Innholdsfortegnelse for August 2016 i Stereophile

THERE ARE AS MANY OPINIONS AS THERE ARE EXPERTS THIS ISSUE: Upgrading—dealing with the perennial audiophile angst. Once in a blue moon, I’m asked this question: How much should I spend on an audiophile rig? It’s usually asked by someone with no real interest in buying an audiophile rig, but who’s fishing, for giggles, for the exorbitant figure that is the presumed going rate for joining our hobby. Sometimes, when the mood strikes, I’ll bang out a randomly absurd number—“$80,000!”—then lean back to observe the fallout. Nine times out of ten, that fallout consists of a head shake and a snicker, as if to say, “You guys are nuts!” But on those occasions when honesty seems the best policy, my short answer to the how-much question, regardless of the buyer’s…

ATTENTION ALL AUDIO SOCIETIES: We have a page on the Stereophile website dedicated solely to you: www.stereophile.com/audiophilesocieties. If you’d like to have your audio-society information posted on the site, e-mail Chris Vogel at info@XLinkAudio.com. Please note that it is inappropriate for a retailer to promote a new product line in “Calendar” unless this is associated with a seminar or similar event. ARIZONA ❚Wednesday, July 27, 7–9pm: The Arizona Audio Video Club will hold its monthly meeting at Trinity Lutheran Church (9424 N. Seventh Street, Phoenix 85021). This will be our annual Members’ Music Night, for which club members bring the tunes they wish to share. The event will highlight the joys of analog with a nice turntable and associated electronics. Just ignore the occasional click, tick, or pop—analog still rocks.…

Simaudio saw disc-based digital audio in its rear-view mirror at least as far back as 2011, when it introduced the Moon Evolution 650D and 750D—two iterations of what it called a “digital-to-analog converter CD transport.” These were actually multiple-input CD players, but Simaudio was evidently so eager to distance itself from the spinning disc that it went with a product category that, in spite of its cumbersome, run-on name, drew a clean line between the disc-reading and signal-processing functions—while bestowing upon the former second-class citizenship. With the new Moon Evolution 780D Streaming DSD DAC ($15,000), Simaudio has altogether eliminated the spinning disc. If you buy a 780D and want to play CDs through it, you’ll have to add a CD transport or a player with a digital output (the Moon…

Pulitzer Prize–winning poet Mary Oliver famously remarked, “attention without feeling . . . is only a report.” After nearly two years of prattling for Stereophile, I am finally grasping the full veracity of that statement. When I read reviews that jabber on about highs, mediums, and lows, and that rely exclusively on nonmusical vocabulary, I come away with feelings of acute cognitive dissonance. Not to mention: if a review has a lot of initialisms—ADD, S/PDIF, DXD, HDMI, etc.—my ADHD kicks in and I stop reading by the third paragraph. I prefer equipment reports in which the reviewer conceals the identity of the component being reviewed behind descriptions of the music he or she was listening to through that component. I believe the most important thing an audio component can do…

Your little car gets in and out of traffic better than minivans or monster trucks. Your little dog runs rings around the other dogs at the park. Maybe it’s time to get a couple of little loudspeakers, too? The reasons for doing so are pretty much the same: little speakers deserve consideration not because they sell for little prices—although some of them do—but because they’re nimble, they’re fast, and they get out of the way of the music they play. That last characteristic can be crucial to listeners for whom stereo imaging is important: A small speaker has less cabinetry to diffract and delay high-frequency spatial information, and a small box is better than a large one at approximating an acoustically ideal point source. But a small enclosure also stores…

I am a big believer in supporting events promoted by specialty audio retailers. They reinforce the idea that audiophiles and manufacturers—even reviewers—are parts of a vibrant community that believes that listening to music with the highest possible quality is one of the more important things in life. The “Music Matters” evenings arranged by Audio Advice in North Carolina, Definitive Audio in Seattle, and Listen Up in Colorado exemplify that idea, and it was in April 2015, at Listen Up’s Denver store, that I used a pair of PSB’s new Imagine T3 tower speakers to play the audience some of my own recordings. The T3 superficially resembles PSB’s Synchrony One, a speaker I very favorably reviewed in April 2008,1 and I was equally impressed by the new flagship—impressed enough to request…

