Music.Gear.Style. No.27 February 2010 OMG! We’re Not Square Anymore! Superlative Performance: The YG Acoustics Anat Studio Speakers

Speakers for Everyone: A Group of Great Small Speakers From Snell, ERA, Penaudio and More MartinLogan’s Custom Shop Waterfall Acoustics Glass Speakers We Revisit The Spica TC-50: Still Great After All These Years Bob Gendron Goes to Toronto To Catch Guns N’ Roses In Fine Form New Music from ECM and more! Stereotypes Sound City Audio Classics Shelley’s Stereo Audio Vision S F Daytona Beach, FL 32114 Denville, NJ 07834 Vestal, NY 13850 Hi Fi Center San Francisco, CA 94109 386-253-7093 973-627-0083 607-766-3501 Woodland Hills, CA 91367 415-641-1118 818-716-8500 Sound Components The Sound Concept Home Theater Concepts Audio FX Coral Gables, FL 33146 Bedford Hills, NY 10507 Morton, IL 61550 DSS- Dynamic Sacramento, CA 95825 305-665-4299 914-244-0900 309-266-6640 Sound Systems 916-929-2100 Carlsbad, CA 92088 Audio Advisors Sound Image Audio and Global Sight & Sound 760-723-2535 Media Enviroments West Palm Beach, FL 33409 Video Design Group Sussex, WI 53089 San Rafael, CA 94901 561-478-3100 Carrollton, TX 75006 262-820-0600 L & M Home Entertainment 415-456-1681 972-503-4434 Tempe, AZ 85285 Independence Audio Freeman’s Stereo 480-403-0011 Pro Home Systems Independence, MO 64055 Advanced Home Charlotte, NC 28216 Oakland, CA 94609 816-252-9782 Theater Systems 704-398-1822 Joseph Cali Systems Design 510-653-4300 3800 Watts. Plano, TX 75075 Santa Monica, CA 90404 Definitive Audio 972-516-1849 Hi Fi Buys 310-453-3297 Overture Bellevue, WA 98005 Nashville, TN 37211 Winnington, DE 19803 360 lbs. 425-746-3188 Speaker Shop 615-832-3121 Systems Design Group 302-478-6050 Amherst, NY 14226 Redondo Beach, CA 90278 Audio Design 716-837-1557 Electronic System 310-370-8575 Devastating Bass. Fairfield, CT 06825 Consultants 203-336-4401 Aspen, CO 81611 Sunny Components 970-925-1700 Covina, CA 91724 © 2007 JL AUDIO, Inc. For more information on our complete line of subwoofers, please visit your local authorized dealer or www.jlaudio.com. Subwoofers pictured with grilles removed. In Canada contact GemSen Distribution at www.gemsen.com. 626-966-6259 U.S. PATENTS: #5,734,734 #5,949,898 #6,118,884 #6,229,902 #6,243,479 #6,294,959 #6,501,844 #6,496,590 #6,441,685 #5,687,247 #6,219,431 #6,625,292 #6,744,902 #D472,891 #D480,709 Other U.S. & Foreign patents pending.

11. PUBLISHER’S LETTER t o n e s t y l e 13. NEW CONTRIBUTORS 14. TONE TOON By Liza Donnelly MartinLogan Custom Shop 87 A New Level of Excellence features

Fight Cancer, Buy a Watch! 94 Hublot Teams Up With Depeche Mode Old School: In the Fight Against Teen Cancer The Spica TC-50: Still Amazing 16 After All These Years By Jeff Dorgay The Art of Jeff Ham: From McDonald’s to Mick Jagger Budget Gear: 97 87 22 The Naim Stageline: A Solid Performer By Jeff Dorgay Cool Shooters: 97 Journeyman Audiophile: 103 Create Your Own Ice Shot Glasses 64 The PK-KI Amplifier With Help From Fred Another Rare Pearl from Marantz By Jeff Dorgay 64 The Waterfall Iguascu EVO 10 4 Transparent French Beauty

Media Decor: 22 112 Turn Your Flat Screen Into A Work of Art

6 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 7 music previews

28. Live Music: The TONE Staff Covers 117. ’s New iPad Guns N’ Roses, Chris Botti, Steve Earle 118. ZYX Omega X Phono Chartridge and City and Colour 119. MartinLogan’s Motion 4 Speakers 44. Current Releases: Fresh Releases in the 121. The J-Corder Technics 1500 Pop/Rock World By the TONE Staff reviews 60. Four from ECM... By Richard Colburn 122. Headphone Planet: 75. Audiophile Recordings: One to Buy, Two to Toss The Bad Plus, John Coltrane and By Jeff Dorgay 117 Johnny Hartman, The Flaming lips, Yo La Tengo, Grant Green, The 128. The Snell K-7 Doobie Brothers and Dean Peer Mighty Mites! By Jerold O’Brien By Jeff Dorgay 134. YG Acoustic Anat II Studio Speakers By Jeff Dorgay

144. The KEF xQ-20 Una Voce By Jerold O’Brien

152. Mark&Daniel Maximus Diamond+Speakers By Mark Marcantonio

160. Penaudio’s Rebel 3 Affordable Speaker Surprises By Steve Guttenberg

172. Era Design 5 Good Things in Small Packages By Rich Kent

Pg. 51 and 181. Slummin’ Classics on the cheap Live At Hollywood High City and Colour 182. Manufacturers Index Chicago 8 TONE A U D I O NO.27 160 F e b r u a r y 2 0 1 0 9 hile working on the review The major development of Ringo’s latest Y Not, you’ll notice right away is the one of his favorite phrases change in our layout, from the kept coming to mind, some- square format we’ve used since thing about “getting by with a Issue 1 to the more standard Wlittle help from my friends.” I thought about vertical rectangle. We’ve made that a lot while putting together this issue. the switch for two reasons: to So, I would really like to dedicate this issue, accommodate laptop users which marks our new format, to our friends. who will now be able to read Even though I spend most of my wak- the PDF in landscape (horizon- ing moments immersed in music and HiFi, I tal) format, having the two page spread can’t be everywhere. Our readers often tip fill your screen, and to be ready for Ap- us off about new things that we’ve missed ple’s new iPad, which is due out at the at shows, or about the current buzz on vari- end of March. By the iPad launch, we ous internet forums. This often leads to a will have an eBook version of TONE- review or interview because if that many Audio that will read perfectly on the people are excited about something, we device. So you could take TONEAudio want to find out why. Sometimes our read- with you wherever you go. As soon as ers let us know about music that is off the we work out the logistics with Apple, beaten path, which almost always leads to a you should be able to pick up our mag- positive, new experience. azine from the iBook store as well. But for this issue, our friends went Last but not least, I’d like to thank above and beyond the usual goodwill. I’d staff cartoonist, Liza Donnelly for pro- like to thank Ken Mercereau for taking care ducing this issue’s cartoon in color. This of covering the Steve Earle concert. I just will be a permanent update as well. had some oral surgery and had to leave the I hope you enjoy the new look of show early after a major headache set in. To TONEAudio. And again, I can’t thank make matters worse, Earle’s management you all enough for helping us get by would not allow any photographs taken at this issue. the show. So I thought we were washed up. But staff member (and walking musical encyclopedia) Terry Currier happened to be sitting in the front row with his wife, Karen, who grabbed a few shots with her point- and-shoot to save the day. Assistant music editor Bob Gendron went all the way to Toronto to cover Guns N’Roses, only to be told the morning of the show that no photo access would be grant- ed. But loyal fan Andy Choe snuck a cam- era into the show and shot the outstanding photos you see on page 27. Ahhh, reminds me of the good old days when I used to sneak cameras into concerts.

10 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 11 contributors

Lou Brooks Ken Mersereau We are honored to feature the work of master illustrator Lou Brooks on our cover this issue. Portland resident Mersereau is responsible His work has appeared on the covers of Time for the Steve Earle review on page 36, but his and Newsweek, on MTV and too many other musical taste goes beyond that. He and his son places to mention. He even redesigned Uncle Grant can often be found banging their heads at Pennybags and the Monopoly logo for Parker a concert when no one is looking. Brothers in the 80s! Mersereau can always be depended on to find An east coast native and one time race car the best microbrews and curry in town, as well driver, Brooks has retired the race car and as having a keen eye for budget vinyl. relocated to California, but he hasn’t retired his wacky sense of humor.

Richard Colburn

Richard has been in the world of high end audio since the early ‘70s, working for Mirage, Audioquest and KEF to name a few. Known to play some monstrous bass riffs in his spare time, his extensive knowledge of jazz and prog music will be an asset to our music coverage. Colburn joined our music section last issue with his coverage of the Stanley Clarke/Chick Corea/Lenny White concert and takes his game to the next degree of difficulty with a few of ECM’s latest this issue.

Eliza Harrigan

Eliza braved the crowds and grumpy security to get the shots of City and Colour for us this issue. She majored in art history but always held on to an interest in photography gleaned from her father. A native of the north Chicago suburbs, Harrigan enjoys outdoor activities, remains active in amateur sports, and refuses to settle for anything less than a quality craft beer. While Pac-Man Hotheads modest, she possesses a learned knowledge of www.worldwidefred.com music and can carry a tune. She also knows her way around a piano.

12 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 13 TONE TOON

PUBLISHER Jeff Dorgay

EDITOR Bob Golfen

ART DIRECTOR Jean Dorgay r MUSIC EDITOR Ben Fong-Torres

ASSISTANT Bob Gendron MUSIC EDITOR

M usic VisionarY Terry Currier

STYLE EDITOR Scott Tetzlaff

CONTRIBUTING Bailey S. Barnard WRITERS Tom Caselli Kurt Doslu Anne Farnsworth Joe Golfen Jesse Hamlin Rich Kent Ken Kessler Rick Moore Jerold O’Brien Michele Rundgren Todd Sageser Richard Simmons Jaan Uhelszki

Randy Wells UBER CARTOONIST Liza Donnelly

ADVERTISING Jeff Dorgay

WEBSITE bloodymonster.com

OMG! We’re Not Square Anymore! Cover Illustration: By Lou Brooks

tonepublications.com Editor Questions and “Are you sneaking in records again?” Comments: [email protected] 800.432.4569

© 2010 Tone Magazine, llc All rights reserved.

F e b r u a r y 2 0 1 0 15 FEATURE

The SpicaTC-50

By Jeff Dorgay

hen I first heard the Spica TC-50’s in W 1985, they had already been on the market for some time. I was impressed but I ignored them because I was a panel guy. Being the proud owner of a gigantic pair of Acous- tat 2+2’s, I wasn’t going to put those tiny box speakers in my listening room. Even so, I had become somewhat enamored with the Rogers LS3/5a’s, thanks to one of my neighbors. But two years later, when I decided to aban- don the Midwest for good and head to Arizona, I wasn’t all that excited about packing up an

OLD SCHOOL : eight-foot-tall pair of speakers. That was how I became a TC-50 fan after all. I was amazed at how much of the midrange transparency and three-dimensional imaging these tiny speakers I was amazed at how much of were able to nail for $500 a pair. I walked out of the midrange transparency and Quintessence Audio in Naperville, Illinois, with a three-dimensional imaging these demo pair of Spicas under my arm for $450 and tiny speakers were able to nail left them boxed until I arrived at my new digs in for $500 a pair. Scottsdale, AZ, a week later.

16 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 17 FEATURE FEATURE

Those little speakers served me We listen to companies like Wilson well for the next four years while high- Audio brag about matching their cross- end audio had to take a back seat to overs and drivers to .5 db tolerances, getting established in a new city. But I but Spica was doing this almost 30 actually found myself listening to music years ago with their $500 per pair more. They were a pleasure to live with speakers! Pretty impressive. and worked well in my small apartment. The unconventional (for the time) tri- While I swore off the audiophile scene angle shape kept the 6 1/2-inch woofer for a while, it wasn’t long before the NAD time aligned with the one-inch dome 3020 that made the trip with me was re- tweeter; both drivers were made by placed with a CJ PV-10 preamplifier and Audax in France. The woofer has a rub- MV-50 power amplifier. The relatively flat ber surround, so there is no worry about impedance curve made the small speak- the driver decomposing, but the tweet- ers easy to drive with a favorite tube amp; ers are fragile. They always were fragile just start with the 4-ohm tap. and now there are no more, so this is This took the sound from good to not a speaker to rock out with. A little glorious, and I even managed to find the too frisky with the volume control and matching Spica eight-inch subwoofer at silence. The TC-50 doesn’t give you a bit a local retailer in their used department. of warning. “This little thing doesn’t make any bass, who would “This little thing doesn’t make any bass, call this a sub- who would call this a subwoofer anyway?” woofer anyway?” the salesman the salesman smugly told me. I gave him smugly told me. I $50 and hauled ass out of there before he gave him $50 and hauled ass out of figured out what he had actually sold me. there before he figured out what he had actually sold Because the drivers were so tightly me. It turned out to be the missing piece matched to the crossovers, your chance I needed, especially after moving to a of just popping in another driver from larger space. another speaker is slim to none. Should You can still pick up a nice, clean you really like the TC-50’s, it’s probably

OLD SCHOOL : used pair of TC-50’s for about $200 if not a bad idea to have a second pair for you keep your eyes peeled. Make sure spare tweeters. Madisound claims to the owner hasn’t done any mods or now have an exact replacement tweeter swapped drivers, as there are no exact for the TC-50, but I’m not sure how well replacements for the tweeters. G-R Re- this would work without being able to search offers a Spica “upgrade,” so this measure and match them. I’d err on the might be an option for some of you. But side of caution for now. it will sound different from the originals. Massive stands are a must with the The key to this speaker was the ex- TC-50 to get a modest amount of bass traordinary care taken in matching the and to get the pinpoint imaging for which drivers and crossover networks. these speakers are capable. (continued)

18 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 19 FEATURE

Thanks to the resolution of the TC-50’s, I grainy compared to modern offerings, suggest better-than-budget cable as well. this is still a speaker I could easily live with, Attention to the small details will be greatly especially with a decent small subwoofer. rewarded. Staff member Jerald O’Brien commented I got a very friendly note from John Bau, on the exemplary bass performance of the the creator of the TC-50, on Facebook a TC-50’s just as I remembered that the JL few months ago, and he seemed genuinely Audio Gotham was still on. My bad. pleased at the love that is still out there for When I shut off the Gotham, he re- his speakers. “Just replace those electrolytic marked, “That’s exactly how I remember caps in the crossover and they’ll play for them...” By far, the Spica TC-50 was one another 20 years,” he said. of my favorite memories of the ‘80’s. High- In my reference system, everyone that end audio definitely needs another speaker stopped by was impressed at how well the like this, offering a huge helping of tonal TC-50 design has held up. Only slightly accuracy and transparency in a small pack- age. Who knows, maybe John will come out of retirement someday... l

20 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 21 FEATURE FEATURE

Because the Superline The I-Supply is the easiest way can be powered with anything to get started with the Stageline The Naim Stageline: from the Naim FlatCap all the if you are not plugging into a way up to the SuperCap, they Naim integrated. Or you could essentially have a regular, large jump up to a FlatCap. Used and super-size option for the FlatCap supplies are usually analog lover. For those who available in the $600-700 range want an entry-level Naim phono and a new FlatCap2 is $1,295. A Solid As this is the “budget” column, stage, the Stageline fits in right behind these three options. And I’ll be concentrating primarily just like all Naim products, it has on using the Stageline as a a few different power-supply standalone phono preamplifier Performer options as well. That’s one of with the I-Supply. By Jeff Dorgay my favorite aspects of Naim The Stageline is tiny, only gear; you can keep it in the about five x 7.5 x two inches, family as your system improves but it is built to the same high by swapping out the power standards as Naim’s other supply. There is always another products at their factory in Naim enthusiast who’s looking Salisbury, England. Featuring a to do the same, so it’s easy to solid aluminum box, the circuit make a move when you are board floats on a suspension, ready to upgrade. just as it does in all of the top- You can power the Stageline line Naim gear to minimize from one of the power sockets interaction with their physical on a Naim integrated amplifier, environment. (continued) or else use an external supply.

have been listening to Naim’s flagship phono preamplifier, the Superline, for quite some time, and I’ve concluded that and with their

BUDGET GEAR : SuperCap power supply, it’s one of the most dynamic MC phono preamplifiers I’ve ever experienced. But it’s not inexpensive. The Superline/SuperCap combo costs about $10,000, so it’s not exactly the jumping off point for the person new to vinyl or on a I tight budget.

22 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 23 series 1

1 7 0 i Tra n s p o r t

The 170iTransport is the

first component specifically

designed to transform your

iPod into a high-resolution

audio/video media server.

My only regret is that it has only a The N model has a slightly different The 170iTransport combines small lime-green LED; no familiar Naim circuit with lower gain than the moving-coil logo on the front. versions. The three MC models share an the convenience of personal The Stageline comes either with a identical circuit, the only difference being standard Naim Snaic 5 cable to connect input loading. If you change cartridges, audio with the performance it to a suitable Naim integrated amplifier you can bring your Stageline into your and connectivity of your or line-level preamplifier, or to an exter- Naim dealer to have a different loading nal I-Supply and a DIN 4-5 interconnect resistor installed. Or if you need a custom home audio/video system, for standalone use. For those using the value, that can be taken care of as well. Stageline in a non-Naim system, you will You will be tested at the end of the review delivering bit-perfect digital need a Din 4 to RCA cable so it can be on all of this. used with one of your line-level inputs. For audio signal via a coaxial this review in my reference system, I used Let’s Spin Some Records a one-meter length of Chord Anthem 2 S/PDIF output, DVD quality Now that we have the correct configu- cable with excellent results. ration, let’s play some music, shall we? video via component outputs, We recently paired the Stageline with the Which one do you need? Naim Uniti, reviewed back in October in and built on a sleek stackable The Stageline is available in four sepa- the Spotlight section of our website, so I rate versions: the S model has 470 ohm was anxious to see how it would perform cast aluminum chassis. input loading and is meant for low-output as a standalone component in a non- moving-coil cartridges; the K model is a Naim system. It would be interesting to 560-ohm version with a similar sensitivity When the iPod docks with compare it side-by-side with the Superline to the S model; the E model is a 400-ohm 170iTransport, the iPod BUDGET GEAR : phono stage in my reference system. version and is meant for medium-output moving-coil cartridges; and the N model Starting with the TW-Acustic Raven transforms into an audiophile- has a standard 47k ohm loading to be Two turntable and Clearaudio DaVinci used with moving-magnet cartridges. cartridge mounted on an SME iV.Vi arm, I grade media server that Dave Dever from Naim Inc. put some played a few tracks from the Cisco press- historical spin on the meaning behind the ing of Steely Dan’s Aja. The soundstage rivals some of the top letter designations. The N model was shrunk in all three directions but the overall performing digital source originally designed to mate with the Na- tonality of the larger Naim phono preamp was still there, with a substantial helping of goka cartridges, the K model for Linn car- components available. tridges, the E for EMT and the S for Supex weight to the presentation. An impressive cartridges. performance. (continued)

24 TONE A U D I O NO.27 D I G I T A L I N T U I T I O N w w w . w a d i a . c o m F e b r u a r y 2 0 1 0 25 FEATURE

The next configuration was in a I was surprised that a phono stage at more realistic system, consisting of the this price could convey so much weight, Rega Elicit integrated amplifier, a pair of along with some detail in the lower reg- Magnepan 1.6 speakers and my Tech- isters. Listening to some of my favorite nics SL-1200 with Sound HiFi mods and records from Peter Gabriel, Genesis and a Lyra Dorian moving-coil cartridge. I Pink Floyd revealed a lot of grunt from can’t think of a better match for a sys- this tiny unit. tem at this price point than the Stage- line, your favorite turntable and car- Worthy of Our tridge of choice in the $500 to $1,000 First Award of the Year range. The Stageline worked well with Regardless of whether you have an the Shelter 501 II and the Audio Tech- all-Naim system or not, the Stageline nica AT33EV cartridges, their slightly phono preamplifier gives you a much warm overall tonal character a perfect better than average helping of analog fit in my system. magic for a modest price. It is eas- Some grain is to be expected in a ily configured to the cartridge of your sub-$500 phono stage, but the Stage- choice and takes up almost no space line excelled here, too. Solo acoustic on your equipment rack. I am very instruments had realistic but not embel- pleased to give the Stageline our first lished timbre. When switching back to Exceptional Value Award of 2010. l the Superline, the remaining body could be heard. But the Stageline (at one-tenth the price) was respectable indeed. The other surprise with the Stageline was its The Naim Stageline MSRP: $475 ability to extract low-level detail, thanks its very low noise floor. Manufacturer Digital to Analogue for the converted Going through some of my favorite Naim Audio Ltd. (UK) 70’s rock favorites, I was consistently www.naim-audio.com impressed by the Stageline’s ability to Naim Inc. (US) capture the essence of the music. Naim www.naiminc.com gear has a great reputation for solid pace and timing, and the Stageline is Peripherals no slouch in this department, especially Analog Sources Technics SL-1200 with more complex music that has turntable w/Sound HiFi mods, SME 309 multiple layers of information. When tonearm and Lyra Dorian cartridge, TW- listening to the first Van Halen album, Acustic Raven One turntable w/SME BUDGET GEAR : Eddie’s guitar held its own space, as iV.Vi tonearm and Clearaudio DaVinci did his background vocals (along with cartridge Michael Anthony), not getting lost in the Amplification Naim Uniti integrated mix. This is not one of the world’s best amplifier, Rega Elicit integrated amplifier, recordings, and with a number of “bud- Burmester 011 preamp/911mk. 3 power get” phono stages I’ve reviewed, the amplifier sound just flattens out into one plane. Remember, you aren’t going to get it Speakers Harbeth Monitor 40.1, Gamut all for $500. S-7, Magnepan 1.6 What stood out most with the Stage- Power Running Springs Dmitri and line was its rock-solid bass performance. Maxim Power Conditioner, RSA HZ and Mongoose power cords 26 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 27

TAS Feb 2010 full page.indd 1 11/25/09 2:13:02 PM LIVE MUSIC: FEATURE Blame Canada: Guns N’ Roses Do It Their Way Air Canada Centre Toronto, Ontario January 28, 2010 By Bob Gendron Photos by Andy Choe

28 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 29 LIVE MUSIC: FEATURE

“I said what I meant and I never pretended Like so many others do intending just to please” – Guns N’ Roses, “Don’t Damn Me,” 1991

