The Occasional

WINTER 2018 ISSUE NO. 2

The Occasional

CONTENTS/WINTER 2018

12 INCENDIARY TOPIARY

13 ZYX 4D ULTIMATE REVIEW

24 SHINDO LABORATORY MR. T

38 IN MEMORY OF TERRY CRABBE

EXISTENTIAL MOTOR RACING IN25 EUROPE WINTER 2018 6

WINTER 2018

39 THOR’S HAMMER BARLEY WINE

45 THE ELECTRIC RECORDING CO.

47 ENTREQ OLYMPUS TELLUS REVIEW

54 INTERVENTION RECORDS

WINTER 2018

55 KONDO OVERTURE II/GE-1 REVIEW

65 THE LISTENING ROOM

81 DESIGN COMMENT

85 STELLAVOX 5i-KC REEL-TO-REEL

THE ART OF JAPANESE HIGH71 FIDELITY THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 8

WINTER 2018

91 PASS LABS X600.8 REVIEW

97 THE 33 1/3 BOOK SERIES

99 ZEV FELDMAN TALKS MUSIC

107 AURALIC POLARIS SUPER AMPLIFIER

109 LOS ANGELES RUM DIARY

PART-TIME AUDIOPHILE – THE OCCASIONAL – WINTER 2018, VOL.1, ISSUE 2

THE OCCASIONAL DR. PANAGIOTIS KARAVITIS ©2017 PART-TIME AUDIOPHILE BRIAN HUNTER PUBLISHER – SCOT HULL JOHN STANCAVAGE CREATIVE DIRECTOR/EDITOR – RAFE ARNOTT JOHN DEVORE CONTACT: [email protected] JAN ZESCHKY WWW.PARTTIMEAUDIOPHILE.COM KARIN MIKA SHOJI 9 WINTER 2018

WINTER 2018

130 AUDIOQUEST OAK SPEAKER CABLES

140 PURE FIDELITY TURNTABLE

142 THIS IS THE END

117TOTEM ACOUSTICS SIGNATURE ONE THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2018 12 Incendiary Topiary ’ve been thinking about Aziz Ansari. themselves, over and over, like a mantra. Ask- If I’m being honest, it’s not because I ing ourselves “What have I done?” to contrib- want to be thinking about Aziz Ansari. ute to this sorry state of affairs. And asking And that’s probably the point – the ourselves “even if I didn’t say anything overtly Iaccusations against Ansari are uncomfort- sexist, when did I let that crap slide when I able. But what I’ve come to realize with the saw it or heard it come from another?” #MeToo movement, much like the #black- Because we’re all culpable here. Every single livesmatter movement, is that it’s not about male “in the industry.” me. That is, my comfort is not the point – We tell stupid stories. We laugh at sexist me “sitting in my discomfort” is. jokes. We “guy talk,” as if that’s some kind of Someone wise once said to me that “cul- excuse to let something out of our mouths ture eats systems for breakfast.” This was part that we know we ought to swallow down. of a conversation about “dismantling sys- We tell each other that “sex sells,” that SCOT HULL, PUBLISHER tems of oppression,” when instead of talking “women’s magazines are filled with sexist about new legislation, or by-laws changes, imagery,” that “women are just as bad as or new rules, we were talking about how the men,” as if any of that is somehow an excuse phrase “white supremacy” made us white for our own misogyny. people feel icky, irritable, argumentative, and We’re lying to ourselves. generally uncomfortable. The point of the I have no predictions here, dire or other- exercise: getting people uncomfortable is a wise. Women aren’t going to suddenly flee culture-solution. Because without a culture the market if men don’t “wake up.” And change, system-change is only ever tempo- neither are women going to show up in rary. droves if we stop being assholes, either. But Which brings me to “Where are the women that doesn’t mean we get a pass. We still in high-end audio?” meme. The meme has have work to do, even if “the women” don’t various flavors, but comes down to the “fact” magically appear. Why? Because it’s the right that women just don’t like the same things thing to do. And it’s time. It’s way past time. as men. Which makes it okay to include Culture change is hard. It takes time. But pictures of scantily clad female models when it starts with me. With you. And if we’re advertising consumer electronics, to hire being honest, aren’t you often stunned that “booth babes” at trade shows like CES 2018, any of our mothers ever let any us out of the and to mansplain some aspect of “audiophile house? culture” whenever a woman happens to be What have we been thinking? present (or even mentioned). Fact is, we weren’t thinking. The point isn’t that women aren’t different And that’s how we get stories like Aziz than men. The point is that men routinely Ansari, stories about how men are oblivious treat women poorly. As if women are a little to basic human ideals like “consent.” We get slow. Benighted. A tad foolish. But charming there, we stay there, by not thinking. By not nonetheless. And certainly fun to look at. asking. By not listening. By not living up to There’s a word for this behavior. That word is the ideals of all of those strong women in sexist. our lives. Fact is, we all know better. What How is the fact that there aren’t a lot of #MeToo is asking is that we men now do women “in the industry” not a stunning better, too. embarrassment? Every single male “in the Even if it makes us uncomfortable. And industry” really ought to be saying WTF to perhaps especially then. ZYX 4D

UltimateWORDS AND PHOTOGRAPHY BY DR. PANAGIOTIS KARAVITIS

REVIEW 15 WINTER 2018 WINTER 2018 16

udiophiles love to gamble. tend to be a loyal customer and at the And so do I. same time I love small gambles. There once was a dealer from I changed my smaller ATC speakers for the far east... bigger ones, changed a Kuzma Stogi for AOnce upon a time there was a young a Kuzma 4point, have had several ASR cartridge designer from Nagano, Japan pieces of gear and yes, I had the fantastic called Hisayoshi Nakatsuka. He went ZYX 1000 airy3 before moving to the to work for Ortofon and came up with 4D Ultimate. Do you make acquisitions “balancing weight to tridges you will realize fibre which rumour has specs with the 1000 some rather interesting designs, includ- without demoing the product first? accord the sweet spot that the differences are it was swapped due to airy3 while the sound ing the MC-20. When finally back in I do. You shouldn’t, but I do. of the cartridge body less than minimal they the lack of boron (the is clearly rolled off Japan he was hired by the most import- I trust some designers who have a and the gravity point of are almost non-exis- market is running dry, on both the top and ant OEM manufacturer of moving-coil record of commitment to what they do, vibration system.” tent. more and more com- bottom octave when cartridges and diamond tips, namely they have never failed me in the past The Lapis Lazulis The previous gen- panies will have to find compared to the Airy. Namiki. so I give them credit for that, paying in stone was a bit too eration had the same alternatives and soon). You see where this is After heading the design team that pro- advance and patiently waiting for my much for my scientific magnets and coils, What else? Not much. getting, right? duced some rather famous carts for sev- purchase to prove me right. background, I moved same highly polished So why one would put Specs mean nothing. eral high end companies he went solo, This is a bit of a gamble, not high stakes in for the 4D. micro-ridge diamond down hard-earned cash For reasons obscure to starting his own company: ZYX. Some poker but then again, not peanuts either. So what’s at stake? tip, same output and for an almost identical me (not so obscure – 15 patents in cartridge design came in The 4D Ultimate retails for $4,800 USD At the moment of impedance, channel cartridge already in but anyway) there is handy, along with the support of Namiki which puts it in the high-roller class for purchase I had a 1000 separation, tracking one’s arsenal? a clearly audible dif- who still provides some of the best, if not most audiophiles. It comfortably sits in airy3 mounted on the force and ability. Enter the ZYX 100 ference between ZYX the best stylus tips. the middle of the ZYX line up, above the Kuzma 4point. If you Differences? Yatra II, a friend’s models, no matter what In fact, this is the story of my system 1000 and below the Omega, which packs take a look at the speci- The new C1000 canti- cart which also has the specs suggest. and my personal choice in cartridges. I a Lapis Lazulis stone acting as a – fications of the two car- lever is made of carbon the same identical Continued on PAGE 17 17 WINTER 2018 WINTER 2018 18

Ultimate 4D, which is in one word – unbe- the high, meaning the exact same That’s one of the words I don’t lievable – or ultimate. quality of coils used. Low output really fancy. Same with platinum, ZYX offers three choices of coil versions sound better than the diamond, reference, exclusive, Su- material, 6N copper, 5N silver or high output equivalents since there preeeeme and the like. 24K gold and for both my carts I is less moving mass, the problem Sick ‘n tired of these ridiculous went for the copper version. There is that they require some serious adjectives. is a thing about copper, I prefer it to amplification. On this occasion the Ultimate silver in most cases, the sole excep- There is a catch here, ZYX mea- marks the latest generation of ZYX tion being the internal wiring of sures output at 3.54cm/sec @ 1kHz designs with the aforementioned my tube amps. ZYX also offers two while several other companies carbon cantilever. I will cut some choices of output, low (0.24mV) measure at 5cm/sec. This is very slack to Yoshi for the Ultimate and high (0.48mV). The low be- important as an equivalent f ZYX’s denomination due the sound of the ing exactly half the impedance of 0.24 measured at 5cm/sec would

“The tonearm was taking forever to hit the groove. I was sweating like a pig.” PANAGIOTIS KARAVITIS

be almost 0.34mV, so while it still Unpacking and first impressions which pushes the overall weight to remains a low-ish output MC, it In typical ZYX fashion the 4D came 6.8 grams, perfect for most medi- isn’t as low as figures suggest. in a bamboo box with plexiglass um-weight tonearms. Still, a good phono stage or step- cover, wrapped inside a silk cloth, I was starting to sweat. I was all-in up transformer is mandatory; same nothing new here. The look – with with this one and had nothing but applies for cables. I use the ASR Basis the exception of the cantilever – were a few outs. I mounted the cartridge Exclusive phono stage, the one with identical to the old version. I even and waited for the dealer to hit me. the batteries. The cable connecting ordered the same extra weight to The tonearm was taking forever to the tonearm to the ASR comes from be attached on the top of the car- hit the groove. I was sweating like a Signal Projects, the Apollon model tridge as all ZYX bodies are made pig. I was in, raising the 1000 airy3 with industry-low resistance and in- from plexiglass, meaning they tip with an additional $1,500 USD, ductance values. At his level the cable the scale at less than five grams. My hoping to not steal the pot but to choice is critical. choice was the so called Tin Base, crack the game at the showdown. Continued on PAGE 20 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2018 20

The river was merciless though, I want my analog front end to same packaging, same looks be blazing fast. and nothing to be particularly Flop. There was more. There excited about. was a new found sense of The dealer, Hisayoshi Nakatsu- bloom in the piano strokes. My ka gave me nothing more than hand was looking better and a seven and an ace, one of those better after the flop. A sec- hands I hate playing. ond seven was on the table. A For the retail price I would miserable pair you might think. have hoped for at least some- Where you wanna go with that? thing fancier in the packaging Bloom was something that was department, I don’t know, missing from the airy3, not maybe a clue that I was actual- that much anyway. The piano ly upgrading and not moving strokes were thicker, bolder and sideways? I was trying to play remained reverberating in free cool but I had to rush to my space longer. Yes, there was a well known LPs. No space for longer decay time, the famous experiments here, no new and coda was plusher. Where is ZYX 4D Ultimate specifications: exciting, never heard before Billie Holiday when you need “REAL STEREO” Generator System records; I needed the same old her? The first voice that comes Cryogenic Treatment Temperature: -196 C (-320 F) stuff that was imprinted in my to mind, the voice that makes Output Voltage: 0.24mV (0.48mV) memory since ages. or breaks the tonality ques- (3.54cm/sec, 1kHz) Where was that Liszt sonata on tion. You might think that all Frequency Response: 20Hz - 20kHz ±1dB 10 Hz - 100 kHz BIS? cartridges produce a natural Channel Separation: >30dB [1kHz] All of a sudden that low pair timbre but this is nowhere close Channel Balance: < 0.5dB [1kHz] with an ace on top doesn’t look to reality. Yes, moving-coil Recommended Tracking Force: 2.0gm Tracking Force Range: 1.7gm - 2.5gm that bad. designs are hands down more Trackability > 60μm /2.0gm I start to hear what made me natural sounding than digital EQ Compliance horizontal: 15×10- fall in love with ZYX in the first to analog converters but there 6cm/dyn Vertical: 12×10-6cm/dyne Internal Impedance: 4.0 Ω (8.0 Ω) place. I get that sensation of are serious differences among Load Impedance: > 100Ω having something truly special say a ZYX, a Benz Micro and an Coil Wire X type: on my tonearm, there is that AirTight. Generally speaking S type 5N Silver 0.035mm G type K24 Gold 0.035mm famous ZYX speed, probably ZYX comes out flat, Benz too, 6N Crystal Copper 0.035mm the cleanest and deepest bass I but with an added harshness on Cantilever Material: C-1000 Carbon can think of. The BIS record- the upper-mids while the Air- 0.30mm Stylus: Micro-Ridge Solid Diamond ing with Dag Achatz playing Tight PC-7 that made it to my 0.1mm that glorious Bosendorfer 275 place for a few weeks projected Contact Radius: Life Time 3μm×60μm, piano is a landmark in terms of those same voices a bit forward, 2000Hour/2.0gm Output Terminals: 1.25mm gold plated real-life bottom extension and putting them under a spotlight [EIA] has been a personal favorite for – I like evenly distributed en- Body – Terminal Board Glass Epoxy years, topping even my Clifford ergy throughout the frequency Plate: Dimensions 16.8mm(W)×19.0mm(L)×x- Curzon original Decca press- spectrum. 15.6mm(H) ing both in terms of clarity and The turn. Net Weight: 4.1gm, 6.8gm(TB2), sheer scale. I remember de- A seven, three of a kind for 8.0gm(SB2). MSRP: $4,800 USD. scribing the ZYX 1000 airy3 as me. A grin was starting to form a machine gun for how fast the on my face, but I had to hold playback was, and the 4D was at back a bit more. I had to check least on par. I could not accept for sibilance, harshness, edgi- loosing even one per cent of ness and the like. that glorious ZYX speed. Continued on PAGE 21 21 WINTER 2018

There was none on Billie’s voice but throwing another ace on the table. is my personal objective and ZYX I had to try out some not-so-well That was it, a full house and overall truly excels in all aspects. recorded albums; pop and rock mu- the best cartridge to play with my The only con I can come up with sic with a load of sibilance already Garrard 401. is the output. The effective 0.34mV in the grooves. Cartridges that add Everyone has a tell. is on the low-ish side, so one must even a glimpse of edge on those I was moving my arms like a fool, be absolutely positive his phono records make them sound insuffer- tapping my feet and singing the cre- stage will be able to handle such able through my ATC 100SL speak- scendos. How about that for a tell? an output. There is also the load- ers. The notorious British monitors Transported inside the scene, sub- ing issue, ZYX recommends more take no prisoners and after listening merged by the violins and the violas, than 100 Ohms but my experience to the likes of Metallica and Sivert it was that sensation of knowing you suggests otherwise: 47 Ohms are Hoyem I had no doubt that the 4D had the game cracked. perfect here. Many phono stages Ultimate added nothing that wasn’t After the initial adrenaline rush I won’t allow for loading adjustment there in the first place. tried to think on the pros and cons and most of them usually have 100 Apparently my Japanese dealer of the 4D Ultimate. This is a com- Ohms as a preset. In that case go knows his game very well, he man- plete offering, balanced and even, for the high output ZYX 4D Ulti- aged to push the dreaded ringing top to bottom, fast like few other mate which will work perfectly fine way above the audible frequencies, carts out there, with what I usually with less gain and 100 Ohms is spot thus achieving a sibilant-free sound. tag as “modern sound.” on. The river. If you are into the old fashioned Besides that, the ZYX 4D Ultimate I needed something more. Three mid-rangy cartridges, the ones that is absolutely amazing. Compared of a kind is good but not what I was reserve a special place for female to the 1000 airy3 it creates a more after. I was throwing swift glances at voices and make ‘em sound lush, impactful playback with richer my cards and that ace was still there. ZYX is not for you. This aspect of tonality while maintaining all the I drew out of my collection Mahler’s being clean but not lean, throwing other characteristics of the ZYX Resurrection Symphony, put down a big soundstage and positioning family unaltered. the needle and witnessed the dealer instruments perfectly on the scene So, who’s in for a hand? T/O THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 24 Pity the Fool SHINDO LABORATORY MR.T POWER CONDITIONER

