Scorpions Wolf Parade Lady Gaga

Music.Gear.Style. No.31 August 2010

Scorpions Sonus Faber Wolf Parade Sneak Peek The Lady GaGa Beer Snob Returns A Private Session with A&E’s Lynn Hoffman Mellencam Toronto’s Costello Hockey Museum Maiden B&W 805D BestCoast Si m 75 0 More Gear! Wavves More Music! 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. 124

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Old School: 118 Three to Enhance Your Mood 11. PUBLISHER’S LETTER 42 Fix My Dual! By Bob Gendron 12. TONE TOON By Jerold O’Brien 127 By Liza Donnelly iPhone 4 A Private Session With A&E’s Turbocharged Smart Phone 48 Lynn Hoffman 122 By Jeff Dorgay FiveFingers Footwear Budget Gear: 124 Almost Barefoot 72 Logitech’s Squeezebox Touch By Rich Kent DC31 Mini Vac 12 5 The Small Dyson Really Sucks Journeyman Audiophile: 86 The Wadia PowerDAC 151 By Jeff Dorgay Smart Electric Drive 127 Look Smart, Be Smart

6 TONE A U D I O NO.31 August 2010 7 music previews

14. Live Music: The TONE Staff 128. Sonus Faber Fenice Covers The Scorpions, By Ken Kessler Wolf Parade and Lady GaGa 135. The Loricraft Record Cleaner

24. Current Releases: By Jeff Dorgay Fresh Releases in the Pop/Rock World By the TONE Staff

58. audiophile pressings: reviews 142 Elvis Costello, Jeff Beck, Robin Trower, Canned Heat & John Lee Hooker, Can, 136. A Major Upgrade from C-J The Police, The Allman The Conrad-Johnson TEA-2SE Brothers and Four Blue Note By Jacob Heilbrunn XRCDs By the TONE Staff 142. B&W’s Latest Jewel 128

78. CLUB MIX: The 805D Summertime Funk By Jeff Dorgay By Scott Tetzlaff 154. Audio Research DSi200 94. JAZZ & BLUES: Somewhere Between Tubes Robert Randolph, Charlie Musselwhite, JJGrey and And Transistors Alan Johannes By Steve Guttenberg By Richard Colburn 164. Goldring Legacy Moving Coil Cartridge Light, Lithe and Lively By Lawrence Devoe

170. The Shuguang Treasure “Black Bottle” 6CA7 Tubes By Jerold O’Brien

174. Both Sides of the Moon Simaudio’s MOON 300D DAC and MOON 750D DAC/Transport By Jeff Dorgay

24. New from John Mellencamp 188. Slummin’ Classics on the cheap

8 TONE A U D I O NO.31 August 2010 9 ecently I had a visit from a man in his 20s, new to the world of high-end audio. Of course, he oohed and aahed over all the gear I had staged for this issue’s photo shoot, but when I asked him what he’d like to hear, he said, R“I hate to admit it, I’m pretty much a rock guy. I’m really not into the audiophile-approved stuff.” He laughed when I told him I didn’t even own a Patricia Barber record. Fortunately, he’d come to just the right place. Seconds later, I cued up Audioslave’s first album on the Sooloos music server and cranked up “Gasoline.” He had a big smile as we went through a few more heavy tracks when I asked if he wanted to hear some That was shock vinyl. About 30 seconds into the recent MoFi release of Beck’s and awe! I’ve Sea Change LP, his eyes were closed and his feet were tapping, “ never heard the just like a seasoned audiophile. music I like After a little Snoop Dogg (hi res digital this time), we went sound like this. back to vinyl and spun some Clapton to wind up the session. His response? “That was shock and awe! I’ve never heard the music ” I like sound like this.” Interestingly, we found that we had a lot of music in common even though about 25 years separated us. But the hook was set and you could see it all over his face; my guest was having a great time with nary an audiophile-approved track to be heard. While I despise columnists who blather on with their lists of “rules,” I merely suggest one thing; if you’d like to further the cause for music and HiFi, play your guests’ music and let them discover. That’s always worked for me.

10 TONE A U D I O NO.31 August 2010 11 TONE TOON

PUBLISHER Jeff Dorgay

EDITOR Bob Golfen

ART DIRECTOR Jean Dorgay r MUSIC EDITOR Bob Gendron

M usic Visionaries Terry Currier Tom Caselli

STYLE EDITOR Scott Tetzlaff

SENIOR Ben Fong-Torres CONTRIBUTOR

CONTRIBUTING Bailey S. Barnard WRITERS Richard Colburn Lawrence Devoe Andy Downing Anne Farnsworth Adrian Goldsmith Joe Golfen Steve Guttenberg Jacob Heilbrunn Rich Kent Ken Kessler Mark Marcantonio Ken Mercereau Jerold O’Brien Michele Rundgren Todd Sageser

Jaan Uhelszki

UBER CARTOONIST Liza Donnelly

ADVERTISING Jeff Dorgay

WEBSITE bloodymonster.com

August 2010 13 LIVE MUSIC

The Scorpions Sleep Country Amphitheater Vancouver, Washington August 7, 2010

Text and Photos by Jeff Dorgay

14 TONE A U D I O NO.31 August 2010 15 LIVE MUSIC

o one was snoozing Nwhen the Scorpions blasted onto the stage with the German power and precision of a Porsche Turbo motor screaming at redline, opening their 90-minute set with the title track off their recent album Sting in the Tail. After 35 years of touring, the Scorpions still deliver the goods, arguably as well as they did in the late 70s through the late 80s, the peak of their popularity. The only regret was that the setlist wasn’t long enough for 17 more songs. The group’s current lineup features founder Rudolph Schenker on rhythm guitar along with core members Mat- thias Jabs on lead guitar and singer Klaus Meine. Drummer James Kottak, who has been with the band since 1996, and relative newcomer, bassist Pawel Maciwoda, held up their ends of the bargain with a rock-solid foundation and a more than ample helping of attitude. Near the start, the band romped through “Bad Boys Running Wild” and “The Zoo” before slowing the pace with a few ballads. As soon as the sold-out crowd got comfortable swaying back and forth with lighters in the air, the Scorpions put the pedal to the floor again with “Tease Me, Please Me” and “Black Out,” dividing the classics with a thunderous drum solo. No, it wouldn’t be a real rock show without solos, and Kosak gave a textbook performance during his turn in the spotlight. (continued)

August 2010 17 LIVE MUSIC

Similarly, Jabs and Schenker were on fire all evening, trading a flurry of riffs and poses. Before the set’s close, the pair treated the crowd to a massive dual-guitar solo and took the dial past 11. The fist-pumping fans in the front rows looked like they were ready to trample the barrier and become one with the guitar gods onstage. The show ended with two of the Scorpions’ biggest hits from their triple- The Doug Fir Lounge platinum album Love at First Sting: “Big City Nights” and Portland, Oregon “Rock You Like a Hurricane.” April 26, 2010 Although the U.S. leg of the tour is over, the Scorpions Text and photos by Jeff Dorgay are headed to South America and Europe, appropriately finishing in their native Germany on November 27. If you haven’t heard, the band claims that this is its final tour, so if you haven’t seen the Scorpions in a while (or ever), don’t miss the chance to see heavy rock served up as it should be: loud, proud, and powerful.

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Crystal Ballroom Portland, Oregon July 27, 2010

Wolf Parade Text and Photo by Jeff Dorgay hanks to the venue’s highly flexible floor, Wolf T Parade took the stage at the Crystal Ballroom to a very enthusiastic and bouncy crowd. Yes, it was going to be one of those kinds of shows. Supporting its current album, Expo 86, the band opened with the same tune as it did when playing Portland two years ago—“You Are a Runner And I Am My Fathers Son” from its debut album Apologies to the Queen Mary. Whether an attempt at continuity or just coincidence, several fans felt the parallel reeked of coolness. Guitarist Dan Boeckner and keyboardist Spencer Krug went back and forth all evening, trading vocal duties with ease. Alternating leads on each successive song, the difference in timbral perspectives resonated as the most interesting aspects of Wolf Parade’s sound. And, to the group’s credit, the setlist drew from all three records, lending to elements of surprise as well as a cross-section of pop-rock approaches that culminated with “Language City.” However, while the energy never wavered, the band seemed trapped in a punk mindset. Devoid of many tempo variations, the textural nuances and instrumental prowess that characterize Wolf Parade’s albums were severely lacking. Nearly every song featured the same Ramones-like level of surf-rock thrash. All good fun, certainly, but perhaps not exactly what was expected. Maybe that’s a good thing?

20 TONE A U D I O NO.31 August 2010 21 SNAP SHOTLady GaGa

David Thai braved the pyrotechnics to capture the Lady at her piano in full blaze on August 23rd when she played Rogers Arena in Vancouver, BC. You can catch more of David’s images from this show and others at: www.mrdavidthai.com

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John Mellencamp No Better Than This Rounder, CD or LP Current he concepts behind John Surprisingly, No Better Than ment that encourages a campfire Mellencamp’s No Better This is nowhere as sterile, pre- sing-a-long; slipping along to a Than This seem culled from dictable, or overthought as its sawing violin, “Right Behind Me” the closed-door meetings premise might suggest. In fact, honors the time-worn tradition of of a marketing focus group. it’s the type of back-to-basics feeling the devil in one’s soul but Releases Songs were recorded in By the TONE Staff album that helped resurrect Bob offers up a fresh twist; the keenly mono on vintage equipment Dylan’s career in 1997, albeit humorous “Clumsy Ol’ World” Click on album covers to purchase from Music Direct and on one microphone at less obsessed with mortality details a mischievous woman’s strategic historical locations: and dustier in execution. Akin habits even as the no-frills coun- The First African Baptist to 2008’s Life Death Live and try-blues functions not as an in- Church in Savannah; Freedom, Mellencamp’s latest dictment but a low-key celebration TSun Studios in Memphis; offering provides ample reason of being alive. The latter sentiment Room 414 of the Gunter ReCording of Special Merit to tune back into an artist that, is central to No Better Than This, Hotel in San Antonio. The after two decades of making thankfully free of the miserable locales, respectively, reflect declarative Heartland rock and ponderings proffered by so many America’s gospel and slave- pop, is determined to leave his aging musicians. No, Mellencamp trade heritage, rock and stamp on roots music—record doesn’t ignore reality but recog- roll’s core foundation in the sales be damned. It’s a stance nizes that love at first sight, crys- form of Elvis Presley, Johnny that demands respect, a decision talline memories, and a night of Cash, and the like, and the grounded in integrity and, as it good music trump even the deep- haunted sounds of the Delta happens, engaging authenticity. est sorrows. In the process, he’s blues’ largest myth-making Written over the span of 13 turned in his most inspired and figure, Robert Johnson. days, the songs crackle with finely executed album in an age. If the on-the-nose ideas bluesy grit, rustic simplicity, and Credit also goes to a crack behind the sessions weren’t sincere reflection. “Could it be band that includes Marc Ribot on enough, Mellencamp and this is all there is?,” Mellencamp guitar, Jay Bellerose on drums, Co. even took measures wonders on the opening “Save and Miriam Strum on violin. And to “arrange themselves on Some Time to Dream,” a rustling that sound. Ramshackle, loose, the [Sun] studio floor in ac- ghost-chain-jangling ditty that and sharing more in common with cordance with the markings offers up a litany of memorable a scratchy Paramount Records that had been laid down by advice as seen through the eyes 78 than a compressed modern Sam Phillips many years of a man who’s experienced his recording, it frames Mellencamp’s before for optimal presence” share of times good and bad. gather-around-the-microphone and “sang facing the corner Throughout, the Indiana native performances wherein the power of the room that Johnson strikes a balance between hard of individual is sacrificed in the had almost 74 years earlier.” luck and righteous perseverance, name of tradition and honesty. It’s Oh, and the album was almost laughing in the face of doubtful the musicians needed to produced by America’s defeat. be in the same place that John- leading retro-music produc- “No One Cares About Me” son first record to capture these er, T Bone Burnett. Could belies the narrator’s dour pre- vibes, but then again, when the Hollywood devise a more dicaments and weary lonesome- devil is in the details, one never perfect script? ness with a scampering arrange- knows. – Bob Gendron

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John Mellencamp Chronicling change, delving into darkness, On the Rural Route 7609 and pondering political consequence, it’s Universal, 4CDs a snapshot of an artist that embodies the Heartland’s grounded aesthetic and a country that is no longer best served or depicted by the sentimental nostalgia of “Jack and Diane” ho is America? And what has America become? (represented here by a demo version, album These are two questions John Mellencamp version, and a rough-hewn pre-demo edition). repeatedly asks in song throughout On the Rural Mellencamp clearly loves his country and its Route 7609, by definition a box set but in execution people, the very reasons why he appears and design, something else entirely. Arranged so resolved to probe modern perceptions, principles, and priorities. He spares no one, that the four discs signify four distinct albums, Mellencamp’s career- W including himself, refraining from soapbox spanning collection eschews convention in that it bypasses most of the preaching yet sounding an alarm to rattle the hits—“I Need a Lover,” “Small Town,” “Hurts So Good,” “R.O.C.K. in the public consciousness. U.S.A.,” and “Check It Out” aren’t here but 17 unreleased cuts are—and Mellencamp frames his character-rich instead zeroes in on more insightful deep cuts, rarities, and the sort of studies and social observations in a rich roots-oriented fare that the singer has plumbed for the better part of assortment of Americana, blues, and folk the past decade. steeped in country violins, acoustic guitars, accordions, and, as the set’s title implies, rural Housed in a book appointed with excellent photography, song-by- textures. Many songs echo Woody Guthrie’s song commentary, and a lengthy essay by Anthony DeCurtis, the box ghosts in sound and theme. At a time plays like Mellencamp’s answer to all of the criticism he’s fielded when the middle class seems to be getting since starting out as middling pop artist lost in a flood of debt, insecurity, and lies, “Johnny Cougar” in 1976. Mellencamp comes on like a voice of truth— not as savior but as an authentic, sincere narrator of struggles, concerns, defeats, and hopes. Yes, this voice is present on earlier rock-based fare such as “Pink Houses” and “Love and Happiness” (included here, as well as the surefire “What If I Came Knocking,” from 1993’s still-underrated Human Wheels). Heard in the context of this well-sequenced and well-packaged set, it’s more relevant, confident, and consistent than before. It’s not clear that Mellencamp ever arrives at definitive answers to his two general questions. Still, in at least searching and embrac- ing a stripped-down sound that mirrors his down-home disposition, he’s left an imprint that’s much greater than those still associat- ing him with “Pop Singer” could ever imag- ine. A bracing, riveting aural companion for modern times with a hardscrabble sound that suggests anything but. – Bob Gendron

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“Thirty Incoming” opens with an emotionally naked answering machine message from Bob to Mary. “It felt really good to lay down next to you,” he con- fesses amidst a chorus of exultant voices and buoyant strings. “I didn’t realize how much I missed that feeling.” The children populating “A Cold Freezin’ Night” are equally exposed in their collective, almost psychopathic anger, an outpouring that makes The Bad Seed’s Rhoda sound damned-near genial by comparison. Atop cartoonish effects, pounding, incessant drums, and shotgun blasts of harmonica, a plethora of “innocents”—their chipmunk voices captured by Fisher-Price Talkback recorders—threaten all manner of horrors: “I am going to blow your brains out”; “I could kill you with a shotgun, a rifle—any The Books way I want”; “ I’m gonna rip your hair off, The Way Out and then your balls.” Temporary Residence, CD and LP Not everything is quite so heavy. “I Didn’t Know That” finds the pair success- fully experimenting with funk, crafting an aural collage of ecstatic voices (“I didn’t n “Chain of Missing Links,” know that!”), robotic breakbeats, and bub- bling bass. The Books reemerge as sonic- the beating heart of the jesters on “The Story of Hip-Hop,” which Books’ fourth studio album, sounds like it might be about one thing Oa mantra-like voice urges listeners “to be (the breakbeat drums and schizophrenic record scratches call to mind hip-hop in this world...to be a fleshy temple.” On pioneer DJ Kool Herc), when it’s actually previous records, Nick Zammuto and Paul about something else altogether: namely, a rabbit. A rabbit named Hip Hop. “The flow- de Jong balanced their playful side with ers like Hip Hop,” intones a doddering nar- brief moments of sentimentality. Here, rator, “And Hip Hop liked the flowers.” the scales dramatically tip in the opposite Occasional misfires (“We Bought the Flood” captures the experience of direction. And though the pair still samples sharing conversation with a bug-eyed a kaleidoscope of found, flea-market acid casualty, while “All You Need Is a Wall” functions as little more than pretty recordings, this time out there’s something window dressing) do little to dampen the deeper connecting the disembodied pair’s enthusiasm for its latest, human- masses: an element of vulnerability. centric shift, which is perhaps best summed up by the final words spoken on the album: “You’re becoming the world and everyone in it.” – Andy Downing

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The Vaselines Best Coast Sex With An X Crazy For You Sub Pop, CD and LP Mexican Summer, CD or LP

he Vaselines shouldn’t even be a footnote in the thick annals of rock history. After issuing a pair of singles, the Glasgow duo released a debut album on a small indie label in 1989— and split up the same week. However, their mu- Tsic caught the attention of a certain Seattle guitarist with a penchant for the kind of bubblegum For starters, there’s an undeniably effec- melodies, sticky choruses, and extremely witty genius that addresses pleasure’s nasty truths tive catchiness gleaned from girl-group pop sexual and religious irony found on Vaselines via clever lyrics, handclap-like beats, spacious legends. Best Coast’s plain directness—and the songs’ heartfelt sentiments—both trump classics such as “Rory Rides Me Raw,” “Sex Sux reverb, and chattering guitars. A majority of t’s easy to view Bethany Cosentino as (Amen),” “Molly’s Lips,” and “Monsterpussy” (it’s the other songs are nearly as memorable and and complement a breezy aura that sees about a cat—really). As fate would have it, one contagious. another in a continuing line of temporary most tunes hover around the two-and-a- half-minute mark, if that. Along with guitar- Kurt Cobain found international fame and in- With McKee supplying her trademark indie-rock heroes and heroines whose fame cluded three Vaselines covers on various Nirvana ist/bassist/drummer Bob Bruno, Cosentino breathy vocal support, “The Devil’s Inside is as fleeting as hipster tastes. The Best delights in reverb-drenched melodies and projects. As result, the defunct Scottish group Me” straddles the line between hilarious and became cult sensations. Coast leader is obsessed with smoking quaint hooks that double as the sound serious without a clear verdict, the fat country- of the thin haze that appears over ocean Motivated by an unannounced appearance and-western twang rolling off as if echoing I weed, declaring the world insane, and the beaches during early mornings. Yet what at a charity fundraiser in 2008, Eugene Kelly and throughout a campy bar. It’s hard not to most popular pet in music—her cat Snacks, ultimately distinguishes Best Coast from Frances McKee elected to reconvene for a re- chuckle at “Overweight But Over You,” yet the hundreds of retro-pop peers is Cosentino’s union tour in 2009, an outing that, for all intents garage-rock riff salivates and Kelly’s Scottish whose likeness adorns the cover of the delivery and words: Serious heartache, and purposes, functioned as the band’s first accent turns the pronunciation of “mama” into duo’s debut album. She also pens what, to maddening restlessness, and emotional genuine U.S. excursion. Sub Pop commemo- a delicacy. “Such a Fool” is tailor-made for paralysis bubble under the multitude of coo- rated the events with Enter the Vaselines, a de- AM pop stations of yesteryear and clings to the naked ear, could easily be dismissed ing harmonies and wishful sentiments. The finitive compilation that includes all of the band’s the group’s congested jangle while “Turning as amateurish pop-rock songs given that summery fare may appear silly and benign, official recordings plus demos and live material. It On” strolls to a rockabilly groove amidst yet akin to a damaged soul who covers up they’re largely comprised of three or four However, while every artist is always allowed—if moody temptation and seedy backgrounds. his or her true feelings, this is adult-level not always welcome—one victory lap tour, new The Vaselines excel and making you feel dirty, chords, don’t demand solos, and offer little material and not the childish musings of a material remains the raw currency when measur- akin to a junior-high kid who peeks at adult teenager. in the form of variety. The lyrics suggest ing the creative value of reunions. magazines stuffed under the mattress and There’s no escaping the sadness and tee-heeing about the secret. This sense of coy an unpolished, possibly rushed demeanor. Unlike the Pixies, Pavement, and scads loneliness punctuating “Boyfriend,” despera- slyness informs the record and never grows of other resurrected college-rock bands, the Simple and uncomplicated, the narratives tion and frustration fueling the adorable ode Vaselines answer the bell with a dozen new tiresome. Neither does the band’s spunk. “Crazy for You,” or the sorrow and agony could come off like the scrawled diary en- tunes on the highly enjoyable Sex With An X. “You want the truth/Well this is it/I hate the pumping up the distortion-boosted “Good- Is the album the equal of its 1989 debut? Not 80’s/Because the 80’s were shit” the Vaselines tries of a girl obsessed with a high-school bye,” a paean to the enthusiasm-killing im- quite, but few aspects have changed, and for declare on “I Hate the 80’s,” a slap-down on crush. But a closer listen reveals there’s a pact that love can lay on the person who’s the Vaselines, that’s a good thing. So is the what’s arguably the worst decade in pop music. not in the power position of the relationship. excellent title track, a persuasive slice of pop Amen to that. – Bob Gendron lot more happening underneath the surface. (continued)

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Similarly, the musically harmless So it’s little surprise that, when “Each and Everyday” concerns he’s not doubled-over with soul- the nerve-wracking torture gnawing doubt, much of King of wrought by can’t-get-you-off-of- the Beach assumes a defensive my-mind lovesickness, Cosen- posture, Williams singing: “You’re tino questioning her feelings never gonna stop me”; “To take yet surrendering to the heart, on the world would be some- describing the inescapable co- thing”; “My own friends hate my nundrums of what occurs when guts, but so what? Who gives work, food, drink, and pleasure a fuck?” are rendered useless unless As interesting as it might be to enjoyed with the subject of listen in as Williams wobbles be- affection. tween defiance and depression, Inevitably, in a two-person the real draw here is (surprise!) relationship, one partner the actual tunes. Perhaps it’s his emerges as the victor. On Cra- public courtship of Best Coast The Extra Lens zy for You, Cosentino doesn’t singer Bethany Cosentino (the Undercard often (if ever) get the upper Wavves pair’s Twitter flirtations are the Merge, CD or LP hand. She frequently bares King of the Beach indie-rock equivalent of watching open her wounds, professes Fat Possum, CD or LP high school sweethearts swap longing, and repeats the phrase notes in biology class), but there’s a definite romantic element that “miss you” with the hope that ohn Darnielle has built a career out of creating they might be enough to bring creeps into slow-burning Jesus & richly sketched characters whose awkward back her lover. Even the break- Mary Chain homage “When Will circumstances and quirky traits come into up song, the garage-rock ditty avves mastermind Nathan Williams might have You Come.” Likewise, it’s sort high-definition detail amidst troubled situations. “Bratty B,” is more apology dubbed himself “King of the Beach” on his latest, of, well, sweet, when a sweaty palmed Williams nervously coos, The Mountain Goats leader remains at the than blame. She peaks on the Wbut he doesn’t make the crown sound like much of a afflicted “I Want You,” on which “I don’t want to walk around out- forefront of indie-rock’s literary songsmiths, the singer appears to crawl prize. This is a prickly album crawling with doubt, self- side without you” on the leisurely distinguished with a flattened nasal cry that adds to the credibility along on the floor on her hands loathing, and, on “Super Soaker,” visions of horrifying “Baseball Cards.” Jof the clammy-hands schmucks and often-doomed romantic dal- and knees, her voice spilling death. “Waves crush my flesh and skull,” the singer- Absent much of the sonic liances he regularly sings about. After a five-year run of first-rate with pain, vulnerability, and albums, Darnielle began to slow on 2008’s solid albeit spotty Her- guitarist snarls over the jangly, lo-fi garage backdrop. mud that caked his last album, tears in a manner that makes the songs here are generally etic Pride and smashed into a stultifying wall of conceptual purga- it clear her amore goes way There were times in 2009 when it appeared as tighter and meaner, given added tory on 2009’s Life of the World to Come, on which every song is beyond bedroom fascination punch by new additions Stephen titled after a Bible verse. The claustrophobic record is as fun as an though Williams might never pull it together long or passing addiction. Pope (bass) and Billy Hayes overlong sermon. enough to record a follow-up to his overly hyped soph- (drums)—perhaps best known Intentionally or not, Best It’s a welcome sign, then, to hear him letting loose again on Coast dredges up issues no omore effort, Wavvves, which masked a lack of actual for their work as the late Jay Undercard, a collaboration with singer/journalist Franklin Bruno un- psychiatrist or drug can cure. Reatard’s rambunctious rhythm tunes by burying the songs beneath thick barnacles der the name Extra Lens. Darnielle wastes no time, indulging in a Cosentino finds relief on “When section. Just check the rumbling of sonic scuzz. In a matter of months, Williams feuded raw, mean streak of surf/garage rock on the opening “Adultry.” The I’m With You” (which, tellingly, is “Idiot,” a garage anthem that dou- a bonus track), and naturally, it publicly with fellow garage rockers the Black Lips, ex- bles as a non-apology, Williams playful tune allows enough room for slice-and-dice guitar riffs and involves spending time with the perienced a near-epic, drug-fueled meltdown onstage singing, “I would say I’m sorry, deals in the vocalist’s trademark black-cloud humor. Similarly, the suitor she craves. Lovesickness but it wouldn’t mean shit.” No Extra Lens injects amplified edginess into “Dogs of Clinic 17”—told at Barcelona’s Primavera Sound Festival, and delivered has seldom sounded so mellif- reason to beg forgiveness when from the perspective of a canine trapped in a lab—and frame the luous, emotional, or disarmingly a tuneless, amateurish performance to a bored-looking the tunes connect like this. balladic “In Germany Before the War” with aptly thematic accor- honest. – Bob Gendron audience at Chicago’s annual Pitchfork Music Festival. – Andy Downing dion and barroom piano accents. (continued)