J.S. BACH Keyboard Music Bach: Chromatic Fantasia & Fugue; Concerto in d (after Marcello); English Suite 3; Partita 4; Toccata in c. Bach-Busoni: “Ich ruf zu dir, Herr Jesu Christ”; “Komm, Gott, Schöpfer, Heiliger Geist”; “Nun komm, der Heiden Heiland.” Bach-Hess: “Jesu, meine Freude.” Bach-Siloti: Prelude & Fugue in G. Nelson Freire, piano Decca 4788449 (CD). 2016. Dominic Fyfe, prod.; Jonathan Stokes, eng. DDD. TT: 81:44 PERFORMANCE SONICS Known for his bold, rich playing, Nelson Freire has recorded music from Mozart through many of the Romantics and Villa-Lobos. This, his first recording of music by Bach, also includes transcriptions of the composer’s works by others; despite the fact that this is not “pure” Baroque playing, those expecting heresy will be disappointed. For all but the transcriptions, Freire keeps his foot…

FEEDBACK TO THE EDITOR TAKE HEED! Unless marked otherwise, all letters to the magazine and its writers are assumed to be for possible publication. In the spirit of vigorous debate implied by the First Amendment, and unless we are requested not to, we publish correspondents’ e-mail addresses. Peter, Paul and Mary’s In the Wind Editor: I write in response to the so-called “review” of Peter, Paul and Mary’s In the Wind (45rpm LP, ORG071), by Art Dudley, in the June 2016 issue of Stereophile (pp.35–36). This reads as little more than an unbalanced attack on Original Recordings Group, one laced with an apparent lack of knowledge of the reissue business. First, let me make two points: • With regard to the creased label [of the album purchased by Mr. Dudley]:…

twenty-three years ago, in 1993, Charles Hansen cofounded Ayre Acoustics, Inc., in Boulder, Colorado. On Ayre’s website, Hansen is named as Research Director for Ayre, and it seems an apt description. Along with experimenting in and developing audio-electronics hardware and software, Hansen has strongly hewn to certain design principles, among them fully balanced operation, an absence of loop negative feedback, and solid-state circuitry. Ayre’s current flagship preamplifiers and amplifiers, the twentiethanniversary R Series, have received reviews and accolades, while at the other end of the budget spectrum, Hansen’s design work was a key element of Neil Young’s widely publicized and crowdfunded PonoPlayer project. My Stereophile colleague Herb Reichert described Hansen to me as “a wizard.” But Charley (as he prefers to be called) lives not in Middle-Earth but in Colorado.…

I measured the Simaudio Moon Evolution 780D with my Audio Precision SYS2722 system (see the January 2008 “As We See It,” http://tinyurl.com/4ffpve4). Source materials were WAV and AIFF testtone files, played with Pure Music 3.0 on my MacBook Pro running on battery power. Apple’s USB Prober utility identified the processor as the “MOON USB DSD HD AUDIO” from “SIMAUDIO LTD,” and confirmed that the 780D’s USB input operated in the optimal isochronous asynchronous mode. The Audio-MIDI app indicated that the Simaudio DAC operated at all PCM sample rates from 32 to 384kHz, with a bit depth of up to 32 integer. The 780D operated successfully with both DSD64 and DSD128 data fed it via USB. The maximum level from both the balanced and unbalanced outputs was 2.07V, with correct absolute…

I measured the Rogue Audio RP-1’s electrical performance with my Audio Precision SYS2722 system (see the January 2008 “As We See It,” http://tinyurl.com/4ffpve4). The RP-1’s phono input appears to use ultra-low-noise LT1115 op-amp chips. I left the internal settings as used by Herb Reichert for his auditioning— high gain and a 300 ohm load —which resulted in a voltage gain of 65.1dB at the main outputs with the volume control set to its maximum, and 55.2dB at the fixed output jacks. This is a little lower than the specified 60dB for moving-coil cartridges, but the shortfall will be due in part to the Ohm’s law interaction between the Audio Precision’s 20 ohm output impedance and the RP-1’s phono-stage input impedance of 298 ohms, this figure consistent across the audioband. I…