Built by hand on a per-order basis in the Tokyo sub- urb of Saitama, the Shindo Mr. T power conditioner came to me from Jonathan Halpern of Tone Imports in late November. It’s relatively diminu- tive size belies the solidity and weight of the Mr.T, and with my CD player, phono preamplifier, and integrated line-stage amplifier plugged into it, I noticed an immediate drop in the background noise floor of LPs, and discs, to say nothing of an almost startling injection of human- ity to everything I was hearing. Review forthcoming. MSRP $2,195 USD. –Rafe Arnott 25 WINTER 2017

SUPPLICATE THYSELF UPON THIS MECHANICAL ALTAR

M I L M L I E G L I A

WORDS AND PHOTOS BY JOHN DeVORE THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 28

echanical shrieks and cracking reports bounced off the ancient buildings of Rome on a Saturday morning in the spring of 1955 – violent sounds of battle that would Mnormally send people running for cover. But for the crowds filling the sidewalks the approaching noise was the reason they had come. Craning their necks and spilling out onto the narrow cobblestone streets, each wanted to be the first to accurately identify the sound, like avid birders trying to ID a species from its call alone. Some even praying out loud that the roaring engines would belong to a crimson 118LM from fabled Scuderia Ferrari, or perhaps a stream- lined Maserati A6 storming through the city. A great deal of commotion arose when the menacing silver bullet burst into view and the crowds recognized the vehicle that was bearing down on them much faster than expected: A Mercedes-Benz 300SLR. The driver, a 25-year-old Englishman without a major racing victory to his name, lifted his foot off the accel- erator pedal causing the howling straight-eight engine to blast flames out of the side-mounted exhaust pipes. High-pitched thunder crackled off the brick and stone walls on either side of the crowded street. For a moment his rear tires lost traction and the careening car slid to the right. Continued on PAGE 29 29 WINTER 2017

With a deft dose of opposite lock the driver brought the rear of his car back to center, then slid the car out to the left just a bit. Terrified spectators scrambled out of the way as fast as they could, clearing a path for the racer to bolt through the city. Sir Stirling Moss, though not yet knighted in 1955, had found this to be the most effective and expedient method for clearing the millions of spectators off the 1,000-mile road race that threaded through medieval cities and wound across treacherous mountain passes as it looped through Italy, and known as the Mille Miglia. He went on that Saturday to win the race with a time of just over 10 hours, seven minutes and an astonishing aver- age speed of 98.58 MPH, a record for the event that has never been broken. [Footnote 1] In many ways this moment represented the pinnacle of an unsustainable golden age of motorcar racing. Technology had pushed the speed capabilities of the cars ever higher, while the races were still held over courses designed decades before, for the far slower cars of the ‘20s and ‘30s. Safety was not a priority, either for the drivers or for the spectators; seat belts being rare, crumple zones unheard-of and with few barriers to separate the cars from the fans (an occasional hay-bale at best.) While Moss hit speeds in excess of 170 MPH over the course of his record race, the brakes on his 300SLR were still outdated drums instead of the more effective discs in use by some of the British race cars of the time. “In many ways this moment represented the pinnacle of In addition, the Mille Miglia was an unsustainable golden age of motorcar racing.” a timed race, with cars leaving every minute. JOHN DEVORE Continued on PAGE 31 31 FALL 2017

These are legendary race cars that mu- seums and collectors fight over, priceless, many one-of-a-kind, running flat-out through ancient town centres and down winding mountain switchbacks. The newest cars are now 60 years old, the oldest 80. The heroics required to keep these original machines running at speed for 1,000 miles is considerable, and heroic also is the will and spirit to run them at all. Racing an exquisite, hand-made car from the 1940s worth millions of dollars for 1,000 miles through all types of conditions instead of stowing it away in a climate-controlled garage or museum is a wonderful thing, and speaks to the passion of the owners. I was fortunate enough to get press credentials and attend the Mille Miglia with some friends in 2016. Many adventures were had over the five days we were in Italy but witnessing these cars doing what they were meant to do, in the place they were meant to do it, was something I will never forget. Continued on PAGE 35

But in an effort to maximize racing exis how its history traced one of Italy’s most 1957, or could have. The cars must be com- citement and minimize the amount of time celebrated sons through his formative pletely original, no homages or remakes. streets had to be closed and marshals had years at Alfa Romeo to his founding of the The course is the same as that of the histor- to be on duty, organizers of the race sent country’s most famous car company. Enzo ic races as well, 1,000 miles from Brescia the slowest cars first, followed by the faster Ferrari’s mark on the Mille Miglia is clear to Rome and back over public roads that cars. This made for numerous passing op- when you realize that he ran Alfa’s racing existed at the time. No modern highways portunities through the narrow city streets program from 1927-1939, a period when or Autostrada. And while this parade is not but increased potential for crashes enor- that marque won 10 of 12 Mille Miglia strictly a race, the cars are timed, and there mously. In fact just two years after Moss’ races, then founded Ferrari S.p.A. in 1947 is fierce competition among many of the run, the race was banned entirely by the which went on to win 8 of the last 11 races. drivers. Italian government after two crashes killed The race is so much a part of its home Restrictions on the cars that can be en- a dozen people. country that in 1977 Italy brought back the tered means that nearly all are worth well The event was quintessentially Italian in Mille Miglia as a parade open only to those into six-figures with a great many hitting many ways but one of the most important cars that either raced in it between 1927- values of seven or even eight figures. APRIL 13-15, 2018 • CHICAGO RENAISSANCE SCHAUMBURG HOTEL & CONVENTION CENTER WHERE MUSIC MATTERS MOST. Be a part of North America’s largest annual audio event. Listen to your favorite music on over 150 audio systems in our listening rooms. Tour our newly expanded Expo Hall, enjoy live music and concerts, learn from experts and connect with our community of audio enthusiasts and music lovers. Tickets are on sale now! For details, visit www.axpona.com

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Pouring over these works of art in a car museum is a wonderful thing, but it left me unprepared for the experience of seeing, hearing, smelling, and feeling these cars doing what they do best. Masterpieces from a time when engineers used a pencil, paper, and track time, and designs shaped by hand and hammer were roaring past, throwing pebbles against cafe tables filled with cheer- ing spectators. A massive Mercedes-Benz SSK clattering by, supercharger whining like an airplane. Impossibly small Fiats skid- ding around corners with their tiny engines screaming at redline. An Alfa Romeo 8C blasts by in a cloud of black smoke, proud- ly displaying the yellow Scuderia Ferrari shield. It was a dream come true. We alternated between chasing the racers through the countryside and jumping on the Autostrada to get ahead of the cars in order to set-up with camer- as ready as they raced through beautiful piazzas and town centers. The camera I used was the Lumix G8 Micro-four- thirds body with two lenses, the Leica DG Summilux 15mm f/1.7, and the Leica DG Nocticron 42.5mm f/1.2. Note that lens lengths for the M4/3 format are half the equivalents in 35mm Full Frame, so these lenses are 30mm and 85mm equivalent. T/O

[Footnote 1] Unfortunately this was not the only record M-B’s new car set in 1955. Just six weeks after Moss’ incredible feat at the wheel of his 300SLR, another one, piloted by french driver Pierre Levegh in the 24 Hours of Le Mans, hit the rear of another car and was launched into the air at over 150 MPH to crash into a full grandstand. To make matters worse, the 300SLR had a body made from a magnesium alloy which was ignited by a fuel fire and sent white-hot burning metal throughout the crowd. At least 83 people were killed and well over 150 were badly injured in what still stands as the worst racing crash of all time. Mercedes-Benz withdrew its other car (driven by Moss and legendary Argentine driver Juan Manuel Fan- gio) from the race and subsequently withdrew from all motor racing for decades after. THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 38 Back ARE YOU LISTENING YET? in Time A MUSIC LOVER CAN NOW DANCE AGAIN It was several years ago that by chance I walked into a small, unassum- ing hifi shop – Sound Hounds – in Victoria,

ANALOG DIGITAL B.C. to have my life MUSIC changed for the better HARDWARE NEWS in a most profound way. ART The place felt more like CULTURE a home than a store, and those inside seemed more family than co- workers (This ad is more than 40 years old, and some pictured therein are still working at the shop). I was directed to take a load off, and relax; this is how I met owner Terry Crabbe, who would help teach me to focus on timbre, tone, and music, not on solid state or tube, or digital or analog. Terry lived life through the beauty of music, and spent decades sharing that love with audiophiles Listen on iTunes near and far. Sadly, after a long battle with illness Terry left us in Decem- ber, 2017. Wherever he is now, he’s got the music loud, and he’s dancing. FROM THE LAND WORDS AND PHOTOGRAPHY BY JAN ZESCHKY OF ICE AND SNOW 41 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2018 42

alhalla, I am Thor, everyone’s favourite France and Spain (whom the coming… hammer-wielding god of English were also at war with Battle cry or thunder and Asgard’s No. 1 at any given time, seeming- orgasmic wail? stud. ly). Rather than being a great VWith Robert Plant, it’s often Where am I going with this? way to get drunk, barley so hard to tell. Just the fact that if you were wine was treated with rever- But this ambiguity is very going to name the ideal beer ence as the prime gauge of a well suited to the subject for a post-pillaging pint, it brewer’s skill. That’s because matter of Led Zeppelin’s “Im- would be Thor’s Hammer making a beer this big and migrant Song.” For the ma- barley wine. And damn boozy while making sure rauding Vikings who sought straight, Vikings would guz- it doesn’t taste like sol- to “drive our ships to new zle an 11-per-cent ABV beer vent-laced beef tea is a very lands,” as the song describes, by the pint. difficult thing to do. What there was likely some sort Sadly for them, the first helps the process is a long of sexual gratification in the barley wines weren’t brewed period of cool aging that domination of distant shores; until the early 18th century. helps this strong ale’s many even in the wild abandon of But perhaps there was some- flavours develop, deepen and placing your life in the hands thing of a hedonistic Norse harmonize. of the gods as you rushed influence in the style’s origins Over the years, classic ex- into combat. in England, which had seen amples took hold of the En- And let’s be honest: You’re many raiders and settlers glish market, such as Thomas going to have balls of cast from across the North Sea in Hardy Ale, J.W. Lees Harvest iron if the Norse gods got times past. Ale and Theakston’s Old Pec- your back. After papa Odin, As the name implies, barley ulier. But the style very much Thor’s Hammer brewer Gary Lohin at Central City Brewers + Distillers. for starters, you’ve got his wine was created as a wine waned in popularity as the kickass wife Frigga; the god substitute in grape-starved 20th century progressed. of war Tyr; Heimdall, guard- England, where it was expen- Continued on ian of Asgard; and, of course, sive to import bottles from PAGE 43 43 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 44

When the beer renaissance took off notes of dark fruit and steeped off in the U.S. in the 1980s, small- berries, while the booziness comes batch brewers ravenous for inspira- through in a light spiciness. tion once again found barley wine Take a sip and you might come as a test of their skills. And in true close to understanding what Rob- American style, they added even ert Plant was wailing about. Aged more hops to their recipes, creating almost a year before it’s released, powerful malty ales with a thun- Thor’s Hammer boasts a smooth, derous blast of resin and fruit tang seamless journey of a flavour pro- from West Coast varietals. file. Again, the malt is a huge pres- But while some aimed for fla- ence, but it’s more in the vein of vour-fulminating heights, oth- vanilla-laced toffee, rye bread and ers honed their barley wines to figs. The yeast esters and alcohol balanced, nuanced and complex come through as a tangier fruiti- depths like those legendary English ness alongside a cinnamon-laced ales of old. Enter Gary Lohin, who spice and an almond nuttiness. says the name of Thor’s Hammer Yes, it’s pretty much a meal in just popped into his head as he was itself, but no meal is complete discussing the barley wine he was without cheese. And you’re going brewing for Sailor Hagar’s pub in to want some cheese with this; and North Vancouver, B.C. the only cheese you’re going to As names go, it’s very apt. While want is the most pungent Stilton it’s Thor you might fear, it’s his you can lay your hands on. (Seize it hammer you respect. from Thor’s jockstrap itself, if you Thor’s Hammer, now brewed at dare.) The brininess of the English Central City Brewers + Distillers blue is a magical foil for the deep in Surrey, B.C., where Lohin is part sweetness and fruitiness of the owner, has remained one of the beer. There’s a harmony of tang- West Coast’s most respected barley iness and creaminess, while the wines for its 20-year existence. You carbonation cleans up the palate might even call it legendary, like after every bite. Mjolnir the hammer itself, earning Had enough cheese? Time to fistfuls of accolades for its owner. open the humidor. Get comfy: Pour it into a snifter glass and You’ll want to linger long over the you’ll find out why. It’s an alluring interplay of flavours offered by garnet colour topped with an en- this mighty ale and a woody, spicy ticing foam that beads on the glass maduro cigar. when you give it a swirl, as long, In fact, you might as well just load thick legs slide slowly downward. yourself in the longboat, cast your- Take a sniff and you will know self adrift and wait for the flaming you are in the presence of malt. arrow to light your pyre, because (Six varieties, in fact.) Caramel, life likely won’t get much better toffee and molasses make up the than this – and chances are very base aroma but on top there are good that they brew Thor’s Ham- some yeast-driven esters giving mer in Valhalla, too. T/O 45 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 46

£500 Gorilla THE ELECTRIC RECORDING COMPANY MUSIC FOR VIOLA AND CELLO HERBERT DOWNES/JACQUELINE DU PRE

We all have favourite LPs that we the best I have ever heard. When steadfast, that a vintage letterpress turn to in good times, and bad. The Electric Recording Co. sent it is employed to create the sleeve Our music is there to comfort, or to me I assumed that a £500 ($700 artwork by hand. ERC founder sooth us, to inspire, or energize us. USD) LP should sound great, but Pete Hutchison, himself a self-pro- Sometimes it is there to provide I was wholly unprepared for the fessed vinyl junkie known to spend solace from the white noise that startling dynamics, and depth of in excess of $70,000 USD on clas- seems to steadily erode the sanc- emotional connection that this sical albums alone in a year, started tity of aural harmony we seek to album is embued with. Easily the the company to help address his balance our lives with. Music for quietest pressing I possess, it is not purist approach to LP collecting. Viola and Cello featuring Herbert only a thing of beauty to hear, but A prefectionist by nature, ECM’s Downes and Jacqueline Du Pré to hold as well. Sourced from the offerings reflect that, as I find this is an albun that has become my first-generation master tapes, re- album to be as close to perfect as I shield against the gray, and ordi- corded with a 1950s EMI all-valve could imagine. While pricing does nary that life can try to pile upon Lyrec tape machine, cut with an put these pressings within reach of one. This is because it is a truly Ortofon DS522 head, and limited a select clientele, I’d argue they are extraordinary recording, master- to a pressing of 300 numbered worth every pence. ing, and pressing. Perhaps even, copies, the attention to detail is so –Rafe Arnott 47 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 48

