03 October, 2018

Horn Placement, Subwoofer Supplementation



Top Pic: (Case 2) Pic of R's A5 System as of now. My Bell 6V6 amps in center front. Compare with old photo below.

Talk Horn: In-Room Placement, A Tale of Two Horn Systems
HiFi Basics VII: Loudspeaker Placement - Close-to-Wall vs In-Room
McIntosh C-20 Preamp, MC-30 A

Significant Update Oct 5, 2018: Subwoofer Supplementation added. Update shaded in Grey.

Although we are illustrating with big horn systems the size of refrigerators here, I believe the principals are universally applicable, to much smaller loudspeakers, including bookshelves.

There is little question loudspeaker placement is of the utmost importance in a system. Previously, in HiFi Basics III, I detailed my own encounters of Short vs Long Walls. This article examines Close-to-Wall vs In-room Placements.

Close-to-Wall Placement By Design FEW modern loudspeakers are designed to be placed against the wall, as this intrinsically is at odds with the modern hifi values of maximizing imaging and soundstage. But there are a few dedicated designs, like the very good Linn Kan, which needs the wall reinforcement to have useable bass for most people. More recently, there is the Wilson Audio TuneTot, which receives a lot of coverage from the audio press, but to me it is a ridiculously expensive product for what it is, and showcases the utterly hopeless nature of high-end reviewers (The TAS is a particularly serious offender; their eulogies on the passing of Wilson Sr make my flesh creep 簡直肉麻!) Corner Placement This only applies to certain vintage loudspeakers, usually larger horn systems with specifically designed corner cabinets (Klipschorn and Tannoy's) to optimize bass output. The corner has two reflecting surfaces which would cause even greater havoc with most other loudspeakers. By Choice/No Choice Sometimes one has no choice but to place loudspeakers against the wall. In my experience, most loudspeakers sound suboptimal to terrible thus placed. Most would suffer from badly delineated bass and lack of air. In this situation, one would be wise to choose infinite baffle (sealed) enclosures, preferably those with monitor pedigree, as these usually work well in near field situations and have good but never exaggerated bass. As an example, my large Yamaha NS-1000 works beautifully against the wall; there is still a good soundstage and imaging (though not as good as in-room), and my TAD TD-3401 is also good in this way. Ported loudspeakers, even front-ported, do less well. Klipsch Heresy This unusual loudspeaker is actually stipulated to be used (on its own pedestal) against the floor, not the wall, but that is not that different. Without floor reinforcement, the Heresy is lean in the bass. As such, it actually works well close-to-wall.

How should Horns be placed? No doubt the size factor predisposes their owners to put them against the back (front) wall. Also, the ungainly, industrial and utilitarian appearances of many horn systems, such as the Altec's in this article, certainly do not earn them admiration from family members and that is another incentive for relegating them to the back, even in the corners. For many, it just has to be that way, BUT for those who have the room, that is a mistake.

These horns were originally used in large theaters, perhaps hanging, but usually not against the wall; and firing down a huge space (ample space around them) minimizes any anomalies. In our much smaller spaces, one needs to take care.

In my old place in HK, I had my Tannoy Canterbury's (large loudspeakers with small horns) and TAD TD-3401 half way in-room and they sounded great that way. Visitors were always amazed by the depth of soundstage and, even more, the disappearance of the loudspeakers. In NYC, I have my YL horns the same way, with similar results. Like with a lot of more conventional loudspeakers, unless restricted by bass nodes, I like the loudspeakers in-room and with the listener form close to an equilateral triangle. Some would call this near-field, or nearly so, and it should lessen boundary effects. For me, in both HK and NYC, the sweet spot for loudspeaker placement is largely the same for all sorts of designs.

Subwoofer Supplementation What a Difference a Little makes There are many purists out there who are adamantly against subwoofers, but these are mostly people who have little concept of what live music is like. Our hearing is a complicated thing - without a bass foundation not only will the midrange and upper frequencies sound leaner, but the music will lack true sparkle, which most audiophiles mistake to lie solely in the treble. The best example is my friend WSS' Quad ESL, which came to life with just a whiffle of low bass added (here). I always tell people, a little augmentation does not really augment the bass by much, but helps the overall picture, to bring things to life. As in the case of WSS, the important thing is less to hear the difference, but to feel it. When to Use? This is purely by hearing. My modern Tannoy Canterbury, TAD TD-3401 and YL horn system (with Altec 216 woofers) do not need help, but my JBL 4312 and my NYC friends' Altec A5/A7 systems absolutely do. Another case is my Klipsch Heresy, which really is severely limited by its original design (on the floor), but rather should be used "normally positioned," together with a subwoofer (detailed here). Subwoofer vs Other Means When the bass is lean, the problem can lie with the loudspeakers, the equipment or simply the room. Audiophiles have many ways to increase bass, but these should only be used judiciously, as the "remedy" is often worse than the problem. It is one thing to try, e.g., Mogami instead of Gotham (both cheap professional cables with balances close to neutral, though they sound different), it's another to use expensive boutique cables that are basically highway robbery. Case in point: Thick and stiff cables, e.g. NBS, often increase bass, but are highly colored and smear everything. Most of the time, the loudspeaker is the real limitation - it would be wise to spend time dialing in a subwoofer rather than make the bass "fuller" via other means, as one really wants more true extension rather than bumping up the mid-bass.

The owners of these two Altec systems are good friends of mine who should be familiar to regular readers of this blog. Both share a passion for music as well as many other non-musical things, such as cooking! Both are lucky to have a dedicated room. Both had their horns in the back until I came back this time. Both had their horns on wheels so it was relatively easy to move the behemoths forward. As they say, the rest is history.
























Pic shows (Case 1) Kevin's A7 System, now way out in front (compare with old photo below). The turntable on the Wall Mount is now a restored Lenco G-75 (VPI relegated to the left, a corner of which can be seen behind the B&W CM5). Below are newly acquired and restored McIntosh MC-30's. On the front stools is one of my C-20's. Click to enlarge.

L pic shows the Dumpling Dinner with side dishes of Pork stewed with Dried Bamboo Shoots, Braised Peanuts and Sliced Smoked Turkey; R pic shows the older against-the-wall Placement. Also roll down to the Blog entry before this one.

Case 1: Altec A7

Since I last wrote about K (roll down to previous post) I have visited him two more times. Unbelievably efficient, over a short time he managed to move the horns forward and clear up the central clutter. All gears are now well behind and there is a clean line of sight to the plane of the loudspeakers.

The sound is totally freed up. As the man himself said, the sound now emanates from the space in front, rather than from the loudspeakers. I cannot agree more, and this also met with the approval of our captain Andy. Now, with the much cleaner and focused sound, Francescatti's tone (which could be grating in lesser systems) in his classic recording of Beethoven's Violin Concerto with Bruno Walter was just marvelously sinuous. Thumbs up! Credit is also due to K's DIY WE cable.

We also really liked the the full McIntosh combo, the Lenco/Decca/Shure M44-7 playing straight into the C-20's phono and driving the MC-30 pair. Everything sounded just right.

Case 2: Altec A5

Then we visited R (last visit). I have long suggested to relegate the HT system to the periphery and bring the horns forward. I was surprised that R was game and K carried it out single-handedly (he definitely earned his lunch)! It was quite a bit of work! Everything was dismantled (the Cary amps were heavy!), the huge HT subwoofer exchanged its space with the large HT center. The result was again a cleaner path to the plane of the loudspeakers.

