CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

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MIT 2017 Prem Sponsor adspread 1.indd 1 11/30/17 3:43 PM Click a category to see reviews. CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017 Contents

CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017 FROM THE EDITOR

From the Julie Mullins welcomes you

Editor Iridium Power to our Buyer’s Guide special Welcome to our Buyer’s Guide special edition: Top Picks in High-End Audio and Music 2017! Iridium Interconnect Herein you’ll find a plethora of capsule product reviews hand-selected by the TAS editors as our edition: Top Picks in High-End “Top Picks” of high-end audio components. Plus, Music Editor Jeff Wilson has culled Top Ten Lists of Music reviews of 2017’s best releases across genres and all formats.

Although the majority of the products we’ve chosen were reviewed in the The Absolute Sound within the last year, we have also included a number of perennial favorites favorably reviewed in earlier issues. Audio and Music 2017. Iridium You’ll also find hi-fi gear across a range of prices, categories, and types, including: Loudspeakers, Phono Electronics, Digital and Analog Sources, and Cables and Power Products. And if you’re in the market for more portable gear, you’ll want to check out our new Ultimate Guide to Headphones & Personal Audio, a special print edition produced in collaboration with TAS’ sister publication, HiFi+.

We are also pleased to offer helpful how-to feature articles excerpted from the latest (fifth) edition of Robert Harley’s classic Complete Guide to High-End Audio: Iridium • How to Choose Loudspeakers • How Much Amplifier Power Do You Need? Speaker • What to Listen for When Choosing a DAC or Other Digital Sources • How to Choose Cables

We hope you’ll get as much enjoyment from our Top Picks as we have as reviewers of these worthy audio components. SPONSORED BY Happy listening! SPONSORED BY

Julie Mullins, Editor www.cardas.com

5 Top Picks in High-End Audio and Music 2017 the absolute sound

LOUDSPEAKERS DIGITAL AND ANALOG SOURCES MUSIC: TOP RELEASES OF 2017

Feature: How to Choose Loudspeakers Feature: What to Listen for When Choosing a DAC Top Ten New CDs of 2017 Top Picks in Desktop and Stand-Mounted Loudspeakers Top Picks in Disc Players Top Ten New Vinyl Releases of 2017 Top Picks in Floorstanding Loudspeakers Top Picks in DACs Top Ten Vinyl Reissues of 2017 Top Picks in Subwoofers Top Picks in Music Servers Top Classical Downloads of 2017 Top Picks in Turntables and Record Players Top Ten Rock/Pop/Jazz Downloads of 2017

ELECTRONICS CABLES AND POWER PRODUCTS Feature: How Much Amplifier Power Do You Need? Top Picks in Integrated Amplifiers Feature: How to Choose Cables Top Picks in Preamplifiers Top Picks in Cables and Interconnects Top Picks in Power Amplifiers Top Picks in Power Products Top Picks in All-in-One Systems

Click on a section name to read Top Picks in that category.

3 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Email the Editor: [email protected] or: TAS, 2500 McHale Ct. Suite A, Austin, Texas 78758 nextscreen, LLC chairman and ceo ...... Tom Martin publisher ...... Jim Hannon senior writers...... Anthony H. Cordesman vp/group publisher...... Jim Hannon editor-in-chief ...... Robert Harley Wayne Garcia executive editor...... Jonathan Valin Robert E. Greene advertising reps ...... Cheryl Smith acquisitions manager Jim Hannon (512) 891-7775 and associate editor...... Neil Gader Jacob Heilbrunn managing editor and Ted Libbey Marvin Lewis buyer’s guide editor...... Julie Mullins Arthur Lintgen MTM Sales Dick Olsher (718) 225-8803 creative director...... Torquil Dewar Andrew Quint art director...... Shelley Lai Don Saltzman Scott Constantine production...... Monica Valenzuela Paul Seydor (609) 275-9594 Steven Stone Alan Taffel webmaster...... Garrett Whitten Greg Weaver SPONSORED BY reviewers & contributing writers. Duck Baker Soren Baker Karen Bells Greg Cahill Stephen Estep Vade Forrester Andre Jennings Mark Lehman Sherri Lehman David McGee SPONSORED BY Kirk Midtskog Mark Milano Buyer’s Guide special edition: Bill Milkowski Derk Richardson Top Picks and Music 2017 Karl Schuster © 2017 Nextscreen LLC

4 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS •

TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

From the

Editor Iridium Power Welcome to our Buyer’s Guide special edition: Top Picks in High-End Audio and Music 2017! Iridium Interconnect Herein you’ll find a plethora of capsule product reviews hand-selected by the TAS editors as our “Top Picks” of high-end audio components. Plus, Music Editor Jeff Wilson has culled Top Ten Lists of Music reviews of 2017’s best releases across genres and all formats.

Although the majority of the products we’ve chosen were reviewed in the The Absolute Sound within the last year, we have also included a number of perennial favorites favorably reviewed in earlier issues. Iridium You’ll also find hi-fi gear across a range of prices, categories, and types, including: Loudspeakers, Phono Electronics, Digital and Analog Sources, and Cables and Power Products. And if you’re in the market for more portable gear, you’ll want to check out our new Ultimate Guide to Headphones & Personal Audio, a special print edition produced in collaboration with TAS’ sister publication, HiFi+.

We are also pleased to offer helpful how-to feature articles excerpted from the latest (fifth) edition of Robert Harley’s classic Complete Guide to High-End Audio: Iridium • How to Choose Loudspeakers • How Much Amplifier Power Do You Need? Speaker • What to Listen for When Choosing a DAC or Other Digital Sources • How to Choose Cables

We hope you’ll get as much enjoyment from our Top Picks as we have as reviewers of these worthy audio components.

Happy listening!

Julie Mullins, Editor www.cardas.com

5 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

TOP PICKS: LOUDSPEAKERS Click a category to see our Top Picks reviews. Contents

HOW TO CHOOSE LOUDSPEAKERS • DESKTOP AND STAND-MOUNTED LOUDSPEAKERS • FLOORSTANDING LOUDSPEAKERS • SUBWOOFERS

6 Top Picks in High-End Audio and Music 2017 the absolute sound The closest thing yet to an ACC Articulation Control Console: The Oracle™ Matrix SHD 120 with 2C3D

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Proudly Proudly Proudly Engineered Engineered Engineered in and and the USA Made in Made in the USA the USA CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature

How to Choose Loudspeakers Robert Harley

Excerpted and adapted from The Complete The place to start loudspeaker shopping, Guide to High-End Audio (fifth edition). Copy- therefore, is in the pages of a reputable mag- right © 1994–2017 by Robert Harley. hifibooks. azine with high standards for what constitutes com. To order call (800) 841-4741. good loudspeaker performance. Be wary of magazines that end every review with a “com- he world abounds in poor-quality, petent for the money” recommendation. Not even dreadful, loudspeakers. What’s all loudspeakers are good; therefore, not all more, some very bad loudspeakers are reviews should be positive. The tone of the Texpensive, while superlative models may sell reviews—positive or negative—should reflect for a fraction of an inferior model’s price. There the wide variation in performance and value is sometimes little relationship between price found in the marketplace. and musical performance. After you’ve read lots of loudspeaker reviews, This situation offers the loudspeaker shopper make up your short list of products to audition both promise and peril. The promise is of find- from the crème de la crème. There are several ing an excellent loudspeaker for a reasonable criteria to apply in making this short list to en- price. The peril is of sorting through mediocre sure that you get the best loudspeaker for your models to find the rare gems that offer either individual needs. As you apply each criterion high absolute performance, or sound quality far described, the list of candidate loudspeakers above what their price would indicate. will get shorter and shorter, thus easing your This is where reviews come in handy. Review- decision-making process. If you find yourself ers who write for audio magazines hear lots of with too few choices at the end of the process, loudspeakers (at dealers, trade shows, and con- go back and revise your criteria. For example, if sumer shows), but review only those that sound you find a loudspeaker that’s perfect in all ways promising. This weeds out the vast majority of but size, you may want to find the extra space in underachievers. Of the loudspeakers that are your living room. Similarly, an ideal loudspeak- reviewed, some are found to be unacceptably er costing a little more than you planned to flawed, others are good for the money, while a spend may suggest a budget revision. As you go select few are star overachievers that clearly out- through this selection process, remember that perform their similarly priced rivals. the perfect loudspeaker for you is probably out

8 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature How to Choose Loudspeakers there. Be selective and have high standards. You’ll that puts the bass-reproducing driver in an en- produce for a given amount of amplifier power. or dull in the treble to compensate. Instead, be rewarded by a much higher level of musical closure you can put nearly anywhere, and the Loudspeakers are rated for sensitivity by mea- change your DAC or amplifier. performance than you thought you could afford. midrange- and treble-reproducing elements suring their sound-pressure level (SPL) from Another mistake is to drive high-quality in a small, unobtrusive cabinet. You’ll still get one meter away while they are being fed one speakers with poor amplification or source 1) Size, Appearance, and Integration in the a full sound, but without the visual domina- watt (1W) of power. For example, a sensitivi- components. The high-quality loudspeakers Home tion of your living room that often goes with ty specification of “88dB/1W/1m” indicates will resolve much more information than lesser After you’ve designated a place for your loud- floorstanding speakers. Moreover, the satel- that this particular loudspeaker will produce a speakers—including imperfections in the elec- speakers, determine the optimal speaker size lite speakers’ small cabinets often help them sound-pressure level of 88dB when driven with tronics and source components. All too many for your room—the urban apartment dweller achieve great soundstaging. Although the term an input power of 1W, measured at a distance audiophiles drive great speakers with medio- will likely have tighter size constraints than the “bookshelf” is often applied to small speakers, of 1m. High-end loudspeakers vary in sensitiv- cre source components and never realize their suburban audiophile. Some listeners will want you can’t get optimal performance from a speak- ity between 80dB/1W/1m and 106dB/1W/1m. loudspeakers’ potential. Match the loudspeak- the speakers to discreetly blend into the room; er mounted in a bookshelf. Small speakers need A loudspeaker’s sensitivity is a significant ers’ quality to that of the rest of your system. others will make the hi-fi system the room’s cen- to be mounted on stands and placed out in the factor in determining how well it will work with ter of activity and won’t mind large, imposing room. Small loudspeakers mounted on stands, a given power-amplifier output wattage. To pro- 3) Musical Preferences and Listening Habits loudspeakers. When choosing a place for your sometimes called minimonitors, often provide duce a loud sound (100dB), a loudspeaker rated If the perfect loudspeaker existed, it would speakers, keep in mind that their placement is terrific imaging, great clarity in the mid-band at 80dB sensitivity would require 100W. A loud- work equally well for chamber music and heavy a crucial factor in how your system will sound. and treble, and can easily “disappear” into the speaker with a sensitivity of 95dB would re- metal. But because the perfect loudspeaker music. On the down side, small speakers used quire only 3W to produce the same sound-pres- remains a mythical beast, musical preferences Another mistake is without a subwoofer have restricted dynamics, sure level. Each 3dB decrease in sensitivity re- must play a part in choosing a loudspeaker. If to drive high-quality limited bass extension, and won’t play as loudly quires double the amplifier power to produce you listen mostly to small-scale classical music, as their floorstanding counterparts. the same SPL. choral works, or classical guitar, a minimonitor speakers with poor Another electrical factor to consider is the would probably be your best choice. amplification or source 2) Match the Loudspeaker to Your Electronics loudspeaker’s load impedance. This is the electri- Conversely, rock listeners need the dynamics, The loudspeaker should be matched to the rest cal resistance the power amp meets when driv- low-frequency extension, and bass power of a components. of your system, both electrically and musically. ing the speaker. The lower the speaker’s imped- large full-range system. Different loudspeakers A loudspeaker that may work well in one sys- ance, the more demand it places on the power have strengths and weaknesses in different ar- The loudspeaker’s appearance is also a factor tem may not be ideal for another system—or amp. If you choose low-impedance speakers, be eas; by matching the speaker to your listening to consider. An inexpensive, vinyl-covered box another listener. certain the power amp will drive them adequate- tastes, you’ll get the best performance in the would be out of place in an elegantly furnished Let’s start with the loudspeaker’s electrical ly. (These and the speaker sensitivity factors areas that matter most to you. home. Many high-end speakers are finished in characteristics. The power amplifier and loud- above are discussed in greater technical detail in beautiful cabinetry or automotive paint finish- speaker should be thought of as an interactive the “How Much Amplifier Power Do You Need?” es that will complement any décor. This level combination: the power amplifier will behave feature in this Guide; excerpted from Chapter 5 of finish can, however, add greatly to the loud- differently when driving different loudspeak- “Power Amplifiers” from Robert Harley’s book.) speaker’s price. ers. Consequently, the loudspeaker should be On a musical level, you should select as son- If you don’t have room for full-range, floor- chosen for the amplifier that will drive it. ically neutral a speaker as possible. If you have standing speakers, consider a separate sub- The first electrical consideration is a loud- a bright-sounding DAC or power amp, it’s a woofer/satellite system. This is a speaker system speaker’s sensitivity—how much sound it will mistake to buy a loudspeaker that sounds soft

9 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Desktop and Stand-Mounted Loudspeakers

Elac Debut B5 Paradigm Shift A2 Elac Uni-Fi UB5 Revel Concerta2 M16 $229 $349/each $499 $900 It’s little; it’s vinyl clad; it’s dirt cheap; and it A 2012 Golden Ear recipient, the cleverly How do you follow an act like the Elac Debut A feast for the eyes and ears, the M16 has been sounds terrific. The B5 compact represents the named Shift A2 is more than just a serious B5? If you’re designer Andrew Jones, there’s refreshed with smartly contoured enclosures, first effort in what should be a long and fruitful loudspeaker—it’s a winning example of only one route: engineering one of his high-gloss finishes, and elegant design accents. collaboration between Elac and its celebrated forward thinking. Compact, internally powered, trademark concentric drivers for a sub-$500 Sonically, Revel doesn’t make wallflowers, and VP of Engineering, Andrew Jones. The B5 is equipped with DSP bass-management, and three-way compact. Sonically, if you loved the the M16 follows suit dramatically. Its dynamic, robust in the mid and upper bass but the real packed with enough back-panel inputs to Debut B5, you’re going to really love the UB5; uncompromising midband, good overall difference is how everything comes together connect to almost any source, the Shift A2 it’s the B5 gone to finishing school. There’s speed, and excellent inter-driver coherence all in such an exquisitely balanced and musical is what 21st-century entry-level high end greater specificity, body, and focus to images— happily conspire to generate a tonal ripeness fashion. NG instinctively connected with is all about. Its Everyman appeal bridges all trademarks of the concentric driver. Add to that belies the speaker’s tiny stature. Easily the basic honesty of the B5 sound and was generations of music lovers, and it just that a sibilance range that is natural, sharp, and the most enthralling aspects of the M16’s gobsmacked by its bargain-basement price. happens to sound great in the bargain. It quick, like the live event. Plus there is rock- performance are the fullness and cohesiveness What Jones and the Elac team have managed won’t be for the devout traditionalists, but its solid 50Hz midbass output similar to the B5 of its soundstage and imaging. The M16 to ring from this most humble of designs is combination of sound and value extends the but much more controlled, and less reliant on doesn’t paint small sonic landscapes—a sense nothing short of exceptional. (259) welcome mat to nascent high-enders who may the port. While there’s still a bit of veiling and of immersion and “widescreen” scale are have thought they couldn’t afford the entrance the UB5 doesn’t fully shed its enclosure, let’s two of its most distinctive characteristics. A fee. (224) get real—this Elac is competitive with speakers compact budget loudspeaker that maintains well beyond its price segment. It might just be classic Revel virtues. (268) the best five hundred bucks you’ll ever spend. (266)

10 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Desktop and Stand-Mounted Loudspeakers

Audience The One Micromega MySpeaker KEF LS50 Totem Acoustic Sky $995 $999 $1500 $1895 The One, as you might infer from its name, is Barely a foot tall, this wireless wonder bundles Built to celebrate KEF’s 50th anniversary, the Classic Totem through and through, the Sky is a single full-range driver shoehorned into a speaker, connectivity, and a built-in 30Wpc LS50 monitor spins pure coincident-driver purpose-built—clean and seamless, with rigid small box. The driver itself is the same unit, Class AB amp into a single package, meaning magic thanks to its blushing pink-gold Uni-Q cabinetry and beautiful veneer finishes. The the A3A, that Audience uses in its flagship you simply connect a source and you’re good coaxial midrange/tweeter mounted in bulls- Sky is also prima facie evidence of just how $72,000 16+16 speaker. (Audience is unique to go. In sonic balance it is slightly forward eye fashion atop a uniquely arched baffle. far small speakers have evolved in the way of in this regard; no other speaker manufacturer and lean, but it also has an openness that’s Visually arresting and sonically satisfying, it a fuller-bodied and warmer musical balance. employs the same driver in all its speakers arresting in this price class. Images are delivers tonal neutrality at just the right pitch, Its tweeter and woofer sing with an of-a-piece from the smallest to the largest.) According to depicted with physical weight and dimension, with superb midrange sonics, full-bodied coherence. Given the right-sized room (medi- Audience, the A3A has exceptionally flat re- and bass response extends confidently presence, and potent midbass punch. Thanks to um-to-smallish) and strong amplifier support, sponse, claimed to be within +/-3dB from 40Hz into the fifty-cycle range. Its tweeter is its beautifully crafted high-density enclosure— the Totem Sky just clears its throat and lets to 22kHz. Be that as it may, properly set up, nicely integrated with only minor hints of an ideal platform for the space-saving Uni-Q— loose, eliciting tuneful bass with resonant The One is the best desktop speaker reviewer localization, most likely due to a small energy there’s little in the way of cabinet resonances energy, dynamic vigor, and surprising slam. Steven Stone has heard. If you are looking for dip near the crossover point. While MySpeaker or port colorations. Imaging is as clean and With break-in, the Sky grows significantly more an exceptional small-footprint monitor, The has limits, it also has guts and doesn’t shrink pinpoint-precise as you’d expect from KEF. textured and realistic: The ambience surround- One is a must-audition. (236) from orchestral crescendos. Versatility and Positioned in a small- or medium-sized room, ing singers, for example, becomes airier and convenience define the wireless game, and the LS50 makes a statement like few small better defined. Hats off to Totem’s Vince Bru- the Micromega’s MySpeaker excels at these speakers. You’ll want to hold on to these no zzese for his continuing quest to coax big-time things—a one-stop winner. (272) matter how many upgrades you make to the performance from the tiny two-way, while still rest of your system. (231) harnessing the virtues of speed and transpar- ency that come with a little box. (275)

11 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Desktop and Stand-Mounted Loudspeakers

Revel Performa3 M106 Audience 1+1 V2+ Joseph Audio Prism ATC SCM19 $2000 $2460 $3699 $3999 Revel’s M106 is cut from the same Don’t let the 1+1 V2+’s nearly identical Six years ago, after Steven Stone reviewed the Joseph Not a brand to cater to the fashions of the rich fabric as its big brother the F206, appearance to the 1+1 fool you; this newly Audio Pulsars, he ran into a number of audiophiles at marketplace, ATC has bolstered these stout, but designed for smaller spaces. A upgraded version is a big leap over its already the 2011 RMAF who were very interested in owning professional-grade monitors with bespoke vocal lover’s dream, the two-way M superlative predecessor. The V2+ employs a a pair. Their only hesitation was coming up with the drivers created to do a single job—accurate sports the same, brilliantly refined significantly redesigned version of Audience’s $7000. The Prisms should shake a good portion of those pro-caliber reproduction. Still, in spite of ATC’s dome tweeter with acoustic lens full-range driver, top-level Au24SX internal fence-sitters from their roosts. While SS can’t and won’t stellar track record, NG never expected the waveguide as the floorstander, wiring, retuned passive radiators, and custom try to give you a numerical percentage of the Pulsar’s new and aggressively priced SCM19 to be as creating a wide sweetspot, a tellurium solderless binding posts. The result performance that is equaled by the Prisms—as in “they good as it is. A superb and superbly defined rewarding lack of localization, and is more resolution and detail (particularly deliver 85% of the Pulsars’ performance”—he will midrange, overall tonal neutrality, broad- estimable composure under all sorts in the treble), superior transparency, wider say that the Prisms have similar sonic qualities with shouldered micro- and macro-dynamics are of dynamic fire. Plus, it delivers dynamic expression, and greater midrange an overall performance level that ranks up with the all in evidence. The surprise is the extent to nearly imperturbable output so that purity. The 1+1 V2+’s midrange clarity, just one best small monitors he’s heard. No, the Prisms aren’t which the SCM19 outshines its distinguished even under punishing conditions of the virtues of a crossover-less single-driver as visually prepossessing as the Pulsars. But in many predecessors—particularly ATC’s other this feisty compact remains linear. speaker, is on par with that of many speakers domestic and professional listening environments their passive consumer speakers—in voicing There’s a cooler cast to its tonal costing twenty times the V2+’s price. The state less blingy exterior may be a positive attribute. Put the and seamless inter-driver coherence. There balance likely due to the lighter bass, of the art for desktop listening, and a terrific Prisms in a midsized-or-smaller room, mate them with are no discontinuities and/or vestigial box but its character is still unmistakably, choice as a main speaker in smaller rooms. decent electronics and a good subwoofer, and they will colorations, either. In addition there’s more accurately Revel. History will show (273) deliver the musical goods in that natural and articulate air on top, likely attributable to the all-new, this is one of the great compacts of way that Joseph Audio loudspeakers are known for, but in-house-engineered-and-manufactured soft- the last ten years. (234) at a more affordable price than ever before. (262) dome tweeter, which is a real beaut. Simply one of the best compacts NG has heard to date. (245)

12 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Desktop and Stand-Mounted Loudspeakers

B&W 805 D3 Focal Sopra No1 TAD ME1 Gamut RS3i $6000 $8999 $12,495 $19,900 (includes integrated Gamut The 805 D3 represents the sole compact in Reviewer Andy Quint wrote this about these The Micro Evolution One (ME1) may be the stand) B&W’s revamped 800 D Series lineup. Stunning superb two-ways with articulating cabinets smallest offering in TAD’s Evolution lineup, but From the moment reviewer Kirk Mitskog first both visually and sonically, the two-way 805 from celebrated French manufacturer don’t call it reductionist. This three-way bass- connected the RS3i two-way mini-monitor is a bold performer. Its midrange signature is a Focal: “Perhaps the most telling part of the reflex design arguably has more heart and soul without much regard to optimizing its placement near-seamless combination of speed, wideband audiophile loudspeaker review process is what than its larger Evolution Series siblings, the and just let music play, he heard a sound that was dynamic contrast, and dense tonal color. And the happens when all the critical listening has CE1 and E1. It shares common themes such as compelling, and it only got better with time and civilizing influence of the 805’s superb diamond finished. With the Sopra oN 1s, I felt compelled the brilliant CST (Coherent Source Transducer), fine-tuning. The RS3i’s liveliness never proved tweeter cannot be overstated. Chameleon-like to hear them play music until the last possible the woven-Aramid bass driver, and TAD’s anything less than entertaining and engaging. in the way it adopts the character of source ma- moment. When the truck picking them up for sonically undetectable, bi-directional, slotted In fact, the more he listened to the RS3i, and terial, it can be terrifically expressive and liquid, the trip back to their U.S. distributor showed port (otherwise known as the Aero-Dynamic the more kinds of music he threw at it, the more or warm and richly shaded—depending on the up earlier than anticipated, I had to tell the Slot or ADS). “Micro” in name only, the ME1’s he admired its winning ability to dig into the recording. Images are rock-stable and focused driver to return later and then scramble to sonics are high energy and potent beyond music and bring out its essence and do so with from center stage to the widest points of the finish disassembling the Sopras and get their the speaker’s modest footprint. On tap are a beguiling joie de vivre. Its bass extension and soundspace. Decisive factors in the 805’s excel- constituent parts back into the cardboard admirable symphonic scale and soundstage dynamic power are right up there with the best lent performance are the integration of port and boxes. Sometimes it’s hard to say goodbye.” immersion well outside the norm for a speaker of the mini-monitor breed. The RS3i offers all the woofer, and excellent inter-driver coherence. ’Nuff said. (266) of this specification. The headliner, however, is advantages of a small stand-mounted speaker— Compact or not, the 805 D3 is a loudspeaker to the coaxial midrange/beryllium tweeter, which those of illuminating imaging and wide-open be reckoned with at any price, from any compa- projects uncommonly transparent and precise soundstaging—combined with stunning dynamic ny. (266) imaging and goose-pimply musical minutiae. presence. Capable of sounding much bigger than What are unexpected are the bare-knuckled it looks, this is a honey of a speaker and should dynamics and a power range that will shock even be on anyone’s short list for a small-to-medium- the staunchest large-speaker advocate. (278) sized room application. (266)

13 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS •

TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Desktop and Stand-Mounted

Crystal Cable Arabesque Minissimo MBL 120 Diamond $23,050 (stands $1630) $19,999 ($21,499 with stands) Yes, it looks remarkably similar to the If you’ve ever seen—and hopefully heard—either classic ’droid silhouette of the earlier MBL the original or this Diamond Edition upgrade (with 121. But the 120 has higher damping and diamond tweeters, Absolute Dream internal wiring, rigidity, and a massively reinforced cabinet etc.) of the Arabesque Minissimo, chances are you’d re- with twice the volume of the 121—large member it as much for its whimsical, curvy “com- enough to increase the diameter of the ma”-shaped form factor and unexpected high-gloss push-push, side-firing woofers. But it’s the color choices as for the incredible resolution, musical- seamless frequency response of the 120 ity, and dispersion that make this versatile two-way an that represents its greatest improvement. all-around standout. These are quite high-resolution This speaker spins silk from top to bottom transducers that can pull off a marvelous disappearing but especially in its grainless treble. act, sounding natural and steadfastly gorgeous across Imaging and soundstage replication many genres. With some rock ’n’ roll cuts, reviewer JM are also more precise. And midbass was surprised and delighted by how much in-your-face integration, a weakness of the 121, is much muscle these elegant little speakers displayed. Still, improved in the 120, not to mention that as with most two-ways and smaller monitors, a little it achieves an easy half-octave or more of extra lower-bass support—provided by Crystal Cable’s low bass. In a smaller setting, it rivals the formidable powered Subissimo subwoofer ($11,999)— vaunted 101E for sheer musicality though will enhance and extend the speakers’ dynamic range, it doesn’t have that speaker’s Wagnerian resulting in a wholly pleasing balance of structure and dynamics and low-end crunch. And yes, it’s substance. (273) the finest compact Radialstrahler yet. (228)

14 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Elac Debut F5 Emotiva Airmotiv T1 Magnepan .7 GoldenEar Technology Monitor Audio Silver 300 $560 $699 $1395 Triton Five $2000 The floorstanding F5 leverages The Emotiva T1 has sonic attitude. Attitude Meet Magnepan’s latest “mini” pla- $1999 The Silver 300 may look like its the strengths of the compact as only a dual-woofered, four-driver floor- nar dipole, the two-way, floorstanding, Sandy Gross, the proprietor of predecessor, but this latest version B5, then significantly builds stander can convey. The T1 manifested a all-quasi-ribbon-driver MG .7—a speaker GoldenEar, may be the Babe Ruth has been completely redesigned on them. Yes, there’s the same big, brawny sound that energized listening that is capable of a fuller-range and more of reasonably priced loudspeakers. with new drivers, crossovers, and warm, relaxed, and responsive spaces with outgoing and engaging mid- natural sound than any previous “mini” With the Triton Five, the gregarious enclosure. A three-way, four- midrange, overall tunefulness, bass and potent dynamic thrust. The T1’s Maggie. Although Julie Mullins knows that Gross has hit yet another one out driver speaker (dual 6" woofers, and strong sense of musical warmer, somewhat darker character makes most TAS readers have already made the of the park. Named after the sea 4" midrange, 1" tweeter) housed truth. What distinguishes the F5 it a loudspeaker that paints the overall acquaintance of Maggies, the .7s are still god Triton who could calm or rouse in a cabinet that looks far too is the sheer volume of air that emotion and heart of a performance in impressive, offering a practically unbeat- the waves by blowing on his conch, nice for this price point, the Silver its additional pair of woofers can broader brush strokes. Musicality-wise, the able quality-to-cost ratio. During her lis- the Triton has a similar quality. It’s 300 offers a compelling array of move. This results in dividends T1 just brings it. The jewel in the T1 crown tening tests, she was delighted to discover a remarkably low-distortion design musical virtues. Chief among these that include authentically is the 32mm folded ribbon tweeter and, in- that they consistently delivered a beauti- that belts out Led Zeppelin but are its terrific speed on transients, weighted orchestral scale, deed, it is a thing of beauty—airy, textured, ful and open presentation graced with a also has the finesse to reproduce effortless reproduction of dynamics, rock-level dynamics, and vocal and transparent. Orchestral performances striking measure of air and light. Sound- the most finely filigreed musical and overall sense of musical reproduction that depicts singers took on a new urgency and gravity with stage reproduction was stunning across a passages. A high-velocity ribbon coherence. Bass is detailed and as fully formed and fleshed out a well-cushioned, “bottom-up” signature wide range of music. In addition to their driver helps account for the purity resolved, providing a clear sense with chest resonance, weight, defined by grippy lower frequencies, an tough-to-beat price, the .7s become even of the treble. And four side- of pitch. These qualities infuse and bloom. While the speaker expressive lower midrange that allows a more attractive when you consider that mounted sub-bass radiators allow it music with a life and vitality that may be not flawless, it could be cello or bass viol full breath and exhala- Magnepan is offering a 30-day in-home to plumb the Stygian depths of the are particularly apparent on rock, reasonably argued that the F5 tion, and a relaxed vocal range that neither trial and a money-back guarantee. Wheth- sonic spectrum. Not least, it’s also pop, and jazz. This is one very well is as faultless as a transducer forces singers into your lap nor shoves er you’re in the market for a starter pair of an elegant and unobtrusive-looking designed loudspeaker, built with an is likely to get at this price. them to the back wall of the listening high-quality speakers, or have the prover- design that should appeal to a economy of scale that allows this A veritable gift to budget- room. Seriously, folks, a high-octane sonic bial champagne taste on a beer budget (or wide range of listeners. For all his level of performance to be offered conscious audiophiles and the ride for just shy of seven-hundred bucks! both!), why wouldn’t you consider these ingenuity, it will be hard for Gross at a reasonable price. (review younger audience. (260) What’s not to like? (278) babies? They’re terrific. (252) to surpass the Triton Five. (255) forthcoming)

