256lb (116kg)

The Focal product sheet explains the proprietary technology:

6 1/2″ (16.5cm) power Flower midrange “W” driver › 3rd generation W composite sandwich technology, laser cut-out › Power Flower magnet, maximal power and reduced magnetic leaks

iAL2 pure Beryllium inverted dome tweeter › very large bandwidth from 1 to 40kHz › IAL2 (Infinite Acoustic Loading): low resonance frequency at 580Hz › definition, rapidity and transparency of the midrange/treble

11″ (27cm) “W” woofer › 3rd generation W composite sandwich technology, laser cut-out › powerful permanent magnet, 1.5″ (40mm) voice coil, sealed box

11″ (27cm) “W” woofer MDS, subwoofer channel › 3rd generation W composite sandwich technology, laser cut-out › ultra-powerful double-ferrite permanent magnet, 2″ (50mm) voice coil,
vented box › Magnetic Damping System (MDS)

High section laminar port › no air flow or distortion noises › no dynamic compression of the bass

Focus Time › mechanical phase optimization of the drivers › driver orientation towards the listener

Gamma Structure › MDF panels up to 2″ (5cm) for a stable mechanical reference › anti-vibration heavy structure, optimized by vibratory cartography

OpC+ filtering › Bass adjustment on ±1dB, treble on ±1.5dB › audiophile type components › WBT connectors

By Michael Levy

When a company like Marantz decides to make a statement player, they can really make a statement. In this case they have created The Universal Audio/Video Player for the analog audio lover.

From the moment I received the UD9004, I knew it was no ordinary machine. First, it is 17-3/8″ wide by 6-7/16″ high and 16-1/8″ deep and weighs in at a whopping 42.3 pounds net out of the box. The size and weight are impressive and so are the black metal faceplate and case which exude quality. The looks are sculpted and clean, feeding the desire try it out.

So, I sat it next to my DEQX based processor/amplifier, connected it up to power, and hooked it up to the digital input. At this point my only purpose was to let it warm up and get used to the environment. I knew it would sound its best after some break in time, so, I threw in a copy of Napua Davoy’s “All I Want” and started it playing with no intention of listening.

As I walked away, I turned for a moment to make sure everything was working properly, and was frozen to the spot. Ice cold, this unit was creating a level of clarity and musicality I had not heard before. Entranced, the disc was almost finished before I called my fellow Audiophilia reviewer, Martin Appel to tell him my system had never sounded this good. I could not wait to hear what it would sound like when the Marantz UD9004 was fully broken in.

Theory would tell you that, when connected digitally, all players should sound the same. Digital is digital after all. Well toss that theory to the wind. The quality of the UD9004’s transport had made an obvious difference.

I asked to review this universal player. Intrigued by the design of the unit, I wanted to know if the copper plated chassis, tri box construction, machine milled copper ”block” feet, oversized ring core toroidal transformer, dedicated audio power supplys and boards, and the six 32 bit DACs, would translate into a higher level of performance.

The Marantz UD9004 was designed to be state of the art in every way. I had not yet tried out the balanced audio outputs, the high definition video, the HD audio processing and the SACD playback. At this point all I wanted to do was listen to every CD I loved. It seemed to focus sound like the Hubble focused on the universe after its last repair. The time to compare and critically test, view, and listen would come soon, but for now I just wanted to enjoy it.

While listening I started reading through the manual. It has an impressive set of features.

Dual HDMI outputs allows Audio Video separate output for High Fidelity Playback
BD-Profile2.0(BD-Live), BD-Java, BONUS VIEW support
Plays SA-CD(Stereo/Multi), BD-Video/-ROM/-RE/BD-R, DVD-Audio/-Video/-R/-R DL/-RW/+R/+R DL/+RW, CD-R/RW and MP3/WMA/DivX(ver.6)/AVCHD/JPEG/Kodak Picture CD discs
Copper plated chassis and Tri box construction
Copper shielded Large Toroidal Transformer
Zinc Die-cast Enclosure, Aluminum Die-cast Tray Mechanism
Total 4 boards, Marantz HDAM-SA2&HDAM analog audio circuits w/ Custom audio parts
192 kHz/32-bit Audio DAC AK4399 for all channels
Dolby True HD, dts-HD MA decoder
REALTA HQV Video Processor
Support 24fps, 36-bit Deep Color
297MHz/14-bit Analog Devices Video DAC ADV7344 for Component Video Out
297MHz/12-bit Analog devices Video DAC ADV7340 for S-Video/Video Out
Anchor Bay Technology I/P & Scaler ABT2010, ABT1012 for Analog Video Out
SD Card slot for playback MP-3/WMA/JPEG
Firmware update capability via Internet
Aluminum Top Device Remote
Available Option Rack Mount Kit RMK9004UD