The effect was much as at K's place, a cleaner sound that is free of the enclosures. The Bell 6V6 amps worked very well in this system. Marvelous!

And the Food!

13 September, 2018



Listening Notes: Comfort in the Same
Classical Music Recommendation: Neglected Gems from the Chicago Symphony Orchestra and Other Lost Treasures

Weeding Out The first days back in NYC were spent on household chores, chief among which the redistribution of space ("creation" being a misnomer). This shall prove to be a continual struggle for the foreseeable future, a plight most New Yorkers would share in. I had already put away more than half of my wardrobe for donation; the kitchen and living room are to be pared down next.

In anticipation of the arrival of a large shipment of household goods from HK that demands shelf and closet space, which have long been usurped for audio storage, I shall be weeding out my LP collection, some for donation, and some perhaps for sale as dollar LP's if friends are interested. Anyone local?

Books too shall be donated - they used to play a role as vital as music, but I guess all titles of my once-favorite authors, such as Borges and Thomas Mann, can be readily found in the library if needed. As I buy ever fewer CD's, I rarely buy books anymore, instead preferring to borrow from the local library. I enjoy browsing the new arrivals and once in a while check one out to read, just like I'd the New Yorker magazine. As streaming is to music, the library is to books, but better, as what we get to enjoy, albeit not to own, is a hard copy. Reading on the Smartphone or tablet screen? No, thank you. Just try to get through The Magic Mountain on a screen!

The big question is, now that I am without HK's surprisingly excellent library resource for new classical music issues, should I contemplate a streaming service such as Tidal? Not now, as time is very limited, and here in NYC, vinyl is king; but I see the attraction and, having a few DAC's, unused cheap android tablets and a Chromecast on hand, I guess I am always ready to go.

Comfort in The Same
Partly due to jet lag, for more than a week I did not fire up my audio. Then one day, venturing a bit further out I lucked out at a small local thrift shop, where I picked up a few pop records, including Led Zeppelin's Graffiti and Stevie Wonder's Innervisions., as well as a UK EMI of Suppe Overtures. A day later, feeling more energetic, I went into Manhattan and bought more than $500 worth of concert tickets for the season (Carnegie and Geffen Hall) and scooped up more classical LP's and a few CD's along the way.

Despite having likely close to ten thousand LP's, these new acquisitions are the ones that motivated me to fire up one of my stations, then another. That is human folly indeed - what one already has more often than not is not as stimulating as new arrivals.

Astonishingly, despite a long period of disuse, the systems sound even better than I remember from six months ago. This had happened before here in NYC, but not in HK - I'd guess the drier and cooler climate here helps.

First System II, Thorens TD-125/SME 3009i/Denon DL-304 into Langevin 402B SUT into Shindo Monbrisson into Wavac MD-811 driving YL horns. I was pleasantly reminded of the power and ease of reproduction, but found the sound improved, particularly in the bass, which is even more tactile than before. Last time just before leaving I had changed the Gotham GAC-2 interconnect from preamp to amp to Gotham DGS-1, and I think that is what I am hearing. Then I fired up System III, and it too sounded just as I remembered, a trifle leaner than System II.

Unsung Gems from the Chicago Symphony Orchestra Reiner is famous among audiophiles for his Living Stereo Chicago recordings - who doesn't have his Scheherazade or Thus Spake Zarathustra, among others? But he was actually even more prolific in the recording studio than we think. Although not known for his Beethoven, I was mesmerized by his Pastorale (White Dog), a reading of singular power, not as mellifluous as Walter's justly famous account, but lean and lithe (almost "HIP" informed) and equally valid, and I'd rank it with other great ones like Karl Bohm's. It is also noticeable for its sound - this must be one of the best Living Stereo's I have heard, cavernously spacious, yet every strand easily audible. The other Reiner gem is his Symphonia Domestica, surely the least known of his great Strauss recordings. The maroon label Victrola sounded absolutely resplendent, and made a convert of me for this score, which had previously eluded my grasp in other versions. I reckon the SACD remastering still currently available should be pretty good too (in general I found them better than the first Living Stereo issues). The best Strauss playing has a sheen, illuminated from within and should never sound forced; so it is here, as good as any (Berlin and VPO included) on disc. Jean Martinon had a hard time in Chicago, but his recording of Nielsen's 4th (Dynagroove) is immortal. Talking about playing with fire! Never equalled, but sadly little known.

Also magnificent is under-rated Dorati's Miraculous Mandarin (Mercury; certainly less known than his Firebird), played idiomatically by the BBCSO. What is equally remarkable is that the system renders hard rock euqally well. In Led Zep's Graffiti - the bass and drumming are just tightly rendered, tactile, purposeful, and the music is moved inexorably along, and this from an MC, not even MM!

System III consists of Thorens TD-309/Denon DL-103, Mobile Fidelity StudioPhono, Schiit Saga and Langevin 102 into the same Wavac amp driving YL horns. It is by character a trifle leaner, but suits Martinu's concertante works to a T. I rediscovered the Concerto for Violin and Piano, and I think it is a neglected masterpiece, impeccably rendered by the Supraphon team here. Even more surprisingly was another neglected conductor, Viennese-born and trained Henry Krips (brother of better known Josef), here turning in stunning accounts of Suppe Overtures (EMI), the best I have heard, by a large margin. How the music breathes and how well the rhythms are sprung should provide lessons for modern conductors. The early stereo sound is good though a little coarse, but in my book it now stands together with Arthur Fiedler's Gaite Parisienne and Piero Gamba's Rossini Overtures as the best of bob-bon's. The system also does well with rock, as Stevie Wonder's Innervisions just sound unpredictable, ecletic, kaleidoscopic and, most importantly, interesting.

Symphony 8In System III, I also played CD's through the Sparkler 303 CDP. The sound is commensurate with the analog. I was totally enthralled with Gergiev's first Kirov recording of Shostakovich's 8th (Philips), which is both sonically and interpretively at least as good as the more current version (orchestra renamed Mariinsky, on its own label), and that says something. Highly recommended.

Afternoon chez Kevin
On a rainy afternoon I visited Kevin (previous visit here) and over a glass of wine listened to his many new acquisitions. Hidden from view in this pic are the turntables. His new 2-armed Lenco GL-75 now sports Andy's Decca tonearm fitted with a Shure M44-7, which he (like me, reported here) is very enthusiastic about; it certainly sounded more lively compared to the Rabco linear tracking arm fitted with a Pickering 380 (too heavy, I wonder...). In comparison, the VPI Prime turntable just sounds, eh, dull.

There is a new Chinese tube preamp (top of front rack), but I still preferred the Citation I. Driving a newly restored pair of McIntosh MC-30, the Altec A7 horns were lovely, but I think all that extraneous stuff in front center, especially the equipment rack, ate away at the sound a bit.

We talked about some projects. I'd like to loan him my Shure SC35C for comparison with the M44-7. Also, it is time to match my McIntosh C20, C22 and MX110 to the MC-30! As usual, watch this space!


The bulk of the article was written around 911, a day any New Yorker would never forget. 17 years ago, I was in a HK bar around 9 pm (12 hours from EST). All of a sudden, the TV flashed the extra, with footage of tower ablaze. The silence in the bar was eery.

