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July 2018

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It's the Journey, Not the Destination By Larry Deniston

How many times have you heard the phrase "it's the journey, not the destination"? To me it's a great way to approach life and HiFi. While "the journey" isn't always foremost in my consciousness when doing my day to day activities, I do like to stop and think about it from time to time - it keeps me a little more grounded. And I need that reminder especially when there's a bump in the road or there's a new piece of equipment that seems to be calling my name.

While I've been into music and gear since my late teens, I really didn't dive into HiFi until about 8 to 10 years ago. I renewed my Stereophile magazine subscription after letting it lapse for a decade or two and started researching what I could do to improve the quality of music production in my system which, at the time, was a home theater receiver, blu ray player, satellites and a sub.

I loved perusing Stereophile (and still do), especially the issues containing the recommended components. I studied those issues diligently, calculating what piece of gear I could get that might be the next piece of the puzzle in improving the performance of my system. I was also a bit naive early on - I really wanted Stereophile, or any other mag for that matter, to provide a definitive ranking of gear. I didn't want categories of Class A, B and C recommended components, I wanted them to say Model 1 of Brand A was the best period, Model 2 of Brand B was second best and so on. This would allow me to make my decisions based on my budget and not worry about such things as listening, synergies, personal preferences and what's appropriate for my listening space, but the more I learned, mostly through trial and error, the more I began to understand the folly of my wishes. I found that it is truly better to listen to equipment and best if it's in your own room than to rely entirely on reviewers comments.

So as my journey progressed with a healthy amount of skepticism and a strong desire to make sonic improvements to my system, I began trying different pieces of gear, listening for something close to what was being described by reviewers and commentors. I was yearning to be "gobsmacked" or have my "jaw dropped". As I tried different speakers, preamps, amps, turntables, cartridges, DACs, etc. most of the improvements were incremental with some being close to the jaw dropping varity. A couple of those moments in particular were when I replaced an inexpensive solid state amp with a not very expensive tube amp and when I replaced some lamp cord with some decent speaker cables. Those were times when I thought maybe some of these reviewers know what they're talking about. And, for me, those types of moments are what have propelled my journey to continue to try new gear, enjoying the process (journey) almost as much as the music.

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The Presentation by Richie Unterberger and Alec Palao

June 16, 2018 at The Shops at Hilltop

Our most recent event at the Shops at Hilltop was an interesting and informative presentation on the early works of David Bowie by Richie Unterberger and Alec Palao.

Richie is an author of at least 12 books on music history and travel plus a reviewer of too many albums to count for various books, publications, and databases. Richie's website ( http://www.richieunterberger.com/) provides a databases. Richie's website ( http://www.richieunterberger.com/) provides a thorough overview of his extensive work over the years including works on The Beatles, and Velvet Underground. Alec is a consultant/producer at Ace Records and does freelance work as well. He is also a historian, writer, and presenter. Originally from England, Alec has spent his approximately 35 years in the states satiating his quest for all things music. To review the impressive list of work product by Alec, check out the AllMusic website ( https://www.allmusic.com/artist/alec-palao- mn0000614992).

Richie began the presentation with a cool, old video clip of Bowie singing "" from the album David Bowie. "Space Oddity" became Bowie's first hit in the UK in 1969. The song didn't hit the charts in the US until 1972.

Richie then moved to talking about Bowie's early works working with Shel Talmy who was from the US, but was big in the UK rock scene including producing albums with The Kinks and The Who. Shel signed Bowie and worked with him during those early years.

Richie then revealed that David Bowie's birth name was David "Davie" Jones and Bowie used that name for his early works including an album by a group called the Mannish Boys.

Alec then stepped up and spoke of his research and experiences delving into Bowie's history including the original master tape of the Mannish Boys from January, 1965 which he had with him. We got to listen to a cut produced from this tape which was quite interesting in that it was not really recognizable as the voice of Bowie with which we're all familiar. Alec continued the story talking about how Bowie was a prolific writer and was into MOD rock at the time producing songs similar to the popular groups at the time: The Who, The Kinks and even Simon and Garfunkel. Over the years Bowie was a chameleon - constantly changing his musical style and direction. Alec played a copy of an acetate copy of one of 5 unreleased songs under the name Davie Jones showing how Bowie was trying different things in his search for a hit single. After these numerous trials of songs and albums which never gained popularity Bowie and Shel parted ways.