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Most tunes feature what MAESTROTM are now Darnielle trademarks: well-paced guitar strumming, UTOPIA intimate folk-rock frame- works, plaintive melodies, meditative singing that hints at the protagonists’ hesi- tant states of mind, and supremely precise descriptions of people, places, and items that give the music a book- Vivid colors, subtle nuance, ish bent. Occasionally, Extra perfect pace and rhythm; Lens gets caught up within an intricate sameness (“Tug Perfection only a on the Line,” “Programmed Twistable, Turnable Man: A Musical Tribute Maestro can create. Cell Death”) that recycles Darnielle’s past efforts—a to the Songs of Shel Silverstein low-key comfort zone that Various Artists — Sugarhill, CD yearns for variations. Such alterations carry “How I Left the Ministry,” a frisky shuffle erhaps you don’t know who Shel Silverstein is at first glance. And perhaps you haven’t read any of his better-known books that recounts a how-did-I- like The Giving Tree or Where The Sidewalk Ends. But on many get-here story of a man being Plevels, Silverstein was as big as Dr. Seuss. And even if you are a fan of freed from his wrecked car Silverstein, the author of adorable kids books, you may not know that by the Jaws of Life, as well he likely penned quite a few of your favorite popular songs—or at least as “Some Other Way,” which some of the ones that got a lot of airplay in the 70s and early 80s, includ- bustles with nervousness and ing: “Sylvia’s Mother,” “The Queen of the Silver Dollar,” “The Cover of the illuminating organ notes. Rolling Stone,” and of course, “A Boy Named Sue.” Yeah, that guy. With the slightest crafty Twistable, Turnable Man: A Musical Tribute to the Songs of Shel sonic touches in place, Silverstein starts and ends with My Morning Jacket and features a star- Darnielle’s rapier cleverness studded cast throughout. John Prine turns in a great performance of is enough to carry what “This Guitar is For Sale” and Nanci Griffith makes “The Giving Tree” a come across as abbreviated tearjerker. Dr. Dog begins “The Unicorn” with a capella groove before chapters of Joan Didion and finishing with an intriguing emo groove. Todd Snider turns in a straight- T.C. Boyle accounts. Pos- ahead country rendition of “Boy Named Sue” that, appropriately, was sibly rejuvenated by Bruno’s captured at John Carter Cash’s Cash Cabin Studio. Even Kris Kristoffer- presence, a majority of the son makes an appearance, singing, somewhat ironically, “The Winner.” delightful Undercard finds the Orchestrated and produced by Silverstein’s close friend, Bobby North Carolina resident again Bare Jr., the care taken with this record is apparent, with Silverstein’s relying on his humorous acoustic guitar used “on almost every track.” Though recorded in a wide imagination and innate per- variety of locations, the production remains consistent. Final mastering ception of everyday individu- was done in Nashville and, thankfully, does not have the typical overly Culminating 30-years of passion, sweat and hard work expressed in original Focal breakthroughs: als rather than attempting to compressed Nashville sound of late. It’s a shame this wasn’t released • 25-micron thick Pure Beryllium inverted dome tweeter • Magnetic Damping™ System stuff big themes into a small on vinyl. Twistable, Turnable Man could be one of the most fun records • Infinite Acoustic Loading™ (IAL2) tweeter chamber • Gamma™ cabinet structure box. – Bob Gendron you hear this year. – Jeff Dorgay • Laser cut “W”™ Glass Cones • Focus Time™ driver alignment

TONE A U D I O NO.31 34 Focal® is distributed by : USA - Audio Plus Services - www.audioplusservices.com - 800 663 9352 / Canada - Plurison - www.plurison.com - 866 271 5869 MUSIC MUSIC

Having executed one of the Maiden arrives at the first actual providing a soft bed for Dickinson’s past two decades’ most improb- song: a title track that features the musings in a manner that evokes able musical comebacks—after vo- veteran ensemble’s signature drop- unhurried Rush. For those that stick calist Bruce Dickinson departed in step rhythms, dramatic spaces, and with it, there are plenty of twists, yet 1993, Iron Maiden became a paro- Dickinson’s lung-clearing vibrato the song would’ve benefited from dy of itself until the swashbuckling wail. “El Dorado” is also prototypi- extra punch and less contempla- frontman returned in 1999—the cal post-Live After Death Maiden, a tion. “The Talisman” also stretches band has greeted the new century tangled mess of raving guitars giv- over the nine-minute mark and with three consecutive triumphant ing way to Harris’ trigger-finger bass favors similarly voiced Dickinson sets, the most recent of which, A line, Nicko McBrain’s topsy-turvy reflections. Think an alternate “Fear Matter of Life and Death, ranked drumming, and a stormy menace of the Dark” that requires several among 2006’s best metal efforts. topped with Dickinson’s wicked more shoves to get out from the Not for lack of temptation, bassist cackle. And that roving hook, open- moor and into the turbulent oceans. Steve Harris and company have ing the floodgates to a soaring At least there’s nothing wrong with managed to primarily avoid the sort chorus that dares fly too close to Dickinson’s ceiling-scraping highs What keeps even of gross excess that doomed fel- the sun. For better or worse, what here, or on “When the Wild Wind the most drifting low resurrected English titans Ju- follows occasionally strays from Blows,” a marathon sprint inspired tunes afloat is a das Priest on Nostradamus. Maiden’s conventional path. by Raymond Brigg’s 1982 graphic characteristic that’s Granted, any band that’s been While there’s no faulting the novel about a post-nuclear attack. around for more than 30 years and performances—Maiden remains Lasting for eleven minutes (though always been Maiden’s remains willing to risk defeat at the comprised of self-assured musi- it seems longer) and framed around undeniable hallmark: expense of juggling the formula is cians, particularly Harris, who can a motif that sounds culled from an Uncanny melodies. to be commended. And through- hold water with the most celebrat- Irish jig, the extremely complex, Iron Maiden out The Final Frontier, Maiden take ed four-string strummers—several multi-sectional, and borderline oper- The Final Frontier chances. The band pushes the songs journey into wonderland. atic turn is overkill—even by Maiden Universal CD, Deluxe CD, or Colored 2LP limits on introductions, segues, Not so “Mothers of Mercy,” replete standards. fills, extremes, lengths. Epic in with a soldier-stomping march What keeps even the most drift- every sense of the term, and sure and enough dramatic poise to ron Maiden has never shied away from the epic. ing tunes afloat is a characteristic to please the faithful, the group’s please Shakespeare. Or the bit- that’s always been Maiden’s unde- Even its first two punk-rooted albums hint at the 15th album is located somewhere tersweet ballad “Coming Home,” niable hallmark: Uncanny melodies. ambitiousness that would follow, with “Phantom of between 1988’s masterful Seventh filled with stacked riffs, keyboard The Final Frontier overflows with Son of a Seventh Son and 2003’s fills, and a towering payoff that the Opera” and “Prodigal Son,” respectively, oblit- them, to the extent that they almost classically appointed Dance of should have lighters—and flags— (but not quite) make the most in- erating the standard lengths of most hard rock of Death, yet is sprinkled with more waving. The familiar Maiden gallop dulgent fare palatable. In addition, era. Not that the British legends don’t make a textures, atmospherics, and shifts. is in evidence on “The Alchemist,” the record’s conceptual themes— Never has Maiden entertained Harris using the bass strings to dressed up as science-fiction fan- strong case for big, exploratory arrangements. A beloved prog-rock figures so prominently. place a stranglehold on passersby, tasy—seem to function as a larger Ipiece of metal lore, “The Rime of the Ancient Mariner” was McBrain clacking the cymbals and It doesn’t take long to con- metaphor for earth’s precarious hailed when the sextet resurrected the 12-minute-plus nar- clude that The Final Frontier is de- throttling the percussion, and the survival. Destruction, burden, greed, signed as an album (not a song- guitars engaging in a chess game prophesizing, searching, uncertain- rative on its excellent Somewhere Back in Time tour. Simi- by-song) experience. Opening of dual-harmony leads. Classic ty, and farewells course through the larly, fans continue to call for live performances of 1986’s with the curious detour “Satellite stuff, albeit with a modern feel. So, narratives. Then there’s the album too, “Starchild,” which slashes and “Alexander the Great (356-323 B.C.).” Hey, there are worse 15,” a jazz-rock meets tribal-beat title. A smokescreen for the end of fusion introduction that sounds burns with urgency. the world as we know it? Maybe so. ways to get ancient history lessons. nothing else in the band’s catalog, Alas, “Isle of Avalon” demands Meanwhile, up the fucking irons. nearly five minutes expire before patience, its gently picked passages – Bob Gendron

36 TONE A U D I O NO.31 August 2010 37 MUSIC MUSIC

However, Rundgren includes three tracks (“Johnee Jingo”, “Hodja,” and “Honest Work”) from his A Capella tour where he brought a dozen musicians on tour to per- form harmonies that he captured in the studio by himself on the album. If you were in the audience at any of those gigs, you know how powerful these performances were. And still remain. Alas, the set falls short in terms of context, relaying little background information save for listing the venues in which the songs were captured. Strange, especially given the obsessive nature of most Rundgren fans. Why didn’t we get a standard booklet Todd Rundgren that outlines the performances Emerson, Lake and Palmer A Time and a Place For Lack of Honest Work in greater detail? Rundgren often MicroWerks, 3 CD Box Shout Factory, 4 CD box mixes it up onstage with any number of special guests. This is stuff that music nerds want to know. A Time and a Place opens with “The Barbarian,” But it’s hard to argue with the music. Along with the deep cuts, from ELP’s second-ever live performance, at Rundgren gives us more than a the Isle of Wright festival in the UK on August fair share of the hits, all plucked odd Rundgren has always stretched. Creative from standout performances. Al- 29, 1970. The song serves its purpose as, though there isn’t a stinker here, wizard that he is, the musician always seems the sound quality is only average. immediately, the power of the trio becomes to work best when there’s a great band behind Having seen Rundgren count- impossible to ignore. Divided into four discs him. Perhaps the best way to look at this box set, less times (and at a few of the Tthen, is to view it as an expanded version of his shows listed here), better sonics (“The Early 70s,” “The Late 70s,” “The 90s,” and should’ve been in order given that double live album, Back to the Bars, only this time “This Boot’s For You-A Fan’s View”) this box set he usually delivers an excellent spanning a greater cross section of his career, live mix. is completely comprised of live recordings— sans his last album, Arena. Still, what Rundgren lacks specifically, rarities, bootlegs, and even ELP- The track selection is excellent in that it offers here in audiophile sensibilities, up the ultimate Rundgren concert in a box. While he more than makes up for with approved fan recordings. (continued) emotion. If you are a fan, For Lack he covers a wide scope of his catalog, playing of Honest Work is a very worth- a balance of obscurities and standards, there’s while addition to your collection. precious little of the 1980-85 Utopia period. – Jeff Dorgay

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For the dedicated fan, the The first disc shows the band disc three ignores that period Father Christmas.” Unfortunately, collection will provide deeper from the beginning of its career, and instead focuses on mid-1992 the recording quality is not up insight into the band’s repertoire playing classics, such as “Take through August 1998. We get a to the level of the performances, or, if nothing else, bring back great a Pebble”, “Hoedown,” and “Still rendition of “Time and a Place” and I’m surprised that the band, For the dedicated memories of tours past. And with You Turn Me On,” and closes at recorded on August 1st, 1998, upon hearing the level of intensity the tracks culled from excellent the peak of ELP’s prowess. By just weeks before the ensemble on these tracks, didn’t go back to fan, the collection performances, the multi-disc contrast, disc two concentrates splintered again. ELP made the their vaults and give us more. A will provide deeper offering proves that, while ELP was on 1977-1978, when the band right decision. Plodding along, missed opportunity. insight into the often charged with demonstrating struggled to stay relevant amidst Greg Lake sounds weak on vocals, In the end, Time and a Place band’s repertoire or, excess, when on the money, the an invasion of new-wave fashions and Keith Emerson’s keyboard riffs is a mixed bag. It does a great job if nothing else, bring band did an outstanding job at and disco. The music presented are clearly not up to task, lacking at chronicling the rise and fall of back great memories pulling it off in a live environment here, however, is top-notch, and the intricate fills of his earlier years. one of prog-rock’s biggest bands. of tours past. long before there were racks of fortunately comes to an end before On many levels, the fourth Yet, unless you are a diehard gear on the soundboard to mask ELP’s ill-fated Love Beach album, disc, though comprised of bootleg fan or a completist, you might performers’ sins. No mean feat, which contributed to the group’s recordings, is the best of the four. It be better served by spinning the that. Nonetheless, several hiccups undoing in late 1979. offers the widest range of material, group’s first three albums and dictate that casual listeners should While ELP reformed to take going all the way from “Toccata remembering ELP at its best. tread with caution. another crack at touring in 1985, (with drum solo)” to “I Believe in – Jeff Dorgay

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Play All of Your Discs with Award-Winning Accuracy: Blu-ray, DVD, CD, SACD, DVD-A and More! www.mofi.com40 TONE A U D I O NO.31 Beck Sea Change Marshall Crenshaw Pixies Surfer Rosa Elvis Costello August 2010 41 Marshall Crenshaw My Aim Is True FEATURE

With the vinyl revolution Like any fairly complex showing no sign of losing mechanism, turntables don’t steam, many music lovers respond positively to being have turned to the classic bounced around in an ad- turntables as an alternative verse manner. Your chances to some of the budget of- of getting a clean example, ferings from Rega, Pro-Ject and it not getting trashed in and Music Hall. On the upper shipping by a non-audiophile end of the price range, the are slim to none. classic Garrard and Thorens tables have really been mak- A Turnkey Solution ing a comeback in audiophile Just call Bill Neumann circles, with fully restored ver- at fixmydual.com. He’s sions easily fetching prices taken his hobby of restoring in the $3,000 -$5,000 range, these tables and turned it with diehard idler enthusiasts into a full time job, thanks to claiming better bass response the demand and word get- and more lifelike tonality. ting around on the Internet. If you’d like a taste of He charges anywhere from the idler sound at a more about $100 - $300 to rebuild reasonable price, consider a a table, depending on condi- Dual. Whether you are new tion, or you can buy a fully to spinning vinyl, or trying restored model with cartridge to find something to play installed for about $425, those old Foghat albums which is just what our pub- that you’ve had tucked in the lisher did. While a fair price closet since high school, this for a budget turntable, this is a fun record player and it’s is a testament to the staying fully automatic. Which can power of these turntables, as really come in handy if you they were $185 when new in revisit the state of mind that 1970-1972. Fix My Dual! you were in the last time you “I’ve always got at least listened to Foghat... If you By Jerold O’Brien a few on the shelf, ready to want your audiophile bud- go,” Neumann said when we O LD SC HOO L : dies to think that you’ve real- talked to him. His cartridge Many of us have fond memories of Dual turntables. In the mid to Who needs iTunes ly lost your mind, grab some and Cover Flow, of choice; a vintage Shure, late 70’s, these automatic, idler drive tables were top contenders, dollar selections from your or the Grado Black. As the when you can load local record store or thrift with stiff competition coming from the likes of Thorens and Garrard. up five albums to big cheese just happened shop and stack ‘em! Who Built like tanks, the underside was full of springs, gears and of play non-stop. to have a spare Grado Red needs iTunes and Cover hanging around, that was the course the big rubber idler wheel. About this time, Linn’s LP-12 hit Flow, when you can load up direction this table, a 1219 the scene, offering a new level of musicality along with the direct five albums to play non-stop. ended up taking. Neumann drive tables from the Japanese that both stole some of the thunder The two most popular added, “The major difference models, the 1219 and the between the 1219 and the from the idler drives. Dual would go on to produce belt (and direct) 1229 are trading on eBay be- 1229 is the later model has a drive models before fading off into oblivion in the mid 80’s, but their tween $75 and $225, but this window with a strobe for the legacy was definitely the idler drive tables. is not the way you want to roll. speed control. (continued)

42 TONE A U D I O NO.31 August 2010 43 FEATURE

They had to do that to keep up with Technics, but it’s really not necessary, these tables hold their This is the perfect speed very well.” solution for the vinyl newbie... This is the perfect solution for the vinyl All you need to newbie, because the table arrives meticulously do is affix the packed. All you need to do is affix the counter- counterweight and weight and set the tracking force. You’ll be play- set the tracking ing music in five minutes. force. Definitely a Vintage Sound O LD SC HOO L : After the photos were taken we decided to explore the limits of the 1219’s performance envelope, before I took it home to a more “vintage” environment. I’m sure most Dual owners won’t be hooking this baby up to a $12,000 Audio Research REF Phono 2, but it was easy Captivating an audience calls for honesty and to see just what the table was capable of genuineness and just like Tin Pan we enjoy what we do. Creating pure and authentic when doing so. It is definitely as I remember sound is all about passion and respect for them sounding, somewhat warm and wooly, music and those who interpret it. yet friendly. There is definitely something to Nothing added. Nothing subtracted. be said for “the idler arm sound”, with a nice Find out more about Tin Pan and the DALI The DALI IKON series sets new standards weight to the lower end. (continued) IN ADMIRATION OF MUSIC speaker range on our website or contact our Each model offers materials, technology US Office, The Sound Organisation and performance worth of comparison 44 TONE A U D I O NO.31 Tel: 972-234-0182 www.soundorg.com www.dali-speakers.com well beyond theirAugust price range. 2010 45 FEATURE

Back in my batcave, hooked article after I’ve played with this up to a recently restored Har- table a little more, experiment- mon Kardon Citation 18 preamp ing with some cable options and Dynaco Stereo 70 driving as well as a few more budget a pair of JBL L-166’s, the sound cartridges. I’m convinced there was full and enjoyable with killer is more performance to be had bass. When comparing this to a from the 1218. Rega P2 with Elys cartridge, the I just couldn’t bring myself Rega table definitely has a live- to use fully automatic mode, lier sound with more midrange but the auto return feature was detail; now I remember how and handy when I was getting busy why these tables were so excit- later that evening. Foghat never ing back in the 70’s when they sounded so good. l arrived on the scene. However, I suspect that the 1219 may be For more product information: severely limited by the cheapo stock tonearm cable. My www.fixmydual.com tweakazoid sensibilities might www.dual-reference.com get the better of me, so don’t be surprised if you see a follow up

46 TONE A U D I O NO.31 August 2010 47 FEATURE FEATURE

Her latest show concentrates on Fortunately, I’m as busy as I’d like to a single artist, with the interviews be and that’s great. I’ve met one of punctuated by live performances my major goals to get more control A Private from the artist in the A&E studio. And over my schedule. I’ve got a studio Hoffman has expanded her reach, not at home too, which really helps. It’s only covering great artists from the a nice balance between working at Session 70s and 80s (Squeeze, Cyndi Lauper, home doing voice work, narrations Smokey Robinson) but current acts and commercials, then coming into such as Seal, Maroon 5, and Alanis the studio to shoot. Morrisette. She’s also interviewed With You started in radio and moved to actors (Michael Douglas, Dustin VH-1. Was that your first TV gig? Hoffman) whose careers span the Lynn Hoffman decades. Yes, after ten years of morning radio, Having taken on some of the I wanted to make the transition to By Jeff Dorgay biggest personalities in the music TV and VH-1 hired me to be the business (Ringo Starr, Gene Simmons), first host of VH-1 Classic, which was Hoffman is as warm off camera as part of MTV Network’s new chain of f you were watching VH-1 at the turn she is on the show. As she mentions digital cable networks launched in Iof the 21st Century, chances are you in the interview, the best discussions 2002. caught VJ Lynn Hoffman on their popular are those that end up being a conver- Classic was always a great slice new cable network, VH-1 Classic, which sation and go off the scripted path. of our past and was really popular featured many of the best videos from With Private Sessions now in its third around here. Was it a lot of fun to “Don’t show up the 80s by the likes of popular artists like season and attracting 93 million view- work on the show? ers, she’s certainly come a long way tomorrow Michael Jackson and Van Halen as well (Laughs) It was great fun, a real since doing radio commercials for because none as some from more obscure and one-hit- breath of fresh air. Not many her dad’s furniture business when of us are going commercials then either, just great wonder bands. she was 19. to be there. Hoffman was a great host, often videos. I had 5 ½ years at VH-1 having the time of my life and I We’re all interviewing many artists about their TONE: Are you still doing radio didn’t want it to ever end. I was an getting our work, past and present, as well as these days? 80s chick heavily influenced by 70s pink slips.” hosting the popular “All Request Hour.” Lynn: I don’t have my own show right music, which to me was still my She even started a Thanksgiving trend, now, but I am the imaging voice of a favorite time period for music. To hosting a show with Twisted Sister’s Dee lot of stations all over the country and be able to start in this business with Snider. (Hoffman told me in the following I did just come out of the studio from so many seasoned pros was a thrill. interview that she unfortunately missed recording a demo show with Dee But my boss warned me that when the year that he cut the turkey with a Snider. It’s hush hush right now; we’ll the show became really popular he chain saw.) let you know soon. feared we would lose it, because it Today, she’s the host of A&E Net- How much time are you spending was a small group working on it. works and Daytime Emmy Nominated with Twitter and Facebook now So, how did Private Sessions that we are so interconnected? Private Sessions, (airing at 9 a.m. EST, come about? Did they find you on Sundays) taking the concept further. A lot, but I am looking forward to or did you find them? going on vacation and having a little Well, one day my producer (from quiet time. Photos of Lynn Hoffman Classic) called and said, “Don’t show ©2008 AETN / Photo Credit: Eric McNatt Between all the projects on your up tomorrow because none of us are Photos of Lynn with guests ©2009 AETN / Photo Credit: Billy Tompkins plate and Private Sessions, you going to be there. We’re all getting seem to be staying very busy. our pink slips.” (continued)

48 TONE A U D I O NO.31 August 2010 49 FEATURE

Ouch. Yeah, no one ever even called me, just my producer to give me a heads up. But within two hours, my agent called and told me he had good news about an audition I had done for A&E. That’s great that one door opened just as the other shut... Exactly. Is it more interesting being more in control of this show, and not having a co-host? How much input do you have on the program? I love it, I absolutely love it, and my producer, Liisa Lunden has made me a collaborative partner on the show. I get to be a big part of the show, sharing ideas and my questions for the guests. I’ve even received Hear More Music. producer credit on a few shows, which has been very exciting. Who handles the actual booking of the guests? Do you get to put the Meridian Sooloos’ powerful media server system makes any “A complete reinvention of how we relate to music” —esquire thumbs down if it’s someone you digital music collection a joy to explore. Not only do you have really don’t want to interview? 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 (Laughs) Liisa does the bulk of the the system finds music for you based on what you want to booking. But if there’s someone I’m hear. Meridian’s DSP Active Loudspeakers combine 30 “The Sooloos system gave us a musical epiphany… it’s sheer dying to get on the show, she’ll make years of high performance digital loudspeaker excellence in a genius” —stereophile simple, elegant design. Bring them together, and you have an the pitch. astonishing listening experience. “Sooloos’ ability to instantly sort through your library and present to you exactly the music you might want to hear at Has anyone turned you down? The Meridian Sooloos Control 10 connects quickly and any particular moment borders on the magical…” Not so far, though we’ve got a few easily to your Meridian DSP Active Loudspeakers to form —the absolute sound a complete digital audio system in a single room – or people with scheduling conflicts from throughout your entire home. time to time. At least that’s what they tell us. Often, it depends on It’s the ultimate music system for simplicity and elegance, recording and touring schedules as power and performance, enjoyment and discovery. well as getting all the members of the Call 404-344-7111 to arrange for a personal demonstration band in NYC at the same time. of Meridian’s distributed audio, home theatre and music I would think in the climate of server systems, or visit www.meridian-audio.com to learn more about Meridian products. today’s music industry, with everyone clamoring for buzz, most artists would be thrilled to get in front of the camera. (continued) Lynn with Smokey Robinson www.meridian-audio.com