We all harbor sentiments of disapproval and disdain, but it is a long way to pulverizing hatred that destroys the life of others as well as self-destructs. In face of so much misery in the world, we all shall be more grateful for our existence. Peace.

04 September, 2018

Image result for beyerdynamic dt 880Editor's Note: A New Chapter or More of the Same?

This article muses on my recent move, which triggered considerable thoughts and anxieties.

Back in the USA Due to family circumstances, the household is now (again for me) based in NYC, rather than HK. This is a considerable upheaval that shifts everyone's gravity. Over the coming months, there shall be some restructuring of the household layout, and to create more space much shall be removed or donated.

The Burden of Audio Hardware With too many toys, come time to clear out, many audiophiles face considerable difficulties in their choices: What to let go, and what loss is acceptable (vintage and tube lovers fare better here); what to give away (yes, some stuff become worthless, or nearly so, especially those "future-proof" digitals); even the decision to throw out an original box (desirable when selling) can be agonizing. Software The classical lover usually has more "duplications" - different performances of the same work. Many of us have favorite works and can have more than ten (and more) versions - this one may have a more propulsive drive in the outer movements, yet that one flows better in the slow movement...And our tastes change with age; most likely who and what we like in our youth are different from our preferences now. We don't need the redundancy, but getting rid of them is difficult as most of it is worthless to others, fit only for donations. Jazz lovers can be overburdened too; do you need all those Monk or Miles albums - can you tell them apart, or do you believe in the florid prose of those jazz liner note writers (just a few of them) who justify every album?

Removal from HK No removal, no matter how logistically well thought out, is perfect. How can it possibly be when the memories are still so fresh? I had a hard time sorting out my gears. I never did advertise, but sold some of my most cherished stuff to close friends. I also parted out selected gears to trusted friends, for them to play with, perhaps buy from or sell for me in the future. Even then, I still have a lot left in my old place, which I have kept for storage and other purposes (someone will take care of it) - there they will languish for yet more years, till I find the time to return and sort them out further. In one respect I was lucky - through the help of my friend WSS, I sold my collection of over 1,500 LP's and over 4,500 CD's. Why should I ship them back to NYC, when I have even more here?

Image result for akg 701How the Blog Shall be Different Inevitably, the sea changes shall also affect the blog. Here are what I can foresee:

  • Classical CD Recommendations This shall be drastically different. In HK, in recent years I bought relatively few CD's and kept up with things by borrowing from the local libraries, which paradoxically stock many new CD/SACD's. In NYC, this is no longer true. My local library has a pitiable collection. So, I shall be mostly recommending performances from my own older collection (a vast one with good depth). Focus shall be on classics and what is easily available; regrettably, there shall be few new releases and even fewer SACD's.
  •  Headphone Listening Although I shall continue to listen mostly on my regular systems, at least two dedicated headphone stations shall be set up. My collection of headphones are really affordable classics. I have recently acquired the Beyerdynamic DT 880 (600 ohm; top pic), AKG K701 (right pic), which are working a treat with my new Schiit Magni 3 and Vali 2 (left pic). I have also brought over my other under-used headphone gears from HK. You shall be hearing more of these.
  • Equipment Reviews After settling down I expect a resurgence of activities, and more reviews than I managed in HK in the hectic recent months. There shall be a lot more in analog. Keep up with the announcements in "Coming Attractions" (Sidebar).
  • Cessation of HK Western Electric Activities (except my own) This I regret the most. Only during my last days in HK did I manage to hear the supreme systems of Prince Cheval Blanc (WE 41/42/43 etc). I shall also miss the wonderful system of Eric (WE 46) and wish I could hear "Fat" Vincent's new acquisition (WE 46 again; old systems here). I also have long delayed the report on the complicated systems of Humphery (coming). However, I have brought my superb WE 133 to NYC and shall have it sounding indue time.
  • Horns Forever Fortunately, there are even more thriving horn systems here, which you shall hear from regularly. As for me, I hope I shall eventually find time to install the "Fifth Element" of my YL Horn System (the WE- or Klangfilm-like lower midrange horn seen in this old pic of my yet uncluttered audio room, reported here).
  • No more Letters from NYC Instead, when I do manage to get away again (I don't expect to in two or three years) there shall be "Letters from HK". Short trips to the UK may still be possible though, I hope.
  • My Classical Music Blog shall see a lot more Concert Reviews (which I keep more or less as a diary for myself), as there shall be a lot more concerts to attend in NYC.
Finally, I quote again from one of the entries cited:

This time I returned to find that my mother has hung a little buddhist pendant on my storage rack. On it is a saying:

需要的不多,想要的太多;需要的才要,想要的不重要;能要的才要,不能要不該要的絕對不該要。
Needs are basic but desires know no boundary; 
Acquire only necessities, everything else being unimportant;

Acquire only what you have a right to, never what you could not or should not have.


Great advice for sick audiophiles, don't you think! Me? Well, I deeply understand but it is not yet time - to apply to audio, that is...

One Step at a Time...

08 August, 2018

Western Electric 41 42 43, 86, 143, 597, 750 Lansing 285 and much more



The Best Sound I have ever heard: Western Electric, of course

Although in the heat of removal, through my good friend WSS I finally managed to visit the setups of
HK's Western Electric "Godfather", known as Monsieur Chateau Cheval Blanc (which he once enjoyed drinking), and was it an eye opener!

Given my other dealines, this article will take some months to write, but to tempt you I am posting the pictures. The descriptions shall come later.

What I can say, and want to say, is that this man really knows his stuff. The large space was the best simulation of the theater I have ever heard. The sound has no weakness in any department, yet replete with all the sinuous WE qualities I hold dear. From a whisper to a full cry, every cut was a new experience.


Neumann Cutting Lathe used as Turntable! 


WE 41/42/43


WE 46, EMT, Verdier idling. Note Hartley 24" used as subwoofer


Rare Lansing (pre-Altec) Field Coil Woofers and 285 Compression Driver. Yes, tweeter is fabled WE 597, the real thing.


Idling WE Surplus


Part of Field Coil amps


By far The Best Home Theater I have ever heard


WE 750 as Center


Center Driven by WE 86 (with 300A!!!); Wilson by WE 143 

23 July, 2018

Living Voice Vox Olympian Vox Elysian



Living Voice Vox Olympian/Vox Elysian
Yumcha Diary: July 21, 2018 The Longest Day

This past Saturday started with some coffee and,on my way out, a mid-morning Steamed Rice Roll with Dried Shrimps (蝦米腸at Yuen Long's (大棠路冬菇亭/大排檔) 小桃苑 (its real name is actually uncertain, as the day and night time operators are different). In my opinion, with no exception, the best rice rolls I have had have all been in Yuen Long. The skin is ultra-thin, translucent, yet tensile. The sauce is tinged with a little lard. The simplest food is actually the hardest to make! Salut!

At yumcha, davewong brought a very nice premier cru burgundy white (Lefaive) which we supplemented with yet another 759 Riesling (Michael Ludwig). Wher and JC from Australia joined us on that day.

Visit to Sound Chamber
I had to attend a dinner, and so had some time to kill. JC took us to Sound Chamber, one of the elitist dealers in HK, where we were met by an eyeful.

There is nothing that we could afford, but Sound Chamber is unusual in that they occasionally had some rather unusual stuff (such as the Magico Ultimate horn system heard in 2011).