Richie returned and played "The London Boys" which was first released as the B-side of the single " Rubber Band" in the UK and was one of the most significant songs before the album Space Oddity. Clip of "Oh You Pretty Things" from the Hunky Dory album.

Additional video clips played by Richie included the following:

Clip of "Starman" on Ziggy Stardust in 1972.

Clip of a TV special with Marian Faithful in 1973 covering "I've Got You Babe". Quite an interesting version of the song with very interesting costumes to boot!

Clip of "Golden Years" from the Soultrain TV show.

Clip of Bowie on The Tonight Show - "Life on Mars" on the Hunky Dory album and "Ashes to Ashes" from the Scary Monsters album. The atte ndees at this event enjoyed the presentation and information provided. If you enjoyed this presentation or missed it and would be interested in attending another deep dive into a favorite musician or group. One possibility would be Velvet Underground. Richie has done extensive writing on this group and has lots of rare clips. Please let us know and we'll look into arranging another presentation with Richie and possibly Alec.

Also, thanks to Nic at Up The Creek Records in Walnut Creek ( http://www.upthecreekrecords.com/ ) for the loan of a very special photo of David Bowie taken during the photo shoot for Bowie's Heathens album. Do check out Up The Creek if you're in the area. It's a wonderful shop that not only has a nice selection of records, but has some unique items for sale and live music on weekends. The picture below does not do the photo justice. Larry

------Upcoming Events The San Francisco Audiophile Society

-Presents- An isolation device shootout and a preview of the awesome CMS MAXXUM rack system August 18 1-4 PM At Joe Hakim's beautiful abode in Soquel

In being transparent and full disclosure, Joe Hakim is a dealer for CMS.

Please join us for an afternoon with Joe Lavrencik of Critical Mass Systems (CMS) where Joe will discuss racks as a system component and relate his view of vibration management and its impact to sound reproduction in a high end audio system. You can read more about Joe and CMS in this TAS interview, and also check out a review of his MAXXUM rack system also on TAS.

Rack systems should be treated as a component of any high end audio system just like speakers, amplifiers, and sources. Ignoring the rack is akin to ignoring any other component in your system and will lead to audible colorations and distortions. If you want to unleash the full potential of your active components, a well designed vibration management system is imperative as both intrinsic and extrinsic vibrations will cause a variety of sonic ailments that are otherwise impossible to remove.

Joe will also discuss his innovative and radical Center Stage footer technology - these footers are garnering rave reviews from multiple sources - you can catch Greg Weaver's review here - Positive Feedback and also one by Dr. David Robinson here (scroll down towards the bottom). Several more reviews are in flight so keep an eye out for mentions of the Center Stage footers.

We will also do some A/B comparisons against Magico QPods and Stillpoints We will also do some A/B comparisons against Magico QPods and Stillpoints Ultra footers so you can experience the amazing benefit of these Center Stage footers and how they compare to existing vibration control devices.

We will have a complete MAXXUM rack system at the event, as well as a full complement of Center Stage footers under all the electronics. Don't miss out on what should be a highly enlightening discussion on this very important topic, covered by one of the leaders in the industry.

------SweetVinyl SugarCube

September 15, 2018 1-4 PM

Leo Hoarty of SweetVinyl will talk about and demonstrate the SugarCube SC- 1. A revolutionary piece of gear that eliminates pops, clicks and surface noise from your records. See the Michael Fremer review at the following link: https://www.analogplanet.com/content/sweet-vinyl-sugar-cube-sc-1-part-ii

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Pending Events

* A Sys-Hop, of sorts, between the South Bay's Gordon Burwell and John Johnson.

* A talk with Eva Manley, of Manley Laboratories .

* Steve Hoffman, recording engineer extraordinaire

* Pass Labs - a presentation by Kent English of Pass Labs * A member participation of used gear swap meet (let me know if this is of interest at [email protected])

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This month's video viewing suggestion:

OK, so this isn't a video, but it is on YouTube and it may change your mind about the audio quality capability of music on YouTube! Have a listen to 4k audio lossless format and see what you think.

https://www.youtube.com/watch?v=S5fr5mYA8Ig

------Audiophile Humor

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T ec h T al k T ec h T al k

Are you curious about comparing cables using measured values? Nelson Pass was and our own SFAS member, Shawn Kernes was too! Shawn went so far as to reproduce tests that Nelson conducted. A brief synopsis follows and a link to his entire write up is below.