I measured the VTL TL6.5 Series II Signature’s electrical performance with my Audio Precision SYS2722 system (see the January 2008 “As We See It,” http://tinyurl.com/4ffpve4). Most of the measurements were taken with balanced input and output signals; I repeated some tests with unbalanced signals. The volume control’s unity-gain setting was “78” on the front-panel display and the control appears to operate in accurate 0.75dB steps. At the control’s maximum setting of “95,” the voltage gain at 1kHz, measured at the balanced output jacks, was 13.2dB for both balanced and unbalanced input signals. The gain at the unbalanced output was the expected 6dB lower than this, 7.2dB, for an unbalanced input. The preamplifier preserved absolute polarity (ie, was non-inverting) for all input and output configurations. The balanced input impedance was 34k…

I used DRA Labs’ MLSSA system and a calibrated DPA 4006 microphone to measure the Sony SS-NA5ES’s frequency response in the farfield, and an Earthworks QTC-40 for the nearfield. My estimate of the Sony’s voltage sensitivity was 86.7dB(B)/2.83V/m, which is very slightly higher than the specified 86dB. The SS-NA5ES’s electrical impedance is specified as 4 ohms, but, as can be seen in fig.1 (solid trace), the impedance remains above 4 ohms at all audio frequencies other than the lower midrange, where it reaches a minimum value of 3.4 ohms at 220Hz. However, the electrical phase angle (dotted trace) is extreme at some frequencies—there is a combination of 5 ohms and –40° at 130Hz—and the speaker will thus sound best when used with amplifiers that are comfortable driving 4 ohms. The…

I used DRA Labs’ MLSSA system and a calibrated DPA 4006 microphone to measure the PSB Imagine T3’s frequency response in the farfield, and an Earthworks QTC-40, which has a 1⁄4" capsule and thus doesn’t present a significant obstacle to the sound, for the nearfield frequency responses. I also used the Earthworks mike for the in-room response. My estimate of the Imagine T3’s voltage sensitivity was 89.2dB/2.83V/m, confirming the specified figure. The PSB’s electrical impedance magnitude and phase are shown in fig.1. Other than in the regions between 28 and 40Hz and between 75 and 200Hz, the magnitude (solid trace) remains above 4 ohms at all frequencies. The minimum value is 3.5 ohms at 85Hz, and the phase angle (dotted trace) is generally low. Any amplifier that is comfortable driving…

CREEDENCE CLEARWATER REVIVAL 1969 Archive Box Fantasy/Concord FAN-36153-01 (3 LPs, 3 CDs, 3 vinyl EPs). 1969/2016. Sig Sigworth, prod.; Ryan Wilson, assoc. prod.; George Horn, Anne-Marie Suenram, mastering; Bill Belmont, inspiration. AAA/AAD. AAA/ADD. PERFORMANCE SONICS The backstory of this elaborate Record Store Day 2016 package is simple and compelling. In 1969, Creedence Clearwater Revival had the kind of year most rock bands only dream of: They released four US top-ten singles and three (!) albums, courted the straight world in two appearances on The Ed Sullivan Show, and played for the cool kids by headlining Saturday night at Woodstock. For a year, give or take a few months, they were truly the biggest band in the land, the successful calm before the storm of bad blood and recrimination surrounding CCR…

ANY CLOD CAN HAVE THE FACTS; HAVING OPINIONS IS AN ART THIS ISSUE: Luna Cables, Musical Surroundings, George Merrill, Simaudio, and Rogue respond to our reviews of their products. GEM Dandy PolyTable Editor: I wish to thank Michael Fremer and Stereophile for the review of the PolyTable. Michael’s review was informative, in-depth, and excellent! Michael is the loudest voice for the support of vinyl reproduction. My admiration goes out for his dedication. Michael, keep up the good work and good listening! George Merrill Luna Cables Editor: It is an honor for Luna Cables to be the focus of a Stereophile column. Thank you, Art, John, and the rest of the team, for your important contributions to such an enduring publication. Danny Labrecque Luna Cables Hana EL Editor: Thanks to Herb…