It is easy to understand why it is so heavy. The copper plated chassis, copper shielded large toroidal transformer and tri box construction, zinc die-cast enclosure, machine milled copper ”block” feet, and aluminum die-cast tray mechanism, all contribute to the solidity of the unit and its sound. Smooth is certainly the word. Of course, the 192kHz/32-bit Audio DACs and the 4 separate audio boards should make the analog output equally awesome. Yes, it plays all of the audio standards, and the list is long. It transmits all of them digitally through the HDMI outputs, although the SACD is converted to 44.1kHz/16bit.

It transmits all but the Dolby TruHD/Dolby Digital Plus/DTS-HD and the SACD through the standard wired and optical digital outputs (The HDMI is fed with a down converted digital signal while playing the SACD layer, but SACD signal is only provided through the standard wired and optical digital outputs when the CD layer of the SACD is chosen.)

The analog audio outputs include RCA connector outputs for 7.1 channel surround sound, and balanced outputs for the front left and right channels. Each output channel has its own 192kHz/32-bit Audio DAC.

All of this is just for the audio, but considering the 297MHz/14-bit Analog Devices Video DAC, the REALTA HQV Video Processor, and the Anchor Bay Technology I/P & Scaler, the video should be equally awesome, and, yes, it plays all of the video standards including 1080P and 1080P 24 frame to perfectly mimic the original film.

There are so many features that I could fill the entire review with them and how they operate. I will list them, but first, now that I have had the time to listen, let me talk about the sound.

I have several versions of certain recordings in CD, SACD, and vinyl, but it is important to understand that every version necessarily has its own master, and that the masters will differ in sound. Part of the final mastering process includes final equalization, which also frequently includes some compression.

I recently updated my turntable with the new VPI “Classic Turntable” which includes the JMW-10.5i unipivot tone arm (review to follow) [Can't wait - Ed]. With my Aqvox phono 2 CI II and Van Den Hul tipped Kuetsu Rosewood cartridge, I have a formidable sonic reference source. So, I was ready for some comparative listening.

It took a while, and several listening sessions before the analog sections of the Marantz finally broke in.

Suddenly, the audio through the analog outputs was easily the equal to the digital outputs. Also, when playing the SACD layer on an SACD or DVD-Audio, a greater extension and smoothness was evident in the high frequencies and a smoother and quieter sonic background in the imaging as compared to the CD layer played through either the digital or analog outputs.

Jennifer Warrens’ “Famous Blue Raincoat” The CD (01005-82092-2) on the Marantz UD 9004 sounds very close to the vinyl (Cypress Records 661 111-1), but the turntable sounded more defined and musically resonant. The male background vocals on “Bird on a Wire” were more palpable and had a greater sense of body. Both were dimensional, laying three-dimensional images out on a three dimensional pallet. They were both open, and musical, with the turntable winning by a nose.

I have five different versions of Pink Floyd’s “Dark Side of The Moon”, the original vinyl (Harvest Records SMAS 11163), the original CD (Harvest CDP7 46001 2), the Mobile Fidelity vinyl (MFSL 1-017), the SACD (Capitol CDP72435 82136 21), and the new reissue on vinyl (EMI SHVL 804). Yes, they all sounded different. Here, the SACD was the clear winner and the sounded best, but I was torn between the SACD layer through the analog outputs and the digital out on the Marantz while playing the CD layer. The masters were different! My first love was the CD layer transmitted digitally. The opening heartbeat rattled the room with its power and depth, and all of the images were remarkably clean, open, and dimensional. The air and the space around them were clear and each image stood out in space. When the clocks chimed in unison every little detail was there. I could sense the size of the body of each clock. It was an awesome sound to experience. I was overwhelmed.