Enjoy the SilenceWORDS AND PHOTOGRAPHY BY RAFE ARNOTT

ENTREQ OLYMPUS TELLUS GROUNDING BOX

hey say absence makes the heart grow fond. Or not. From personal experience I’d Thave to agree with the latter. For the record, I’m talking about electronic noise here, not significant others. Incoming power grid hash, or AC crud, radio-frequency (RF) interference, and grounding noise to name but a few of the sources that can plague the ultimate transparency to source we seek from modern (or vintage) high-fidelity playback equipment. Mobile phones, switching power sup- plies on laptops, bulb frequencies on halogen lamps… these all contribute an intense amount of audible pollution to the delicate signals we covet so highly from our gear because of the shared current path it all feeds from in our homes. Some power-focused souls put in dedicated AC lines for their stereo equipment, but even that is no guarantee of a contaminate-free power source. Who here hasn’t dabbled in power conditioning of some kind? It’s like a 12-step program for many budding audiophiles. It usually starts when one realizes that power cables actually do sound different from one another. Continued on PAGE 49

REVIEW 49 WINTER 2018

Then maybe it’s a hospital-grade front of my rack about a week wall receptacle. Our focus then later, and proceeded to hook shifts to the ancient power bar up my preamp, phono stage, we have everything plugged CD players, DAC/streamer, and into, and we start considering power/integrated amps with the dropping serious coin on power various Eartha cables – with- conditioners, and regenerators or out connecting anything to the AC isolation solutions. Olympus Tellus’s five solid-silver But what about grounding? binding posts – and finally plug- I have to be honest, after steadi- ging the OT into my PS Audio ly improving my AC cables, and P10 via a special single-pole power conditioning, I thought copper AC grounding plug. I was done. Turns out I was I did some critical listening wrong. with one of the CD players first, Enter the Entreq Olympus Tel- then connected it to the OT, and lus grounding box, and Eartha queued up the last track again… Cables courtesy of Edward Ku at annnnnnnnnd there was no Element Acoustics, and Wynn change. I listened again, and still Wong of Wynn Audio. They told couldn’t discern any change. me I had to check it out, and I went back to my writing, and refused to say what, exactly I let the album play. should expect from it. It was during the fourth or fifth I was skeptical, but I kept an track of Only The Lonely (Capitol open mind, and picked up the CDP 7484712) that I suddenly beautifully-crafted 100-pound, looked up from my work be- waxed-wooden box (one of cause Frank Sinatra’s voice had their largest models) that is the opened up, and gotten what Olympus Tellus (OT) from Ku, sounded like an octave lower, and waited for Wong to ship the his trademark croon emanating Entreq cables to me. even deeper from his chest. I set up the unit on the floor in Continued on PAGE 51 51 WINTER 2018 WINTER 2017 52

Ditto, the upright bass, and strings could now be lensed was difficult to string presence as to leave me low accompanying him. I went and sat not be impressed by. whistling. down on the sofa to listen more I proceeded to connect the pre- I switched to the DAC/streamer, closely, and got a weird sensation amp, and phono stage, and throw and experienced the same slow noise of vertigo: I felt like I was falling an LP on (Oscar Peterson – The wipe, and timbral/sonic saturation forward into the recording because Lost Tapes Speakers Corner/MPS that a drop in noise floor/back- it had opened up, and enveloped the 529096-1). ground noise had revealed via the room completely. Subtle nuances in “Gravy Waltz” sounded as I re- other sources. When I added the string pressure on individual bows membered it, same for “Squeaky’s power amp into the mix, it went in Nelson Riddle’s orchestra were Blues,” and “Let’s Fall In Love.” But slightly blacker, but not to the same apparent to me for the first time ever when “Stella By Starlight” came on it degree that it did by adding the on “Willow Weep For Me.” was like a curtain was being slowly Olympus Tellus to the sources, and By the time “Blues In The Night” pulled back to reveal the true re- pre-amps. played my skepticism had been com- cording. The fact that it took about 25 or 30 pletely replaced with genuine disbe- With “Moanin’” playing the trans- minutes for this slow bleeding-out lief. This was an order of magnitude formation was complete, and again of the noise floor to occur wasn’t lost in sonic improvement – not a change it sounded like a window had been on me. mind you – but a further absence of thrown open onto the recording I spoke with Ku, and Wong a few background noise that allowed more session: Peterson’s piano cemented days later about what I was hearing, of the recording to be presented. The itself in 3D space about 10 feet in and they agreed that they too had opening up of the sound stage, and front of me, and exuded such real- experienced similar results, as had the depth with which the recording istic solidity in its felt-hammer-on- their Entreq customers. “By the time “Blues In The Night” played my skepticism had been completely replaced...” RAFE ARNOTT

Both said they let potential buyers about getting the best from your den who graciously answered a few audition whatever Entreq model high-fidelity setup and how they questions for me (responses have they are interested in, and draw their do it exactly, is a secret – which been edited for brevity/spelling/ own conclusions within the context when you’ve poured in thousands grammar). of their own system. of man-hours, and your own money OK, so it works. But what is it? to research & develop, is something Rafe Arnott: Many people will Entreq designs components that are I respect – but basically, they are want to know exactly how the focused on ensuring ground points specially designed, and constructed Ground Boxes work. I’m not asking that are as free from stray, contami- waxed-wood boxes that contain a you to reveal the secret of the sauce nating high-frequency voltages, and proprietary mix/proportion of min- (so to speak) of what’s inside the the magnetic fields they introduce, erals, and metals that are arranged boxes, but if you could shed some as possible. in specific ratios/distances from one light – in laymen’s terms – on what Why should you care, and how do another to act as the most perfect the Entreq boxes do specifically, that they do it? attractor for said contaminating would be very helpful. The Entreq website says: “Our high-frequency voltages, and their ground boxes/Eartha cables are associated magnetic fields. Per-Olof: For me to give you a cor- designed to resemble and work like I get that some people would be rect answer, I will expose some of a bit of Mother Earth in concentrat- nervous about technology like our secrets, but on the other hand ed form and offer the simplest and this because it doesn’t come with a you deserve as accurate an answer fastest route for this high-frequency specification chart or a bar graph, so as possible to your questions. noise to reach an earth point.” I contacted Entreq owner, and lead You should care if you’re serious designer Per-Olof Friberg in Swe- Continued on PAGE 129 WINTER 2018 54 The Spin

INTERVENTION RECORDS JUDEE SILL HEART FOOD

Judee Sill learned to play piano in her father’s bar before a fractious home life led to a teen crime spree and reform school. She picked up the guitar along with a husband, and a heroin addiction. Transforming into a songwriter, Sill toured with Graham Nash and David Crosby. She made the cover of Rolling Stone, and put out several LPs, including Heart Food before dying in 1979 of a drug overdose. This Inter- vention Records 2x45 180-Gram ‘AAA’ redux was mastered by Kevin Grey at Cohearant Au- dio and features original artwork, Stoughton gatefold printing, and was pressed at RTI. Featuring lush, dynamic production, it is a heart- breaking concept album full of sad, poignant lyrics sung with aching beauty. MSRP $55 USD. –Rafe Arnott REVIEW

In DeferenceWORDS AND PHOTOGRAPHY BY RAFE ARNOTT to Music 57 WINTER 2018 WINTER 2017 58

apan. Kondo in 1976 within Tokyo’s Saiwai Ward. JThere’s a lot of things Japanese that I’m fascinated Few circuit designs get listeners as close to the with. recorded event as those based around valves in my Japanese, whiskies, Japanese art, Japanese films, opinion, and after low-power tube amps were rele- Japanese culture in general – especially their cult- gated to the history pile of hifi in the early ‘70s (watts like devotion to vinyl records, and their practically are cheap), it was a dedicated group of Japanese religious reverence for American jazz music from the audiophiles, and engineers like Kondo who laboured 1950s, and 1960s – both vices I share. to bring back traditional single-ended triode (SET) Having developed a predilection for high-efficiency valve-amplifier designs which had enjoyed a vaunted Japanese horn speaker systems over the years, I’ve run from the ’20s to the ‘60s (along with push-pull come away with a constantly renewed respect for this valve designs which after the adoption of negative particular path of recorded-music worship. feedback in circuits allowed PP amps to deliver more I guess that’s why I’m fascinated most of all with power) before being unceremoniously swept aside by sub-40 watt Japanese tube amplifiers, and pream- most for the convenience of solid state circuit path- plifiers – some in particular are the rare offerings of ways. Continued on PAGE 59 Kondo Audio Note, a company started by Hiroyasu 59 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 60

Usually spoken about in hushed reverence by valve “It was this experience in Munich acolytes, Kondo circuit design execution is more art form that cemented my desire to hear a than technical achievement in my mind. Kondo-based system in my home.” In Munich last year I en- countered Kondo’s musical RAFE ARNOTT prowess firsthand through the KSL M-77 Ongaku-Pre in the Living Voice demo room, and the Kagura 211 power amplifiers paired with the G-1000 preamplifier, Ginga turntable, and IO-M cartridge in the Kondo demo room. I was so impressed there that I lingered far longer than my schedule allowed for to listen. The relatively new Kondo Overture II integrated amplifier (32 watts/channel, Class-A, push-pull circuit design) was on display near the Kaguras, but sadly, only in static form. It was as gorgeous as a plain metal box could be, and the solidity, and attention to the most minute details of construction were apparent, which at $30,000 USD (current exchange rate), can be more the exception, than the rule. It was this experience in Mu- nich that cemented my desire to hear a Kondo-based system in my home, and fast-forward- ing to October, Lawrence Lin of Excel Stereo in Toronto contacted me about just such a review opportunity. An Overture II arrived within weeks, soon followed by the GE-1 Phono Amplifier, Operia SPc-2.5 speakers cables, KSL- VcII interconnects, ACc-Per- simmon, and ACz-Avocado power cables. Continued on PAGE 61 61 WINTER 2018

Having what amounted to a ho- listic Kondo system in my home, and seeing firsthand the meticulous workmanship of their point-to-point wiring, thick solid-copper chassis plates, and painstaking attention to detail right down to the screws used to affix the top, and bottom casework covers, left me deeply impressed with the level of commitment to design integrity the company imbues its products with. But it was, ultimately, the Kondo gear’s fidelity to musical reproduction that had the greatest affect upon me. I started with adding only the Overture II to my current system, the inclusion of which instantly brought about a smoothness, along with a subtle ripening to tonality, and timbre that I had rarely experienced personally (I kept thinking about the difference between the first sip of a fine wine, and how much better the second sip is once your palette has adjusted). Next was lower-octave definition, and here I was reminded of the variance between approxima- tion of piano or standup bass notes, and the actual, live playing of these instruments. The amp features four EL34 pentode output valves, two 12AY7, and two 12BH7 valves for the line/input stage. Input valves are Electro-Harmonix, and output valves were branded Svet- lana Electron Devices. All are from Russia. Through the Overture II instruments took on a more human presence to their playing – a forcefulness if you will – but not only that, a com- petence to the playing that I had not been able to recognize previously.

Continued on PAGE 63 63 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 64

Recorded jazz quartets, quintets, and solo soundstage where a visceral, living, breath- performances took on each artists intent ing entity writhes with aural complexity. during listening sessions, imbuing every CD In lesser systems in tends to dry, crisp, and I played with a palpable emotional connec- flat in it’s presentation. Passion’s opening tion that left me spent after the first hours- cut “The Feeling Begins” features an intri- long sit down with the amp. cate percussive interplay between Manny I then substituted in the ACz-Avocado Elias’ surdo bass drum play, and Hossam power cable over the plain-Jane stock Ramzy on tablas, and duff drums. Through cables I use initially with reviews, and was the Overture II with the ACz power cord greeted with an even more transparent in place the tension created between Elias, window onto personal renderings of songs. and Ramzy can be felt as the tempo inex- Peter Gabriel’s Passion – Music for The orably builds to a crescendo, and comes Last Temptation Of Christ, (CD Geffen crashing down into silence. GEFD 24206) is an album long used by It is this silence, or blackness, I’d like to audiophiles for critical listening. In the touch on next. best systems it becomes a deep, layered Continued on PAGE 134

“Through the Overture II instruments took on a more human presence...” RAFE ARNOTT WINTER 2017 66

WHATDO GEAR OBSESSIONS AND AUDIO TRIBE BELIEFS OBSCUREFUN SIMPLE PLEASURES? WORDS AND PHOTOS BY JOHN STANCAVAGE

meet more serious audiophiles in a Drum Record. Then the questions start: year than most people do in a lifetime. “Doesn’t the upper bass seem attenuated by Covering all the major audio shows about 3db?” while wearing a press badge leads to “What’s the impedance graph look like on Idozens of impromptu conversations each those speakers? There’s a slight dip at about day, as well as me being able to observe – in 15,482 Hz, right?” classic fly-on-the-wall mode – hundreds “Why are you using the Japanese reissue more hobbyists. instead of the 1977 German first pressing? I You’ll notice I kicked this column off by happen to have a copy with me…” saying “serious” audiophiles, and, more They remain grim-faced throughout the often than not these days, that’s what I entire audition. They mention that they have encounter. Serious. Ultra serious. Ultra dead Diamond Eardrum Gold Mk. II speakers, LEFT: This is circa serious. but already have arranged with their dealer 1977 – me with my I see these listeners wracked with insecurity to upgrade to the forthcoming Mk. III. They JBL L36 speakers, about the components they have in their haven’t actually heard the Mk. IIIs yet, but Technics receiver, Technics SL-1300 current systems, and sweating every techni- two reviewers wrote that the improvements turntable, Radio cal detail about the gear they are audition- blow the Mk. II away. Shack cassette ing. Yes, these listeners say, interjecting as the deck and Koss 4AA headphones. As these audiophiles sit in the near-dark- host begins to open his mouth, they know To the right is my ness, eyes squeezed shut, back rod-stiff, feet this will mean their amplifier, DAC and dad’s tubed, mono- solidly planted on the floor, I wonder what cable will be all wrong. They are handling phonic console hi-fi system he hand- they are thinking as their all-too-predictable that. They just hope to get the wire swapped built in the garage selection plays. “No Sanctuary Here.” “Keith out by the time their new mono blocks and around 1960. Don’t Go.” Or, God help us all, the Sheffield processor arrive. Continued on PAGE 67 67 WINTER 2018