However, complaints and shortcomings In Toronto, aside, no other rock contemporary con- Rose stantly proves themselves more “punk”—if recaptured one abides by the definition of rebellious- the vigor, elcome to the Rock Show. ness, independence, and fuck-all attitude. personality, fun, It’s an approach that can be maddening and bombast, and Surrounded by a blitz of concussion bombs, perturbing—how apropos is it that, 22 years transcendent Wfireballs, fireworks, mobile light trestles, and a ago, Rose first suggested, “All we need is emotion that just a little patience”—but it’s also eminently allowed him three-tiered stage, Guns N’ Roses harkened back respectable in that rock is meant to cut to grab the to arena rock’s heyday at a near-capacity Air against the grain, violate the rules, and em- world by the brace chaotic freedom. To be certain, Rose balls and Canada Centre on a cold late January night in is a full-on eccentric—his multiple changes of hold them shirts, capacity to play the victim, and photo- hostage. Toronto, delivering a 155-minute performance that phobic ways confirm it—yet he’s also a dar- found the restructured band in its best form since ing original, a bold musician who will meet his—and only his—terms. Offering no one the original lineup dissolved in the mid-‘90s. any apologies or views into what makes him Much has been made about vocalist and co- tick, he’s the last of a breed that the modern founder Axl Rose’s decision to keep the group’s music industry, reality television, and instant name despite the fact that he’s the only remaining gratification have destroyed. Perhaps that’s original member. And it’s taken the mercurial lead- why his fur coats and facial hair—a handlebar er several attempts to get things right, or as close Sporting cornrows and disguising his bulked-up Long a target of media and audience criticism, he mustache that, on this night, fittingly evoked to perfect as possible. Infamous not only for over- physique with wide hockey jerseys, Rose often became an even easier foil, a once-proud star out that of former Toronto Blue Jays pitcher Den- thinking the most publicized and delayed album came off as a parody of the legend he was from of touch with the industry and cruel to those who nis Lamp—shout the late 1970’s, not 2010. in history (Chinese Democracy), Rose’s unpredict- 1987 through 1993, the leader of the fictitious rock still kept the faith. Few artists have been easier to And in Toronto, as on the bulk of the able temperament, prima donna behavior, and n’ roll band mentioned in Guns N’ Roses’ 1991 dislike. Yet throughout his career, Rose has always band’s current tour (which is still without any questionable decisions have alienated many fans song “Pretty Tied Up.” done things his way—consequences, responsibili- U.S. dates), Rose recaptured the vigor, per- of what was once the biggest band in the world. A second attempt during 2006-2007 fared ties, and opinions be damned. sonality, fun, bombast, and transcendent After emerging from a nearly decade-long slum- better. While still braiding his hair, Rose seemed Limitless rhetoric is exchanged about rock n’ emotion that allowed him to grab the world by ber, the reclusive front man staged a disastrous renewed, looking less pudgy and with his voice re- roll’s rebelliousness, its punk nature, but most of the balls and hold them hostage. Not for noth- 2002 tour that began in Vancouver with a small- awakened, even if his reshuffled mates consisten- it lacks substance and examples. Most artistes ing does he still elicit fiery reactions on both scale riot and ended prematurely after a no-show cy as well as an actual album to support. Yet the kowtow when necessary, putting on a front that ap- sides of the fence; curse him or not, Rose’s in Philadelphia. On that very trek, Rose seemed momentum soon died. The commercial letdown pears anti-establishment but which, in reality, is little brand of patience-rattling creativity resonates mentally unstable—distracted, disillusioned, dispir- that followed the release of Chinese Democracy in more than a façade. He is prone to arriving onstage because it’s honest. Even if those tempted to ited, an out-of-shape Master of Ceremonies of a 2008 did little to help Guns N’ Roses’ status. As when he feels like it, and in Toronto, the band began watch the potential train wreck stay away due patchwork freak show that included a masked gui- if on a mission to quash good will, Rose refused at 11:30 p.m., an hour later than expected. Rose to prior incidents—a necessary casualty and tarist wearing a chicken bucket on his noggin and all interview requests, battled with and switched isn’t above such self-serving measures. It’s just result of Rose’s insular way of life—they still several other mercenaries short on chemistry. management companies, and ignored promotion. one reason he is so despised and mocked. feel drawn to the spectacle. Why? (continued)

30 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 31 LIVE MUSIC: FEATURE

It’s taken nearly two decades, For starters, Guns N’ Roses remains one of or hasn’t noted Slash’s mediocrity over the but for the first time since the the last groups that offer up a level of excite- past decade (Fergie and Velvet Revolver, peak-era Guns N’ Roses lineup ment few can match. Its concerts beg the anyone?). Guns N’ Roses is a universe away played its last concert in July question: What will happen? And with Rose, from the angry, starved, wasted miscreants 1993, Rose finally has a band anything—fight, riot, tantrum, brilliance, con- that crawled up from Los Angeles’ gutters that’s visually and aurally on fusion is possible. Vegas oddsmakers could and singlehandedly injected authenticity, the same page. take note: there should be an over-and- danger, and grit into a landscape dominated under on the group’s shows. by plastic pop music and phony video he- roes in the late ‘80s. In many ways, a re- It’s taken nearly two decades, but for the Guns N’ Roses union would be the falsest move Rose could first time since the peak-era Guns N’ Roses remains one of lineup played its last concert in July 1993, make; it would strictly constitute a cash the last groups Rose finally has a band that’s visually and grab, and, again, love or hate him, the Indi- that offer aurally on the same page. Ron “Bumblefoot” ana native isn’t swayed by fortune as much up a level of Thal, a virtuosic guitarist who can handle as he’s motivated by control, autonomy, and excitement few complex jazz runs as easily he does rapid- the element of surprise. Don’t forget that can match. Its fire hard-rock fills, no longer sticks out as an Guns N’ Roses used to take the stage to concerts beg oddball with custom-designed instruments the strains of the Sex Pistols’ cover of Frank the question: and out-of-place solos. He now impresses Sinatra’s “My Way.” Is there any doubt about What will with the familiar Pink Panther theme rather who the “my” referred to in the song? happen? And than ostentatious experimental bursts that Perhaps Rose’s minor triumphs over such with Rose, the audiences didn’t comprehend or en- logistical and historical hurdles accounted for anything—fight, joy. Similarly, newest member DJ Ashba, the confidence, swagger, and happiness he riot, tantrum, brilliance, a tattoo-covered axeman whose scroungy brought to the Air Canada Centre stage, per- confusion is appearance echoes the band’s glam ori- forming old favorites with the same amount possible. gins, fits in much better than the departed of conviction he attached to recent material. industrial-leaning Robin Finck. Ashba also Guns N’ Roses is at last making a strong plays with more authority, and soul. The case for Chinese Democracy. Live, the newer other members—bassist (and former Re- songs, stripped of their layers and belabored placement) Tommy Stinson, drummer Frank sonics, both demanded and warranted at- Ferrer, keyboardist Dizzy Reed, electronics tention. Unlike on the 2002 and 2006 tours, wizard Chris Pitman, and guitarist Richard Rose attacked the recent tunes with the Fortus—have all jelled, forming a highly tal- primal ferocity of a caged animal, leaving ented collective that’s less a covers band nothing to spare, and secure in realizing that and more its own entity infused with an or- the crowd wasn’t completely unfamiliar with chestral sweep and wall-of-sound heft, even what it heard. Rather than receiving tem- if it still can’t muster the slouch-and-sway of perate reactions, songs such as the asser- the original crew. tive “Shackler’s Revenge” and funky “If the Granted, fans still long for Slash, but World”—a blend of porn-music grist and ‘70s what’s forgotten amidst such nostalgic James Bond film-song theatricality, not that daydreaming is that Guns N’ Roses were there’s a huge separation between the two— prone to sloppiness due to the top-hatted invigorated the senses, and prompted Rose one’s drug habits and original bassist Duff to take hard-earned and graceful bows. He McKagan’s perpetual drunkenness. Admit- and his mates seemed relieved of the burden tedly, the current version is slicker and more of having to almost entirely fall back on ma- professional, and play without some of the terial from the timeless Appetite for Destruc- rhythmic gestures and bluesy tones of the tion and Use Your Illusion , taking original. But anyone who still thinks that a pleasure in putting its stamp on eight Chi- reunion (which will never happen) would nese Democracy numbers that, technicalities bring back the magic is fooling themselves, aside, are actually their songs. (continued)

32 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 33 LIVE MUSIC: FEATURE

All of the The set was better served by this ap- But there are few singers that could negotiated the treacherous gap without one of the extraneous in some of Rose’s one-liners. collective’s proach, permitting Guns N’ Roses to pull off the demands of the power between pleasure and trauma, solos (Reed’s springs to mind) Regarding his 11:30 start time: strengths come off not as a group living in the ballad “This I Love,” a song that, at sweetness and sourness, de- and one of the slower songs ”Sorry about the time delay. I came together glory days of a faded past but a con- its beginning, is nearly performed sire and fulfillment, sadness (“Sorry” dragged), though they got a little carried away jump- on a spiritual temporary band mixing the past, pres- a capella, leaving Rose naked and and celebration, and loss and seemed to exist as proof of ing off a bunch of shit last night. re-working of ent, and future. alone with just his voice, thoughts, gain, with the verdict seldom each member’s importance as Getting ready for the show, I the uplifting falling in overwhelmingly posi- Of course, all would be for naught and passion. And how. Rose’s raw- much as excuses for Rose to was like, ‘What the fuck?’ Any- yet somber tive territories. suck down oxygen backstage. way, we’re here now.” Then; if Rose’s vocals and presence fell ness transformed the song from a “Knockin’ on And the vocalist made up for “A DJ on the radio told people short. Just like the return of his shoul- syrupy, string-laden Andrew Lloyd Sitting at the piano, Rose Heaven’s Door,” shortcomings by bouncing to show up at 2 a.m. because der-length hair, provocative shirts, Webber-esque composition on record sang like a haunted roman- proof that around like a pinball, con- that’s when we’d start. So I’m Rose’s vocal wardrobe changes, and talkative de- to a moving centerpiece, the song tic consumed by the feeling stantly moving from one side early.” And, about the trials of control, nasally meanor, the 47-year-old was in classic burning with honesty, heartache, of knowing he’d never com- of the stage to the other as if in being a rock band on the road: notes, and and personal sentiment. Herein lies pletely find what he’s looking form, sparing nothing, his range and pursuit of an elusive shadow. “There were a lot of problems in throaty timbre trademark screeches, screams, and Rose’s magnetic appeal. For all of his for during a beautifully epic were in fine wails almost impossibly intact, and machismo, he isn’t afraid to expose “November Rain,” the topics of unrequited love and estrange- form. his mood warm and giving. Not that his internal emotions in song. And for Rose’s animated motions and youthful ment devouring his soul. Even age hasn’t eroded some of his lung all of its apparent violence and crash- when pouring gasoline on he- power. As a crutch, Rose relied on and-burn recklessness, many of the energy reflected his investment in the donistic hard-rock fare such as mixing-board tricks and reverb effects group’s finest performances (“Sweet the shuffling “Mr. Brownstone,” music, and in turn, his band. Child O’ Mine,” “Street of Dreams,” on the highs of a handful of songs that stomping “It’s So Easy,” and “Live and Let Die,” “Paradise City”) would’ve been better without the aids. hostile “Nightrain,” a rave-up Twirling the microphone stand, getting this tour together, a lot of the current lineup band plays blindly shifting the mic from disagreements. We pretty much better than any prior configura- one hand to the other, propel- went to Asia without manage- tion, desperation and bloodlet- ling himself backward by kicking ment and shit—pretty much this ting boiled underneath. Ca- his left leg like a stubborn horse tour itself. One of the big areas thartic stabs at venting anger, intent on busting down a stall, of contention was that we really led by a searing “You Could strutting and swaying, showing wanted to fucking play here.” In Be Mine,” vicious “Welcome off serpentine dance moves, another life, Rose might’ve been to the Jungle,” and a vehe- using hand gestures to outline a Philadelphia lawyer. ment “Better,” raged yet didn’t images attached to words, and The singer’s awareness also fully dissipate the inner turmoil waving his arms in sync with carried over to his dedication of that’s become as much a part the beats—Rose’s animated the seldom-played “Catcher in of the confrontational Rose as motions and youthful energy the Rye” to J.D. Salinger, who the sincere tenderness and reflected his investment in the died earlier in the day. Akin to the aching pain that he can’t con- music, and in turn, his band. confrontational rocker, Salinger ceal—traits never more evident No surprise, then, that all of became legend for creating a than on the coda to “Rocket the collective’s strengths came defining work and then choosing Queen,” played with gusto, together on a spiritual re-work- to shut out the world, a recluse shot through with contrasts, ing of the uplifting yet somber who abided by his own rules. and expertly splitting the divide “Knockin’ on Heaven’s Door,” Rose, of course, ultimately took a between strip-club sleaze and proof that Rose’s vocal con- bigger risk than Salinger, choos- button-downed class. trol, nasally notes, and throaty ing to release Chinese Democra- Ironically, the band’s tardy timbre were in fine form.Per- cy rather than keep it to himself. start forced it to pare down fect? No, but perfection would As he did onstage, it serves no- the set in order to finish by the suggest the absence of spon- tice that, for Rose, yearning to be mandated 2 a.m. quitting time, taneity, vulnerability, and grit, delivered to the elusive “Paradise meaning that “Patience” got qualities in abundance on this City” still involves much more skipped. One could’ve done night. They were even evident than just a little patience. l

34 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 35 LIVE MUSIC

Arlene Schnitzer Hall Chr is Bot t i Portland, Oregon February 4, 2010 Sometimes the weather can make all the difference. Chris Botti Text and Photo returned to his native Portland in early February to play a sold- By Jeff Dorgay out Schnitzer Hall, a date that stood in contrast to his previous appearance in December 2008. According to Carl Herko, VP of public relations for the Portland symphony, “Last year with the snowstorm, only about a third of the crowd made it here, but they were treated to a fantastic show.” This time out, the musical lineup consisted of Botti and a band that featured Billy Childs on piano, Billy Kilson on drums, Tim Lefebvre on bass, Geoffrey Keezer on keyboards, and Mark Whitfield on guitar. Botti greeted the crowd right on time. While thanking them for attending and joking about the weather being much better, he also mentioned growing up in Portland and sneaking in the SSchnitzer as a kid to see Tower of Power. Best known as a smooth jazz artist, Botti actually played a much more traditional jazz set than his recent performance on Chris Botti, Live in Boston would suggest. The trumpeter defied expectations and stuck to a Miles Davis/John Coltrane groove for a majority of the concert. Aided by Childs’ gentle touch on the piano, his rendition of Davis’ “Flamenco Sketch- es” was outstanding. As Led Zeppelin is to rock, Davis is holy ground in the jazz world. But Botti stood his ground with his interpretation, playing with enough variation and expression to make the piece his own. Midway through the set, Botti veered back towards smooth jazz. He brought out guest violinist Caroline Campbell to per- form the theme song from the movie Cinema Paradiso and vocalist Sy Smith for her take on “The Look of Love.” While the somewhat older crowd seemed to gravitate towards the safer parts of the program, Botti was clearly at his best when wail- ing. His passion for playing and instrumental mastery is as obvious as his respect for the true jazz greats. Botti ended the show unplugged. For an encore, he jumped off the stage into the audience to perform Sinatra’s “One For My Baby” without the help of the PA system. Accom- panied only by Childs’ piano, he gave everyone a chance to hear what he really sounds like, sans amplification. Here’s hoping we hear more of Botti in this type of setting.

36 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 37 LIVE MUSIC

Two and a The conversational front- Aladdin Theater Steve Earle half hours of man addressed fans in his Portland, Oregon acoustic guitar trademark gruff manner, January 19, 2010 telling them about his rela- and harmonica By Ken Mercereau can only take tionship with Townes and the process that led him to Photos by Karen Currier you so far. Even select songs for inclusion if you’re Steve on the tribute album. Earle. Not surprisingly, the set Arriving at the tail end drew heavily from Townes, of a lengthy international with older selections oc- tour, Earle recently played casionally sprinkled into the back-to-back nights in mix. Similarly, most of the front of sold-out crowds at evening’s discussions cen- Portland’s Aladdin Theater. tered around Earle’s con- The so-called Hard Core nection with Van Zandt. And Troubadour was touring in while “Where I Lead Me” support of his latest album and “Brand New Compan- Townes, which pays hom- ion” resonated with conta- age to his late friend, hero, gious energy, Earle’s rendi- and teacher, Townes Van tion of Van Zandt’s biggest Zandt, the brilliant and un- hit, “Poncho and Lefty,” dis- derappreciated Texas sing- appointed. It wasn’t the only er-songwriter. The duo’s letdown. Earle concluded relationship might best be with a bare-bones, foot- thought of as the folk/alt- stomping version of “Cop- country version of the Toxic perhead Road,” a song that Twins. In 1997, Townes begs to be played through a passed away at the age of big stack of Vox tube ampli- 52 from health problems fiers. Stripped of its hard- stemming from years of rocking core, it lost some of substance abuse. Thank- its appeal. fully, Earle pulled himself As did the headliner, out of a similar nose dive. who turned in a perfor- Earle strolled out to the mance that was competent, stage in standard Texas but nothing more. Hard- workin’ man’s garb and core Earle and Van Zandt strapped on his signature fans will probably enjoy this Martin acoustic guitar. But tour more than newer con- even then, not everyone in verts looking for a broader the audience knew about sampling of Earle’s original Earle’s plans for a solo, all- work. Consider yourself acoustic performance. warned.

38 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 39 CityMetro and Colour Chicago, Illinois January 15, 2010 By Bob Gendron Photos by Eliza Harrigan

D allas Green doesn’t look like the type of artist that steps up to the microphone armed only with an acoustic guitar and a fragile, sensitive voice that has more in common with that of a crooner than a tattooed rock frontman slathered in tattoos. Never mind his long-sleeve polo shirt and geeky glasses. With his hands, arms, fingers, and neck adorned with colorful ink, Green resembles someone you’d run into at a loud punk bar tossing back a few pints and engaging in a friendly debate over the finer points of Converge’s newest album.

And yet, on a mid-January Friday evening at a capacity Metro in Chicago, there he was, finishing a low-key 85-minute concert by singing a mellow a capella rendition of Son House’s “Grinnin’ in Your Face,” reveling in the blues standard’s hopeful message and spiritual vibe.

40 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 41 LIVE MUSIC

It was a far cry from Green’s role in the Only on “Bring Me Your Love,” accented Canadian hardcore band , with a touch of garage-rock reverb and an aggressive outlet that prompted him crunchy texture, did City and Colour flirt to make quiet acoustic music under with noise. the guise of City and Colour (a moniker Not that Green needed feedback that references Green’s name, which or gritty effects to communicate. His is, literally, a city and a color). While the tender singing—a combination flutter, 30-year-old Toronto resident never in- murmur, and whisper that effortlessly tended for City and Colour to be heard floated above the gentle instrumental outside his home base, word of the sing- backgrounds—split time between an er/guitarist’s side project spread through achy falsetto and semi-sweet hum. Left fan sites and file-sharing services. Over alone for the stripped-down “Day Old the course of the past two-and-a-half Hate” and soul-searching blues “Body in years, Green has won a Juno Award, a Box,” Green personified meditative con- played multiple sold-out tours, and ex- templation, playing as if standing in front perienced an upsurge in popularity that of his bedroom mirror, seemingly oblivi- continues to grow. ous to his surroundings or any worries

Green personified meditative contemplation, playing as if standing in front of his bedroom mirror, seemingly oblivious to his surroundings or any worries about vulnerability.

Accompanied by a backing trio, about vulnerability. Such openness—and which on occasion dropped to a duo the thematic occupation with mortality, on several tunes, and, during others, betterment, loss, and identity—lent an vacated the stage, Green found solace unmistakable earnestness to the con- and redemption in an irresistible batch fessionals, which avoided the common of introspective songs distinguished by pratfalls of self-pity, irony, and repetition. muted tones, subtle rhythms, and rise- When needed, slight rhythmic turbulence and-fall tempos. While plugging in for mirrored the darker thoughts. Yet, in most a majority of the set, City and Colour situations, Green drifted in guardedly op- rarely allowed volume to swell, preferring timistic directions. The vocalist’s honesty instead to focus on humble arrange- and simplicity gave way to a romanticism ments that prized intimacy, space, and that peaked on the beautiful “The Girl.” patience. All the better to allow Green’s Beginning the song as a devotional personal lyrics to waft, seep in, and ballad, City and Colour paused midway, resonate with deep-seeded emotion and doubled the pace, and turned the soft brazen sincerity. To further underscore hymn into an uplifting promise that in the the narratives’ importance, the band span of a few brief verses and harmonic refrained from busy solos or lengthy refrains captured what separates Green fills. Methodical albeit loose strumming from a countless heap of singer-songwrit- patterns and steady beats punctuated ers—heart-melting poignancy, delicate the songs, ranging in style from country- melodies, and the courage to chase his leaning weepers (an untitled new track) dreams and wear his heart on his sleeve, to sighing folk (“Waiting to Die”) to foot- all trends, consequences, and rules be stomping pleas (“Sleeping Sickness”). damned. l

42 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 43 MUSIC

Pat Metheny Orchestrion Current Nonesuch, CD Also new was the size Fascinated by the mechan- The results are of the band, considering ics, as an adult he always amazing. I have heard rchestrion, multiple Grammy- Metheny rarely has used had its modern-age potential more than my share anything larger than a quar- in the back of his mind. of music, and I never winning guitarist Pat Metheny’s tet. It sounded like an octet A few years ago, he com- guessed that I was lis- Releases latest release, is vintage Metheny: at least, with a percussionist missioned engineers and tening to anything other By the TONE Staff O assisting the drummer and inventors to create the instru- than a live band. The five complex, ethereal and soothing. But vibes reminiscent of Methe- ments used in this project, long selections combine Click on album covers to purchase from Music Direct it’s also fresh and contemporary, ny’s many collaborations with essentially expanding the or- in suite-like fashion, con- giving it standout status in this era of Gary Burton. Wrong. Reading chestrion to an assortment of nected by melodic and the liner notes, I learned that machines that fill a fairly large stylistic themes. Far from reissues and tribute albums. this is a solo project. Not the rehearsal space and collec- a gimmicky experiment, standard multi-track studio tively weigh a reported eight it’s solid music created overdubs that preclude live and a half tons. by one of the most fas- performances, but a Rube Most of the equipment cinating creative artists Goldberg-meets-Jules Verne was created by Rob Singer, working today. As Meth- collection of robots, pulleys, an engineer/musician who eny’s brother Mike told solenoids and bottles that heads a group called Le- TONE, “Grandpa would allows Metheny to play all of mur (League of Electronic be proud.” the instruments at once and Musical Urban Robots). His – Anne Farnsworth alone. Steampunkers take guitar-bots join a percussion note: he’s touring this spring ensemble consisting of me- in support of this release. chanical mallets playing vibes ...this is a solo The dictionary defines an and drumset, a pneumatic project. Not the orchestrion as “a large me- electric bass and a cabinet of chanical musical instrument differently sized empty bot- standard multi- designed to imitate the sound tles that have air blown into track studio of an orchestra.” The height them to create pitch. overdubs that of Victorian-era technology, it There’s a reason the ap- preclude live was essentially a souped-up peal of player pianos faded in performances, player piano, using the same the face of recording technol- pin-holed metal cylinder ma- ogy. Records allow the listen- but a collection chinery to operate not only er to hear the music breathe of robots, pulleys, the keyboard, but also pipes, with the nuance of rhythm, solenoids and tambourines, cymbals and especially the subtle syn- kettledrums. copation of swing. Metheny bottles that It was a player piano in spent months with the equip- allows Metheny his musician grandfather’s ment, testing each piece’s to play all of the Wisconsin basement that timing reaction and making instruments at sparked the imagination of adjustments to the software the nine-year-old Metheny. he was using as a controller. once and alone.