50 TONE A U D I O NO.31 August 2010 51 FEATURE

mu-sic mil-len-ni-um a place where the music & people still matter

Lynn with John Oates and Daryl Hall (Producer Lunden adds) You would think so, How about your recent show with maybe 70% of the artists agree. But the other 30% Gene Simmons? still don’t get it. The music industry is not like it Gene was so awesome. We had the best time used to be. with him. He stayed over an hour after the inter- You always come across so calm and relaxed view! He gave us guitar lessons and taught us on camera. Is there anyone that you’ve how to balance flowers on our noses, that kind #9 on the List of Best Record interviewed when you had to fight the urge of thing. Stores in the Country to be a fangirl? (Lunden adds) I have to say as an outsider, who Not really, because I feel the only way to do this has to research what guests have done on other job properly is to not fall into that trap. But I did shows: Lynn did an outstanding job with Gene. have a moment recently.... Sometimes he can be very challenging to the person who is interviewing him, and the interviewer Was that when Sting kissed you? has to stay on their game in order to keep up with Believe it or not, it wasn’t Sting. It was when I him. Lynn handled it all and that’s why they hit it met Debbie Harry. I was struck by her beauty. off so well. Whereas a lesser interviewer might One of America’s Best Her stylist came into my dressing room and said have been offended by a couple of things he said, Record Stores Debbie wanted to know what I was wearing so Lynn got him and enjoyed chatting with him and she would know what to wear. I knocked on her to this day, it’s one of her best interviewers yet! door and there was this woman, one of the most You made it look so easy... photographed women in the world, and when I saw www.musicmillennium.com her there I got sweaty and didn’t know what to say. I think it was because I get the character. Howard 3158 E. Burnside I kind of backed out of the door, but she couldn’t Stern is the same way. If you get the character Portland, Oregon 97214 have been sweeter. By the time we got on camera, and let them be themselves, it’s okay. It’s part of Phone: (503) 231-8926 it was cool. And [Blondie guitarist] Chris Stein is the brand. Gene Simmons is not a jerk at all. I felt one of the nicest guys ever, so it all went easy. like we really connected. (continued)

52 TONE A U D I O NO.31 August 2010 53 FEATURE FEATURE

Who has been your most challenging And if at all possible to ask some questions That really helps the guest get comfortable interview? that haven’t been asked. When it turns into before the interview, and I never know who an actual conversation, that’s when you get might be sitting next to my chair when I’m Joe Jackson. It was my first on camera the interesting stuff that hasn’t happened on getting my makeup and hair done. interview. He gave me all one-word answers. camera. Sounds like it’s always a pretty What do you do then? Have any of the people you’ve worked interesting day. I cried after that one! I wanted to give up. with in the music industry become good Exactly. It’s like home here and from the Meat Loaf was challenging but in a good friends? minute our guests get here, we try to make way, because he has such a long story Dee Snider and I became good friends it very comfortable. to tell, so how do you fit it in? Ringo was and we share an agent. I’ve been to dinner tough, only because everyone here freaked with Roger Daltrey after a show. He was a So, how much of a music person are out about having a Beatle in the building. perfect gentleman, and even walked me you? At the end of the show, have you You could cut the tension in the hallway home. I invited him in and he hung out with had enough and need peace and quiet, with a knife. But once I sat down with him, my boyfriend and I for a while. It was very or are you still in the groove? he was great. surreal! Simon Kirk from Bad Company, No, I’m a music nut. I’ve been listening to Is it tougher interviewing someone Jack Blades, and Kelly Keagy from Night Pandora a lot lately on my iPhone. To just like that, who’s been interviewed a lot Ranger are dear friends as well. punch in one of my favorite artists and get a over the years, to come up with a few I loved the clip of you helping Glenn custom radio show with no commercials. It’s interesting, perhaps off-the-beaten-path Tilbrook from Squeeze with his makeup. fantastic. questions? Any wardrobe malfunctions at Private You mentioned being a 70s and 80s girl. ? That’s a big part of what we try to do on Sessions What new things are you listening to the show, especially with someone like No, but it is interesting. At any given time these days? Ringo who has been interviewed for almost you might see me getting sewing lessons I’m definitely more of a rock fan. I grew up 50 years now. Even with some of the from Vanessa Williams or Kevin Bacon with Motley Crue, Whitesnake, that kind of questions that have been asked before, we doing my hair. Our guests feel comfortable thing. I just finished a segment with Rob try to ask them in a way that sounds fresh. goofing around on our show, and I love that. Halford from Judas Priest. And, I have to mention my brother Greg, from Boston, who is in a band called Cropduster. Though new, they are highly influenced by the 70s sound. I also am a big singer-songwriter fan and love James Taylor, but I haven’t seen him on the current tour yet with Carole King. The premium seats here in Portland went for $4,500 each! Lynn and Rob Halford share devil horns (to Liisa) Can we book him on the show, so we don’t have to pay that? But one of the other artists I’m listening to is Michael Nappi. I can’t get enough of him and though he’s getting limited airplay, I think he’s got a good chance at breaking to a larger audience. Tom Glynn, from Boston, is on my list as well. I’m also listening to Katy Perry, Lady Gaga, and Scissor Sisters. If you catch me alone in the car I’ll even blast Miley Cyrus Lynn in an interview with Lindsey Buckingham once in a while. (continued)

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Any other guilty pleasures? I still like Winger. “Headed for a Heartbreak” was one of my favorite songs growing up. Do you play Rock Band and if so, are you a casual or maniacal player? I do, definitely more on the maniacal side. I’ve been playing video games since I got my first Atari system in 1979. Today, it’s Xbox for me and I love to play Rock Band and Guitar Hero whenever I have the time. It’s great for entertaining friends and family. But truthfully, Halo is my game and I can beat any guy at it. Bring it on!

People are playing it a lot safer these days. They aren’t driving motorcycles through hotels anymore!

Who would you most like to play Rock Band against? Aerosmith, my all-time favorite rock band. It would be fun to play against the guys from ELO, or perhaps Earth, Wind and Fire too. Who would you most like to sing a duet with? That’s a tough one. John Mayer, Steve Perry, Alicia Keys, or Sheryl Crow. Are you surprised that vinyl has made such a big comeback and that LPs are selling as well as they are in 2010? I still have a turntable, and still listen to the records I grew up with. I love the sound of vinyl. The artists really like it too. So many have told me that they wish the music business would go even further back that way. I think today’s kids are really starting to appreciate that part of music’s heritage. What’s the biggest change you’ve noticed in the business? People are playing it a lot safer these days. They aren’t driving motorcycles through hotels anymore!

The music of the 70s and 80s has been good to Lynn Hoffman, and she’s always on the move. Stay tuned with Lynn and Private Sessions on Sunday mornings on A&E. She’s got an interesting guest list going forward. l

56 TONE A U D I O NO.31 August 2010 57 MUSIC MUSIC Audiophile In the meantime, the quality control on this pressing is By Jeff Dorgay fantastic. MoFi did a great job Pressings on the printing and again used the U.K. format for the cover (rather than the U.S./Columbia format). So if you bought a U.S. copy, the covers appear n light of many heated arguments Specifically, here’s what we do look for: reversed. U.S. copies with early stamper numbers currently over which pressing happens to 1. Is the quality of the vinyl exceptional? Low surface noise, flat pressing, etc. sell in the $18-$30 range, and be the proverbial holy grail, we original UK pressings fetch 2. How does the sound compare to not about 30% more. Garden- feel it is important to re-state our only an unobtainable pressing (which may be variety editions can be had for prohibitively expensive) and how does it compare about $6. If you are looking position on today’s remastered to the average pressing that you might find at for something off the beaten your local record store or online auction in the path, Linn’s Selekt Records LPs. Whenever possible, for the $5-$25 range? produced a remaster that’s not sake of absolute reference, we will 3. How does the packaging compare to the half bad, but is rare and often original? If there were any special features with trades as high as $100. Iattempt to compare said remasters the original (gatefold, stickers, additional poster, Bottom line, however, is to “unobtainable” pressings in our etc.), how much care was taken in duplicating that the MoFi disc is exem- such goodies as well as the overall print quality? Elvis Costello plary, and for $29.95, is likely collection. the best version of this record 4. If there is a significant variation from the Armed Forces available. U.S. editions not original, what has the current mastering MoFi, 180g LP only have the treble tipped up However, when considering the engineer done with the interpretation? While the first two LP’s in Elvis Costello’s catalog but also feature more com- purchase of a remastered album, Also, with so many holy grail pressings pression and don’t have the out of the financial reach of most of us, does have already been given the royal treatment by MoFi’s weight. our primary criteria for evaluation is the remaster come close to the magic without MoFi, this, a restoration of his third record, is the As is typical with all of the costing more than it would cost you to live in not whether said remaster is equal best yet. If you are one of the Costello fans that label’s recent pressings, the Belize for a year? If so, then it’s an overwhelming consider his first four albums his finest work, you LP surfaces are CD quiet, to or better than an unobtainable success. (Personally, I think anyone paying $900 with a big, wide soundstage. for a “hot stamper” of anything is crazy, but our are in for a treat. We can only hope that MoFi will Cymbals actually sound like pressing. We judge the record on hobby is all about obsession, so I won’t pass get its hands on Imperial Bedroom as well. For cymbals, and you can hear a judgment.) it’s own merit. now, the guys in Sebastopol aren’t talking. lot more of the echo applied to If you are looking to this column for the last Costello’s voice. The sound- word on pressing quality, it might be of more stage is slightly wider, but a lot limited use to you. But if you want to know if the deeper. Moreover, a huge level latest Elvis Costello remaster rocks, we can help. of grain has been removed. And so this issue’s column begins with…Elvis! Highly recommended.

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The last few records that we’ve sampled from Friday Music have been somewhat harsh and compressed, with a tonal balance that skews towards the thin, bright side of the spectrum. Alas, this Jeff Beck classic doesn’t veer far from that typical (i.e., disappointing) experience. Although Friday Music claims that this pressing is half-speed mastered from the original master tape, the results GamuT don’t sound any better than my early Epic pressing—an edition that you should be able to find at a used record 7 store for about $4. This copy and my original Epic are somewhat crunchy Jeff Beck sounding on the top end, and have an Blow by Blow equally wide soundstage. Keep in mind, Friday Music, 180g LP however, that these results come via the somewhat lush Koetsu Urushi Blue cartridge. When played on my other ‘table with the Clearaudio DaVinci (very S Although Friday Music resolving and upfront tonal balance), claims that this pressing the record is almost unlistenable. is half-speed mastered Seriously, don’t even think about buying Main Office: from the original master this pressing unless your system is GamuT International A/S tape, the results don’t somewhat on the romantic side. sound any better than gamutaudio.com my early Epic pressing. The recording to beat—if you can find one at a reasonable price—is the U.S. Distributor: original SACD. With a more relaxed top KT Audio Imports end, bigger soundstage, and better ktaudioimports.com dynamics, it’s my first choice.

Experience the “El Superiores” Speakers

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Maybe I’m an eternal optimist, or maybe it was the writing in the deadwax on this record that says “One of Joe’s favorites,” but I had to give Friday Music one more chance because Bridge of Sighs is one of my favorites, too. It brings back great memories of seeing Robin Trower live during the period when he was a guitar god, regularly compared to Hendrix, and did an awfully spectacular job delivering Robin Trower the goods. Bridge of Sighs Helming one of the great 70s power Friday Music, 180g LP trios, Trower follows the Cream tradition throughout this set by way of husky bass lines, innovative drumming, a gritty lead singer (James Dewar), and, of course, Every track on bluesy guitar work. Every track on this this record sounds record sounds fantastic, with a lot more fantastic, with a lot air than my early U.S. pressings. The more air than my soundstage is expanded and possesses early U.S. pressings. more low-level detail. Backing vocal tracks and band interaction are much easier to discern, and the cymbals sound DAC1 HDR correct. Trower’s spacey wah-wah guitar Stereo Pre-Amp with Remote Control

claims a richer tone and figures more DAC / Headphone Amp / USB prominently in the mix, slightly to the right “ of center. “...a great all around piece.

This pressing is definitely a treat for Tone Audio Trower fans, especially for those whose “ older copies are mediocre or worn from “Damn close to a perfect piece of equipment. heavy rotation. The question remains: The Audio Critic Will Friday Music get its shit together and continue to produce records at this level of quality? I certainly hope so. 800-262-4675 Made In BenchmarkMedia.com Syracuse, NY, U.S.A.

62 TONE A U D I O NO.31 August 2010 63 MUSIC MUSIC

Canned Heat and John Lee Hooker

Chances are your copy of Hooker While this Sundazed N’ Heat didn’t survive the 70s in very version suspiciously good shape. If that’s the case, here’s sounds as if it’s been your chance to get a pristine edition. cut from a digital The folks at Pure Pleasure have done master, the overall their usual excellent job at resurrecting effect is much better vintage blues and taking it home. than that of the True to the title, this double album reissued CDs. features Canned Heat and mega bluesman John Lee Hooker performing the latter’s songs in August 1970. The liner notes mention that Hooker used a vintage Silvertone amplifier propped up on a wooden platform where he sat and played guitar. Pure Pleasure’s press- If you are a Krautrock fan, you know about this band and ing does a fantastic job of recreating Can you know that mint, early U.K. pressings of Can’s albums can fetch as high as $300 each. While this Sundazed ver- Hooker’s guitar as well as said recording Inner Space sion suspiciously sounds as if it’s been cut from a digital space. His vocals are mostly just to the Sundazed, LP Hooker N’ Heat right of the right speaker, with his guitar master, with the highs slightly crunchy and harsh, the over- Pure Pleasure Records, 180g 2-LP set more to the left. But the sound is huge, all effect is much better than that of the reissued CDs. full of body and decay. During some of The overall mix is big and wide, and very Kraftwerk- the quieter parts, you can even hear the like in delivery, as a bevy of analog synth and atmospheric If you are a blues fan tube rush in his amp, which must be sounds bounce throughout the room, everything punctu- and don’t have this cranked up to about 13. ated by random drumbeats. And while Inner Space isn’t one in your collection, If you are a blues fan and don’t the best example of Can’s hallmark sound, this LP is I can’t recommend it have this one in your collection, I can’t priced right at $19. Moreover, your chances of finding one highly enough— recommend it highly enough—it’s the with surfaces this quiet will easily set you back more than it’s the real deal. real deal. The LP puts you right in the $100—and that’s if you’re lucky. room with Hooker seated about ten And for those that don’t know about Can? Start your feet in front of you. adventures in Krautrock here.

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For those unfamiliar with the new SHM- SACD format, it is a very high-purity disc material that claims a more accurate transfer of the digital information that yields better sound. That’s the theory anyway. Currently, these discs are being distributed by Eastwind Imports, a company that has built a stellar reputation for bringing hard-to- find Japanese imports to the world. While I have purchased some fantastic discs from Eastwind over the years, this time, I must advise caution with these two particular examples of the SHM technology. Yes, these discs are the epitome of the word detail, but unfortunately, there isn’t much warmth or body. These characteristics will appeal to some listeners, but they’re not The Police my cup of tea. And, as these discs possess Synchronicity only an SACD layer, they are not backward Universal Japan, SHM-SACD compatible with conventional CD players. Which means you must have an SACD player at the ready. Both the Police and the Allman Brothers discs are very forward sounding, albeit with excellent dynamics. Should your system already be slightly forward and analytical, these discs might be too much to bear. However, when feeding my dCS Paganini to a vintage tube amplifier, the combination proved intriguing. Hence, if your system features a more lush overall balance, these discs will bring extra life to your set-up. My only real complaint is that for $49 each, Universal needs to open up the vault to more interesting titles than records (like these) that have already been remastered at least five to ten times. This kind of strategy only bodes well for obsessive collectors, not The Allman true music lovers. Brothers At Fillmore East Universal Japan, SHM-SACD

66 TONE A U D I O NO.31 August 2010 67 MUSIC MUSIC

Four More Blue Note XRCDs By Richard Colburn

Johnny Coles was rather diminutive in stature, hence his moniker “Little.” But the nickname has nothing to do with his sound. Pianist Duke Pearson, tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, bassist Bob Cranshaw, and an alternating pair of drummers, Pete La Roca and Walter Perkins, join Coles on 1963’s Dexter Gordon needs no introduction. On LD+3, the Three Sounds—pianist impressive Little Johnny C, the only On Doin’ Allright, the tenor saxophon- Gene Harris, drummer Bill Dowdy, and album the trumpeter released as a ist’s first Blue Note session, he steps bassist Andrew Simpkins—are joined bandleader. From the opening bars out with a young Freddie Hubbard by prolific alto saxophonist Lou Don- of the upbeat title cut to the beautiful on trumpet, Al Harewood on drums, aldson. By the time this 1959 effort was soulful tones of “So Sweet My Little George Tucker on bass, and Horace recorded, the Three Sounds already Girl,” Coles’ soft touch on the horn Parlan on piano. And what a session made a name for themselves as a tight is majestically showcased. However, this is. It leads off with the George Ger- Blue Note trio. But as a quartet, the most of the tunes swing with stand- shwin’s lovely “I Was Doing All Right,” group simply swings hard. Nowhere is f you feel left out of the highly deserved out tandem playing of the major lines. on which both Gordon and Hubbard this more evident than on Donaldson’s hoopla surrounding Music Matters’ classic But it’s Henderson’s “Hobo Joe” display their considerable melodic tal- “Jump Up” and Charlie Parker’s “Con- Blue Note 45RPM vinyl reissues because that’ll really have you tapping your feet ents. Gordon’s ballad “You’ve Changed” firmation.” The tempo slows up a bit on and snapping fingers. Coles’ career you don’t own a turntable, not to worry. You is delivered with thoughtful tenderness Rogers and Hart’s “Blue Moon.” Yet the involved associations with Gil Evans, can still get in on the action with the Audio and restraint. By contrast, the mood band never approaches ballad territory Charles Mingus, and Herbie Hancock, Wave Music JVC XRCD editions of the turns bluesy and somewhat fiery on because the percolating rhythm sec- but you’ll be asking “what if” after same recordings. And you won’t be missing “Society Red.” And Gordon’s big, sig- tion just won’t let it happen. Besides hearing this treasure. out on much at all. Producer Joe Harley is nature tone peppers the swinging “It’s Donaldson’s excellent blowing, Harris’ You Or No One.” As usual, the sound chops and tidy solos dominate. And yes, the common denominator between the two is clean and clear, with excellent place- there’s more of that trademark Blue Note Iprojects. There’s also one big advantage ment of the instruments within the house sound here, rendered so well by to listening to digital: You don’t have to get soundstage. Highly satisfying. JVC’s mastering process. up after one or two compositions because the lead-out groove is insistently grinding your cartridge. Yes, you can sit back, relax, and enjoy the whole recording session in relaxed, uninterrupted 24-bit fashion.

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Welcome to The Lee Morgan’s The Sidewinder is one of the Family! most famous jazz albums in history. It was also a huge commercial success, and is considered jazz’s first crossover hit. Lost in its shadow, another period Morgan recording, Both a newborn and a proven Tom Cat, sat in the vaults before seeing the Olympic athlete: light of day in 1980. What a shame. The 1964 set captures Morgan in fine form and accom- USB Audio joins reel-to-reel tape, panied by some of Blue Note’s most legend- the LP and DSD as having legitimate ary names: Art Blakey on drums, Bob Cran- shaw on bass, McCoy Tyner on piano, Jackie claim to being the quality end of Mclean on alto sax, and Curtis Fuller on trom- the audio frontier. bone. A formidable lineup, and the recording does not disappoint. Witness the uptempo blues of the title cut, with a creeping bass/piano line over which the horn players alternately Once upon a time, the shift to dot-matrix printers meant new-found versatility, but lousy looking type, then slow burn or freely swing. After an opening came laser and inkjet. Once upon a time, the shift to digital music fi les meant new-found opportunities, but ... statement on “Twice Around,” Fuller, McLean, Now the digital sun has come out. Possibly the best quality consumer audio ever available, on planet Earth The 1964 set captures Morgan, and Tyner follow with intense solos anyway, has fi nally appeared in the form of 24/96 and 24/192 audio fi les, transferred through USB to a new Morgan in fine form as Blakey either crashes or taps percussive generation of superb DAC’s (Digital Audio Converters), whether built into today’s best receivers and amps, or and accompanied by rhythms before taking his own solo turn. The stand alone components. some of Blue Note’s final piece, “Riggarmortes,” is anything but To ensure that your favorite music is transferred with minimal corruption (jitter), AudioQuest offers most legendary cold and stiff. We’re lucky the vaults yielded 5 models of USB cable, featuring better metals, better geometry, Dielectric-Bias System, Noise-Dissipation names... this sonic secret. By the time Tom Cat was System ... all of AudioQuest’s expertise and proven techniques for delivering superior digital audio, whether released, Morgan had been gone for eight through coax (RCA or BNC plug), balanced cable (XLR plug), HDMI, 1394 (FireWire®), Ethernet (RJ45), years, murdered by his common-law wife between sets at Slug’s, an East Village jazz club. Toslink ... and now USB. He was just 33. Whether you’re playing 128K fi les, or lossless 44.1 (CD quality), or 24/96 ... it’s a bright and wonderful day in the JVC’s packaging on all of these discs is audio world! top notch, featuring an extra-sturdy case with classic Blue Note album artwork adorning most of the reissues. The insides open up to original liner notes, recording session photos, and extensive information on the XRCD recording process. Good-quality original master tapes, Harley’s meticulous production, and Alan Yoshida’s mastering skills are respon- sible for the amazing sound. l

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70 TONE A U D I O NO.31 August 2010 71 FEATURE Cute, Powerful, Portable The Logitech Squeezebox Touch By Rich Kent

Music lovers are always compiling lists of their favorite songs, and long before we had playlists in iTunes, there was the venerable mix tape. Those who remember when our only options for music software were records and tapes will also recall the work needed to make a great mix tape: you had to listen and record in real time as well as keeping a calculator handy to determine just how many tracks you could fit onto the side of a cassette or reel tape. It was an art form and a gift to others who treasured and cherished these collections wholeheartedly. And the true masters could run music right to the end of the tape. As the saying goes, you had to be there…

Times have changed with digital media reigning supreme and analogue sources a curiosity and an eccentric media at best. The LP has been making a solid comeback, but it is still a minor part of totals sales compared with the digital music format. B U DGET GEAR : While ripping used to be something that the guy at Home Depot wouldn’t do to your sheet of plywood, most of us now equate it with copying the digital files on a CD directly to a memory storage device, whether it be an iPod, computer or separate external hard drive. Within a few minutes all of the tracks on a CD can be copied, stored and compressed to MP3’s that will have either a loss in sound quality or, in a lossless format such as Free Lossless Audio Codec (FLAC), with no audible sound deterioration. A play list can be created by selecting files and creating queues to your digital storage device in seconds; gone is the time-con- suming real-time editing process. We’ve turned the art form into a convenience.

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If connecting the Touch directly for a second system with powered the dark ages, an app is short for to a computer or a NAS device on speakers wherever you might want an application that can be run on a your network, the Logitech server to place it: the porch, the garage, specific device, much like software software must be installed. This wherever you would like access on your computer. The applica- should not cause any problems to your music library. Thanks to tion gallery on the Touch menu is as the server software has been the easy-to-read display and inter- sparse, although Logitech prom- written for PC, MAC or Linux sys- face, the Touch becomes a music ises more in the future. I installed tems. My NAS (network attached system that everyone can enjoy. I a weather app as well as an app storage) device is a Readynas NV+ could easily see this working well in to access my Facebook accounts. and required just a quick download a party environment, where people While it took a bit of wrestling with from Logitech and a firmware up- could play a compilation of songs the applications to install both the date to install, making the integra- from a memory device as well as weather app and Facebook app, tion seamless. from a main music library. Maybe they worked well enough to be ad- The software reads the media the future isn’t so bad after all. This ditional reasons to want a Touch. file, whether it be MP3, FLAC or is where the Touch really eclipses The Touch will also read image WAV, and it creates a file sort sys- an iPod on a dock. Thanks to that files and display them as a slide- tem which allows you to search built-in headphone jack, the Touch show while your music is playing. your media via album, song title, makes a great bedside listening This is a cool feature in theory, but artists or genre. Full specifications station. Crazed headphone enthu- the small screen makes it of dubi- for the Touch can be found here: siasts can always plug in the Touch ous value. http://tinyurl.com/23p65r6. Select- via the analog outputs if you want ing a track consists of few key more fidelity. A Caveat punches through the file data, and Playing the Touch directly from The Touch is supplied with you are streaming media to your its analogue outputs in my refer- a remote and when in use, the audio system. Custom playlists can ence system gave an adequate Screen Fonts increase in size for be created by selecting tracks from performance, but there was a defi- Today’s Mix Tape is Somewhat Different easier viewing from a distant posi- the menu screens and saving the nite veiling effect and compression tion. A great feature if you are still With hard-drive storage being somewhat ubiquitous list. Best-of and favorite mood se- of the soundstage when compared fairly close to the Touch screen, these days, there are quite a few different choices for the lections can be created in minutes with my CD player. but in most cases you will be too music lover who wants a series of virtual playlists at his or simply by following the menus. Routing the signal via the SP- far from the small screen to read The Touch can work her disposal. The Squeezebox was introduced to the public a few years ago, and it offered an inexpensive yet portable The Touch can work directly DIF output to the PS Audio Perfect them or in another room altogether directly with an with an external USB hard drive, Wave DAC improved the sound when changing your music selec- external USB hard way to stream audio from the files on your computer via a memory key or SD card. The built- quality tremendously, going from a tions. If only Logitech could make drive, memory key network (hard wired or wireless, but that’s a discussion for “C” grade through the analog out- or SD card. another day). It was a great device, but it lacked much of a in software takes a few minutes a remote with its own LCD screen B U DGET GEAR : visual interface, making it ultimately limited. to read the files on either of those puts to a “B+” through the digital or an application that would al- sources and organize them into the output. However, considering this low your iPod Touch to control the The current Squeezebox Touch consists of a 4.3-inch user interface. This was my favor- is only a $300 device combined Logitech Touch from a distance. glossy touch-screen interface tilted back at a 30-degree ite feature, and it makes the Touch with tremendous convenience, angle and has a form factor remarkably close to the original. The Sonos music server offers that much more user friendly. Now overall it rates a solid “A” in my The unit comes complete with a wall wart power supply, this functionality now, albeit at a you can just take some files over to book. RCA audio cables, polish cloth and remote. The Touch can much higher price. In the end, the a friend’s house and share music connect to your network wirelessly or via a direct Ethernet Squeezebox Touch is a feature-rich instantly. Extras…Apps and More connection. Coax and optical digital ouputs complement the product that is well worth the ask- analogue RCA jack connections, plus a mini headphone jack The new buzz word these days ing price. It is powerful, portable Audio Quality and Portablility output. USB and SD ports are also available for memory seems to be apps, brought to pop- and can access your digital music cards and external hard drives. The USB port will not sup- This level of portability also ularity by Apple and their famous files with ease, making 21st Cen- port a direct computer connection. makes the Touch a great source App Store. For those still living in tury playlists a snap.