Then I listened to the SACD layer through the analog outputs. While it was not as impressively powerful, the room still rattled on the opening, and everything was there dimensionally, but the high end had a smoother extension and decay, and images were standing in a smoother and darker background. None of the vinyl could compare with either layer. The original disc came the closest to the feeling of sheer power of the CD layer, but was so worn I could not listen to it. The Mobil Fidelity vinyl was close to the dimensionality and sweetness of the SACD layer, but lacked the same sense of power. The original CD sounded coarse, and the new reissue of the vinyl was clear and sweet, but lacked deep bass.

Jazz at the Pawnshop is a recording I have both on SACD (FIM SACD M034) and on vinyl (Prophone 778-79). On this recording the turntable was clearly more three-dimensional and musically resonant. The imaging pallet was larger and so were the spaces between images. The glasses could be heard tinkling on trays as waitresses walked by. The depth and clarity of the imaging made me feel like I was in the audience.

I just got the remastered Beatles collection on CD (Apple 0946 3 82468 2), and a new reissue of Abbey Road on vinyl (Capitol records C1 46446 1). When compared, the vinyl was not nearly as clear or detailed or musical, while the imaging was very similar, the palpability and resonance of each image were clearly better. The remastered CD was obviously superior.

I have Telarc’s “Pictures at An Exhibition” conducted by Lorin Maazel in three formats, the original CD (CD80042), the original vinyl (10042), and the SACD (60042). The special nature of this recording came out in all of the formats. It was warm and sweet with a natural resonance, while clearly defining the size, shape, and position of each instrument. While I still preferred the SACD through the analog outputs, this was much closer. The SACD was more three-dimensional with a smoother detail and high frequency extension, while the vinyl was slightly more musical and resonant, and the CD had the best feeling of power and presence.

Hotel California by The Eagles: I have this recording in DVD-A 96/24 (60509-9) and on Vinyl (Asylum7E1084). This comparison highlighted the mastering as the source of most of the sonic differences. Both sources imaged well and had a nice sonic balance. The turntable had a more realistic bottom end. The DVD-A on the Marantz was more musical with better air around the instruments, but the bottom end was slightly mid bass bloated. The comparison of the vinyl to this DVD-A recording convinced me that the Marantz could sound as sweet and image as well as the turntable.

The proof of the theory is Beethoven’s 6th symphony in F major, Op. 68, “Pastorale” New Jersey Symphony Orchestra, Zdenek Macal, Musical Director (AIX 80006). This recording has all of the musicality and smoothness of a vinyl recording. It is open and dimensional while allowing the natural resonance of the instruments to come through. I kept on looking at my turntable to make sure it was not playing.

So, how do I describe the sound of the Marantz as compared to other CD/SACD/DVD-A players? It is simply the best I have heard. No other player even compared to my turntable in musicality before. There was always a digital signature that left me wanting. There is no digital signature from any of the standards with the Marantz. It is an incredibly musical and natural sounding player. When I played:

“All I Want” by Napua Davoy (Brave Cool World Records BCW004): She was suddenly standing in front of me singing. Her voice and each instrument had a solid three-dimensional image that stood apart with clear air between it and the other images. When the demon voices appeared all around her at the end of “For The Love of Money”, they stood out as individual images while the voices blended with an awesome musicality. It all sounded so sweet and resonated right through me in a way you would expect only a live performance at a club to sound when you were lucky enough to get a front row seat.

“Dear Heather” by Leonard Cohen (Columbia CK92891): The differences this player made were immediately evident in the crystalline clarity of each instrument and vocal. Leonard Cohen’s voice remained full and resonant without being too heavy or thick. Images were round and palpable while the width and depth of the sonic pallet seemed unlimited. “The Letters” and “Morning Glory” highlighted the smooth speed of this player by allowing clearly imaged separate vocal images to blend with a wonderful musicality.

Another Stoney Evening by David Crosby and Graham Nash (DTS Entertainment DTS1098): This is an incredible live performance from 1971 that can be played in either two-channel pcm, or 5.1 DVD-A, or 5.1 DTS. While I prefer the clarity and openness of the DTS, this recording sounds incredible any way you play it. The harmonies are sweet, and the feeling of being there in the audience on the DTS is amazingly realistic. It was like I had taken a time machine back to the original concert.