44 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 45 RECORDING OF SPECIAL MERIT MUSIC

Johnny Cash never hid his A bookend to American V: A Hun- Nearly every tune concerns death, And as American VI again faith. The singer recorded several dred Highways, which revolved goodbyes, and/or humanity. But proves, legends don’t come gospel albums over the course of around loss, pain, and farewells, the mood isn’t dour. “It Don’t Hurt any more real than Cash. his career, going as far as releas- American VI again finds Cash’s Anymore” is a determined declara- A rebel in life and in death, ing a spoken-word compilation on voice weakened, his once-marble- tion of personal victory, of triumph Cash’s conviction, human- which he recites the entire New solid baritone weathered by age. over grief, Cash’s steady vocals ity, and poise are as much a Testament. Yet Cash weaved reli- Cracks appear on its surface, ero- and stance invested with bul- part of his legacy as his black gion into his material without being sion eats away at the timbre, and letproof sincerity. And nowhere wardrobe, attitude, and faith. preachy or altogether obvious. blemishes temper the beauty of is Cash more resolute than on a – Bob Gendron Akin to , he utilized metaphor how he once sounded. chain-rattling take of the traditional title track, a ready-made farewell and allusion to maintain a universal But by no means does Cash that reveals the artist prepared for perspective while simultaneously sound defeated or unpleasant to what lies ahead. serving his own devotional pur- hear. Contrary to its 2006 prede- poses. Comprised of recordings cessor, this final statement is the Added after Cash’s vocal The thematically the peerless country icon made dogged sound of contentment, takes, contributions from Heart- unified American VI: between the completion of 2002’s breakers Mike Campbell and Ben- acceptance, and peace, with Cash Ain’t No Grave American IV: Solitary Man and his taking comfort in the knowledge mont Tench, guitarists Smokey revolves around passing in September 2003—a that he’s ready to meet his maker Hormel and Matt Sweeney, and period during which his beloved and reap his rewards. To be cer- more than a dozen other mu- Cash’s unshakable sicians decorate the songs’ wife June Carter Cash died—the tain, these are heavy issues, even faith and how it near-perfect arrangements with thematically unifiedAmerican VI: for non-believers. The songs, and stripped-down and elegantly mini- allowed him to Ain’t No Grave revolves around the moving emotion that Cash malist instrumentals. Subtle string Cash’s unshakable faith and how it brings to them, confront uncom- come to terms with accents and spare piano notes allowed him to come to terms with fortable topics and answer hard impending death. augment the acoustic motifs, lend- impending death. The last chapter questions. Not for nothing does ing effective slow-build drama to of one of the most fruitful collabo- death rank as Americans’ number “Last Night I Had the Strangest rations in history (he and producer one fear. Here is the courageous American VI: Ain’t No Grave Dream” and bright-dark contrasts found a poignancy that sound of a man not only conquer- American/Lost Highway, CD or LP to the budding optimism of “Re- goes above and beyond common ing that concern, but seemingly demption Day.” Hawaiian slide- language), the record is intimate, welcoming its arrival. Cash’s meek- guitar accents inform “Aloha Oe,” eligion and pop music make for strange personal, sobering, and profoundly ness, balance, tenacity, and calm a loving ode that sends the album reflective. Yet its greatest asset assume a Biblical tone. bedfellows. With rare exception, out on an unmistakably cheerful relates to an emotional transcen- So does his choice of mate- high. Kudos to Rubin for the ex- dence that flies in the face of and artists who incorporate God, rial. “The wealthiest person is a pert sequencing, and for tailoring even challenges the worries linked pauper at times,” Cash affirms on a an album equally bonded by spirit, beliefs, and the like into their songs to mortality. low-key rendition of Sheryl Crow’s theme, and sound. not only risk alienating audiences but This concise, ten-song set, fea- “Redemption Day,” which akin to As expected, the production is turing nine covers and one original, often come across as heavy handed, his “I Corinthians 15:55,” reads like superb. Guitars are set to the left is no place for any listener who is scripture. Similarly, the version of and right, surrounding Cash’s voice as if they’re encumbered and relatively new to Cash’s work to Bob Nolan’s “Cool Water” parallels like golden halos. The gentle sweep, begin studying the man. But it’s Biblical teachings, in which water is weighted down by the magnitude of their subject matter. textural shades, and fragile quali- essential for those interested in a symbol of deliverance, and Cash ties of the singer’s voice are cleanly Moreover, attempts at disguising or concealing obvious what made Cash tick, and in the cautions against sinful temptation, captured by close miking that thoughts that raced through his instead encouraging a path of pa- brings him right into the room, the theological sentiments often stultify the music with a dogmatic head as he dealt with failing health tience and penitence, facets that imaging dead-center and loaded Rvision that no melody can save. and heartbreaking bereavement. will lead to genuine deliverance. with detail, definition, and realism.

46 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 47 MUSIC

Elvis Costello and the Attractions Listening to Live At Live At Hollywood High Hollywood High, you can’t Hip-O Records, CD and LP help but feel Elvis Costello and the Attractions were a lvis Costello was 23 years old band of equals; on keyboards; , when he recorded Live at bass; and , drums Hollywood High on June 4, were a tight little unit. Sure, 1978, but the complete album most of the songs are played didn’t see the light of day faster than the studio versions, but the frenzied performances mu-sic mil-len-ni-um until January, 2010. Sure, we’ve heard bits feel right. The band plays with a place where the music & people still matter and pieces of it since 1979, when four Hol- fast-slow, loud-soft dynamics Elywood High tunes debuted on the EP that on most of the songs, and the 20 tunes’ sequencing never came with Costello’s third LP, Armed Forces. falters. In 2002 the Rhino Records Armed Forces Standout “new” tunes reissue added another six tunes. Now, we’re include “(I Don’t Want To Go getting another ten tunes from the show, To) Chelsea” for its focused and they’re all stellar. Sound quality is no jam, on which Costello takes a stinging guitar solo, interrupted better than the previous versions, but it’s by Nieve’s woozy organ slides. decent enough. They’re at it again on “Waiting For the End of the World,” with Costello’s staccato guitar jabs and stabs sounding downright #9 on the List of Best Record menacing. “” Stores in the Country and “Pump It Up” are played straight, although Nieve sounds like he’s been listening to a lot of Doors records. As for Pete and Bruce Thomas: they’re driving this hell-bent train at breakneck speed and they never let up. Costello was still a few One of America’s Best years away from his creative Record Stores peak, but he never sounded better onstage. You can’t beat a bunch of super-talented www.musicmillennium.com twenty-somethings playing rock and roll as if their lives 3158 E. Burnside depended on it. Portland, Oregon 97214 Phone: (503) 231-8926 THIS RECORD SHOULD BE PLAYED LOUD! – Steve Guttenberg

48 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 49 MUSIC

who passed away during its devel- remain undisputed at capturing and shattered by abandonment, and opment. Yet, as has long been their understanding the social culture faced with the lonesomeness of hallmark, the Truckers recognize of small-town America, and how sleeping in a cold bed once occu- that death, deprivation, and crisis certain events shake their core pied by two. Hood’s spare backing can be life-affirming. Accordingly, foundations. At a time when music vocals shade toward gospel tones they turn hard-knock themes into has forsaken much of its colloquial while clean, swirling feedback pro- opportunities to gaze upon the dialect, the Truckers uncondition- gressively stabs and twists, func- healing power that comes with re- ally embrace their heritage, playing tioning as a knife in the back. Loss alization, mourning, and moving on. songs that give a clear sense of comes in many forms. But so does Wisely refraining from taking sides where they—and their creators— relief, a lesson the Truckers rein- or preaching, lead songwriters come from. force throughout as they survey a Patterson Hood and Mike Cooley Fueled by brilliantly colorful rough landscape and still manage draw slice-of-life characters whose phrases such as “I’m tired of you to make the listener feel better for episodes, dispositions, needs, and uglying up my house” and “Put being pulled along for the ride. mistakes reach deeply into and your face in someone’s that mirror the human conscience. ain’t mine,” Cooley’s full- Rotating around a greasy slide- throttle boogie “Get Down- guitar riff, “The Fourth Night of My town” addresses the unem- Drinking” comes on as a step-by- ployment blues by way of step prologue to Alcoholics Anony- country twang, honky-tonk mous, with guns, booze, cops, swagger, and raggedy iner- delusions, and violence sending tia. The tune is as much a Drive-By Truckers the drunken protagonist on a hell- product of the South as bis- The Big To-Do bent path. Similarly, Hood’s “Drag cuits and gravy. And so goes ATO Records, CD or 2LP the Lake Charlie,” sung in a lazy the swampy sway behind drawl wound around a groove that “Birthday Boy”—told from a ew label, old approach. Having departed New Several songs are sad, and at times winds and spins like a top, revolves stripper’s perspective that West after four studio albums, the Drive-By depressing, but the moods always point around a figure who apparently offsets underlying sadness up. As it is for Bruce Springsteen, this Truckers make their debut on ATO Records a has a penchant for teenage girls. with catchy momentum. blue-collar band not only believes in but A murderous tale of vengeance It’s one of many moments memorable occasion. Moving away from the preaches rock as salvation, and their and violence in which the best op- on The Big To-Do that are expansive kitchen sink approach taken on iron-clad conviction suggests they won’t tion is death, the song’s hand-clap preoccupied with getting by 2008’s compelling but inconsistent, sprawling, and overly have it any other way. We’re better for it, beats and saucy organ reinforce its and surviving to see another day. Reflecting the grounded na- outlandish but plausible lyrical fate. Even if survival means entertaining ture of the music, the sonics are long Brighter Than Creation’s Dark, the sextet has returned as the 13-track album inspires, awakens, and acts as a barometer of our collective The underlying message? Not all fickle audiences in dives (the mean, produced yet raw, with guitars Nto the concise, cut-and-dry rock and roll sound that defined strengths and weaknesses. is what it seems to be. scraping “After the Scene Dies,” echoing, drums possessing good Opera, The Dirty South, and Decoration Day which sweats and bleeds like the weight, and the songs coming Primarily devised on the road, the Hence, “The Wig He Made Her —a successive trio of records as good as any released in Wear,” relaying the trials and tribu- walls in a humid club) or working a across with an airiness and grit Truckers’ tenth studio album begins with lations of a woman who murdered dead-end job to pay the bills (“This indicative of the material being this or any decade. “Daddy Learned to Fly,” about a boy her prominent preacher husband Fucking Job”). These are real songs recorded live in the studio. Given pining for his deceased dad, and con- While The Big To-Do doesn’t quite reach the level of those in Selmer, Tennessee. Lurching about and for real people. Hood’s obsession with vinyl, and cludes with a tune (the acoustic lullaby masterworks, it’s an absorbing hunk of smart, crunchy, guitar- forward in an ominous manner that And nothing is more genuine the format’s immersive, room- driven music shot through with the band’s vivid narratives, “Eyes Like Glue”) about a father thinking foreshadows the surprise ending, than the gorgeous “You Got An- spanning sound, the Truckers and balanced storytelling, barroom punch, and Southern accents. about his kids. Loss is a prevailing topic, the nonfiction tale avenges the other,” a slow-build piano ballad resident producer David Barbe It’s a set that portrays desperate people trying to survive in no surprise given the album’s dedication wife, who in court produced hei- sung by bassist Shonna Tucker. wouldn’t accept anything less. these ever more desperate times, with the Truckers’ joyous to Atlantic Records honcho Jerry Wexler nous outfits her partner forced her Her spurned voice is the sound –Bob Gendron pride and spirited attitude warding off any bitter aftertaste. and legendary producer Jim Dickinson, to wear before sex. The Truckers of a woman tormented by ache,

50 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 51 MUSIC

Paul McCartney makes a guest appearance adding backing vocals to “Walk With You” (co-authored by Starr and Van Dyke Parks) and playing bass on “Peace Dream,” which comes off as a loose tribute to John Lennon. Y Not has an overall feel-good, party flavor to it. While some critics have said this record was “Ringo’s most personal,” it sounds like Ringo hanging out with his mates and yukking it up a bit. Nothing terribly serious or deep here, and that’s how a Ringo al- bum should be. After all, he was always the fun Beatle, right? The only deviance from the formula is the last track on the album sung Ringo (and co-written) with Joss Stone. Y Not “Who’s Your Daddy?” finds Stone Hip-O Records, CD and LP bantering with Starr throughout the song, adding a harder edge than ingo Starr’s All Star Band has the rest of the material. always been somewhat of a Thanks to the heavy dose of musical wapatula, including all star talent on both sides of the mixing board, Y Not is nothing if everyone from Rod Argent not polished. While breaking new to Edgar Winter over the musical ground may not come years. Y Not continues that recipe, with easy to Ringo, he does an excel- Benmont Tench, Don Was, Richard Marx lent job at what he does best. R Goof on Ringo all you want, the and Dave Stewart, to name a few. Though man knows how to make a great only listed on a couple of tracks as a guitar sounding record. It helps that he player, Stewart seems to have a very heavy enlisted mastering engineer Chris Bellman (the talent behind the influence on the texture of Y Not, with a feel recent Neil Young remasters) at reminiscent of Stewart’s 1994 solo record, Bernie Grundman’s studio. Greetings From the Gutter. – Jeff Dorgay

52 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 53 MUSIC MUSIC

High on Fire As inferred by the album’s Bassist Jeff Matz and longtime title, there’s plenty of emotion drummer Des Kensel provide massive on this record, and Beck’s E1 Music, CD or LP rhythmic support for Pike’s towering playing is as focused as ever, riff architecture. The thrill of each song as he’d just come off an in- Nobody is more “metal” than . comes from hearing how melodies credibly successful two-year The leader wears skull rings as a somehow seep into the equation, tour. However, there’s not that badge of honor, lives for the rush of speakers and how long they can stand be- much commotion, and that turned to dizzying levels, and remains obsessed fore the capital-P power trio knocks might turn off some hard-core with making the heaviest music on the planet. He them down—as if songs are ancient fans. When on tour, Beck digs seems to sweat smoke, breathe fire, and emit the temples under siege. As it’s always deep into the Blow By Blow charm of a musty old Ford Econoline van worn been with High on Fire, damned and Wired songbooks, tearing down from too many years of touring duties. And civilizations, warrior kingdoms, and up the stage with the same he’s nothing if not consistent, with every High on eviscerating disasters dominate the intensity he did in his 20s, Fire release coming on with the thunder of a raging narratives. barely breaking a sweat in the moose herd running roughshod over craggy ter- process. There’s precious rain, stampeding anything and anyone in its way. “Welcome to world extinction!” “Welcome little of that here. So it goes on Snakes for the Divine, a cra- Pike bellows like an executioner to world But there are guest singers. nium-crushing exercise in volume, speed, and handing down a sentence on “Fire extinction!” Throughout his career, Beck aggression. While the record shows High on Fire Flood and Plague,” and the rampage Pike bellows has been known to incorporate hitting faster tempos than ever before, the core continues unabated, as if toughness is the only means to survival. The like an Jeff Beck vocal talents ever since Rod values remain the same. And for guitarist Pike, it’s executioner Emotion & Commotion Stewart left his band in 1969. all about the mighty riff, and few axemen are more song titles—“Frost Hammer,” “Bas- Rhino, CD and LP This time around, he’s added adept at creating and sustaining novel, swing- tard Samurai,” “Holy Flames of the handing Imelda May, Olivia Safe, and ing, bull-in-a-China-shop clusters than the former Firespitter”—are indicative of the sav- down a uitar powerhouse Jeff Beck begins Joss Stone. The first two of the Sleep member. Combined with his hoary shouts age sonic and lyrical characteristics. sentence... four vocal songs (“Lilac Wine” and strangulating war commands, his stronger- But don’t mistake this for Dungeons his first studio album in seven and “I Put a Spell On You”) are than-thou fretwork functions as what one would & Dragons metal fare. At a time when years on a mellow note—actually forgettable, but Stone is on fire expect to hear on the front lines of an epic battle. few groups are doing little else than a very mellow note—with a cover during every second of “There’s recycling past hard-rock glories, High on Fire bravely charges forward. Pike of Jeff Buckley’s “Corpus Christi No Other Me,” with Beck wail- ing at full intensity in front of and company’s performance on the Carol.” But don’t panic. The Jeff Beck you know and behind her. invigorating (and catchy) title track and love is back in full force by the second track, alone is evidence of their creative The operatic “Elegy for G“Hammerhead.” The song builds slowly with some superiority. Dunkirk,” sung by Safe, closes expressive wah-wah effects and blasts into action the record, ending as it be- Unlike the band’s first few records, Snakes for the Divine has muscular about 40 seconds in, with Beck soloing over some gan, on a very calm, mellow note. No one deserves the and spacious production that match- subterranean bass riffs courtesy of Tal Wilkenfield, right to get out of their com- es the musical brawn. who has been part of his touring band for the last fort zone more than Beck, (Slayer, Johnny Cash, ) en- year and a half. but this set may be a little too sures the low end receives as much subdued for some. However, attention as the important midrange, Emotion & Commotion is produced by Trevor it will be interesting to see and leaves enough room for Matz’ Horn (Yes, Art of Noise), and employs a 64-piece how much of this material will bass to emerge, like the flickering orchestra. Fortunately, the orchestral bits are in- be performed on the current fingers of a burning hot flame, amidst corporated very subtly into the mix, and we aren’t tour, especially in that Beck the head-banging combustion. It all subjected to another overblown “rock guitarist plays has again rejiggered the makes for a beast of an album. over the top of symphony orchestra” exercise. lineup. – Jeff Dorgay – Bob Gendron

54 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 55 MUSIC

Shearwater The Golden Archipelago Matador, CD or 2LP

At its simplest, Shearwater’s hauntingly gorgeous and accessibly com- plex The Golden Archipelago is island mu- sic. Not the perky, steel drum, umbrella- in-a-drink fare associated with the likes of Jimmy Buffett. Rather, the quintet’s sweeping album is inspired by actual iso- lated islands, each of its tracks associated with a different hidden world, with the themes of man’s effects on nature and en- vironmental decay playing out in the delib- erate arrangements and leader Jonathan Meiburg’s arched singing. GamuT A scientific researcher, Meiburg spent time visiting outposts such as the Falk- S5 lands, Tierra del Fuego, Galapagos, and Gently clanging metal, hovering synthe- Madagascar. He chronicled his findings sizers, acoustic guitar strains, and spare and impressions not only in song but in piano notes depict a beautiful portrait a photographic and literary dossier that of undisturbed scenery on “Landscape Grand, accompanies select CD and LP versions. at Speed.” Similarly, the introduction to ambitious, Grand, ambitious, and supremely execut- “Meridian” features the anthem of Bikini and supremely ed, The Golden Archipelago is more than Atoll chanted by Bikinians forced into a record; it’s a concept, a call to aware- executed, exile due to atomic testing that ravaged ness, a piece of art that inspires and chal- The Golden their homeland. An eerie mood that pits lenges. Meiburg’s vocal performance is by Archipelago harmless solitude against violent de- itself otherworldly. It all makes one wonder is more than a struction pervades the record. The feel- how much longer Shearwater, authors of ing hovers over the emotionally riveting record; it’s a 2008’s excellent Rook, will stay under the “Castaways,” which seemingly pleads concept, a call mainstream radar. to get as far away from civilization as a to awareness, a Ranging from majestic ballads to gal- song—and human voice—possibly can. piece of art that loping chamber rock, Shearwater’s songs inspires and are heavily shaded with drama, melan- After investing months in the pro- challenges. choly, fragility, and contrasts. Meiburg’s duction, Shearwater achieved an al- often precious crooning gives off whiffs bum that sounds anything but “indie.” of English folk, as do the peaceful strings Adorned with microdynamics, subtle and spacious rhythms. A slow-build inten- textures, and colorful accents that sity washes over the material, as on the range from mallet percussion to bur- shivering epic “God Made Me,” and the nished cellos that mimic the patter of beckoning orchestral pop of “Black Eyes.” water droplets, The Golden Archipelago Atmospheric touches heighten the con- intoxicates from all angles. Close your nection between the geographic vistas eyes and it’s aural cinema for the mind, and Shearwater’s sonic interpretations. body, and spirit.— Bob Gendron

56 TONE A U D I O NO.27 www.gamutaudio.com F e b r u a r y 2 0 1 0 57 MUSIC Retribution Gospel Choir or contagious groove. And wiggles its way through Beckley, who captures ev- 2 the set’s concise nature re- arrangements like a pipe erything from the pitter-patter Sub Pop, CD or LP flects the band’s get in, get cleaner navigating a clogged of sticks tickling the drum

out attitude. The total running drain. In addition to its pen- skins to the distorted crackle In addition to L ed by guitarist/vocalist time is less than 34 minutes, chant for controlled freakouts of a stray plug to vocal de- its penchant and bassist Steve Garrington, Retribution Gospel Choir and that’s with the aptly titled and atmospheric folk-rock cay. He maintains wonderful for controlled can be seen simply as a noisy extension of the duo’s jam “Electric Guitar” account- drifts (the band emerges from instrumental separation and freakouts and revered Duluth band, Low. Since the early ‘90s, that trio ing for nearly a quarter of that “Poor Man’s Daughter” in generates a smoothness that has refracted minimalist structures, quiet tension, and number. an ethereal manner in which doesn’t rob the music of its atmospheric understated melodies into an art form on the level of a With little or no space it becomes the ghosts dis- raw, visceral qualities. The folk-rock drifts, Dale Chihuly glass sculpture, mesmerizing audiences left between the songs, 2 cussed in the narrative), Ret- treatment of “Something’s Retribution not only with vibrant colors but also with musical gor- hits with the sudden intensity ribution Gospel Choir chan- Going to Break,” on which Gospel Choir geousness hidden in enduring fragility. nels the undeniable appeal of a fever dream, a feeling the trio is muted and seem- channels the On its second album, and its first for Sub Pop, of fist-pumping 70s arena supported by Sparhawk’s ingly underground before undeniable Sparhawk’s “other” trio picks up on the promise of its stargazing guitar ventures. rock. “Your Bird” explodes suddenly busting through the appeal of fist- 2008 debut. Clinging to a fundamental desire that’s Blending pop, prog, and psy- with a bombast reminiscent foggy ether in a fashion that’s pumping 70s often too rare in today’s musical landscape—indie, chedelic disciplines, he uses of a Fourth of July fireworks akin to a burrowing drillbit mainstream, or otherwise—2 kicks out the jams, twists tunes such as the shimmer- display, the hollow cavity of re-surfacing above land, ex- arena rock. amplifier volume knobs to ten, and lets rip with guitar- ing “Hide It Away” and hearty Sparhawk’s voice adding to emplifies the sonic thrills that driven delight. Not that the group abandons its pop “White Wolf” as excuses the wonderment. are possible when the artist pedigree. Rather, members straddle the best of both to milk massive, muscular So does the production, and engineer are of the same worlds. Nearly every track is moored to a catchy hook sounds from his guitar, which expertly handled by Matt mind. – Bob Gendron

No other label is as dedicated to bringing you the finest sounding recordings, only Oppo BDP-83 Special Edition using the Original Master Tapes for sources. No other label takes the time to get a project done exactly right. The reason: we love music Frank Sinatra & Sextet Frank Sinatra The Band Rock Of Ages The Band Live in Paris Sinatra & Strings Music From Big Pink just as much as you do. So when you purchase a Mobile Fidelity title, you know you are getting the very best possible recording. Thank you for your support and we hope to announce great new titles in this magazine very soon… Our Best-Selling Blu-ray Universal Player and remember: listen responsibly! Little Feat Marvin Gaye The Cars The Cars Santana Abraxas Waiting For Columbus What’s Going On Get a FREE $225 AudioQuest 2m HDMI Cable w/ Purchase. Act Fast, Limited Quantities. www.musicdirect.com ph. 800-449-8333 Contact us for longer lengths.

Play All of Your Discs with Award-Winning Accuracy: Blu-ray, DVD, CD, SACD, DVD-A and More!

www.mofi.com Beck Sea Change Marshall Crenshaw Pixies Surfer Rosa Elvis Costello Marshall Crenshaw MUSIC

hile audiophiles have always loved ECM recordings for their Wpristine sound quality, I’ve always had reservations about the level of bass on the label’s albums. But Four Beauties after listening to ECM’s latest efforts, things seem to have changed for the from ECM better. In the past, it seemed like the By Richard Colburn double bass was actually outside the studio, and in another room.