15 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Vandersteen 2Ce Larsen Model 6.2 Focal Aria 948 Magnepan MG 3.7i Signature II $3995 $4999 $5995 $2700 Like its smaller and bigger siblings, the two- A three-way, bass-reflex floorstander, the 948 is Maggie’s new, three-way, true-ribbon/quasi-ribbon The Vandersteen 2Ce is the way Larsen 6.2 is designed to be positioned the top model in Focal’s Aria 900 line. Like all the planar 3.7i successfully addresses three issues classic three-way floorstander, against a wall, facing forward, which transducers in the company’s 900 Series, the 948 that have long vexed “true-ribbon” Maggies: the delivering excellent top- eliminates a great deal of pre-purchase angst uses Focal’s unique flax-sandwich drivers—two seamless integration of that ribbon with the other to-bottom balance and about whether the speaker will “work” in a 8" woofers and one 6½" mid/bass in a vented planar-magnetic drivers; the retention of detail and engaging musicality. Moreover, given room and, of course, vastly simplifies enclosure—along with an aluminum/magnesium dynamic range at relatively low volume levels; and Vandersteen’s baffle-less, time- the process of room placement. Early alloy, TNF, inverted-dome tweeter. These painstakingly the reduction of “Maggie graininess.” The solution to and-phase-coherent design can reflections from the speaker’s backwave, engineered drivers enable the 948s to really strut these problems combined with the famous virtues suggest the spatial focus usually which can register to a listener as distortion, their stuff when it comes to detail, transparency, and of true-ribbon Magnepans (neutrality, low distortion, heard with planars. It benefits are eliminated. Additionally, the drivers face resolution—particularly on vocals, percussion, and high resolution, superb transient response, lifelike from bi-wiring and should be inwards and upwards, which addresses the strings. JM found the sense of realism they delivered timbres, and natural imaging and soundstaging) placed away from walls. The issue of the first sidewall reflection. Tonal downright spooky at times. Although the 948s initially produce what is, in JV’s opinion, the best buy in a first-order crossovers essential accuracy, detail, and spatiality are exemplary. required some set-up tweaks to avoid a touch of high-fidelity transducer regardless of price, provided to time-coherent performance The requirement to site the Larsens near a treble brightness, they were excellent after break- you have enough amp to drive the 3.7i, and the space somewhat limit maximum sound- boundary also contributes substantially to in, bringing so many musical layers to life that they to house it. Note that the 3.7i does not produce deep pressure levels. (139, 122) their surprisingly (for their size) potent bass created a truly immersive soundscape. This degree of bass below about 45Hz and, like all planars, runs into performance, though a powerful amplifier— resolution with spaciousness galore, plus astounding membrane-excursion limits, slightly limiting dynamic think 150-to-200Wpc—assures the best attack and decay, all make this speaker a rare find range (particularly in the bass) at extremely high results in this regard. (276) within this price category. (254) SPLs. (forthcoming)

16 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

PSB Imagine T3 Vandersteen Treo CT GoldenEar Technology Triton ATC SCM19A $7500 $8400 Reference $8999 Paul S. Barton’s current flagship product is A loudspeaker of uncommon musicality $8495 The active, two-way, tower version of ATM’s an exceptional value—a beautifully made and precision. Built upon the R&D that GoldenEar’s Triton Reference may not be the compact, passive SCM19, the 19A equals or full-range loudspeaker that, at a fraction of the gave birth to the flagship Model Seven, equal of speakers six times its price, but it betters the stand-mounted version across cost, holds its own with the most heroically the four-driver, medium-scale Treo CT is an extraordinary value for the money at virtually all sonic criteria. It has superior bass engineered transducers on the market. The conveys a single-driver-like coherence $8500 the pair—especially in a package that extension, although its greatly improved five-way T3 is a highly versatile speaker, that immerses the listener in the very is comparatively small and exceptionally well low-end control and pitch-definition are what designed to perform at its best in a wide moment the recording was captured. styled for its level of performance. Its built-in truly engage the listener. Images just lock in. variety of rooms, thanks to the flexibility of its It combines uncanny image specificity, subwoofer goes to the lower depth with out- Its comforting warmth in the lower mids and three woofers, each isolated in its own sub- color, and texture with an enveloping standing realism and detail; the combination upper bass further adds to the impression of enclosure. One, two, or all three 7" woofers sense of air and immersiveness. At of an advanced crossover with a new ribbon musical scale and substance. Also, the 19A has can be activated, with the option, as well, of least some credit must go to the Model tweeter and upper-bass/midrange drivers a little fuller midbass than you might expect inserting (provided) plugs into their rear-facing Seven-derived CT (carbon tweeter), in an improved layout ensures equally good from a two-way (piano aficionados should take ports. Because of its voicing and power- which is as transparent and open as it performance over the rest of the spectrum. A note). Though this ATC may seem pricey at first handling capability, the Imagine T3 is a great is extended. Basically a passive version very smooth and musical speaker that is re- glance, considering the amp-packs and preci- rock ’n’ roll speaker, but it also has the tonal of the Quatro Wood CT, the Treo may markably “listening fatigue”-free without any sion electronics bundled in each speaker and finesse and spatiality needed to admirably not have quite the bass slam of that loss of detail or high frequencies, and with an the studio-grade performance, the SCM19A’s serve classical music and acoustic jazz. An easy model, but you’d hardly miss it due to its equally good soundstage given proper setup. A true value becomes more and more evident amplifier load—60 (quality) watts per channel unflappable resolution of pitch. A true genuine buy for the money and well worth the with every recording. Audiophiles might shrink should be plenty. (258) classic. (262) added cost above the Triton One. (276) from active loudspeakers, but the SCM19A makes the case, emphatically. (272)

17 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Wilson Audio Sabrina Magico S1 MkII German Physiks HRS-130 $15,900 $16,500, M-Cast ($20,295, M-Coat) $18,775–$23,000 depending on finish The Sabrina is the smallest and least Magico’s smallest floorstander sports The Unlimited II’s bigger brother combines a expensive floorstander in the Wilson all the key features seen in the larger carbon-fiber Dicks Dipole Driver (DDD) with a line. Entry-level, maybe, but there are no models of the California company’s S floor-firing 10" woofer. The DDD is a serious observable shortcuts. The Sabrina has Series—an extruded aluminum en- attempt to mimic the coherent soundfield commanding and linear top-to-bottom closure, a diamond-coated beryllium produced by a small radially pulsating cyl- energy. It’s a ripe sound, a relaxed sound, tweeter, a nanographene mid/bass cone inder. The design is capable of wide-range with a slightly warmer signature that driver. So it’s no surprise that the sonic operation and by its nature generates an may surprise the brand’s devotees. It’s character (or lack thereof) of the new S1 omnidirectional radiation pattern in the hor- a Wilson, of course, so the Sabrina also is highly reminiscent of the S3 MkII and izontal plane. Expect an exceptionally wide has remarkable dynamics, outstanding S5 MkII, as well as, to a significant de- sweet spot coupled with palpable image low-level resolution, and the sense that gree, the exalted Q Series products. The outlines. The HRS-130 is almost perfect for it willfully wants to drive music forward continuity between the two drivers is a small-to-medium-sized room, providing rather than let it passively lay back. The exceptional—as good as you’ll hear in a that the room is acoustically tuned along the Sabrina artfully combines low-level dynamic loudspeaker design—resulting lines of live-end/dead-end to sharpen image resolution with the most powerful bass in excellent imaging and realistic instru- focus. Solid-state amplification works best to dynamics, never losing grip or control. mental/vocal reproduction; in addition, tighten bass lines. Microdynamics pop right Unsurpassed in a smaller listening room, bass is well defined and impactful. The out of the fabric of the music making it a this sweetheart may be pound for pound lower price is for the granular anodized breeze to connect with the music’s emotions the best Wilson Audio loudspeaker M-Cast finish, the higher tariff gets you and drama. Midrange textures are capable of available today. (256) the high-gloss M-Coat version. (270) exceptional purity. (276)

18 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Piega Coax C 711 Wilson Audio Yvette MartinLogan CLX Art Rockport Technologies Atria $25,000 $25,000 $25,495 $26,500 This floorstander from Switzerland The Wilson Audio Yvette is a three-way, single- The CLX has been a long time coming, but The Atria—a true Rockport at a more accessible boasts one of the most impressive enclosure floorstander utilizing drivers, or driver this successor to MartinLogan’s one-and-only price and size—embodies the best in drivers in all of high-end audio: a co- technology, developed for Wilson’s much larger previous full-range electrostat, the CLS, bests modern speaker design. Its vanishingly low axial ribbon of Piega’s own design and and more costly reference products like the WAMM, the original in every way, particularly in tonal distortion leads to uncanny levels of purity construction. Mounting a ribbon tweeter Alexandria XLF, and the Alexx. These marvelous balance. The least-colored, highest-resolu- and resolution, while also making the speaker inside a ribbon midrange gives the driver drivers are housed in a highly inert cabinet made of tion, most transparent-to-sources line-source easy to listen to. The Atria is also highly perfect coherence no matter what the Wilson’s proprietary X- and S-material, which lets speaker JV has ever auditioned, the CLX is the coherent, speaking with one voice—a voice listening position or height. This coher- them do their jobs without smearing. Like the latest- very model of detail, neutrality, and realism. It that disappears as a source and is capable of ence combines with the manifold virtues generation Wilson speakers, the Yvette has a richer is also, alas, limited to about 55Hz in the bass throwing a soundstage so deep it’s spooky. of Piega’s ribbons—tremendous speed, tonal palette featuring even better resolution, clarity, (though unlike the CLS there is no suckout in Surprisingly in this size and price range, this clarity, transparency, resolution—to cre- and transparency than its Wilson predecessors of the CLX’s mid-to-upper bass or lower midrange, speaker has plenty of bass heft—and dynamic ate a speaker that, above 400Hz, has few similar size. The Yvette packs a surprisingly powerful with very good large-scale dynamic impact range to spare. All these elements come equals at any price. Four woofers (two dynamic punch for such a relatively small-footprint where it plays). You’ll need a pair of ML’s De- together effortlessly, creating an experience active and two passive) in an extruded loudspeaker, with extended, detailed, and controlled scent-i subs to get the whole orchestra. Howev- that will hold you in its spell. The Atria is that and braced enclosure couple seamlessly bass. It’s a lot like hearing the amazing WAMM but on er, if you listen primarily to small-scale music rare component that is effortlessly “right” in to the coaxial ribbon. (forthcoming) a somewhat smaller scale. While it lacks the WAMM’s and are looking for a semblance of the absolute its musical presentation. Further, the speaker superb adjustable time-alignment, its fixed drivers, sound, then this is the speaker for you. (190) emits a contagious vibe of simply being happy mounted on separate sloping baffles, achieve to make music. A terrific speaker and a great wonderful alignment in the time domain with careful value, too. (241) in-room positioning. There’s a lot to like about this beauty—Yvette is a great value! (forthcoming)

19 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Magico S3 MkII Magnepan MG30.7 Bowers & Wilkins 800 D3 $28,000, M-Cast ($32,000, M-Coat) $29,000 $30,000 A strong case can be made for the new S3 MkII occupying the Over the years JV has listened to just about every loudspeaker The 800 D3 is the new flagship atop B&W’s acclaimed D3 series “sweet spot” of the company’s entire line—that is, it is a notable that Jim Winey’s fabled Minnesota company Magnepan of diamond-tweetered speakers. Compared to the next model value-for-dollar product. The three-way S3 MkII incorporates has engineered and manufactured. He’s also owned more down, the 802 D3 (there is no 801), the 800 sports larger, heavily Magico’s latest driver technologies in the 1" diamond-coated Magneplanars than any other kind of loudspeaker. Why? re-engineered woofers, netting more linear pistonic motion within beryllium dome tweeter, the 6" nanographene midrange cone, Because from the moment he first heard the three-panel the bass and fewer harmonic artifacts in the mids. The result is and a pair of 9" nanographene bass cones. The four drivers Tympani 1-Us in Basil Gouletas’ Chicago apartment back in tight, meaty bass down to 15Hz, equally extended highs, and function with the unified voice of a good electrostatic but with 1973, he hasn’t been able to get past the realism with which purity throughout. Dynamics, imaging, coherence, neutrality, and the gutsy resoluteness associated with the best dynamic drivers. these planar-magnetic panels reproduce voices and acoustic resolution are also reference caliber. Overall, the 800 D3 is remark- They are detailed and accurate without seeming “analytical” and instruments. The MG30.7 is the first multi-panel Maggie (two ably self-effacing and transparent to the source. You’ll need a big definitely maintain their composure with large-scale musical panels per side—one housing the quasi-ribbon midrange and amp to get this level of performance, and nearfield listening isn’t material of all sorts. Bass is punchy and extended; the S3 MkIIs ribbon tweeter, the other the quasi-ribbon upper bass and recommended. Otherwise, considering the technology and quality are completely up to the task of providing a satisfying listening lower bass drivers) since the Tympani IVa. This is, quite simply, that have been lavished on this highly pedigreed speaker—and the experience with opera and orchestral repertoire, big band jazz, the most top-to-bottom coherent, highest-resolution, most sonic results—the 800 D3’s $30,000 price seems almost like an and full-throttle rock. A glossy M-Coat finish adds $4k to the astonishingly lifelike planar loudspeaker JV has ever heard error. Do yourself a favor and take advantage of it. (276) price, compared to the anodized M-Cast version. (276) (from Maggie or anyone else). Not only are the 30.7s the handsomest-looking large Maggies of all time, they are also among the best deals Maggie has offered. They cost $29,000 the pair (release slated for January, 2018). That’s not chump change, we grant you, but compared to the price of the six-figure speakers they so successfully compete against, it makes them one of the greatest bargains in ultra- high-end history. (279)

20 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Vandersteen Model 5A Carbon KEF Blade Paradigm Persona 9H Von Schweikert Audio VR-55 Aktive $31,300 $32,000 $35,000 $60,000 This upgrade of Vandersteen’s venerable KEF’s Blade is a sonic, technological, and Along with the Legacy speakers, the Built from the ground up to replace the VR-5 Series Model 5A replaces the midrange driver industrial tour de force. KEF strove to prove Persona 9H is a product from one of of products, the VR-55 Aktive takes advantage of and tweeter with the radical carbon-fiber- that a true full-range point-source speaker was only two manufacturers AHC has found advances in materials sciences and collaborative clad-balsa-wood diaphragms that made not only possible, but that such a design could that can really do room compen-sation component manufacture to achieve a landmark product. Vandersteen’s $62k Model 7 so special. You deliver on its theoretically predicted benefits, well. The 9H is truly flat, has very The application of VSA’s pioneering (and remarkably don’t get the full Model 7 presentation, but for including coherence akin to a single-driver deep, quick, and detailed bass, and a cost-effective), patent-pending, active noise-reducing about half the price you come awfully close. speaker, uniform room dispersion at all fre- superb new beryllium midrange and cabinet technology combined with specially developed These special drivers exhibit extraordinarily quencies, and low coloration. The Blade realizes tweeter with a great deal of life and custom-built drivers from Accuton and Scan-Speak low coloration and also provide a seamlessness these ideals—and then some—with steadfast detail but no hardness. With excellent results in a level of performance that Greg Weaver to the music that makes you forget you’re imaging, balanced tonality regardless of listen- driver integration and something much feels breaks new ground below the $100,000 mark in listening to loudspeakers. Featuring a ing position, astounding detail and dynamic closer to a point-source sound than in resolution, transparency, and transient response. Its self-powered 12" push-pull woofer with resolution, and vanishingly low distortion in most complex speaker systems, the resolute yet sweet and extended high frequencies, equalization adjustments below 100Hz, the both the frequency and time domains. Musical- 9H provides some of the best imaging vibrant and expressive midrange, and astonishingly fast 5A Carbon can deliver extraordinary bass ly, the Blade is glory itself. Its rhythms sweep and soundstage performance around. and accurate bass make it a natural at revealing finely extension. Original owners of the Model 5 can you along, its dynamics can by turns move and Pricey at $35k, but the sound quality detailed pitches, rich harmonics, and accurate textures. upgrade to the Carbon for $8650. (219) stun you, its resolution informs you, its timbres really delivers, and its size and weight Given its striking ability to recreate the space and transport you, and its clarity makes delineating are far more practical than that of acoustic signature of a recorded venue, with a unique musical lines child’s play. Though advanced in many contenders for the state of the adjustability that allows it to play chameleon and every respect, the Blade is an instant classic art. (273) seamlessly integrate into any room, the VR-55 Aktive destined to influence many speakers to come. won GW over; he purchased his review pair as his new (222) reference loudspeaker. (256)

21 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

MBL 101 E MK II YG Acoustics Sonja 2.2 MartinLogan Neolith Zellaton Reference MkII $70,500 $76,800 $79,995 $150,000 Always the thrill rides of the high-end The successor to YG’s formidable Sonja 1.2, the MartinLogan swung for the fences with the The Reference MkII is a three-way floorstanding audio amusement park, with sensational new 2.2 improves upon the original version’s new Neolith, mounting a roughly 4' x 2' XStat loudspeaker with a single 2" true cone tweeter, dynamic range, superb transients, high performance in some significant ways such as electrostatic panel atop an enclosure that a single 7" mid/woofer covering the range from resolution of inner detail, and the most higher resolution of fine detail coupled with houses a front-firing 12" driver and a 15" 200Hz to 6.5kHz, and three 9" woofers, all housed surround-like soundstaging this side of a an increase in overall “ease,” a bit more bass rear-firing woofer. Once you’ve heard the in a gorgeously finished, multi-layered, ma- full-bore home-theater system, the four- heft, better definition of complex musical lines transparency, resolution, and sheer sense of trix-braced, open-backed enclosure. Every one of the way, omnidirectional MBL 101 Es had three during demanding musical passages, and an nothing between you and the music that the Reference’s drivers uses Zellaton’s unique sandwich weaknesses: Their ported bass, though expanded and more continuously rendered Neolith’s big panel delivers, you’ll be spoiled cone, rather than a mix of cones and domes made sensationally exciting, was a bit overblown, soundstage such that the speakers blend into for life. Surprisingly, these virtues of electro- of a variety of materials—which is one reason why their upper midrange could be a bit bright, the soundscape even more seamlessly than stats are combined with seamless integration the speaker sounds so remarkably ’stat-like and and their imaging at centerstage could before. Overall soundstage depth and height with the bass, resulting in a speaker with full of a piece. Of course, the main reason the Zellaton be a little vague. The MK II version of this were also strong points, says reviewer Kirk frequency extension and dynamics along with Reference MkIIs are reminiscent of electrostats unique omni loudspeaker ameliorates Midtskog, as were individual image depth fabulous transparency. The Neolith is beau- is the forehead-slapping realism with which they these problems, without losing the unique and image density. The 2.2 also features YG’s tifully built and finished (available in seven reproduce voices and many acoustic instruments. Radialstrahler virtues, via a redesigned new BilletDome soft-dome/frame tweeter, a colors), highly flexible in room-matching, and This is in equal parts the result of extremely high woofer that offers better control, a new technical breakthrough in tweeter design for backed by a solid company with 33 years of resolution, extremely lifelike reproduction of tim- subwoofer cabinet, a new ring design which the company has applied for a patent. In experience in building electrostatic loudspeak- bre, extremely natural and linear reproduction of for the bass port, re-tuned front-to-rear brief, the Sonja 2.2 is a speaker that serves the ers. An unqualified triumph that competes in transients, and extremely low driver/box coloration. dispersion, and new crossover technology. music, no matter what kind, with great facility the upper echelon of today’s best cost-no-ob- With really great recordings of acoustic music, the The result is a genuine improvement in a and aplomb. (279) ject loudspeakers, the Neolith was The Abso- result is a truly remarkable sense of being in the genuine classic. (218) lute Sound’s 2015 Overall Product of the Year. presence of actual vocalists and instrumentalists. (259) One of JV’s references. (278)

22 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Floorstanding Loudspeakers

Rockport Technologies Lyra Magico Q7 MkII MBL 101 X-Treme Wilson Audio WAMM Master Chronosonic $169,500 $229,000 $263,000 $685,000 (Master Subsonic Subwoofers are $45,000 Although positioned just below the $225k Magico has taken the Q7, a speaker RH As anyone who has heard them at trade each) Arrakis in the Rockport line, the Lyra sets a new has long considered to be the state of the shows can attest, this huge, one-of-a- With the new WAMM Master Chronosonic, an entirely re- standard in innovative construction as well as art and, surprisingly, made it significantly kind loudspeaker system, comprising conceived version of the legendary original, David Wilson in sound quality. The Lyra is a three-and-a-half- better. The Q7 MkII benefits from an two omnidirectional MBL 101s in a has broken new sonic ground. Wilson has gone to consid- way, five-driver design with a rear-firing port. entirely new tweeter designed from the D’Appolito array and a separate, three- erable lengths to refine its emphasis on the time-domain, Two 6" midrange drivers flank the 1" wave- ground up, a new midrange diaphragm cabinet, six-driver, push-push subwoofer by which the company means the ability to adjust the guide-loaded tweeter, with two 10" drivers made from graphene (a new carbon column per speaker side, is high among driver modules for optimal sound reproduction—down to on the bottom. The enclosure is made from material), and a redesigned crossover the world’s most exciting, realistic, five millionths of a second. This helps provide a vanish- two massive shells of cast aluminum, with the with exotic capacitors. The MkII obviates beautiful-sounding, and immersive ingly lower noise floor that supplies the foundation for cavity between them filled with a proprietary, the classic dilemma of resolution vs. ease transducers. Though it is hard to beat the WAMM’s sonic prowess. Its scale and dynamic power high-density urethane core material. Musically, by combining extraordinary midrange in dynamics, density of tone color, and have to be heard to be believed, and even then it requires the Lyra delivers a horn-like visceral imme- and treble resolution with tremendous spaciousness, what the 101 X-Treme does something of a mental adjustment to comprehend just diacy with its absolutely stunning dynamic delicacy and a complete lack of hardness indisputably better than anything else how expansive a soundstage it reproduces. New subwoof- performance. The musical effect cannot be and glare. The reduction in distortion that JV has heard is the third dimension. ers, boasting three drivers each, complete the package. overstated; the Lyra sounds “alive” in a way is so profound that the Mk II sounds as Vocalists and instrumentalists aren’t A big room is a must. Despite its large size, however, that other speakers do not. Yet for all its verve though it has a different tonal balance just imaged in a single plane or with a the most beguiling aspect of the WAMM may not be its and panache, this is a speaker of great delicacy, than the original Q7, even though the touch of body behind them, as in a bas- capacious soundstage, deep bass, or seemingly limitless capable of conveying the subtlest nuance of two speakers have identical measured relief. They stand before you like actual dynamics. Rather, it is the ability the loudspeaker has to texture and shading. It’s also the most beautiful response. Although the woofer section objects, within a soundfield that no other draw you into the music, banishing any sense of electron- in timbre that RH has heard, combining high remains unchanged, the MkII’s bass is loudspeaker can equal in width, depth, ic haze or glaze. The WAMM possesses a limpidity that resolution with lush textural liquidity. The icing considerably improved, perhaps by virtue and height. Where listening to music allows it to shine on vocals, while presenting any accom- on the cake is the Lyra’s small size (for a world- of greater midrange resolution of bass on other speakers is like going to the panying instruments and voices as something more than class reference, which it certainly is) that allows instrument overtones. The overall result movies, listening to music on the 101 vague ancillary adjuncts. It is literally and figuratively a it to fit in many more rooms than other speak- is a much deeper connection with music. X-Tremes is like going to a play. (189) towering achievement. (276) ers of this price. (276) RH’s long-term reference. (256)

23 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Subwoofers

REL Acoustics T/7i Syzygy Acoustics SLF870 JL Audio e110/e112 MartinLogan BalancedForce 210 $999 $999 $1699/$2099 $2995 A special round of applause is due Though not the only wireless subs available, the Before he got this hefty little cube (with 10" driver) Before he discovered the 210s, reviewer this mini-sub for music lovers. The Syzygys incorporate useful advanced technology from JL Audio, JV was anything but a fan of subwoofers, SH tended to eschew much of the bass- new T/7i is even faster and tighter at an excellent price. By using your smartphone which always seemed to take more away in midrange centric jazz and classical music that he than its forbear, yet remains tonally as the set-up computer, the Syzygy app equalizes transparency, tone color, and resolution than they paid really enjoys because of the inability to supple, with well-defined timbres. It’s the subs in the room; once their response is flat, back in bass-range extension, detail, and power. Crossed achieve realistic SPLs. Once he put the also remarkably potent for a single, they are easy to blend with the main speakers. over at the right frequency—which is easy to do with the 210s in his listening room, his music— forward-firing 8" driver augmented And once dialed in, they just work without having instructions that JL provides and the e-Sub’s manifold and not just music where bass was by a quick-reacting, downward-firing to diddle. A seamless transition from reviewer built-in controls, including a genuine fourth-order prominent—took on a whole new life. 10" passive radiator (and a smooth Vade Forrester’s main speakers to the subwoof- Linkwitz-Riley high-pass/low-pass crossover—the e110 The 210s made a far larger difference in 200W Class AB amp). The sumptuous ers made the SLF870s sound like a continuous is the very first sub he’s heard that doesn’t screw up the his system than any other component in high-gloss lacquered enclosure with extension of his main speakers. VF wondered sound of the main speaker. Rather it seems to extend that a very long time—and that’s saying a lot. aluminum accents has inputs for whether the wireless connection might cause sound into the bottom octaves, producing some of the If you have a large room or really want to high-level Neutrik Speakon (cable dropouts, but after carefully monitoring the highest resolution of bass timbres and textures he’s heard reproduce low bass, the Balanced Force included), plus low-level RCA and LFE. sound to detect any possible problems, he found from any transducer. Driven by its own 1200W Class D 210s are essential tools to getting the A little classic. (265) no issues. That’s how technology should work. amplifier and capable of extension into the mid-to-low most out of your music. (252) Very highly recommended and a great value for twenties, the e110 is a powerhouse with uncommon grip the price. (276) and definition. Paired with something like a Raidho D-1 stand-mount it will give you everything (save for dynamic range and overall impact) that you pay the big, big bucks for in a massive multiway floorstander, and it will do so for a mere $1699 ($2099 for the e112 12" version). (244)

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TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017 Classic, Redefined

Our Top Picks Subwoofers

JL Audio Fathom f112/f113v2 JL Audio Gotham g213v2 $3700 (f112v2); $4500 (f113v2) $15,000 These two subs—identical except for woofer This gigantic $15k subwoofer with two 13.5" size (12" vs. 13.5") and amplifier power (1800W drivers has simply redefined subwoofing vs. 3000W)—raise the bar in subwoofer for JV. Never a fan of subs, he’s been turned performance with their unlikely combination around by this wonderful product, which in of brute-force power and tonal and dynamic combination with JL’s CR-1 crossover, is capable When Dave Wilson designed the original Alexia, he consolidated a large portion of his company’s finesse. Capable of delivering high SPLs at very of a more seamless blend with main speakers formidable experience and cumulative knowledge into its design. But Wilson has not stood still since low frequencies without strain, the Fathoms (be they two-ways, panels, or multiways) than the original Alexia was developed. The company’s technology has continued to evolve and advance in the areas of drivers, crossover analysis and design, time-alignment accuracy, and composite are adept at resolving the pitches, dynamics, anything he’s yet heard (in fact, than anything materials research—and even in the arcane science of wire management. Dave’s Magnum Opus, and timbre of an acoustic bass. Loaded with he imagined possible), with next-to-none of the WAMM Master Chronosonic, dramatically advanced the art of believable music reproduction. useful adjustments, including low-pass filter, the midrange veiling—the loss of resolution In turn, the Alexx, which was developed alongside the Master Chronosonic by son Daryl Wilson, has polarity, variable phase, and ELF trim. Built-in and transparency—that was inevitably part- itself profoundly advanced music reproduction in its respective category. DARO room correction, considerably upgraded and-parcel of subwoofing in the not-too-distant Daryl understood fully what his father achieved in the original Alexia. He was determined to in the newer V2 models, greatly smoothes past. What the Gotham does is open up an incorporate many of Wilson’s newer technologies and strategies into the Alexia platform in in-room response and makes for easier entire new world of loudspeaker possibilities, order to further advance its remarkable musicality and resolution, without comprimizing any integration with your main speakers. Reference- wherein smaller and/or less expensive mains aspect of the original’s appeal. In the end, every constituent of the Alexia was scrutinized, quality performance at a reasonable price. can be made to sound a whole lot like Raidho refined, and ultimately enhanced. Introducing Alexia Series 2: a loudspeaker consummately fluent in communicating the emotional and intellectual gestalt of the musical performance. (forthcoming) D-5.1s or Wilson Alexandrias or Rockport Arrakis or Magico M Projects, for a lot less dough. JV’s reference. (254) Watch the story unfold in a new video at wilsonaudio.com. Click on the YouTube icon.