Symphony No.6, Nutcracker Suite: Tchaikovsky (Penta Tone Classics 5186 107): This remastered quadraphonic recording with Seiji Ozawa conducting the Orchestre de Paris was performed in 1974. It is on this recording that I can fully appreciate how close SACD is to analog. The imaging, clarity, dimensionality, sweetness, and resonance are all in the same level as the best vinyl I have heard, with more extension and smoothness than heard on most vinyl.

I could go on listing CDs, SACDs, and DVD audio discs. It made a similar difference in each case. I have much more to listen to on the audio side of this player, the sound of 7.1 for example, and wait….

Oh, yes, I almost forgot, this is a state of the art videodisc player too!

Blu-ray has advanced the quality of video playback to an amazing level and the quality of this player is at least as good as any I have tried. Gray scale metering shows it to be very accurate and linear. It also hosts a few interesting features. It includes video adjustments such as the usual brightness, contrast, but also a ten step gamma control and two ranges of sharpness control. Chroma level, black level, and white level are also available. There are even controls for horizontal and vertical position.
My usual preference is to watch any movie the way the director wanted it. So, I left the Marantz UD9004 in the unadjusted standard setting where it gave me a very accurate rendition of what is on the disc.

Blade Runner: The complete collector’s edition (Warner Brothers 118574): is a great example of the advantages of blu-ray. Video has now surpassed film qualitatively; the limitations of the original film become evident. The “Final Cut” of Blade Runner is about as fine a film transfer to video as I have seen. Also, the sound is amazingly full and deep. It draws you into the art deco future world created by the director. The DVD version comes across amazingly well through this player and motion is smooth, but you lose the feeling of infinite depth found on the blu-ray disc both in the video and the audio. There is a 24-frame function, which I have left on auto. I believe it is functioning on the blu-ray version of this film. In any case, the motion is film smooth.

The Fifth Element n(Columbia Pictures 21520): Again it was a nice step forward from the DVD. Both the video and the sound seemed smoother and more detailed. I was enveloped in a sound that was both larger and deeper than it had been before. Small details in the video were clear and smooth. The Marantz also has a first-rate video scaler and processor. This was most evident when playing the DVD as compared to the Blu-ray. Motion on the DVD was smooth and details were clean.

Negatives: The start time of this player could sometimes be long. Switching to the Quick Start position in the menu helped considerably. The price ($6,000.00) is high for a Blu-ray player, but not for a top line CD player, which this player definitely is.

In summary this is the audiophile’s blue ray player. When played through the balanced analog outputs it comes closer to analog musicality, smoothness, and imaging than any disc player I have heard. If you want audiophile quality sound, and you want to be able to play any disc, the Marantz UD-9004 should be at the top of your list, therefore I nominate this player for an Audiophilia Star Component Award.

[It is with great pleasure that we award The Audiophilia Star Component Award to the Marantz UD9004 Flagship SACD/Blu-ray/DVD-Audio/Video/CD Universal Player. Congratulations! - Ed]

Personal Equipment

Turntable: VPI Classic with Kuetsu Rosewood cartridge with Van Den Hul tip.
Phono pre: Aqvox Phono 2 CI
DEQX based preamp/processor/triamplification system. (2400watts digital amplification)
Levy Acoustics speaker system with Levy Acoustics subwoofers [Hell yeah! - Ed]
Acoustic Zen power chords and interconnects

The Marantz UD9004 Flagship SACD/Blu-ray/DVD-Audio/Video/CD Universal Player

Manufactured by Marantz America, Inc.
100 Corporate Drive, Mahwah, N.J. 07430-2041
Tel. 201-762-6500
Fax. 201-762-6670
website

Price: US$6000
Source: Manufacturer loan

by Martin Appel

I was introduced to Paul Kaplan by my good friend and colleague, Wes Bender. Wes has been associated with some of the top high end audio firms in a marketing capacity. I’ve known Wes for many years and he is a person whose opinions I respect [me, too - Ed]. When he started touting the Kaplan products (Wes does not work for Paul) I had to investigate. So I invited Paul and Wes over to the house for a listening session. After several hours of listening we broke for lunch at a neighborhood Cuban restaurant. Paul left me with a number of his GS power cords and wanted me to put them through their paces and give him my opinion. I felt a review would be in order and after many weeks of evaluation and comparisons I’m now ready to let the results speak for themselves.