Now, the bass appears to be right Tomasz Stanko Quintet Ralph Towner/Paolo Fresu in the room along with the other Dark Eyes Chiaroscuro

instruments, where it belongs. After three albums of trio work, Polish Guitarist Ralph Towner is no stranger to trumpeter Stanko weighs in with a new cast ECM. He was an essential member of the Past ECM recordings treated of Danish and Finnish musicians. And what group Oregon and headed Solstice for a lineup it is. The album is filled with mystery several years. Towner also recorded duos the drummers slightly better, and and smoke, and adds the occasional bop with Gary Burton and John Abercrombie. yet again, there is a wholesale flourish. The rhythm section (drummer Olavi What’s new here is the unusual pairing Louhivuori and electric bassist Anders Chris- of his acoustic guitar with Italian Fresu’s improvement in this area as well. tensen) provides a muscle and propulsiveness trumpet. It’s a combination that pays off absent on previous Stanko recordings. Electric handsomely. These discs have some of the most guitarist Jakob Bro and pianist Alexi Roumarila Chiaroscuro is an art technique that natural cymbal sounds I’ve heard round out this very promising band. uses light and shade to create the illusion on CD; they will definitely give your Dark Eyes takes you on a trancelike jour- of depth. On the title cut, Towner and ney with pieces like “Terminal 7” and “Grand Fresu create much more than a mere tweeters a workout. Want to know Central.” The album’s centerpiece is “The illusion of depth. By and large, most Dark Eyes Of Martha Hirsch,” a tune inspired pieces on this set are friendly and inviting. if you’ve got screaming tweeters? by Stanko’s viewing of the Oskar Kokoschka However, on “Punta Gara,” we’re taken Here’s your chance. painting of the same name. The composi- into a jazz vein in which Fresu’s double- tion bears witness to compositional prowess. tracked flugelhorn’s warmth is offset Starting off slow and cool before building by the clarity of Towner’s guitar. The If this is the new recording into a free-swinging melodic romp, it leaves exchange is magical. direction that ECM is taking, I’m all us wondering about the mystery within the And so, what initially seems to be muse’s dark eyes. for it. There’s simply more flesh on unconventional ultimately provides a If ever a recording suited alert late-night surprisingly melodic and more intriguing the bone. As for the music: listening, this is it. dynamic than one might have expected.

60 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 61 MUSIC

Tord Gustavsen Ensemble Christian Wallumrod Ensemble Restored, Returned Fabula Suite Lugano

Pianist Gustavsen returns here with Fabula Suite Lugano is not for the a quintet instead of his familiar trio. He casual listener. Pianist/composer brings back drummer Jarle Vespestad Christian Wallumrod and his ensemble but adds Mats Eilersten on bass, Tore challenge, test, and engage the Brunborg on saxophones, and singer senses. Playing instruments such as Kristin Asbjornsen. toy piano, harmonium, trumpet, cello, As usual, Gustavsen impresses and dardanger fiddle, the collective with what he doesn’t do. His playing is explores melodic vistas, upsetting spare and expressive, never resorting to dissonant themes, and mournful flashiness to state a case. The band is harmonic structures. Some of the also warmer than the reputation typically song titles—“The Gloom And The afforded with Nordic musicians. As Best Man” and “Solem Mosquitoes”— such, an engaging intimacy extends into hint at humor. But you’d be mistaken compositions like “Spiral Songs” and the if you think any of these compositions beautiful “The Gaze.” Asbjornsen’s vocals are meant to merely entertain. This are showcased on “Lay Your Sleeping, ambitious work is new music in the My Love” and “Left Over Lullaby No. 2.” best sense. The result: Gustavsen is presented in an appealing, songlike setting.

62 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 63 A n o t h e r Rare Pearl f r o m M a r a n t z: The PM-KI Amplifier By Jeff Dorgay f you read our review of the Marantz Pearl SA-KI SACD player last year, Iyou know I was very excited about not only the extraordinary performance of this player, but the stylish “silk-black” finish that Marantz offers on these components. Just like the SA-KI, the PM-KI will be limited to a production run of 500 units. JOURNEYMAN AUDIOPHILE :

F e b r u a r y 2 0 1 0 65 FEATURE

comprehensive and spends a fair amount of time explaining how to integrate it into a multichannel system. The remote is the same as the one that came with the SA-KI SACD player, so you can leave it shrink wrapped for the day that something unfortunate happens to this one. As we mentioned in our SA- KI review, the PM-KI is a “factory hot rod” with all critical compo- nents auditioned by Marantz de- signer Ken Ishiwata, who spent many hours of listening to the choices made. The PM-KI is a significant step above a standard Marantz reference component. You can read more about the KI- Pearl series and its creator here: http://www.marantz.eu/kipearl/ This integrated amplifier has a retail price of While most of my listening Of course, it had no problem $3,599 and packed with everything you need; it was done with the Clearaudio pushing my Harbeth Compact 7’s The sound even has a great MM/MC phono stage built in. I Maestro Wood, an MM cartridge, or Harbeth Monitor 40.1’s, and did Much like the larger Marantz spent a fair amount of time with both Pearl compo- I also substituted my Technics SL- an outstanding job with my Mag- preamplifier and monoblock nents in my living room along with a pair of Harbeth 1200/Lyra Dorian with excellent nepan 1.6 speakers as well. The PM-KI is a power amplifiers we reviewed in Compact 7ES-3 speakers and a Rega P5 turntable results. If you have a MC car- “factory hot rod” The PM-KI was easy to set up Issue 20, the lineage is evident. with a Clearaudio Maestro Wood cartridge. tridge in the $300 - $1,000 range, with all critical and start listening. The manual is (continued) components The PM-KI is all solid state and robustly built. you should be able to live happily auditioned by Following the same styling cues as the rest of the with the phono preamplifier built Marantz designer Marantz line, it has the curved front panel with the in to the PM-KI. Ken Ishiwata. round function window in the center, homage to the Two sets of fixed and great Marantz amplifiers of the 60’s. Along with an variable level outputs input selector and a button to switch the speakers are available, so the off when listening with headphones, there is a MM/ PM-KI can be used MC switch for the phono stage and a pair of tone with a powered controls that can be switched out of the circuit. I subwoofer or as did not make much use of these with my speakers, part of a multiple but they were fantastic while using headphones. amplifier system. This amplifier is Tough and Versatile rated at 90 watts Weighing about 45 pounds (20kg), the PM-KI per channel into is robustly built, with a massive power transformer an 8-ohm load and a copper-plated chassis. The built-in MC stage and 140 watts has 100-ohm loading, which should work just fine per channel into

JOURNEYMAN AUDIOPHILE : with most MC cartridges. a 4-ohm load.

66 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 67 While the integrated does not So to make sure I wasn’t dream- possess the ultimate slam and ing, I stopped by staff writer Je- dynamics of the 300-watt-per- rold O’Brien’s house to visit my channel monoblocks, the presen- L166’s and 2245. Turns out, I was tation is very similar at less-than dreaming a bit. My trusty 2245 concert-hall levels. If you are a was a lot grainer sounding than fan of the top-of-the-line Marantz I remembered, and when we re- placed it in the system with the reference separates but have a PM-KI, the JBL’s really rocked. But smaller room (or budget), the PM- there was a much cleaner, more- KI is an excellent choice. dynamic sound overall. Still, the Now that I have spent time 2245 in its day had a tonal quality with a number of Marantz ref- that was unmatched by any other erence components, I would Japanese receivers and in many DAC1 HDR describe the sound as “slightly ways rivaled the McIntosh receiv- Stereo Pre-Amp with Remote Control warm.” Not quite as warm as ers of the same time period. DAC / Headphone Amp / USB my Luxman L-590A pure class- Returning to my house after

A integrated, but not the typical the history lesson, I was impressed “ solid-state sound by any means. with the PM-KI no matter which “...a great all around piece. The combination of the Marantz speakers I used. The amplifier

Tone Audio integrated and the Harbeth speak- had a very dynamic sound, which “ ers was incredibly engaging, and was revealing of its substantial power supply. Playing my favorite “Damn close to a perfect piece of equipment. at times slightly embellished the hard-rock CD’s from AC/DC, Deep The Audio Critic sound of less-than-stellar record- Purple and the latest Audio Fidelity ings. But always in a good way. remaster of the Judas Priest clas- The combination brought back sic, Hell Bent For Leather, I was the memories of my Marantz 2245 able to rattle the living room win- Made In 800-262-4675 (continued) BenchmarkMedia.com Syracuse, NY, U.S.A. receiver and JBL L-166 speakers. dows rather handily.

68 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 69 Moving along to the current XRCD re- A pair of the 1.6’s along with the two Pearl The masters of the Blue Note catalog, I was components and a turntable should still combination impressed with the big soundfield that keep the price tag under $10k, even if you with the SA-KI the PM-KI possessed both in width and buy a couple of decent power cords and a SACD player was sublime, depth. The combination with the SA-KI good pair of interconnects to go between and the amount SACD player was sublime, and the amount the SACD player and amplifier. of subtlety this of subtlety this combination was able to The PM-KI gripped the 1.6’s, offer- combination deliver constantly amazed me. Sonny ing plenty of bass control and a delicacy was able Clark’s piano on Cool Struttin’ had the right that usually requires a much more expen- to deliver amount of resonance and sustain, while sive amplifier. The soundstage here was constantly Philly Joe Jones floated right into the mix quite expansive, giving the “panel magic” amazed me. on saxophone. more than lip service, with sound extend- But the biggest surprise was when us- ing about three feet beyond the speaker ing this amplifier with my Magnepan 1.6’s, boundaries. And thanks to the preamp now with updated Skiing Ninja crossovers. outputs, I was able to add my MartinLo- The 1.6 is probably my favorite pair of Mag- gan Grotto i subwoofer, taking this system nepans because they don’t cost an arm even further. Captivating an audience calls for honesty and and a leg, but they do need a very high- Listening to Johnny Cash on his final genuineness and just like Tin Pan we enjoy quality amplifier to drive them or they just what we do. Creating pure and authentic album American VI, Rick Rubin’s stripped sound is all about passion and respect for sound flat and lifeless. Typically, they need down, minimalist production really shone music and those who interpret it. more than 100 watts per channel to drive through loud and clear, with Cash’s voice Nothing added. Nothing subtracted. them, and the only other amplifier with few- having a real delicacy to it. Of course, er than 100 watts per channel has been my roaming through the usual cache of female Find out more about Tin Pan and the DALI The DALI IKON series sets new standards IN ADMIRATION OF MUSIC Luxman, but this is a $10,000 integrated. (continued) speaker range on our website or contact our Each model offers materials, technology vocals was equally satisfying. US Office, The Sound Organisation and performance worth of comparison 70Tel: 972-234-0182TONE A U D I O www.soundorg.coNO.27 m www.dali-speakers.com well beyond their price range. F e b r u a r y 2 0 1 0 71 MAESTROTM UTOPIA

Vivid colors, subtle nuance, perfect pace and rhythm; Perfection only a Maestro can create.

The care spent by Mr. Ishiwata in the de- The Marantz PM-KI sign of the PM-KI has really paid off. The real Integrated Amplifier key to this amplifier is the delicacy and refine- MSRP: $3,599 ment it offers combined with some serious Manufacturer drive. The PM-KI sounds like a much bigger amplifier than it is. While it did an admirable Marantz America, Inc. job driving the Magnepans, with a more tradi- 100 Corporate Drive Mahwah, NJ, 07430 tional speaker that has a sensitivity of around 201-762-6500 88db or better, you will have a difficult time www.marantz.com pushing it to its limits. Peripherals

Conclusion Digital Source Marantz SA-KI SACD player, Naim CD555 It’s easy to get carried away with the Analog Source Rega P5 w/ sound of cost-no-object components. I’m Clearaudio Maestro Wood cartridge often asked for suggestions at this price point Speakers Harbeth Compact 7ES- for a real-world system. I can’t think of a 3, Harbeth Monitor 40.1, PMC fact.8, better choice than the Marantz Pearl compo- Magnepan 1.6 (with Skiing Ninja nents. They bring home the essence of the upgraded crossovers), Zu Essence world’s best gear in an affordable package Power Shunyata V-Ray, Shunyata Culminating 30-years of passion, sweat and hard work expressed in original Focal breakthroughs: Python CX power cords that looks as great as it sounds. We are hap- • 25-micron thick Pure Beryllium inverted dome tweeter • Magnetic Damping™ System py to award it one of our Exceptional Value Cable Audioquest Columbia • Infinite Acoustic Loading™ (IAL2) tweeter chamber • Gamma™ cabinet structure Awards for 2010. l interconnects and speaker cable • Laser cut “W”™ Glass Cones • Focus Time™ driver alignment JOURNEYMAN AUDIOPHILE :

F e b r u a r y 2 0 1 0 73 Focal® is distributed by : USA - Audio Plus Services - www.audioplusservices.com - 800 663 9352 / Canada - Plurison - www.plurison.com - 866 271 5869 MUSIC Audiophile Pressings By Jeff Dorgay

The Bad Plus For All I Care Heads Up, 2 180g LPs

Although this record was previously released on CD a year ago, The Bad Plus it’s just being issued on vinyl now. And if you aren’t familiar with mix it up, this Midwestern trio, don’t fret. They’ve had a number of labels put on them that attempt to describe their sound (avant-garde, effortlessly progressive, postmodern, etc.) but none does an adequate job. bouncing Suffice to say, the Bad Plus mix it up, effortlessly bouncing from from genre genre to genre. Like a box of Cap’n Crunch cereal, every album to genre. has a surprise inside. Like a box of The Bad Plus’ last album, Prog, was their most straightfor- Cap’n Crunch ward, with somewhat arty renditions of pop songs you’ve heard cereal, every before—Tears For Fears’ “Everybody Wants to Rule The World,” album has Bowie’s “Life on Mars”—not sounding quite as bizarre as the way a surprise the Kronos Quartet might handle the task. For All I Care wel- inside. comes guest vocalist Wendy Lewis to the quirky mix, and marks the first time the trio has used a vocalist. A quick peek at the song list reveals peculiarities (Yes, Nirvana, The Bee Gees, Igor Stra- vinsky, and Heart on one record!), but it works. Lewis brings an atonal, disconnected (think Julee Cruise on Quaaludes) vibe to a series of arrangements that change time signatures so fast, it makes you wonder if the band is channeling Frank Zappa. This release also signifies the first time the band has released an album on vinyl. Mastered by Bob Ludwig at Gateway Mas- tering, the overall tonal balance is slightly forward. But a quick perusal of the album notes reveals a lot of discussion concern- ing which Neuman mikes were used, etc. Definitely an audiophile recording, though not likely something you will hear at a hi-fi show any time soon. And that’s a shame. Why? Lewis’ rendition of Heart’s “Barracuda” is delightfully trippy, the Bee Gees’ “How Deep is Your Love” sounds like it could be an outtake from the Twin Peaks soundtrack, and the lyrics to Nirvana’s “Lithium” are finally intelligible Sound like fun? Then put For All I Care in heavy rotation now.

74 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 75 MUSIC

Johnny Hartman John Coltrane and Johnny Hartman I Just Dropped by to Say Hello ORG, 2 LP, 45-rpm sets

Without arguing jazz minutiae with the purists, it’s relatively safe to say that Johnny Hartman’s career got a major boost after teaming up with John Coltrane, producing what many consider definitive performances of “My One and Only Love” and “Lush Life” on John Coltrane and Johnny Hartman. Originally recorded in 1963, this record features McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. The amount The mood changes on I Just Dropped by to Say Hello, of information featuring Kenny Burrell and Jim Hall on guitar. The six-stringed available on instruments are a welcome addition to the strictly horn based- production of the Coltrane set. And while both guitarists turn in these old tapes excellent performances, Burrell steals the show by showcasing and Bernie the more delicate touch of the two masters. Grundman’s While we can discuss these records’ relative merits and stellar mastering significance until the cows come home, there’s no question continue to that both are exquisitely produced, just like everything else in amaze. ORG’s Impulse series. Still, the amount of information available on these old tapes and Bernie Grundman’s stellar mastering continue to amaze. Moreover, all of the vinyl is pressed at Pallas in Germany, and the finished product is, so far at least, flawless. These records feature wonderful tonality, and the music finally has serious dynamic range. Jones’ drum kit not only has slam and impact, but the soft touch of his brushwork is sublime. Illinois Jacquet’s tenor sax blasts out of the right side of the soundstage, as if he’s right there in the room, and Hartman’s voice is four feet in front of you. Our resident vinyl collector, Tom Caselli commented, “The original pressings of these records sound crackly, like Rice Crispies!” Not these. The ORG pressings are dead quiet, with the music gently creeping up out of the background in a way that digital never does. It’s also worth noting that ORG stepped up its game even further with the printing of the record jackets, which retain the thick cardboard shell but now also feature a high-gloss laminate on the outside (a look that’s very similar to what Music Matters is doing with its Blue Note series), making these limited-edition LPs that much more desirable. Fans of Hartman, take note: ORG is releasing The Voice That Is! as part of its Impulse series in the near future.

76 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 77 MUSIC

The Flaming Lips Embryonic WB, 2-LP set (with bonus CD)

Nothing puts a bigger smile on my face (at least when it comes to hi-fi) than colored vinyl. I love watching colored albums spin around on my turn- table. “We can finally do colored vinyl right, so that it will last,” said Warner Brothers’ Rick Gershon, when I recently reached him by phone. So rest as- sured that you’ll still be spinning this record with pride in the years to come. Embryonic is recorded hot, so when you first drop the stylus on the record, the garbled elec- tronic percussion is still distorted (though not as badly) as it is on the CD, but the LP has more depth and is not congested through the mids. Offering a big The songs benefit from the analog format as well. step up in fidelity A lot more happens beyond the boundaries of from the CD, the speakers, and there’s more detail in the LP’s Embryonic still nooks and crannies. On the second track, “Evil,” you can easily hear the background vocal tracks, makes a good where on the CD, they just fall into the noise floor. case for hearing The electronic ambient sounds on “The Spar- contemporary row Looks Up at The Machine” have the same music on vinyl. enhanced effect on the LP, with a spacier overall presentation. The instrumental track “Aquarius Sabotage,” recorded at a lower level than the majority of the record, gives us a glimpse of what Embryonic might have been if the producers utilized a gentler touch on the gain control during recording ses- sions. Who knows? Perhaps adding too big of a dose of audiophile sensibilities to a Flaming Lips record would ruin it? Offering a big step up in fidelity from the CD, Embryonic still makes a good case for hearing contemporary music on vinyl. And to WB’s credit, the label is keeping the price reasonable. $24.99 gets you the 2-LP set along with a full CD. There’s even a 2-CD set with bonus DVD-A, recorded in 24/96, albeit at the higher cost of $32.99.

78 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 79 MUSIC

Yo La Tengo Popular Songs Matador Records, 2-LP set

Attention record labels: Can we please have more of this kind of thing, rather than another remaster of Who’s This version Next? Not only has there been a lot of of Popular decent music produced after 1975, a Songs has a fair amount of it sounds pretty good, more spacious too, and we’re never going to maintain the vinyl resurgence unless more of it presentation sees the light of day on LP. than the original CD, In this case, I suspect a digital with the mids master tape was used because and vocals of the 2009 production date and slight congestion of the uppermost possessing frequencies. However, this version a lot more of Popular Songs (pressed at RTI separation. on 180g vinyl, with Greg Calbi given mastering credit) has a more spacious presentation than the original CD, with the mids and vocals possessing a lot more separation. There’s more of everything everywhere: A couple more layers of guitars are spotted throughout; the keyboard riffs are much easier to pick out of the mix and no longer lurk in the background; and the vocals have more noticeable body. Okay, so it’s not as pristine of a recording as Jennifer Warnes’ Famous Blue Raincoat. But who wants to listen to that anyway? Here’s hoping Matador sends us more of its catalog on LP in the months ahead.

80 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 81 MUSIC

Grant Green Matador Music Matters, 2-45rpm LPs

Matador was one of a handful of this brilliant gui- tarist’s albums that didn’t appear until years after its initial recording. Produced in the summer of 1964, it remained unreleased until 1979 in Japan and 2000 in the US, on CD. Unfortunately, Green had already died, passing away very early in his career (at age 47) after a long battle with drug abuse. On this set, Green uses two of John Coltrane’s It’s hard to top sidemen, drummer Elvin Jones and pianist Mc- believe that the Coy Tyner. Yet the group carves out its own unique Music Matters groove, giving “My Favorite Things” a much differ- team can keep ent feel, with Green’s electric guitar supplanting the raising the bar saxophone as the lead instrument. Interestingly, this is the song on which Green stretches out the most. on these 50- But he never plays a note more than necessary to year-old records, get the point across. but the sound presented here It’s hard to believe that the Music Matters team is phenomenal. can keep raising the bar on these 50-year-old re- cords, but the sound presented here is phenomenal. The stereo image is typical Blue Note stereo, with Green fixed right in the centerline of the left speaker. Tyner’s piano is just behind him, perhaps just one step closer to the center of the stereo image, with the drum kit mostly in the right channel, and the bass line diffusely centered. The depth and transient attack on this record are outstanding, thanks to one track per side of vinyl—definitely a worthwhile indul- gence. Music Matters also continues to set the stan- dard for record packaging. To make this release even more unique, the label redesigned the cover of Matador. In place of the original blue and yellow illus- tration, the updated version features a shot of Green in a red/black duotone with a bold lettering scheme. It takes big balls to mess with the Blue Note catalog, but the end result is fantastic.

82 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 83 MUSIC MUSIC

Dean Peer Airborne ILS Records, 24/96 recording on memory chip

A high percentage of crazed If you aren’t a bass player or bass geek, pass on audiophiles claim that the DVD-A Airborne. As a matter of fact, run away screaming. version of this 1973 Doobie Unless you’re This record is the most self-indulgent piece of rub- Brothers album is by far the most that guy sitting bish I’ve heard in years, and it’s not cheap, either. musically natural version of this Thirty bucks buys you a memory chip that fits in classic recording. Granted, in in the front row studying the bass the USB slot of your computer, though not in any this sense, MoFi went back to apparent manner. It comes attached to a credit the trough to get a well-known player’s technique, card-sized holder, with a fold-out USB tab that fits chestnut. However, I’m happy this record grows in the USB slot in either direction, though it will only to let the label off the hook for tedious after about work in one. A standard USB flash drive would two reasons. First, it is in the 90 seconds. have been much easier. process of procuring an entire series of Doobie releases, so While a cursory search of the Internet reveals it makes sense to include this some zealots deeming Peer a “God” and “master record in the batch. And second, of bass harmonics,” the same search the DVD-A is becoming scarce doesn’t reveal him to and often fetches upwards of have played on any $150 on eBay. Not to mention albums of any note— the dwindling number of decent or with anybody of DVD-A players. note. Airborne has nine tracks of bass so- In a direct listening los, with some drums comparison performed on the and percussion mixed highly respected Ayre CX-5eMP in. That’s it. player, the MoFi disc gave no quarter to the DVD-A, with the Unless you’re that hybrid SACD having a warmer guy sitting in the front and more inviting midrange row studying the bass The Doobie Brothers and the DVD-A disc a wider player’s technique, this The Captain and Me soundstage. I could live happily record grows tedious MoFi, SACD with either edition. Surprisingly, after about 90 seconds. playing the CD layer on my To its credit, it is extremely The crew at MoFi has been on fire for the last reference Naim CD555 player well recorded and perhaps, in small doses, could be used as a tool for subwoofer setup. Seeing that few years, proving they can produce some of the provided the best overall tonality and most bass slam. So yes, Guantanamo Bay isn’t closed yet, Airborne could best-quality remastered recordings and, just as there’s still a lot to be said for also be used as an interrogation tool. Government importantly, demonstrate the artistic sensibility to well-executed 16/44 playback. officials could play Nine Inch Nails at brain-damag- ing volumes all day long and I’d never crack. But choose titles that we haven’t seen a million times Bottom line: This disc is a put on three minutes of this record, and I’ll tell you before and would actually want to purchase. winner. anything you want to know.

84 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 85 TONE STYLE

Taking Custom To a New Level By Jeff Dorgay

Perhaps you’ve noticed the tab marked “custom shop” on the MartinLogan website as part of their recent redesign and was curious to what lurked there. MartinLogan’s tagline is “you dream it, we build it.” They won’t build you a custom- sized ESL panel, but they will take any of the existing models on their list (Vista, Vantage, Spire, Summit X and CLX as well as the Stage center channel and Depth i and Descent i subwoofers) and fully customize the finish of the wood and metal surfaces to your taste.