25 Top Picks in High-End Audio and Music 2017 the absolute sound www.wilsonaudio.com

Alexia S2 Ad TAS.indd 1 12/8/17 9:18 AM CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

TOP PICKS: ELECTRONICS

Click a category to see our Top Picks reviews. Contents

HOW MUCH AMPLIFIER POWER DO YOU NEED? • INTEGRATED AMPLIFIERS • PREAMPLIFIERS • POWER AMPLIFIERS • ALL-IN-ONE SYSTEMS

26 Top Picks in High-End Audio and Music 2017 the absolute sound 27 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature

How Much Amplifier Power Do You Need? Robert Harley

Excerpted and adapted from The Complete power is of paramount importance. Now, say we had a loudspeaker rated at 91dB Guide to High-End Audio (fifth edition). The amount of power needed varies at 1W/1m—only 3dB more sensitive than the Copyright © 1994–2017 by Robert Harley. greatly according to loudspeaker sensitivity, first loudspeaker. We can quickly see that we hifibooks.com. To order call (800) 841-4741. loudspeaker impedance, room size, room would need only half the amplifier power (64W) acoustics, and how loudly you like to play music. to produce the same volume of 109dB SPL. A his is the first question to answer Loudspeaker sensitivity specifies how high a loudspeaker with a sensitivity of 94dB would when shopping for a power amplifier sound-pressure level (SPL) the loudspeaker will need just 32W to produce the same volume. or integrated amplifier. Power output, produce when driven by a certain power input, A speaker with higher sensitivity can simply Tmeasured in watts into a specified loudspeaker and is, by far, the biggest determining factor convert more of the amplifier’s power into impedance, varies from about 20Wpc in a very in choosing an appropriate power output. A sound. the demo, the music was so quiet that I could small integrated amplifier to about 1000Wpc in typical sensitivity specification will read “88dB This relationship between amplifier barely hear it. I looked at the power amplifiers— the largest monoblocks. Most high-end power SPL, 1W/1m” (often shortened to “88dB/W/m”). power output and loudspeaker sensitivity 300Wpc monsters with large power meters— amplifiers put out between 80 and 250Wpc. This means that the loudspeaker will produce was inadvertently illustrated in an unusual and was astonished to see that the power Single-ended-triode amplifiers, described later an SPL of 88 decibels (dB) with one watt of demonstration nearly 70 years ago. In 1948, meters were nearly constantly pegged at full in this chapter, generally produce between 3 input power when measured at a distance of loudspeaker pioneer Paul Klipsch conducted power. This unusual speaker converted only and 50Wpc. one meter. (The decibel is explained in detail a demonstration of live vs. reproduced sound a minuscule amount of the amplifier’s output Choosing a range of amplifier power output in Appendix A, “Sound and Hearing.”) Although with a symphony orchestra and his Klipschorn power into sound. that’s appropriate for your loudspeakers, 88dB is a moderate listening volume, a closer loudspeakers. His amplifier power: 5W to The importance of loudspeaker sensitivity listening tastes, room, and budget is essential look at how power relates to listening level 30W (accounts differ). The Klipschorns are so is also demonstrated by today’s 3Wpc single- to getting the best sound for your money. If reveals that we need much more than 1W for sensitive (an astounding 104dB/W/m) that ended-triode amplifiers, which can produce the amplifier is underpowered for your needs, music playback. they will produce very high volumes with very moderately loud listening levels through high- you’ll never hear the system at its full potential. Each 3dB increase in sound-pressure level little amplifier power. Klipsch was attempting sensitivity speakers. These examples of huge The sound will be constricted and fatiguing, will requires a doubling of amplifier output power. to show that his loudspeakers could closely variations in sound-pressure level and amplifier lack dynamics, and the music will have a sense Thus, a loudspeaker with a sensitivity of 88dB at mimic the tonal quality and loudness of a full power illustrate how loudspeaker sensitivity of strain on climaxes. Conversely, if you spend 1W would produce 91dB with 2W, 94dB with 4W, symphony orchestra. greatly affects how big an amplifier you too much of your budget on an amplifier bigger 97dB with 8W, and so on. For this loudspeaker The other end of the speaker-sensitivity need. Even a small difference in loudspeaker than you need, you may be shortchanging other to produce musical peaks of 109dB, we would spectrum was illustrated by a demonstration I sensitivity—2dB, say—changes your amplifier components. Choosing just the right amplifier need an amplifier with 128W of output power. attended of an exotic new loudspeaker. During power requirements.

28 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Integrated Amplifiers

NAD D 3020 NAD C 368 Yamaha A-S801 NuPrime IDA-8 $499 $899 $899 $995 Truly a design for our times, the D Does anyone make better sub-$1k integrated Is there any other audio component with as Sonically and functionally, JM found plenty to 3020 is improbably small and portable amplifiers than NAD? Exhibit A is the new C 368, many features as the A-S801 amplifier? And love about the IDA-8. Essentially, it’s a sleek- and loaded. The 30Wpc D 3020 a great-sounding and forward-looking integrated it’s not like the features were just thrown in to looking, small-footprint hybrid Class A/Class offers 24-bit/96kHz-resolution USB that will satisfy now and well into the future. The impress; the A-S801 surprised reviewer Vade D integrated amplifier/DAC—that combines computer audio and aptX Bluetooth 80Wpc C 368 (240Wpc IHF dynamic power into 4 Forrester by how good it sounded driving the Class A warmth and resolution with Class D music streaming. For all its humble size ohms) incorporates not just a DAC, but a full suite of inefficient KEF LS50 speakers in his largish speed, power, and efficiency. Its DAC supports and appearance it’s pure NAD. Firmly interchangeable modules thanks to NAD’s Module room. No, it didn’t equal his far more expensive USB 384kHz/32-bit and DSD256, and is also midrange-centered, it never over-reaches Design Construction. You simply pop out a module reference gear, but during a listening session capable of decoding DoP (DSD over PCM) via in the sense of growing shrill in one and pop in a new one, either to tailor the C 368 to several of his audio buddies said they derived coaxial and optical inputs. The well-conceived direction or tubby in another. Yes its your particular system or to accommodate future genuine musical enjoyment from the system IDA-8 delivers substance with plenty of lighter overall balance is due to some technologies. For example, the BluOS module anchored by the Yamaha A-S801 amplifier, gusto—and does so from an astonishingly quiet bottom-octave attenuation, but the D ($399) turns the C 368 into an almost complete and could happily live with it. Coming from background. Since NuPrime’s founding, Jason 3020 retains an essential presence, a digital playback device, adding a streaming music a group of lifelong audiophiles, that’s high Lim has continually sought to improve sonics midrange integrity, that sculpts the body player to the DAC as well as MQA unfolding. The C praise indeed. The Yamaha A-S801 looks good, through innovative technologies—in addition of a performance and makes it live in the 368 sounds more powerful than its rating, capturing sounds splendid, and has a long list of useful to offering high performance and value with listening space. Although there’s a little music’s continuously changing dynamic level with features at a price that makes it a bargain! respect to pricing. This amp exemplifies that bit of a shaded ceiling over the top end, noteworthy precision and exhibiting a dynamic (263) approach. A great-sounding stone-cold good the D 3020 need make no apologies. The exuberance typical of NAD equipment. Percussion deal. (263) other argument is, hello, $499—making parts are delivered with abundant transient detail, it by most standards a small miracle of with none of the solid-state anomalies that have packaging and portability, and with a few historically made transistors in general and Class exceptions a delight to use and listen to. D in particular sound unpleasant. Easy to set up, (239) easy to use, extremely flexible when used with Bluesound gear, this could be the last hi-fi purchase you’ll need to make. (279)

29 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Integrated Amplifiers

PrimaLuna ProLogue Premium Hegel H360 Constellation Inspiration 1.0 $2399 $6000 $9000 For PrimaLuna, the Premium Series is the The Norwegian firm’s integrated amplifiers A distillation of Inspiration 1.0 separates, tweener line, geared to bridge the gap have always been overachievers, but the Constellation’s 100Wpc integrated between the performance/feature set of the new H360 is, by a wide margin, Hegel’s most fuses smooth sonic performance with an entry-level ProLogue Series and that of the impressive effort yet. With 250Wpc into 8 affordability factor that might come as a more advanced and costlier DiaLogue Series. ohms (420Wpc into 4 ohms) and 50 percent pleasant surprise to fans of this exclusive Sonically, the 35Wpc ProLogue Premium does greater current capacity than the H300 it and pricey brand. Finished in sandblasted not have the rosy, euphonic colorations of replaces, the H360 is a powerhouse. But aluminum the Integrated 1.0 incorporates traditional triode or SET tube varietals. True, that power comes with Hegel’s signature preamp topology derived from the uptown there is a glimmer of romance in its palette, virtues of a gorgeous rendering of timbre, a Performance Series plus the same Line Stage but tonally it’s a thoroughly contemporary completely relaxed and natural presentation Gain Module circuit topology found in all tube amp that walks a mostly neutral line, devoid of electronic artifacts, and a spatial Constellation products. Sonically the 1.0 casts yet still reproduces the lowest-level details dimensionality that competes with expensive a wide musical net with ample dimensional of music with an almost tender delicacy and separates. To top it off, the integral DAC is and soundstage cues, unflappable dynamics resolution that combine the best of the valve outstanding—fully up to the quality of the and power reserves that keep the 1.0 from and solid-state worlds. There’s an inner light to amplifier. Throw in network connectivity getting winded even when confronted with images, plus a huge soundstage and cavernous and an innovative feature that allows you to more difficult speaker loads. It possesses a hint dimensionality. The ProLogue Premium places upgrade the DAC section, and the H360 is of warmth but even at high output levels never the emphasis on ingredients that often elude clearly the integrated to beat at this price. loses its cool. It’s also configurable with single- more commonplace electronics—the liveliness (260) ended and balanced inputs, and flexible with and fluidity of the musical event. (212) home theater bypass plus a headphone amp that sports a rear-panel output. (forthcoming)

30 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Integrated Amplifiers

Pass Labs INT-250 Esoteric F-03A T+A PA 3000 HV $12,000 $13,000 $19,000 A force to reckon with, the muscular INT-250 If you lust for Esoteric’s ultra-expensive As is the case with the amplifiers from benchmark Swiss brands like Soulution and CH with 250Wpc (and 500Wpc into 4) embodies Grandioso system but don’t have the dough or Precision, T+A’s HV Series integrated amplifier is ultra-wide bandwidth. T+A also employs effortless dynamics, ultra-wide bandwidth, the space, the F-03A integrated is the solution. additional top-tier touches such as highly regulated power supplies and dual-mono, superb low-end control and grip, and effortless, This integrated amp is designed and built symmetrical, discrete, fully balanced, zero-global-feedback circuitry. But T+A products unpretentious highs. Optimized for greater to the highest standard, but with a modest are far from copycats; the company has gone in some bold new directions. Most notably, flexibility with grunt-worthy speaker loads power output of 30Wpc (60Wpc into 4 ohms). the “HV” in its model names indicates that these pieces run at an unusually high voltage. of 86dB efficiency or less, its soothing and Nonetheless, those 30W are all Class A and Whereas most solid-state amp electronics operate at about 100 volts internally, T+A seductive sonics are an ideal companion for some of the sweetest you’ll ever hear. When gooses its HV units to a whopping 360 volts—roughly the range of tube gear. How close analog LP playback—this Pass integrated driving an appropriate sensitivity speaker, the does the PA 3000 HV’s sound come to that of the Big Boys? Well, at $19,000, this 300- just makes you want to spin vinyl endlessly. F-03A delivers the harmonic richness, transient watt integrated amp costs only a small percentage of Alan Taffel’s reference CH Precision Remarkable, too, is the amp’s lush midrange fidelity, transparency, and musical resolution C1/2xA1 combo. (260) that pushes a loudspeaker to the very edges of much more expensive separates. The chassis of its performance envelope. With musicality work, ergonomics, and “feel” are exemplary. that is second to none, it operates at the outer This is ultra-high-end on a smaller scale. limits of what is currently possible in today’s (forthcoming) integrated-amplifier market. (263)

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Our Top Picks Integrated Amplifiers

Ypsilon Phaethon Vitus Audio SIA-025 $25,000 $25,200 Ypsilon, the near-mythic Greek electronics Exemplifying the best of separates in a single, manufacturer, has brilliantly grafted the trim, and seriously-hyper-massaged chassis, the electronic DNA from its flagship Aelius 25Wpc pure Class A SIA-25 is the pinnacle of a monoblocks and PST100mk2 preamp into its breed never again to be underestimated. The sole integrated amp. The result is a 110Wpc sonic results speak for themselves—a liquid hybrid amplifier utilizing only three active presence, a three-dimensional stage, and the gain stages—with low-noise 6H30 valves, finest gradations of micro-information and operating in single-ended Class A for the input dynamic contrasts. If all other elements in the and driver stage. But specs alone can’t explain system chain are strong, you’ll hear less system the Phaethon’s alchemy. Few amps have and more space—each component seems to captured the earthy sense of “being there” settle and calm and in so doing achieves a like the Phaethon. It performs with a palette wider expression, greater intimacy, and a richer of wide color, velvety textural contrasts, and vibrancy at even the lowest levels. With watts micro-detailing, as well as a vise-like grip over more precious than gold, calling the SIA-025 a bass dynamics. A remote control is included bargain is a stretch, but after a few minutes of along with four inputs with a standard 47k listening you may begin to reconsider. (218) ohm phonostage. Quality of construction is Herculean—seventy heroic pounds of satin- finished aluminum and heat-sinking that would take the demigod himself to lug up Mt. Olympus. (278)

32 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Preamplifiers

NuForce HAP-100 Rotel RC-1570 Alchemy by Elac DDP-1 Rogue Audio RP-5 $549 $999 $1995 $3495 NuForce’s HAP-100 preamplifier/headphone The RC-1570 stereo preamplifier is a fully The DDP-1 combines a preamplifier, DAC, and Combining classic vacuum-tube heritage with amplifier offers serious high-end performance featured unit with four analog inputs, an headphone amplifier into a half-width chassis. micro-processor control is Rogue’s recipe for at a modest price. The HAP-100 is a Class A additional balanced analog-in, and even a With a wide array of digital and analog inputs one satisfying and affordable preamp. The solid-state design that delivers unusually wide moving-magnet phonostage. But that’s not and a superb user interface, the DDP-1 is a RP-5 brings its magic to bear in the areas of bandwidth with low levels of distortion and all: The RC-1570 is equally adept with digital. highly capable and versatile centerpiece of a color saturation and tonal liquidity, presenting noise. Together, these characteristics make for There are two coax and optical inputs, plus two system that’s a pleasure to use on a daily basis. a natural acoustic clarity that rings truthful. It a sound that is quite detailed and that offers a USB inputs (one on the front panel and one The DAC section is particularly impressive, establishes an authentic sense of dimension purity and clarity unexpected at this price. The on the back). With digital sources, the preamp featuring a new version of Alchemy’s and spaciousness specific to each image. The HAP-100 sports four inputs, a remote control, has a built-in Wolfson DAC that supports Resolution Enhancement DSP that improves treble is nicely extended, quick, detailed and and a cool volume control with 100 settings in resolutions up to 192/24. Indeed, the RC- the sound of digital. The DDP-1 sounds like abundant with harmonic information. Bass 1dB increments. It makes a good headphone 1570’s excellent all-around sound—it gets the it should cost more, with a resolution and performance is authoritative, controlled, and amp, too, with one caveat: namely, the NuForce essentials of timing, tonality, and dynamics transparency that rival more expensive yet also somewhat warm and bloomy. The is audibly load-sensitive and thus not an ideal right despite its modest price—only gets products. Its presentation is remarkably RP-5 is a prime example of what the high end match for some of today’s more difficult-to- better with high-resolution files. With all these transparent, clean, dynamic, and resolved by is all about—music reproduced accurately drive top-end headphones. With the right inputs and the built-in DAC, the RC-1570 can any measure, and even more so considering and beautifully. The RP-5 is a component that ’phones, however, the NuForce sings. (230) serve neatly as a versatile control point for a the component’s reasonable price. The DAC should tempt a lot of people to go Rogue. (260) modern audio system. (242) section is more upbeat and forward than the somewhat laid-back linestage. Upscale metalwork and beautiful industrial design round out this compelling package. (262)

33 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Preamplifiers

Aesthetix Calypso and Janus Signature McIntosh Labs C22 Constellation Inspiration Preamp 1.0 Pass Labs XP-30 Calypso, $5000; Calypso Signature, $6000 $9900 $16,500 $7000; Janus, $7000; Janus Signature, The C22 is a fully updated version of Mac’s last This trickle-down product from Constellation’s Here you have two monaural line preamps $10,000 tube preamp from the old days, with functions $90k Altair preamplifier brings you much of sharing a single power-supply chassis—a The stalwart Calypso and new Janus Signature galore, including useful tone controls and the Constellation sound for a fraction of the stacked deck that crushes the competition (which includes a Rhea Signature phonostage) that classic Mac sound made contemporary price. Using the same schematic (and even when it comes to traditional solid-state share numerous qualities: speed and detail; with greater transparency and much lower the same audio circuit-board layout) as the virtues such as transient attack, bass control, highs without a glint of shrillness; a low noise and distortion. By any standard this is an Altair, the Inspiration 1.0 delivers the signature and detail resolution. But the real magic is noise floor; precise rhythms; dynamics that absolute triumph of tube technology that for Constellation sound of high resolution, in bridging the great divide between the are only a skosh less lively than reference- sheer sonic pleasure would be difficult to beat an airy and spacious soundstage, and a sound of tubes and transistors. Image focus caliber; and a laid-back perspective. The quiet owing to that combination (a real specialty chez complete absence of hardness and glare. The and soundstage dimensionality are tube- background and smooth treble add up to long Mac) of neutrality tempered by just the right savings were realized with a less expensive like, as is the big tone and dynamic integrity. hours of glorious, fatigue-free listening. As amount of tube warmth and dimensionality implementation of the Altair’s circuit, along Microdynamic nuances and rhythmic drive for differences, the normal Calypso/Janus without descending into the mush of tubes with less extravagant casework. (249) are also convincingly reproduced. Orchestral soundstage is big, but not huge, while the from decades past. The phonostage, mm or mc crescendos expand from loud to very loud Signature soundstage is fully realized. The (with loading options), boasts unbelievably with absolutely no compression. Consistently Signature also delivers a richer portfolio of low noise—as does the whole unit—and truly faithful to the recording, the XP-30 refuses to instrumental timbres, more air, longer decays, spectacular dynamic range, obviating the need dish out the sort of euphonic camouflage some and better-defined bass. However, these are for a stand-alone. With McIntosh build and solid-state amps do. A supremely musical line accompanied by an upper-bass bump that adds traditional styling, the C22 is a classic reborn. preamp that may well prove to be all things to a warmth and thickness that affects both timing (266) music lovers and audiophiles alike. (223) and timbre. The choice between the Signature and non-Signature model will come down to personal preference, though, at $5000, the original Calypso remains a steal. (196)

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Our Top Picks Preamplifiers

Lamm Industries L2.1 Reference Soulution 520 $22,790 $26,000 Absolare Passion Dan D’Agostino Master Audio Systems This two-chassis affair, with an outboard power Until the recent arrival of the Soulution $31,000 ($36,000, Signature) Momentum supply, is a hybrid design but not in the usual 725, JV had never heard a better solid- This ultra-minimalist single-ended triode $35,000 sense. The power supply is all tube, while the state preamplifier that this little gem from preamplifier is about as tweaky as a So visually attractive you might buy it as audio circuit is solid-state. The musical message Switzerland. (Only 2012’s POY-winner, the preamplifier gets, with an extremely simple piece of sculpture, the D’Agostino Momentum is presented without any tonal accents. Its Constellation Virgo, competed on a near-equal signal path, just four unbalanced inputs, no preamp’s real merit is its extraordinary sound, inherent sound is texturally pure, with only a footing.) Not only does the 520 have all the remote control, and two unmarked front-panel which seemingly combines the sweetness slight suggestion of second-order harmonics. things you would expect from world-class knobs (volume and input selection). The circuit of the best tube preamps and the detail and The music’s full complement of drama is on solid-state—jaw-dropping transient speed, is built using cost-no-object parts, and housed accuracy of the best solid-state designs, display as the L2.1 always seems to squeeze outstanding low-level resolution, tremendous in a massive aluminum chassis clad in leather. making it one of the few preamplifiers that a bit more energy from each recording. The grip in the bass, vanishingly low noise and Sonically the Passion is very much like the can reproduce all the warmth and romance remarkably low noise floor enables exemplary coloration, but like its companion pieces, companion Passion 845 power amplifiers, with of the best recordings. If the recording is resolution of track fadeouts and reverberant the 501 monoblock amplifiers, it joins these a complete lack of grain, etch, solid-state glare good enough, you hear a remarkably natural, decay. In general, the spatial impression is qualities with a gorgeous, newfound density of overlying timbres. The treble is just a little on articulated, and three-dimensional soundstage, quite convincing with excellent image focus tone color that makes every kind of music sound the forgiving side, a quality that complements which seems to expand in width and depth and depth perspective, though the extent not just lively and detailed but also beautiful the tendency toward brightness of some dome without stretching the instruments or voices of soundstage layering is dependent on the and that much more realistic. When you add one tweeters. Soundstaging is phenomenal—wide, within it. The Momentum has all the features, associated power amp. The L2.1 Reference of the best built-in phonostages JV has heard deep, transparent, and three-dimensional. remote-control capabilities, and input options belongs to a select club of line preamps that in a single-box solid-state unit (the 520 is that (234) needed in a top preamp—even truly functional are capable of serving up an edgeless organic rarity in latter-day components—a full-function tone controls! (239) whole. It is a true Reference in the best sense of preamplifier), you get a genuine reference-level the word. (278) product and TAS’ 2013 Solid-State Preamplifier of the Year. (236)

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Our Top Picks Preamplifiers

Soulution 725 Constellation Altair II $60,000 ($65,000 w/phonostage) $90,000 If you want to know what an LP, reel-to-reel The Altair II is nothing short of an all-out tape, or digital file is capable of in the way of assault on the state of the art in preamplifier detail, power, color, and pure excitement, JV design. Its two-chassis design separates the doesn’t think there is another single-unit solid- power supply from the audio circuits. The state preamplifier (the 725 is a full-function performance can be taken up another level preamp with a superb, optional built-in with the addition of the DC Filter, a power- phonostage) that can outdo the sonics of this supply-sized box that further purifies the Swiss masterpiece from the boys in Dulliken. DC feeding the audio circuits. The design is Exceptionally high in resolution, gorgeously unprecedented in many respects, including dark and rich in tone color (with genuinely extraordinary measures to isolate the audio tube-like three-dimensional imaging), circuits from vibration and noise. The gain unexceeded (in transistor units) in soundstage stages are suspended on a floating “raft” width and depth, and rivaled in transient speed within a sub-chamber of the massive clamshell only by certain Constellation and CH Precision chassis, machined from two solid aluminum products, this (Swiss) cheese stands alone blocks. The Altair II sets new standards in when it comes to the bottom octaves. Nothing transparency, resolution, absence of grain, and else out there that JV has auditioned has this sheer realism, in RH’s experience. Although same lifelike weight, energy, and density of highly resolving, it is anything but etched or color and texture from about 500Hz down. The clinical. Rather, it comes as close to a colorless difference isn’t small, and it isn’t hard to hear window on the music as RH has experienced. (or feel). Like the Soulution amps, the 725 is This new version has a front-panel touchscreen a veritable sonic thrill ride. JV’s solid-state and a pair of knobs. Surprisingly, it also has reference. (249) even better sound than the original. (260)

36 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Power Amplifiers

NuPrime STA-9 Odyssey Khartago Stereo and Mono Audio by Van Alstine Ultravalve Alchemy by Elac DPA-1/DPA-1M $649 $995 and $1975/pr. $1599 $1995/$1995 each Generating 120Wpc and weighing just under Although the 130Wpc Odyssey Khartago According to Frank Van Alstine, the The DPA-1 is a stereo switching amplifier capable 10.5 pounds, the STA-9 uses a Class A input solid-state stereo amp has been around for Ultravalve’s lineage is traceable to the of 125Wpc into 8 ohms and 200Wpc into 4 circuit with a Class D output circuit. NuPrime’s better than a decade, it was new to JV until Dynaco Stereo 70, which he denotes as ohms. The front panel offers more features than website says it “is designed with enhanced amp-connoisseur Alon Wolf (of Magico) told its “great-grandmother.” Although not as traditional power amplifiers, including selectable even-order harmonic circuitry that mimics the him he used it in his shop and it was excellent. romantic-sounding as the original, it is far gain (a +6dB button), clipping indicators, a mute most attractive features of tube-amp sound Wolf was right. Although the Khartago doesn’t better focused, and in general sounds like a button, and soft-start warm-up. Both balanced without incurring tubes’ drawbacks and lim- have all the articulation and transparency of the higher-resolution device. It handles bass lines and unbalanced inputs are provided. The DPA- itations.” It’s easily bridgeable into 290Wpc standard-setting Soulution 711 stereo amplifier, with superb control and good impact and is 1M is a monaural version of the same amplifier, monoblocks, and its 47k ohm input impedance it has a surprisingly similar balance, no capable of dishing out plenty of boogie factor. delivering 325W into 8 ohms and 400W into 4 should work with virtually any preamplifier. In discernible grain, high resolution, and a deep, Its ability to retrieve microdynamic nuances ohms. Both amplifiers feature a Class A input monoblock mode, the STA-9 produced powerful wide soundstage. Positively, the best budget allows for the full scope of the music’s stage and a Class D output stage, based on Bruno bass, even with the small KEF speakers. (273) amp JV has heard, not counting the Odyssey dynamic intensity and interaction between Putzeys’ Hypex UcD module. (The DPA-1M mono- Khartago monoblocks, which have the same musicians to shine right through. (204) block simply bridges two of these modules for power rating as the Khartago but a stiffer power greater output power.) Sonically, both amplifiers supply and wider bandwidth, giving them the have a lively, upbeat sound, powerful rhythmic same basic sound as the two-channel unit drive, wide dynamic expression, and rock-solid with slightly more resolution, dynamic oomph, visceral grip in the bottom end. Soundstaging top-end air, and channel separation. Like the and transparency are also excellent. A great Khartago stereo, this is a budget monoblock for value. (262) the connoisseur. (194, 246)

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Our Top Picks Power Amplifiers

Wyred 4 Sound SX-1000R Bel Canto Ref600M First Watt F7 Aesthetix Atlas Stereo $2398 $4990/pr. $3000 $8000 While many amplifiers use Bang & Olufsen’s To SS’s ears Bel Canto’s 15.4-pound, 300W For over fifteen years First Watt has served as Aesthetix’s first foray into power amps is an ICE output device, the SX-1000R combines (600W into 4 ohms) Ref600M Class D mono- Nelson Pass’ creative playground, allowing him unqualified success. Aesthetically, the Atlas it with a direct-coupled, balanced, dual-FET block is good enough to qualify as the best to explore unusual low-power designs with an is handsome in a brawny but tasteful way. Its input stage, designed by Bascom King. The SX- all-around power amplifier he’s heard to date, emphasis on sound quality. The F7 is intended front panel offers a convenient menu-system 1000R’s 625W of power (1225W into 4 ohms) regardless of technology or circuit topology. as an improved version of the popular F5, a for input selection and crossover point, the can effortlessly deliver copious dynamics Its combination of extremely low noise, which 25Wpc stereo push-pull Class A amplifier. What latter feature allowing the amp to easily mate and details. Imaging through the SX-1000R is makes it suitable to drive even highly efficient makes the F7 so special is its inherent textural with a subwoofer. Sonically, the amp has great laterally precise. Bass extension, speed, and loudspeakers, precision three-dimensional sweetness and warm tonality. There are many resolution and reflexes, making it a snap to pitch definition proved to be among the best imaging, relaxed and natural harmonic bal- solid-state amps out there that manage to sound follow interleaved melodic and rhythmic lines. SS has heard from any power amplifier. If you ance, and power capability makes for a potent smooth and refined yet lack the organic charac- The Atlas creates a cloud of air around each require a power amp that can generate oodles package. Couple all its sonic achievements ter of live music. The F7, on the other hand, man- instrument, and a deep convincing sense of of effortless output, runs cool, produces a very with its relatively modest price, and you have ages to sail through reproduction of violin tone space. Indeed, its resolution, timing, and im- precise lateral soundstage, has substantial bass a power amplifier that could well be a bench- with superb upper-register sheen and transient aging are beyond reproach. Tonally, this amp extension and control, has a neutral harmonic mark reference for many audiophiles for years finesse—a rare feat for any solid-state amplifier. is on the sweet side in a way that is consonant balance, and is exceedingly quiet, the Wyred 4 to come. (269) The F7 delivers far more incisive transients than with real music. The Atlas is slightly less inci- Sound SX-1000R should be on your short list. tube amps, while its command of space is com- sive dynamically than AT’s reference amp, but (193, 273) petitive with the sort of 3-D spatial presentation so is pretty much everything else. Ultimately, tube amps excel in. Simply put: one of the best the Atlas is a sheer joy—both sonically and low-power amps money can buy. (263) musically—to listen to. (196)

38 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Power Amplifiers

Constellation Inspiration Stereo and CH Precision A1 Absolare Passion 845 Soulution 711 Mono $37,000 each ($70,000 dual-mono $45,500/pr. (Signature, $57,750) $75,000 $11,000 and $11,000 each configuration) These gorgeous, leather-clad single-ended-tri- Along with the CH Precision M1 and the This 250Wpc stereo amplifier is based on CH Precision, a relatively new but highly ode monoblocks deliver the glories of SET Constellation Hercules II, Soulution’s stereo 711 the same circuit as Constellation’s $190k pedigreed Swiss manufacturer, has taken the circuits in a cost-no-object implementation— is the best solid-state amplifier JV has had in Hercules. Through the Inspiration offers a less groundbreaking design of its Goldmund ances- gorgeous timbre, a smooth and relaxed treble, his system. Like the 501 monoblocks (but even expensive implementation of the Hercules’ tors—ultra-fast circuitry, mechanical ground- tremendous soundstage depth and dimension- more so) this massive, seemingly inexhaustible topology, Constellation has still managed to ing—and modernized it. The aims adhere to ality—but do so with enough power to drive amplifier is capable of virtually unlimited current bring the big amp’s DNA to a more affordable the CH gestalt of linearity—in the frequency, real-world loudspeakers to satisfying playback and amperage regardless of load. Dark and rich in price. Although not a budget item, a time, and dynamic domains—and musicality in levels. Their 52 watts, coupled with genre-de- tone color, blessed with tube-like dimensionality Constellation amplifier at $11k is something equal parts. The result is accuracy in the ser- fying bass extension and dynamic impact, and bloom, sweet and subtle in the treble, of a breakthrough. Like the Hercules, the vice of music, with plume-like orchestral col- deliver qualities that fly in the face of conven- standard-settingly powerful and well-defined Inspiration Stereo has lifelike illumination ors, visceral transients, locked-down rhythms, tional wisdom about SETs. But the Absolare’s in the bass, ultra-fast on transients, superb at in the mids and treble, exquisite resolution and dynamics that range from subtle to epic. real magic is in the sense of immediacy—that resolving inner detail, with a soundstage the of fine detail, and outstanding transparency. The amp makes it child’s play to follow musical impression of hearing contemporaneous mu- size of the Ritz, the 711 hasn’t any obvious Surprisingly, the Inspiration’s bass may even lines and instrumental interplay. All this makes sic-making unencumbered by the electro-me- weaknesses. Oh, other solid-state amplifiers be deeper and more powerful than that of for a captivating listening experience that few chanical contrivance of the playback system. will give you different sonic emphases that you the original Hercules. The mono version other amps in AT’s experience can approach. The result is a deep immersion in the musical may prefer—the Constellation electronics, for brings 500W to the party. Sonically, the two The A1 is also one of the world’s most config- expression. (234) example, are a tad higher in resolution, less dark are very similar, sharing the Constellation urable and adjustable amps (you can optimize and more open in the treble, and just as fast, hallmarks of transparency and resolution. it to your speaker’s damping characteristics and tubes and tube-hybrids (such as Siltech’s Overall, both amplifiers are fantastic values. by setting the ratio between local and global marvelous SAGA System) obviously have their (249) feedback). It’s worth noting that a single A1 own unique charms—but in overall presentation can be configured for stereo operation, deliver- JV has never heard a solid-state amp that is more ing 95 percent of its monoblock performance. thrillingly powerful or ravishingly beautiful or (239) consistently realistic than this beastie boy from Zurich. JV’s solid-state reference. (249)