74 TONE A U D I O NO.31 August 2010 75 FEATURE

Additional Listening Jeff Dorgay

While I found the first Squeezebox interesting a few High and Low Res years back, no one in my family wanted to engage As Rich mentioned, the fidelity is quite good it and I started down the path with the Sooloos, with the Squeezebox; it steps up a sizeable notch which remains my music server of choice. The cur- if you have high-resolution files on hand. Sampling rent Squeezebox Touch is more intriguing now that a number of downloads from the Naim Store, HD the visuals have been improved tremendously. I can Tracks and my own LP rips, 24/96 files definitely access the MP3 files in my Sooloos TwinStores as make a big difference in sound quality. well as the high-resolution files that a Drobo feeds my Naim HDX music server, making the Touch a On the other end of the spectrum, the Touch fantastic remote client that I can pick up and take lets you program in your favorite Internet radio anywhere. Thanks to the wireless connection, I can stations in addition to your ripped music files. For even take it next door when everyone is hanging out those of you who don’t even want to start digitiz- there and make it part of the party. ing your music collection, the Touch is a fantastic Internet radio tuner that you can use anywhere To use the Touch, you will have to install the you have a connection. Even if you only use it for Squeezebox Server software on your Mac or PC. this purpose, it is well worth the price. I had no problems on either platform, and this is the bridge that tells your Squeezebox where your Now that the Squeezebox has a decent user music is located. interface, it’s tough to beat for 300 bucks. If you haven’t yet dipped your toe in the music-server One area in which the Touch has been im- pond and you’d like to give it a try with minimum proved is its ability to stay locked on the music risk, the Squeezebox Touch is the way to roll. Even stream from your network. The first-generation if you graduate to something more exotic in the Squeezebox was glitchy, cutting out if there was a future, the versatility that the Touch offers will allow lot of other activity on the local network. The cur- you to use it somewhere in your environment, no rent product is much better, but if we were taxing matter what your eventual system configuration. It’s the network, moving large files or streaming some- not quite as touchy-feely as a cassette tape, but in thing on Netflix, it would still take its toll on the many ways much more versatile. l Squeezebox stream if used wireless. Hence, I still suggest hardwiring the Touch for maximum perfor- The Logitech Squeezebox Touch, $299 mance if you have other users on your network. http://tinyurl.com/29n2rya

76 TONE A U D I O NO.31 August 2010 77 MUSIC Club Mix By Scott Tetzlaff

Certain things signal that it’s officially summertime—the smell of coconut-based skin products, beer laced with citrus, fluffy beach towels, and funk. Picture yourself heading towards the beach with the car windows open, funk music cranked on the stereo, and a large cooler of beverages in the trunk. If you add a new pair of The Bamboos sunglasses to the mix, you’re approaching Step it Up perfection. (And you get bonus points Ubiquity Records, CD and LP for driving a large, vintage 70s American convertible.)

Of course, your track choices are he Bamboos are an Australian funk group everything. You could go for the obvious old- that’s been around for about 10 years. school choices (Ohio Players, Parliament, Who knew? Released after a series of Rufus, et. al.) but there are so many new excellent singles, their full-length debut, Step it Up, heavily relies on flute and and exotic choices, there’s enough to keep organ to produce a 70s sound that’s perfectly it fresh for a long time. Or at least until it is Tcomplimented by vocals from Alice Russell. time to put the top back up in the fall. Both the title track and “Transcend Me” could easily pass for the kind of undiscovered classics Digging through the nooks and crannies, located on the sides of a locally released 45RPM searching for unknown funk, I’ve come up single stashed away in your parents’ attic. aces. Here’s a collection of old tunes that If this description piques your curiosity, have been lost, some new friends, and a check out the band’s latest release, 4, also on Ubiquity. It extends the sound into new few choice exports from lands you might not territories with a few new vocalists and great associate with sticky, smelly funk music. sitar riffs. But Step It Up is where it all began.

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Bonde Do Role With Lasers Domino, CD and LP

Mixing a taste for funk, modern and exotic, we arrive at Bonde Do Role, a Brazilian Funk (baile funk) band discovered by producer Diplo a So we get great tracks from few years ago. The high-energy group sings in the likes of Teddy Pendergrass, Portuguese, but you don’t have to understand Harold Melvin & The Blue Notes, the language to enjoy the music. Songs range and The Tramps, plus a pair from playful to downright punk-ish. Originally of remixes of The Jacksons’ released in Brazil in 2007, With Lasers is just “Living Together.” If your list of making it to our shores now. summer fun includes a dance A metal groove is fused into the opening party, this set needs to be on “Danca Do Zumbi” and weaves throughout the your shopping list. And if you’re song, which is layered on top of rapid drum- still scared to mess with the beats. A deep, monster voice growls in the classics, there’s a 35-minute background. This is definitely not garden-variety preview here: www.soundcloud. funk. Dimitri from Paris com/dfp. Warning: Once you dip The London Funk Allstars The disc immediately changes direction Get Down With The Philly Sound your toe in the water, you’ll be London Funk Allstars Vol. 1 with “Solta O Frango,” sporting a more tradi- BBE Records hooked. These songs have been Ninja Tune, CD tional hip-hop groove before shifting again on CD, LP and WAV or MP3 download redone so tastefully that if you “James Bonde,” a tribute to you know who. hadn’t heard the originals, you’d If only I understood Portuguese. “Office Boy” think this was the way they were Those preferring a decidedly modern approach to wanders the furthest away from the funk vain, done back in the day. Perhaps funk will appreciate this disc. London Funk Allstars channeling 80s rock yet still keeping a familiar that’s Dimitri’s greatest compli- Vol. 1 shades more toward acid-jazz and hip-hop vocal styling that ties it to the rest of the album. ou won’t find this one on iTunes. ment to the music. realms. Still, if you tune your ear a bit, there are definite classical funk underpinnings. Sadly, the Dimitri (aka Dimitris Yerasimos) has Collectors and DJ’s take London Funk Allstars (Jason Tunbridge, Stefan note: BBE Records announced been cranking out excellent soul, funk, and Turner, and Francis Carter) have only put out a Y that only 1000 copies will be couple of albums—preferring quality to quantity. disco compilations for years. His latest is a pressed to vinyl. Currently, the CD is an import, but kudos to Favorite cuts include the trip-hop-beat driven tribute to the Philly sound, a style characterized BBE for making it available as “Funky Sweater,” the jazzy “What’s in the Basket,” and “6 Million Dollar Man,” which features samples by sweeping orchestral flourishes, smooth a download in the form of an uncompressed WAV file as well of Oscar Goldman from the TV series of the same vocals, and lush instrumentals. This double CD as standard MP3. The uncom- name as the song; it will crack you up every time pressed files are worth the extra you hear it. Impress friends with your musical features a wide selection of remixes straight few bucks since the sound qual- knowledge by identifying the jazz samples else- from original 1970s master tapes. ity is superb. A 26-page PDF where on the album. Yes, the treasure is deeply file that outlines the project and buried here, adding to the intrigue. gives background history on the If you like this one, explore further by listen- musicians that made the Philly ing to the London Funk Allstars’ other disc, Flesh sound famous comes with the Eating Disco Zombies versus Bionic Hookers from download. A must-have. Mars. Dig that!

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The new gateway for Audiophiles Orgone builds on where it left off on previous releases. While the first record has more distorted After the first drum hit, you’ll be hooked. But guitars and a side of Stanley Clarke don’t worry, at these prices, Junior’s college fund fusion on the side, and the second is safe…for now. a bit more straight-ahead funk, Cali Fever moves ahead yet again, with more aggressive vocal tracks. Never Settle. That’s Not surprisingly, vocal stylings the driving philosophy are reminiscent of Macy Gray, behind every product Alicia Keys, and Estelle—singers that various band members have our distinguished in-house worked with in the past. design and engineering The record opens heavy on team creates, and the bass and brass with “The Last Motion Series is no Fool” and cruises right to “Crazy exception. Voice matched Orgone Fool,” offering a slightly slower with MartinLogan’s ultra-high-end electrostatic Cali Fever tempo in a retro mode overlaid with speakers, Motion speakers features exotic Folded Ubiquity Records, CD and LP interesting sonic textures. Orgone Motion tweeters that will have your ears lusting continues to ply the throwback for more alone time with your music collection. groove on the title track, which will leave you searching thrift stores in want of big shiny lapels Meet the family ecause Orgone always puts and an 8-track player. The band Starting at only a different spin on its signature quickly shifts gears again with “Sandstorm,” replete with a guitar $199.95* each. “big funk sound,” the group and horn-based rhythm track that *Suggested US retail begs to be part of an upcoming continually keeps fans anxious for more. The B adventure movie. Such is Orgone’s Los Angeles nonet (with a strong lineup of magic, offering plenty of variation without losing track of the core friends and followers) has come a long way sound. since its 2002 self-titled debut. Cali Fever is a super-sized can of funk without an ounce of filler, overflowing with big horns, big beats, and grizzly guitars that know no bounds. Refreshing.

The Great American Speaker Company 82 TONE A U D I O NO.31 www.martinlogan.com/motionAugust 2010 83 MUSIC

Compiled by Quantic Compiled by Joey Negro World’s Rarest Funk 45s, Vol. 1 Backstreet Brit Funk Jazzman, CD Z Records, CD

Another sonic archaeological find, this time Here’s an excellent piece of musical archeology: from the States. Producer Quantic, usually a new release of deep cuts and rarities from various recognized for his own brand of Asian fusion 80s U.K. funk groups. Better still, Backstreet Brit trip-hop, has put together an amazing collec- Funk is compiled by Joey Negor (aka, Dave Lee), a tion of raspy vocal funk with a heavy dose of prolific house music producer and remix artist ex- big brass. traordinaire that publishes under a variety of aliases This is not the kind of stuff you see on and projects (the Sunburst Band, Jakatta, and Mis- late-night TV funk collections. Rather, these turra to name a few). are some deep cuts, the genuine article. With this time period and location, the sound Standout tracks include the Soul Lifters’ leans more towards the disco end of the funk spec- organ-laced “Hot, Funky, and Sweaty” and trum, but manages to stay heavy nonetheless. And “Ain’t No Other Way” by Herman Hilson, who while this disc can be tough to find, you can listen offers up excitable vocals in a classic James to samples on iTunes to see if this one fits the right Brown style. Featuring a crazy amount of groove for you. However, there is a tradeoff. The cowbell, Sandi and the Matues’ “The World iTunes version has three more songs but is a “clean” (Pt. 1)” is pure energy. version that’s slightly altered from the original. The Quantic evidently spent some late-night CD offers better sound quality albeit fewer tracks. hours mining these tracks; his respect for the Highlights include Mirage’s “Summer Grooves,” genre is transparent. The good news? Vol. which plays homage to Earth, Wind, and Fire; the 2 is just as good, if not better. Alas, the funk Hudson People’s decidedly lower-key “Trip to Your quality is high, but the sound quality is low. Mind”; and Incognito’s “Parisienne Girl,” the latter Buy this one because you love it, but don’t much more of a breezy jazz track, with probably the expect much in terms of sonics. lowest proportion of funk in the collection. l

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Wadia’s engineers have managed to squeeze a full-function amplifier and DAC into an 8x8-inch box, taking advantage of Class-D amplification technology. The power supply is also built into the chassis, eliminating the need for an external power supply as the 170i has. This is definitely a 21st Century audio component, with a form factor that eschews the “big box” look, making up the core of a high-performance-yet-compact system that should fit anywhere with ease. The 151 looks as if you put one of Wadia’s full-size disc players in a shrink machine, with identical styling cues, right down to the spiked feet, which are made of hard rubber instead of the aluminum ones found on the big players. The 151 uses a rectangular aqua-blue display with off-white lettering, similar in look and feel to the full-size Wadia components. The top level of information shows the input choice, while the lower level gives the volume level based on a series of vertical bars. A nice remote control is also included to control the 151. To the right of the display are five small rubber buttons labeled: Input, Phase, Mute, Volume + and –. Though full, the back panel offers respectable space with the speaker binding posts on the left half, the right housing the digital COAX 1 and 2 The Wadia inputs on top, and the Toslink and USB on the bottom. The power switch and standard IEC power-cord receptacle occupy the chassis’ far right.

PowerDACBy Jeff Dorgay 151

wo years ago, Wadia began a digital revolution with their 170i transport, being the first to unlock the digital bitstream and give the iPod serious clout as an audiophile component. Their latest creation, the 151 PowerDAC mini, utilizes the same form factor as the 170i and allows the 170i to be stacked on top for a high-performance yet space- efficient audio system. MSRP for the Power DAC mini is $1,195. J OU RNEYMAN A U D IO P HI LE : T 86 TONE A U D I O NO.31 August 2010 87 Primare1:Layout 1 10/27/08 1:29 PM Page 1

FEATURE

Tech Background One of the standout features of the 151 is its volume control that operates in Purity the digital domain, just like their five-figure disc players. Though tougher to implement than an analog volume control, adjusting Pure sound • Pure design • Pure Swedish the gain before converting to analog elimi- nates distortion in the output stage. Wadia president John Schaffer commented, “It It has always been Primare’s mission to develop products of elegant style, simplicity of use, exceptional took a lot of finesse to get this level of performance at this price point. We were able value and high performance, providing a wholly pleasurable music and movie experience. to offer a lot of the feel of the 381/S7i/781i components in the 151.”

What else do you expect from a country known for pure blondes? One of the major design goals was to keep the signal in the digital domain until just before it goes to the speaker termi- For more information, call 972.234.0182, or email [email protected] nals. The process begins by converting the Pulse Code Modulation from the DAC into Pulse Width Modulation, thus allowing the signal to be amplified digitally. Wadia also uses a light version of their DigiMaster re- construction filter (upsampling) in the 151, accomplishing the digital-to-analog conver- sion in the software domain, not relying on an off-the-shelf chipset, with DSP occur- ring with 24bit/384k resolution. A filtering algorithm is used to eliminate distortion and the signal is amplified by a Texas In- struments TA5162 chip. The signal is then passed through a passive low pass filter to output 50 watts per channel into 4 ohms. A very unconventional approach indeed.

Setup The 151 has only digital inputs, so it has to be part of a digital-based system. I did most of my listening via Wadia’s i170 Partial product list: iPod dock and my old Denon 3930 Uni- versal Player. For anyone wishing to add • Integrated Amplifiers a disc player at a budget to a system like • Two Channel, Three Channel and Five Channel Amplifiers this, the 151 is a fantastic performer. As • Two Channel Pre-amplifier there just happens to be a Wadia 381 CD • DVD & CD Players player in system two, I made it a point to • Home Theater Processor check the performance and was pleasantly • Accessories & more THE SOUND ORGANISATION surprised at how well the 151 did. MAKES MUSIC (continued)

The Sound Organization is the exclusive Primare USA distributor. www.soundorg.com August 2010 89 FEATURE

You should be able to have the 151 up and playing music with one hand tied behind your back in about five minutes. Plug in your digital source, the AC mains cord and speakers of your choice, and you’re rocking.

You should be able to have my listening with the $2,000/ take it out of the box, but about When listening with the B&W The Wadia’s power level drops the 151 up and playing music with pair Penaudio Rebel 3’s and the 80 percent of that is gone after 805D’s, a quick swap from the to 25 watts per channel with an one hand tied behind your back in Mordaunt Short Aviano 6 Floor- a couple of days of continuous reference combination of McIn- 8-ohm load, but it never had a about five minutes. Plug in your standers ($995/pair) to keep more play, and the rest will go away tosh C500 preamplifier and problem driving the 805D’s in my digital source, the AC mains cord in line with what the typical 151 shortly thereafter. MC1.2kw monoblocks was in- somewhat small (11 x 17 foot) liv- and speakers of your choice, and owner might choose with which deed intriguing. While the 151 ing room. In a larger room, they you’re rocking. As chip amplifiers to pair these speakers. I also kept A lot of sound did not have the level of warmth might need a little more juice, but always tend to be just a touch cabling very basic, using the sup- hiding in that little box possessed by the McIntosh tube if you aren’t playing at concert speaker sensitive, I tried the 151 plied AC mains cord and some The overall tonal balance of preamplifier, it did not sound hall levels, the 151 should be fine with a very wide range of speak- DH Labs speaker cable. It’s worth the 151 is very similar to that of harsh through the 805D’s, which in almost any situation. Wadia’s top CD/SACD players, ers to see where the rocks in the mentioning that this little ampli- are highly resolving and will of- Vocals came through clean and I say that from experience, road might be. While contributor fier was not embarrassed when fer a poor showing with a bright and clear, with stringed instru- having used one of their players Mark Marcantonio could not find used with megabucks speakers, amplifier. ments sounding natural, but (the 581, 781 and now the new peace and harmony with his Verity evidence that the Wadia engineers On one level, the sound of unlike a tube amplifier, the 151 Audio Finns, I had excellent luck really did their homework on this 381) as reference components for the past four years. The 151 the 151 is a bit reminiscent of the does not embellish or add body here with all of the speakers at product. is resolving and dynamic without best Naim gear, with a healthy to the sound. However, if it’s on my disposal. One thing to keep in mind, being harsh or grainy. Very im- dose of pace and timing. The the recording, it will come through Though I used the Harbeth though, is that the 151 will take pressive for a chip amplifier. Even 805D’s probably presented the as intended. If you consider that Monitor 40.1’s, B&W 805D and about 150-200 hours to sound more so, considering you are toughest challenge to the 151, this is essentially a $600 DAC

J OU RNEYMAN A U D IO P HI LE : even the $140,000 GamuT S-9’s its best. There is a bit of high- getting an amplifier and a DAC with only an 88db sensitivity rat- and a $600 amplifier in one com- with no problem, I did a lot of frequency glare when you first for just under $1,200 bucks. ing and an 8-ohm impedance. pact chassis, (continued)

90 TONE A U D I O NO.31 August 2010 91 FEATURE

The Wadia 151 PowerDAC is the perfect anchor for a high-performance, all-digital system in a small space.

I think you will be hard-pressed to find dock and a few different pairs of mini this kind of performance elsewhere monitor speakers in the $500/pair at this price point. The only other range, I was consistently impressed at $600 amplifier I really enjoy is the how musically rewarding this combi- Rega Brio3, but it is the antithesis of nation offers up for about $2,000. the Wadia. Where the Wadia has lots of resolution, the Brio is a bit on the Conclusion warm, somewhat dark side. I like them The Wadia 151 PowerDAC is the both, but each will appeal to a different perfect anchor for a high-perfor- customer. mance, all-digital system in a small space. Whether you choose to use Going through some of my favorite it with a disc transport, computer or classic-rock tracks from Genesis, Pink Wadia’s own iPod dock, the 151 of- Floyd and Yes, I was impressed at the fers great sound quality with ease amount of bass extension and control of use and setup. We are happy to that the 151 was able to muster. A brief award it one of our Exceptional Value stint with my GamuT S-9’s (which are Awards for 2010. Wadia has created only 3db down at 17hz) confirmed that another breakthrough product that the 151 would go down deep. may just define a new category, as Listening to an equal mixture of their i170 did two years ago. l Apple lossless and uncompressed files — Staff writer Marc Marcantonio on my iPod Touch through the i170 contributed to this review.

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Unfortunately, the band went off track on follow-up efforts, becoming too slick and straying too far from its gospel roots. Which is all the more reason that it’s good to see Jazz&Blues the collective return to form. By Richard Colburn Coupled with a desire to reach back to country-blues-influenced traditional gospel, and a new pro- Charlie Musselwhite ducer in the person of T-Bone Bur- The Well nett, the group’s new We Walk This Alligator Records, CD Road is a very spiritually satisfying listen. Appearances by guest artists like Ben Harper and Leon Rus- he title song on The Well is inspired sell don’t hurt either. But the core by true story that involves a young girl strength lies in the original composi- who fell down a well and managed to tions by Randolph and co-writers survive until she was rescued several Burnett, Tonio K, and Peter Case, days later. To Charlie Musselwhite, which are interspersed by traditional the girl’s life-and-death struggle segues by Mitchell’s Christian Sing- made his own addiction to alcohol ers and Blind Willie Johnson. These seem trivial. He decided to show a older songs, originally sung in fields bit of his own bravery and quit drink- and churches, are about as far from Ting until the girl was out of the well. Of course, what blues album would modern gospel as one can get. Yet, And once she emerged, he never did be without a song about a woman the ways in which Robert’s con- resume drinking, having come out of who’s just too much? We meet her in temporary material pays homage the well himself. “Cadillac Women.” The standout is to such customs while introducing “Sad And Beautiful World,” on which Fittingly, many of the songs on themes like war (“I Don’t Wanna Be Musselwhite tells us about how he this album are about incidents in A Soldier Mama”) and media over- felt after his mother was murdered Charlie’s life that somehow went load (“I’m Not Listening”) make for in Memphis in 2005. It took him this unmentioned until now. When most thought-provoking moments infused long to come to grips with the trag- artists reach a certain age and look with genuine feeling. edy. But he’s got quite the support Robert Randolph & The Family Band more towards the end of their life cast in gospel legend Mavis Staples, We Walk This Road Randolph’s pedal steel is much than their youth, they often have who accompanies him on the sad Warner Brothers, CD more restrained on this disc than something poignant to say about and beautiful song. on previous outings, but any loss in such circumstances. We’re lucky excitement is replaced by meaning- Musselwhite decided to tell us some The production and sound are hen Robert Randolph’s Unclassified burst ful contemplation of problems sur- of these stories in song. first rate. Musselwhite’s harp is front rounding society. That’s not to say and center, while bass drums and on the scene in 2003, it came on like a shot “Where Hwy 61 Runs” speaks to guitar remain steady. Oh, and it just W that your feet won’t be tapping the the bluesman’s regular road trips to of adrenaline. The songs were performed with an so happens that John Bazz of Blast- whole time. The infectious “Traveling the Mississippi Delta where his mothers fame plays electric and upright exuberant no-holds-barred gospel-infused funk, Shoes” sees to that. er was born; “Cook County Blues” bass throughout. rock, and soul flourish. The pedal-steel guitar It took two years for the band to is about being framed and arrested Blues albums are a dime a doz- Randolph played in the House Of God Church complete We Walk This Road, and in Chicago and sent to Cook County it shows. Great songwriting, great Jail. Closer to home, “Dig The Pain” en. But records like this, with mean- and at Sacred Steel conventions remained front playing, and great production: All in concerns heavy drinking and em- ingful stories to tell, are worth much and center, full of promise for future enjoyment. one soul-satisfying package. braces the hurt that pursuit entails. more rare. Highly recommended.

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Don’t let your interconnects be your weakest link.

JJ Grey & Mofro Alain Johannes Georgia Warhorse Spark Alligator Records, CD Dangerbird Records, CD

n Georgia Warhorse, JJ Grey & Mofro lain Johannes has been associated with continue to trade in the kind of swamp Them Crooked Vultures and Queens Of rock and blues found on their 2002 debut The Stone Age but Spark heads in a OBlackwater (which caught my attention on hi-rez Acompletely different direction. Don’t expect DVD-A), with the band’s sound an authentic trib- a heavy attack here. This all-acoustic effort ute to the Northern Florida area from which features instruments like harmonium, fretless it hails. E-bow guitar, 12-sting guitar, and cigfiddle. Amusingly, the album’s title cut refers to a What’s more, Johannes wrote, sang, pro- type of locust found in Mofro’s backyard. These duced, played, and recorded the entire eight- critters are apparently tough as nails and really song set. If all that weren’t enough, the tunes hard to kill. Hence, the song is more a metaphor are refreshing, given their simple approach than a tribute to an insect. “The Sweetest Thing” and excellent lyrics. is a heartfelt soulful ballad, while “Slow, Hot & Thematically, the subject matter gets Sweaty” is true to its name. The most insightful heavy on songs such as “The Bleeding number, “King Hummingbird,” features a pro- Whole” but the instrumentation and melodies tagonist narrating about how he killed a beautiful buoy listeners along and keep the music from hummingbird for no reason and becomes haunt- becoming dirge-like. Similarly, the reflective TM ed by the destructive act for years to come. A “Spider” seems simple on the surface but song to remember. goes rather deep into lament. Even better, Georgia Warhorse was recorded at Florida- “Return To You” recounts love lost and found based Retrophonics, one of the least-modern and “Speechless” comes complete with cap- studios in use due to its exclusive utilization of tivating lyrics and haunting breaks. vintage analog recording gear. The sound on the Alas, sonics are uneven. Some cuts are disc reflects the studio’s practices—as well as the passable and others are excellent. However, Tel. 503-232-9184 geographical location. A bit dense, damp, and the efforts and results are well worth the Web. ALOaudio.com swampy, but full of songs to savor and enjoy. listening time. l

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In Defense

OfBy Jeff Dorgay 2.1

While multichannel home-theater sound is by no means a novel thing anymore, the options keep getting better all the time. Combine that with ever-decreasing prices on high-quality flat- screen TV’s and projectors, and it’s become a straightforward proposition to put together a high-performance system with a minimum of effort. Should you not be in favor of a lot of hardware in your room, or if your room is small, I submit the concept of a good 2.1 system as an excellent solution to these issues.