This started three years ago with the original Summit and according to MartinLogan’s advertising and promotions manager Devin Zell, the Custom Shop customers have been very happy. “It’s a pretty passionate customer that takes the time to select all of the parameters of their speaker so that it blends with their environment. Our guys always go above and beyond their already high level of craftsmanship on these special creations.” The range of people that have taken advantage of the Custom Shop is quite wide and even includes some pretty high profile people that choose to remain in the shadows... Having toured the MartinLogan factory back in 2008 to watch my CLX’s be built, I can vouch for the craftsmanship that takes place there, even on the standard issue speakers. Thanks to the wealth of experience in the MartinLogan factory in Lawrence Kansas, they know how to do it right. Though I only asked the custom shop to change the color of the LED’s in my CLX’s, they were mentioning a pair of CLX’s that they were about to start work on that were “really special, over and above anything they’d ever done so far.”

86 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 87 TONE STYLE

Let’s Call Him Brian one of their showrooms. After au- various parts are shown and you Because this particular gentle- ditioning a number of much more can see the custom choices avail- man is also a fairly high profile indi- expensive speakers, he loved the able for the wood and metal sur- vidual and doesn’t necessarily want sound of the CLX the most, but faces. You can even choose leath- everyone to know where his half- wanted something “more unique” er coverings for the wood if you so million dollar HiFi system is located, in the visual department. desire. Don’t laugh, I saw a pair we’ll just call him Brian for the sake Typically, when ordering a of Summits for sale on Audiogon of this article. (No, he’s not in the custom pair of MartinLogan speak- that were covered in red leather, so witness protection program...) ers, a trip to the website’s “3D I know they’ve made a couple of pretty wacky speakers at the Brian is a gentleman in his early configurator” is all that’s required. ML custom shop! fifties that has always been a mu- Unfortunately, this only works on sic lover, but wanted an “over the the Windows platform, so if you are Brian wanted something be- top” system. Music was always a Mac user, you’ll have to go to a yond the typical custom order. a big part of his life, and he had friend’s house to custom spec your “I knew the black Eco sound always possessed a good system, speakers. wouldn’t work in my living room, one day he decided to really jump Once in the configurator, the so I suggested that we make the off the cliff. When perusing some model is chosen and you are given rear portion of the speaker and big speakers at his local dealer, the retail price in the upper right the enclosure for the electronics they had just installed the CLX’s in corner. Standard finishes of the from hardwood. (continued)

Hear More Music.

Meridian Sooloos’ powerful media server system makes any “A complete reinvention of how we relate to music” —esquire digital music collection a joy to explore. Not only do you have instant access to your entire library with an intuitive touch- “Arguably the most intuitive and rewarding piece of audio screen interface: you’ll also rediscover forgotten albums as technology ever conceived” —what hi fi the system finds music for you based on what you want to hear. Meridian’s DSP Active Loudspeakers combine 30 “The Sooloos system gave us a musical epiphany… it’s sheer years of high performance digital loudspeaker excellence in a genius” —stereophile simple, elegant design. Bring them together, and you have an astonishing listening experience. “Sooloos’ ability to instantly sort through your library and present to you exactly the music you might want to hear at The Meridian Sooloos Control 10 connects quickly and any particular moment borders on the magical…” easily to your Meridian DSP Active Loudspeakers to form —the absolute sound a complete digital audio system in a single room – or throughout your entire home.

It’s the ultimate music system for simplicity and elegance, power and performance, enjoyment and discovery.

Call 404-344-7111 to arrange for a personal demonstration of Meridian’s distributed audio, home theatre and music server systems, or visit www.meridian-audio.com to learn more about Meridian products.

www.meridian-audio.com

88 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 89 TONE STYLE TONE STYLE

My dealer had contacted Martin- Logan and they assured me this could be done, so I wrote an order for the speakers in April of 2008. Little did I know it would be a while before I had the speakers.” Shopping for hardwood, Brian found an exceptional 145" L x 42" W x 4", 106 board foot slab of Bubinga. When he decided that the whole speaker should be made from bubinga, he was put in con- tact with CLX designer David Allen, Senior VP of MartinLogan Design and Product Development. “David is a true visionary and he was very responsive to my requests for this project.” Everyone involved was treading in somewhat unknown territory. First, this piece of exotic collector grade wood had to be milled into the actual lumber to make the speaker parts. Brian had also decided on a pair of Mar- tinLogan Depth i subwoofers to compliment his CLX’s, so a pair of hardwood tops had to be cut to match as well. This had never been attempted with Bubinga, but the team at ML felt they could Another hurdle to overcome was the The CLX is shipped in a very elabo- accomplish this. high build, high gloss finish that Brian re- rate, multi-piece carton, but even this quested. This had never been done be- detail was not left to chance. Once Beyond the Beyond fore, which required some more testing. packed, the cardboard cartons were put Once the slab was milled into When everything was in place and they in custom, foam lined wooden crates and lumber form, the individual pieces were ready to proceed, the bubinga was air freighted to Brian. He jokes, “They were arranged so that they could machined with fresh carbide blades and kind of look like sarcophaguses, but the be cut to maintain matching grain drill bits, so there would be no splintering. speakers arrived in perfect shape.” figure on every speaker part. Brian Again, the results were beyond Bri- said that the craftsmen in the ML an’s expectations. “As you can see from Reflections cabinet shop were amazed at the the photos, the grain pattern on these Almost a year later, Brian remains quality of the wood he delivered. speakers is completely book matched, thrilled with his purchase. “The folks at They made a few sets of test with each speaker being a mirror twin for MartinLogan went out of their way to speakers out of other hardwood the other.” MartinLogan finisher Rick Carr make sure the speakers were flawless. I first to make sure they could make even went in over the Christmas 2008 feel my custom pair of CLX’s gave their the necessary cuts as efficiently as holiday to put a few extra coats on master craftsmen a chance to shine and possible, as there would be little the pieces, so they would be ready show what they were truly capable of. room for error with the bubinga. when work began in January. (continued)

90 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 91 TONE STYLE

Who takes the time in this day and It’s always a pleasure to meet age to make something with this someone this passionate about amount of care? They all went the music, gear and aesthetics, with a distance to produce something very system that truly delivers the goods. special for me.” So if you’ve got a wacky idea for a The results speak for themselves. pair of MartinLogan speakers, give I’ve gotten pretty used to having a pair them a call. I’m confident they can of cherry CLX’s in my listening room, turn your dream into reality as well. so the size isn’t an issue. I wasn’t Maybe carbon fiber, hmmm. l prepared for just how stunning these speakers look in real life. Visiting Brian’s home was a real treat, not only visually but the sound is breathtaking. The custom made, three com- ponent wide Burmester rack was also veneered in Bubinga to match the speakers and subwoofers. Brian commented, “We had to go with ve- neer on the rack surfaces for rigidity. There was just no way that the hard- wood boards would hold the weight of three Burmester components with- out bowing.” The system is powered by a pair of 911MK.3 amplifiers, with the 808 MK.5 preamplifier and 069 CD player. A Clearaudio Reference table and Goldfinger cartridge takes care of the analog duties. “I’m still searching for the icing on the cake, that perfect phono preamplifier. I’ve got a few things in mind, but we’ll see what the New Year holds.” MartinLogan’s cutom shop crew. No attention to detail has been spared. The room has dedicated power, a pair of Burmester power conditioners and a full compliment of Transparent cable, along with room treatments from Auralex that integrate into the room stealthily. As I have a single 911 MK.3 in my system power- ing my CLX’s, the sound was very familiar, yet the second power amp and Burmester’s flagship CD player took even the sound I’m familiar with to another level.

92 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 93 TONE STYLE TONE STYLE

Fight Cancer, Buy a Watch! By Jeff Dorgay

Depeche Mode has teamed up with masters of style Hublot, to create a series of 12 watches that coincides with each one of their 12 studio albums, incorporating art from each on the front and back faces. Each watch is a one off creation from Hublot and will be available by bid only from these three websites: www.depechemode.com www.hublot.com www.teenagecancertrust.com All proceeds from the watch auction will go directly to the Teenage Cancer Trust and each recipient will receive a box set along with the watch that will contain some very exclusive goodies that will include a deluxe vinyl version of the album matching the watch. There will also be a USB Key containing a digital version of the album as well as documentary footage covering the making of the album. So now you can have a piece of music history that you can wear wherever you go and help the fight against cancer while you’re at it. The Auction has just begun and continues through February 24, with the proceeds will be donated to the Teenage Cancer Trust on February 26, during Depeche Mode’s Dusseldorf concert, part of their “Sounds of the Universe” tour.

94 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 95 TONE STYLE

From McDonald’s to Mick Jagger: The Art of Jeff Ham By Jeff Dorgay

Jerry 64x57

96 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 97 TONE STYLE TONE STYLE

He was soon helping his dad in the studio and building his knowledge base. Before he entered high school, his dad was already giving him spot illustration jobs. “I used to get $75 apiece for those. It was pretty cool.” By 19, he had established himself as a major commercial illustrator in the Chicago area, working for McDonald’s, Budweiser, Keebler and many others. He used to lie about his age be- cause some of the art directors couldn’t believe that someone so young had such an ad- vanced technique. A road trip to Phoenix, Arizona, when he was 18 years old, ignited the spark that would eventually lead him to a permanent residence in the Southwest. Around age 30, the pace of the advertising world was getting tedious and Ham de-

Green Bull Rider 62x66 cided to take a few years off to play music and plan his next Cash 51x40 move. While playing guitar and mandolin, he was considered eff Ham has traveled a long way from Chicago, where his “I knew there would be a few by many as a top-notch singer/ years’ worth of getting up to speed, commercial-art career started in the late ’70s, to his current songwriter and often compared though,” Ham laughs, looking back on fine-art studio in St. George, Utah. He started drawing with the likes of Steve Earle. the start of his current career. Around Jaround age five, when his father – a commercial illustrator with He completed a number of mu- 2006, he decided to make the move sic projects and was offered a from his studio, then in Michigan City, studios in the U.S. and Europe – helped him hone his talent. fairly solid business proposition Ind., to St. George where he now lives. from the world of Nashville, but Ham always felt that the Southwest “Yeah, Dad would see me drawing and critique my stuff even it would have required exten- produced a sense of déjà vu, remem- then,” Ham recalled recently. “He’d tell me my perspective was sive touring to support his mu- bering the times he spent watching the a little off or something, and then he’d show me how to do it sic. Ham had a young child, so famous westerns Butch Cassidy and correctly. He’s always been a huge supporter of my work.” he decided to quit music and the Sundance Kid, Jeremiah Johnson start painting. and Electric Horseman. (continued)

98 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 99 TONE STYLE TONE STYLE

Influence and Technique When asked about the influence of the Southwestern color palette on his own, Ham chalks it up to something more modern. “Even in the illustra- tion world, I was always known for my use of bright color. Two of my biggest influences were Dr. Seuss and Peter Max. I continue to be impressed and inspired by them.” Though he still plays music to relax, Ham is not an audiophile. “I do watch a lot of movies, though I’m pretty much an art guy. Often when I get stuck and need a bit of inspiration, I’ll take a few hours off and just play guitar. That usually does a great job at freeing up my creativity.” Much like Eddie Van Halen record- ing a lead solo, Ham does his paint- ings in one or two takes, with many of his paintings coming to life in about two days, once he’s explored the final inspiration. The velocity of the work comes about in part from so much commercial training and experience. The first solid day of painting is to lay down the image, just releasing the idea. “This is the essence of painting, Dylan 73x58 Stones 54x76 to take that first swipe. Then I walk Most of Ham’s pieces are large, many Going forward away from the piece, and come back about four-by-six-feet in size. The originals later to tweak it and bring the image Often working around the clock for days “Though I have years are acrylic on canvas, which range in price on end, he takes to the road to deliver his into focus. At this point, it is very im- from $5,000 to about $15,000, with commis- of training, I’m still not portant not to force the imagery.” paintings to the galleries in which he shows, where I want to be yet. sioned works higher. For those interested, the road trips offering relaxation and further Ham says that he often has an he also prints a small number of giclée prints I’m getting better at just inspiration. However, business has been image floating around in his head for on photo paper and canvas. Slightly torn on strong enough that he soon may not have letting the images flow.” a while. The Dylan piece shown here digital printing, he likes the prints to be done time to deliver everything in person, a good was exactly that type of thing, part of on photo paper for their wider color gamut, problem to have. Ham’s thought process for almost two but he also likes printing on canvas so that years. About to start a commission he can embellish the prints to the point that While the transition from commercial il- for another client, the Dylan piece “just they look “very close” to the original paint- lustrator to full-time fine artist has been had to come out. My wife came down ings. His prints are available for $700 to very successful, it’s still a work in progress. to the studio and asked what I was do- about $2,300, somewhat dependent on size. “Though I have years of training, I’m still not You can find more out about Jeff ing ... but I was finally ready to roll with He has an equally enthusiastic following in where I want to be yet. I’m getting better at Ham and where to purchase his Dylan, and today was the day.” the as well as in Europe. just letting the images flow.”l work at: www.jeffham.net

100 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 101 TONE STYLE

Cool Shooters

$12.95 a set www.worldwidefred.com

Can’t make it to the Icehouse bar in Denmark this weekend? Freeze a set of these, put your parka on and pour your favorite adult beverage into these ice shot glasses. If you still have snow on the ground you can take the party outside. Go to the World Wide Fred site and check out all their great stuff. There’s definitely some fun to be had.

102 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 103 TONE STYLE

hough relatively unknown in the U.S. until recently, Waterfall Audio has been selling speakers in Europe since late 1999. Their unique, all-glass design is sure to please the audiophile who requires a healthy dose of style to go along with the music. Hard-core audiophiles might wonder at first how the all-glass enclosures could work properly, but after a short listen, you can see that Waterfall has done a fantastic Tjob in conquering glass as a cabinet ma- terial. In case you are wondering, each of the speakers is named after a famous waterfall somewhere in the world. Very stylish indeed. As Nadine Dewell from Waterfall ex- plained to me, “When making cabinets from wood, you have a slight room for er- ror when cutting the cabinet pieces. But Waterfall’s designer, Cedric with glass, everything has to be perfectly Aubriot, has been true or the edges become uneven.” Run- an audiophile, T h e W a t e r f a l l ning your fingers across the surfaces of building his own speakers since his the Iguascu’s, you immediately notice the childhood and has flawless execution of their design. She always “dreamed told me that Waterfall’s designer, Cedric of building a see- through speaker.” Aubriot, has been an audiophile, building I g u a s c u EVO his own speakers since his childhood and Stellar French Beauty has always “dreamed of building a see- By Jeff Dorgay through speaker.”

104 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 105 TONE STYLE

Once the pieces of glass are water-jet cut to a 150-micron tolerance, they are bonded together with an adhesive that is cured by ultraviolet light. Dewell explained that this is also a painstaking process that requires “just the right amount of glue.” You can see more of the production process here: www.waterfallaudiousa.com/About_Us.html The secret to getting an untreated glass cabinet to work without acoustic cancellation is Waterfall’s Acoustic Dampening Tube that fits behind the bass/ midrange driver. Coupled with the eight-inch passive radiator at the bottom of the enclosure, this gives the Iguascu’s tight, controlled bass. The Iguascu’s have an MSRP of I must $4,495 per pair, USD, and the columns admit that are a manageable 10-by-10 inches, only the “wow” 34 inches tall and weigh 31 pounds factor each. The footprint is similar to that of on these a pair of small mini-monitors on stands. speakers They use a six-inch woofer and a .8- is high: inch silk-dome tweeter; the French they are company Atohm produces both drivers. gorgeous. The Iguascu’s came meticulously packaged and were a snap to set up thanks to their Shown: LTX 500 Projector light weight, but I would highly suggest using cot- ton gloves for moving them around as the glass fin- gerprints easily. I must admit that the “wow” factor on these speakers is high: they are gorgeous. The Iguascu’s received high praise from every one of my friend’s wives who saw them. These speakers look particularly cool in a more contemporary setting be- + + cause you can set your living/listening room’s lighting

Anthem Room to shine through them. AVM 50v audio/video processor Correction (ARC™) Once unpacked, the speakers were very easy LTX 500 LCOS Projector to set up. I ended up with speaker placement closer together than I might normally use for small floor- = Home Theater Bliss standing speakers, with almost a mini-monitor-on- stands-style placement. I had the best luck in my listening room with the tweeter centers about six feet apart and about three feet from the rear wall, with only a few degrees of toe-in. I experimented … that's what you get when Anthem, the #1 Electronics Brand with the speakers on carpets of various depths and Overall, offers a complete audio/video solution. You get high-end I would advise against putting them on an extremely home theater that doesn't get any better ... or any more affordable! dense or fluffy rug without using the supplied spikes, Visit your nearest Anthem Dealer today for an amazing demonstration #1 Brand Overall, Inside Track Annual Dealer Survey 2007, 2008, 2009. An annual independent nationwide survey of consumer electronics because it will interfere with the travel of the passive of a complete Anthem Home Theater. specialist retailers and custom installers. woofer. (continued)

www.anthemAV.com F e b r u a r y 2 0 1 0 107 TONE STYLE

The quality of the bass response Moving right along to the remastered can be varied somewhat by attach- Beatles Mono Box set, I spent more ing the yellow weights to the passive than a few hours listening to a majority radiator. More weight will give you a of my favorite Beatles tracks and was weightier yet slower and more-rounded quite satisfied with what I was hearing. bass response, and less or no weight The Iguascu’s did a great job of creating will give you faster, punchier bass. a large soundstage, even with a mono This should come in handy if you have source. It’s almost like seeing if a color a somewhat over- or underdamped lis- video monitor does a great job with tening room, making the Iguascu’s very monochrome reproduction. The versatile in a wide range of locations. Back to the MoFi catalog for a while, Iguascu’s did Though the Iguascu’s have a rated I got into a late ’70s mood, listening to a great job sensitivity of 88db, I found them easy John Klemmer’s Touch. While not a of creating to drive with the lower-powered ampli- favorite of jazz purists, the echoplex ap- a large fiers that I had on hand, the Naim Uniti plied to Klemmer’s saxophone is a good soundstage, (50wpc/solid state) and the Octave reference for large soundstaging and in even with a S40 (40wpc, vacuum tubes). Run- many ways is not unlike the wide sound- mono source. ning through a series of test tones, I scapes that Jarre paints. Again, the It’s almost was able to hear solid output at 45hz, Iguascu’s passed this with flying colors, like seeing confirming the published spec of 48hz. so I raised the degree of difficulty and if a color But after 45 hz, the low-frequency re- put one of the new Blue Note reissues video monitor sponse cuts off quickly. on the turntable and was very happy does a great with the tonality and dynamics of Sonny job with The Sound Rollins, Vol.1 that will be out by the time monochrome you read this. Rollins’ sax exploded out I spent equal amounts of time with reproduction. of the speakers, and the drum kit in the the Iguascu’s in my smaller living-room background was spot on. system and in my main listening room, and Iwas equally impressed. Break Various vocal tracks were also ex- in was relatively short; the speakers cellent, with great tonality and a very sounded good right out of the box and natural quality to both female and male voices. Johnny Cash and Tom Waits within a few days of continuous play had the required amount of weight, were completely up to speed. while Ella Fitzgerald and Peggy Lee To stay in the French groove, I were light and airy without sounding began my critical listening with Jean- nasal or tipped up in any way. I had Michel Jarre’s Oxygene on Mobile equally good luck with light chamber Fidelity. I’ve had a sealed copy of this music and wind pieces, so if your musi- LP for years and have been waiting for cal taste (and normal listening level) is a special occasion to break it open. slightly more to the mellow side, the Ig- What could be better than this? I start- uascu’s will be excellent listening com- ed with my favorite track on the disc, panions. “Oxygene 3,” which has some spacey The only place these glass speak- synthesizer riffs over the top of a gentle ers fell a bit short was when I punished beat. While not possessing anything them with very loud rock music. When for judging tonality due to the all-elec- blasting Led Zeppelin and Korn at ri- tronic instruments, it does give a great diculous volumes, the soundstage col- spatial perspective to what a system lapsed somewhat with details becoming can muster. So far, so good. smeared. (continued)

108 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 109 Digital Music Server TONE STYLE Ms750

So if you like to play this kind of Peripherals music at very high volumes, the Iguascu’s may not be for you. But Analog Source Technics keep in mind, this was somewhat SL-1200 turntable w/SME cruel and unusual punishment. 309 arm, Sound Hifi Mods Do you want a mere box or and Soundsmith “The Voice” a work of art? cartridge. Simaudio Moon LP5.3/PS 5/3 phono preamp If aesthetics mean little to you, the chance of achieving this level Digital Source Sooloos music of performance for a slightly lower server, Simaudio 750 CD player/ cost is a distinct possibility. Bbut I DAC can’t think of anything combining Preamplifier Burmester 011 this level of performance in such Power Amplifier Burmester an attractive container. If you have 911MK 3 held off on putting speakers in your living room because you don’t Integrated Amps Naim Uniti, want a pair of square wooden box- Octave S40 es sitting near your Noguchi table, Speaker Cable Shunyata your search is over. The Waterfall Orion Iguascu’s are truly a work of fine Interconnects Shunyata art that sound great as well. l Aurora Power Running Springs Dmitri and Maxim power conditioners, RSA HZ power cords, RSA The Waterfall Iguascu EVO Mongoose power cords, MSRP: $4,495/pair Shunyata Python CX power cords Manufacturer Organize and Enjoy Waterfall Audio USA Your Music Collection 864-569-0184 www.waterfallaudiousa.com as Never Before

Waterfall Audio With the McIntosh MS750, your music is always at your finger tips. It can hold, catalog, – Z.A Les Praderies and sort over 2,000 hours of music at full CD sound quality on its 750 GB hard drive. Carcés, France That is enough storage for more than 2,500 CD’s and 120,000 individual songs! +33 (0)4 98 05 11 30 www.waterfallaudio.com • 750 GB Internal Hard Drive • Built-In CD, CD-R, CD-RW, MP3, WMA, and ACC Player • Built-In CD Burner • High Performance D/A Converters • Multiple RS232 Data Ports • Multi Language Support

To experience the legendary performance of McIntosh, please call on us at 1-800-538-6576

McIntosh Laboratory, Inc. 2 Chambers Street, Binghamton, NY 13903-2699 www.mcintoshlabs.com legendary 110 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 111 TONE STYLE

Hide That Screen With Media Decor

any of us face the Missue of what to do with that gigantic flat screen when turned off, it’s just a gigantic black blob. Thanks to some very elegant solutions from Media Decor, now you can turn your TV screen into a work of art. There are over 25,000 pieces of licensed art in their catalog, as well as some custom pieces that have been approved to use as limited editions. The art is printed to a piece of canvas, using the same giclee process that fine artists the world over rely on for editioned prints of their work and if you have your own art or photography it can be used to suit your decor.

112 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 113 TONE STYLE

Media Decor offers a few dif- ferent options to accomplish this. Their entry-level product, The Art Lift is a framed piece of art that uses a motorized lift to hoist the The new gateway for Audiophiles picture up and above your TV when watching. These products range from $3,800 to about $11,000 de- After the first drum hit, you’ll be hooked. But pending on complexity. They also don’t worry, at these prices, Junior’s college fund produce a version with a mirrored is safe…for now. surface that starts at $2,800.