39 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Power Amplifiers

David Berning 211/845 Constellation Hercules Stereo II Air Tight ATM-2001 $75,000 $95,000 $155,000/pr. In the new 211/845, David Berning has created the most The Hercules II stereo amplifier from Constellation uses As impressed as JV was and is by VAC’s Signature 450iQ ambitious realization yet of his brilliant ZOTL circuit that allows the exact same updated circuitry found in the Hercules II amplifiers, these beautifully designed and engineered flagship a tube amplifier to operate without an audio output transformer. monoblocks. Quite naturally, it sounds very much like the monoblocks from the legendary Miura-san of Air Tight are The 211/845 offers 60W of pure Class A triode tube power (via Hercules IIs, minus the ultimate in power and separation that at least as sonically impressive. Almost as powerful as the either 211 or 845 output tubes) with no feedback. The 211/845 the monoblocks deliver. Having said this, at 550Wpc into 8 VAC Signature 450iQ (338W into 8 ohms with twelve 6550 conveys the beauty of instrumental timbre and voices with a ohms, 750Wpc into 4 ohms, and 1kW into 2 ohms, the Hercules tubes, and around 400W with twelve KT150s), they equal or stunning realism and immediacy. The impression that everything Stereo II isn’t likely to leave you wanting for oomph with any exceed the VAC amps in resolution, realism, and sheer timbral between you and the music has been stripped away is astonishing. loudspeaker load, reasonable or unreasonable. As neutral in beauty. Somewhat darker and fuller in balance (with 6550s) In this regard, the 211/845 simply has no peer, tube or solid-state. balance as any solid-state amp out there, the Constellation, as than Kevin Hayes’ masterpieces, they are also bloomier and Surprisingly, the bass is well defined and tuneful, although not you would expect given its price, delivers just about everything more present than the VACs and at least as high in speed and the last word in dynamic impact. The highish output impedance that an ultra-high-ender is looking for: resolution, color, staging, resolution (which is to say, as high as tube electronics get). and limited current delivery dictate that the 211/845 be matched imaging, transient speed, and dynamic impact that are the Although it could be argued that the ATM-2001s are inherently with a loudspeaker of appropriate sensitivity and impedance. But equals of any other top-tier solid-state amplifier JV has heard. a bit “tubier” in presentation than the VACs, what has been when given the right load, the Berning 211/845 is nothing short of Yes, the Soulution 711 stereo amp gives you bigger and more retained here of the classic tube sound is no more nor less than magical. (265, 276) exciting bass, a slightly richer, fuller power range, and a more all that is worthy of retaining: the three-dimensional “action” liquid and grainless midrange, but at the price of a “bottom-up” and illuminated-from-within textural details that bring voices balance that is comparatively darker and a little softer and more and instruments to fullest life. JV’s high-powered tube-amp recessed in the treble and upper mids, where the Constellation references. (269) has more openness and energy. (forthcoming)

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Our Top Picks All-in-One Systems

Moon Neo ACE AVM Inspiration CS 2.2 $2900 $4995 Moon breathes a little sex appeal into the all- This all-in-one component combines a CD in-one segment. Its ACE sports solid power and player, network streamer (wired or wireless), a potpourri of connectivity that spans analog, FM tuner, DAC, phonostage, and a robust digital, and network platforms. Sonically, 110Wpc Class D output stage in one compact the Neo ACE has a vivid midrange, with rich and beautifully built aluminum chassis. The tonality, impressive dynamics, quicksilver German-made CS 2.2 sounds more powerful speed, good low-level transparency, and than its power rating would suggest, with a nicely focused imaging. Bass response, both taut and robust bottom end and exceptional extension and pitch control, is very good, dynamics. The DAC section is superb. The although the Neo will soften impacts slightly large rechargeable remote can control an depending on output demands and speaker entire system. Optionally, the CS 2.2 can also sensitivity. With a slight emphasis on warmer be controlled by an Android or iOS device. hues and a lightly shaded top end, the Neo ACE (forthcoming) has a more conservative balance designed to complement speaker matchups in this price segment. Also, its well-executed Mind app for smart devices operates seamlessly, with solid intuitive graphics. All-in-one solutions are a deceptively complicated business, but the ACE makes the job look easy. (276)

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DIGITAL & ANALOG SOURCES

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WHAT TO LISTEN FOR WHEN CHOOSING A DAC • TOP PICKS IN DISC PLAYERS • TOP PICKS IN DACS • TOP PICKS IN MUSIC SERVERS • TOP PICKS IN TURNTABLES AND RECORD PLAYERS

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Feature

and bass guitar working together to drive the she’ll think DAC #2 is greatly superior, and won- What to Listen for When Choosing a DAC rhythm. His system is a little soft in the treble, der how anyone could like DAC #1. But Listener and doesn’t have as much dynamic impact as B would find her choice lacking rhythmic pow- Robert Harley he’d like. er, treble detail, and dynamic impact. To him, Let’s look at the sonic differences between there’s no comparison: DAC #1 is the better two inexpensive and similarly priced DACs and product. see how each would—or wouldn’t—fit into Although I’ve exaggerated to make my point, these systems. this example shows how personal taste, musical Excerpted and adapted from The Complete ample, don’t choose a bright-sounding DAC for a DAC #1 has terrific bass: tight, deep, driving, preference, and system matching can greatly in- Guide to High-End Audio (fifth edition). Copy- system that is already on the bright side of reali- and rhythmically exciting. Unfortunately, its tre- fluence which digital products are best for you. right © 1994–2017 by Robert Harley. hifibooks. ty. Instead, you may want to select a DAC whose ble is a little etched, grainy, and overprominent. The only way to make the right purchasing deci- com. To order call (800) 841-4741. main attribute is a smooth, non-fatiguing treble. DAC #2’s best characteristics are a sweet, silky- sion is to audition the products for yourself. Use Each digital product has its particular strengths smooth treble that has a complete lack of hard- product reviews in magazines to narrow your erhaps more than any components and weaknesses. Only by careful auditioning— ness, grain, and etch, and produces no fatigue in choice of what to audition, reading reviewers’ other than loudspeakers, digital sourc- preferably in your own system—can you choose the listener. Its weaknesses, however, are soft descriptions of particular products to see if the es come in the most flavors—their son- the product best for you. bass and limited dynamic range. It doesn’t have type of sound described is what you’re looking Pic and musical characteristics vary greatly be- To illustrate this, I’ve invented two hypothet- DAC #1’s driving punch and dynamic impact for. But don’t buy a product solely on the basis tween brands and models. ical listeners, each with a different system and with drums. of a product review—a reviewer’s system and This variability has its drawbacks (“Which one taste, and two hypothetical DACs—though two You can guess which DAC would be best for musical tastes may greatly differ from yours. is right?”), but also offers the music lover the disc players could easily be substituted. Al- each system and listener. DAC #1 would only You could be Listener A, and be reading a review chance to select one that best complements though the following discussion could apply to exacerbate the brightness Listener A’s system written by someone with Listener B’s system his playback system’s characteristics and suits all audio components, it is particularly relevant already exhibits. Moreover, the additional grain and tastes. his musical tastes. The different types of sonic to digital gear. Not only are there wide varia- would be more objectionable with violins and Use reviews not as sources of absolute truth, presentations heard from disc players, music tions in sonic characteristics among DACs, but a voices. DAC #2, however, would tend to soften but as guides pointing you toward products you servers, and DACs tend to reflect their design- poor-sounding DAC at the front-end of a superb the treble presentation in Listener A’s system, might want to audition yourself. You’re going to ers’ musical priorities. If the designer’s parts system will ruin that system’s overall sound. providing much-needed relief from its relatively spend many hours with your decision, so listen budget and/or skill is limited, certain areas of Listener A likes classical music, particularly relentless treble. Moreover, the sonic qualities carefully before you buy—it’s well worth the musical reproduction will be poorer than others. early music, baroque, and choral performances. of DAC #1—dynamic impact and tight bass—are investment in time. Moreover, the more prod- The trick is to find the digital source that, in the She rarely listens to full-scale orchestral works, less musically important to Listener A. ucts you evaluate and the more careful your context of your system, excels in the areas you and never plays rock, jazz, or pop. Her system Conversely, Listener B would be better off listening, the sharper your listening skills will find musically most important. uses inexpensive solid-state electronics and with DAC #1. Not only would DAC #1’s better become. Selecting a digital source specifically tailored somewhat bright-sounding speakers; the com- dynamics and tighter bass better serve the kind It’s important to realize that, generally, the to the rest of your playback system can some- bination gives her a detailed, forward treble that of music Listener B prefers, but his system could less a DAC costs, the more pronounced its sonic times ameliorate some of that playback sys- is a bit aggressive. use a little more sparkle in the treble and punch signature. At the very highest levels of digital tem’s shortcomings. This is true for all compo- Listener B wouldn’t know a cello from a clar- in the bass. playback, the sonic trade-offs are much less nents, but especially so for digital because of inet, preferring instead electric blues, rock, and Which DAC is “better”? Ask Listener A after acute—the best products have fewer shortcom- their wide variations in sonic signatures. For ex- pop. He likes to feel the power of a kick drum she’s auditioned both products in her system; ings, making them ideal for all types of music—

43 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature What to Listen for When Choosing a DAC

and two perfect DACs would sound identical. into” the music and “open my ears” wider to products hype them. In a side- But, of course, there’s no such thing as a perfect hear the music’s subtlety? Or do my ears tense by-side comparison, a ruthless- audio component. up and try to shut out some of the sound? Am I ly revealing product will seem Still, a significant factor in how good any DAC relaxed or agitated? to present much more detail or CD player sounds is the designer’s technical A digital product’s overall sonic perspective and musical information. It skill and musical sensitivity. Given the same is a fundamental characteristic that defines that will sound more upbeat and parts, two designers of different talents will product’s ability to provide long-term musical exciting, and will appeal to likely produce two very different-sounding satisfaction. If you feel assaulted by the music, some listeners. Such a sound, products. Consequently, it’s possible to find you’ll tend to listen less often, and for shorter however, quickly becomes fa- skillfully designed but inexpensive products periods. If the product’s fundamental musical tiguing. The listener feels a that outperform more expensive products from perspective is flawed, it doesn’t matter what sense of relief when the mu- less talented designers. else it does right. sic is turned down—or off. Higher-priced products are not necessarily Key words in product reviews that describe The worst thing a product can better. Don’t get stuck in a specific budget and an easy-to-listen-to digital source include ease, do is make you want to turn audition products only within a narrow price smoothness, laid-back, sweet, and polite. De- down the volume, or stop lis- range. If an inexpensive product has received a scriptors such as bright, vivid, incisive, etched, tening altogether. rave review from a writer you’ve grown to trust forward, aggressive, analytical, and immediate This conflict between lack- and the description of its sound matches your all point toward the opposite type of sound. ing and over-emphasizing taste, audition it—you could save yourself a lot There is a fundamental conflict between these detail can be resolved by of money. If you decide not to buy the product, extremes of presentation. DACs that sound buying a higher-quality (and, at least you’ve added to your listening data- smooth, laid-back, and polite may not actively often, higher-priced) DAC. base, and can compare your impressions with offend, but they often lack detail and resolution. I’ve found a few models that those of the reviewer. An absence of aggressiveness is often achieved can present all the music, yet In addition to determining which digital at the expense of obscuring low-level musical are completely unaggressive products let you enjoy music more, there are information. This missing musical information and nonfatiguing. This rare specific sonic attributes you should listen for could be the inner detail in an instrument’s virtue is musically import- that contribute to a good-sounding digital timbre that makes the instrument sound more ant. The digital front-end front-end. How high a priority you place on lifelike. It could be the sharp transient attack of must walk a fine line be- each of these characteristics is a matter of per- percussion instruments; a slight rounding of the tween resolving real musi- sonal taste. attack gives the impression of smoothness, but cal information and sound- Here are the musical and sonic qualities I doesn’t accurately convey the sound’s dynamic ing etched and analytical. look for in digital playback. structure. Consequently, very smooth-sounding Digital reproduction also The first quality I listen for in characterizing digital products often have lower resolution has a tendency to homogenize individ- how a digital component sounds is its overall than more forward ones. ual instruments within the soundstage. This struments’ specific locations on the sound- perspective. Is it laid-back, smooth, and unag- The other extreme is the digital product that tendency to blur distinctions between individ- stage. gressive? Or is it forward, bright, and “in my is “ruthlessly revealing” of the music’s every ual instruments occurs on two levels: the instru- On the first level, digital products can overlay face”? Does the product make me want to “lean detail. Rather than smoothing transients, these ments’ unique timbral signatures, and the in- music with a common, synthetic character that

44 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS •

TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature What to Listen for When Choosing a DAC diffuses the unique textures of different instru- buildings’ immediacy, vibrance, and visible de- ments and buries the subtle tonal differences tail, so too will soundstage opacity detract from between them. The music sounds as if it is being the musical presentation. With naturally miked played by one big instrument rather than many recordings of acoustic music, transparency al- individual ones, with a sameness to instrumental lows you to hear way back into the hall. textures that prevents their distinctive charac- I’ve focused on these aspects of sound for the teristics from being heard. evaluation of digital products because they are The second way in which digital playback can the most common flaws in digitally reproduced diffuse the separateness of individual instru- music. You should also listen for the other as- ments is by presenting images as flat “cardboard pects—treble grain, rhythm, dynamics, etc. cutouts” pasted on top of each other. Each in- Beyond these specifics, a good question to strument is not surrounded by an envelope of air ask yourself is, “How long can I listen without and space, the soundstage is flat and congested, wanting to turn the music down—or off?” Con- and you can’t clearly hear where the aural image versely, the desire—or even compulsion—to of one instrument ends and the next begins. In- play one CD or digital file after another is the stead of separate and distinct objects—i.e., in- sign of a good digital front-end. Some compo- struments and voices—hanging in three-dimen- nents just won’t let you turn off your system; sional space, you hear a synthetic continuum of others make you want to do something else. sound. Good digital playback should present a This ability to musically engage the listener is collection of individual images in three-dimen- the essence of high-end audio. When judging sional space, with the unique tonal colors of digital front-ends, that should be the highest each instrument and voice intact, and a sense of criterion. space and air between one image and the rest. This seems to be easy for analog to accomplish, Excerpted and adapted from The Complete but quite difficult for digital. A recording with Guide to High-End Audio (fifth edition). Copy- excellent portrayal of timbre and space will help right © 1994–2017 by Robert Harley. hifibooks. you identify which digital products preserve com. To order call (800) 841-4741. these characteristics. Another important quality in digital playback is transparency of soundstage. This is the per- ception that the space in which the music is be- ing performed is crystal-clear, open, and trans- parent. (The opposite of this is thick, congested, and opaque.) Soundstage transparency is analo- gous to looking at a city skyline on a perfectly clear day: Just as smog or haze will reduce the

45 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Disc Players

Rotel CD14 Oppo UDP-205 4K Moon 260D Hegel Mohican $599 $1299 $3000 ($2000, transport only 260DT) $5000 The CD14 CD player doesn’t try to be anything Oppo’s new UDP-205 4K is a worthy successor The Moon by Simaudio Neo 260D continues Hegel’s chief designer Bent Holter concluded other than a CD player. It uses a highly to the company’s wildly successful BDP-105D a tradition of fine CD players from Canada’s a few years ago that making an all-purpose regarded Wolfson DAC chip, which is capable multi-format disc player. This new machine Simaudio. However, unless you are a CD-only DAC/disc player meant not only compromising of sampling rates up to 192kHz; of course, as does it all: plays any audio disc format loyalist, you really need to consider adding performance on some of the formats but the sampling rate of CDs is 44.1kHz, the DAC’s including CD, SACD, DVD-A, and Blu-ray; plays Moon’s $1000 high-resolution DAC section actually degrading them all to varying degrees. capability is overkill. The CD14 will also play Blu-ray and Ultra HD video discs; plays and to the 260D. With a 32-bit asynchronous So Holter set about making a seriously good MP3 files, but you’d need to burn those onto decodes surround-music discs; decodes Dolby converter and four rear-panel digital inputs CD-only player—with a bit of whimsy in CDs first (there’s no USB input that would allow TrueHD and DTS Master Audio; and decodes (dual SPDIF, a TosLink, and a USB), this optional the product name—even while most in the you to play them off a USB flash drive). Analog as a DAC the spectrum of PCM and DSD files. DAC effectively opens up a whole new world industry were abandoning the format. After all, output is on unbalanced RCA jacks—there’s It has built-in Wi-Fi, Ethernet, and RS232 of digital connectivity. Standard CD playback, lots of people still have large CD collections. no balanced XLR out. The CD14 sounds good, connections for complete digital connectivity. though expectedly excellent, pales next to Some of the measures Holter incorporated though the bass lacks a little impact. (273) Despite being a jack-of-all-trades, the UDP-205 the level of refinement that the DAC brings include no up- or over-sampling, a digital is a really good music player whether in stereo to the table on high-resolution material —an clock and filtering optimized solely for Red or multichannel mode, and is hard to beat for added complexity of dimensionality that Book, Hegel’s patented distortion-reducing any CD or SACD player under $2000. (278) almost seems to re-inflate the soundstage. Sound Engine technology in the master clock’s The DAC’s superior reproduction of micro- oscillator amplifier, a dedicated CD drive dynamic gradations also more convincingly unit, and Hegel-designed laser pickup servo- recreates the distances among the players in control boards. The sound is simply lovely: a symphony orchestra. With or without the almost analog-like continuousness, musically optional DAC, the 260D offers natural sonics engaging, finely resolving, open. The Mohican elegantly mated with resilient build-quality has fabulous rhythmic timing, solid image and good ergonomics. (244) density, and refined image outlines. It sounds less “digital” than any sub-$20,000 disc player KM has heard. The Mohican may indeed be the last CD player many audiophiles will ever need. (278)

46 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Disc Players

Aesthetix Romulus T+A PDP 3000 HV dCS Rossini System $7000–$8000 $22,000 $35,998 (Rossini Player/DAC $28,499; Rossini Clock This all-tube CD player and DAC is one of the great bargains This CD/SACD player and DAC from Germany’s T+A may be the $7499) in high-end audio. What makes the Romulus special is that it best all-around value in digital today. Solidly built and a joy to The Rossini may be the sweetest of sweet spots within the sounds so “non-digital.” Rather than being flat and congealed, it use, the PDP 3000 HV features a custom transport mechanism dCS lineup. All the technical goodies of the latest, far more opens up the spatial presentation, giving instruments and voices made mostly from metal, rather than plastic, parts. As part of its expensive Vivaldi flagship are here in a single, gorgeous, easy- room to breathe. The Romulus couples this expansiveness with no-compromise approach, the PDP 3000 HV features completely to-use chassis. The Rossini will play pretty much anything— an unusual (for digital) sense of top-octave air and openness. separate signal paths, DACs, and even analog-output stages for either locally attached or streamed—other than a physical The tonal balance is rich and warm in the bass, which, when PCM and DSD sources. When playing DSD, the PDP 3000 HV SACD. And it will play that material, regardless of source, with added to its treble smoothness, results in an engaging and uses different filters depending on the rate. Sonically, the T+A a rare combination of alacrity, refinement, and musicality. fatigue-free presentation. The Romulus doesn’t sound “tubey” is among the best when decoding PCM sources, and offers the Compared to the entry-level Debussy, the Rossini is a huge step in the classic sense, but neither does it sound like solid-state. finest SACD playback RH has heard. (268) up in every way. Yet, upon direct comparison with the Vivaldi, The design and build-quality are beyond what’s expected at this it’s clear that while the flagship is superior in several ways, price. If you have no analog sources, the Romulus can serve as the Rossini gets you most of the way there. Furthermore, dCS a preamplifier and DAC with multiple digital inputs, provided has made good on its promise of product longevity through you purchase the variable-output option ($1000). Thanks to an continual software upgrades. Specifically, the Rossini recently innovative hybrid analog/digital volume control, there’s no loss received both Roon and MQA support, making it one of the best of resolution. (243) all-around player/DACs on the market. (forthcoming)

47 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks DACs

AudioQuest DragonFly Black and NuPrime DAC-9 Oppo Digital Sonica Network DAC Mytek Digital Brooklyn DragonFly Red $749 $799 $1995 $99/$199 More than a DAC, the DAC-9 can serve as Sometimes “high value” is a euphemism for “cheaply The Mytek Brooklyn was the first non- AudioQuest practically invented the a system controller, since it has several made” but not so with Oppo Digital. If the Sonica were Meridian-branded DAC that supports MQA. low-cost, high-performance USB DAC in digital inputs, an analog line-level input, just a DAC, it would still be a deal, but it’s also a versatile Because of that, every time it’s been shown, stick form with the original DragonFly. It balanced and unbalanced outputs on XLR streaming player. The Sonica can also either accept an whether at a consumer or an industry event, was a massive success. But these two new and RCA jacks, and most importantly, a input from an external source, such as a computer or file it has generated practically standing-room- models greatly improve on the sound of remote control. It provides 99 volume player, or can directly accept files sent by an external only interest. The Brooklyn is not only a the original, and the $99 Black version settings in 0.5dB increments—impressive DLNA server. It includes an analog input, which would DAC, but also a preamplifier for both analog comes at a lower price, to boot. The Black at any price. DSD decoding up to DSD256 is make it usable as a system controller, eliminating the and digital sources, a headphone amplifier is smoother than the original, with more becoming pretty standard via asynchronous need for a linestage. Through the USB 2.0 Type B input, that supports single-ended and balanced extended bass. Although both DACs sound USB inputs. The DAC-9 played back all non- the Sonica can accept PCM files up to 768kHz/32- cans, and a phono preamplifier for both superb and are amazing values, the Red MQA formats at their rated speeds with no bit and DSD up to DSD512. Sound-wise, the Sonica moving-coil and moving-magnet cartridges. at $199 delivers striking sonic quality, problem at all. It sounded very smooth and produced plenty of bloom and air around the outlines of So far SS has been unable to discern with exceptional transparency, resolution, pleasant, and presented a wide soundstage. instruments; it also conveyed plenty of inner detail and anything sonically negative while listening timbral realism, and wide dynamics. Add In reviewer Vade Forrester’s opinion, this is nuance, with harmonic envelopes that sounded complete to MQA-encoded files though the Mytek AudioQuest’s $49 JitterBug USB isolation the best value in the NuPrime 9 series gear. and natural. It tracked changing dynamic levels quite Brooklyn. Even without MQA, the Mytek device to either and take the performance (273) well, if not as precisely as some much more expensive Brooklyn offers exceptional value due to its up another notch. The Red with a JitterBug DACs. Some equipment portrays certain music as having versatility, flexibility, ergonomic elegance, is good enough to use as a front end in several discrete dynamic levels instead of a continuously and overall high level of sonic performance. a budget high-end home-based system. varying level—but not the Sonica. OK, subwoofers still Once you throw MQA into the equation SS Recent production adds MQA rendering; reign, but the Sonica’s bass had surprising impact. In has to say “game over” for any DAC or DAC older units can easily be updated. (270) short, the Oppo Digital Sonica sounds and looks great, manufacturer who can’t keep up. (265) and is a super deal for $799—just what we’d expect from Oppo. An easy recommendation. (278)

48 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks DACs

Schiit Audio Yggdrasil Bryston BDA-3 $2300 $3495 Designed by industry legend Mike Moffat, the Yggy DAC sounds The new Bryston BDA-3 enhances the very much like the famous Theta Digital DACs that Moffat functionality of the 2013 Product of the Year designed in the 1980s and 1990s—but better. Like the Theta Award-winning BDA-2 by adding a second DACs of yore, the Yggy has a bold, assertive, vibrant, even vivid asynchronous USB input and four HDMI inputs. Berkeley Audio Design Alpha DAC Series 2 presentation. Because of this startling clarity, individual musical PCM sample rates up to 384kHz are now $5495 (user-installable MQA Rendering Upgrade for Alpha DAC lines within complex arrangements are spatially and timbrally supported, as are DSD rates up to DSD256. Reference Series 2, Alpha DAC Reference Series, Alpha DAC Series distinct. This has the effect of revealing each musical part with Most significantly, not only can DSD signals 2 and Alpha DAC, $595) greater precision, as well as the intent of each musician—and be received by the BDA-3’s USB inputs, but The Product of the Year Award-winning Alpha DAC is not only one of the with that comes a fuller, richer, and more complex presentation also from suitably equipped HDMI sources. best-sounding digital-to-analog converters, it’s also an amazing bargain. In of the composition and arrangement. Transient attacks, from a The evolutionary development of Bryston’s addition to world-class decoding of CD sources, the Alpha DAC can handle hard-hit snare drum to the most delicate tap on a cymbal, are DACs from the original BDA-1 to the BDA-3 any sampling rate up to 24/192. Its robust analog output stage and variable startlingly fast, defined, and vivid. If you’re looking for a DAC has been an object lesson in digital progress. output level allow it to drive a power amplifier directly. This feature is that does quad-rate DSD, decodes MQA, offers a volume control, Bryston’s BDA-3 DAC surpasses the high- significant, because the Alpha DAC is capable of such resolution, timbral and includes a headphone amp, look elsewhere. But if the very value performance standard set by the purity, and dynamics you’ll want to hear it without the limitations of a preamp best reproduction of PCM sources is your goal, the Yggdrasil is BDA-2, enables inexpensive HDMI-equipped in the signal path. When used at its best—fed by true hi-res sources from the ticket. It’s a spectacular performer on an absolute level, and disc players to function as premium source a music server, and driving an amplifier directly—the Alpha DAC delivers an out-of-this world bargain. (274) components, and adds exceptionally engaging stunning resolution of the finest musical detail, throws a spectacularly large DSD playback to its potent mix of virtues. (275) and well-defined soundstage, and plays back music with gorgeous tone color and purity. It lacks a USB input, but you can add Berkeley’s Alpha USB converter for the capability. A user-installable update adds MQA decoding and improves PCM sound quality. (189)

49 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks DACs

Playback Designs Merlot Brinkmann Nyquist $6500 (Syrah server also available for $6500) $18,000 Berkeley Audio Design Alpha DAC Reference What propels the Playback Designs Merlot into the upper Brinkmann may be best known for its 35-year track record Series 2 MQA echelon of digital audio was an ability to bring clarity and of making exceptional turntables, but its new Nyquist DAC $19,995 resolution to images at the very lowest levels. Like a sonic immediately establishes the company as a major contributor Berkeley took what was the finest-sounding DAC extant, its zoom lens, it could zero in and precisely describe the fine grit to first-rank digital playback. The Nyquist is brimming with Alpha DAC Reference, and significantly improved it with the new of a brushed snare, the singing rattles of a tambourine struck advanced features, including MQA decoding, high-speed Series 2 MQA version. The Series 2 MQA has a smoother and at the back of a symphony hall, or the ripple of air off the string DSD support, Roon-ready operation, UPnP connectivity, and more natural rendering of timbre, finer resolution of detail, a from a concert harp. Music in any genre revealed a ripeness, upgradeable digital circuitry. Yet for all of its cutting-edge more transparent presentation, and, perhaps most importantly, an elasticity, and acoustic openness. Sounding more like a digital prowess, the Nyquist’s output stage is built around that a dynamic openness that greatly increases musical engagement. digital/analog hybrid, Merlot was able to hang onto digital’s most ancient and venerable of audio technologies, the vacuum This new DAC’s smoothness doesn’t come at the expense of obvious strengths—tonal neutrality, broad dynamics, and firmly tube. This marriage produces a sound that is very “non-digital,” liveliness or tone color through the brilliance range; it somehow resolved low frequencies—yet all the while preserving the embodying all the qualities that analog is famous for— manages to combine liquidity with resolution, transient speed harmonics, air, and fluidity of a performance. Like all Playback dimensionality, treble smoothness, bloom, timbral purity—but with lack of etch, and information density without fatigue. gear it’s based on an open architecture and uses no off-the- coupled with digital’s strengths of image solidity, pitch stability, And it does this even with CD-quality files. Note that the shelf components including the DAC chips. Supporting formats and bass impact. The combination of analog-like warmth, bloom, Alpha DAC lacks a USB input; you’ll need Berkeley’s Alpha USB up to 24-bit/384kHz as well as DSD64, DSD128, and DSD256, and ease along with the state-of-the-art in digital connectivity converter ($1895). The original Alpha DAC Reference was priced Merlot is also equipped with an excellent headphone amp. The makes the Nyquist an extremely compelling package. (278) at $16,000; the Series 2 is $19,995. Owners of the original Merlot DAC and the Playback Designs Sonoma line companion can upgrade for the $3995 difference. The latest software Syrah server produced some of the most compellingly musical update ($595) not only adds MQA rendering but also realizes and elevated audio that NG has heard from a source component a surprisingly large improvement in the sound of PCM sources. pairing—digital or analog. (279) But play an MQA file through the Berkeley and you’ll hear the absolute state of the art in digital playback. Digital doesn’t get any better than this. (278)