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As someone who has a small Hiding Those Speakers While it probably won’t mat- (11 x 17 foot) living room, I did just that Though I’ve always bristled ter to those of you having your recently. I zeroed in on the 55-inch at in-wall speakers, I returned Sonance system professionally Lucidium FX5 super-slim LED/LCD from from last year’s CEDIA show with installed, should you take the DIY NuVision, for a number of reasons: they some exciting prospects, but I route, Sonance provides some of have a reputation for picture quality and was sold on the latest from So- the best instruction manuals I’ve customer service, and their sets have an nance as they have some great seen. We built our new living room ultra-compact form factor; they currently solutions that integrate into your wall specifically to accommodate offer the most compact models in their wall in a sleek manner. After the Sonance speakers and the Nu- respective sizes. I wanted to maximize about an hour chat with their Vision, but for those of you retrofit- ting an existing wall, it couldn’t be the picture size in my room, and thanks Product Education Manager, Ken easier. to their 55UXN set being only 1.5 inches Manson, we decided that a pair thick, combined with the latest ML11 of their LCR1 in-wall speakers Thanks to the Sonance Though I’ve always Super Slim Low Profile mount from ($599 each) would be a perfect RotoLock® system, all you need is bristled at in-wall match for my room. Because the supplied allen wrench and the speakers, I returned Sanus Systems, the installation was Sonance was the first company ability to cut a clean, straight open- from last year’s CEDIA incredibly tidy. to develop in-wall speakers and ing in your wall. With the use of a show with some The slim bezel of the NuVision set exciting prospects, they’ve been doing it for more stud finder, you should be able to was also a big bonus: when turned off, but I was sold on the than 25 years, they (and their easily center the 7.5-inch by 20.5- it doesn’t look any bigger than most latest from Sonance dealers) have a depth of experi- inch opening. With the RotoLock® as they have some 46-inch sets. Weighing only 55 pounds, ence to help you choose the right clamps retracted, you attach the great solutions I was able to mount the set to the wall products for your installation; speaker wire to the LCR1’s binding that integrate into easily, requiring the help of only one they also have a wider range of posts and ease the speakers into your wall in a sleek person. The Sanus mount streamlined speaker configurations than any- the wall. Then, just rotate the allen manner. the process, and it allows the set to tilt one else in the market. No mat- screws in the front of the speaker out about three inches by the use of two ter how large, small or odd-sized to tighten the clamps and snap pull strings behind the set, making the your space; you should be able the grilles in place. It’s that sim- rear panel inputs easy to access should to find something in the Sonance ple. The white grilles only extend your system become more complex in line that can be custom tailored from the wall about an 1/8th of an the future. When folded back in place, to your application. inch and can easily be painted to the Sanus mount is only .55 inches thick, The LCR 1’s feature a pair match, resulting in a very stealthy making for an incredibly tidy installation. of five and 1/4-inch woofers look for the person who does not with a four-inch midrange and a want to see any of their HT com- The 55UXN has all of the traditional one-inch silk dome tweeter in a ponents. video inputs as well as four HDMI inputs, compact enclosure that is just As the LCR1’s have a low- so there’s more than enough room for less than nine inches wide, so it frequency limit of about 70hz, we whatever sources you need to make will easily fit between the studs also added the Cinema Sub Sys- your HT system flourish. We will have a in your wall. To make installation tem ($1,300), which consists of a full review of the NuVision with a factory even easier, these speakers are pair of eight-inch subwoofers in tour next issue. Suffice to say that for fully self-contained in their own two cabinets and Sonance’s Cin- now, the set has greatly exceeded my sealed enclosure. This offers ema 260 subwoofer amplifier. With expectations. If you want the ultimate in two advantages: it cuts down the speakers being only a three- user friendliness, you can also order the on ambient sound outside of the ohm load, the amplifier is able to NuVision sets with their “mirror” option, home-theater installation, and it offer up 120 watts per channel in a which turns the set into a reflective minimizes the chance of vibration compact package not much bigger mirror when not on. in the wall once installed. than a cable tuner box. (continued)

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Worth noting is that the Cinema 260 amplifier is a discrete amplifier with a robust power supply, not a class-D unit. Controls for adjusting the phase relative to the satellites and crossover frequency are on the front panel for easy access. Though many of today’s advanced HT receivers offer built-in room correction, I was able to achieve excellent results by ear in no time. Unlike the LCR1’s, the Cine- ma Subs are open baffle, so you can either build an enclosure behind them, or in my case as the space behind the new wall for the HT system was now serving double duty as a walk-in closet, a room full of winter clothing and bath towels make for a perfect open baffle subwoofer!

Rounding Out the System And just in case the system does get expanded perhaps some future upgrades. The combina- Again, keeping this system simple in terms to multichannel at some point, the 650BD will tion works together tastefully while maintaining a of installation, ease of use and on a budget, I be able to roll with the upgrade. minimal footprint in the room. Whether you have went with components from Cambridge Audio, The system is currently using some ba- a roommate who doesn’t want a lot of gear and utilizing their Azur 740A amplifier that produces sic Home Depot HDMI cables, so this system wires in the house or you are just trying to make 100 watts per channel, an excellent match will become a test bed for future HDMI cable the most of a small space, I can’t suggest going for the Cinema 260. The 740A is compact yet upgrade. The speakers have been temporar- in-wall highly enough. versatile, offering six inputs and the ability to ily wired with a spool of Monster Cable, so The final result has been fantastic, and while control an iPod from the remote. More about this is very representative of what the average this system does not provide as immersive of this later when we add Sonance’s new iPad port consumer might throw together in a weekend. an experience as a full multichannel system, it to the system. We’ll have a full review of the 740 But planning for the future, the system is on a does offer a huge improvement from the tiny soon, but at $1,199 this is a great way to add separate AC circuit and utilizes a Shunyata V- speakers hidden in today’s flat screen TV’s. The high-performance sound to the mix and stay on Ray power conditioner with a full compliment of Sonance/Cambridge combination played loud a reasonable budget. Shunyata Venom power cords to keep the gear enough for all but the most gigantic explosions Complimenting the 740A, the new 650BD running at its peak. and provided an excellent three-dimensional from Cambridge is only $779 and does a soundstage. spectacular job at playing Blu-Ray discs as All Told, a Stunning Result Listening to a wide range of TV, movies well as every format of audio that is available. Since we were building the wall from and concert video, the Sonance/Cambridge Because we still have a large collection of scratch, the shelves were custom built in the combination was a tremendous improvement DVD-a and SACD discs, this was a big plus. wall to accommodate the current gear and and unless you need to play the (continued)

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Master and Commander sea-battle scenes (ugh) at 120db, this modest system may be all you need to really enjoy your video sessions. Even though the twin subwoofers have a LF spec of 35hz, thanks to the large closet baffle, I never felt like I was lacking any bass authority. Most episodes of House have some fairly low bass notes that came through loud and clear, and a Great Balance of even more bass output or have a large their products incredibly easy to install recent James Bond marathon left my Performance and Price room. So you can get your feet wet and and conceal whether you install them guests very impressed with the audio If you would like to augment the easily upgrade later. If you are doing yourself or have a custom installer performance. sound of your flat screen but aren’t a custom build on a new home, I’d run handle the job. In the end, I was able to Even playing concert videos at high quite ready to make the jump to some extra wire where you “might” put pull off a very sound upgrade for about level, the LCR1’s and the subwoofers multichannel, I highly recommend the a center channel and rear speakers. $3,500. Then if the upgrade bug hits, it will be a delivered the goods without rattles Sonance products. If the leap to 2.1 Stay tuned for full reviews on the breeze. or buzzing of any kind, testimony to isn’t enough, they offer a wide range Cambridge amplifier and Blu-Ray player the integrity of their in-wall mounting of center- and rear-channel speakers Not only is the quality high, but along with a full review of the Nu-Vision system. with larger subwoofers if you need Sonance’s years of experience make set in our next issue. l

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Marantz SA-KI CD/SACD player 104 TONE A U D I O NO.31 August 2010 105 TONE STYLE FEATURE

A Cool Excuse to Go North Toronto’s Hockey Hall of Fame By Bob Gendron

August 2010 107 ONLY THE MUSIC TONE STYLE

NO COMprOMISE

ive the Hockey Hall of Fame two hours Gof your time, and you will likely emerge a fan of the game. Or, at the very least, be instilled with a burning fascination that will The dCS Scarlatti Digital playback System prompt you to want to learn the difference between the blue and Our design philosophy in building Scarlatti was For people who are serious about their music, red lines. Whether the discipline is to use our 21 years of experience to deliver the Scarlatti is like no other system on the planet, sports or Egyptian hieroglyphics, best digital playback components in the business setting new standards in audio transparency and all museums should be as well without compromise. leaving the listener with only the music. designed, enjoyable, and vivid “The dCS Scarlatti is the best sounding, most satisfying digital playback system I’ve heard.” – Stereophile as this Toronto gem. Then again, “Well there you have it: The best digital sources I’ve not every institution possesses yet heard” – The Absolute Sound “The Scarlatti Upsampler and DAC are proof that dCS the Stanley Cup, more than a still knows how to make products that are both world-beating and life-enhancing” – HiFi News dozen other hulking trophies, bank vaults, hundreds of patch-adorned sweaters (jerseys), or protective gear of every imaginable texture and color.

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Of course, the secret be- are long gone. Increased enter- Canada’s game, it warmly wel- 1904’s devastating downtown But no museum gets hind any museum worth its salt tainment options have forced comes those who think they fire. Constructed in 1885-1886, by on good looks alone. It’s Toronto’s most-visited is whether it can entice people such cultural destinations to have no affinity for hockey. and once the head office of the what’s inside that matters. that have little interest in a rethink presentation, organi- Even if you’ve never set a skate Bank of Montreal, it features And the HHOF doesn’t shirk tourist attraction particular subject. But only the zation, and involvement. Fun, on the ice or watched a period a 45-foot-high stained glass on attractions. Before pay- not only provides an great facilities both attract and excitement, and interaction are of hockey in your life, the Hall dome (the largest of its kind in ing the admission fee ($15 addictive immersion hold the attention of visitors in; boring, stuffy, and hands- veritably guarantees that you the city) that counts 24 fanned for adults), visitors can stroll into Canada’s game, it that otherwise might spend off are passé. And few places will come away satisfied—and panels depicting allegorical around the foyer, in which a warmly welcomes those their time elsewhere. Institu- do a better job of presenting most likely, intrigued by the dragons. Interior carvings, grand display of goalie hel- who think they have no tions ranging from 100-year- the social allure of its topic and sport’s cherished traditions. detailed arches, and riveting mets acts as colorful bait. stimulating interest in a theme affinity for hockey. old natural history halls to For starters, the building sculptures round out the classi- The collection serves as a once-stodgy art complexes than the Hockey Hall of Fame. itself claims a rich architectural cally styled rococo architectural quick history of the evolution are realizing these facts, as the (HHOF) significance. Housed in the marvel. While several features of the artful masks—dating days when going to a museum Toronto’s most-visited tour- Brookfield Place complex, the are visible from the outside, back to 1930, but really hit- meant staring at immobile ob- ist attraction not only provides shrine makes use of a former one has to go in to soak up ting stride in 1959, the year jects and reading dull placards an addictive immersion into bank building that survived the breathtaking charms. that Montreal (continued)

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Canadiens goaltender Jacque (1993) or a sweater worn by the artifacts also slow the game trinkets from the World Champi- Plante became the first NHL first Soviet-born player (Sergei down from its fast pace, and onships and Olympics are also player to regularly don a mask Priakin). Passersby interested in force viewers to see it from a presented. for regulation games. (After his memorizing who tallied 50-goal fresh perspective. Generally, The globally focused Zone nose was broken during the first seasons can do so, and stare at goalie equipment has gained includes space for special tem- period of a contest with the New the equipment used in achieving in size (and effectiveness) and porary exhibits. Currently, to York Rangers, Plante refused to the feats. Others can marvel at a the players’ protective gear has coincide with the 2010 Winter return unless he was allowed to case that houses a net and 802 shrunken yet become more ver- Olympics held in Canada, an wear his fiberglass concoction. pucks that spell out “802”—the satile, contoured, and efficient. extremely impressive show of Realizing the team would forfeit seemingly unbreakable amount To compare, view the apparatus Olympic medals on loan from without Plante—the Canadiens of regular-season goals tallied and belongings used by the Hall Switzerland makes for an amaz- didn’t have a backup goalie—the by Wayne Gretzky, whose insur- of Fame’s Class of ’09—including ing presentation. Totaling 137 coach hadn’t any choice, and mountable quantity of records Mike Leech, Luc Robitaille, and medals from each and every what today is a mandatory piece convincingly argues on his behalf Brett Hull. Their legacies serve as of the 46 Winter and Summer of gear started its ascent.) as the most dominant athlete to comparative benchmarks against games, and accompanied by Masks donned by the likes of ever play a professional sport. the era’s earlier stars, whose copies of the official poster for Ed Belfour, Terry Sawchuk, Glenn Other individual hockey im- memorabilia includes tobacco each respective Winter game Hall, Ken Dryden and many oth- mortals are afforded their own advertisements, primitive safety (and host country), the exhibition ers reveal constructive creativ- display case, and while diehards gear, and tighter-fitting sweaters of etched gold, silver, and bronze ity (they range from bone-style will gravitate to statistical specif- with thicker, woollier textures. (and in one instance, copper) to molded glass to homemade ics, arrays of photos and ob- As much as any article, magnifies the reasons why skilled fabrications of wire and mesh) jects best serve to illuminate the sweaters provide hockey clubs athletes are willing to devote and and exude the personal and game’s multi-faceted appeal and with an identity, and like all donate so much of their lives in team-related expressiveness international draw. Pittsburgh sports, include their share of pursuit of the Olympic dream. that’s now become common- Penguins icon Mario Lemieux is iconic designs (Chicago Black- Amazingly, like hockey itself, little place. When compared to the represented by several sweat- hawks) and mistakes that look about the medals—other than modern cage versions, the older ers, including those from his devised by fashion-school drop- individual design and imprint- masks’ crude designs and odd Junior League, Team Canada, outs (Anaheim Might Ducks al- ing—has changed throughout the shapes enhance one’s apprecia- and Atom years phases. Gordie ternative jersey, 1996). This mix years. Perhaps that’s why each pastime remains so wonderful. tion for the courageous men that Howe’s Red Wings and WHA of gaudy and goofy, gauche and (continued) braved 100MPH shots with bare- sweaters accompany a blazer great is highlighted in the World minimum protection. And where he wore for the Canada-USSR of Hockey Zone, a 3500-square- would the Friday the 13th film series. Mr. Hockey’s game-worn foot area chock full of interna- series be without them? skates, beat-to-hell gloves, and tional sweaters and memora- Just beyond the goalie gear completely flat (no curve) wooden bilia from IIHF (International Ice resides a plethora of memora- stick function as history lessons, Hockey Federation) members bilia that commemorates vari- tracing both the advancement of ranging from seemingly obvious ous milestones. Sticks, pucks, hockey equipment and an arc of national teams (Germany, Austria) and sweaters from the longest how the game has incrementally to countries that never even see When compared to the modern cage overtime game in history in 1936; progressed. Sawchuk’s goalie freezing temperatures (Thailand, versions, the older masks’ crude names, numbers, and facts relat- belly pad—discontinued for de- Israel). An old Team Italy sweater designs and odd shapes enhance one’s ing to numerous records; ephem- cades—does the same. Scads of boasts a heinous logo that looks appreciation for the courageous men era from all-time leaders such as game-used jerseys bear marks, like a copy of the Porsche sym- that braved 100MPH shots with bare- Gordie Howe, Mike Bossy, and scrapes, and tears. All are testa- bol; a discontinued Australia ments to tremendous physicality minimum protection. Dave Andreychuk; souvenirs from sweater aptly features a kan- “NHL Firsts,” be it a puck from and determined endurance. garoo. Plenty of medals, pads, the first official outdoor game In an unexpected way, these helmets, gloves, and numerous

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Nothing epitomizes tradition, passion, dignity, and sacrifice more than the Hall’s Trophy Room, a.k.a., the Great Hall, a hockey cathedral replete with the Tiffany Dome ceiling. The former bank building exudes a classiness and character that no modern structure can match. One expects to find royalty here, and, as you survey and are nearly overwhelmed by the shine of multiple hefty trophies—ranging from the Conn Smythe to the Lady Bing, all of which are accompanied by explanations and etched with the names of winning recipients—one indeed finds themselves in the presence of greatness. And yes, the HHOF has the Stanley Cup—and, inside a refurbished bank vault, the original Stanley Cup bowl donated by Lord Stanley of Preston in 1892 (he purchased it for $50). Various retired collards that adorned the Cup, as well as jewelry (gold lockets, watches, rings) awarded to early champions, also grace the elegant space. And no, you do not have to pay to get your photo taken with the Cup. Yet another thing that the HHOF does right. Nothing epitomizes Need to take a break? Two small movie theaters offer visitors a cozy respite while old footage plays on one big screen while the other film tradition, passion, attempts to capture the speechless emotion and play-through-injuries dignity, and stamina associated with battling for the Stanley Cup. Want to know sacrifice more what it feels like to be in an NHL dressing room? Witness the to-scale than the Hall’s replica of the Montreal Canadiens Dressing Room, which recreates the Trophy Room, a.k.a., Montreal Forum space that hosted 23 Stanley Cup championship teams the Great Hall, a until it shuttered in 1996. The player stalls feature nameplates, sweat- hockey cathedral ers, equipment, socks, skates, and more. On the walls, plaques with the rosters of Canadiens teams hang high, and a countdown-to-game-time replete with the clock hovers over the exit. It’s as close as most of us will ever come to Tiffany Dome being in a big-league dressing room—and thankfully, we don’t need to ceiling. endure the sweat-soaked smell. Go ahead, try on the goalie pads, and discover how difficult it is to maneuver. With the NHL firmly tethered to tradition—its roots stretch back to the early 1900s—it’s no surprise that the HHOF emphasizes the league’s history as seen through the comings, goings, and (mostly) staying of teams. A visually based timeline charts the early organizations and how the league ultimately arrived at the Original Six (Chicago, Montreal, New York Rangers, Detroit, Boston, and Toronto). Aficionados can track the fate of defunct clubs such as the San Francisco Seals while gaining a better understanding of the expansion teams’ arrivals. Yet, the biggest team-oriented attractions are reserved for Fran- chise Alley, an enormous room in which all 30 teams are represented in separate, eight-foot-plus tall display cases that contain uniforms, sticks, pictures, facts, and in-depth information about each franchise’s minor- league affiliates. The same area also holds myriad trophies and awards from a countless number of Canadian leagues as well as college, women’s, and grassroots clubs. Here is where hockey’s extensive cross- continental span is made transparent. Best of all, curiosity seekers can simply look at their leisure while fanatics can try and soak up all of the head-spinning statistics and geography. (continued)

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The origin of Several interactive, virtual games provide true sound anyone the opportunity to shoot on goal utilizing actual sticks and pucks as well as the chance to make saves as a goalie, complete with pads and blocker.

Given that the HHOF’s focus coffee cans, foam gloves, hats, When In Toronto… is on sport, what would it be with- ticket stubs, programs, pennants, Hockey and beer go together out demonstrative games that helmets, hot sauces, beer bottles, like baseball and sunflower permit visitors to get a sense of plastic figurines, statues, toys—you seeds, and several Toronto the game’s involved skills? Several name it—span multiple decades pubs boast some of the best interactive, virtual games provide and serve as reminders of mer- beer you will ever enjoy. anyone (adults or kids) the op- chandising power. You’ll wish your Make Mill St. Brewery (55 portunity to shoot on goal utilizing grandmother’s attic contained so Mill Street) your first stop. actual sticks and pucks as well many treasures. Unavailable in the States, ask as the chance to make saves as Is there more? Yes, including a for a flight of Mill St.’s basic a goalie, complete with pads and wing devoted to the game’s broad- beers and imbibe on a pint of blocker. Surprisingly, the lines for casters. But the subtle brilliance whatever seasonal beverage each contest, which reside on a of the HHOF resides in the set-up. is on tap. For more liquor 2400-square-foot simulated rink, Everything is accessible and almost nirvana, visit C’est What? move rapidly. Nearby, multiple Wii entirely on one floor. There are no (67 Front Street East), which systems are hooked up to televi- cheesy cafeterias beckoning visitors exclusively serves Canadian sions and allow users free plays with overpriced keepsake mugs full microbrews on draught and at NHL 2K10. No offense to video of Coke, and little wasted space. cooks up an assortment of gaming diehards, but the interac- Nobody needs to devote more than gamey burgers. The lamburger tive games blow away even the a few hours unless they want to. is delightful. Still thirsty or best-rendered computer graphics. Sure, you exit through the souvenir hungry? Like C’est What?, Retro also rules in the Col- shop, but if every museum’s em- Bier Market (58 the Esplanade) lector’s Corner, which will take porium offered this level of cool, is steps from the HHOF One material sums up our that nothing else would do. Now, for the many people back to the era when there wouldn’t be funding shortfalls. and provides an impressive uncompromising quest for perfection first time ever, you can experience the baseball cards reigned supreme in Besides, where else can you get selection of Belgian and Czech in sound reproduction more than any unparalleled clarity of diamond in every every boy’s mind. A lavish potpurri a Czech Republic Olympic jersey brews, plus tasty food combos other. Diamond. A unique combination speaker in the range. True sound. Made of lightness and rigidity, it’s the ultimate for recording studios. And now available of thousands of hockey-related to go? No sport boasts more pas- ranging from lobster fondue tweeter dome material. So when we everywhere else. plastic cups, cereal boxes, trad- sionate fans, and wearing a team to cheese plates. All three were designing our flagship 800 Series ing cards, pins, magazines, books, sweater (lettered, preferably) is the establishments are worth Diamond reference speakers, we knew www.bowers-wilkins.com pinball devices, board games, best way to show support. l the trip. Bottoms up!

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800FrontFaceAd_Tone.indd 1 5/10/10 10:03 AM TONE STYLE TONE STYLE Beer Snob By Bob Gendron Life is too short to drink mediocre beer. Here are three more brews S t . B e r n a r d u s that will enhance your mood— Abt 12 Belgian Abbey Ale if not your life. It’s almost always a good sign to spot a picture of a smiling, balding monk on a beer label. Over the past several years, craft brewers have New Glarus devised clever marketing tactics to sell what often turns out to be a better Brewing Co. art concept than beverage. Nothing beats a classic image, though, and this Spotted Cow Cream Ale Belgian abbey brown ale, which follows Don’t be alarmed by the light gold, slightly the traditional brewing style of the cloudy appearance. The foundation beer of country’s Trappist monks and stems the New Glarus Brewing Co. is not at all like from Watou, the center of the hop- its mainstream American counterparts. If growing region, comes damn close only Budweiser or Miller produced anything to living up to its “Bringing Heavenly this refreshing. Out of the bottle, there’s a Nectar Within Reach” tagline. In decent foamy white head and noticeable addition to the dark-brown color and carbonation. Akin to the rural area from lacey head that illuminate the goblet, which it springs, Spotted Cow gives off a the beer gives off scents off figs, pleasing aroma one might associate with dates, cherries, and currants. The a wholesome family farm, steeped in corn taste? Fruity but not overwhelmingly and wheat. Yet it’s the taste—clean, simple, so, as accents of bananas, wood, amazingly subtle, and perfectly balanced toffee, vanilla, and caramel blend with pale maltiness, gentle creaminess, and together to temper any sweetness honeyed crispness—that makes this an ideal overkill. A full mouthfeel and easy summer or spring beer. The finish is a bit finish round off what’s one of dry, but smooth notes persist. Credit the the finest Quadrupels available. quality to New Glarus’ policy of refusing to Splendid. sell outside of its native Wisconsin territory. If you’re in the state, or nearby, it’s undoubtedly worth seeking out.

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Flying Dog Brewery Raging Bitch Belgian-Style IPA

Never mind the name. Ralph Steadman’s zany artwork is the first hint that this IPA isn’t going to be tame. That said, this is an IPA for those who don’t normally like the style. Out of the bottle, it reveals an orange-amber glow with a white head that, if poured correctly, lasts a while. True to the inflammatory prose on the label, Raging Bitch is supremely spicy, owing to an abundance of hops and yeast that team up on the malt and bubblegum tones. Mid-level carbonation parallels the intense flavors, but overall, the flavor isn’t too prickly or overbearing. The NuVision Mirror TV The beer’s finish will leave a slightly in any color your interior desires tingly feel on the tongue, and, unlike many IPAs, beckons you back for With sleek, elegant design and cutting-edge technology, NuVision’s HDTVs are both beautiful to another. Arguably the best offering behold on the outside and brilliantly engineered inside. Every screen is hand-made in the USA using in Flying Dog’s stable. l only the finest components to deliver breathtaking image quality and a stunning visual experience. Our Super Slim 55” screen is just 1.5” thick and is available in an extensive range of finishes from brushed black or silver aluminum to the new giving the freedom to choose the bezel in any color. Add to this the NEW Mirror TV which turns the already imposing screen into an elegantly framed mirror and you have a unique combination of options to design your own flat screen to suit an individual’s personality and interior style.