On this occasion, we were treated to the world's most expensive loudspeaker system, the Living Voice Vox Olympian Horn System with companion Vox Elysian Subwoofers. Driven by top-flight Spectral CD system and FM Acoustics electronics, the sound was listenable but rather overly-smooth.

The adjacent space showcased Lansche's mammoth flagship 8.2 with plasma tweeters, but I have no interest; the sound bears the same house sound, driven by Spectral electronics.

I would have liked to listen to the Boenicke, perhaps driven by the Lamm's, also on silent display, but it was unfortunately not feasible. They looked great!

In the evening an old friend hosted a dinner. The home made pizzas were fantastic!

I woke up the next day with a headache!



20 July, 2018

Tenth Anniversary of Cheaptubeaudio Blog



Image result for 10th anniversary

Cheaptubeaudio Blog: 10th Anniversary

The first article in this Blog was published on July 23, 2008, and so it has been TEN YEARS! How about That!

It has been ten long years. Time waits for no one, and there is sea change in my life. Due to family circumstances, I am due to move back to the US. There are many people and things in HK that I shall miss; equally, there are even more that I shall not at all, but perhaps that is for another article (if I do write it, it shall be smoky, I promise).


Graph of most popular countries among blog viewersSome Rough Statistics
In the right hand bar you can see some statistics. There have been over 800,000 "unique" visitors from 194 countries.

The Blog's private stats are visible only to me, and it tells me there have been more than 1.6 million page views since inception.

Readers are primarily from the West, no surprise. Blogspot is blocked in China, so I have no readers there.

Looking Forward
The Blog shall soon see many more articles from NYC, which shall not any more bear the title of "Letter from NYC". I think there may be an increase in production, as I have more gears in active use in NYC, and have friends with interesting agendas.

In HK, a lot of my stuff now are dormant. However, recently there have been a lot of Western Electric related activity, which I shall sorely miss when I move back. In NYC, I am the only one I know (yet) who uses WE.

Thanks are due to:

  • READERS Thank you for your feedback and many words of encouragement. I appreciate your support!
  • FRIENDS Unlike my friend icefox, I do not socialize much these days. So, except for Saturday yumcha, I actually don't get to meet many friends for the last few years, which is regrettable. Particular thanks to: our yumcha friends for their friendship and help on many occasions; icefox, through his "devious" ways, for always prompting me to resurrect my "more worthwhile" gears (such as my WE, Brook etc), for engaging me more in the WE universe and, last but not the least, for the many late night chats that provide more juicy news than a tabloid; WSS, for being a true music lover, peacemaker, and for providing a shelter for Happy Hour; Pro Sound (the shop is messy, but the people are friendly); "Shidi" Andrew for his friendship and generosity; Seng/Carmen, for the breakfast sessions. I am sure I have forgotten to mention quite a few people, but I have to go to yumcha now. 
Strauss: Ein Heldenleben (A Hero's Life) / Die Frau ohne Schatten (Woman without a Shadow)
  • ENEMIES Over the last two decades, I have made many friends, but also a few enemies.Truth is, there is not that much that is worthwhile out there, and as I grow older I am increasingly impatient with bad sound or people who pay more attention to their gears than music (and that is the majority of audiophiles and hifi writers). Being a writer and blogger does not help, as my strong views often generate bad vibes. Just to mention some, my disdain for German gears, "vintage sound" people, tweekers, tube rollers etc irks those communities. My general contempt for the "elder statesmen" of the HK audio scene also grates on their nerves. But here I have to thank my enemies, for their sheer incompetence has actually been entertaining and nourishing. This Blog would not even have come into existence were it not for some enemies! As I write I think of the way Strauss tone paints (especially his enemies) in Ein Heldenleben, which basically describes doctorjohn in the HK audio scene ! :-) The pictured recording is spectacularly played by the VPO.

Postscript: The Origin of Cheaptubeaudio
Many of my acquaintances, not to mention readers of this Blog (even regular ones), may not know that the name Cheaptubeaudio was a spin-off from a Yahoo Group, (doctorjohn_cheaptubeaudio) founded in 2001, which effectively ceased its active life a few years later due to the obsolescence of the format and my other activities, but I have kept the site open even now, if only for archival purposes. There were a lot of good stuff from various contributors buried there and it has always been my wish to collate and transfer the data to this Blog, but that would take time. This Yahoo group was founded when I split from another tube-related group that I was frustrated with, as that was populated by people not well acquainted with music and harbor values that are not at all musically nor high-fidelity related and in conflict with mine.

Before that, I was a frequent contributor to usenet and the HK forum Audioboard, where I met a lot of my old friends. That was also when I coined my moniker Doctorjohn. TKL, if you ever read this, Salut to you for contributing to the HK Hifi Scene!

After the Yahoo group's peak, like so many others, including our old Audioboard members, I participated heavily in the then-popular HK forum Review33. As with many less well managed forums, the site lacked good management, like moderation by senior members (especially after it was sold to a magazine, who did not know who's who) and was thus plagued by flame wars. Being a veteran of this kind of thing, it did not unduly bother me until something truly unique and distasteful happened.

At that time, there was a thread, one of hundreds, that was a bit more stylish than the others (even if it had a rather pretentious title), and it attracted some attention, including mine, and I was a regular contributor (in time perhaps not to the liking of some). Mind you, Review33 is a HK site and by far not everyone is fluent in English, though many post in English, even Chinglish (nothing wrong with that). This thread then attracted some attention from those better versed (in English). The problem was, it had an haute attitude, and was more of an insiders' game.

In 2008, a freak and unfortunate incidence involving an "intruder" provoked a huge incidence within the thread and incited a huge flame war, including much vitriol and personal vendetta against me. When the administration did not entirely side with the thread, the person who started the thread did something unique in my internet experience. With cunning and stealthy planning, many regular contributors were recruited and all of a sudden they all left Review33 and started another site that looks exactly the same as Review33. That in my opinion was not a good thing. Use your own creativity, sever cleanly with the past and why compare? For the moment that was perhaps sweet revenge but history proves otherwise. The imitator site (which had forgotten its origin in Review33) did not blow away Review33, instead remains an insider's game and has very low traffic. Together with other splinter groups of equally dubious sincerity that left in less dramatic fashion, these "rebels" did harm to the audio community by fragmentation (HK is small) but failed in their collective vanity of hoping to bolster themselves as they have not attracted the community at large. One heavily trafficked site, even if argumentative, is better than tens of much less trafficked sites. It should be said too that the emergence of Facebook and What's App also have been important factors in the general decline of forums.

It was then, after all this, that I started to think about my own site. After all, it is good to archive and not have to repeat the same things over and over. So I started this Blog, and I am glad to report that traffic here is a lot more than some of those sites. Eat your heart out!

13 July, 2018

HiFi Basics: The Source Digital Buying Guide

HiFi Basics VI: Know Your Source(s)
Brief Digital Front-End Buying Guide

Note: In an older article (here), I detailed how an unfortunate encounter with a bad digital setup compelled me to write this article. If you think digits are digits, I urge you to read the link based on a true event.

The Audio System Hierarchy It is commonly acknowledged that, with the exception of the Loudspeaker, The Source is the most important part of the audio chain. Not everyone will agree with this but I mostly do, though I think the Preamp is just as important.