50 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Music Servers

Cary Audio DMS-500 Aurender A10 Lumin A1 Audiophile Network Player w/ MQA Aurender W20 $4995 $5500 $7200 ($7800, anodized black) $17,600 Anchored by superb sonics and wide-ranging The Aurender A10 is a “caching network For those looking to quit the computer, there’s Aurender’s top-of-the-line W20 is one of connectivity, the DMS-500 is also one of music server/player with analog outputs.” It the Lumin A1—now with MQA. Capable of the most feature-laden and capable turnkey the most format-friendly and un-finicky ’net won’t play or rip a disc, feeding only on audio pulling audio media from most external digital music servers on the market. It also happens audio players you’re likely to find (at least files, streamed or stored on the A10’s own sources—and (ideally) over a network with to have the best music-management app, for the next six months). Fully operational for 4TB storage drive or an external NAS. Music a NAS—the A1 is equipped with dual-mono an important consideration when choosing streaming or file playback, wireless or Ethernet, is “cached”—that is, played from a 120GB Wolfson DACs that can play back a multitude a server. Load the W20’s internal hard drive the DMS-500 is now MQA-equipped and thus solid-state drive, which reduces electrical of formats, up to and including 32-bit/384kHz (up to a whopping 12TB) with music, connect even more sonically rewarding. The sound of and acoustic noise that would derive from PCM/DXD and standard DSD. Operating one of its many digital outputs to a DAC, link a the player is full and warm, dynamic and quick, a spinning mechanical drive. Although an wirelessly through its own terrific iPad app, the tablet to your wireless network, and you’ve got but never to the point of etch or grain. In short, external DAC can be employed, the A10 has A1 releases all the reins of tension, dryness, virtually unlimited music. Seamless integration a winner. Solidly constructed and reasonably highly regarded dual-mono AK4490 DAC chips; and constriction that accompany most digital with streaming service Tidal greatly expands priced, it includes an intuitive remote control, the player is the first to support full MQA recordings, adding the warm, weighty presence the W20’s functionality. The W20’s sound which makes navigation a snap (although the hardware decoding. The A10 is operated via and velvety textures that are hallmarks of great quality is outstanding, perhaps in part due new controller app is even better). The large, Aurender’s Conductor app (iOS on an iPad is analog. The L1, an external, preconfigured, 2TB to its 240GB internal cache memory, battery bright, full-color front-panel display imparts required) that effectively integrates the vast storage HDD, is optional for $1200. (248) power supply for critical circuitry, and other loads of information, and is nicely legible from holdings of the Tidal streaming service to files performance-oriented design tricks. (258) afar. (275) that the user owns and keeps locally. Both single-ended and balanced analog outputs are provided. The A10 can drive an amplifier directly, with gain controlled either with a knob on the player or via the Conductor app. (278)

51 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Record Players & Turntables

Pro-Ject Debut Carbon DC Rega Planar 1 Clearaudio Concept Acoustic Signature Wow XL $399 $475 $1400 ($1600 with Concept mm; $2200 $2395 The most significant upgrade to Pro-Ject’s It’s notable that Rega’s entry-level ’table with Concept mc) If you’re looking for a solid foundation upon latest Debut is found in the model’s name, today sells for roughly the same price it did Clearaudio’s Concept turntable and cartridge which to build your analog front end, the which refers to the lighter, more rigid, single- some 20 years ago. That doesn’t mean the offer a hugely rewarding analog experience German-engineered-and-built Acoustic piece 8.6” carbon-fiber armtube that replaces Planar 1 performs at exactly the same level at a very attractive price. The sleek, belt-drive Signature Wow XL is about as rock-solid as the Debut III’s aluminum tube. Pre-mounted as the original Planar 2 or 3, but it does mean ’table and magnetic-bearing Verify ’arm, which you get in this price range. Precision bearings with Ortofon’s 2M Red moving-magnet that Rega’s commitment to value remains the company calls “friction free,” sell for and speed control technology from Acoustic cartridge, the Carbon offers all one expects paramount. Perhaps even more remarkably, $1400; when bundled with the $800 Concept Signature’s flagship Ascona, and build-quality from a modestly priced ’table. It doesn’t excel Rega is able to achieve this while keeping all MC cartridge, the pre-set-up package sells are what make this turntable one killer in any one area but gets the basics so right that manufacturing in the UK! Building on success, for a trim $2000. And though the Concept’s setup. Choose your favorite tonearm and it’s hard to criticize what’s lacking—because, the P1 uses the classic Rega motor, drive performance may not equal that of the very cartridge combo, and you’re ready to go. The after all, that’s what good entry-level models system, and main bearing, but instead of a finest out there, its combined strengths in possibilities are endless when you have a solid should provide: a solid foundation for musical glass platter this one is made of MDF. The ’arm resolution, dynamics, low-noise, and sheer base for your vinyl, and the Wow XL is it. (244) pleasure. New DC model offers a higher- is the new RB101, which comes pre-mounted musical engagement won’t leave you wanting. precision power supply. (226) with Ortofon’s OM5e moving-magnet cartridge. Couple this with terrific German build and You won’t get much frequency extension or finish, and the Concept is a hands-down wide dynamics here, but what you will get is bargain. (205) the pace, musical interplay, and involvement that make analog special. (171)

52 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Record Players & Turntables

Pro-Ject Xtension 10 Technics SL-1200G Acoustic Signature Challenger Mk3 Brinkmann Spyder $3499 with 10cc Evolution tonearm $3999 $4490 $12,000 (10.5 tonearm, $5450) ($3999 with Sumiko Blackbird) This turntable, which shares the historic name Analog fans might already be familiar with Eschewing an enclosed plinth in favor of an Pro-Ject is onto something wonderful here: and appearance of the long-running SL-1200 Acoustic Signature—and maybe you’ve even open chassis, the Spyder mounts the platter A turntable that hits all the right sonic series but is in fact a new design, offers read JV’s glowing review of the maker’s mighty assembly’s base on a cylindrical pillar. notes, while providing a rare combination of performance at the very highest level, belying Invictus flagship ’table. Though the Challenger Additional cylindrical pillars support up to intellectual and emotional connection to the its relatively modest price. (The included ’arm Mk3 may not have the sheer low-end four tonearms as well as the outboard motor. music. A slightly scaled-down edition of the is acceptable but is not quite at the same weight and power of the esteemed German The Spyder’s sound is transparent, dynamic, Xtension 12, the 10 offers a smaller footprint pinnacle.) Its silence and speed stability are manufacturer’s upper-tier designs, reviewer low in perceived distortion, and with a fairly but similar weight. The design features a competitive with any turntable available and JM found that it still delivers remarkable high degree of perceived neutrality. It exhibits mass-loaded, magnetically floated sub-chassis, are far superior to most, even very high priced purity, focus, elegance of presentation, and a clarity without that etched quality that a 3”-tall, 12.6-pound vinyl/alloy platter, a ones. The turntable’s sound is rock solid, exceptional musicality. Drums, for instance, is sometimes mistaken for transparency or precision ceramic bearing, and a three-speed very pure, highly resolved, and very lively in may not have the ultimate punch, but are still resolution. The Spyder is also well isolated AC motor. The Xtension 10 can be purchased the positive sense. One has very much the terrifically fast, textured, and explosive. The from external disturbance, even when the with a SuperPack option ($3699) that includes sensation of hearing what is actually on the turntable’s small-footprint cylindrical chassis is music gets big, deep, and loud. Operationally a Sumiko Blackbird cartridge and an upgraded record. The Technics is not the only turntable clean, solid, and elegant. The Challenger Mk3 is this setup was a joy to use, its fit and finish ’arm cable. Regardless of cartridge, the in its price range (or lower) to have challenged also remarkably simple to set up and maintain; of a caliber that spells “G-E-R-M-A-N” in Xtension 10 provides not only a high level of the high-priced world, but it has an important its first-rate build-quality (all parts are all caps. In sum, here’s a vinyl player of all- musical satisfaction, but does so in a way that feature offered by few of its high-end machined in-house and assembled by hand) around excellence that should provide years delivers a powerful emotional wallop. (242) competitors at any price, namely, adjustable has clearly paid off in the solid performance of performance both pleasurable and trouble- speed. This is a turntable for musicians and of this very low-coloration turntable. Call it free. (269) those who share musicians’ sensibilities. (274) a Challenger that punches above its weight. (274)

53 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Record Players & Turntables

AMG Viella 12 Spiral Groove SG1.2 Continuum Audio Labs Obsidian $17,500 with cherry skirt, $18,000 with black lacquer $30,000 ($36,000 with Centroid tonearm) $45,000 with Viper tonearm skirt ($1500 for Reference tonearm cable) Don’t let the Spiral Groove SG1.2’s compact size and lack of This beautifully engineered, beautifully designed, essentially Like the $15k Raidho C-1.1 (or the now-discontinued $4k bling fool you; this is a serious turntable that competes in the cylindrical belt-driven ’table, directly descended from the Ortofon MC A90), the beautifully machined Analog Manufaktur upper echelon. The belt-driven SG1.2 weighs in at 80 pounds, much celebrated Continuum Audio Labs Caliburn, sounds Germany Viella 12 is that relative rarity—a truly first-rate (and with much of that weight added by four aluminum layers set in pretty much the way it looks: quick, sleek, hard-hitting, and truly original) audio component that, while by no means cheap, two independent constrained-layer platforms. The platter has an imperturbable. Replete with a newly designed DC motor, low- is still within the financial reach of folks who aren’t made oversized, stainless steel ring around the outer perimeter that resonance tungsten parts, an ingenious decoupled ’arm mount out of money. The V12 may not (in fact, it does not) give you increases the platter’s inertia. An outboard power supply drives for its (Cobra-like) Viper tonearm, and a plinth-less base, the everything that a Walker, TW Acustic, or Acoustic Signature gives the high-torque AC-synchronous motor. The SG1.2 will accept Obsidian/Viper combines the litheness, neutrality, and pace of you, but what it does supply on select recordings—the extended a variety of armboards, including one for the Centroid, a 10” lighter-weight players with the dynamic gravity and dense color sense that you are in the actual presence of real performers in a unipivot design. The SG1.2 is extremely quiet, providing a silent of the heavyweights. While it may not have all the distortion- real space—is more than enough to earn the rave review it got backdrop for the music. The SG1.2’s outstanding soundstaging free inertness of the 300-plus-pound Acoustic Signature and its place on this select list. A genuine marvel of engineering effortlessly distinguishes between orchestral instruments, even Invictus, it comes close, and, sonically, it offers a similar smarts and manufacturing finesse. (226) those at the back of the orchestra. Also particularly enjoyable is presentation. A genuine round mound of sound, and one of the the SG1.2’s rhythmic solidity. (276) two ’tables/’arms JV would consider purchasing (the TW Acustic Black Knight is the other) if he couldn’t afford the Acoustic Signature or the once-and-forever king of radial-tracking, air-bearing record players, the great Walker Proscenium Black Diamond V. (274)

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TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Record Players & Turntables

Basis Inspiration Acoustic Signature Invictus $64,000 $122,995 (TA-9000 tonearm This remarkable turntable gets its name $17,995, Invictus stand $17,498) from Basis founder A.J. Conti’s inspiration Thanks to its mass and constrained layer Connecting You to the Music to bring many performance aspects of his damping, the gigantic Acoustic Signature $175,000 Work of Art turntable to a more Invictus turntable (nearly two-and-a-half This holiday, we’d like to bring joy to your practical form factor and price. We haven’t feet deep and three feet wide and well over heard the Work of Art, but we can say that 300 pounds in weight) simply cannot be ears. Experience sound free from EMI, RFI, the Inspiration is a spectacular-sounding made to resonate, either by external sources and with our turntable with many special qualities that of vibration (loudspeakers, rooms, footfalls, Vibrations, Dominus Diamond! elevate the listening experience. Among etc.) or internal ones (motors, pulleys, belts, Experience the joy of... • Contego™ shielding these are an absolutely jet-black background, etc.). The result is a smoothness, power, and © superb speed stability that contributes to solidity that JV simply hasn’t experienced, to • Full notechnology upgrade • Cyromag treatment realistic timbres, a vibrant dynamic rendering, this extent, from any other record player. The • Completely reoptimzed • Furutech’s NCF (Nano 2 and the uncanny impression of instruments Invictus is detailed yet not aggressively so; conductors Crystal Formula) connectors hanging in space. The Inspiration is particularly it is lightning quick on transients but never adept at portraying air and bloom around spitty or analytical; it is smooth, yes, but at no instruments, as well as at resolving low-level loss in pace or dynamic excitement; it is dense information such as the tail ends of cymbal in timbre but not dark or oversaturated; it is decays. It all adds up to a highly musical and neutral without being sterile, and transparent involving presentation that is, surprisingly, to sources without being colorless; it has three- considerably better than that of Basis’ superb dimensional bloom and body without any loss 2800 Signature. Supplied with Basis’ Vector in immediacy or liveliness. In short, it sounds 4 tonearm and Synchro-Wave Power Supply; very much like a mastertape. A ne plus ultra adding the Basis Superarm 9 vaults the source component, and one of JV’s reference performance to a new level. The precision record players. (264) engineering, machining, and fit ’n’ finish are magnificent. RH’s reference. (220)

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TOP PICKS: CABLES AND POWER PRODUCTS

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56 Top Picks in High-End Audio and Music 2017 the absolute sound 57 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Feature

If the power amplifier is located near the the cable manufacturer terminate the cables How to Choose Cables and Interconnects speakers, the speaker cables will be short and (put spade lugs or banana plugs on loudspeaker the interconnects between the preamplifier and cables, and RCA or XLR plugs on interconnects) power amplifier will be long. Conversely, if the rather than to try to do it yourself. power amplifier is near the source components Concentrate your cable budget on the Robert Harley and preamplifier, the interconnects will be cables that matter most. The priority should short and the speaker cables long. There be given to the sources you listen to most is no consensus among the experts about often. For example, you may not care as much Excerpted and adapted from The Complete system in the right direction, not as a Band- which method is preferable, but I use long about the sound of your tuner as you do your Guide to High-End Audio (fifth edition). Aid for poorly chosen components. interconnects and short loudspeaker Copyright © 1994–2017 by Robert Harley. Cables and interconnects won’t correct fun- cables. Ideally, interconnects and loud- hifibooks.com. To order call (800) 841-4741. damental musical or electrical incompatibilities. speaker cables should be short, but that For example, if you have a high-output-imped- often isn’t practical. Ideally, every component in the system— ance power amplifier driving current-hungry Once you’ve got a feel for how your including cables and interconnects—should loudspeakers, the bass will probably be soft and system is—or will be—configured, be absolutely neutral and impose no sonic the dynamics constricted. Speaker cables won’t make a list of the interconnects and signature on the music. As this is never the case, fix this problem. You might be able to amelio- cables you’ll need, and their lengths. we are forced to select cables and interconnects rate the soft bass with the right cable, but it’s far Keep all lengths as short as possible, with colorations that counteract the rest of the better to fix the problem at the source—a better but allow some flexibility for moving system’s colorations. amplifier/loudspeaker match. loudspeakers, putting your preamp in For example, if your system is a little on the Good cables merely allow the system’s a different space in the rack, or other bright and analytical side, mellow-sounding components to perform at their highest possible changes. Although we want to interconnects and cables can take the edge level; they won’t make a poor system or bad keep the cables and interconnects short off the treble and let you enjoy the music component match sound good. Start with a for the best sound, there’s nothing more. If the bass is overpowering and fat, high-quality, well-chosen system, and select worse than having interconnects 6" too lean- and tight-sounding interconnects and cables and interconnects that allow that system short. After you’ve found the minimum cables can firm up and lean out the bass. A to achieve its highest musical performance. length, add half a meter for flexibility. system lacking palpability and presence in Remember, a cable or interconnect can’t Interconnects are often made in the midrange can benefit from a forward- actually effect an absolute improvement in the standard lengths of 1, 1.5, and 2 meters. sounding cable. sound; the good ones merely do less harm. These are long enough for source-to- Selecting cables and interconnects for their A typical hi-fi system will need one pair of preamp connections, but too short for musical compatibility should be viewed as the loudspeaker cables (two pairs for bi-wiring), many preamp-to-power-amp runs. final touch to your system. A furniture maker one pair of long interconnects between the These long runs are usually custom- who has been using saws, planes, and rasps preamplifier and power amplifier, and several made to a specific length. Similarly, will finish his work with steel wool or very fine pairs of short interconnects for connections speaker cables are typically supplied sandpaper. Treat cables and interconnects the between source components (such as a in 8' or 10' pairs, but custom lengths same way—as the last tweak to nudge your turntable or DAC) and the preamplifier. are readily available. It’s better to have

58 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017 0ex Feature How to Choose Cables and Interconnects

DAC. Consequently, you should spend more on My experience suggests that the only way to interconnects between the DAC and preamplifier determine the best cable or interconnect for 0ex than between the tuner and preamp. And your system is to experiment and listen. In some High Current, Class A/B because all your sources are connected to cases, the best results will be achieved with the power amplifier through the interconnect all the interconnects and cables made by the Headphone Amplifier between the preamplifier and power amplifier, same manufacturer. In others, a mix of different this link must be given a high priority. But any interconnects will work best. It’s impossible to component—even a mobile device’s analog predict which cables will sound best in your output—will benefit from good interconnects. system. Should all of your interconnects and speaker Most dealers will let you take home several cables be made by the same manufacturer? Or cables at once to try in your system. Take is it better to mix and match brands? There are advantage of these offers. Some mail-order two schools of thought on this. The first holds companies will send you many cables to try: that an entire system wired with one brand of you keep the ones you want to buy—if any— cable and interconnect is the best route. If one and return the others. Compare inexpensive interconnect works well in your system, use it cables with expensive ones—sometimes

throughout. This argument assumes that the manufacturers have superb cables that sell for ™ cable designer made his interconnects and a fraction of the price of their top models. 50 speaker cables to work together to achieve the If you’re starting a system from scratch, best possible sound. selecting cables is more difficult than replacing The second school of thought holds one length in your system. Because different that different brands are best. Cables and combinations of cables will produce different 2 C3 ™ M interconnects made by the same manufacturer results, the permutations are greatly increased. D HOLOGRA tend to share a common sonic signature; using Moreover, you don’t have a baseline reference the same interconnect and cable throughout against which to judge how good or bad a cable the system will only reinforce that signature. By is. In this situation, the best way of getting the “Specifically, the Vero 50ex and Vero Reference cable dimin- using cables and interconnects from different ideal cables for your system is to follow your Proudly Engineered manufacturers, the characteristic sonic dealer’s advice. Try the cables and interconnects ished the feeling of “inside the head” imaging by seeminglyand Made in the projecting USA signature won’t be superimposed on the music he suggests, along with two other brands or images slightly outward toward the front and expanding the stage width”. by every piece of wire. models for comparison. Robert Harley, Editor,Prou dthely En gabsoluteineered sound Proudly Engineered This second theory has an analog in the and Made in the USA and Made in the USA recording world. Engineers will record through Excerpted and adapted from The Complete Vero Headphone Cables awarded 2017 Product of the Year Proudly Engineered Proudly Engineered one brand of recording console, then mix the Guide to High-End Audio (fifth edition). in the USA in the USA record through a different brand of console. Copyright © 1994–2017 by Robert Harley. They don’t want to hear the console’s sound hifibooks.com. To order call (800) 841-4741. by in the final product, so they don’t subject the signal to the same sonic signature twice. Proudly Proudly Proudly Learn more about Vero products at www.mitcables.com/products/vero-headphone-series.htmlEngineered Engineered Engineered in and and 4130 Citrus Avenue, Suite 9, Rocklin, CA USA 95677 • www.mitcables.com • 916/625-0129the USA Made in Made in 59 Top Picks in High-End Audio and Music 2017 the absolute sound the USA the USA MIT products are manufactured and sold by CVTL, Inc. ©2017 CVTL, Inc. All rights reserved

MIT 2017 ab snd Prem Sponsor full pg.indd 1 11/30/17 5:45 PM CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Cables and Interconnects

Audience Ohno Wireworld Eclipse 7 and Wireworld MIT Vero Reference MIT ACC268 Interconnect $199/1m Mini-Eclipse 7 $899 $80,000 (+$82 per meter); speaker $209/1m $450/1m pr. RCA, $450/1m pr. Music Interface Technologies (MIT) has brought its MIT’s ACC268 “Articulation Control (+$20 per meter) XLR/$500/8' single terminated pr., unique technology to the personal audio arena for Consoles” are undoubtedly the world’s Once you get past the initial shock of Ohno’s $550/8' bi-wire the first time in the Vero Full Range ($499) and Vero most expensive speaker cables, but they teeny profile, you’ll be as surprised as NG was These moderately priced interconnects Reference ($899) headphone cables. MIT cables and are unlike any cables extant. The control at its imperturbable midrange tonal weight, and speaker cables from Wireworld are interconnects have always employed terminated consoles are 45-pound enclosures which seems so contradictory to its skinny overachievers of the highest order. Built from networks housed in chassis integral to the cable. housing the network along with unique contours. Ohno cabling is quiet, quick, and OCC copper using the company’s patented DNA In the Vero headphone cable, the network is in a adjustments that allow you to tune the extended with well-focused and dimensional Helix geometry and high-quality terminations small slim enclosure that doesn’t interfere with cable to your system. This tuning has imaging. Sure, there are plenty of heavyweight designed in-house, the Eclipse 7 interconnect the cable’s portability. The Vero Reference has all nothing to do with tonal balance, but designs out there but none are going to kick is more technically sophisticated than is usual the hallmarks of MIT’s ultra-expensive high-end rather with dynamic verve in different sand in the Ohno’s face. A cable that will also at this price. The Eclipse 7 adds no hardness or offerings, particularly when used with the company’s parts of the frequency range. Exotic and integrates easily in any small room or desktop glare to the mids, has a smooth yet extended outstanding Vero 50ex headphone amplifier ($3195). justifiable in only the highest of high- setup, and maybe, just maybe the best treble, and is overall remarkably transparent. The treble is a bit gentler and more relaxed than end systems, the ACC268 delivers a performance per dollar cable that NG’s heard The Eclipse 7 also excels at conveying dynamic that of other headphone cables, which makes for sound quality that is unmatched by any in some time. (264) contrasts. The Mini-Eclipse 7 speaker cables greater engagement and less fatigue over long other cable in RH’s experience. (274) benefit from technology developed for listening sessions. Notably, the Vero doesn’t trade Wireworld’s upper-end products, and feature smoothness for resolution and transparency; the MIT the company’s DNA Helix geometry, 14-gauge, cable and amp are as good as Robert Harley has heard OCC-copper conductors, and interchangeable in revealing low-level and individual musical lines spade or banana terminations. Nicely made in complex passages. The Vero Reference cable also and quite flexible, the Mini Eclipse 7 has a very diminishes the feeling of “inside the head” imaging neutral balance that imposes little character of by seemingly projecting images slightly outward its own on the music. Its midrange and treble toward the front and expanding stage width. And as are extremely clean in texture, and the treble is characteristic of MIT, the bass is rich and full, with a is open and detailed without being bright. solid sense of body and weight. MIT’s Vero Reference Together, these two Wireworld products offer is the best headphone cable we’ve heard. (Ultimate tremendous value. (forthcoming) Guide to Headphones and Personal Audio)

60 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Cables and Interconnects

Kimber Kable Hero Interconnect/8TC and Nordost Purple Flare WyWires Blue Series Cardas Audio Iridium 12TC Speaker Cable Interconnect $269/1m pr. ($55 per Interconnect $299/4' pr. (RCA or XLR); Interconnect $320/2m pr.; speaker Interconnect $219/1m pr.; 8TC speaker addl. half-meter pr.); speaker $439/1m speaker $449/8' pr. $500/3m pr. $453/8' pr. with SBAN connectors; pr. ($78 per addl. one-meter pr.) The first WyWires cable reviewed in TAS, Blue The Iridium interconnects and speaker cables 12TC speaker $688/8' pr. with SBAN Featuring Nordost’s classic flatline is also one of the most pliable, easy-to-handle are made from Grade 1 OFHC 99.9999% connectors configuration the Purple Flare is a rung below cables available; yet its sound is anything but copper Litz wire with a cross-field geometry Yielding only a tiny bit in control, top-end the current incarnation of Blue Heaven, humble. Its sonic signature is energetic, with a in an insulated FEP jacket. The geometry of transparency, and detailing to PS’s reference, yet it’s a little trip to heaven on its own. It potent midrange, plenty of drive, and a slightly the wiring is said to be a Shielded Star-Quad Hero’s bass lives up to its name, prodigious in really shines in the midband with a driving, cooler, forward tilt. The Blue’s sonics aren’t 4 arrangement in Golden Ratio proportions amplitude and definition. Dead neutral, with slightly forward energy that imparts dynamic juiced-up or overheated, but if the goal is bound together by PTFE tape, while the dynamics at once powerful yet finely resolved liveliness to all genres of music. There’s high transparency and black-satin background hybrid shield is spiraled tin-plated copper in an essentially grain-free presentation. The significant macro-dynamic punch resulting in silences it will prove a real achiever. It exhibits surrounded by carbon-impregnated PTFE 8TC speaker cable has that elusive ability to orchestral crescendos, full-blown percussion good rhythmic pace and a wonderful facility tape. The geometry of the speaker cable remain musical no matter what is happening licks, and brass-section blasts of impressive with inner detail. An unpretentious component is a twisted pair using natural cotton filler fore or aft, ideally mediating detail, liveliness, authority. It evinces the transient speed of a that lets the quality of the recorded wrapped together with a PTFE tape. The Iridium tonal neutrality, and dynamic contrasts within sprinter, yet never suggests any serious tonal performance speak for itself, the WyWires puts interconnect/speaker combination leaned a very realistic, holographic soundstage. (138, balance discontinuities. Its treble range is the music upfront and centerstage. A truly toward being even in sonic distribution with 146) wonderfully free from major constrictions. auspicious debut. (236) a slightly warmer-than-neutral presentation Bass is not quite as fully exploited in with no enhancements and a slight reduction extension or bloom, and there’s a bit of in low-level resolution and bass dynamics. If coolness in the middle treble. But, on balance, the system could use a bit fuller sound with it is as open and as transparent as any cable in additional bass authority in the power region this class. (236) and some reduction of upper-midrange and lower-treble energy, the Cardas Audio Iridium might fit that requirement. (274)

61 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Our Top Picks Cables and Interconnects

Morrow Audio SP7 Grand Reference Shunyata Research Venom Audience Au24 SX AudioQuest Wind Speaker and MA4 Reference and MA7 $350/1m pr. ($700 for a 2m pr.) Interconnect $1800/1m RCA pr. Interconnect $1995/1m pr. Grand Reference Interconnects The new Venom Series represents fifteen years and $2400/1m balanced pr.; speaker Wind features AudioQuest’s best materials and Interconnect MA4 $329/1m pr., MA7 of Shunyata Research’s ongoing technical $3290/2.5m pr. technology, including Solid Perfect-Surface $1399/1m pr.; speaker $1499/2m pr. innovation and custom-parts engineering. To Audience’s latest flagship wire produces a Silver (SPSS) conductors and the Dielectric A relative newcomer to the cable ranks, that end, the company uses the finest available ripe midrange weight and sweetness, vivid Bias System (DBS) that polarizes the dielectric Morrow Audio’s wires performed like an old metals, such as expensive Ohno Continuous dynamic contrasts, and a profound sensitivity with a battery attached to the interconnect. pro. Nicely weighted, with a solid midrange Cast Copper. Also, Shunyata has included new to delicate volume gradations. Ultimately, This is an interconnect that competes with sweetspot, these wires had terrific low- features like hollow-core (VTX) conductors. it possesses a brilliance that casts light in top-tier wire at a less-than-stratospheric level resolving power, solid bass, and good JM found the Venom speaker cables and the deepest corners of the soundstage and price. Wind has very little sonic effect on the soundstaging and dimensionality. The MA4 interconnects to be very natural, open, and restores air and lift to harmonics. A particular signals passing through it, and consequently, Reference interconnect was mildly dry on dimensional. In much the same way that strength of all these cables is the often hard- preserves the music’s dynamic verve, spatial top; the more expensive MA7 interconnect Shunyata’s designs strive to keep distortion to-achieve blend of the transient, the tactile, dimensionality, and timbral purity. It has a very spiced up the harmonics and added just a out of the signal path, its cables get out of the and the reverberant. The Au24 SX struck a fluid clean, open, and lively sound, detailed and bit more juicy texture and complexity to the way of the music. The Venom speaker cables and natural balance of ease, articulation, and vivid, but not in an analytical way. If you want sound. Overall, this was a cable that defied and interconnects offer a reasonably neutral immersiveness. Superb. Flexible and easy to a cable that softens transients and removes a expectations in its range. (259) palette with pleasing delicacy of detail and handle, too. (269) bit of excessive zip from your system, this isn’t rich warm harmonics. To borrow a favorite it. Wind is a great interconnect by any measure, expression from JV, they are quite gemütlich and though not inexpensive, is nonetheless a and sweet, without glare or etching. Some superb value. (254) might find them a touch polite dynamically (I don’t), but that’s a matter of personal taste. Quite a high-quality signal cable that performs well and doesn’t cost a fortune. (266)

62 Top Picks in High-End Audio and Music 2017 the absolute sound CONTENTS • FROM THE EDITOR • TOP PICKS: LOUDSPEAKERS • TOP PICKS: ELECTRONICS • TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