To find out more or to become part of NuVision’s select group of specialty dealers call 480 970 9120 or email [email protected]

www.nuvision.com 120 TONE A U D I O NO.31 August 2010 121

14722 - HES Mirror/UColor ad.indd 1 4/5/10 15:04:23 TONE STYLE

Top features The iPhone 4 has a proximity The big plus with this phone detector to dim the screen when iPhone 4 is the screen. It’s absolutely stun- it gets close to your face, which ning with 326 dpi of resolution, so is supposed to factor into the in- $199-$399 you can blow up your on-screen creased battery life. Pretty nifty. www.apple.com images a lot before they start to Another much-needed im- pixel out. This should make read- provement with this phone is the The new iPhone has been out for a while, and ing e-books and magazines much camera. It now features a 5-mega- while fur is still flying on the internet between easier, as well as surfing the web. pixel camera and captures 720p Apple lovers and haters, the truth is somewhere Just the ticket when you need to HD video. While not broadcast in the middle. “Casegate” is pretty much finished find the latest sushi spot and forgot quality, it should be good enough and Apple has handed out enough free bumper your glasses. to capture one of your friends cases to keep Santa’s elves busy for some time, The new screen is quite a bit doing something stupid in high but a few issues remain with this phone. brighter than the 3G or 3GS and enough quality to get 15 seconds Even with the bumper case, the iPhone 4 still according to Apple, it’s made from of fame on Tosh.O. But that 8 does not work as well indoors as did the older the same stuff used in helicopter megapixel from the Droid would re- 3G and 3GS models: it’s much easier to fall into and high-speed train windshields. ally be cool. Video playback is an- a dead spot. A highly casual poll reveals that the It certainly bounces off the floor other story. HD video never looked sound quality on the other end is not quite as much better than the 3GS, and this this good on a smartphone. For good either, but the verdict here is still out. is speaking from direct experience. those of you under 35 with eagle- eye vision, you can watch your fa- So, why should you rush down to the Apple vorite movies with stunning clarity. store and trade up to Cupertino’s latest/greatest Turbocharged creation, other than just because? Face Time is Email and web browsing are Conclusion pretty cool, but unless your other friends have much faster with the iPhone 4 as an iPhone 4, this will remain a novelty. Hopefully, well. Though the Droid phones So in the end, what’s the buzz the next release of Apples’ iPhone operating sys- still rule in the speed department, with the iPhone 4? Overall, the tem will allow using Face Time with iChat AV and Apple has closed the gap con- verdict is thumbs up. It’s faster, Skype so that everyone can see your live pod- siderably and combined with the sleeker, cooler and has better bat- casts from Monaco and parts unknown. high-res screen, it’s more workable tery life. If you’re an Apple lover, Frills aside, the big buzz with the iPhone 4 in the end for the power user. you probably already have one. has been the much-awaited multitasking capabil- All kidding aside about mul- If you’re a hater, you’re never go- ity, but it comes with the penalty of draining your titasking, battery life is actually ing to get one no matter what. If battery in a hurry if left unchecked. Most applica- about 40 percent better than the you’re on the fence, you just might tions didn’t present a problem, but if you are us- 3GS, which was actually a bit of a be lured over to the Apple side. It’s ing the TomTom software or any other application stinker in the battery-life depart- pretty compelling, especially when utilizing the internal GPS, you can run the iPhone ment. Apple claims “up to” seven you consider the wealth of apps 4 down to zero in about an hour if you don’t hours of talk time on a 3G network, at the App Store and the ease of make it a point to manually shut off the unused and while that is slightly optimis- incorporating it into the rest of your applications. Web browsing with Safari is much tic, just over six hours is easily home-computing experience. quicker with the new phone, but again, if left on in achieved. Be extra careful not to Sure, there are still a few glitch- the background with video playing, it will wear the leave your TomTom on and you es, but hey, the iPhone 5 will be battery down straight away. might actually get seven hours. out next summer!

122 TONE A U D I O NO.31 August 2010 123 TONE STYLE TONE STYLE DC31 Mini Vac $219 www.dyson.com

Not only does the Dyson DC31 really enough to get most chores done, suck, it offers two levels of suction. and that’s about how long you get to Powered by a smaller version of use the vacuum at the car wash for the digital motor in full-size Dyson five bucks. After 45 trips to the car vacuum cleaners, this little gizmo is wash, the Dyson has paid for itself, awesome. Because of its high power, and even if you don’t get the ROI on it is perfect for cleaning underneath the DC31 as fast as you probably and behind your stereo rack, and the should, the look on your wife’s face brush attachment works great for when she sees you excited about keeping keep your stacks of records using a vacuum cleaner will be nice and tidy. priceless. While there is almost nothing the DC31 won’t clean, (ShamWow!) it only cleans for a little while before needing a recharge. Ten minutes at low suction and about seven on high power should be FiveFingers Performance Footwear $85-$150 www.vibramfivefingers.com

Give into Twitter trendiness and get instant Hobbit feet in the process. Once your three smaller toes get used to being inside these shoes, they feel a lot like those funny socks your Grandmother bought you for Christmas with individual toes, coated with Vibram’s TC1 performance rubber. Of course, the Vibram website claims the FiveFingers experience stops just short of curing cancer, but they are a lot of fun. And there are quite a few cool color combinations to choose from. At about six ounces each, these are as close as you can get to walking around barefoot, if you like that sort of thing. They are great for driving, offering up a great foot-to-pedal interface.

124 TONE A U D I O NO.31 August 2010 125 Smart TONE STYLE Electric Drive Price TBD www.smartusa.com/electricdrive

A fleet of 1,500 Electric Drive Smart cars is loose in Europe and the U.S. for initial testing, and Smart’s parent company Daimler-Benz is claiming that standard production cars will be available for purchase in the 2012 model year. With a top speed of 60 mph and a claimed maximum range of about 100 miles, you could say the Electric Drive has about the same ca- pacity as the iPhone 4 with the TomTom on. But seriously, for those of us trying to cut our carbon footprint, the Electric Drive promises to be a lot spunkier than the gas version, which gathered momentum rather than actually accelerating. Claimed 0-60 time is a respectable 6.5 sec, about the same as a base-level 3-series BMW. While perfect for people who only need to make short hops, the Electric Drive could really use a top speed of about 75 mph and double Shown: LTX 500 Projector the current range. But remember, the first iP- hones didn’t have much range either.

+ +

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www.anthemAV.com August 2010 127 PREVIEW

By Ken Kessler

Sonus Faber Fenice t was as if 2008 had never

happened and we had been

whisked back to the days of

lavish launches. The intervening Iyears of austerity could not have prepared the hundred-plus

guests for the grandeur that

enveloped the launch of Sonus

Faber’s most ambitious speaker

to date: Fenice.

128 TONE A U D I O NO.31 August 2010 129 Ms750 Digital Music Server PREVIEW

Although naming a speaker “the Phoe- nix” (albeit in Italian) suggests an ascent from the ashes, Sonus Faber’s rebirth isn’t quite so dramatic: the name signifies a new era, marked by the arrival in 2009 of Mauro Grange, a CEO with a world view not bound by the usual constraints of high- end audio. For those who prefer double meanings or monikers related to music, La Fenice is also a spectacular opera house in Venice. Appropriately then, Sonus Faber chose Venice as the launch site for their new flagship model, the first speaker to -ar rive under Grange’s aegis. More than 100 guests from around the globe attended the launch at the Palazzo Grassi. The elegant art gallery was ideal for the showing of an audio/video presentation prior to the unveiling of the model, which heralds a new shape for Italy’s trailblazing speaker maker. Like the Guarneri before it, which popularized the idea of a tapered enclosure, and the Stradivari with its wide but shallow cross section, Fenice introduces a new form with technical complexity to Organize and Enjoy complement the new profile. An overhead view presents a profile in- Your Music Collection spired by that of a lyre, just as the Guarneri and Amati were modeled after the lute. as Never Before The form incorporates dual curvatures in a cabinet made of cross-grained, double- With the McIntosh MS750, your music is always at your finger tips. It can hold, catalog, thickness, marine-grade plywood. The en- and sort over 2,000 hours of music at full CD sound quality on its 750 GB hard drive. closure is decoupled from the floor through That is enough storage for more than 2,500 CD’s and 120,000 individual songs! a complex suspension system, while over- • 750 GB Internal Hard Drive all resonance is controlled by the “Anima • Built-In CD, CD-R, CD-RW, MP3, WMA, and ACC Player Legata” system, a pair of massive, CNC- • Built-In CD Burner machined, anodized-aluminum clamps • High Performance D/A Converters • Multiple RS232 Data Ports that form the speaker’s top and bottom. • Multi Language Support The two are connected by a steel rod that To experience the legendary performance of McIntosh, Sonus Faber calls the “Soul Pole” that please call on us at 1-800-538-6576 “concentrates the vibrations to the Multiple Tuned Mass Damper” – yet another device employed to dampen structural resonances

McIntosh Laboratory, Inc. through anti-phase oscillations. (continued) 2 Chambers Street, Binghamton, NY 13903-2699 www.mcintoshlabs.com legendary 130 TONE A U D I O NO.31 August 2010 131 PREVIEW PREVIEW

Fenice is a 3.5-way system Its four-inch voice-coil has been op- with a 25 mm hybrid Neodym- timized to have progressive damping ium/Samarium-Cobalt Larsen/ through the use of both Kapton and Avi- Goeller ring radiator tweeter, onal. The output of the “infra-woofer” is visco-elastically decoupled from separately adjustable. the main baffle board. This is at- Probably the most radical element tached to a natural-wood acous- of the Fenice, beyond its construction, is tic labyrinth rear chamber, with the Sound Field Shaper, which looks like a mechanical anti-resonator. someone fitted a small two-way Sonus Middle frequencies are covered Faber speaker in an aperture at the back. by 6.5-inch cone driver with 1.5- It controls the direct/reverberant radia- inch voice coil, the cone fash- tion of Fenice, and the module can be ioned from traditional cellulose adjusted for both azimuth and SPL. Its pulp with papyrus and other tweeter is a ring radiator dome derivative natural fibers. It is driven by a with the “peculiarity of optimized off-axis Neodymium magnet system, radiation.” A crossover similar to that of all mounted in a fully CNC-ma- the Cremona M and Liuto range matches chined basket made from solid it to a 4.5-inch mid-woofer, a fourth-gen- billets of two different metals. eration derivative of the midrange of the The combination of the metals original Minima. Its cone uses the same allows the chassis to cancel out paper pulp/papyrus/natural fibers as the any mutual resonance. As with primary midrange driver. the tweeter, the mid is decoupled from the main baffle. One question remains: why would Sonus Faber hold such a huge event Two 10-inch woofers cover for a speaker that will only be offered to the bottom octaves. They use just 30 clients? Yes, that’s right. They’re sandwich-cone construction only producing 30 pairs. A brief dem- made up of a high-tech syntactic onstration showed it to be world-class, foam core covered on its two even with unfamiliar material that ap- surfaces by coated cellulose parently was chosen by someone who pulp skins, which provides the spent too much of his youth reading hi-fi same sonic characteristics of magazines. But despite the screeches of the midrange cone. It features a Hugh Masakela, it was clear that Fenice three-inch voice-coil on a Kap- is a magnificent product, fully worth the ton former. Supplementing the €140,000 (about $214,000 U.S.) per pair. woofers is a side-firing 15-inch The need for all of the pizzazz? Fenice bass driver, also using a sand- will be followed by a family of models wich structure, but with skins using the same technologies at a down- made of nano-carbon-fiber on ward range of prices. Me? I’d like the the syntactic foam core. next to be a baby Fenice with the same exact footprint, one less woofer, a height reduction of about 20 inches and half the price tag. Forget a phoenix rising from the ashes: that one would start the fires.l

August 2010 133 PREVIEW The Loricraft

Starting at $2,370 R e c o r d C l e a n e r www.audiofederation.com When it comes to record cleaners that However, the cleaning method was a extract the dirt from your records via a definite step up from the slot machines, vacuum, there are two basic paths you and when the chance came to get our can take, those that hoover your records paws on a Loricraft machine thanks clean with a padded slot (Nitty Gritty, VPI to the very helpful folks at the Audio and Clearaudio, to name a few) and the Federation, it was irresistable. other camp that essentially sucks the dirt We’ll have a full review next issue, but up a few grooves at a time. the short story is forget about the Monks; Last issue, we reviewed the Keith call Neli at Audio Federation and get your Monks Ruby 40th anniversary model, hands on the Loricraft. You’ll be glad you which uses the latter method and worked did. well, but was fairly spendy at $6,995.

August 2010 135 REVIEW

My other CJ connection comes via its former technical director, Bill Thalmann, who now has his own A Major Upgrade business, Music Technology, and has upgraded my VTL Wotan amplifiers to the latest factory specifications. So CJ always evokes good vibra- from CJ tions when I think about it. But has Conrad-Johnson TEA-2SE its sound changed in the intervening decade since I first had it? Better, By Jacob Heilbrunn worse, just different? The opportunity to review CJ’s new TEA-2SE phono preamplifier provided a good chance to find out. At $3,995, it is a jump in price from the standard TEA-2, but still a long way from the flagship onrad-Johnson holds a special C TEA-1, which has a $10k price tag. place in my heart. It’s the first real high- Straightforward Design end equipment that I ever owned. I used One thing certainly hasn’t a Conrad-Johnson PF-2 preamplifier and changed: CJ has stuck with its an MF-2500 amplifier to power a pair of champagne-colored faceplate. I like it. You may not. But to me, it indi- Snell E/IV loudspeakers. The sound was cates consistency and a no-fuss, warm, musical, and inviting, the qualities no-muss attitude when a company has a look and sticks with it. I’ve always associated with CJ, which is There are not many controls with located just down the road from me in the unit, either. You flip it on or off and decide whether you want to go Fairfax, Virginia. with high-gain (55dB) or low-gain (40 dB). For me it was a no-brainer; low gain just didn’t pack enough punch for my low-output moving-coil Air- Tight Supreme cartidge, which I use on the Continuum Caliburn. High-gain did. The unit relies on the good, old 12AX7 tube for its high-gain section. Some audiophiles like to grouse that the 12AX7 is a “dark” sounding tube. (continued)

August 2010 137 REVIEW

Not as far as I can tell. The TEA-2SE Indeed, I had the chance to com- employs no negative feedback, some- pare the TEA-2SE with its pricier big thing that it shuns in all of its pream- brother, the TEA-1. The TEA-1 does plifiers. That means there isn’t much use a transformer and is loaded with wiggle room for the tubes to differ, so more and bigger Teflon capacitors they had better be well-matched. CJ in its power supply. Nevertheless, I also likes to use mosfets rather than couldn’t avoid the nagging sense that Perhaps the most tubes for the buffer stage in the current the TEA-2SE might have sounded notable aspect iteration of their phono preamps. a bit more natural. It didn’t have the of the TEA-2SE’s Perhaps the most notable aspect bass of the TEA-1 or sound as pow- design is that it On my Classic Records 45 rpm of the TEA-2SE’s design is that it does erful overall. But it sure did render These were sins of omission rather does not – hold pressing of Dusty Springfield not – hold on to your hats! – use a step vinyl beautifully. than commission. It wasn’t that the on to your hats! singing “The Look of Love,” I And the TEA-2SE has superb up transformer. This is a big deal. A phono stage got overwhelmed. It – use a step up was enraptured by the lissome, reproduction of the treble, which transformer can hold down the noise An impressive Performer just doesn’t boast the sonic prow- transformer. mellow tones produced by the is why I enjoyed it so much when floor. But it also introduces a lot of I was particularly impressed by ess of the more overbuilt phono TEA-2SE. Every instrument was listening to jazz recordings. It re- wire into the signal path. Frankly, I was the TEA-2SE’s rendition of vocals. stages available from companies carefully rendered in the back- produced a wonderful, holographic floored by the transparency, the un- Let’s face it: the acid tests for musi- such as Aesthetix, which offers ground, saxophones breathy and sense of air around cymbals and forced nature of the sound produced cal reproduction are voice dual external-power supplies. the trumpets brassy, as the cut snare drums. by the TEA-2SE. And I’m quite certain and piano. spun to a finish. The absence of I couldn’t say that the noise Anyone purchasing this won- that this was because of the lack of a a transformer simply made for a floor was absent or “vanishingly derful piece of equipment should transformer. more immediate, palpable sound. low,” as reviewers often like to put have years of enjoyment ahead. Ditto for my wonderful pressing it. Not the case. No transformer The TEA-2SE is a superbly engi- of Louis Armstrong playing “St. and tubes means that some nas- neered phono stage that offers a ties are bound to get through. But James Infirmary,” one of the most powerful reminder of the advances the amount of noise really was shocking and moving Armstrong that audio has made during the negligible, nothing that you could performances ever. The TEA-2SE past decade. The level of per- hear from the listening chair, at did nothing to smooth off Arm- formance it provides would have least not in my system. I had to strong’s gravelly vocals and the been inconceivable a decade ago. stick my ear up to the tweeter to shimmer of the cymbals at the The competition at this price level hear a little buzz and tube hiss. In end of the tune was hauntingly is keen. The resurgence of vinyl fact, I was impressed by how quiet evanescent. means that a plethora of phono the TEA-2SE was overall. What about orchestra and stages are now available at prices rock? Here the TEA-2SE probably The New School of CJ that don’t demand you refinance won’t satisfy the diehard, head- your house, if you can manage to The blunt fact is that CJ has pull it off these days. bangers out there (you know who come a long way in improving its you are) who seek the ultimate in products. The Teflon capacitors So anyone looking for a phono dynamics. That’s simply not the that it now uses are a sonic marvel: stage or merely an upgrade would TEA-2SE’s bag. At its relatively low transparent, fast and clean. CJ has do well to consider the TEA-2SE. price tag, as these things go, the managed to marry its legendary Listening to it for only a few minutes TEA-2SE does not sport the kind of golden sound with dynamics and could leave you smitten. As I admit- hefty power supply of CJ’s lineup of great treble extension. Yes, the ted at the beginning of this review, reference-grade products. Never- sound may be just a touch warmer I’m biased. I like the CJ house theless, the TEA-2SE never sound- than the neutrality that so many sound. But who wouldn’t? It sounds ed less than winning on large-scale manufacturers seek. But go to a like music, not hi-fi. And the TEA- works. It just wasn’t completely concert hall and I’ll wager that 2SE fits right in. It is a phono stage able to convey the massive power you will find that cello and piano that does not hide its sonic qualities of an orchestra playing full tilt. sound pretty warm indeed. but displays them proudly.

138 TONE A U D I O NO.31 August 2010 139 Now, c onnecting in Salt Lake City…. Additional Listening Jeff Dorgay

Like Jacob, I too am a huge CJ fan problems for the C-J, though I never going all the way back to their original used a cartridge with a lower output PV-1 preamplifier and MV45 power than .5mv and the ACT 2 has 21.5db Manufacturer amplifier. The biggest change in the of gain. Overall tonal balance was CJ house sound was with the introduc- more neutral than the standard TEA2, The Conrad- tion of the company’s ACT 2 preampli- and the SE model made a big jump in Johnson TEA2SE fier and Premier 350 power amplifier. dynamics, starting and stopping more MSRP: $3,995 Both of these products abandoned the accurately on both ends of musical somewhat romantic sound that their transients. But it is still a drop or two on Reripherals gear always possessed in the past. Not the warm side of the tonal scale. Turntable that I ever found that to be a bad thing. Tube rolling provided a slight Continuum Caliburn The TEA-2SE definitely has a foot in change in tonality, but did not have as both camps of CJ design. The lower- dramatic of an effect as I’ve heard with Preamplifier priced ($2,495) TEA-2 does not have some other phono preamplifiers, I’m Messenger the bevy of CJD Teflon caps and sub- sure in part due to the Mosfet buffer sequently has a more mellow sound. stage. I found getting a tightly matched Linestage and UnitiQute UnitiServe I enjoyed the additional dynamics and set of NOS tubes did more for lowering phono stage Nagra phono stage Connect with your music like never before Where do you store your CD collection? larger soundstage of the SE model, so I the background noise than radically im- think it’s a reasonable upcharge. When proving the overall sound. The slight bit We couldn’t agree more with the cliché, “Good With UnitiServe, every CD you own can be stored, Amplification most hack modders would charge you of tube hiss that remained all but disap- Classe Omega things come in small packages”. The UnitiQute catalogued and ready to play at the press of a $1,200 - $1,500 bucks to make these peared when I plugged the TEA-2SE Monoblocks and all-in-one audio player brilliantly combines key, the click of a mouse, or the touch of an iPhone. kinds of upgrades, they never show the into my Running Springs Dmitri power VTL Wotans stunning performance, rich styling, and incredible The UnitiServe is a compact, slot-loading, CD level of care that the factory does, so conditioner, so that was not an issue. versatility in a remarkably compact package. ripping, 1TB hard disk music server based upon why not keep it stock and get it done Even for a headbanger like myself, Loudspeakers right? Magnepan 20.1 Enjoy hi-resolution music downloads, FM/internet the multi-award winning Naim HDX. Seamless this was never objectionable and I think Of course, both the TEA2 and lovers of either classic or contemporary radio, network music, Wi-Fi streaming, and connectivity with the UnitiQute or NaimUnity Cable Jena Labs SE models had perfect synergy with rock music will appreciate the richness Apple licensed iPod compatibility at a level of create a uniquely flexible and affordable system my ACT 2/series 2 preamplifier, but it this phono stage offers, I know I did. If Power Cables quality you have come to expect from Naim. without rival. (Coming in July 2010) worked well with the other preamplifiers you are sitting on the fence and have Shunyata and I had on hand from Burmester, McIn- the extra cash on hand, I suggest go- Isoclean tosh and ARC, so I’m confident it will ing all the way to the SE model, having For more information about the amazing new work well with yours. Just make sure lived with both extensively. NaimUniti products or to arrange a demo call: you have a pair of RCA inputs, as the The CJ TEA-2SE phono preamplifier TEA-2SE is single-ended. 8 01. 5 5 8 .16 2 5 is priced right, offering a level of perfor- I had the same luck with a variety mance that puts a substantial helping of cartridges as well, everything from of “cost no object” sound within reach the $900 Sumiko Blackbird up to the of a wider range of audiophiles. Highly $5,500 Clearaudio DaVinci posed no recommended. l

140 TONE A U D I O NO.31 August 2010 141 REVIEWREVIEW

The 805D: B&W’s Latest Jewel By Jeff Dorgay

August 2010 143 REVIEW

n America, where better is too often assumed to be The 805S was a perfect bigger, we occasionally overlook products that offer fit for someone desiring high performance in a compact package. B&W’s top 800-series performance in a compact enclosure, even range of speakers, the 800 series, has always been though the speakers did not synonymous with a great mixture of performance and have the diamond tweeter. I style. Over the past few years, the speakers in the 800 must have touched a nerve series have all taken advantage of their diamond tweeter chatting with the folks at B&W except for the smaller models, the 803S, 804S and at last year’s CEDIA show; 805S. The previous version of this speaker, the 805S, when I mentioned to one of was favorably reviewed in TONEAudio in Issue 11. the engineers that they really needed to add the diamond tweeter to the 805, he just I smiled and said, “I can’t discuss that.” In audio speak, that usually means it’s right around the corner. And now we have the 805D.

A big jump in performance and price The new 805D now places the same diamond tweeter from the 800 range directly on top of the curvy cabinet that you know and love, but it comes at a cost. Where the 805S speakers were $2,700, the current 805D is now $5,000 per pair. (continued)

144 TONE A U D I O NO.31 August 2010 145 REVIEW

If you are trading up, you can use the same stands; otherwise the B&W stands are an additional $600. I highly recommend the factory stands because they are perfectly matched aesthetically to the speakers and, while fairly massive to begin with, they can be easily filled with sand for more rigidity. Good speaker- to-stand interface is essential to getting the most out of a high-performance compact speaker. The 805D utilizes a Kevlar 6.5-inch mid/woofer that crosses over to the diamond tweeter at 4,000 hz. The stated frequency response is 49-28,000 hz +/- 3dB. While one might think that’s a ton of money for a speaker that only goes down to around 45hz, this is a good time to remind you that the $30k per pair Magico Mini’s only go down about this far, as do my $25k pair of MartinLogan CLX’s, so I wouldn’t call this a deal breaker.