Many audiophiles never get the best out of their loudspeakers (there are plenty that are no good anyway) because of various factors (like gear choice, placement restriction, room anomaly, etc.) Fortunately, when it comes to the Front End, it should be easier to get at least semi-decent sound, though most could be better, and some can even be disastrously bad (as witnessed above.)

Digital Front End/Physical Format or Not? Today, there are many ways to get digital playback. Many, especially neophytes, eschew physical formats and rely solely on the computer. In my opinion, it is not a good way to start/go, fraud with trappings, for reasons that I shall mention later.

Although I am an analog man, for more than twenty years in humid HK I listened mostly to my CD's (I have several thousands.) I have always paid the utmost attention to digital sound and equipment in my own and others' systems and probably have experienced more models than most people, including most reviewers; this is just to say I know exactly what I like.

My Basic Digital Beliefs

Using the Right Player and Ancillary Equipment (do not have to be expensive,) 16/44.1 (Red Book CD) can and should sound Excellent. This is a belief held for a long time by a minority but reasonably large number of current audiophiles. Today, this is even more true as, judging from the large number of recent CD's I listen to (mostly from the library), I personally believe Red Book digital recordings have improved and reached maturity. Unfortunately, in my view, when it comes to consumer hardware (even those from companies with professional roots,) be it CD/SACD/Multi players, CAS servers or streamers, no improvement of similar magnitude has been wrought - perhaps there are more competent players around, though inspiring designs, as always, remain few and far in between.

A Well Implemented Digital System should sound like a good Analog System (and vice versa). Up to a certain point, that is. While a good analogue system shall always and decidedly outperform a good digital system in important musical aspects, these are frequently on the somewhat subtle side and require trained ears. In a good system, at least when listening not so critically, the two should sound quite similar in tonal balance, dynamics and PRaT. For me, it is important to achieve this near-parity in my systems.

However, in home visits this balance proves more elusive to find. While many people simply have unmusical digital sources, a surprisingly high number of self-proclaimed analogue die-hards actually mess up their vinyl setups. This is because they over-tweak their vinyl setups for "improvements" and let them deviate badly from the norm - without knowing it. In a way, this is as much a sign of over-confidence in one's setup skills as deficiency in knowledge of what the norm sounds like, the latter of course a common fault among audiophiles. One time, I visited an experienced turntable addict and heard all his turntable setups (almost ten), yet they all sounded a little off. I then asked him to play his Studer A730 (16-bit) CDP and everything was well. This is yet another reason to have a good digital system - to serve as a benchmark and baseline for analogue. Of course, there are those who believe analogue should be highly "flavored", and who can argue with them?

In Digital Design, there has been Little Progress. For more than 30 years, we have been told about advances after advances. Each new chip or DAC du jour is "state of the art", according to the same reviewers (this is particularly bad in many head fi sites). This makes me really angry: almost all of these serve only to illustrate that the "state" is transient and their making sorely needs "art".

In each era and with each technology, there are some outstanding designs amid the sea of also-run's and losers. Just because two manufacturers use the same and latest chip and technology doesn't at all mean that they will both sound good or the same.

If you ask me, even prehistoric 14/44.1 (given a Revox 225 or Philips CD100/200/300 series) can sound very good. The 16-bit era produced the largest number of classics. This was followed by the uninspiring true 1-bit bitstream era, which serves to illustrate that improvement in numbers is not an advance although, even then, there were a few outstanding designs from Micromega (and Revox).

And then there is the issue of Non-Oversampling (NOS). But this method (or rather, just repudiation of the method of oversampling) did not even merit a mention in Robert Harley's recent article on the history of digital (of course, he is a prototype of the type of reviewer I mentioned above). Even in this modern world of high sampling rates and high bits, there are still many adherents, so there must be something about it. I, for one, find NOS generally more musical. Now the NOS Sparkler S306 is my reference DAC.

For the longest time my reference DACs for large scaled orchestral works are two highly disparate products: the more than 20-year old tubed "20-bit" Sonic Frontier SFD-II (using the unique UltraAnalogue chip) and the even older 16-bit Sony DAS-R1 (using the classic TDA-1541). These are not NOS DAC's, but they are exceptionally built.

Physical Format/CD/SACD Disc Playback

For this, we rely on Transports/DACs/Players, which I believe is absolutely necessary even in a CAS based system.

Assessing Your Disc Player Aside from reading reviews or testing them in friends' systems (it is an important part of audio), how do we assess their merits, or lack of? I say, not difficult at all, and it depends on which level you feel confident at.

vs DVD/BR/Multi Players At the very basic level, many people have a DVD or Blue Ray Player (no matter how old) somewhere. Provided it is a quality brand, say Sony (my favorite, but other major brands, say Philips, Marantz, Toshiba etc will do too), measure your equipment (as transport or as player) against it, and it better be better (not as easy as you think, especially when it comes to blu-ray audio, given the general competence of any BR Player, such as my cheapo Sony BDP-190)! Or, get an old universal player by the reputable Oppo or Marantz and the likes (like my old Marantz DV-6001, which plays SACD's surprisingly beautifully) and measure your gears against it.

vs Digital File Or, even measure your setup against a digital file (here is an example where an overpriced German CDP fared badly against an iPod/DAC as source). CAS to me is not the ultimate word in digital, but a simple setup, like my MacBook (iTunes AIFF files) + Meridian Explorer (here) can be a very useful tool (I have taken it to many people's setups to embarrass their digital setups, and it has never shamed itself).

vs Old Players Don't believe in what the magazines constantly proclaim, that newer is better - top shelf old gears sell for a pittance and they can really show you up! Up one level, if you have experience with vintage players of repute, measure your stuff against them.

Transport As we witnessed in the link above (and here it is again), Transports can make a huge difference. I still like my various Theta Data's and Roksan DP1, but they are getting quite long in the tooth and some are impossible to restore (like my defunct Audiomeca Kreatura) and so I do not recommend them to others. At our friend jules' place, we also prefer his ancient and monstrous Forsell Air Reference to his sleek and modern Orpheus.

I'd also avoid modern transports that ask for silly money and opt for a DVD/Blu-Ray Player instead - they are quite reliable in use and surprising in performance. I use my cheap Sony BDP-190 with my Sparkler S-306 DAC to great effect. Do I feel anything lacking? No!

AND, by all means avoid those terrible DIY transports!

DAC I'd buy an old 16-bit TDA-1541 DAC (Philips, Marantz, Arcam etc) to have a reference. For more money, the Sonic Frontier SFD-2. As for modern DAC's, I haven't heard anything better than the very reasonable Sparkler S-306 (anecdote: a friend who also had the Metrum basically ditched it after hearing the Sparkler; I'd love to do an A/B with jules' Totaldac); it is small, non-oversampling and using TDA-1543 (see here). This link also tells you about why I disliked the Weiss Minerva, which is well reviewed by the audio press and serves as epitome of what I think is wrong with modern hifi. Anecdote: our friend Joe L was recently flabbergasted by the sweet sound emanating from one of my favorite classic 1-bit Micromega products, the Microdac; he ditched his modern Moon CDP.

CDP Some people prefer a one-box solution. I can understand, but modern CDPs are way overpriced and underwhelming (even the latest Naim dedicated CDP is not at all as good as their old classics, like the 16-bit CD-2), and I'd go the Transport/DAC route, since a cheap DVD/BR player can be used as transport and the DAC can also play files! But I'd forget about hi-res and get a good old DAC like the ones I cited. But, if you see a classic CDP in good condition, like Philips/Marantz to Meridian or Linn, do some research (laser etc) and think about it.