Several months ago I set out to settle the debate (for me) around cable impact in an audio system. Specifically the impact of speaker cables, which are particularly relevant to me because they are the longest cables in my system. I started the process by looking for previous studies that had valid "science" behind them, the field quickly narrowed to work performed by engineers at large cable manufacturers such as Belden, Mogami, Canare, Alpha Wire, Etc... and one particular bit of work by Nelson Pass. I was attracted to the work of Nelson Pass for a few reasons; that it could be reproduced with inexpensive tooling (much of which I already had), Nelson is great about answering questions and he has no vested interest in cables. With the decision made to more-or-less follow his methodology, it was off to the test bench for measurement, and to my main stereo system for listening tests.

For a full description of Shawn's evaluation please go to the link below and if you have questions for Shawn he may be contacted at [email protected]

https://shawnkernes.blogspot.com/2017/12/recreating-nelson-passs- science-or.html?m=1

------New Toys

Review - Pass Labs XP-22 Preamplifier by: Kevin Olson by: Kevin Olson

A few years ago I purchased a demo Pass Labs XP-10 preamplifier to replace a vacuum tube preamplifier. I loved the great remote, good sound stage, solid bass and nice imaging it produced. It is also nicely made. But after a few years I wanted more.

Saw a used Pass Labs XP-20 for sale at Reno HiFi. I read several impressive reviews about it and had it sent for a home demo.

No contest. This was it. I never thought about tubes vs. solid state anymore. The sound was expansive, palpable, dynamic, detailed, deep bass, etc. A big sonic move up. The preamplifier really is the 'conductor' of your system.

Then, this spring, an SFAS member related a story he heard about the new Pass Labs XP-22. Quite an improvement on the XP-20 he says. Maybe better than the XP-30. The seed was planted.

I caved. Called Reno HiFi and had them send one for an in home demo. It improved on the XP-20 in all sonic parameters where the XP-20 already excels. Crazy. And it continued to improve that first week and beyond. But one sonic parameter seemed over the top to my ears. I couldn't get past the really rich tonal colors. It seemed wrong to me. Was this some crazy attempt by Pass Labs at trying to sound like tubes?

The matter was solved later that week. I attended a chamber music concert. The violins, viola and cello ALL had crazy over the top tonal colors. Just like the XP-22.

Nothing like some live, unplugged music for comparison.

So, is this my final preamplifier? I think so. Highly recommended.

Pass Labs XP-22

Inputs 3 sets - single ended inputs 2 sets - balanced inputs

Outputs 1 set - single ended outputs 1 set - balanced outputs

2 chassis with power umbilical

MSRP $9500

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Please drop us a line if you'd like to share. T hanks! [email protected]

------Industry News

All: Some of you may have received the email below regarding the California Audio Show, but for those of you who did not receive the email, the SFAS leadership felt it important that you have this information to help you make your decision as to whether or not to buy tickets and attend the show.

Subject: CAS8 : Final year?

Dear CAS Attendees,

Thank you very much for your support throughout the years.

Many of you showered us with your love and support by buying tickets and attending the show every year; for that, the CAS Team and I are grateful. Many of you yet bought tickets knowing you won't be able to attend because of family vacations. It is evidenced every year by the big stack of unclaimed badges. It is this level of support that kept me going.

But there is no hiding the fact that a small show doesn't make money. Of the seven years of the show, I broke even in the 4th and 5th. It was at the Westin Hotel in 2015 (CAS6) that I lost nearly $70,000. That is $70,000 I had to paid the hotel out of my own pocket; I actually had to close a local credit union account to pay the hotel with. Hence the 2016 sabbatical.

CAS8 is now proving to be another money loser, after CAS7. Despite the positive verbatim from exhibitors of last year, we are not getting enough exhibitor registration and are $20,000 in the red with the hotel contract. My wife told me I could buy lots of stuff with the money I threw into the show. But I love seeing my fellow Californians showing up in our regional show and proving to the industry of the vibrancy of the Bay Area.

I need epic turnout from you. I need you to plan your audio purchases around CAS Exhibitors. If everyone on the CAS email attendee list buys a ticket, the show will go on. We are counting on you.