First, for you remaining skeptics out there, it has been my experience that power cords and all things AC have a major effect on the sound quality of a system. Power cords, in particular, can alter the sound of your equipment in a meaningful and dramatic way. Get the initial signal right and life becomes easier. I’ve found that experimenting with power cords at the source of a sound system offers the most concrete evidence of their impact. It also goes hand in hand that the greater a system’s resolution, the more one will notice the effects of the piece being evaluated. Adding more of the same power cords to the remaining pieces in the chain further corroborates the initial effects on the final sonic picture. The review was achieved using my Marantz SA-7s1 as the platform for evaluating the power cords. Later I introduced more power cords on other equipment in the chain to obtain as complete a picture as possible.

I started off with burning in the GS power cord for about 100 hours on various kinds of music as well as my trusty XLO Burn-in disc. All power cords were plugged into my PS Audio Power Plant Premier power conditioner. I must note that this is a heavy, thick and fairly stiff power cord that requires plenty of room behind your equipment rack to wrestle into place. It could be a concern.

A brief word before I start with the evaluation. Kaplan makes two versions of the GS Power cord. One is with copper plugs and the other is with rhodium plated plugs. Each is designed to produce a different sonic result. You can check his website or just read on. I started with the copper plugged version and was immediately struck by the character of this power cord. It produced a truly black velvet- like background with wonderful separation of instruments and full soundstage development. If anything, this was the quietest cord I’ve ever had in my system. Images were three dimensional and weighty and any edginess remaining in my system was ameliorated by the GS cord. Violins were lush and brass was burnished but not overly romantic. It was almost reminiscent of tubes. Performance of the lower registers of the orchestra was powerful and dynamic with very good definition, not quite as taught as my reference (Acoustic Zen’s Absolute) but equally enjoyable. Voices were rich, robust and full bodied. In terms of that quest for neutrality, I’d say that the GS veered slightly towards the warmer side of neutral. The highs, while not quite as extended as AZ’s, were sweet and up there with some of the best power cords I’ve used. Depending on your system and preferences the GS could be advantageous in reducing, somewhat, the etched quality of analytical sounding systems.

The sound grew seductive and many hours of listening pleasure were had. When I kept adding more GS cords onto the system’s other components, the sound changed to where there was too much of a good thing (my preference). How many you use, again, will be based on your taste and equipment.

The rhodium version had a similar but cooler effect on the sound. It seemed to provide a little more extension at the extremes, which I did appreciate. Yet I did miss some of the aforementioned warmth of the copper version. It’s never black or white. Perhaps in an overly warm system the rhodium might work to get the sound closer towards the neutral. How much you want to cool down or warm up your system depends entirely on your equipment and preferences.

In my system, which has nine power cords, I settled on three of the copper power cord versions; one for my DEQX processor, one for my AQVOX Phono 2 Ci Mk II phono stage and still experimenting with one for my cd player. I found that the combination of power cords, the AZ Absolute with its full range, detail and transparency and the GS, with its weight, fullness, warmth and dimensionality gave me just the right blend of sonic attributes. After all, that’s what assembling a system is all about, blending components to create your idea of the ‘absolute sound’.

Kaplan’s passion for quality sound reminds me of the way the Industry’s founders started in the late 50s and early 60s. In those days of yesteryear it was individuals working on their own with the drive and passion to bring forth products that would eventually create the hi-end audio industry. Paul is such a person continuing in that great tradition. Only time will tell if he is successful, especially in these days of economic hard times. It’s good to see that the entrepreneurial spirit is still alive and well.

In conclusion, I applaud Mr. Kaplan for designing such a desirable, quality product with so many excellent sonic characteristics. At $1,495.00USD, roughly a $1,000.00USD less than my reference, the AZ Absolute, the GS power cord offers quite a bargain (in the crazy world of hi-end audio) and its performance places it in the top tier of power cords. Highly recommended. As such, I purchased two. So far. Your move.

I feel that his GS (‘Gob Smacked’) power cords must be included in the AUDIOPHILIA ‘STAR’ class. Thanks Wes for bringing Paul and his GS power cords to my attention. These are the kinds of discoveries that make the hobby so much fun and keeps us in the hunt for the ’absolute sound’. Paul is working on a new power conditioner that I look forward to reviewing. I heard a prototype and it sounds like he’s on to something. Stay tuned.