When I was about 12, I got a portable AM/FM/ cassette recorder. It had a built-in mono amp and speaker, and weighed about five pounds. Most importantly for this budding audiophile, it came with a microphone that plugged in to the side and had a 15-foot cord. I built a mic stand from a coat hanger, set it up in front of our console television and used that unit to gleefully record every Partridge Family song, much to my dad’s chagrin. I moved on to a $129 “quad” system (with a built-in 8-track player). I bought four-channel Their previous models, now at a around that goal. Idle thoughts focus “matrix” tapes and had my creaky 18 and 11 months old, respec- on the next upgrade. Listening sessions friends over to hear Edgar tively, were hopelessly falling behind. are spent pondering micro dynamics, Winter’s “Frankenstein” As the visitors turn and shuffle out the midrange palpability and the pitch circle the room. More fun. door, even more grim-faced, staring at fluctuations of reverb trails. In high school, I managed their exhibit guide book, the thought I know. For a while, I was that audio- to upgrade to a Yamaha strikes me: When was the last time phile. receiver, Technics turn- these audiophiles actually had fun in But it wasn’t always so. table and tape deck, and this hobby. A hobby, after all, is defined My first memory of audio is from JBL speakers. I had begun as, “An activity done regularly in one’s when my parents bought me a “crystal” to appreciate that some leisure time for pleasure.” radio. It was cheap plastic, about the gear sounded better than Those last two words are the key. For size of a pack of cards, and had two others, and that it could be pleasure. We are supposed to be having small cables running out of it. One tweaked for more im- fun here. It’s easy, though, to get caught had an alligator clip and the other a provement. up in the “rules,” the audio-tribe beliefs single earpiece. You attached the clip to I spent many afternoons at and rituals, and all the polished steel something metal, like a drawer handle, Radio Shack shopping for faceplates and blinking lights. There’s a and moved the quarter-shaped tuner to 14-gauge speaker wire to point where the original desire to hear find a strong AM station. If you were replace the lamp cord that your favourite music played in a way lucky, screechy music would flood your came with the JBLs. that excites your ears and soothes your ear, often the megawatt country station Continued on PAGE 69 soul gives way to a single-minded ob- transmitting a few miles away from session to achieve the “absolute sound.” our house. This toy barely qualified as a Music-buying choices begin to revolve radio, but it was fun. 69 WINTER 2018

I sanded the finish off my JBLs and system. They took me into dark phile editions. stained them cherry, then built listening rooms and taught me the This is how it started. The next matching speaker stands to get “rules” of proper two-channel. “Do year, the DAC that was raved about them off the shag carpet. I bought a you see any tone controls on this was “clearly surpassed” by a newer 10-band equalizer that had tiny red preamp?” sniffed one. “This is what model. There was something called lights on each slider. Boy, was that you need to start reading,” another jitter to worry about now, although fun. said, handing me a small magazine. its nature was murky. Class A amps I created an isolation platform Its staff list included a “philosopher were the way to go. That bass! for my turntable, and used wire in residence.” Remote controls, which had been salvaged from a bowling alley to I dove into that publication and shunned for years, were showing make a huge FM antenna I draped others. I learned what cartridges up in preamps, and the results were above the porch. And I began went with what tonearms and turn- now acceptable, the writers report- taping everything: records, King tables. I learned what speakers were ed. Biscuit Flower Hour radio concerts, supposed to match what amps. I I spent many, many afternoons at Sunday-night album broadcasts learned why my first CD player high-fi salons, auditioning. I went (Young Americans. Dark Side of didn’t sound too good, and what I to the Stereophile-sponsored audio the Moon). Even more fun. needed to do, which involved using show in Los Angeles in 1992. I But after college, making a steady a modified LaserDisc machine and carefully auditioned everything. I pay check, I began visiting the an external DAC. One new DAC, closed my eyes. I didn’t move. I was stereo shops with higher-end gear. the reviewers said, made ordinary an audiophile, dammit. This was Stuffy salespeople laughed at my CDs sound like remastered audio- serious.

“They took me into dark listening rooms and taught me the ‘rules’ of proper two-channel” JOHN STANCAVAGE

I returned from that event and tools that I was sick of them. But waves of background static and bought my first high-end system. that’s what I played. Elton John’s Mark Knopfler’s voice being low- I set it up in my living room, I got Tumbleweed Connection. That was ered noticeably on playback. out my tape measure and posi- one of my most treasured albums, Being a rabid Dire Straits fan, I tioned the speakers to the inch. but it was relegated to the clos- transferred the tape to CD, using a I carefully raised my $4,000-plus et. The LP I had was muddy and Pioneer Elite recorder. I wouldn’t cables off the floor and put them scratchy and the early CD was too play CDs through this unit, mind at right angles. I plugged my lat- bright. About 70 percent of the rest you. That task had to be handled est-greatest-rated DAC and my of my record collection also was by my reviewer-approved transport pure Class-A amp into a power unworthy. But I was a real audio- and DAC. But I decided I wanted to conditioner. phile. make concert recordings and mixes Then I reached for a stack of CDs. One day, I discovered an old cas- like in my younger days. The first These were six or seven discs I’d sette tape I’d recorded on my Tech- glimmer of audiophiliac recovery taken with me on my auditions for nics deck. I’d captured a Best of the was appearing. the past two years. I knew every Biscuit show featuring Dire Straits, I popped the homemade bootleg track inside out. I could identify live in San Francisco in 1979. I re- CD into my carefully assembled, a lack of palpability in four notes. membered I’d taped it in the middle high-resolution, two-channel sys- These were my favourite well-re- of a thunderstorm. The station’s tem. I pushed play. What came out corded tracks prior to this high-end signal strength wavered through- had little bass, the pitch was off and obsession. Soon, though, they’d out and the speed of my deck had Knopfler’s guitar tone was thin and been used so many times as test gone off, too. The result was shifting metallic. Continued on PAGE 139 THE PATH OF

SHINDO WORDS AND PHOTOGRAPHY BY RAFE ARNOTT 73 WINTER 2018

“Start at the core, and build a system that doesn’t need band-aids.” MATTHEW ROTUNDA

bdul the Ubër driver laughed, and point- didn’t seemed concerned. ed over his shoulder at the 80-foot cliff “I killed a rattle snake with a baseball bat inside my face that dropped away a couple yards to house,” he chuckled. our left as the minivan we were in veered A small laugh escaped my lips. Aacross the road’s centre line. A sort of “is-this-how-I-die?” laugh. The guard rails along this stretch of Highway 74 As we swerved up the narrow cut-throughs, switch- south of Palm Springs were punched through like backs, and sheer cliff faces that made up the almost frayed ribbons here and there, and I could just make 2,000-foot vertical climb into the mountains abutting out the wreckage of burned-out cars that dotted the the California desert, I pondered what had brought canyon floors far below. us more than a 1,000 miles to this possible end. My girlfriend Karin’s head almost hit the side win- We had flown down from Vancouver that afternoon, dow while trying to video the ride with her phone, and were en route from the airport to a small enclave and my friend Chris pleaded with Abdul from the of homes near Mt. San Jacinto that Jonathan Halp- front passenger seat to keep his eyes on the road, but ern of Tone Imports, and Matthew Rotunda of Pitch Abdul was in the middle of recounting his run-ins Perfect Audio call home. with snakes since he took up living in the desert, and Continued on PAGE 75 75 WINTER 2018 WINTER 2018 78

The two met years ago while both up like armies in the distance, with 23, J.C. Verdier, Sugden, and Leben working for hifi bricks-and-mortar the sun throwing shadows for miles to name but a few) had been on my shops in New York City, and have across the valley floor. radar for some time. stayed fast friends since. Silence overtook us momentarily, Shindo, for those not in the know, I was there to film interviews with and then we realized… silence. is a family-run hifi atelier near To- them, and discuss the mystique of “Let’s get some tunes going!” Chris kyo, Japan which has been around Shindo Laboratory high-fidelity said. since 1977. It specializes in hand- gear, eat, drink, hike, and touch on So began one of the most enjoy- made preamplifiers, amplifiers, and the connection between playing able high-fidelity adventures I’ve speakers the designs of which cen- records, and driving Porsches. We been on. tre around both new old stock, and would also check out the Pitch Per- I’d hung out with, and broke bread vintage resistors, tubes, capacitors, fect showroom in Los Angeles. with Halpern, and Rotunda a num- and wiring – loudspeaker drivers Abdul finally dropped us at Halp- ber of times previously but always are vintage, rebuilt, and modified. ern’s place – although he wasn’t around a trade-show environment, The bottle green chassis, and home, he and Rotunda were at a so spending quality time on their component naming conventions concert up state – which is affec- home turf was a treat. Chris is a formed around company founder tionately known as the “Spider long-time customer of both, but Ken Shindo’s predilection for fine House” because of it’s unique had never had a chance to meet French red wines: Haut-Brion, mid-century architecture. Perched either in person, so when he heard Corton-Charlemagne, Vosne-Ro- at the highest point of his property, I was flying down he joined in. manee… more art than product, it offers almost 360-degree view. Because of my fascination with and more about emotions than The light and the space of this vintage single-ended triode, and measurements, Shindo gear is region of Southern California is pentode tube amplification designs, aimed at a niche market segment captivating, and the scale of the and high-efficiency speakers, Shin- of those who think 10-30 watts surroundings seems to shift when do Labs, which Halpern imports, of pure Class-A amplification is you’re thousands of feet above the and Rotunda sells (among a num- enough. twinkling lights of Palm Desert ber of other high-end companies looking at mountain ranges lined such as Line Magnetic, Auditorium Continued on PAGE 79 79 WINTER 2018 WINTER 2017 80

Sadly, Ken Shindo passed away in 2014, but his wife Harumi, sons Takashi, and Yoshinobu have taken the reins, and continue the work, which is being built on with great success. Halpern and Rotunda met the elder Shin- do in 2005. “He was very private… a man of few words. When he said something it was always very poignant, and had a lot of impact,” Halpern said. “Sometimes you had to think about what he said for a long time. Sometimes it took years to recognize what he was really trying to convey.” According to Halpern, he didn’t get to know Ken Shindo as much as he liked, and he’s still looking to know more, adding that he explores him through his products, and what he was able to express emotionally through those products. “Shindo has a certain quality to it, it allows you to forget about the system. It’s not so much about ‘listen to the size of my sound stage,’ or ‘wow, I’m completely blown away by that sparkling treble.’ When you put the music on, it’s more like a live acoustic event,” said Halpern, who in describing the Shindo listening experience compared it to closing his eyes, and losing track of time completely like he had at a small concert he had taken in a few days earlier. “The room disappeared, it was pitch That’s not to say that amazing sonic results black, and I was completely involved in cannot be achieved by properly designed, and the music, and that’s something that a “I like to go fast, I also appreciate subtlety...” powerful solid-state circuit paths, but there well set-up Shindo system is able to do for MATTHEW ROTUNDA is a magic to the emotional connection that me… it’s almost a meditative state.” low-powered tubes can create from recorded Indeed, it’s this type of listening expe- events in my opinion. rience that I feel music lovers like my- I’m reminded again of this type of organic self seek out from their sound systems, relationship involving transportation (of the as opposed to those who would be be physical kind, as opposed to the metaphysical) conventionally wooed by ever-vanishing with man-made products during a film ses- specifications of distortion, and the fur- sion with Rotunda in his 1988 Porsche 911 ther piling on of watts in pursuit of power on Highway 74. over musicality. Continued on PAGE 125 WINTER 2017 82 DESIGN

WORDSComment FROM FERN & ROBY’S CHIEF DESIGNER CHRISTOPHER HILDEBRAND

he Fern & Roby horn system is the latest evolution in our journey & exploration in audio—but developing horns has actually been the foundation for every- Tthing else I’ve been working on for the past four years. I’d always loved the idea of horn speakers and when I experienced them for the first time I was hooked. They sounded effortless and natural, detailed, yet rich. I lost myself in the music and melted into my chair. The first thing I did after that was set out to start making my own concept of a simple two-way horn speaker with a compression driver. This was the very beginning of my adventure into audio; it was fun, exciting, and a complete and utter failure. Failure isn’t an unusual starting point for me and, in fact, this first attempt just spurred me to start learning more about audio engineering. So you could say that horns are the reason I started making high-fidelity products in the first place. Although it’s not uncommon to hear people say that horns can sound very directional and are known for beaming sound into a small sweet spot, all of the great horn systems I have experienced are enveloping, inviting, and engaging to listen to; offering an enormous soundstage and no adverse directionality. The real challenge of designing and implement- ing a horn system is one of technical knowledge, physical size constraints, engineering complexity and control. Continued on PAGE 83 83 WINTER 2018

To arrive at a result that delivers an amazing sonic experience, one has to know exactly how the drivers will perform, how to control them, and what their best form of amplification entails. Developing a design that allows for phase alignment and orientation of the separate drivers is also a challenge. Horns tend to be huge and demand a large room. One of our goals was to make a horn system that could comfortably fit into a medium to modest-sized room. There is no way to do all of this without a ton of experi- mentation. Our design process always starts with inspira- tion from materials, mechanisms and the processes around us. The design of the prototype was about simplic- ity to allow for the flexibility of raising and low- ering the horn, as well as being able to pan and rotate it. I liked this so much that I decided to keep it as an integral part of the final design. The ¾-inch plate flame-cut steel stand with the long vertical slot and turned hardware for the pivot allow for easy positioning and phase alignment. These are all made by hand in our shop here in Richmond, VA. After selecting the drivers and horn design, we just started working through the other complex- ities, and necessary pieces step-by-step until we felt we got it right. We’re thrilled that we are launching this product line after so much hard work, dedication to craft, and are excited to see where it goes. T/O WINTER 2017 86

t was a dark and stormy night, and the only sound other than Ella Fitzgerald’s STELLAVOX haunting voice playing back at 15 IPS IS REEL-TO-REEL THE ANALOG ANSWER TO ULTIMATE RESOLUTION? off the Stellavox reel-to-reel player WORDS AND PHOTOGRAPHS BY RAFE ARNOTT/ORIGINAL ART BY KARIN MIKA SHOJI Ithrough my speakers was rain hitting the living-room window, and thunder in the distance. I’ve always wanted to start a story that way. Luckily I live in Vancouver, B.C. and it rains a lot, so it’s never long between such evenings. This particular night last spring followed my return from AXPONA in Chicago a few days previously, where I had connected once again with friend, audiophile, and analog-tape legend Charles King. King and I usually share a beer or two, talk music, and BS about the hifi industry for awhile when we see one another at various trade shows throughout the year. We then arrange a time to meet for a listening session in whatever lucky manufacturer’s room he’s chosen to plug one of his heavily-modified R2R decks into. These sessions invariably see me sitting slack jawed near the sweet spot after taking in King’s demo. He usually has a mix of master dupes, on smaller reels that play for about 10 minutes before requiring a swap out; not ideal for extended play, but perfect for a show venue where you’d want to high- © Karin Mika Shoji light different music for various tastes. This get together was just like several previous ones I enjoyed with King over the past few years, the big difference this time was that when I said good-bye, King give me one of his characteristic mischievous grins, and laid one of his custom-modified Stella- vox 5i-KC decks, and several tapes on me to take with me for a few months to try out in my home. Continued on PAGE 87 87 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 88