Setup and initial impressions For this review, the B&W factory stands were used, giving the speakers the proper listening height, placing the tweeters 41-inches from the floor and providing an excellent visual compliment to the 805 form factor. As with the 805S’s, I preferred the enclosed soft rubber buttons between the speakers rather dmitri than spikes. While you can achieve some bass rein- Good speaker-to- stand interface is The new RSA Dmitri is the ultimate evolution of our work in forcement in a smaller room by placing the speakers essential to getting power line conditioning technology. Utilizing our new RSA closer to the rear walls, this will be at the expense of the most out of a platinum series capacitors and proprietary inductors, the Dmitri imaging and soundstage width. takes power line conditioning to the next level and beyond. high-performance “...my new reference in AC conditioners.” In the main listening room, the optimum spot for compact speaker. • All components are designed and manufactured in our ISO – Robert Harley, the 805D’s had the front of the tweeters exactly five 9001:2000 approved facility in Anaheim, California – USA The Absolute Sound, Issue193 feet from the rear wall and just over eight feet apart • Tolerances on capacitors and inductors meet or exceed 1% (measured at the tweeters, center to center). The lis- • 100% passive, non-current limiting topography tening position was 10 feet, ear to tweeter, for a nice, • New carbon fiber resonance vibration control triangular arrangement. While this sacrificed a smidge of bass reinforcement, the tradeoff in spectacular • Significantly lower noise floor and improved dynamics midrange and imaging performance was well worth it. With meticulous attention to detail, coupled with raw science, “The Dmitri represents the state of the After experimenting with the 805D’s in a few dif- the Dmitri allows your components the opportunity to deliver art in power line conditioning.” all of the performance that your system has to offer. – Jeff Dorgay, ferent rooms, the most critical setup component to TONEAudio wring maximum performance from the speakers was The Dmitri can be ordered as a stand alone unit, (without Magazine, distance to the sidewalls. The further you can get 20A power cord), with our world famous Mongoose power Issue18 these speakers away from the sidewalls, the more cord or with our new flagship PC, the HZ Crown Jewel, for ultimate performance. Stop by your Running Springs Audio you will be impressed with them. Those having limited dealer and audition the future of power line conditioning. speaker placement options can take advantage of the foam port plugs included in the accessory kit to cut the bass response slightly for extreme corner-place- CLEANPOWERPURESOUND ment situations. (continued) 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 August 2010 147 REVIEW REVIEW

Also included in the accessory about 15 pounds of sand, and the box is the best user manual I’ve yet improvement to the quality and encountered; it’s incredibly reas- quantity of bass is not subtle. A suring after one has spent a sub- quick listen through “Model Man” stantial sum on a HiFi component from King Crimson’s Three of a to get a comprehensive manual on Perfect Pair revealed a substantial how to use it. B&W has definitely increase in bass weight and texture. set the diamond standard here, With the stands empty, Tony Levins’ and I hope others in the industry bass line is somewhat buried in take note and follow their lead. the mix, but with the stands full, it Thanks to a 88db sensitivity took on a presence of its own in rating and a crossover that works the track. The extra weight offered well with solid-state or valve am- a slight increase in these speakers plification, the 805D will integrate uncanny ability to offer up precise easily into your system. Anything imaging within a very wide sound more than about 30 watts per stage. Filling them with lead shot channel should suffice, and we might prove even better, though made it a point to mate them with lead is tough to get these days a very wide range of amplification and somewhat toxic to work with. from the PrimaLuna ProLogue 1 Should you go down this path, be and Naim UnitiQUTE (both 30wpc) sure to use adequate ventilation, a all the way up to the Burmester face mask and rubber gloves. 911 MK.3. Once a fair amount of amplifiers were tested, the 805D’s The Big D settled into system two, powered While a two-way speaker can by the McIntosh MC 1.2KW/C500 usually go only so deep, there’s combination with excellent results. always a lot to be said for the sim- Though the average 805D plicity of a great two-way design. (continued) owner may not pair these speakers up with a $30k power amplifier, these speakers have enough resolution and finesse to be used in a world-class system. Much like the Verity Finn that we reviewed last issue, the 805D is the spot-on so- Thanks to a 88db lution for the audiophile who wants sensitivity rating an extremely high-performance and a crossover speaker system in a smaller form that works well with factor. solid-state or valve amplification, the Time to play with sand 805D will integrate easily into your A quick trip to your favorite system. home-and-garden store will provide the best $3 upgrade you can make to a system based on a pair of 805D’s. Each stand will hold

148 TONE A U D I O NO.31 August 2010 149 series 1

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Only one crossover point means 1 7 0 i Tra n s p o r t that much less that a speaker de- signer has to optimize. If you are a proponent of the simplistic ap- The 170iTransport is the proach to better sound, the 805D’s will be your ticket to ride. first component specifically I’ve seen a number of posts on various internet forums waxing en- designed to transform your thusiastic about the pairing of McIn- tosh electronics and B&W speakers, iPod into a high-resolution and after living with this combina- audio/video media server. tion for a couple of months now, I can see why. The 805D’s are ever so slightly forward in their presenta- The 170iTransport combines tion, so an amplifier that is more on the thin/forward side of the tonal the convenience of personal scale will produce listener fatigue audio with the performance in a short period of time. The slight warmth of the Mac gear was the and connectivity of your perfect match in my listening room. I must admit I preferred having a home audio/video system, few tubes in either the amplifier or preamplifier to get a completely or- delivering bit-perfect digital ganic sound from the 805D’s.

audio signal via a coaxial Not to minimize any of B&W’s efforts in the Matrix enclosure or the S/PDIF output, DVD quality myriad other engineering improve- ments in the 805D, but the diamond video via component outputs, tweeter really steals the show. Hav- ing spent a lot of time with the prior and built on a sleek stackable model 805S, I made it a point to refresh my memory with a friend’s cast aluminum chassis. pair before starting on this review, and there is no question that while When the iPod docks with the new model costs almost twice as much as the one it replaces, it’s 170iTransport, the iPod a stellar performer in every way. The amount of clarity that the new transforms into an audiophile- tweeter and crossover brings to the grade media server that presentation is phenomenal. The new speaker is definitely worth the rivals some of the top price asked. The transparency of the diamond tweeter rivals that of performing digital source the best panel speakers, and I say that from experience, having a pair components available. of MartinLogan and Magnepan’s here for reference. (continued)

D150I TONEG IA U DT I O NO.31A L I N T U I T I O N w w w . w a d i a . c o m August 2010 151 REVIEW

Friends who have owned older and this should be kept in mind playing loud, they still have a speakers in the diamond series when putting a system together. high degree of resolution when have often commented about a Keep in mind that the high level of playing at low levels, which is fairly long break-in period for the resolution that these speakers offer equally impressive. diamond driver, but this was not will expose any weaknesses of the the case with the 805D. A few source components and amplifi- Conclusion days of non-stop play at moderate cation driving them. This is not a The B&W 805D speakers listening levels found the tweeters speaker that I would match up with settling in nicely. They continued budget electronics. At worst, you are a tour de force of style and to improve over the next few hun- will suffer disappointment, and at technology in a compact pack- dred hours, but at 100 hours, the best, you won’t be taking advantage age. Whether you are buying a magic began in earnest. of what the speakers can deliver. pair as your main speakers in a high-performance two-channel The only thing the 805D can’t The only area that the earlier 805S system or a multichannel setup, do is produce the level of low- perhaps excels over the 805D is you’ll find that they offer up frequency energy that a pair of that its soft-dome tweeter was more performance well beyond their full-range floorstanding speakers forgiving of source components. small size. While I missed pur- can. I didn’t have B&W’s latest If like me you prefer a dash of chasing the last version, I didn’t subwoofer, the DB-1 on hand for warmth to the presentation, it can let the 805D’s get away. They this review, but I did add my JL easily be accomplished by adding Audio Gotham with excellent re- a tube amplifier or preamplifier to will be taking up permanent sults. The B&W unit should be a the mix. Personally, I’d rather start residence here in system two. perfect match for these speakers, with a neutral speaker and voice the Highly recommended. l especially because of its compact system to my taste. And I’d always size. Look for a follow-up review rather have more than less resolu- as soon as we can get our hands tion, so if this sounds good to you The B&W 805D on one. Suffice to say, the 805D’s as well, put the 8085D at the top MSRP: $5,000/pair, with a suitable subwoofer is a very of your list. Stands, $600 addl. formidable combination, making for I was pleasantly surprised at a compact yet full-range system. Manufacturer how loud these little speakers If you just don’t have the space for www.bowersandwilkins.com would play when hooked up to the the larger speakers in the 800 se- MC1.2K’s. With 1,200 watts on ries, this is an excellent option. Periperals tap, there were no worries that the amplifiers would run out of power Analog Source Neutral and musical and clip while driving the 805D’s. Clearaudio Concept turntable Running the full gamut of my Listening to a handful of my favorite w/ Clearaudio Maestro Wood music collection, there wasn’t any- Sheffield lab direct-to-disc LP’s, the Digital Source thing that the 805D couldn’t han- 805D’s would cruise along at a 1-10 Wadia 381, Naim HDX dle, except for the aforementioned watt level and take 400 watt peaks deep bass passages. To their without flinching. A single 6.5-inch Preamplifier credit, B&W has taken the high cone can move only so much air (all McIntosh C500 road here, not designing an upper the more reason to add that B&W bass bump into the LF range to subwoofer to the mix...), but unless Power Amplifier McIntosh give an impression of bass where you are trying to achieve rock-con- MC 1.2kw Monoblocks there is none. cert levels, I submit that the 805D’s Cable Cardas Clear This is a very neutral loud- should play loud enough for the ma- speaker that presents what is jority of listeners. Not only do these Power Running Springs Jaco there, but it does not embellish speakers do an exceptional job at w/ Mongoose power cord

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Somewhere between tubes and transistors... Audio Research DSi200 By Steve Guttenberg

The combined forces of the Audio Research DSi200 Integrated Amplifier and the White Stripes’ CD, Under Great White Northern Lights, hit me like a ton of bricks. I definitely felt something primal when Meg White bludgeoned her drum kit and Jack White screamed his guts out while shredding his guitar. I jumped up and down, totally caught up in the frenzy. The DSi200 must have been doing something right.

And get this: it’s a Class D amp! Yeah, I know, but Audio Research’s Class D is something else again. The DSi200 doesn’t sound like tubes or solid state or any digital amp I’ve heard to date. Most but not all digital amps sound bland, lifeless and mechanical. No such problem here; the DSi200 uncorked R.L. Burnside’s rip-roaring blues, which are best enjoyed turned up to “11.”

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The preamp section is pas- buttons just below the knobs and sive, but according to ARC, the display cover Power, Mono, Phase amp features a fully discrete Invert and Mute. analog power supply with a high- The plastic remote is standard speed switching MOSFET output ARC fare – a Plain Jane, black- stage. And the DSi200 does not and-silver plastic thing – but it rely on any OEM modules such as offers all of the controls found on those found in designs from other the DSi200 itself, plus a few more. high-end manufacturers of Class With it you can turn down the dis- D amps. Beyond that I’m not play brightness, and there’s a bal- qualified to comment on the tech- ance control. nology other than to note Class D operation is super-efficient, so the Built to Last DSi200 draws a mere 38 watts at idle, 750 at full power. The DSi200, like all ARC products, is hand-built in the compa- Redefining High Definition ny’s 48,000-square-foot factory in Plymouth, Minnesota. It’s interest- ARC has billed itself as the ing that ARC doesn’t wave solder “High Definition” company for as or surface mount components; long as I can remember and de- they believe that hand soldering cades before HD was ever used makes for better sound, so each to describe 1080P video. Ah, but resistor, capacitor, IC, etc., is sol- the DSi200 is part of ARC’s new dered by hand. Some of those “Definition” Series, which runs things are so tiny that the solder- parallel to the existing standard ing is done under a microscope! and Reference lines. The Defini- tion line also has a Class D DS450 Each completed DSI200 is power amp, and there’s some burned in for 48 hours, fully QC- talk about a preamp, so we’ll see. ed and listened to, and I mean re- There might even be a few solid- ally listened to by none other than state components showing up Warren Gehl, the company’s resi- in the Definition Series, but one dent golden-ear in a reference- thing’s for sure, no tubes. grade system. Gehl has been known to reject entire batches of I think the DSi200 is the pret- units in a run if they’re not up to tiest ARC component ever. Sure, snuff. Not only that, Gehl evalu- there’s a strong kinship with the ates every unit sent in for service classic ARC aesthetic, but the before it leaves the premises; proportions are better. The silver that’s an amazing commitment rack handles, silver top and sides to ARC’s customers. make for a fresher, more contemporary look. Mine had a gorgeous The DSi200 is fairly compact, silver faceplate, but you can get a just 19 inches wide, 5.25 inches black one with black knobs, han- high and 14.25 inches deep. It dles and cover although the sides weighs a very manageable 37.2 will still be silver. The left knob is pounds. Power output is 200 watts the volume control, the right han- per channel into 8 ohms, and 300 dles input selection. The row of watts into 4 ohms. (continued)

156 TONE A U D I O NO.31 August 2010 157 REVIEW

There are two balanced and three Shipping across the country to amazing with low-power amps, singled-ended inputs. Brooklyn didn’t reset the burn-in the DSi200/Essence marriage was Audio Research recommends clock back to zero, but the sound a happy one. One thing I noticed sticking with the DSi200’s stock an hour after powering up was right away was the bass; it was power cord before trying anything soggy. Twelve hours later, most fatter than I’m used to, though still else and plugging it directly into of the haze lifted, and the next well-behaved. the wall before experimenting with day it was starting to sound nice. Ellis and Branford Marsalis’ power-line filters. That was fine Really nice. Loved Ones CD is pretty special, with me. I don’t use conditioners first because the father-and-son and I’m not one to experiment To Panel or Not to Panel connection is so strong. Senior with power cords. My favorite “break-in” disc Marsalis plays piano and Bran- I did note one minor design of late is Elvis Costello’s Live at ford plays sax. This disc’s 1995 quirk with the DSi200: When I Hollywood High. This 1978 show sessions were recorded at Mas- turned the volume way down so finds Elvis in high-energy mode, terSound Astoria, in Queens, that the numerical volume display and cranked up nice and loud, NY, and I know the sound of that was reading “2” or “3,” the sound the music gets my juices flowing. place from the many Chesky ses- moved over just a little bit to the It’s not the sort of stuff I’d nor- sions I worked on there. left speaker. Correction was easy; mally use to evaluate an amp or The DSi200 worked as some I just used the balance control to speaker’s finer points, but when kind of time machine, bringing re-center the sound. it comes to evaluating the more back not only the sound of Ellis’ ARC claims the DSi200 needs visceral aspects of sound, Holly- piano and Branford’s sax, but I a solid 600 hours of run-in time to wood ain’t bad. also could “hear” the room. Truth fully settle down. My review sam- I started listening to the teller that it is, the DSi200 decod- ple had already logged 200 hours DSi200 hooked up to my Zu Es- ed more of the sax-in-room sound at ARC before Editor Jeff Dorgay sence speakers. On paper, it’s than the piano, but that seemed received it for photography, and not an ideal match. The Essence to be the result of closer mic-ing of course he listened to it a bit. is pretty efficient and can sound on the piano. (continued)

158 TONE A U D I O NO.31 August 2010 159 I also used the DSi200 in my two- channel home theater, kicking things off Illinois Concert CD was magical. The tone with the Talking Heads concert film, Stop variations and colors, from soul-stirring, Making Sense. Tina Weymouth’s bass was On the tunes that featured Ellis solos, guttural bass to Dolphy’s squeaks and a thing of wonder: tight, deep and oh-so the mics were apparently moved back a squalls, emerged fully formed. The 1963 funky. The MG 3.6’s bass panels seemed few feet and the DSi200 picked up more of analog tape recording’s hiss really sound- better controlled with the DSi200 than the sound of the piano within the studio. ed like analog tape hiss, and that’s not they do with the Parasounds. Soundstage always the case. Sometimes it just sounds depth and dimensionality were rendered My Magnepan 3.6’s are fairly demand- like undifferentiated noise accompanying with more precision than I’m used to hear- The DSi200 is ing speakers because they are relatively the music. ing, and dynamic jolts courtesy of Chris a breakthrough inefficient. Many otherwise excellent ampli- Frantz’ blazing drums were abundant. And product from ARC. fiers have been humbled by the 3.6’s, but Reflecting on the Conventional the Dolby Digital sound seemed surpris- It heralds a new the DSi200 allowed them to coast along. So how does the DSi200 stack up ingly fresh as if I was hearing a newly re- approach from a A.C. Newman’s Slow Wonder CD against more conventional designs? My mastered version of the soundtrack. The company that in sounded mighty fine with the DSi200 in my stereo LPCM track on the Rolling Stones’ April celebrated its reference Parasound JC 1/JC 2 power system. All of the melodies, jangly guitars, Shine a Light Blu-ray was a brighter, edg- 40th anniversary. and preamp sounded more organic, more incessant piano riffs and punchy drums ier and altogether more modern-sounding Here’s to 40 more. fleshed out than the DSi200. So by that seemed hookier than before. The DSi200 standard, the Parasounds were more recording. Yet when I pushed the DSi200 somehow clarified the dense mixes, and I “analog” sounding even when playing hard, it always kept its cool. kept playing some tunes, such as “One of CDs. Dolphy’s clarinet was darker toned The DSi200 is a breakthrough product Us Prizefighters,” over and over again. and further back in the soundstage with from ARC. It heralds a new approach from I can’t get enough of this record. the Parasounds, or you might say that the a company that in April celebrated its 40th A bass-clarinet solo on Eric Dolphy’s DSi200 foreshortened depth. anniversary. Here’s to 40 more.

160 TONE A U D I O NO.31 August 2010 161 REVIEW RedEye, the personal remote.

The RedEye system allows the iPhone and iPod touch to control nearly any TV, stereo, cable box, DVD player, and many other devices that receive standard infrared signals.

Personal. • Each iPhone or iPod touch acts as a controller • More than one controller can simultaneously interact with existing home entertainment gear Additional Listening Jeff Dorgay Simple. couldn’t resist the urge to give • One touch launches any activity—watch TV, I the DSi200 with a pair of Stella Manufacturer the DSi200 a test drive because it listen to music, play a video Utopias, the YG Anat II’s, the Gam- Audio Research DSI200 represents a fairly radical departure ut S7’s and S9’s, and a few other Integrated Amplifier • Custom screen layouts for each activity means for ARC. These guys don’t reinvent examples from Dynaudio, Verity MSRP: $5,995 no hunting for the right button the wheel every two years, so their and B&W, all with no problems. www.audioresearch.com jumping on the Class D bandwag- Dave Gordon from Audio Research on piqued my attention. pointed out, “Switching amplifiers Smart. Peripherals Much like every chip-based are optimized for an impedance • Multi-touch gestures for common functions Analog Source VPI Classic amplifier that I’ve had the opportu- range. Our amplifier will have good turntable with a van den Hul • Free software upgrades delivered via iTunes nity to use, the DSi200 is speaker luck down to about two ohms and Frog cartridge • Control different rooms from anywhere sensitive in a way that’s more like we don’t have a problem with im- in the house a vacuum-tube amplifier than a pedance swings. That’s why we Digital Sources Ayre high-current solid-state amp. I had came up with our own design for C-5xe MP Universal Player, the same experience with my Mag- the DSi200.” Oppo BDP-83 Special nepan 1.6’s as Steve did with his, Even driven to brain-damage Edition Blu-ray player but driving the MartinLogan CLX levels, the DSi200 stays cool. So Electronics Parasound JC (which dips to .8 ohms at 20khz) this is the perfect integrated ampli- 1 preamp, JC 2 power amp, was not my favorite setup. The fier for someone who wants a high- Pass Labs XA100.5 amp, Wi-Fi to Infrared CLX’s seemed to lack body and performance yet relatively compact Whest 2.0 phono preamp sparkle when switching from my system. And thanks to everything Speakers Zu Essence, Communication from iPhone A hardware device and a free reference Burmester 911mk. 3. But being on one chassis, you save the Dynaudio C-1, Mangepan or iPod touch to RedEye device App available on iTunes turn again, the CLX is probably one of cost of an extra interconnect and MG 3.6/R Less clutter. More control. via Wi-Fi, and RedEye device to the iPhone and iPod touch into the toughest speakers to drive. boutique power cord, if that’s your Cable Zu interconnects, entertainment gear via infrared a remote control As we just happened to have usual recipe. speaker cable, and XLO quite a few large speakers in here The DSi200 is definitely Class Signature-3 power cords redeyeremote.com for review, I had the chance to try D done right. l

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Goldring is a UK-based company that has been around since the dawn of time or 104 earth-years, according to their website. They make high-quality yet affordable equipment, primarily phono cartridges. In an industry where audio enter- The Goldring prises rise and fall every few years, Goldring must be doing something right to have survived two world wars, count- Legacy less parliaments and the vaga- ries of the British economy. The Legacy is the top of their moving-coil (MC) line Moving Coil which includes the Eroica and Elite cartridges. The Legacy is distinguished by a slim, light- weight non-resonant magne- Cartridge sium body and proprietary “vi- tal line” stylus. A tracking force of 1.75 g and load impedance Light, Lithe and Lively of 100 ohms are recommend- By Lawrence Devoe ed, although the latter settings will definitely vary according to the cabling and preamp used.

Audiophiles who survived the digital tsunami and Getting Started had the foresight to keep their record collections intact Set-up instructions are quite straightforward and do are now rewarded with a renaissance of vinyl playback not presume extensive prior gear, including a new generation of phono cartridges. experience in cartridge mounting. However, I would strongly While cartridges can be objectively assessed on the recommend using an align- test bench, measured output, channel separation and ment grid since the stylus and cantilever are obscured by the frequency bandwidth don’t tell you how a cartridge will cartridge body when viewed sound when mated with your tonearm and turntable. from above. Installation was straightforward and completed This makes reviewing cartridges mighty challenging. in less than 10 minutes. Before Yet when the stars align and great music emerges from further considering this cartridge, you should know that it your chosen grooves, the payoffs are substantial. has a low output of only 0.28 Enter the Goldring Legacy phono cartridge. mv. (many MC cartridges have outputs of around .5mv) (continued)

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Therefore, a phono stage with adjustable gain and impedance will be needed. Weighing in at 8 g, this cartridge would be a good match for most standard tonearms. All cartridges require some break in, and for the Legacy, about 50 hours seemed right, although the sound did improve slightly with additional REVOLUTIONARY ANALYSIS time. For years, the debate has raged on-line and off regarding the perceived value of after-market power cords within professional Listening to the Legacy and consumer audio-video systems. My critical listening was done with a VPI Aries/Flywheel turntable Though there are many sound and visual professionals who report experiencing dramatic differences when replacing stock power using a VPI 10.5i tonearm, Nordost cords, there are still skeptics who point to a lack of measurements Valhalla interconnects and a Pass as proof that no real difference can exist. XP-15 phono preamp. The Clearau- dio Stradivari was used as my refer- Shunyata Research scientist, Caelin Gabriel, has put an end to the debate by revealing not only one — but three dramatic ence. Sessions ran the gamut from measured differences between stock power cords and an pop and jazz vocal, solo piano, or- inexpensive audio-grade power cord. DTCD (DynamiC TransienT CurrenT Delivery) analyzer gan, small instrumental ensembles DTCD is a method of current analysis that measures instantaneous to full-force orchestral recordings The measurements represent three critical performance criteria: current delivery in the context of a pulsed current draw. in layman’s 1 The quantity of instantaneous current available through a terms, it is a way of measuring current performance into typical I use vocal recordings as my specified power device or circuit. Measured in amperes. electronic component power supplies. standard for initial assessment 2 The amount of voltage drop across the device during the of any component under serious conduction period. The DTCD analyzer allows the measurement of pulsed transient 3 The stored residual noise component rate of dissipation after current through a variety of aC power products, including consideration. I began with Sheila the current conduction period (displayed on web-site). power cords. Jordan’s “Sheila” (SteepleChase Re- cords), which features solo voice and acoustic bass. The Legacy captured the warmth in Sheila’s voice while Arild Andersen’s bass was solid and articulate. Rickie Lee Jones’ self- titled first album followed; while this album can sound strident with lesser cartridges, the Legacy offered up good tonal balance and presented a credible soundscape throughout the spectrum. Hyperion Knight’s piano rendi- DTCD CurrenT measuremenT: volTage Drop Comparison: tion of scenes from Stravinsky’s This measurement depicts the difference in available impulse The voltage drop depicted for the stock power cord was so Petrouchka (Wilson Audio) has a current between Shunyata’s Venom-3 power cord ($99 retail) and a profound that several models were tested to validate the standard black component power cord. Note the enormous standardized measurement. A 53% drop in voltage during strongly percussive quality that chal- difference in the quantity of current available compared to the the conduction period compared to only a 17% drop with a lenges a cartridge’s tracking ability stock power cord. The stock power cord delivers only 47% of Shunyata Venom-3 power cord represents a night to day objective and musicality. The Legacy had no available current compared to 84% with a Venom-3 power cord. difference. This magnitude of difference is certainly significant trouble with these cuts and gave a By any standard of measure, this is statistically significant. in a high performance entertainment system. nice account of this difficult music. See more measurements and complete info at shunyata.com/Content/dtcd.html NOTE: Many standard cords were tested. This cord is representative of the average measurement. So far, so good. (continued)

166 TONE A U D I O NO.31 SHUNYATA RESEARCH • POULSBO, WA VISIT US ONLINE: shunyata.com REVIEW REVIEW

Pressing on with more chal- Rachmaninoff’s Sym- On the selections used for The Goldring Legacy lenging fare, my next test phonic Dances stress the this audition, the Stradivari MSRP: $1,295 was Frederick Fennell’s digital playback chain across the au- conveyed more detail and remake of the Holst Suites dible bandwidth like few other openness, which is the hall- Manufacturer for Band (Telarc Records) pieces. The classic Turnabout mark of the Clearaudio MC www.goldring.co.uk because of its huge dynamic LP featuring Donald Johanos cartridge line. But from the www.musichallaudio.com swings. The original packag- and the Dallas Symphony is a standpoint of sheer musicality, (US Distribution) ing even came with an insert venerable demonstration disc the Legacy was never embarrassed. Remember, we are for certain tracks “warning” and has been nicely remas- Peripherals about their potential threats tered by Athena Records with comparing a $1,300 cartridge Digital Sources Esoteric to speakers if played at high much quieter surfaces. The with one that retails for nearly P-03/D-03/G-Orb/UX-Pi/ volume. Again, I was im- Legacy rendition of these oft- three times that price. Logitech Squeezebox Duet pressed with the Legacy’s played tracks was convincing In the competitive mar- ability to handle these de- in its reproduction of orches- ket of phono cartridges, the Analog Sources VPI manding grooves without tral size, instrumental timbre Legacy should find a happy HRX/12.7 Arm/Rim Drive/ problem. Winds, brass and and depth of image. home with vinyl-lovers who VPI Aries/10.5i Arm w/ bass drums were appropri- The Legacy listening ses- have other financial priori- Flywheel/SDS Controllers ately balanced with a good sions concluded with the ties, such as college tuition, Phono Cartridges sense of hall acoustics. The soundtrack from The Emerald car notes, mortgage pay- Clearaudio Goldfinger v.2/ lively pace on a number of Forest, (Varese Sarabande), a ments and the like. It con- Clearaudio Stradivari veys the sonic magic of the the selections was also well forgettable movie but a great Phono Preamplifiers moving-coil design without conveyed. atmospheric set of tracks. This Pass XP-15/XP-20 cartridge recreated the other- the penalties of noise, hum or Among the very best or- worldliness of this music very susceptibility to interference. Preamplifier Pass XP-20/ gan records of all time were convincingly. Most importantly, the Legacy Lexicon 12HD-B those produced by Dave Wil- handles a wide range of mu- Power Amplifier son, featuring organ virtuoso Performance Summary sic without problems. Yes, Pass XA-100.5/Pass X-3 James Welch. The instru- Over my hours of listen- it is lively in a good sense, Speakers Martin Logan ments chosen are superb, ing, the Goldring Legacy put as it brings out the life in a CLX/Stage/Script-i/ the recording and mastering it all together quite nicely. recording without sounding Descent-I (2)/Descent (2) beyond reproach. Lesser This cartridge was devoid of analytical, a recurring issue cartridges simply cannot listener-fatigue issues. I lis- with some high-end MC car- Interconnects convey the huge space and tened to most of my reference tridges. Nordost Odin/Valhalla albums from start to finish, body of these vinyl discs. The Legacy is a testa- Speaker Cable which is a good sign. Despite The Legacy’s feet were defi- ment to this company’s Nordost Odin nitely held to the fire by the its low output, the Legacy was success and longevity. Put Power Cords/ Bach Toccata and Fugue dead quiet and hum-free in my simply, the “secret” is that Conditioning BWV 565 (Magnum Opus, system. Surface noise disap- they can make a reasonably Running Springs Audio Wilson Audio) and its feet peared effectively, and imag- priced cartridge that will work Dmitri,Maxim/Nordost didn’t fail. The cathedral en- ing was spot on. well with the equipment that Odin/Valhalla vironment was solidly repro- My Clearaudio Stradivari’s many prospective buyers Vibration Control duced with realistic echo and performance comes within already have, and it will give Black Diamond Racing sonic decay. The low end about 80 percent of the top- lots of listening pleasure. was plentiful but not bloated. of-the-line Goldfinger v.2 so The Goldring Legacy be- Room Treatment Organ aficionados, if any of the bar was already set pretty comes one of my choices Echo Buster/ Corner you are still out there, can re- high for this contest, perhaps for top-value product of busters/Bass Busters/ joice in the Legacy. an unfair comparison. the year. l Double Busters

168 TONE A U D I O NO.31 August 2010 169 REVIEW Black Beauties The Shuguang Treasure “Black Bottle” 6CA7 Tubes By Jerold O’Brien

Even though we all went bonkers here over the EAT KT-88 tubes featured in our last issue, they are damn

expensive. While a few manufacturers have begun

manufacturing higher quality 6550/KT-88 tubes,

the classic EL-34/6CA7 has not had the attention

it deserves, and the price of NOS (new old stock)

versions of this classic power tube have skyrocketed.