SACD? This is controversial, and I can see why. I personally like anything that is well recorded, and many SACDs are. But I am not sure at all SACD is inherently superior to the best PCM. Note that in NYC I have the Sony SCD-XA5400ES SACD player, no slouch. It is also worth noting that some older multi-players like my Marantz DV-6001 in HK, which is not real SACD playback, just PCM conversion, somehow makes SACDs sound surprisingly beautiful (and I have heard hundreds of SACDs from th local library). Go figure.

Upsampling Simple. Usually it is a give and take scenario. It can safely be said that most of the ears I trust do not believe in it. It is a bit like the Proac Response 1 - the 1S is an upsampled version; the 1SC even further upsampled, but the original remains by far the best. YMMV.
Computer As Source (CAS), but NOT Sole Source

NOT as Sole Source Make no mistake, I am not against CAS, rather quite against Computer Audio as Sole Source. As I am writing at my desktop now, I am listening to my MacBook Pro/iTunes/AIFF files played through the Micromega Myamp and Yamaha NS-10M - quite enjoyable (here). If you check my Label "Talk CAS" you will see I have written quite a bit on this subject, but from the vantage point of the occasional (though musically discriminating) user. I am also a keen observer, and have witnessed quite a few long time audiophile friends who have switched their digital playback from physical formats to CAS, but the changes to my ears were not for the better. Some of these systems were documented in my Blog (usually labelled "Home Visits"). Note too these people had never given up their analog rigs, despite proclamations that CAS could be just as good or better.

On the Cheap I have personally experienced a considerable number of people, including industry people, who use CAS to horrid effect (and don't realize so). There is a common denominator to these setups: they are expensive. Many use expensive clocks, convertors and exotic connections. This is a bit like the world of vinyl - if your quest for the "best" is based on numbers or theories or heresays and is not supported by discriminating hearing ability and musical values, you are much more at risk of going astray than the budget person using simpler and money for value gears. I have never heard a Squeezebox (Touch or not) sound bad, but in HK all the expensive CAS systems that employ some Weiss (including the dealer's demos) sound quite bad to me (even my iTunes/Meridian Explorer sounds better). In my opinion, there is no point to do CAS the expensive way - it should almost by definition be on the cheap.

Have a Reference The problem with the audio neophyte is that he has to have some references, and that can be peers or shows. But equally effectively, I'd urge someone with only files to compare against the same physical format as played in an old machine, as detailed above.

Files Sampling Rates and Upsampling One of the biggest promises of CAS is that with hi-res files (such as 24/192 PCM or DSD) you can get higher resolution than CD and this problematic promise has caused many an audiophile to invest unduly in CAS playback. But the drawbacks are many, to name a few: 1) there are very few real hi-res files available; 2) many files are found to be upsampled fakes; 3) they are intangible, which means they are susceptible to system failures; 4) you don't even own it and legally not allowed to make a copy; 5) as usual, the classical music fan is ill served.

Connection USB is the most ubiquitous, but others have championed connection with I2S, Firewire etc. The neophyte is left wondering and susceptible.

Streaming Partly because of the File Problems, Buying Files is rapidly on the wane. The other reason is because of the emergence of Streaming, which is imho a good thing. For a small fee, one can get to explore a lot of new music, ideal for the urban dweller with little space.

02 July, 2018

Lowther TP-1, B&W Matrix 801 MkII, VTL Straightline DAC/Preamp

Reviews: Lowther TP-1, B&W 801 Mk II, VTL Straightline DAC/Preamp
Overview: Lowther
Ruark Crusader II Revisited

This Blog is sort of a real time audio diary. For the moment, this is even more so.

Extra! Closing Up Shop
My friends know, due to family circumstances, I am soon to (more or less) wrap up things in Hong Kong, and spend more time in New York. Now, you all know.

This is why I am transferring some of my prized possessions to my friends. In the last two articles, you have read about my prized TAD TD-3401 in its new home. You shall soon read the same about the Tannoy Canterbury. The departure of those two loudspeakers signifies the closing of an era for me.

As anyone who has re-located, not to mention with way excessive baggage, knows, it is pandemonium. I don't know how I am going to survive it. But friends help, and writing, again, is a catharsis. The recent articles, more of a potpourri, reflect this reality.


Drunken Goose Palm!

Audio Comaraderie
In the last entry, I reported on the visit by icefox and company to my place. What I did not report on was that I scrambled to offer them something to snack on, very humble offerings (like 759 Spanish ham, sardines, Taiwanese crackers and udon; with some privately sourced organic peanuts, fried) with some equally humble generic wines.

The next day, I was really surprised to have received an email from To Sir. He had just prepared some Goose Palms 醉鵝掌 marinated in rice wine, Hence the name Drunken - this classic method has long been used by the Shanghainese to prepare chicken and other small birds. He insisted on delivering some to me, as he knows I am a drinker and this dish is supposed to go well.

I must say To Sir's take on this classic recipe is excellent! But I am even more grateful for the warm-heartedness, from a man I have met only once! In some ways, he reminds me of our NYC friend Kevin (here). No "thank you" is enough!