Cue the tape ahead several weeks, and I’ve been able Being able to hear a full album in one sitting with- to front a number of systems that have been through out having to get up made the experience more akin my listening room for review with King’s 5i, with the to CD or computer audio in it’s time frame, albeit same results each time: analog domination of the with an almost doubling (to my ears) of impact, tac- circuitry being used to channel the magnetic infor- tility, nuance, and expression to the recorded perfor- mation baked into the spinning reels. Regardless of mance. how good the cartridge, step-up transformer, phono I have listened to Rubber Soul innumerable times stage, CD player, or DAC, and streamer used, noth- over the intervening decades since I was a child laid ing could match the immediacy, the air, and delicacy, out on the rug between my father’s speakers hearing midrange liquidity, and innate organic textures, or it for the first time, and I can tell you without hyper- the thunderous bass that King’s tape deck, and vari- bole that I’ve never heard The Beatles sound like this. ous reels were capable of reproducing. The space around Paul McCartney and John Len- Because all the reels but one that King sent me non’s vocals on “Drive My Car” precisely placed home with were five-inchers, I had to jump up, and both of them within the confines of my living room, switch tapes every 10 minutes or so. Not ideal for Ringo Starr’s kick drum, and stick work had visceral an extended listening session, but about the same as snap, and hair-raising texture on the skins: I felt like I when I was spinning my collection of 45 rpm remas- was in the studio watching the recording take place. ters, so it didn’t really phase me. But when I decided George Harrison’s double-tracked sitar playing on to finally play what I was told was a dupe of a master “Norwegian Wood” popped defiantly apart from the (or remaster) of The Beatle’s Rubber Soul on a full- accompaniment of his 12-string guitar, and that of sized reel, well that’s when everything changed. Lennon’s acoustic six-string. Continued on PAGE 89 89 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 90

“This isn’t like any other high-fidelity source out There was no longer any them in stock, otherwise there... it’s geared toward serious analog addicts.” doubt who was playing join the growing wait what, or where they were list. And what about the RAFE ARNOTT on the sound stage, the actual machines them- detail, depth, and trans- selves? Bank on spending parency of the recording $3,000 USD at the very became startlingly appar- minimum, with properly ent with each progressive restored Technics, Otari song spooling through the or Mara Machines decks tape head. running into the $12,000 Not only was this tape USD range. achingly beautiful to hear, This isn’t like any oth- but it was exciting. My er form of high-fidelity heart was beating faster, source out there, and to I felt giddy, and I was on me it’s geared towards se- the edge of my sofa… not rious analog addicts with something I do often I deep pockets, those who can tell you. I felt like I do must have the best, and when I see a live perfor- don’t care what it costs, or mance. people who have the abil- This sounds intriguing ity to source, and restore you say, but what about not only tape decks, but price, and availability of have an in with studio, tapes you ask? Well, a year or production-facility ago I’d have said, it’s crazy technicians with access to expensive, and proper- tapes. ly-sourced tapes are rarer Does that scarcity make than hen’s teeth. Today I it any less amazing to hear say it’s crazy expensive, this type of sonic repro- and properly-sourced duction? No. If anything tapes are slightly less rare. it adds to the addictive King’s exceptional selec- nature of hearing reel-to- tions not forthcoming, reel playback, and should companies like Analogue help it maintain cult status Productions or The Tape for years to come. Project offer anywhere I can only wrap by saying from a dozen, to 30+ se- that you go down this rab- lections but prices are in bit hole at your own finan- the $450 USD range per cial risk (and reward)… album if they even have you’ve been warned. T/O

Read an interview with Charles King on page 131 THE

WORDS AND PHOTOGRAPHYX BY JOHN STANCAVAGEFACTOR

REVIEW 93 WINTER 2018 WINTER 2017 94

o you want the hernia ment around the Pass office, with the makes a mind-boggling number of or the double hernia? punch line being that reviewers are amplifiers. I suspect the explanation The voice on the phone a rather predictably size-obsessed for the company’s exhaustive catalog asking that question was bunch. (Careful what might end up is that its founder, legendary de- DBryan Stanton, a communications in an email thread, guys...) signer Nelson Pass, is a man who is specialist who works with Pass Labs. I didn’t take it too personally. After constantly tinkering and getting new A few weeks prior, we had begun all, there is some truth to that – ideas. chatting about Pass sending me one quite a bit, actually. My particular In my mind, I imagine Pass as kind of its X-series amps for review. I fascination tends to be less about of the Neil Young of high-end audio. had agreed, and now Pass wanted to dimensions, however, and more In the same way that Young, after de- know if it should ship the 127-pound about performance. I, like many au- cades working at his craft, continues X350.8 stereo amp or a pair of the diophiles, always am curious about to issue albums at a relentless pace, top-of-the-line, 123-pounds-each the state of the art. If a manufacturer the industry-veteran Pass has a com- X600.8 monoblocks. has one product in the middle of its parable and seemingly bottomless I didn’t hesitate for even a second. line that’s impressive, what does the well of creativity. As a result, Pass has “Oh, the X600.8s. Definitely,” I told flagship sound like? I might not be at least five separate lines of amps – Stanton. Apparently, my lack of able to afford it, but I want to hear it with each containing many models hesitation to go for the big mono nonetheless. – plus an entire second brand, First amps was the source of some amuse- Pass, a pioneer in solid-state power, Watt, for his additional experiments.

“... the punch line being reviewers are a rather predictably size-obsessed bunch.” JOHN STANCAVAGE

The chiropractor-pleasing X600.8s watts, all Class A) or a Krell FPB down in the hallway. There they I received are, at $26,000 USD a 300 (offering 300 WPC, although sat for a while, mocking me, until pair, the top of the X.8 high-voltage with a sophisticated A/B switching I talked a pair of home handymen series. They are not, however, the circuit). I remember when I first (helping with a remodeling project) ultimate expression of Pass Labs hoisted the Dan D’Agostino-de- into moving them into the listening technology, as there stand the pure signed FPB 300 out of the box (with room. Standing clear and watching Class A Xs300 monos at $85,000 a lot of help) and connected it, I their faces as they wrangled these USD a pair. Still, the X600.8s are was afraid to push the “on” button. amps was a little hard on my ego, formidable in their own right. The thought of unleashing so much I have to admit. Still, discretion is While many Class A/B amps op- power was a bit frightening. the better part of valour, and all erate in A for a handful of watts That feeling came back as I set up that. They’d saved me from injuring before switching to B, each X600.8 the X600.8s. First of all, Stanton myself, or so I thought… stays in room-heating Class A for was right about the double hernia. The X600.8s are handsome am- the first 50 of its massive 600 watts The heavily muscled Fed Ex man plifiers. The casework is gorgeous, of output (into eight ohms). sighed loudly and gave me an eye- with a tall, polished-stainless face- I’ve had plenty of high-current, roll when I asked if he would mind plate sporting a huge, circular VU high-watt amps in my home. For hauling the boxes through my front meter illuminated by a blue glow, many years, my reference amps door. Grudgingly, he carried them underneath those is an on/off but- were either a Krell KSA-150 (150 about 3 feet and plopped them ton. Continued on PAGE 95 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 96

On the back, the amps have two new PS Audio PowerPort wall sets of output binding posts. The receptacles which I added when I arrangement is a little unusual, had three 20-amp dedicated lines with each pair (positive and neg- installed during remodeling. ative) arranged vertically on one The X600.8s now were fully side. The posts are well-marked, integrated into my reference sys- however, and are extremely tem, which also included a Mark robust. Levinson 380s preamp, Musical Near the top is a single RCA in- Fidelity M1 CD transport, Mark put, and below that, an XLR jack Levinson 30.5 DAC and Revel for balanced operation. The XLR Studio loudspeakers. Other wire plugs come with a shorting pin included AudioQuest Sky XLR that should be left in if the RCA from the DAC to preamp, as well connection is chosen. as Kimber/Illuminati Orchid and I disconnected my Merrill MIT Reference digital cables. My Audio Thor monoblocks and turntable was out for modifica- inserted the X600.8s using tion, so I listened only to CDs. two-meter XLR runs of Audio- As I sat on the couch for a few Quest Lapis. Next, I attached minutes, still somewhat intimi- my Transparent Reference XL dated to flip the switches on the speaker cable, which was a little Pass Labs behemoths, my wife difficult with the vertical location came in to check on me. “Oh my of the outputs and the thick, stiff God, you’re bleeding,” she said, wire. Finally, I plugged the heavy, looking at a blood-soaked white supplied power cords into my sock on my left foot. Continued on PAGE 121 97 WINTER 2018 Now Read This 33 1/3 BLOOMSBURY BOOKS COURT AND SPARK, BITCHES BREW, LOW

Ever wanted to know the goods on one of your favourite LPs of all time, but didn’t have the time to com- mit to 914 pages of in-depth music geek-speak analysis? Perhaps the 33 1/3 series of LP biographies are just the ticket then. Written by various authors, but all with a dedication to detail, facts, and historical context, the 33 1/3 series digs deep into the dirty grooves of some of the greatest rock, jazz, blues, pop, country, and soul works of the 20th Century (and beyond). Tinged with first-hand emotional connections to the subject matter, many of the writers infuse a healthy dose of meloncholia into their accounts of first hearing the LP under examination within the 130-odd pages (or so) that make up each, precious volume of this series. A truly inspiring read. Available online through Amazon $10-$13 USD. –Rafe Arnott THE ETHNOMUSICOLOGIST

PHOTOS BY BRIAN HUNTER/WORDS BY RAFE ARNOTT 101 WINTER 2018

ev Feldman is the Ex- the greatest legends in the genre unknown recordings is merely ecutive Vice President, such as Wes Montgomery, John an extension of his passion for and General Manager Coltrane, Bill Evans, and Dex- the music. I recently was able to of Resonance Records in ter Gordon to name but a few. engage Feldman in a Q&A after Zthe United States. He lives in Los Earning nicknames in the press his return from a trip to Europe. Angeles, California, and is well like “jazz detective,” and “the I hope you enjoy this revealing known in jazz-music circles for Indiana Jones of jazz,” Feldman interview, and glimpse into the his work hunting down rare, or shrugs off the praise, and says his shadow world of both old, and unreleased recordings of some of work unearthing these previously new jazz history. Rafe Arnott: You’ve been called a “jazz detective” among other things in the press. Is this an apt moniker? Do you consider yourself a sleuth or is it more like Professor (Indiana) Jones where you’re trying to educate people through lost works of jazz antiquities, and there’s adventure thrown in outside the view of the classroom?

Zev Feldman: I’ll take it all! First and foremost, it’s pure enjoyment for me. I’m a very lucky person in that I get to connect my personal interest in jazz to my career. Whenever I’m presented with a work opportunity, it’s just natural for me to extend my passion and energy into it. THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2018 104

I have so much fun doing it. As far series was a very important mission. of providing that service of preserv- as being considered an archeologist First of all, we had an immediate ing the music. The Xanadu label was like Dr. Jones, it’s cool. It’s all posi- call-to-action, which was to rescue very much its own separate thing. tive. At the end of the day it really many of these tapes in the aftermath At Elemental Music, we’ve reissued is like ethnomusicology. I’m always of Hurricane Sandy in 2012. Many 25 of the titles, and it was a major doing research to be able to tell the of the tapes were destroyed during undertaking. There was a lot of dif- stories and provide a history on how the storm. ferent work that needed to be done these recordings I work on came The Xanadu catalog had been large- on many different levels, including together. ly out of print for a long time and in the recreation of the album’s art If you look at any of the packages my estimation these were very im- files. Many of the original negatives I’ve produced, not just with Res- portant recordings that needed to be were destroyed in the Sandy flood, onance, there’s always a story at- preserved. Then, in 2013, I started and tapes had to be cleaned, or in tached. I’m constantly searching for discussions with principals of Ele- cases where they were completely new things and constantly learning mental Music in Barcelona, Spain. I destroyed, we had to create other all along the way. I don’t claim to still do production work with them masters. I’m currently in talks with have all the answers, so I just try to this day, most recently reissuing companies in Japan about releasing to make the best efforts possible to the Sonny Rollins on Impulse! LP even more of these titles. preserve and present the music in that came out on Record Store Day Schlitten is one of my heroes in the best way I know how. I must say, in 2017. We’ve also released Jimmy music and one of the greatest jazz Resonance’s founder and president Giuffre The New York Concerts and producers of all time. He did much George Klabin has made this all pos- Red Garland Swingin’ on the Cor- more than just have the music sible through his philanthropy. ner among many other interesting recorded, he also created original projects. artwork and captured a unique look RA: Your title at Resonance Records In the case of Xanadu though, and feel of jazz. He left an indelible is Executive Vice President, and Gen- what’s important to note about that stamp on all his productions, and it eral Manager. What exactly do titles catalog is that it captured a very was very exciting to have the oppor- like that entail when it comes to the important period of time when jazz tunity to work with him on these big picture at the company, and how was going through major stylistic reissues. does that translate for you in the day- changes. In the 1970s, the tradi- It’s really hard to say if anything else to-day operations of Resonance? tional, straight-ahead jazz players I’ve done compares to that particular were competing against a new wave endeavour. I’ve considered taking on ZF: For me it really means wearing of jazz musicians playing ‘fusion,’ other such record-catalog projects, every single hat imaginable from which became a very popular genre. for instance at Resonance we spoke A&R and production to marketing As a result of the rapid dominance with Jim and Susan Neumann of and sales. I work hand-in-hand of fusion, many of these straight- Beehive Records in Chicago and directly with staff, and the responsi- ahead artists weren’t recording as considered working on those al- bility comes down to me in terms of much as they used to. bums, but it went to Mosaic Records decision-making and overseeing the Xanadu founder and producer and they did a wonderful job on it. company’s direction in all aspects. Don Schlitten followed his vision I couldn’t be more happy for them. and went after, and recorded many Aside from that it’s hard to identify RA: Talk to me about the importance of these musicians who were key any other labels at this time, but I’m of the Xanadu Series of reissues that figures in the creation of be bop, always looking! you’ve been involved with. Why do hard bop and post-bop jazz music. you feel these performances are so Schlitten provided them an outlet to RA: You were a part of Concord Re- important, and what is their context record and captured their voice. cords at one time, you helped worked within the history of jazz music in The output of work artists such on the Rudy Van Gelder series of al- America? Is there a current series as Charles McPherson and Barry bums. What was it like to be involved you’re working on that compares? Harris did for Schlitten, just as an with some of most important jazz example, are worth their weight in albums ever recorded? ZF: The Xanadu Records reissue gold. I can’t overstate the importance Continued on PAGE 105 105 WINTER 2018

Does that type of project differ radically from unearth- ZF: I’m always inspired by musicians. I continue to ing rare, or lost recordings and bringing them into the discover new musicians and love the living artists as light? Or is it all about making sure people have access much as the ones who are no longer with us. I must to as many recordings as possible? say though, there’s just something about the 1950s through the 1970s for jazz music, and I realize that I ZF: I would say it’s a combination of the above. In don’t speak alone, that it was just a magic time. Some- some ways it’s quite different to reissue something thing about that history, and to have lived through versus discovering something new, but the common some of it, there’s a special feeling and obviously a thread is still that you need to choose the best record- great level of creativity. ings and give them the best presentation possible. There are many artists I would like to work with, and From 2005 to 2007 I was the national director of I have various aspirations to work on many different catalog sales and retail marketing, and during that kinds of projects. One goal I have is to produce a great time I was involved in various internal think tanks piano trio recording with a pianist that I really like. I that were assembled to decide which titles would come want to expand on that medium. The piano trio is a out. I was involved in marketing especially in the retail whole other sub-genre within jazz. If you go to Japan sphere. But I want to be clear that I wasn’t doing A&R for instance, it’s treated on an entirely different level per se for that label. I do have project assistance credits than we treat it in the States. In terms of new artists I however on a lot of the Rudy Van Gelder reissues (the like, I’m a fan of the guitarist Yotam Silberstein. There RVG Remasters series), as well as the Orrin Keepnews are actually a lot of different guitarists I’m into. titles (the Keepnews Collections series). It was really I have the honour and privilege of co-executive exciting working in the catalog department while I was producing a living artist right now with the legendary there. Quincy Jones. His name is Andreas Varady and he’s I gathered so much valuable experience on how a an extremely talented artist that I’ve been very taken record label operates, and working on the RVG Re- with of late. His new album is called The Quest and masters series was an enormous thrill. As much of a it’s coming out on April 6th on Resonance Re- hero of mine as he’s been over the years, it wasn’t until cords. Andreas represents to me a younger voice who 2014 that I actually met him in his studio thanks to my is making music that is influenced by his surround- friends Don and Maureen Sickler. I had the pleasure of ings. He’s from a different generation than mine, so eating pot roast with him at a local diner over a beer. I it’s been really interesting for me to hear how he plays. want to treat their legacies with the utmost respect in I love the record, and I’m sure a lot of other people every way. will too when they hear it.