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Audience aR2/aR12/aR12-TS/aR6-TSSOX AudioQuest Niagara 7000 Shunyata Research Hydra Denali 2000T, Synergistic PowerCell 12 UEF, PowerCell $695/$4995/$8995/$6450 (Au24 SE-i $7995 6000T 12 UEF S, PowerCell 12 UEF SE upgrade, +$1735; Au24 SX upgrade, The 81-pound Niagara 7000 is the brainchild $2995, 2-outlet 2000T; $3995, 6-outlet $4495, $5495, $5995 +$4200) of AC design engineer Garth Powell, whom 6000S; $4995, 6000T tower As a skeptic about power conditioners, JHb The aR2p, Audience’s compact, dual-outlet AudioQuest hired and essentially gave two These new AC conditioners from Shunyata was pleasantly surprised by the improvements power conditioner and isolation device is years and carte blanche to design a new power take what was already the state of the art in in imaging and dynamics rendered by the based on the massive 12-outlet versions of device from scratch. Powell says the Niagara AC conditioning to a new level. They are based Synergistic Power Cell. Unlike many of its which Audience is rightly proud. Used with a 7000 is not a power conditioner; rather, on noise-isolation technology that Shunyata brethren (no need to mention them by CD player, its enhancement of soundstaging, it relies on dielectric-biased AC isolation developed for medical imaging equipment. name, the offenders know who they are), the dimen- sionality, and depth can be profound. transformers to reduce distortion without The sonic result is even quieter backgrounds, PowerCell did not appear to limit current. With demanding high-current devices such reducing current to any component, including which allow for resolution of the finest micro- Instead, it offers even blacker backgrounds as ampli ers, transients seemed a little soft. amplifiers. Essentially, the Niagara seeks to detail. These low-level cues are vital to a sense and lowered grit and distortion. Particularly An audition is recommended. Further up the create a power bank for your amps so that it of timbral and spatial realism, which are the noteworthy were the smoother treble and Audience food chain doesn’t have to strain to grab voltage from the areas where the new Denali excels. The Denali improved suppleness of musical lines. The are the 12-outlet heavy-hitters. The aR12p wall. The most immediate and salubrious effect 2000T offers two outlets; the 6000T provides PowerCell is pleasingly lightweight and was found to be an extremely effective of the Niagara was to offer more controlled and six outlets in a new vertical form factor. A attractive. Synergistic head honcho and lead conditioner, capable of deliv- ering signi cant refined performance. The treble is definitely unique AC cable support system provides designer Ted Denney III, it must be said, improvements in bass de nition and depth, smoother and rounder with the Niagara. a much more secure coupling between AC continues to advance the state of the art overall resolution, and soundstage depth. Its Overall, the Niagara is a fabulous piece of cord and socket. The 6000S is a shelf version when it comes to filtering electricity. As with build-quality is nothing short of exemplary. At equipment that adds a sheen and palpability to with identical internal parts and performance all conditioners, however, auditioning the the top of the hill is the new TSS line with Te the music that are utterly addictive. (271) ($3995). It’s surprising just how much better Synergistic in your own system is a must, as on capacitors. (162, 179, 186, 235) the Denali system is than Shunyata’s Triton. the quality of electricity varies markedly from RH’s reference. (272) home to home. (192)

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Alison Krauss: Windy City. Capitol. albums for George Jones, Willie Nelson, and Merle Haggard, has a real affinity for traditional On her latest album Alison Krauss teams up with country. Of course, Krauss has shown her veteran Nashville producer Buddy Cannon for a considerable vocal chops time and again, as the debut solo album so lush it recalls the sainted leader of Alison Krauss and Union Station, as a pairing heard on the late 50s and early 60s contributor to the Grammy-winning soundtrack recordings of Patsy Cline and Owen Bradley. O’ Brother Where Art Thou, and as half of a hit Songs like “Losing You,” the ballad “I Never duo with Robert Plant. Sonically, Windy City is Cared for You,” and the title track sting with drenched in gorgeous string arrangements, and heartache and aching steel guitars. These ten rich, dark chocolate tones. Greg Cahill tracks are classic songs Krauss heard around the house while growing up, and many glow Further Listening: Alison Krauss & Union with a warm nostalgia. Her rendering of the Station: Lonely Runs Both Ways; Alison Krauss/ John Hartford composition “Gentle on My Robert Plant: Raising Sand Mind,” popularized by Glen Campbell, recalls Dolly Parton at her finest. Cannon, who has written hits for George Strait and produced

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songbooks of Little Walter, Howlin’ Wolf, Little ica solo after another, but when he plays, it’s Johnny Taylor, Otis Rush, Jimmy Reed, Lightnin’ the chemistry of the entire band that’s most Slim, Magic Sam, and Eddie Taylor. No one saw impressive. Listen to him goad on the rest of this record coming, including the Stones, who the group during the introduction to Little Wal- suddenly shelved an album of new material in ter’s “I Gotta Go,” and then listen to them fire favor of this tribute to their early heroes, know- back—now that’s what’s been missing from ing the sound they were after and the songs recent Stones albums. And check out the har- they needed. Except for some piano tracks monica solo on “Little Rain,” where Jagger Chuck Leavell later added, the album was re- moves up to the high notes, creating squeaky corded in three days. As usual, the drumming of tones that evoke Jimmy Reed, who recorded Charlie Watts is a treat, and on this mostly live- the song in 1957. in-the-studio recording you once again hear the Eric Clapton, who shows up for two cuts, band playing as a unit. fits in nicely—his solos on “Everybody Knows There’s something different, though, about About My Good Thing” and “I Can’t Quit You the chemistry here than on other Stones al- Baby” are electrifying—but I’m glad the Stones bums. Mick Jagger is clearly out front, and fortu- stopped there with the big-name guest art- nately he steers clear of the vocal mannerisms ists. By losing their way the Rolling Stones MUSIC SONICS that have marred some of his recent work. Emo- found their way back home, and once again tionally, too, he’s more convincing here than their blues creds are of the highest order. The Rolling Stones: Blue & Lonesome he’s been during his last many performances Jeff Wilson Interscope. of “Satisfaction” or “Start Me Up.” Boisterous on Little Walter’s “Just Your Fool” and Howlin’ Further Listening: Little Walter: Best of Little The Chicago blues greats of the 50s and 60s Wolf’s “Commit a Crime,” he digs that much Walter; Magic Sam: Black Magic recorded raw, passionate music that leaped out deeper on slow, tortured blues songs like the of the grooves of 33s, 45s, and 78s. Their two- title track and Magic Sam’s “All of Your Love.” and three-minute songs told stories of betray- If you grew up loving the Stones but grew al and revenge. Often the lyrics were shouted increasingly impatient with their studio work, from what sounded like an echo chamber while Jagger’s singing on Blue & Lonesome will im- harmonicas wailed and electric guitars added press you, but something else may move you their dirty, distorted cry. Those records inspired more deeply. “Midnight Rambler” and “Gimme budding musicians not just around America, but Shelter” proved that he’s a fine harmonica play- also overseas, where acolytes included future er with a dirty, raspy sound. (Even Keith Rich- members of the Rolling Stones. And that music ards, often quick to find fault in his co-leader, is still in the Stones’ veins, as their new studio called Jagger “one of the best natural blues album, Blue & Lonesome, makes clear. Devot- harp players I’ve ever heard.”) On Blue & Lone- ed to old blues covers, the record dips into the some Jagger delivers one memorable harmon-

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John McLaughlin & the 4th Dimension: Live at the latter a showcase for drummer Barot. Bass- Pärt: The Deer’s Cry. Vox Clamantis, Jaan-Eik be a believer to channel the deep spirituality of Ronnie Scott’s. Abstract Logix. ist M’Bappe is showcased on the powerhouse Tulve. ECM. Pärt’s music. The title track, The Deer’s Cry, sets jam “Here Come the Jiis” and the frantic “Vital a 5th-century prayer written by St. Patrick when It is hard to listen to the sheer burn John Mc- Transformation” while keyboardist Husband Arvo Pärt participated in the recording sessions he anticipated an ambush by hostile Druids. Laughlin exhibits throughout this live album, turns in a sparkling piano solo on the minor-key for this ECM New Series CD, which has Jaan-Eik The enemy lay in wait for the holy man and his recorded in March of 2017 at London’s famous ballad “Gaza City,” flaunts singular synth chops Tulve leading the Estonian choral group Vox Cla- disciples but saw only a “gentle doe followed Ronnie Scott’s club, and consider that he is pre- on “Vital Transformation” and “New Blues Old mantis in a program of 13 works. Included are by 20 fawns.” Vox Clamantis is a professional pared to call it quits at the end of this year due to Bruise,” and engages in some fiery call-and-re- familiar pieces (such as the ineffably beautiful chorus comprising six women and 11 men with arthritis. At age 75, McLaughlin is still ripping it sponse with McLaughlin on the Spanish flavored Da Pacem Domine, written to honor the victims a distinctive rich choral sonority. ECM’s re- up with signature precision chops, intense aban- “El Hombre Que Sabia.” A must for fusion fans. of the Madrid train station bombing in 2004) as cording is superb, possessing both immediacy don, and awesome speed. Pushed by his long- Bill Milkowski well as several first-time recordings (including and an excellent sense of the venue, a Tallinn standing band, the 4th Dimension, McLaughlin Drei Hirtenkinder aus Fatima, a brief carol-like church. Andrew Quint soars on recreations of his 70s Mahavishnu Or- Further Listening: Mahavishnu Orchestra: Birds piece that was given its premiere by Vox Cla- chestra classics “Meeting of the Spirits,” “Miles of Fire mantis). Most of the music is sung a cappella, Further Listening: Pärt: Passio Beyond,” “Sanctuary,” and “Vital Transforma- though several pieces have spare but distinc- tion” as well as newer tunes like the energized tive instrumental accompaniments. All have a “Here Come the Jiis” and “Echoes From Then,” Christian orientation, but one doesn’t need to

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Chuck Berry: Chuck. Dualtone. rello, Nathaniel Rateliff, and Gary Clark Jr. (he European Tour. Nordic Brass Ensemble. 2L there’s just one French horn, and tuba is used adding tasty, incisive soloing to the propulsive (SACD + Pure Audio Blu-ray). only episodically. The ensemble sonority is lean Late-career albums by rock ’n’ roll’s pioneers opener, “Wonderful Woman”), Berry supports and richly detailed with upper partials, more ex- have been spotty at best—consider the embar- his engaged, commanding vocals by cutting out The Nordic Brass Ensemble consists of players uberant pageantry than choral grandeur. Both a rassments of Bo Diddley and Carl Perkins—but on guitar as only Chuck Berry can. Items such from eight top Swedish and Norwegian orches- hybrid SACD and a music-only Blu-ray disc are two of the orn’riest of the lot, Jerry Lee Lewis as classically styled Berry rockers (“Big Boys,” tras. This album of Renaissance wind music is no provided. The multichannel mix places a single and now Chuck Berry, have revealed undimin- “Lady B. Goode”), a grinding blues cover of the one-off proposition; the group has been active percussionist behind the listener with the brass- ished powers in their antiquity. In the latter’s pop standard “You Go To My Head,” and a slinky, for over two decades. They play with the power es arrayed in a semi-circle up front. In both ste- case, Chuck (announced as his final album reggae-tinged “Jamaica Moon,” are potent ex- and precision of a crack orchestral brass section reo and surround, the dynamic range and pal- months before his death on March 18) is more ercises, bursting with life and enhanced, some- plus the give-and-take sensibility of a cham- pability of the HD sound is stunning. For both than impressive—it offers genuinely stunning times poignantly, by solid sonics. An unforget- ber group. European Tour ranges in mood from sonic and purely musical reasons, this was my moments as Berry turns back the clock with table final testament. David McGee reverential to celebratory, making stops in Ger- favorite classical release of 2016. AQ impunity. Backed by his club trio The Blueber- many, France, Spain, Holland, England, and Italy ry Hill Band supplemented by his two guitarist Further Listening: Chuck Berry: The Great with a nod to the Janissary music of Turkish mili- Further Listening: National Brass Ensemble: sons and daughter Ingrid on harmonica and Twenty-Eight; Jerry Lee Lewis: Mean Old Man tary bands. Two members of the NBE are respon- Gabrieli (SACD) joining in vocally on a slow burning blues love sible for the arrangements that favor small-bore tune, “Darlin’,” plus guest guitarists Tom Mo- instruments, e.g., trumpets and trombones—

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each in unique circumstances, by Mitchell (so- given context by the more prevalent passages pranino, soprano, alto, and bass sax, flute, pic- characterized by sounds that interact, with pal- colo, bass recorder, and percussion) to include pable mindfulness and concentration, in grand 1) James Fei (sopranino and alto sax, contra-al- spaces where Moron Feldman–like patience and to clarinet, electronics) and William Winant silence seduce the ear. (percussion, tubular bells, glockenspiel, vi- Except for the title track and “Six Gongs and braphone, marimba, roto toms, cymbals, bass Two Woodblocks,” the titles of the 12 pieces, drum, woodblocks, and timpani); 2) Hugh Ragin such as “Prelude to a Rose,” “Dancing in the Can- (trumpet, piccolo trumpet) and Tyshawn So- yon,” “EP 7849,” R509A Twenty B,” “Red Moon rey (trombone, piano, drums, and percussion); in the Sky/Odwalla,” and “Prelude to the Card 3) Craig Taborn (piano, organ, and electronics) Game, Cards for Drums, and The Final Hand” pro- and Kikanju Baku (drums and percussion); and vide little indication of what you’re going to hear. 4) Jaribu Shahid (double bass, bass guitar, and And it’s when you detach from expectations and percussion) and Tani Tabbal (drums and per- free float with the music that you’ll be carried cussion). And given the weight of history, it’s into realms of meticulous little sounds like those significant that the percussion played by Sorey, once made by the Art Ensemble of Chicago, rum- Tabbal, Baku, and Winant included the setups bling and drifting electronics faintly reminis- MUSIC SONICS originally used by Mitchell, Don Moye, Malachi cent of Ligeti’s Atmosphères or Lux Aeterna, and Favors, and Lester Bowie in the Art Ensemble of ensemble passages that beg to be developed Roscoe Mitchell: Bells for the South Side. ECM Chicago, the “Great Black Music: Ancient to the into major symphonic works. Who knows where (2 CDs). Future” group with which Mitchell ascended to Mitchell will take us next? Derk Richardson the pinnacle of the post-Coltrane avant-garde. Sometimes in jazz, as in baseball, “you can’t Still, personnel and instrumentation are Further Listening: Roscoe Mitchell: Angel City; tell the players without a scorecard.” Even with only part of the story. More crucially, the mu- Far Side one, it might be challenging to know which of sical narrative hinges on the now-76-year-old Roscoe Mitchell’s four trios—or which recom- Mitchell’s profound and horizon-extending binant variation thereof—is playing on which vision, and Bells for the South Side is the most piece of this magnificent two-CD recording. Of beautifully detailed summation of how he has course, the personalities and proclivities of the advanced that vision into what he calls “new individual musicians are crucial to the project, artistic territory.” Over the course of two hours recorded in September 2015 at the Museum of of music, there are plenty of cacophonous Contemporary Art Chicago in celebration of the moments—screeching reeds, bleating brass, 50th anniversary of the Association for the Ad- turbulent piano, riotous percussion—that will vancement of Creative Musicians (AACM). And challenge listeners who have limited familiar- these are stunningly virtuosic players. ity with, or tolerance for, the “noise” of free So, let us stipulate that the trios were built, jazz. But those bursts are outnumbered and

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Wadada Leo Smith: America’s National Parks. follow preset guidelines of some sort. Smith’s John Prine: For Better, or Worse. Oh Boy. ity. The mood turns tender on “Falling in Love Cuneiform. group consists of three outstanding jazz Again,” featuring Krauss. Tedeschi evokes Tam- musicians and a cellist who, preeminent as a The first album of new studio tracks in nearly a my Wynette on the George Jones classic “Color With America’s National Parks, Wadada Leo Smith performer of contemporary classic music, can be decade finds the singer-songwriter pairing off of the Blues.” The fiddle- and pedal-steel-driven continues to evolve and challenge himself, his seen as related to the Third Stream movement with Alison Krauss, Kacey Musgraves, Iris DeMent, “I’m Telling You,” with Holly Williams, is hayride supporting cast, and his audience. Everything of the previous generation. But ultimately one Lee Ann Womack, Kathy Mattea, Miranda Lam- ready. And Lambert is fittingly feisty on Flatt & about this music seems to come from a slightly hears it not in such terms, but simply as great bert, Morgane Stapleton, Susan Tedeschi, Holly Scruggs’ honky-tonk chestnut “Dim Lights, Thick unexpected direction, including the fact that a music. Modern but not inaccessible, demanding Williams, and Fiona Prine on the themes of love Smoke (and Loud, Loud Music).” For Better, or few of his parks are not “real” national parks, but extremely rewarding, America’s National and marriage. At 70, Prine has lost none of his Worse reminds you how much fun country music and continuing with the instrumentation (Smith, Parks was one of the best records of 2016. Duck wit, sentimentality, or charm, and while ill health can be when a rocky relationship is treated with trumpet; Ashley Walters, cello; Anthony Davis, Baker has ravaged his pipes, his gravelly vocals give a dash of levity. GC piano; John Lindberg, bass; and Pheeroan akLaff, him even more of a rascally quality. The songs drums). Parks is like a suite for improvisors that is Further Listening: Wadada Leo Smith: The are mostly lesser-known country fare by George Further Listening: John Prine: In Spite of organized with scored material, passages where Great Lakes Suites; Ten Freedom Summers Jones, Jessie Colter, Hank Williams, Joe Maphis, Ourselves; The Missing Years soloists are backed by the other players, and and others. Performed with DeMent, the opening places where soloists are heard on their own, track, “Who’s Gonna Take the Garbage Out,” is a as well as quite a few group improvisations that tongue-in-cheek take on domestic incompatibil-

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Cameron Graves: Planetary Prince. never lets up; on the unabashedly pretty “An- Mack Avenue. dromeda” his rhapsodic approach reveals his classical background. Washington tends to start For a jazz album, Kamasi Washington’s The Epic serenely and gradually build intensity, slowly drew an unusually wide audience after its re- adding notes and eventually invoking the full lease in 2015. The four musicians at the core of weight of the tenor. There isn’t a dull moment Planetary Prince—pianist and leader Cameron on this almost 80-minute record, and much of Graves, drummer Ronald Bruner Jr., bassist Ste- it is exhilarating. Ironically, in spite of science ven “Thundercat” Bruner, and Washington—are fiction themes suggested by song titles like long-term West Coast Get Down members who “Andromeda” and “Satania Our Solar System,” played key roles in The Epic. The musicianship while listening to Planetary Prince I hear the on Planetary Prince is exceptional, starting with street, and it sure sounds good. JW a super-tight rhythm section that allows Graves and Washington to take flight on extended im- Further Listening: Fire! Orchestra: Enter; Rob provisations, and the soloists continue to ex- Mazurek: Galactic Parables: Volume 1 plore new ideas at every turn. On the title track Graves comes in like a whirling dervish and

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Macy Gray: Stripped. Chesky (LP). are new to Gray, there’s a loose and intimate vibe to the performances that lets you know So how did this audiophile album appear that’s she’s in control. I listened to the vinyl version also getting attention in broader circles? It of Stripped, which impressed me with its depth, turns out David Chesky has long been a fan space, sense of the room, and warm analog of Macy Gray, and fortunately his invitation to sound. I should note, however, that the CD and record with four jazz musicians (Ari Hoenig, the download versions of Stripped also include drums; Daryl Johns, bass; Russell Malone, “She Ain’t Right for You” and “Lucy.” Often guitar; Wallace Roney, trumpet) got the nod “extra cuts” translates into “filler,” but that isn’t from the raspy-voiced and free-spirited singer. the case with this session—so there’s that to Stripped includes reworked originals (including consider. JW “I Try” and “Sweet Baby”), covers (Bob Marley’s “Redemption Song” and Metallica’s “Nothing Further Listening: Macy Gray: On How Life Is; Else Matters” are highlights), and new songs The Id like “Annabelle” and “The Heart” that stand up to earlier Macy Gray compositions. Although overdub-free audiophile recording sessions

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a nostalgia trip, then, these concerts presented when you hear her belt out “Running Up That a huge question mark for her fans. Would she Hill” and “King of the Mountain,” you learn stick to the hits, or would her residency consist what she meant by that phrase. of a multi-media experience exploring some of The second platter of the vinyl box set con- the multi-song storylines from her albums? tains “The Ninth Wave,” a suite from 1985’s The answer is, some of both. Culled from the Hounds of Love, while discs three and four in- 22 concerts, Before the Dawn captures the songs clude another suite, “The Sky of Honey” from in the same order they were delivered each eve- 2005’s Aerial. In both cases a fantasy-filled ning, with one exception: “Never Be Mine” was narrative kicks in, complete with characters, recorded during rehearsals but dropped before narrators, and dialogue. Throughout the album opening night. I listened to the vinyl version of the pristine-sounding vinyl impressed me with Before the Dawn, where the first disc contains its ability to capture the energy of a live show, live performances of songs from four albums, including a forceful but clean low end that tru- including the UK top-ten hits “Running up the ly seemed concert-like. Before the Dawn—the Hill (A Deal with God)” and “King of the Moun- album cover, inner sleeves, and 24-page book- tain.” During this portion of the concert, where let included with it contain photographs that the energy level starts high and keeps building, begin to reveal what the full-scale multi-me- MUSIC SONICS it’s clear that the band accompanying Bush can dia stage show looked like—now joins the list handle anything she throws at them. of memorable live albums with good sound, Kate Bush: Before the Dawn. Concord (4 LPs or Propelling the group is Omar Hakim, who has stylish packaging, and historic performances. 3 CDs). worked with Weather Report, Sting, and Dire JW Straits; he’s a fluid drummer who makes songs Kate Bush’s surprise announcement of a se- with the most complex meters seem catchy and Further Listening: Björk: Biophilia Live; David ries of concerts at the Hammersmith Apollo in plays tribal rhythms without overpowering the Bowie: Stage London in 2014 induced a state of panic in her rest of the band. In tandem with bassist John fans—and justifiably so, as her 22 shows sold Giblin, Hakim gives the other musicians plen- out in 15 minutes. Considering that Kate Bush is ty of breathing room, allowing Mino Cinelu one of those rare pop musicians who combines (percussion) Jon Carin and Kevin McAlea (key- a risk-taking aesthetic with broad appeal, that boards), and David Rhodes and Frissi Karlsson response makes sense. (guitars) to tastefully fill in the rich, expansive There was something extra, though, that you soundscapes that recur in Bush’s work. Above wouldn’t expect from someone whose career it all rides Bush, who quickly proves herself straddles five decades: because her only previ- an exciting live performer, fully engaged and ous tour took place in 1979, few of the people confident, her now-deeper voice both sensual lucky enough to snag tickets to these shows and powerful. A younger Kate Bush once spoke had seen Kate Bush in concert before. Far from about music that “really lays it on you,” and

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John McEuen: Made in Brooklyn. Chesky (LP). Clark country rocker “She Darked the Sun.” The Arto Lindsay: Cuidado Madame. Northern Spy sion wander into the mix, along with the occa- 15-song CD is an even bigger hootenanny, lead- (LP or CD). sional skronk of the untuned 12-string. The mix Best known as the Nitty Gritty Dirt Band’s tradi- ing with the klezmerized fiddle tune “Brooklyn of styles and sounds breeds less a fusion than tionalist, John McEuen is joined by Steve Mar- Crossing” and including Flatt & Scruggs’ “Blue Early in his career, as a member of DNA, Arto a collision, and the music is richer for it. Under- tin, David Bromberg, John Cowan, Matt Carsonis, Ridge Cabin Home.” A highlight of the CD is Lindsay went full bore primitive, his untuned neath it all are good pop instincts; in a more Jay Ungar, John Carter Cash, David Amram, and McEuen’s showstopping fiddle/banjo/recita- 12-string guitar sounding as primal as (and interesting world songs like “Grain by Grain,” others for Made in Brooklyn, on the audiophile tion, “The Mountain Whippoorwill.” Recorded stranger than) punk. With his next band, the “Each to Each,” and “Tangles” would get radio label Chesky. The nine-song, 180-gram vinyl LP in a Brooklyn church, the album sounds warm Ambitious Lovers, a poppier side emerged. As play in both the States and Brazil. But snag it at ranges from folk to gospel to country and blue- and real, putting you smack in the middle of it his solo career unfolded, a warm Brazilian influ- your local record store and you can hear it all grass. It opens with a great hoedown of Warren all. That’s a damn fine place to be. Larry Nager ence brought a new persona: an aesthete, albeit you want. JW Zevon’s “Dirty Life and Times” and leads Side a sly, enigmatic, and nerdy one with a penchant B with an equally down-home take on Zevon’s Further Listening: New Grass Revival: Fly for clever wordplay. On Cuidado Madame some Further Listening: Ambitious Lovers: Envy; “Excitable Boy.” Past glories are revisited in the Through The Country; Warren Zevon: Excitable songs seem to emerge from that same Brazilian Greed NGDB’s biggest hit, “Mr. Bojangles,” sung by Boy beach where Antonio Carlos Jobim watched a Bromberg, and a jug-band take on Wee Willie young lady saunter past who, fortunately for us, Wayne’s “Travelin’ Mood.” Cowan, one of the seemed oblivious to his existence. At the same great voices of our time, owns the old Dillard & time old-school electronica, funk, and percus-

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49s—employed to produce these recordings. ness-to-light catharsis of the Fifth; the rhyth- The amplifiers and tape recorder used at the mic inevitability of Nos. 7 and 8; the message sessions over a ten-year period (2005–2015) of noble human purpose that permeates the were also tube designs. To assure that the re- Ninth. The Polish Chamber Philharmonic Or- sulting LPs sound as good as possible, TACET chestra plays modern instruments yet there spreads the nine works over nine LPs (more are plenty of nods to period practice. Beau- commonly, Beethoven symphony boxes end tiful woodwind playing abounds: listen, for up with eight or even seven discs) and they are example, to the initial oboe solo in the slow half-speed mastered. As is customary for this movement of No. 3. The small string section label, pressings are on gratifyingly quiet 180- assures clean passagework and excellent gram vinyl. Finally, three LP sides—holding the string/wind balances. Wojciech Rajski takes exuberant finales to Nos. 5, 7, and 9—have been an approach that’s sensitive but never fussy. cut backwards—that is, you place the stylus Tempo choices are very well judged. There’s down near the label and it tracks to the outer an intimate quality to these readings that is edge of the disc. This ameliorates the problem very involving. of “end groove distortion,” a particular problem When was the last time you sat down and, when an orchestral work ends loudly. over the course of a few evenings, listened to MUSIC SONICS Audio quality is exemplary. String sound is a complete traversal of the Beethoven Nine nicely textured and reflects the participation from a single conductor and orchestra? It’s Beethoven: Symphonies Nos. 1, 2, & 8/Nos. 3 of multiple musicians playing a single part, probably been a while. Especially for the ana- & 4/No. 5/No. 6/No. 7/No. 9. Polish Chamber rather than one mega-violin. Winds are natu- log devotee, I can’t imagine a more satisfying Philharmonic Orchestra, Rajski. TACET. rally recessed behind the strings and there’s a way to do so than with this TACET series. AQ wonderful sense of the recording venues (two You’re thinking, do we really need a new com- churches), especially when a musical silence Further Listening: Dvořák: Sextet in A Major plete set of Beethoven symphonies, especially follows a loud orchestral chord. Dynamics are (TACET LP); Bach: Brandenburg Concertos from an unfamiliar orchestra and conductor? good, though some may want more impact to (TACET LP) Well, if you’re an audiophile of the analog per- timpani strokes. suasion, you may conclude that these six vinyl And the performances? They probably won’t releases (Nos. 5, 6, and 7 are available as single supplant an experienced listener’s favorites. LPs while the other symphonies appear on 2-LP But someone who had never heard a Beethoven sets) are, in fact, indispensable. symphony, yet knew of the music by its reputa- The German label TACET’s devotion to older tion, would quickly understand what all the fuss recording methodologies is apparent from the is about, intuiting the unique character of each generously annotated gatefold album covers work: the mastery of Classical-era form and that feature large photos of the vintage tube structure of the first two symphonies; the rev- microphones—Neumann U 47s, U 67s, and M olutionary expansiveness of Eroica; the dark-

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for the upcoming film Les Liasons Dangereuses. concomitant bouts of exhaustion and depression “Rhythm-a-Ning”—the first track of the first crucially shaped the narrative; why he turned LP of this never-before-released music recorded to repertoire staples for the score rather than by Monk in the Nola Penthouse Sound Studios, composing new material; and how seven reels of New York City, on July 27, 1959—is as brisk and tape from the Tom Nola–produced session were buoyant as Monk must have felt a year earlier. ultimately unearthed when producers Zev Feld- His quartet of that moment, with Sam Jones on man, Françoise Lê Xuân, and Frédéric Thomas double bass, Art Taylor on drums, and Charlie went hunting for Barney Wilen recordings. Rouse on tenor sax, is joined by French tenor Disc one contains all the music that Marcel Ro- man Barney Wilen, and the nearly six-minute mano edited for the film. Disc two comprises five romp is quintessential uptempo Monk bebop. A alternate takes, plus 14 minutes of Monk work- midtempo “Well, You Needn’t” closes side one ing with Taylor and the band on “Light Blue.” in a jaunty mood, and on side two “Ba-Lue-Boli- This closing, edifying track may not warrant var Ba-Lues-Are” lopes along with a wry smile. much repeated study, but everything else does, But the other seven selections on LP #1 find made more rewarding by the remarkably warm, the then-41-year-old pianist/composer more spacious, and defined, if not sharp-edged sound pensive, etching a breathtaking “Crepuscule reproduction on 180-gram vinyl—adding up to a MUSIC SONICS with Nellie” with accompaniment by Jones and phenomenal surprise gift to Monk devotees. DR Wilen, improvising a slow blues (later titled “Six Thelonious Monk: Les Liasons Dangereuses in One”), delivering two solo readings and an Further Listening: Thelonious Monk: The 1960. Sam Records/Saga (2 LPs). extended quartet version (with Rouse) of “Pan- Thelonious Monk Orchestra at Town Hall nonica,” and wrapping up with the only studio Les Liasons Dangereuses opens much the way recording of “Light Blue” (quartet) and the brief the second half of the 1950s did for Thelonious hymn “We’ll Understand It By and By” (with Monk: bright, bouncy, and upbeat. As Monk bi- Rouse and Jones faintly shadowing the leader). ographer Robin D.G. Kelley writes in the notes The story of how Monk came to record these he contributed to the 48-page booklet that ac- tracks for Vadim’s film and how it came to companies this unexpected two-LP set, the be- pass that they were not issued on the 1960 bop giant was having great years in 1957 and soundtrack album (which featured music writ- 1958. He was finally endorsed by critics and ten by Duke Jordan and performed by Art embraced by audiences, on the strength of such Blakey and the Jazz Messengers) is as peculiar albums as Brilliant Corners and Monk’s Music as the pianist’s melodies and as convoluted as and his soon-to-be legendary quartet and quin- his rhythms. Essayists Kelley, Alain Tercinet, and tet stints at the Five Spot Café in New York. And Brian Priestley tell it well in the photo-laden he was being recruited by Marcel Romano, on booklet. We learn how Monk’s infamous 1958 behalf of director Roger Vadim, to write music arrest, beating, and institutionalization, and his