It’s not uncommon to pay upwards of $500 for a pair

of premium examples. With a number of new tube

amplifiers on the market in the 35-50 watt per channel

range taking advantage of these tubes and quite a

few vintage models being restored, this is an exciting

development.

Shuguang has been in business in China for more

than 50 years and according to their website, they

produce 40 percent of the world’s total output of

vacuum tubes. They’ve come a long way since their

first production run of 20 6Z4 tubes back in 1963!

170 TONE A U D I O NO.31 August 2010 171 REVIEW REVIEW

One of the most interesting features of these Shuguang suggests 300 When listening to Fee Weybill’s and Dead Can Dance records tubes is their black coating. Shuguang calls it hours of use for the tubes to lead vocal on the title track of revealed a healthy dose of the their (HPCC) High Polymer Compound Carbon be fully burned in, and I have to the Tubes’ Young and Rich, his bass punch I’m used to with coating, and it is designed to “minimize sec- thank staff member Mark Mar- voice is not only clearer but has the 6550/KT88 style tubes, ondary emission flow” inside the tube, claiming cantonio for taking care of this a much greater sense of hav- while not giving up the body of that the loose electrons bouncing around the for another review on which he ing its own distinct space in the this tube. Very nice. inside of a tube contributes to the noise pro- is working, so the tubes arrived recording. Male and Female As all three of my test am- duced. here with hours on the clock. vocals had more body/warmth plifiers were extremely quiet, These tubes definitely have and a greater depth. These mysterious black tubes have a num- the only thing that can’t be a quality feel, they are well- ber of other important features that should en- As good as the gains were easily verified is whether these packaged and the level of out- dear them to tube lovers: gold pins, enhanced in “midrange magic,” the ef- tubes are actually that much ward fit and finish is excellent. plate coating, and the Treasure series of tubes fects that these tubes had on quieter. They certainly didn’t The black coating takes a bit of are hand assembled by Shuguang’s senior both the high and low ends of cause an increase in noise and getting used to for classic tube the frequency spectrum were that’s a good thing. technicians. Their premium Grade A tubes lovers, but you’ll get over it. cost $460 per quad and arrive securely pack- the most dramatic. I experienced the same effect with Conclusion aged in a foam-lined box. All Shuguang tubes A Big Improvement come with a 30-day warranty and an extend- all three amplifiers; the highs If you have an amplifier ed, one-year warranty is available for an ad- The difference that the were at the same time more that uses EL-34 tubes and you Shuguang tubes made with extended, yet also smoother. ditional $25. don’t have a cache of NOS the PrimaLuna amplifier was power tubes, the Shuguang Grant Fidelity goes the extra mile with As good as the gains not subtle. As good as the Treasure Black Bottles is Shuguang, insisting on very tight quality con- were in “midrange PrimaLuna amplifiers are, the your next choice. These are trol for their imports. Company principal Ra- magic,” the effects stock tubes have always come fantastic-sounding tubes that chel Zhang told me that they have had a failure across as being somewhat that these tubes had on both the high command a premium price rate of less than .5% with the Treasure series, veiled and grainy, compared and low ends of the but are worth the money, of- which is why they can offer the extended war- with what a great set of NOS frequency spectrum fering sound improvement ranty with confidence. tubes will do for them. Remem- were the most across the spectrum. The only ber, great EL-34’s can cost dramatic. thing I can’t verify at this time Plug and play $300 each, and for all but the is tube life, but we will be run- The Shuguang tubes have the same elec- most fanatic tube enthusiasts, Carlos Santana’s Caravanserai ning a set through their paces trical characteristics of EL-34’s past, so you this is just out of reach for is a relatively bright, forward in the months to come, and can plug them right in to your amplifier with someone with an amplifier in recording, and when switch- should they fail prematurely, nothing more than a quick touch up of the the $500 - $2,000 range. ing from the stock tubes in the we’ll let you know. Otherwise, bias. For this review, they were used in the The first thing noticed when MV-50 to the Shuguang’s, the you won’t find out the results new ProLogue Premier amplifier, made by switching to the black bottles cymbals on the opening track of our final testing for a while. PrimaLuna, my modded Dynaco Stereo 70 was a much lower level of grain “Eternal Caravan of Reincarna- At present, these represent and our publisher’s Conrad-Johnson MV-50. throughout the audio range. tion” sounded more natural the pinnacle of EL-34 sound, These amplifiers were chosen because the This was evident from turn on. than ever before. in terms of current production PrimaLuna is a current product and the MV- The Shuguang tubes sounded Thanks to these tubes, the tubes. l 50 is an excellent example of a fine vintage better after five minutes than characteristic bass (i.e. some- amplifier that is probably still in service in a the stock PrimaLuna tubes what loose) response of my Shuguang Treasure Black number of homes, while the Stereo 70 remains did after two hours, and they favorite amplifiers lost a bit of Bottle 6CA7 Tubes a perennial favorite of DIY’ers everywhere. improved for about an hour, by their upper mid-bass bloom The PrimaLuna features automatic adaptive which time they felt completely but gained some lower bass MSRP: bias, while the Dynaco and CJ must be biased warmed up. weight. Digging out the usual $460 per quad “A” version manually. I was curious to see how these am- Vocal lovers in the crowd suspects and going through $340 per quad “B” version plifiers would respond to the tube upgrade. will key in on this immediately. a slew of Pink Floyd, Genesis www.grantfidelity.com

172 TONE A U D I O NO.31 August 2010 173 REVIEW REVIEW

Let’s Start Small For comparison purposes, the digital The 300D is available in black or output of the MOON 750D was used silver and comes packaged in a case just to find the limitations of the bud- not much bigger than Simaudio’s get transports. Both Sides of the Moon LP5.3 phono stage, or about half the The 300D was used via XLR and width of a standard component. A RCA outputs to my reference Burm- The Simaudio MOON 300D DAC and MOON 750D DAC/Transport nice touch if you are going to place ester 011 preamplifier, and I preferred By Jeff Dorgay it on a rack with a LP5.3 or perhaps the sound of the XLR outputs here, a turntable power supply. It takes a using identical AudioQuest Colorado somewhat unconventional approach, interconnects. Staff writer Mark Mar- using the BurrBrown PCM1793 DAC cantonio, who now uses the 300D chips, featuring 24bit/192kHz resolu- as his reference, also had the same tion, yet internally upsamples every- experience with the 300D mated to thing to 24 bit/352.8 kHz processing. his Simaudio i-7 integrated amplifier, A row of LED’s on the left front panel finding the balanced outputs offering indicate the sampling rate of the in- up slightly more ease and smooth- coming signal. ness. Though the current trend has I’ve been living been more towards USB DAC’s, a Mighty Mite with both of USB input is included on the 300D’s these DAC’s In the midst of this review, we rear panel, however it is only for for some time had the opportunity to do a bit of convenience. The Simaudio engi- now and have “group listening” where I had a few neers do not feel that USB offers the been equally staff members over for a day of mu- best solution for high-quality digital impressed. sic while comparing a wide range playback, concentrating instead on of DAC’s from about $1,000 all the investing the quality in the S/PDIF way up to the $55,000 dCS Paganini (RCA) inputs. An optical input is also stack with upsampler and word included to make this a very versatile DAC. There is a pair of RCA and XLR clock. While we don’t do formal outputs to accommodate either type product shootouts in the magazine, of system. it is always worthwhile to compare gear that’s in for review to other sim- Setup ilar-priced offerings to see how they shake out in terms of ultimate value. To give the 300D a thorough test drive, I used a variety of 16/44 With four other DAC’s ranging and 24/96 source material, primar- from similar to almost double the ily from my Sooloos music server, price of the 300D, I kept switch- as well as pairing the DAC with a ing between one DAC and another few older disc players. For the au- while the staff members listened, not imaudio has recently released a pair of outstanding DAC’s at diophile on a budget, the Pioneer knowing what they were listening to. opposite ends of the price scale. Their 300D entry-level model 563 and Denon 3910 can both be The vote was unanimous on “DAC C” having the most open and least is reasonably priced ($1,595) while the 750D costs considerably purchased used for less than $250. With a suitable digital cable, either “digital” sound. A couple of the staff more ($11,995) and includes a CD transport as part of the deal. of these can mate with the 300D writers were disappointed that they I’ve been living with both of these DAC’s for some time now and to provide a high-quality digital consistently picked the MOON 300D have been equally impressed. front end while offering the added over their own DAC’s, but that’s how flexibility of multiple digital inputs. the chips fell. (continued) 174 TONE A U D I O NO.31 S August 2010 175 REVIEW

Just as there are multiple paths to This is a small but subtle test that many great analog sound, the same applies lower-priced DAC’s can’t handle. to digital. Most companies defend their While the 300D had great dynamic position as “the best” when in reality, range and solid, decisive bass perfor- there is always more than one way to mance, what really sets this one apart skin a cat. In the case of Simaudio’s up- from its peers in its price range is that sampling approach, it works well. level of delicacy that usually does not If I had to describe the 300D in one exist at all here. No, it’s not a giant word, it would be “natural.” This was killer and you won’t mistake it for Si- If I had to very evident when listening to solo vo- maudio’s top player, but it gives a very describe the cal tracks, small ensembles of acoustic solid performance that is as non-digital 300D in one instruments and especially violins; the as I’ve yet heard here. To try and put word, it would 300D consistently turned in an excellent it in better perspective, if you only have be “natural.” performance. Keeping in line with the a modest analog setup, I’m guessing Canadian vibe, listening to “Love Won’t you’ll either be shopping for a bet- Find Us Here” from Mae Moore’s Drag- ter turntable or more time listening to onfly CD showed off Moore’s breathy vo- digital, especially if you have any kind cals, giving the presentation a big, open of collection of high-resolution digital sound. Moving on to the XRCD of Dave music files. Call me crazy, but I’d rather Grusin’s Discovered Again, the sound have great digital than mediocre analog, of the triangle in the opening of “Sun and at this level, the 300D delivers Song” was smooth with a natural decay. the goods. (continued)

176 TONE A U D I O NO.31 REVIEW REVIEW

The 750D has a pricetag to match its level of quality.

Going to the Head of the Class read, and like the other Simaudio products, The 750D has a pricetag to match its collection of CD’s that you’re not planning on – The 750D it has a large, LED readout that those of us level of quality; MSRP is $11,995. However, getting rid of anytime soon. In 2010, it’s the Removing the 750D from the box, this who are older than 30 can read easily. considering you get a world-class DAC and late 80’s all over again, and just like every- player feels substantial at 35 pounds. Like Around the rear panel, the 750D features transport, you’ll agree that this one is quite one was getting rid of their LP’s for peanuts, all of Simaudio’s Moon Evolution series, the four digital inputs; Toslink, USB, AES/EBU the bargain after all. the used CD market has never been better. aluminum chassis is built in-house on their and an RCA S/PDIF input should handle So it’s exciting to know that Simaudio has Top technology own five-axis milling machine, and the result whatever source you require. Personally, made a commitment to their customers by is a player that looks like a piece of sculpture this is my only complaint with the 750D. At Even though the CD is slowly falling from designing and building their own transport, with performance to match. The 750D in- this price point, I would love to see a second favor (as is all physical media) as a means thus assuring you that this player will be cludes a front loading CD (only) transport as RCA input for the fanatics in the crowd who for distributing music, I’m guessing that if serviceable in the future. Simaudio’s Lionel have more than one source requiring it, even part of the bargain, and even though many you are going to spend 12 large on a red- Goodfield told me at this years’ CES show, if it was at the expense of the Toslink input. (continued) audiophiles are strictly playing music from book player, you probably have a substantial It would have been nice to connect my Wa- their hard drives, there are still quite a few dia 170i and my Sooloos to the 750D. When who do not want to embrace the computer you’ve got a DAC this good, you want to use as a means for playback. With the 750D, all of your sources with it. you can have the best of both worlds. And should you decide at a later date to include As with the 300D, the USB input is not considered the high-performance option on a music server, you’re prepared. this DAC and is limited to 16/48 capability. The rest of the visual scheme is in keep- It’s worth mentioning here that even though ing with Simaudio’s top line Evolution series Simaudio does not offer 24/96 USB capabil- of electronics, with an all-silver front panel or ity on the 750D, I was more than impressed the black-and-silver front panel. I’ve always while streaming 16/44 lossless files from my been a fan of Simaudio’s industrial design; MacBook Pro and never felt like I was miss- the layout is intuitive and incredibly easy to ing out on anything.

178 TONE A U D I O NO.31 August 2010 179 REVIEW

“We felt we had to build our own transport after Top Shelf Sound While I could write paragraphs about transparen- getting burned by a major supplier a decade ago. Just like all the other Simaudio components I’ve cy, etc., etc., the short story is that the 750D is one of This way, we knew we would always have trans- used, the 750D requires about 300 hours to sound a very few select CD players that gets out of the way ports for our own decks. And we feel our transport its best. Fortunately, with a CD player this is easy to of the decoding process well enough that you can sounds better, too.” get out of the way. Two weeks of constant opera- forget that you are listening to digital. Though some “We felt we had to build our own tion ran the clock up significantly. Starting each day players achieve this by rounding off the leading and transport after getting burned by Thanks to the ESS Technology Sabre32 Refer- with the same CD, Tina Brooks True Blue (the cur- trailing edges of the music to make it easier on your a major supplier a decade ago. ence ES9018S DAC/Digital Filter working in Hyper- rent XRCD) allowed me to listen to how the player ears, the 750D gets the job done with a huge helping This way, we knew we would streamTM – which uses a total of 16 DACs (8 per/ was opening up day by day with some sparsely of resolution and lack of grain. Much of this lack of always have transports for our channel in a differential configuration), the 750D op- recorded acoustic music. I’d venture that about 75 grain comes from the attention to jitter reduction as own decks. And we feel our erates in 32-bit asynchronous mode and combined percent of the change took place in the first 100 well as the massive power supplies in the 750D. transport sounds better, too.” with their M-AJiC32 jitter reduction circuitry, reduc- es jitter to below 1 picosecond. The 750D operates hours, with the final unfolding of the sound happen- Along with an eerie, almost analog-like smooth- in fully balanced, differential mode throughout and ing in the next 200. Don’t fret, the 750D sounds ness, the 750D excels at what digital does best: sounded it’s best running in balanced mode. The very good right out of the box, but it becomes mag- dynamic range. Whether listening to large-scale sound through the RCA’s is excellent, if that is your ical after about 300 hours with the high frequencies orchestral pieces or the heaviest metal in my collec- only option, but it will give the last few percent of smoothing out more and the low-level dynamic con- tion, this player has the sheer weight that makes for sound quality in an all balanced system. trast increasing as well. a compelling performance. (continued)

180 TONE A U D I O NO.31 Frugalicious.

We admit it. We’re a frugal company. There’s no shame in that. The question is, how does it benefit you?

Our “no frills” attitude is directly reflected in what we make – the finest, affordable line of components in the stereophonic world. Clean design without showy frills.

Our frugal nature makes sure we never lose sight of ‘affordability.’ For many other companies, that seems to have gotten lost in the pursuit of the perfect component.

At Rega, we have a different pursuit – for the perfect sound. A distinctive, balanced sound. We call it This is another one of the biggest dif- established how much more interesting (somewhat immodestly)...the Rega sound. ferences that you get with a world-class digital is in high resolution. Comparing player. Fortunately, it has the low-level some of my favorite analog tracks cap- resolution and ultra-low-level noise floor tured in 24/96 with my Nagra LB from We’re able to create our own sound because we make records became stunningly close to the Tracks captured that will add a new dimension to record- originals through the 750D and certainly every component that affects this sound – cartridges, in 24/96 with my ings you’ve heard many times. good enough that I found myself listen- record players, CD players, amplifiers, pre-amplifiers, Nagra LB from Always a common audiophile argu- records became ing less often to vinyl. Especially with speakers and more. (Very few companies can say that.) ment regarding the superiority of a hard stunningly close those Blue Note 45’s, and that’s as drive versus CD for tip-top performance, to the originals good as it gets for digital. I still maintain that at least with the hard- So if you’re looking to upgrade your system in one area through the 750D. ware at my disposal (MacBook Pro, Against the Odds (or to replace it entirely), come listen to our affordable, Wadia 170i, Sooloos and Naim music Again, the unlikely comparison test priceless sound. We think you’ll agree, it’s frugalicious. servers), standard 16/44 discs still sound occurred, as I just happened to have a more natural when playing through the handful of great CD players here in the transport. It’s close, but when listening to studio, including my Naim CD555, the For more information, call 972.234.0182, or email the best discs in my collection, the trans- Wadia 781SE and my new reference, [email protected] port still had the edge in smoothness and the four-box Paganini stack from dCS. low-level detail. Acoustic instruments had From an informal comparison, I’d put the more body and texture, and again, the 750D squarely in the middle of the “big upper-most register had a lack of harsh- bucks” category. While it did not have ness that I didn’t hear until I switched quite the level of refinement in the up- back to hard-drive playback. per registers as my $32,000 Naim player (and we are really splitting hairs here on Upping the ante to high-resolution a six-figure reference system), it did have files changed the game. Playing a a little more weight and control in the THE SOUND ORGANISATION combination of downloaded files from lower registers, very impressive for MAKES MUSIC HDTracks.com and the Naim Music Store a $12k player. (continued) The Sound Organization is the exclusive Rega USA distributor. www.soundorg.com August 2010 183 REVIEW REVIEW

The Simaudio Moon 300D DAC Switching to system two, MSRP: $1,595 consisting of the daRTzeel CTH-8550 integrated and my 750D DAC/Transport Harbeth Monitor 40.1 speakers, MSRP: $11,995 the difference between players evaporated, so for 99 percent Manufacturer of the market, the 750D will be www.simaudio.com the top of the mountain and you’ll be happy living there. Peripherals But that’s not the whole Analog Source Spiral story, in 2011 when Simaudio Groove SG-2 w/Triplanar releases the outboard power arm and Grado Statement 1 supply for the 750D, I anticipate cartridge that it will increase the perfor- Digital Sources Naim HDX mance substantially, just as music server, Sooloos music any of my favorite Naim com- server, Squeezebox Touch ponents have when making a music server similar upgrade, so don’t count the 750D out of the very top of Preamplifier Burmester 011 the playing field just yet. We are Power Amplifier Burmester anxiously awaiting this upgrade 911 mk. 3, Simaudio i-7 and will report as soon as it is (integrated), darTZeel CTH- available. For now, the Simau- 8550 (integrated) dio 750D is a fantastic digital Speakers GamuT S-9, player that is as obsolete proof Harbeth Monitor 40.1, as today’s technology will al- B&W 805D low. This is a fantastic player in every way and it is certainly a Interconnects Shunyata bargain in the “cost no object” Aurora, Cardas Clear CD player category. Speaker Cable Shunyata I am very happy to award Stratos SP, Cardas Clear the Simaudio 750D DAC/Trans- Power Conditioning port one of our Exceptional Running Springs Dmitri Value Awards for 2010, and and Maxim we have purchased the review Power Cords Running sample for our reference fleet Springs HZ and Mongoose, l of components. Shunyata Python CX Accessories SRA “Ohio Staff members Marc Marcan- Class” isoBase amplifier tonio and Ken Mercereau both platforms, Shunyata Dark contributed to this review. Field Cable Elevators

184 TONE A U D I O NO.31 August 2010 185 186 TONE A U D I O NO.31 BARGAINS “The“The bestbest CDCD playbackplayback underunder $5k...$5k... forfor $1799!”$1799!” Slummin’ Robert Harley - The Absolute Sound - 09/07 By the Tone Staff

Summer’s in full force and with it comes garage sale madness. Still no mint Stereo 70’s on the horizon, but a few fun, vinyl related items.

azur

"For starters, the 840C doesn't sound like anything in its price range. It had a resolution, refinement, ease, grace, and musicality that Todd Rundgren Drink Coasters Cambridge Audio 840C - $1799 were instantly recognizable as being different CD Player with 24bit / 384kHz upsampling eBay — $5 ATF (Adaptive Time Filtering) from every other product in the category. (...) Dual-Differential DACs & Balanced Output Who can resist four of my favorite Not only is the 840C easily the greatest value Todd Rundgren albums, laminated in digital sources in my experience, it must be and made into drink coasters? It must considered one of the greatest bargains in all of have been tough to cut these records high-end audio." up, but they now are protecting the Noguchi table from nasty rings. "In fact, I could easily live with the 840C at the front end of my $100K reference system – it's that good." Robert Harley - The Absolute Sound - 09/07 Your music + our passion

TONE A U D I O NO.31 188 USA - Audio Plus Services - www.audioplusservices.com - 800 663 9352 CANADA - Plurison - www.plurison.com - 866 271 5689 www.cambridgeaudio.com BARGAINS

Pile of Records — $20

Though the covers were in awful shape, this stack of records revealed a few treasures, including a mono version of the first Doors’ album, some classic Kinks and even a couple of mono Paul Revere and the Raiders albums. About half way through the stack and so far, there is nothing that the Loricraft record cleaner hasn’t been able to handle.

190 TONE A U D I O NO.31 August 2010 191 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 B&W Loudspeakers: www.bowersandwilkins.com Nagra: www.nagraaudio.com Benchmark: www.benchmarkmedia.com Naim: www.naimusa.com Burmester: www.burmester.de NuVision: www.nuvision.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 HDTracks.com: www.hdtracks.com Running Springs Audio: www.runningspringsaudio.com Immedia Sound: www.immediasound.com Save the Music: www.vh1.com Luxman: www.onahighernote.com Simaudio: www.simaudio.com JM Labs/Focal: www.audioplusservices.com Shunyata: www.shunyata.com JL Audio: www.jlaudio.com Upscale Audio: www.upscaleaudio.com MartinLogan: www.martinlogan.com Verity Audio: www.verityaudio.com McIntosh: www.mcintoshlabs.com Wadia: www.wadia.com Meridian: www.meridian-audio.com YG Acoustics: www.ygacoustics.com

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