RA: What’s your take on the state of jazz music today? RA: What sets jazz apart from all other types of music is there musical growth, and exploration happening in in your opinion? Why does it seem to have such a modern jazz to the same degree as there was 50 years hardcore, loyal, and educated following of music lov- ago? Have we already heard the greatest era that the ers? Do you feel like the intricacies of tonal colour, and genre will ever experience? Who is currently creating expression that jazz allows for is lost on millennials, work that has your radar screen lit up, or that you’re and modern generations despite having more access to working with, or would love to work with? more jazz music than ever before in history? Continued on PAGE 118

“I don’t think any of this is lost on younger generations, including millennials.” ZEV FELDMAN 107 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 108 Petit with Power AURALIC POLARIS WIRELESS STREAMING AMPLIFIER

The Polaris has everything one could want packed into a svelte 10lbs chassis that fits into my laptop bag. It’s RoonReady, supports AirPlay, and Blue- tooth, is a music server, DAC, stereo power amplifier, wireless streamer, pre-amplifier, phono/line stage, is configurable, and can be controlled from your smartphone via Auralic’s Lightning DS app. The ESS Sabre DAC does Quad-Rate DSD, 32-bit/384K PCM via a WiFi network, and has enough digital inputs to satisfy the most hard-wired audiophile. A Femto Master Clock, hybrid volume control, and 120 watts into eight Ohms rounds out the specs, but it’s the sound I got out of this “super amp” that so deeply impressed me. Paired with numerous loudspeakers of varying efficiencies, the Polaris proved itself to be one of the most capable integrated amplifiers I’ve ever heard. When you factor in the MSRP of $3,799 USD it’s truly difficult to think of a peer. Review to come. –Rafe Arnott WINTER 2017 110

LOST

WORDS AND PHOTOGRAPHY BY BRIAN HUNTER IN t’s the weekend and I find myself in SPIRITS the arts district of Los Angeles with aI slight buzz. While this isn’t supremely unusual in and of itself, the fact that I’m listening to a tiny animatronic bird tell dry jokes in a nondescript warehouse very much is. It’s all a part of the strange appeal of the LA startup Lost Spirits. They want to shake things up, do things differently, bring down some of that entrepreneurial freedom from Silicon Valley and plant it squarely down with a distilling business in Southern California. Their factory tour in- cludes an original first- run copy of the Island of Doctor Moreau and is perhaps an appropriate metaphor for the operation as a whole. Continued on PAGE 111 111 WINTER 2018

The building as it stands personally, and begins in now was introduced complete darkness. After mid-2017, but an elusive a quick ounce or two of tour of the Willy Won- the brand’s Navy 61 rum, ka-esk facilities where attendees are whisked off they “reimagine” liquor to a riverboat ride down has already managed to to the heart of the distil- make its way onto the lation process. must-do list of every hip- Mind you, the arts ster this side of the 405, district is not exactly and with good reason. the type of place you The working partners would expect to find an started production on internal river amid the liquor roughly five years massive urban sprawl, so ago and have since aside from the rigorous sought out new ways to automation and robotic turn the aging processes talking animals that in- (and distilling in general) habit the nooks and cran- on its head. The reserva- nies of the mysterious tion-only, weekend-only drunken wonder world, tour is hosted by one of the vibe is uniquely un- said working partners usual to say the least. Continued on PAGE 113

“The finish is long and tingly, and lingers in the mouth for a good measure.” BRIAN HUNTER 113 WINTER 2018

Like any good museum tour the experience ends in the gift shop, where a series of speaking automat- ed birds lay out a parting sales bit like some Disney attraction on acid. It’s all very refreshing in a manic, distorted kind of way, but I was also a few “samples” deep by this point so the whole thing could have just been a fabrication of my mind. The souvenir bottle of the Lost Spirits Navy Style 61% Rum that I picked up turned out to be pretty real afterwards and is the subject of our scrutiny for this juncture. But let’s start with the basics. The rum focus from LS makes the Navy Style 61 the flagship spirit, and like most rums, it features molasses as the main jumping block from which all the alcho-good- ness derives from. While claims of top-grade molasses, special yeasts and unique stills (two steps) surely contribute to the overall appeal, the aging process employed at the downtown location is surely where things get a touch of the mad sci- ence. Instead of aging their nectar of the gods in oak barrels, the company takes pieces of selected toast- ed barrels and fully immerses them into the liquor during the maturing process. In order to shorten the timeline even further, the warehouse is equipped with some very powerful light sources that blast the mixture brunette, syrup-like colour. It’s far direction. with copious amounts of wood-ag- beyond caramel and very deep into The 61% plays heavily on the nose. ing rays. The idea here is that since dark brown. Hold it up to the light Some might wisely recommend a sunlight generally degrades things and one might get a hint of red, but few drops of water or enjoying a like wood decks, and doing so with- overall colour resembles a nut- pour over ice to clear out some of in the confines of the containment brown ale more than any liquid in a the windshield-wiper-juice clutter. units will jump start and shorten well tailored whiskey collection. Our sampling went onward with- the 25-year storage stage of well- The label is fashioned in a way out such crutches however, with loved liquors. that appears very old-school sailor, small hints of old oak furniture and The results? The tour guides claim American dollar-bill scripted style. fresh bark mulch making their way experts can barely tell the difference It’s clear that this sailor-inspired through the bouquet with enough from real-time 23-year-old rums. rum has a not only a look, but a endurance. On the table the Navy 61 has a taste providing clear and certain Continued on PAGE 116 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 116

The initial splash hits the mouth measure. with a surprising jolt of smoke, and At the end of the day it is rum, once again reiterates the feel after a and offers light skeletal structure full palate cleansing. similar to its distant relative Bacardi The experience is much smoother 151, but for the most part is very than the smell implies, and once the far removed from this eye-watering middle rushes in there it is defi- relation. nitely a slice of the true rum fla- It’s comfortably drinkable and a vouring that greets you at the back great conversation starter to boot. If of the throat. It’s almost surprising you can afford the luxury and have in nature due to the complexity of a thing for Mai Tai’s then look no the initial handshake, and one that further. Neat or on the rocks makes could perhaps be mistaken for any for a great evening and the proof well-aged, barrel-brewed liquor. gets the party started with little-to- There of course is plenty of that no effort involved. sticky molasses. If any citrus is to be The initial depth and smoke up- found it would have to lean toward front is where this little gem really orange, but not lemon. shines, offering a simple solution for The finish is long and tingly, and an often complex question: What lingers in the mouth for a good are we drinking tonight?

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Continued from PAGE 106 RA: If we were to look at a cross sec- Music is also in my DNA, as I tion of your record collection, what come from a big family with a ZF: For me, when I was first get- would we find? Is it predominantly heavy concentration of jazz and Sign ting into jazz music, I had been jazz oriented, or do you give some classical musicians. My great uncle listening to so much pop and what play to blues, folk, rock, classical, etc? Alvin “Abe” Aaron was the lead we call classic rock music now — How big would you estimate your reed player in Les Brown’s Band here Jimi Hendrix, Led Zeppelin, The current collection to be? What are of Renown which featured Jack Who, etc. — that at a certain point five of your favourite LPs that you Teagarden and Horace Heidt. His I realized something happened in own, and why? Do you have any brother, Joseph Aaron, played jazz terms of defining my personal pref- personal stories of interest involving in the midwest and worked in the please erences. I realized that when I was specific LPs that you own that you Milwaukee school system with TOTEM listening to music, I was paying es- could share with us? Most rare LP music for over 50 years. I have pecially close attention to the solos you own? several cousins who play in orches- ACOUSTICS and improvisations going on. Rock tras and symphonies in Milwaukee. SIGNATURE ONE artists like Jimi Hendrix and Pete ZF: I’m a total omnivore when My great grandfather wanted to LOUDSPEAKER Townshend were my bridge into it comes to music. I’m all over see that all of the children played jazz. In my opinion, they were actu- the spectrum. I’ve spent a whole an instrument, and we even had a Mini-monitors have a ally great jazz musicians. There was lifetime finding and researching family band. I’m very much into reputation for imaging something about their immense music, and I used to read through family history and have done a lot exceedingly well, but talent and soloing that drove me the critics books so that I would of research. My interest lies in being can struggle to pressur- into jazz. And it wasn’t just acoustic spend my money wisely. Doing that a music collector. ize a room, and often and straight-ahead jazz, I’ve had turned me on to things that I might A lot of people may not know rely on a “mid-bass life-altering experiences listening to not have come across unless I was this, but I have a large collection of hump” in the crossover the Mahavishnu Orchestra, which much older. It’s funny, so many of classical piano recordings. Sonatas to compensate for it. took me into another direction the classic recordings that I consid- being a main area of appreciation, It sounds pleasing, altogether. er cornerstones of different genres although I don’t consider myself an and can emolierate a I don’t think that any of this is of music, a lot of my friends didn’t expert. My Prestige and Blue Note lack of low-frequency lost on the younger generations, discover until later in their lives. So records are some of my most prized extension. That doesn’t including millennials. When I go to I was ahead of the curve in a lot of selections. A lot of my research and seem to be the case in Smalls or the Jazz Gallery in New ways. personal exploration was accelerat- the 87.5dB Totem Sig- York City, you see a whole genera- To answer your question about my ed greatly by working for 11 years nature One monitors tion of younger musicians playing collection, I would say I have be- in record label distribution from however, as I found their really incredible, thoughtful jazz, tween 5,000-6,000 CDs and around 1994 to 2005. response to be very linear and there are younger audiences 3,000-4,000 LP records. Within I was involved with selling and regardless of music type. They responded just as there listening to it. I’m telling you, that you’ll find a whole variety of marketing albums from so many well to 18 watts of tube they’re doing interesting shit. So music. Growing up I was exposed record labels across all genres. I amplification as they did I don’t think it’s lost one bit. The to everything. Of course the Beatles promoted artists ranging from the to 160 watts of solid state music just morphs and evolves. The were a huge influence early on. We Three Tenors to 50 Cent, Shania power, helped no doubt wonderful thing about jazz is the had Abbey Road, The White Al- Twain, Andrea Bocelli, Diana Krall, by their nominal eight- focus on individualism and the em- bum and “Hey Jude.” I played them Eminem and even the Ken Burns ohm impedance. Beau- phasis placed on finding your own to death. My dad also had Cannon- Jazz series of soundtrack releases, tiful timbre, full-bodied voice. In some ways it’s very much ball Adderley, Nancy Wilson, Wes just to drop a few names. We had midrange, and surprising a reflection of life itself. There are a Montgomery, Jimmy Smith and record labels such as Mercury, bottom-end extension lot of interesting parallels between Michele Legrand. My mom had A&M, Motown, Polydor, Verve, – even in a larger room life and jazz. Every year we keep Mercury Living Presence record- Island, ECM, Deutsche Grammo- – are hallmarks of this Canadian-made stand seeing young artists appear on the ings and RCA Living Stereo clas- phon, Decca, Philips, and let’s not mount. MSRP $2,650 jazz critics polls, and young people sical albums. As much as I wanted forget, I also had a brief stint work- USD. Review to come. seeing them play at the clubs. So it’s to listen to pop music, my parents ing at Warner Music Group and its –Rafe Arnott very much like it’s always been in made sure we listened to classical catalog of labels including Warner, that regard. and jazz music on public radio. Electra and Atlantic. Continued on PAGE 119 119 WINTER 2018

So I was able to collect study and something though, as I said, I don’t scimento’s Clube da Esquina, The learn. I was able to request one for like being a pack rat. But I enjoy Clash’s self-titled album, Miles myself, and I would also trade with discovering, and collecting music Davis’ Round About Midnight, Art friends of mine from other com- – it’s like food for me. I remember Blakey’s Free for All, Thelonious panies. I was able to amass quite a being a young boy and listening to Monk’s Brilliant Corners and many, large collection during that time. But those three Beatles records I men- many others: Jascha Heifetz plays I don’t just hold on to an LP or CD tioned earlier, and it was the White Tchaikovsky and Brahms with the just to have it, I try to give it back Album especially that became a Chicago Symphony Orchestra. It’s all if i don’t want it. I have no need for major recording for me. My father about emotion and feelings for me. stuff that just takes up space. I have never allowed me to touch our Dual It’s not a simple thing to articulate, gotten decades of enjoyment out of 1017 turntable, but he got so tired of but it gives me life. doing this research. flipping that record that he dumped I really enjoy nostalgia. Being In terms of interesting stories about it onto a reel-to-reel tape for me reminded of another time in my records I own, there was a very rare so I could listen for hours on end. life. Jazz is really interesting in that collection of records I went down to I would sit on the couch and be so respect. I can gaze at these images Arizona to pick up and bring back relaxed and focused on that album. and just feel things. Looking at a to my place in LA. I had to fly down I was a very hyper-active kid, and Blue Note album cover for example. there and fly back in seven hours. music was the one thing that could It’s why it’s important to build these Many of those were autographed get me to focus. I would put on my experiences with the packages I jazz 45s, including ones autographed Koss headphones and just go to my produce. I’m trying to replicate what by Miles Davis, Duke Ellington, happy place. those records made me feel like. I’m Oscar Peterson, Dave Brubeck, Paul There were other periods in my only doing what I know, and trying Desmond and a host of others. life that were really impactful for to make things as fucking great as I’m always evaluating if I need me, like listening to Milton Na- possible. T/O

Positive Feedback is a community, composed of writers and creative persons from around the world. Positive Feedback is an ongoing "work in progress," chronicling the efforts of audiophile listeners, reviewers, designers, manufacturers, distributors, and humorists to explore the possibilities of high end audio to the utmost. a Community for the Audio Arts www.positive-feedback.com 121 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 122

Continued from PAGE 96

Pass labs X600.8: $26,000 USD/pair 600 watts/eight Ohms Gain: 26dB Frequency response: 1.5Hz ~ 100KHz Distortion@full power: 1% Weight: 123 lbs/chassis www.passlabs.com