If your space requirements are Never Settle. That’s somewhat more limited, their “Mov- the driving philosophy ing Art” option is the way to go. behind every product This allows the art to roll up inside our distinguished in-house the frame, clearing the window for your television. And of course it is design and engineering remote controlled from the comfort team creates, and the of your couch. You can see a great Motion Series is no example of how easy this works exception. Voice matched (and how easy it is to install) at the with MartinLogan’s ultra-high-end electrostatic Media Decor website: speakers, Motion speakers features exotic Folded www.mediadecor.com/video.htm Motion tweeters that will have your ears lusting for more alone time with your music collection. As you can see, this is very easy to accomplish, and according to Media Decor this is their most Meet the family popular product. Your screen size Starting at only and choice of art will determine the $199.95* each. lead time to get your frame. Typi- *Suggested US retail cally, these are taking 2-8 weeks to complete. The Media Decor products are sold through a wide range of cus- tom AV installation and architectural firms. Their website has a full list of dealers, along with brochures and some great tutorials to help you de- termine what is best for your needs. Now that you’ve finally got that large TV, you can finally get it out of your environment with Media Decor! l The Great American Speaker Company 114 TONE A U D I O NO.27 www.martinlogan.com/motion PREVIEW Frugalicious.

We admit it. We’re a frugal company. There’s no shame in that. The question is, how does it benefit you? Apple’s iPad Our “no frills” attitude is directly reflected in what we $499-$829 make – the finest, affordable line of components in the www.apple.com stereophonic world. Clean design without showy frills. Say what you want, Apple’s new iPad Our frugal nature makes sure we never lose sight of is about to start a new revolution, just as

‘affordability.’ For many other companies, that seems to Apple has in the past with photography, have gotten lost in the pursuit of the perfect component. graphic design and music. A lot of the 20-somethings buzzing about on the web

At Rega, we have a different pursuit – for the perfect are sniping that Steve Jobs’ latest cre- sound. A distinctive, balanced sound. We call it ation isn’t a capable laptop, while others (somewhat immodestly)...the Rega sound. are complaining that it’s too big to put in a pocket.

We’re able to create our own sound because we make Unfortunately, they are all missing the every component that affects this sound – cartridges, big picture. The iPad looks to be a primo multimedia device. Now you can read record players, CD players, amplifiers, pre-amplifiers, your digital magazines anywhere, and speakers and more. (Very few companies can say that.) hopefully with added multimedia func- tionality. (Look for an enhanced version So if you’re looking to upgrade your system in one area of TONEAudio this summer) How about running iTunes in Cover Flow mode on a (or to replace it entirely), come listen to our affordable, controller you can actually read? priceless sound. We think you’ll agree, it’s frugalicious. The possibilities are mind boggling if you look at the iPad as an uber-Kindle For more information, call 972.234.0182, or email rather than a laptop that won’t multitask [email protected] or run Word. At least for now. Though we’ve been Apple junkies since that famous Super Bowl ad and have sworn off the early adopter thing, this one is a must. We’ll have a full report as soon as we can get our hot little hands on one.

THE SOUND ORGANISATION MAKES MUSIC

The Sound Organization is the exclusive Rega USA distributor. www.soundorg.com

116 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 117 PREVIEW MartinLogan Motion

$500/pair MartinLogan has incorporated the legendary Air Motion Transformer www.martinlogan.com technology in their latest compact speaker. For $500 a pair you won’t believe how big and open these tiny speakers are and how much useable bass they produce. Combine them with a wireless Dynamo 500 subwoofer ($495) to create a killer system that offers limitless placement options. Add Naim’s new UnitiQute and you’ve got it all for a few pennies under the $3,000 mark. Either way you look at it, that’s extreme value. Review in progress.

ZYX Omega X Phono Cartridge

$7,5 0 0 www.ktaudioimports.com

The Omega – X takes advantage of a 1 gram “lapis ball” that they install at the cartridges’ peak vibration point to fully damp the cartridge. A unique approach to be sure, but this is certainly a big, open, dynamic sounding MC cartridge. Expensive, gorgeous and exotic; as a great cartridge should be. Full report in issue #28

118 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 119 PREVIEW The J-Corder Technics 1500 $3,200 to about $10,000 www.j-corder.com

While many people are still involved in the analog revival, if you want to be taken seriously as a hard-core analog enthusiast these days, you need a serious tape recorder, with big reels. We can argue all day long about the validity of The Tape Project, but if you’ve got a big vinyl collection (especially a lot of 45 r.p.m. remasters) the J-Corder will not only come in handy, but it will cut down wear and tear on your ZYX or other suitably priced phono cartridge.

Want to listen to those rare, first stamper LP’s at parties, but don’t want your friends anywhere near your turntable? Put your favorites on tape; with the reels dmitri spinning away at 15 i.p.s. all but the fussiest audio- The new RSA Dmitri is the ultimate evolution of our work in philes will have a tough power line conditioning technology. Utilizing our new RSA time telling the difference. platinum series capacitors and proprietary inductors, the Dmitri takes power line conditioning to the next level and beyond. Jeff Jacobs, the J in J- “...my new reference in AC conditioners.” • All components are designed and manufactured in our ISO Corder brings over 35 years – Robert Harley, worth of technical expertise 9001:2000 approved facility in Anaheim, California – USA The Absolute Sound, Issue193 to the table to fully restore • Tolerances on capacitors and inductors meet or exceed 1% these decks. He strips them • 100% passive, non-current limiting topography down to the bare faceplate, • New carbon fiber resonance vibration control removing everything and then • Significantly lower noise floor and improved dynamics rebuilding the deck from the ground up. Anything that With meticulous attention to detail, coupled with raw science, “The Dmitri represents the state of the needs repair or replacement the Dmitri allows your components the opportunity to deliver art in power line conditioning.” is fully sorted out so the final all of the performance that your system has to offer. – Jeff Dorgay, TONEAudio deck is better than new. The Dmitri can be ordered as a stand alone unit, (without Magazine, 20A power cord), with our world famous Mongoose power Issue18 Review in progress, but cord or with our new flagship PC, the HZ Crown Jewel, for this is an essential part of ultimate performance. Stop by your Running Springs Audio your system if you’ve got a dealer and audition the future of power line conditioning. lot of rare vinyl. l CLEANPOWERPURESOUND P o w e r L i n e C o n d i t i o n e r s H a n d M a d e i n C a l i f o r n i a . T e l : 7 1 4 . 7 6 5 . 8 2 4 6 . w w w . r u n n i n g s p r i n g s a u d i o . c o m 120 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 121 HEADPHONE PLANET

One to Buy, Two to Toss

By Jeff Dorgay

While we all share an equal enthusiasm for ‘phones here at TONEAudio, I always have a good time when I visit Headphone Planet. It forces me to get out of my rut with the same four headphones that I use on a regular basis. This time, we investigate Lawton Audio relative newcomer on the headphone scene, Denon D-7000’s (modified) Lawton Audio. While their motto is slightly $799 plus your Denon 7000’s www.lawtonaudio.com over-enthusiastic – “To produce the world’s finest headphones” – they certainly get an A Lawton started the way many headphone modders do, hanging out for effort on their Denon Mods. on the various internet forums, then taking a pair of favorite phones and tinkering with them until they sounded better. After producing a small number successfully, he made Lawton Audio into a business and scaled up his operation. Many headphone lovers don’t realize that most headphones in the $500 - $1,500 range still have limitations, especially in the area of the cables and various mechanical issues surrounding the headphones to mass-produce them. Most of the majors put the bulk of the R&D funds into the actual drivers, so the modders have quite a bit of room for im- provement. The Denon’s here are no different.

122 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 123 HEADPHONE PLANET HEADPHONE PLANET

Lawton starts by heavily damping the chassis with If you are someone who doesn’t enjoy listening Space, the final frontier special materials in a 2.5 hour process, resulting tighter, to headphones because the sound seems to be As I swapped back and forth between the more resolute bass and more focused mids. But it doesn’t coming right out of the middle of your head, you stock Denon’s and the modded ones, the effect end there. Next, they remove the relatively chintzy stock wire will love these; that extra space makes a world of the thicker earpads became more evident. It with full cabling from Jena Labs and a high quality ¼-inch of difference. reminded me a lot of the Meier headphone am- plug from Furutech. Finally, Lawton and crew remove the plifier we tested last year that offered a circuit stock wooden driver enclosures and machine their own, Garbage in, garbage out that mixed the left and right channels slightly, giving the driver more enclosure space, which enhances the My first listen with the Lawton phones was which actually makes the stereo image seem phones’ ability to throw a larger soundstage, and improves through a couple of inexpensive headphone more realistic. With the modded phones, I al- the phone’s overall tone. In all, these mods provide a huge amplifiers that shall remain nameless. The ways felt that I was listening to music; with the improvement from stock. sound was so harsh and bright that I couldn’t stock ones, I always felt that I was listening to The final touch, which you don’t notice until you place the stand more than about 10 minutes with these headphones. stock version next to the Lawton version, is an ear pad that on my head. So I immediately switched to the Spinning some vinyl with the latest Blue is about a half-inch thicker, increasing the ear-to-driver dis- headphone amplifier in my Red Wine Audio Isa- Note releases from Music Matters, I was im- tance inside the phones. This is the crowning touch on the bella, and was greatly relieved. I also tried the pressed with the dynamics of the Lawton Lawton phones that presents a much more lifelike sound. headphone amplifier in my Burmester 011 pre- phones. Again, that extra ear space, allowed amplifier and was pleased with the sound there. acoustic instruments a more natural sense of The bottom line: if you have a budget head- decay. Again, not so “headphone like.” phone amp, the Lawton’s will expose every Near the end of the review, I broke down flaw. But if you have a great headphone ampli- and listened to some female vocals. This was fier, you will be greatly rewarded. the final test that the Lawton phones passed After spending hundreds of hours with the with flying colors. On the sixth track of Anja Lawton phones, I’d say they are the closest Garbarek’s Smiling and Waving, “Really Big things I’ve heard to electrostatic headphones. Mouth,” when she sings “I’ve got a really big They have a level of resolution that I’ve only mouth,” it sounded as if she was about four feet experienced a few times and always for a lot in front of me. Almost creepy realism, but cool. more money. Considering that Amazon and a few other outlets are selling brand new Denon About those bigger cups 7000’s for $799, you can have a completely I only have one gripe about the Lawton modded set for about $1,600. Considering the phones. The wood grain on their upgraded cups cost of the latest offerings from Grado and Sen- is gorgeous, but I’d love to see about 20 more nheiser (which both still need cable upgrades), coats of clear on these babies. While the stock this is a good deal. cups are smaller, they are beautifully finished. Much as I liked the resolution of the Law- The Lawton phones feature wood with a very po- tons, I was most impressed with the bass re- rous grain structure and looked too much like a sponse. One of my favorite test tracks for bass wood shop project for my taste. At they sit now, response is “Pimp” by the Tubes, from their A+ for sound, B for fit and finish. (Ed. Note: at Young and Rich album. The opening bass riffs the end of the review, during the fact checking were solid, tight and defined, with a level of process, Mark Lawton commented that they will weight that I’ve never heard with headphones be offering a smooth finish version of their wood- so far. This led me down a wacky path of ev- en cups for an additional $79, so if you’d like ery CD I had with major bass riffs to investigate your Lawton’s to look more like the stock further. There are definitely times when having Denon phones, this will now be possible.) over 5,000 CD’s at your disposal is a bad thing. If you want the sound of electrostatics Suffice to say, the Lawton phones have awe- without the bother, these are the phones for some bass response. you. Highly recommended.

124 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 125 HEADPHONE PLANET

Kidz Gear Phones

$19.99 (wired) Uncle Jerold is raising the kids right, the sound quality was not enough to $34.99 (wireless) only putting uncompressed music on keep niece No. 2 engaged, they didn’t www.gearforkidz.com their iPods. Older niece Katy said, “These get enough use to get broken. sound really tinny” as she listened to The Just so you think I haven’t violated Beatles Love on her iPod touch. I tried to hough a set of headphones aimed strictly child labor laws and jobbed all the hard T convince them that the headphones just at kids seemed like a great idea and the work out to a bunch of 11 year olds, needed some break in, but they weren’t price was right, I suggest passing on the I listened to the second pair that was having it. So I agreed to leave them there Kidz Gear phones, at least for now. My 16 sent. Not good. Personally, I’d suggest year old is way too grown up for anything for next week’s road trip with Mom & Dad buying your kids a pair of Sennheiser that says “Kidz,” so I passed them on to to Seattle. HD201’s for $29.95 and calling it a day. staff writer Jerold O’Brien’s two nieces, Upon return, I found out that the Here’s hoping Kidz Gear can step age 7 and 11. (Who are very careful with phones had broken by the third use, and I up their game. Katie summed it up things ...) After a tertiary listen, I was fairly have to stress that these are not destructo perfectly when she handed the phones underwhelmed with the sound, but I wanted kids. The wireless pair faired a little back to me: “The people who made to see if they could be put past the kidz. better, but I found out later that because these must not have kids.” l

Music Direct Recommended Products ® At Music Direct we carry some of the world’s best brands and many of the Tone Audio Product of the Year Award winners. Why do ph. 800.449.8333 your HiFi shopping at Music Direct? Because we give you thirty days at home with any component, and if your product does not musicdirect meet your expectations… wait for it… we take it back! The bottom line is that we want you to be happy; we want to do business it’s the music that matters™ musicdirect.com with you for a long, long time. So call us up and speak to an audio consultant or check out our web site. We think you will find that trusting Music Direct with your system and music needs will make you much happier!

Musical Fidelity V-DAC

Benchmark DAC1-Pre

VPI Classic Luxman L-505u Integrated Amp

Sennheiser HD-800

Wadia iTransport Shure SE310 Peachtree iDECCO Integrated Tube Amp/DAC

Benz Micro Ace

Marantz SA-KI CD/SACD player REVIEW Mighty Mites! The Snell K-7 By Jerold O’Brien

ne of audio’s great names is back O at the forefront. Many of you may remember Snell Acoustics from the early days of THX sound, but you might need to roll the clock back even further. When Thirty-five years later, the our publisher and I were causing trouble Camaro costs $40,000 and in our high school electronics class and $1,500 buys you the com- pact Snell K-7’s you see here. reading Stereo Review instead of doing our That’s progress, . And homework, Peter Snell had introduced the just like the reborn Camaro, the point that all have “Made in original man is not in the driv- China” stickers on the back. Type A, which was a monster that weighed er’s seat at Snell. But the guy The K7’s are a pair of seri- now calling the shots, Dr. Joe ous speakers that you can be almost a hundred pounds when small D’Appolito, is a top speaker proud to own. They are avail- bookshelves were all the rage. designer in his own right; he’s able in basic cherry or black the man responsible for the fa- painted walnut with perforated a pair of port plugs included We made a pilgrimage to our local HiFi mous D’Appolito array configu- black metal grilles. in case you you need to filter ration, with a tweeter placed the bass at 80hz for use in a dealer to hear them and after 10 minutes, in the middle of a pair of mid- Setup surround sound system. This range drivers. He’s been with the “audio consultant” escorted us to the Because of their small size, should make the K-7’s useful Snell since 2002 and is now in the K-7’s are probably more in a wide range of applications, door, knowing he’d never sell a pair of $1,500 charge of design full time. suited to a small room, but and to increase their versatility, speakers to a couple of high school kids. It’s worth noting that the they have a very cool feature they are also available as the K-7’s are hand built here in the that makes them more versa- IW-K7 for in wall use or IC-K7 We thought $2,000 was insanity for a pair of U.S. for that price. I’ve tried tile: a “boundary compensa- for custom installation. Snell tion” switch that optimizes the claims that there are no perfor- speakers in 1976. You could buy a nice some pretty cheesy speakers from some major players in woofer output for mid-room mance compromises in either clean ’69 Z-28 for that kind of money. the audio industry at this price or corner placement. There is application. (continued)

128 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 129 REVIEW

I used the K-7’s in my main listen- That kind of fanaticism is commonplace ing room, which is about 16 x 20 feet, in a $70,000 pair of Wilson Maxx 3’s, but about three feet from the rear wall and it’s pretty much unheard of in a $1,500 six feet apart on 24-inch Sound Anchor pair of mini monitors. stands. I tried a pair of the cool carbon- Featuring a one-inch Seas silk-dome The minute fiber Whitworth stands that are on hand tweeter and Seas 5.25-inch woofer, and you take these at our main office, but I prefer the extra a 2.5 khz crossover frequency, every- out of the box, bass grunt resulting from the beefier, al- thing looks pretty straightforward on the you can feel beit less attractive Sound Anchors. spec sheet until you begin to play music. the quality that goes inside. The K-7’s come with jumpers but can These tiny speakers – 12 inches high, be run bi-wired as well. I ran them single seven inches wide and 10.5 inches deep wired for the duration of the review with – rock out in a major way! Even with Audioquest’s latest Wild Blue Yonder ca- them out in the middle of the room, I was ble. Don’t laugh; their new cable, which surprised at the solid bass response. we have in for review, is named after (continued) snack treats. I love those guys. I began my listening sessions with the vintage ARC SP-9 we featured a few issues ago along with a gorgeous ARC D-76 that I’ve just restored, so I could see how the speakers would do with a tube amplifier. I finished the review with our publisher’s Luxman L-590A II solid-state integrated amplifier. When the speakers were at the TONE studio for their hour in front of the camera, I made it a point to hook them up to the pair of McIntosh MC 1.2KW’s that lurk there just to see how much punishment they could take. In some ways, nothing has changed since high school. And I still get kicked out of the HiFi shop. But seriously, even though these speak- ers have a modest sensitivity rating of 87db/1watt, they are equally at home with tubes or transistors, and they are easy to drive with an amplifier in the 35-50 watt range.

Don’t Let the Size Fool You The minute you take these out of the box, you can feel the quality that goes inside. Rather hefty at 17 pounds each, the K-7’s continue the Snell tradition of individually matching the crossover network and drivers to .5 db of the reference pair of speakers.

130 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 131 REVIEW

First up, “Bloody Well Right” from Su- pertramp’s Crime of the Century. Immedi- ately, you know these speakers can rock, with a weight to the lead guitar and bass that just makes you do a double take. A few friends who happened to be hanging out when I fired up the K-7’s for the first time just shook their heads in disbelief. One asked me where the subwoofer was. This has to be one of the mightiest little rock ’n roll speakers I’ve ever had the pleasure of listening to. Thanks to the ex- tra expense that was spent on the drivers and crossover components, plus time on The Snell K7 speakers the test bench matching tolerances, these MSRP: $1,500/pr. speakers have a lot of finesse. Manufacturer After a healthy set of ’70s rock, I moved along to another classic favorite, Pat Meth- Snell Acoustics eny’s American Garage. My favorite track Peabody, MA 01960 on this record is “Airstream,” featuring some 607-352-2488 heavy interplay between Metheny on guitar nocompromises@ and Lyle Mays on piano. This was the be- snellacoustics.com ginning of Metheny’s signature sound, with- www.snellacoustics.com out much overdubbing or processing, and it has a light overall feel. Peripherals The wide dynamic range of the K-7’s Digital Source McIntosh along with their clean midrange really did MCD 500, QSonix Music justice to the piano while maintaining a server soundstage that extended well beyond the speaker boundaries. Staying in that Analog Source groove, next on the list was Joni Mitchell’s Rega P9 w/Shelter 501II “Talk to Me” from Don Juan’s Reckless Amplification Vintage Daughter. Again, the K-7’s did not disap- The biggest mistake made by many ARC D76 amplifier/SP-9 point, rendering all of Mitchell’s layered vo- fledgling audiophiles is putting too big a Preamplifier, Prima Luna cals cleanly across the room. speaker in too small a room. The K-7 and The best compliment I can give the Snell Even after Prologue One Integrated, K-7’s is that no one wanted to give them Even after extended listening sessions, a great amplifier will set you free. And if extended Rega Elicit Integrated, back. It took a call from Sally Goff at McIn- the K-7’s were never fatiguing regardless of you just have to have more grunt on the listening Luxman L-590AII integrated bottom, add a modestly priced subwoofer tosh (who also handles marketing for Snell) sessions, the the program material. While they seemed Cable Audioquest saying they had to go to another reviewer K-7’s were equally compatible with tubes or solid-state to round out the package. But I’d spend a Wild Blue Yonder never fatiguing electronics, there was a slight preference fair amount of time with speaker placement for us to finally box them up. regardless of Power Running Springs for tubes, especially in a small room. This options before you do. You might be very If you are looking for a high-perfor- the program Haley,RSA Mongoose is one of those special little speakers that surprised. mance speaker in a small package, put material. power cords produces music way beyond what you’d the Snell K-7 at the top of your list. They expect for the money, when combined with The Little Speaker That Can feature top-notch build quality and stunning the slight warmth and the moderate dose of As is common here, other reviewers attention to detail. This is one of the most mid-bass boost that usually comes along often borrow smaller speakers during a enjoyable small speakers I’ve spent time with budget tube gear. review so that we can all compare notes. with in recent months. l

132 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 133 REVIEW

Even if you’ve only paid attention to the mega-speaker world peripherally for the past few years, you’ve probably seen the ads proclaiming YG Acoustics to be “the world’s best speakers.” How many The YG times have we heard this before? Their flagship Anat II Professional car- ries a $107,000 pricetag, but the model we’re reviewing here is the Studio, priced Acoustics at $70,000 per pair. The difference be- tween the Studio and the Professional is the addition of a second powered woofer cabinet in the Professional, with an addi- tional 400 watts worth of amplifier power. Anat II Studio YG claims that both speakers have a very similar frequency response, but the larger A Wealth of Information speaker is intended for a larger room and slightly higher ultimate SPL. By Jeff Dorgay I’ve chosen to concentrate on the Studio version, as the Professional al- ready has had substantial coverage and probably is too large for most rooms. I here are probably about 20 or so serious also feel that combining the Studio with speakers in the $70,000 - $200,000 range that a great amplifier and source will produce a pretty amazing system for slightly more receive the most attention in the HiFi press, than the price of a pair of Professionals. and these could be accurately described as But hey, if you’ve got a big room, and room on your AmEx Black Card, go all T“destination” speakers. I think the chances the way. are good that if you are flying in this rarefied Off to the Factory air, these speakers could very well be the last Last March, I made a pilgrimage to the YG factory in Arvada, Colorado, to set of speakers you buy. I know we’ve all told see what they were up to and to have our wives that story, but when you get to this a cursory listen of their product. The sound I’d heard at the various HiFi shows level, you should get it all – big dynamics, spot- had always been quite good, but never what I would have come away calling the on tonality and resolution in spades. In short, “world’s best.” In all fairness to YG, I’ve a mega speaker should take you somewhere never heard anything at a HiFi show that I’d consider the “world’s best,” and that you’ve never been. puts most of these speaker manufactur- ers at a disadvantage. (continued)