Removal
How do you sell a "warehouse" full of possessions? You don't; I don't really try very hard, but friends have helped me to unload a bit. And also, re-hooking some of these up have been a very pleasant reminder on why I owned them in the first place. Aside from the major events of TAD and Tannoy, here are some recent activities, and I'll take this opportunity to re-evaluate some of these and write a few words. In order of occurrence:
  • NAD 3020A I sold to someone I didn't know. As usual for such low-priced items, there was no testing and the transaction was in the MTR station. The next day, I received a call; the new owner breathlessly told me how wonderful the NAD was - it completely outclassed his vintage Conrad-Johnson preamp (no news to me) + 6A3 SET amp through his University loudspeakers (sounds like the basis for a pretty good system - too bad I have no time to visit). To recap, I have written extensively in this blog on the 3020 (click here) and as of this writing still employ it for my Yamaha NS-1000 (which the icefox crowd auditioned). I suspect there shall always be a 3020 in my possession and use; after all, it is a benchmark. Immortal!
  • Lowther TP-1 Complete Loudspeaker Names and Iterations Lowther model names for their loudspeakers and cabinets are highly confusing (like the many subtypes of Acousta), and this particular model even more so. Mine is the classic version with beautiful "Queen Anne" legs (TP-1B), which was/is more expensive than its plainer straight legs counterpart (TP-1A). A good guide is the Lowther Voigt Museum, which however I think is not complete. There were other later TP-1's, including "London" (not the current repro) an perhaps others. Currently, Lowther UK also offers the "TP-1 Imperator", which seems very different as it is front firing, though back loaded. My Pair My pair can be seen in the pic at the bottom of the article (similar to the units well documented with pictures here and here). I have had mine for almost twenty years, but haven't used them in the last fifteen. For a little info on how I got my pair and some old listening notes, click hereThis Time Around After the removal of my Tannoy Canterbury and TAD TD-3401, I was finally able to access them. It was serendipitous that my friend wher called me up around this time, saying a friend of his is interested. One day, we dragged these out. One has an intact PM3A with rubber surround (its mate has a short); the other a PM2A Silver with disintegrated surrounds (even worse is its mate). Despite this, the TP1 made mellifluous music when directly driven by my Sun Audio 2A3 (even with Russian tubes; source was Sony transport, YBA WD202 DAC). The driver with bad surround naturally had not much bass, but the intact PM3 was simple divine. The house was filled with rich, good music, so airy that we did not feel any need for supertweeters. Amazing! My Observations Based on my own wonderful experience with the TP-1's, and also the many Lowther's and as many DIY/repro cabinets I have heard, here are my views which I know is going to grate on many people: 1) Front firing Lowthers must have good bass horn loading to sound good; 2) Original cabinets sound much better than most DIY and Repro cabinets (no matter how touted or even "official"); 3) If DIY is necessary, avoid MDF and other rigid material; 4) As the repro cabinets all originate from China, we get to hear them in Hong Kong. Suffice to say I have heard my share and I am sorry to say I am singularly unimpressed - they usually sound so tight, the antithesis of a good pair of vintage Lowther's; 5) The Cabinet is much more important than the Driver used (even the cheapest PM6A produces excellent sound, IF housed right); 6) I am not impressed by the many Lowther-like drivers (like AER) that are said to be improvements. Overview Aside from the incomparable TP-1 I have heard excellent sound from a model with doors (likely the "Ambassador"). Possibly other large Lowther's like the Audiovector should sound good. I have also heard very good sound from some Acousta's, the most amazing being the "Dual-Position" firing into the corners (a bargain). I am sorry I cannot be more enthusiastic about modern cabinets or DIY efforts.
STRAIGHT-LINE VTL 画像STRAIGHT-LINE VTL 画像
  • VTL Straightline DAC/Preamp (pics from hifido.jp; click to enlarge) Some days after the Lowther event, my friends Captain and Romo came in with "Garage" Charles and jules. Each had a different agenda, and Romo's was to get a DAC. He was very lucky that I sold this to him. This is one of my favorite DAC's. Compared to its more famous contemporaries which employed the same marvelous UltraAnalog 20-bit chip (Sonic Frontier SFD-II and PS Audio Ultralink, to name just two), it lives in undeserved obscurity. Basically, it is a DAC with a tubed output stage (with gain). It is both an excellent DAC and excellent preamp, but there is a quirk. As DAC Switch the Selector to Bypass and it works as a DAC. The sound is classic UltraAnalog, rich and detailed. Compared to the darker SFD-II, it is a little lighter on its feet (a plus) but perhaps a little less steady with big orchestral's. Absolutely first-rate, that is for sure. As Preamp Here lies the quirk. If one uses the Digital input, the sound lacks beef. However, if fed a line level signal (like we did on this occasion with the YBA WD202 DAC) the sound explodes with color. Indeed, as a preamp, I think it is as good as most that have come my way! That is accolade indeed. You get Two in One, but you cannot use both at the same time, funny, no?
  • SinoVT TP-215AI This cute 6V6 PP amp (reported here) seems to have been discontinued, and in any case this brand is a little difficult to source in the West. Charles heard this some years ago at my place. Subsequently, he bought two. On this day, Charles came to buy mine. The SinoVT did a reasonable job driving my Ruark Crusader II, and even the "Big Fat Lady" B&W Matrix 801 MkII, amazing considering it is just 7 wpc (pentode operation). More below.
  • Ruark Crusader II These were covered in a previous article. Using the VTL DAC into the SinoVT, the sound was very good, and everyone nodded in approval. I am puzzled as to why these three-way's with diminutive footprints are not more sought after in HK.
  • B&W Matrix 801 MkII For my assessment of B&W, especially the Matrix series,  of which I am fond, read my Overview. For the longest time, together with the Spendor SP-100, the Matrix 801 was a perennial on Stereophile's list of Class A components (indeed, read its most amazingly detailed review, written by a musician). I have had mine for a long time, but rarely used them, as I had my horns, which could use SET amps. But the Matrix 801 had retained my loyalty otherwise. Driven by the 7 wpc SinoVT, sound was surprisingly big-boned and decent - that should completely dispel the myth that the 801 is difficult to drive. We then switched to the Bryston 3B, which immediately firmed up the sound and put things into scale. Splendid loudspeakers of reference caliber!
A rare glimpse of my old place, in transition. Note the beautiful Lowther TP-1's in the back. In front are the B&W Matrix 801 MkII and Ruark Crusader II. On the floor is Sun Audio 2A3. You can also spot Unison Research, Cyrus, NAD, ARC, Technics, Micromega, Audionix and Lenco, among others.


20 June, 2018

Sparkler S306 DAC, RELStrata III for Quad ESL-2812, TAD TD-3401

TAD TD-3401, Part III: with Full Wavac System
The Amazing Sparkler S306 DAC, Part III: 
Sparkler S306 vs 47 Labs Shigaraki
Subwoofer for Quad 2812
Talk CAS: Cheapo Bluetooth Device vs. Meridian Explorer
Talk CAS: Tidal, Youtube, Radio Garden

The better half of this article comprise further reports on TAD TD-3401 and Sparkler S306 DAC. However, I also tie up some loose ends here.

TAD TD-3401, Part III: with Full Wavac System
On Sunday I re-visited Sang to spend more time with the TAD-TD-3401. This is basically a brief report that is the continuation of the last report (Part II) below (or here). On this day we tested out the full Wavac system by using the Wavac PR-X2 preamp in lieu of the Verdier Control B. The sound, as expected, was crisper than using the Control B. The piano sound was just awesome.

On this day (after much begging and cajoling) my taskmaster icefox finally agreed to come to listen again to my current systems. I was just about to leave Sang's place when icefox arrived in Yuen Long earlier than expected, and I asked him to join us at Sang's place. icefox was impressed by the performance, and harbored the same opinion that the 3401 is superior to the 2401/2402.

Regarding the Wavac, icefox still wished that it could be a tad cooler and thought the piano a little too clanging. For me, it was the opposite. More than most audiophiles, I am very particular about the leading edge, and have always thought the Wavac to be better on this front. However, since the TAD TD-3401 is a faster and more precise transducer than the Tannoy Canterbury, the resultant sound could sometimes be a little sharp. It is a small price I am willing to pay (especially since we get more details with the Wavac) but I can totally understand the other camp. So we were all consistent in our preferences.

Very soon, To Sir and then Mila joined us too. To Sir has a self-assembled big TAD System (which I have never heard) and is obviously a TAD expert. Both he and Mila were delighted with the 3401.

Now we go back a day or two...

Top Shelf: Note Sparkler S306 under 47 Labs Shigaraki DAC, behind Shigaraki Transport.

This is my third write-up of the Sparkler S306 DAC. For basic info please read Part I, where the Weiss Minerva proved utterly inept in its face. In Part II, the S306 went head to head with NOS AMC without shaming itself.

Sparkler S306 DAC
As mentioned in the links, ever since I bought it, I have used my S306 (serial Number 2) exclusively in my Yamaha NS-1000 system. Just could not bear removing it. Yesterday, however, with a little extra time on my hand, I decided to implement it in my Kondo system (pic above):

Transport: 47 Labs Shigaraki (Belden 1694)
DACs: 47 Labs Shigaraki vs Sparkler S306 (Gotham DGS-1 and 2111)
Preamp: Audio Note (original; Japan) M7
Amp: Kondo Ongaku
Loudspeakers: TAD TSM-2201
Subwoofer: JBL 12" paper cone 

Just one recording for illustration shall suffice. In the EMI (Warner) Oistrakh box is a performance of Schubert's Piano Trio No. 1 (with his long-term partners Oborin and Knushsevitsky). This 1958 recording is good but not exceptional in sound. In fact, with the 47 Labs Shigaraki DAC, in this Kondo system there was some harshness in the upper midrange, particularly with the Gotham 2111.