Since I’d blown the packing dust I switched to the Cowboy Junkies’ minimize them. At the same time, Apparently, I had accidentally brushed up In the owner’s manual for the X600.8, Nelson off with Keith Richards, it seemed slow, hushed cover of Lou Reed’s both ends of the frequency extreme against the X600.8s, which have dozens of Pass writes that his goal was to advance the appropriate to return to the same “Sweet Jane” from their chill-out were equally as impressive, with sharp heat fins on their sides. The brand-new key elements of the older amps to the next number to start my formal listen- classic The Trinity Session. The song Alan Anton’s bass having both depth carpet now had a blood trail. Word to the level. This wound up involving more of every- ing. “As Wicked as It Seems,” from was recorded live to RDAT in a To- and tunefulness and Peter Timmins’ wise: Either wear boots during set-up or try thing. The X600.8 uses bigger hardware that Keef’s 1992 Talk Is Cheap LP, could ronto church, with the four players subtle cymbal work portrayed with a not to be as clumsy as yours truly. is biased more deeply into the Class A oper- easily have been a great Rolling circling a single Calrec Ambisonic silken sheen. I decided to kick-start the new amps with a ating region. The front-end circuit is more Stones single. Here, Richards’ shaky, microphone. Another recording that really raucous Keith Richards solo track, “As Wick- sophisticated and customized for each model. nicotine-ravaged vocals are ducked This spare 1987 song contains just highlighted the X600.8s resolution ed as It Seems.” As I cautiously brought the The power supply also is beefier. And, finally, down in the mix. The X600.8 per- bass, electric guitar, drums and and dynamic capabilities was jazz volume up, I forced my eyes back open and there are those heat fins – larger and more fectly revealed the wisdom of that vocal. On an exceptional system, singer Lyn Stanley’s The Moonlight slowly looked around. The lights didn’t dim, abundant to carry off the extra heat. production decision. His five-string however, the ambiance of the old Sessions, Vol. 2. The second song, a my speakers weren’t melting and I hadn’t The solid-state front end uses a mix of JFET, rhythm guitar had its trademark bite venue is a key fifth element. The cover of the American Songbook succumbed like a character targeted for a MOSFET and bipolar devices made by Toshi- and swagger, however, matched by X600.8s recovered this ethereal standard “The Very Thought of You,” dirty deed by AC/DC. (High voltage!) So far, ba. The parts actually have been discontinued, the equally crunchy lead work of LA quality to a remarkable degree, with begins with Stanley introducing so good. but Pass believes so strongly they are superior session godhead Waddy Wachtel. Michael Timmins’ guitar echoing off the lyric over a tasteful piano line. I switched to more ethereal fare, Miles Davis’ to anything else that he ordered a deep stock Several other things immediately the walls and sister Margo Timmins Then bass enters, following by the In a Silent Way, for an extended repeat-play to allow both construction of new amps and stood out about playback of the song practically whispering the lyrics into swell of an orchestra. The X600.8s period that lasted about a week. As I waited repairs. through the Pass Labs X600.8s. First, my ear. easily handled the dynamic shift, for the amps to burn in, I read up on what “The result is a front end with high stability, there was an effortless quality to the Probably because of the straight- with the song getting louder but not Nelson Pass was trying to accomplish here. low distortion and (low) noise,” Pass says. sound, even when Richards’ band, to-tape nature of the recording, the aggressive. Stanley’s voice, which The Class A/B line of the Pass Point-8 Se- “It has a very high input and is DC-coupled. the X-Pensive Winos, shifted to full vocals have some occasional sibilant was recorded on Frank Sinatra’s ries, which consists of the X600.8 and four There are no compensation capacitors -- in tilt. Second, there was a weight and issues. On the X600.8s, those sib- old Neuman tube mic, had notable lesser-power amps, is the product of seven fact, there are no capacitors in the amplifier solidity to the presentation that was ilants were still there, but the lush texture and the piano – a difficult years of research. The new amps replaced the circuit except across the shunt bias regulators combined with an unusual sense of midrange I attribute to the first 50 instrument to capture – sparkled. well-regarded Point-5 series. and the power supply.” depth. watts of Class-A power seemed to Continued on PAGE 123 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 124

Occasionally in reviews, I will rave about a new depth to the Prodigy’s magic midrange how a component created reverb trails that and both extended and polished the high fre- stretched far into the back of the studio. The quencies. X600.8s had that kind of sound-staging, but At $26,000 USD a pair, the Pass Labs X600.8s they did more than that. Track after track, each are the most expensive amplifiers I’ve ever had player’s instrument was extremely full-bodied. in my reference system. Heck, they are by far It was easy to conjure the illusion of real people the costliest component of any kind I’ve ever gathered in a room. The best way to describe unboxed. Yet, these unabashedly heavyweight it would be that the experience was the aural powerhouses offered a fascinating opportuni- equivalent of witnessing live actors in a play, ty to see what a gifted, veteran designer could rather than watching the same production on achieve with fewer cost restrictions. a movie screen. One has people occupying Perhaps the outstanding attribute of the real space on a large stage, while the other is X600.8s was their ability to portray musicians a projection that doesn’t extend behind a thin and their instruments as 3-D, full-size entities, screen. realistically positioned left-to-right and front- In comparison to my reference Merrill Thor to-back across the soundstage. monoblocks, the X600.8s had better-defined I’ve heard some other listeners describe the lower bass, more weight and a fuller midrange. Pass house sound as “solid state with warmth.” The perceived dynamic range seemed wider, After a months-long demo, I think what they’re and the Pass amps had the uncanny ability to hearing isn’t really warmth, which to me would portray three-dimensional players in space. imply some degree of reduction in texture, “Simply put, the Pass Labs X600.8s are the finest amplifiers I’ve ever had in my home.” JOHN STANCAVAGE

The 200-watt Class D Thors, though, had a detail and resolution. Instead, I suspect what slight edge in overall smoothness. Finally, the they’re reacting to is a remarkable, full-bodied X600.8s got much hotter than the Thors. If you presentation. have a cat, it won’t curl up for long on top of Pass amps – particularly the X600.8 – offer these babies. solidity without excessive thickness, detail My Krell units, meanwhile, had superior bass without brightness, and dynamics without fa- slam, but showed their age in nearly every other tigue. Add to that stunning depth with realistic category. To be honest, none of these matchups instrument layering, and you have quite a feat was a fair fight, since the most expensive of the of engineering. Krell amps had half the watts and retailed for Simply put, the Pass Labs X600.8s are the $10,000 USD when new, while the Thors sell finest amplifiers I’ve ever had in my home, and for $4,800 USD and come second in the Merrill are on the short list of the best I’ve ever audi- line to the $12,400 USD Veritas monoblocks. tioned anywhere at any price. For those who After swapping amps, I decided to see how can seriously shop at this level, they should be a the X600.8s would fare with speakers that are must-audition. For everyone else, these mono- significantly different from my Revel Studios. I blocks still deserve to be heard, if for no other inserted a pair of MartinLogan Prodigy hybrid reason than to attune your ears. electrostatics, which have a nasty impedance Audiophiles in the latter category, if it’s any dip that goes down to about 2 ohms. The Pass consolation, at least won’t have to risk the monoblocks’ significant Class A power brought double hernia getting them home. T/O 125 WINTER 2018

Continued from PAGE 80

The guttural snarl, and whine Whether it’s in their choice of of the modified flat-six motor stereo system, or automobile, and five-speed gearbox as we both men have a love, and deep power our way up, and down appreciation of the finer, more this stretch of road reaches me esoteric things life can offer. through the base of my spine, Both their residences exude and is translated into adrenaline. an air of refinement, and taste “I like to go fast, I also appre- with a mid-century leaning that ciate subtlety,” said Rotunda. strikes a chord with me per- “And I think that whether it’s sonally, and there was never a a high-end piece of compo- moment on the trip when I felt nentry that’s handmade, or an anything but at home. air-cooled Porsche 911, there’s a After taking the maximum shared tangible quality about the g-forces our bodies would allow experience of the tactile sensa- on the road with the 911, and tion of turning on your audio enjoying a spectacular dinner system, and adjusting the knobs, with Rotunda’s family, we woke and dropping the needle down early the next morning to make on a vinyl record, as there is with the roughly three-hour trip sitting in the cockpit of a vintage to Pitch Perfect Audio in Los c ar.” Angeles for a full day of filming, Halpern’s wheels hail from interviews, and most important- Stuttgart too, but his ’64 356C, ly; listening to a full Shindo Labs and ’87 911 coupe call New York system in situ. State home. Continued on PAGE 127 127 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 128

Rotunda’s shop is a continu- of jazz, soul, rock, and blues, ation of his house stylistically, Rotunda, and Halpern took and the feel is more home than turns controlling the decades we shop. The sheer amount of visited through a system I can drool-worthy new, and histor- only describe as a time machine. ical hifi equipment on hand The sheer physical presence of is staggering, and even after performers that was conveyed shooting hundreds of photo- never faltered from record- graphs, and doing hours of filming-to-recording, and I couldn’t ing, I still felt hard-pressed to help but shake my head while fully convey what a heavyweight listening because every simile, analog temple he has built for and metaphor that I wanted to worshipping music playback. use to describe for what I was We moved between two hearing seemed underwhelm- turntables – a Shindo-modified ing in their ability to accurately Garrard 301, and J.C. Verdier communicate what I was expe- La Platine, but remained rock- riencing. steady with the Shindo Mon- “There’s a lot of snake oil out brison preamplifier, and Cortese there on the market, and a lot of stereo power amplifier. Two it is just to feed the audiophile transducers were auditioned: insecurities about how they can The Auditorium 23 Hommage put a band-aid on a system to 755, and Shindo’s flagship improve it,” Rotunda said when Latour field-coil loudspeakers. I mentioned it. “Start at the Cabling was a mix of Shindo, core, and build a system that and Auditorium 23. doesn’t need band-aids.” There were no sound field opti- “It’s about system synergy, and mizers, no stainless steel isola- not fixing things that are wrong tion feet under components, no to begin with.” cable risers, or dust covers, the Writing this piece many weeks amps, and ‘tables sat on a Ton- after visiting with Rotunda, apparate rack, and room treat- and Halpern, I can still close ment consisted of some foam my eyes and transport myself panels, rugs, and paintings on back to that listening session, the walls. and looking upon the visit, I see Equipment list: Spending time in the sweet spot now that the light, and space of Shindo Monbrison preamplifier: $12,500 USD during listening sessions (or the mountains they call home Cortese F2a stereo amplifier: $12,250 USD even off-axis) was an exercise was a fitting stage to cleanse my Shindo 301 Player System full setup: $31,395 USD Hommage T1 SUT – SPU: $4,995 USD more in maintaining emotion- mental, and emotional palette Hommage T2 SUT – EMT: $4,995, al control than professional for the path they took me down Platine Verdier Turntable: $14,000 USD composure. Spinning a mix with Shindo Labs. EMT997 tonearm: $5,495 USD TSD15 MC cartridge: $2,400 USD Tonapparate Equipment support: Starts $9,995 USD A23 Hommage 755 Loudspeakers: $11.500 USD A23 interconnects: $795 USD/pair A23 speaker wire: $1,180 USD/three meter pair 129 WINTER 2018 WINTER 2017 130

Continued from PAGE 51 When I started I was still the relationship of propor- Now a farmer, and the govern- tion and distance between ment was constructing a them also affects the result.” new highway very close to I follow what you are Hear us, including a 600-metre saying in regards to how long bridge. There were you come up with the many geologists around ratios of materials, and This the site, and I learned a their sequence/placement Entreq Olympus Tellus grounding box: $9,650 USD. lot from them regarding within the box, but why is Weight: 100 LBS. ground composition, the that critical? What did you Connections: Six solid-silver binding posts, one solid copper AC ground post. difference, and capacity discover during the proto- AUDIOQUEST between sand, soil, clay type stage that led to these TREE SERIES soil, alumina, and so on. design decisions? OAK SPEAKER CABLE The conclusion was that the actual earth has a lot of PO: In the beginning electrical pollutants. we used a kind of min- Featuring solid Simply put, the ground eral mix (sand, or more perfect-surface can be overloaded with correctly, a mineral mix copper conductors electricity in some areas. from a mine in Sweden) and carbon-based That was the reason I and mix it with some multi-layer noise started to test a box which aluminium and copper dissapation, the is like a cross-section of content. Since different AudioQuest Oak Mother Earth, but one that metals are magnetic in speaker cables I’ve could be isolated. If the one way or another, and had on loan to use real Earth can handle such all metals have their own as my review ref- large electrical surges/ grounding capacity it´s erence for the past noise consisting of many important how they are year have acquit- Kilo Volts and MegaWatts placed in the mineral ted themselves I should be able to create a mix; how much, types with outstanding box that can handle small of metals, and the dis- transparency, zero er currents that we would tance between them to colouration, and encounter in AC/speaker create the most efficient the unerring ability cables. grounding quality. to reveal the most We have made great delicate nuances of RA: On the website you strides about which met- rare vinyl pressings, also say: “The construction als to use, how to prep the out of print CDs, and choice of materials in metal before inclusion, and high-resolution the earth box has a crucial and use a larger variety computer audio effect on the result. In part, of metals – even gold – to files. Look for my the minerals and metals get increased perfor- upcoming long- involved have an effect, but mance. T/O term review. MSRP $3,300 USD/eight- foot pair. –Rafe Arnott 131 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 132

those who attend tape-listening and reel size, the onerous prospect sessions at the shows. I think of getting up every five or seven the “magic” has to do with these minutes to set-up another tape. folks being accustomed to hear- Why are people clamouring to ing their music on LP (or CD), take on all this extra work? and now being able to listen “much closer to/into” the sound CK: I’m going to take issue with originally recorded on analog you here, as I’d opine that the tape. tape medium requires LESS Remember that the music on work. Granted, tapes do take up any LP prior to say 1985, was more storage space. But once first transcribed on tape; then its you’ve had your transport over- electrical signal was converted to hauled/aligned by a competent a mechanical signal on the LP by technician, about all you have the record cutter, then converted to do is clean the tape guides / REEL REEL back again to an electrical signal heads at a regular interval. INTERVIEW: CHARLES KING by the cartridge in your turnta- All the commercial tapes WORDS AND PHOTOGRAPHY BY RAFE ARNOTT Above: Charles King in Denver, Colo. ble. available now are 10” and as 2 What if you could bypass that each tape typically holds the morass and listen to the original musical equivalent of one side tape, or a copy only a few gen- of an LP - it can run from 20 to erations removed? And with no 30 minutes. A number of the Rafe Arnott: You’ve been involved tape collections, and the medium and re-introduced a well-respected digital “artifacts?” “little” tapes I made for the Stella with analog tape, and rebuilding “blew me away” so to speak, which tape pre-amplifier and upgraded machine you are using were Stellavox reel-to-reel players/record- encouraged further collecting. electronics for my Stella’s. RA: First LPs, and now (sur- single selections put on much ers for some time, can you give our My first tape machine was a Revox prisingly for many) reel-to-reel smaller reels, purely for demon- readers some background on how A77 which I dug into, and sonically RA: You, and I became acquainted a is seeing a growing resurgence stration convenience. you came to your current situation “improved” (at least I thought so); few years ago after I first heard your with serious audiophiles. Albums as not only a bespoke tape-machine mostly by parts substitution. Brown modified Stellavox reel-to-reel player/ require an investment in the RA: What advice would you have artisan, but also an analog-tape then introduced me to the Stellavox recorder. Being relatively new to the understanding of the high-fidelity for someone looking to dive into spokesperson at many industry brand, as they were showing up sur- audiophile scene, I wasn’t intimately playback chain. LPs require cu- the world of reel-to-reel tapes? events, and shows? plus from the Canadian Broadcast- familiar with the analog tape sound, rating, and maintenance – never How important is it to have a ing Service (CBC), and film sound/ and it left a deep impression upon me mind the knowledge needed to specific type of sound system in Charles King: My mentor and editing companies. for it’s inherently tactile, organic, and properly load, and service mov- place already? Is the addition of a friend Rich Brown got me interested One listen convinced me of the lifelike presentation. Are these char- ing-coil or moving-magnet car- Stellavox, for example, predicated in tapes around 25 years ago. Back superiority of not only that brand, acteristics what drew you to pursue tridges, setting up a tonearm, and on having a tube-based system? then, the source material consisted but how good the medium, and perfecting the preamp section of the the vagaries of phono stages. Tape Solid State amplification? A cer- of 15-ips master dubs (if you could well-designed tape electronics little Stella? takes this a step further in a sense tain type of speaker or preamplifi- find them in pre-internet days) could sound. I started bringing one of the proper storage of reels, the er? What do people need to know and two and four track commercial of their little, portable machines CK: Yes. And I didn’t realize how precarious operation (for many) before they start ordering tapes, releases. It happens that two-track to shows, playing tapes in certain fortunate I was to choose that me- of threading a player with tape, and players off the Internet? and depending on the recording, stereo tapes enjoyed a short lifespan rooms, and trumpeting the benefits dium as my primary source. I still Continued on PAGE 133 from around 1953 to 1960 (and ac- of analog tape where I could. Along marvel at the immersion, atten- tually preceded stereo LPs by a few the way, I became familiar with tiveness and amazement (to add to years). I came upon a few two-track many professional tape machines your verbiage) exhibited by many of 133 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2017 134