[It is with great pleasure that we award The Audiophilia Star Component Award to the Kaplan Cable GS AC Power Cord. Congratulations! - Ed]

The Kaplan Cable GS AC Power Cord

Manufactured by Kaplan Cable
933 President Street, Brooklyn, NY 11215
USA

1-718-789 8224
website

Associated Equipment

Amplifiers: 4-Nuforce 9V2 SE’s monoblocks upgraded to 9V3-SE Status

Speakers: Wasatch Acoustics MUSINA (out of production)

Preamplifier: Marantz SC-7S2

Phono Preamplifier: AQVOX 2 Ci Mk II, PS AUDIO GCPH
CD source: Marantz SA-7S1

Analogue source: Avid Volvere / SME IV arm.
Cartridge: Shelter 7000

Speaker cables: Acoustic Zen’s Absolute, Wasatch’s Ultama (no longer being produced)
Power Cords: Acoustic Zen’s Absolute.

Interconnects: Acoustic Zen’s Absolute (xlr) 

Accessories: Herbie’s Audio Lab Tenderfeet, Black Diamond Racing Cones, Soundcare products, Acme Audio Labs wall outlets. 

Surge Protection: Brick Wall 2R and 8R Surge Protectors

Power Conditioning: PS AUDIO Power Plant Premier
Processor: DEQX 2.6P Modified

Associated Music

JVC JM-XR24013 TCHAIKOVSKY: CAPRICCIO ITALIEN and RIMSKY-KORSAKOV: CAPRICCIO ESPAGNOL-Kiril Kondrashin and RCA Victor Symphony Orchestra

25264-1 Warner Bros. Records DIRE STRAITS-BROTHER IN ARMS

TRIP JAZZ TLP-5530 BROWN/ROACH INC.-STUDY IN BROWN (mono) 

CS 8192 Columbia- Dave Brubeck Quartet / TIME OUT-MQ 30443

Richard Strauss: Also Sprach Zarathustra, Bernstein / NY Philharmonic (SQ Quadraphonic) 

LSC-2471-200 gram
 CLASSIC RECORDS reissue-RCA LIVING STEREO, RHAPSODIES with Stokowski and RCA Victor Symphony Orchestra

Napua Davoy-ALL I WANT, www.napuadavoy.com

Manufacturer’s Comment

Martin,

Again, many thanks,
Paul Kaplan
Kaplan Cable

by Anthony Kershaw

A buddy of mine is a headphone enthusiast. He’s had more headphones, earphones, noise isolating and ear speakers than I’ve had hot dinners. It did not take him long to pick up the new Bowers & Wilkins (B&W) P5 Mobile Hi-Fi Headphones. B&W has a great reputation for high end speakers and now in the domain of the lifestyle audio consumer. The very popular Zeppelin iPod sound dock, the Zeppelin Mini and the new MM-1 computer speakers are testament to this direction.

I managed to borrow the P5s for a couple a days to report my findings to you. B&W says they are noise isolating (rather than Bose’s electronic fiddling, ‘cancellation’). The quality leather earpads sit directly on your ears and do block out a lot of sound. They do not give you the the head turning reaction like when flipping the Bose noise cancellation switch, but they do a great job of keeping the ambient noise out, and without batteries.

The product, like all B&W products, oozes quality. These headphones will stand a lot of wear and tear. They are very comfortable (though warm to the ear with thick leather) and I listened for hours with little or no fatigue.

The sound is excellent and is very balanced with no obvious boost of upper and lower octaves. That said, the bass is fantastic on these cans — totally integrated and very low in the ear. I was quite surprised just how low they go. Organ fans will be happy campers. The treble is effortless without the tizzy effects that so many manufacturers seem to think listeners enjoy. The midrange is almost non-earphone like; it sounds like the natural effects heard from a really good two channel setup.

B&W are out Bosing Bose in the style department and in natural sound. When first listening to the P5s, you may feel they are too ‘blended’, for want of a better word. Things do open up after a couple of days, I’m told, but this is how natural sound is replicated through ear pieces, in my opinion. Balanced and relaxed. Integrated and non fatiguing. Beautiful.

I love the allure and technology of the Bose Noise Cancellation, but the sound quality makes the the B&W P5s the best $300 headphones I’ve tried. If you want an iPhone compatible, portable, comfortable, no battery, isolating headphone with superior sound, then this very refined product is it. Highly recommended.