134 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 135 REVIEW

People come to the shows to be wowed, and it’s very difficult in that environment. However, I was very curious to meet the man who made these claims. The speaker cabinets I was indeed impressed with what I saw are machined from (and heard). YG is one of the few - billet sheets of aircraft facturers in North America to possess a aluminum, and the five-axis CNC milling machine, so it has the front panels, which necessary hardware to build their all-alumi- are about two inches num cabinets in house. A quick trip to the thick, are machined YG website reveals an extensive tour of the from “ballistic-grade” factory and assembly of the speakers. aluminum. Company principal Yoav Geva has an interesting past. As well as having a strong electronics background, he’s always been a machinist as well. “I always felt that if I combined two areas of expertise, I would be much more marketable when I entered the workforce,” he told me over lunch at our first meeting. The speaker cabinets are machined Setup from billet sheets of aircraft aluminum, Despite the speakers weighing about and the front panels, which are about two 270 pounds each, thanks to the woofer and inches thick, are machined from “ballistic- mid/tweeter modules being separate, they grade” aluminum. Geva explained that this are much easier to setup than the spec material is used on the nose cones of mis- sheet might suggest. I used a set of thick siles and is even more rigid than the stuff nylon pads under each speaker to move making up the rest of the cabinet. A slight them around to the optimum position. knuckle rap on the front or the side reveals When sales manager Dick Diamond ar- an incredibly inert cabinet. rived, he confirmed that I had indeed found The speakers are available in silver the sweet spot. or black anodized finish, with custom colors The Anat’s come packaged with two available upon request. Our test pair came sets of spikes, a large pair that elevates the in silver, which I found attractive and under- speakers about three inches off the ground stated. All drivers are covered with spider- and a set that elevates them only about an like grills that stay in place magnetically. inch off the ground. After some experimen- You’ll either love or hate these, and I was tation, we decided on the shorter spikes on in the latter camp. Take the grilles off, gor- the supplied nylon pucks. This brought the geous. Fit and finish on the test speakers last percentage of image focus and bass were exceptional, with all the edges smooth tightness to the presentation. and tight. Most visitors to my studio really Because the woofers are powered, you enjoyed the stark, industrial design of the will need to run one pair of speaker cables Anat’s; even the wives of a few friends com- from your power amplifier to the mid/tweet- mented on how well the YG’s matched the er cabinet and a pair of interconnects (RCA aesthetic of my Burmester gear. or XLR) to the woofer cabinet. (continued)

136 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 137 REVIEW

This will require that you have a the Anat’s certainly measure up els. The Studio was a perfect fit for Tonality was excellent throughout, and I preamplifier with a second set of well. Geva has developed an al- my 16 x 20 room and would play felt the Anats did not embellish or subtract variable level outputs. My Burm- gorithm that has allowed him to as loud and deep as I needed them from anything I listened to, whether the mu- ester 011 offers a set of balanced optimize his crossover network for to go without using my Gotham sic was electronic or acoustic. Mids were XLR outputs and a pair of RCA flat frequency response and phase subwoofer. Those of you needing gorgeous, highs very detailed without cross- outputs which have 6db lower coherence, which he feels is the even more output can step up to ing the line of harshness, and the bass was gain than the balanced outputs, key to the heart of all YG speak- the Professional with its additional extended and powerful. At the factory set- which required cranking up the ers. The drivers are sourced from powered woofer cabinet. This is tings, the bass was slightly overdamped for levels on the Anat’s woofers al- my taste, but a little experimentation with the most to their maximum. subwoofer controls allowed me the freedom I was constantly surprised when to adjust the bass to taste. However, it’s im- When I switched this combina- portant to note that I tend to like bass a little tion with my other reference power listening to familiar recordings at the bit more on the rich side of the spectrum, so amplifiers that have RCA inputs this is more personal preference. A number of (using the higher output XLR con- extra layer of detail that was present. audiophile buddies that listened to the Anat’s nection to the Anat’s), I was able Scan Speak, built to his proprietary also a handy option in case you preferred the bass performance at the factory to move the level control back specs. The engineering time spent find yourself in a larger room at settings. to the middle of the range. For on the bench certainly contributes some point, just add another pair those of you with a Burmester 911 In the end, being a panel sound junkie, the to the highly natural sound of these of woofers. power amplifier, a quick call to the three-dimensionality and the clarity of these speakers. factory revealed that there is an in- speakers was what kept me so intrigued. I The Sound ternal setting on the 911 to adjust On one level, the world’s best could easily write another page describing the gain and optimize it for use in speaker might be the one that re- From the first time you press specific passages from a long list of records. a situation like this. veals the most music in the most play on your CD player or drop the But suffice to say, everything I played, and natural fashion, and if this were our needle on the turntable, you’ll be especially records I’ve heard a lot over the The remaining adjustments only criterion, then the YG Anat plenty impressed with the Anats, as years, offered up some new sonic treats. on the back of the woofer cabinet may well be one of the world’s best I was. They offer a big sound and control crossover frequency, level, speakers. It does a number of have exceptional resolution. This But is it too much? phase and EQ to fine-tune the things very right. Geva and com- was what grabbed me instantly A quick poll of the audiophile buddies woofers to your system and room. pany definitely achieved their goal about the speakers: they seemed revealed that they only listen to their sys- Overall, the YG’s were easy to in terms of midrange clarity and an to reproduce more fine detail than tems in one- or two-hour sessions, a few set up and only required minimal immersive soundstage. As some- anything I’ve ever experienced. times per week. My conclusion after hun- adjustments to dial in completely. one who loves the panel sound, Cymbals faded out a little further, dreds of hours listening is that I think the Thanks to the wide dispersion of I must admit that this is the first the bass had just a little bit more Anats are probably better than a lot of the speakers, they will provide speaker I’ve had the opportunity texture, etc., etc. The Anat really the software that’s available. My only ob- great results even when not per- to audition that offers the gigantic, does a great job of offering this servation of the Anats that may or may fectly optimized. This is not a fussy walkthrough soundfield that my ref- much detail without being harsh, not be cause for alarm is their level of speaker. All of the Anat speakers erence MartinLogan CLX speakers grainy or feeling like the HF re- resolution. are accompanied by a visit from a provide, albeit at three times the sponse is “tipped up” to get the Because they have so much resolu- trained YG representative, so that price. detail. tion, it’s like drinking a case of Red Bull when they are optimally set up. This is The Anat also does an excel- As I mentioned earlier, the Anat’s you listen to them. It’s so intense and excit- a nice touch, as it should be when lent job of providing lifelike dynam- threw a huge soundstage in all three ing, when I switched from the best recordings making this level of purchase. ics, which I feel is an essential part dimensions, almost to the point of in my collection to the average ones, I wanted of creating a musical experience. sounding like a good 5.1 system, but that buzz again! And the buzz is exactly their How do we define the best? Thanks to their relatively high- with only two speakers. I was con- charm; it is an exciting experience. Granted, If you’ve read any of the charts sensitivity and powered woofers, stantly surprised when listening to these speakers revealed more information on and graphs that YG and Stereo- you won’t need a huge amplifier to familiar recordings at the extra layer lesser recordings, but the dynamics and clarity phile have produced, you know achieve high sound-pressure lev- of detail that was present. of the good stuff was unmistakable. (continued)

138 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 139 REVIEW “The“The bestbest CDCD playbackplayback

After a couple of hours, I wasn’t fatigued underunder $5k...$5k... forfor $1799!”$1799!” from harshness. But the level of detail that these Robert Harley - The Absolute Sound - 09/07 speakers revealed was so exciting that I found myself somewhat exhausted from my brain processing so much information. Excited but exhausted. Much like a Ducati Desmosedici RR motorcycle, (another great way to spend $70,000), the Anat’s are a thrill ride that can take you to places you’ve never been. But it can also rattle your kidneys on the way to lunch on a less- than-perfect road. It took a few long listening ses- sions to get used to the extra information at my disposal, and again like a very high performance vehicle, I soon became acclimated to the resolu- tion these speakers were capable of. This extra helping of resolution made it easy to use the Anat’s to evaluate other components. I could stick a wad of chewing gum underneath the shelf that holds my CD player and hear the difference. So these speakers are an excellent tool in that sense. Much like with the recordings, the price you pay is that the YG’s will only give their best when paired with the world’s best elec- tronics. But I’m guessing that if you have 70 large to spend on a pair of speakers, you have a room and system to match, so this would be a moot point. azur Even though the Anat’s possess a high (92db/1watt) sensitivity, they are not terribly tube friendly, at least not friendly to modestly powered "For starters, the 840C doesn't sound like tube amplifiers. I tried my usual compliment of anything in its price range. It had a resolution, amplifiers from ARC, McIntosh, CJ and Prima refinement, ease, grace, and musicality that Luna with not terribly good results; in most cases Cambridge Audio 840C - $1799 were instantly recognizable as being different CD Player with 24bit / 384kHz upsampling I got weak, rolled-off treble. The Prima Luna ATF (Adaptive Time Filtering) Dialogue 7 monoblocks did the best with their from every other product in the category. (...) Dual-Differential DACs & Balanced Output two-ohm taps, but they just didn’t have enough Not only is the 840C easily the greatest value resolution to make me happy. The sound was in digital sources in my experience, it must be warm and romantic, but at this point, you’re considered one of the greatest bargains in all of throwing out most of the resolution offered by the high-end audio." Anat’s. I did not have a chance to use any higher- powered tube amplifiers during the review period. "In fact, I could easily live with the 840C at the If you are a tube lover, I would suggest a demo front end of my $100K reference system – it's with your amplifier specifically before making the that good." purchase. (continued) Robert Harley - The Absolute Sound - 09/07 Your music + our passion

140 TONE A U D I O NO.27 USA - Audio Plus Services - www.audioplusservices.com - 800 663 9352 CANADA - Plurison - www.plurison.com - 866 271 5689 www.cambridgeaudio.com REVIEW

The YG Acoustics Anat Studio MSRP: $70,000/pr.

Manufacturer YG Acoustics www.yg-acoustics.com

Peripherals Analog Sources Spiral Groove SG-2 w/Triplanar arm and Lyra Skala cartridge, TW-Acustic Raven Two w/ SME iV.Vi arm and Clearaudio DaVinci cartridge, SME iV.Vi arm and Dynavector XV-1s The $70,000 Question cartridge This is usually the point in the review where the re- Digital Sources Naim viewer makes the statement, “Are these speakers worth CD555, Wadia 781 SE, 70 thousand dollars? I don’t know because I can’t afford Simaudio Moon 750, Sooloos 70 thousand dollar speakers.” Though I actually own a Music server six-figure HiFi system, it’s still hard to talk about value at this level. The YG Acoustics Anat Studio is certainly built Preamplifier Burmester 011 to the same level of quality as their competition with the Power Amplifier same – and sometimes much higher – pricetag, so on Bumester 911MK.3, McIntosh that level, they are definitely worth the price asked. MC 1.2KW’s, Simaudio While I haven’t heard every pair of $40,000 of speak- W-7M’s, darTZeel CTH-8550 ers on the market, I’ve heard quite a few and in my ex- Cable Shunyata Aurora perience, I haven’t heard a $40,000 speaker offer up the interconnects, Shunyata level of resolution that the Anat’s do, so in this respect, Stratos SP speaker cable I feel the pricetag is justified. Power Running Springs The remaining questions would be: do you like the Maxim and Dmitri power aluminum finish, and do you have a system worthy of conditioner, RSA HZ power speakers that can deliver this level of performance? cords, RSA Mongoose power If the answers to these two questions are yes, the YG cords, Shunyata Python CX Anats are a must-listen. l power cords

142 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 143 REVIEW

The KEF xQ-20 UNA VOCE By Jerold O’Brien

KEF has a long tradition of engineering excellence. Since their very beginnings under Raymond Cooke’s guidance and technical know how, the company has proven time and again that rigorous acoustics research and properly applied engineering techniques pay off in the accurate reproduction of recorded sound. Look no further than such models as the 104aB, 105, 107, 103.2, 104/2 and the latest Reference Models and you’ll see that unbroken tradition. Also remember that numerous British speaker manufacturers used KEF drivers in their pioneering designs. Notably, Linn and IMF used KEF drivers to great effectiveness in their products. The famous Rogers LS3/5A BBC field monitor is the most notable example.

UNI-Q Defined a dual concentric driver, but For the past 20 years, KEF they couldn’t be more wrong. has been using its patented Uni-Q The Uni-Q is quite complicated to drivers in virtually all of its main-line build, but when properly imple- products. To my ear, the earliest mented, it works as advertised. efforts of this technology worked Simply stated, the Uni-Q driver well after a fashion but never quite places the tweeter in the precise pushed the right buttons. These acoustic center of the bass/mid- early models always seemed just a range driver so that the whole bit off. Not so with the latest Refer- frequency spectrum comes ence Series and the amazing Muon. from a single time-aligned point Or, I’m assuming, with the new source. In addition, the directivity Concept Blade. It just goes to show of the tweeter is determined by that with continual development, a the curvature of the bass driver, good concept can be made great. which determines the directivity I’ve heard many dismiss the of low and mid frequencies. Uni-Q as simply a coax driver or (continued)

144 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 145 REVIEW

This matched directivity supposedly gives more uni- form tonal balance in both the horizontal and vertical axis. Engineers often refer to directivity as Q. This design unifies the Q of both drivers, hence the name Uni-Q. The Covering the promise of the driver is to deliver precise and steady im- tweeter is a ages and a much larger sweet spot so as to avoid head- “tangerine” in-a-vise listening. wave guide. Excluding the Concept Blade, the xQ-20 on hand for This device review features the latest Uni-Q driver from KEF. It is a helps maintain 6.5-inch bass/mid driver with a .75-inch elliptical alumi- uniform HF dispersion and num tweeter. Covering the tweeter is a “tangerine” wave extension up guide. This device helps maintain uniform HF dispersion to very high and extension up to very high frequencies. frequencies. The bass/mid unit has a great-looking titanium finish over the poly cone. The spec for this handsome speaker is a conservative 52Hz-55kHz +/- 3dB. (continued)

146 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 147 REVIEW

There are three screw-on feet After shakedown listening, KEF states that the -3dB Where many a fine small for shelf placement and there I ended up toeing them in point for low frequencies is speaker falls down is on orches- are curved rubber pads that ever so slightly for maximum 52Hz. But after putting on tral works. Some do a fine job enable stand-mount opera- soundstage focus. a couple of stand-by bass on jazz and vocal recordings tion. I used Whitworth Design Make no mistake, Uni-Q tracks, I suspect that that fig- but many just can’t give you the Pulse speaker stands for this works and it works well. The ure is a mite conservative by a large hall experience in a con- review. You can bi-wire these integration of the two drivers is few Hz. On Brian Bromberg’s vincing manner while playing speakers, but I single wired as seamless as I’ve ever heard ingenious version of “Teen orchestral recordings. In spite them and used jumpers. from a dynamic loudspeaker. Town” on Jaco, his tribute al- of their diminutive size, the KEFs The crossover network is It is important to note bum to Jaco Pastorious, the do a pretty good job of giving audibly invisible as the two that if your current speaker double-tracked acoustic and you a big picture with symphon- drivers operate in concert. Try cables have spade lugs, you electric bases can tend to ic pieces. With the Rachminoff as I might, I could not detect will have to make adjustments sound muddy and confused. Symphonic Dances recording any “coax” sound whatsoever. to use the XQ’s. Unless you As a matter of fact the more have banana plugs, the posts I listened, the more I became What pleased me most with the are almost unusable. The full enamored of this design. Isn’t diameter of the post is cov- this what we audio nuts have KEF’s were their ability to create really ered by plastic. The only way been asking about for years? to use your spades (provided A point source semi-full-range steady images, a big sweet spot and your speaker cables are able speaker? Look no further; this to be used in a bi-wire con- design grants that wish and a three-D sound stage. figuration) is to insert one tine then some. of the spade lug into the hole The xQ-20s sailed through the of the Minnesota Orchestra with where the jumpers used to Running the Gamut cut presenting the full, round Eiji Oue conducting, the xQ-20s go. I used some Shunyata With the XQ fundamentals of the acoustic paint a fairly large picture of what is going on in that particu- banana to spade adapters, I started my listening with instrument while keeping the lar hall. While not sounding ab- but this is not an optimum some female vocal tracks. percussive nature of the elec- solutely convincing, they don’t configuration. Memo to KEF Whether I was listening to tric one in steady focus. They fall too far shy. and all other speaker manu- Laurie Lewis sing “The Mill,” don’t go way down but they facturers: quarter-inch or Lizz Wright sing “Get To- do show at least a believable At this point in the review, 5/16-inch binding posts or gether” or Holly Cole perform hint of the lowest registers. I needed to know if the KEFs don’t bother. “Jersey Girl,” the voices were On live jazz recordings, the could rock. And although you always front and center with- might find that using a drum Styling and build quality on the xQ-20 are su- I set the speakers about KEFs were readily able to cap- out any trace of strain or glare. solo off a jazz LP is a strange two feet out from the back ture room ambiance and room perb. This pair came in a gorgeous Khaya Mahog- Moreover, the air around the way to see if a speaker can wall on the Whitworth size exceedingly well. On any gloss finish. Birdseye Maple and Piano Black vocals was plainly evident rock, but bear with me. One of stands. At my listening posi- Peter Erskine’s Live At Rocco, are also available. The front baffle is black anodized along with a believable sense my acid tests as to a speaker’s tion, that put the tweeter a the presentation was to scale extruded aluminum bolted to the cabinet via four re- of dimension. Male vocals ability to show dynamics is bit high for normal listening, and you could hear audience cessed hex bolts. The driver is mounted to the back were presented without any to use Steve Jordan’s drum of the baffle so no mounting screws are visible. The although one nice feature chestiness or hollowness. I rustlings and whispers plain as solo on the title cut from Steve enclosure itself has curved sides, bottom and top. that the curved bottom af- ran through Frank Sinatra, day. On Medeski, from Martin Khan’s Casa Loco L P. fords a listener is the ability Peter Cincotti, Bobby Caldwell & Woods’ Tonic, the speaker’s Keep in mind that my heavily Setup to rock the speaker either and numbers by The Fairfield ability to capture the room modded Dynaco MK.III’s have A curved enclosure is inherently more rigid than a backward or forward in its Four without ever noticing that acoustics almost puts you gone bye-bye and a pair of Au- flat one and dissipates internal standing waves more rubber cradle. I tilted them the KEFs imposing any sort of in the audience and lets you dio Research REF 210T mono- effectively. A curved bottom could be problematic, down a bit so that the tweet- coloration on or exaggeration thoroughly enjoy the interplay blocks are now in the system. but KEF offers two options for situating the speaker. ers were aimed to ear level. of the voices. among the musicians. (continued)

148 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 149 Primare1:Layout 1 10/27/08 1:29 PM Page 1

REVIEW

What I did miss was bass extension, cleaner and sweeter high-frequency re- production and a level of transparency or Purity see-through capability that my JM’s offer. What pleased me most with the KEF’s were their ability to create really steady images, a big sweet spot and a three-D sound stage. Pure sound • Pure design • Pure Swedish A few times, the mid-treble seemed to want to sparkle more that necessary, but they never really went there. It has always been Primare’s mission to develop products of elegant style, simplicity of use, exceptional Conclusion value and high performance, providing a wholly pleasurable music and movie experience. As I stated earlier, I became enamored of the performance of the Uni-Q driver as What else do you expect from a country known for pure blondes? the review progressed. I am now an official fan of this technology. No question about it, it works as advertised. And when you con- For more information, call 972.234.0182, or email [email protected] sider the overall fit and finish, build quality and gorgeous cosmetics that this speaker offers, then it should appear on your short list of contenders in this or an even higher- price category. When you think about it, we didn’t evolve with two mouths, the one we have and another small one in our fore- head. Bass and treble voice if you will. We only have one mouth from which issues one voice. The KEF’s emulate that model perfectly, they speak una voce. l

The KEF XQ 20 speakers MSRP: $2,000 per pair

Manufacturer KEF US And while 200 watt amps might seem like KEF UK overkill driving a pair of bookshelf speakers, www.kef.com the headroom now available allowed me to Peripherals play the xQ-20s at a really loud level. Only Analog Source Oracle Delphi V Partial product list: at the highest levels was I able to hear any sort of compression from the KEFs. Yes, w/SME V arm, Lyra Skala cartridge • Integrated Amplifiers these speakers can rock. Digital Source Wadia 581i • Two Channel, Three Channel and Five Channel Amplifiers • Two Channel Pre-amplifier A few times while listening to the xQ- Preamplifier ARC REF 3, SP-17 20s, I missed my regular speakers. Now • DVD & CD Players Power Amplifier ARC REF 210T, D76 it’s not really fair to compare them with • Home Theater Processor speakers that cost six times as much, and I Cable Shunyata Aurora • Accessories & more THE SOUND ORGANISATION had to keep that in mind when offering any Power Shunyata Hydra 2, Shunyata MAKES MUSIC sort of critique of the KEF’s performance. Python CX power cords The Sound Organization is the exclusive Primare USA distributor. www.soundorg.com 150 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 151 REVIEW Mark&Daniel Maximus Diamond + Speakers By Mark Marcantonio

n every manufacturing category there exist the traditionalists, the bargain builders and the rebels. Audio is no different. In the past decade, upstart designers have stepped forward with both fresh and forgotten ideas that Iforce the audio community to once again acknowledge that there is more than one way to execute fine musical reproduction.

Mark & Daniel engineers addressed both concepts: first with the usage of Compound Artificial Marble, a material with twice the density of MDF particleboard; and second, in adopting a recent version of the Heil air- motion transformer they call the DREAMS driver.