AUDIO NEWS & VIEWS SUBMISSIONS: Those promoting audio-related seminars, shows, and meetings should e-mail the when, where, and who to JAtkinson@enthusiastnetwork.com at least eight weeks before the month of the event. The deadline for the September 2016 issue is July 20, 2016. GERMANY: MUNICH Paul Messenger I was happily winding myself up for Europe’s biggest hi-fi food fight of the year—the annual High End show in Munich, at the beginning of May— when no fewer than three important news stories suddenly demanded attention. Arguably the most significant, and breaking during the show itself, was the announcement that the Warner Music Group (WMG) will support the MQA file format. First demonstrated at the 2015 CES and focusing primarily on time-domain optimization, MQA cleverly combines high subjective resolution with a data bandwidth…

Analog Sources Continuum Audio Labs Caliburn turntable & Castellon stand; Kuzma 4Point, Swedish Analog Technologies tonearms; Lyra Atlas & Atlas SL & Etna SL, Ortofon Anna & A95, Miyajima Labs Zero (mono) & Madake cartridges. Digital Sources Simaudio Moon Evolution 650D CD player & Moon Evolution 820S power supply; Lynx Hilo A/D-D/A converter; Meridian Sooloos Digital Media System; JRiver Media Center, Pure Vinyl, Vinyl Studio. Preamplification Ypsilon MC-10L & MC-16L step-up transformers; Tru-Life Audio, Ypsilon VPS-100 phono preamplifiers; darTZeel NHB-18NS preamplifier. Power Amplifiers darTZeel NHB-458 monoblocks. Loudspeakers Wilson Audio Specialties Alexandria XLF. Cables Interconnect: Snake River Audio Boomslang (S/PDIF), Stealth Sakra & Indra, TARA Labs Zero Evolution & Zero, Teresonic Clarison Gold, Wireworld Platinum Eclipse. Speaker: TARA Labs Omega Evolution SP, Wireworld Platinum Eclipse 7. AC: AudioQuest (high-current prototype), Shunyata…

Analog Sources Linn Sondek LP12, Technics SL1200GAE turntables; SME M2-9 tonearm; Dynavector 20X2L, Hana EL, Ortofon M2 Black cartridges. Digital Sources Schiit Audio Bifrost Multibit DAC, Integra DPPS-7.2 DVD-A player. Preamplification Dynavector SUP-200 step-up transformer; Dynavector P75 Mk.3, Parasound Halo JC 3+, Schiit Audio Mani phono stages; PrimaLuna Prologue Premium, Simaudio Moon 350P preamplifiers. Power Amplifiers First Watt J2, PrimaLuna ProLogue Premium, Simaudio Moon 340A. Integrated Amplifiers Line Magnetic LM-518 IA, Rogue Audio Sphinx, Schiit Audio Ragnarok. Loudspeakers DeVore Fidelity Orangutan O/93, KEF LS50, Magnepan .7, Technics SB-C700, Zu Audio Soul Supreme. Headphone Amplifiers Audeze Deckard, Schiit Audio Asgard, Simaudio Moon Neo 230HAD. Headphones AKG K812, Astell&Kern T1p, Audeze EL-8, AudioQuest NightHawk, Grado Labs GH1, JH Audio Roxanne. Cables Digital: AudioQuest Cinnamon, Kimber Kable D60 Data Flex Studio (coaxial). Interconnect:…