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Clarence Ashley: Live and In Person: Greenwich I Sleep In Your Barn Tonight Mister”). Joined Binker and Moses: Journey to the Mountain of tape machine, pack a powerful sonic punch. On Village 1963. Jalopy (LP) here by Larry “Tex” Isley on guitar and auto- Forever. Gearbox (2 LPs). the second half of the album, where the duo is harp, the 67-year-old Ashley continues to play joined by guest artists, the music takes a turn Legendary folklorist Ralph Rinzler record- banjo and sing with authority. And Greenwich In a tradition that dates back as far as early Sun toward the otherworldly, especially when harp- ed Clarence Ashley between 1960–62 for Village 1963 is a lovingly produced package, Ra and includes works by both John and Alice ist Tori Handsley and tabla player Farathy Kor- Folkways’ classic Old Time Music at Clarence with wonderful liner notes by folklorist John Coltrane, there were once albums with spiritual war participate. The interweaving sax lines of Ashley’s Vols. 1 and 2, introducing a young Doc Cohen, a founder of the New Lost City Ram- and metaphysical themes and/or an element of Binker and Evan Parker (whose free jazz roots Watson. But Ashley was the star, a colorful vet- blers, an old-time revival band. Folkways-style, fantasy. Those records began to seem like an- lend that much more historical weight to the eran of medicine shows and rural vaudeville, an enclosed booklet by Siegel delineates each cient history, but recent efforts by Rob Mazurek, proceedings) help breathe new life into spiritu- the perfect mix of authenticity and profes- song. Anyone who loves that old-time sound Kamasi Washington, Cameron Graves, and oth- al jazz, and again the sound, warm, transparent, sionalism. Vividly recorded at Gerde’s Folk needs this LP. And by all means, get Folkways’ ers have re-fanned the flame—and now a UK and detailed, enhances the experience. JW City by master folk engineer Peter K. Siegel, Old Time Music at Clarence Ashley’s as well. LN jazz duo is following a similar path. On the first this previously unreleased 14-song set fea- half of Journey to the Mountain of Forever vig- Further Listening: Alice Coltrane: Journey in tures old English ballads (“House Carpenter”), Further Listening: Clarence “Tom” Ashley: orous duets by tenor saxophonist Binker Gold- Satchidananda; Sun Ra: Pathways to Unknown 19th-century pop (“Bully of the Town”), and Greenback Dollar ing and drummer Moses Boyd make bold, direct Worlds gems from the dawn of commercial country statements that, on an all-analog live-in-the- recording (“The Wreck of the Old 97,” “May studio recording captured on a Studer C37 1/4"

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Top Ten new Vinyl Releases of 2017

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España—A Tribute to Spain. NSO, Wiseman; its fourth direct cut. Recorded at London’s Air Gillian Welch: The Harrow and the Harvest. songs resemble short stories where the singer Middleton. Chasing the Dragon (180-gram LP). Studio, the record features excerpts from Bizet’s Acony (LP). is fully invested in the characters, and the Carmen, Charbrier’s España, and Rimsky-Korsa- unfiltered lyrics that cut close to the bone fit the When I was a teenager, direct-to-disc LPs were kov’s Capriccio Espagnol, all performed with ele- If you’re a musician who cares passionately stripped-down and intimate sound of this LP. A the cat’s meow of sonic excellence. Bypassing gance and verve by Britain’s National Symphony about the sonics of your first-ever vinyl release, black noise floor allows detail and timbre to several steps in the recording chain—literally Orchestra, Debbie Wiseman conducting, and the what steps can you take to ensure that the come through fully, and the delicate interplay feeding mics to the mixer to the cutting lathe alluring mezzo Rosie Middleton joining for the record sounds as good as possible? Here’s one between the guitars on what are mostly first or with no tape, overdubbing, or multitrack mix- Carmen tracks. The disc is alive with a stun- option: record the music to tape, buy your own second takes gives the music an in-the-moment downs—creates an exceptional immediacy ning transparency and “there-ness.” There’s a cutting lathe, master directly from the original feel. Kudos to Welch and Rawlings for sticking of sound and lack of noise. But with no tape convincing recreation of the studio’s ambience, tapes, actually participate in the cutting process, their necks out and taking the DIY approach all involved there’s no ability to edit, so musicians the instruments breathe with notable air and and plate and press the vinyl at Quality Record the way. JW must perform single takes, making for a pains- “bloom,” dynamic shadings and textures are as Pressings. Gillian Welch and her musical partner taking and not always artistically successful natural as can be. Wayne Garcia David Rawlings took those steps, and the Further Listening: David Rawlings: Poor David’s practice. Sheffield Labs set the standard, and process, though fraught with delays and very Almanack that company inspired Chasing the Dragon’s Further Listening: Clare Teal: A Tribute to Ella expensive, ended up being worth it. On these Mike Valentine to experiment with direct-cut Fitzgerald duets that feature both Welch and Rawlings on LPs. España is the label’s eighth release and guitar and vocals (with Welch singing lead), the

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Top Ten Vinyl Reissues of 2017

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Cowboy Junkies: The Trinity Sessions. country song. These, along with the group’s sul- Analogue Productions (two 200-gram LPs). try takes on “Blue Moon,” “I’m So Lonesome I Could Cry,” and “Sweet Jane” are the best parts A critical as well as audiophile darling upon its of Trinity Sessions, which to these ears can be a release in 1988, Trinity Sessions has been given bit too singular in mood. Regardless, sonics are a deluxe makeover by Analogue Productions. first-rate, as is Analogue Productions’ knock- Trinity Sessions’ master tape is digital, recorded out reissue. The sound is exceptionally ambi- with an R-Dat fed by a single Calrec Ambisonic ent and airy, with a remarkable sense of depth microphone. That last detail, plus the acoustics and a seemingly endless stage. Instruments are of Toronto’s Holy Trinity Church, proved a per- creamy-rich in texture, as is Timmins’ come-hith- fect match for Cowboy Junkies’ dreamy take on er vocal style. If you love Trinity Sessions, you’ll American country music, which these Canadians want this edition. WG had recently discovered on their first U.S. Tour. Balancing originals with a handful of classics, Further Listening: Wilco: A.M.; The Velvet the LP famously begins with Margo Timmins’ a Underground: Loaded cappella rendition of “Mining for Gold” before sliding into her own “Misguided Angel,” a fine

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Top Ten Vinyl Reissues of 2017

live jazz albums recognized by jazz lovers and the grooves with stunning clarity and focus. audiophiles alike for its superb performance Piano timbre and textures are gorgeous yet and sound. If ever there was an album ripe for unpretentious with a harmonic rightness that Mobile Fidelity’s One-Step Process, this one tickles and sweet-talks the ear. Cymbals and was it. snare sparkle with light and warmth. There’s For audiophiles, reproducing the original no better example of the musical mind-meld performance in all its sonic and artistic glory between players than Gershwin’s “My Man’s remains the primary goal. Tape aficionados, for Gone Now,” which has LaFaro’s acoustic bass example, would consider a first- or second-gen- lines darting and diving between Evans’ playful eration copy of the master tape their grail–al- melodic invention and single-note digressions. beit a rare one. For LP production it means Quieter sections during Miles Davis “Solar” closing the “generation gap.” It’s a simple succumb to chit-chat noise and dish clatter, but, equation–eliminate a step in the process, re- as if on cue, LaFaro’s string-slapping bass solo duce distortion and noise. As the name implies, silences the audience mid-chew. This is jazz as a One-Step cuts the production process required collaborative exchange of equals, each serving to manufacture an LP by removing the interme- the music, taking the lead and unselfishly diary steps between the lacquer and the pro- releasing it back. Sunday has received the same MUSIC SONICS duction stamper. One-Step takes the freshly cut white glove presentation as MoFi’s initial One- lacquer from the lathe, skips the conventional Step release, Santana’s Abraxas, which Wayne Bill Evans Trio: Sunday at the Village “father” (negative) and “mother” (positive) Garcia reviewed in Issue 269. Pressed at RTI Vanguard. Mobile Fidelity (two 180-gram steps by going directly from the lacquer to a and limited to 3000 numbered copies, the 180- 45rpm LPs). specially formed, nickel-electroplated stamper, gram, 45rpm, 2-LP box includes original notes technically termed a “convert.” The finished vi- and a pair of Steve Schapiro 8 x 10 photos. A The Bill Evans Trio played a series of perfor- nyl pressing derives directly from the convert technical and artistic landmark for the ongoing mances at the Village Vanguard in New York rather than the traditional mother-to-stamper analog revival. Neil Gader City on June 25, 1961. It would mark the last sequence. Since the convert represents just a time the jazz trio (pianist Evans, bassist Scott single, precious stamper, this means very lim- Further Listening: Bill Evans Trio: Waltz for Debby; LaFaro, and drummer Paul Motian) would ever ited production compared to the yield from George Shearing Trio and Stéphane Grappelli: The record together. Ten days later, LaFaro was the multi-step process. Sunday further benefits Reunion killed in a car accident. The album was re- from the fact that the master used for this re- leased the following October. The high quality lease is the actual live-to-two-track master tape of musicianship was later reaffirmed with the that rolled at the Village Vanguard. release of Waltz for Debby, which featured ad- The results are indisputable. From the moment ditional tracks from the same five performanc- the stylus touched down these were some of es preserved that day and evening in June. the quietest surfaces I’ve heard, and they permit Sunday is still considered one of the great low level cues and transients to emerge from

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Top Ten Vinyl Reissues of 2017

two generations of loss from lacquer to LP. Put struments are so “there” I felt as if I were sitting another way, that’s two generations closer to in the control booth. And then, Carlos Santana’s the original master tape. To explain, the tra- signature stinging guitar tone cuts through the ditional three-step process, which is used to air like a rapier, settling into a dirty-sweet toned maximize efficiency while pressing very large moan as bass and percussion move into the next numbers of LPs, goes something like this: from section. David Brown’s funky, chugging electric tape to lacquer (positive), to father (negative), bass digs clean and deep, and the Latin drums to mother (positive), to the stamper (nega- sway the groove forward with a delicacy and tive), from which the LP is pressed. By contrast, texture like you’ve never heard. Rolie’s electric MoFi’s UltraDisc One-Step plating process, to piano again changes the mood until his organ riff quote from company literature, “begins with appears that brings forth Peter Green’s “Black the original master tapes and a meticulous- Magic Woman.” It’s sonically thrilling in the best ly cut set of lacquers. These lacquers are used sense of the word, breathing fresh life into well- to create a very fragile, pristine UD1S stamper known music. MoFi’s previous Abraxas reissue called a ‘convert,’” which becomes the stamper (2007) was excellent, but this new One-Step edi- for pressing the final LP. tion blows it away. There isn’t room here to describe every me- The packaging, by the way, is deluxe in every MUSIC SONICS thodical step involved, but during a phone way, from the beautifully made box to the indi- conversation with Josh Bizar of MoFi’s parent vidual jackets and sleeves for each LP. Finally, Santana: Abraxas. Mobile Fidelity (two 180- company Music Direct, I learned that it took MoFi plans to release only two to three titles a gram 45rpm LPs). two-and-a-half years for MoFi and RTI to perfect year that will receive this extra-special handling. the One-Step plating and pressing process. And Like I said, don’t miss it. WG I’ll get right to the point: Abraxas fans, do not because the “convert” stampers are extremely miss Mobile Fidelity’s astonishing new reis- delicate, requiring the utmost care in handling, Further Listening: Fleetwood Mac: Then Play On; sue of Santana’s 1970 Latin-spiced, blues-rock once it “goes,” i.e., breaks, so too goes the pros- Gabor Szabo: Sidewinder masterpiece. It will blow your mind. Never be- pect of pressing any more LPs. MoFi hopes to fore have I heard such inner detail, texture, and press 2500 copies of each One-Step title, but wide dynamics, the music emerging from such a there are no guarantees. deeply quiet background, with such intense im- Sonically, as I said, prepare to be astonished. mediacy—or derived such sheer musical plea- From the almost ghostly emergence of Gregg sure from this title. Rolie’s opening piano chords and the shim- More on the revelatory sound below, but first mering percussion that introduce “Singing a bit on the technology behind it. Abraxas rep- Winds, Crying Beasts,” you’ll hear exactly what I resents the first fruit of MoFi’s UltraDisc One- mean. We like to talk about black or quiet back- Step plating process, in which the mother and grounds, but I’m not sure I’ve heard any better stamper steps are removed, thus eliminating than what’s embedded in these grooves. The in-

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Top Ten Vinyl Reissues of 2017

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Rebecca Pidgeon: The Raven. Chesky (180- mastered by Ryan Smith at Sterling Sound and Laura Nyro: Eli and the Thirteenth Confession. pressing of Eli, this remastered 180-gram vi- gram LP). plated and pressed at QRP, The Raven holds up Analog Spark (LP). nyl, cut from the original stereo tapes by Ryan very well musically, and the minimally-miked Smith at Sterling Sound and pressed and plated Originally released in 1994, The Raven was recording, using a custom 128x oversampling Laura Nyro was 20 when she recorded this, her at RTI, does a better job of delivering both sides the solo recording debut of actress and sing- DAC and tube gear designed by George Kaye, is second album. With Columbia offering greater of Laura Nyro. With a full band behind her, the er-songwriter Rebecca Pidgeon. Pidgeon would outstanding in a natural as opposed to spectac- artistic freedom than her previous label, Nyro remastered wax offers more detail and separa- release four albums with Chesky, but it was The ular way. Pidgeon’s lovely, somewhat delicate holed up in the studio, where she stitched to- tion. Even better are the quiet parts, where a Raven that made her something of an overnight voice is very nicely captured and surrounded by gether song fragments into a brocade of jazz- black noise floor and more full and vivid sound sensation in the audiophile community. With a cushions of studio air. Her accompanists—pia- and soul-influenced pop music. When she multi- draw you in, especially when Nyro’s sexy, soul- pure, breathy soprano, Pidgeon is reminiscent no, guitar, bass, light percussion, and backing tracks her vocals during more extroverted fare ful voice leaves the speakers. JW of both early Joni Mitchell as well as Sandy Den- vocalists—are beautifully balanced into the like “Eli’s Coming” and “Stoned Soul Picnic,” you ny, and the mostly self-penned tunes on The mix, and there’s an easy, organic whole to the can picture her, as a teenager, singing in harmo- Further Listening: Laura Nyro: New York Raven—some were co-written by her husband, LP that’s highly appealing. WG ny groups on the streets of New York; when the Tendaberry (Analog Spark) David Mamet—encompass a range of pop, folk, volume dips and the tempo slows, as on “Lonely and jazz-inflected styles. Yet for many listeners Further Listening: Joni Mitchell: Ladies of the Woman” and “Boudoir,” you can imagine Nyro the standout tune here is Pidgeon’s excellent Canyon gazing out over the city in the wee small hours cover of Phil Spector’s “Spanish Harlem.” Newly of the morning. Compared to my original U.S.

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Top Ten Vinyl Reissues of 2017

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Bob Dylan: John Wesley Harding. “Down Along the Cove” and “I’ll Be Your Baby Nojima Plays Liszt. Reference Recordings (two As recorded by Keith Johnson, the sound is fab- Mobile Fidelity (two 45rpm mono LPs). Tonight” offer the closest thing to adornment.) 45rpm 180-gram LPs). ulous, spectacular, bold, and perfect for this mu- Somehow the sober, stripped-down recording sic. From the leaping opening of Mephisto Waltz The sessions for John Wesley Harding took place seems to fit Dylan’s new persona (part moralist, One of Reference Recordings’ most beloved LPs, #1, the exceptional clarity and percussive na- in Columbia’s Nashville recording studios, where part mystic), his lyrics and voice both conjuring Nojima Plays Liszt was recorded in December, ture of Nojima’s Hamburg Steinway burst from most of Bob Dylan’s previous album, Blonde on up an older America. Razor-sharp in its presen- 1986. It’s been a perennial of this magazine’s one’s speakers with a veritable peacock’s tail of Blonde, was also recorded. Bob Johnston was tation of clean-sounding drums, taut bass, a Super LP List, and now RR has reissued the title shimmering color and “hey, check this out!” sass. again the producer, and the core sidemen on tamed (i.e., less shrill) harmonica, and Dylan’s as a half-speed mastered 45rpm two-LP set with During slower passages the beauty of Nojima’s JWH—Charlie McCoy (bass) and Kenny Buttrey rich, understated vocals, MoFi’s remastered original liner notes by TAS Senior Writer Robert romantic nature is allowed to shine, as the wide (drums)—also played on the BoB sessions. Yet JWH brings things clearly into focus for an al- E. Greene. These, of course, are virtuoso show- dynamics and remarkable layered overtones in the albums are radically different. MusicallyBoB bum that will always serve as a model for those pieces for the piano, brimming with Liszt’s whiz- the air between the notes makes for a riveting was looser and the sound much fuller, with elec- who believe less is more. JW zing arpeggios, technicolor tone paintings, and experience ’til the very end. WG tric guitar and organ playing prominent roles. dynamic extremes. Minoru Nojima plays them Much sparser is JWH, where the rhythm section Further Listening: Various Artists: A Tribute to with a rare touch that combines a mind-bend- Further Listening: Nojima Plays Ravel (and especially the electric bass) is relatively Woodie Guthrie, Part One ingly effortless technique with a poet’s voice. high in the mix while Dylan’s acoustic guitar and (The reissue also contains Ravel’s Alborada del piano are recessed. (Pete Drake’s pedal steel on gracioso from the follow-up, Nojima Plays Ravel.)

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Top Ten Vinyl Reissues of 2017

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Charles Mingus: The Clown. Speakers Corner they did with Mingus. The call-and-response of Flying Burrito Brothers: Gilded Palace of Sin. Records’ source is a safety copy of the analog (LP). “Haitian Fight Song” and Mingus’ first original Intervention (LP). master, and their reissue, remastered by Kevin blues on record, “Bee Cee,” are as rootsy as a Gray, blows the competition (4 Men with Beards Charles Mingus’ ascension from bebop side- swamp, despite chordal voicings that evoke El- In 1969 two ex-Byrds, Gram Parsons and Chris and A&M’s Hot Burritos CD anthology) out of the man through cool-school/Third Stream exper- lington and even Monk. We also get “Reincar- Hillman, put together a band along with Chris water. The soundstage here is richer, the vinyl is imenter to his position as one of the greatest nation of a Lovebird,” a kaleidoscopic homage Ethridge and Gumby animator “Sneaky Pete” dead quiet, and there are details I’ve not heard composer/leaders in the jazz pantheon had to Charlie Parker, and, on the title track, one of Kleinow. The poppies and pot leaves on Gram’s before. The harsh edge is gone from the vocals, been completed by the time of this, his second those narratives with accompaniment Mingus Nudie suit; Sneaky Pete’s wailing, fuzzed-out and the instruments, especially the bass, sound session for Atlantic, in 1957. Here Mingus leads used so effectively over the years. This classic steel guitar on the opener; the loping, twangy more integrated. Intervention should have a an excellent quintet of then-unknown players: date richly deserves the Speakers Corner deluxe draft-dodging song “My Uncle”; the aching blue- Gilded Palace SACD coming out this summer, and Jimmy Knepper on trombone, Shafi Hadi (then production it gets with this reissue. Duck Baker eyed soul of “Dark End of the Street”; and the gos- I can’t wait to see what else they have in store. Curtis Porter) on alto and tenor sax, Wade Leg- pel-tinted talkie “Hippie Boy”—they all achieved Stephen Estep ge on piano, and Danny Richmond on drums. Further Listening: Charles Mingus: Gram’s goal of synthesizing rock, R&B, and coun- Knepper stayed with Mingus for several years, Pithecanthropus Erectus; East Coasting try into what he called Cosmic American Music. Further Listening: International Submarine and Richmond all the way until the end, but the Gilded Palace is mind-opening, fragile, compel- Band: Safe at Home other two had fairly brief recording careers, and ling, and unique, a critic’s favorite and a guiding never sounded as good in any other context as light for musicians since its release. Intervention

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Top Ten Vinyl Reissues of 2017

Connecting You to the Music This holiday, we’d like to bring joy to your ears. Experience sound free from EMI, RFI, MUSIC SONICS and Vibrations, with our Dominus Diamond!

The Beach Boys: Pet Sounds. Experience the joy of... • Contego™ shielding Analogue Productions. © • Full notechnology upgrade • Cyromag treatment • Furutech’s NCF (Nano Produced, composed, and arranged by Brian sonics. Mark Linett produced this stereo mix • Completely reoptimzed 2 Wilson, Pet Sounds stands as the Beach Boys’ with an assembled digital multi-track master conductors Crystal Formula) connectors pinnacle. The album is brimming with beautiful that synched the original four-track instrumen- ballads, exotic instrumentation, lush five-part tal master with the four- and eight-track vocal harmonies, and an aching sentimentality. Re- overdub master. It was then mixed to 15ips 1/4- corded largely with session players from L.A.’s inch analog tape with SR noise reduction. How fabled Wrecking Crew, Pet Sounds was Wilson’s good is it? Carol Kaye’s picked Fender P-Bass chance to step away from songs about surfing is tight and punchy on the intro to “God Only and cars, instead crafting tender songs about Knows,” and the clarity reveals the swelling adolescent love, both newfound and lost, as emotion of Carl Wilson’s angelic lead vocal to well as innocence and bewilderment. Analogue announce that you’ve entered the Church of Productions’ two-disc, 45rpm, 200-gram stereo Rock ’n’ Roll. Say amen. GC album boasts exceptionally detailed separation and aptly showcases Pet Sounds’ shimmering Further Listening: The Beach Boys, Pet Sounds (mono LP/Analogue Productions)

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Top Ten Classical Downloads of 2017

Andrew Quint Purchasing the “Studio” version of one of pressive bass is ideal. The recording, produced programs may be the Grosse Klaviersuite by these eClassical programs gets you both the by David Frost and available as a CSO Resound Gavriil Popov, who is widely considered to have Schreker: Orchestral Music from the Operas. stereo and five-channel programs (plus Red SACD, is full and detailed. possessed Shostakovich’s native compositional Royal Swedish Orchestra, Renes (96/24) Book and MP3 files). The Scarlatti’s piano sound A recent Naxos release pairs two Iberian-in- gifts but whose potential was significantly limit- Scarlatti: 18 Sonatas. Sudbin (96/24) is solid and dimensional; the Schreker provides flected works for violin and orchestra, one—the ed by the regime. Samuil Feinberg’s early music Both: eClassical.com rich detail and an expansive, layered soundstage. Lalo—part of the standard repertoire, the other didn’t qualify as “social realism” to the authorities largely unknown. Joan Manén (1883–1971) was and he retreated into a less abrasive style, but his In the 1920s, Franz Schreker (1878–1934) a Spanish violinist and composer. His Concierto Sonata No. 6 is fiercely modern with a Scriabin-like was regarded as the future of German opera, Schoenberg: Kol Nidre. Shostakovich: Suite espagñol is skillfully constructed, tuneful, and volatility. Prokofiev functioned as an expatriate and only Richard Strauss surpassed his on Verses of Michelangelo Buonarroti. brilliantly orchestrated, a must-have for violin for two decades; his brilliantly virtuosic Etudes dominance in the genre. But he fell from grace, Mizrahi, Abdrazakov, Muti, Chicago Symphony aficionados. Tianwa Yang is a young Chinese were actually written before the Revolution. a consequence of critical setbacks and the rise Orchestra & Chorus (48/24) player with an electrifying technique, though The two soloists make for an interesting con- of Nazism, and died a broken man at 58. In Lalo: Symphonie espagnole. Manén: Concierto her virtuosity can register as a bit generic. The trast as well. Irina Chukovskaya, who came of recent years, there’s been a renewed interest español. Yang, Ang, Barcelona Symphony recording lacks dimensionality and dynamic im- age musically around 1980, was a Chopin Com- in his operas—he composed nine—with staged Orchestra (96/24) pact, and the violin sonority is somewhat wiry. petition prizewinner but wasn’t allowed to stay performances in Europe and the U.S. Schreker’s Both: HDtracks.com abroad. Thirty-year-old Yuri Favorin has already musical idiom is harmonically advanced, with established an international career. Both pro- sumptuous orchestration; the opera plots have Schoenberg’s Kol Nidre is an intensely serious Prokofiev: Four Etudes. Popov: Grosse grams were 2016 releases on the Melodyia label, densely psychological, supernatural, and erotic piece for narrator, chorus, and orchestra that Klaviersuite. Shostakovich: Sonata No. 1. until 1989 the state-owned record company. The elements that should interest those who like aims to remove any “cello sentimentality” (the Rebikov: On the Other Side. Feinberg: Sonata sound for Favorin’s recital is close and clear, with Strauss, Korngold, or Busoni. Lawrence Renes composer’s words) from a musical treatment of No. 6. Yuri Favorin (44/24) solid bass weight. Chukovskaya is awarded a “wet- leads the highly accomplished Royal Swedish the solemn Yom Kippur prayer. It’s a tonal but Shostakovich: Sonata No. 2. 24 Preludes. ter” acoustic that’s nonetheless quite involving. Orchestra in music from four Schreker dramas thoroughly modern work, powerfully dramatic Aphorisms. Irina Chukovskaya (44/24) plus the composer’s final work, the sensational with a mood that’s occasionally apocalyptic. Both: HDtracks.com Vorspiel zu einer großen Oper. Schoenberg was acutely aware of the deterio- Franck: Piano Quintet. Debussy: String Yevgeny Sudbin’s first recording for BIS a decade rating situation for Jews in Europe; Kristallnacht These two well-played and well-recorded pro- Quartet. ago was a CD of Scarlatti keyboard sonatas, and occurred just a few weeks after the piece’s 1938 grams of (mostly) Soviet-era piano music serve Takács Quartet, Hamelin (96/24) his commitment to this endlessly fascinating Los Angeles premiere. Alberto Mizrahi, a Greek- as a reminder of just how challenging it could Elgar: Introduction and Allegro. Vaughan body of work hasn’t flagged in the least. For me, born cantor, is the highly effective narrator. The be for composers and performers to realize Williams: Fantasia on a Theme by Thomas no artist since Vladimir Horowitz has made such Shostakovich song cycle has the deeply reflec- their artistic potential in a totalitarian environ- Tallis. Britten: Variations on a Theme of Frank a good case for Scarlatti on the modern piano. tive quality of much of the composer’s late mu- ment. The two Shostakovich sonatas make for a Bridge. Sudbin has chosen a wide-ranging selection of sic. The 11 movements—“Truth,” “Love,” “Sep- striking contrast. The first (1926) is an aggres- Simovic, LSO String Ensemble (96/24) sonatas, from the wistful introspection of K.213 aration,” “Creativity,” etc.—track a protagonist sively modernistic essay while No. 2 (1942) has Both: Hyperion-records.co.uk to the unbuttoned virtuosity of K.29, works confronting the end of a tumultuously produc- a much more affable surface—yet seems sub- including both Italian and Spanish influences and tive life, concluding not with “Death,” but with versive with the subtle sense of dis-ease it em- César Franck’s Piano Quintet in F Minor is about even a rare Bachian fugue (K.417). “Immortality.” Ildar Abdrazakov’s dark but ex- anates. The most revelatory music on the two as romantic as late-Romantic chamber music