152 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 153 REVIEW

Mark & Daniel speakers Setup start with a seamless manmade The Diamond + speakers marble cabinet. The 22 pounds have a relatively low rated sensi- of each enclosure is a reminder tivity of 83.5db/1 watt, so a high- that the Diamond+’s require both er-powered amplifier is a must to arms to move about. A quick achieve a realistic dynamic range. knuckle rap yields a non-reso- I found these speakers particular- nant “thunk.” The rear face of the ly well suited to the 150 watts per speaker contains a pair of hori- channel of my Simaudio Moon zontally placed ports. The white i-7 integrated amplifier. When review pair with its angled bev- stepping down to a 60-watts-per- eled edges is quite handsome, channel Rotel integrated from a giving a visual impression of a previous review, the speakers did marquis diamond cut. not really launch the way they did The Diamond+ is available with the i-7. in pale yellow, white or black for By experimenting with a num- $2,650 per pair (without stands) ber of different positions, I was and have six custom colors avail- able to achieve the best balance able at a “slightly higher cost.” of imaging depth and You can view the alternate color bass performance with The DREAMS choices here: the speakers about 30 http://www.mark-daniel.com/ inches from the back driver is a definite Pro_En.asp?ProID=28 wall and 44 inches from success, one that I the side walls, with just would describe as From the beginning, Mark a hint of toe in, in my 16 very natural overall, & Daniel speakers have been x 20-foot living room. especially with created using the Heil design. As the review pair came acoustic music... Mark and Daniel states that the straight from the Mark & DREAMS driver, “Is a pleated Daniel factory in Tuscon, type of ribbon module that cre- Arizona, with a fair amount of ates sound waves by squeez- hours on the clock, I went straight ing the air instead of having a into critical listening mode. cone, planar, or dome-shaped diaphragm pushing the air.” The Detail is the Name folds allow for greater area by of the Game which sounds can be repro- The DREAMS driver is a defi- duced. nite success, one that I would An interesting fact is that the describe as very natural overall, crossover point to the woofer is especially with acoustic music, set at 700Hz for the Diamond+’s. yet still possessing the airiness Placing my ear up next to the rib- that I’ve heard with other ribbon bon reveals how much more mu- drivers without becoming clini- sic is coming through the tweeter cal or overly etched. This driver of the Diamond + compared also exhibited a very fast, clean with my reference Eficion F200’s, transient attack, lending itself which employ a more conven- well to piano and acoustic guitar. tional ribbon tweeter. (continued)

154 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 155 REVIEW

I spent quite a bit of time going Steely Dan’s “Rikki Don’t Lose through my favorites from Keith That Number” came through in Jarrett and George Winston and a much more realistic way, with was consistently impressed at more of a three-dimensional how natural the piano sounded. quality than is typical with two- The quick, punchy dynamic per- way monitors in this price cat- formance of these speakers lent egory. themselves to salsa and fusion While the Diamond+’s will jazz; my Spirogyra CD’s never extend down to 42hz as speci- sounded better. fied, compression starts to set Compared to my Totem Rain- in quickly as the SPL meter ap- makers, James Taylor’s voice proaches 100db. The 5.5-inch on October Road went from a SX low-frequency driver uses warmer tenor feel to a younger, a large magnet structure and drier Midwestern accent. The overhung voice coil, but a small Diamond+ exhibited a whole new speaker can only move so much level of detail, revealing nuance air. Again, the speaker did a that I hadn’t heard on this col- highly admirable job for its size. lection of tunes before. Taylor’s The mesh grille hides the picking on October Road, came woofer movement, but if you through quick, clear and defined, look closely, you can see the with his guitar sounding remi- woofer’s excur- niscent of Sweet Baby James, sion. Under most relaxed and effortless. The Diamond+’s circumstances in a With this recording as well as modest-sized room, also impressed me a few others, acoustic guitar had you will probably with their ability to just the right balance of space, not feel the need retrieve low-level resonance and decay. Violins for a subwoofer un- detail, causing me and violas had a natural texture less you are playing to focus more on without sounding harsh, and I music incredibly the percussion was very impressed with a spin loud, or selections section of familiar of the new Jung Trio disc on with extreme bass Groove Note. If you are a fan of extension. recordings ... acoustic music, you will be right In many ways, at home with the Diamond +. the Diamond+’s sound reminded The Diamond+’s also im- me of the ACI Emerald XL’s that pressed me with their ability to I had reviewed earlier this year retrieve low-level detail, causing for another publication. While me to focus more on the percus- not capable of playing AC/DC at sion section of familiar recordings concert-hall levels, they always from Joe Jackson and Steely put a smile on my face when Dan than I had in previous listen- not pushing the speakers be- ing sessions. The subtle details yond what they were capable of a drum stick on the rim of a of. Large-scale orchestral music snare drum now seemed more was pushing it, but smaller en- integrated with the overall sound semble music worked very well. than before. And the triangle on (continued)

156 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 157 REVIEW

Much like the smaller Mag- Best When Playing to RedEye, the personal remote. nepans, the Diamond+ excelled Their Strengths at low-level detail retrieval, but I found the Diamond+’s they were not a champion at most intriguing when play- pinpoint imaging. Though this ing music that catered to their did not change much with dif- strengths. These small, stout The RedEye system allows the iPhone and iPod ferent speaker placement op- monitors offer great dynamic tions, the upside was a very range and quick transient touch to control nearly any TV, stereo, cable wide sweet spot and great off- speed, offering up a level of box, DVD player, and many other devices that axis performance, something clarity rarely present at this you can’t get with a planar. receive standard infrared signals. price point. Match them with the right amplifier and they will A Few Variations on definitely punch above their the Theme weight category. Personal. Towards the end of my Their wide dispersion and • Each iPhone or iPod touch acts as a controller review, as I felt familiar with small size should make them the speakers, I branched out easy to place in almost any • More than one controller can simultaneously to a few different amplifica- interact with existing home entertainment gear room with good results, and tion choices. A PS Audio Trio their contemporary finish should C-100 integrated amplifier was allow them to blend with any Simple. on hand, but even my Julia style decor. CD player’s vacuum-tube out- One touch launches any activity—watch TV, • put stage didn’t offer enough Overall, a very impressive listen to music, play a video warmth and body for me. pair of small speakers. l • Custom screen layouts for each activity means Class D amplifiers tend to be no hunting for the right button very speaker specific, so be The Mark & Daniel sure to get an audition first if Diamond + v.2 MSRP: $2,650 per pair Smart. you are thinking of adding the Diamond+ to a system built • Multi-touch gestures for common functions around this type of amplifier. Manufacturer • Free software upgrades delivered via iTunes Switching to the Vista Audio Mark & Daniel tube amplifier that was awaiting • Control different rooms from anywhere Audio Labs of North shipment back to the manufac- in the house America turer was another less-than-sat- 800-781-6843 isfactory combination. Perhaps www.mark-daniel.com for short listening sessions at low volume, but in the end, the Diamond+ needs a high power/ Peripherals high current solid-state amplifier Digital Source to deliver everything it is ca- Wi-Fi to Infrared McIntosh MS750 music server pable of. And thanks to the high Amplifier Simaudio Moon i-7 Communication from iPhone A hardware device and a free resolution of these speakers, you will definitely be rewarded or iPod touch to RedEye device App available on iTunes turn Cable Audioquest the better the amplifier you pair Less clutter. More control. via Wi-Fi, and RedEye device to the iPhone and iPod touch into Power Cords Shunyata Venom them with. I would seriously entertainment gear via infrared a remote control consider 100 watts per channel redeyeremote.com as a minimum. 158 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 159 REVIEW

Penaudio Rebel 3 Penaudio’s most affordable speaker is full of surprises By Steve Guttenberg

ig, expensive speakers get a lot of attention nowadays,

but I’ve always had a weakness for overachieving little

ones. The best of them give up only two things to large Bspeakers: small speakers can’t play really loud, and they make a lot less bass.

A pair of sweet-sounding Rogers LS3/5a speakers rocked my

world in the late ’70s. In the mid ’80s, I had a dalliance with the

original ProAc Tablette, and its resolution and speed took me to

another place. A few years later, the Acoustic Energy AE1 was the

first mini to unleash rip-roaring dynamics. Now along comes the

Penaudio Rebel 3, and I gotta tell you, this bad boy rekindled my

fascination with mini-monitors.

160 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 161 REVIEW

How mini is it? Just 5.5 I’m not sure what that does for inches wide, 9.25 inches high the sound, but Mr. Penuadio him- and 11.25 inches deep. Viewed self, Sami Penttila, is completely from the front, it’s actually a little sold on Jorma Design Cables. smaller than the old ProAc but a That’s good enough for me. couple of inches deeper. I’m not Another unusual feature I about to compare the Penau- noted right away was the nicely dio’s sound with my decades-old finished inset metal port tube on memories of the Rogers, ProAcs the Rebel 3’s rear panel. It prob- or AEs, and yet I can’t help but ably doesn’t produce any real think giant strides have been sonic benefit over a plastic tube, made. Then again, I haven’t but I don’t want to see any plas- heard any of the latest versions tic in a $2,500 speaker. of these landmark speakers, though I’d like to. Setup proceeded without a hitch. I had them on 28-inch It’s interesting to note than stands, and spent some time instead of the usual medium- moving the Rebel 3s to and fro. density fiberboard cabinet, the By Day Two, I settled on keep- Rebel 3’s enclosure is fashioned ing the speakers closer together from nine-layer Finnish birch ply- than usual in my room, about wood. You can get your Rebel 3s five feet apart with no toe-in, and decked out in birch, cherry, oak three feet from the wall behind or walnut real-wood veneers. The them. I slightly preferred the Rebel 3 may be Penaudio’s most sound with the perforated metal affordable speaker, but its fit ‘n grilles removed. finish are excellent. With a lowish 85dB /1m/ Wrap your knuckles against 2.83V sensitivity spec, you can the 14-pound cabinet and you’ll assume the Rebel 3 needs some know it isn’t one of those densely current to really sing. My 400- constructed beasts. It’s actually watt JC 1 Parasound monob- on the lively side, but you’d never locks didn’t have any trouble, know it from the Rebel 3’s sound. but I’m sure any well-designed Low-level resolution and ambi- 50-watt tube or solid-state amp ance retrieval are really, really fine. would be fine. However, the Its 0.8-inch textile dome Rebel 3 will reveal weaknesses tweeter and 4.75-inch treated further up the chain, so don’t paper woofer are both SEAS scrimp on cables or your front It’s interesting to note than designs; the new woofer is what end. instead of the usual medium- primarily distinguishes the Rebel With really small speakers 3 from the Rebel 2. density fiberboard cabinet, like this, I guess the big question the Rebel 3’s enclosure is ‘Around back, WBT binding is, “Can they make any bass?” fashioned from nine-layer posts handily accept even burly Deep bass is MIA, but the Rebel connectors. Internal wiring is by 3 doesn’t sound thin. In my large Finnish birch plywood. Jorma Design Cables, notewor- room, bass started rolling off thy for its Teflon dielectric and around 80 Hertz, although it was copper conductors that use a still going strong in the mid 50s! special ceramic glass “filler.” (continued)

162 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 163 REVIEW

Sure, some small speakers may sound like they generate more deep bass, but that’s because Few speakers with they “cheat” by producing a bass bulge around 80-100 Hertz. I bona-fide high-end prefer the Rebel 3’s flatter bal- street cred boast ance, and if you need more bass, such lifestyle friendly it’s easy to add a subwoofer. dimensions. All on its own the Rebel 3’s low-end poise is pretty amazing for a speaker of its size. Likewise, stand up basses’ pluck, tone color and woodiness, without any thick- ening or bloat, result in a more realistic portrayal acoustic basses than many larger and more ex- pensive speakers. The Rebel 3’s bass definition is superb. Treble? Living with Magne- pan 3.6 panel speakers boasting 55-inch tall ribbon tweeters, I’m used to high-resolution sound. But I still made an easy transition to the Rebel 3s. Few speakers with bona-fide high-end street cred boast such lifestyle friendly dimensions. The Rebel 3’s tweet- er is extended, open and very easy to listen to. Full-boogie, high-impact, feel-it-in-your-chest sound may not be in the cards for the Rebel 3 or any pint-sized monitor I know of, but its lively, contrasty micro dynamics are exceptional. Milt Jackson’s sweetly shimmer- ing vibes on my Modern Jazz Quartet CDs and LPs took my breath away. Wider dynamic swings from the Dizzy Gillespie All-Star Big Band CD, Dizzy’s Business, were something else again. Whoa, few little speakers handle uncompressed, swinging brass sections with this kind of élan, without even a hint of con- gestion or bite. (continued)

164 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 165 REVIEW

Sticking with jazz, Abbey Lincoln’s CD, Abbey Sings Billie Volume 2, a live 1987 recording had me reeling. Lincoln’s whis- per-to-a-scream vocals were fully I wasn’t sure the present and totally alive. Again, the Rebel 3’s immediacy was Rebel 3s could remarkable, and not in any sense rock out, but the forward or forced. Not one bit. White Stripes’ Lincoln’s soulful, utterly human Icky Thump CD presence was a thing of wonder. demonstrated the The Rebel 3’s midrange tone, or little speakers’ voicing, was spot-on. wilder side. I wasn’t sure the Rebel 3s could rock out, but the White Stripes’ Icky Thump CD demon- strated the little speakers’ wilder side. Meg White’s thumpin’ bass drum was surprisingly visceral, and Jack White’s gloriously dis- torted guitars plastered a big smile on my face. Nudging the volume higher and higher, the sound held together up to a fairly loud volume. But I don’t want to overstate its abilities. The Rebel 3’s can’t compete with larger bookshelf speakers or towers for brute force slam, but it’s not afraid to party. Giving voice to Morphine’s CD, The Night, the wee speaker’s full-bodied midrange was satis- fying in ways few mini-monitors ever muster. Mark Sandman’s deep-chested vocals and Dana Colley’s baritone sax had lives of their own. The sound was magical in the way it combined warmth without loss of fine detail. I used the Rebel 3s in my two-channel theater to good effect as I watched a couple of DVDs. With the lights turned low, I didn’t think about the speakers’ size. Then again, if I were going to use the Rebel 3 for home the- ater over the long term, I’d add a powered subwoofer. (continued)

166 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 167 ONLY THE MUSIC

NO COMprOMISE

Penaudio doesn’t currently offer Penaudio Rebel 3 Speaker one, but I’d recommend using MSRP: $2,500 a pair an acoustic suspension (sealed- box) subwoofer so it could better Manufacturer keep up with the Rebel 3’s nim- ble woofer. Atlantic Technology’s www.penaudio.fi 224 SB or 334 SB subs might be good places to start. Peripherals I have to interrupt this rave to Analog Source VPI Classic point out that late‑ night Rebel turntable with a van den Hul Frog The dCS Scarlatti Digital playback System 3 listening sessions, with the cartridge volume turned down low, were Digital Sources Ayre C-5xe Our design philosophy in building Scarlatti was For people who are serious about their music, less satisfying. Tone color was MP Universal Player, Panasonic the first to go; the sound thinned to use our 21 years of experience to deliver the Scarlatti is like no other system on the planet, DMP-BD 60 Blu-ray player out and the bass went south. But best digital playback components in the business setting new standards in audio transparency and that didn’t stop me from rack- Electronics Parasound JC 1 without compromise. leaving the listener with only the music. ing up late- night listening hours. preamp, JC 2 power amp, Whest The Rebel 3s’ innate clarity 2.0 phono preamp “The dCS Scarlatti is the best sounding, most satisfying never failed to pull me in. But the Speakers Dynaudio C-1, digital playback system I’ve heard.” – Stereophile speaker comes alive with some Mangepan MG 3.6/R “Well there you have it: The best digital sources I’ve volume. yet heard” – The Absolute Sound Cable Zu interconnects, speaker Assessing value is another “The Scarlatti Upsampler and DAC are proof that dCS cable, and XLO Signature-3 still knows how to make products that are both matter, the Rebel 3 goes for power cords world-beating and life-enhancing” – HiFi News $2,500 a pair, and for that kind of money you can buy more bass, better dynamics, and volume capabilities. But those speakers would be a lot bigger than the Rebel 3. Judged as a compact, high-resolution monitor, the Penaudio Rebel 3 is a winner. l ONLY THE MUSIC www.dcsltd.co.uk

F e b r u a r y 2 0 1 0 169

dCS Absolute Sound_advert 2-10.indd 1 5/2/10 17:56:28

REVIEW

EraDesign5 Mini-Monitors Good Things Come in Small Packages By Rich Kent

ack in the ’50s and ’60’s, no true audiophile would be caught dead with speakers smaller than a large Samsonite suitcase. The bigger the better was the motto of the day, which is why the original Klipshorn was so popular if you had enough space and could get spousal approval. These speakers possessed high efficiency, so low-powered tube amplifiers got the job Bdone. But as the first solid-state amplifiers hit the market and 60 watts per channel was commonplace, and 200 watts per channel became available, the acoustic suspension designs of AR and KLH changed our perception of what a high-performance speaker needed to look like. The next step was the mini monitor, probably made most famous by the legendary LS3/5a. Now you could be an audiophile and still have compact speakers.

172 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 173 REVIEW

Location Location Location Upon listening to “Coyote” again, Because of the strong bass re- I had a much more satisfying ex- sponse of the D5’s, these speakers perience. The bass response had do much better about two of three tightened up somewhat, too, but feet from back and side walls, giv- there was still a bit of a hole in the ing the best balance of soundstage upper mid-bass region. I’m as- width and freedom from mid-bass suming that this was a necessary boom. Avoid corner placement, design trade-off that had to be as this will reinforce the bass too made to get the lower bass output much. of these speakers. The D5’s offered up a two-to- three-person-wide sweet spot, Listening to a and thanks to their wide dispersion Wide Range of Material sounded almost as good when the Though Pink Floyd’s Dark Side listener is standing up as sitting of the Moon has been played too on the couch. Very impressive. much over the years, I chose this As always with mini monitors, the next because of my familiarity with more-massive stands you can find, the record, and because I’ve never the better. heard it on small speakers. This is a demanding soundtrack that can Break-in Necessary bring many a speaker to its knees The initial audition of The Era 5 when driven hard. The first track, was done on 40-inch stands, three “Speak to Me,” with the metro- feet from the rear wall and four nomic beating heart introduction feet from either corner just inside displays a speaker’s capability to of my reference Martin Logan CLS separate the heart beat from the speakers. I had thought of David mixture of deep and upper bass and Goliath as I noted the size dif- tones. The D5 did well in the ference between the D5 and my lower bass tones but had trouble Present Day CLS speakers. discerning the upper bass detail, The Era Design 5 speakers from Signal Path International measure The D5’s offered delivering a somewhat one-note up a two-to- “Coyote” from Joni Mitchell’s a modest 11 inches by seven inches by 10 inches and weighs in at a bass. While this is no substitute for modest 15.8 pounds. The solid cabinet constructed of three-quarter- three-person- Hejira album is one of my favor- a full-range floorstanding speaker inch thick MDF has a wedge shape, narrowing to the rear of the cabinet wide sweet ite tracks, with clean crisp stac- system, it was very impressive for where you will find large, five-way binding posts. The review samples -ar spot, and thanks cato guitar introductions and Joni such a small speaker. rived in Cherry with a smooth polished-satin finish that should pass mus- to their wide Mitchell’s easily recognized voice. dispersion ter with any interior designer. Michael Kelly is the engineer behind the Era But I was stunned at how bright, The fourth track, “Time,” with sounded almost Design 5’s rear-port speaker design, which consists of a five-inch driver shallow and irritating she sounded the multiple ticking clocks and as good when on the Era Design 5’s. Having alarms presented a wide and de- and a one-inch silk-dome tweeter. MSRP on a pair of ERA 5’s is $995 the listener is equally dismal luck with the next per pair. standing up as fined soundstage lacking only in few CD’s, I put a hundred more Thanks to a claimed LF limit of 50hz (+/- 3db), these speakers can sitting on the depth. The D5’s upper midrange hours on the speakers in the spare be used without a subwoofer in small rooms fairly easy. Their somewhat couch. and treble range have the ability to bedroom before returning them to low sensitivity of 85db will require more-than-modest amplifier power, so resolve the different size clock ticks critical listening. the ERA’s will not be the optimum match for low-powered tube systems. so well that you can almost visual- David Solomon from Signal Path said, “We have the port tuned to 40hz, After about 100 hours, the ize the moving gears and levers in so there aren’t any phase shift problems associated with it.” metamorphosis was complete. front of you. (continued)

174 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 175 REVIEW

One has to hear the dynamic capability of this small speaker to believe the size and quality of sound it puts out in relation to its size. Staying in the ’70s, Bob Dylan’s Blonde on Blonde was my next choice. The initial harmonica rip at the beginning of “Just Like A Woman” startled me, thanks to the realism that the Era D5’s were able to deliver. Dylan’s voice was spot on in terms of timbre and phrasing as well. With the right music, these little speakers could really cook. Barbara Streisand was the second-to- last stop on my musical journey with the Era D5’s, and she ended up being the ultimate torture test. Her latest album, Love is the Answer, has an interesting combination of or- chestral and small-quartet arrangements that feature Diana Krall on piano for the quartet pieces. Her tone control, vibrato and lyrical phrasing are tough to nail on a big speaker and, alas, the D5’s struggled here, failing to produce the realistic three-dimensional im- age I’m used to on my reference speakers. These failings were also apparent when listening to large-scale orchestral pieces, with the upper-bass thinness actually making these speakers sound worse than they are. So if your taste is primarily classical, the D5’s should probably be avoided.

The Sub Experiment I did not have any better luck pairing the D5’s with my MartinLogan Descent sub, no matter how much I adjusted crossover fre- quencies and phase settings. The sound- stage actually shrunk and there was no co- herence at all. I’m sure that pairing the D5’s One has to hear up with the Era Sub would be much better. the dynamic However, our publisher did comment that the capability of this D5’s worked very well with his much smaller small speaker to MartinLogan Grotto i subwoofer and the Tan- believe the size noy TS 8, which seems to be his workhorse and quality of subwoofer for mini-monitors. Bottom line, if sound it puts out you aren’t going to keep your speaker sys- in relation to tem all Era, careful subwoofer selection will its size. be in order. (continued)

F e b r u a r y 2 0 1 0 177 REVIEW

Comparisons It’s a toss up when consider- I could have easily sold two or For a quick comparison, I ing amplification choices for the three pairs of them that night. brought the D5’s over to a friend’s D5’s. The solid-state Cambridge A properly broken-in D5 house, who was using a pair of had a better overall grip on the projects the illusion of a much- Focal 706S bookshelf speak- lower frequencies, and the 50- larger monitor speaker, which will ers with a Cambridge Azur 760 watt per channel class D ampli- have most listeners shaking their amplifier and 740 CD player in a fier in my Sonos was passable. heads in disbelief. This $995 much smaller room than mine. But in the end, I still preferred speaker has the potential of hav- This particular room is only 10-by- the overall smoothness when ing a large musical presence in 16 feet and though it has carpet the D5’s were connected to my any size room without an over- on the floor, it still sounds more McIntosh MC275. whelming physical presence. A live than my listening room. huge sound for a bargain price Tons of fun It was an interesting compari- and pleasing aesthetics that al- son. The Focal speakers sound- The D5’s have an addic- low the Era D5 to fit into any dé- ed more laid back and smooth tive quality that makes you just cor, and with a build quality that in contrast to the D5’s, which want to get up and move to the is second to none. sounded slightly faster overall. music. At a recent holiday party If you once thought it was While the D5’s had a “bigger” gathering, Lady Gaga’s “Poker impossible to get big sound overall sound than the Focal’s, Face” was blasting through the from your small space, this is the Focal speakers had more re- crowd and had everyone danc- one speaker you have to audi- finement and less grain through- ing. Everyone was fooled into tion. Good things definitely can out the frequency range. Either thinking the “big” (CLS’s) speak- come in small packages. l way, the little D5’s made a great ers were playing, and they were showing for their price point. in awe that the small D5’s were the sound source. The ERA D5 speakers MSRP: $995/pair

Manufacturer

Signal Path International www.signalpathint.com 707-391-9337

Peripherals

Analog Source Linn LP 12 w/Shelter 501II cartridge Digital Source Krell KPS-20i CD player, Cambridge 740 Preamplifier McIntosh C2200 Power Amplifier McIntosh MC275, Cambridge Azur 760 Cable MIT

178 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 179 BARGAINS Slummin’ By Jeff Dorgay

The Garrard Zero 100C New in box — $99, eBay Maybe I can’t have all of the vintage A little sniffing on the web reveals cars from when I was a kid, but mixed feelings on the Zero 100. Many collecting the vintage turntables of my claim that it was a design that was youth seems to be a much better idea ahead of its time, with some serious as far as storage space and financial flaws, especially the plastic, two-piece commitment goes. I’m on the hunt for a headshell. Others still swear by it and clean Shure V15 type III to go along with claim it is much better than “the junk this eventually, so it’s just as I remember you can buy these days.” it when I walked in the door of Allied Sound like a familiar argument? Stay Radio in 1973, with a $189 pricetag. The tuned to the TONEAudio Blog and we’ll cartridge was a then unheard of $49.95 keep you posted once a plinth is built but you could add a Shure M91ED for and this vintage classic is up just $10 more. Pretty amazing, when and spinning records. l you realize how far vinyl has come...

180 TONE A U D I O NO.27 F e b r u a r y 2 0 1 0 181 INFO

Where to find what you have seen in TONEAudio Magazine.

ALO Audio: www.aloaudio.co Mobile Fidelity: www.mofi.com Anthem: www.anthemav.com Mystere: www.mystere-usa.com Auravis Systems: www.auravissystems.com Music Direct: www.musicdirect.com Audioquest: www.audioquest.com Music Matters: www.musicmattersjazz.com B&W Music Club: www.bowersandwilkins.com Music Millennium: www.musicmillennium.com Benchmark: www.benchmarkmedia.com Nagra: www.nagraaudio.com Burmester: www.burmester.de Naim: www.naimusa.com Cambridge Audio: www.audioplusservices.com Paradigm: www.paradigm.com Conrad Johnson: www.conradjohnson.com Primare: www.soundorg.com DCS: www.dcsltd.co.uk Red Eye: www.thinkflood.com Echo Audio: www.echohifi.com Red Wine Audio: www.redwineaudio.com GamuT: www.gamutaudio.com Rega: www.soundorg.com Harbeth: www.fidelisav.com Running Springs Audio: www.runningspringsaudio.com Immedia Sound: www.immediasound.com Save the Music: www.vh1.com Luxman: www.onahighernote.com Shunyata: www.shunyata.com JM Labs/Focal: www.audioplusservices.com Upscale Audio: www.upscaleaudio.com JL Audio: www.jlaudio.com Verity Audio: www.verityaudio.com MartinLogan: www.martinlogan.com Wadia: www.wadia.com McIntosh: www.mcintoshlabs.com YG Acoustics: www.ygacoustics.com Meridian: www.meridian-audio.com

182 TONE A U D I O NO.27