Continued from PAGE 64 “Going forward... I put my money on digital. There’s no (long term) money in analog.” CHARLES KING

CK: Have to say that the great reel tapes with the titles available stant tension” tape-handling capa- majority of those I know who have reaching into the hundreds. Yes, bility. The reproduction head also gotten into tape already have had their cost ranges upwards to $500 makes a difference. Think of it as very good systems. Including both USD per two-tape set. But consid- just the coils in a moving-magnet tubed, and solid state. er that the tape / reels/ packaging cartridge - with the magnetism We’re adding a whole new “front cost around one third of this, not supplied by the tape. end” here, one which I’d say have to mention the duplication cost Finally, there is the playback pre- capabilities different from, and and amortization of the duplicat- amp which is like a phono preamp better than adoptees current front ing equipment; and a real prob- but with a different equalization ends. lematic cost – copyrights. curve and typically a little more Where to start... Oh man. Let’s And yes, master dubs of tape are gain. I’ve found that the most talk the equipment first then move all over the web - caveat emptor. problematic sections in many tape into the “software.” Two equip- Here you go - get into tape with a decks are the playback electron- ment paths here: buy a transport friend(s) and share tape costs. ics which have, shall I say “sonic from one source with the playback deficiencies” that an outboard (or head “wired out” and integrate it RA: If having the most musical “stand alone”) preamp can rectify. to a tape preamp from another DAC, and accurate clocking is source. critical to getting the best from RA: Is analog king, and will it al- The Overture II is one of concert grand piano from There are many good transports digital audio (as many suggest), ways be king in the upper echelons the quietest amps I’ve ever Maison Pleyel which Edna out there and trying to name them and a properly-loaded moving-coil of the audiophile world, or is digital experienced, as I could Stern plays on Hélene De will result in me forgetting/piss- cartridge is a key aspect to LP play- making such aggressive inroads in have my ear next to the Montgeroult (CD Orchid ing off someone, so I won’t name back, what is crucial to getting the sound quality, and convenience that tweeters on my speakers Classics ORC1000063) names. They cost anywhere from best from a tape deck, and reels? we could see LPs or tapes eventu- and hear nothing. cannot, in my estimation, $1K USD on up. Stand-alone tape ally usurped from their throne at Not all great tube amplifi- be overstated. preamps (tubed and solid-state) CK: The important components the top of the high-fidelity playback ers are capable of this feat, Every felted-hammer are available from a half-dozen of the tape playback “system” are chain? What’s your personal take and to me this is crucial strike of the strings con- sources and cost from $1K up the tape transport, the playback Charles? because the silence be- veys an assertion by Stern towards $20K. head and the tape preamplifier. tween notes being played that she is making this All-in-one machines are available The transport’s job is to run the CK: I’d like to think that analog conveys a huge amount of piano hers on these record- from at least two sources and cost tape by a playback head at a steady, tape has given certain of your spatial information which ings, not Montgeroult’s, from $7K to $25K (I think). Let constant speed. Equally import- upper echelons a new lease on translates into an accuracy, and it is the bloom, and me make this real clear though: in ant, as most of the tapes you play life. Every new format has of- and realism of placement decay of the notes into this day of $10K+ phono cartridg- are very valuable, the transport fered reduced storage space and to performers within the the mute background that es, you can equip yourself with a has to also “handle” the tape very increased operating convenience. recorded space. It is the ac- gives the determination of very good complete analog tape gently so as not to stretch or break Cloud storage and file downloads curacy of this information the size, and placement of rig for around $10K. it, even during high speed forward are hard to beat from this perspec- which to me allows for the the instrument within the As for the tapes themselves, I or reverse winding. tive. Going forward from here, I most lifelike playback from recorded frame of refer- believe that today there are at least The later generations of serious put my money on digital. There’s a component. ence at the Philharmone a dozen entities producing reel-to- transports had sophisticated “con- no (long term) money in analog. T/O The weight to the key- de Paris. strokes of the 1860 Continued on PAGE 135 135 WINTER 2018

Mixing in the KSL-VcII on a playfulness, with a more interconnects during listen- definitive texture to his slaps, ing showcased the attack on and fretwork. leading notes in the 12 Etudes Turning my focus next to the included on the disc. The addition of the GE-1 phono startling momentum of Stern’s amplifier, I ran the KSL-VcII depictions made the Overture interconnects from it to the II a rival in speed to the solid Overture II, and ran a step- state CH Precision L1 pream- up transformer into the GE-1 plifier/M1 power amplifier (34dB gain, and similarly combination I reviewed in equipped with Electro-Har- early 2017 ($32,975/$51,000 monix tubes, here it is a trio USD respectively), albeit with of 12AY7 dual-triodes) from more refinement to the solidi- my current long-term review ty, and texture of notes. turntable, and moving-coil The final addition of the cartridge. Operia SPc-2.5 speakers The GE-1 is a moving-mag- cables during an extend- net phono stage, capable of ed session with One Flight switching between two sepa- Up by Dexter Gordon (CD rate cartridge inputs, with an Blue Note RVG Edition adjustable input impedance 724359650524) produced no- selector, which I set to 50K ticeable frequency extension Ohms. in those most upper octaves, Like the Overture II it is con- and those most low. The SPc structed to the strictest stan- seemed to extend the bound- dards, possesses a solidity, and aries of the recorded space, heft to its casework, and the subsequently infusing more same attention to circuit detail bloom, saturation, and decay throughout. Aesthetically, it of notes into the silent ether of is a very pleasing match to background. the Overture II, sonically it Art Taylor’s cymbal, and provides the same emotional high hat work took on more connection to music that had desert-air shimmer, Gordon’s me wearing a path into my tenor sax became further living-room rugs between my imbued with tonal colour, and sofa, and sound system as I Donald Byrd’s brassy trumpet swapped out CDs. work took on swagger – in The first thing I noticed my mind I could clearly see going from digital to ana- Kondo Overture II: $32,250 USD Associated equipment: every change in embouchure. log playback was almost no Kondo GE-1: $11,750 USD Thales TTT Slim-II turntable w/Easy tonearm Kondo KSL-VcII interconnect: $1,150 USD EMT JSD-VM MC cartridge The bass licks that Niels-Hen- change in the palpability of Kondo Operia SPc-2.5 speaker cable: $1,620 USD Auditorium 23 step-up transformer for EMT ning Orsted Pedersen lays each recorded performance – Kondo ACc-Persimmon AC cable: $1,000 USD totaldac d1 integral DAC/Streamer down throughout “Tanya,” a nod to system synergy in my Kondo ACz-Avocado AC cable: $1,000 USD Audio Note UK CD4.1x Audio Note UK AN-E SPe/HE loudspeakers and “Coppin’ the Haven” took opinion. AudioQuest Wind interconnects Continued on PAGE 137 AudioQuest NRG-10 AC power cables AudioQuest Oak speaker cables AudioQuest Vodka RJ/E cable PS Audio P10 Power Plant Shindo Mr. T power conditioner 137 WINTER 2018

The corporeal impact, and sound tighten his kit if it doesn’t sound Regardless of what I played stage of playback continued to right, I’ve heard few of his perfor- through this Japanese-amplified shift from recording to recording mances that seem to present such combination I was alternately left as it should, as well, the lifelike taut skins as through the GE-1 with tears running down my face, scale of performers, and instru- here. or spontaneously clapping, and ments maintained appropriate The power, and liquidity to Bran- jumping up-and-down on my sofa. dimensions, and weight. ford Marsalis alto sax work was Few manufacturers are capable With Art Blakey And The Jazz only matched by the now obvious of invoking so much emotional Messengers Keystone 3 (LP Pure call-and-reply between his broth- response from me through play- Audiophile PA-008 (2)) spinning er Wynton on trumpet in “A La back of recorded events, but Kondo on the turntable, I lowered the Mode,” obvious because the Kon- Audio Note did this every time I cart into the run-in groove, and do phono stage revealed what had allowed the electrons to flow from was fully immersed in the venue previously seemed merely energet- source to transducer through their of this 1982 performance record- ic, was actually symbiotic. exquisite circuit topology, and in ed live at Keystone Korner in San Switching gears to new wave, I fact, despite their price point, both Francisco. Half-speed mastered found my 2009 reissue of 1983’s components had me contemplating by legend Stan Ricker, and plated, Power, Corruption & Lies by a call to my bank manager regard- and pressed at RTI, this translu- New Order (LP Rhino Records ing a loan to acquire the review cent red 180-gram pressing is dead R125308) had taken on an anx- pair. quiet, and I couldn’t help but make iousness to the propulsive opening In the end, they are simply beyond comparisons between the GE-1’s track “Age of Consent.” Where my financial means, but should you paucity of background noise, and before I merely felt compelled to have the ability to procure such that of the Overture II. bob my head to Stephen Morris’ bespoke arbitrators of electronic Blakey’s almost spiritual – and incessant percussive intro, it now signal reproduction, and consider absolutely effortless – crash, and was tinged with apprehension, yourself among those who value ride cymbal work on the opening and lead singer Bernard Sumner tone, timbre, and natural flow to of “Waterfalls” left no doubt who seemed ill at ease vocalizing “I’m music above all else, I implore you was on drums, or who led this not the kind that needs to tell you/ to seek out the Overture II, and the sextet. Known to continuously Just what you, want me to.” GE-1. T/O 139 WINTER 2018 THE OCCASIONAL PART-TIME AUDIOPHILE WINTER 2018 140

Continued from PAGE 69

There was constant static and the volume rose while not getting distracted by the roundness of Pure and fell. I listened to “Down to the Waterline” bass lines and the blackness of backgrounds. and then “Wild West End.” Lest you think any of this is high-end heresy, For the first time in a long while, I smiled I would argue that’s exactly the problem I’m and In the coming weeks, I played that CD almost railing against here. What we forget is that the exclusively. I cleaned my vinyl copy of Tumble- roots of this audio hobby were all about finding weed Connection and spun it. I bought a 1970s better ways to enjoy our favourite music. There Marantz tuner with the glowing blue dial I used also was much more experimenting and DIY. Simple to worship in high school, plugged it into my Building tube amps, cutting and soldering wire, remote-control preamp and tuned in the local doing modifications, trying crazy setups. PURE FIDELITY jazz show on public radio. That was a helluva lot Even the legends of the high-end embraced of fun. this. For instance, the venerable Harry Pear- ECLIPSE That was a few years ago. More recently, I’ve son, founder of the Absolute Sound (the ‘zine I TURNTABLE converted a second-story bedroom into Listen- mentioned earlier with the staff philosopher), ing Room Two. In there I have a Marantz 4400 decades ago raved about using two pairs of Designed, and built by quad receiver – yes, quad – along with four JBL Advent speakers, one on top of the other. Like- hand right in my home speakers I refurbished, my old Technics SL1300, wise, high-end pioneer Mark Levinson (the town of Vancouver, along with a McIntosh CD player. My plan is man, no longer associated with the company B.C. by hifi artisan, to change this up every once in a while, with that bears his name) once created a loudspeak- and long-time audio- a Marantz 7C preamp (already acquired), an er system where each channel included two phile John Stratton, the as-of-now-undecided amp and Quad (the com- stacked Quad ESLs, along with a ribbon super- Pure Fidelity Edlipse pany) electrostatics or Altec Valencias. tweeter and separate 24-inch woofers. That’s turntable – here sport- Will I use that rig to review equipment for hard-core. ing the K2 tonearm – Part-Time Audiophile? Nope. I still greatly ap- I think we need more of that. Not so much exudes the kind of fit, preciate my downstairs “reference” system, but being serious, but more serious fun. Explore all finish, and componen- I don’t sweat that the current Pass Labs X600.8 the great new equipment out there, but loosen try I’ve come to expect mono blocks and X12 preamp are fed by an up. Ask to have a tubed line stage connected to from offerings double older DAC. I’ve kept the ancient Marantz tuner a solid-state amp. Pull your chair up close and the suggested $4,290 in this rig and recently acquired and modified try near-field listening. Explore homemade USD price. Real-wood a Thorens turntable made four decades ago. tweaks like putting cups under your speak- veneer, anti-resonance I’ve even been using my Marantz 7C as a tubed er cables. Add a Bob Dylan bootleg to your MDF sandwich plinth, phono stage. Acoustic Sounds and Mobile Fidelity Sound bronze main bearing, I still marvel at the resolution I’m able to Lab audition discs. CNC-machined alumi- achieve with those components and my newer Tear something apart. num sub-platter, Delrin main platter, external Revel and MartinLogan speakers, but am I go- Build something. in-house built Maestro ing to spend some hours upstairs every so often, Throw a classic component into your system. speed control unit, and a listening to four old JBLs or maybe a pair of (I’m not the only reviewer doing this. Stereo- 12-volt AC-synchronous massive horns. You bet. With a grin on my face. phile deputy editor Art Dudley recently lugged motor are just a few of I’ve also plunged back into my music library. a pair of vintage, Craigslist-sourced Altec Fla- the features Stratton has When I’m not evaluating a component, I try to mencos to his new home.) Dig out your favou- packed into this ‘table. switch off the analytical part of my brain and rite, but scratchy, old records. Stream Spotify Mine came fitted with focus on the music. I marvel at Bob Dylan’s once in a while without feeling guilty. a Benz Micro Glider wordplay, the groove of old Stax/Volt records Use your head, but listen to your heart, too. SH. Look for upcoming and the half-sloshed drawl of Lucinda Williams, And most of all, smile. T/O review. –Rafe Arnott WINTER 2017 142

THIS IS THE END

Here we are again. On the last page of something I made with the help of my shipmates on this little high-fidelity boat known as Part-Time Audiophile – now with The Occasional back on deck. This edition saw some changes in layout, and design: A maturation in my eyes of what we can achieve. This issue is bigger than the first at 142 pages, and I’d like to think it’s taking shape from something more than an idea, and into a concept. Perhaps not a fully-formed concept, but headed in PASS Enjoy the Experience the right direction at least. As I said before, the idea is that this just keeps getting bigger, and better as we continue forward, and with outstanding contributions from the likes of Brian Hunter, Dr. Panagiotis Karavitis, John Stancavage, Jan Zecshky, industry wunderkind John DeVore, publisher Scot Hull, and artist Karin Shoji, I can’t see this going anywhere but up. My thanks to all who helped make this issue happen, and my thanks to you – the reader – without whom we’d all still just be sailing in circles. –Rafe Arnott

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