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Top Ten Classical Downloads of 2017 gets, a real bodice-ripper. Franck’s wife certain- Beethoven: Piano Trios, Op. 70. Vienna Piano trock joins the Leipzig Quartet for artfully paced the beginning and end of a great composer’s ly thought so. She made it clear that she found Trio (96/24) and shaped readings. MDG’s sound is articulate, creative life. After opening with the infrequent- the work distasteful, perhaps suspecting that Mendelssohn: String Quintet Nos. 1 & 2. allowing one to track individual instrumental ly heard Theme and Variations, Op. 18b (an ar- its inspiration was an attractive younger female Leipzig String Quartet & Buntrock (96/24) lines without slighting the glorious ensemble rangement of a movement from Brahms’s first composer studying privately with her husband. Both: HDtracks.com sonority. string sextet), Kozhu-kin performs the Four Bal- To bring off this kind of over-the-top expressive- lades, Op. 10 with exceptional clarity, and won- ness without sounding overwrought requires The Vienna Piano Trio has been in business derful nuances of articulation and color. The an assured technique plus a total commitment since 1988 with only two personnel changes, so Beethoven: Piano Sonatas Nos. 2, 9, 14 program then finishes with deeply considered to the ardent excess of the material—and the it’s no surprise that their performances of two (“Moonlight”), and 31. Rémi Geniet (96/24) readings of the autumnal Fantasies, Op. 116, Takács Quartet and Marc-André Hamelin have Beethoven trios are technically polished and Brahms: Ballades & Fantasies. Denis Kozhukhin moving performances that don’t take a single both. The pairing of the Franck with Debussy’s interpretively sound. The music surges ahead (96/24) note for granted. PentaTone’s piano sound has only string quartet demonstrates that the latter with a strong sense of pulse, and much is made Both: eClassical.com weight and power yet the instrument is record- piece, while definitely forward-looking, has a of dynamic contrasts. The slow movement of ed at a respectful distance. solidly Romantic sensibility at its core, and the the D Major work (Op. 70, No. 1) is responsible The young French pianist Rémi Geniet’s know- musicians really dig in. The string players are for its nickname of “Ghost Trio,” and the VPT ingly assembled recital of four Beethoven so- widely spread across the soundstage—when generates an atmosphere of grim eeriness—the natas is his second release on the Mirare label. Howell & Beach: Piano Concertos. Chaminade: I’ve seen the Takács perform, they do sit in a upbeat finale comes as a great relief. In addition The program demonstrates the evolution of the Concertstück in C Sharp Minor. Driver, Miller, kind of wedge formation. to seven numbered piano trios, two posthu- composer’s approach to the genre over his ca- BBC Scottish Symphony Orchestra (96/24) A good deal of worthy music for string orches- mous works, and an arrangement of the Second reer. It also reminds us that Beethoven was not Nielsen: Flute & Clarinet Concertos. Aladdin tra was produced in Britain during the first de- Symphony, Beethoven also produced a couple just a visionary but also a virtuoso who played Suite. Coles, Van de Wiel, Järvi, Philharmonia cades of the 20th century, and the three works of sets of variations for this instrumental com- his own music. (There’s only one known public Orchestra (96/24) on Roman Simovic’s LSO Live release are among bination, one of which, the Kakadu Variations, performance of a Beethoven sonata by someone Both: Hyperion-records.co.uk the most popular. The London Symphony pre- fills out the program to a generous 74 minutes. other than the composer during his lifetime.) miered both Elgar’s work and the Vaughan Wil- The German audiophile label MDG recorded the Beethoven was 25 when he wrote his Sonata No. Since 2001, Hyperion’s Romantic Piano Concer- liams Fantasia. Britten’s Variations, honoring his group in a fairly dry acoustic with a slightly dis- 2, the same age as Geniet when he recorded it, to series has introduced listeners to dozens of teacher, was the piece that put the 24-year-old tant but very natural aural perspective. and there’s a youthful, free-wheeling technical pieces beyond the usual suspects. Volume 70 on the map. Some of the fast passagework in the It’s surprising that Mendelssohn’s two string flair to the modern musician’s playing that must programs works by three female composers. Britten is a bit ragged, but all the performances quintets aren’t as well known as the quartets or have been similar to what the first Viennese sa- Best known is the American Amy Beach (1867– are musically cogent. The sound is somewhat the famous Op. 20 Octet. The first is another of lon audiences experienced 220 years ago. The 1944), whose four-movement C Sharp Minor dull and diffuse, characteristic for this label those miraculous pieces of the composer’s late complexity of Beethoven’s next-to-last sonata Concerto manifests a strong sense of conflict. when recording at the Barbican. adolescence, written around the same time as is presented with both its poetry and structural The “extra” movement is a scherzo that has the the overture for A Midsummer’s Night Dream. integrity intact. If the sound is a little watery in piano’s percolating perpetuum mobile filigree Especially in the later B-Flat Major quintet, the higher registers, the non-claustrophobic re- underpinning leisurely melodic phrases for the extra viola enriches the sonority consider- corded perspective wears well. strings and winds. Both Beach and the British ably, and in both works Mendelssohn’s melodic The Russian pianist Denis Kozhu-kin, now in composer Dorothy Howell (1898–1982) bring imagination never flags. Violist Barbara Bun- his early 30s, also programs piano music from to mind the harmonic world of Grieg, while the

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Top Ten Classical Downloads of 2017

Frenchwoman Cécile Chaminade (1857–1944) Tchaikovsky: The Queen of Spades Suite. Vo- Domino, Jazz at the Pawnshop) has been su- the solo piano role for Nights fluently and So- shamelessly referenced Wagner’s Flying Dutch- yevoda Suite. perbly remastered in 2xDSD by René Laflamme phie Harmon is the outstanding mezzo in The man motto in her Concert Piece. Danny Driver is New Zealand Symphony and the sound is vivid and immediate. The pro- Three-Cornered Hat. As of this writing, prime- the able soloist and Rebecca Miller leads effec- Orchestra, Peter Breiner (DSD256) gram is completed with a 17-minute Suite for phonic.com has around 500 high-resolution tively from the podium. The recording is up to Poulenc: Concerto for Organ, Strings and Tim- Organ by the tragically short-lived Jehan Ariste multichannel downloads available; this one is Hyperion’s usual standards. pani. Alain: Suite for Organ. Alain, the older brother of the famous organist characterized by loads of orchestral detail and Following the considerable success of his Kjell Johnson (DSD256) Marie-Claire Alain. Jehan’s fluid take on tonality a seamless soundstage presentation. wind quintet, Carl Nielsen set out to compose Both: HDtracks.com brings to mind other important French organ- The strangeness of Charles Ives’ music hasn’t concertos for each member of that chamber ist/composers, including Olivier Messiaen and diminished one bit since Leonard Bernstein music grouping. He delivered on just two, but Tchaikovsky is best known for his symphonies, Alain’s teacher, Marcel Dupré. first introduced it to a broad audience in the they’re among the most significant 20th-centu- ballets, and concert overtures, but he did com- early 1950s. Ludovic Morlot has a profound ry works for their instrument. The flute concerto plete eleven operas. Only Eugene Onegin and understanding of Ives’ orchestral syntax and captures the gentle, songful, “pastoral” nature The Queen of Spades have made it into the stan- Falla: Nights in the Gardens of Spain. The makes no attempt to “normalize” it. All three of the solo voice, especially as the Philharmo- dard repertoire. Peter Breiner composes and Three-Cornered Hat. Orchestre de la Suisse pieces take their inspiration from American nia Orchestra’s principal flautist Samuel Coles arranges music for films as well as the concert Romande, Yamada. 96/24 (multichannel) places and historical events, and the compos- plays it. The Clarinet Concerto is much more stage, and he has released more than 150 CDs. Ives: Orchestral Sets Nos. 1 & 2. New England er’s view of his country is often conflicted and contrarian and wasn’t all that well received in (Among his best-sellers is Elvis Goes Baroque, Holidays. Seattle Symphony, Morlot. 96/24 disturbing, especially when it comes to the Civil 1928; soloist Mark Van de Wiel’s performance for Naxos. I haven’t heard it.) Breiner leads the (multichannel) War. Seattle’s self-produced recording resolves makes that historical fact hard to fathom. Paa- capable New Zealand Symphony Orchestra in Both: primephonic.com the dense complexities of the scores with ex- vo Järvi closes out the program with the sev- suites he’s devised of music from The Queen of ceptional clarity—every musical gesture seems en-movement Aladdin Suite, the music rich in Spades and Tchaikovsky’s first opera, Voyevo- Quite a few non-Iberian European composers meaningful. exotic “orientalism.” The Suite was recorded da. The composer wasn’t terribly happy with (Rimsky-Korsakov, Debussy, and Ravel, for ex- more distantly than the two concertos, in a dif- the latter and destroyed the score after a few ample) wrote colorful “Spanish-sounding” or- ferent venue. performances; presumably, Breiner is working chestral music, but Manuel de Falla was after Mazzocchi: The Temple and Desire. Ensemble from a 20th-century reconstruction. The ar- something very different—the creation of a Elyma, Garrido (96/24) rangements, if not inspired, employ the wood- style that was international yet authentically Bien que l’amour… Les Arts Florissants, Christie winds very characteristically, though I’m not Spanish. PentaTone’s recording of Manuel de (96/24) sure Tchaikovsky would have written the long Falla’s best-known symphonic music—the pro- Both: eClassical.com passages for solo trumpet that Breiner favors. gram is filled out with selections from La vida The recording features excellent depth and dy- breve and El amor brujo—gets a conscientious Domenico Mazzocchi (1592–1665) was an Ital- namic gradation. reading from conductor Kazuki Yamada and ian composer of the generation after Montever- Poulenc’s gothic Organ Concerto gets a high- Orchestre de la Suisse Romande that eschews di. Though he’s considered to belong to the ly energetic reading from soloist Kjell Johnson, picture-postcard descriptiveness and lets the early Baroque period and wrote plenty of music accompanied by Kjell Ingebretsen and members music speak for itself. Many of the movements in that emerging style, he was also a master of of the Royal Stockholm Orchestra. The original are dances, and Yamada establishes a powerful the polyphonic madrigal, which had reached its 1977 analog recording for Proprius (Cantate choreographic impulse. Mari Kodama handles pinnacle in the late Renaissance. Occasionally,

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Top Ten Classical Downloads of 2017 unexpected dissonances reminiscent of Ge- sualdo turn up, and there’s plenty of complex part writing. But three “dialogos” on this pro- gram from Gabriel Garrido and his early music group, Ensemble Elyma, feature a solo soprano with instrumental support that have a typical Baroque-era clarity of texture. Sonically, echo effects are convincing; balances between the soloists and small choir are good. Bien que l’amour (Better than Love) is a collec- tion of “airs,” both serious and “à boire”—that is, drinking songs. William Christie and Les Arts Florissants—here, five singers and five instru- mentalists including Christie on harpsichord— program a recital that includes a dozen airs by Michel Lambert, a prominent musician in Louis XIV’s court. There are also songs by Charpentier, Joseph Chabanceau de la Barre, Honoré D’Am- bruys, and a couple of airs released discreetly by François Couperin, including his vastly amus- ing Epitaph of a lazy man (“Since wealth, for him, was never worth a thought/But to his time, however, he did carefully attend/He split it into two halves and wisely chose to spend/One fast asleep, the other doing naught.”) The collective virtuosity of the singers is exceptional, and all vocal and instrumental timbres are beautifully reproduced.

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Top Rock/Pop/Jazz Downloads of 2017

Alan Taffel Thus, these are spare tracks—typically a beat not the electric blues of, say, Buddy Guy (or “the comparing the downloads to the CD, and also keeper of some form, vocal, and either guitar other” Jack White, for that matter). Rather, this the tracks on the compilation to those of their Jack White: Acoustic Recordings: 1996–2016. or piano. But “spare” doesn’t mean impotent. is the folk-inflected blues of Muddy Waters’ original CDs. HDtracks.com and SuperHiRez.com (96/24) Meg White’s muscular, steady percussion is Folk Singer, morphing over the course of the Those original CDs, for the most part, sound the perfect foil to Jack’s wild nature. Further, set to the shuffling, off-handed R&B so adroitly quite good. They’re lively, balanced, and If you’re like me, you think of Jack White as you’re unlikely to find two players with more captured by the early Rolling Stones, and finally not overly grainy. The box set’s tracks were a shrieking singer, slashing electric-blues telepathic alchemy. to bluegrass and other Americana influences. remastered by Andrew Mendelson, and I can’t guitarist, and a writer of songs that suit that As time went on, White became willing Yet White never overtly imitates his influences; say I’m a fan of what he’s done. It’s clear that mold. Quick, think of a song from the White to judiciously incorporate different musical indeed, he rarely even resorts to standard blues Mendelson rolled off the highs and gently Stripes’ quintessential album Elephant. I’ll elements. A cello here, a violin there—each progressions. What this album makes clear is compressed dynamics. This helps the few tracks bet “Seven Nation Army” came to mind. See? adding the perfect embellishment. Finally, with that Jack White is a student of the blues—and that were originally screechy, but generally Yet every White Stripes, Raconteurs, and Jack the dissolution of the Stripes and the founding many other musical forms—who has found doesn’t do any favors for the acoustic guitar or White solo album includes acoustic works. of the Raconteurs, White embraced full-fledged compelling ways to make the genre his own. cymbals. On the other hand, imaging is tighter, Overshadowed by their electric track-mates, accompaniments. For other artists, a collection which lends realism and intimacy to the vocals. they’re easily overlooked. of this nature could have been a flat landscape Both of the 96/24 downloads are superior to But it turns out that when these acoustic of quiet, self-same works. Instead, Acoustic It turns out that when these acoustic the two-disc CD set of Acoustic Recordings. The tracks are removed from their original context Recordings is a consistently intriguing shared tracks are removed from their original silver discs emphasize the worst elements of and provided a more felicitous one, they shine musical adventure. context and provided a more felicitous the remastering—flat dynamics and squelched impressively. And when gathered together and Further keeping listeners on their toes is highs—while the downloads at least partially heard collectively, they reveal a completely the constantly shifting mood, which veers one, they shine impressively. restore those elements. At the same time, the different side of Jack White. from thoughtful to joyful to playful. The lyrics, hi-res versions sharpen transients and clean up On the surface, a double-disc Jack White too, vary—and reveal an unsuspected range. White is still a restless musician, so it’s far the small amount of gook on the original CDs. collection seems like a bad idea. After all, the They include Robert Johnson-style spooky too soon for him to do a greatest hits set. Neither the HDtracks or SuperHiRez download— man’s albums all contain healthy portions of storytelling, B.B. King-like bitch sessions, and Given that, there’d be no point to a compilation which are identical—is quite as immediate as filler. (In general, the more recent the album, more modern updates on the latter, such as album unless it provided a fresh perspective on those releases. However, they’re more than good the greater the percentage.) So it’s a welcome in songs like “Honey, We Can’t Afford to Look the artist and his work to date. In this respect, enough to convey the plentiful rewards of this surprise that nearly every one of the 26 songs This Cheap,” whose lyrics begin: “Well, I want Acoustic Recordings is a resounding success. inspired, eye-opening set. on Acoustic Recordings is a gem. Here you will to try/‌‌And hold my head up high/‌‌In this busted- I don’t know what possessed Jack White to find some of White’s most memorable melodies up Pinto truck conversion/Between‌ the broken release an all-acoustic, double-disc collection, and well-crafted lyrics, each arrangement concrete and the cloudy sky.” but we can all be grateful that he did. perfectly suited to the nature of its song. You may have noticed that all these lyrical Turning now to sonics, one might reasonably Given that the tracks proceed in chronological styles have the blues at their foundation. The expect this collection’s sound quality to meander order, those arrangements form a progression. same holds true for the music. While White significantly. After all, the tracks were drawn The first tranche is from the White Stripes era—a has always been regarded as a blues-inspired from many different albums. Nonetheless, while time when White believed that songs should musician, those influences have never been there is variation, the range is narrow, which have no more than three musical elements. plainer than they are here. But this is decidedly frees me to discuss the compilation as a whole,

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Top Rock/Pop/Jazz Downloads of 2017

mon sound exactly the same. Furthermore, the do a good job of hitting the highlights. The set’s Springsteen in HDtracks and SHR versions of each album are real ace in the hole, though, is its inclusion of indistinguishable. five unreleased tracks. And these aren’t throw- Downloadville Not only do all these options sound the same, aways; they convey much about the early, pre-E they all sound good. Naturally, there are varia- Street Springsteen. Alan Taffel tions, since the source recordings encompass a The opening track, “Baby I,” was written by broad span of both time and studio technolo- Springsteen and is played by his first band, the The release of Bruce Springsteen’s autobiog- gy. Nonetheless, every track puts Springsteen’s Castiles. Fascinatingly, in terms of composition, raphy, Born to Run, is a perfect excuse to engage voice front and center, which makes under- lyrics, and arrangement, the song is nothing like in some reflective listening. But there are so standing lyrics an effortless and rewarding ac- what was to come. Willie Dixon’s “Can’t Judge many Springsteen albums—18, not including tivity. a Book by Its Cover” is a rollicking piece exhib- live sets—that it’s hard to know where to begin. Instrumentally, Springsteen’s songs generally iting Springsteen’s vocals before he found his I decided to reduce the daunt factor by limiting fall into two categories: grand and intimate. On true voice. “He’s Guilty,” as played by another myself to a compilation recording. However, I big, dense tracks like “Born to Run” the down- early band, Steel Mill, is an early showcase of soon discovered that even there the selection loads are consistently easy to hear into. Listen- Springsteen’s distinctive, choppy electric guitar is vast. According to Wikipedia, there are no ers are in for some delightful surprises in the style. “The Ballad of Jesse James” is a track by fewer than nine Bruce Springsteen compilation form of details they missed on lower-res digital the first band to bear Springsteen’s name, the albums. And that doesn’t even include the seven recordings. (Clarence Clemons’ sometimes-bur- Bruce Springsteen Band. Finally, there is a pre- box sets. ied sax has never been clearer.) The downloads ically, and about 50 seconds in a good deal viously unreleased early E Street track, “Henry Far be it for me to say that Springsteen’s out- also fully convey the rhythm and large-scale of grit infiltrates the music and never lets go. Boy.” put doesn’t deserve multiple retrospectives. drama that are germane to these songs. Yet The downloads have better image specificity, While the other option, The Essential Bruce But, again, where to start? Fortunately, for we on smaller-scale tracks, such as “The Ghost of an ability to deliver small dynamic shadings, Springsteen, lacks these windows into the art- denizen of Downloadville there are but two op- Tom Joad,” the acoustic guitar, blues harp, and greater upper-end extension, and a noticeably ist’s development, it’s far more generous and tions: the long-available Essential Bruce Spring- vocals make a bewitching personal connection lower noise floor. Together, these traits account comprehensive. “Thunder Road,” “Rosalita,” steen, and the brand new Chapter and Verse, with the listener. for the aforementioned ease with which one “Jungleland,” “Glory Days,” and a host of other the Boss’ hand-selected accompaniment to his Of course, both of these compilations are can hear into the mixes. truly “essential” tracks surely deserve a place book. Both are available from HDtracks and Su- available as CDs, but I found that the CDs don’t If the sound quality of the hi-res compila- on any self-respecting Springsteen retrospec- perHiRez. Given that much of this material is sound as good. Sometimes it’s close. For ex- tions is generally good, consistently better tive. highly familiar (or should be!) to readers, I’ll fo- ample, the CD of Springsteen’s second album, than CD alternatives, and equivalent to each In the end, I can’t fault either album. If you cus my remarks on the sonic and programmatic The Wild, the Innocent & the E Street Shuffle, is other, then how does one choose? The deci- want an economical survey of Springsteen’s merits of the two downloads. beautifully uncompressed. The “Sandy” track is sion comes down to content. Here, there are evolution, look no further than Chapter and Sound-wise, I was prepared to listen and then detailed and open. Still, the downloads of the tradeoffs. Chapter and Verse would seem to be Verse. But if you desire a good-sounding com- deliver a point-by-point comparison between same song melt away the CD’s high-end harsh- at a severe disadvantage, since it contains only pilation of this artist’s best work, The Essential Chapter and Verse and Essential. As it turns out, ness, and bass is more substantive. 18 tracks versus the Essential Bruce Spring- Bruce Springsteen is for you. no such comparison is necessary. The tracks The difference is even more marked on The steen’s 37. Yet C&V’s selections are well curat- that these two retrospectives have in com- Rising. The CD is woefully squashed dynam- ed and, within the constraints of a single CD,

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Top Rock/Pop/Jazz Downloads of 2017

Alan Taffel of the material the group honed during its 16 Bob Dylan and The Band: Before the Flood. distortion. The recording truly puts the listener years on the road. HDtracks (192/24) in a front-row seat to the proceedings. The Band: Rock of Ages. HDtracks.com and As with The Last Waltz, the musicianship But Dylan, for the most part, does his material SuperHiRez.com (96/24, 192/24) on Rock of Ages is nonpareil. It’s hard to pick Before recording their iconic first studio album, no favors. And Band-wise there’s nothing new a standout player because each subjugates 1968’s Music from Big Pink, The Band served as here. So if you’re buying this album, buy it for “We’re gonna do something tonight we’ve nev- self-indulgence to serving the group and the Bob Dylan’s backup group. In 1974, Dylan de- the history—and the sound. er done before, and we’ve brought along the music. Originally a double-LP set, Rock of Ages cided to bring the gang back together for a U.S. best horn men in New York to help us do it.” allows The Band to delve deeply into its own tour, the goal being to release his first official live With that, a clearly energized Band launches superlative catalog. Robbie Robertson penned album. The result was Before the Flood. On the The Band: Music from Big Pink. SuperHiRez. into one of the most satisfying—even cathar- most of the tracks, and many (e.g., “The Weight”) majority of the songs Dylan serves as frontman, com (192/24); HDtracks.com (96/24, 192/24) tic—live albums ever made. From the downbeat have long since entered the American canon. with The Band providing energetic support. The of the first track, “Don’t Do It,” it’s obvious that Horn-driven arrangements lend the songs add- latter take the spotlight, sans Dylan, for a gener- The Band’s most important and downloadable this is a supremely accomplished group at the ed depth, as on “The Night They Drove Old Dixie ous eight of the album’s 21 tracks. releases have already been reviewed in this peak of its power. Down,” or added punch, as with “Chest Fever,” Upon its release, Before the Flood was space—with one notable exception. Somehow But let’s step back a moment. With any live the album’s euphoric highlight. In sum, while controversial. Dylan himself, initially the group’s debut album has escaped scrutiny. Band recording you’re guaranteed four things: Rock of Ages is often overlooked, for fans of The enthusiastic, later dismissed the effort as an Given TAS’ recent focus on The Band, the time uncommon musicianship, vocals surging with Band’s best studio albums and The Last Waltz “absurd” display of energy for energy’s sake. seems right to rectify that oversight. character, songs so good they’re instant clas- it’s a must-own. Listening to it after all these years, you can see On the surface, Music from Big Pink, whose title sics, and a joyful, fully-invested delivery. The But which version? I had on hand the 2000 CD his point—at least as it relates to Dylan himself, refers to the Saugerties, NY, house in which the Last Waltz gets the most attention thanks to a remastered by Ron McMaster and Andrew San- who mindlessly shouts his way through every album was recorded, is unspectacular. The songs stream of all-star guest musicians—Van Mor- doval. That disc has plenty of low-end spunk, electric track. Those vocals are further marred aren’t immediately catchy, voices are unusual, rison, Bob Dylan, Muddy Waters, Joni Mitch- but the horns and vocals are woefully smoth- by stylistic oddities, like ending every phrase arrangements are bare and in some cases don’t ell, the list goes on—anxious to partake in the ered and rolled off. The HDtracks and Super- on a bellowed high note, that quickly grow do the material any favors, and the musicianship group’s 1976 farewell gig. And the concert was HiRez downloads have a tonal balance similar to tiresome. isn’t flashy. But repeated listening reveals an al- filmed by no less than Martin Scorcese, yielding the CD, but instruments are far easier to pick out Ironically, Dylan peaks when The Band is not bum with a wealth of gifts. a heralded theatrical film. No wonder The Last due to more precise placement across a broad- playing. His solo acoustic set, free of bombast Start with the songs. As with The Band’s self-ti- Waltz gets all the glory! (If you don’t have it, I er soundstage. Also, thankfully, both vocals and stylistic distractions, is intimate and honest. tled second album, Big Pink’s tracks take time recommend the Rhino CD.) and horns are more pronounced in the hi-res Unfortunately, it’s just three songs long. The to come into their own, but they compensate The Last Waltz’s format emphasizes The versions. These two downloads sound exactly Band itself is as great as ever. By then Robbie patience amply. Three of the songs, “Tears of Band’s incredible versatility. The group morphs alike—as, indeed, do the same files at 192. So Robertson had come out of his shell and was Rage,” “This Wheel’s on Fire,” and “I Shall Be Re- seamlessly from genre to genre, sounding for save your shekels. I would wish for a generally unafraid to let his guitar work rip. The rest of the leased,” were written or co-written by Bob Dylan all the world like each artist’s longtime back- more open presentation, but given the music group never lets up either. and are now considered classics. An additional up band. But all those guest appearances leave and the perfectly acceptable sound, the 96/24 Sonically, this is one of the most crystalline three came from vocalist/pianist Richard Manu- scant space for the group to strut its own stuff. downloads are well worth the investment. live albums I’ve heard. A few tracks are a little el. They’re so good, it’s unfortunate that he didn’t In contrast, 1972’s Rock of Ages is a showcase too crisp, but every voice and instrument take a more active songwriting role going for- comes through without a trace of muddiness or ward. Only four cuts were penned by the group’s

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Top Rock/Pop/Jazz Downloads of 2017 main songwriter, Robbie Robertson. Yet one of tonality. The 192 version goes the furthest in this gave a shattering solo acoustic performance of version restores the whole bottom end of the those was “The Weight,” an exemplar of the many last direction, and also has the least digital noise. “Big Love” that’s well worth checking out on spectrum. It also eliminates all traces of top- great works to follow. That’s the version I’d choose. But in any format, YouTube.) To be sure, there are some duds. With end edginess. Even at this point I was ready to As for the vocals, what at first sounds odd ul- Music from Big Pink, like The Band that followed “Welcome to the Room…Sara” Nicks fails to re- advise readers who own the CD to toss it and timately rings true, as in authentic. From hoarse it, is a timeless album whose modest demeanor capture the subtle mystery of the original from get this download. Yet there were three more (Levon Helm) to aching (Richard Manuel), with shouldn’t be mistaken for modest achievement. Tusk. On balance, though, Tango’s surplus of versions to audition. Rick Danko somewhere in between, every vocal exceptional songs, exceptionally produced and The 192/24 incarnation of the same release is replete with character (unlike today’s inter- performed, leaves no doubt as to Fleetwood might be ever so slightly more open on top, but changeable pop singers) and perfectly suits the Fleetwood Mac: Tango in the Night. HDtracks. Mac’s greatness. I didn’t find the difference appreciable. Person- music. Further, those unique voices blend beau- com and SuperHiRez.com, various versions and And now, quite suddenly, there is a plethora ally, I wouldn’t spend the extra money for it, tifully, illustrating that harmonies are one of The resolutions of download options. Both HDtracks and Su- but I wouldn’t judge you for doing so. On the Band’s underrated strengths. perHiRez carry no fewer than four versions of other hand, I can’t recommend the 96/24 “Re- As for the playing, these are uniformly superb Lindsay Buckingham has complained that Stevie the album: the original release in 96/24 and mastered” version at all. As with too many re- musicians who exercise restraint to better serve Nicks and Christine McVie brought the scrawni- 192/24, a “deluxe” version, and a “remastered” mastering projects, the engineer boosted the the material. Yet the album rewards careful listen- est of song skeletons to the Tango in the Night version at 96/24. Your tireless download re- level, boosted the bass, and called it a day. The ers with tasty Robbie Robertson guitar inserts and project, leaving him to transform those nascent viewer listened to all four of them, from both result is bottom heaviness and in-your-face dy- brilliant flashes from Garth Hudson’s keyboards. efforts into something presentable. If true, so purveyors, plus the original CD. I emerged with namics. I wasn’t much more impressed with the The arrangements prove more than serviceable, be it. Whatever the process, the result was an a distinct preference. similar-sounding “Deluxe” version, despite its with the sole exception of the morose-sounding album that fulfilled its mission of reminding inclusion of additional material. My suggestion “This Wheel’s on Fire.” The Band corrects this fans just how great Fleetwood Mac could be. Whatever the process, the result was is to opt for the regular old 96/24 version and gross injustice on Rock of Ages, where the song is The reminder was needed because it’d been an album that fulfilled its mission live happily ever after. transformed from milquetoast to magnificence. five years and nothing but solo releases since of reminding fans just how great Sonically, I’ve been mightily impressed by the 1982’s lackluster Mirage. Indeed, the release hybrid MoFi gold disc, whose CD layer allows the of Tango was something of a surprise. Even Fleetwood Mac could be. Blondie: Parallel Lines. HDtracks.com listener to clearly hear The Band’s handiwork. more surprising was the album’s return to (192/24); SuperHiRez.com (192/24) Top-to-bottom balance is perfect, although tonal- form. Despite lacking the emotional urgency First off, the CD isn’t terrible. Instruments are ity is on the thin side across the board. I actually of the band’s masterpiece, 1977’s Rumours, well-defined and dynamics are admirable. But In my memory, Blondie’s bounty of hits was prefer this version to the SuperHiRez download, Tango demonstrated that Fleetwood Mac’s trio tonality is thin and the top is edgy. After hearing spread across many albums. But, nope, nearly despite the latter boasting 192/24 resolution. of writers knew better than most how to craft it, I was anxious to find something more worthy all of them are right here on 1978’s Parallel The SHR version’s imaging is fuzzy and the bal- deliciously catchy songs. The album is loaded of the material. Lines. Other than “Call Me” and “The Tide is ance tips up unbecomingly. with them. About the downloads, let me first say that I High,” every essential Blondie track appears Much better than any of the above, even the Highlights are Christine McVie’s “Every- heard no difference between the HDtracks and on this, the group’s third release. The album re- MoFi’s SACD layer, are the two HDtracks down- where,” “Mystified,” and “Little Lies”; Stevie SHR versions of the respective files, so feel free cently debuted on SuperHiRez and HDtracks as loads. Both versions retain the MoFi’s excellent Nicks’ “Seven Wonders”; and Buckingham’s to pick your preferred vendor. I began my lis- a 192/24 download. balance, resolution, and image precision, while “You and I, Part 2” and “Big Love.” (Ten years tening with the “plain old” 96/24 download. Those Blondie hits of my memory, which in- significantly fleshing out instrumental and vocal later, at The Dance reunion concert, Buckingham What a transformation from the CD! The hi-res clude “Hanging on the Telephone,” “One Way

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TOP PICKS: DIGITAL & ANALOG SOURCES • TOP PICKS: CABLES & POWER PRODUCTS • MUSIC: TOP RELEASES OF 2017

Top Rock/Pop/Jazz Downloads of 2017 or Another,” “Picture This,” “Sunday Girl,” and “Heart of Glass,” have lost none of their appeal in the intervening years. Nor has Deborah Har- ry’s now-purring/now-snarling delivery or her sexually-aggressive persona, which, for guys at least, never gets old. Manning the controls in the studio was ace New Wave producer Mike Chapman. His studio technique was to set everyone up in live for- mation and just record the songs, allowing no more than a couple of takes. The approach im- parted a real sense of immediacy to the music and allowed the players to show off their chops. Debbie Harry gets all the glory, but Blondie was a formidable band. The downside of Chapman’s approach was that, with no time for elaborate setups, instrumentation had to be basic. This obliged the artist to compensate with variety within the songs themselves, something Blond- ie admirably achieves. The original CD’s sonics are shameful— tipped up in the extreme and downright un- pleasant to listen to. The difference between the CD and SHR’s download isn’t quite miracu- lous, but it’s not far off. Bass is in far better bal- ance with the rest of the spectrum, and Harry’s voice is nicely fleshed out. The HDtracks down- load splits the sonic difference between the CD and SHR. HDtracks’ version has less bass than SuperHiRez’s. And although there’s blessedly less treble than on the CD, it’s still too much. In particular, Harry’s voice has an unwelcome bite. There’s no contest here: the SHR download is the way to go.

94 Top Picks in High-End Audio and Music 2017 the absolute sound