I was dumbfounded when I swapped in the Sparkler. It is very hard to describe the tonal differences, but the bit of hardness is gone with the S306, despite its being obviously more airy in the treble and elsewhere a little leaner than the Shigaraki. What is easier to describe is the utterly sinuous quality of the Sparkler. While the 47 Labs delivered a musical performance, with the Sparkler it is at another level: there is more resolution; the leading edge is sharper; the three instruments are more separated and easier heard; Oistrakh's playing is more sinuous and the cellist more mellifluous. The whole performance sparkled (pun intended) with an utterly disarming rhythm and pace.

This is not the first time Sparkler astounded me in its grab of musical intent. I have not reported this before, but in my Yamaha system, I once played the Andris Nelsons recording of Shostakovich 10th (DG) and felt something amiss: there was a brooding and threatening atmosphere that went missing (compared to my first hearing the CD in the same system). I checked and, lo and behold, the DAC was not connected and it was the Sony Blu-ray player's analogue section I was hearing. Now, as I reported in Part I, the Sony is no slouch, but it just did not deliver the charged atmosphere the way Sparkler could.

And so, despite the use of its matching transport, the 47 Labs Shigaraki DAC was displaced by the Sparkler S306 in the Kondo system.

The 47 Labs Shigaraki continues to serve in the system below as the DAC for the Sony DVP-PR50P, and it improved upon the Arcam rDAC and Sony's own analogue output.

Time Out: World Cup
After playing the imitable Celibidache's Brahms Symphonies, it was time for some food. Once again I opted for 肥姐 蠔餅 (Fat Lady's Oyster Omelette) which I wrote about last time. This time a plain red went well too with the dish.

On this day it was Germany vs Mexico; the latter's quick and precise counter-strikes were really impressive. In a way, Germany played like a bad DAC - no finesse; whereas Mexico was like the Sparkler, microdynamically alert,with tensile strength, exceptional leading edge, PRaT.

Time Out: Subwoofer (REL Strata III) for the Quad ESL-2812
As you know, the Quad ESL crowd is a special breed. They swear by their ESL and are in general very reluctant to add a subwoofer. So, I am proud to say that after listening to my 47 Labs 4737 augmented by subwoofer (here) both Quad ESL-2812 owners WSS (whose system was last reported here) and JL were persuaded to give it a try. They lugged my down-firing REL Strata III from icefox's cavernous place (he used it to augment his Tannoy) to WSS's small den.

REL STRATA III Subwoofer, Black, Mint Condition!The REL Strata III was an old product, but one of the more expensive offerings. It was generally very well received at the time and you can find quite a bit of info on the internet (pic borrowed from canuckaudiomart).

The afternoon I was there, with the low-level input we tried crossing over from 69 Hz to 95Hz. All worked quite well. The volume is indented. We started with 3 small clicks, but eventually went down to just one click. If you touch the woofer unit, it was barely vibrating. This very small bass augmentation however had the eminently audible effect of improving upon the liveliness of the presentation. The ESL always been too polite for me. It is good for a few instruments, but when the orchestra comes in, it is always underwhelming. The subwoofer improves upon this most important aspect. The effect of the subwoofer here is a bit different from what I get with my own systems - with the ESL one picks up the gain in presence more than bass extension. I am not sure whether that is due to the ESL or this REL. The important thing is, used judiciously, it is definitely a plus for the Quad ESL-2812, though I think other subwoofers may be worth trying too.

Back to the icefox crowd.


Click pic to enlarge. The black Bluetooth Device next to the Meridian Explorer.


The Bluetooth Crowd and the Generic Cable
Back to the icefox crowd. They spent a few hours in Yuen Long, but the program didn't exactly unfold the way I had wanted it to. After two hours with 15" woofers, I am sure anything else is an anti-climax. It would have been better the other way around. :-) Nonetheless, I don't think the sound at my place disappointed them unduly.

This is also the Bluetooth Crowd. Many of them use Tidal Streaming through their Cellphones. Arranged in advance, icefox brought his el cheapo Bluetooth device (from Taobao, less than USD 50; the black thing). Despite its small size, I think it has the latest technology. We connected it to the Kondo M7 with icefox's generic RCA cable, and the sound was quite acceptable, better with some cuts than others. icefox also played some youtube, which to my ear sounds even better. We then did some brief comparisons.

Tidal (Cellphone) vs Macbook Pro My Macbook Pro is very basic, unadulterated iTunes (no "mandatory" Amarra) playing lossless AIFF files. Through Bluetooth, the Macbook has a warmer and more detailed sound.

Meridian Explorer (USB) vs Bluetooth We then played my Macbook AIFF files through Bluetooth and also through USB (my favorite Unitek) connected to the Meridian Explorer. The USB connection is again warmer and more detailed. It better be, as I actually hold the Meridian Explorer in high regard (here). Actually, from memory I also think the sound through the wireless dongle of my Arcam rDAC is better than the Bluetooth.

Image result for Radio gardenInternet Radio Through my Macbook icefox also played his favorite Italian Radio Emiglio Romagna, but not through the official site, instead using Radio Garden. I can attest it was very good and the programming of much baroque music was to my liking. I also like the fun way one navigates in Radio Garden. Give it a try!

Belden 8451 vs Generic Cable We then compared the two 1/4" to RCA cables. My go-to 1/4" to RCA cable, which I use with my Meridian Explorer and Fiio X-1, is a DIY one is made from Belden 8451 (info) with Amphenol connectors. The sound was at once more controlled and detailed, but the crowd pointed out correctly that it was also a little tighter than the generic one.

For a while, there has been a little bit of a phenomenon going on with those around icefox (that means a lot of people). People give generic cables (some from Apliu Street) serious tries and devote much time to comparison, just like, e.g., one would compare Audioquest with Kimber. In general, these are pragmatic people who rightly eschew expensive cables. Many also use cables of vintage origins (WE or not). Many of these people own expensive systems (such as the two WE systems recently featured).

I don't have any problems with this. However, from the vantage point of a professional cable user, I do think one can achieve just as much, and more, playing around with professional cables and other things. Take an example, at our WE/Altec 604 friend Vincent's home, I didn't report it, but we did compare my DGS-1 with his favorite generic cable. To me, the DGS-1 was just more nuanced and had more finesse (I gave him a pair). Similarly, while the generic cable that came with my Thorens TD-309 was surprisingly good, it was surpassed by Gotham cable. Note too these about generic cables: 1) they vary greatly in quality; the ones that come with your USB devices, TVs, TV boxes etc are usually not too good; 2) they are usually smoother, less dynamic and extended at the frequency extremes, which I'd venture is why some audiophiles use them, but imho this is more of like patch-up works on flawed systems.

Nonetheless, the exercise with the Bluetooth device was highly entertaining and downright fun! How often can you say that about audio? As CAS is just peripheral to me, I can entirely see the point of doing things on the cheap, and the quality was pretty good! BTW, like me, icefox thinks usually the expensive, complicated, technical and "serious" CAS systems sound terrible. YMMV.