Analog Source VPI Classic turntable with JMW tonearm, Ortofon Cadenza Blue cartridge. Digital Source dCS Puccini SACD/CD player. Preamplification Nagra BPS battery-powered phono preamp, Simaudio Moon Evolution 740P line-stage preamplifier. Power Amplifier Simaudio Moon Evolution 860A. Loudspeakers Revel Ultima Studio 2. Cables Interconnect: AudioQuest Wild Blue, Kubala-Sosna Elation!, Nirvana S-L. Speaker: Nirvana S-X. AC: manufacturers’ stock. Accessories Black Diamond Racing Mk.4 Cones (under VTL), Audiodesksysteme Gläss Vinyl Cleaner, LAST stylus cleaners, AC power from dedicated 20A circuits.…

Analog Sources Garrard 301 turntable; EMT 997 tonearm; EMT OFD 15 & TSD 15, Shindo Laboratory SPU pickup heads. Digital Sources Sony SCD-777ES SACD/CD player; Halide Designs DAC HD USB DAC; Apple iMac G5 computer running Audirvana Plus 1.5.12. Preamplification Hommage T2 step-up transformer, Shindo Laboratory Masseto preamplifier. Power Amplifiers Shindo Laboratory Corton-Charlemagne (monoblocks). Loudspeakers Altec Valencia, Auditorium 23 Hommage Cinema, DeVore Fidelity Orangutan O/96. Cables USB: Wireworld Revelation 2.0. Interconnect: Audio Note AN-Vx, Luna Red, Shindo Laboratory. Speaker: Auditorium 23, Luna Mauve. AC: Luna Orange, manufacturers’ stock cords. Accessories Box Furniture Company D3S rack (source & amplification components), Audiodesksysteme Gläss Vinyl Cleaner.…

EDITOR’S PICK RECORDING OF THE MONTH CARLA BLEY, ANDY SHEPPARD, STEVE SWALLOW Andando el Tiempo ECM 2487 (CD). 2016. Manfred Eicher, prod.; Stefano Amerio, eng. DDD. TT: 47:19 PERFORMANCE SONICS Resistance is futile. From the moment she dropped out of high school in Oakland, California and headed for New York, nothing was going to stop Karen Borg, the daughter of a church organist, from evolving into one of the most influential jazz composers of her generation in her new identity as Carla Bley. While working as a hat-check girl at Birdland, she met the brilliant avantgarde pianist Paul Bley (1932–2016), married him in 1957, and kept the surname when, in 1964, they divorced. She began composing during that period, transforming the music she’d learned from her father into a jazz…

MARCUS STRICKLAND’S TWI-LIFE Nihil Novi Marcus Strickland, soprano, alto, tenor saxophones, bass clarinet; Keyon Harrold, trumpet, flugelhorn; Chris Bruce, guitar; James Francies, Robert Glasper, Mitch Henry, Big Yuki, keyboards; Kyle Miles, Meshell Ndegeocello, Pino Palladino, electric bass; Chris Dave, Charles Haynes, drums; Jean Baylor, vocals; E.J. Strickland, dialog Blue Note Revive 002468402 (CD). 2016. Meshell Ndegeocello, prod.; Bob Power, eng. DDD. TT: 52:30 PERFORMANCE SONICS After years of indie releases on his Strick Muzik label, saxophonist Marcus Strickland joins the Blue Note roster with Nihil Novi (Nothing New). The title, from Ecclesiastes, speaks to the eternal feedback loop of creativity itself, and indeed, in the beat-driven electric jazz of Strickland’s Twi-Life ensemble one hears a logical progression— not just an echo of the “fusion” era but an affirmation of jazz’s…

THERE’S ONLY TWO KINDS OF MUSIC: THE BLUES AND ZIPPETY DOO-DAH. —TOWNES VAN ZANDT “The idea of thinking about how something is unfolding, how things are a narrative and how there are characters. I yearn for that in the music.” –ADAM O’FARRILL Two years ago, at New York City’s annual Winter Jazz Festival, during a set by alto saxophonist Rudresh Mahanthappa, a bright talent sprang to the fore. No offense to Mahanthappa or his playing, which is generally fine, but it was clear from his first notes that the young man on trumpet was special. Very special. Always excited and heartened by young talent with something potent to say, especially in jazz, I began a conversation with Adam O’Farrill that culminated, on the day after he graduated from the Manhattan…