[It is with great pleasure that we award The Audiophilia Star Component Award to the Bowers & Wilkins P5 Mobile Hi-Fi Headphones. Congratulations! - Ed]

The Bowers & Wilkins P5 Mobile Hi-Fi Headphones

Manufactured by B&W Group North America
54 Concord Street, North Reading, Massachusetts 01864
Tel: +1 (978) 664 2870
Fax: +1 (978) 664 4109
Email
Website

Price: US$299.99

Specifications

iPhone compatible remote control
Driver type dynamic
Mylar diaphragm
Neodynium magnets
High precision diaphragm resistance material
Closed back for noise isolation
Fold flat
Single sided detachable/changeable OFC cable with low handling noise
Adjustable leather headband
Carry pouch
3.5mm/ 1/4” jack adaptor included
Standard cable included
Memory foam changeable earcushions
Real Sheep Leather used throughout
Description Mobile supra aural headphone with noise isolation
Drive units: 2x Ø40mm
Impedance: 26 ohms
Frequency range: 10Hz to 20kHz
Left/right tolerance: +/-1dB at 1kHz
Max. input power: 50mW
Distortion @100dB: I25<0.05% for 80-20kHz <0.2% for 20-20kHz
Sensitivity: 115dB/V at 1kHz
Inputs: 3.5mm stereo mini jack (on cable)
2.5mm mini jack (on Headphone)
Height: 180mm
Width: 150mm
Depth: 35mm folded flat, 60mm in service
Weight 195g
Finish Enclosure: Real Leather and metal

by Roy Harris

During 2009, I received the Jaton Operetta 250 watt class A amp for review,  which  weighed close to 100 pounds. While reviewing the amp, I was informed that they were introducing changes to the amp , and that a “revised” version would be available sometime during 2010.

Recently, I received an e-mail from the company, inquiring as to my interest in reviewing the revised Operetta amp and companion preamp, the RC 2000P. Recalling the experience of toting a heavy component, while carrying it carefully over wires and other objects in my listening room, I decided not to review the amp. Curiosity got the better of me and I consented to review the solid state preamp.

My decision to review the preamp (retail price of $1300), was partly based upon the value of getting out of my comfort zone, as most of the electronics I have previously reviewed have contained at least one tube.

While I have owned solid state preamps, including products from Rowland, Klyne, Musatex, Levinson and Classe,  I have not auditioned a solid state preamp in my own stereo system for over 15 years. I own tube preamps and a passive preamp, respectively.

The opportunity to review a solid state preamp presented a challenge. I intended to be open minded and apply my approach of reporting what I heard, unhindered by personal preference.

Technical Considerations

Wima capacitors are in the signal path. They are also used as output capacitors , while  Mundorf capacitors were used in the power supply section, powered by a toroidal power supply. National Semi Conductor transistors were used but were not in the signal path.

The op-amps were also made by National Semi Conductor. On the board, Fiarchild model KA 7805, KA 7905 and National Semi Conductor regulators were present, serving either as power or DC voltage regulation. A digital volume control with remote, included Alps resistors. Copper wire was used between the volume control and the high level inputs.

Listening Results

I placed a CD player on “repeat” for two weeks prior to evaluating the preamp.

Close-miked female voice provides an opportunity to investigate upper  midrange/lower treble frequency response.  Often, solid state gear exhibits imbalances in frequency response in the aforementioned region.

I selected my favorite CD for this purpose, namely, Holly Cole, DON’T SMOKE IN BED, Alert ZZ 81020, track 1. Sibilance was audible.  It was not subjectively annoying. I have experienced greater and less emphasis upon “s” consonants using other preamps. Some tube preamps create a veil which masks  sibilance, while others exaggerate it. I have heard both effects, but neither were typical with the RC 2000P.  In absence of attending the recording session for this performance, I cannot attest to the extent of inaccuracy of reproduction. I say this because all components are inaccurate. The salient consideration is the capability of tolerating aspects of a recording which may be experienced as unpleasant. In this case,the preamp did not render any aspect of Holly Cole’s voice unpleasant.

The acoustic bass sounded full-bodied with a reasonable balance between articulation of the strings and resonance of the wood body.

Another stereo-typical aspect of solid state components is their ability to present a wide sound stage and to create separation between instruments. The Classe DR-6 comes to mind in this respect. I remember , as an owner,  that the DR-6 presented a wide lateral soundstage and was adept at separating instruments.