Sincerely,

Constantine Soo California Audio Show, San Francisco/Silicon Valley www.caaudioshow.com 2018 CAS8: July 27-29 Office. 510-734-4854

CAS8 Tickets Now Available. $20 All Days All-access. Purchase Your Tickets Here! https://caaudioshow.com/for-attendees/

PARKING: 800+ spaces FEE: $6 with validation ------More on the Oppo UDP 205 Oppo UDP-205 possible last chance! You may register with Oppo on their website to be put on a list for potential purchase of a UDP-205: https://www.oppodigital.com/blu-ray-udp-205/blu-ray-udp-205- Support.aspx

Note that if you look for UPD-205's for sale online are going to see them listed for two to three times the MSRP of $1299

------T.H.E Show - Quick Review

SFAS board members Leslie Lundin and Grant Stoner attended T.H.E. Show in Newport (Irvine) this June and provided a brief review:

T.H.E. Show was good. Overall there were fewer rooms and we pretty much got through everything the first day which was fine because it gave us time to do other things in the area. Also, there were practically no large rooms. Even MBL had a small room and they sounded great. Other standouts were High Fidelity's Rick Shultz's system and the room with the small Raidhos. There were a few new products that we found interesting, the most fascinating is a new "In the Groove" ultrasonic record cleaner that's $700 which is supposed to compete with the $4K Audio Desk. https://www.kirmussaudio.com/

Michael Fremer recently wrote an article on it (link below). As Michael indicates in the write-up consider Mr. Kirmiss' claims with a healthy dose of skepticism. It sounds like Michael will be conducting his own evaluation of the "In the Groove" machine.

https://www.analogplanet.com/content/if-charles-kirmusss- record-cleaning-machine-and-regimen-correct-everyone-elses- wrong

Otherwise, we saw an amp that is in a tube (it's not actually functioning as a tube, it's just a design choice). I didn't think it actually sounded that good for the price ($30,000 for the pair) but it is interesting. http://agdproduction.com/

We heard the new Elac Adante's again. They still sounded great and make me want to get a pair to replace my existing main speakers.

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SFAS Monthly Music Picks

This column features monthly music recommendations from SFAS staff and sometimes special guests. Members are welcome to submit music picks to Larry Deniston [email protected] .

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Alón's Pick Greensleeves, by the Shoji Yokouchi Trio. Three Blind Mice/Impex reissue

In my earliest years as an audiophile, I was thrilled by a record label whose recordings I found to be my highest reference -- Three Blind Mice from Japan. This label cared so much about capturing the sound of a live performance that I bought whatever LP of theirs I could get my hands on, despite their rarity and lofty price tags. A few years ago I invested in a mint copy of Midnight Sugar, a seminal Three Blind Mice release from 1974 by the Tsuyoshi Yamamoto Trio.

While I don't mind spending a couple hundred dollars on a rare LP every once in a while, I didn't want such an expensive collectible as my music pick for the month -- but there's great news that won't need any deliberation or raise any WAF concerns: Yes, another worthy title in this label's small list of releases is now available as a limited, numbered pressing (at RTI no less) from Impex, a audiophile label that acquired the original master tape and did justice to its original perfection in their 180 gram vinyl reissue.

The sound is nothing short of stunning... with energized air surrounding the instruments and the palpable solidity of the living, breathing musicians inhabiting the space of the studio is almost eerie...it truly feels like you are there. As a drummer, the lifelike shimmer and endless decay of the taps and strikes on the ride cymbal made me gasp the first time I played this LP on my system. I also have never heard a better more faithful presentation of the soft scrape and wobble of the Hammond B3 organ with the unique spinning "Leslie" speaker attachment. I literally have nothing negative to say -- this is a huge milestone in today's analog renaissance. renaissance.

Kudos to Impex! If labels like this can profitably make more of this kind of sonic splendor available at these no-brainer prices... well, there's hope for the future of our crazy hobby, as I imagine all these young new turntable owners acquiring such gems and finding out what their systems are capable of... and then, of course, upgrading.

So take a listen to the low rez YouTube video and take an inexpensive leap of faith. Buy this before it sells out (available at elusive disk) and tell all your newly indoctrinated jazz-loving vinyl aficionados, especially if they are your Millenial children. They will flip and you'll be a hero. https://www.youtube.com/watch?v=gkIIAobjYws&frags=pl%2Cwn

Cheers, Alon

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Jay's Pick

My album pick for July is Blues in Orbit by Duke Ellington and his band, recorded primarily at a post-midnight session in late 1959. I've been listening to a fairly recent vinyl version released by Sony / Music on Vinyl.

At our SFAS program this past April, Michael Fremer spoke about Masterpieces by Ellington, recorded in 1950. Michael called this mono record "one of the most amazing recordings I have yet to hear to this day." He played "Mood Indigo," a 15-minute track that he had played for people all around the world, and noted that everybody applauds at the end, though we didn't have to. end, though we didn't have to.

Blues in Orbit is a different kind of album recorded at the end of the same decade. In contrast to Masterpieces, Blues is stereo and has shorter tracks. Some, such as "C Jam blues," "Sentimental Lady," and "In a Mellow Tone," are very familiar since there have been so many versions over the years. The band's playing is rhythmic but still loose, with fantastic improvisation. The performances are engaging and the soundstage and overall sonics are quite good. In my recent listen, I didn't clap (though tempted), but there was plenty of toe tapping.

This Sony / MOV pressing is excellent. There are innumerable Ellington recordings spanning several decades, and regardless of sound quality, most are rewarding listens. This one definitely falls into that category and also features impressive sound.

Note: In case you were wondering, the SFAS program attendees sat in silence after the mono "Mood Indigo" concluded. Then, after a few seconds, they too broke into applause.

YouTube: https://www.youtube.com/watch?v=hqpO1URqhzk&t=810s

Tidal: https://listen.tidal.com/album/1743536

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Larry's Pick

My music pick for this month is Bob Brookmeyer And Friends, Columbia My music pick for this month is Bob Brookmeyer And Friends, Columbia mono CL-2237, 1965. This is a record I found in a second hand bin for a few dollars. I'd heard Brookmeyer on the KJAZZ radio station and was intrigued. Brookmeyer played (he passed away in 2011) a valve trombone which is a trombone with valves like a trumpet instead of the slide which allowed faster attacks on the notes he played. Brookmeyer primarily played with Gerry Mulligan and Stan Getz, but has a number of his own albums.

And Friends includes Stan Getz, Herbie Hancock, Ron Carter, Gary Burton and Elvin Jones - quite a line up of friends! While Carter, Hancock, Burton and Jones make significant contributions to the album, Getz is most heavily featured with his saxophone layering beautifully with Brookmeyer's trombone. One song that is particularly well done is "Misty", if you listen carefully you can hear Getz taking breaths and the pads on his saxophone - close miking I guess? The arrangements make for a wonderful listening experience whether you're listening to it with a stereo or mono cartridge.

YouTube: https://www.youtube.com/watch?v=RqsOxwO1nUI

Tidal: https://listen.tidal.com/album/1312440

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Kevin's Pick

Kevin's Pick of the Month.....

You may know the name Christopher O'Riley already, the album is called True Love Waits (Radiohead). He has hosted a radio program called 'From the Top' heard on NPR stations for the last 15 years. The program showcases talented young classical musicians. Mr. O'Riley accompanies the performers on the piano when needed and interviews each one.

During his discussions with these students he often asks them to name their favorite bands. I started hearing Radiohead mentioned frequently. Now being a Jazz and Classical fan Radiohead was out of my normal realm.

I became interested when I learned Christopher O'Riley had recorded transcriptions of his favorite Radiohead songs on the grand piano. I ordered the CD and really enjoyed it. I play this frequently.

Since the purchase I have added a Radiohead LP and have three Radiohead albums on my Tidal favorites.

While you are at it, check out some of Mr O'Riley's classical recordings. He is quite the eclectic.

YouTube: https://www.youtube.com/watch?v=hEN2zOYtr1k

Tidal: https://listen.tidal.com/album/1765874

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SUGGESTIONS or SUBMISSIONS? The SFAS Leadership Team wants to hear from you! If you have something written up about some music you'd like to share, or a piece of equipment you're fond of, just send it to us. And if you have an event idea you'd like to have us present, just reply to this email with your suggestions. If we like it, you'll attend the event as our guest and we'll thank you for sharing. Sorry if you thought you would win a new Tesla... we can afford to give you recognition for your brilliance, but that's about it. Besides, we just saved you from the stress of all those speeding tickets.

The Muse Publication Team Contributing Editor: David Hicks Contributing Editor: Larry Deniston Editor in Chief: Alón Sagee

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