A CD which is a useful tool for testing staging and separation is SLOW MOTION, Hip Pocket HD 105, track 2. A percussion instrument, probably a wood block, seemed to emanate further behind the left speaker and with greater separation from other instruments than I experienced with other preamps. In addition there was more mid bass presence than experienced with other preamps.

A surprise occurred when listening to Sophie Yates, solo harpsichordist play a Scarlatti sonata, taken from the CD FANDANGO, Chandos 0635, track 1. The attack  and release of the strings was somewhat understated, reminiscent of some tube preamps. In addition, less surprising was the slight lack of presence of the wood body of the instrument, which  in my recollection  was more present  when listening to some tube preamps. Overall,  in spite of a possible dip in the lower midrange, the sound of the harpsichord was pleasant.

Another attribute of solid state components, which I believe is entrenched in the minds of audiophiles is the capability of such equipment to be more resolving than tube gear. There are many CDs which will serve as suitable sources to examine such a hypothesis.

Musically and sonically, Offenbach’s “Gaite Parisienne” is sufficient for this purpose. I chose Arthur Fiedler’s  interpretation recorded on the JVC label (JVCXR 0224), track 1. The sections of the orchestra were more cleanly delineated using the RC200P than  heard through  several tube preamps and a passive preamp. There was no significant change in dynamics or smoothness I observed, in comparison to other preamps. The wood block and triangle displayed their typical separation, while the triangle was less timbrally inaccurate without having an etched quality.

A review would not be complete without including Steely Dan AJA, “Deacon Blues”, MCAD-37214. I noticed a change in balance, in that, the kick drum and acoustic bass had greater emphasis than I recall using other preamps.

Yet, at the same time, there was greater vocal clarity. It would seem that the frequency response  was more balanced than I heard using other preamps. The tenor sax sounded more realistic—timbrally speaking. The sound of the tenor was more balanced with respect to the lowest and highest registers.

Summary and Further Thoughts

The RC 2000P does not sound like a tube preamp. However, many of the attributes that Audiophiles find objectionable, are hardly noticeable.  As I have stated many times, no component is perfect and that applies to the RC2000P, as well. I noticed a slight dip in the lower midrange and a tendency, typical of many solid state products, to sound aggressive when listening at levels exceeding 84 db. I did not notice any peak in the upper midrange/lower treble, nor experience a situation  which detracted from the enjoyment of any musical selection.

In general, my listening range was within 70 to 82 db. I find sound pressure  exceeding 70 db, sufficiently loud, and when spl exceeds 84 db , it’s too loud. Obviously, loudness is perceived subjectively, as there is no objective definition of the term, only a measurement of sound pressure level.

The preamp is sensitive to cabling—power cords and interconnect cable. As far as  solid state preamps I have owned, or auditioned in the context of other stereo systems, the RC2000P was the smoothest and least annoying of the lot. It was the most pleasant of the sample of those which I have owned in the past, given the other components in my current stereo system.

Considering the fact that many modern tube preamps don’t sound like “tube” products, the RC2000P, gives tube preamps serious competition.

Associated  Equipment

CD Player: Oppo 83 SE
Preamp: ACL Innovation Bent TVC passive
Amplifiers: VTL Deluxe 120
Speaker: Magnepan 1.6, Quad 57
Interconnect: Cryoset Vampire copper wire with Cardas  gold connectors
Speaker Cable: Ear to Ear
AC Cords: Soundstring, Ear to Ear, Clarity Audio, Distech, Pangea Cable
Power Conditioning: PS Audio Noise Harvesters,PS Audio Juice Bar, Chang, Iso 6400, Nirvana Audio isolation transformer, IDOS, Bob Young line filter
Anti Resonant Devices: Room Tunes, Corner Tunes,  egg crate mattresses, Sound Fusion Sound Boosters, cocobolo wood blocks , Enacom Filters, Millenium weight, lead weight

The Jaton RC 2000P Preamplifier

Manufactured by Jaton High Performance
Jaton Corp. 47677 Lakeview Blvd. Fremont , CA 94538 U.S.A.
TEL: 510-933-8888
FAX: 510-933-8889
Email
website

Price: US$1300
Source: Manufacturer loan